Divergence and Alterity: Shrines, Sacrality and Performing Arts in South and Southeast Asia

The Moynihan Institute’s South Asia Center presents Abdul Haque Chang, assistant professor of anthropology at the Institute of Business Administration in Karachi, Pakistan.

This talk will delve into the themes of divergence and alterity, examining the interplay between sacrality and performing arts in South and Southeast Asia, with a focus on Java and Sindh. Chang highlights how Jathilan, a performance rooted in ancient Hindu narratives, costumes and concepts, and Shah Jo Raag, a Sufi musical tradition of Sindh, represent distinct ways of being Muslim in their respective regions.

Drawing from his ethnographic experiences, Chang explores the cultural and religious significance of these art forms. He will first discuss how Jathilan in Java has evolved into a syncretic Muslim performing art, with ancestral spirits engaging performers through the medium of the spirit handler. He will then describe the healing role of the tambura, a musical instrument used in Shah Jo Raag performances at the shrine of Shah Latif Bhittai in Bhitshah, Sindh, particularly for women experiencing spirit possession.

Chang further examines the shrine performances, focusing on how the poetry of Shah Latif, a Muslim Sufi saint, presents Hinduism as a way of life for the Muslim Sufi. Through these encounters, he demonstrates that syncretism is not merely a religious phenomenon but also a fundamental cultural dimension within society.

Abdul Haque Chang is an assistant professor of anthropology at the Institute of Business Administration (IBA) in Karachi, Pakistan. His ethnographic research spans Sindh, Pakistan, and Java, Indonesia, focusing on themes such as religion, Sufism, music and environmental anthropology.

His doctoral dissertation examines the concept of "environmental exception" in Sindh, particularly regarding sacrifice amidst environmental degradation. Currently, he is investigating Javanese Sufism with his project "Jathilan: Performativity and the (Re)Production of Javanese Sacrality," which highlights how Javanese performance art challenges gender norms and serves as a mode of cultural resistance.