Islamic paintings of the Prophet Muhammad are an important piece of history – here’s why art historians teach them

Follow-up to the earlier articles:

Hamline University in St. Paul, Minnesota, recently reached a settlement in a religious discrimination case with former adjunct faculty member Erika López Prater. She was dismissed in 2022 for showing two historical Islamic paintings of the Prophet Muhammad in her global survey of art history class, which some students described as disrespectful and Islamophobic.

While many Muslims today believe it is inappropriate to depict Muhammad, it was not always so in the past. Moreover, debates about this subject within the Muslim community are ongoing. Within the academic world, this material is taught in a neutral and analytical way to help students – including those who embrace the Islamic faith – assess and understand historical evidence.

As an expert on Islamic representations of the Prophet Muhammad, I consider the recent labeling of such paintings as “hate speech” and “blasphemy” not only inaccurate but inflammatory. Such condemnations can pose a threat to individuals and works of art.

The Prophet Muhammad has been represented in Islamic paintings since the 13th century. Islamic art historians such as my colleagues and me, both Muslim and non-Muslim, study and teach these images regularly. They form part of the standard survey of Islamic art, which includes calligraphy, ornament and architecture.

Comparing prophetic images

The 14th- and 16th-century images López Prater selected depict Muhammad receiving the beginning of Quranic revelations from God through the angel Gabriel. In Islamic thought, it is at that moment that Muhammad became a divinely appointed prophet.

The 14th-century painting is part of a royal manuscript, the “Compendium of Chronicles,” written by Rashid al-Din. It is one of the earliest illustrated histories of the world. The manuscript includes numerous paintings, including a cycle of images depicting several key moments in the Prophet Muhammad’s life.

The one that was discussed in López Prater’s class appears in a section on the beginnings of Quranic revelation and Muhammad’s apostleship. The painting depicts the prophet with his facial features visible as the angel Gabriel approaches him to convey God’s divine word. The event is shown taking place outdoors in a rocky setting that matches the accompanying text’s description.

The second image, made in Ottoman lands in 1595-96, is part of a six-volume biography of the prophet. Over 800 paintings in this manuscript depict major moments in Muhammad’s life, from his birth to his death.

In that painting, Muhammad is seen raising his hands in prayer while standing on the Mountain of Light, known as Jabal al-Nur, near Mecca. His facial features are no longer visible; instead, they are hidden behind a facial veil.

The Ottoman artist chose to depict the prophet’s purity through the use of white fabrics, and his entire being as touched by the light of God via the large flaming nimbus that encircles his body. Jabal al-Nur is shown, as its name suggests, as a radiant elevation. Above it and beyond the clouds, rows of angels hover in praise.

Key study questions

These two paintings show that Islamic representations of Muhammad are neither static nor uniform. Rather, they evolved over the centuries. During the 14th century, artists depicted the prophet’s facial features, while later artists covered his face with a veil.

Islamic art historians ask their students to compare these two paintings while encouraging them to slow down, look carefully, train their eyes to detect pictorial elements, and infer meaning. They also ask students to consider the textual content and historical context accompanying the paintings.

The key question students are prompted to think about through the juxtaposition of these two Islamic paintings is this: Why did the facial veil and flaming nimbus develop as two key prophetic motifs in Islamic depictions of Muhammad between A.D. 1400 and 1600?

The images help a teacher guide a collective conversation that explores how the prophet was conceptualized in more metaphorical ways – as a veiled beauty and as radiant light – over the course of those two centuries in particular.

This prompts a larger exploration of the diversity of Islamic religious expressions, including those that are more Sufi, or spiritualized, in nature. These paintings therefore capture the richly textured mosaic of Muslim worlds over time.

This historically sensitive, pictorial side-by-side is known as a comparative analysis or “comparandum.” It is a key analytical method in art history, and it was used by López Prater in her classroom. Now more than ever, a rigorous study of such Islamic paintings proves necessary – and indeed vital – at a time of sharp debates over what is, or is not, Islamic.

Source: Islamic paintings of the Prophet Muhammad are an important piece of history – here’s why art historians teach them

When liberal institutions fail us: “Envious reversal” and the Hamline …

Bit of an overlong read but raising some uncomfortable realities:

Everywhere we look, we’re being failed by institutions that are “supposed” to protect us — and not just those, like the police, that progressives have good reason to distrust.  Take the recent example of Hamline University in Minnesota, which firing an adjunct art professor, Erika López Prater, for showing her class a famous medieval Islamic painting of the Prophet Muhammad. Hamline failed both the professor and its Muslim students, though in different ways.

As was widely reported, López Prater gave both written and verbal advance warnings for devout Muslim students who may regard such images as sacrilegious — a widely-held view today that was not so dominant in the past. But one student who disregarded the warnings complained afterwards, leading the school’s administration to label López Prater’s actions as “Islamophobic” and terminate her promised future employment — a decision move vigorously opposed by the Muslim Public Affairs Council as well as the University of Minnesota’s Department of Art History.

“The painting was not Islamophobic,” MPAC wrote. “In fact, it was commissioned by a fourteenth-century Muslim king in order to honor the Prophet, depicting the first Quranic revelation from the angel Gabriel.” This reflects the diversity of the Islamic tradition, the group explained:

“As a Muslim organization, we recognize the validity and ubiquity of an Islamic viewpoint that discourages or forbids any depictions of the Prophet, especially if done in a distasteful or disrespectful manner. However, we also recognize the historical reality that other viewpoints have existed and that there have been some Muslims, including and especially Shīʿī Muslims,  who have felt no qualms in pictorially representing the Prophet (although often veiling his face out of respect). All this is a testament to the great internal diversity within the Islamic tradition, which should be celebrated.”

This episode rapidly gained momentum on the right as an example of “wokeness” and diversity run amok, but it’s important to understand that Hamline’s decision was opposed to the diverse traditions found within Islam.  In the lawsuit López Prater filed against Hamline, she stated that the student in question, Aram Wedatalla, “wanted to impose her specific religious views on López Prater, non-Muslim students, and Muslim students who did not object to images for the Prophet Muhammad — a privilege granted to no other religion or religious belief at Hamline.”

So the university clearly failed to protect everyone involved as well its principles. It obviously failed to protect López Prater and academic freedom (leading the faculty to call for the president’s resignation). But it also failed Wedatalla, president of the school’s Muslim Student Association, and the rest of its Muslim community in at least three ways: it failed first at its core mission to educate, as well as at its mission to educate about education. It clouded people’s understanding of actual Islamophobia, making it more difficult to combat, and well before the incident in question, it created conditions where Muslims didn’t feel included. These ancillary or earlier failures didn’t get much attention, but are equally important in appreciating how badly Hamline failed.

Mark Berkson, chair of the Department of Religion, shed some light on this in a letter to Hamline’s student newspaper: “First, a majority of the world’s Muslims today believe that visually representing the prophet Muhammad is forbidden,” he wrote. “And yet here is another fact — Muslims have created and enjoyed figural representations of Muhammad throughout much of the history of Islam in some parts of the Islamic world.” He also touched  on the second failure, observing that to label López Prater’s presentation as Islamophobic was “not only inaccurate but also takes our attention off of real examples of bigotry and hate.”

MSNBC’s Mehdi Hasan put it more directly: “There’s a reason right-wing media have been all over this story. Because they don’t want to admit that there is a real problem with anti-Muslim bigotry in this country. And now they can say, look, look, it’s those Muslim bullies and censors on college campuses and those liberal cowards in charge of colleges who have invented the whole thing, who’ve taken offense of things they shouldn’t be offended by.”

Perhaps most importantly, Berkson implicitly addressed Hamline’s third failing by explicitly drawing on Islamic thought: “Intention is a key concept in Islam,” he noted, “and the Prophet Muhammad himself said that people will receive consequences for actions depending on their intentions. … When, as in the case here at Hamline, everyone involved has good intentions… and is doing their best to honor principles (religious and academic) that are important to them, we can find our way forward in open conversation and mutual respect.”

Ironically enough, Berkson’s letter was taken down two days later, supposedly because it “caused harm.” What’s more, Wedatalla’s supporters were not receptive to his message. The school newspaper reported another Muslim student saying, “Hamline teaches us it doesn’t matter the intent, the impact is what matters.”

It’s peculiar but instructive to hear students in this case rely on a liberal arts college, rather than the Prophet Muhammad, in arguing their case. This feels like an obvious contradiction — but why did they respond that way? There are hints of earlier incidents in the campus newspaper’s story: When the dean of students sent out an email, Muslim students “had hoped that the email would include reference to past Islamophobic incidents,” and several students at a later meeting “expressed frustration at repeated incidents of intolerance and hate speech in recent years, and asked about new forms of intervention.”

With an institutional track record of mistrust and alleged inaction, it’s less surprising that Berkson’s words fell on deaf ears. Islamophobia is widespread in America today, and anyone subjected to systemic attack becomes traumatized by it, perhaps especially when a “liberal” institution like Hamline purports to oppose such abuse, but repeatedly fails to address it. So it would be misguided to attack Hamline’s Muslim students for this incident. The contradiction in their response mirrors the contradictions they’ve likely lived with all their lives — contradictions that Hamline had a responsibility to address.

Berkson could well be right about eveyone’s good intentions, but Hamline’s institutional failures managed to thwart or misdirect them. Even the suppression of Berkson’s letter was presumably the result of “good intentions,” however misconceived and poorly applied.

Blaming the liberals

“Everyone blames the liberals,” John Stoehr argues, reflecting on what happened at Hamline, and how it’s been received. “No one blames the institutions for getting the liberals’ ideas wrong.” That’s really the point made above. It’s easy to say that academic freedom is a core liberal value, and that violating it is a major failure. But religious freedom, non-discrimination and pluralism are liberal values too, and Hamline had systematically failed on all those counts already.

Liberalism is the force in politics and society that aims to flatten entrenched hierarchies of power in order to advance liberty, equality and justice for all, not merely the few,” Stoehr writes, linking to Rick Perlstein’s essay on right-wing education panic, “They Want Your Child!

“Public schools are where young people encounter ways of being and thinking that may directly contradict those they were raised to believe; there really is no way around it,” Perlstein writes. “Schools are where future adults receive tools to decide which ideas and practices to embrace and which to reject for themselves. Schooling, done properly, is the opposite of conservatism. So is it any wonder it frequently drives conservatives berserk?”

Note carefully what Perlstein is saying: “[T]he opposite of conservatism” doesn’t mean that education is leftist indoctrination, but rather that students are given a choice to “decide which ideas and practices to embrace and which to reject,” given tools to decide for themselves. They are free to choose “conservative” values and ideas, of course — but that act of choice is the essence of liberalism.

Returning to Stoehr’s article, his central observation is that “the illiberals blame the liberals for the institutions that get the liberals’ ideas all wrong. By getting the liberals’ ideas all wrong, the institutions end up affirming what the illiberals say about the liberals.”

Three things strike me here: First, the initial problem was institutional conservatism, that is, the fact that Hamline cared more about its institutional image than its actual mission. Second, this enabled a dynamic of “envious reversal” (which I wrote about here in 2015), which allows illiberal forces to portray liberals as intolerant and oppressive and portray themselves as heroes of freedom, exposing liberal hypocrisy. Third, the problem is far more general, and goes well beyond the Hamline incident or the educational realm.

Image is everything

First, we need to be clear that an educational institution’s mission is inherently liberal, in the sense described above: It’s about empowering autonomous individual development, and in many cases about a long-term commitment to flattening hierarchies as well.

Of course all institutions want to survive and care about their images. But healthy, vibrant institutions don’t need to focus on those things. If their mission is successful, then image and survival will take care of themselves. Now, the neoliberal era hasn’t been kind to educational institutions, and there aren’t nearly as many healthy, vibrant ones as there used to be. That’s my deeper point: Our institutions are failing because of deep systemic problems, most fundamentally the neoliberal abandonment of public goods of all kinds, as described in the recent book, “The Privatization of Everything.”

In his commentary on the Hamline incident, historian David Perry wrote that rather than viewing this through a campus culture-war lens, we should “instead look at two issues: labor rights and the exercise of power”:

“In this case, López Prater was an adjunct, a gig worker with no guarantee of future employment. This is a massive problem in academia, of course, where there has been a generational shift from stable, full-time employment to contract work. That’s been bad for those of us who work in higher ed. It’s been bad for students, too.

As a full-time professor, I built infrastructure to support student learning year after year after year. A gig worker can’t do that. But it’s been good for the bosses. It saves them money. And it lets them dispose of workers when messy situations — such as a student complaining about blasphemy — arise.”

Perry goes on to note that “the power dynamics on college campuses are happening everywherethroughout our economy, and no one is safe when it’s easier for the bosses to wash their hands instead of getting down into the dirt with the rest of us doing the work.” Neoliberal capitalism normalizes this, not just for businesses, but for all institutions. (“Running government like a business.”) It’s tragic and wrong that Hamline cared more about its institutional image than its actual mission, but it’s also the fundamental logic of today’s neoliberal gig-work world.

“Envious reversal”

This comes from British psychoanalyst Melanie Klein. Most people understand the concept of projection: The pot calling the kettle black, which tends to happen when something we don’t like about ourselves leads us to point fingers at somebody else. In Freudian psychology, it’s considered a primitive form of ego defense. Klein perceives a more complex process starting in infancy, well before the ego (according to Freud) is even formed. This involves both projecting what is unwanted and “introjecting” what is wanted. Klein introduced the term “projective identification,” which has taken on a variety of meanings, but “envious reversal” refers to something quite specific. To quote from the website of therapist Chris Minnick:

“In this envy driven “role reversal” (or “envious reversal” for shorthand), two processes take place instantaneously and simultaneously. The first is that the projector rids himself of the unwanted baby state, by projecting it into the “container” [the recipient of the projection]. Simultaneously, the projector steals the desirable state of affairs (i.e., some aspect of the “container’s” identity) from the container and takes it in for himself.”

Conservative attacks on liberals often involve envious reversal, as when conservative Republicans attack Democrats as the “party of slavery” and the “party of Jim Crow.” That’s technically true as a matter of history, but it’s envious reversal in its effort to erase history — that is, the 60-year history of Republican attempts to gain and hold power based on white supremacy, racism and the lingering legacy of the Confederacy.

It’s particularly striking when conservatives try to claim democratic socialist Martin Luther King Jr. as one of their own, based on a single out-of-context sentence about hoping for a future in which his children “will not be judged by the color of their skin but by the content of their character,” as if King’s idea of character were not radically different than theirs and as if King had never criticized racism as a systemic, institutionalized evil, along with militarism and excessive materialism. King’s systemic analysis of America’s moral, racial and political problems was squarely in line with a broad range of other Black activists, academics and theologians whom conservatives now demonize as exponents of “critical race theory” — another manifestation of envious reversal.

Another example can be seen with Christian nationalism. While nationalism based on some form of ethnic or racial exclusion is a nearly universal phenomenon, America was explicitly not founded on religious or ethnic grounds, but based on aspirational universal principles derived from philosopher John Locke and other secular theorists. Andrew Seidel’s “The Founding Myth: Why Christian Nationalism is Un-American” stands as the definitive refutation of the Christian nationalists’ bogus claims. When Christian nationalists cast themselves in the image of the founders, and depict secular liberals as alien corrupters, that’s a classic example of envious reversal. The battle to reclaim the true meaning of Religious Freedom Day, which I’ve written about multiple times, is all about combating that specific envious reversal.

What happened at Hamline was only one example of another long-standing trend in envious reversal: portraying liberals as intolerant and close-minded and conservatives as the opposite. That’s a tough sell when it comes to religious conservatives with their constant public bullying and censorship campaigns, but libertarians love this, particularly on higher education. Conservatives pour a lot of money into the narrative of a left-wing campus free speech crisis which is largely imaginary, as described in this 2018 analysis. It was largely imaginary at Hamline, too, as Perry notes: “If this story is a sign of ‘political correctness run amok,’ isn’t it odd that all these liberal professors are clearly on the side of the instructor here?”

Contrast what happened at Hamline with another small liberal arts college in the news in January: New College, in Sarasota, Florida, where Gov. Ron DeSantis staged an institutional coup, installing a slate of right-wing trustees to change the nature of the school, which has been described as “a beacon of shining success… ranked at or near the top of college listings nationwide on multiple measurements” including “74 Fulbright Fellowships over the past 15 years” and “more scholars per capita than Harvard and Yale.” Those are the words, by the way, of state Sen. Joe Gruters, a Republican, opposing a 2020 proposal to merge New College into Florida State University.

For DeSantis, this was just a low-hanging piñata, a small school with a small alumni community and an ideal target for to push his “war on woke” presidential propaganda campaign. His field general on this front is Chris Rufo, whose master plan for destroying public education was described by Salon’s Kathryn Joyce last April. She noted that Rufo’s framing narrative was a variation on the “cultural Marxism” conspiracy theory I’ve written about previously. By attributing changes in public education to a sinister leftist conspiracy, Rufo justifies the right’s conspiratorial takeover.

This is all delusional, of course. For one thing, multiculturalism — a key element in the “cultural Marxism” narrative — owes nothing to the oft-vilified Frankfurt School. As David Neiwert notes, it “has much deeper roots in the study of anthropology,” going back to Franz Boas and his students Ruth Benedict and Margaret Mead. “It became ascendant as a worldview in the post-World War II years,” he writes, “after it became apparent (especially as the events of the Holocaust became more widely understood) that white supremacy — the worldview it replaced — was not only inadequate but a direct source of wholesale evil.”

So what conservatives really fear is power-disrupting change — just as Perlstein describes — and that change came first from scientific inquiry, and then from a recognition of the horrors produced by white supremacy produced. Of course white supremacy has always been a key thread in American politics, but so has multiculturalism, at least in embryonic form. Thomas Jefferson, that master of contradiction, reflected both sides: a slaveowner who was also the father of religious liberty in law. As he wrote about the 1777 Virginia Statute for Religious Freedom, it contained “within the mantle of its protection, the Jew and the Gentile, the Christian and Mohametan, the Hindoo and Infidel of every denomination.” The flowering of multiculturalism over the last several decades thus represents the realization of something always present in the promise of America. When conservatives like Rufo try to portray it as an alien evil, and present themselves as true Americans, they’re engaged in a particularly perverse form of envious reversal.

Addressing systemic institutional failure

Let’s return to Stoehr’s observation that in “getting the liberals’ ideas all wrong, the institutions end up affirming what the illiberals say about the liberals.” This is reflected, I would argue, in all our institutions. We can see it most vividly in the lack of justice: in the persistent police killings of unarmed black men three years after George Floyd’s murder on the one hand, and in Donald Trump’s 2024 presidential campaign despite his public crimes too numerous to mention.

Put simply, our institutions as a whole have ceased to work as they’re supposed to. Everyone realizes this, but we disagree about what’s gone wrong and how to fix it. Conservatives have a simple story to tell: Things used to work, but liberals screwed it all up. Get rid of the liberals and “woke ideology” and we can “Make America Great  Again.” Liberals, by their very nature, see things in more complex fashion and vigorously dispute amongst themselves. But they all more or less agree that things didn’t use to work ideally in some idyllic past. Some things were better for some people, certainly, but others were much worse. It’s a complicated history, and it’s going to be a complicated story as we move forward. Multiple perspectives will be necessary.

But there is a simple guidepost available: reclaiming the meaning of freedom, itself a core liberal value that conservatives have stolen in a masterstroke of envious reversal. In 2020, I wrote about George Lakoff’s book “Whose Freedom?: The Battle Over America’s Most Important Idea,” which described two models of freedom in America, the essentially dynamic liberal model and the conservative model trapped in the past:

“Progressive freedom is dynamic freedom. Freedom is realized not just in stasis, or at a single moment in history, but in its expansion over a long time,” Lakoff writes. “You cannot look only at the Founding Fathers and stop there. If you do, it sounds as if they were hypocrites: They talked liberty but permitted slavery; they talked democracy but allowed only white male property owners to vote. But from a dynamic progressive perspective, the great ideas were expandable freedoms.”

On the other hand:

“What makes them “conservatives” is not that they want to conserve the achievements of those who fought to deepen American democracy. It’s the reverse: They want to go back to before these progressive freedoms were established. That is why they harp so much on narrow so-called originalist readings of the Constitution — on its letter, not its spirit — on “activist judges” rather than an inherently activist population.”

Conservatives want to keep us tangled in the contradictions of the past, in the supposed name of  “freedom.” But real freedom comes through freeing ourselves from those contradictions, even if new contradictions arise. Once we understand freedom as dynamic, the prospect of new contradictions need not deter us from moving forward. It simply presents new challenges for us to meet.

Source: When liberal institutions fail us: “Envious reversal” and the Hamline …

Art instructor who showed images of Prophet Muhammad in class sues Hamline University; school officials say calling it …

Legitimate lawsuit and university admin having to scramble:

A former art instructor who showed images of the Prophet Muhammad in class has sued Hamline University, saying administrators defamed her and reneged on an offer to teach in the spring semester.

Attorneys for Erika López Prater announced Tuesday that she had sued the university for defamation, religious discrimination and breach of contract, among other things. Less than two hours later, the university’s president and board chair said in a joint statement that they had “learned much” about Islam and that the previous decision to describe the incident as Islamophobic was “flawed.”

The St. Paul private college found itself at the center of a painful debate over academic freedom and religious tolerance this month as news of the university’s decision not to renew López Prater’s contract spread across the globe. Instructors rallied around López Prater, saying the university’s decisions could have a chilling effect on professors who teach controversial material. A prominent local Muslim organization supported administrators, saying they had to act to protect students with diverse religious beliefs while a national Muslim group said it didn’t consider the teacher’s conduct wrong.

Scholars and religious leaders have sometimes disagreed about whether Islam permits images of the Prophet Muhammad. Some Muslims argue that the images are strictly prohibited to avoid idolization. Others have images of the prophet in their homes.

During a class in October, López Prater showed two centuries-old artworksthat depict the prophet receiving revelations from the angel Gabriel that would later form the basis for the Qur’an. López Prater said she provided a disclaimer in the syllabus for the course and spent “at least a couple minutes” preparing students for the images. One of her students, Aram Wedatalla, president of the Muslim Student Association, said she heard the professor give a “trigger warning,” wondered what it was for “and then I looked and it was the prophet.”

In the lawsuit, attorneys for López Prater said she shared her syllabus with a department chair and others at Hamline University and no one raised concerns about her decision to show the images.

“Students viewing the online class had ample warning about the paintings,” wrote attorney David Redden. “Students viewing the online class also had ample opportunity to turn away from their computer screens, turn their screens away from them, turn off their screens, or even leave their rooms before the paintings were displayed.”

Redden wrote that a department leader initially told López Prater “it sounded like you did everything right.”

A few weeks later, she received an email informing her that the university would no longer offer the spring semester online art history class she’d been in discussions about teaching. In early November, the university’s Office of Inclusive Excellence sent a campus email saying actions taken in her class were “undeniably inconsiderate, disrespectful and Islamophobic” — a statement disputed by some Muslim scholars and advocacy groups.

Redden wrote that Hamline University had made López Prater a “pariah,” quashed dissent from others seeking to support her, and allowed people to defame her in the student newspaper and during a “Community Conversation” event discussing Islamophobia in December. He accused the university of violating its own policy on academic freedom and of discriminating against López Prater “because she is not Muslim, because she did not conform her conduct to the specific beliefs of a Muslim sect, and because she did not conform her conduct to the religion-based preferences of Hamline that images of Muhammad not be shown to any Hamline student.”

Throughout it all, Redden wrote, López Prater “suffered immediate, severe, and lasting emotional distress, including various physical manifestations of that distress.”

The university declined to comment on the lawsuit Tuesday night. In a joint statement, university President Fayneese Miller and board Chair Ellen Watters didn’t discuss the lawsuit but said the flurry of news coverage had prompted them to “review and re-examine” the university’s response.

“Hamline is a multi-cultural, multi-religious community that has been a leader in creating space for civil conversations. Like all organizations, sometimes we misstep,” the pair wrote.

“In the interest of hearing from and supporting our Muslim students, language was used that does not reflect our sentiments on academic freedom. Based on all that we have learned, we have determined that our usage of the term ‘Islamophobic’ was therefore flawed,” they wrote. “We strongly support academic freedom for all members of the Hamline community. We also believe that academic freedom and support for students can and should co-exist.”

The university said it will host two events in the coming months: One will focus on academic freedom and student care, and the other on academic freedom and religion.

Source: Art instructor who showed images of Prophet Muhammad in class sues Hamline University; school officials say calling it …

CAIR Announces Official Position on Hamline University Controversy, Islamophobia Debate

Somewhat tortured language trying to appease everyone but ends up IMO largely in the right place.

Bu the qualification that “encouraged schools to consider the perspective of students who argue that displaying depictions of Prophet in the classroom is harmful and also unnecessary, given they represent a small and late-stage part of the vast Muslim art history” rather than encourage students to have a broader perspective:

The Council on American-Islamic Relations (CAIR), the nation’s largest Muslim civil rights and advocacy organization, today released an official, nationwide position statement in response to a controversy at Minnesota’s Hamline University involving visual representations of Prophet Muhammad (may peace be upon him) in the classroom.

“Although CAIR’s national headquarters normally does not comment on local issues that arise in states with one of our state chapters, we must sometimes speak up to clarify where our entire organization stands on issues of national concern,” said CAIR National Executive Director Nihad Awad. “This is one of those times.”

In its statement, CAIR reaffirmed its longstanding policy of discouraging the display of images of the Prophet while also noting that the academic study of ancient paintings depicting him does not, by itself, constitute Islamophobia. CAIR also said that it has seen “no evidence” that former Hamline University professor Erika Lopez Prater had bigoted intent or engaged in Islamophobic conduct in the classroom.

READ FULL STATEMENT HEREOfficial CAIR Statement on Islamophobia and Hamline University Controversy

In the statement, CAIR said in part:

“For almost thirty years, CAIR has been…exposing, countering, and preventing incidents of Islamophobia. This pervasive form of bigotry harms countless people here in America and around the world. We never hesitate to call out Islamophobia, but we never use the word Islamophobia lightly. It is not a catch-all term for anything that we find insensitive, offensive or immoral. To determine what constitutes an act of anti-Muslim bigotry or discrimination, we always consider intent, actions and circumstances…”

“Although we strongly discourage showing visual depictions of the Prophet, we recognize that professors who analyze ancient paintings for an academic purpose are not the same as Islamophobes who show such images to cause offense. Based on what we know up to this point, we see no evidence that Professor Erika López Prater acted with Islamophobic intent or engaged in conduct that meets our definition of Islamophobia… 

“Academics should not be condemned as bigots without evidence or lose their positions without justification.”

CAIR also expressed support for Muslim students at Hamline University and encouraged schools to consider the perspective of students who argue that displaying depictions of Prophet in the classroom is harmful and also unnecessary, given they represent a small and late-stage part of the vast Muslim art history.

CAIR encouraged school officials, academics, students and others involved in the situation at the local and national level to re-examine the controversy with open minds, and pledged to do what it can to help resolve the conflict.

[NOTE: CAIR noted that its statement today represents the sole official and authorized position of the organization. Any past comments which contradict the statement do not represent CAIR’s position.]

BACKGROUND

Islamic artwork and iconography dating back to early Muslim history center largely around calligraphy and geometric designs because of ancient teachings that limited, discouraged or outright forbade the drawing of living beings, especially Prophets and other figures whose images might be subjected to idolatry. No images of the Prophet were drawn during or anywhere near his lifetime.

Many Muslims therefore consider visual depictions of Prophet Muhammad (may peace be upon him) sacrilegious and offensive. However, Muslim artists in some regions of the world did draw paintings depicting the Prophet hundreds of years after his passing, and some Muslims use certain images as part of their religious practices.

Like many other American Muslim institutions, CAIR has condemned anti-Muslim extremists who create or display images of the Prophet to cause offense. CAIR and others have also respectfully discouraged mainstream institutions from showing images of him meant to be positive.

In 1997, sixteen major American Muslim groups, including CAIR, asked the U.S. Supreme Court to respect Islamic teachings and the sentiments of most Muslims by altering or removing a frieze that depicted the Prophet in an attempt to honor him as a “great lawgiver.”

However, Muslim groups did not describe the Court as Islamophobic because its intent was not bigoted.

Source: CAIR Announces Official Position on Hamline University Controversy, Islamophobia Debate

Wheeler et al: The role of Blackness in the Hamline Islamic art controversy

Interesting angle on context, that nevertheless, as author notes, doesn’t justify Hamline’s decision:

In early October, Erika López Prater, a professor at Hamline University in Minnesota, showed her online Islamic art history class an image of the Prophet Muhammad. A Muslim student in the class complained, citing Islamic tradition barring representations of the prophet. Other students joined in to express their view that this incident was part of a larger problem of Islamophobia on campus. The administration agreed, and eventually López Prater’s contract to teach during the spring semester was rescinded.

Since her firing, other professors, including Islamic studies scholars, have rightly rallied around her, drafting petitions and op-eds calling her dismissal a case of censorship trammeling academic freedom. 

We’ve heard little in the media coverage of this fiasco, however, about the students who initiated the complaint — why they objected, who they are and what their lives are like at Hamline and in the Twin Cities. Most of all, we need to understand why a perceived attack on the body and dignity of the Prophet Muhammad may have felt like an attack on them.

What has been written about the students has at times been unfortunate. The Chronicle of Higher Education, for instance, described Muslims who believe it is wrong to display images of Muhammad as ascribing to the “most extreme and conservative Muslim point of view.” Never mind that using the term “extreme” insinuates that these students are violent; the point is not to discuss the history of iconoclasm in Islam, but why these particular Muslims objected to the image when and where they did.

Our many decades of learning and experience as scholars of Black American Islam tell us that the missing context is race. The Muslim students were hurt by what they saw as an attack on the dignity of the prophet, whether they are doctrinally correct or not. This hurt paralleled the attacks on their dignity they experience daily as Black Muslims. Violence toward Black Muslims, rooted in slavery and Jim Crow and perpetuated in post-civil rights America, is an embodied phenomenon.

Attacks on the Prophet Muhammad’s body for someone living in this reality may be felt as an assault from the whole surrounding community. In an interview with The Oracle, the school’s student paper, Aram Wedatalla, who was in López Prater’s class, said, “as a Muslim, and a Black person, I don’t feel like I belong, and I don’t think I’ll ever belong in a community where they don’t value me as a member, and they don’t show the same respect that I show them.”

Black students account for 11% of Hamline’s student body, according to U.S. News & World Report — a smaller percentage than Black residents’ in Minneapolis (but about the same as African-descended people in the city’s metro area). In a forum at the university in early December, according to The New York Timesa student panel of Black Muslim women “spoke tearfully about struggling to fit in at Hamline.”

Beyond Hamline’s campus, Islamophobia in Minnesota is often colored Black: Muslims in Minnesota, especially Somalis, have faced discrimination and violence as well as state-sanctioned Islamophobia, often in the form of police harassment.

The Countering Violent Extremism program, launched by the Obama administration in 2011, aimed at partnering with the American Muslim community to reduce violence; it ended up marginalizing Musllms further. Minnesota Somalis were disproportionately affected by CVE, as the program was known. The Trump administration’s iteration of CVE “rebranded and refunded the programs, exacerbating ongoing racial discrimination, surveillance, and police brutality in the Twin Cities,” according to one study.

Minnesota’s Black Muslims have also watched as their elected representatives, Keith Ellison and Ilhan Omar, have received death threats and been called terrorists.

Anti-Muslim anti-Black violence is not just a problem in Minnesota. It’s an historic national issue. Black Muslims have been depicted in the media as irrational, violent and incompatible with American values for nearly 100 years. Look no further than how Malcolm X, Muhammad Ali (depending on the decade) or the Nation of Islam under Elijah Muhammad were described by journalists, academics and law enforcement. Consider how images of the Black Muslim boogeyman (and in later cases, boogeywoman) were used to justify harassment and discrimination against Black Muslims and by 9/11, all Muslims.

This is the context missing from the current conversation about López Prater’s firing.

The solution, however, is not be to ban images of the Prophet Muhammad in the classroom or to fire professors for doing their jobs. (No report has shown that the students even asked for López Prater to be fired.) There is immense theological diversity and varying views among Muslims on the permissibility of depicting Muhammad, as López Prater is aware; she made efforts to soften the blow to Muslim students who might be offended.

In the eyes of these Muslim students, she and the university did not go far enough, but rather than address students’ concerns as a community, the university administration chose to deal with its institutional Islamophobia as a problem between an overworked and underpaid contingent faculty member and marginalized students.

We live in a deeply Islamophobic society where Muslims face both interpersonal and institutional oppression that affects how young Muslims experience everyday life. This incident is simply the latest example. López Prater has unjustly lost her job, and Hamline University Muslim students have been vilified in the media, while the underlying problem — Islamophobia — still persists on Hamline’s campus and beyond.

(Kayla Renée Wheeler is an assistant professor of critical ethnic studies and theology at Xavier University. Edward E. Curtis IV holds the William M. and Gail M. Plater Chair of the Liberal Arts at Indiana University. The views expressed in this commentary do not necessarily reflect those of Religion News Service.)

Source: The role of Blackness in the Hamline Islamic art controversy

Paradkar: Professor’s firing over Prophet Muhammad art offensive — but not because of ‘wokeism’ or ‘cancel culture’

Good column:

The news that a private liberal arts university in the United States fired a professor for showing a painting of the Prophet Muhammad, calling it Islamophobic, should worry us all.

Not because “wokeism” has gone too far or because “cancel culture” has run amok, but because it overrides diversity among Muslims as well as threatens academic freedom and, therefore, democratic ideals. And because the chill is also happening in Canada.

There was nothing woke about Hamline University in Minnesota terminating the contract of Erika López Prater, an adjunct professor — meaning not tenured and working for low or no pay — who in October showed two medieval Islamic artworks in her global art history class. In one, the Prophet’s face is veiled. The other openly depicts Muhammad receiving the revelation of the Quran from the angel Gabriel. To be woke is to be awakened to societal injustices, not to further entrench them.

Nor was cancel culture at play at the university but rather the politics of appeasement, in this case by an institution that, like many, cloaks its reputational risk-management strategy in the language of inclusiveness.

“We have learned, over many years, that knowledge can be shared in a multitude of responsible, thoughtful and respectful ways,” wrote Fayneese Miller, the university’s president, and David Everett, associate vice-president for inclusive excellence, in a letter to the campus on Dec. 9. 

“Respect for the observant Muslim students in that classroom should have superseded academic freedom.”

A month prior, Everett is reported to have called the lesson “disrespectful and Islamophobic.”

If Islamophobia is hate and discrimination springing from prejudice against Islam or Muslims, how does showing an item that is a treasured part of Islamic history perpetuate that hate?

Many but not all Muslims believe visual representations of the prophet are forbidden, even though the Quran does not explicitly forbid it.

“If Islamophobia is characterized by anything that violates Islamic theology, then we have a problem, because that doesn’t respect academic freedom,” says Anver Emon, a professor at the University of Toronto and Canada Research Chair on Islamic Law and History.

“What is now being conveyed as Islamophobia is deference to certain forms of orthodoxy over others.”

By all accounts, the Hamline lecturer had informed the class beforehand what she was going to show and why, and invited them to bring any concerns to her. The class itself went smoothly.

Still, a student who was also president of the Muslim Student Association complained after the class.

“I’m like, ‘This can’t be real’,” she is quoted saying in the student newspaper. “As a Muslim and a Black person, I don’t feel like I belong, and I don’t think I’ll ever belong in a community where they don’t value me as a member, and they don’t show the same respect that I show them.”

I don’t know if the student didn’t hear the teacher prior to class, or saw it as an opportunity to make a point. But it’s clear that, to her, the lesson tied in with the larger issue of not belonging.

I can see that the university had to do something, or be seen to be doing something, and calculated that losing a staff member on contract was far easier than the hard work of changing its culture.

Wrong move. Students complain, as is their right. But universities that are increasingly treating students as customers need to remember they are not always right. Students’ feelings can and should be taken seriously and issues resolved through dialogue and building trust. Not dealt with through human resources. Not used willy-nilly to dictate the curriculum.

A similar class created a furor at the University of Alberta last year. The professor involved is on leave.

Jairan Gahan, an assistant professor, ran afoul of the Muslim Students Association last February, ironically during a class about Islamophobia, after she shared images of a few medieval miniatures commissioned by a Muslim ruler that depicted the Prophet.

Gahan told the Star she was helping students understand why Muslims are so outraged by the Charlie Hebdo cartoons of 2012 but may not react as strongly to other Islamophobic instances. “The point was to show this backlash (to Charlie Hebdo) is not just a theological debate. It’s more than that. It’s about moral injury.”

Given that the cartoon depicted the Prophet, she wanted to show historical diversity. To explain “how we have come to believe that there have been no images of the Prophet. Where is this coming from? What was the historical movement behind it? Is it absolute?”

Gahan says she never got to speak to the student or students who complained despite attempts to do so, found her online ratings as a professor affected and ultimately had a fruitless discussion with a Muslim organization that got involved. 

By contrast Emon, like many scholars, has shown images of Muhammad in class without offering prior warnings. He has a PowerPoint presentation that only looks at Islamic art and depictions of the Prophet. He has discussed and displayed the Danish newspaper Jyllands-Posten’s cartoons from 2005 depicting Muhammad.

The art depicts the Prophet as veneration, as honour and also for courtly purposes, he says. The cartoons, on the other hand, do so for denigration and to exemplify “the unbelonging of Islam and Muslims in Europe.”

“That’s the fundamental difference. And if we don’t account for that, then we ignore how embedded in every single depiction of the Prophet is a politics.”

To Emon, the situation at Hamline is not all that different from the hiring fiasco at U of T law school in 2020, when a major donor expressed objections to its plans to hire the academic Valentina Azarova, who had previously criticized Israel.

Demanding professors not discuss history or politics or religion because it is uncomfortable to some is an unreasonable restriction. 

This should not be confused with seeking an overhaul of language, curricula and practices that continue to harm the historically marginalized.

The former quashes intellectual inquiry. The latter seeks to refine critical thinking and ultimately uphold democratic principles of freedom, equality and justice. 

“We, the academy, are being accused of violating something sacred, not respecting something sacred, but we are not the keepers of theology, nor are we the protectors of theology,” says Emon. 

“We are here as academics to question everything. And if society can’t sustain that, then there goes democracy.”

Source: Professor’s firing over Prophet Muhammad art offensive — but not because of ‘wokeism’ or ‘cancel culture’

An art treasure long cherished by Muslims is deemed offensive. But to whom?

Abject surrender to extremists and a further closing of minds:

It is a beautiful painting found in a 14th-century Persian manuscript, the “Compendium of Chronicles”, a history of Islam. It shows the Prophet Muhammad receiving his first Quranic revelations from the angel Gabriel. Christine Gruber, professor of Islamic art at Michigan University, describes it as “a masterpiece of Persian manuscript painting”.

Last October, an instructor at Hamline University, Minnesota, displayed the painting during an online class on Islamic art. The instructor (who has not been named) had warned of what she was about to do in case anyone found the image offensive and did not wish to view it. No matter, a student complained to the university authorities.

David Everett, Hamline’s associate vice-president of inclusive excellence, condemned the classroom exercise as “undeniably inconsiderate, disrespectful and Islamophobic”. A letter written by Mark Berkson, chair of the department of religion, defending the instructor and providing historical and religious context for her actions, was published on the website of The Oracle, the university’s student newspaper, and then taken down because it “caused harm”. The instructor was “released” from further teaching duties.

It is a depressing but all too familiar story. From The Satanic Verses to the Danish cartoons to Charlie Hebdo, the last decades have spawned a succession of often murderous controversies over depictions of Islam deemed blasphemous or racist.

What is striking about the Hamline incident, though, is that the image at the heart of the row cannot even in the most elastic of definitions be described as Islamophobic. It is an artistic treasure that exalts Islam and has long been cherished by Muslims.

Yet, to show it is now condemned as Islamophobic because… a student says so. Even to question that claim is to cause “harm”. As Berkson asked in another (unpublished) letter he sent to The Oracle, after his first had been removed: “Are you saying that disagreement with an argument is a form of ‘harm’?”

That is precisely what the university is saying. “Respect for the observant Muslim students in that classroom should have superseded academic freedom,” wrote Fayneese Miller, the university’s president, and Everett in a letter to staff and students. In what way was showing the painting “disrespecting” Muslims? Those who did not wish to view it did not have to. But others, including Muslims who desired to view the image, had every right to engage with a discussion of Islamic history.

Universities should defend all students’ right to practise their faith. They should not allow that faith to dictate the curriculum. That is to introduce blasphemy taboos into the classroom.

Hamline has effectively declared whole areas of Islamic history beyond scholarly purview because they may cause offence. And not just Islamic history. As Audrey Truschke, associate professor of South Asian history at Rutgers University, observed, Hamline’s action “endangers… professors who show things in class, from premodern Islamic art to Hindu images with swastikas to Piss Christ”.

One can only wonder that the university bureaucrats who declared representations of Muhammad to be proscribed by Islam did not ask themselves why, if this was true, there were figurative Islamic paintings to show the class in the first place? There has developed a historical amnesia about the many Islamic traditions, especially Persian, Turkish and Indian, which have celebrated portrayals of Muhammad; portrayals found in manuscripts, paintings, postcards, even in mosques.

While there have always been debates on this issue within Islam, the strict prohibition on picturing Muhammad is primarily Sunni and relatively recent. The growth of Wahhabism, a fundamentalist strand of Islam that developed in the 18th century and came eventually to be the ideological cement of modern Saudi Arabia, has been particularly important. Saudi petrodollars have allowed the fanatically austere character of Wahhabism to find greater global purchase.

Even so, Gruber observes, as late as 2000, a senior Saudi-based legal scholar recognised certain portrayals of Muhammad as both “permissible and laudable”. Only in the wake of 9/11, and the emergence of more fundamentalist forms of Islam, did the absolute prohibition of images of Muhammad become more widely accepted.

The actions of Hamline University are a threat not just to academic freedom but to religious freedom, too. They implicitly disavow the variety of traditions that constitute Islam and condemn those traditions as in some sense so bigoted that they cannot be shown in a class on Islamic art history. University bureaucrats are, as non-Muslims, taking part in a theological debate within Islam and siding with the extremists.

That is why, the historian Amna Khalid observes, it is as a Muslim she is most offended by Hamline’s actions that have “flattened the rich history and diversity of Islamic thought” and “privileged a most extreme and conservative Muslim point of view”. In an age in which there are demands for the syllabus to be “decolonised”, she adds, “Hamline’s position is a kind of arch-imperialism, reinforcing a monolithic image of Muslims propounded by the cult of authentic Islam”.

Perhaps the most damaging aspect of Hamline’s action is the use of the language of diversity to eviscerate the very meaning of diversity. This is an issue not confined to Hamline. Too many people today demand that we respect the diversity of society, but fail to see the diversity of minority communities in those societies. As a result, progressive voices often get dismissed as not being authentic, while the most conservative figures become celebrated as the true embodiment of their communities.

Here, liberal “anti-racism” meets rightwing anti-Muslim bigotry. For bigots, all Muslims are reactionary and their values incompatible with those of liberal societies. For too many liberals, opposing bigotry means accepting reactionary ideas as authentically Muslim; that to be Muslim is to find the Danish cartoons offensive and the depiction of Muhammed “harmful”. Both bigots and liberals erase the richness and variety of Muslim communities.

The Hamline controversy shows how the concepts of diversity and tolerance have become turned on their head. Diversity used to mean the creation of a space for dissent and disagreement and tolerance the willingness to live with things that one might find offensive or distasteful. Now, diversity too often describes a space in which dissent and disagreement have to be expunged in the name of “respect” and tolerance requires one to refrain from saying or doing things that might be deemed offensive. It is time we re-grasped both diversity and tolerance in their original sense.

Kenan Malik is an Observer columnist. His book, Not So Black and White, is published by Hurst (£20).

Source: An art treasure long cherished by Muslims is deemed offensive. But to whom?