peru celebrates black history month

Peru celebrates black history month by Hisham Aidi

"a love supreme" / "allah supreme"?

Did Coltrane say 'Allah Supreme'? by Hisham Aidi 

 The recording has long been understood to be a deeply spiritual, even devotional, piece. Its four phases - "Acknowledgement", "Resolution", "Pursuance" and "Psalms" - reflect what Coltrane described as a "spiritual awakening" in his overcoming of drug and alcohol problems. 

Yet, what was the nature of that "spiritual awakening"? The conventional view is that by 1964, Coltrane had moved away from his Methodist upbringing, adopting a "pan-religious" outlook with a particular interest in Eastern mysticism. In spite of that, "A Love Supreme" is still described as laden with Biblical symbolism: the title "Psalm", and the rising cadences, reminiscent of black preachers' style, are offered as evidence that Coltrane was still rooted in Christianity. But ask one of the jazzmen or Muslim elders who knew Coltrane, and you get a different answer. 

The saxophonist Yusef Lateef, who died at the age of 93 earlier this year, worked closely with Coltrane between 1963 and 1966. In his autobiography , "A Gentle Giant", Lateef says: "The prayer that John wrote in 'A Love Supreme' repeats the phrase 'All praise belongs to God no matter what' several times. This phrase has the semantics of the al-Fatiha, which is the first chapter or sura of the Holy Quran. The Arabic transliteration is 'al-Humdulilah…' Since all faithful Muslims say the al-Fatiha five times a day or more, it is reasonable to assume that John heard this phrase from [his Muslim wife] Sister Naima many times." 

Lateef is referring to the poem Coltrane wrote and included in the liner notes of the album. Coltrane wrote: "No matter what … It is with God. He is gracious and merciful" and ends with "All praise to God..."

What Lateef and others have noted is that "gracious and merciful" is a translation of "rahman raheem", the opening lines of the Fatiha. Moreover, say the elders, when Coltrane begins chanting the album's title for half a minute it sounds like a Sufi breathily repeating "Allah supreme".

The relationship between Islam and jazz is almost a century-old. It was in the 1920s that the Ahmadiyya movement, a heterodox Islamic movement that emerged in 19th century India, began sending missionaries to US cities, building a substantial following among African Americans in the decades to come. In a trend that still intrigues historians and music critics, after World War II, scores of jazz musicians embraced Ahmadi Islam.

When Coltrane arrived in Philadelphia in 1943, the Muslim presence in the "city of brotherly love" would rattle the young man. As he told an interviewer in 1958: "This Muslim thing came up. I got introduced to that. And that kind of shook me." 

The saxophonist was surrounded by Muslims: his drummer Rashied Ali was Muslim, as was his pianist McCoy Tyner (Suleiman Saud), and saxophonist Lateef. Coltrane then married Naima Grubbs, an observant Muslim. Even Coltrane's band members have pondered his relationship to Islam. If Lateef suspected that Coltrane's art was influenced by the Quran, the drummer Rashied Ali thought that the saxophonist was "a real country boy" and that "he was into being a Muslim and everything like that". One also hears the argument that Coltrane wanted to title his composition Allah Supreme - instead of A Love Supreme - but was worried about a political backlash, given the ongoing conflict in the Middle East. "Back then jazz and Islam were intertwined - the first time I heard the adhan on Temple University radio, I thought it was a Nina Simone song," says Imam Nadim Ali, a celebrated jazz deejay and community leader who spent his youth in Philadelphia. "Artists were deeply influenced by Islam - sometimes publicly in their art, sometimes privately." 

It's not inconceivable that "A Love Supreme" could have been inspired by the Quran. After all, as the elders will observe, "Celebration", that great funk hit by Kool & the Gang, was inspired by a Quranic sura. 

"The initial idea came from the Quran," says Ronald Bell (Khalis Bayyan), the group's saxophonist and musical arranger. "I was reading the passage, where God was creating Adam, and the angels were celebrating and singing praises. That inspired me to write the basic chords, the line, 'Everyone around the world, come on, celebration'."

This song inspired by Islam - and released in 1980 - would become an international hit heard at ball games and political rallies in the US, and ironically was played by the Reagan administration on February 7, 1981, to welcome home the hostages held by students in the Islamic Republic of Iran.

tato laviera is dead

Hispanic New York: Tato Laviera, Prominent Nuyorican Poet, Is Dead This makes me sad. When I was in college I discovered Tato Laviera's poetry and it played a big role in my thinking about what it means to be Afro-Latino. I even organized an event to bring him to campus and got to spend a chunk of time with him. He's apparently been sick for a while with diabetes and unconscious. Rest in Peace. Inna illahi wa inna ilayhi raji'un.

the seerah is black history

MeccaDonna: Prophet Muhammad, the Arabs and the Many Shades of Blackness
See also: defining legends (again, islam and afrocentricity)

defining legends (again, islam and afrocentricity)

Defining Legends: Analysis of Afrocentric Writings on Islam by Abdul-Haq ibn Kofi ibn Kwesi ibn al-Ashanti is an interesting e-book I've recently "discovered" responding to the basic Afrocentric critique of Islam.  (e.g. see islam and afrocentrism, afrocentricity and islam ii) In alot of ways the book covers ground I've seen before (Al-Jahiz, Chancelor Williams, Molefi Asante, Blyden, et. alia) But among the pieces which were new to me was a surprisingly graphic hadith:

The Prophet said on the authority of Ubayy Bin Ka'ab: "If anyone proudly asserts his descent in the manner of the pre-Islamic people, tell him to bite his father's penis, and do not use a euphemism" (from Sharh us-Sunnah of al-Baghawee in Mishkaat ul-Masaabih)

I was initially tempted to summarize the intended meaning here by means of a certain more colloquial English idiom but according to one explanation I was able to find online, the meaning of the hadith is better rendered as "He who is proud of his origins in a manner that is similar to the era of pre-Islam, let him stay next to his father's semen [i.e. let him remember that his actual origin is a flithy semen]." In any case it should be clear that Islam considers racism or ancestry-based supremacism as a gross offense.

The second piece I found really interesting was a reference to a book by Abu'l-Faraj Abdur-Rahmaan ibn Hasan Ibn ul-Jawzee, a late 12th century Hanbali scholar of Baghdad called Tanweer al-Ghabash fee Fadl is-Sudan wa'l Habash (The Illumination of the Darkness on the Merits of the Black People and the Ethiopians). Before now I was only aware of Al-Jahiz's "Book of the Glory of the Black Race" but apparently there have been several other medeival Muslim works on the virtues of Black folks (also mentioned in Defining Legends). I was not able to find any excerpts from Ibn ul-Jawzee's work itself but the chapter headings are:

a) Those who belong to the Sudan 
b) The Cause of their dark-skin 
c) The enlivening of Shem, the son of Noah, by Jesus the son of Mary 
d) The Kingdoms of the Black People and their extent
e) The collective moral excellence of the character of the black people
f) Things distinguished by darkness from amongst animals, trees and plants
g) The obviousness that there is no preference for light-skinned peoples over dark-skinned people based upon colour; indeed preference is based upon piety
h) The companions who migrated to Ethiopia
i) The deputation of Quraysh to the Negus (Najaashi) to retrieve the companions of the messenger of Allaah
j) The correspondence of the prophet with the negus (najaashi)
k) The arrival of the Ethiopians to the Messenger of Allaah... And their play with hiraab (lances) in the mosque during his presence 
l) Qur'aanic words of Ethiopian origin 
m) What the messenger heard of the Ethiopian language that pleased him 
n) The assignment of the call to the Ethiopians
o) The prophets who were black
p) The eminent king of Ethiopia
q) The distinguished black males amongst the companions of the prophet Muhammad
r) The distinguished black females amongst the companions of the prophet Muhammad
s) Prominent Black learned people
t) Poets and those who composed poetry amongst the black people
u) Groups of clever, intelligent and generous black males and females
v) The pious and ascetic of the black people
w) The famous black females
x) Those who preferred black concubines to light-skinned ones and who loved and died from their love of them
y) Qurayshees who were sons of Ethiopian women
z) Some exhortations and injunctions
aa) Some invocations and glorifications of Allaah, mighty and majestic
bb) Some transmitted supplications
 

Looking at the list I think I'm most curious about who is identified as a black prophet; Jesus, Luqman, Moses, Muhammad? (saaws). I'm also curious about how these medieval descriptions match-up with modern racial categories.  

billy crystal, blackness and the oscars

I'm still trying to articulate for myself what I think about Billy Crystal's appearance in blackface at the Oscars.

The term blackface typically conjures up images of performers (both white and black) with caricatured African features in a style which in recent memory was best embodied by Al Jolson. Billy Crystal's performance was definitely not that, but it does bear a family resemblance.

One fact, which should be noted is that Crystal doesn't just have an isolated love for Sammy Davis Jr. but he is clearly really into blackface and the "performance of blackness" generally. For example, when he was on Saturday Night Live, in addition to his many Sammy Davis Jr. impressions, he did a short "mockumentary" with Christopher Guest in blackface as a retired ballplayer in the Negro Leagues.



Then on the Tonight Show, Billy Crystal did an extended impression/interview (thankfully without makeup) of Muhammad Ali, announcing that he was changing his name (again) to "Izzy" Chayim Yiskowitz and converting to Judaism.



I'm willing to concede that Billy Crystal is a well-intentioned person who doesn't mean to be racist but the same could have been said of Al Jolson. The issue with minstrely (in its old or new forms) is that every attempt at representation is ultimately a misrepresentation. By its nature, it is always a portrayal of blackness under a distorted "white gaze", showing us as they would have us instead of showing us as we are. (For example, in how Crystal's "Muhammad Ali" is made to become Jewish).

Perhaps more later...

See also:
Racialicious: All Things Old Hollywood: Blackface At The Oscars

black and latino

What does it mean to be black and Latino in the U.S.? Featuring interviews with Latino actors Laz Alonso, Tatyana Ali, Gina Torres, Judy Reyes, singers Christina Milian and Kat DeLuna, journalist Soledad O'Brien and others.

ghadafi, frantz fanon and marcus garvey: visions for africa

Mickey Boston: Ghadafi, Frantz Fanon and Marcus Garvey: Visions for Africa

piri thomas (1928-2011)

Piri Thomas' Official Website
NPR: Piri Thomas, Poet And Novelist, Remembered
Democracy Now!: Author Piri Thomas Dies at 83
LA Times: Latino writer Piri Thomas dies at 83

pa'lo monte - enigma (featuring chuck d)

mos def, ya sin, and "government names"

Mos Def is changing his name to Yasiin! The name is actually old news to some of his fans. A few years ago on The Ecstatic album he said clearly (in Spanish) on the track No Hay Nada Mas: "Mi primero nombre es Yasiin Dante" (sic). So I suppose the real news is at the end of the year he is retiring the name "Mos Def":

Get More: Sucker Free

Coincidentally I've been thinking about names a lot recently. Earlier this week I started to write down ideas for a spoken word piece riffing on the concept of "government name" and was intrigued by the different kinds of names and ideas about names which are out there.

For a large mass of people, there is a simple identification between their "real" name and their "government name" but not everyone takes that identification for granted. Many Jews will have a Hebrew name given at circumcision which is different from their public/government names. Similarly, there are Asians in America who might use an Anglo name as their public name but their "real" name used with family is different.

Obviously many rappers and performance poets adopt flashy and distinctive stage names. Also actors and comedians choose names which hide or obscure their ethnic origins or emphasize/de-emphasize their connections to show business dynasties (list of stage names). But if you look at the full range of naming practices, people change their names for all sorts of reasons (religious, spiritual, cultural, personal and familial, social, economic, idiosyncratic, etc.)

An interesting distinction between the Nation of Islam and more orthodox Islam lies in their attitudes towards names. For example, the Quran (33:5) says "Call them by the names of their fathers" and orthodox Islam puts a certain amount of emphasis on acknowledging ones lineage and not denying paternity. So there are many converts who, even when they adopt a "Muslim" name, they will keep the surnames they were born with. (e.g. Abdul-Hakim Jackson, Nuh Ha Mim Keller). For the Nation, on the other hand, most African-American surnames are treated as European-derived "slave names" and replaced with an X, but there is a tendency to keep ones given name. (e.g. Malcolm X, Clarence 13X, etc.)

For Muslims, Ya Sin is a fairly common name which comes from the name of a surah known as the heart of the Quran.


Heart of the Qur'an: A Commentary to Sura al Yasin by Ayatullah Dastghaib Shirazi
The Heart of the Qur’an: Reflections from Surah Ya-Sin by Hamza Yusuf Hanson

dead poets society

I just recently learned about the passing of two poets who were a big part of their respective scenes. Will "Da Real One" Bell was based in Miami and David Blair was based in Detroit. At times I've been moved by both of them and I was sad to hear that their voices were silenced.


Blair - Being Black in America


Will "The Real One" - So I Run

New Times: Will Da Real One's murder left many questions
Detroit Metro Times: Poet and singer/songwriter David Blair passes away

r.i.p. dwayne mcduffie

The Atlantic: Dwayne McDuffie, the Icon
CBR: Remembering Dwayne McDuffie

to be a black. convert muslim. female.

From Jamerican Muslimah's Veranda: To be a Black. Convert Muslim. Female.

egypt and race

The Root has some interesting pieces on race relations in Egypt. First there is the blatantly-titled Egypt's Race Problem by Sunni M. Khalid which details some of the challenges, assumptions, and indignities faced by blacks (especially from sub-Saharan Africa) in Egypt. Secondly there is An African American in Egypt by Wendell Hassan Marsh with more of the same.

poetic pilgrimage - silence is consent

I think the song itself is from last year, but the video gives the words a new relevance in light of what is going on in Egypt, Tunisia, Yemen, etc. these days:



Wikipeida: Poetic Pilgrimage
Raw Deen: Interview with Poetic Pilgrimage
Blog: Poetic Pilgrimage

is the mother plane joining the fight against xenu?

I wouldn't claim that the following example constitute a genuine trend, just that the two data points seem oddly connected.

A few months ago I was surfing the net and found a clip of an interview with George Stallings (former Catholic priest who later founded the Imani Temple as an African centered alternative to Roman Catholicism). What I found surprising is that in the interview he basically affirms (with a small amount of nuance and hedging) that Rev. Moon is the Second Coming of Christ and that he even had "Holy Father" and "Holy Mother" choose his current Japanese wife. As far as I can tell the Imani Temple is still a distinct organization from the Unification Church but Stallings definitely has a close (and devotional) relationship with Rev. Moon.

Second data point:
Farrakhan is apparently getting friendly with the Church of Scientology. I'm not sure what it all means. Is this just a temporary deal, a tactical alliance, or a more substantial sharing of ideas to the point of syncretism? A recent column in the Final Call, From the Land of the Seminole and Osceola to the Clear Water Mecca of Scientology describes a trip some Nation of Islam members took to Clearwater, FL to learn more about Scientology. A more recent column from last November even refers to "the incredible work and discovery made by L. Ron Hubbard on the training of the psyche and the mind into its spiritual development which touches upon the organizational policies and discipline of study".

I'm not sure what it means, but both these examples seem odd to me. In both these cases, a Black-identified religious leader seems to be aligning with a non-Black religious organization with a reputation as a "cult" (i.e. a religious group which exploits and restricts the freedom of its members). So on the one hand, these leaders have been highly critical of more mainstream religious groups, ostensibly out of a heightened concerned for Black independence and autonomy (among other things), but at the same time they seem willing to submit to more fringe and/or hierarchical groups.

professor imam and the squadron supreme

Speaking of comic books, I've recently started to get into the Squadron Supreme especially in their more recently rebooted incarnation. The characters aren't well known but the concept behind them is interesting. Basically they are Marvel Comic's revisioning of /parody of /homage to /commentary on the major DC Comic superheroes. Their names and costumes are different enough that the probably won't raise copyright issues, but their powers and back stories are similar enough that the intention is clear.

Both the original and the rebooted characters explore the dark side of the superhero concept. For example, an important storyline involving the original Squadron had them try to turn the U.S. into a crime-free utopian society and ended up creating a police-state.

Furthermore, I'm not sure if he's explicitly described as Muslim, but taking a leap based on his name, the original Squadron Supreme character Professor Imam may be one of the earliest Muslim superheroes in either Marvel or DC. I haven't yet seen him appear in the rebooted Squadron but I hope he shows up. It would probably allow for some good political stories.

In the rebooted version, "Superman" (Hyperion) is initially found by farmers but eventually Truman Show-ed by the U.S. government who want to make sure he grows up patriotic and compliant. Instead of there being a single token Black superhero, both "Batman" (Nighthawk) and "the Flash" (the Blur) are African-American and have numerous political arguments about their obligations to "the people". In Nighthawk's case especially, his parents were specifically killed by white supremacists, so as an adult he takes a by-any-means-necessary approach to fighting racist and genocidal villains both in the inner-city (primarily Chicago) and in Africa. These are definitely not your grandparents superheroes...

See also:
female, muslim and mutant
naif al-muwata on the 99
josiah x
in brightest day, in blackest night

young, muslim and black

Indigo Jo Blogs: BBC Radio 4 – Young, Muslim and Black

qui-gon, islam and narnia

In a recent interview Liam Neeson (who voices the voice of Aslan in the Narnia films and Qui-Gon Jinn in the Star Wars prequal films) has gotten into a bit of "trouble" with exclusive-minded Christians because he said:

Aslan symbolises a Christ-like figure but he also symbolises for me Mohammed, Buddha and all the great spiritual leaders and prophets over the centuries. That’s who Aslan stands for as well as a mentor figure for kids – that’s what he means for me.

As far as I can tell, many voices in the Christian/conservative blogosphere seem to be taking the position that Liam Neeson is simply stupid, but I would tend to argue that the issue is a bit more complex. On the one hand, C.S. Lewis was obviously a Christian and intended Aslan to represent Jesus, the Conquering Lion of Judah.

But in an old post over at Islamicate you can find a tongue-in-cheek argument that C.S. Lewis is Muslim and that Aslan is best seen as an allegory for Imam Ali (after all, "Aslan" is actually Persian for "lion" and one of Ali's titles is the Lion of God).

More support for Liam Neeson's inclusive position can be found in the Narnia books themselves and how they present Aslan as a being with multiple forms and names. (And a previous Grenada post actually explores the idea, held by some Muslims, that essentially the same light that shone through Muhammad (saaws) shone through all the prophets, including Jesus (as)). In The Last Battle, Lewis seems to endorse the concept of the anonymous Christian when he describes the encounter between Aslan and Emeth (a visitor from a neighboring country who was worshiping "another" God named Tash all his life):

"Then I [Emeth] fell at his [Aslan's] feet and thought, Surely this is the hour of death, for the Lion (who is worthy of all honour) will know that I have served Tash all my days and not him. Nevertheless, it is better to see the Lion and die than to be Tisroc of the world and live and not to have seen him. But the Glorious One bent down his golden head and touched my forehead with his tongue and said, 'Son, thou art welcome.' But I said, 'Alas, Lord, I am no son of thine but the servant of Tash.' He answered, 'Child, all the service thou hast done to Tash, I account as service done to me.' Then by reason of my great desire for wisdom and understanding, I overcame my fear and questioned the Glorious One and said, 'Lord, is it then true, as the Ape said, that though and Tash are one?'The Lion growled so that the earth shook (but his wrath was not against me) and said, 'It is false. Not because he and I are one, but because we are opposites - I take to me the services which thou hast done to him. For I and he are of such different kinds that no service which is vile can be done to me, and none which is not vile can be done to him. Therefore, if any man swear by Tash and keep his oath for the oath's sake, it is by me that he has truly sworn, though he know it not, and it is I who reward him. And if any man do a cruelty in my name, then, though he says the name Aslan, it is Tash whom he serves and by Tash his deed is accepted. Dost thou understand, child?'

So arguably, according to Lewis, the good deeds of the Muslim and the Buddhist are accepted and rewarded by God, whether they are done in the name of Christ or not.

As a counterpoint, some might argue that Lewis' views about Muslims are suggested in his descriptions of the Calormen who worship the demon-God Tash. Calormenes are described as dark-skinned, with the men mostly bearded. Flowing robes, turbans and wooden shoes with an upturned point at the toe are common items of clothing, and the preferred weapon is the scimitar. Their country is bordered, on the north, by a Great Desert. When people like Philip Pullman (the author of the "anti-Narnia" series, His Dark Materials) criticize the Narnia books as racist, the argument is basically about this group.

So we are left with a weird sort of tension... if we assume C.S. Lewis believes in the concept of the anonymous Christian (or as Matthew 25 says, those who are welcomed into God's kingdom because of how they treated "the least of these") then, at least theoretically, Lewis believes in the salvation of the "good Muslim". On the other hand, his, arguably racist, depiction of the Calormen leaves one wondering how he really felt about flesh-and-blood Middle Easterners, Persians, Africans, etc.

The Guardian: All is well with Narnia (which deals with the Liam Neeson "gaffe")
SfReviews.net: The Last Battle (with a discussion of Lewis' racism re: the Calormen)
This Ain't Livin': Red Dwarf, Black Dwarf: The Racial Overtones of Narnia
Beliefnet: The Lion, the Muslim, and the Dryer by Dilshad Ali

Planet Grenada:
pride of baghdad
the devil and al-hallaj
harry potter and the last review
harry potter and the magic of whiteness
bell hooks v. harry potter