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A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India

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A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India “Acting In”: A Tactical Performance Enables Survival and Religious Piety for Marginalized Christians in Odisha, India. Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Douglas Richard Anthony, BM, MM Graduate Program in Music The Ohio State University 2015 Dissertation Committee: Ryan Thomas Skinner, Advisor Danielle Fosler-Lussier Maurice Stevens Udo Will Copyright by Douglas Richard Anthony 2015 Abstract This dissertation examines ”acting in” as a subaltern tactic though which marginalized Christians from local Oriya villages leverage an ideological and cultural space for practicing and sharing a Christian piety in modern Odisha, India – a region that has experienced significant anti-Christian violence in the past two decades. This research examines the cultural and political work accomplished through two modes of “acting in” performances through which specific kinds of performances enable specific kinds of relationships. The first mode of ”acting in” occurs in the openness of village streets and incorporates highly stylized epic narrative presentations of Christian scriptures realized through song, dance and drama. This ”acting in” draws on local performance conventions in order to affect a resonance between the audience’s experience with similar performances of Hindu epics and the ”acting in” performances of Christian narratives presented here. This resonance, a domain of experience that Dwight Conquergood calls an “embodied epistemology,” enables the dramatic presentation of Christian stories – and even the Christians themselves – to be received by villagers as if emanating from a shared past. ii The political notion of ”acting in” becomes evident as I demonstrate how the tactics of this first ”acting in” mode include a jettisoning of practices deemed foreign. This combination of carefully crafted performance and the absence of foreign cultural markers enables Maranatha Ministries Christians to become accepted in the village – and undifferentiated from their Hindu neighbors. This lack of differentiation produces a functional invisibility to the state and unofficial means of surveillance that might otherwise find it expedient to govern Christians as a distinct social entity. In this way ”acting in” enables peaceable relations between Maranatha Ministries Christians, their village neighbors, village elders and regional and state authorities. Ironically, invisibility to the state is achieved through performance of what state officials call “oral tradition” – a practice first employed by the state itself for tourist purposes. The second mode of ”acting in” occurs in the seclusion of a house church and incorporates verbatim scripture recitation rather than epic stylized scriptural narrative. While some church leaders claim verbatim recitation as a local practice, I investigate a plurality of claims and interpretations of verbatim scripture among local church pastors, executive leaders and sponsoring agencies in the West to reveal a highly complex stance on the part of Maranatha Ministries in which verbatim scripture is and is not local, is and is not Western, and is and is not required to maintain a relationship through which resources at times flow into an impoverished village locale. Contradictions abound in the precarity of Odisha’s modern political society, as Maranatha Ministries Christians navigate an unstable environment where their enemy is iii and is not the state, their enemy is and is not Hinduism, their enemy is and is not Hindutva. What unfolds is a marvelously complex stance that requires considerably agility and poise on the part of the marginalized Christians. “Acting in” is the performative expression of this stance that enables both piety and agency in the political uncertainties of modern Odisha. iv This document is dedicated to the brave, devoted and innovative men and women of Maranatha Ministries in Odisha, India. v Acknowledgments I wish to express my deepest appreciation and admiration to my wife, Mary Lu, who has sacrificed much to enable this scholarly endeavor and yet has never wavered in her support or encouragement. The best is yet to be! To my three sons, Taylor, Kyle and Eric, I am eager for more opportunities to simply hang out together. I trust that you have learned the value of persistence as you have watched this dissertation develop through blood, sweat and tears. Thank you to my parents for valuing education and for your quiet, steady affirmation. Thank you to Pastor Daniel Messner and my dear friends and colleagues at Shawnee Alliance Church for permitting me the time to pursue this degree and the flexibility of schedule to allow for the long commutes to Columbus, the years of coursework, and numerous fieldwork trips; this could never have happened without your support. Thank you to Keith, Barb, Ted, Sara, Annette and Max for your wisdom, patience and belief in me. Thank you to Freedom to Lead, International for allowing me to use FTL’s networks in India and the US to pursue this research and for permitting the coordination of my fieldwork trips to take advantage of long haul airfare paid for by FTL dollars. Thank you to Jim Bowman of Scriptures in Use for making time during conferences, in airports, and via phone to answer my many questions. Thank you to Ryan Thomas Skinner for being so generous with your wealth of academic knowledge and vi experience and for those carefully chosen words that gave me hope that this dissertation would actually one day be completed – and be good. And finally, thank you to all of the men and women of Maranatha Ministries: I am moved by the generosity of your time and energies to facilitate and even coordinate the performance events examined within these pages. I am inspired by your passionate love for your neighbors and for our God whom you serve with great devotion and worship with great zeal. It is an honor to count you as friends. vii Vita 1982 ............................................................................ Marion Center Area High School 1987 ............................................................................ B.M. Music Performance, Nyack College 2001 ............................................................................ M.M. Music History and Ethnomusicology, Bowling Green State University 2008 to present .................................................... PhD student, The Ohio State University Fields of Study Major Field: Music Specialization: Ethnomusicology viii Table of Contents Abstract…………………………………………………………………………………………………………….ii Dedication………………………………………………………………………………………………………...v Acknowledgements……………………………………………………………………………………….…vi Vita…………………………………………………………………………………………………………………viii List of Maps……………………………………………………………………………………………………….x List of Transcriptions…………………………………………………………………………………….…xi List of Illustrations….……………………………………………………………………………………….xii Transcription and Orthographic Conventions…………………………………………….…xiii Introduction From Violence an "Acting In" Tactic Emerges…………………………….........1 Chapter 1 The Soil of Odisha and her People………..……………………………………….……46 Chapter 2 A Performance. A tactic. A stance……………………………………………….……....83 Chapter 3 Invisibility, Orality and the Politics of Acting In………………………………...118 Chapter 4 Acting in to Beneficial Relationships with the West…...................................161 Conclusion Risk: Articulating the Unseen, Representing the Inaccessible…..……...200 Bibliography………………………………………………………………………......................................209 ix List of Maps Map 1: Odisha location map………………………………….……………………….....48 Map 2: Odisha physical map…………………………………..........................................49 Map 3: Odisha district map………………………………………………………………51 x List of Transcriptions Transcription 1: Keertan song 1………………………………………………………..102 Transcription 2: Keertan song 2………………………………………………………..103 xi List of Illustrations Illustration 1: Lexicon of Oriya/Local vs. Foreign/“West”………………….………......20 Illustration 2: Keertan song 2 translation………………………………….…………....104 Illustration 3: Acting in process vs. becoming real process..…..…………………….....115 xii Transcription and Orthographic Conventions When presenting dialogue throughout this dissertation I will use a double forward slash // to indicate omissions in quoted conversation. I will use ellipses . to represent pauses as they occurred in the live context. These markings are intended to increase a sense of ethnographic presence for the reader. I will use brackets [ ] during long quotations to insert my own clarifying remarks; whereas parentheses, ( ) will represent the speaker’s own parenthetical constructions. The official name of the country in which this ethnography occurred was changed from Orissa to Odisha on November 04, 2011. This change reflects a growing desire by various Indian State governments to reclaim pre-colonial names and pronunciations. Similar name changes include the following cities and states: Bombay to Mumbai, 1996; Madras to Chennai, 1996; Calcutta to Kolkata, 2001; and Pondicherry to Puducherry, 2006. In the course of this writing I will refer to the State by its proper name of Odisha although the former name, Orissa, will appear in the quotations of my interlocutors and even the State Secretary of Culture, demonstrating its continued use during the years of this study, 2011 to 2015. xiii “Oriya” is the most common language in the State of Odisha and is also the term used by my interlocutors when referencing Odisha’s
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