Επιτελώντας την Ασούρα στον Πειραιά : Προς μια σιιτική ποιητική «πολιτισμικής οικειότητας» με ελληνικές ενσώματες πρακτικές πίστης

Abstract

The research examines the ritual of Ashura, as it is performed by the Pakistani Shia community in Piraeus. Ashura is the day of mourning for the martyrdom of Imam Husayn: the Prophet’s grandson and 3rd Imam who led a revolt against the Omayyad caliph Yazid I, and was finally beheaded in the battle of Karbala in 680 AD. This battle provides the central narrative around which Shia Muslims construct their political identity as migrants and their religious identification as a minority vis-à-vis Sunni Muslims in Greece. Ashura is commemorated every year through rituals of lamentation and public processions that include, in some cases, self-flagellation.

A decontextualized focus on the act of self-flagellation, over-accentuated by the mass media, reinforces local stereotypes of the Shia community practices as “incompatible” with Greek cultural values. Social representations of the Shiite as “barbaric Others” are frequently evoked in public debate in order to support Islamophobic and racialised narratives of anti-cosmopolitanism. However, confronted with xenophobia and social estrangement, the Shiite systematically attempt to articulate counter-narratives of “cultural intimacy” that stress the similarities between their ritual lament and various embodied performances of faith from the Greek cultural context, such as the Tinos pilgrimage or the Anastenaria.

The research has a threefold purpose. First, it documents the community’s political struggle to promote discursively and practically a multicultural vision of citizenship based on embodied and affective components of subjectivity. Second, it unravels the rich meta-symbolic character the Ashura assumes in a migratory context, becoming an idiom or expressing and negotiating feelings of loss associated with migration trajectories. Third, departing from the case of the Ashura, but also opening-up the research focus through other examples of performances of lament, it examines how the claim to cultural intimacy is re-articulated in contemporary artistic practices, focusing on the performing arts.