Brittany Huckabee’s The Mosque in Morgantown is, on its face, the story of a battle in the local mosque, but more deeply, the story of a complex and infinitely diverse religious community grappling with its identity in modern-day America. On one side is Asra Nomani, a former Wall Street Journal correspondent who came face-to-face with extremism when her colleague and close friend, Daniel Pearl, was murdered in Pakistan. On the other side are, initially, the members of her local mosque, and eventually, moderate Muslims throughout the country.

Upon Asra’s return from Pakistan to her hometown of Morgantown, West Virginia, she believes she sees in her local mosque hints of the extremism she witnessed in Pakistan. Women are excluded from the main prayer hall and the mosque leader frequently makes statements of intolerance and distrust toward women, non-Muslims, and the West. Asra keeps careful notes of problematic statements made in the mosque sermons, some of which include, “a woman who loses her chastity is worthless,” and “Jews are the descendents of apes and pigs.”

Her campaign against this extremism puts the mosque in the middle of a media storm, a fact the mosque’s moderate contingency is highly irked by. Whereas these and other moderates throughout the country would normally have been her main allies, Asra’s reform methodology pits her against them.

As such, The Mosque in Morgantown explores the battle not between Asra and the purported “extremists” but between Asra and the moderates. While it is the conservative members of the mosque who petition to expel Asra from the mosque, it is her confrontations with the moderate members that define the so-called “trial” that she is placed on explicitly by the mosque and implicitly by the larger Muslim community.

Like all good documentaries, The Mosque in Morgantown not only takes the audience into a world they may not be familiar with, but also casts a spotlight on certain aspects of this world that may have otherwise been overlooked or taken for granted. As the movie follows Asra’s fight for women’s rights, it shows how, with each new battle, her activism evolves and at times becomes internally confused. Her protest goes from wanting to give women a space in the main prayer hall to wanting women to stand beside men in prayer and to lead mixed-gender prayers. Her struggle against conservatism becomes intertwined with her repugnance with extremism and she ends up conflating the two, explaining time and again that there is a “slippery slope” between intolerance and violence. Yet, as one of the conservative women from her mosque notes, what does extremism have to do with women led prayer?

Because she is convinced of this slippery slope, Asra feels that there is no room for what the moderates advocate: slow change based on diplomacy and compromise. Instead, she calls for and leads an all-out revolution, bringing the media into the fray and causing the community to feel exposed and ridiculed. While it is not clear if this was her intent, it appears to be the natural byproduct of her actions.

These and other problematic elements of Asra’s struggle are highlighted by the reactions she receives from moderate Muslims first in her mosque and then throughout the country. For the viewers, these responses raise questions related to effective reform tactics, the characters’ underlying motivations, and the proper use of terms such as “extremism” and “extremist”.

For example, in the film, Edina Lekovic points out during a confrontation with Asra that Asra’s sensationalist tactics are making it harder for female reformers to be taken seriously. Specifically, Asra’s focus on women leading Friday prayer allows misogynists in the community to dismiss reform efforts regarding more important and substantive issues such as female leadership and access to mosques.

Edina goes on to say that she cannot help but think that Asra’s activism is intricately linked with Asra wanting to sell her book, Standing Alone in Mecca: An American Woman’s Struggle for the Soul of Islam. While Edina calls Asra’s sincerity into question, Asra’s other opponents undermine the form of her argument, stating that she unfairly clumps members of their community with the murderous extremists responsible for Pearl’s death.

Beneath these issues simmer even more complex ones: What is the true status of women in Islam? How should the Qur’an be interpreted? What is the connection between Islam and violence? Essentially – what is Islam? As Asra continuously pushes against the widely accepted boundaries of Islam, her opponents cannot help but wonder if Asra is out to redefine Islam entirely in her own terms.

And the Asra camp also seems to allude to this; as her mother and one of her staunchest supporters states during a heated meeting with the local mosque leadership, “This is Islam for you; it is not Islam for us.” Asra insists that it is not she who makes the rules; the gender equity and unconditional tolerance that she advocates for is at the heart of Islam. Yet even as she says this, she is troubled by the verses in the Qur’an that speak of beating wives, or fighting the Jews, and tries to reconcile her beliefs with the text by denying that it is the actual word of God and stating instead that it is a historical text.

While it may be true that the English translation is not the word of God, it is generally uncontested among all Muslims that the Arabic Qur’an is the direct word of God, unchanged throughout history. Human interpretation of the words, that is, the ways in which the words are actualized, is a distinctly human enterprise, but the words themselves are of Divine origin.

Even so, any interpretation should strive to remain true to the words of the Qur’an – the context and sub-context of the verses. If one does away entirely with the words and the framework within which they were revealed, then which part of Islam is one really left with?

And that is ultimately what Asra’s opponents are perplexed by. While many of them acknowledge the merit of her arguments, she seems at times to push too hard and too far. At the Islamic Center of Southern California – described in the film as the most progressive mosque in the country – one of the mosque leaders, Azmeralda Alfi, says to Asra, “You did not show respect to your people. You did not show respect to yourself. You didn’t respect anything.” Asra replies, “I respected God and I respected divine law.” This exchange highlights the central conflict, the point past which Asra and her opponents cannot seem to move: they feel that she is irreverent to the proper etiquette of Islam; she feels that by aspiring to broader ideals of tolerance and equality, she need not limit herself by traditional customs and rulings.


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