Ramzy, “To Die is Gain”

Ramzy, Carolyn M. 2015. To Die Is Gain: Singing a Heavenly Citizenship among Egypt’s Coptic Christians. Ethnos 80(5): 649-670.

Abstract: In January 2011, Egyptian protestors arrived to Tahrir Square wearing stickers reading ‘a martyr is available here’ to highlight their willingness to die for the revolution. Many Coptic Christians also arrived to their own demonstrations wearing the same sticker. Drawing on a biblical verse ‘For to me, to live is Christ and to die is gain’, they claimed they came ready to die, not only for their nation, but also for their faith. In this article, I examine martyr themes in a popular and Coptic religious song genre known as tarātīl. Specifically, I explore the ambiguity between dying for one’s nation and dying for one’s faith as reflected in these religious nationalist anthems. How do song motifs negotiate ambivalences and seemingly contradicting desires to belong to an Egyptian nation and a heavenly afterlife as pious Christians? This article analyses songs of death as modes of political belonging and civic (dis)engagement.

Ramzy, “To Die is Gain”

Ramzy, Carolyn M. 2014. To Die is Gain: Singing a Heavenly Citizenship among Egypt’s Coptic Christians.  Ethnos (Early Online Publication).

Abstract:

In January 2011, Egyptian protestors arrived to Tahrir Square wearing stickers reading ‘a martyr is available here’ to highlight their willingness to die for the revolution. Many Coptic Christians also arrived to their own demonstrations wearing the same sticker. Drawing on a biblical verse ‘For to me, to live is Christ and to die is gain’, they claimed they came ready to die, not only for their nation, but also for their faith. In this article, I examine martyr themes in a popular and Coptic religious song genre known as tarātīl. Specifically, I explore the ambiguity between dying for one’s nation and dying for one’s faith as reflected in these religious nationalist anthems. How do song motifs negotiate ambivalences and seemingly contradicting desires to belong to an Egyptian nation and a heavenly afterlife as pious Christians? This article analyses songs of death as modes of political belonging and civic (dis)engagement.

Heo, “The Bodily Threat of Miracles”

Heo, Angie. 2013. The Bodily Threat of Miracles: Security, Sacramentality, and the Egyptian Politics of Public Order. American Ethnologist 40(1):149-164.

Abstract: This article examines the political and public culture of Coptic Christian miracles through the circulation and reproduction of images and the mimetic entanglements of artifacts and objects. To understand the threat posed by one case of a woman’s oil-exuding hand, this study points to how semiotic orders of security and sacramentality intersect in the regulation of bodily miracles. It explores Coptic Orthodox Church and Egyptian state efforts to contain the activity of images and transform the public nature of truthful witness and divine testimony. In doing so, it suggests how the material structure of saintly imagination introduces bodily and visual challenges to an authoritarian politics of public order.

Heo, Angie. (2012). “The Virgin Made Visible: Intercessory Images of Church Territory in Egypt”

Heo, Angie. (2012). The Virgin Made Visible: Intercessory Images of Church Territory in Egypt. Comparative Studies in Society and History 54(2):361-391.

First Paragraph

In the dark midnight hours of 11 December 2009, the Virgin Mary (al-‘adhra) burst into visibility against the skyline of al-Warraq, a working-class district on the neglected peripheries of Giza, Egypt. Hovering within a glowing triad of crosses, the apparition attracted spectators to the Church of the Virgin and the Archangel Michael along the main thoroughfare, Nile Street, even in the inconvenient hours between dusk and dawn. Within days, the Virgin was being discussed far and wide by Christians and Muslims, Egyptians and foreigners, skeptics and believers. Reactions were diverse: A journalist announced to his friends, “Even if the Virgin appeared before my very eyes, I would deny her.” A cab driver explained, “It is a trick, a big laser show in the sky.” A young mother urged, “Why [forbid oneself] the joy that the Virgin brings?”