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ID:
172050
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| Summary/Abstract |
This article examines the rise of the Islamic State (IS) through its anashid (a cappella), analyzing their lyrics and their musical attributes such as sonic elements, pitch, and harmony, among others. It focuses on key themes that define the group's lyrics and traces the evolution of anashid production and use—an evolution that began with the IS borrowing existing jihad-themed anashid to articulate its message and accompany its video messaging, and led to a far more developed and sophisticated sonic identity in the form of internally produced, group-specific anashid. The IS's claims to legitimacy as the caliphate are sounded out in the group's anashid. The recurring appearance of propaganda in the form of anashid and videos builds a strong case for the genre's significance among the highly complex factors catalyzing an individual's involvement in carrying out violence, especially among recent attacks within Western countries in the name of IS.
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| 2 |
ID:
164492
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| Summary/Abstract |
The official Chinese view of the Uyghur Islamic revival is overwhelmingly dominant. Because of the extraordinary measures taken to shield from international view the actual developments in the region and to silence Uyghur voices, we lack a clear sense of what it is to be a Muslim in contemporary Xinjiang. This article explores debates within Uyghur society about faith, politics and identity as they are revealed through the social media platform WeChat. It aims to disrupt the dominant narratives and enable new understandings of the changing patterns of religiosity and violence in the region. It focuses on the use of social media to access affective experiences of religion, projects of self-fashioning, and the new geographies of knowledge and experience formed as Uyghurs turned to the readily available scripts circulating in the wider Islamic world and adapted them to a very local sense of crisis.
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| 3 |
ID:
178665
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| Summary/Abstract |
This article examines how Da‘esh utilizes anashid (“Islamic songs” or “recitation”) as soundtrack elements within its video messaging, focusing primarily on a sample set of 755 videos released in 2015. The authors also present the development of an automatic content recognition (ACR) tool that enabled them to engage this large data set. The article then explores the possibilities of ACR for the identification of terrorist audio and video, utilizing the conclusions drawn from the trends of audio usage in Da‘esh video messaging to support the validity and promise of such an approach.
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