The Threads of Belonging: Unraveling Europe’s Complex Relationship with Islam

The art world has long been adept at distilling complex issues into visually striking narratives. Shahed Saleem’s exhibition “I Was Born Here” is a prime example. At first glance, the tapestries adorning the 536-year-old Islamic-inspired Spanish roof in east London may appear to be a poignant tribute to Muslim life and Europe’s Islamic history. But scratch beneath the surface, and you’ll find a nuanced exploration of tensions between identity, belonging, and xenophobia.

Saleem’s work is not just an artistic commentary on current affairs; it’s also a deeply personal reflection on his own experiences as a British Muslim. By interweaving historical narratives with contemporary social issues, Saleem raises essential questions about Europe’s relationship with Islam. Historian Tharik Hussain notes that this complex history has been marked by periods of admiration and celebration, but also by exclusion, marginalization, and persecution.

The exhibit’s centerpiece is the Home Office tapestry, which juxtaposes government signage quotes from London’s diverse neighborhoods against a backdrop of Alhambra patterns – Islamic geometric art rooted in medieval Spain. This striking contrast speaks to the ongoing struggle for recognition and acceptance. Against the harsh reminder of hostile environment policies that have ravaged communities for decades, Saleem weaves a narrative that grounds these issues in the lives of real people.

The erasure of Muslim communities, the fetishization of Islamic art, and the increasingly toxic climate of Islamophobia are all familiar themes. But Saleem’s work refuses to be relegated to abstraction. Instead, he humanizes these issues by showcasing portraits of individuals like Altab Ali, whose murder is depicted in a nearby tapestry.

Visitors can’t help but notice the irony of showcasing this exhibit beneath a 20th-century Spanish ceiling. As Hana, a 26-year-old visitor, observes, “There’s something particularly ironic about [the roof] being presented alongside the tapestry’s representation of hostility and the uncomfortable realities of migration.” This irony speaks to the ongoing conundrum that Saleem’s work seeks to address: how can we reconcile our fascination with Islamic art and culture with the violent realities of xenophobia?

Saleem responds by acknowledging the complex history that has shaped Europe’s relationship with Islam. As he notes, “Colonization abroad and the creation of ethno-nationalism at home are constituent parts of the Modern European nation, which continues today.” This acknowledgement is both a historical observation and a call to action.

For British Muslims like Imran Haque, Saleem’s work serves as a powerful reminder that they are not newcomers but part of a long and complex history. As Haque observes, “I Was Born Here manifests the very real, tangible, and honest truth that I, and thousands more British Muslims, were, in fact, born here.” This statement is both a defensive assertion and a testament to the resilience of Muslim communities in the face of hostility.

As we navigate this complex landscape, Saleem’s work serves as a vital reminder of the importance of context and nuance. By weaving together history, art, and personal narrative, he offers us a glimpse into a world that is both familiar and strange. In doing so, he challenges us to confront our own biases and assumptions about identity, belonging, and xenophobia.

As we walk away from the exhibit, the threads of Saleem’s tapestries seem to linger – a poignant reminder of the ongoing struggle for recognition and acceptance. But they also offer us a glimmer of hope: that by acknowledging our complex history, we may yet find a way to weave together the disparate strands of Europe’s relationship with Islam.