In our post-Reagan, and post-Iranian Revolution moment, black and Muslim bodies have become increasingly entangled as sources of fear, nationalist narratives, and racial scapegoating. Amid the ongoing war on drugs and the war on terror, blackness and Muslimness is consistently used to mobilize consent for and support for increased state power, systemic policing, and a culture of violence. According to Vijay Prashad, “the international Muslim terrorist and the domestic black criminal stand as alibis for revanchism. Race free criminals (read white) are free from extra detection or from pious fulminations of the political class” (Prashad 2003, p. 75). Sohail Daulatzai similarly elucidates the dialectics and shared experiences in “Are we all Muslim now? Assata Shakur and the Terrordome,”
As scholars such as Michelle Alexander and Khalil Gibran Muhammad have noted, once the US state defined particular activities as “crime”, it then sought to crack down and control it. As the fears of the “black criminal” were stoked, the political will was generated in mainstream America to pass repressive laws that normalised “crime” and linked it almost exclusively to blackness, making all black people suspicious, and leading to state-sanctioned racial profiling, the creation of an urban police state, and the explosion of a massive prison archipelago that Michelle Alexander has called “the new Jim Crow”.
The “war on terror” has used the face of the “Muslim terrorist” to narrow the scope of dissent, expand state control, and prevent the creation of alternatives to exploitation and war.
Similarly in the “war on terror”, the US has named particular acts as “terrorism”, delegitimising them and generating the political will through fear to normalise the figure of the “terrorist”, making Muslim-looking people, and even Muslim countries themselves, suspects under deep suspicion in their struggles for self-determination.
As a result, the need for state security created broad “anti-terrorism” measures that expanded state power, making Muslim countries subject to invasions, sanctions, bombs, and drones, and making Muslim bodies subject to indefinite detention, torture, surveillance and targeted murder, as Muslims got marked as people who don’t have the right to have rights.
While the system of mass incarceration used the face of the “black criminal” to legitimise itself and disproportionately target black men and women, the tentacles of incarceration soon expanded to include Latinos and other poor people in its orbit.
Similarly, the “war on terror” has used the face of the “Muslim terrorist” to narrow the scope of dissent, expand state control, and prevent the creation of alternatives to exploitation and war. But while the Muslim has been the face of this, the logic of “terror” is now being used to target other countries and also black and brown communities domestically, as the fluid category of the “terrorist” continues to morph.
These entrenched narratives, racializing stereotypes, and white racial framing not only impact policy, but cultural representations, public discourse, and everyday interactions. It results in stop and frisk, and racial profiling on the streets and in airports; it contributes to daily microaggressions and flattened cultural representations. Black or brown bodies and criminal are imagined as interchangeable, Muslim and terrorist are positioned as inseparable, reflecting the entrenched nature of “post-racial” hyper racial American discourse and practice.
The connection between black and Muslim subject is not limited to white supremacist discourse, state violence, and shared racialization, but is equally evident in the “political and cultural history of Black Islam, Black radicalism, and the Muslim Third World.” Herein lies the focus of Sohail Daulatzai’s Black Star, Crescent Moon: The Muslim International and Black Freedom beyond America (University of Minnesota Press 2012), a very important work that pushes readers to look at resistance, to look at a history of radicalism, and examine Diasporic challenges to white supremacy.
Black Star, Crescent Mood decenters whiteness and antiblack racism, spotlighting the shared histories and interconnections beyond policing and state violence in the everyday resistance and the ongoing struggle for justice. Challenging the conventional narratives surrounding the black freedom struggle, that centers nonviolence, the South, Christianity, and civil rights, Dr. Daulatzai centers everyday resistance, the black radical imagination, the Muslim International in an exploration of artists, activists, intellectualist, and change agents.
Black Star, Crescent Moon begins its discussion of the Muslim International subject, black internationalism, and the “Afro-Diasporic imagination” (xxxiii) with Malcolm X. Given Malcolm’s position within the Nation of Islam, given his internationalist politics, and given his symbolic meaning into present-day discourses, it is no surprise that Malcolm anchors this work. “In mapping Third World solidarity against white supremacy onto the racial terrain of the United States and arguing that the man who colonized Pakistan, Afghanistan, the Congo, and Kenya is the ‘same man’ who is in Georgia, Michigan, California, and New York, Malcolm radically challenged the sacred narrative of American exceptionalism” (29). Reflecting on the dialectics between Malcolm’s faith, his transnationalist politics, and Black Islam Dr. Daulatzai narrates a history whereupon Malcolm expanded the political imagination, foregrounding alternative freedom dreams and new methods and approaches to turning those dreams into reality.
Black Star, Crescent Moon builds upon its discussion of Malcolm to highlight the ways the Muslim International and transnational black politics are equally visible with respect to the Battle of Algiers (which would be highly influential to the activists and black cinematic imagination), Sam Greenlee’s The Spook who Sat by the Door and Baghdad Blues, and Frantz’s Fanon’s The Wretched of the Earth and Black Skin, White Mask all of which furthered the message of a black radical politics anchored in internationalism, decolonization, and an imagined (and real) community based in Afro-Asian (Afro-Muslim) solidarity. “Black cultural activists in the Civil Rights and Black Power era positioned themselves, their art, and their politics in relation to the anticolonial and anti-imperialist movements taking place in Asia, Africa and Latin America, writes Dr. Daulatzai. “The Cold War inaugurated a new phase in American power that simultaneously sought to contain both the anticolonial impulses emanating from the Third World and a burgeoning Civil Rights and Black Power movement domestically” (69). The power of this work rests not just with its detailed textual analysis, its examination of aesthetics, and the Diasporic context, buts its emphasis on geo-politics and the responsive utterances from black radicalism.
Black Star, Crescent Moon ends with discussions of both Muhammad Ali and hip-hop, making clear how each has used, deployed, and been influenced by the intersections of blackness, Islam, and transnational radical politics. “In reinvigorating and reshaping the already vibrant space of the Muslim International, these artists and activists force and compel the Muslim international to be a broad and inclusive space that understand the overlapping histories and interconnected struggles that not only have shaped the modern world” Their work “also shape the conscience of the Muslim International as a site for radical justice and equality” (196). Like Malcolm and the Battle of Algiers, Ali and Greenlee, Immortal Technique and Jasiri X, Black Star, Crescent Moon and Sohail Daulatzai expands our radical imagination, indexing transnational dreams and pathways to freedom, justice, and social transformation. Powerful and inspiring, this work reshapes our understanding of social movements and the ongoing struggle for black freedom.
In what ways is black internationalism not inherently radical? What sorts of examples demonstrate the liberal or conservative use of black internationalism?
How and why is Black Islam seen as a threat to post-civil rights state formation?
What are the connections between culture wars, “Islamic terrorist” and “black criminal”? How do they exist at a crossroads?
What is the significance of the connection between Killer of Sheep (and the LA Rebellion) and Battle of Algiers?
How did technological shifts impact the black radical imagination and the Muslim International?
How do we account for antiblack racism within Asia and the Middle East given these histories?
Why is the Caribbean and Latin America (or is it) not as prominent within these Diasporic and transnationalist black radical formations
How does India.Arie “ghetto” fit within this discussion?
One thought on “The Transnational Black Imagination: The Muslim International and Sohail Daulatzai’s Black Star and Crescent Moon”
Reblogged this on bayareaintifada.