The ‘reactive transnationalism hypothesis’ posits a relationship between discrimination and transnational practice. The concept has generally been studied using quantitative methods, but a qualitative approach augments our understanding of two context‐specific dimensions: the nature of the discrimination involved, and the types of transnational behaviour that might be affected. Drawing on in‐depth interviews with Bangladesh‐origin Muslims in London, Luton and Birmingham, in the UK, we demonstrate how anti‐Asian and anti‐Muslim racism have been conflated with intensified anti‐migrant racism in the context of ‘hostile environment’ immigration policies and the EU referendum (Brexit), producing an amplification of racist discourses associated with purging the body politic of its non‐white bodies. The insecurity generated is altering some people's relationships to Bangladesh, incentivizing investment in land and property ‘back home'. While this represents an example of ‘reactive transnationalism', we argue that ‘protective transnationalism’ might be a more appropriate way of describing the processes at work.

This article considers the convivial turn in migration and diversity studies, and some of its silences. Conviviality has been conceptualised by some as the ability to be at ease in the presence of diversity. However, insufficient attention has been paid to considering who is affectively at ease with whose differences or, more particularly, what the work of conviviality requires of those marked as other vis-a-vis European white normativity. Drawing on in-depth qualitative interviews with British Bangladeshi Muslims in London, Luton and Birmingham, we argue that a focus on ‘ease in the presence of diversity’ obscures the ‘burden of conviviality’ carried by some, but not others. We discuss three key types of burden that emerged from our data: the work of education and explanation, the work of understanding racism, and quite simply the work of ‘appearing unremarkable’.

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In the wake of the San Bernardino and Orlando shootings, as well as the Paris and Brussels attacks, and in the midst of the right wing populism of US Presidential campaigns and UK Referendum debates, the political rhetoric around Muslim migration has sunk to an all-time low. The Bengal Diaspora provides a much needed antidote. By studying Muslim migration across continents the book provides insights into a global climate of Islamophobia, and it challenges us think critically about migration theory's universalizing logic. In this review essay we will focus on the three areas of study in which the book makes the most striking intervention, as well as three questions is leaves unanswered or poses for future work.

This paper undertakes a critical analysis and evaluates the recent developments in the study of Islam and how it has gone beyond Orientalism; as Martin and Ernst remark in the preface and acknowledgements of Rethinking Islamic Studies: from Orientalism to Cosmopolitanism that the last three decades—after the publication of Orientalism in 1978—“has been a liberating experience for us as scholars initially trained in narrowly textual ‘Orientalist’ approaches, as we have been forced by circumstance to address many issues of contemporary political and social relevance.” However, I will also acknowledge the alternate perspective that these developments may not have gone beyond Said’s Orientalism, but have rather reinforced and maintained - and have “decidedly worsened”—the very ideas Said introduced in Orientalism because of issues such as: Islamic fundamentalism and the aftermath of 9/11, and how the study of Islam has been influenced by these issues in modern times thus returning to the Orientalist approach. I will look at the history of Orientalism in the study of Islam, then the emergence of space for self-representation, and then I will look at the current study of Islam. Esposito argues that Orientalism has taken a new form, and no longer romanticizes the Middle East as having sandy deserts where genies, thieves and evil sorcerers vied after scantily clad princesses amid a backdrop of white palaces and peasant-ridden streets, as presented in the film ‘Aladdin’.