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In this blog, I want to continue with the theme that animated my last post “Genealogically Attuned teaching in an Introductory Course on Islam.” To remind, the question I had engaged had to do with the problem of presenting in an undergraduate amenable fashion theoretical insights from the study of religion and the broader humanities. My investment in this question derives from the problem of how one might make in an introductory course on Islam theoretical arguments commonly advanced in humanistic scholarship through strategies that bypass the density of scholarly theoretical discourse. In other words, how to do theory in an introductory course without subjecting students to theory pressure? The last blog dealt with some challenges and prospects for the first day of an Introduction to Islam class by way of some reflections on interrogating the category of religion. Here I wish to briefly think about this problem in relation to more specific thematic units of such a course. First a brief description of the conceptual problem I want to think through here. One recurrent tendency I have observed among students is to regard phenomena such as colonialism and orientalism as historical events consigned to a safely distant past, as belonging to the 19th century neatly separated from their own present. How could this problem of assumed shelter from the violence of colonial pasts and their attached knowledge legacies be addressed in an Introduction to Islam course? How could the persistence of the shadows of colonial power be impressed upon students? The first day of a unit on Sufism presents a potentially profitable moment for such a task. The unit on Sufism (for thematically organized introductory courses) represents a highly rewarding yet challenging stop on the pedagogical itinerary. While providing excellent possibilities of close primary source reading, use of narrative, textual and audio-visual analysis, the danger that students will fall prey to the temptation of viewing Sufism as the stereotypical exotic or eccentric variety of Islam is always all too ripe. The first day of the unit on Sufism can also do some important conceptual work on the interaction of colonialism, orientalism, and Islam precisely by tackling major commonplace stereotypes about the Sufi tradition. As an illustration, let me share some highlights from a lesson plan for this day that I have frequently employed in my intro course. The goal of this class session is to make students think critically about the legacy of colonial knowledge production and Orientalism in the study of Sufism and Islam more broadly. This we try doing by focusing on 19th century Orientalist stereotypes about Sufism and their continuation in contemporary popular discourses on the subject. In a nutshell, some of these stereotypes include: 1) that Sufism is foreign to Islam with Greek, Indic, or Persian origins, 2) that Sufism is opposed to Islamic law and that Sufis don’t care about normative legal obligations, and concomitantly 3) that while Sufism is the exotic, soft, and liberal brand of Islam, Islamic law or the Shari‘a is its harsh, puritan, illiberal other. One can fruitfully show the effects of these Orientalist stereotypes in the present by juxtaposing film with text. More specifically, for this day, I combine discussion on the first chapter of Carl Ernst’s Shambala Guide to Sufism (which they read before class) with the in-class viewing of the first twenty minutes or so of the 1994 documentary I am a Sufi, I am a Muslim. The more recent documentary Sufi Soul by popular writer William Dalrymple is also a good alternative that serves the purpose.  In small group discussions, I have students identify and make a list of stereotypes about Sufism in the works of various 18th and 19th-century European Orientalists and colonial officials (such as Tholuck, Elphinstone, Graham) as presented in the Ernst text. As student discussions are winding down, I pop in the documentary. I then ask them to make a note and a running list of any overlap between the Orientalist stereotypes they just discussed and ways in which the narrator of the documentary describes Sufism. The overlap is astonishing. Almost all Orientalist depictions (Sufism has non-Arab origins, it is opposed to ‘orthodox’ Islam, Sufis don’t prioritize ritual practices etc.) are repeated almost verbatim in the documentary. This conglomeration of textual and visual evidence invites students to reflect on traces of powerful 19th century discursive regimes on a popular and seemingly sympathetic documentary a century later. Film and text complement each other, the former amplifying the argument of the latter about the Orientalist reformulation of Sufism. But this much is not enough. In addition to uncovering the problems and persistence of Orientalist narratives about Islam and Sufism, it is also important to have students address the question of how Sufis themselves understand their tradition, especially in regards to Sufism’s relationship with Islamic law. For this, we again turn to the Ernst chapter, especially page 26 that details Sufis’ self-imagination of their tradition in clear, concise, and singularly productive ways. By reading relevant passages aloud in class, we establish the point that in contrast to 19th century Orientalist and contemporary popular stereotypes, the relationship between Sufism and law within the tradition is hardly understood in the form of an oppositional binary. Rather, this relationship is imagined as a hierarchy whereby abiding by the law and its limits represents a prerequisite to progress on the path to divine reality. This hierarchical arrangement is reflected in the rhyming progressive (in a literal sense) formula Shari‘a (divine normative order)-Tariqa (the Sufi path)-Haqiqa (divine reality). Put simply, Sufis do not reject the law and its imperatives. They instead consider it a first step towards higher spiritual refinement. A hierarchy is not the same as a binary. Through this class session, some highlights of which I have outlined above, students in an introductory course can be equipped to interrogate the afterlives of colonial power and Orientalist discourse in the present without being burdened with the weight of prohibitive theory talk. It can also attune them to ways in which a more careful consideration of the logics and textual resources within a tradition can disrupt popular stereotypes and representations about it. Genealogical skepticism is thus usefully complemented with discursive analysis.

Why and how has Sufism become such a contested topic in the 20th and 21st centuries, and what does “authentic” Sufism look like today? Why are historical Sufi shrines in Pakistan, Mali, and Iraq being destroyed by Muslims?  Why do some Muslim governments ban Sufi literature and persecute Sufis, at a time when Sufism has become increasingly popular in the West?  Is contemporary Sufism a singular phenomenon, or is it shaped by a multiplicity of interpretive frameworks?  Exploring answers to these questions requires a great deal of contextual knowledge of history and religious thought as well as identity politics, and many students feel daunted by the complex terrain of contemporary Sufism.  Given the temptation to settle for simple answers, students need encouragement to engage the dynamics surrounding Sufism, and to critically examine diverse Muslim as well as non-Muslim reactions to this deeply rooted and yet creatively adaptive current arising from within Islamic spirituality and mysticism.    When teaching on contemporary Sufism, I have started to explore three significant themes with my students: Sufism’s relationship to Islam and the development of anti-Sufi interpretive movements Students need to understand the contestation over Islamic authenticity among pro- and anti-Sufi Muslims, which is arguably one of the most prominent conflicts currently playing out in Muslim societies.  To this end, it is essential to help the student explore Sufism’s historical shifts, by becoming familiar with unfinished debates over metaphysics, epistemology, and politics.  One way to do this is to organize discussions about longstanding debates within Islamic thought, to promote familiarity with decisive historical moments for the formation of Sufi tradition as it evolved through engagement with theology and jurisprudence, in pursuit of answers to key questions: What is the nature of God? How can we gain knowledge of God? What is the nature and purpose of being human? Who inherits the founder’s authority? How does one define being Muslim? While Sufis were often careful to avoid standing outside the circle of orthodoxy, their distinctive ways of answering these questions aroused debate, particularly in relation to such controversy-inducing Quranic concepts as kashf and‘ilm ladunni, both of which relate to the attainment of unmediated spiritual knowledge and insight. By affording opportunities to examine contrasting orthodox views of Sufism or even constructing role plays or debates involving Sufi and anti-Sufi views, the teacher can create opportunities for penetrating insight into opposing interpretations grounded in divergent Islamic worldviews. By coming to understand classical debates on such topics, students will begin to grasp the backstory behind the many contradictory opinions about contemporary Sufism’s relationship to Islamic tradition and communal life. Also, by unpacking the historical antecedents for current debates, students get to understand the rise of Islam’s most sustained contemporary anti-Sufi movement, Wahhabism. Relationship Between Sufism and the West When teaching about contemporary Sufism, it is also essential to explore the historical European encounter with Sufism during the colonial period, especially as European “Orientalist” scholars were attracted to Persian poetic traditions of Shamsuddin Hafez and Sadi of Shiraz, as well as to more elaborate Sufi ritualized practices such as those of the whirling dervishes.  For this theme it is important for the student to understand that Sufi tradition was not engaged solely through textual means or through translation, but also through a felt affinity among some Western thinkers for Sufi ideals and worldviews, particularly as expressed through poetry.  Encounters with Sufism’s poetic spirit inspired European and American intellectuals and poets in new and fascinating ways. To illustrate, the teacher can explore with the students the lives and thought of two key literary Western figures: 1) the German author Johann Wolfgang Goethe (d. 1832), and 2) the American poet and lecturer Ralph Waldo Emerson (d. 1882). These two individuals’ engagements with Sufi poetry and personalities are exemplary illustrations of how the Sufi tradition was encountered and understood through translation, also in ways that played a formative role in European spiritual and literary movements. Through examining such impacts of Sufism on early modern European intellectual culture, the student can gain insight into contemporary understandings of Sufism in the West, and especially its presence in contemporary popular culture as reflected in the phenomenon of “Rumimania.” Gender Dynamics of Authority in Sufi Communities When teaching about contemporary Sufism, it also is very useful to explore the growing prominence of women in authoritative roles.  In doing so it is important to help the student understand the “hidden” history of Sufism, in which Sufi female personalities were influential not only in current times but also in the development of the various aspects of the Sufi tradition, from developing its principles and practices to transmitting knowledge, and receiving recognition as saints, spiritual teachers, and authorities.  Although the present era has offered additional opportunities for women to take on roles that were once reserved primarily for men, the contemporary period also shows great continuity with a history that includes women saints, teachers, and practitioners of Sufism.  In North America, women carry forward this tradition by continuing to play important roles in Sufism’s development and in some cases even extending their roles beyond traditional boundaries. In a day and age of Islamophobia and clichéd thinking about Islam (sometimes promulgated by Muslim as well as by non-Muslim thinkers) teaching about contemporary Sufism can help to complexify and diversify students’ imaginations of Islam, particularly when such teaching actively seeks to make connections between past and present.  By moving beyond more static debates about whether Sufism is or is not the heart of orthodox Islam (and either is or is not “authentic” in any given contemporary expression), teachers can show how Sufism has for centuries been central to debates over what is essential in Islam, and indeed over what Islam is.  In the process, students can attain to a much richer and more dynamic understanding of Islamic tradition as well as of the encounter of Islamic and the Western polities and cultures.   

After teaching an introductory course on Islam for over ten years I still am fascinated that most students are unaware of what Sufism is and how Sufism has influenced Islamic metaphysics, societies, cultures, histories, arts, sciences, and trade. In addition to asking myself “Why is there such a lack of knowledge about Islam and Muslim societies?” I have also often asked myself, “Why is there such a disconnect in the minds of students when it comes to Sufism and Islam?”  For this current blog and the two that will follow in the Autumn months, I will share some thoughts about teaching Sufism and contemporary Sufism.  As readers of the Teaching Islam blog can attest, teaching and writing are interconnected.  Many of us write books and articles to use as tools for our classes.  Just this past summer, I completed with my co-author, Dr. William Rory Dickson, an introductory textbook on Sufism entitled Unveiling Sufism: From Manhattan to Mecca (available next year through Equinox Publishers).  I also am currently writing with my co-authors Dr. William Rory Dickson and Dr. Merin Shobhana Xavier a manuscript entitled Contemporary Sufism: Piety, Politics, and Popular Culture (available next year through Routledge Publishers).  The structure, approach and content of these books have influenced my teaching on Sufism, and my experiences in the classroom have influenced my writing.   When teaching on Sufism, I find it helpful to “meet students where they are” with Islam, which means starting with the here and now.  One way of doing this is to utilize a genealogical framework, in which the student begins to learn not with the historical past, but with the contemporary present:  with the diversity of living Sufism in North America today, and ways in which Sufis feel pressure from “both sides” – from non-Muslims and Muslims alike, albeit for different reasons.  Taking this approach enables the teacher to explore the growing anti-Muslim, post-9/11 sentiment among North Americans, as well as the intensification of anti-Sufi sentiments among some Muslims (explaining, for example, why Muslim extremists are destroying Sufi shrines).  Students then can also examine the different interpretive tendencies emerging among Sufi communities in North America, including universalist tendencies that understand Sufism as something not limited to Islam, as well as more traditionalist perspectives that assert Sufism’s necessary connection to Islamic practices and laws.  In addition, the students can learn Sufism’s remarkable influence on North American art and culture, notably through the 13th century Sufi personality, Jalal al-Din Rumi, whose poetry has inspired a variety of different tributes and interpretive expressions, in visual art, yoga, social activism, dance, music, and even in the restaurant and café business. By beginning with issues and themes found in the 21st and 20th centuries, students are then offered the complexities of Sufism as we collectively move deeper through time and space, journeying through a variety of historical, religious, political, and cultural contexts, further delving into the past, and closer to the “origin” of Sufism. This genealogical framework enables the student to understand the patterns of connection between contemporary manifestations of Sufism and past realities from, the bustling metropolis of 21st century Manhattan, to colonial Algeria, through medieval Delhi and Istanbul, back to Baghdad and ultimately Mecca – the birthplace of Islam and its mystical tradition.   In addition to using a genealogical framework, it is important to help students explore Sufism as a multidimensional phenomenon.  Sufism has influenced Muslim philosophy and metaphysics, but also politics, art, and culture in each historical period.  Utilizing particular Sufi figures, movements, places, artistic expressions, or philosophical views, the student develops a richly contextualized appreciation of Sufism.  For example, one teaching exercise that I have used is to compare the tradition of wandering mendicants or dervishes of Islam to the leaders of the medieval imperial courts.  In such a comparison, I like to share with students the symbolic significance of specific items from material culture.  For example, I like to bring to class a very elaborate kashkul from Lahore, Pakistan, as well as miniature paintings of medieval dervishes from Turkey and Iran. Another consideration when teaching on Sufism is to consciously integrate the contributions of women to Sufism, as well as the diversity of Sufism in different regions of the world.  In order to avoid reducing the role of women to a subject for one class session, it is important to use women as examples in each historical era, drawing out numerous examples of Sufi women who have been engaged in politics, philosophy, arts, etc.  Additionally, it is easy to use illustrations and case studies from the Middle East and South Asia, but it also is essential to help students explore Sufism in all regions of the world, especially Africa and Southeast Asia.    There are many different ways to enliven the teaching of Sufism and to make the subject speak to contemporary students who enter the classroom with diverse interests and preconceptions.  By engaging current concerns as well as pop culture manifestations of Sufism and then working backward in time toward the point of origin, it is possible to enable new ways of connecting with the subject matter.  Such an approach also facilitates the introduction of perennial debates about Islam and Sufism in relation to current controversies, demonstrating continuity as well as change and diversity in Sufism throughout the centuries and opening student’s minds to Islam’s rich and varied cultural, intellectual, and spiritual heritage.

I recently finished my fourth year of full-time teaching and I have noticed two consistent reactions that students have to course material in my Islam-focused courses (i.e., Islam, Islamic Mysticism, and The Qur’an): 1) Ability and willingness to readily acknowledge Islamophobia in American popular culture and 2) Appreciation for Sufi themes and literature. Although I may not have surmised how these two themes relate to one another pedagogically a few years back, I have come to see several connections and will use this blog post to explore some ways to take advantage of these student experiences in the classroom. Conscious and Unconscious Islamophobia Usually, on the first day of class, I write “Islam” on the board and solicit from students the first words that come to mind. Some hesitate to shout out “terrorism,” “anti-democratic” and the like, but I find that there are usually enough brave voices in the class to surface these collective social portrayals of the Muslim Bogeyman, and even evoke some cathartic laughter in the process. I find that this exercise, although rather straightforward, helps set a tone; it signifies to students that suppressing the obvious will hinder class discussion and probably their learning process as well. Much later in the semester, often in written assignments but sometimes in class discussions as well, I find a regular cadre of students admit—at times with a combination of shame and gratitude—how troubled they are to realize the Islamophobic views they have known, or found, in their own minds for who knows how long. This proves unsurprising, however, as many college students today were in diapers on 9/11 and therefore know nothing of a world without the “War on Terror.” It’s significant that these timid disclosures tend to occur toward the end of the semester, because no matter how easy it is for students to identify and caricaturize broad social concerns early on, it takes time to reflect on how stereotypes affect them on an individual level. Sufism and “Spiritual Jihad” When we explore various Sufi themes it’s easy enough, usually unprompted by their instructor, for students to draw some sort of personal meaning from the course material. When we read Ghazali’s (d. 1111) Deliverer from Error, for example, many students find it compelling as it reflects a perennial quest for spiritual truth. I’ll often screen episodes, as well, from the BBC production “The Retreat”—a three-part documentary that observes participants at a Sufi retreat in southern Spain; the cast includes multiple archetypal characters such as spiritual-but-not-religious, rigid dogmatist, addict of technology, and an atheist. Thus students can thus usually find themselves in one or more of the characters. In particular, a text I regularly teach is the 15th-century Sufi allegory, Yusuf and Zulaykha by ‘Abd al-Rahman Jami (d. 1492). Many of its central themes relate to challenges of confronting one’s inner demons, and it, therefore, offers some helpful models for students to consider as they confront their own latent or blatant preconceptions about Islam and Muslims. Yusuf and Zulaykha adapts the story of Yusuf (Joseph) from the 12th chapter of the Qur’an, except Jami’s version is much longer, has more details, and focuses on a love-struck female protagonist. Students often think she’s kind of crazy (or just crazy) because of her singular obsession with Yusuf. This obsession ultimately leads her to age physically and persist in a state of inconsolable grief. Eventually, however, once she realizes that it is not Yusuf per se whom she loves, but the divine reflection within Yusuf, her youthful beauty returns, she marries Yusuf, and they live happily ever after. The catalyst for her transformation takes place when she smashes the physical idols she had worshiped, which could symbolize the idols in her heart that had blocked her from True Love. Thus the story conveys useful pedagogical lessons on many levels: truth lies within us, it is we who block truth from becoming apparent, concealing the truth makes us sick and bitter, but also, our obsession with apparent manifestations of truth is highly seductive and difficult to ignore. Struggling Against the Machine One student in my Islamic Mysticism course wrote the following in a response paper late in the semester: “For those who approach this subject with any form of bias, I think must prepare for a clash of what we once viewed as fact with what we can now see as fact. This clash, for me at least, set forth a type of grief and shame.” I suspect that this student—like the protagonist in Yusuf and Zulaykha—arrived at his new perspective only after struggling deeply with his own shadows. Many Islamicists, including myself, find that teaching about Islam and Muslims requires students to go through a process of unlearning or de-programming—however you want to put it—the layers of fear and stereotypes that 21st-century media and society has drilled into their minds, often unconsciously. I think experiences like these are common—although in my own observations few students are willing to admit their feelings in this regard so candidly, even if they undergo similar transformations. What, then, is the best way to guide students through the sometimes-painful process of navigating those parts of themselves that aren’t so pretty? The more I teach, the more I find myself letting students gradually and gently acknowledge their own struggles, rather than relying on the megaphone of my teaching platform. My shift, in this regard—as I intimated the beginning of this post—has resulted from consistently observing students, out of their own volition, desiring to put forth the difficult effort it takes to look inward with honesty and circumspection. Thus the concept ofjihad al-nafs (spiritual struggle) in Sufi traditions—as illustrated in Yusuf and Zulaykha or any number of other scenarios—can allow students not only to draw personal connections to centuries-old texts but also appreciate the difficulties and rewards of challenging oneself to learn and grow amidst a cultural machine that discourages such an endeavor.