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Touching scenes: African–Indian intimacy imagined in the contested Ahmadiyya Muslim mission

Published online by Cambridge University Press:  24 November 2025

Shobana Shankar*
Affiliation:
Stony Brook, State University of New York, Stony Brook, NY, USA

Abstract

The Ahmadiyya Movement in Islam, founded in British India in 1889, has many followers in Ghana, Nigeria, Sierra Leone and other West African countries, and has fostered cultural transformations that have rarely been discussed in scholarship on African–South Asian interactions. Through a history of media produced by and about the Ahmadiyya, this article shows how black and white photographs shaped a vibrant visual economy that constructed West African–South Asian interconnectedness in the midst of difference and discord. While Indian Ahmadiyya missionaries first deployed images as evidence for their controversial beliefs and to prove their success at conversion, the absorption of these personnel and their productions into emerging West African media infrastructures – educational publishing and journalism among them – created a wider visual repertoire that evoked complex emotional registers, including fear and mistrust as well as familiarity and fondness. West African and South Asian media makers interwove dreams, religious and journalistic communications, and digital archives of photographs to reveal religious, racial and gendered differences that played out in print and circulated well beyond any single audience. Visual and print media worked to diminish the Ahmadiyya’s foreignness and accommodate their differences as familiar, and thus played a critical role in cultivating cultural pluralism in new postcolonial West African nations.

Résumé

Résumé

Le Mouvement Ahmadiyya en Islam, fondé en Inde britannique en 1889, compte de nombreux adeptes au Ghana, au Nigeria, en Sierra Leone et dans d’autres pays d’Afrique de l’Ouest. Il a favorisé des transformations culturelles rarement abordées dans les études sur les interactions entre l’Afrique et l’Asie du Sud. À travers une histoire des supports produits par et sur l’Ahmadiyya, cet article montre comment les photographies en noir et blanc ont façonné une économie visuelle dynamique qui a construit l’interconnexion entre l’Afrique de l’Ouest et l’Asie du Sud sur fond de différence et de discorde. Alors que les missionnaires Ahmadiyya indiens ont d’abord utilisé l’image comme preuve de leurs croyances controversées et de leur succès en matière de conversion, l’intégration de ces acteurs et de leurs productions dans les infrastructures médiatiques émergentes d’Afrique de l’Ouest (notamment l’édition d’ouvrages pédagogiques et le journalisme) a créé un répertoire visuel plus large qui évoquait des registres émotionnels complexes, y compris la peur, la méfiance, la familiarité et l’affection. Les créateurs de médias d’Afrique de l’Ouest et d’Asie du Sud ont entremêlé des rêves, des communications religieuses et journalistiques, et des archives numériques de photographies pour révéler les différences religieuses, raciales et genrées qui se sont manifestées dans des écrits diffusés bien au-delà d’un public spécifique. Les supports visuels et imprimés ont oeuvré à atténuer le caractère étranger de l’Ahmadiyya et à considérer les différences comme familières, et ont ainsi joué un rôle essentiel pour cultiver le pluralisme culturel dans les nouvelles nations postcoloniales d’Afrique de l’Ouest.

Resumo

Resumo

O Movimento Ahmadiyya no Islão, fundado na Índia Britânica em 1889, tem muitos seguidores no Gana, na Nigéria, na Serra Leoa e noutros países da África Ocidental, e promoveu transformações culturais que raramente têm sido discutidas nos estudos sobre as interações entre a África e a Ásia do Sul. Através de uma história dos meios de comunicação social produzidos por e sobre os Ahmadiyya, este artigo mostra como as fotografias a preto e branco deram forma a uma economia visual vibrante que construiu a interligação entre a África Ocidental e o Sul da Ásia no meio da diferença e da discórdia. Enquanto os missionários Ahmadiyya indianos começaram por utilizar imagens como prova das suas crenças controversas e para provar o seu sucesso na conversão, a absorção deste pessoal e das suas produções pelas infraestruturas emergentes dos meios de comunicação social da África Ocidental – entre elas, a publicação educativa e o jornalismo – criou um repertório visual mais vasto que evocava registos emocionais complexos, incluindo o medo e a desconfiança, bem como a familiaridade e o afeto. Os criadores de meios de comunicação social da África Ocidental e do Sul da Ásia entrelaçaram sonhos, comunicações religiosas e jornalísticas e arquivos digitais de fotografias para revelar diferenças religiosas, raciais e de género que se reflectiram na impressão que circulou muito para além de um único público. Os meios de comunicação visuais e impressos trabalharam no sentido de diminuir a estranheza dos Ahmadiyya e de acomodar as suas diferenças como familiaridade, desempenhando assim um papel fundamental no cultivo do pluralismo cultural nas novas nações pós-coloniais da África Ocidental.

Information

Type
Media and world making between West Africa and India
Copyright
© The Author(s), 2025. Published by Cambridge University Press on behalf of The International African Institute

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