Toxic Bodies, Sacred Ecologies

Toxic Bodies, Sacred Ecologies

Courtney O’Dell-Chaib considers how toxic materials complicate conceptions of “sacred natures” through their ability to ooze beyond categories such as nature/culture, human/nonhuman, sacred/profane. In conversation with voices in material feminisms and affect theory, O’Dell-Chaib suggests possible avenues for navigating our toxic immersions.

Sensing Eid al Kabir’s Tactile, Viscous Stickiness: Affect, Embodiment and Material Religion

Sensing Eid al Kabir’s Tactile, Viscous Stickiness: Affect, Embodiment and Material Religion

Rebecca Moody reads Eid al Kabir in Fes, Morocco, through the lens of affect theory. The sights, sounds and smells of Eid yield the circulation of “sticky” affect that, as it touches each participant and observer, in turn renders them sticky and therein “(re)surfaces” their material bodies. Moody argues that affect theory offers a unique approach to the study of material religion, specifically Islam, by combining the materiality of the...

Affects of Consumption and Commodification in a Moroccan Ramadan

Affects of Consumption and Commodification in a Moroccan Ramadan

Rebecca Moody narrates her impressions of commodification and consumption during Ramadan in Fes, Morocco, through a series of ‘still lifes’. By paying attention to the power of the ordinary as affects and traces, Moody encourages us to pause and contemplate how the sacred and the secular are mixed in daily life. Never separated, they flow into each other, carried by the everyday struggles and celebrations of bodies and minds in...

Religion, Materiality and Machines in Faouzi Bensaïdi’s Death for Sale

Religion, Materiality and Machines in Faouzi Bensaïdi’s Death for Sale

Rebecca Moody interprets Bensaïdi’s 2011 film, Death for Sale, using a variety of perspectives; from the ways that religion influences the materialization of political and economic structures—especially in relation to state institutions—to the link between broken (or breaking) institutions and broken (or breaking) lives, as informed by Deleuze and Guattari, to the struggles of Muslim women in rapidly changing societies. The film uses subtle visual techniques and minimal dialogue to...