"I'll explain what I can": A conversation with Avaes Mohammad
"I'll explain what I can": A conversation with Avaes Mohammad
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“我会解释我能做什么”：与艾瓦斯·穆罕默德的对话
DOI：
10.1177/0021989416684184
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
Ahmed R
中科院分区：
文献类型：
--
作者：
Ahmed R
自2001年布拉德福德、伯恩利和奥尔德姆的种族骚乱以及2001年9月11日的恐怖袭击以来，英国穆斯林一直受到越来越多的怀疑和敌意。特别是，聚光灯照射在英格兰北部的工人阶级南亚穆斯林社区，这些社区被指责为“自我隔离”，并被构造为与“英国性”疏远并对“英国性”构成威胁。种族分裂和紧张局势被归咎于多元文化主义的“失败”;来自政治派别的左翼和右翼评论家声称，多元文化的做法和政策鼓励了太多的多样性，从而阻碍了融合，而贫困、剥夺公民权、种族主义、和“白色飞行”一直被掩盖或充其量被淡化。随着年轻的英国穆斯林男子加入国内外极端组织的新闻不断流传，社区的男性青年仍然特别容易受到仇视伊斯兰教的定型观念和貌相的影响。在这次采访中，表演诗人兼剧作家Avaes Mohammad讨论了他的作品如何与这种令人担忧的政治背景相结合。我们的谈话首先考虑他在20世纪80年代和90年代在一个种族分裂的北方英国小镇长大的经历，然后转向2001年的事件对他的生活和艺术的影响。我们讨论了艺术在政治中的作用，以及信仰在艺术中的作用，然后集中在他在关塔那摩湾关押的年轻英国穆斯林的戏剧中的具体表现，英格兰北部的工人阶级社区分裂，年轻人--穆斯林和白色人--被各种极端主义所吸引。最后，我们探讨了创造性艺术的种族和社会排斥，以及穆罕默德作品的接受。
Since the 2001 race riots in Bradford, Burnley, and Oldham and the terror attacks of 11 September 2001, British Muslims have been subjected to increased levels of suspicion and hostility. In particular, the spotlight has shone on working-class South Asian Muslim communities in the north of England, which have been accused of “self-segregation” and constructed as alienated from and posing a threat to “Britishness”. Racial divisions and tensions have been problematically blamed on the “failure” of multiculturalism; commentators from the left and right of the political spectrum have claimed multiculturalist practice and policies have encouraged too much diversity, thereby obstructing integration, while social factors such as poverty, disenfranchisement, racism, and “white flight” have been obscured or at best downplayed.1As news stories of young British Muslim men joining extremist organizations at home or abroad continue to circulate, the communities’ male youth remain particularly susceptible to Islamophobic stereotyping and profiling. In this interview, performance poet and playwright Avaes Mohammad discusses the ways his work engages with this fraught political context. Our conversation begins by considering his experience of growing up in a racially divided northern English town in the 1980s and 1990s, before turning to the impact of the events of 2001 on his life and art. We discuss the role art can play in politics, and the part faith can play in art, before focusing on specific representations in his plays of young British Muslims held at Guantánamo Bay, divided working-class communities in the north of England, and young men — both Muslim and white — drawn to different kinds of extremism. Finally, we explore the racial and social exclusions of the creative arts, and the reception of Mohammad’s work.