The New Woman In Uzbekistan

Winner of the Association of Women in Slavic Studies Heldt Prize Winner of the Central Eurasian Studies Society History and Humanities Book Award Honorable mention for the W. Bruce Lincoln Prize Book Prize from the American Association for the Advancement of Slavic Studies (AAASS) This groundbreaking work in women's history explores the lives of Uzbek women, in their own voices and words, before and after the Russian Revolution of 1917. Drawing upon their oral histories and writings, Marianne Kamp reexamines the Soviet Hujum, the 1927 campaign in Soviet Central Asia to encourage mass unveiling as a path to social and intellectual "liberation." This engaging examination of changing Uzbek ideas about women in the early twentieth century reveals the complexities of a volatile time: why some Uzbek women chose to unveil, why many were forcibly unveiled, why a campaign for unveiling triggered massive violence against women, and how the national memory of this pivotal event remains contested today.

Drawing on extensive research in the archives of Russia and Uzbekistan, Douglas Northrop here reconstructs the turbulent history of a Soviet campaign that sought to end the seclusion of Muslim women. In Uzbekistan it focused above all on a massive effort to eliminate the heavy horsehair-and-cotton veils worn by many women and girls. This campaign against the veil was, in Northrop's view, emblematic of the larger Soviet attempt to bring the proletarian revolution to Muslim Central Asia, a region Bolsheviks saw as primitive and backward. The Soviets focused on women and the family in an effort to forge a new, "liberated" social order.This unveiling campaign, however, took place in the context of a half-century of Russian colonization and the long-standing suspicion of rural Muslim peasants toward an urban, colonial state. Widespread resistance to the idea of unveiling quickly appeared and developed into a broader anti-Soviet animosity among Uzbeks of both sexes. Over the next quarter-century a bitter and often violent confrontation ensued, with battles being waged over indigenous practices of veiling and seclusion.New local and national identities coalesced around these very practices that had been placed under attack. Veils became powerful anticolonial symbols for the Uzbek nation as well as important markers of Muslim propriety. Bolshevik leaders, who had seen this campaign as an excellent way to enlist allies while proving their own European credentials as enlightened reformers, thus inadvertently strengthened the seclusion of Uzbek women—precisely the reverse of what they set out to do. Northrop's fascinating and evocative book shows both the fluidity of Central Asian cultural practices and the real limits that existed on Stalinist authority, even during the ostensibly totalitarian 1930s.

Fascinated by women's distinct influence on Uzbekistan's music, Tanya Merchant ventures into Tashkent's post-Soviet music scene to place women musicians within the nation's evolving artistic and political arenas. Drawing on fieldwork and music study carried out between 2001 and 2014, Merchant challenges the Western idea of Central Asian women as sequestered and oppressed. Instead, she notes, Uzbekistan's women stand at the forefront of four prominent genres: maqom, folk music, Western art music, and popular music. Merchant's recounting of the women's experiences, stories, and memories underscores the complex role that these musicians and vocalists play in educational institutions and concert halls, street kiosks and the culturally essential sphere of wedding music. Throughout the book, Merchant ties nationalism and femininity to performances and reveals how the music of these women is linked to a burgeoning national identity. Important and revelatory, Women Musicians of Uzbekistan looks into music's part in constructing gendered national identity and the complicated role of femininity in a former Soviet republic's national project.

Women's Lives and Livelihoods in Post-Soviet Uzbekistan examines women’s livelihood activities in response to land tenure changes in post-Soviet Uzbekistan. Zulfiya Tursunova shows how women’s multi-dimensional empowerment is achieved by accessing natural resources and markets central in maintaining the well-being of people, joining women’s saving rotating networks to diminish economic dependency on men and state micro-loan bank systems, and participating in healing rituals to address socio-economic issues and strive for social justice, knowledge, and community development.

In recent years bitter controversies have erupted across Europe and the Middle East about women’s veiling, and especially their wearing of the face-veil or niqab. Yet the deeper issues contained within these controversies – secularism versus religious belief, individual freedom versus social or family coercion, identity versus integration – are not new but are strikingly prefigured by earlier conflicts. This book examines the state-sponsored anti-veiling campaigns which swept across wide swathes of the Muslim world in the interwar period, especially in Turkey and the Balkans, Iran, Afghanistan and the Soviet republics of the Caucasus and Central Asia. It shows how veiling was officially discouraged and ridiculed as backward and, although it was rarely banned, veiling was politicized and turned into a rallying-point for a wider opposition. Asking a number of questions about this earlier anti-veiling discourse and the policies flowing from it, and the reactions which it provoked, the book illuminates and contextualizes contemporary debates about gender, Islam and modernism.

Muslim Women of the Fergana Valley is the first English translation of an important 19th-century Russian text describing everyday life in Uzbek communities. Vladimir and Maria Nalivkin were Russians who settled in a "Sart" village in 1878, in a territory newly conquered by the Russian Empire. During their six years in Nanay, Maria Nalivkina learned the local language, befriended her neighbors, and wrote observations about their lives from birth to death. Together, Maria and Vladimir published this account, which met with great acclaim from Russia's Imperial Geographic Society and among Orientalists internationally. While they recognized that Islam shaped social attitudes, the Nalivkins never relied on common stereotypes about the "plight" of Muslim women. The Fergana Valley women of their ethnographic portrait emerge as lively, hard-working, clever, and able to navigate the cultural challenges of early Russian colonialism. Rich with social and cultural detail of a sort not available in other kinds of historical sources, this work offers rare insight into life in rural Central Asia and serves as an instructive example of the genre of ethnographic writing that was emerging at the time. Annotations by the translators and an editor's introduction by Marianne Kamp help contemporary readers understand the Nalivkins' work in context.

In Making Uzbekistan, Adeeb Khalid chronicles the tumultuous history of Central Asia in the age of the Russian revolution. He explores the complex interaction between Uzbek intellectuals, local Bolsheviks, and Moscow to sketch out the flux of the situation in early-Soviet Central Asia. His focus on the Uzbek intelligentsia allows him to recast our understanding of Soviet nationalities policies. Uzbekistan, he argues, was not a creation of Soviet policies, but a project of the Muslim intelligentsia that emerged in the Soviet context through the interstices of the complex politics of the period. Making Uzbekistan introduces key texts from this period and argues that what the decade witnessed was nothing short of a cultural revolution.