turn to the political and islamic modernism stanford paper version 2-1

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Draft Not for citation The Turn to the Political in Islamic Modernism and the Tunisian and Egyptian Revolutions Mohammad Fadel University of Toronto Faculty of Law Stanford University Political Theory Workshop * “ And religion is ease; the caliphat e is by consent; law is by consultation; and legal disputes are for judges. ” AÎmad Shawq ī , d. 1932 1 I. Introduction When civil disturbances broke out in Tunisia in December 2010 few people predicted that those events would usher in a season of revolution in the Arab world throughout the Arab region. After the initial s hock of the Tunisian revolution wore off and the January 25 th Egyptian Revolution began, many outside observers began to raise concerns centered on the role of political Islam in Tunisia and Egypt, and in particular, the role of groups such as The Renaissance Party ( al-NahÃ a) in Tunisia and the Muslim Brotherhood (al- Ikhwān al-Muslimūn) in Egypt. In the popular press, meanwhile, two salient themes emerged: first, the bravery and the persistence of the Tunisian and Egyptian peo ple in waging largely non-violent demonstrations against brutal police states, and second the tendency to reduce, or even deny entirely, the role of Islam in these two popular * Note to the readers: this work remains very much a working draft, and I expect to make substantial revisions to the arguments presented herein. To that extent, I look for ward to receiving your comments. I hope you will forgive the unfinished nature of this draft, but I expect the piece will be improved substantially as a consequence of sharing it with you at this relatively early stage of drafting. 1 This line is taken from a poem published in March 1912 (1313 in the Islamic calendar) on the occasion of the Prophet MuÎammad’s birthday. Selections from this poem were in turn set to music and sung by the renowned Egyptian singer Umm Kulthum under the title “Wulida al-Hudā” (Guidance was born). Nearly one hundr ed years later, it remains an important part of the modern E gyptian nationali st musical repertoire. The poet himself was the official court poet for the pre-World War I nominal ruler of Egypt, the Khedive ‘Abbās. The Britis h forced both Shawq ī and the Khedive into exile at the outbreak of World War I for their sympathies with the Ottoman Empire.

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