Abstract

Our paper focuses on the recent incorporation of pop music into torture rituals at Guantánamo. After placing the violent intersection of sound and the sacred in historical perspective, we argue that Guantánamo’s so-called “disco” underscores a significant break with the past: whereas sonic weapons were traditionally called upon to conquer and control, they are now being enlisted in the wasteful pursuit of obliterating the religious devotion of an already captured enemy.