Maher Fayez is arguably the most famous Christian televangelist in Egypt, appearing in a vibrant satellite and digital ministry online where he sings the popular genre of Coptic Christian songs, taratīl. As his performances largely depend on the mediated and Auto-Tuned voice, I investigate how Fayez’s use of an electronicized and cyber ministry merges both visual and auditory sensibilities to help his audiences attune to Christian and ‘alternative modernities.’ How does his use of global neo-Pentecostal pedagogies and popular music technologies contest Coptic Orthodox Church authority? More importantly, how do they negotiate various modes of Egyptian Christian-belonging following the January 25, 2011 Uprising?

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