Muslim Rap Halal Soaps And Revolutionary Theater

From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world. The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.

From “green” pop and “clean” cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world. The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a “post-Islamist” cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a “cool Islam” in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.

“Enjoying religion” seems to be a contradiction because religion is generally perceived as a serious or even suppressive phenomenon. This volume is the first to study the increase of enjoying religion systematically by presenting eleven new case studies, occurring on four continents. The volume concludes that in our late modern secular societies the enjoyment of religion or of its loose elements is growing. In particular when scholars concentrate on “lived religion” of ordinary people, the cheerful experiences appear to prevail. Many people use pleasant (elements of) religion to add meaning to their lives, to find spiritual fulfillment or a way to salvation, and to experience belonging to a larger unity. At the same time, diverse cultural dynamics of late modern society such as popular culture, commercialization, re-enchantment, and feminization influence this trend of enjoying religion. In spite of secularization, playing with religion appears to be attractive.

The public visibility of Islam is becoming increasingly controversial throughout European countries. With case studies drawn from France, Germany, Italy, Spain and the UK, this book examines a range of public issues, including mosque construction, ritual slaughter, Sharia councils and burqa bans, addressing the question of ’Islamic difference’ in public life outside the confines of established normative discourses that privilege freedom of religion, minority rights or multiculturalism. Acknowledging the creative role of dissent, it explores the manner in which public controversies unsettle the religious-secular divide and reshape European norms in the domains of aesthetics, individual freedom, animal rights and law. Developing an innovative conceptual framework and elaborating the notion of controversy as a methodological tool, Islam and Public Controversy in Europe draws our attention to the processes of interaction, confrontation and mutual transformation, thereby opening up a new horizon for rethinking difference and pluralism in Europe. As such, it will appeal to scholars across the social sciences with interests in religion, integration, cultural difference and the public sphere.

"A tour de force that underwrites and shifts the petrified image of Islam disseminated by mainstream media."--Walter D. Mignolo, author of The Darker Side of Western Modernity "Gives us an entirely different picture of Muslims in the Americas than can be found in the established literature. A complex glimpse of the rich diversity and historical depth of Muslim presence in the Caribbean and Latin America."--Katherine Pratt Ewing, editor of Being and Belonging: Muslim Communities in the United States since 9/11 "Finally a broad-ranging comparative work exploring the roots of Islam in the Americas! Drawing upon fresh historical and ethnographic research, this book asks important questions about the politics of culture and globalization of religion in the modern world."--Keith E. McNeal, author of Trance and Modernity in the Southern Caribbean In case studies that include the Caribbean, Latin America, and the United States, the contributors to this interdisciplinary volume trace the establishment of Islam in the Americas over the past three centuries. They simultaneously explore Muslims’ lived experiences and examine the ways Islam has been shaped in the "Muslim minority" societies in the New World, including the Gilded Age’s fascination with Orientalism, the gendered interpretations of doctrine among Muslim immigrants and local converts, the embrace of Islam by African American activist-intellectuals like Malcolm X, and the ways transnational hip hop artists re-create and reimagine Muslim identities. Together, these essays challenge the typical view of Islam as timeless, predictable, and opposed to Western worldviews and value systems, showing how this religious tradition continually engages with local and global issues of culture, gender, class, and race.

Popular culture serves as a fresh and revealing window on contemporary developments in the Muslim world because it is a site where many important and controversial issues are explored and debated. Aesthetic expression has become intertwined with politics and religion due to the uprisings of the “Arab Spring,” while, at the same time, Islamist authorities are showing increasingly accommodating and populist attitudes toward popular culture. Not simply a “westernizing” or “secularizing” force, as some have asserted, popular culture now plays a growing role in defining what it means to be Muslim. With well-structured chapters that explain key concepts clearly, Islam and Popular Culture addresses new trends and developments that merge popular arts and Islam. Its eighteen case studies by eminent scholars cover a wide range of topics, such as lifestyle, dress, revolutionary street theater, graffiti, popular music, poetry, television drama, visual culture, and dance throughout the Muslim world from Indonesia, Africa, and the Middle East to Europe. The first comprehensive overview of this important subject, Islam and Popular Culture offers essential new ways of understanding the diverse religious discourses and pious ethics expressed in popular art productions, the cultural politics of states and movements, and the global flows of popular culture in the Muslim world.

Freedom of expression and its direct counterpart, censorship and silencing, are increasingly gaining attention in the world of art and culture. Through the growth of social media and its worldwide distribution, arts and cultural products are shared, and the increased visibility and audibility of culture is highlighted through iconic and pivotal clashes, such as the fatwa on The Satanic Verses in 1989, the recurring bans on the music of Wagner, the alleged censorship of playlists following 9/11, and the cartoon crisis in 2006. This volume takes the discussion directly to the field of music studies in a broad frame and insists on examining music censorship in a global perspective. The book addresses the important and increasingly relevant issue of scholarship on music censorship and thus contributes to a detailed understanding of the phenomenon. Often, words and semantic meaning are held to be determining to the restrictions on musicians and singers, but as this collection documents, the reasons for censorship might not always be found in verbal messages. Rather, the positioning of a more broad understanding of why and how music can convey meaning and accordingly trigger censorship and bans is at the heart of this work. The complexity of music censorship includes historical, structural as well as emotional ‘listenings’ and interpretations of sound. The topic, accordingly, is political, as well as scholarly urgent.

This book undertakes the theme of ‘othering’ as a broad set of practices and discourses. It includes as many perspectives as possible, while simultaneously providing a focused environment for discussions on how otherization is built across media genres and policy making through cultural and political articulations. The book includes a set of chapters that investigate how (and to what end) ‘others’ are manufactured and how they are anchored in the collective memory. Through an analysis of various media, such as film, news media, and social media, it sheds light on the institutional, political, social, and economic forces that form and transform the discourses and practices of othering.