Fiche du document
2021
- ISIDORE Id: 10670/1.a97e1b...
- isbn: 978-3-030-49878-8
- hal: hal-03048511
- doi: 10.1007/978-3-030-49878-8_12
Ce document est lié à :
https://hal.science/hal-01757866v1
Ce document est lié à :
https://hal.science/hal-03562397v1
Ce document est lié à :
https://doi.org/10.48350/151149
Ce document est lié à :
info:eu-repo/semantics/altIdentifier/doi/10.1007/978-3-030-49878-8_12
info:eu-repo/semantics/OpenAccess
Mots-clés
sound jihadism terrorism islamic poetry Daesh music war jihadi culture violenceSujets proches
Acoustics Serious music Musical compositions Art music Musical works Classical music Western music (Western countries) Art music, Western Western art musicCiter ce document
Luis Velasco-Pufleau, « Jihadi Anashid, Islamic State Warfare and the Agency of Sound », HAL SHS (Sciences de l’Homme et de la Société), ID : 10.1007/978-3-030-49878-8_12
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Résumé
Militant anashid (Islamic chants or recitations) are used, chanted and listened to by almost every jihadi armed group in the world. This chapter explores how the issue of the sacred nature of jihadi anashid has been developed in recent Salafi-related Islamic scholarship and examines testimonies on the role of these chants in Islamic State warfare. It argues that the collective beliefs on the sacred nature of jihadi anashid are based on a particular conceptualisation of sound and its agency, which assumes that both music and anashid are able to influence the body and soul of listeners. While the banning of music by the Islamic State strengthens and perpetuates conflict, jihadi anashid listening and chanting are involved in the process of enemy identification, coordinating militant practices and the justification of violence.
