Male leaders have often used women's bodies and dress as a means to regulate their access to formal politics, including to national parliaments. Through an analysis of women's activism surrounding the expansion of headscarved women's access to the parliament during the 2011 parliamentary elections in Turkey, I argue that pious women's public protests against discriminatory actions of male leaders towards headscarved women's candidacy challenged the hegemonic symbolism surrounding the headscarf as articulated by both secularist and conservative religious forces. The consequent discourse shift offered a new perspective on women's sexuality in the public arena and brought secular and pious women's rights groups, who rarely saw eye to eye with one another, closer as they realised that imposed dress codes are vehicles for their exclusion from formal politics.
Embodied Diplomacy and the Assemblages of Dress in Tajikistan
‘tradition’ and ‘modernity’, and a commitment to secularism in the face of what are depicted as dangerously destabilizing forms of Islamization. Reflected in existing dress codes, Tajikistan’s brand image is a fundamental component of national policy that
Women, Dress and Sexuality in Iran
Functioning as a socio-political resource and method of discipline and control over women's bodies and sexualities, mandatory Islamic dress in Iran has been a central feature of the Islamic Regime's policy towards women. Intended to stand as a symbolic discourse of women's social and sexual submissiveness and docility, those who resist dress codes are subjected to severe punishment as well as stigmatisation. Despite repercussions, increasing numbers of urban Iranian women are refashioning their public bodies in new styles and appearances to not only resist dress codes but to more importantly challenge the regime's patriarchal discourses regarding women. This article seeks to examine the politicisation of Iranian women's bodies and sexualities through the emergence of this innovating women's resistance movement termed 'alternative dress'.
Women Performers of Ethnic Music in Contemporary Istanbul
This article investigates the strategies women performers of ethnic music in contemporary Istanbul employ to escape the common associations of women of 'loose morals' and to craft alternative femininities on the public stage. How have women playing this music genre been able to do so while, at the same time, gaining and maintaining social respectability? Drawing on fieldwork in Istanbul, the article argues that ethnic music provides better opportunities for women to build their musical careers and to be perceived seriously for their artistic talents. Ethnic music's specific audience, locus of performance, repertoire, flexibility in dress codes and its performers' frequent associations with feminist organisations are all factors helping women to shape their own interpretation of what a woman musician in the twenty-first century could be.
Religious and Political Aspects
The right of Muslim schoolgirls in France to wear the veil (hijab) raises questions concerning the meaning of the veil for Muslim women. The debate about Muslim dress codes and whether Islam belongs in Europe has become a critical issue. The debate that began about the veil in Islam has evolved into a large discussion about Islam itself: as a religion, the Islamic movement in France and the relationship between Islam and fundamentalism. The purpose of this article is to examine some definitions of the hijab and its meaning in the context of the Qur’an, and to analyse some of the understandings of the hijab, as articulated in the late twentieth century by Muslim and non-Muslim scholars. It also explores the nature of Muslim reactions in France as well as their tensions with the surrounding society, as a result of the French ban on wearing the veil in public schools.
Images of Male Political Leaders in France and Norway
Anne Krogstad and Aagoth Storvik
Researchers have often pointed to the masculine norms that are integrated into politics. This article explores these norms by studying male images of politics and power in France and Norway from 1945 to 2009. Both dress codes and more general leadership styles are discussed. The article shows changes in political aesthetics in both countries since the Second World War. The most radical break is seen in the way Norwegian male politicians present themselves. The traditional Norwegian leadership ethos of piety, moderation, and inward orientation is still important, but it is not as self-effacing and inelegant as it used to be. However, compared to the leaders in French politics, who still live up to a heroic leadership ideal marked by effortless superiority and seduction, the Norwegian leaders look modest. To explain the differences in political self-presentation and evaluation we argue that cultural repertoires are not only national constructions but also gendered constructions.
Supporting Girls’ Action Against Rape Culture
Alexe Bernier and Sarah Winstanley
-in question for girls to indicate how they were, a facilitated discussion about a topic girls had previously identified as important, and an opportunity for girls to take action on the issue. Drafting Dress Codes In sessions about gender roles in the
Sexual Subject? Desired Object?
Mary Ann Harlan
’ presentation of self plays out at an institutional level through dress codes ranging from banning leggings to controlling the length of skirts and shorts, and the freedom to bare shoulders ( Levy 2016 ; Needles 2017 ; Pearlman 2017 ) while the fashion
liberation. The fascist goal of Islamic totalitarianism is precisely the opposite: the enslavement of a population through, for example, legalised gender inequalities, mandatory dress codes, uniformity of religious and political thought, financial dependency
such as “whether you’re discussing dress codes, social media or the influence of pop culture, there is rarely a clear cut truth” (24) open the door to a developed analysis but never quite make it through. The text concludes with a direct appeal to these