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ID:
144902
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| Summary/Abstract |
For many, Islamic hip-hop is a contradiction. Yet many prominent rappers in Senegal have joined the Fayḍa Tijāniyya Sufi movement and communicate religious messages through their music. Rappers have contributed significantly to the Fayḍa’s rising popularity among Dakar’s youth, popularizing the Fayḍa’s esoteric teachings through their lyrics. Although many Muslims reject hip-hop as un-Islamic, the mainstream of Fayḍa adherents and its learned leaders have embraced rappers as legitimate spokespeople for the movement. Scholars discussing change and debate in Islam have often emphasized discursive argumentation that refers to foundational texts, or “sharī c a reasoning.” This article examines four other modes of religious reasoning and demonstration that Fayḍa rappers use in addition to sharī c a reasoning to present themselves as legitimate representatives of Islam: (1) truths that transcend texts and discursive reasoning; (2) the greater good, which may apparently contravene some prescription; (3) divine inspiration and sanction, for example through dreams and mystical experiences that reveal a rapper’s mission and message; (4) and “performative apologetics,” or a demonstration of exemplary piety and knowledge such that a potentially controversial practice can be reconciled with one’s religious persona. The article focuses particularly on the case of the rapper Tarek Barham. As productive as Talal Asad’s widely accepted conceptualization of Islam as a “discursive tradition” has been, this article proposes understanding Islamic truth, authority, and experience as founded not just in discourse—especially in reference to foundational texts—but in multiple complementary principles of knowing and demonstrating.
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| 2 |
ID:
104562
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| 3 |
ID:
154692
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| Summary/Abstract |
In the 1990s, the genre of New Black Realism emerged, seeking to realistically portray the experiences of young Black men in urban environments. The themes of these Black male narratives were fused with several facets of Black youth culture influenced by hip-hop, politics, religion, and societal conditions. Similar to the movement of conscious hip-hop and the Blaxploitation genre of the early 1970s, New Black Realism films consisted of themes and solutions popularized during the Black Power Movement. While Islam became an increasingly visible feature of urban environments in the mid-twentieth century, through Elijah Muhammad’s Nation of Islam and several orthodox Muslim groups, various Islamic undertones entered the themes of 1990s conscious hip-hop and Black male-centered films. This study critically examines the influence of Black Islamic groups on the themes and approaches to storytelling in narrative films with Black male protagonists throughout the 1990s. While the films approached Black masculinity and combating the troubles of the inner cities in a manner characteristic of many popular Black male Islamic redemption narratives, Islam was established as a highly influential Black subculture, possibly rivaling the influence of the traditional Black church.
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| 4 |
ID:
181891
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