Religious Belief through Drum-Sound Experience: Bengal's Devotional Dialectic of the Classical Goddess and Indigenous God
The epistemic question about what constitutes religious belief in non-Western contexts is addressed here through the ontology of sonic experience. I demonstrate that religious beliefs are habitually ingrained as long-sustaining visceral memories, when afforded by sensory—for instance, aural—affects....
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| Format: | Electronic Article |
| Language: | English |
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| Published: |
MDPI
2022
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| In: |
Religions
Year: 2022, Volume: 13, Issue: 8 |
| Further subjects: | B
dhak
B Religious Experience B Bengal B Drum B Ritual B Sound B Shiva B Affect B Body B Durga |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a The epistemic question about what constitutes religious belief in non-Western contexts is addressed here through the ontology of sonic experience. I demonstrate that religious beliefs are habitually ingrained as long-sustaining visceral memories, when afforded by sensory—for instance, aural—affects. Bengal’s peculiar devotional milieu constructs a prototype of oppositions. On one end is the urban, classical, martial goddess, Durga, with elite histories of acquiring a high Brahmanical form, and whose autumnal rituals are based on scriptural rules, caste hierarchies, and distance among the devotees and deity. On the other end is the rural, indigenous, non-classical, peasant god, Shiva, whose spring-time worship celebrating primordial death and regeneration is based on intensely embodied and communitarian principles of identity among the caste-equal bodies of devotee men, and even their god. Based on immersive ethnographic analyses, the paper argues that these dual psychological ends of the regional sacred cosmos are made vividly real through differential perceptive experiences of percussion sounds (ubiquitous in these festivities), their varied tempos, textures, volumes, and rhythm modulations. Through phenomenological deep listening, I describe stark styles of making and playing the sacred membranophone drum, dhak, which embodies distinct rhythm styles, relationships with rituals, and psychophysical effects on the devotional ensembles. I show how the bodies of devotees, dhak players (dhakis), deities, and even the dhak, become tied to the tonalities of the drum, which is taught through generations of deft learning among dhakis, to sound distinctly when echoed for Durga and Shiva. The paper’s main argument is that these dhak sounds, which have remained a conceptual oversight in literature, not only aid in, but indeed, enable the experience of and belief in Bengal’s divergent deities. It is through such empowering sensory sedimentations of the different sounds of the same percussion, that people recognize, remember, and maintain the region’s devotional dialectic and complex religious lifeworld. In essence, the body’s powerful experiences of drum sounds make religious belief palpable and possible. | ||
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