Exhibitions of Islamic artefacts in European museums have since 1989 been surrounded by a growing rhetoric of cultural tolerance, in response to the dissemination of images of Islam as misogynist, homophobic and violent. This has produced a new public context for exhibitions of Islam and has led to major recent investments in new galleries for Islamic artefacts, often with financial support from the Gulf and Saudi Arabia. This Element addresses contemporary framings of Islam in European museums, focusing on how museums in Germany and the UK with collections of Islamic heritage realise the ICOM (International Council of Museums) definition of museums as institutions in the service of society. The authors find that far too often the knowledge of Islamic cultural heritage is disconnected from contemporary developments in museum transformations, as well as from the geopolitical contexts they are a response to.

Islam and Heritage in Europe provides a critical investigation of the role of Islam in Europe’s heritage. Focusing on Islam, heritage and Europe, it seeks to productively trouble all of these terms and throw new light on the relationships between them in various urban, national and transnational contexts. Bringing together international scholars from a range of disciplines, this collection examines heritage-making and Islam in the context of current events in Europe, as well as analysing past developments and future possibilities. Presenting work based on ethnographic, historical and archival research, chapters are concerned with questions of diversity, mobility, decolonisation, translocality, restitution and belonging. By looking at diverse trajectories of people and things, this volume encompasses multiple perspectives on the relationship between Islam and heritage in Europe, including the ways in which it has played out and transformed against the backdrop of the ‘refugee crisis’ and other recent developments, such as debates on decolonising museums or the resurgence of nationalist sentiments. Islam and Heritage in Europe discusses specific articulations of belonging and non-belonging, and the ways in which they create new avenues for re-thinking Islam and heritage in Europe. This ensures that the book will be of interest to academics, researchers and postgraduate students engaged in the study of heritage, museums, Islam, Europe, anthropology, archaeology and art history. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-ShareAlike 4.0 International (see also http://creativecommons.org/licenses/by-sa/4.0/).

An alternate approach to Islamic art emphasizing literary over historical contexts and reception over production in visual arts and music.

A little over thirteen centuries ago, the prophet Muhammad converted a few Arab desert tribes to the belief in a single god, Allah, thus founding the religion of Islam. Within a century, that belief had created one of history's mightiest empires—and today Islam continues to shape events around the globe. This comprehensive guide offers an informative and insightful introduction to Islam both as a religion and as a political-economic force. It tells the story of Muhammad—and the rise of Islam; outlines the sacred book, the Koran; explains "the five pillars of faith"; explores the interplay between religion and government; describes the differences that divide Islam; and, above all, shows the influence of Islam on world affairs. This second revised edition provides crucial new material on the Islamic community today, including discussion of the Gulf War and the Salman Rushdie affair; the rise and ebb of fundamentalist fervor in Iran, Algeria, and elsewhere; and the relationships among different factions of the Islamic faith. There are also updated descriptions of internal politics in Syria, Egypt, Pakistan, and other Islamic nations. Complete with glossary, bibliography. and index, Understanding Islam is engrossing, essential reading for both students and all who seek a clearer understanding of the world in which we live.

Islam and Heritage in Europe provides a critical investigation of the role of Islam in Europe's heritage. Focusing on Islam, heritage, and Europe; it seeks to productively trouble all of these terms and to throw new light on the relationships between them in various urban, national and transnational contexts. Bringing together international scholars from a range of disciplines, this volume examines heritage-making and Islam in the context of current happenings in Europe, as well as analysing past developments and future possibilities. Presenting work based on ethnographic, historical and archival research, chapters are concerned with questions of diversity, mobility, decolonisation, translocality, restitution, and belonging. By looking at diverse trajectories of people and things, this volume encompasses multiple perspectives on the relationship between Islam and heritage in Europe, including the ways in which it has played out and transformed against the backdrop of the 'refugee crisis' and other recent developments, such as debates on decolonising museums or the resurgence of nationalist sentiments. Islam and Heritage in Europe discusses specific articulations of belonging and non-belonging, and the ways in which they create new avenues for re-thinking Islam and heritage in Europe. This ensures that the book will be of interest to academics, researchers and postgraduate students engaged in the study of heritage, museums, Islam, Europe, anthropology, archaeology, and art history.

The Contemporary Museum issues a challenge to those who view the museum as an artefact of history, constrained in its outlook as much by professional, institutional and disciplinary creed, as by the collections it accumulated in the distant past. Denying that the museum can locate its purpose in the pursuit of tradition or in idealistic speculation about the future, the book asserts that this can only be found through an ongoing and proactive negotiation with the present: the contemporary. This volume is not concerned with any present, but with the peculiar circumstances of what it refers to as the ‘global contemporary’ – the sense of living in a globally connected world that is preoccupied with the contemporary. To situate the museum in this world of real and immediate need and action, beyond the reach of history, the book argues, is to empower it to challenge existing dogmas and inequalities and sweep aside old hierarchies. As a result, fundamental questions need to be asked about such things as the museum’s relationship to global time and space, to systems and technologies of knowing, to ‘the life well lived’, to the movement and rights of people, and to the psychology, permanence and organisation of culture. Incorporating diverse viewpoints from around the world, The Contemporary Museum is a follow-up volume to Museum Revolutions and, as such, should be essential reading for students in the fields of museum and heritage studies, cultural studies, communication and media studies, art history and social policy. Academics and museum professionals will also find this book a source of inspiration.

This Element argues that community-initiated migrant heritage harbours the potential to challenge and expand state-sanctioned renderings of multiculturalism in liberal nation-states. In this search for alternative readings, community-initiated migrant heritage is positioned as a grassroots challenge to positivist state-multiculturalism. It can do this if we adopt the migrant perspective, a diasporic perspective of 'settlement' that is always unfinished, non-static, and non-essentialist. As mobile subjects, either once or many times over - a subject position arrived at through acts of mobility, sometimes spawned by violence or structural inequality, which can reverberate throughout subsequent generations - the migrant subject position compels us to look both forwards and backwards in time and place.

The legacies of secularism in the global heritage preservation prevents the critical heritage turn from engaging with religious traditions.

Geopolitics of Digital Heritage analyzes and discusses the political implications of the largest digital heritage aggregators across different scales of governance, from the city-state governed Singapore Memory Project, to a national aggregator like Australia's Trove, to supranational digital heritage platforms, such as Europeana, to the global heritage aggregator, Google Arts & Culture. These four dedicated case studies provide focused, exploratory sites for critical investigation of digital heritage aggregators from the perspective of their geopolitical motivations and interests, the economic and cultural agendas of involved stakeholders, as well as their foreign policy strategies and objectives. The Element employs an interdisciplinary approach and combines critical heritage studies with the study of digital politics and communications. Drawing from empirical case study analysis, it investigates how political imperatives manifest in the development of digital heritage platforms to serve different actors in a highly saturated global information space, ranging from national governments to transnational corporations.

This research examines how museums and heritage sites can embrace a social justice approach to tackle inequalities and how they can empower disadvantaged groups to take an equal benefit from cultural resources. This Element argues that heritage institutions can use their collections of material culture more effectively to respond to social issues, and examines how they can promote equal access to resources for all people, regardless of their backgrounds. This research examines heritage and museum practices, ranging from critical and democratic approaches to authoritarian practices to expose the pitfalls and potentials therein. By analysing case studies, examining institutions' current efforts and suggesting opportunities for further development with regard to social justice, this Element argues that heritage sites and museums have great potential to tackle social issues and to create a platform for the equal redistribution of cultural resources, the recognition of diversities and the representation of diverse voices.