The Archregimancy wrote:On the topic of the Moors...
I think a basic problem here lies in attempting to interpreting a historical term via modern concepts of ethnicity and nationality.
In the historical sense, it's a European term - not a term used by North Africans or Muslims - used to describe the Muslims of the Maghreb, Spain, and the insular Western Mediterranean (the Balearics, Sicily, Malta, etc.) in the medieval period. It's not supposed to be an ethnological term in the modern sense, and was never used to categorise people on the basis of their skin tone - only their religion and geographical origin.
The link between 'moor' and 'black' in the English language is down to a combination of Shakespeare and the early modern 'blackamoor' art style (the latter term is now considered offensive; I only use it in a narrow historical context). But this is a largely post-medieval phenomenon.
As far as Shakespeare is concerned, it's down to Othello; the Moor of Venice is explicitly portrayed as black, and his race is integral to the play. But in Elizabethan England didn't automatically classify moors as black. Elizabeth's government was actively seeking a Moroccan alliance as a counterweight to Catholic Spain, and the most prominent 'Moor' in Elizabethan England was Muhammed al-Annuri, a white Morisco (Spanish convert to Islam) who allowed his portrait to be painted despite the Islamic prohibition on figurative art. So Shakespeare wasn't reacting to an existing cultural understanding; instead Othello essentially reifies the Black / Moor connection in the English imagination. See Jeremy Brotton's 2016 book This Orient Isle; Elizabethan England and the Islamic World for a more detailed discussion.
"Blackamoor" art is a form of originally 17th- and 18th-century decorative art that portrays Black Africans, usually in stylised positions that are problematic in modern terms. Many of them wear turbans, so seem to be based on an assumption that at least some of them are supposed to be Muslims. But note the qualifier in the name; the very use of the prefix "black" before "moor" demonstrates that both producers and consumers knew that not all Moors were black; only that some of them were.
So it's important to understand three points of historical linguistics when discussing any potential link between 'Moor' and 'Black': 1) no such link existed or was intended when the term was first used, or for the majority of the period when the term was in common use; 2) in English, the link between the two is a largely post-medieval phenomenon; and 3) other European languages often conceptualise the term differently, or allow it a range of meanings depending on sociocultural context.
Indeed. And the idea of Othello has changed over the centuries: some performances have portrayed him as an Arab, Berber or Turk who converted to Christianity. Some modern ones portray him as a black man pretending to be Muslim while in private actively practicing Islam.