scholarly journals Women, Islam, and politics in Samarkand (1991–2021)

2021 ◽  
Vol 2 (16) ◽  
pp. 548-569
Author(s):  
Azim Malikov ◽  
Dilfuza Djuraeva

This article is devoted to the analysis of the following issues: state policy in Uzbekistan in the field of Islam and gender, the modern understanding of local Muslim societies‘ traditions, the spread of the hijab in Samarkand, and discourses around the hijab. There are various interpretations of religious practices in which women are involved. Some of these rituals are considered non-Islamic by the official Muslim clergy. We argue that the various discourses that existed around the Muslim societies‘ tradition contributed to the emergence of different motivations for wearing the hijab. In different eras, various symbolic meanings were attached to the hijab, with religiosity, modesty, backwardness, traditions, etc. If in the 1990s the hijab meant a return to pre-Soviet gender traditions for certain groups of women in certain regions of Uzbekistan, now it is perceived as part of modernity, which is understood differently by Muslims of Uzbekistan. For every one of these women, the hijab has its own personal meaning and there are various reasons for wearing it such as to consider it related to Islam or a symbol associated with Islam and the symbolization of moral categories of the spiritual purity and good manners.

2021 ◽  
Author(s):  
Ziba Mir-Hosseini
Keyword(s):  

Author(s):  
Thomas Barker

As feature film has become mainstream entertainment again, it has coincided with the emergence of new forms of piety and religious practices amongst Indonesian Muslims. Beginning in 2008, a new kind of feature film with Islamic themes began to be made capturing these new modes and ideas of Islamic piety. Tracing the emergence and development of this genre, this chapter looks in depth at how polygamy is represented by culturally progressive filmmakers. To balance normative values around love and gender roles, the films take an anti-polygamy stance by showing the impossibility of polygamous marriage. Behind many Islamic themed films is the director Hanung Bramantyo who has emerged as the most commercially successful but also controversial directors making Islamic films today.


2020 ◽  
pp. 1-25
Author(s):  
Saswati Sengupta

Mutating Goddesses begins by examining the paradox of goddess worship in patriarchal societies. Hindu goddesses have been dominantly understood from a śāstrik perspective—deriving from Sanskrit scriptures authorized by the male Brahman—that exiles women. But there are religious practices under Hinduism that are governed by neither the Brahman nor Sanskrit. These laukika practices are held in a hierarchical relation to the śāstrik. Chapter 1 focuses from within that vibrant realm, the kathās/narratives appended to the propitiation of the goddesses known as bratas which allow direct participation of the women and the Dalit castes unlike the Brahmanical rituals. Briefly the Brahmannization of Bengal is traced and the Bengal caste system is sketched, since caste and gender are held together in the dominant construction and reception of goddesses. This Chapter concludes by showing how caste and gender define genres to categorize the construction and reception of goddesses and votives.


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