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| 1 |
ID:
167511
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| Summary/Abstract |
This article responds to recent research calling for more nuanced discussions of Muslim political and social activist subjectivities (Ahmed 2011; Maira 2016; Mansouri et al. 2016; Nagel and Staeheli 2011). We analyze community and social justice activism among Muslims in Milwaukee through the lens of the American prophetic tradition. We argue that Muslim leaders in Milwaukee represent their activism as part of this tradition, and that they draw upon a complex of religious, social and political discourses and social practices. These include American civil rights activism, Islamically inspired social action, and a desire to engage in placemaking that responds to the specific conditions of Milwaukee, a city that features intense racial segregation, dense pockets of poverty, and increased immigration from the Arabo-Islamic world. Thus, we see a pluralization of Muslim social activist subjectivity: social justice activism which is religiously based, related to the civil rights tradition, and which is also highly attuned to the specific ways in which Muslims may practice a politics of belonging in this Midwestern city.
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| 2 |
ID:
172362
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| Summary/Abstract |
This paper explores the creative production of Egypt’s Choir project, a collaborative musical and theatrical group that has provided a context for youth creative, social and political expression since 2010. Drawing upon Richard Bauman’s (1984) multifaceted framework for thinking about emerging art forms, I detail the history and socio-political context of the Choir project’s activities during the period from 2011 until 2018, and engage in close literary analysis of some of its lyrical productions. Since the Choir has emerged and developed in a charged political environment, I take into account the important ways in which it has provided a context for political expression. However, I argue that detailed literary and social analysis of its creative process and production suggests that while the Project can be considered a mode of social and political expression or even resistance, it is also a profoundly creative phenomenon that produces lyrical and dramatic creations, which must be considered in their own right and which also must be understood as powerful modes of personal and even existential expression. I suggest that paying close attention to aesthetic experimentation and style adds an important dimension to our understanding of emerging art forms and the complex set of ideas that they express. Close analysis of the nature of innovative creativity also may help to explain why these forms have been so popular among audiences and the general public, even in the midst of political chaos and uncertainty about the future.
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