{"id":35661,"date":"2026-02-12T15:30:00","date_gmt":"2026-02-12T14:30:00","guid":{"rendered":"https:\/\/pluriel.fuce.eu\/videos\/political-and-religious-anarchism-in-the-musical-forms-of-rebel-islam-from-rap-to-taqwacore\/"},"modified":"2026-07-25T08:11:02","modified_gmt":"2026-07-25T07:11:02","slug":"political-and-religious-anarchism-in-the-musical-forms-of-rebel-islam-from-rap-to-taqwacore","status":"publish","type":"videos","link":"https:\/\/pluriel.fuce.eu\/en\/videos\/political-and-religious-anarchism-in-the-musical-forms-of-rebel-islam-from-rap-to-taqwacore\/","title":{"rendered":"Political and religious anarchism in the musical forms of rebel Islam: from rap to taqwacore"},"content":{"rendered":"

Paper presented at the fifth international congress of the University Platform for Research on Islam (Pluriel)<\/a>, held in Cordoba from 10 to 14 February 2026 on the theme “Ethics and Aesthetics in Islam”. Jaime Flaquer<\/strong> (Loyola Andaluc\u00eda University, Granada) spoke as part of Theme 2 \u2014 Aesthetics, ethics and everyday life: prohibitions, representations and practices.<\/em><\/p>\n

Summary of the paper<\/h3>\n

Over the second half of the twentieth century, many musical expressions of protest emerged in the United States, in reaction to a capitalist and racist system that was marginalising large sections of the population. These currents also generally expressed a rejection of religion, perceived as an integral part of the established order. Hip-hop, rap and punk rock embody the most radical forms of this phenomenon, deeply anchored in the urban peripheries.<\/p>\n

These musical styles have also developed within marginalised Muslim communities in the United States, going as far as integrating more electronic forms such as trap or more extreme ones such as punk rock. Yet the appropriation of this culture by these communities is not always accompanied by a rejection of religion. On the contrary, one often observes a reaffirmation of Muslim identity, in resonance with certain anarchist tendencies within Islam \u2014 to the point of the emergence of what has been called taqwacore<\/em>, a fusion of taqwa<\/em> (piety) and hard rock. In this way, a transgressive aesthetics becomes a vehicle for the expression of a countercultural ethics.<\/p>\n

In this paper we will: (1) describe these movements through the analysis of their songs and the examination of a few interviews; (2) observe how they have spread in Europe \u2014 including in Spain \u2014 as well as in Muslim, African or Asian countries, notably in Indonesia; (3) study the way in which the artists perceive the compatibility between this type of music and their Muslim identity; and (4) analyse how the aesthetics of provocation becomes the vector of an ethical and political discourse.<\/p>\n

\nRead the panel synthesis by Piotr S\u0119kowski<\/summary>\n
\n

This synthesis was written in the aftermath of the congress by Piotr S\u0119kowski<\/strong>, under the Pluriel student-fellowship programme. It covers all three papers of the panel.<\/em><\/p>\n

Aesthetics as a forum for negotiating Islam’s public presence<\/h4>\n

The panel on aesthetics, ethics and everyday life was interdisciplinary in nature and demonstrated scholarly consensus on how aesthetic forms \u2014 sound, music, dress, ritual and the performance of memory \u2014 become vehicles for ethical, identity-related and political content. The three presentations showed that contemporary conflicts related to religion often do not focus directly on doctrine, but rather on the ways it is embodied and manifested. In this way, the panel presented religion not only as a system of beliefs, but also as a practice that is sensuously tangible, social and politically negotiated.<\/p>\n

The panelists were Jaime Flaquer, Dirk Ansorge and R\u00e9mi Caucanas. Their presentations, though addressing different contexts, can be read as three variations on the theme of aesthetics as a site for negotiating Islam’s public presence: the aesthetics of rebellion in countercultural music, religious audibility through the adhan, and the performative memory of the Mal\u00eas rebellion. In each of these cases, religion emerged not only as doctrinal content but also as a form of presence: in sound, rhythm, attire, bodily visibility, collective memory or the occupation of symbolic space.<\/p>\n

The first dimension of this question, presented in French by Jaime Flaquer, concerned the aesthetics of rebellion as a means of identity affirmation. Flaquer analysed the countercultural musical forms developed by Muslim communities in the United States and Europe, particularly rap, trap, punk and taqwacore. He demonstrated that these genres do not necessarily lead to a break with religion, as was often the case in certain parts of Western counterculture; on the contrary, they can become a tool for affirming Muslim identity and expressing demands for dignity, equality and justice. Particularly significant was the presentation of Islam as a symbolic resource used in the critique of liberal capitalism, heteropatriarchy and social homogenisation. The aesthetics of provocation \u2014 encompassing music, the body, clothing and styling \u2014 was presented as a form of political resistance, but also as a field for reinterpreting the very normativity of Islam.<\/p>\n

The second aspect concerned religion as a sensory and spatial phenomenon, particularly in its acoustic dimension. Dirk Ansorge, in a presentation delivered in English, discussed the public adhan as a religious practice situated at the intersection of freedom of religion, legal regulations and the social perception of Islam. Particularly significant was his characterisation of the adhan as a form of “acoustic occupation of space” \u2014 a term that aptly captures the way in which the call to prayer is sometimes perceived by parts of non-Muslim Western societies. The presentation demonstrated that contemporary disputes typically do not concern the content of the call itself, but rather its volume, range and impact on shared public space. The debate thus shifts from the level of theology to the level of managing the audibility of religion. Another significant contribution of the presentation was demonstrating the historical depth of these tensions and analysing attempts to transform the adhan from an acoustic phenomenon into a visual one \u2014 for example, through the “adhan light,” which raises questions about the relationship between aesthetics, authority and the presence of religion.<\/p>\n

The third perspective, presented in French by R\u00e9mi Caucanas, concerned the aesthetics of memory and resistance. Caucanas, analysing the memory of the Mal\u00eas rebellion in Brazil and its contemporary commemorations \u2014 particularly in the context of the Afro-Brazilian carnival \u2014 presented aesthetics as a tool for processing the history of violence, slavery and religious marginalisation. The rebels’ white attire, ritual symbols, amulets, the Arabic language and contemporary forms of performative commemoration were interpreted as elements constituting both historical memory and today’s forms of Black activism. However, the paper did not reduce the Mal\u00eas rebellion to a simple model of jihad or to an unambiguously formulated Islamic theology of liberation; on the contrary, it emphasised the complexity of the relationships between Islam, resistance to slavery, criticism of forced Christianisation and tactical alliances with other African groups. As a result, the memory of the Mal\u00eas was presented as a space in which aesthetics not only represents resistance, but actively participates in its realisation.<\/p>\n

The discussion clearly brought to light the issue of Islam’s public presence, a theme common to all three presentations. The panel demonstrated that disputes concerning Islam in today’s public sphere often revolve around forms of expression deemed too loud, too visible or too provocative. This applies to countercultural music, public calls to prayer and the aesthetics of memory referencing the Muslim past. One of the panel’s main scholarly achievements is demonstrating that aesthetics is not merely an adjunct to religion, but one of the fundamental forms of its social existence. The speakers convincingly showed that it is precisely in the aesthetic sphere \u2014 in sound, image, rhythm, costume and performance \u2014 that tensions between norm and freedom, tradition and transgression, visibility and exclusion are revealed. Despite the diversity of contexts, the panel proved coherent and intellectually inspiring, demonstrating that aesthetics constitutes one of the privileged spaces in which religion today negotiates its presence, meaning and legitimacy in everyday life. The final question remains open: to what extent can one speak of a Muslim ethics of resistance as a general category, and at what point should one rather speak of local and historical configurations of resistance?<\/p>\n<\/p><\/div>\n<\/details>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"date_tournage":"","lieu":"","nature_evenement":"","vt_type":"Conf\u00e9rence","vt_yt_views":74},"video_collection":[854],"class_list":["post-35661","videos","type-videos","status-publish","hentry","video_collection-congres-de-cordoue-2026"],"date_tournage":"","yoast_head":"\nPolitical and religious anarchism in the musical forms of rebel Islam: from rap to taqwacore - Pluriel<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pluriel.fuce.eu\/en\/videos\/political-and-religious-anarchism-in-the-musical-forms-of-rebel-islam-from-rap-to-taqwacore\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Political and religious anarchism in the musical forms of rebel Islam: from rap to taqwacore - Pluriel\" \/>\n<meta property=\"og:description\" content=\"Paper presented at the fifth international congress of the University Platform for Research on Islam (Pluriel), held in Cordoba from 10 to 14 February 2026 on the theme “Ethics and Aesthetics in Islam”. 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