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The original was posted on /r/hobbydrama by /u/avematerlibertas on 2024-08-09 20:39:06+00:00.

Hello there, _r/HobbyDrama!

It’s been some time since my last post, and while I’m still researching for the part 2 of the Smilinguido write-up, I came across a variety of religious comic books which I thought would be interesting to do a write-up on.

This post will be shorter than my previous one; however I do believe it presents an interesting perspective on the Muslim Arab diaspora in Brazil, as well as showing the differing approaches that the religion may have towards children’s media.

All the comics are fortunately available online for free, and I’ll link them at the bibliography section. As always, most of the sources will be in Portuguese, although it’s worth checking them out for further information and details.

I PROMISE TO RECEIVE YOU WITH OPEN ARMS: A (VERY) BRIEF HISTORY OF THE ARAB DIASPORA IN BRAZIL

Few people, outside of Brazil and the Arab countries, know about the deep ties between the South American giant and the Middle East. Brazil is home to the largest Syrian and Lebanese Diasporas in the world, and harbours international ties with the Levant since imperial times.

One could argue that the majority of Arab immigrants that came to Brazil, since the 1880s, did so under the auspices of Emperor Dom Pedro II, a great admirer of Semitic cultures and language enthusiast. Dom Pedro II had personally travelled through Syria and Lebanon during his diplomatic world tour, and became fascinated by the region and its inhabitants.

Most of the first wave of Arab immigrants was comprised of Christians from the Levant, fleeing Ottoman persecution and economic instability. The immigrants of the first wave would prosper and socially ascend while working as traders and peddlers, establishing their communities in urban areas. They would mainly settle in the Southern and South-eastern states (Rio de Janeiro, São Paulo, Paraná), in large metropolitan centres.

The earnings of the Arab traders would kick-start their companies, markets and stores, and they would prosper during WW1, by filling the supplies void left by a ruined, recovering Europe. The Syrian-Lebanese diaspora would be an important investor in the early Brazilian industrial economy, and would use their growing wealth to fund education, healthcare and social welfare aiming the Arab community.

The economic prosperity, social mobility and network of well-funded institutions were primarily enjoyed by the larger, Arab-Christian immigrants. Only in the interwar period would the diaspora’s Muslim minority have enough funds to build their first mosques and establish charitable institutions. The oldest mosque on record is the Mesquita Brasil, in São Paulo, maintained by the Sociedade Beneficente Muçulmana (Muslim Charitable Society) and erected between 1942 and 1952. Before WW2, this mosque served all Muslims, regardless of sectarian disputes and doctrinal differences, as it was the only available place of worship for the small community of faith.

After the Second World War, Brazil saw a larger influx of Arab Muslim immigrants, fleeing their homeland due to economic strife, regional conflicts and civil wars. Such demographic growth would cause the spread and sectarian divisions in the Arab Muslim communities, propelling the need for new mosques, organizations, and Sunni-Shia divided worship places.

The current Brazilian Islamic institutions flourished both as religious entities and cultural communities. They function as institutions dedicated to teaching and promoting religious values, as much as coordinating sport activities, camping, religious conferences, and much more.

Before we move on, it’s crucial to mention that Brazil had a Muslim community before the official immigration permits ceded during the Imperial period. Many enslaved East Africans where practicing Muslims, and were part of one of the most important slave revolts in the Americas (we’ll see more about this as we discuss the comics further).

YOU ENCOURAGE GOOD, FORBID EVIL: FAMBRAS AND MUSLIM CHARITABLE SOCIETIES IN BRAZIL

Many Muslim associations began as autonomous, independent efforts from the various immigrant communities established throughout the Brazilian territory. In 1979, arose the initiative to create a unified federation, amongst the most prominent Muslim leadership, in order to better coordinate cultural and religious activities.

As such, they gathered in Brasília and elected the Lebanese-Brazilian Hajj Hussein El Zoghbi as the first president of the Federação das Associações Muçulmanas do Brasil aka. FAMBRAS (Federation of Muslim Associations of Brazil). The federation received support from various Arab embassies, the Muslim World League and Awqaf ministries from abroad.

Ever since, FAMBRAS has sponsored the construction of new mosques and the establishment of prayer rooms, as well as promoting a growth in the production of Brazilian halal products, aiming the international market.

FAMBRAS is also responsible for many charitable works, targeting both the Brazilian Muslim community, and the impoverished from the wider non-Muslim Brazilian population. Such humanitarian efforts include water treatment, social assistance, health checks and examinations, food banks, academic endowments and scholarships, and free iftars during Ramadan.

Most importantly, for this post, is their work promoting general knowledge about Islam.  Dissemination methods include the distribution of free books and religious texts, participation in international book fairs, lectures, seminars, and (YES!) free children’s comics.

AND HE TOOK HIM AS A FRIEND: KHALIL, THE FIRST MUSLIM COMICS IN BRAZIL

So, who (or what is) Khalil? According to FAMBRAS, Khalil is a comic’s series aiming children and young readers, as a mean of confronting Islamophobia and promoting a message of peace and coexistence. The materials use a simple and charismatic language, so as to foster reading habits in children and being used as an auxiliary educational tool.

Its objectives are similar, in some ways, to the ones professed by the Arvicris era Smilinguido. Instead of taking an explicitly proselytizing perspective, Khalil rather focuses on values and civil attitudes (based on Muslim practice) that benefit the wider Brazilian society.

It presents intersectional healthy perspectives on ecology, food waste, and social issues concerning religious prejudice and xenophobia. As such, by presenting positive values and actions promoted by the faith, Khalil aims to present to the Brazilian younger readers an alternative, rather than letting their perspective of Islam be solely shaped by the hegemonic, Western prevailing prejudices.

The first edition was issued for the occasion of the 25th Bienal do Livro de São Paulo, in 2018, one of the most important publication events in the country, and was distributed for free (some news articles say that they had to limit distribution due to the comic’ popularity).

 The script is authored by Rogério Mascarenhas (aka. Romahs), cartoon artist who previously worked for the ever present Mauricio de Sousa Produções, with art provided by the Moroccan artist Malika Dahil Aguiar and colors by Eunuquis Aguiar.

BE COMPANIONS WITH THEM: KHALIL AND FRIENDS (AND SOME DIFFICULT REALITIES)

Finally, what is Khalil all about? Khalil, the namesake protagonist, is a Muslim Brazilian middle-schooler, easily spotted by his red hair and outgoing disposition. He loves to play with his friends, and is open about his a religious practices.

Khalil is an interesting character. Much like Smilinguido, Khalil portrays in a somewhat honest tone the struggles and feelings one might have when facing prejudice from peers, confronting wrong-doing and trying to explain your cultural differences and practices to a largely unfamiliar, and at  times hostile, society.

Khalil #1: Respect the differences (2018). In the first edition, Khalil is playing football (the kicking type, not the American one) with his friends, but is mocked when he fares better than the rival team. The other team members decide to taunt him, calling him a terrorist… Khalil only finds solace with Cacá, an Afro-Brazilian girl who empathizes with him, finding solidarity in the prejudice both face sometimes.

The conflict is solved when one of Khalil’s bullies, Jucão, attempts to taunt the boy once more, and accidentally kicks the ball into the neighbourhood’s haunted house.  Khalil, in a display of courage, enters with Cacá to rescue the object. Jucão, trying not to look like a coward, rushes inside the abandoned building. He, however, gets scared, falls through the damaged wooden floor, hanging by a thread, only to be saved by Khalil and Cacá.

All in all, Khalil makes a new friend and confronts Islamophobia by being a kid acting with genuine intent and doing good deeds, influenced by his Muslim upbringing.

Even though this first edition was supposed to be a one-shot publication, its popularity and wide distribution in book fairs and educational events demanded more comics, concerning relevant themes for the young audience.

Khalil #2: Fighting religious intolerance (2019). The second edition, produced due to the successf…

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