Her interest in the intersection of music and mindfulness began during her undergraduate studies at Wesleyan University, where she explored this overlap in her compositions. Her mentor, Jan Willis, introduced her to the female monastic movement in Thai Buddhism, further shaping her academic pursuits.

Scahill’s dissertation, titled “The Gendered Politics of Religious Authority in Thai Buddhism: Voice, Embodiment, and Sonic Efficacy in the Movement for Female Monastic Ordination,” is based on ethnographic fieldwork with three communities of bhikkhunī in Thailand. Her work, which draws from religious studies and music studies, investigates how these female monks use sonic practices to gain recognition in a society where women’s ordination is not nationally accepted.

Scahill’s advisor at Penn, Jim Sykes, views her work as transformative for the fields of sound studies, voice studies, and Theravada Buddhist studies. Her fieldwork in Thailand challenges conventional Western understandings of voice, agency, and subjectivity, highlighting the central role of chanting in monastic training and bodily discipline.

The order of bhikkhunī, initiated by the Buddha, has faced challenges over the centuries. In the Theravada Buddhist tradition, practiced primarily in Sri Lanka, Thailand, Myanmar, Laos, and Cambodia, the bhikkhunī lineage became extinct and was believed to be irrecoverable. However, in 1998, 20 women in Sri Lanka were ordained, sparking interest in reviving the lineage in other countries. Venerable Dhammananda Bhikkhuni became the first Thai woman to be ordained in Sri Lanka in 2001 as a samaneri (novice) and later as a bhikkhunī in 2003.

Despite resistance, Venerable Dhammananda argues that her ordination strengthens Buddhism in Thai society. Following her ordination, other Thai women, including Venerable Nandayani Bhikkhuni, were also ordained in Sri Lanka and have since established bhikkhunī monasteries in Thailand.

Scahill’s research focuses on the chanting traditions of bhikkhunī, which reflect and contribute to their revival and the creation of new traditions. During her fieldwork, she observed the significance of chanting in monastic education and practice. The chanting, conducted in Thai and Pali, serves as a technique to bring the mind to the present and is an integral part of daily monastic life.

In the Theravada tradition, monks undertake ethical precepts that include refraining from singing or playing musical instruments. Therefore, chanting is discussed in terms of sound and voice rather than music. Scahill found that the repetitive nature of the chants helps practitioners focus and maintain mindfulness throughout the day.

Thailand has about 300,000 male monks, who hold a revered status in society. The sound of their chanting is closely associated with Thai Buddhism. Thai bhikkhunī draw on these traditions but are also influenced by Sri Lankan chanting styles. They have adapted old scriptures to create new chants, contributing to the evolving tradition of bhikkhunī chanting.

During her fieldwork, Scahill temporarily ordained as a novice monk at Wat Songdhammakalyani to deepen her understanding of monastic life. This experience involved rigorous training, head shaving, and learning to wear the robes. She participated in alms rounds and chanting, gaining insights into the commitment and discipline required for monastic practice.

Scahill aims to move the discourse beyond the debate on whether women should be ordained, focusing instead on how bhikkhunī create and sustain their communities. She emphasizes the need to understand their motivations, which are rooted in practicing the teachings of the Buddha rather than fighting for women’s equality.

By examining the chanting and practices of bhikkhunī, Scahill’s research sheds light on the complexities of female monastic life in Thailand and contributes to a broader understanding of mindfulness and monasticism in Buddhist traditions.