A Cosmopolitan Muslim: Abdurrahman Wahid (1940-2009)

Abdurrahman Wahid, affectionately known as Gus Dur, has died at the age of 69 in the Indonesian capital Jakarta.

The first freely elected head of state of the Indonesian republic after the fall of the Soeharto regime, Gus Dur's term in office (1999-2001) was troublesome and cut short by impeachment procedures which saw him replaced by Vice-President Megawati Sukarnoputri, the daughter of the country's founding father, Soekarno.

His legacy as a Muslim reformist, however, will outlast the sad demise of his short-lived political career. Together with Nurcholish Madjid he was the face of the liberal and pluralist Islam which emerged in Indonesia during the last three decades of the 20th century.

Born in the East-Javanese district of Jombang, Abdurrahman Wahid was the grandson K.H. Hasjim Asj'ari (1875-1947), a prominent Muslim scholar and founder of the Nahdlatul Ulama (NU). Now one of the largest Muslim organisations in the world (it claims a following of over 30 million), the NU has for decades represented the traditionalist Muslim establishment; the gurus or kyai whose bases of power were the Islamic boarding schools known as pesantrens found throughout rural Java. Hasjim Asj'ari's son -- and Gus Dur's father -- K.H. Wahid Hasjim served as the first Minister or Religious Affairs (1945, and again 1949-52) and succeeded as NU leader in 1947, until his untimely death in 1953.

After receiving both a secular and traditional Islamic education in Jakarta, Yogyakarta, Jombang, and Magelang Gus Dur worked as a teacher at a modernist Islamic school (madrasa) affiliated with Pesantren Tambakberas and as a journalist.

In 1953, he was awarded a scholarship for study at Cairo's al-Azhar University. Forced to take remedial classes in Arabic before attending the university's Higher Institute of Islamic and Arabic Studies, Gus Dur preferred spending his time reading world literature, watching European and American movies, and football. Bored with the curriculum at al-Azhar, Gus Dur opted for a transfer to the University of Baghdad, where he studied Arabic literature. Leaving Iraq in 1970, he made a failed bid to enter Leiden University in the Netherlands and then decided to travel home via France and Germany.

Back in Indonesia, Gus Dur joined the Institute for Economic and Social Research, Education and Information, also known under the acronym LP3ES . In addition he became a journalist, working for periodicals such as Prisma, Tempo and Kompas, and returning to Pesantren Tambakberas as a teacher.

As a descendant from an elite NU family, Abdurahman Wahid also become involved in the Pesantren reform policies initiated by Minister of Religious Affairs, Abdul Mukti Ali (1971-78), which he supported enthusiastically. These Islamic schools would provide the seedbed for the new Muslim intelligentsia emerging in the course of the 1980s and 1990s, which formed the constituency for the alternative Islamic discourse referred to as Islam Kultural (Cultural Islam) or Islam Sipil (Civil Islam), and for which Gus Dur himself coined the term Islam Kosmopolitan (Cosmopolitan Islam).

More interested in working as a public intellectual and writer than an organisational and administrative career, Gus Dur was very reluctant to become involved in NU affairs and only after a third appeal from his maternal grandfather Bisri Syansuri did he accept a place on the NU religious advisory council.

From this position he began to challenge the existing NU leadership which he held responsible for the organisation's rampant stagnation. Gus Dur proposed not only drastic internal reforms but withdrew the NU also from party politics, severing its links with the United Development Party (Partai Persatuan Pembangunan or PPP). His successful proposals for revitalising the stale NU made him very popular and in 1984 he followed in his father and grandfather's footsteps by being elected chairman of the NU -- a post he would continue to hold until 1998.

During those fifteen years, Gus Dur groomed a new generation of NU intellectuals, which came to be known as the NU Muda or 'Young NU Members'. Educated at reformed pesantrens, many went on to study at the State Institutes of Islamic Studies (IAIN) found in cities such as Jakarta, Yogyakarta, Surabaya, and Bandung. The most talented would subsequently be given the opportunity to pursue postgraduate studies at universities in North America (in particular McGill University in Canada), Europe and Australia. Combining intimate familiarity with the Islamic tradition with knowledge of the latest advances of Western scholarship in the humanities and social sciences, they are now making their own contributions to the formulation of alternative Islamic discourses through a critical engagement with the Islamic heritage, informed by the cosmopolitan outlook they have acquired through their exposure to a wide array of intellectual influences. For more on this, read the article Indonesia's New Muslim Intellectuals in Religion Compass.

After leaving office, Gus Dur concentrated his efforts on promoting his own pluralist interpretation of Islam's civilisational legacy through lectures, publications and a think tank called the Wahid Institute.




Abdurrahman al-Dakhil Wahid was buried near his father and grandfather's shrines in his hometown Tebuireng, dstrict Jombang, with President Susilo Bambang Yudhoyono presiding at the funeral ceremony.

Female Iranian Reformist Ranked 3rd among top 100 Global Thinkers

Foreign Policy Magazine has ranked Zahra Rahnavard, the wife of Mir Hossein Mousavi (see also the post of 4 July 2009), as the third most influential global thinker of the past year. Here is an excerpt from the article:

for being the brains behind Iran's Green Revolution and the campaign of her husband, opposition leader Mir Hossein Mousavi.

Political scientist and Reformer | Iran

Of all the critical moments in the Iranian presidential election that captured the world's attention this year, one stands out: On June 3, incumbent Mahmoud Ahmadinejad publicly questioned the credentials of his opponent's wife, wondering in a televised debate if her Ph.D. in political science was legitimate. Furious, the 64-year-old Rahnavard staged a blazing, 90-minute news conference in which she accused the president of lying, debasing her sex, and betraying the Islamic Revolution. The attack galvanized the opposition and rejuvenated the campaign of her husband, Mir Hossein Mousavi.

Ahmadinejad should have known better. During and after the Islamic Revolution, Rahnavard had been an ardent Islamist who worked to discredit secular feminist groups. But years later, when the revolution failed to yield dividends for women, she changed course and became a driving force behind the nascent feminist movement in Iran. After she was placed on the High Council of Cultural Revolution, the body issued its first declaration in 1992 advancing women's rights. She was later fired as chancellor of Tehran's exclusively female Al-Zahra University for inviting feminist lawyer and Nobel laureate Shirin Ebadi to speak.

This year, Rahnavard's rage at Ahmadinejad drove her husband's campaign. She began stumping with him and organizing supporters through rallies, Facebook, Twitter, and text messages. Campaign posters that depicted the couple holding hands subtly hinted at the liberal reforms Mousavi would make in office; she has more explicitly said these would involve greater democratization, a stronger role for women in the cabinet, and a relaxing of Iran's notoriously discriminatory gender laws.

Promoting Islamic cosmopolitanism through the arts

This week's Qantara.de newsletter has two items on artistic initiatives seeking to promote a cosmopolitan take on the Islamic heritage.


In Berlin Ha'atelier - Platform for Philosophy and Arts is involved in the exhibition TASWIR -- pictorial mappings of modernity and islam, organised in conjunction with Berliner Festspiele. In an interview with Qantara reporter Nimet Seker, the platform's director Almut Sh. Bruckstein Çoruh -- who is also curating the exhibition --explains that:

'the exhibition renounces any "regional" definition of what is "Islamic." It is not chronologically ordered. In no sense does the exhibition aim to provide a sketch of the history of so-called "Islamic art" from its beginnings through to the present day. And it is not conceived in terms of regions – the more than 50 participating artists are names on the international art scene. The exhibition doesn't try to show how contemporary artists from the so-called "Islamic world" come to grips with their own roots. It isn't meant to be a dialogue between cultures, which perhaps seems somewhat surprising'.

The exhibition's objective is to connect contemporary art with classical Islamic art, says Bruckstein:

'We posed the question as to the visual form of calligraphy. It manifests itself as one of the most paramount art forms, especially in valuable Koran manuscripts, Persian quatrains, and in Ottoman calligraphic arts. There is a visual dimension to the script. In the Sakıp Sabancı Museum in Istanbul, I saw Picasso's lithographic work for Pierre Reverdy's "Le Chant des Morts" and the question arose as to the connection between Picasso and the phenomenon of the line in Ottoman calligraphy. In the "Picasso and Koran" room, we are concerned with the phenomenon of the line in visual, acoustic, and melodic form'.


Through what it calls the workshop's 'encyclopedic curriculum', Ha'atalier seeks to pay special attention to cosmopolitan Jewish and Islamic traditions and create a 'portable pictorial atlas':

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You can read the full interview with here. TASWIR is hosted by the Martin-Gropius-Bau in Berlin until 18 January 2010. For more on contemporary art in the Muslim world see the earlier posts from 29 November 2008 and 24 January 2009.

The merging of Islamic and Jewish cultural influences is also explored in SIWAN, the new musical album resulting from a collaboration between Norwegian jazz pianist and composer Jon Balke and Moroccan-born Amina Alaoui, in which they try to capture 'the spirit of Al Andalus' or Medieval Muslim Spain.

'Behind this remarkable musical integration is a web of philosophical, historical, and literary interconnections, as Balke and Alaoui set texts from Sufi poets, Christian mystics, troubadours and more and – inspired by the tolerant and creative spirit of medieval Al-Andalus – ponder what was lost to the bonfires of the Inquisition. Setting new standards in transcultural music, Siwan shows what can be made today when artists of the most divergent background pool their energies'.