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2019, PMEA News
Shevock, Daniel J. “Peace, Place, and Then … A Practice of Silence.” PMEA News: The Official Publication of the Pennsylvania Music Educators Association 83, no. 3 (Spring, 2019): 14-15. (Invited)
Review in "Dawn Eos: Books and Authors" of Aamer Hussein's 2018 story collection "Hermitage" which brings together 13 new and previously published stories. https://www.dawn.com/news/1440414
Anthropology in Action
Silence Sits in PlacesHaving become interested in the uprising of the Hirak movement and its denouncement of a 'cancer epidemic' in the Moroccan Rif, I ended up having what appeared to be a shattered experience, one broken by refusals to speak, miscommunication and bureaucratic barriers. Upon returning home, the very same silence that had surrounded my fieldwork then emerged as a resourceful tool with which to make sense of an opaque history. In this article, I will therefore consider silence as a social object that we encounter during fieldwork, as a positional issue and as an epistemological space. In this sense, engaging with what appears to be at the margin of everyday speech requires consideration of silence as something that is made powerful precisely by its being left unsaid.
Explores the cultural role of silence in music including an extensive analysis of the work of John Cage.
"It is never silent in the sanctuary of a church. The acoustics of the hall-like building feature a variety of sounds like the creaking of wooden benches inside, as cushioned traffic noise from the outside. During services, believers whisper in rustling cloth, the voices of the choir, and the music of the organ add to the soundscape. What decibel measurements fail to display is the sacred silence, that can be experienced in this cacophonic acoustic environment. Like the phenomenological alien, that is originary inaccessible, sacred silence is understood as a presence, that can only be experienced in its own absence. Based on the phenomenology of Edmund Husserl and Bernhard Waldenfels, sacred silence in the sanctuary will be discussed as a matter of individual perception and subjective emotion, both of which are embedded into social context. The individual‘s stream of consciousness builds the framework for the perception of silence and its emotional description as being sacred. A case study of downtown churches in Austin, Texas, will show, how the sounds of the service create an environment for silence. Qualitative interviews with priests, pastors, and directors of the choir define acoustic perception as highly individual and emotional. They describe the silence in the sanctuary as important for worship and essential for coming to know God. In contrast to the acoustic environment of a concert or city hall, silence is a planned silence wherein something happens that only the individual can process through her/his own senses. The experience of sacredness seems to be related to place. It is accessible to believers as well as visitors who acknowledge the specific sense of place of the sanctuary. Referring to authors like Tuan, Relph, or Cresswell, sacred silence is understood to add to the sense of place. It is experienced not only physically, but emotionally."
2017 •
A paper discussing the relationship between choreography and stillness. Three apparently motionless bodies are lying on a blue ground. Five dancers are holding the same pose for over an hour creating a tableau vivant. A man stands in the middle of a square in Istanbul facing the Turkish flag. Three different images of stillness from three different performances. The first one is from the piece (b)reaching stillness by Lea Moro (2015); the second stands for Ivana Müller’s While we are holding it together (2006) and the third for Erdem Gündüz’s political act of the Standing man in Taksim Square in Istanbul (2013). By creating dramaturgies of stillness, the three performances address the concept of stillness -a concept that will be the main theoretical gateway in this text- and challenge economies of time and mobility.
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