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debates in Tunisia often echo similar confrontations in Turkey, another country with a long history of secular authoritarian rule now governed by a party inspired by political Islam. In both, secular elites long considered themselves a majority and were treated as such by the state. In both, those elites now recognize themselves as minorities and are often mobilized more by the threat than the reality of religious intolerance

secular Tunisians might soon retreat to enclaves. “We’ve become the ahl al-dhimma,” he said, offering a term in Islamic law to denote protected minorities in a Muslim state. “It’s like the Middle Ages.”

Others insisted that Ennahda take a stronger stand against the Salafis before society became even more polarized. “I don’t see either action or reaction — where is the government?” asked Ahmed Ounaïes, a former diplomat who briefly served as foreign minister after the revolution. “What is Ennahda’s concept of Tunisia of tomorrow? It hasn’t made that clear.”

He complained that the case had been “blown out of proportion,” that media were recklessly fueling the debate and that the forces of the old government were inciting Salafis to tarnish Ennahda. But he conceded that the line between freedom of expression and religious sensitivity would not be drawn soon. “The struggle is philosophical,” he said, “and it will go on and on and on.”

because of the rising influence of orthodox interpretations of the faith, stambeli artists are careful to stress the monotheistic, Islamic essence of their practice

The origins of stambeli music resemble those of American jazz (even though the two genres don’t sound alike). In both cases, the musical traditions of former slaves combined with the diverse cultural influences of their new environments to create something radically new. Whereas slaves arriving in Louisiana mixed their music and practices with European, Caribbean, and American ingredients, slaves arriving in Tunis during the same period fused their animist practices with North African versions of mystical Sufism and orthodox Islam. Mounir Argui, a theater director and music producer who works with Bidali, says that the metal castanets that play such a prominent role in stambeli performances evoke “the sounds of chains and shackles” that the slaves once wore, while the chanting recalls the “moaning.”

the Tunisian state never prioritized the preservation of stambeli, focusing instead on the art and culture it considered highbrow

Many Tunisians see stambeli as an alien phenomenon associated with blacks, who are already widely viewed as not quite Tunisian. In post-revolutionary Tunisia, where asserting the Islamic character of the country has become an important political symbol for some, the pagan origins of stambeli also cause suspicion

As long as some Tunisians continue to see freedom of religion and freedom of art as mutually exclusive, the rare traditions like stambeli that manage to straddle both will find little space