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Human Rights of Women Wearing the Veil in Western Europe
Human Rights of Women Wearing the Veil in Western Europe Research Paper I. Introduction The present paper analyses legislation, policies, and case-law surrounding religious attire in a number of countries in Western Europe and how they affect the human rights of women and girls who wear the veil in Western Europe. It also more broadly analyses discrimination and violence experienced by women wearing the veil in Europe learning from their own voice. Throughout the paper, the terminology ‘veil’ is used to refer to a variety of religious attire worn mostly, but not exclusively, by Muslim women. There are different types of clothing that cover the body. This research is focused on manifestations of veils that are the subject of regulation in several Western European Countries. They include the hijab (a piece of clothing that covers the head and neck, but not the face), niqab (a piece of clothing that covers the face, where only the eyes are visible), burqa (a piece of clothing that covers both the face and eyes), jilbab (a loose piece of clothing that covers the body from head to toe), or abaya, kaftan, kebaya (a loose, often black, full body cover overcoat). The head and body covers are often combined. In several countries, some of these clothing are based on traditional costumes rather than religion and are often worn by rural communities in the countries of origins. The paper also uses the terminology ‘full-face veil’ or ‘face-covering veil’ to refer to both niqab and burqa. Furthermore, it refers to burkini, a swimsuit that covers the body from head to ankles, completed by a dress. -
Pleasure/Principle
GHADA AMER some kiss we want Breathe into Me There is some kiss we want with our whole lives, the touch of Spirit on the body. Seawater begs the pearl to break its shell. And the lily, how passionately it needs some wild Darling! At night, I open the window and ask the moon to come and press its face into mine. Breathe into me. Close the language-door, and open the love-window. The moon won’t use the door, only the window. jelaluddin rumi GAGOSIAN GALLERY PLEASURE/PRINCIPLE Maria Elena Buszek Feminism must increase women’s pleasure and joy, not just decrease our misery. carole s. vance 1 Feminism can be empowered by seduction. ghada amer 2 few topics have caused more debate within the long history of feminism than those of opposite sexuality and pleasure. Since the late eighteenth century feminist activists, scholars, and The Reign of Terror, 2005 artists have tangled with the issue of whether the representation of women’s pleasure liber- Installation at the ates them from or enforces traditional patriarchal notions of womanhood. While feminist Davis Museum & Cultural Center, Wellesley College thinkers have offered a wide and influential range of contemporary discourse on the ways in which women are victimized and manipulated through the representation of pleasure, Ghada Amer is part of a long tradition of others who have argued for the necessity of pleas- ure—in all its complex manifestations—as both an activist strategy and a human right. Naturally, finding visual languages that perform this task has been difficult—as many artists have learned, efforts to incorporate the highly individualized yet powerful realm of pleasure with the consensus-seeking goals of politics are downright impossible. -
Women Challenging the Norms in the Arab Diaspora: Body Talks in Contemporary Art
Mashriq & Mahjar 6, no. 1 (2019), 85–108 ISSN 2169-4435 Martine Natat Antle WOMEN CHALLENGING THE NORMS IN THE ARAB DIASPORA: BODY TALKS IN CONTEMPORARY ART At fifteen I was widowed.… I was illiterate. You must understand, it’s important not to be afraid to be different. ―Chabia Talal Before embarking on the production of the artistic expression of women of the Arab diaspora, and in particular how they represent the body and sexuality in art, it is first important to foreground representations of the body by women in Western art, because their production also continues to be relegated to the margins of art history. On a large scale and globally speaking, both in the East and West, women have rarely participated directly in the production of art history. Yet, women in the West, who had up to the 1980s been all but excluded from the art world, have challenged us to rethink and recontextualize the representation of the body. Most often they have found identity and affirmation through the desire to differentiate themselves from the long history of masculine production of art. As Marie-Jo Bonnet observes about nudity in Western art: “The nude is thus one of the greatest conquests of women artists of the twentieth As a specialist in twentieth-century French theatre, contemporary writing, photography and painting, Martine Antle (Emeriti Professor, University of North Carolina Chapel Hill) has published extensively on race and gender in 20th and 21st- century French and Francophone literature. Her scholarship spans the political, social, and cultural revolutions that shaped modernity from the turn of the twentieth century to the present. -
Outline of Annemarie Schimmel's Deciphering the Signs of God: A
Outline of Annemarie Schimmel’s Deciphering the Signs of God: A Phenomenological Approach to Islam 1 I Sacred Aspects of Nature and Culture 2 Inanimate Nature 2 Stones and rocks 3 Gems 4 Mountains 5 Earth and dust 6 Water 6 Springs and fountains 7 Water of life 7 Ocean, waves and foam 8 Rain 9 Deluge (flood) 9 Rivers 10 Fire 10 Burning Bush on Mount Sinai 11 Candles 11 Lightning and thunder 11 Wind 12 Light 13 Sun 14 Moon 15 Stars 16 Planets 16 Sky 16 Colours 17 Plants and Animals 17 Trees 20 Gardens 20 Plants and flowers 20 Wild rue, roses (gul), violets, tulips 21 Animals 21 Animal skin 22 Pigs and pork 22 Gnats 22 Bees 22 Ants 23 Spiders 23 Moths 23 Cows 23 Lions 24 Cats 24 Dogs 24 Camels 24 Donkeys 25 Horses 25 Buraq (from the Mi’raj) 25 Serpents, snakes and dragons 26 Birds 26 Soul birds 26 Nightingales (bulbul) 26 Falcons 26 Doves 26 Storks 27 Roosters 27 Peacocks 27 Parrots 27 Swans and ganders 27 Hoopoe (hudhud) 28 Crows and ravens 28 Mythical birds (Huma, ‘Anqa, Simurgh) 28 Kindness to animals 28 Eschatological peace (the lion and the lamb) 29 Man-made Objects 29 Swords, weapons and armour 30 Rods and wands 30 Flags and banners 31 Mirrors 33 Idols 33 Coins 33 Paintings and pictures 35 Woven fabrics (tomb-covers) 36 Garments, clothes 37 Ihram (pilgrimage dress) 37 Hijab, Burqa (veil) 38 Headgear (taj, turbans) 39 Garments, robes and hems as a metaphor 41 Notes 47 II Sacred Space and Time 48 Sacred Space 48 Caves 49 Houses 50 Thresholds 50 Doors and gates (bab) 51 High and low seats (throne vs. -
48 Ruitenberg.Pm7
292 How to Do Things with Headscarves How to Do Things with Headscarves: A Discursive and Meta-Discursive Analysis1 Claudia W. Ruitenberg University of British Columbia I thank Sharon Todd for the opportunity to discuss the important topic of sartorial censorship and, more specifically, the censorship of the wearing of khimars, jilbabs, niqabs, chadors, and burqas by Muslim girls and women in educational contexts. I generally agree with Todd’s arguments that gender is not merely an additional feature, but integral to the debate over religious symbols in the public sphere, and that this debate ought to be approached from an understanding of culture as gendered, ambiguous, unstable, and multiple. The focus of my response, therefore, will be the metadiscourse in which Todd’s paper participates: the discourse about the sartorial discourse of Muslim girls and women in educational contexts. Todd considers gender a cultural construct and positions herself in discursive theories of gender put forward by theorists such as Judith Butler. I will stay within that discursive theoretical perspective, and consider the wearing of head, face, and body covers such as the khimar, niqab, and burqa as discursive acts. Where the wearing of clothing and symbols on the body is perhaps not a language in the narrow sense, it certainly is discourse, where discourse is understood as speech, writing, and other semiotic practices that do not merely represent the world, but also produce effects in the world. A law that makes wearing a khimar, burqa, or other form of head, face, or body cover illegal in the context of public schools is thus a law that makes certain discursive acts illegal in the context of public schools: it is a form of censorship in educational contexts. -
Exhibition Reviews
Exhibition Reviews: Ghada Amer: Love Had No End, Curated by Maura Reilly, Brooklyn Museum, February – October, 2008 1. Press Release, Brooklyn Museum 2. Karen RosenberG, “Veiled or Naked: ScrutinizinG Women’s Roles,” The New York Times, June 20, 2008. 3. Alix Finkelstein, “ReinventinG the Painted Veil,” The New York Sun, February 21, 2008. 4. Sonia Kolesnikov‐Jessop, Sonia. “Ghada Amer: DefusinG the Power of Erotic ImaGes.” The International Herald Tribune, March 12, 2007. December 2007 First Major Retrospective in U.S. of the Work of Ghada Amer to Open at Brooklyn Museum February 16, 2008 Ghada Amer: Love Has No End, the first major U.S. retrospective of the renowned artist’s work, will feature some fifty pieces from every aspect of Amer’s career as a painter, sculptor, illustrator, performer, garden designer, and installation artist. These include the iconic Barbie Loves Ken, Ken Loves Barbie (1995/2002), The Reign of Terror (2005), and Big Black Kansas City Painting—RFGA (2005), as well as a generous selection of works never before exhibited in this country. The exhibition will be on view February 16 through October 19, 2008. While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns. The submission of women to the tyranny of domestic life, the celebration of female sexuality and pleasure, the incomprehensibility of love, the foolishness of war and violence, and an overall quest for formal beauty, constitute the territory that she explores and expresses in her art. -
Download Ghada Amer CV
GHADA AMER Born in Cairo, Egypt Lives and works in New York, NY EDUCATION 1991 Institut des Hautes Etudes en Arts Plastiques, Paris, France 1989 MFA in Painting, Villa Arson EPIAR, Nice, France SELECTED SOLO EXHIBITIONS 2015 Love.Earth.Fire. Leila Heller Gallery, Dubai, UAE 2014 Ghada Amer: Rainbow Girls, Cheim and Read, New York, NY, USA 2013 Ghada Amer: Référence à Elle, Kukje Gallery, Seoul, Korea 2012 The Other I, Tina Kim Gallery, New York, NY, USA Ghada Amer, Musee d’Art Contemporain de Montreal, Montreal 2011 100 Words of Love, Cheim and Read, New York, NY, USA No Romance, Goodman Gallery, Johannesburg, South Africa 2010 Color Misbehavior, Cheim and Read, New York, NY, USA 2009 Ghada Amer and Reza Farkhondeh: Roses Off Limits, Pace Prints, New York, NY, USA 2008 Ghada Amer and Reza Farkhondeh: Collaborative Drawings, Tina Kim Fine Arts, New York, NY, USA Ghada Amer and Reza Farkhondeh: A New Collaboration on Paper, Singapore Tyler Print Institute, Singapore Love Has No End, Elisabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York, NY, USA 2007 Ghada Amer & Reza Farkhondeh, Collaborative Drawings, Kukje Gallery, Seoul, Korea Another Spring, Kukje Gallery, Seoul, Korea Le Salon Courbé, Francesca Minini Gallery, Milan, Italy 568 West 25th Street New York, NY 10001 | Tel: +1 212 249 7695 Fax: +1 212 249 7693 www.LeilaHellerGallery.com Ghada Amer, Museo d’Arte Contemporanea Roma, MACRO, Rome, Italy 2006 Breathe Into Me, Gagosian Gallery, New York (Chelsea), NY, USA 2004 Ghada Amer, Gagosian Gallery, Beverly Hills, CA, USA Ghada Amer, Institut Valencià d’Art Modern, Valencia, Spain 2003 Ghada Amer, Forefront 45, Indianapolis Museum of Art, Indianapolis, IN, USA Ghada Amer, Galleria Massimo Minini, Brescia, Italy 2002 Ghada Amer, Gagosian Gallery, London, UK Ghada Amer, De Appel Foundation, Amsterdam, Netherlands 2001 Encyclopedia of Pleasure, Deitch Projects, New York, NY, USA Reading Between the Threads, Henie---Onstad Kunstsenter, Oslo, Norway Traveled to: Kunst Palast, Düsseldorf, Germany & Bildmuseet, Umea, Sweden. -
The Healthcare Provider's Guide to Islamic Religious Practices
The Healthcare Provider’s Guide to Islamic Religious Practices About CAIR The Council on American-Islamic Relations (CAIR) is the largest American Muslim civil rights and advocacy organization in the United States. Its mission is to enhance understanding of Islam, protect civil rights, promote justice, and empower American Muslims. CAIR-California is the organization’s largest and oldest chapter, with offices in the Greater Los Angeles Area, the Sacramento Valley, San Diego, and the San Francisco Bay Area. According to demographers, Islam is the world’s second largest faith, with more than 1.6 billion adherents worldwide. It is the fastest-growing religion in the U.S., with one of the most diverse and dynamic communities, representing a variety of ethnic backgrounds, languages, and nationalities. Muslims are adding a new factor in the increasingly diverse character of patients in the health care system. The information in this booklet is designed to assist health care providers in developing policies and procedures aimed at the delivery of culturally competent patient care and to serve as a guide for the accommodation of the sincerely-held religious beliefs of some Muslim patients. It is intended as a general outline of religious practices and beliefs; individual applications of these observances may vary. Disclaimer: The materials contained herein are not intended to, and do not constitute legal advice. Readers should not act on the information provided without seeking professional legal counsel. Neither transmission nor receipt of these materials creates an attorney- client relationship between the author and the receiver. The information contained in this booklet is designed to educate healthcare providers about the sincerely-held and/or religiously mandated practices/beliefs of Muslim patients, which will assist providers in delivering culturally competent and effective patient care. -
The Healthcare Provider's Guide to Islamic Religious Practices
The Healthcare Provider’s Guide to Islamic Religious Practices According to demographers, Islam is the world’s second largest faith, with more than 1.6 billion adherents worldwide. It is the fastest-growing religion in the U.S., with one of the most diverse and dynamic communities, representing a variety of ethnic backgrounds, languages, and nationalities. Muslims are adding a new factor in the increasingly diverse character of patients in the health care system. The information in this booklet is designed to assist health care providers in developing policies and procedures aimed at the delivery of culturally competent patient care and to serve as guide for the accommodation of religiously mandated practices of Muslim patients. It is intended as a general outline of religious practices and beliefs; individual applications of these observances may vary. 1 Glossary of Muslim Terms Adhan (ad-HAN): Call to prayer Allah (al-AH): Arabic word for God Eid (EED): A major religious holiday Halal (Hah-LAAL): Permissible by Islamic law Hijab (Hee-JAAB): Clothing Muslim women wear in public; generally loose fitting and includes a head covering Imam (ee-MAAM): Religious leader of a Muslim community Janazah (jeh-NAA-sah): Funeral Jum’ah (JOO-mah): Weekly congregational prayer on Fridays Kufi (KOO-fee): cap worn by some Muslim men Qur’an (Qur-AAN): Islam’s revealed scripture, sometimes spelled Koran Ramadan (RAHM-a-daan): The month of fasting; period marked by abstaining from consumption of food and drink from sunup to sunset and and by increased prayer and charity Tayammum (tey-UHM-mum): ritual cleansing before prayer that does not require water Wudu (WOO-doo): ritual ablution or washing before daily prayer Muslim View of Illness and Treatment Muslims consider illness, like other life events, as a test from God, and often respond with patience and prayers. -
The Burqa Ban in France and Its Potential Implications on Islamic Terrorism
Walden University ScholarWorks Walden Dissertations and Doctoral Studies Walden Dissertations and Doctoral Studies Collection 2015 The urB qa Ban in France and Its Potential Implications on Islamic Terrorism Ifeanyi Valentine Madu Walden University Follow this and additional works at: https://scholarworks.waldenu.edu/dissertations Part of the Public Administration Commons, and the Public Policy Commons This Dissertation is brought to you for free and open access by the Walden Dissertations and Doctoral Studies Collection at ScholarWorks. It has been accepted for inclusion in Walden Dissertations and Doctoral Studies by an authorized administrator of ScholarWorks. For more information, please contact [email protected]. Walden University College of Social and Behavioral Sciences This is to certify that the doctoral dissertation by Ifeanyi Madu has been found to be complete and satisfactory in all respects, and that any and all revisions required by the review committee have been made. Review Committee Dr. Lori Demeter, Committee Chairperson, Public Policy and Administration Faculty Dr. Jason Lum, Committee Member, Public Policy and Administration Faculty Dr. Anthony Fleming, University Reviewer, Public Policy and Administration Faculty Chief Academic Officer Eric Riedel, Ph.D. Walden University 2015 Abstract The Burqa Ban in France and Its Potential Implications on Islamic Terrorism by Ifeanyi V. Madu MA, Morgan State University, 2008 BA, Abia State University, 1996 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Public Policy and Administration Walden University June 2015 Abstract Islamic terrorism has become a global problem which has resulted in human, social, political, and economic costs. Many Islamic terrorist organizations have focused their attacks on the West and its interests. -
Our City Dreams HV PK
OUR CITY DREAMS A documentary film by Chiara Clemente 85 minutes, color, 2008 FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600/Fax (212) 989-7649 www.firstrunfeatures.com Synopsis Filmed over the course of two years, OUR CITY DREAMS is an invitation to visit the creative spaces of five women artists, each of whom possesses her own energy, drive and passion. These women, who span different decades and represent diverse cultures, have one thing in common beyond making art: the city to which they have journeyed and now call home - New York. The artists profiled are Nancy Spero, who was at the forefront of the feminist movement of the late 50s and 60s and whose work continues to question the polemics of sexual identity and warfare; Marina Abramovic, a pioneer of performance art who uses her own body as a canvas to respond deeply to contemporary cultural issues; Kiki Smith, who addresses philosophical, social and spiritual aspects of the human body through work that incorporates glass, plaster, ceramic, bronze and paper; Ghada Amer, who paints erotic canvases in traditional needle and thread and who refuses to bow to the puritanical elements of Western and Islamic culture and "institutionalized feminism"; and Swoon, one of New York's most promising emerging artists, whose arresting and fugitive street art transmits the pulse of urban life. Director Chiara Clemente combines an intimate style of documentary filmmaking with the ephemera of city life surrounding each woman and the work she creates. The documented year held many triumphs and challenges for each of the participating artists, and the audience will catch a glimpse into the processes of creation and inspiration. -
Marianne Boesky Gallery Ghada Amer
MARIANNE BOESKY GALLERY NEW YORK | ASPEN GHADA AMER BIOGRAPHY 1963 Born in Cairo, Egypt Lives and works in New York EDUCATION 1991 Institut des Hautes Études en Arts Plastiques, Paris, France 1989 Villa Arson École Nationale Supérieure d’Art, Nice, France, MFA in Painting SELECTED SOLO EXHIBITIONS 2021 New York, NY, Marianne Boesky Gallery, Ghada Amer, September 9 – October 23, 2021 2020 London, UK, Goodman Gallery, In Black and White, December 2 – January 9, 2021 Berlin, Germany; Palma, Spain, Kewenig, The Women I Know, November 21, 2020 – February 20, 2021 Zapopan, Mexico, Museo de Arte Zapopan, Hoy el 70% de los pobres en el mundo son mujeres, February 1 – May 31, 2020 2018 Dallas, Texas, Dallas Contemporary, Ceramics, Knots, Thoughts, Scraps, September 30 – December 17, 2018 Tours, France, Centre de Création Contemporaine Olivier Debré, Dark Continent, June 2 – November 4, 2018 New York, NY, Cheim & Read, Ghada Amer, April 5 – May 12, 2018 Cape Town, South Africa, Goodman Gallery, Ghada Amer & Reza Farkhondeh/Love Is a Difficult Blue, January 18 – February 24, 2018 2017 New York, NY, Jane Hartsook Gallery, Greenwich House Pottery, Ghada Amer: Déesse Terre, June 4 – July 5, 2017 2016 Berlin, Germany, Kewenig, Ghada Amer, April 29 - July 30, 2016 2014 New York, NY, Cheim & Read, Rainbow Girls, April 3 – May 10, 2014 2013 Seoul, South Korea, Kukje Gallery, Référence à Elle, May 17 – June 30, 2013 2012 New York, NY, Tina Kim Gallery, The Other I, April 26 – June 2, 2012 Montréal, Quebec, Canada, Musée d’Art Contemporain de Montréal, Ghada