De retour dans les rythmes du monde. Une petite histoire du chant (ex)islamiste en Egypte

Tammam, Husam; Haenni, Patrick

doi:10.2307/3771584

Cited by 5 publications

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“…It gained wider popularity through the writings of, not least, Yusuf al-Qaradawi and Muhammad 'Imara (Kamali 2015: 10). Today, it is a positive buzzword picked up by numerous thinkers from diff erent strands including Sufi s, Shi'is and Salafi s worldwide. to fi nd a text in which he did so (Tammam and Haenni 2004), 5 al-Banna certainly saw art as useful in communicating the Brotherhood's message. As mentioned, however, after the Egyptian revolution in the 1950s enthusiasm for the arts lessened substantially and most Muslim brothers came to feel that art was associated with the secular.…”

Section: Th E Idea Of Purposeful Art and Clean Popmentioning

confidence: 99%

The Awakening of Islamic Pop Music

Otterbeck¹

2021

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Awakening – an Islamic media company formed in London – has created the soundtrack to many Muslim lives during the last two decades and has produced superstars like Sami Yusuf and Maher Zain, among a host of other artists. As the company celebrates its first 20 years in the industry, the book examines Awakening’s rise to global success and their pop music inspired by Islam. Providing the first thorough description of the history and development of new Islamic popular music genres, in particular pop-nashid and Islamic pop, this book argues that Awakening is best understood in relation to the ethical turn in Islamic thinking. In analysing the turn to ethics, the book explores how the Islamic pop industry is, in effect, altering the very formulations of Islamic thought. Closely examining the ethical masculinity of the Awakening artists, alongside their personas in songs, on stage and via social media, the book analyses how popular culture and the creative arts challenge and help change Islamic (re)thinking. The author has been on tour with Awakening artists, analysed the media output by the company and interviewed artists, the Awakening founders, video directors and other key people in the business.

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Section: Th E Idea Of Purposeful Art and Clean Popmentioning

confidence: 99%

The Awakening of Islamic Pop Music

Otterbeck¹

2021

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“…The political hymns disseminated by the PLO in the 1960s added to the already existing repertory of resistance songs that were inspired by Palestinian folk genres (McDonald 2013: 78-103). During the 1970s, university students in Egypt and Morocco started to perform and consume religious hymns as a protest attitude towards state politics (Haenni and Tammam 2004;ter Laan 2016: 88). The popularity of such hymns increased rapidly, resulting in the demand for performing ensembles for the so-called 'Islamic weddings', a new form of wedding celebration that emerged around 1990.…”

Section: Overlapping Spheres Of Politically and Religiously Motivated Anāshīdmentioning

confidence: 99%

“…The popularity of such hymns increased rapidly, resulting in the demand for performing ensembles for the so-called 'Islamic weddings', a new form of wedding celebration that emerged around 1990. These developments constitute the roots of what is today known as 'nasheed' or Islamic pop (Tammam and Haenni 2004). The 1970s were likewise the time when the first jihadi hymns within the Islamic opposition in Syria and Egypt started to be written (Said 2016: 45-63;.…”

Section: Overlapping Spheres Of Politically and Religiously Motivated Anāshīdmentioning

confidence: 99%

Jihadi Audiovisuality and its Entanglements

2020

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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audio-visual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.

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“…At Samiya's cousins' party, for example, the women's celebration took place in the afternoon while that of the men was planned for the evening accompanied by a live performance of a group that offered Qurʾanic recitation followed by religiously themed songs. These groups perform instead of the customary shaʿbi bands and therefore bring religious themes into everyday occasions and public celebrations (Tammam and Haenni 2004).…”

Section: Striving For Pietymentioning

confidence: 99%

Mecca in Morocco: Articulations of the Muslim pilgrimage (Hajj) in Moroccan everyday life

Al-Ajarma¹

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I would like to acknowledge the team of the research project 'More Magical than Disneyland: Modern Articulations of Pilgrimage to Mecca,' -in addition to Prof. Marjo Buitelaar -Dr. Richard van Leeuwen, Dr. Khadija Kadrouch-Outmany and Dr. Ammeke Kateman. I value my inclusion in this distinguished academic group.In the academic field, I am also grateful to the support of the Dutch Institute for Higher Education in Scientific Research (NIMAR) for their help in facilitating my research permit and for being inspirational in their work in education. My thanks go to Prof. Léon Buskens, whom I was able to meet during my first visit to Morocco during the Spring School of Netherlands Interuniversity School for Islamic Studies (NISIS) in Rabat, for his support. My early meetings with expert researchers, specializing in matters Moroccan, gave me insights and inspiration; my thanks go to Dr. John Shoup, Dr. Aziz Hlaoua, and Dr. Zakaria Rhani among others.I am also extremely grateful to the Netherlands Interuniversity School for Islamic Studies (NISIS) and its members from whom I gained much insight and inspiration regarding the study of Islam, especially during the many events organized by NISIS, including summer schools, seminars, and conferences.During my PhD studies, I was also privileged to spend six months at the Oxford Centre for Islamic Studies (OCIS) as a Chevening fellow. I am most grateful for the academic insights and stimulating environment that allowed me to further develop my work on this thesis. I have so many positive memories of this time: Director of OCIS, Dr. Farhan Nizami, welcoming me to this community by telling me "Once a member of OCIS, means always a member of OCIS;" my brief, but memorable, time with the other Chevening fellows, (Dr. Saira Orakzai, Dr. Mohammed Hashas and Dr. Karim Hegazy); and all scholars, researchers, and staff members -to all I express my appreciation.Of course, without my Moroccan friends and interlocutors, who not only offered me their hospitality but also patience and understanding, my fieldwork and research would simply have not been possible. I am especially grateful for the love and support of my dear friends, Sarah, Soufia, Fatima, and Nour, and for their parents, for their generosity, Acknowledgements ix friendship, unconditional help and their sharing of their intimate knowledge of Morocco. My most profound thanks must go to those individuals who were willing and eager to participate in this research, welcoming me into their homes, spending time sharing their lives, spiritual experiences, political opinions, personal struggles, food, music and their laughter with me. To guarantee their anonymity and privacy I have used pseudonyms, which unfortunately prevents me from being able to thank them by name. Nonetheless, my deep gratitude goes out to each one of my interlocutors and I hope that this work will live up to the expectations and trust that these individuals have placed in it. Without the people I have mentioned or alluded to, my time in Fes, Rabat, Mohammedia, Casab...

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De retour dans les rythmes du monde. Une petite histoire du chant (ex)islamiste en Egypte

Cited by 5 publications

References 0 publications

The Awakening of Islamic Pop Music

The Awakening of Islamic Pop Music

Jihadi Audiovisuality and its Entanglements

Mecca in Morocco: Articulations of the Muslim pilgrimage (Hajj) in Moroccan everyday life

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