President Barack Obama has made a point of saying the Islamic State is “not Islamic,” despite pressure from critics to define America’s enemy as Islamic extremism. Last week, following the release of a video purporting to show Islamic State militants burning a Jordanian pilot alive, Obama referred to “whatever ideology” fueled the group’s barbarity. And later, at the National Prayer Breakfast, the president said Americans need to get off their “high horse” about religious extremism, invoking the Crusades, the Catholic Inquisition, and U.S. slavery.
Related video: President Obama, religion, and the Islamic State
But a closer look at the video of Lt. Muath al-Kasasbeh’s horrific death tells a different story. As Muslim-American journalists with expertise in Islam, Arabic and Hollywood, we analyzed the 22-minute propaganda film, and what we can clearly decipher is this: The terrorists of the Islamic State are very much about Islam.
The militants leverage symbols from three sources — the Qur’an, the holy book of Islam; the hadith, or sayings and traditions of the prophet Muhammad; and historical fatwas, or Islamic rulings — and blend them with historical grievances and highly-produced sequences incorporating battle scenes from Hollywood war movies to legitimize themselves as Rambo Muslims for jihad.
In the video, the Islamic State fighters are young men with runny noses that smear their ski masks, exploiting centuries-old grudges to justify their violence. They are, as former FBI agent Joe Navarro terms them, “wound collectors.”
For all the calls for “separating the brutal actions of ISIS from the faith of Islam,” as the Council on American-Islamic Relations puts it, the Islamic State squarely plants itself within Islam, with fighters as mu’mineen, or “believers,” a Qur’anic concept (23:1).
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The answer to defeating the Islamic State, particularly in its propaganda and recruitment, rests not with denying the Islam in “Islamic State,” but rather addressing and rejecting the interpretation of Islam propagated by the terrorist organization and promoting a culture of productive solutions and healing.
As it is, the murder video is like a walk through the history of unhealthy expressions of Islamic theology and psychology.
In Arabic, the video’s title is Shifa’o El-Sodoor, which the video makers translate as “Healing the Believers’ Chest” — el-sodoor literally means “the chest,” but it is a deeper reference to “the heart.” Shifa’o means “healing” in Arabic. There is no mention of “believers” in the title, so it should be translated as “Healing the Heart.”
“Healing” appears in the Qur’an (9:14), revealed at a time when new Muslim converts were afraid of battling the rival Quraish tribe of Mecca. For militant Muslims, it is a battle cry for the violent expression of jihad, or “struggle,” which ignores the chapter’s other message to “remove the anger of hearts (9:15).” For liberal Muslims, it is a historical challenge that today should be answered with non-violent healing.
As if assigning the Islamic State a divine mandate, the video begins by invoking an Arabic salutation that Muslims learn from childhood to recite before starting any activity, from prayer to sports: “In the name of Allah, the most Beneficent, the most Merciful.” The video flashes to a slick new cube graphic for the terrorist organization, with the logo in Arabic script in a blue palette, reading, “Al-Dawla Al-Islameya” — “The Islamic State.”
Half a minute into the video, the producers slam Jordanian King Abdullah Hussain II as “Taghut of Jordan,” invoking a Qur’anic concept, taghut, which describes anyone who has crossed limits, becoming in this case “a tyrant (4:51, 4:60, 4:76).” Even though a verse cited by many liberal Muslims says there is “no compulsion in religion,” (2:256), that same verse extols Muslims to not believe in taghut, or “false gods.”
The producers flash scenes from Hollywood portrayals of valor in war as a narrator says, in Arabic: “As the crusaders’ campaign started against Muslim lands …”
But the actual images illustrating the “crusaders’ campaign” are war scenes from Hollywood movies against Nazi Germany and its allies. First, the video steals footage of a U.S. warship, the “Liberty Ship,” from the HBO mini-series “The Pacific,” which aired in 2010, and was created by the producers of “Band of Brothers” — actor Tom Hanks and director Steven Spielberg. Next come battle scenes from “Flags of Our Fathers,” the Clint Eastwood movie about America’s WWII victory on the Japanese island of Iwo Jima. These are followed by a scene from “Enemy at the Gates,” a 2001 film starring Jude Law as a Russian sniper fighting Nazi Germany in the Battle of Stalingrad.
The video’s themes move from protesting “apostasy and treason” to promoting “the application of sharia,” or Islamic laws. Protesting “the Jewish state,” the video invokes the divine value of the land of “Philistine,” or “Palestine,” with a reference to a mystical Qur’anic story in which the prophet Muhammad supposedly flew on a winged horse from Mecca to the now-contested Dome of the Rock in Jerusalem.
The video makes reference to the killing of Muslims “displaced from their homes” (probably Palestinians), “secret prisons” with “rotten smell” (probably so-called black sites), “tracking the mujahideen” (likely drone attacks), and “assassinating their leaders” (Osama bin Laden, among others). It gripes about the “invaders’ troops on Muslim lands,” like Afghanistan, and the “international coalition” to “stop the spread of the caliphate state,” “raining the fire of death on people of Islam.”









