Just as the racist imaginary of Europeans about Black Africans has centered since the 18th century on the term monkey/ape, that of Arabs has centered, since at least the middle ages, on the term Ê¿abd (slave). According to this imaginary, any black person is, by definition, a slave. As such, this book discusses anti-Black racism in Mecca and in other Arab regions, as well as the ancient presence of the Black diaspora in Mecca and Hijaz and the contribution it has made in different areas. The book also looks at the teaching system in the al-Haram Mosque of Mecca, its religious and political role, and the way it was dispensed during the Ottoman period, the reign of SharÄ«f Husayn and the political regime of the Äel Sa'Å«d WahhÄ bÄ«.

Just as the racist imaginary of Europeans about Black Africans has centered since the 18th century on the term “monkey/ape”, that of Arabs has centered, since at least the middle ages, on the term “ʿabd” (“slave”). According to this imaginary, any black person is, by definition, a slave. As such, this book discusses anti-Black racism in Mecca and in other Arab regions, as well as the ancient presence of the Black diaspora in Mecca and Hijaz and the contribution it has made in different areas. The book also looks at the teaching system in the al-Haram Mosque of Mecca, its religious and political role, and the way it was dispensed during the Ottoman period, the reign of Sharīf Husayn and the political regime of the Āl Sa'ūd Wahhābī.

Cutting-edge research in the study of Islamic scholarship and its impact on the religious, political, economic and cultural history of Africa; bridges the europhone/non-europhone knowledge divides to significantly advance decolonial thinking, and extend the frontiers of social science research in Africa.

Stories of exotic desert landscapes, cutting-edge production facilities, and lavish festivals often dominate narratives about film and digital media on the Arabian Peninsula. However, there is a much longer and more complicated history that reflects long-standing interconnections between the Persian Gulf, Arabian Sea, and Indian Ocean. Just as these waters are fluid spaces, so too is film and digital media between cultures in East Africa, Europe, North Africa, South Asia, Southwest Asia, and Southeast Asia. Reorienting the Middle East examines past and contemporary aspects of film and deigital media in the Gulf that might not otherwise be legible in dominant frameworks. Contributors consider oil companies that brought film exhibition to this area in the 1930s, the first Indian film produced on the Arabian Peninsula in the late 1970s, blackness in Iranian films, the role of Western funding in reshaping stories, Dubai's emergence in global film production, uses of online platforms for performance art, the development of film festivals and cinemas, and short films made by citizens and migrants that turn a lens on racism, sexism, national identity, and other social issues rarely discussed publicly. Reorienting the Middle East offers new methods to analyze the oft-neglected littoral spaces between nation-states and regions and to understand the role of film and digital media in shaping questions between area studies and film/media studies. Readers will find new pathways to rethink the limitations of dominant categories and frameworks in both fields.

Rethinking the history of African enslavement in the western Indian Ocean through the lens of Iranian cinema From the East African and Red Sea coasts to the Persian Gulf ports of Bushihr, Kish, and Hurmuz, sailing and caravan networks supplied Iran and the surrounding regions with African slave labor from antiquity to the nineteenth century. This book reveals how Iranian cinema preserves the legacy of this vast and yet long-overlooked history that has come to be known as Indian Ocean slavery. How does a focus on blackness complicate traditional understandings of history and culture? Parisa Vaziri addresses this question by looking at residues of the Indian Ocean slave trade in Iranian films from the second half of the twentieth century. Revealing the politicized clash between commercial cinema (fīlmfārsī) and alternative filmmaking (the Iranian New Wave), she pays particular attention to the healing ritual zār, which is both an African slave descendent practice and a constitutive element of Iranian culture, as well as to cinematic sīyāh bāzī (Persian black play). Moving beyond other studies on Indian Ocean and trans-Saharan slavery, Vaziri highlights the crystallization of a singular mode of historicity within these cinematic examples—one of “absence” that reflects the relative dearth of archival information on the facts surrounding Indian Ocean slavery. Bringing together cinema studies, Middle East studies, Black studies, and postcolonial theory, Racial Blackness and Indian Ocean Slavery explores African enslavement in the Indian Ocean through the revelatory and little-known history of Iranian cinema. It shows that Iranian film reveals a resistance to facticity representative of the history of African enslavement in the Indian Ocean and preserves the legacy of African slavery’s longue durée in ways that resist its overpowering erasure in the popular and historical imagination. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

It is commonly claimed that Islam is antiblack, even inherently bent on enslaving Black Africans. Western and African critics alike have contended that antiblack racism is in the faith’s very scriptural foundations and its traditions of law, spirituality, and theology. But what is the basis for this accusation? Bestselling scholar Jonathan A.C. Brown examines Islamic scripture, law, Sufism, and history to comprehensively interrogate this claim and determine how and why it emerged. Locating its origins in conservative politics, modern Afrocentrism, and the old trope of Barbary enslavement, he explains how antiblackness arose in the Islamic world and became entangled with normative tradition. From the imagery of ‘blackened faces’ in the Quran to Shariah assessments of Black women as ‘undesirable’ and the assertion that Islam and Muslims are foreign to Africa, this work provides an in-depth study of the controversial knot that is Islam and Blackness, and identifies authoritative voices in Islam’s past that are crucial for combatting antiblack racism today.