Jihadist “Cancel Culture”.

Dynamics of censorship and cultural control by jihadist groups.

Daniele Garofalo Monitoring is registered with the Italian National ISSN Centre and the Centre for the Registration of Serial Publications (CIEPS) in Paris.

ISSN (International Standard Serial Number): 3103-3520

ORCID Code: 0009-0006-5289-2874

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This analysis was published in Italy, in Italian, in the humanities and social sciences journal “Ethica Societas”, on December 2, 2025.
The Italian version published in the journal Ethica Societas is shorter and structured differently. Here we present the full version with some additions.

The list of websites and bibliography consulted and recommended for further reading can be found at the end.

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Over the last twenty-five years, jihadist activity has not been limited to physical violence and terrorist attacks, but has also extended to cultural and social manipulation, applied both directly in the areas where it operates and through propaganda. Among the strategies adopted by jihadist groups, a concept emerges that can be defined as the “cancel culture” of jihadism, with actions aimed at suppressing, cancelling, or removing any form of cultural and historical expression that they deem incompatible with their militant ideology or that is identified as belonging to a culture (Western culture) seen and described as oppressive. Terms such as “cancel culture” are conceptually different between Western academic usage and the violent practices of jihadist groups, but in this context of analysis, they can help to better frame the phenomenon at hand. The term “cancel culture” normally refers to boycott and social ostracism. In jihadist contexts, however, we see a set of coercive practices aimed at erasing people, cultural practices, and historical memory through violence, regulatory control, and material destruction.

The term “cancel culture” normally refers to boycotts and social ostracism. In jihadist contexts, however, it refers to a set of coercive practices aimed at erasing people, cultural practices, and historical memory through violence, regulatory control, and material destruction. Before continuing, it is important to note that in Western discourse, the term “cancel culture” refers to a set of social practices that have emerged mainly in digital spaces: online campaigns, collective pressure, boycotts, loss of reputation, and symbolic exclusion. It is a phenomenon linked to public opinion, not physical coercion. In the West, ‘cancellation’ occurs through social mechanisms: public outrage, moral sanctions, demands for accountability, and sometimes excessive punishment. But it remains confined to the realm of dissent, reputation, and cultural dynamics within democratic societies, where no one risks their life for a drawing, a song, or a word too many. When I apply the term to the jihadist galaxy in this analysis, I do so in a deliberately analytical, almost provocative way, because there the concept changes in nature. Jihadist groups do not ‘cancel’ through public pressure or reputational dynamics: they impose silence through physical violence, armed repression, executions, destruction of cultural property, and systematic intimidation. Theirs is not a symbolic cancel culture, but a real cancellation: of bodies, memory, symbols, and social practices. There is no possible public dissent, nor a cultural arena in which to discuss; what is judged deviant is eliminated, not criticised. The choice to use the same term serves to highlight a specific point: whereas in the West, cultural conflict is played out on a discursive level, in the jihadist universe it takes the form of an existential struggle against the very existence of certain identities, memories, and forms of expression. This is an intentional conceptual stretch, useful for showing how two phenomena that share a word actually coexist on radically different planes: one symbolic, the other material; one negotiable, the other irreversible; one social, the other military. So, while in Western societies, cancel culture can be discussed, contested, or rejected, in the jihadist context, cultural cancellation leaves no room for discussion. It is a total assumption of power, rewriting what can be said, done, remembered, or passed on, and doing so with a language of weapons, violence, and oppression.

We could therefore define “Jihadist Cancel Culture” as a set of coordinated actions (violence, destruction, intimidation, official prohibitions, propaganda) aimed at suppressing cultural expressions, dissenting voices, and material traces of collective heritage. In the jihadist context, this phenomenon takes on a severely repressive dimension, often linked to physical violence, systematic intimidation, and destruction of material cultural heritage.

Groups such as al-Qaeda (in particular JNIM and al-Shabaab), the Islamic State, the Taliban, and Boko Haram have shown, and continue to show, a constant focus on controlling cultural practices through direct prohibitions, destruction of cultural and artistic works, executions of key figures in the social fabric, and media campaigns aimed at instilling fear, with devastating effects on cultural transmission and historical identity.

The actions taken by jihadist organisations and groups include the destruction of monuments and archaeological sites, the elimination of musicians, artists, and journalists, the banning of artistic and literary forms, and the dissemination of digital propaganda that normalises censorship and violence. Palmyra, Mosul, and the cities of northeastern Nigeria are emblematic examples of this strategy. Jihadist “cancel culture” also manifests itself through de facto legislation, fatwas, and local regulations that impose moral and cultural norms strictly in line with jihadist ideology. This dynamic has profound repercussions on society: widespread fear limits individual expression, drives intellectuals and artists into exile, and undermines local social and cultural structures. The overall effect is the creation of an environment of forced conformity, in which cultural dissent becomes a real risk to life.

This brief analysis aims to explore the operating methods, strategies, and impacts of jihadist “cancel culture” by analyzing concrete cases, mechanisms of control, and destruction. Understanding these phenomena allows us to develop analytical models for assessing cultural risk in the contemporary conflict contexts in which these organisations operate.

The theological-ideological matrix of jihadist iconoclasm

Before looking at the most striking case studies and examples of “Jihadist Cancel Culture,” it is important to emphasise a fundamental point: the destruction of religious and cultural symbols by jihadist groups is not an iconoclastic whim, nor a simple act of “spectacular” violence. It is the product of an extreme and selective interpretation of the Quran and the hadith. It is not an orthodox reading, nor even a conservative one: it is an ideological distortion disguised as religious purity. For these groups, any form of material culture (monuments, tombs, mausoleums, statues, “non-compliant” places of worship), figurative art, music, and even manuscripts, represents a theological risk. Not because the sacred text openly imposes it, but because their interpretation reduces the complexity of Islam to an ascetic and puritanical monolith where anything that might evoke “intermediation,” historical memory, or distinct cultural identity must be eliminated. This interpretative rigidity serves two purposes, the first of which is to legitimise themselves. By presenting themselves as the “restorers of original purity,” jihadist groups construct an image of authenticity. It matters little that Islamic scholars have been refuting them for a century: for their propaganda, destroying a mausoleum or banning music becomes proof of doctrinal rigour. The second point is to control. Culture creates identity, and identity creates resistance. By erasing symbols, memories, and traditions, these groups eliminate anything that could compete with their religious authority. The ultra-rigid interpretation of the Quran thus becomes a political weapon: it does not merely define what is lawful or unlawful, but establishes which forms of life, history, and belonging are allowed to exist. The result is a mutilated Islam: deprived of its multiple traditions, its centuries of art, philosophy, music, poetry, and theological and ritual diversity. An Islam reduced to slogans. And it is precisely this intentional amputation that allows jihadist groups to present themselves as the guardians of a ‘total’ truth, against which any cultural, artistic, religious, or scientific dissent appears as an affront to be eliminated. In essence, jihadist destruction does not stem from the Koran, but from a political use of the Koran. It does not stem from spirituality, but from the desire for domination. Interpretative rigidity is the theological pretext that justifies a practice of power: erasing everything that keeps alive the memory, identity, and cultural plurality of the communities they intend to control.

Case studies of “jihadist cancel culture.”

Many case studies illustrate and explain the methods of cultural erasure or replacement used by jihadist organisations; some of the most famous and concrete examples are briefly described below. The Islamic State organisation (formerly ISIS and, since 2015, IS) systematically applied strategies of cultural erasure between 2013 and 2017. The destruction of the archaeological site of Palmyra and the conquest and looting of Mosul and other cities in Syria and Iraq are the most significant examples. Monuments, temples, and archaeological sites were intentionally demolished, accompanied by the killing of those who tried to resist. These actions had a dual purpose: to eliminate historical traces considered “pagan” or contrary to their interpretation of Islam, and to finance the group’s operations through the illicit trafficking of archaeological artefacts. In addition to physical destruction, the Islamic State used propaganda to showcase executions and destruction, generating fear and spreading a model of cultural control. The erasure was not limited to material heritage: musicians, journalists, and local cultural leaders were threatened or killed, consolidating an environment of enforced silence. The Taliban, particularly in their first “governmental” experience, adopted policies of cultural erasure both during their first rule (1996–2001) and after their return to power in 2021. The best-known example was the destruction of the giant Buddha statues in Bamiyan in March 2001, on the orders of then-leader Mullah Omar, who considered the statues idolatrous and contrary to their interpretation of Islam. However, the Taliban’s measures included, and continue to include, bans on music, theatre, and cinema, as well as severe restrictions on women’s participation in the arts and other social and public activities. Recent cases document the arrest or intimidation of musicians, artists, and journalists, the elimination of women’s voices from the media, and the digital censorship of cultural content. The Taliban’s strategy combines physical and regulatory coercion: cultural bans become de facto law, backed by propaganda and intimidation. The social consequences include an exodus of intellectuals and artists, cultural isolation, and loss of collective memory. In Nigeria, Jamāʿat Ahl as-Sunna li-daʿwa wa l-Jihād (known both locally and in the international media as Boko Haram, a name derived from a Hausa phrase that literally means “Western education is forbidden”) has targeted schools, libraries, cultural centres, and local leaders in northeastern Nigeria. Between 2009 and 2016, the group carried out attacks targeting civilians and cultural figures, destroying educational and artistic infrastructure. The systematic violence has resulted in a diaspora of intellectuals and a significant breakdown of the local social and cultural fabric. Boko Haram’s attacks show how cultural erasure serves to consolidate territorial and ideological control, depriving communities of their identity and educational reference points. In Somalia, Al-Shabaab has pursued a policy of cultural erasure aimed at intimidating musicians, writers, and journalists. Documented actions include threats, kidnappings, and murders, as well as the imposition of strict cultural norms. The group’s strategies aim to eliminate art forms perceived as contrary to their religious and ideological vision, creating an environment of self-censorship among cultural operators. Finally, the attacks on Charlie Hebdo in France in 2015 represent a case of transnational cultural erasure. The assault on the editorial office and the killing of cartoonists and journalists were motivated by perceived blasphemy, highlighting how jihadist groups can extend their practices of censorship and intimidation beyond conflict zones, targeting global cultural symbols.

Operational dynamics of jihadist “cancel culture”

Analysis of the operational dynamics of jihadist groups reveals that such practices are not episodic but part of integrated strategies aimed at consolidating social, ideological, and territorial control. The operational dynamics of jihadist “cancel culture” show a consistent pattern: a combination of direct violence, material destruction, regulatory imposition, propaganda, and psychological control. Targeted attacks against heritage custodians, artists, journalists, and public figures are a central mechanism. Executions, kidnappings, and intimidation generate widespread fear and social silence. Al-Shabaab and Boko Haram have used similar tactics, targeting cultural leaders and educators to destroy local cultural transmission. Monuments, archaeological sites, musical instruments, and libraries are strategic targets. Physical destruction serves a dual purpose: to erase historical memories considered “non-compliant” and to send a symbolic signal of ideological control. The Islamic State has systematically demolished Palmyra and Mosul, while Boko Haram has targeted schools and cultural centres in northeastern Nigeria. Such actions cause irreversible damage to heritage and social cohesion. In territories under jihadist control, religious prohibitions and local regulations often replace formal law. Jihadist groups also use videos, social media, and online publications to amplify the intimidating effect of their actions. Public executions and demolitions are documented and disseminated as propaganda tools, transforming violent acts into symbolic messages that legitimise cultural censorship. The media component is essential for projecting control beyond local borders. Threats to family members, destruction of livelihoods, kidnappings, and forced exile create an environment of enforced conformity. The population and cultural operators perceive cultural transgression as a real risk to life, thus consolidating the power of jihadist groups without the need for direct control over every single act. In recent years, censorship and cultural erasure have extended to the digital realm. Online content is filtered, removed, or blocked; artists and journalists face threats even when operating abroad. This phenomenon broadens the groups’ reach, making cultural erasure a transnational process that can also influence diasporas and/or exiled communities.

Conclusions

The “cancel culture” of jihadism represents a coherent and systematic strategy that aims not only at the physical suppression of individuals and communities but also at the erasure of historical memory, artistic production, and cultural expressions perceived as incompatible with jihadist ideology. Through the combined use of direct violence, destruction of heritage, regulatory imposition, propaganda, and psychological control, groups such as the Islamic State, al-Qaeda, the Taliban, Boko Haram, etc. have built an operational model that goes beyond simple repression: it produces self-censorship, exile of cultural operators, and social fragmentation. The case studies briefly mentioned above show that cultural erasure is a cross-cutting phenomenon, affecting both tangible heritage (monuments, museums, libraries, schools) and intangible heritage, such as music, theatre, literature, and collective storytelling. The digital dissemination of threats and propaganda amplifies the intimidating effect, extending the reach of jihadist groups far beyond the territorial boundaries of local conflicts. Attacks on global cultural symbols also demonstrate the transnational dimension of these practices. The socio-cultural impacts are profound: irreversible loss of historical memory, fragmentation of communities, exodus of intellectuals, reduction of space for creativity and debate, and weakening of the social and economic capital of the affected regions. These dynamics consolidate the ideological control of groups and limit the ability of communities to resist or rebuild in post-conflict contexts.

Analytical understanding, especially through monitoring their media and military activities, can enable the creation (and understanding) of essential tools for policymakers, NGOs, and international institutions, offering operational guidelines to prevent cultural erasure and promote post-conflict reconstruction and resilience. The protection of cultural heritage and the communities that preserve it is not only a matter of material conservation but a strategic plan to ensure the continuity of global identity and historical memory, necessary to counter the ideological, religious, and military advance of jihadist organisations.

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Notes and Bibliography

• Cook, D. Understanding Jihad. University of California Press, 2015.

• Revkin, M. “The Legal Foundations of the Islamic State.” Brookings, 2016.

• Gamboni, D. The Destruction of Art: Iconoclasm and Vandalism since the French Revolution. Reaktion Books, 1997.

• Al-Azm, A. “ISIS and the Destruction of Cultural Heritage.” Journal of Eastern Archaeology, 2016.

• Human Rights Watch. “Afghanistan: Taliban Restrictions on Media.” HRW Report, 2022.

• Zenn, J. Boko Haram: Beyond the Headlines. Jamestown Foundation, 2018.

• Hansen, S.J. Al-Shabaab in Somalia. Oxford University Press, 2019.

• Kepel, G. Terror in France. Princeton University Press, 2017.

• UNESCO. “Protecting Cultural Heritage in Conflict Zones.” Policy Report, 2018.

• Stone, P. “Heritage Destruction in the Middle East.” Antiquity, 2016.

• International Crisis Group. “Taliban Governance Structures.” ICG Report, 2022.

• Winter, C. Documenting the Virtual Caliphate. Quilliam Foundation, 2015.

• Kalyvas, S. The Logic of Violence in Civil War. Cambridge University Press, 2006.

• Europol. “Online Extremism and Digital Threats.” TE-SAT Report, 2023.

• Harmansah, Ö. Destruction of Cultural Heritage and Memory. 2015.

• BBC Monitoring. “Cultural Exodus under Jihadist Rule.” 2020.

• World Bank. “Economic Impact of Conflict on Cultural Sectors.” 2019.

• UNESCO Blue Shield. “Protection Protocols for Heritage at Risk.” 2020.

• Project Mosul / Rekrei. “Digital Reconstruction of Destroyed Heritage.” 2018.

• ICORN. “Artists and Writers in Exile Program.” Annual Report, 2021.

• ALIPH Foundation. “Cultural Protection in High-Risk Areas.” 2022.

• UNDP. “Community Resilience in Post-Conflict Contexts.” 2021.

© Daniele Garofalo Monitoring - All rights reserved.

Daniele Garofalo is a researcher and analyst on Jihadist Terrorism, Islamist Insurgents and Armed Groups. He is an expert in Monitoring Jihadist Media Channels, Islamist rebels, and Armed Groups.

Daniele Garofalo Monitoring is registered with the Italian National ISSN Centre and the International Centre for the Registration of Serial Publications (CIEPS) in Paris.

ISSN (International Standard Serial Number): 3103-3520

ORCID Code: 0009-0006-5289-2874

Support my research, analysis and monitoring with a donation here, PayPal.Me/DanieleGarofalo88