Akbar zab fahsan tabon

My hope is that this unique group ethnography will be transformative and eye-opening and help to alter superficial, exploitative, or hidebound points of view.Some of the chapters in this book—including the visual essays by graphic novelists Marjane Satrapi and Sarah C.

Today, veiling has become globally polarizing, a locus for the struggle between Islam and the West and between contemporary and traditional interpretations of Islam.But veiling spans time long before Islam and space far beyond the Middle East.Writers speak not only to Islam but to Hinduism, Judaism, and Christianity—which all taught submission through veiling (variously, and including that of men and objects)—and also to veiling in pre-Abrahamic traditions, as well as to masking and magico-religion, for there is much more to sacredness than is necessarily found in institutionalized faiths.2 The second section addresses the veil in its sensual aspects, not as “profane” (the irreverent opposite of sacred), but as it relates to the physical, to body/spirit, and to feelings.The chapters here stretch from Shireen Malik’s “She freed and floated on the air,” a scrutiny of how the story of Salome’s dance of the seven veils developed into a notorious icon of carnality and the Oriental woman (and then the belly dance), to Michelle Auerbach’s memories of her struggles with Jewish orthodoxy in “Drawing the Line at Modesty,” and to Rita Stephan’s “Virtue and Sin,” describing the social, moral, and cross-cultural pressures (and pleasures) of growing up in mostly Muslim Syria as an Arab Christian.In the first section, the essays generally speak to the veil in its sacred aspects, not as some immutable entity (or sacred cow), but as that which is cherished as an ancient custom or signifier of devotion.

Here, writers consider various ways in which, from the beginning of human time, the veil has played a part in sacred activities and thought.Contemporary issues and conundrums, such as modesty and security, oppression, liberation, freedom of expression, and worship, are addressed, as are spirituality, the arts, and magic.A collection by exclusively women writers seems appropriate considering that the veil is commonly associated with females and seems to have a kind of feminine pulse.Finally, the third section touches on the veil in its sociopolitical aspects.Here, writers by and large look at some of the current diseases of veiling, as well as its history as a prize in the push-me-pull-you of internal and external strife.In “Going the Whole Nine Yards,” Roxanne Kamayani Gupta speaks to, among other things, her own lyrical voyage of discovery in India, in the world of the sari, while in “Purdah, Patriarchy, and the Tropical Sun,” Jasbir Jain considers the segregation of Indian women from a pragmatic, literary, and sociological angle.