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Interviews with young Muslims in Chicago explore the complexity of identities formed at the crossroads of Islam and hip hop This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, “Muslim Cool.” Muslim Cool is a way of being an American Muslim—displayed in ideas, dress, social activism in the ’hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between “Black” and “Muslim.” Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are “foreign” to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested—critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.
In the inaugural issue of Critical Muslim: Ziauddin Sardar tries to understand the significance of what just happened in the Middle East, Robin Yassin-Kassab spends some quality time in Tahrir Square, Ashur Shamis dodges the bullets of Gaddafi's henchmen, Abdelwahab El-Affendi traces the roots of the uprisings, Anne Alexander tunes into the digital revolution, Fadia Faqir joins women protestors, Shadia Safwan asks how long could Assad last, Jamal Mahjoub contemplates futures of the Sudan, Jasmin Ramsey joins the activists in Tehran, and Jerry Ravetz ponders the significance of Ibn Khaldun to the Arab Spring. Also in this issue: Rachel Holmes visits the Palestinian Festival of Literature, S. Parvez Manzoor asks if Turkey is a good model for the Muslim world, Muhammad Idrees Ahmad is overwhelmed by leaks, Taus Makhacheva takes 'Affirmative Action', Aasia Nasir accuses Pakistan and Merryl Wyn Davies's 'last word' on Saudi women drivers. Plus a new short story from Bilal Tanweer and revolutionary poetry from Nizar Qabbani, Tawfiq Zayyad, Abul-Qasim al-Shabi, Ayat al-Qormezi and Naomi Foyle. About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centers on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
After 9/11, there was an increase in both the incidence of hate crimes and government policies that targeted Arabs and Muslims and the proliferation of sympathetic portrayals of Arabs and Muslims in the U.S. media. Arabs and Muslims in the Media examines this paradox and investigates the increase of sympathetic images of “the enemy” during the War on Terror. Evelyn Alsultany explains that a new standard in racial and cultural representations emerged out of the multicultural movement of the 1990s that involves balancing a negative representation with a positive one, what she refers to as “simplified complex representations.” This has meant that if the storyline of a TV drama or film represents an Arab or Muslim as a terrorist, then the storyline also includes a “positive” representation of an Arab, Muslim, Arab American, or Muslim American to offset the potential stereotype. Analyzing how TV dramas such as The Practice, 24, Law and Order, NYPD Blue, and Sleeper Cell, news-reporting, and non-profit advertising have represented Arabs, Muslims, Arab Americans, and Muslim Americans during the War on Terror, this book demonstrates how more diverse representations do not in themselves solve the problem of racial stereotyping and how even seemingly positive images can produce meanings that can justify exclusion and inequality.
In the inaugural issue of Critical Muslim: Ziauddin Sardar tries to understand the significance of what just happened in the Middle East, Robin Yassin-Kassab spends some quality time in Tahrir Square, Ashur Shamis dodges the bullets of Gaddafi's henchmen, Abdelwahab El-Affendi traces the roots of the uprisings, Anne Alexander tunes into the digital revolution, Fadia Faqir joins women protestors, Shadia Safwan asks how long could Assad last, Jamal Mahjoub contemplates futures of the Sudan, Jasmin Ramsey joins the activists in Tehran, and Jerry Ravetz ponders the significance of Ibn Khaldun to the Arab Spring. Also in this issue: Rachel Holmes visits the Palestinian Festival of Literature, S. Parvez Manzoor asks if Turkey is a good model for the Muslim world, Muhammad Idrees Ahmad is overwhelmed by leaks, Taus Makhacheva takes 'Affirmative Action', Aasia Nasir accuses Pakistan and Merryl Wyn Davies's 'last word' on Saudi women drivers. Plus a new short story from Bilal Tanweer and revolutionary poetry from Nizar Qabbani, Tawfiq Zayyad, Abul-Qasim al-Shabi, Ayat al-Qormezi and Naomi Foyle. About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centers on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
In the inaugural issue of Critical Muslim: Ziauddin Sardar tries to understand the significance of what just happened in the Middle East, Robin Yassin-Kassab spends some quality time in Tahrir Square, Ashur Shamis dodges the bullets of Gaddafi's henchmen, Abdelwahab El-Affendi traces the roots of the uprisings, Anne Alexander tunes into the digital revolution, Fadia Faqir joins women protestors, Shadia Safwan asks how long could Assad last, Jamal Mahjoub contemplates futures of the Sudan, Jasmin Ramsey joins the activists in Tehran, and Jerry Ravetz ponders the significance of Ibn Khaldun to the Arab Spring. Also in this issue: Rachel Holmes visits the Palestinian Festival of Literature, S. Parvez Manzoor asks if Turkey is a good model for the Muslim world, Muhammad Idrees Ahmad is overwhelmed by leaks, Taus Makhacheva takes 'Affirmative Action', Aasia Nasir accuses Pakistan and Merryl Wyn Davies's 'last word' on Saudi women drivers. Plus a new short story from Bilal Tanweer and revolutionary poetry from Nizar Qabbani, Tawfiq Zayyad, Abul-Qasim al-Shabi, Ayat al-Qormezi and Naomi Foyle. About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centers on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
Irfan Ahmad makes the far-reaching argument that potent systems and modes for self-critique as well as critique of others are inherent in Islam--indeed, critique is integral to its fundamental tenets and practices. Challenging common views of Islam as hostile to critical thinking, Ahmad delineates thriving traditions of critique in Islamic culture, focusing in large part on South Asian traditions. Ahmad interrogates Greek and Enlightenment notions of reason and critique, and he notes how they are invoked in relation to "others," including Muslims. Drafting an alternative genealogy of critique in Islam, Ahmad reads religious teachings and texts, drawing on sources in Hindi, Urdu, Farsi, and English, and demonstrates how they serve as expressions of critique. Throughout, he depicts Islam as an agent, not an object, of critique. On a broader level, Ahmad expands the idea of critique itself. Drawing on his fieldwork among marketplace hawkers in Delhi and Aligarh, he construes critique anthropologically as a sociocultural activity in the everyday lives of ordinary Muslims, beyond the world of intellectuals. Religion as Critique allows space for new theoretical considerations of modernity and change, taking on such salient issues as nationhood, women's equality, the state, culture, democracy, and secularism.
Aamer Hussein takes love to its logical conclusion, Robert Irwin traces the origins of the ghazal (love lyric), Christopher Shackle recites epic Panjabi poems of sacred love and lyrical death, Imranali Panjwani mourns the massacre of Karbala, Martin Rose istaken hostage by Saddam Hussein, Jalees Rahman reflects on Nazi doctors who took delight in deathly experiments, Ramin Jahanbegloo is incarcerated in the notorious Evin prison, Hamza Elahi visits England's Muslim graveyards, Shanon Shah receives valuable guidance on love and sex from the "Obedient Wives Club", Samia Rahman sets out in search of love, Khola Hasan has mixed feelings about her hijab, Sabita Manian promotes love between India and Pakistan, Boyd Tonkin discovers that dead outrank the living in Jerusalem , Alev Adil takes "a night journey through a veiled self" and Irna Qureshi's mother finally makes a decision on her final resting place. Also in this issue: Parvez Manzoor throws scorn on a nihilistic, revisionist history of Islam, Naomi Foyle reads the first novel of a British Palestinian, Ahmad Khan explores the colonial history of The Aborigines' Protection Society, a short story by the famous Fahmida Riaz, Syrian scenarios by Manhal al-Sarraj, poems by Sabrina Mahfouz and Michael Wolf, Rachel Dwyer's list of Top Ten Muslim Characters in Bollywood and Merryl Wyn Davies's "last word" on love and death at the movies. About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centers on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
In Unveiling Traditions Anouar Majid issues a challenge to the West to reimagine Islam as a progressive world culture and a participant in the building of a multicultural and more egalitarian world civilization. From within the highly secularized space it inhabits, a space endemically suspicious of religion, the West must find a way, writes Majid, to embrace Islamic societies as partners in building a more inclusive and culturally diverse global community. Majid moves beyond Edward Said’s unmasking of orientalism in the West to examine the intellectual assumptions that have prevented a more nuanced understanding of Islam’s legacies. In addition to questioning the pervasive logic that assumes the “naturalness” of European social and political organizations, he argues that it is capitalism that has intensified cultural misunderstanding and created global tensions. Besides examining the resiliency of orientalism, the author critically examines the ideologies of nationalism and colonialist categories that have redefined the identity of Muslims (especially Arabs and Africans) in the modern age and totally remapped their cultural geographies. Majid is aware of the need for Muslims to rethink their own assumptions. Addressing the crisis in Arab-Muslim thought caused by a desire to simultaneously “catch up” with the West and also preserve Muslim cultural authenticity, he challenges Arab and Muslim intellectuals to imagine a post-capitalist, post-Eurocentric future. Critical of Islamic patriarchal practices and capitalist hegemony, Majid contends that Muslim feminists have come closest to theorizing a notion of emancipation that rescues Islam from patriarchal domination and resists Eurocentric prejudices. Majid’s timely appeal for a progressive, multicultural dialogue that would pave the way to a polycentric world will interest students and scholars of postcolonial, cultural, Islamic, and Marxist studies.
v. 1. The Arabs are alive -- v. 2. The idea of Islam -- v. 4. Pakistan? --
As late as the last quarter of the twentieth century, there were expectations that Islam’s political and cultural influence would dissipate as the advance of westernization brought modernisation and secularisation in its wake. Not only has Islam failed to follow the trajectory pursued by variants of Christianity, namely confinement to the private sphere and depoliticisation, but it has also forcefully re-asserted itself as mobilisations in its name challenge the global order in a series of geopolitical, cultural and philosophical struggles. The continuing (if not growing) relevance of Islam suggests that global history cannot simply be presented as a scaled up version of that of the West. Quests for Muslim autonomy present themselves in several forms — local and global, extremist and moderate, conservative and revisionist — in the light of which the recycling of conventional narratives about Islam becomes increasingly problematic. Not only are these accounts inadequate for understanding Muslim experiences, but by relying on them many Western governments pursue policies that are counter-productive and ultimately hazardous for Muslims and non-Muslims alike. Recalling the Caliphate engages critically with the interaction between Islam and the political in context of a post colonial world that continues to resist profound decolonisation. In the first part of this book, Sayyid focuses on how demands for Muslim autonomy are debated in terms such as democracy, cultural relativism, secularism, and liberalism. Each chapter analyses the displacements and evasions by which the decolonisation of the Muslim world continues to be deflected and deferred, while the latter part of the book builds on this critique and attempts to accelerate the decolonisation of the Muslim Ummah.