Piety In A Niqab

It is very likely that women’s lives in black seem primitive, traditional, and subordinated to the researchers who observe them. However, in reality, the actors in such societies tell a different story, as this book shows. Women who wear the burqa build their identities on ideal resources, the Qur’an and sunnah, and in this way, achieve real peace and are privileged to easily pass religious examinations with the help of the sheik of their community. They have protective husbands who keep them from being contaminated by this dirty world, and homes that they manage with abundance. This approach brings them happiness in this world and salvation in the afterlife.

This original new work is the fascinating result of sociologist and documentary filmmaker Agnès De Féo’s ten-year exploration of the phenomenon of niqab wearing. It is at once a groundbreaking study and a series of compelling first-person accounts from French and Francophone women who wear or have worn the niqab in France’s Salafi communities. With the backdrop of the French government’s 2010 ban on full facial veiling in public spaces, which itself has shaped the phenomenon, De Féo draws on her subjects’ own words to show their agency, working against the clichés that often underlie public views of the niqab—that it is purely the result of masculine pressure, for example, or extreme religiosity or nationalism, or the submissive desire to disappear. Instead, she shows, the niqab is multivalent: women wear it for reasons that range from religious piety to the desire to rebel against mainstream society, family, or the rule of law. The reasons are complex, overdetermined, contradictory, or even inconsistent, but they are the women’s own. Despite being worn only by a small minority of Muslim women, the Islamic garment has nonetheless been a major source of intense political, religious, and cultural debate in France. Searching to understand, rather than speculate, De Féo chose to approach the people who wear the niqab, and to make them, rather the veil itself, the subject of her research. Her unprecedented study, based on more than 200 interviews, reveals the many factors—social, political, geopolitical, and psychological—underpinning a personal choice that is not always as religious as it seems. The book ends with sixteen captivating interviews giving voice to stories rarely heard. With finesse and discernment, the author debunks the myths surrounding the wearing of the niqab, and sheds light on a practice subject to misunderstanding and prejudice, offering the reader unique insight. Challenging our preconceived notions and stereotypes about women who wear any form of Islamic apparel, but particularly the niqab, The Niqab in France introduces a group of women each with her own life story, her own share of personal struggles, aspirations, and desires, and her own claim to a certain place in society. This work received support for excellence in publication and translation from Albertine Translation, a program created by Villa Albertine.

An analysis of Islamist cultural politics through the ethnography of a thriving, grassroots women's piety movement in the mosques of Cairo, Egypt. Unlike those organized Islamist activities that seek to seize or transform the state, this is a moral reform movement whose orthodox practices are commonly viewed as inconsequential to Egypt's political landscape. The author's exposition of these practices challenges this assumption by showing how the ethical and the political are linked within the context of such movements.

Bringing niqab wearers' voices to the fore, discussing their narratives on religious agency, identity, social interaction, community, and urban spaces, Anna Piela situates women's accounts firmly within UK and US socio-political contexts as well as within media discourses on Islam. The niqab has recently emerged as one of the most ubiquitous symbols of everything that is perceived to be wrong with Islam: barbarity, backwardness, exploitation of women, and political radicalization. Yet all these notions are assigned to women who wear the niqab without their consultation; “niqab debates” are held without their voices being heard, and, when they do speak, their views are dismissed. However, the picture painted by the stories told here demonstrates that, for these women, religious symbols such as the niqab are deeply personal, freely chosen, multilayered, and socially situated. Wearing the Niqab gives voice to these women and their stories, and sets the record straight, enhancing understanding of the complex picture around niqab and religious identity and agency.

Bringing niqab wearers' voices to the fore, discussing their narratives on religious agency, identity, social interaction, community, and urban spaces, Anna Piela situates women's accounts firmly within UK and US socio-political contexts as well as within media discourses on Islam. The niqab has recently emerged as one of the most ubiquitous symbols of everything that is perceived to be wrong with Islam: barbarity, backwardness, exploitation of women, and political radicalization. Yet all these notions are assigned to women who wear the niqab without their consultation; “niqab debates” are held without their voices being heard, and, when they do speak, their views are dismissed. However, the picture painted by the stories told here demonstrates that, for these women, religious symbols such as the niqab are deeply personal, freely chosen, multilayered, and socially situated. Wearing the Niqab gives voice to these women and their stories, and sets the record straight, enhancing understanding of the complex picture around niqab and religious identity and agency.

This book examines constructions of 'national' citizenship in the context of perceived internal division, including devolution, multiculturalism, ethno-religious conflict, post-conflict and refugees, drawing on a wide range of countries such as Belgium, Denmark, France, Germany, the UK, Ukraine, Canada and Palestinians in Lebanon.

Face veiling is relatively new in Indonesia. It is often stereotyped as a sign of extremism and the growing Arabisation of Indonesian Muslims. It is also perceived as a symbol that demonstrates a lack of female agency. However, increasing numbers of women are choosing to wear the cadar (the full face veil). This book provides an ethnographic study of these women: why they choose to wear the cadar, embody strict religious disciplinary practices and the consequences of that choice. The women in this book belong to two Islamic revivalist movements: various Salafi groups and the Tablīghī Jamāʿat. Indonesia has constantly witnessed transformations in the meanings and practices of Islam, and this book demonstrates that women are key actors in this process. Nisa demonstrates that contrary to stereotypes, the women in this study have an agency which is expressed through their chosen docility and obedience.