Martin A. M. Gansinger

Anders Ackfeldt’s Islamic Themes in US Hip-Hop Culture represents yet another welcome example of the increasing scholarly attention being paid to the representation of Islam in popular culture. Combining his expertise in the history of religions and Islamic Studies with a range of tools stemming from Media Studies and social semiotics, Ackfeldt produces a multi-layered investigation into the Islamic symbolism and Muslim identities in U.S. hip-hop. Ackfeldt’s book portrays the religion as a creative resource for the articulation of social, cultural, and political expressions, especially among Black American artists.

This article investigates Black American Islam as a semiotically mediated New Religious Movement (NRM), hybrid in nature and emerging from conditions of racialized governance, state surveillance, and social marginalization. Focused on the intersection of NRMs and political environments, the work engages in the reconstruction of a historical and conceptual lineage between Black Muslim movements and their mediated negotiation by Hip Hop artists. Grounded in Hall’s model of encoding/decoding and Hebdige’s subcultural theory, the transition of Islam-inspired semiotic markers from esoteric subcultural opacity to explicit orthodox adherence is demonstrated using historical analysis and close reading of symbolic expression in lyrics. The findings support a consideration of religious illegibility as aesthetic negotiation and strategy for political survival in circumstances of state scrutiny, with the subsequent consolidation of orthodox interpretations in Hip Hop signifying a recalibration of religious legibility in the securitized climate of a post-9/11 world. The contribution asserts that Black American Islam exemplifies NRMs’ instrumentalization of doctrinal elasticity and semiotic mediation in challenging socio-political surroundings, and its impact on negotiations of citizenship, political opposition, and religious identity.

This article develops a constructive theological account of sequential knowledge as a valid mode of Christian revelation by bringing African numerological traditions into dialogue with Valentinian Christianity. Focusing on Alexandria as an African center of Christian thought within the Greater Middle East, the study argues that both traditions share an understanding of revelation as ordered, knowledge as formative, and salvation as a process that unfolds through stages rather than as a single act of belief. The work does not claim historical transmission or direct influence between African numerological systems and Valentinian theology. Instead, it employs a comparative theological approach that examines how each tradition answers similar questions about how divine truth is known and how human beings are shaped by that knowledge. African numerological traditions are treated as structured ways of knowing in which number communicates divine order, learning requires moral preparation, and access to deeper truth depends on initiation and growth. When read alongside these traditions, Valentinianism appears not simply as a rejected movement but as an African Christian attempt to express salvation through order, pattern, and graded instruction within the Alexandrian school. The article places these findings within the history of African Christianity, paying attention to theological schools, debates over heresy, and the formation of Christian communities. It also addresses present concerns, including rapid growth, mission, theological education, and relations between different Christian groups. The study concludes by proposing a Christian theology of sacred sequence that supports deeper formation and sustained faith amid expanding and diverse Christian contexts. Keywords: African Christianity, African theology, theological epistemology, sequential knowledge, Valentinianism, Alexandria, heresy in Africa.

This work highlights Christian scripture and ritual within a broader Middle Eastern and cross-cultural framework, drawing parallels with Judaic, Islamic, Egyptian, and other traditions in which sacred space and bodily form converge to engender a symbolic and theological embodiment of divine revelation and perception. By pointing out the shared physiological symbolism in religious architecture, ritual, and scripture, it shifts the perspective towards an externalized and directly experienced spiritual dimension and offers a novel glimpse into aspects of embodied theology and divine perception. The demonstrated continuity of corporeal imagery, scriptural symbolism, and incorporation of the human form in ritual and architecture contributes to the areas of manuscript studies, comparative theology, and the history of religious thought in the Middle East. The focus on the body as a transhistorical and cross-cultural medium and site of divine manifestation presented in this study offers a model for multidisciplinary research on embodiment and cognition across the monotheistic religions and beyond. Using the methodological approach of symbolic and semantic analysis, the observed converging patterns are interpreted as examples of an embodied theology and hermeneutics that bridges metaphor and physiological processes. The work highlights the congruence between key scriptural terminology and symbolism, such as lamp, crystal, and niche, across cultures — illustrated by passages from the Qurʾanic Light Verse and Revelation — and suggests the possible theological implications of detailed neuro-anatomical knowledge. The results provide a new interdisciplinary framework for comparative theology that incorporates linguistic analysis, theological exegesis, neuroanatomy, and cognitive science. They underscore the centrality of corporeality as a neglected yet crucial theological category in the Abrahamic religions and emphasize the experiential dimension of revelation.

Lagos-based Raypower Radio is one of the very few stations in Nigeria that is offering broadcasts in Nigerian local languages and tribal dialects. Due to the pre-dominant use of English in the education system native Nigerian languages tend to be considered as inferior, especially among social circles of higher education and wealthy background. This research attempts to analyse the influence of parental attitude towards tribal dialects as a barrier or motivational source for Nigerian youth in terms of the use and acquisition of local languages and the reception of radio stations offering local content.

The Sufi tradition remains one of the most mysterious and least understood systems of self-realization. This book demystifies the practice of the sohbet—an ad hoc discourse—as the central instructional tool in the globally influential Naqshbandi-Haqqani Order. It approaches the practice using categories of improvised music to establish a framework for analyzation. Its ritualized formal structure, illustrated via selected talks of Shaykh Nazim Adil al-Haqqani, discloses the underlying—and assumingly primary—function to provoke prolonged states of raised awareness in listeners and condition their sympathetic nervous system. In an extensive discussion based on several years of field research in Cyprus, the book relates this intention to similar practices in other traditional knowledge systems by proposing psychophysical interpretations based on psychology, biochemistry, neuroscience, or quantum physics. It will appeal to scholars and students of Sufism, Islamic studies, and comparative religion, as well as those interested in performance studies and improvised music, interpersonal communication, and education.

This contribution aims to explore the historical predecessors of the Five Percenter model of self-realization, as popularized by Hip Hop artists such as Supreme Team, Rakim Allah, Brand Nubian, Wu-Tang Clan, or Sunz of Man. As compared to frequent considerations of the phenomenon as a creative mythological background for a socio-political struggle, Five Percenter teachings shall be discussed as contemporary interpretations of historical models of self-realization in various philosophical, religious, and esoteric systems. By putting the coded system of the tenfold Supreme Mathematics as one of its core teachings in context with the Pythagorean Tetractys, an arrangement of ten points in four lines, the commonalities between the sequence and concepts attributed to the respective numbers will be demonstrated.

This book was compiled in order to connect the dots between past and present expressions of significant phenomena in media and culture. It attempts to provide a “big picture” perspective on how contemporary relevant manifestations of the entertainment industry, artistic expression, mediated civic engagement, technological infrastructure, or automated information control evolved from subversive surroundings, niche markets, and underestimated potentials to shaping forces in today's society. This book can be seen as both, a celebration of past and present achievements of creative expression, artistic articulation, cultural contributions, and mediated movements for the sake of liberalization and democracy, and a warning against a “cultural revolution” defined by censorship, suppression of pluralist opinions, unnatural conformity in science and journalism, and the distinction between “fake news” and “fact” handled by artificial intelligence or part-time fact checkers.

The volume provides an updated perspective on international aspects of various developments in media and culture. It includes discussions on how the digital environment contributes to the transformation and re-interpretation of existing phenomena, such as violence-on-demand in online movies, the internet appeal of virtual gangsta rappers, or the revived battle rap tradition, which operates outside the commercial limitations of the music industry and generates more views on social media than most recording artists. The book offers a new consideration of long-term trends and developments, and demonstrates in various examples how formerly marginal practices like gaming or the previously shunned Turkish movie industry have turned into influential tools of social change. In addition, the reciprocity of media content and political settings is underlined in a focus on the Arab world and the reconstruction of impulses from transnational media outlets to recent forms of citizen journalism, as well as in the case of governments’ approaches to media policy in response to the COVID-19 pandemic. The book places the spotlight on pressing issues, such as the ongoing enforcement of information control in the name of public health or the local politics and practices that hinder the process of democratization in authoritarian systems.

This chapter aims at pointing out the consistency of Islam as a source for empowerment strategies of the Black population in the United States and the religion’s effective reinterpretation as a sort of contemporary gnostic self-realization in Hip Hop culture. Moreover, the link between hybrid identity constructions of Hip Hop artists that borrow from religious and cultural sources of Islam and corresponding traditions of spiritual realization in mystical Islam and Sufism is demonstrated in the course of the discussion.

This work is focused on the rise of institutionalized information control exercised by governments in times of the Covid-19 crisis and the systematic removal or demonetization of content that contradicts or challenges the defined official narrative on influencial platforms like YouTube. With national authorities fragmenting reality into contradicitng national narratives of confinement/no confinement, masks/no masks, ibuprofen/no ibuprofen, chloroquin/no chloroquin etc. the illusion of objective reality in the perpection of the world and even in the context of scientific discourse become more and more evident. Do viruses and medical drugs differentiate between the nationalities of their hosting organisms? The systematic suppression of information that contradicts the respective national narrative as defined by institutionalized authorities lead to a situation in which influencial platforms like YouTube silence everybody that challenges these narratives.

Taking the metaphor of Black CNN as a starting point, the project attempts to analyze the potential of the musical form of expression of hip hop as a communication structure of the black minority in the USA. After a historical-cultural explanation, which deals with the tradition of reflecting social and political aspects in the different musical expressions of the Black ethnic group in the USA, and which already shows the importance of this form of expression in the context of an internal colonialsm, those socio-demographic developments are made comprehensible as a central point of criticism in the verbal articulations of hip hop. Against the theoretical background of cultural citizenship - a concept for determining cultural participation in the media society - 25 text samples found in hip hop releases from 1982 to 2004 will be examined for their correspondence with indicators that can be derived from political and social functions attributed to the media.

The chapter deals with the contrast between defining aspects of religious rigidity, a socio-historically derived counter-narrative, and anti-consumerism in Rastafarian philosophy and culture on one hand and the universal message and commercial success of the music on the other. After discussing the status of the genre as part of Jamaican national culture, the inherent socio-political claim of Reggae and Rastafarian culture are put in context with the conflicting claims of superiority and non-partiality that can frequently be found in the music. Along the lines of religious doctrines in Rastafarian culture and the attempted spiritual transcendence of racism the chapter closes with an exploration of the genre's signature tropes of social justice and anti-materialism, also considering the less strictly defined identity-constructions of recent artists linked to the Reggae Revival movement. "Martin A. M. Gansinger's study of Reggae and class employs Rastafarianism as a key ingredient of both concepts. Gansinger contends that Rastafarianism offers a "spirituality-based consciousness" that lends itself to an egalitarian-driven social consciousness. Reggae's strong social, political and culture capital as a philosophy of liberation owes much to Rastafarianism, which, for all its contradictions, embodied in categories such as the "righteous" and the "wicked", as well as its segregationalist and patriarchal past, offers a means through which the music advances a socially transformative spirituality that may play a part in the rediscovery of a truly social consciousness." (Ian Peddie, Introduction to The Bloomsbury Handbook of Popular Music and Social Class)

The musical method of collective improvisation expresses a conception of the game whose democratic-emancipatory basic attitude suggests comparisons with the concept of the ideal speech situation formulated by Jürgen Habermas. This presumption is explained in more detail within the framework of an introductory approach to collective improvisation as a process of relationship characterized by interactivity and synchronicity. After a discussion of improvisational action in music with regard to theoretical, historical and psychological aspects, the various developmental stages of free or collective improvisation that emerged from free jazz in the 1960s will be presented. Subsequently, the collective improvisation will be discussed with reference to the concept of the ideal speech situation and located in an intercultural context. The sublimation of idiomatic, culturally shaped forms of expression demanded by musicians like Derek Bailey will be explained by the individual development of a characteristic sound language on the instrument as equalizing for the asymmetrically shaped dialogue forms of this situation.

La méthode musicale d'improvisation collective exprime une conception du jeu dont l'attitude de base démocratique et émancipatrice suggère des comparaisons avec le concept de la situation idéale du discours formulé par Jürgen Habermas. Cette présomption est expliquée plus en détail dans le cadre d'une approche introductive de l'improvisation collective comme processus de relation caractérisé par l'interactivité et la synchronicité. Après une discussion sur l'action d'improvisation en musique sous ses aspects théoriques, historiques et psychologiques, les différents stades de développement de l'improvisation libre ou collective issus du free jazz dans les années 1960 seront présentés. La sublimation des formes d'expression idiomatiques et culturelles exigées par des musiciens comme Derek Bailey s'expliquera par le développement individuel d'un langage sonore caractéristique sur l'instrument en tant qu'égalisation pour les formes de dialogue asymétriques de cette situation.

This paper discusses the influence and transformation of the Bobo Shanti Rasta Mansion in Jamaican popular music. While affiliates of the strict denomination of the Rastafarian faith got labeled as militant radicals by more moderate Rasta branches and mainstream artists alike in the 1990s, a new generation of artistes has carefully deconstructed the Bobo identity, using portions to underline cultural authenticity. The transformative nature of this process is demonstrated in the form of a descriptive historical discussion and representative samples of lyrical content.

In the age of iDeology - in which individual access and participation to technology is about to replace the rich texture of religion, culture, tradition and political convictions - the social impact of media discourse only magnifies. This volume is an attempt to explore the influence of ever-available communication content on the minds and behavior of a population that has made the permanent and often obsessive use of communication technology a defining element of social orientation. Unlike the many accounts that focus on the remarkably redefined patterns in the context of Western society - ranging from twittering Presidents to the emerging populist movements all over Europe - this volume portrays the situation from the frequently neglected perspective of the global periphery. As opposed to simply transfer and measure perspectives taken from a Western point of view, the clear intention of this volume is to provide ample space for the sincere and explorative consideration of local characteristics and settings of the different social, cultural and political contexts and therefore contribute to providing the ground for future research.

This volume compiles international contributions that explore the potential risks and chances coming along with the wide-scale migration of society into digital space. Suggesting a shift of paradigm from Spiral of Silence to Nexus of Noise, the opening chapter provides an overview on systematic approaches and mechanisms of manipulation – ranging from populist political players to Cambridge Analytica. After a discussion of the the juxtaposition effects of social media use on social environments, the efficient instrumentalization of Twitter by Turkish politicans in the course of the US-decision to recognize Jerusalem as Israel’s capital is being analyzed. Following a case study of Instagram, Black Lives Matter and racism is a research about the impact of online pornography on the academic performance of university students. Another chapter is pointing out the potential of online tools for the successful relaunch of shadow brands. The closing section of the book deals with the role of social media on the opinion formation about the Euromaidan movement during the Ukrainian revolution and offers a comparative study touching on Russian and Western depictions of political documentaries in the 2000s.

This chapter aims to direct attention to the political dimension of the social media age. Although current events like the Cambridge Analytica data breach managed to raise awareness for the issue, the systematically organized and orchestrated mechanisms at play still remain oblivious to most. Next to dangerous monopoly-tendencies among the powerful players on the market, reliance on automated algorithms in dealing with content seems to enable large-scale manipulation that is applied for economical and political purposes alike. The successful replacement of traditional parties by movements based on personality cults around marketable young faces like Emmanuel Macron or Austria’s Sebastian Kurz is strongly linked to products and services offered by an industry that simply provides likes and followers for cash. Inspired by Trump’s monopolization of the Twitter-channel, these new political acteurs use the potential of social media for effective message control, allowing them to avoid confrontations with professional journalists. In addition, an extremely active minority of organized agitators relies on the viral potential of the web to strongly influence and dictate public discourse – suggesting a shift from the Spiral of Silence to the dangerous illusion of a Nexus of Noise.

The aim of this study is to explore the representation of Pashtuns in Pashtu classic (before 1985) and modern (after 2000) movies and what is the difference of the portrayal of these movies and Pashtun literature. In particular, this study investigated in which time frame the depiction of Pashtun is positive and similar to their academic descriptions. A mixed methods approach consisting of qualitative case study, content analysis and comparative semiotic analysis was used to examine the content of the movies. Eighty positive leading characters were purposely selected from the sample (ten classic and ten modern Pashtu movies) to compare with academic literature on Pashtun culture.

This book is discussing patterns of radical religious thought in popular forms of Black music. The consistent influence of the Five Percent Nation on Rap music as one of the most esoteric groups among the manifold Black Muslim movements has already gained scholarly attention. However, it shares more than a strong pattern of reversed racism with the Bobo Shanti Order, the most rigid branch of the Rastafarian faith, globally popularized by Dancehall-Reggae artists like Sizzla or Capleton. Authentic devotion or calculated marketing?Apart from providing a possible answer to this question, the historical shift of Bobo adherents from shunned extremists to firmly anchored personifications of authenticity in mainstream Rastafarian culture is being emphasized. A multi-layered comparative case study attempts to shed light on the re-contextualization of language as well as expressed dogmatic perceptions and symbolism, attitude towards other religious groups and aspects of ethnic discrimination. Further analysis includes the visibility of artists and their references to practical and moral issues directly derived from two obscure ideologies that managed to conquer airwaves and concert halls.

While US-Hip Hop has been attested considerable influence of the controversial Black supremacy movement Five Percent Nation, a similar pattern can be observed with the rigid Rastafarian doctrine of the Bobo Shanti Order and Jamaican Dancehall-Reggae. Considering the commercial relevance and global popularity of both musical styles, this study attempted to shed light on the question if either artists are using controversy for promotional agendas or it is them being used for missionary purposes in turn. A multi-layerd cross-case study based on Critical Discourse Analysis as well as ethnographic research has been conducted to determine the degree and direction of Bobo Shanti-representations in Jamaican Dancehall-Reggae as compared to Five Percenter Rap in the US, focusing on visual representations, declared affiliations as well as claims of moral superiority and gender roles in reference to doctrinal sources.

This article is discussing the possibilities of new media technologies in the context of transmitting ancient spiritual traditions in various cultural and religious backgrounds. The use of internet as a means to preserve the orally transmitted knowledge of the Aboriginals and Maoris, and in doing so transferring their cultural heritage to their younger generations and interest groups. Following is an extended case study of the Naqshbandi Sufi Order and its specific compatibility of a traditional orientation towards spiritual work among people rather than monastic seclusion and its recent application of digital media resources. Therefore, new technology is being discussed as a logical extension, not without attention being drawn to possible limitations, however.