By Sarah Bakker KelloggFull Article:onlinelibrary.wiley.com/doi/10.1111/amet.12139/full
Among Syriac Orthodox Christian migrant communities in the Netherlands, liturgical performance is a site of controversy over where and how to draw a boundary between “religious” and “ethnic” identity. Tensions materialize in discordant singing styles and modes of performance, echoing complex historical encounters with Dutch, Syrian, and Turkish secularisms. These encounters, I argue, have refashioned the liturgical tradition’s role as a central axis of ethnoreligious social life and kin relations across the diaspora. Secular state practices shape a diasporic sensory culture that is met with a distinct form of vocal agency. Syriac Orthodox liturgical experiments show how the voice can transform the sensorial interface between human subjectivity and social intelligibility, in turn transforming how categories of secular modernity—whether ritual, art, ethnicity, or politics—are distinguished and lived.