分类： culture

Against a backdrop of rising anti-Muslim rhetoric pushed by far-right activists and mainstreamed by influential British political figures, a new academic book has emerged as a critical, evidence-based corrective to widespread ignorance and bigotry surrounding modern Islamic thought. Last weekend, far-right agitator Tommy Robinson drew crowds to a central London rally peddling the false claim that white Britons face existential harm, echoing longstanding conspiracy theories that falsely frame Islam as incompatible with Western society and cast any pushback against these lies as an attack on free speech. This toxic narrative is not limited to the far-right fringe: figures across the mainstream political spectrum, from Nigel Farage of Reform UK to senior Conservative Kemi Badenoch, along with large sections of the British media, regularly amplify anti-Muslim falsehoods built on ignorance, sustained by conspiracy, and unmoored from factual analysis.

Against this misleading public discourse, Oxford scholar Fitzroy Morrissey’s *The Renewal of Islam: Thinkers and Believers of the Modern Era* offers an accessible, deeply researched historical overview of modern Islamic reformation movements that directly counters these distorted popular narratives. Rooted in the Arabic concept of tajdid, which refers to centuries of efforts to renew Islamic faith and practice, the book traces a continuous intellectual lineage of Islamic reform stretching back to the late 16th century.

Morrissey begins with the Ottoman Damascus-based scholar Abd al-Ghani al-Nabulusi, who challenged 16th-century religious puritanism to defend controversial practices including coffee drinking, smoking, music appreciation, and saint grave visitation. Crucially, al-Nabulusi argued that all Muslims, not just elite initiated Sufi leaders, had equal access to religious practice and knowledge, rejecting the idea that religious elites should hide core teachings from the general public. This position made him an early proponent of two defining themes of modern Islamic reform: egalitarianism that breaks down rigid religious hierarchies, and a call to return to original scriptural sources instead of blindly accepting inherited scholarly opinions. A key argument running through the book is that modern Islamic reformers drew far more heavily from classical Islamic tradition than most Western scholarship has previously acknowledged, particularly the metaphysical thought of medieval Andalusian mystic Ibn Arabi and his doctrine of the “unity of existence,” which holds that all existence is a reflection of God’s singular true being.

Morrissey brings long-overdue nuance to thinkers that historians have often incorrectly lumped together as generic fundamentalists. For example, 18th-century Indian scholar Shah Wali Allah, frequently stereotyped as a rigid puritan, was actually an admirer of Ibn Arabi who sought to harmonize scripturalism and mysticism. By contrast, Muhammad ibn Abd al-Wahhab, founder of the movement that would become the ideological foundation of Saudi Arabia’s ruling House of Saud, rejected Ibn Arabi’s thought, opposed popular Muslim practices like saint veneration, and labeled competing Muslim thinkers heretics. Today, the House of Saud remains a key Western ally even as it continues to export its strict interpretation of Islam globally.

The book also unpacks the complex history of the Deobandi movement, which emerged in 19th-century northern India after the collapse of Mughal rule. With nearly half of all British mosques following Deobandi tradition, the movement is regularly framed as a uniformly fundamentalist threat in Western media. Morrissey corrects this oversimplification: Deobandis are traditional adherents of the Hanafi school of Islamic law, a position that puts them at odds with Abd al-Wahhab’s rejection of established legal schools. While the movement does adhere to conservative positions on religious innovation, it also embraces a restrained form of Sufism, and the fact that the Taliban emerged from Deobandi tradition does not represent the views of the global Deobandi community.

The book’s most consequential contribution is its detailed, nuanced analysis of how modern Islamism emerged from earlier Islamic modernist thought, tracing transnational intellectual connections between disparate Sunni and Shia thinkers across different regions. Early foundational figures like Jamal al-Din al-Afghani, a Persian rationalist philosopher labeled a subversive by the British Empire, traveled across the Muslim world and Europe to advocate for Muslim unity against European colonialism. His student Muhammad Abduh, an Egyptian Islamic modernist exiled for opposing British rule, argued for gender equality, a position that foreshadows contemporary feminist Islamic scholarship that shows many patriarchal teachings associated with Islam were added by later scholars, not found in the Quran itself. This lineage of thought shaped the Aligarh Muslim University in India, which educated a generation of Muslim leaders involved in the early 20th-century Khilafat Movement and the All-India Muslim League that led to Pakistan’s independence, including the revered poet-philosopher Muhammad Iqbal, who was even praised as a genius by British novelist E.M. Forster. Morrissey notes that Iqbal’s argument that God alone holds sovereignty, in opposition to modern secular nationalism, became the core ideological concept of Islamism, defined as the movement to renew Islam through political action.

This detailed historical analysis directly undermines the clumsy definition of “Islamist extremism” put forward by the British government’s 2024 social cohesion strategy, which frames Islamism as a monolithic, inherently violent threat that seeks to impose a global Islamist state. The book shows that the reality is far more diverse. For example, Abu l-’Ala’ Mawdudi, who claimed Iqbal’s intellectual legacy and founded Pakistan’s Jamaat-i Islami, shaped the thought of Egypt’s Muslim Brotherhood, which was founded in 1928 by Sufi scholar Hasan al-Banna as a movement focused on peaceful social reform through education and outreach. It was only after the Brotherhood was violently suppressed by Egyptian nationalist leader Gamal Abdel Nasser in the 1950s that a minority faction led by imprisoned scholar Sayyid Qutb developed a radical, armed vision of Islamism that would later inspire global jihadist movements. Most Brotherhood members followed the lead of figures like Yusuf al-Qaradawi, who argued that Islam was compatible with democracy and emphasized the flexibility of divine law to adapt to modern contexts. Similarly, Tunisian Brotherhood-affiliated leader Rached Ghannouchi embraced democratic politics after the Arab Spring, moved away from traditional Islamism to embrace “Muslim democracy,” and is now a political prisoner under Tunisia’s authoritarian current regime.

Morrissey also brings valuable perspective to Shia Islamism, showing that Iran’s Ayatollah Khomeini, founder of the Islamic Republic of Iran, shared core ideological commitments with Sunni Islamists, including a belief in God’s sovereignty, and even drew on Sunni scholarly thought like Ibn Arabi’s mystical framework to shape his doctrine of wilayat al-faqih, or the rule of the jurist as the guardian of the public good. Khomeini, who argued women deserved equal political and economic rights including the right to vote, work, and own property, nevertheless mandated compulsory headscarves and framed opposition to this rule as Western-backed corruption. Khomeini’s ideology has been widely influential among Sunni Islamists, but it has also faced sharp criticism from leading Shia scholars, including prominent Iraqi scholar Ayatollah Ali Sistani and dissident Iranian scholar Ayatollah Hossein Ali Montazeri, who argued that Islam requires separation of powers and rejects concentration of authority in a single fallible leader.

While the book is a straightforward work of intellectual history that leaves some readers wanting more direct engagement with contemporary anti-Muslim discourse, it stands as an essential counterpoint to the pernicious falsehoods that dominate Western public conversation about Islam. At a time when far-right and great replacement theory narratives are gaining traction and becoming increasingly dangerous across Britain and the West, Morrissey’s work fills a critical gap in public understanding, offering a nuanced, historically grounded alternative to ignorance and bigotry.

Renowned Irish author Sally Rooney, a long-standing high-profile supporter of the Palestinian cause and the Boycott, Divestment and Sanctions (BDS) movement, has sparked intense global controversy after confirming her latest novel *Intermezzo* will be released in a Hebrew translation, a decision that has split opinion across social media and activist circles.

Rooney first drew international attention to her pro-Palestine stance in 2021, when she rejected a translation offer from Israeli publisher Modan for her third book, adhering to BDS’ call for a cultural boycott of complicit Israeli institutions. That decision cemented her reputation as one of the most prominent literary figures backing Palestinian rights, and she would later sign a 2024 pledge from the Palestine Festival of Literature alongside more than 1,000 other authors, committing to avoid working with Israeli cultural institutions that remain silent on the oppression of the Palestinian people.

On Tuesday, +972 Magazine announced that after five years of negotiations with Rooney to align the project with boycott principles and Palestinian demands for freedom, equality and justice, the Hebrew translation would be published in partnership with small Israeli publishing house November Books and activist group Local Call. The translation will be distributed across both Israel and Palestine.

In a Guardian interview timed to the announcement, Rooney clarified that her 2021 boycott was never targeted at the Hebrew language itself, only at institutions complicit in Israeli violations of Palestinian rights. “Though my refusal to work with complicit Israeli publishing houses made the contractual side of things more complex, I was, of course, never boycotting the Hebrew language or any language. I’m very pleased that *Intermezzo* will soon be available in Hebrew with November Books,” she said.

Rooney went on to outline why November Books meets BDS compliance criteria: the independent press does not operate in illegal Israeli settlements in the occupied West Bank, accepts no Israeli state funding, and explicitly endorses the international legal rights of the Palestinian people, including the right of return. She also confirmed that she remained in regular consultation with the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), a founding BDS coalition member, throughout the process to ensure the project upheld both the letter and spirit of the institutional boycott. +972 Magazine executive director Haggai Matar later reaffirmed this consultation on social media, noting that PACBI guidelines explicitly state mere affiliation of individual Israeli cultural workers to an Israeli institution does not automatically trigger a boycott. After reviewing 98 different Israeli publishing houses, the project partners concluded November Books was the only publisher that did not meet the boycott criteria of being complicit in violating Palestinian rights.

Despite these justifications, the decision has drawn sharp criticism from prominent Palestinian writers, activists and scholars, who have raised a range of objections. Prominent Palestinian writer and activist Mohammed El-Kurd condemned the move as “creating loopholes to bypass sanctions”, arguing that the core purpose of cultural sanctions is to pressure Israeli society to push for policy change from their leadership. He also pushed back against the framing of the project as an effort to counter claims that BDS is antisemitic, writing: “We are years into a genocide and it is as if we have learned nothing.”

Palestinian-American author and activist Susan Abulhawa echoed this criticism, noting that Rooney’s work does not center Palestinian liberation or anti-colonial themes, and arguing that the five-year effort to secure a Hebrew translation is inconsistent with BDS mission. She also highlighted the double standard at play, pointing out that her own work, which centers Palestinian experiences, has never received the same level of interest for Hebrew translation. Other critics have argued that even if the project technically complies with BDS guidelines, it undermines the broader goal of cultural isolation of Israel, and that framing the collaboration with a small dissident Israeli publisher acts to normalize the status of Israeli occupation. Middle East scholar Khaldoun Khelil dismissed the move as a “meaningless gesture” that delivers no material benefit to Palestinians, while other social media users have gone as far as labeling the decision a “disgusting, insulting betrayal” of the Palestinian cause.

Defenders of the project, however, have pushed back against these criticisms. Matar emphasized in a statement to Middle East Eye that every step of the project was carried out in full alignment with BDS guidelines, pointing to Rooney’s Guardian interview and +972’s public explanation for the collaboration. A small number of social media users also expressed support, describing +972 Magazine as one of the most courageous independent media outlets working across the Israel-Palestine region, and calling the union of a high-profile literary figure with an independent, pro-Palestine Israeli press a positive development.

As of publication, Middle East Eye has reached out to both Rooney’s representative and the BDS national movement for additional comment, and the article has been updated to include Matar’s full statement.

On Monday, industry experts and scholars gathered in Beijing for a special seminar centered on the new Belt and Road Initiative documentary *Journey Across Jungle: The China-Laos Railway*, where they collectively argued that well-crafted Chinese documentaries have emerged as a powerful, accessible tool to advance people-to-people connectivity and more effective international communication between China and global audiences.

As a flagship media project developed under the framework of the Belt and Road Initiative, *Journey Across Jungle: The China-Laos Railway* adopts a unique narrative perspective that follows well-known British photographer Thomas Heaton as he travels the full length of the cross-border railway between China and Laos. To capture authentic, grounded stories, the production crew completed three separate on-location filming trips across both countries, documenting the daily lives and personal experiences of railway builders, on-site operators, and local communities living alongside the rail line.

Following its production, the documentary made its global premiere between April 14 and 16, airing simultaneously on China’s CCTV-9 documentary channel and the Lao National Television network. An English-language adaptation of the film has also been distributed to more than 100 countries and regions worldwide, bringing the story of the China-Laos Railway and the local communities it connects to a truly global viewership.

During the seminar, participants focused on how the visual storytelling format used in documentaries helps break down cultural and language barriers that often hinder cross-cultural communication, allowing international audiences to engage with firsthand, human-centered stories rather than abstract information. Experts noted that this approach to storytelling, centered on ordinary people’s experiences, helps build greater mutual understanding and empathy between China and the rest of the world, positioning high-quality Chinese documentaries as a core asset for strengthening global cultural exchange.

On April 26, 2026, Shanghai played host to the Shanghai sub-forum of the 2026 World Dialogue on Art and Technology, a gathering that spotlights the coastal metropolis’ long-term ambition to carve out its status as a leading international cultural hub and global design capital. Held under the guidance of the China Federation of Literary and Art Circles and co-organized by Shanghai University and a cohort of partner institutions, the one-day event convened scholars, industry practitioners and educators from across the globe to unpack cross-cutting questions at the intersection of art, technology and cultural development. Centered on two core themes, the forum pooled international research insights and real-world case studies to investigate how cutting-edge digital tools can both supercharge innovation in folk arts and strengthen efforts to preserve centuries-old traditional cultural practices, while mapping out new collaborative pathways for integrating technology and creative design in the increasingly digital 21st century. Speaking at the opening of the forum, Hu Dawei, Deputy Party Secretary and Vice President of Shanghai University, underscored the institution’s longstanding dedication to breaking down silos between academic disciplines. The university, he noted, has prioritized combining strengths in science and engineering with expertise in humanities, social sciences and the arts to align with national development strategies and advance Shanghai’s ongoing urban transformation. “This gathering is more than an academic exchange—it is a starting point for boosting the revitalization of China’s outstanding traditional culture and expanding its global footprint through cross-civilizational dialogue and mutual learning,” Hu added. Over the course of the event, participants delved into rich, in-depth discussions across a range of high-priority topics, from the broader integration of science and art and digital innovation in folk arts to cultural heritage revitalization and the digitization of cultural and museum collections. Attendees also shared a diverse set of research outcomes that merge groundbreaking theoretical innovation with hands-on practical application, laying a foundation for future collaborative projects across sectors and borders. To cap off the forum, organizers also officially launched the Eighth China Creativity Festival for College Students. Organized by the Shanghai Municipal Education Commission, the annual festival is designed to establish a national platform for emerging creative talent from colleges and universities across the country to showcase their original work, while encouraging young innovators to contribute fresh perspectives and new energy to the creative expression and forward-thinking development of China’s vast and diverse cultural heritage.

From April 24 to 26, 28 influential global digital content creators gathered in Qufu, the birthplace of Confucius located in Jining, Shandong Province, for a three-day cultural immersion event titled “Nishan Sacred Land: A Vision Shared with the World”. The event, designed to showcase China’s profound traditional heritage to an international audience, brought the creators through a curated journey of historical sites and folk cultural experiences unique to the region.

On the second day of the event, the group kicked off their exploration at the Nishan Confucian Temple, the cradle of Confucianism that has stood for centuries on the sacred Nishan Mountain. They walked through the sprawling temple complex, visiting iconic historic landmarks including the grand Dacheng Hall, the main ceremonial hall dedicated to Confucius, and the riverside Guanchuan Pavilion, where Confucius is said to have reflected on the passage of time. Throughout their tour, the influencers soaked in the quiet, contemplative atmosphere of the sacred site, gaining first-hand insight into the depth and nuance of 2,500-year-old Confucian culture that has shaped East Asian civilization for millennia.

In the afternoon, the group traveled to the nearby Nishan Luyuan Village Scenic Area, a popular cultural tourism destination that seamlessly blends traditional rural Chinese heritage with modern leisure infrastructure. Stepping fully into the experience, the creators put on authentic hanfu, the traditional clothing of China’s Han ethnic group, before joining hands-on activities rooted in ancient Chinese culture. Among these activities was traditional archery, one of the Six Arts that formed the core of ancient Chinese scholar education system, allowing the influencers to gain personal experience of traditional cultural practices rather than just observing them from a distance.

As evening drew over the scenic area, the group joined a vibrant festive fish lantern parade, winding through the stone-paved historic alleys of the village. The evening’s highlight came after the parade, when the crowd gathered to watch datiehwa, the centuries-old folk performance art also known as molten iron fireworks. Artisans flung thousand-degree molten iron into the night sky, where it shattered into thousands of sparkling, showering sparks that lit up the dark hillside, drawing gasps of amazement from the international guests.

The event closed with a curated performance of traditional Chinese music and folk dance, wrapping up a three-day experience that gave the global creators a holistic, intimate introduction to both Confucian philosophy and vibrant northern Chinese folk culture. Organizers of the event noted that the gathering aims to build cross-cultural understanding, letting international audiences see and feel authentic Chinese culture through the perspectives of creators they trust.