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Hass, Bat Sheva, and Hayden Lutek. "Fashion and Faith: Islamic Dress and Identity in The Netherlands." Religions 10, no. 6 (May 30, 2019): 356. http://dx.doi.org/10.3390/rel10060356.
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This paper focuses on the relationship between clothing and identity—specifically, on Islamic dress as shaping the identity of Dutch Muslim women. How do these Dutch Muslim women shape their identity in a way that it is both Dutch and Muslim? Do they mix Dutch parameters in their Muslim identity, while at the same time intersplicing Islamic principles in their Dutch sense of self? This study is based on two ethnographies conducted in the city of Amsterdam, the first occurring from September to October 2009, and the second took place in August 2018, which combines insights taken from in-depth interviews with Dutch Muslim women and observations in gatherings from Quranic and Religious studies, social gatherings and one-time events, as well as observations in stores for Islamic fashion and museums in Amsterdam. This study takes as its theme clothing and identity, and how Islamic clothing can be mobilized by Dutch Muslim women in service of identity formation. The study takes place in a context, the Netherlands, where Islam is largely considered by the populous as a religion that is oppressive and discriminatory to women. This paper argues that in the context of being Dutch and Muslim, through choice of clothing, these women express their agency: their ability to choose and act in social action, thus pushing the limits of archetypal Dutch identity while simultaneously stretching the meaning of Islam to craft their own identity, one that is influenced by themes of immigration, belongingness, ethnicity, religious knowledge and gender.
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Presta, Ana María. "Undressing the Coya and Dressing the Indian Woman: Market Economy, Clothing, and Identities in the Colonial Andes, La Plata (Charcas), Late Sixteenth and Early Seventeenth Centuries." Hispanic American Historical Review 90, no. 1 (February 1, 2010): 41–74. http://dx.doi.org/10.1215/00182168-2009-090.
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Abstract This essay addresses the specific indigenous identity of Indian women resettled in colonial La Plata, particularly those associated with mercantile trades and consequently involved in the creation of colonial markets. The search for Indian women’s urban identities rests upon the material culture associated with labor activities and social standing among those recently settled in the Spanish urban milieu. Objects and places, goods and spaces can be manipulated, reappropriated, and reinterpreted by new social actors on their road to history. Things have meaning and are bound to culture and identity. In this way, indigenous women’s dress and adornment are associated with the dramatic changes brought about by the new mercantile economy introduced by the Spaniards. Indian women who resettled in the city and gained economic success pursuing mercantile trades adopted distinctive components of female dress. These styles evoked both the recent Inca past and certain elements of Spanish attire and adornment that forged a specific identity associated with a specific trade, asserting a newly acquired status in the emerging colonial society
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Hass, Bat-sheva. "The Burka Ban: Islamic Dress, Freedom and Choice in The Netherlands in Light of the 2019 Burka Ban Law." Religions 11, no. 2 (February 18, 2020): 93. http://dx.doi.org/10.3390/rel11020093.
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This article, part of an evolving and large project, examines the relationship between clothing, freedom and choice, and specifically Islamic dress in shaping the identity of Dutch Muslim women after the Burka Ban that was voted into law on 1 August 2019 in the Netherlands. It discusses the debates before and after this date, as well as the background to the ban. A veil covering the face is a garment worn by some Muslim women to adhere to an interpretation of hijab (modest dress). It can be referred to as a burqa or niqab. In the aftermath of the Burka Ban that prompted considerable public alarm on the part of Muslim men and women, niqab-wearing women, as well as women who do not wear a veil, but are in solidarity with their niqabi sisters, raised a number of questions that form the basis for the analysis presented here: how do Dutch Muslim women shape their identity in a way that it is both Dutch and Muslim? Do they incorporate Dutch parameters into their Muslim identity, while at the same time weaving Islamic principles into their Dutch sense of self? The findings show how Islamic clothing can be mobilized by Dutch Muslim women to serve identity formation and personal (religious) choice in the Netherlands, where Islam is largely considered by the non-Muslim population to be a religion that is oppressive and discriminatory towards women. It is argued that in the context of being Dutch and Muslim, these women express their freedom of choice through clothing, thus pushing the limits of the archetypal Dutch identity and criticizing Dutch society while simultaneously stretching the meaning of Islam to craft their own identity.
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Boris, Eileen. "Desirable Dress: Rosies, Sky Girls, and the Politics of Appearance." International Labor and Working-Class History 69, no. 1 (March 2006): 123–42. http://dx.doi.org/10.1017/s014754790600007x.
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Desirable dress on the job, whether pants, sweaters, or mini-skirted uniforms, contains symbolic meaning, but whose sexual subjectivity it expresses is not always clear. Appearance may be a proxy for other forms of contestation or just be a conveyer of pleasure that makes work just a little more humane. This essay rethinks two cases where issues of self-fashioning, appearance, sexuality, employer strictures, and state policy intertwined: the shop floors of the Second World War and the flight cabins of postwar airlines: the first, male dominated manufacturing in which women labored “for the duration”; the second, a prototypical female service industry in which fierce competition led to selling sexual allure along with comfort and safety. However mediated, voices of wage-earning women in both the 1940s and 1960s announced new expectations of womanhood, beauty, and sexual expressiveness. But while management attempted to suppress women's bodies in the shipyards and other wartime workplaces, by the 1960s airlines promoted the body of the flight attendant. In both examples, state mediation—through sources available as well as actual public policies—complicates our attempt to unravel pleasure and constraint in dressing, grooming, and sexual presence on the job. Whether or not dress requirements disciplined employee bodies, served as a guarantee of efficiency or a check against accidents and the expense of worker compensation, or opened new possibilities for sexual or gendered identities was hardly predetermined. Employers could demand slacks, women could wear them, but what dress was desirable varied with the beholder.
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Jaschok, Maria, and Man Ke. "Covering Body, Uncovering Identity: Chinese Muslim Women’s Vocabularies of Dress, Based on Fieldwork in Northwest and Central China." Comparative Islamic Studies 9, no. 2 (September 27, 2016): 141–63. http://dx.doi.org/10.1558/cis.v9i2.28236.
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This ethnography of Chinese female Islamic dress serves to explore the way that Chinese Muslim women of different generations and backgrounds both seek accommodation and meaning within the gendered modernity of a rapidly changing Chinese (non-Muslim) society and also strive for transcending authenticity as they translate Islamic prescriptions into personal conduct. The authors present defining characteristics of local versions of the Chinese hijab within the rich diversity of China’s Muslim contexts and across complex religious landscape of an ethnic religion. Building on the work of international Islamic feminist scholars, the concept of the hijab is explored in terms of three dimensions, incorporating the visual dimension as shielding from the public gaze; the spatial, demarcating the public from the private sphere; and the ethical, informing thought and ideas.
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DeCoursey, C. A. "Attitudes of Professional Muslim Women in Saudi Arabia regarding Wearing the Abaya." Asian Culture and History 9, no. 2 (May 10, 2017): 16. http://dx.doi.org/10.5539/ach.v9n2p16.
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Clothing choices create a “semiotic sparkle” for the individual, and convey meaning to viewers. In a global world, interpretations may differ, if wearer and viewer are from different cultures. This is the case for the hijab, or required Muslim dress for women, which has been profoundly ideologised. This study explores how young professional Saudi women understand the abaya, the long outer robe, as a fashionable article of clothing. Corpus data was analysed using Appraisal techniques. Positive results indicate they focus on visual details, appreciate its enabling both comfort and elegance, and perceive design-diversification according to social identities, activities, contexts and roles. They view wearing the abaya as culturally authentic, more than a religious duty. Negative results focused on hot textiles in summer, movement hindrance, and cleanliness.
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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.2019.4.2416.155-166.
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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.v4i0.2416.
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This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
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Istiyanto, Bektiis. "REPRESENTASI IDENTITAS MUSLIMAH DALAM IKLAN WARDAH DI TELEVISI." Communicology: Jurnal Ilmu Komunikasi 6, no. 1 (November 14, 2018): 35–63. http://dx.doi.org/10.21009/communicology.06.03.
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The role of women in Wardah adverstisments on television is described as independent through activities such as work and study. Through the hijab, make-up, and women's roles Wardah tries to present the identity of contemporary Muslim women, not rigid and remain in accordance with the Shari'a. This study uses qualitative methods with data collection techniques using focus group discussions (FGD) and in-depth interviews. To analyze the data using the reception analysis. The results of the research indicate that each informant is different in receiving and interpreting the message. This difference of meaning is the result of different socio-cultural backgrounds. The meaning of informants is grouped into three categories of meaning according to Hall namely, dominant reading, negiotiated reading, and oppositional reading. There were two informants belonging to the dominant reading group in which the informant agreed in general about the popular Islamic culture. In the negotiated reading group there were four informants. In general, informants received a popular Islamic culture that was featured on Wardah's advertisements, however, the informants adapted to their preferences. In the oppositional reading position there is only one informant who meets the criteria because the informant rejects the message of popular Islamic culture because of his incompatibility on understanding the religious rules held tightly by the informant. Muslim students of FISIP Unsoed generally receive a message of representation of Muslim women's identity seen from aspects of role, dress, and makeup based on socio-cultural background.
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SUNSERI, THADDEUS. "FAMINE AND WILD PIGS: GENDER STRUGGLES AND THE OUTBREAK OF THE MAJIMAJI WAR IN UZARAMO (TANZANIA)." Journal of African History 38, no. 2 (July 1997): 235–59. http://dx.doi.org/10.1017/s0021853796006937.
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Late in 1907 a missionary from Kisserawe in German East Africa complained of a spate of ngoma ritual dances among the Zaramo people. In particular he singled out an ngoma conducted by women to ameliorate a drought that was threatening that year's maize crop. As the women danced around a well, dressed as men and brandishing muskets, they appealed for rain from ‘their god’. Several aspects of this ngoma make it remarkable. It occurred following the Majimaji uprising in German East Africa, which the Germans put down with such violence as to make war as a tactic of resistance unpopular if not untenable. The ngoma was attended by Christian and non-Christian African women alike, suggesting a purpose whose expediency cut across competing belief systems. Finally, although cross-dressing was an aspect of certain Zaramo rituals, the symbolic appropriation of men's social roles by dress and wielding of weapons made this ngoma anomalous and suggests that the participants were consciously and purposefully reshaping gender roles at this time. The timing and symbolism of the ngoma make it clear that it was a reaction to the threat of famine, which had become a recurrent aspect of Zaramo life by 1907 and a symptom of ongoing rural social change ushered in by colonial rule. The larger question is whether changing perceptions of gender roles intersected with the Majimaji war (1905–7), and whether Majimaji had an underlying meaning for rural Tanzanian societies that has escaped the attention of historians. If so, it suggests that the prevailing conception of Majimaji needs to be questioned and re-examined.
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Zungu, Evangeline B. "“Burying Old Bones in New Graves!” Linguistic Creativity with a Focus on Women’s Eligibility for Marriage in Zulu Memetic Aphorisms." Southern African Journal for Folklore Studies 27, no. 2 (February 8, 2018): 1–15. http://dx.doi.org/10.25159/1016-8427/2216.
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In oral cultures, proverbs are a window to the very fabric of society. This article looks at how the current generation is using traditional proverbs in modern ways, by employing Zulu memetic aphorisms. These memetic aphorisms function in the same manner as memes; except that the former has no images underneath the writing. Memetic aphorisms are written in Zulu; however, they involve a lot of codeswitching and use of numbers instead of words. These memetic aphorisms are factual, ironical, funny, and use word play. They are generally acceptable comments and meaningful assertions about life in general. Memetic aphorisms have become an easy and quick way to communicate opinions of the speaker regarding the behaviour, dress code, physical appearance, social status and religious affiliation. This article will look at how the content of these memetic aphorisms is organised to criticise and shun the bad behaviour of women in an effort to prepare them for marriage. It will also look at the correlation between the languages of memes, as it relates to traditional proverbs in Zulu. The article proposes a simple typology for analysing and identifying common features between the aphorisms and traditional proverbs in Zulu social discourse. These memetic aphorisms gain their relevance and meaning in the context within which they are used.
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van Ess, Josef. "Unfertige Studien 5: Angeberei und Sufikleidung." Asiatische Studien - Études Asiatiques 73, no. 1 (March 26, 2019): 121–47. http://dx.doi.org/10.1515/asia-2018-0041.
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Abstract The article is concerned with the Masāʾil fī aʿmāl al-qulūb wa-l-jawāriḥ (“Questions concerning the acts of the heart and the limbs”) by al-Muḥāsibī (d. 247 AH/853 CE). It contains a translation and a commentary of a part of the work that deals with the meaning of the term shuhra. The word is used in the sense of “to attract attention”. A repeated example is the woolen dress of the ṣūfīs, by which they distinguish themselves from the common people. Other examples are men dressed like women or women dressed like men. As in his other works, al-Muḥāsibī concentrates on the intention of an action, rather than on the action itself. To attract attention is not sinful as such, but when it is driven by a histrionic disorder, it begins to be. The text introduces the reader into a virtual discussion in which different traditional views of the matter are brought forward. According to a liberal attitude, everything which is not explicitly forbidden by Qurʾān and Sunna should be regarded as allowed. But by distinguishing between the customs of different epochs – pre-Islamic times, early Islamic times, the author’s present day – the same action could be considered correct or sinful depending upon when it happened. However, according to another view, the customs of the first Islamic community can never become wrong. With this, the direction of argumentation shifts towards fundamentalism. This view was held by al-Muḥāsibī himself, for whom the ideal of the early Islamic community stands above all.
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Tian, Zhiwei, and Yu Liu. "A Study of the Feminization of Young Men's Dress in the Upper Class in the Late Qing Dynasty and the Early Republic of China." Asian Social Science 17, no. 9 (August 31, 2021): 25. http://dx.doi.org/10.5539/ass.v17n9p25.
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When the decree to cut pigtails and change clothing was introduced in the late Qing and early Republican periods, there were many clothing changes. The feminization of men's clothing was widely discussed at the time as a distinctive dress code trend. This article looks at the historical documents that documented this event and analyses the specific manifestations of this phenomenon by looking at the groups and regions where the feminization of men's clothing took place. The article analyses the phenomenon of men wearing women's clothing to blur their gender and explore the image of cross-dressing men in the society of the time and its meaning. Through the analysis of historical documents on the diverse, outward expressions of cross-dressing men, the fact that diversity in masculinity existed in that time is illustrated. This leads to further induction of the respective images of masculinity and a discussion of the various reasons behind this phenomenon. The article concludes with an attempt to reveal the motives that produced the feminization of men's dressing, both in terms of external social and internal causes, and to discuss whether the feminization of men's dressing in the late Qing Dynasty involved transgender identity the analysis of masculinity.
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Na, Youngjoo, and Jisu Kim. "Abuse of empire style robe to thermal insulation and body discomfort (part 2)." International Journal of Clothing Science and Technology 29, no. 3 (June 5, 2017): 436–50. http://dx.doi.org/10.1108/ijcst-06-2016-0068.
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Purpose Women in Western Europe wore empire style robes which were made with a light and thin fabric revealing their body. To stress the silhouette of their body, they applied oil to it or sprayed water on the robe so that it would cling to the body, and most women suffered from muslin disease, meaning flu and tuberculosis of the lungs in winter season. The purpose of this paper is to examine the thermal insulation of the robe with spencer jacket in dry and wet environment through thermal manikin experiments. Design/methodology/approach Three kinds of spencer jacket were made based on historical evidence and data, and experimental work for thermal insulation was conducted using a thermal manikin. The study measured the total thermal resistance of dress-jacket set: weight of the clothing before and after wetting, thermal insulation of the spencer jackets and set of clothing in dry and wet conditions, electric power consumption of the set of clothing in the wet condition and temperature inside the clothing and surface temperature of the wet set of clothing. Findings The thermal insulation of the robe with spencer jacket in the wet condition was in the range of 0.135-0.144 clo, which was about 80 percent lower than the range of values of 0.73-0.79 clo measured in the dry condition. This means that women felt uncomfortable in wetting condition or raining environment even when wearing the robe with a spencer jacket. Thermal insulation of clothing was dependent to the air gap under garment, clothing layers, ventilation through fabric and body part. Originality/value In this study, the thermal insulation of an empire style robe with spencer jacket in wet condition was measured using a dry thermal manikin, not with the sweating manikin. The authors measure the electric power consumption according to drying time of the clothing set at the body parts. In order to study the effect of different materials and clothing wetting, comparison experiments were conducted in dry and wet conditions using the rinse cycle of washing machine.
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Christianna, Aniendya. "Javanese Women Hybridity: Postcolonial Study of Nyonya Muluk in Damar Kurung Paintings." International Journal of Creative and Arts Studies 7, no. 1 (July 27, 2020): 33–48. http://dx.doi.org/10.24821/ijcas.v7i1.4164.
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ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.
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Muslih, Mohammad, Muhtadi Abdul Mun'im, and Khotimatul Mahbubah. "Mukena in Madurese Social Life." ISLAMICA: Jurnal Studi Keislaman 15, no. 2 (March 1, 2021): 223–41. http://dx.doi.org/10.15642/islamica.2021.15.2.223-241.
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Mukena is a well-known typical dress for Indonesian Muslim women in conducting prayers. Mukena is taken for granted as a daily routine dress that did not receive much attention from many people in a more in-depth study, so it needed to be highlighted to the field of research. This study aims to determine two sides, namely, the meaning of dress in religious social life as well as to find out the meaning of mukena for Madurese. This study uses qualitative field research method. The sources of data are obtained from interviews and literature studies confined to things that only have relevance to this research. Using purposive sampling, the informants taken in this study were Madurese Muslim women from both santri and non-santri groups. The results discovered in this study are that Madurese Muslim women interpret clothes, including; as a part of social ethics, as a cover of aurat as well as an affirmation of social identity in a community. The meaning of mukena for Madurese Muslim women includes the following; mukena as a cultural tradition, as a form of self-sacralization, and as an affirmation of identity for Muslim women.
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Kramkowska, Emilia. "Senior citizens’ clothing in a “youthing” polish society. The perspective of elderly women and men." Acta Universitatis Lodziensis. Folia Sociologica, no. 72 (March 30, 2020): 45–65. http://dx.doi.org/10.18778/0208-600x.72.03.
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The way the modern-day senior citizens dress may be determined by their functioning in a “youthing” society, together with the legacy of the Polish People’s Republic and the dress codes prevailing at that time. This article provides an analysis of the abovementioned issue in a gender context, as the described age-ordering of clothes in this text concerns women and men differently. The analysis was based on a diagnostic survey, conducted among people over sixty years old, who gave their opinions on their own and their peers’ dress sense.
The responses given suggest that the trends characteristic for a “youthing” society contribute to rejuvenating the way Polish senior citizens dress. According to them, the elderly dress fashionably, tastefully and colorfully – which was stated more often by the women than the men. The survey results also confirm that the dress codes relevant to PPR times are deeply rooted in the seniors’ minds. This was reflected more often in men’s opinions than in women’s.
The preliminary results presented in this article indicate that the way elderly people in Poland dress is beginning to be reshaped. The results require greater depth, and this could be facilitated through the use of qualitative techniques that might complement the collected material.
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Keen, Suzanne. "QUAKER DRESS, SEXUALITY, AND THE DOMESTICATION OF REFORM IN THE VICTORIAN NOVEL." Victorian Literature and Culture 30, no. 1 (March 2002): 211–36. http://dx.doi.org/10.1017/s1060150302301104.
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WHY ARE JANE EYRE AND DOROTHEA BROOKE clad by their creators in “Quakerish” garb? The oppositional plainness and simplicity of Quakerish heroines have often been read as signs of classlessness and sexlessness.1 Plain and simple clothing seems, to both Victorian and contemporary eyes, part of the package of reticence, reserve, and repression associated with the evangelical wing of nineteenth-century dissenting sects.2 The typical sociological view of the function of dress within conservative religious groups holds that “strict dress codes are enforced because dress is considered symbolic of religiosity. Hence dress becomes a symbol of social control as it controls the external body” (Arthur 1). The control of female sexuality and the restraint of desire would seem to be the core function of modest clothing. Then the plain dress of some of the liveliest heroines of Victorian fiction presents a puzzle that can be solved only by recuperating the meaning of that clothing for Victorians. As fashion historian Anne Hollander points out, nineteenth-century novels testify to the way that clothes “always correctly express character” (Feeding the Eye 12), but the meaning of particular articles of clothing or styles can slip away. Accurately reading the characters of Charlotte Brontë and George Eliot thus requires careful interpretation of their dress, in this case reversing the conventional reading of their plain, modest, and simple style. This essay argues that Quakerish clothing expresses both a promise of spirited sexuality and an admonition about the class-crossing potential of the respectable female contained within it.
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D'Alisera, JoAnn. "Articulating displacement: Sierra Leonean Muslim dress practice and the aesthetics of negotiation." Ethnography 19, no. 3 (February 2, 2018): 396–410. http://dx.doi.org/10.1177/1466138118756434.
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In this paper, I examine the spatial and emotional poetics of dress practices deployed by Sierra Leonean Muslim women living in the Washington, DC metropolitan area as they navigate the complexity of life lived in the diaspora. Focusing on the way women utilize sartorial expression to reject or accept imposed moral regimes, I show how dress practices are part of a repertoire of tactics used to challenge displacement, express belonging, and enact pious presence in public venues. In so doing, I illustrate the way differing opinions about stylistic choices reassemble and rearticulate the strategic ways that Sierra Leonean women distinguish themselves, create personal and public subjectivities, and embrace or challenge dominant, and at times imposed, rules of propriety and morality in their everyday lives.
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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajiss.v35i3.486.
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This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1)
Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga
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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajis.v35i3.486.
Full textAbstract:
This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1)
Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga
22
LeBlanc, Marie Nathalie. "Versioning Womanhood and Muslimhood: ‘Fashion’ and the Life Course in Contemporary Bouaké, Côte D'ivoire." Africa 70, no. 3 (August 2000): 442–81. http://dx.doi.org/10.3366/afr.2000.70.3.442.
Full textAbstract:
AbstractOn the strength of research in 1992–95 and 1998 this article discusses the way Muslim women dress in Bouaké, Côte D'Ivoire, and what it tells us about the trajectory of their lives and view of the world. Arguing that fashion is emblematic of processes of identification, it seeks to explain how young women come to be situated and position themselves in these processes. To do so, it examines the processes through a life course analysis that takes into account local versionings of tradition and aesthetics, Muslim cosmology and ideals of Western modernity. The article shows that as young women gain social maturity and assume the socially defined status of adult they dress and act increasingly in a manner that emphasises Muslim identity. The various ways in which they use dress reflect the stance they adopt towards competing versionings of Islam.
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Klassen, Pamela E. "The Robes of Womanhood: Dress and Authenticity among African American Methodist Women in the Nineteenth Century." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 39–82. http://dx.doi.org/10.1525/rac.2004.14.1.39.
Full textAbstract:
AbstractScholars of American religion are increasingly attentive to material culture as a rich source for the analysis of religious identity and practice that is especially revealing of the relationships among doctrine, bodily comportment, social structures, and innovation. In line with this focus, this article analyses the ways nineteenth-century African American Methodist women turned to dress as a tool to communicate religious and political messages. Though other nineteenth-century Protestants also made use of the communicative powers of dress, African American women did so with a keen awareness of the ways race trumped clothing in the semiotic system of nineteenth-century America. Especially for women entering into public fora as preachers and public speakers, dress could act as a passport to legitimacy in an often hostile setting, but it was not always enough to establish oneself as a Christian lady. Considering the related traditions of plain dress and respectability within the African Methodist Episcopal (AME) church, this essay finds that AME women cultivated respectability and plainness within discourses of authenticity that tried—with some ambivalence—to use dress as a marker of the true soul beneath the fabric. Based primarily on the autobiographical and journalistic writings of women such as Jarena Lee, Amanda Berry Smith, Hallie Q. Brown, and Frances Ellen Watkins Harper, as well as accounts from AME publications such as the Christian Recorder and the Church Review, and other church documents, the essay also draws on the work of historians of African American women and historians of dress and material culture. For nineteenth-century AME women, discourses of authenticity could be both a burden and a resource, but either way they were discourses that were often remarkably critical, both of selfmotivation and of cultural markers of class, race, and gender in a world that made a fetish of whiteness.
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Ridgway, Jessica L. "The “Use of Lines in Your Clothing Will Work Magic”: Advice to Women From 1914 to 1961 on Using Line to Design an Ideal Body Type." Clothing and Textiles Research Journal 38, no. 4 (February 18, 2020): 270–84. http://dx.doi.org/10.1177/0887302x20905358.
Full textAbstract:
Women have sought and received advice on how to dress for as long as they have been putting clothing on their bodies. One area in which women have received advice on dressing for their body type is the use of line in dress as an illusion to change the way body shape and size is perceived. This study was undertaken to gain a better historical understanding of advice on dressing for different body types between 1914 and 1961. Advice books and textbooks written for women from 1914 to 1961 that included prescriptive information on how to dress for various body types were explored. This time period was selected as it coincides with critical years in the growth and maturity of the home economic movement in the United States. A content analysis of 15 historical texts revealed trends found within the themes of body ideal, line as illusion, and figure types.
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FRAZIER, J. G. "Sustainable development: modern elixir or sack dress?" Environmental Conservation 24, no. 2 (June 1997): 182–93. http://dx.doi.org/10.1017/s0376892997000246.
Full textAbstract:
Over the past two decades 'sustainable development' has grown from a term expressing concern for social and environmental problems to an international craze. The concept purportedly offers cures for the many and diverse problems afflicting modern society, and because it involves an integrated approach, the sustainable development fashion has resulted in much-needed collaboration between specialists from diverse backgrounds, to work on the complex problems involved in the interactions between society and environment. However, the term is rarely defined, and, being stylish and institutionalized, the 'sustainability movement' now directs the way much science and policy for biological conservation and development are designed, executed and evaluated. Occult, but basic, in nearly all discourses of sustainable development is the axiom of continual growth; and, in most cases, instead of offering a true solution to contemporary problems, the term is a source of confusion, contention and even deception. It is imperative that the use of this term, especially in multidisciplinary, international and scientific spheres, be based on clear understanding of its meaning, and that the issue of growth and the concept of limits be clearly incorporated into the core of the discussion.
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Shaheen, Manal, and Chanmi Hwang. "Hijab and modesty: Muslim religious identity expression among Egyptian women in the United States." Clothing Cultures 6, no. 2 (June 1, 2019): 163–77. http://dx.doi.org/10.1386/cc_00010_1.
Full textAbstract:
This study explored the symbolic meaning of modest dress, generally referred to as hijab, to Egyptian Muslim women living in the United States. In the diaspora, women need to integrate the requirements for religious modesty when shopping for western apparel that is not designed to align with their values of modesty. Face-to-face, in-depth interviews with photo-elicitation were conducted with ten veiled Muslim women to explore the symbolic meaning of hijab and their views on modest clothing as it relates to religiosity. Three themes surfaced as the participants discussed their experiences: (1) intrinsic and extrinsic values of hijab ‐ adapting to US norms, (2) the accessibility and attributes of modest clothing and (3) defining modest hijab based on religiosity ‐ three types. The findings of this study may help non-Muslims understand the symbolic message of hijab and the different types of modest clothing related to religiosity.
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Satrapa, Andrea, Marcia Burrattino Melhado, Margarida Maria Curado Coelho, Emma Otta, Ruben Taubemblatt, and Waléria De Fayetti Siqueira. "Influence of Style of Dress on Formation of First Impressions." Perceptual and Motor Skills 74, no. 1 (February 1992): 159–62. http://dx.doi.org/10.2466/pms.1992.74.1.159.
Full textAbstract:
Within a university, students of various colleges dress differently. Our purpose was to verify the influence of style of dress on formation of first impressions. Subjects were 30 women of three colleges from a university in Sao Paulo. Subjects rated on a 7-point scale three photographs (without faces) of male students from each one of the three colleges. The first model dressed in a socially formal way, the second one in a socially informal way, and the third one sportively. The three models were rated comparably on intelligence and culture. The model who dressed in a socially formal way was considered less handsome, extroverted, sympathetic, charming, and attractive than the other two models. Subjects tended also to attribute to the first a rightist ideology. No interactions were found between subjects' and models' colleges.
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Hamidah, Hamidah, and Ahmad Syadzali. "ANALISIS SEMIOTIKA ROLAND BARTHES TENTANG FENOMENA JILBOOBS." Jurnal Studia Insania 4, no. 2 (October 30, 2016): 117. http://dx.doi.org/10.18592/jsi.v4i2.1124.
Full textAbstract:
Hijab/jilbab is a cloth to cover all of women’s body except face and two palms. Now, there is one controversial Hijab trend, which is Jilboobs phenomenon. Basically, jilboobs means have deviation meaning from the nature of veil. Jilboobs is a critic to Muslim women who wear hijab, but they still wear tight dress or blouse. It causes their indentation body looked very clear, especially in her chest. Then, the jilboobs phenomenon is a sign in fashion culture which very interference how Muslim teenagers to dress up now. The function of jibab is not to cover women genitals anymore, but it becomes a mode that break out the religion rules. The jilboobs phenomenon is a negative connotation from the real jilbab function. The writers used Semiotics theory from Roland Barthes to discuss this jilboobs phenomenon. It tried to reveal about abusing the real jilbab function as covering Muslim women’s genitals and a religion symbol.
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Silberstein, Rachel. "Fashionable Figures: Narrative Roundels and Narrative Borders in Nineteenth-Century Han Chinese Women’s Dress." Costume 50, no. 1 (January 1, 2016): 63–89. http://dx.doi.org/10.1080/05908876.2015.1129859.
Full textAbstract:
Figural motifs have received little attention in Chinese dress and textile history; typically interpreted as generic ‘figures in gardens’, they have long been overshadowed by auspicious symbols. Yet embroiderers, like other craftsmen and women in Qing dynasty China (1644–1911), sought inspiration from the vast array of narratives that circulated in print and performance. This paper explores the trend for the figural through the close study of two embroidered jackets from the Royal Ontario Museum collection featuring dramatic scenery embroidered upon ‘narrative roundels’ and ‘narrative borders’. I argue that three primary factors explain the appearance and popularity of narrative imagery in mid- to late Qing dress and textiles: the importance of theatrical performance and narratives in nineteenth-century life; the dissemination of narrative imagery in printed anthologies and popular prints; and the commercialization of embroidery. By placing the fashion for these jackets firmly within the socio-economic context of nineteenth-century China, the paper provides a novel way of understanding the phenomena of narrative figures on women’s dress through the close relationship between popular culture and fashion in nineteenth-century Chinese women’s dress.
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Alawiyah, Syarifah, Budi Handrianto, and Imas Kania Rahman. "Adab Berpakaian Wanita Muslimah Sesuai Tuntunan Syariat Islam." Rayah Al-Islam 4, no. 02 (October 28, 2020): 218–28. http://dx.doi.org/10.37274/rais.v4i02.338.
Full textAbstract:
The phenomenon that afflicts Indonesian society, especially Muslim female students, is a culture of clothing that deviates from the guidance of Islamic law, although there are Muslim women who show how to dress according to Sharia, but the number is relatively small compared to those who are not. The phenomenon of wearing hijab is currently not in accordance with the requirements of Muslim women's clothing where not a few of the clothing models worn by women wearing hijab but still show the shape of the body, made from transparent and so on. Of course this is a problem that must be addressed by parents, educators and those in charge of education, because if it is left unchecked this will become a culture that will continue to develop and eventually become a law that is considered true by future generations. One way to overcome this is to raise awareness among Muslim women about the obligation to cover their genitals by providing sufficient understanding of genitals, the obligation to cover them and the adab of dressing in Islam. This study uses a literature review that synthesizes the theories and concepts of fiqh scholars about the aurat adab dress in Islam which then produces a concept of how to foster awareness of covering one's genitals which can be internalized in the form of dress behavior in Muslim women, especially students.
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Rijken, Hanna, Martin, J. M. Hoondert, and Marcel Barnard. "Dress in Choral Evensongs in the Dutch Context – Appropriation and Transformation of Religiosity in the Netherlands." Temenos - Nordic Journal of Comparative Religion 53, no. 2 (December 29, 2017): 219–42. http://dx.doi.org/10.33356/temenos.54198.
Full textAbstract:
This article studies the appropriation of Anglican choral evensong, and more specifically, dress at choral evensong, in the Netherlands outside the context of the Anglican Church to gain more insight into religiosity in the Netherlands. The authors explore the dress worn at choral evensong in the Netherlands and the meanings participants attribute to it. The concepts of denotational and connotational meanings are used as an analytical tool. In analysing their interviews, the authors came across three categories of meaning and function participants attribute to dress at choral evensong. The first category was the reference to ‘England as a model’. By wearing Anglican dress, choirs indicate they belong to the high-quality sound group of English cathedral choirs. At the same time, by changing the Anglican ‘dress code’, choirs emphasise their unicity and individuality, independent of church traditions. The second category was the marking of identity: choirs copy the dress from the English tradition, but add some elements to mark their own identity. Besides this marking of identity, aspects of unicity, uniformity, group identity, and gender-marking also play a part. The third category was metamorphosis and transcendence. Choir members refer to unarticulated transcendental experiences by wearing ritual liturgical dress. On the one hand the authors noted a ‘cathedralisation’ or ‘ceremonialisation’ of the singers’ dress, and on the other a de-institutionalisation, for example, in the dress of the minister, if present. The article’s main conclusion is that the fieldwork data reveal that dress at choral evensong in the Netherlands points to changing religiosity at two different levels. First, the authors observe a transformation in the way religion is expressed or ritualised in Reformed Protestant churches in the Netherlands. The popularity of evensong suggests a longing for other forms of worship, with a focus on ceremonies and Anglican-like vesture for the singers. Second, they observe a mix of concert practices and Anglican-like rituals, which the interviewees in our research refer to as a new form of religiosity. In both practices the traditional dress of the Anglican Church is used, whether copied exactly or adapted. A new phenomenon may be observed: choirs wear Anglican-like vesture decoupled from the Anglican Church as they are longing for transcendental experiences which they find in the musical-ritual form and high musical quality of choral evensong.
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Loewenthal, Kate Miriam, and Lamis S. Solaim. "Religious Identity, Challenge, and Clothing: Women’s Head and Hair Covering in Islam and Judaism." Journal of Empirical Theology 29, no. 2 (December 6, 2016): 160–70. http://dx.doi.org/10.1163/15709256-12341344.
Full textAbstract:
This qualitative research examined the issues of women’s head covering in Islam and Judaism. It focuses on the role played by head-covering decisions in the development of religious identity. Translated sources of Islamic and Jewish law on modest dress set the context of religious rulings in which women wrestle with decisions about head-covering. Ten practising Muslim and Jewish women were interviewed about their experiences of head/hair covering. Head/hair covering was seen as an expression of identity, and as a way of managing identity. It is a key topic for both Muslim and Jewish women, central in identity development and in decisions relating to identity development, identity threat, acculturation, spirituality, and social relations with men. The role of dress is one of many aspects of ritual deserving closer attention from psychologists of religion, along with the more general topic of the impact of religious practice on religious and spiritual development.
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ORiordan, Maeve. "‘We … galloped hard and straight over some big stone gaps’: Freedom of the Hunt for Elite Women in Ireland, 1860-1914." Studies in Arts and Humanities 7, no. 1 (June 3, 2021): 18–34. http://dx.doi.org/10.18193/sah.v7i1.200.
Full textAbstract:
Hunting was an elite social pastime accessible to both men and women, of the correct social class, throughout the period 1860-1914. Female involvement in this sport preceded their widespread involvement in other sports and pastimes such as tennis and cycling. This article explores the contradictions inherent in women’s involvement in this masculine sport. The sport demanded that participants display contemporary masculine characteristics of bravery, strength, and independence, and yet it was open to both married and unmarried women of the gentry and ascendancy class in Ireland. The sport was a dangerous one, and considerable skill was demanded of all participants. However, daughters of hunting families were not persuaded against joining the hunt, and were instead encouraged to display the necessary skill and competitiveness to ride a horse side-saddle cross-country at speed; jumping stone walls and banks along the way. It was the norm for women to wear adapted dress modelled on masculine hunting attire, however this dress did not diminish their perceived femininity, and was perceived by some in hunting circles as the most alluring form of female dress. The article explores the numbers of women involved in the sport during the period utilising both contemporary fiction and directories. It also provides a case study of one woman’s experience as she partook of the hunt while also battling long term ill health; challenging the contemporary notion of women as inherently weak and unable for rigorous physical activity.
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Mutiah, Mutiah. "Dinamika Komunikasi Wanita Arab Bercadar." Jurnal Penelitian Komunikasi 16, no. 1 (June 24, 2013): 55–70. http://dx.doi.org/10.20422/jpk.v16i1.31.
Full textAbstract:
This study focuses on the authentic appearance of Arab women who wear the veil, which is the veil itself is a cultural dress in Saudi Arabia. The study purpose to understand the meaning of cadar itself and know the managing impression that accured. The research use qualitative methode with fenomenology approach. In this study there were 11 informants who are willing to articulate their experiences openly. Generally, researcher obtained a spontaneous statement so the data obtained naturally. The meaning of wearing the veils that they construct by them self reduced into three categories. Wearing the veil as obeydiant of woman muslim,an honour and family tradition.These categories is influenced by situational factors. This research ultimately shows and understand the interaction and communication that occurs within communities of Arab women who wear veils itself and the interaction that occurs with the surrounding community, and nuances of the place of ethnic identity when interaction takes place.
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Kramkowska, Emilia. "Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze." Kultura i Społeczeństwo 64, no. 4 (December 29, 2020): 153–80. http://dx.doi.org/10.35757/kis.2020.64.4.7.
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The purpose of this article is to draw attention to the undiscussed and yet very interesting issue of fashion and the clothing of senior citizens. The issue is analyzed here in relation to Georg Simmel’s concept of fashion and specifically his idea of imitation and distinctiveness inscribed in the fashion system. Simmel seems to indicate that the social order determined by fashion is more often respected by women than by men. Therefore, the issue of fashion and clothing is discussed in relation to the gender of the individual. Age is also important. In her own research among people aged 60 and over (a diagnostic survey and interviews), the author of the article sought answers to the following questions: what do seniors think about the clothing of today’s older people? Do they think they dress fashionably – in the sense of following the spirit of modern times, which promotes youth? What determines the way seniors dress in contemporary Poland? The respondents were aware of a change in how seniors dress today and view the change positively. The fashion behavior of seniors is more often approved by women than by men and by younger seniors rather than older ones.
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Edwards, Tim. "Living dolls? The role of clothing and fashion in ‘sexualisation’." Sexualities 23, no. 5-6 (September 6, 2018): 702–16. http://dx.doi.org/10.1177/1363460718757951.
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This article considers the role that clothing and fashion have played, or continue to play, in ‘sexualisation’. It is pointed out that fashion, as in clothing, has often played a very small part in much wider discussions about ‘sexualisation’ much of which fails to problematise the meaning of the clothing concerned. The article thus considers what might constitute ‘sexualised’ clothing or fashion – whether this is simply baring of flesh, too ‘adult’, or somehow ‘pornographic’ in its derivations or connotations. In addition, fashion and dress have a long history of forming heated concern for feminists who have often found themselves caught between seeing it as oppressive and male defined or expressive and somehow empowering. What is often at stake here is the very significance of fashion or dress itself when seen as a wider communicator of status or just personality. Drawing on established feminist and fashion theory, this article unpacks this connection. In addition, the ‘function’ of fashion as display has an equally long history of often unacknowledged gender difference that precedes later feminist resistance yet still informs it. The article also considers the extent to which understandings of fashion may inform or disrupt more contemporary feminist politics on dress, and recent attempts to reclaim ‘sexualised’ clothing and dressing as empowering for young women are questioned. In sum, it is argued that an analysis of fashion and dress per se is needed to develop a more informed understanding of the processes of ‘sexualisation’ and resistance to them.
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Umarovа, Zuhrohon Mirzoturabovna. "WOMEN’S NATIONAL CLOTHING AS A FORM OF THE ART OF THE PEOPLE." Chronos 6, no. 6(56) (June 13, 2021): 3–5. http://dx.doi.org/10.52013/2658-7556-56-6-1.
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The article presents the invaluable heritage of the culture and traditions of the peoples of Central Asia, which is reflected in their traditional women’s clothing. Women’s clothing of Tajik women combined forms and typical features: cut, decor techniques, way of wearing, which determined its originality until the beginning of the twentieth century. Traditional clothes of Tajik women — mainly consisted of a tunic of a shaped cut of a dress and wide trousers in which color, pattern technique, material, shape and silhouette were combined.
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Kayaoglu, Turan. "Civil Society and Women Activists in the Middle East." American Journal of Islam and Society 30, no. 2 (April 1, 2013): 109–11. http://dx.doi.org/10.35632/ajis.v30i2.1134.
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While much of the literature related to women and democratization in the MiddleEast neglects the role of women in this process, Wanda Krause persuasivelyargues that the grassroots activism of Middle Eastern women plays a vital rolein democratizing the region. Krause contends that this scholarly neglect is aresult of the literature’s (1) prioritizing the state (over civil society) and secularism(over religious groups), (2) ignoring the feminine (at the expense of thefeminist) and the practical (at the expense of the political), and (3) relegatingwomen’s concerns, like family issues, to “the private sphere and overlookedas having any meaning to the public” (p. 49). She further criticizes this literaturefor what she considers its orientalist attitude, which often manifests itself asexcessive attention to women’s dress, segregation, polygamy, and female genitalmutilation (FGM) and thus constructs a passive and oppressed image ofMuslim women. To fully understand the role of Middle Eastern women, Krauseurges scholars to focus not just on the government’s formal structures, but alsoto pay attention to civil society and investigate how beliefs, values, and everydaypractices both expand it and advance democratic values ...
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Pangjaya, Veronika Juliani, and Priska Febrinia Handojo. "THE IMPACT OF FEMALE ATTRACTIVENESS IN SPY." K@ta Kita 5, no. 1 (July 18, 2017): 149–54. http://dx.doi.org/10.9744/katakita.5.1.149-154.
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This thesis discusses the impact of female attractiveness on the female character which is related to the way Spy sees attractive women and what the impacts to them are. There are criteria for female attractiveness that are displayed by the film such as physical attributes and traits. In order to show the criteria of attractive women and the responses that they get, I use stereotyping theory. Women who are physically attractive get better treatment, but in order to get that, they have to dress with a certain style that men favor. For the women who are considered as unattractive, they will be ignored by men. In conclusion, I find out that the appearance and the attitude of the female character still depend on men’s view. Women can also be seen as attractive from their characteristics. Attractiveness also has huge influences on the way women get treated by men.
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Akbar, Eliyyil. "TA’ARUF DALAM KHITBAH PERSPEKTIF SYAFI’I DAN JA’FARI." Musãwa Jurnal Studi Gender dan Islam 14, no. 1 (January 7, 2015): 55. http://dx.doi.org/10.14421/musawa.2015.141.55-66.
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Family problems are not unusual since parents are individuals with differences in attitude, manner, and ways of interaction. Problems can arise due to jealousy, economic problems, affairs, immorality, and other outside issues. Such problemss are found in newly married as well as longterm couples who have not engaged in the ta’aruf processes. Generally, Indonesian people choose the pre-marriage process, and in this case, ta’aruf are overlapped so that it becomes negative. The overlapping of ta’aruf affects self-esteem, psychological wellbeing and morality. The attitudes of the couple therefore effects their future life, men think negatively about the relationship and women are exploited as they are considered to be influenced by their emotions. Men think that the women are not what they want because the woman cannot keep support her own existence. The mutual relationship between men and women is used to minimize the family’s problems. This paper describes ta’aruf according to the Syafi’i and Ja’fari points of view, and considers which contributes more to ta’aruf actualization in Indonesia. Both philosophies proffer that women should dress in the khibah, that the way women dress women be appropriate to the activities of daily life, and that they may khalwat whether mahram or not. Through ta’aruf one may avoid problems that lead to zina (sexual sin).
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Mardiah, Ainun. "PENGARUH PENAMPILAN MODIS TERHADAP PENGEMBANGAN KARIR KARYAWAN PEREMPUAN PADA BANK DANAMON CABANG PEKANBARU." Marwah: Jurnal Perempuan, Agama dan Jender 9, no. 2 (November 2, 2010): 134. http://dx.doi.org/10.24014/marwah.v9i2.477.
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Fashionable and attractive appearance is a requirement that priority for employees in the banking world. Fashionable appearance is always interpreted as a way of dress, makeup, lifestyle, and selfactualization as a whole is quite attached to women employees in public life. Research conducted on 30 female employees at PT Pekanbaru Danamon Bank. It focuses on the issue of whether the appearance of fashionable significant effect on female employees' career development. The results showed that the appearance of fashionable significant impact on employee career development of women in PT Pekanbaru Damon Bank.
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Arnadottir, Solveig A., and Vicki S. Mercer. "Effects of Footwear on Measurements of Balance and Gait in Women Between the Ages of 65 and 93 Years." Physical Therapy 80, no. 1 (January 1, 2000): 17–27. http://dx.doi.org/10.1093/ptj/80.1.17.
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Abstract Background and Purpose. Footwear is not consistently standardized in the administration of the Functional Reach Test (FRT), Timed Up & Go Test (TUG), and 10-Meter Walk Test (TMW). This study was conducted to determine whether footwear affected performance on these tests in older women. Subjects. Thirty-five women, aged 65 to 93 years, were recruited from assisted living facilities and retirement communities. Methods. Each subject performed the FRT, TUG, and TMW while wearing walking shoes, wearing dress shoes, and barefooted. Because of space constraints at the facilities where the testing was performed, 22 subjects performed the FRT and TUG on a linoleum floor and 13 subjects performed the tests on a firm, low-pile, carpeted floor. All 35 subjects completed the TMW on a firm, low-pile, carpeted floor. One-way repeated-measures analyses of variance (ANOVAs) and a Tukey Honestly Significant Difference test were used to compare the outcomes for the 3 footwear conditions, with separate ANOVAs conducted for the different floor surfaces for the FRT and TUG. Results. Subjects performed better on the FRT when barefooted or wearing walking shoes compared with when they wore dress shoes, regardless of floor surface. Differences were found among all footwear conditions for the TUG performed on the linoleum floor and for the TMW. For these tests, the women moved fastest in walking shoes, slower barefooted, and slowest wearing dress shoes. Conclusion and Discussion. Footwear should be documented and should remain constant from one test occasion to another when the FRT, TUG, and TMW are used in the clinic and in research. Footwear intervention may improve performance of balance and gait tasks in older women.
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Zahra, Fina. "Being fashionable yet modest: Negotiation and the politics of fashion among santriwati at pesantren." Digital Press Social Sciences and Humanities 1 (2018): 00004. http://dx.doi.org/10.29037/digitalpress.41233.
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<p class="Abstract"><i>Santriwati</i> has been
labeled as an old-fashioned people who studies a more specific way of religion
without knowing much about the social and reality in the society outside <i>pesantren</i>. <i>Santriwati</i> were also perceived to dress herself conservatively and
old-fashioned. Different from that image, in one of female <i>pesantren</i> in Krapyak, Yogyakarta (here called PiK), the <i>santriwati</i> dress themselves more
fashionable. It might be because of the influence they attain from outside <i>pesantren</i>, since they are allowed to
study in college (formal education). In spite of the <i>santriwati</i> perceive that the fashion rules in PiK are moderate than
other <i>pesantrens</i> they have known,
there remain some who broke the rules while claiming that they are fashionable
without exhibiting their body’s shape. Those conflicting evidences I attempted
to establish in this study. By doing so, I aim to establish how the <i>santriwati</i> of PiK constitute meaning of
themselves through negotiation in the fashion way. I find that <i>santriwati</i> do numbers of negotiation practices
through the way they dress to actively conforming the rules. As for <i>santriwati</i> of the Security
division, they have a privilege to suggest about certain dress based on
the development in the society and fashions available in the market.
Nevertheless, <i>pengasuh</i>’s decision has
the higher power and any changes in the rules must be a verdict from <i>pengasuh </i>called <i>dawuh</i>. Thus, it would be easier to reconcile when the <i>santriwati</i> complaint. Therefore,
Security division utilize <i>pengasuh</i> as
a ‘safeguard<i>’</i>, regardless of the
obedience.<o:p></o:p></p>
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Thomas, Ariane. "THE FADED SPLENDOUR OF LAGASHITE PRINCESSES: A RESTORED STATUETTE FROM TELLO AND THE DEPICTION OF COURT WOMEN IN THE NEO-SUMERIAN KINGDOM OF LAGASH." Iraq 78 (November 3, 2016): 215–39. http://dx.doi.org/10.1017/irq.2016.4.
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A statuette of a woman dating from the Second Dynasty of Lagash features exceptional gold, silver and copper bracelets that have been recently restored and analysed. The statue is remarkable for its refined dress, to date known only from a small number of female figures, almost all linked to the court of Lagash's Second Dynasty. Examination of the statuette and comparable pieces has revealed possible traces of polychromy, although these vestiges are particularly difficult to identify with any certainty. This paper presents these results within the larger corpus of female depictions from the Second Dynasty of Lagash, together with other very similar examples, to better understand the meaning of the specific costume they wear and the possible identity of the women wearing it.
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Hassan, Siti Hasnah, and Harmimi Harun. "Factors influencing fashion consciousness in hijab fashion consumption among hijabistas." Journal of Islamic Marketing 7, no. 4 (November 14, 2016): 476–94. http://dx.doi.org/10.1108/jima-10-2014-0064.
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Purpose The purpose of this paper is to develop a method to understand the predictors of hijab fashion consciousness and consumption. Muslim women in developing countries have evolved from living a traditional to a modern lifestyle, as more women become more educated, work and earn their own money. As modern sophisticated Muslim women, they have transformed themselves in the way they dress and don their hijab while adhering to the Shariah-compliant dress code. As a result, hijab fashion among hijabistas “Muslim women who wear fashionable outfits with matching fashionable headscarves” is flourishing. Design/methodology/approach Data were collected using questionnaires distributed to Muslim women who visited the Kuala Lumpur International Hijab Fashion Fair 2014 using the convenience sampling method. A total of 345 final useable data were used for data analysis using SmartPLS. Findings Results show that dressing style, fashion motivation, fashion uniqueness and sources of fashion knowledge positively influence fashion consciousness and indirectly influence hijab fashion consumption. Practical implications Results of this paper will provide insights to the people involved in the fashion industry, such as designers, retailers and marketers, to understand the hijabista market segment. Practitioners can design proper hijab fashion products that are Shariah-compliant to capture the segment of Muslim women with proper marketing strategies. Originality/value The fashion of Muslim women, particularly the hijab fashion, has received little attention in the fashion literature. This paper hopes to provide new insights to relevant researchers and industries.
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Duha, Asni Darmayanti. "Etika Berpakaian bagi Kaum Perempuan Dalam Ibadah Menurut I Timotius 2:9-10 dan Aplikasinya Masa Kini." Jurnal Teologi Berita Hidup 2, no. 2 (March 31, 2020): 154–70. http://dx.doi.org/10.38189/jtbh.v2i2.32.
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Abstract: Ethics are important things in human life, and clothing is a human need that cannot be ignored. Dress ethics shows the character of life and a good way of life in the midst of an increasingly secular and uncontralized world. Of course Christians cannot be influenced by the development of the times. Christians must live according to the truth of God's Word. Good and polite dress ethics are the wealth and glory of women. In worship there are many ways to dress that are not polite. A woman who is good and takes care of her honor keeps her dress code. In this case, the writer uses the method of literature and ecegesis based on the text which becomes the author's reference to reveal the truth about dressing.Abstrak: Etika merupakan hal penting di dalam kehidupan manusia, dan pakaian adalah kebutuhan manusia yang tidak bisa diabaikan. Etika berpakaian menunjukkan karakter hidup dan cara hidup yang baik di tengah dunia yang semakin sekular dan tidak terkontral ini. Tentu orang Kristen tidak dapat terpengaruh dengan perkembangan zaman yang ada. Orang Kristen harus hidup sesuai dengan kebenaran Firman Tuhan. Etika berpakain yang baik dan sopan merupakan harta dan kemuliaan perempuan. Dalam kebaktian ada banyak cara berpakaian yang tidak sopan. Perempuan yang baik dan menjaga kehormatannya menjaga etika berpakaiannya. Dalam hal ini, penulis menggunakan metode kepustakaan dan ekegesis berdasarkan nas yang menjadi acuan penulis untuk mengungkapkan kebenaran tentang berpakaian.
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Mitchell, Sally. "NEW WOMEN, OLD AND NEW." Victorian Literature and Culture 27, no. 2 (September 1999): 579–88. http://dx.doi.org/10.1017/s1060150399272221.
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DESPITE SOME TWENTY YEARS of scholarship in the field, core questions such as “what is a New Woman?” and “what is New Woman fiction?” still remain vexed and all too often need more precise definition. Yet one can say that for all the conflicts of meaning and emphasis between sexual and political, discursive and actual, or caricature and didactic, the feminist rediscovery of the New Woman during the late 1970s has not only opened the canon but has also begun a transformation in the way we understand the entire fin de siècle.
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BUSE, CHRISTINA, and JULIA TWIGG. "Materialising memories: exploring the stories of people with dementia through dress." Ageing and Society 36, no. 06 (May 11, 2015): 1115–35. http://dx.doi.org/10.1017/s0144686x15000185.
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ABSTRACTIn this article, we use clothes as a tool for exploring the life stories and narratives of people with dementia, eliciting memories through the sensory and material dimensions of dress. The article draws on an Economic and Social Research Council-funded study, ‘Dementia and Dress’, which explored everyday experiences of clothing for carers, care workers and people with dementia, using qualitative and ethnographic methods including: ‘wardrobe interviews’, observations, and visual and sensory approaches. In our analysis, we use three dimensions of dress as a device for exploring the experiences of people with dementia:kept clothes, as a way of retaining connections to memories and identity;discarded clothes, and their implications for understanding change and loss in relation to the ‘dementia journey’; andabsent clothes, invoked through the sensory imagination, recalling images of former selves, and carrying identity forward into the context of care. The article contributes to understandings of narrative, identity and dementia, drawing attention to the potential of material objects for evoking narratives, and maintaining biographical continuity for both men and women. The paper has larger implications for understandings of ageing and care practice; as well as contributing to the wider Material Turn in gerontology, showing how cultural analyses can be applied even to frail older groups who are often excluded from such approaches.
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Curtis, Maria. "“I Have a Voice”: Despatialization, Multiple Alterities and the Digital Performance of Jbala Women of Northern Morocco." HAWWA 13, no. 3 (October 15, 2015): 323–43. http://dx.doi.org/10.1163/15692086-12341285.
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The Jbala region of northern of Morocco is one that defies easy categorization, containing dialects, styles of dress and performance genres not found elsewhere. Jbala women, “mountain women”, are often the stuff of folklore and are well known for an inimitable form of localzajal, spoken poetry delivered in Derrija, or Moroccan Arabic. ‘Ayoua is a form of poetry that is traditionally sung outdoors as a way to help pass the monotony of daily gendered tasks such as agricultural work and herding animals and is also used to venerate local saints. This paper focuses on the shift of ‘Ayoua and Jbala women and the genre of ‘Ayoua as it moves from agricultural fields to small local recording studios to the digital spaces of Facebook and YouTube interviews and concert performances.
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Rif'ah, Erwin Nur. "Opening the Door: How the Regional Autonomy Has Made the Implementation of Perda Sharia Possible?" International Journal of Nusantara Islam 2, no. 1 (June 9, 2014): 14–31. http://dx.doi.org/10.15575/ijni.v2i1.45.
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Sharia-influenced regional regulations (perda sharia) are regulations or laws that are created by district governments and use Islamic moral teachings as a reference point. This article based on a qualitative research in two districts: Cianjur, West Java and Bulukumba South Sulawesi. In general, perda sharia seeks to manage three aspects of public life: firstly, to eradicate moral and social problems such as prostitution, drinking alcohol and gambling; secondly, to enforce ritual observances among Muslims such as reading the Qur’an, attendance at Friday prayers and fasting during Ramadan, and thirdly, to govern the way people dress in the public sphere, especially in relation to head-veiling for the women.