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Islam, Gender, and Sexualities  

Yafa Shanneik

Mapping a discussion on gender and sexualities in Islam needs to move beyond an understanding of Islamic law (shariah) and its interpretations that has traditionally been made by male religious scholars (ulamā). It is important to also pay attention to the lived experiences of people on the ground and move away from a homogeneous universal construct of what gender is and what sexualities are. It should include an examination of various power structures that highlights the experiences and voices of not only women but also other subjected and subaltern groups. What are the intersections and overlapping viewpoints and arguments on gender and sexualities in Islam? Who is talking on behalf of which group? The examination of gender and sexualities within Islam is a complex topic that needs consideration of socioeconomic and political shifts as well as ongoing processes of modernization and globalization. This includes the formation of nation-states, the codification of Islamic law, the shift in family relations and mobility, the increase in level of education and waged labor, and transnational migration. International organizations, such as the United Nations, also exert pressure on governments of Muslim-majority countries to adhere to established international human rights standards. This pressure has played a role in prompting changes in legislations particularly regarding the personal status law that affects women’s and other minority rights. The aftermath of the latest political uprisings in the Middle East and North Africa (MENA) since 2011 has placed gender at the heart of not only religious but also political contestations. Displacement and the sociopolitical marginalization of minority groups have contributed to the changing understandings of gender orders within the MENA region and beyond. As a consequence, normative understandings of gender and sexualities have been renegotiated and readjusted and have resulted in new gender power relations. This disruption of conventional gender power relations creates tensions and causes divergences between what, for generations, has been perceived as traditional gender norms. This is primarily evident within familial structures and conjugal relationships where the lived realities do not always reflect current Islamic jurisprudence or the law set by the state.


Gender, Marriage, and Sexual Purity in American Religious History  

Seth Dowland

Throughout American history, religious people and groups have developed, sustained, or challenged cultural norms around gender, marriage, and sexual purity. Beginning with the earliest English Protestant settlers in the 17th century, American Christians have devoted consistent attention to the proper roles of men and women, and to the proper functioning of families. Throughout American history, religious leaders have assigned men as spiritual leaders of their families. Assessments of women’s piety—and its importance in maintaining social order—have grown more positive over time. Prophetic radicals and political activists have frequently challenged American Christianity by attacking its traditionalism on issues related to gender and sexuality. The ideal of a “traditional family” has, however, proven quite robust. Even as cultural attitudes around gender and sexuality have shifted dramatically in recent years, the presumption that typical American families are heterosexual, middle-class, and Christian has persisted. This presumption developed over time and has remained dominant owing in part to the contributions of American religious groups.


Evangelism, Mission, and Crusade in American Religion  

Sarah Ruble

Evangelism, mission, and crusade are terms related to spreading a religious message. Although all three words are primarily used in relation to Christianity, evangelism and mission have been applied to activities by traditions other than Christianity and, indeed, to secular actors, including nations. In the context of American religion, evangelism, mission, and crusade are activities through which people have contested and defined national identity and distinguished between the “foreign” and “domestic” and “us” and “them.” These delineations, even when done through activities ostensibly concerned with religious difference, have often been made on the basis of ethnicity and race. Thus, exploring evangelism, mission, and crusade illumines how notions of religious, racial, ethnic, and national difference have been constructed in relationship to each other. Considering these terms in their U.S. context, then, reveals relationships between religious and national identity, the role of religion in nation-building, and how religious beliefs and practices can both reify and challenge notions of what the nation is and who belongs to it.


Freemasonry’s Sacred Space in America  

Phillip Gordon Mackintosh

American Freemasonry is as much a spatial as sacred practice. Emerging from arcane Enlightenment origins, Masonic theology and practice brim with a spatiality representative of Masonry’s compulsion to make men moral. Moral masculinity reflects in Freemasonry’s “sacred space,” Masonic geography fixed with symbols vital to the moral, social, and spiritual growth of potential and actual Freemasons. Masons have routinely embedded sacred geography in architecture from stylish Georgian, Victorian, and Edwardian “temples,” to humble lodges occupying multi-use back rooms or above street-level shops. Masonic historical preoccupation with spatiality evokes Victorian faith in moral environmentalism: the impulse to effect virtuous and civil behavior through orderly manipulations of environment. Indeed, the dedicated employment in the lodge of Masonic furniture and furnishings loosely mimics the Victorian middle-class parlor’s preoccupation with order, design, and moral aesthetics. Masons call this ritual and allegorical décor the lodge’s form, support, covering, furniture, ornaments, lights, and jewels. Such furnishings figure in Masonry’s performance of rituals, and, together, they both produce sacred space in the lodge and substantiate the rites’ moral masculine transformation of Masonic candidate and Mason alike. Masonic spatiality includes a waning penchant for racial and sexual apartheid, originating in early modern American misapprehensions of biology, anthropology, and gender. Accordingly, “black” Masons have attended separate lodges. Prince Hall Freemasonry has existed since the late 18th century and is named for its eponymous founder, although “black” Masons join “white” lodges today. Women Masons or “matrons” are initiated in an appendant Christian rite: the Order of the Eastern Star, which includes a Prince Hall form, was developed for evangelical Protestant women followers of Jesus intentionally to distract them from the deism of the men’s rituals in a milieu of 19th century Christian anti-Masonry. Recognizing the lodge as sacred space contributes to its existence as sacred “place.” Thus, the lodge-as-place becomes a “sacred retreat” for Masons who dwell outside its precincts.


Religious Reflexivities  

Sarah Shah

With the dramatic increase of post–9/11 anti-Muslim sentiment, researchers are grappling with studying the impact of Islamophobia on Muslims within and outside Muslim-majority contexts. While diasporic Muslim public experiences have been documented extensively in extant research, the ways in which Islamophobia relates to private family life have received little attention. In addition to the lack of scholarship on diasporic Muslim family life, there is a need to better theorize engagement with Islamic beliefs and practices. Although researchers document the occurrence of Muslim “reflexivity,” or the critical engagement with religious identities, beliefs, and practices, they nevertheless unintentionally reify a uniform Muslim reflexivity. Using the diasporic Muslim household as a site of investigation, this study is the first to theorize and empirically demonstrate the social patterns of multiple forms of Muslim reflexivity. In this article, two patterns of reflexivities are highlighted that relate to different religious approaches: exclusivist and inclusivist. The analysis draws on theories of racialization and gender and utilizes a sample of Pakistani Canadian Muslims to parse differences between exclusivist and inclusivist reflexivities to explore how divergent approaches to religion coincide with contrary patterns in family life. In order to understand these divergent patterns, the concept of Muslim reflexivity is extended by incorporating religious approach. Exclusivist reflexive Muslim participants, who view only one approach as correct, are preoccupied with authority given their identification with a marginalized minority group. Thus, they perceive ethnic boundaries as bright and gender boundaries as rigid. The focus of their reflexivity is dawat, or teaching others about the “true” Islam. This contrasts with inclusivist reflexive Muslim participants, who view multiple approaches as correct. They do not perceive their minority group as being threatened and thus do not seek out authority to legitimize their identity. In turn, they perceive ethnic boundaries as blurred and maintain gender-fluid attitudes and practices. The focus of their reflexivity is akhlaq, or having polite manners and ensuring mutually satisfying intimate relations. By highlighting multiple forms of reflexivity, this article serves to remedy the ways in which researchers reify assumptions about Muslim engagement with Islam: rather than enacting reflexivity in a uniform way, diasporic Muslims engage in a plurality of reflexivities.


American Muslim Comedy  

Samah Selina Choudhury

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.


Judaism and Visual Art  

Melissa Raphael

Until the late 20th century, it was widely assumed that visual art could be of only negligible significance to a Jewish tradition that had been principally mediated through written texts. However, by the closing decades of the 20th century, Jewish cultural historians had demonstrated that, while Jewish worship and study is indubitably logocentric, the Second Commandment’s prohibition of the making and worshipping of graven images has not entailed a blanket ban on visual art. Jews have not been uniformly indifferent or hostile to visual art, a category that includes the architectural design and decoration of synagogues; funerary monuments; illuminated manuscripts; embroidery; liturgical seats, pulpits, and the other fittings and ornaments of religious Jewish life at home and at worship; as well as, since the 19th century, drawing, painting and sculpture. Most interpreters now read the biblical texts as prohibiting only the making and worshipping of images of the divine. The Bible forbids idolatry, but is aware that not all images are idolatrous. By around the 3rd century of the Common Era, rabbinical rulings recognized that the danger of Jews becoming idolaters, as they might have done under formerly pagan dispensations, had passed. In short, although in a number of Jewish historical periods and geographical regions there have been good reasons to be reluctant to accommodate visual art within the tradition, there is also ample evidence of visual art in settings that span the entire geography and history of Judaism. Jewish avoidance or neglect of visual art has usually been more historically contingent than theologically necessary. The religious culture of Jews resident in Islamic lands, for example, tended to conform to their hosts’ prevailing, though not historically or geographically comprehensive, tendency to aniconism. On grounds such as these, it has been argued that the notion of Judaism as an aniconic tradition is a modern one. Kant’s appreciation of the Second Commandment as one of Judaism’s few redeeming features, proscribing any crude urge to see that which exceeds the bounds of sensibility, encouraged western European Jews to advert to Judaism’s lack of art a sign of its pre-eminence as the first enlightened religion. The 19th and early 20th-century claim that Jewish tradition is aural and literary, but not visual, seems to have owed more to the modern German scientific study of Judaism’s use of the Second Commandment to highlight affinities between Jewish and Christian monotheism and to Jews’ desire to integrate into Protestant culture, than to restrictions within their own legal and cultural inheritance. Perceived violations of the Second Commandment no longer provoke much of a reaction in any but the most conservative Jewish communities. And even among the Haredim, artists have begun to paint semi-abstract pictures that are not considered a deviation from halakhic norms. Yet, while many Jews still regard abstraction as a more permissible form of Jewish visual art than others, it is evident that the art tradition that developed after Jewish civil emancipation in Western Europe has actually been predominantly figurative. A number of scholars have therefore proposed that the Second Commandment has not so much prevented figurative visual art as promoted a distinctive set of styles and techniques, especially those that allow Jewish artists to make images that fulfill their quintessentially Jewish obligation to criticize idolatrous images. Jewish art, it has been argued, exists because of the Second Commandment, not in spite of it. This essay does not cover Jewish approaches and contributions to film and architecture. It examines both the history and theorization of Jewish visual art and Jewish religious approaches to visual art. The essay uses the findings of this two-pronged enquiry to suggest that Jewish visual art, which is more than art by artists who happen to be Jews, is properly counter-idolatrous art, art that is far from hindered by the Second Commandment but is actively produced by it. Jewish art does more than build cultural, political, and national Jewish identities; it does more than the commemorative work of visually constructing Jewish memory. Visual art made by Jews becomes Jewish when it serves a constructive theological, prophetic purpose and when it uses idoloclastic techniques to produce images that both cancel and restore the glory of the human. This claim counters the prevailing view that there can be no unified or normative theory of Jewish art.


Settler Colonialism and U.S. Home Missions  

Matthew J. Smith

Home Missions in the United States was a white Protestant missionary movement within the geopolitical borders of the US empire—both its contiguous states as well as its colonial territories—as they developed and shifted through a long history of US imperial expansion, settlement, and conquest. From the beginning of the 19th century, Anglo-Protestants in the United States became invested in the home missionary movement to secure Christian supremacy on the land that made up their newly forming white settler nation. Home Missions was occupied with both the formation of a sacred homeland and the homes within that homeland. As a dual-homemaking endeavor, home missionary projects functioned as settler colonial technologies of space-making and race-making. They not only sought to transform the land into an Anglo-Protestant possession but also racialized people as foreign to maintain Anglo-Protestant sovereignty over the spaces mapped as a home through colonial conquest. Centering settler colonialism within an analysis of Home Missions denaturalized home and foreign as taken-for-granted spatial categories by considering them colonial significations. Home Missions sought to remake conquered territory habitable for Anglo-Protestant settlement, using the concepts home and foreign to govern people differently within that conquered territory. Gaining prominence in the postbellum United States, women’s societies for Home Missions cooperated across multiple Protestant denominations and between multiple missionary sites across the US empire in forming a transcolonial network aimed at uplifting the homes of the nation. These colonial sites included missions to “Indians,” “Negroes,” “City Immigrants,” “Orientals,” “Mountaineers,” “Loggers,” “Porto Rico,” “Alaska,” and more. White women entered new public spheres by making the racial uplift of homes across the nation a practice of imperial domesticity. Women in Home Missions sought to create subject citizens of the US nation by shaping the habits, tendencies, and racial constitution of people through the cultivation and management of Christian homes. Homes were spaces of both racial uplift and the maintenance of racial purity. Thus, missionaries were not only preoccupied with making Christian citizens for the nation but were also concerned with maintaining racial distinctions characteristic of the anxieties of US colonial governance at the turn of the 20th century. Through Home Missions, Anglo-Protestants participated in an imperial process that sought to transform the land and its inhabitants while also forming racializations, gender systems, and political economies that mapped onto an imaginary in which a particular vision of settled homes/homeland occupied a central analytic. By treating “home” in Home Missions as a critical category, one is able to reconsider the maneuverings of religion, empire, nation, race and gender/sexuality within the context of settler colonial conquest, possession, and settlement.


Race, Gender, Sexuality, and Religion in North America  

Anthony Petro

The history of religion in the United States cannot be understood without attending to histories of race, gender, and sexuality. Since the 1960s, social and political movements for civil rights have ignited interest in the politics of identity, especially those tied to movements for racial justice, women’s rights, and LGBT rights. These movements have in turn informed scholarly practice, not least by prompting the formation of new academic fields, such as Women’s Studies and African American studies, and new forms of analysis, such as intersectionality, critical race theory, and feminist and queer theory. These movements have transformed how scholars of religion in colonial North America and the United States approach intersections of race, gender, and sexuality. From the colonial period to the present, these discourses of difference have shaped religious practice and belief. Religion has likewise shaped how people understand race, gender, and sexuality. The way that most people in the United States think about identity, especially in terms of race, gender, or sexuality, has a longer history forged out of encounters among European Christians, Native Americans, and people of African descent in the colonial world. European Christians brought with them a number of assumptions about the connection between civilization and Christian ideals of gender and sexuality. Many saw their role in the Americas as one of Christianization, a process that included not only religious but also sexual and cultural conversion, as these went hand in hand. Assumptions about religion and sexuality proved central to how European colonists understood the people they encountered as “heathens” or “pagans.” Religion likewise informed how they interpreted the enslavement of Africans, which was often justified through theological readings of the Bible. Native Americans and African Americans also drew upon religion to understand and to resist the violence of European colonialism and enslavement. In the modern United States, languages of religion, race, gender, and sexuality continue to inform one another as they define the boundaries of normative “modernity,” including the role of religion in politics and the relationship between religious versus secular arguments about race, gender, and sexuality.


Women in Religious Art  

Diane Apostolos-Cappadona

Like religion, art has been a fundamental component of human experience since the beginning of time. Often working in partnership, occasionally at odds, art and religion form a combination that has been a source of inspiration, pedagogy, contemplation, and celebration of the relationship between the human and the divine. However, each individual religion and its culture have encountered the arts differently; these encounters are reflected in distinctive attitudes toward the human, sex, gender, sexuality, race, ethnicity, and class, as well as configuration of the holy. The human figure has been a common denominator in the arts envisioning transformations in cultural and societal attitudes, economic and political perceptions, and religious doctrines. Traditional wisdom suggests that the majority of world cultures and religions are established upon a patriarchal structure so that representations of the male body project attitudes of power while the female body projects negative attributes. More recent scholarship by feminist art historians, critics, cultural historians, and religious historians provides new ways of looking at the female figure and the role of women in religious art including the history of women artists, patrons, collectors, and, most recently, as critics and curators. Further surveying the iconography of specific women, whether deities, historical personages, or legendary beings, in the history of a religion affords the opportunity not simply to analyze variations in artistic styles but also to witness how religion shapes and informs cultural, societal, and even legal definitions of women. While the majority of scholarly investigations have focused on Western religions, the possibilities of both comparative analyses and innovative studies of non-Western iconographies of women in religious art can both inform and expand global recognition of the categories of gender, race, and ethnicity as well as research methodologies. The Western model of iconography may be found wanting and open to enrichment through engagement with new categories and models of analysis.


Christian Worship and Gender Practices  

Teresa Berger

The foundational materiality in Christian worship is the bodily presence of worshippers. Gender differences—and the manifold ways in which they are embodied and performed in different cultural contexts—are therefore inscribed into the very fabric of liturgical practices, past and present. In Christian worship today, the workings of gender are evident across a broad spectrum of ecclesial traditions. Some churches have authorized rituals for the blessing of same-sex unions; some are ordaining openly transgender priests. Other churches continue to struggle with the ordination of women, while a few aim for explicitly “masculine” worship experiences. Feminist concerns over liturgical language mark some communities, while churches rooted in more traditional contexts maintain seating arrangements that separate women and men. Clearly, the workings of gender in Christian worship today span a broad spectrum of quite dissimilar concerns. At the root of all these concerns, however, lies the same vital reality, namely that worship is an embodied practice and therefore never gender-free. What often goes unnoticed in contemporary discussions is the fact that gender differences have marked liturgical practices in Christian communities since earliest times. The workings of gender, in other words, have a genealogy in Christian worship. Scholars have only recently begun to map this terrain, by bringing the interpretive tools of gender theory to bear on liturgical historiography. Paramount among these interpretive tools is an understanding of gender as attending to all gendered particularities and sexualities (e.g., eunuchs in Byzantium, ascetic virgins in Merovingian Gaul, transgender people in contemporary North America, etc.). Gender, in other words, is understood to encompass much more than the traditional binary of “women” and “men.” The emerging gender-attentive insights into liturgical history have been intriguing and at times quite surprising. These insights span the whole of liturgy’s past, from ways in which gender shaped early baptismal practices (e.g., in the choreography of the rite, in questions surrounding the minister of baptism, in the bodily proprieties considered appropriate at the font) to the workings of gender in the 20th-century Liturgical Movement (e.g., its first important text, Tra le Sollecitudine (1903)—usually hailed for its evocation of an “active participation” of the faithful in worship—also sought to discontinue the presence of castrati singers in the Sistine Chapel choir while ensuring that women would not take their place). In between earliest glimpses of the workings of gender in Christian worship and our own times lie approximately a thousand years of a complex history. Tracing this history of the interplay between gender differences and Christian worship not only constitutes an important task for historians of liturgy, but also provides rich resources for addressing contemporary issues.


Monastic Education in Contemporary Asia  

Thomas Borchert

Education is a central component of Buddhism and has been since the start of the religion. The forms of Buddhist education are diverse, including the education and training of monastics and laypeople, men, women, and children from early ages through university and continuing and adult education. The training of monastics is simply one, albeit, important subset of wider systems and practices of Buddhist education. Monastic education exists in multiple forms, including those associated with apprentice or situated forms of learning, and curricular forms in schools, primarily secondary and postsecondary institutions. Contemporary forms of monastic education are entangled with and shaped by discourses and practices of modernization, dynamics of gender in Buddhist societies, and debates about the role of religion within given societies across Asia. These debates become visible in attending to the goals of education, the multiple motivations of monastics for their education, as well as those of other educational stakeholders. Although it may be tempting to see monastic education as a distinct phenomenon, it should be viewed within a wider pedagogical ecosystem within the nation-states of Asia.


Buddhism in Film  

Sharon A. Suh

Film serves as one of the most recent contributions to the variety of Buddhist visual forms that can offer a perspectival shift in interpretation for its viewers akin to other meditative devices such as mandalas. As a relatively recent subject of study, Buddhist films present innovative opportunities to visualize the Buddha, Buddhism, and the self in nuanced ways. Buddhist film can be understood as a spiritual technology that reshapes vision, and the act of viewing becomes a ritual process and contemplative practice. Ranging from films with an explicitly Buddhist theme and content to more abstract films without obvious Buddhist references, Buddhist films have become the subject of scholarly studies of Buddhism as well as occasions to reimagine Buddhism on and off screen. Buddhist films found in Asia and the West have proliferated globally through the rise of international Buddhist film festivals over the past fifteen years that have increased both the interest in Buddhism and the field of Buddhism and film itself. Most studies of Buddhism in film indicate that what constitutes a Buddhist film continually evolves and, as such, can be seen as a contemporary instantiation of the skillful means of the Buddha.


Islamic Feminist Movement in North America  

Meena Sharify-Funk

Within the past several decades in North America, an Islamic feminist movement has developed. This movement has influenced the intellectual landscape of Muslim communities through activism and scholarship. This article first examines the development of different types of feminisms found in Muslim societies. The typology of different feminisms provides a foundation for understanding the emergence of “Islamic feminism” as a movement that is connected to the rereading and reinterpretation of Islamic canonical sources from a woman’s perspective. After clarifying the usage of key terms, this article then compares and analyzes the thought and activism of three generations of Islamic feminists in North America.


Interfaith Marriage in North America and Abroad  

Reeshma Haji

Interfaith marriages involving Muslims and non-Muslims are increasing in prevalence in North America and elsewhere. Traditional and reformist Islamic perspectives differ in terms of the permissibility of interfaith marriages, their desirability, and the treatment of Muslim men and Muslim women. Traditional perspectives tend to allow for Muslim men to intermarry, but not Muslim women. There is some consensus that Muslims are permitted to marry “People of the Book,” or those who follow divine Scriptures that predate Islam, although there are differences in opinion as to which religious groups comprise this category. Reformist perspectives tend to emphasize the importance of ijtihad, or personal reasoning, in coming to decisions about interfaith marriage. They also suggest that the current context, including circumstances of Muslims living as minorities in the West, be taken into account. In terms of experiences of persons who belong to Muslim–non-Muslim couples, various challenges and opportunities are recurring themes in research. Challenges include family and community acceptance and support, decisions over religious upbringing of children, and pressure to convert (normally exerted by family). Opportunities include decreasing stereotypes about other faiths and increasing mutual understanding, clarification of each partner’s religious identity, and children’s appreciation of diversity. Research has also assessed attitudes toward interfaith marriage among Muslims living in the West. Stronger religious identity and other forms of religiosity (practice, belief, and fundamentalism) predict more negative attitudes. In contrast, identification with mainstream culture predicts more favorable attitudes. Generally, men tend to be more favorable to interfaith marriage than women, which is consistent with gendered interpretations of the permissibility of interfaith marriage. Given demographic trends, interfaith marriages involving Muslims will become an increasingly relevant and timely topic, particularly in contexts like Canada and the United States, where Muslims are living as religious minorities. Research should be devoted to the experiences of interfaith families and how they can best be included within Muslim religious communities. Additionally, culture, in terms of culture of origin, mainstream culture, and global culture, is a multidimensional variable that research should further explore in association with interfaith relationships.


Mohja Kahf  

Danielle Haque

Mohja Kahf is the author of numerous poetry collections, short stories, essays, and scholarly articles. She immigrated from Syria to the United States with her family at a young age, and she identifies as a Muslim American writer. Her writing debunks dominant narratives that construct Arab Americans as perpetual foreigners to US culture and history. Kahf conceives of her work as belonging to a long tradition of Muslim American literature, including the Black Arts movement, diasporic writing, and second- and third-generation literatures. Drawing upon Arabic, Islamic, and mainstream US cultural references and imagery, Kahf’s work meditates on the challenges of hybridized identities. Through her poetry and essays, she confronts Orientalist narratives about Muslim women as perpetual victims of an oppressive religion, and challenges anti-Muslim racism and xenophobia. Her coming-of-age novel, The Girl in the Tangerine Scarf, with its complex relationships and nuanced representations of Muslim American characters, asserts an Islamic feminist ethos and challenges stereotypes of Arab and Muslim Americans. Centering on Muslim women’s embodied experiences, Kahf’s writing celebrates women’s sexuality and desire and condemns the policing of women’s bodies, particularly in her poetry collections, her column “Sex and the Ummah,” and her writings on hijabs. Her scholarly work investigates historical representations of Muslim women, seeking to expand literary cannons to include Muslim women writers and correcting misinterpretations and translations of their work. An antiviolence human rights activist, Kahf writes against US occupation and invasion in the Middle East, and advocates solidarity across racial, gendered, ethnic, and national identities. Her work references Islamic values of mutual vulnerability and is imbued with an ethics of mutual caretaking and social justice.


History of Muslims in the United States  

Yasmine Flodin-Ali

During the transatlantic slave trade, enslaved Muslims were brought from North and West Africa to what would become the United States. Many of these African Muslims were literate in Arabic. Even in the face of formative obstacles, enslaved people and their descendants continued to observe their faith and to adapt Islamic and Islamically influenced practices in the United States. In the mid-1800s to early 1900s, Muslims began to immigrate to the United States from the Middle East and South Asia. Muslim immigrants used a variety of tactics to establish communities in the United States while navigating segregation, miscegenation, and restrictive citizenship laws. A few small-scale Muslim institutions were established, including mosques and cultural centers. Prominent Muslim and Islamically influenced movements flourished in the early 20th century, such as the Moorish Science Temple of America (MSTA) and the Ahmadiyya Muslim Community movement. The MSTA was an African American–majority movement born of the Great Migration. The Thesophist movement was largely white. Both movements were similar in terms of their exploration of the occult and emphasis on bodily control as a means of spiritual purification. The Ahmadiyya produced and translated much of the religious literature that circulated in the United States across Muslim sects in the first half of the 20th century, including the most popular translation of the Qur’an, often without attribution. Sunni and Shi’i communities were also present in this time period. The Nation of Islam (NOI, 1930–1975) surpassed the MSTA and Ahmadiyya to become the largest and most influential Muslim American movement in the secondhalf of the 20th century. The NOI emphasized communal economic empowerment and self-reliance for Black Americans in order to achieve the goal of separation from Whites as a means of achieving racial justice. Prominent figures from the NOI, such as Malcolm X, are frequently invoked by different Muslim American groups in the 21st century. When Elijah Muhammad died in 1975, NOI members went in different directions. Elijah Muhammad’s son, Warith Deen Muhammad, led a large portion of the community to Sunni Islam. Other members joined Louis Farrakhan’s NOI. The Harter-Celler Act of 1965 opened up non-European immigration, leading to a large increase in Muslim immigrants from the Middle East, Africa, and South Asia. Due to the law’s stipulations, these immigrants were largely upper-class and well-educated. In the 1960s and 1970s, there was also a push by many different Muslim American groups toward Sunnism. The 1979 Iranian Revolution and hostage crisis increased anti-Muslim hostility in the United States and created the stereotype that all Muslim Americans were immigrants from the Middle East. The 9/11 attacks amplified this backlash, but also led to the creation and strengthening of nationwide Muslim civil rights and advocacy organizations. Advocacy campaigns and heated debates have also taken place within the Muslim American community in the 21st century. Professor of Islamic Studies Amina Wadud has been particularly influential in shaping conversations around gender and Islam, both in the United States and globally. Wadud is also well-known for leading a mixed-gender congregational prayer in New York City in 2005, which sparked a global debate over the permissibility of women leading prayer. In the early 21st century, so-called third spaces proliferated, including art spaces and gatherings facilitated through online groups such as Meetup, where Muslims who felt left out of more traditional mosque spaces found community. This entry ends in 2010, almost a decade after 9/11 and before the rising presidential candidacy of Donald J. Trump.


Christian Feminist Theology and the Arts  

Elizabeth Ursic

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.


Gender and Spirituality in Late Modern Western Society  

Karen Pechilis

Gender and spirituality are both terms that signify alterity, especially a critique of established social conventions, including conventions of disciplining personhood on the basis of gender classifications and according to doctrinal and ritual patterns of organized religion. To be aware of gender as a hierarchical system is a modern phenomenon; “spirituality” has a much longer history of use and was generated from within organized religion, though its evolution increasingly marked it as a perspective distinct from, and necessitating the evaluative intervention of, official religious channels. Developing through a confluence of interest in Western esotericism, Transcendentalism, Theosophy, the German Romantics, and Asian traditions in the early 20th century, spirituality as a cultural concept and practice was poised to respond to widespread late modern questioning of received social modes, especially in terms of defining oneself. Contesting theoretical predictions of society’s secularization but supporting those of the “subjective turn,” late modern spirituality groups, especially those inspired by feminism, civil rights, and gay rights, valorized marginalized bodies and their distinctive experiences, creating new paths of spiritual expression in which personal experience in the context of group affirmation was foregrounded. Postmodern ideas on the fluidity of gender further contributed to the voices of LGBTQ (lesbian, gay, bisexual, transgender, and queer) people who critiqued residual gender binaries operative in some New Age spiritualities and provided new arguments for social inclusivity in spirituality groups and in the wider society. What characterizes spirituality into the 21st century is the “turn to holism,” in which a wide variety of methods are promoted as leading to a holistic sense of the well-being of body and spirit. Diverse practices include Kirlian aura photography, Johrei Fellowship healing, tarot cards, shiatsu massage, acupressure, aromatherapy, kinesiology, and yoga, leading some scholars to critique the spirituality climate as a neoliberal capitalist “spiritual marketplace.” Others view it as a generative opportunity for seeking and bricolage construction of the self that has transformative potential for both self and society.


The Book of Isaiah  

J. Blake Couey

The book of Isaiah is a compilation of prophetic poetry and narratives, named for an 8th-century bce Judahite prophet. As depicted in chapters 1–39, Isaiah declared that Yhwh intended to punish Judah for social and cultic infractions; at the same time, he expressed support for the Davidic monarchy and proclaimed that Jerusalem would not be conquered by the Assyrians. Chapters 40–55 are addressed to a later audience following the conquest of Jerusalem by Babylon in 587 bce. These texts offer reassurance that Jerusalem will be restored and its exiled citizens will return. The final chapters, 56–66, reflect growing disillusionment and conflict in Judah under Persian rule, and the book ends by describing Yhwh’s eschatological destruction of the wicked and vindication of a righteous remnant. The book grew and developed over a period of four to five centuries. Despite its sometimes conflicting perspectives, it is broadly unified by its focus on the fate of Jerusalem, and later editors worked to impose some coherence upon its varied content, as seen by the repeated thematic echoes in Isaiah 1 and 65–66. Isaiah is a sophisticated work of biblical Hebrew poetry, characterized by intricate combinations of imagery and wordplay. It features a high view of divine sovereignty, emphasizing Yhwh’s control over world nations and superiority over all human and divine powers; these ideas contributed to the emergence of monotheism in ancient Judah. The book also articulates diverse responses to imperial domination, even as it chronicles the ebb and flow of Judah’s own imperial aspirations. Striking portrayals of women and gender appear throughout Isaiah, including the extensive personification of Jerusalem as a woman and the comparison of Yhwh to a mother. Isaiah is also notable for its discourse about disability, which serves a variety of rhetorical functions in the book. The impact of Isaiah was felt immediately, as evidenced by the number of copies of the book among the Dead Sea scrolls and citations of it in the New Testament. It greatly impacted the development of important religious ideas, including apocalypticism and belief in resurrection. In Christianity, Isaiah played an important role in reflection upon the nature of Jesus and the inclusion of Gentiles, even as it informed Christian anti-Judaism. The book has had a more complicated reception in Judaism, where it significantly influenced the growth of Zionism. Scholarly study of Isaiah continues to clarify the shape of its final form and history of composition. Current research on the book is increasingly interdisciplinary, engaging metaphor theory, disability studies, and postcolonial thought. The history of the book’s interpretation and reception is another area of growing interest.