As such, this handbook will be of interest to scholars and students of fashion, gender studies, religious studies, politics and sociology. What Is Veiling? Sahar Amer's evenhanded approach is anchored in sharp cultural insight and rich historical context. Addressing the significance of veiling in the religious, cultural, political, and social lives of Muslims, past and present, she examines the complex roles the practice has played in history, religion, conservative and progressive perspectives, politics and regionalism, society and economics, feminism, fashion, and art.
By highlighting the multiple meanings of veiling, the book decisively shows that the realities of the practice cannot be homogenized or oversimplified and extend well beyond the religious and political accounts that are overwhelmingly proclaimed both inside and outside Muslim-majority societies. Neither defending nor criticizing the practice, What Is Veiling?
When it comes to decoration, a specific type of ornamental design has been developed in the Muslim world, which employs a variety of geometric patterns, stylized floral elements and ornate calligraphy. On clothing this decoration often appears in the form of embroidery. Also included are photographs and drawings of embroidered, printed and woven decorative elements. CD with Designs included. During the late s and early s, Abu-Lughod lived with a community of Bedouins in the Western Desert of Egypt for nearly two years, studying gender relations, morality, and the oral lyric poetry through which women and young men express personal feelings.
The poems are haunting, the evocation of emotional life vivid. But Abu-Lughod's analysis also reveals how deeply implicated poetry and sentiment are in the play of power and the maintenance of social hierarchy. What begins as a puzzle about a single poetic genre becomes a reflection on the politics of sentiment and the complexity of culture. This thirtieth anniversary edition includes a new afterword that reflects on developments both in anthropology and in the lives of this community of Awlad 'Ali Bedouins, who find themselves increasingly enmeshed in national political and social formations.
The afterword ends with a personal meditation on the meaning--for all involved--of the radical experience of anthropological fieldwork and the responsibilities it entails for ethnographers. A Quiet Revolution by Leila Ahmed In Cairo in the s, Leila Ahmed was raised by a generation of women who never dressed in the veils and headscarves their mothers and grandmothers had worn. To them, these coverings seemed irrelevant to both modern life and Islamic piety.
Today, however, the majority of Muslim women throughout the Islamic world again wear the veil. Why, Ahmed asks, did this change take root so swiftly, and what does this shift mean for women, Islam, and the West? When she began her study, Ahmed assumed that the veil's return indicated a backward step for Muslim women worldwide.
What she discovered, however, in the stories of British colonial officials, young Muslim feminists, Arab nationalists, pious Islamic daughters, American Muslim immigrants, violent jihadists, and peaceful Islamic activists, confounded her expectations.
Ahmed observed that Islamism, with its commitments to activism in the service of the poor and in pursuit of social justice, is the strain of Islam most easily and naturally merging with western democracies' own tradition of activism in the cause of justice and social change.
It is often Islamists, even more than secular Muslims, who are at the forefront of such contemporary activist struggles as civil rights and women's rights. Ahmed's surprising conclusions represent a near reversal of her thinking on this topic.
Richly insightful, intricately drawn, and passionately argued, this absorbing story of the veil's resurgence, from Egypt through Saudi Arabia and into the West, suggests a dramatically new portrait of contemporary Islam. Modest Fashion by Reina Lewis Editor Modest dressing, both secular and religious, is a growing trend across the world, yet so far it has been given little serious attention and is rarely seen as fashion. Modest Fashion uniquely studies and addresses both the consumers and the producers of modest clothing.
It examines the growing number of women who, for reasons of religion, faith or personal preference, decide to cover their bodies and dress in a way that satisfies their spiritual and stylistic requirements. These are women who are making fashionable the art of dressing modestly. Scholars and journalists, fashion designers and bloggers explore the emergence of a niche market for modest fashion and examine how this operates across and between faiths, and in relation to 'secular' dressers.
The book takes a broad geographic sweep, bringing together the sartorial experiences of Muslims in locations as diverse as Paris, the Canadian Prairie, Swedish and Italian bath houses and former socialist countries of Eastern Europe. What new Islamic dress practices and anxieties are emerging in these different locations? How far are they shaped by local circumstances, migration histories, particular religious traditions, multicultural interfaces and transnational links?
To what extent do developments in and debates about Islamic dress cut across such local specificities, encouraging new channels of communication and exchange? With original contributions from the fields of anthropology, fashion studies, media studies, religious studies, history, geography and cultural studies, Islamic Fashion and Anti-Fashion will be of interest to students and scholars working in these fields as well as to general readers interested in the public presence of Islam in Europe and America.
Bowen The French government's decision to ban Islamic headscarves and other religious signs from public schools puzzled many observers, both because it seemed to infringe needlessly on religious freedom, and because it was hailed by many in France as an answer to a surprisingly wide range of social ills, from violence against females in poor suburbs to anti-Semitism. Why the French Don't Like Headscarves explains why headscarves on schoolgirls caused such a furor, and why the furor yielded this law.
Making sense of the dramatic debate from his perspective as an American anthropologist in France at the time, John Bowen writes about everyday life and public events while also presenting interviews with officials and intellectuals, and analyzing French television programs and other media.
Bowen argues that the focus on headscarves came from a century-old sensitivity to the public presence of religion in schools, feared links between public expressions of Islamic identity and radical Islam, and a media-driven frenzy that built support for a headscarf ban during Written in engaging, jargon-free prose, Why the French Don't Like Headscarves is the first comprehensive and objective analysis of this subject, in any language, and it speaks to tensions between assimilation and diversity that extend well beyond France's borders.
Unveiling the truth : why 32 Muslim women wear the full-face veil in France by written by Naima Bouteldja. In the s, often to the consternation of parents and siblings, certain progressive young Arab women voluntarily donned the veil.
The movement, which rapidly expanded and continues to gather momentum, has sparked controversy within Islamic culture, as well as reactions ranging from perplexity to outrage from those outside it. Western feminist commentators have been particularly vociferous in decrying the veil, which they glibly interpret as a concrete manifestation of patriarchal oppression. However, most Western observers fail to realize that veiling, which has a long and complex history, has been embraced by many Arab women as both an affirmation of cultural identity and a strident feminist statement.
Not only does the veil de-marginalize women in society, but it also represents an expression of liberation from colonial legacies. In short, contemporary veiling is more often than not about resistance. By voluntarily removing themselves from the male gaze, these women assert their allegiance to a rich and varied tradition, and at the same time preserve their sexual identity.
Beyond this, however, the veil also communicates exclusivity of rank and nuances in social status and social relations that provide telling insights into how Arab culture is constituted.
Further, as the author clearly demonstrates, veiling is intimately connected with notions of the self, the body and community, as well as with the cultural construction of identity, privacy and space. This provocative book draws on extensive original fieldwork, anthropology, history and original Islamic sources to challenge the simplistic assumption that veiling is largely about modesty and seclusion, honor and shame.
Only in Turkey and Lebanon do more than one-in-four think it is appropriate for a woman to not cover her head at all in public. Although no labels were included on the card, the styles ranged from a fully-hooded burqa woman 1 and niqab 2 to the less conservative hijab women 4 and 5. There was also the option of a woman wearing no head covering of any type. Overall, most respondents say woman 4, whose hair and ears are completely covered by a white hijab, is the most appropriately dressed for public.
In Iraq and Egypt, woman 3, whose hair and ears are covered by a more conservative black hijab, is the second most popular choice. In several countries, substantial minorities say it is acceptable for a woman to not cover her hair in public.
Demographic information, including results by gender, were not included in the public release of this survey. Even as publics in many of the surveyed countries express a clear preference for women to dress conservatively, many also say women should be able to decide for themselves what to wear.
What the survey leaves unanswered is whether respondents think social or cultural norms will guide women in their choice to wear more conservative or less conservative attire in public. But, females should not wear such jewellery that causes a jingle noise with movement.
It can attract the attention of strange men, which is forbidden. Many Muslim women cut their hair in order to beautify themselves. What is the Islamic Law concerning this matter? Today, women cut their hair short like those of men. It is Haraam for a woman to cut her hair, to dress un-Islamically or imitate men. It is stated in the Ahadith that the Curse of Almighty Allah is upon those women who dress or imitate men. A woman should try to keep her hair clean and tidy if it is long.
In fact, hair for a woman, like the beard for a man, is a significant element of beauty blessed by Almighty Allah. Are women allowed to shave their eyebrows? No, they are not allowed to shave their eyebrows. The shaving of eyebrows and the painting of new ones, or shaving certain hair and leaving the eyebrows to look like two inverted crescents, is not allowed in Islam.
Some women wear wigs or hairpieces for beautification. Is this allowed? If a woman has short hair, she should not try to add false hair. If another lady asks her to help fix false hair on her head, she should refuse. Are women allowed to tattoo themselves or space their teeth? The Holy Prophet sallal laahu alaihi wasallam cursed women who, in order to increase their beauty, deliberately space their teeth, thus disfiguring the creation of Almighty Allah. Even tattooing is not allowed as it also disfigures the natural creation of Almighty Allah.
Those who have tattoos should have them surgically removed. Are women allowed to use cosmetics? There is nothing more fitting for a woman than to enjoy her natural beauty without changes or additions.
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