Breaking Points: Mediating Rupture and Discontinuity within Oksapmin Church Performances, Papua New Guinea
DOI :
https://doi.org/10.3138/anth.2017-0051Mots-clés :
religion, christianisme, cosmologie, performance, musiqueRésumé
Dans l’anthropologie du christianisme, on assiste à des débats de plus en plus vigoureux sur le rôle de la rupture et de la discontinuité dans les processus de conversion. Les discussions portent en particulier sur la façon dont les chrétiens, notamment les évangéliques et les pentecôtistes, cherchent à rompre avec leurs cadres culturels et religieux autochtones et en viennent à les dénoncer. M’appuyant sur l’analyse des cérémonies de l’église d’Oksapmin et sur plusieurs travaux de littérature comparée, je contribue à cette discussion théorique en proposant un nouveau modèle conceptuel qui montre que, dans la musique chrétienne et la culture expressive, les convertis rompent avec leurs mondes sociaux et culturels environnants d’au moins trois manières différentes : la rupture « résonnante », définie par une continuité des formes esthétiques autochtones et par une transformation simultanée du sens qu’elles expriment ; la rupture « dissonante », définie par une opposition frontale aux formes expressives autochtones et par l’adoption du répertoire performatif occidental ; et la rupture « sonnante », définie par la critique de toute instrumentation, traditionnelle ou occidentale, en tant que symbole du monde matériel et par l’insistance sur le chant comme forme la plus pure de communication avec le divin. Par ailleurs, je montre que ces modes de discontinuité expressive s’inscrivent d’abord dans des trajectoires historiques particulières et qu’elles peuvent ensuite s’étendre à la vie quotidienne et non rituelle des chrétiens.
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