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Ed Webb

Is Iran on the Verge of Another Revolution? | Journal of Democracy - 0 views

  • the most severe and sustained political upheaval ever faced by the Islamist regime in Iran. Waves of protests, led mostly by women, broke out immediately, sending some two-million people into the streets of 160 cities and small towns, inspiring extraordinary international support. The Twitter hashtag #MahsaAmini broke the world record of 284 million tweets, and the UN Human Rights Commission voted on November 24 to investigate the regime’s deadly repression, which has claimed five-hundred lives and put thousands of people under arrest and eleven hundred on trial.
  • This is neither a “feminist revolution” per se, nor simply the revolt of generation Z, nor merely a protest against the mandatory hijab. This is a movement to reclaim life, a struggle to liberate free and dignified existence from an internal colonization. As the primary objects of this colonization, women have become the major protagonists of the liberation movement.
  • Since its establishment in 1979, the Islamic Republic has been a battlefield between hard-line Islamists who wished to enforce theocracy in the form of clerical rule (velayat-e faqih), and those who believed in popular will and emphasized the republican tenets of the constitution.
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  • Only popular resistance from below and the reformists’ electoral victories could curb the hard-liners’ drive for total subjugation of the state, society, and culture.
  • The Green revolt and the subsequent nationwide uprisings in 2017 and 2019 against socioeconomic ills and authoritarian rule profoundly challenged the Islamist regime but failed to alter it. The uprisings caused not a revolution but the fear of revolution—a fear that was compounded by the revolutionary uprisings against the allied regimes in Syria, Lebanon, and Iraq, which Iran helped to quell.
  • once they took over the presidency in 2021 and the parliament in 2022 through rigged elections—specifically, through the arbitrary vetoing of credible rival candidates—the hard-liners moved to subjugate a defiant people once again. Extending the “morality police” into the streets and institutions to enforce the “proper hijab” has been only one measure—but it was the one that unleashed a nationwide uprising in which women came to occupy a central place.
  • the culmination of years of steady struggles against a systemic misogyny that the postrevolution regime established
  • With the emergence of the “people,” a super-collective in which differences of class, gender, ethnicity, and religion temporarily disappear in favor of a greater good, the uprising has assumed a revolutionary character. The abolition of the morality police and the mandatory hijab will no longer suffice. For the first time, a nationwide protest movement has called for a regime change and structural socioeconomic transformation.
  • Over the years, headscarves gradually inched back further and further until finally they fell to the shoulders. Officials felt, time and again, paralyzed by this steady spread of bad-hijabi among millions of women who had to endure daily humiliation and punishment. With the initial jail penalty between ten days and two months, showing inches of hair had ignited decades of daily street battles between defiant women and multiple morality enforcers such as Sarallah (wrath of Allah), Amre beh Ma’ruf va Nahye az Monker (command good and forbid wrong), and EdarehAmaken (management of public places). According to a police report during the crackdown on bad-hijabis in 2013, some 3.6 million women were stopped and humiliated in the streets and issued formal citations. Of these, 180,000 were detained.
  • This is the story of women’s “non-movement”—the collective and connective actions of non-collective actors who pursue not a politics of protest but of redress, through direct actions.
  • the uprising is no longer limited to the mandatory hijab and women’s rights. It has grown to include wider concerns and constituencies—young people, students and teachers, middle-class families and workers, residents of some rural and poor communities, and those religious and ethnic minorities (Kurds, Arabs, Azeris, and Baluchis) who, like women, feel like second-class citizens and seem to identify with “Woman, Life, Freedom.”
  • The thousands of tweets describing why people are protesting point time and again to the longing for a humble normal life denied to them by a regime of clerical and military patriarchs. For these dissenters, the regime appears like a colonial entity—with its alien thinking, feeling, and ruling—that has little to do with the lives and worldviews of the majority.
  • The feminism of the movement, rather, is antisystem; it challenges the systemic control of everyday life and the women at its core. It is precisely this antisystemic feminism that promises to liberate not only women but also the oppressed men—the marginalized, the minorities, and those who are demeaned and emasculated by their failure to provide for their families due to economic misfortune.
  • A segment of Muslim women did support the Islamic state, but others fought back. They took to the streets to protest the mandatory hijab, organized collective campaigns, and lobbied “liberal clerics” to secure a women-centered reinterpretation of religious texts. But when the regime extended its repression, women resorted to the “art of presence”—by which I mean the ability to assert collective will in spite of all odds, by circumventing constraints, utilizing what exists, and discovering new spaces within which to make themselves heard, seen, felt, and realized. Simply, women refused to exit public life, not through collective protests but through such ordinary things as pursuing higher education, working outside the home, engaging in the arts, music, and filmmaking, or practicing sports.
  • At this point in time, Iran is far from a “revolutionary situation,” meaning a condition of “dual power” where an organized revolutionary force backed by millions would come to confront a crumbling government and divided security forces. What we are witnessing today, however, is the rise of a revolutionary movement—with its own protest repertoires, language, and identity—that may open Iranian society to a “revolutionary course.”
  • The disproportionate presence of the young—women and men, university and high school students—in the streets of the uprising has led some to interpret it as the revolt of generation-Z against a regime that is woefully out of touch. But this view overlooks the dissidence of older generations, the parents and families that have raised, if not politicized, these children and mostly share their sentiments. A leaked government survey from November 2022 found that 84 percent of Iranians expressed a positive view of the uprising. If the regime allowed peaceful public protests, we would likely see more older people on the streets.
  • Although some workers have joined the protests through demonstrations and labor strikes, a widespread labor showdown has yet to materialize. This may not be easy, because the neoliberal restructuring of the 2000s has fragmented the working class, undermined workers’ job security (including the oil sector), and diminished much of their collective power. In their place, teachers have emerged as a potentially powerful dissenting force with a good degree of organization and protest experience.
  • Shopkeepers and bazaar merchants have also joined the opposition. In fact, they surprised the authorities when at least 70 percent of them, according to a leaked official report, went on strike in Tehran and 21 provinces on 15 November 2022 to mark the 2019 uprising. Not surprisingly, security forces have increasingly been threatening to shut down their businesses.
  • Protesters in the Arab Spring fully utilized existing cultural resources, such as religious rituals and funeral processions, to sustain mass protests. Most critical were the Friday prayers, with their fixed times and places, from which the largest rallies and demonstrations originated. But Friday prayer is not part of the current culture of Iran’s Shia Muslims (unlike the Sunni Baluchies). Most Iranian Muslims rarely even pray at noon, whether on Fridays or any day. In Iran, the Friday prayer sermons are the invented ritual of the Islamist regime and thus the theater of the regime’s power. Consequently, protesters would have to turn to other cultural and religious spaces such as funerals and mourning ceremonies or the Shia rituals of Moharram and Ramadan.
  • During the Green revolt of 2009, the ruling hard-liners banned funerals and prevented families from holding mourning ceremonies for their loved ones
  • the hard-line parliament passed an emergency bill on 9 October 2022 “adjusting” the salaries of civil servants, including 700,000 pensioners who in late 2017 had turned out in force during a wave of protests. Newly employed teachers were to receive more secure contracts, sugarcane workers their unpaid wages, and poor families a 50 percent increase in the basic-needs subsidy.
  • beating, killing, mass detention, torture, execution, drone surveillance, and marking the businesses and homes of dissenters. The regime’s clampdown has reportedly left 525 dead, including 71 minors, 1,100 on trial, and some 30,000 detained. The security forces and Basij militia have lost 68 members in the unrest.
  • The regime’s suppression and the protesters’ pause are likely to diminish the protests. But this does not mean the end of the movement. It means the end of a cycle of protest before a trigger ignites a new one. We have seen these cycles at least since 2017. What is distinct about this time is that it has set Iranian society on a “revolutionary course,” meaning that a large part of society continues to think, imagine, talk, and act in terms of a different future. Here, people’s judgment about public matters is often shaped by a lingering echo of “revolution” and a brewing belief that “they [the regime] will go.” So, any trouble or crisis—for instance, a water shortage— is considered a failure of the regime, and any show of discontent—say, over delayed wages—a revolutionary act. In such a mindset, the status quo is temporary and change only a matter of time.
  • There are, of course, local leaders and ad hoc collectives that communicate ideas and coordinate actions in the neighborhoods, workplaces, and universities. Thanks to their horizontal, networked, and fluid character, their operations are less prone to police repression than a conventional movement organization would be. This kind of decentralized networked activism is also more versatile, allows for multiple voices and ideas, and can use digital media to mobilize larger crowds in less time. But networked movements can also suffer from weaker commitment, unruly decisionmaking, and tenuous structure and sustainability. For instance, who will address a wrongdoing, such as violence, committed in the name of the movement? As a result, movements tend to deploy a hybrid structure by linking the decentralized and fluid activism to a central body. The “Woman, Life, Freedom” movement has yet to take up this consideration.
  • a leadership organization—in the vein of Polish Solidarity, South Africa’s ANC, or Sudan’s Forces of Freedom and Change—is not just about articulating a strategic vision and coordinating actions. It also signals responsibility, representation, popular trust, and tactical unity.
  • if the revolutionary movement is unwilling or unable to pick up the power, others will. This, in fact, is the story of most of the Arab Spring uprisings—Egypt, Iraq, Lebanon, and Yemen, for instance. In these experiences, the protagonists, those who had initiated and carried the uprisings forward, remained mostly marginal to the process of critical decisionmaking while the free-riders, counterrevolutionaries, and custodians of the status quo moved to the center.
  • Things are unlikely to go back to where they were before the uprising. A paradigm shift has occurred in the Iranian subjectivity, expressed most vividly in the recognition of women as transformative actors and the “woman question” as a strategic focus of struggle.
  • Those who expect quick results will likely be dispirited. But the country seems to be on a new course.
Ed Webb

Women's Testimonies of the Tunisian Uprising (2011-2015) - 0 views

  • Testimonial narratives are an essential feature of intellectual life in post-totalitarian societies. Post-Soviet Eastern Europe, post-dictatorial Latin America, and post-Apartheid South Africa all witnessed a proliferation of autobiographical accounts by victims of the ancien régime, seeking to reclaim their public voice. Currently, post-Ben Ali Tunisia is witnessing the same phenomenon. More and more activists and intellectuals have begun reflecting on the past, in order to forge the country’s future. What is remarkable about this wave is the increasing number of women, including both activists and intellectuals, who have written autobiographical accounts of the uprising and its aftermath
  • For Tunisian activists and intellectuals, the urgency of remembering the past, in order to make sense of it, has been driven by the realization that authoritarianism can easily return in a different form
  • As violence was increasing on the religious right, politicians on the secular left were encumbered by internal disagreements and unable to muster an appropriate response. As a result, the “old left’s” weakness and concomitant rise of the Islamist right have figured prominently in the testimonies of Tunisian women activists and intellectuals. Indeed, the testimonies published so far have mostly been triggered by a fear of an Islamist takeover of Tunisia’s newly-liberated public sphere
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  • Published in the first few months after the 2011 uprising, Ben Mhenni’s book is the most euphoric of the four testimonies. Much of the narrative is a celebration of the power of cyber dissidence, which Ben Mhenni defines as a combination of citizen journalism (blogging and filming events) and on-the-ground activism
  • While acknowledging how her parents’ history of resistance as members of the UGTT prepared her for a life of activism, Ben Mhenni attributes much of her political development to the “real-world” friendships she established with cyber dissidents in the Tunisian blogosphere.
  • This testimony is more chronological and personal than Ben Mhenni’s. It constructs the author’s life teleologically as a journey from bourgeois indifference in suburbia to grassroots activism in the country’s downtrodden interior. It also documents Ben Mbarek’s co-founding of the civil rights network, Dostourna, which marked her renewed faith in “the power of citizens.”
  • Like Ben Mhenni, Ben Mbarek celebrates the politicizing power of social media, crediting Facebook for encouraging the rise of citizen journalism, which sparked her political (re)awakening. As she argues, it was thanks to citizen journalists from besieged cities that she finally felt connected to the leftist cause long championed by her father.
  • As a professor of philosophy, Belhaj Yahia champions the values of the Enlightenment and believes in the vital importance of dialogue. Accordingly, her text probes the origins of the discord between Islamists and secularists, in order to understand the tensions marking the post-Ben Ali period
  • Convinced that the stultifying bureaucracy of political parties made them incapable of meeting the demands of the leaderless Arab Spring revolt, Ben Mbarek sought to create autonomous regional cells of civil rights activists throughout the country. Their job would be to address each region’s specific political needs
  • she analyzes the “schizophrenic” discourses of her diasporic family members and the “narcissistic wounds” of old dissidents, who are now mimicking Ben Ali’s authoritarianism. She also critiques the regional and class disparities perpetrated by the old regime
  • Belhaj Yahia believes she is the product of a moderate and worldly national education, which is currently under threat in Tunisia. She locates this threat in the state’s gradual abandonment of public education and the resurgence of conservative ideologies
  • Her book ends with a call for other Tunisians to publish their own self-reflections, in the belief that writing and reading autobiographical accounts can pave the way for more understanding between the different factions comprising Tunisian society.
  • Fakhfakh’s book is a fictionalized diary written between January 14, 2011, the day of Ben Ali’s ouster, and May 18, 2015
  • Each diary entry is comprised of two parts. The first part is a summary of national and regional events with a brief commentary from the author; the second part is a biography of a pioneering Tunisian woman
  • As the author notes throughout the book, state attempts to propagate an institutional-form of feminism have devalued women’s history
  • The author worries that women’s achievements are constantly erased, in order to accommodate the ego of male leaders, like Bourguiba. She is also concerned that the rise of political Islam may eventually obscure Tunisian women’s “legacy of freedom” even further
  • Fakhfakh embraces the narrative of “Tunisian exceptionalism,” in which Tunisian women are presented as the most progressive in the Arab and Islamic world. This nationalist mythology about Tunisian women is common, even among Tunisian intellectuals, and is used as a means of differentiating and elevating Tunisian women above Arab and Muslim women more broadly. The inherent divisiveness of this narrative is problematic, and is left unexamined in Fakhfakh’s book
Ed Webb

Will Saudi women drivers spark a revolution? - Yahoo! News - 0 views

  • The royal family probably thought that by taking down al-Sharif's Facebook page they could silence her protest, says Pat Bartels at Gather. But the video is still visible on YouTube. This case "illustrates just how oppressed women are in Saudi Arabia," and now that the word is out that women are standing up for their rights, there is no going back."Saudi woman uses social media and lands in jail"
  • Al-Sharif's crime, in the eyes of the government, wasn't driving, says Jane Martinson in Britain's Guardian. It was posting her protest video on Facebook and Twitter — the social networking powerhouses that have helped uprisings spread elsewhere. The government probably won't budge on its longstanding passive support of religious clerics' ban on women driving, but it will be "quick to stamp down" any effort by protesters to harness the power of the internet and use it against the government."A drive for freedom in Saudi Arabia"
Ed Webb

Women journalists seize the initiative in Gaza | Middle East Eye - 0 views

  • Filastiniyat, a non-governmental advocacy organisation committed to ensuring and supporting the equitable participation of Palestinian women and youth at all levels of the public sphere. Filastiniyat workshops offer a platform for vivid discussion and varied viewpoints, and such events never fail to draw media attention.
  • Although the activists of the volunteer organisation do not put it this way, it seems that the women journalists’ club aims at freeing journalism from narrow-minded party politics and taking it back to its roots, to informing the public in a spirit of free speech and right to information. In the journalism field in Gaza, telling the truth can be life-threatening and the attack against free speech comes both from the Israeli occupation forces and from the domestic political leadership.
  • Women journalists in Gaza are not only struggling with basic necessities for existence for themselves and their families, but also for employment. According to the Palestinian Central Bureau of Statistics, the unemployment rate in 2012 among Palestinian journalism graduates aged 20-29 was 52 percent: 38 percent among male graduates and a striking 82 percent among female graduates. UNESCO and Birzeit University’s Media Development Centre are about to release an in-depth Media Development Indicators Report, which analyses different factors of freedom of speech and media freedom in Palestine. According to this study, discrimination of women journalists is deeply rooted in media houses and union life, and the rights of all journalists are constantly violated both by the Israeli occupational authorities and the Palestinian authorities.
Ed Webb

How one sultan's harem is another's school - Al-Monitor: the Pulse of the Middle East - 0 views

  • After naming a few prominent valide sultans — the title of the legal mother of the sultan — from the Ottoman era, Erdogan said, “Valide sultans have been pioneers of their generation and examples to our mothers.” Challenging the Orientalist portrayal of the harem as a place where ambitious women battled with the power of their sexuality, Erdogan praised the harem, saying, “For the members of the Ottoman family, the harem was a school. It was a center of education, where women were prepared for life and organized volunteer activities. This household was led by the valide sultans.”
  • Indeed, despite harsh criticism by AKP elites, series like “Magnificent Century,” about the lives of prominent sultans and their lovers, such as Hurrem or Kosem Sultan, have become extremely popular in Turkey. These shows have also generated a niche for neo-Ottoman goods. Scents named after powerful women of the Ottoman court along with themed bathrobes, bathroom accessories, jewelry and even hair coloring are being sold. Ottoman-era aphrodisiacs to impress your partner have made a strong comeback and can be found in mainstream markets. Most of these products are not designed for Westerners fascinated by the ways of the East but for contemporary Turks. Today, one also has the option of partaking in the palace experience according to one's budget and tastes. For example, Les Ottomans, a fancy boutique and hotel on the Bosporus, offers rooms decorated to provide the unique atmosphere of the eras and tastes of 10 different sultans. US Republican presidential hopeful Donald Trump has even visited the hotel.
  • While journalists working for pro-government media outlets rigorously tried to prove the harem’s educational value, others asked whether the harem could be called a school simply because the residents were educated in certain trades. Ozlem Kumrular, a historian and author of the book “Kosem Sultan,” about the prominent valide sultan, tweeted an image of a painting depicting nude women around a pool, and wrote, “The artist of this harem painting is the last caliph, Abdulmecid. Odd but true.” It is interesting to note that although Kumrular’s message received hundreds of retweets, no backers of Erdogan’s praise of the harem tried to explain the rationale behind the painting. Most of the replies were satirical. For instance, one read, “Could [Sultan] Abdulmecid know the harem better than Mrs. Erdogan? I wonder what class this was.”
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  • A scholar of history and cultural studies, who requested anonymity for fear of losing her job
  • satire was the most common way Turkish social media dealt with the mysterious education system of the harem
  • Multiple social media users and pundits also criticized the Erdogan family for enjoying the benefits of Western, secular education themselves — all four Erdogan children attended college in the West — while encouraging a different system to domestic audiences. Hence, the most common and mind-numbing question circulating on social media concerned whether Erdogan’s words signaled intentions to establish a harem in their palace of more than 1,000 rooms.
  • In some countries, a simple comment about a chapter in history might be insignificant, but the efforts by the Islamists in Turkey to redefine a woman’s place and role in the public domain have scarred relations between different segments of the society. It is no longer a question of whether a woman is wearing a headscarf, but of welcoming a regression in women’s rights and glorifying the idea of enslaving women.
Ed Webb

Iran Says Face Recognition Will ID Women Breaking Hijab Laws | WIRED - 0 views

  • After Iranian lawmakers suggested last year that face recognition should be used to police hijab law, the head of an Iranian government agency that enforces morality law said in a September interview that the technology would be used “to identify inappropriate and unusual movements,” including “failure to observe hijab laws.” Individuals could be identified by checking faces against a national identity database to levy fines and make arrests, he said.
  • Iran’s government has monitored social media to identify opponents of the regime for years, Grothe says, but if government claims about the use of face recognition are true, it’s the first instance she knows of a government using the technology to enforce gender-related dress law.
  • Mahsa Alimardani, who researches freedom of expression in Iran at the University of Oxford, has recently heard reports of women in Iran receiving citations in the mail for hijab law violations despite not having had an interaction with a law enforcement officer. Iran’s government has spent years building a digital surveillance apparatus, Alimardani says. The country’s national identity database, built in 2015, includes biometric data like face scans and is used for national ID cards and to identify people considered dissidents by authorities.
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  • Decades ago, Iranian law required women to take off headscarves in line with modernization plans, with police sometimes forcing women to do so. But hijab wearing became compulsory in 1979 when the country became a theocracy.
  • Shajarizadeh and others monitoring the ongoing outcry have noticed that some people involved in the protests are confronted by police days after an alleged incident—including women cited for not wearing a hijab. “Many people haven't been arrested in the streets,” she says. “They were arrested at their homes one or two days later.”
  • Some face recognition in use in Iran today comes from Chinese camera and artificial intelligence company Tiandy. Its dealings in Iran were featured in a December 2021 report from IPVM, a company that tracks the surveillance and security industry.
  • US Department of Commerce placed sanctions on Tiandy, citing its role in the repression of Uyghur Muslims in China and the provision of technology originating in the US to Iran’s Revolutionary Guard. The company previously used components from Intel, but the US chipmaker told NBC last month that it had ceased working with the Chinese company.
  • When Steven Feldstein, a former US State Department surveillance expert, surveyed 179 countries between 2012 and 2020, he found that 77 now use some form of AI-driven surveillance. Face recognition is used in 61 countries, more than any other form of digital surveillance technology, he says.
Ed Webb

Inside Kannywood: Nigeria's Muslim film industry - Al Jazeera English - 0 views

  • This film industry has been coined Kannywood, after the city it originated in. According to statistics from the National Film and Video Censors Board, its movies make up about 30 percent of the films produced by the Nigerian-based film industry popularly called Nollywood, which is often portrayed as the third-largest in the world, after Hollywood and Bollywood. Kannywood even has its own TV channel, Africa Magic Hausa, showing Hausa-language movies on satellite TV.
  • stricter guidelines, such as the banning of married women from acting, while also requiring all women in the industry to have a male guardian who would be legally responsible if their ward broke the rules
  • Their tone is devoutly Muslim, though, and quite often the very last line of the end credits is "Glory be to God". Many of these movies also denounce the hypocrisy of the ruling classes who preach piousness in public while sinning in private.
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  • They don't shy away from the problems women face in everyday life, such as forced marriage, sexual molestation, the lack of female education, and domestic violence - matters this society is not accustomed to discussing openly.
  • It is hardly surprising that women, who for the first time see their own experiences reflected in the public domain, form a significant part of Kannywood's audience. They also play a considerable role in the industry itself. According to the Motion Pictures Practitioners Association of Nigeria, 75 percent of the Hausa movie actors are female, as is the case for two-thirds of the association's members - from singers and producers to actors and make-up artists.
  • the Kano-based film industry is providing jobs and business to the city, something that went a long way towards improving public opinion of the profession.
  • not more than 10 years ago, a moralistic backlash triggered by a sex scandal almost destroyed the local film industry. As is often the case in public fights about morality, the female body was the battleground.
  • The Censorship Board came into existence before the scandal in 2001, and is a combined initiative of the local film industry and the state government. It was a response to the adoption of Islamic law in Kano a year earlier. Under the law, filmmaking was under threat of being abolished altogether. In order to avoid that, Kannywood voluntarily subjected itself to stricter censorship.
  • Kannywood treats the viewer to a mishmash of cultural influences. Before the local film industry came into existence in the 1990s, northerners watched Hindi language films from India. The glamour of the Bollywood musicals has rubbed off on the Hausa movies, some of which feature singing and dancing.
  • The overly zealous KSCB executive lost his moral authority when the police caught him in a compromising situation with a young girl in his car, and Kannywood celebrated when, in 2011, the newly elected governor appointed a new head of the Censorship Board.
  • He describes the task of the board as "preserving Hausa culture".
  • "We don't like to see body contact between men and women. No handshaking, let alone kissing," he says. "And no nudity or transparent dresses." The general secretary explains how things such as prostitution, lesbianism and adultery may be portrayed, as long as it is clear to the audience that they are unacceptable. Song and dance are permissible, as long as there is no physical contact between the sexes.
  • "Filmmakers themselves understand they have a task to educate people and cannot go against society,"
  • Kannywood movies do transmit empowering messages to a female audience
  • "It's the masses who watch Kannywood movies, not the elite. The general public is more ready for social change than political and religious leaders."
  • female producers are rare, let alone female directors
  • most female producers work with a male assistant to get things done on the ground
Ed Webb

Calls in Egypt for censored social media after arrests of TikTok star, belly dancer - R... - 0 views

  • Egyptian lawmakers have called for stricter surveillance of women on video sharing apps after the arrests of a popular social media influencer and a well-known belly dancer on charges of debauchery and inciting immorality.
  • Instagram and TikTok influencer Haneen Hossam, 20, is under 15 days detention for a post encouraging women to broadcast videos in exchange for money, while dancer Sama el-Masry faces 15 days detention for posting “indecent” photos and videos.
  • “Because of a lack of surveillance some people are exploiting these apps in a manner that violates public morals and Egypt’s customs and traditions,”
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  • In 2018 Egypt adopted a cyber crime law that grants the government full authority to censor the internet and exercise communication surveillance. A media regulation law also allows authorities to block individual social media accounts.
  • Several women in Egypt have previously been accused of “inciting debauchery” by challenging the country’s conservative social norms, including actress Rania Youssef after critics took against her choice of dress for the Cairo Film Festival in 2018.
  • Hossam denied any wrongdoing but Cairo University - where she is studying archaeology - said it would enforce maximum penalties against her which could include expulsion.
  • Egyptian women’s rights campaigner Ghadeer Ahmed blamed the arrests on rising social pressures on women and “corrupt laws”. “[These laws] condemn people for their behaviour that may not conform to imagined social standards for how to be a ‘good citizen’ and a respectful woman,” she wrote in a Tweet.
Ed Webb

An Iraqi Actress to Sue The Economist Over 'Fat' Photo - New Lines Magazine - 0 views

  • On July 28, The Economist ran a story on what it said is why women are so much “fatter” than men in Arab countries. The story, titled “Why women are fatter than men in the Arab world,” laid the blame primarily on cultural restrictions on women that hinder their access to exercise and outdoor spaces. To accompany the short report, The Economist chose a photo of Enas Taleb during her performance at Iraq’s annual cultural Babylon Festival, thus portraying Taleb as an example of such overweight.
  • Taleb, 42, is a veteran of Iraqi TV dramas who began her career in locally produced shows at the age of 16. From 1996 to 2002, there were hardly any TV shows that did not include her as one of the main protagonists. She has appeared in ads and music videos in Iraq over the past two decades and is admired and respected among audiences and peers alike for her highly praised on screen performances and down-to-earth offscreen persona. Until The Economist used her image depicting “fat” Arab women, Taleb had largely remained distant from controversies, be they political, social or religious, unlike many other artists in Iraq’s entertainment scene. Also unlike many in the entertainment business, the married mother of two adolescent daughters has hardly changed her appearance over the years, eschewing the usual plastic surgeries that have become commonplace throughout the Arab world.
  • Also not properly examined in The Economist piece are other influences, like a culinary culture that encourages the overconsumption of carbohydrates, especially sweets and refined sugar, as exemplified by a rise of imported trends like junk food and sugary soda drinks that are not properly condemned by local health authorities. A general predilection for staying up late at night, which is common behavior throughout the Arab world, could also be an understudied factor contributing to the epidemic in the region.
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  • “Audiences have loved me for many years. It was disappointing to see an international outlet label me as if all my accomplishments mean nothing. I am healthy and happy with the way I look, and to me that is all that matters,”
Ed Webb

Women, Media, Blasphemy, and the President: Four Constitutional Quarrels Explained : Tu... - 0 views

  • current status of various constitutional controversies, such as the status of women, the criminalization of blasphemy, the creation of a government-appointed media regulatory committee, and the system for electing the president
  • multi-party support will be necessary to pass these articles
  • it remains disputed whether the president will be elected by the people or by the parliament
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  • Article 28 is the only article to address women specifically in the constitution, though Article 22 provides “equality for all.”
  • create a regulatory committee by having journalists nominate 18 candidates, of which the government would appoint nine
Ed Webb

Why some Israelis are taking to social media to expose sexual harassment - Al-Monitor: ... - 0 views

  • It is safe to assume that if these affairs had been exposed before the era of social networks, Magal and Shalom would have pursued their political careers, at least as long as no complaint against them was filed with the police.
  • The tremendous power of social networks creates a hugely effective pressure group without the need for any form of legal process
  • The watershed in the fight against sexual harassment in Israel occurred in 1998, with passage of the law banning sexual harassment. The legislation, initiated by women, was considered at the time one of the most progressive in the world because of the precedent it set, recognizing the phenomenon of sexual harassment in the workplace and seeking to address it through the criminal code. The strength of the bill was in its definition of sexual harassment as a criminal act, but this was also its inherent weakness. Women were naturally and understandably reluctant to pay the price entailed in filing a police complaint and facing cross-examination on the witness stand in court. Absent a police complaint, the serial harassers, such as men in positions of power, could continue to operate uninterruptedly in the workplace.
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  • recall the notorious comment made in 2003 by Tel Aviv District Court Judge Zion Kapah, who said a 9-year-old victim of a sexual offender “displayed a promiscuous character,” had initiated some of the encounters and enjoyed part of them
  • Women are able to take action in the public sphere without having to go through the legal system. In fact, the social networks are game changers in the fight against sexual harassment, and the new rules of the game are far more effective than the criminal code.
Ed Webb

Women told: 'You have dishonoured your family, please kill yourself' - Europe, World - ... - 0 views

  • So-called "honour killings" in Turkey have reached record levels. According to government figures, there are more than 200 a year – half of all the murders committed in the country. Now, in a sinister twist, comes the emergence of "honour suicides". The growing phenomenon has been linked to reforms to Turkey's penal code in 2005. That introduced mandatory life sentences for honour killers, whereas in the past, killers could receive a reduced sentence claiming provocation. Soon after the law was passed, the numbers of female suicides started to rocket.
  • "I think most of these suicide cases are forced. There are just too many of them, it's too suspicious. But they're almost impossible to investigate," said Mustafa Peker, Batman's chief prosecutor.
  • Most honour killings happen in the Kurdish region, a barren land ravaged by years of war and oppression. Rural communities here are ruled under a strict feudal, patriarchal system. But as Kurds have fled the fighting between separatist rebels and Turkey's government, the crime is spreading across the country into its cities and towns. According to a recent government report, there is now one honour killing a week in Istanbul."Families who move here are suddenly faced with modern, secular Turkey," said Vildan Yirmibesoglu, the head of Istanbul's department of human rights. "This clash of cultures is making the situation worse as the pressure on women to behave conservatively is become more acute. And of course there are more temptations."
Manon Latil

Starting at home, Iran's women fight for rights - International Herald Tribune - 1 views

  • divorce
  • male supremacy is still enscribed in the legal code
  • Internet and satellite television have opened windows into the lives of women in the West
michelle benevento

BBC NEWS | Middle East | Women's rights under Iran's revolution - 0 views

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    Discusses the feminist movement in Iran which relatd back to our class discussion about the oppression of women in the middle east.
Ed Webb

Women of the Revolution Discussion - ABC News - 2 views

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    Amanpour is hilariously nervous faced with discussion of imperialism & neocolonialism. The guests get it, even Tina Brown. Amanpour wants to talk about the scary Muslim Brotherhood. Everyone else knows she's missing the point.
Ed Webb

Anderson Cooper 360: Blog Archive - Women, bloggers & gays lead change in ... - 0 views

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    Rather too many broad generalizations for my taste, but given the platform, this should get some attention.
Ed Webb

Dinner with the enemy: How Egyptian drama El-Daif sparked a row over Islam and the hija... - 0 views

  • El-Daif (The Guest), a new drama written by journalist Ibrahim Eissa and directed by Khalid El-Bagoury that has become both a box office and a critical hit in Egypt, while at the same time attracting controversy.
  • a heated discussion about religious discourse between the younger and older man. The suitor, who appears to be highly influenced by Islamic fundamentalists, keeps engaging in arguments with Yahia, which are mostly won by the wit of the latter.
  • El-Daif is set mainly in the house of Yahia, who in many ways echoes the character of writer Eissa, a journalist and intellectual known for his outspoken writings on religion.
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  • Eissa is no stranger to controversy. Before El-Daif, he caused a stir with his first screenplay, for Mawlana (Our Grand Sheikh), about modern Muslim televangelists as well as the relationship between religion and the state.
  • "El-Daif has very well depicted taboos never discussed before in Egyptian cinema, showing how Islam is misinterpreted as a religion that forces a woman to cover herself from head to toe," said Nagwa Ali, 40, an accountant, as she was leaving a Cairo cinema.
  • other critics say the film is long-winded and static, although praising it for tackling taboo subjects otherwise ignored in Egyptian cinema
  • In the film, Yahia faces blasphemy charges due to his views about his interpretation of Islam and its teachings that have appeared in his books and articles. His life is at risk, which leads the government to assign policemen to protect him and his family against extremists. Ironically, the fierce debates and controversy portrayed in El-Daif are mirrored in real-life arguments around the film, leading to calls for it to be banned.
  • it also angered Islamic scholars, including Khalid El-Gindi, a prominent preacher and member of the Supreme Council for Islamic Affairs. "Six religious institutions including Al-Azhar [the highest Islamic authority in Egypt and the region] have stipulated that hijab is a heavenly order. Nevertheless, Eissa comes with his film to simply try to convince people otherwise," El-Gindi said angrily in a telephone interview with TV host Sayed Ali broadcast on Egyptian Al-Hadath Al-Youm satellite channel.
  • El Gindi also upbraided the Egyptian censorship authority which, although it took a few months to approve the film, surprisingly did not cut any scenes.
  • El-Daif avoids the stereotypical image of a religious fanatic, introducing a handsome light-bearded young man dressed in an elegant outfit who comes from a well-bred family and who has studied engineering in the USA.  He has managed to influence the intellectual's daughter to the extent that she agrees to wear the hijab despite her liberal upbringing. Many women in Egypt wear the hijab for social rather than religious reasons, submitting to social and family pressures while also seeking to avoid sexual harassment. However, the attire does not protect women from unwanted attention and abuse, as women who have spoken to MEE confirm.
  • Egyptian feminists and liberal thinkers have their own explanation of the hijab as being often associated with the rise of the conservative Saudi Wahhabi doctrine that emerged in Egyptian society in the mid-1970s.
  • In the first six weeks of screening, El Daif took around seven million Egyptian pounds (about $400,000) and remained in third place at the Egyptian box office. It is still showing at most Egyptian cinemas. "Deals are underway to screen the film in a number of Arab and European countries," said an official at the film's production company, iProduction.
Ed Webb

Patriarchal pop: the latest sexist trend in Arabic pop music - The National - 0 views

  • a list of admonitions to females disguised as tips to achieve domestic bliss: “When the man speaks, the women shouldn’t argue back/ She shouldn’t say ‘yes sir’ and forget the next day/ She should understand and appreciate his value if she wants to continue the relationship with him.” And this is only the first verse. Sabry continues his diatribe with suggestions regarding a women’s modesty, private and public behaviour. Perhaps sensing such instructions are abusive, he ends the track by basically telling his prospective lover to keep his indiscretions private. “The woman who keeps her house, and its secrets, she’s perfection/ And the woman who accepts her lot will see a quick correction/ But the woman who causes problems will find nothing but rejection.”
  • Ever since its release in July, the title track of his album has amassed more than three million views on YouTube. in addition to being a mainstay of Arabic pop stations regionwide.
  • “Al Ragel provoked some females because of its lyrics,” he said. “But I ask, why don’t they take this song as form of advice for them?”
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  • the May release of Te’rafy Teskoty by Medhat Saleh. It translates to Do You Know How to Shut Up? and the veteran Egyptian singer released a complementary video where he and partner get into a heated argument in an elevator. The reason behind the row is that she became jealous of Saleh taking selfies with young female fans. Saleh’s face is full of controlled rage throughout the elevator scene. He almost spits out the lyrics, which begin from the relatively benign – “Do you know how to shut up, stop getting ideas” – to the more unpleasant – “Do you know how to shut up or should I shut you up?”
  • “This is something new. Arabic songs never really had songs with such hurtful meanings,” stated the Jordanian novelist Fadi Zaghmout on his popular Arabic popular-culture blog The Arab Observer.
  • “This only popped up in the past few years, where men seem to feel they have the right to be vocal about women’s behaviour, stating what seems to them be social criticism and disapproval on how modern women are claiming their independence and equal status.”
  • a growing list of patriarchal pop songs – let’s call it pat-pop
  • Mohamed Eskander’s 2010 hit Joumhoureyet Alby, in which he scuttles the notion of his wife (or daughter) getting a job: “Your work is my heart and my emotions/ You’re not going to have time for anything else/ It’s enough that you are the president of my heart.”
  • Lebanese bad-boy pop star Fares Karem has always had a more-direct approach. His testosterone-filled brand of thumping Lebanese folk is best exemplified in his 2005 hit El Tanoura (The Skirt), with lyrics that border on verbal stalking: “Her skirt is very short, a hand span and a half/ And her blouse is see-through.” Karam, who is no stranger to criticism regarding a body of work that includes other alpha-male anthems Neswanji (Player) and Shefta (I Saw Her), says that his songs merely reflect the conversations being conducted in society. “It is because I am talking about daring issues,” he told The National in May. “With respect to my peers, none of them are as direct as me. I talk about real-life situations that people face, but in a way they identify with.”
  • Ghazi is not surprised by the seeming glut of misogynist Arabic pop songs. The notions expressed in these songs were always there, she says, but the explosion of privately owned television and radio stations have allowed these songs to find a home.
  • “You are seeing such misogyny also in western songs from pop to hip-hop music. But what happened in the region [is] before you only had access to state-run media. Now there are so many privately owned channels. “The fact that these songs are shown on these channels, which are for profit and with no regulation, points that there is a whole industry regarding these songs.”
  • the latest salvo in an ongoing struggle for gender equality in the region that came to the fore during the demonstrations
  • “What we seen from the Arab Spring is that when women are on the streets calling for change, they don’t just talk about politics. Everything is out in the open, from systemic privileges, marginalisations and all kinds of challenges. That’s because social diseases and politics are a reflection of each other,”
  • an added responsibility that Arab songwriters must now bring to their work, says Lebanese artist Tania Saleh. The indie singer-songwriter is one of the small contingent of female lyricists working in the Arabic music industry; her list of collaborations includes songs for Egyptian-Belgian singer Natacha Atlas and the soundtrack to Lebanese films Caramel (2007) and Where Do We Go Now (2011). Her five albums of Oriental folk have evocative lyrics dealing with societal issues from a female perspective, in songs such as Hal Ouyoun, Lezim and Reda.
  • the lack of artistic integrity caused by the demands of a profit-driven Arabic pop industry
  • decades ago during the apogee of the Arabic song, the 50s and 60s – you would never think about writing such things. Think of the classic songs of Umm Kalthoum and Mohammed Abdel Wahab. They sang about deep and sensitive emotions. And who wrote those songs: men.
  • Before pouring all that ugliness into society, artists should think about what they are producing and to whom.
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