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" Framing Islam at the World of Islam Festival, London, 1976 "
Klas Grinell
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AL
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| Record Number
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1072610
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| Doc. No
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LA116239
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| Call No
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10.1163/22117954-12341365
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| Language of Document
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English
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| Main Entry
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Klas Grinell
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| Title & Author
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Framing Islam at the World of Islam Festival, London, 1976 [Article]\ Klas Grinell
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| Publication Statement
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Leiden: Brill
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| Title of Periodical
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Journal of Muslims in Europe
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| Date
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2018
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| Volume/ Issue Number
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7/1
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| Page No
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73–93
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| Abstract
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This article focuses on a neglected historical example where contemporary museological framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and modernity that is still dominant in museological framings of Islam in Europe. This article focuses on a neglected historical example where contemporary museological framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and modernity that is still dominant in museological framings of Islam in Europe. This article focuses on a neglected historical example where contemporary museological framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and modernity that is still dominant in museological framings of Islam in Europe. This article focuses on a neglected historical example where contemporary museological framings of Islam in Europe were established—the World of Islam Festival in London, 1976. The material consulted consists of the publications and materials from the Festival Trust, media coverage and academic discussions of the Festival. These are analyzed from a frame theory perspective. The Festival is situated in a very specific historical period after the advent of Gulf oil money, but before the resurgence of Islam and the Iranian revolution. It was framed by the traditionalist perspective of Frithjof Schuon and Seyyed Hossein Nasr and in large part funded by the United Arab Emirates. It is argued that what might at first appear to be a festival celebrating the presence of Muslims in modern Britain acted to stabilize a dichotomy between Islam and modernity that is still dominant in museological framings of Islam in Europe.
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1970s
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cultural heritage
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Islamic art
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museums
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traditionalism
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World of Islam Festival
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10.1163/22117954-12341365
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