So much has been written about the Danish cartoon controversy that it seems almost pointless to chime in with another me-too post. However, it has become clear that this is not just a minor flap but an event that marks a turning point in the struggle between the liberal West and fundamentalist Islam - and, it is not yet clear which way things will turn.
First of all, there are the cartoons themselves, originally published by the Danish newspaper Jyllands-Posten, which commissioned them as an experiment in countering self-censorship when it came to depicting the Prophet Mohammed. Not all were offensive in nature, in fact most would not strike the average Western reader as anything more than mildly so. Some, like the much-referenced image of Mohammed with a bomb-shaped turban made satirical points associating the Prophet with the worst of his violent adherents. But others were mere renderings of the Prophet with no other comment, and a couple of them poked fun at the paper itself for its "publicity stunt". One was not even of the Prophet but of a student named "Mohammed" who jeered the paper's editors as "a bunch of reactionary provocateurs". If you haven't seen the actual cartoons, you are in no position to judge for yourself. You can find them at Jihad Watch as well as many other sites. Overall, they strike me as relatively mainstream by the standards of societies who uphold the right of the press to poke fun at religious figures including Jesus, the Pope and indeed the very concept of God.
But I am a liberal Westerner, and not a Muslim, so my opinion is only half the story. Are these cartoons indeed offensive to Muslim sensibilities? Based on the reaction throughout the Muslim world, the answer would have to be "yes". Here is a take from Seema Munir, an American Muslim writing in an op-ed piece for the Arizona Republic:
I think it fair to say that each of the 1.5 billion Muslims around the world feels personally offended by the cartoons. But not every one protested. A small percentage demonstrated and an even smaller percentage reacted violently. Probably all, however, were hurt.
Not surprising - as has now been pointed out ad nauseum, Christians frequently take offense at works of artistic expression that they see as denigrating their beliefs, the most blatant examples being "Piss Christ" in which artist Andres Serrano immersed a crucufix in a jar of his own urine, and the image of the Virgin Mary smeared with elephant dung by Nigerian Catholic artist Chris Ofili. (An aside: Ofili has also used elephant dung as an African symbol of fertility/reverence in pieces honoromg African-American icons such as Miles Davis, and some have countered that his rendering of the Virgin Mary is not quite the slap at Christianity the critics frame it as). To this add the recent Rolling Stone cover featuring rapper Kanye West as a crucified Jesus, complete with crown of thorns, and Corpus Christi, the controversial 1998 off-broadway play that featured a gay Jesus having anal sex with Judas. Christians protested these works as sacreligious and insulting to their faith, just as they had protested "The Last Temptation of Christ" and "Jesus Christ Superstar" in their day. At best, in their view, these artistic works insulted or belittled their faith - at worst, they were seen as outright blasphemy.
So to Muslims who now take offence at cartoons depicting their Prophet, I say, "Welcome to the club." A free press by its nature will question those in power, question received wisdom, and yes, question religious doctrine. And cartoonists (as well as artists, musicians, playwrights, filmmakers and comedians) do occasionally take shots at religious figures and sacred cows. It comes with the territory in any free society. And yes, sometimes lines are crossed and sensibilities are offended. When that happens, people write angry letters, cancel subscriptions, organize protests and boycotts, and otherwise attempt to attract media attention to their grievances. But only extremists burn down buildings, make death threats and advocate for mass murder as retribution for the perceived offense.
And extremists are the ones fanning the flames in the current controversy. When the cartoons first appeared last October, largely as a challenge to the extent of self-censorship in the media, they went relatively unnoticed and created little stir. They were even published in the Egyptian newspaper Al Fagr with nary a peep from the Islamic street, a fact that only recently came to light. Nothing else happened until January when all hell broke loose. What happened in the meantime? A group of Danish imams circulated the cartoons, adding three additional images that were highly offensive to Muslims (one showed a Muslim being raped by a dog, another purported to depict Mohammed wearing a pig snout). The intent was to incite Muslim rage against the cartoons, an effort that has by and large been effective.
This underground campaign by Islamist groups went undetected for several months, during which time groups all over the Middle East apparently acquired quantities of Danish flags for the "spontaneous" angry mobs to burn in January for the cameras. The Islamists have repeatedly shown their sophistication in media manipulation in what many are pointing out is actually an information war.
What about the charge that even if the cartoons were not really that offensive per se, the key issue is the reproduction of images of Mohammed, which is forbidden in Islam. Well, two issues with that: first, if we think it prudent that Western newspapers should abide by such restrictions, why not other aspects of Islamic sharia law? This slope becomes slippery quite rapidly, as Christopher Hitchens observed:
The prohibition on picturing the prophet—who was only another male mammal—is apparently absolute. So is the prohibition on pork or alcohol or, in some Muslim societies, music or dancing. Very well then, let a good Muslim abstain rigorously from all these. But if he claims the right to make me abstain as well, he offers the clearest possible warning and proof of an aggressive intent. This current uneasy coexistence is only an interlude, he seems to say. For the moment, all I can do is claim to possess absolute truth and demand absolute immunity from criticism. But in the future, you will do what I say and you will do it on pain of death.
Secondly, it turns out that the ban on images of Mohammed in Islam is not absolute, at least in the historical sense. It's true that in the present era Islam is strongly opposed to depictions of not just Mohammed but sees as idolatrous images of Jesus and other prophets. But that wasn't always the case. You can find depictions of Mohammed in early Islamic art (search on "Mohammed image archive") . In some cases, his face is blank or veiled, in other cases he is fully realized. In the current era, depictions of Mohammed can be found in many unexpected places, from the Supreme Court to South Park. That there has been no reaction in the Muslim world to these prior Western depictions of Mohammed are further indications that much of the furor is the result of a deliberate campaign of incitement.
I would agree with commentators like Hugh Hewitt that the media should should not play into the hands of the radicals, and in general should show more sensitivity across the board when it comes to treatment of religion and religious figures. Censorship or even self-censorship is not called for here -- more like common sense and good taste. And if Western journalists choose to apologize to the Muslim world for failing to show sensitivity and respect for Islam, we should be prepared to demand that newspapers across the Islamic world demonstrate their good faith by denouncing and refusing to publish hateful cartoons like these, which appear in government-controlled papers throughout the Middle East on a daily basis. For too long, we have allowed the press in these countries to play a double-game, fanning the flames of religious incitement at home while claiming victimhood at the hands of the West.
In fact, a call for a consistent moral standard is not just a good idea but is essential. Here's Victor Davis Hanson:
The deluded here might believe that the divide is a moral one, between a supposedly decadent secular West and a pious Middle East, rather than an existential one that is fueled by envy, jealousy, self-pity, and victimization. But to believe the cartoons represent the genuine anguish of an aggrieved puritanical society tainted by Western decadence, one would have to ignore that Turkey is the global nexus for the sex-slave market, that Afghanistan is the world's opium farm, that the Saudi Royals have redefined casino junketeering, and that the repository of Hitlerian imagery is in the West Bank and Iran.
The entire controversy over the cartoons is ludicrous, but often in history the trivial and ludicrous can wake a people up before the significant and tragic follow.
The matter is far from trivial. Islamist organizations whose goal is to establish a foothold for sharia law in European societies have engineered this crisis as a means of intimidating the West and deflecting attention away from Iran's nuclear ambitions and Syria's perfidy in Lebanon. Their strategy has thus been highly effective and they can see the writing on the wall. The Danish cartoonists are now in hiding, in fear for their lives. News editors who chose to run the cartoons in France, Egypt and Jordan have been sacked. Britain and the US are issuing soothing apoligetics. The Prime Minister of liberal Holland refuses to stand in solidarity with either his counterpart in Denmark, or one of his own Ministers of Parliament Ayaan Hirsi Ali, a Somali-born Dutch citizen and ex-Muslim who has been marked for death by the radicals for speaking out on the treatment of women and gays under Islamic law. Hirsi Ali is herself unequivocal as to where she stands -- with Denmark and against the economic boycott targeted at punishing the entire country for the actions of a single newspaper:
Liberty does not come cheap. A few million Euros is worth paying for the defence of free speech. If our governments neglect to help our Scandinavian friends then I hope citizens will organise a donation campaign for Danish companies.
We have been flooded with opinions on how tasteless and tactless the cartoons are -- views emphasising that the cartoons only led to violence and discord. What good has come of the cartoons, so many wonder loudly?
Well, publication of the cartoons confirmed that there is widespread fear among authors, filmmakers, cartoonists and journalists who wish to describe, analyse or criticise intolerant aspects of Islam all over Europe.
Hirsi Ali warns us that the radicals who are committing violence and threatening lives must be defied, not appeased. We may be appalled at the intensity of the reaction, and wish to not provoke it further but capitulating to the violence and death threats has the effect of rewarding that behavior, leading to more, not less, as Glenn Reynolds recently pointed out. And their rage is not reserved for Denmark - it is free-floating, turning now against France, now against Norway, and routinely invoking death to Israel and the United States, countries which have in this case stayed on the sidelines.
On that basis alone, however we feel about the cartoons themselves, all free-thinking people should stand with Denmark. Those of us who value freedom of expression should not capitulate to the demands and threats of any one religion that it is off-limits to question tenets of their doctrine. Were we to go down that route, there are a great many questions we would be forbidden to ask; someone will always be offended, if not by cartoons of the prophet, then by Valentine's Day or statues of the Buddha, or women as clergy or same-sex marriage, or for that matter, The Da Vinci Code. These topics cannot be avoided or suppressed merely because they run counter to orthodox religious teachings, whether they originate in Islam, Christianity or Judaism. We must always be able to question our faith in the face of those who would impose it on us, and we must always be able to defend our faith in the face of those who would attempt to take it away.
So - let's agree that the Danish cartoons are offensive to the religious sensibilities of Muslims, and further agree that Jyllands-Posten has the right to print them, as an independent publication in a country with a free press. Let's agree that it is the responsibility of journalists to weigh the consequences of printing any provocative image - whether it be a cartoon of Mohammed, a snapshot from Abu Ghraib, a political cartoon of a wounded soldier, or a grisly image of a terrorist beheading a hostage - the public's right to be informed vs. the overall public good; and let's also agree that the standard has to be high. Finally, lets agree that we will apply that standard across the board to all journalism, and that those who publish an image to incite rather than to inform will face public opprobrium for their actions.
Press freedom is guaranteed in open societies. But with freedom always comes responsibility. The publication has to ask, "Are we printing this to titillate, to be provocative for its own sake, to incite public outrage in relation to an agenda? Or are we honestly presenting a piece of information essential to the public debate?" The former is abuse of a free press, the latter is the reason we must defend freedom of the press, even when we don't like what we see in the newspaper.
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