In 2009, and again in 2010, I taught a class on the Akeda (“Binding of Isaac”) in the arts and the humanities (syllabus). The story of the Akeda, from Genesis chapter 22, is one of the central narratives of western culture. For Jews, the Akeda became a central motif of the penitential season, during which the merit of Abraham’s faith and Isaac’s willingness to be sacrificed is invoked to call upon God to forgive the people their sins and to save them in times of persecution and danger. For Christians, who often call this chapter the “Sacrifice of Isaac,” the Akeda became a foreshadowing of the crucifixion in which God sacrificed his only son for the salvation of humankind. For Muslims, the identity of the bound one became, in the post-Qur’anic period, Ishmael, the biblical founder of the Muslim people and religion. For secularists of all types, the Akeda became the embodiment of the conflict between the parental willingness to sacrifice children to various political and other causes, as well as the focus of the Oedipal conflict between father and son.
Posts Tagged ‘music’
Shahin Najafi never set out to be a rapper, much less “Salman Rushdie of Rap,” but in early 2012, global notoriety was thrust upon the exiled Iranian singer after an ayatollah issued a fatwa against his single, “Naghi.” No doubt the young songwriter aimed to provoke—the track’s cover art depicts the dome of a well-known Shiite shrine re-imagined as a woman’s breast with a rainbow flag flying from the summit—but his satirical rhymes took aim at much more than Islam or conservative clerics. Nevertheless, Najafi became both victim and beneficiary of “catastrophic celebrity.”
How do you create “catastrophic celebrity”? First, find an artist whose work outrages some representative of a religious tradition, landing the artist in dire circumstances. Next, export the story of the outrage and the resulting drama out of its original cultural context, and count on others to disseminate the story without discovering or exploring this context. Several things result, the combination of which creates catastrophic celebrity.
Meghan O’Gieblyn, writing for Guernica, forays into the history of CCM, or Christian contemporary music, which also happens to be that of her own adolescence, tracing the gradual displacement of the more overtly gospel elements of Christian pop, rock, and rap, as the Christian music industry, in its growing drive for “relevance,” felt the squeeze of secular music, especially under the pincers the more profitable and marketing-savvy MTV. More than the fate of explicitly Christian popular music, this course, O’Gieblyn suggests, reflects the simultaneous devolution of a distinctly evangelical way of being in the world, which, stuck as it is between oppositional self-cloistering and secularizing dissipation, seems to O’Gieblyn to have tended toward to the latter.
In the Frankfurter Rundschau, Hartmut Rosa hears the echoes of Pink Floyd in the work of Charles Taylor.
In Foreign Policy, Elizabeth McAlister—a member of the SSRC Working Group on Spirituality, Political Engagement, and Public Life—writes on recent electoral victory of Haitian pop star Michel Martelly and how music shapes politics in Haiti.
In anticipation of the Grammy Awards tonight, Neill Strauss asks, “Why do so many musical superstars think that their careers are part of a divine plan?”
My previous post sought to humble the principle of non-contradiction, and thus the logic of consistency it defines, finding it inadequate for thinking the temporal world in which we live and breathe and have our being. Parmenides first articulated this principle, calling “equally deaf and blind” those who would not think consistently according to it, those “hordes without judgment, for whom both to be and not to be are judged the same and not the same, and the path of all is crosswise (palintropos).” Without compromise, he recognized the conflict between his principle and our world of change and diversity. Consistently, he rejected time and the logic needed to understand it. His target here was Heraclitus, who claimed that “a thing agrees in disagreement with itself; it is a crosswise harmony (palintropos harmoniē), like that of the bow and the lyre.” This post aims to explain his earlier, contradictory, but nonetheless more accurate logic.
Thomas Turner, author of the blog Everyday Liturgy, interviews Brett McCracken on his new book, Hipster Christianity: When Church and Cool Collide. Focusing mainly on the role of music in popular Christian youth culture, the interview also covers the driving question behind McCracken’s book: can, or perhaps should, Christianity be “on trend”?
At the Rock and Theology blog, scholars explore “the relationship between ’secular’ rock and ’sacred’ theology, and related matters of faith and culture today.” As part of a larger project on this topic, Tom Beaudoin takes to the blog to reflect on interconnections between culture, music and theology.