A core duty of all Muslims collectively is to “enjoin (command) the good and forbid the wrong” (amr bi-l-ma’ruf wa-l-nahy ‘an al-munkar), meaning that they should encourage fellow believers to live ethical and pious lives while warding the latter away from practices and actions or behavior that contradict the core tenets of Islam. This concept, which has been exhaustively covered by Professor Michael Cook in a monumental book, is mentioned explicitly or thematically in both the Qur’an (e.g. 3:104, 3:110, 31:17, 22:40-41, ] and collections of hadith, including an often-cited one narrated by the Medinan sahabi Sa’ad bin Malik bin Sinan al-Khazraji al-Khudri (Abu Sa’id al-Khudri).
The concept of amr bi-l-ma’ruf wa-l-nahy ‘an al-munkar is a favorite of modern day militant Islamists (jihadis) who cite it as a blanket justification, in their eyes though not that of the vast majority of the world’s Muslims regardless of school of thought or sect, for their actions against other people who are themselves Muslims. For example, crackdowns on the selling and consumption of alcohol, cigarettes and other tobacco products, and movies and music deemed to be “un-Islamic” are justified by these groups with this interpretation of the Qur’anic and Prophetic injunction.
Here the Somali jihadi-insurgent organization Al-Shabab gathers local civilians to watch the proto-state group destroy seized cigarettes and other tobacco products as well as qat/khat (“jaad”), a plant with leaves that is popular in Somalia, Yemen, Oman, and other countries in the Horn of Africa but is banned in places including the U.S. and Great Britain. In the U.S. it is banned for having both a Schedule I and Schedule IV stimulants; also classified in Schedule I are heroin, LSD, Ecstasy, and marijuana. Al-Shabab has long banned the use of qat in areas under its control though the enforcement of such bans have varied from time to time and place to place.
The public enforcement of such edicts is a performative, ritualized display of the jihadi proto-state’s claims to both governing authority, that is being able to enact and enforce the ban, and to religio-historical legitimacy through the demonstration of its theological “purity.”
A favorite hadith of Sunni militant Islamist (jihadi) organizations: “Military garrisoning (ribat) [and jihad to protect the frontiers] in the path of God is better than one thousand days in one of life’s other stations [in prayer and fulfilling other religious obligations],” included in in the 13th century jurist and hadith scholar (muhaddith) al-Nawawi’s Riyad al-Salihin collection, here cited by the late Al-Shabab amir, Ahmed “Mukhtar Abu al-Zubayr” Godane against the backdrop of insurgents following their mid-October 2018 capture of a Somali government military base in Daynunai, Bay region.
The image of the horse (faras) and the horseman (faris) is a central and frequent symbol used in a variety of jihadi culture(s) across different ethno-nationalist groups including Arab, Pashtun, Central Asian, and African organizations. Portraying modern day insurgents and other militants as the contemporary “knight” (faris) and chivalric warrior, the individual defending Islam and the Umma from occupation and persecution by non-Muslim forces and their “apostate” allies, these groups draw upon longstanding sociocultural and historical symbols and motifs, reshaping them into new narrative frames that seek to link today’s militants with idealized figures from the past, in particular the earliest Muslims led by the Prophet Muhammad and his successors, the four “Rightly Guided” (Rashidun) caliphs and the first three generations of Muslims, the Sahaba (Companions), the Tabi’un (successors), and the Tabi al-Tabi’in (successors of the successors). These early generations of Muslims are heralded as the paramount examples of piety, faith, and religious action, the model for all subsequent generations of believers to emulate.
In historico-military terms, these three generationsexpanded the earliest Arab Muslim states outward from the birthplace of Islam, the Arabian Peninsula, into the Levant, Egypt and North Africa, Anatolia, Iran and Central Asia, Sindh and the Indian Subcontinent, and further afield into Asia, Sub-Saharan Africa, and southern Europe. Fortoday’s jihadis this “golden age” has been idealized in a way to focus centrally on military struggle (jihad al-‘askari) in what most see as the “defense” of the Umma and Islam from external aggression and internal betrayal and perfidy. This purity of intention (niyya) to “strive in the path of God” (jihad fi sabil Allah) is exemplified in the chivalric horseman, the knights of faith (or, as the former Islamic State of Iraq dubbed them, the “knights of martyrdom,” fursan al-shahahda) who are the closest embodiment in the modern age of the Prophet’s generation.
The horse as a symbol plays a central role in pre-Islamic and classical Arabic literature with the term “faras” (referring, in general, to thoroughbred horse; plural:frāsāt) appearing in classical poetry (such as the qasidas of the famous sixth century poet Imru’ al-Qays) as an image of beauty, chivalry, and a symbol and celebration of the skilled horseman and the symbolic nobility of the animals themselves.
Horses are mentioned in the relation to their beauty (3:14) and creation by God for humankind (16:8) as well as throughout the hadith literature. In one hadith the Prophet is said to have said, “There is always goodness in horses” and in others horses are referred to as mounts, in warfare, as food, in racing competitions, and as exempt from zakat.
The horse, central as it was to the early Arab Muslim territorial expansion, was mythologized in early Islamic literature and training manuals (furusiyya) were also developed concerning the animals’ usefulness as cavalry mounts. As the early Muslim states expanded they came into contact with other military equestrian traditions, chiefly that of the Iranians, Central Asian Turks, and the Byzantines and led to interbreeding between the different stocks of horses. In the modern day, mechanized jihadi forces are compared to the fursan of old, often by referencing Qur’an 8:60: “”And prepare against them whatever you can of power and of steeds of war by which you may terrify the enemy of God…”
Skilled horseman on the battlefield, often with banners flying and weapons raised high, the sword and saber of old replaced in jihadi motifs often with rifles and other firearms, appear throughout the media and visual cultures of today’s different jihadi (or, to use their term, mujahidin) groups including the Afghan and Pakistani Talibans, Al-Qaeda Central, Al-Shabab, and Islamic State. Images of the horse cross sectarian boundaries and often appear in Twelver Shi’i religious artwork and the visual culture of modern day Shi’i armed groups in reference both to the Prophet and to the horse, Zuljanah, of the third Imam, Husayn bin ‘Ali. Zuljanah, the martyred Imam’s faithful mount, is linked to the Prophet, who was bought and raised by Muhammad and was later given to Husayn. A white horse, standing as Zuljanah, is central in many contemporary Muharram mourning rituals and processions, particularly in South Asian Shi’i communities as well as in their diasporas.
Below are a number of photographs and visual motifs of horses in contemporary jihadi culture(s) as well as selected segments from audiovisual releases with brief annotation. Due to space and time constraints, the below is, of course, not exhaustive; there are numerous groups using or that have used equestrian (and dromedary) imagery:
(1) The Encyclopaedia of Islam, 2nd Edition, in particular the articles on “Faras” and “Furusiyya.”
(2) Description in Classical Arabic Poetry: Wasf, Ekphrasis, and Interarts Theory (Akiko Motoyoshi Sumi; Brill, 2003).
A selection of posters produced by the Palestinian Islamist movement HAMAS including by its political branch, military wing (the Brigades of the Martyr ‘Izz al-Din al-Qassam), and media departments and including posters to commemorate “martyrs” and mark major events in HAMAS’ history. The group’s visual culture combines both religious and nationalist symbols and motifs.
The foreign and local mujahideen insurgents active in Chechnya and the North Caucasus in the 1990s into the mid-2000s regularly produced photography which was disseminated by a number of different media networks. In this photo essay are a selection of these photographs including ones showing Arab and regional commanders including the legendary “Amir Khattab” (Samir Saleh ‘Abdullah), killed by poison in March 2002; Supyan Abdullayev, deputy leader of the Islamic Emirate of the Caucasus killed in March 2011; Shaykh Sa’id Buryatsky, a clerical figure in the Islamic Emirate of the Caucasus killed in March 2010; Aslan Maskhadov, the Chechen president killed in March 2005; Abu al-Walid al-Ghamdi, the Saudi commander of the Arab foreign fighters until he was killed in April 2004; & Abu Hafs al-Urduni, al-Ghamdi’s successor who was killed in November 2006.
South Asian Sunni jihadis are marking the 12th anniversary of the July 3-11, 2007 siege of the Lal Masjid (Red Mosque) in Islamabad by Pakistani government forces, which were responding to increasing violent activism by male and female students at the mosque’s two schools including its now famous women’s madrasa, Jami’a Hafsa. These groups include pro-Al-Qaeda and Islamic State militants as well as Pakistan and Kashmir-centered groups including the sectarian Lashkar-e Jhangvi.
The mosque’s deputy imam, ‘Abdul Rashid Ghazi, who was killed during the siege, became a central “martyr” figure in Sunni jihadi visual and literary cultures, particularly but not only to South Asian groups. Different factions of the Tehrik-i Taliban Pakistan, the Islamic Movement of Uzbekistan, and the Islamic Jihad Union have named military attacks or campaigns and special units after him or in memory of the scores of students and others killed during the siege by government forces. Ghazi and the other martyrs were eulogized by Al-Qaeda Central (AQC) and other major jihadi groups and figures, with Ayman al-Zawahiri and the late AQC leader Abu Yahya al-Libi placing him in the pantheon of the “mujahid ‘ulama” who, they said, are exemplary figures for the Umma.