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The Daily Lives of Muslims

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The Daily Lives of Muslims The Daily Lives of Muslims The Daily Lives of Muslims Islam and Public Confrontation in Contemporary Europe NILÜFER GÖLE Translated by Jacqueline Lerescu Zed Books LONDON The Daily Lives of Muslims: Islam and Public Confrontation in Contemporary Europe was first published in French in 2015 as Musulmans au quotidien: une enquête européenne sur les controverses autour de l’islam by Editions La Découverte, 9 Bis Rue Abel Hovelacque, 75013 Paris, France. This edition published in 2017 by Zed Books Ltd, The Foundry, 17 Oval Way, London SE11 5RR, UK. www.zedbooks.net Copyright © Editions La Découverte, Paris, France 2015 The right of Nilüfer Göle to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act, 1988. Typeset in Adobe Caslon Pro by seagulls.net Index by John Barker Cover design by www.alice-marwick.co.uk Cover photo © Ian Teh/Panos All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of Zed Books Ltd. A catalogue record for this book is available from the British Library. ISBN 978-1-78360-954-3 hb ISBN 978-1-78360-953-6 pb ISBN 978-1-78360-955-0 pdf ISBN 978-1-78360-956-7 epub ISBN 978-1-78360-957-4 mobi CONTENTS Preface to the French-Language Edition . vii Preface to the English-Language Edition . xvii Introduction: European Muslims – From Collage to Interweaving...................................1 1. Europe: No Entry for Islam? .......................19 2. Ordinary Muslims ...............................49 3. Controversies Surrounding Muslim Prayer ............75 4. Mute Minarets, Transparent Mosques ................99 5. Art, Sacredness and Violence . 125 6. Veiling and Active Minorities.......................153 7. What about Sharia? ............................. 185 8. Halal Lifestyles................................. 215 9. Jewish Cursor ..................................243 Conclusion: European Muslims Taking to the Stage .......269 Notes . 291 Bibliography . .319 Index . .329 PREFACE TO THE FRENCH-LANGUAGE EDITION AFTER THE JANUARY 2015 ATTACKS, ‘MAKING SOCIETY’ DESPITE TERROR This unplanned foreword was, alas, written on 28 January 2015, three weeks after terrorist attacks struck the heart of Paris. This foreword was necessary because this book’s intention, the fruit of four years of research, which I finished writing two weeks before the events, is to provide readers with keys to understanding the lived realities of Europeans of Muslim culture. These realities cannot be ignored by those who wonder about the killers’ motivations while somewhat confusedly recognizing that these sectarian terrorists have no relationship to the daily life of the immense majority of European Muslims and the new public culture to whose creation they contribute. A NEW BREAK IN THE EUROMUSLIM COLLECTIVE MEMORY All attacks create a break in time. In an instant, the course of daily life is upended and the social contract is shattered, leading to polarization in society. After the shock and the profound emotion it elicits, we first pay homage to those who lost their vii THE DAILY LIVES OF MUSLIMS lives. Next, we try to repair the damage, to fix the social fractures. Sometimes, we are able to isolate the moment of terror, close the parenthesis and mourn for those who cannot begin again. Sometimes, this instant of terrorism interferes with long-term temporality, leading to a series of unforeseeable events from which we cannot emerge unscathed. The crimes of January 2015 are probably among the latter. The assassination of eight cartoonists and editors of Charlie Hebdo and two of their friends present in the offices, three police officers and four Jewish citizens, taken hostage in a kosher supermarket in Vincennes, signaled a turning point. These targeted massacres carried out by French-born terrorists under the pretext of ‘avenging’ the Prophet Mohammed exacerbated the feeling of uneasiness towards Islam across Europe. Two founding values of contemporary Western democracy, the defence of freedom of expression and the fight against anti-Semitism, seemed to have been gunned down by terrorist weapons. These killings could possibly derail European history and that of its Muslims. There is a before and an after this date, as there was after the Al-Qaeda attacks on September 11. But unlike the United States, Europe – and particularly France – has a long shared history with Islam and Muslims, a relationship forged in the long term as well as the present. It is precisely this interwoven nature of the dynamics between Muslims and European societies that this book seeks to demonstrate. It situates terrorist acts against Charlie Hebdo in a European perspective and brings to light its harbingers. In fact, the January 2015 attacks in Paris took place as part of a chain of events and controversies resulting from the representation of the sacred symbols of Islam. The 1989 fatwa against Salman Rushdie, viii PREFACE the author of The Satanic Verses, the 2004 assassination of Theo Van Gogh, the director of the film Submission, and the publication of caricatures of the Prophet Mohammed in a Danish newspaper in 2005 are shocks engraved on the collective Euromuslim memory. A transversal dynamic between London, Amsterdam, Copenhagen and Paris has been created. Beyond the differences between national contexts and the separation between Sunni and Shia, a European cartography of controversies surrounding Islam has been progressively drawn. As in the case of Charlie Hebdo, it is around the representation of Islam in the written and visual arts and through the use of satire that the violence of these controversies is revealed: the pictorial representation of Islam in the arts and the recourse to critical humor provoke the violence of these reactions. And as was tragically revealed in the case of Charlie Hebdo, it is some of those who share the cultural heritage of May ’68 who collide with Islam and its visible forms in public life in Europe. The writer Michel Houellebecq is one of the most emblematic figures of the turbulent meeting of these two cultures. In his novels, he captures the feeling of the times, the worries of a disenchanted and depressed generation that is perplexed by the rise of Islam. In his novel Submission, he anticipates a French society penetrated by Islam, a country that elects a Muslim president named Muhammad. The hero, who is working on a dissertation at the Sorbonne on Joris-Karl Huysmans, is a ‘misanthropic and solitary aesthete’ looking for spiritual comfort in Catholic liturgy. He ends up converting to Islam, repeating the ritual prayer in the Grand Mosque in Paris. In 2022, Islam becomes the religion of France, just as it does for the protagonist. This successfully blurs ix THE DAILY LIVES OF MUSLIMS distinctions between fiction and politics, the author and the hero, his phobia about Islam and his disenchanted attraction to religion. Far from remaining confined to literary circles, this book caused a sensation: it led to a strongly mediatized polemic that forced politicians and intellectuals to react. Charlie Hebdo was no exception: the novelist was on the cover of the issue that appeared on the day of the attacks. The cartoonist Luz, one of the survivors of the killing, depicted the author, dressed as a wizard, announcing his own submission to Islam: ‘In 2015, I will lose my teeth, in 2022, I will observe Ramadan.’ The book went on sale on 7 January 2015, a fateful date, just like his novel Platform, which came out just before the attacks of September 11. The French counterculture of the 1970s was shaped by the critique of conservative ‘values’, inherited from the influence of the Catholic Church, and by the mobilization for sexual liberation. During this period, a new wave of secularization penetrated the cultural domain and the private sphere, with equality of the sexes and libertine behavior on its horizon. For many, the May ’68 movement became the symbol of the emancipation of women and sexual minorities. Charlie Hebdo, which in 1970 succeeded L’Hebdo Hara-Kiri (created in 1969), is one of the avant-garde centers of this counterculture. Its cartoonists and columnists, who became famous for their impertinent pens that attacked all forms of religious hegemony and public morality, are the legendary figures of this generation. In France, the tradition of humor and outrageousness goes back to the sixteenth century, as proven by the works of François Rabelais, a hedonist if ever there was one. But the humor of Charlie Hebdo’s first leaders is inscribed in the emancipatory movements of the left in favor of oppressed minorities. x PREFACE Forty years later, times have changed. If the ‘sixty-eighters’ movements remain in a certain imaginary as an eternal youth, enamored of ideals of justice, a number of the new ideas promoted by their actors have since become banal. And the Church’s influence has disappeared in a society where sexual liberty no longer collides with a moral authority. Religious norms and the visibility of Islam’s symbols have appeared since the 1990s in a secularized and sexually emancipated society. Since then, the direct inheritors of the most ardent defenders of freedom of expression, the young cartoonists at the new Charlie Hebdo, could consider it logical to extend the battles of their predecessors against the Church’s influence to that of Islam today, notably in its terrorist offshoots in the Muslim world. But in so doing, they have often endorsed dominant media representations of Islam which are exaggeratedly skewed and caricatured without taking into account its diversity and, above all, the thoughts and feelings of their fellow Muslim citizens, nor their precarious status as a minority. These binary representations do not leave any room for gray areas, a multiplicity of points of view, the work of interpretation, learning, or transformation through debate.
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