Podcasts about good muslim bad muslim

Bonus Episode:  Tanzila Ahmed, an artist writer, political activist, and co-host of the good Muslim bad Muslim podcast, shares her reflections on 20 years since 9/11.Follow Taz on Twitter, read her articles on Substack, and visit her website. Listeners of King of the World can share their own experiences post 9/11 and what the series means to them.Check out the Rifelion blog.  Also visit podinbox.com/kingoftheworld to send us an audio message, some of which will play on future episodes.For more information on King of the World, visit our website.

What didn't happen around us, doesn't mean it won't happen to us. A good friend always advised me in Malay," Jangan Cakap Sudah" to anything in life. We're a multicultural country that continues to strive against race discrimination, individually, but in no way are our lives jeopardized throughout the journey. Also, I'm sharing my personal experience of overcoming religious ivory towers goers just because, I don't come from a pious family and because, I had a history.

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008's film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Since the fall of the Indonesian New Order regime in 1998 there has been a steady rise of Islamic popular culture in the nation. Muslim consumers and producers have cultivated a mediated domain where they can encounter commercial entertainment though the prism of spiritual reflection and piety. In Gender and Islam in Indonesian Cinema (Palgrave Macmillan, 2017), Alicia Izharuddin, Women's Studies in Religion Program Research Associate at Harvard Divinity School, explores the development of the Islamic film genre with a specific focus on gender representation. Indonesian cinema throughout the New Order era focused on Muslim characters, both men and women, frequently framing them in nationalistic ideals. But after the record success of 2008’s film, Ayat-Ayat Cinta (Verses of Love), the viewing preferences of Indonesian Muslim audiences were met with a slew of Islamically themed films. These often contained the repetition of formulaic tropes and symbols deemed Islamic in order to sell out the box office. In our conversation we discussed the characteristics of the film Islami genre, the importance of gender analysis and feminist methodologies, the role of women as actors and filmmakers, idealized masculinities, the public piety of celebrity actresses, producing a “Good Muslim”/ “Bad Muslim” narrative dichotomy, films about the famous Wali Songo saints, and mediated public Islamic values in contemporary Indonesia. Kristian Petersen is an Assistant Professor of Philosophy & Religious Studies at Old Dominion University. He is the author of Interpreting Islam in China: Pilgrimage, Scripture, and Language in the Han Kitab (Oxford University Press, 2017). He is currently working on a monograph entitled The Cinematic Lives of Muslims, and is the editor of the forthcoming volumes Muslims in the Movies: A Global Anthology (ILEX Foundation) and New Approaches to Islam in Film (Routledge). You can find out more about his work on his website, follow him on Twitter @BabaKristian, or email him at kpeterse@odu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a conversation with my friend Azhar Usman, a man I call the most serious man in comedy. Azhar asked me to watch Ramy Youssef’s show ‘Ramy’ on Hulu, and when I begrudgingly did, I was floored. This happened again with Aziz Ansari’s comedy special ‘Aziz Ansari Right Now’ on Netflix. As we began to unpack the significance of these two shows, we found ourselves wrestling with modern dichotomies: Good Muslim/Bad Muslim; Artists/Awliya’; God’s Estate/Our States.In this hour and a half, I hope you feel the love I have for this brother, and just how his sobering words help put into perspective the beautiful and flawed world which ultimately, points us back to God. This week’s Submitter Circle Podcast, the podcast for patrons of I. A. Malik Studio has also been made public; for those of you are not patrons, we hope you enjoy this extended auditory experience.Go deeper and become a patron here: http://patreon.com/submitter.Books mentioned:Rene Guenon’s Crisis of a Modern World https://amzn.to/2YgBAsoProduced by Imran Ali Malik and Zahra Parekh This is a conversation with my friend Azhar Usman, who I call the most serious man in comedy. Azhar asked me to watch Ramy Youssef’s show ‘Ramy’ on Hulu, and when I begrudgingly did, I was floored. This happened again with Aziz Ansari’s comedy special ‘Aziz Ansari Right Now’ on Netflix. As we began to unpack the significance of these two shows, we found ourselves wrestling with modern dichotomies: Good Muslim/Bad Muslim; Artists/Awliya’; God’s Estate/Our States.In this hour and a half episode, I hope you are all able to feel the love I have for this brother, and just how his sobering words help put into perspective the beautiful and flawed world which ultimately, points us back to God. This week’s Submitter Circle Podcast, the podcast for patrons of I. A. Malik Studio has also been made public; for those of you are not patrons, I hope you enjoy this extended auditory experience.Please share this with family and friends who you think might like it.Go deeper and become a patron here: http://patreon.com/submitter.Books mentioned:Rene Guenon’s Crisis of a Modern World https://amzn.to/2YgBAsoProduced by Imran Ali Malik and Zahra Parekh

Tazila “Taz” Ahmed, activist, storyteller, and co-host of the Good Muslim Bad Muslim podcast joins us this week for a special #CrossPodLination episode, where we talked about her work as an activist for the Asian-American...

Taz Ahmed is a long-time storyteller and the host/producer of the podcast Good Muslim Bad Muslim. Here's Taz, along with Call Your Girlfriend's Gina Delvac and NPR's N'Jeri Eaton talking about what it takes to staff a podcast, from the small budget to the big.  Werk It: The Podcast is a compilation of some of the best moments from the live event. Both the festival and the podcast are produced by WNYC Studios and are made possible by a grant from the Corporation for Public Broadcasting with additional support from the Annenberg Foundation. Event sponsors include Cole Haan, M.A.C. Cosmetics, and ThirdLove.com. You can find more information at www.wnyc.org/shows/werkit. 

Jessamyn Stanley tells us why yoga is for every body. And Taz and Zahra from Good Muslim Bad Muslim share recent awkward encounters with "can you answer this on behalf of all Muslims?" body questions.

The East LA band Las Cafeteras has a saying: “if we can’t dance together, we can’t move together.” The Chicano/Chicana group continues our discussion on the intersection of art and activism today: not just the fights and struggles of community movements, but the joy and laughter (and in their case, the dancing).And given perhaps the wildest weekend in this whole election, we brought in our favorite feminist muslim comedian Zahra Noorbakhsh to help us figure out what the hell just happened. Yes, we’ll talk about Trump and Billy Bush, the debate, and all the bizarre and gross reactions.Please check out more music from Las Cafeteras and catch them live! Go to http://lascafeteras.com/ for more info. And please check out Zahra’s amazing award-winning podcast Good Muslim Bad Muslim that she co-hosts with Taz Ahmed: http://www.goodmuslimbadmuslim.com/. And find more of Zahra’s writing, comedy and performances at http://www.zahracomedy.com/.Want to meet your favorite hosts in person? Kamau and Hari are coming to a venue near you! Find their standup dates at http://www.wkamaubell.com/ and http://www.harikondabolu.com/. Find Hari’s new album Mainstream American Comic and Kamau’s album Semi Prominent Negro at www.killrockstars.com.Thanks for listening! Tweet us at #politicallyreactive or email us at politicallyreactive@firstlook.org.