Islamic Studies

That Muslims are both consumers and practitioners of comedy may run counter to the otherwise ubiquitous notion that Islam, seemingly above all other religious traditions, is devoid of humor. Yet comedy, especially its staged performance version known as stand-up, is an occupation readily taken up by a number of Muslim comedians during the 21st century in North America. Muslim comedians are also South Asian comedians, Arab comedians, Iranian comedians, or Black comedians, among others, and the naming of their comedy explicitly as “Muslim” can be traced to how openly they speak of their common experiences of being subject to anti-Muslim hostility as a racialized act of violence. This racialization of Islam relies on “looking” Muslim: phenotypic features like dark hair, skin, and beards that simultaneously sweep up others that may share these attributes and make them targets of institutional and interpersonal violences. This common refrain can be seen especially in the material of comedians from the Allah Made Me Funny and Axis of Evil tours during the early 2000s, while later comedians like Hasan Minhaj, Aziz Ansari, and Kumail Nanjiani describe similar experiences in added terms of a racialized solidarity with other minoritized communities of color in the United States. These later comedians of the 2010s and their brand of politically oriented comedy have been upheld by dominant arts industries as examples of American multiculturalism and diversity, coinciding with the large-scale and cross-sectional social justice efforts to support undocumented immigrants, Black Lives Matter, and the #MeToo movement. Far from being a mark of their non-belonging in North American society, this racialized association with Islam is platformed as emblematic of North American societies: their exceptional openness and unparalleled freedoms. At the same time, however, women and Black Muslim comedians are rarely bestowed a similar entrée of visibility as “Muslim” comedians due to the hegemonic racialized image of Muslims as terrifying “terrorists”—a distorted privilege accessible usually only to male comedians of South Asian or Middle Eastern heritage.

The history of figurative painting in Islamic lands, although limited to certain regions and periods, includes a meaningful variety of saintly iconographies, mostly as book illustrations. Produced from the turn of the 14th to the early 17th century in Iranian capital cities or in the Ottoman Empire, paintings of prophets illuminate manuscripts of universal histories, encyclopedias, didactic poetry, and anthologies of prophetic biographies (Stories of the Prophets). They depict personages, not necessarily prophets, from the Old and the New Testaments, two Arab prophets mentioned in the Qurʼan, and finally Muhammad (and ʿAli, although he was not a prophet). The acts of these figures served as moral and spiritual models for the individual believers and, no less so, for the desired behavior of Muslim rulers. In Iran, the message of the illustrated texts and their paintings shifts from historical to moral, and often to mystical. In the Ottoman Empire, in addition, the prophets were conceived as forefathers of the Ottoman dynasty. In Moghul India, only Solomon and Jesus were depicted, not very often, while Joseph’s story was quite popular in late Kashmir. The impact of Western iconography and style, which characterize the recurrence of Jesus’ image, is seen also in later Iran, where portrayals of Solomon, Joseph, and Jesus were painted mainly on decorative objects, such as pen boxes and book bindings.

Relics can be found in every era of Islamic history, throughout the Islamic world. In line with other religious traditions of the Near East, the Qur’an mentions several objects endowed with special power (e.g., Joseph’s coat, the Ark of the Covenant). The earliest Islamic literature, preserving the life and mission of Muḥammad, presents details of several revered objects. These include objects handed down from pre-Islamic prophets as well as the discards of Muḥammad’s person, including clothing, weapons, and hair. Saintly figures, descendants of the Prophet, and his companions have also been sources for relics. Relics are displayed and venerated in devotional contexts such as shrines, tombs, mosques, madrasas, and museums. Relics have been paraded on special occasions such as the festival days of the Muslim calendar, in medieval protest marches, as part of the rituals for relief from drought, and as talismans in battle. Despite the occasional objection from austere doctors of law, devotion to relics has remained commonplace. While a full inventory is impossible, five categories may be proposed for the Islamic relic: (a) Bodily relics include the blood of martyrs, hair, and fingernail parings. Shrines have been built over severed heads—the most famous being that of Ḥusayn ibn ʿAlī (d. 680). (b) Contact relics, having collected the baraka (blessing) of their one-time owners, pass those blessings on to any pilgrim who touches them. Several staffs, lances, bows, shields, turbans, cloaks, and sandals attributed to the Prophet have been preserved, some of which were presented as symbols of authority in the early caliphate. (c) Impressions in stone made by feet, hands, fingers, posteriors, and even hooves are preserved. Muḥammad’s footprints saw a brisk trade in the medieval period, and his sandal inspired a minor tradition of devotional iconography first in manuscript copies and later in modern mass production. (d) Inanimate objects, miraculously endowed with speech or locomotion, constitute a fourth category. These animated relics could be speaking stones or moving trees, particularly in the sacred topographies of Medina and Mecca. (e) Many revered places which were the site of important events have been marked off and preserved. More than commemorations, these “stage relics” anchored sacred history and holy bodies in the landscape. The location of Muḥammad’s birthplace in Mecca was until recently a revered stage relic.