Search

This article examines German Muslim women's artistic self-representation arguing that their public engagement can be seen as an example of counterpublics. Two main features can be found. First, the artists feel disappointed by the mainstream public, as it excludes and misrepresents Muslim women. Second, an agitational orientation can be observed, as the artists intend to offer explicitly articulated alternative self-representations targeting the mainstream public. The normality of their female German Muslim identity is conveyed. The very fact that the artists aim to challenge dominant stereotypes about Muslim women reveals the stereotypes' strong influence on their self-representation. Due to their Muslim and female identity, Muslim women in the West face several exertions of power. The theory of intersectionality shows that their self-representation can be seen as a refusal to serve as an object of the male gaze, as well as the non-Muslim German gaze. [ABSTRACT FROM AUTHOR]

This paper examines publics of young German Muslims. Case studies include the singer Huelya Kandemir, the theatre group Uma Lamo and the social network Zahnräder. By focusing on spiritual music publics, theatrical comedy publics and social publics, it tries a new approach to the way in which we understand minority public engagement. In addition to examining the concept of counterpublics, it utilizes the concept of participatory culture, which offers a relevant complement. The study argues that the publics of young German Muslims display multifaceted artistic and civic engagement, which can best be understood in terms of participation in cultural or civic productions and contribution to the wider German public. Features or effects of counterpublics, such as the countering of mainstream representations of minority identities and the offering of alternative discourses, are occasionally reflected in their activities. [ABSTRACT FROM AUTHOR]

This article addresses European Muslims’ public engagement in the arts by applying the concept of counterpublics. It examines two case studies of young German Muslims whose involvement in the public sphere can be described as soft counterpublics. The term soft counterpublics denotes publics that show some characteristics of counterpublics, but are at the same time not only about ‘countering’. They can be seen as ‘in between’ cases, neither strong counterpublics nor completely beyond counterpublics. Their art reflects a diversity of interests that are translated into public expressions and related back to their multiple identities. Motivations and themes are multi-layered. Occasionally, topics address stereotypes and negative identity representations of Muslims, which reflect important characteristics of counterpublics. However, themes can deal with a broad range of matters that go beyond this particular issue and that can be seen in isolation of counterpublics. On the one hand, there is a natural interest in the arts as a tool to express oneself, which is not a typical case of counterpublics. On the other hand, there is also the intention to speak to people through the arts. As well as wanting to reach the Muslim youth community in Germany, who can identify with their art, the case studies are also concerned about the non-Muslim German community and its perception of Muslim identity in Germany. [ABSTRACT FROM AUTHOR]