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Theatres of Commitment: Youth, Perfo...

Chattoo, Saliha,

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Theatres of Commitment: Youth, Performance, and the Making of Publics in an American Pentecostal Megachurch /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Theatres of Commitment: Youth, Performance, and the Making of Publics in an American Pentecostal Megachurch // Saliha Chattoo.
Author:	Chattoo, Saliha,
Description:	1 electronic resource (239 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-05, Section: A.
Contained By:	Dissertations Abstracts International86-05A.
Subject:	Cultural anthropology. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31560597
ISBN:	9798342751810

Theatres of Commitment: Youth, Performance, and the Making of Publics in an American Pentecostal Megachurch /
Chattoo, Saliha,

Theatres of Commitment: Youth, Performance, and the Making of Publics in an American Pentecostal Megachurch /Saliha Chattoo. - 1 electronic resource (239 pages)

Source: Dissertations Abstracts International, Volume: 86-05, Section: A.

This dissertation employs the ethnographic context of a Texan Assemblies of God (AOG) megachurch in 2016 and 2017 to explore an annual cycle of "performance-based conversion events" (PBCEs)-theatrical projects of conversion-wherein American Pentecostal youth theatrically represent, intervene upon, and reify the secular and sacred publics towards which they appeal. Two PBCEs in particular serve as case studies: Hell House (a "Christian haunted house" where youth perform scenes of sociopolitical sin), and "Human Videos," a theatrical category that evolved within a national arts competition for AOG youth. In both PBCEs, the potentially divisive contexts associated with the sociopolitical issues performed are rendered invisible and/or inconsequential; instead, PBCEs rely on a narrative structure of depicting a fallen secular world with as much shock and spectacle as possible, where the ultimate solution is always the unifying power of Christ. In analyzing PBCEs and the powerful social mechanisms that (re)enlist youth in the megachurch's robust annual cycle of theatrical programming, the dissertation expands upon key themes in the subfield of the anthropology of Christianity such as presence, intimacy, repetition, and sincerity. The dissertation also pushes the subfield forward by "reversing the polarities" of how anthropologists have thought about Pentecostals thus far: looking at the realm of "the social" instead of a hitherto privileged lens of language; focusing on the inward impact of salient social processes rather than on the outward impact on the listener/audience in the conversion context; and placing evangelical teenhood rather than adulthood at the center of study. The dissertation investigates how youth are kept inside Pentecostal life and (re)construct particular logics and subjectivities through rhythms of commitment, obligation, and trust enacted via the collective world-making work of PBCEs. By analyzing grassroots infrastructures of belonging, varieties of social obligation, and the political work of repetitive world-making, the dissertation contributes to the anthropology of Christianity-as well as scholarship on performance and publics-in expanding current methods of analysis regarding the types of knowledge and habitus being (re)produced in such church and parachurch spaces.

English

ISBN: 9798342751810Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Christianity

Theatres of Commitment: Youth, Performance, and the Making of Publics in an American Pentecostal Megachurch /
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520 $a This dissertation employs the ethnographic context of a Texan Assemblies of God (AOG) megachurch in 2016 and 2017 to explore an annual cycle of "performance-based conversion events" (PBCEs)-theatrical projects of conversion-wherein American Pentecostal youth theatrically represent, intervene upon, and reify the secular and sacred publics towards which they appeal. Two PBCEs in particular serve as case studies: Hell House (a "Christian haunted house" where youth perform scenes of sociopolitical sin), and "Human Videos," a theatrical category that evolved within a national arts competition for AOG youth. In both PBCEs, the potentially divisive contexts associated with the sociopolitical issues performed are rendered invisible and/or inconsequential; instead, PBCEs rely on a narrative structure of depicting a fallen secular world with as much shock and spectacle as possible, where the ultimate solution is always the unifying power of Christ. In analyzing PBCEs and the powerful social mechanisms that (re)enlist youth in the megachurch's robust annual cycle of theatrical programming, the dissertation expands upon key themes in the subfield of the anthropology of Christianity such as presence, intimacy, repetition, and sincerity. The dissertation also pushes the subfield forward by "reversing the polarities" of how anthropologists have thought about Pentecostals thus far: looking at the realm of "the social" instead of a hitherto privileged lens of language; focusing on the inward impact of salient social processes rather than on the outward impact on the listener/audience in the conversion context; and placing evangelical teenhood rather than adulthood at the center of study. The dissertation investigates how youth are kept inside Pentecostal life and (re)construct particular logics and subjectivities through rhythms of commitment, obligation, and trust enacted via the collective world-making work of PBCEs. By analyzing grassroots infrastructures of belonging, varieties of social obligation, and the political work of repetitive world-making, the dissertation contributes to the anthropology of Christianity-as well as scholarship on performance and publics-in expanding current methods of analysis regarding the types of knowledge and habitus being (re)produced in such church and parachurch spaces.
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