Wajida Tabassum: The Muslim Feminist Writer With A Distinct Style| #IndianWomenInHistory

Amravati, MAHARASHTRA  / Hyderabad, TELANGANA :

WajidaTabassumMPOs07jul2019

Wajida Tabassum is the first writer to be called sahib-e-asloob (a writer with a distinct style) after Ismat Chughtai. Her unique style of writing and choice of themes have been riveting and revolutionary at the same time. With a lot of opposition for her work, Tabassum managed to remain a defiant writer until her last works.

Early Life And Education 

Born in Amravati, Maharashtra in 1935, Tabassum graduated from Osmania University with a degree in Urdu. After graduation, her family moved from Amravati to Hyderabad, the influence of which is evident in her writing.

IN A SOCIETY WHERE WOMEN ARE SHUNNED, TABASSUM EXPLORES THE STRENGTH THAT UNDERLIES THE EXISTENCE OF THE WORKING CLASS INDIAN WOMAN.

Writing And Her Life After 

In 1940, she started writing stories in Urdu in the Dakhini dialect. Her writing continued as a backdrop of an aristocratic social life of Hyderabad. Her books were published by her husband, Ashfaq Ahmad, after his retirement from the Indian Railways. With four sons, and daughter they settled in Bombay.

Career 

Tabassum’s career started with her stories appearing in a monthly magazine called ‘Biswin Sadi’. She wrote erotic stories in a way that brought out the lifestyles of Hyderabadi Nawabs, which was often considered luxurious. The very first collection of her short stories, called ‘Shahr-e-Mamnu’ (‘Forbidden City’), was published in 1960.

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Her work wasn’t just widely acclaimed by critics, it was also popularly loved. Her story titled ‘Utran’ (‘Cast-Offs’) was made into a popular soap opera on Indian Television in 1988. During the 1960s and 1970’s, her erotic stories were published in Shama magazine which also got her a handsome payment for those times. Her books include Teh Khana, Kaise Samjhaoon, Phul Khilne Do, Utran, Zakhme-e-Dil Aur Mahak Aur Mahak and Zar, Zan, Zamin, which she had published in 1989.

WAJIDA TABASSUM IS THE FIRST STORY WRITER TO BE CALLED SAHIB-E-ASLOOB (A WRITER WITH A DISTINCT STYLE) AFTER ISMAT CHUGHTAI.

Breaking Taboos

She was repetitively criticized for crossing the limits of decorum and ‘decency’.  Her stories like Nath Ka Bojh (Burden of the Nose-Ring), Haur-Upar(A Litter Higher), and Nath Utarwai(Removal of the Nose-Ring) which were more on the erotic side, were highly controversial. Tabassum’s works saw public protests in the city in lieu of her showing the community in a bad light. Her stories were not just a courageous depiction of women’s sexualities, but the reclamation of it too.

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In one of her stories called ‘Chutney’, the reader witnesses the sexual tension between a young Nawab and an incredibly gorgeous employed servant. Following the allegedly explicit description of the erotic aspect of the dynamic, is the climax wherein the servant gets raped. The story, like rest of her work, is a social commentary on how there is class-based exploitation in the self-proclaimed elegant lifestyle of the Nawabs as well. However, a revolution begins through the story when the servant rips her clothes and challenges the Nawab to try again on his wedding day.

The theme of women taking charge of her sexuality remains constant in Tabassum’s stories. In another story called ‘Tiya Paancha’, we witness the anger of a wife who declares her husband impotent publicly after he cheats on her. In a society where women are shunned, Tabassum explores the strength that underlies the existence of the working class Indian woman.

source: http://www.feminisminindia.com / FII – Feminism In India / Home> History / by Harshita Chhatlani / July 04th, 2019

The Wire’s Arfa Khanum Sherwani and Faiyaz Ahmad Wajeeh Win Red Ink Awards 2019

NEW DELHI :

The Wire's Arfa Khanum Sherwani and Faiyaz Ahmad Wajeeh. Photo: The Wire
The Wire’s Arfa Khanum Sherwani and Faiyaz Ahmad Wajeeh. Photo: The Wire

While Sherwani won in the Politics (TV) category for her interview with Sri Sri Ravi Shankar, Wajeeh was declared winner of the Arts (TV) category for his story on a bookstore.

New Delhi:

The Wire‘s Arfa Khanum Sherwani and Faiyaz Ahmad Wajeeh bagged the prestigious Red Ink Awards on Friday. While Sherwani won in the Politics (TV) category for her interview with Sri Sri Ravi Shankar of The Art of Living foundation, Wajeeh was declared winner of the Arts (TV) category for his video on a bookstore that brought together Urdu’s literary greats.

Sherwani’s interview with Ravi Shankar was on his comments on the Ayodhya land dispute case in March 2018, when he said if the Ram mandir issue is not resolved “we will have a Syria in India”. While Sherwani pressed him on the issue, the interview was ended abruptly by members of his team. The video was produced by Akhil Kumar, while the camera was handled by Moniza Hafizee and editing by Asad Ali.

Wajeeh’s story was on 88-year old Shahid Ali Khan’s lifelong passion for Urdu literature. His journey with Maktaba Jamia, a publishing house and bookstore, took him from Delhi to Mumbai in 1957, where he befriended renowned Urdu writers and poets like Sahir Ludhianvi, Jan Nisar Akhtar, Meena Kumari and Jagan Nath Azad. He now runs the Nai Kitab publishing house in Delhi.

The video was produced by Hina Fathima, who also handled the camera. The video was narrated by Yasmeen Rashidi, while the poetry was translated by Meenakshi Tewari.

Apart from the two winners, The Wire‘s Kabir Agarwal, Jahnavi Sen and Ishita Mishra also received special mentions for their stories. Agarwal’s four-part series on Swach Bharat and its implementation in Uttar Pradesh received a special mention in the Health and Wellness category. Read the four parts here .

Jahnavi Sen’s story on the failure of the government to recognise and rehabilitate manual scavengers received a special mention in the Human Rights category. Ishita Mishra’s story on the BJP’s efforts to monitor the stories published in the media also received a special mention, in the Politics category.

The Red Ink Awards for Excellence in Journalism are announced annually by the Mumbai Press Club and recognise meritorious work in TV, print and digital formats. Awards are presented in various categories such as politics, crime, health and wellness, business, environment, human rights, photography, science and innovation, entertainment and lifestyle, and sports as well as a category called ‘Mumbai Star Reporter’. It is the only awards instituted by a professional body.

The Journalist of the Year Award went to former Tribune journalist Rachna Khaira for her expose on the functioning of the Unique Identification Authority of Indian (UIDAI) and its Aadhaar data cache. Lifetime achievement awards were given to former Maharashtra Times journalist Dinu Ranadiv and Mumbai Mirror‘s former photo editor Sebastian D’Souza.

source: http://www.thewire.in / The Wire / Home> Media / by The Wire Staff / June 29th, 2019

Two lakh Indian Muslims to perform Haj without subsidy this year: Naqvi

NEW DELHI :

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Minority Affairs Minister Mukhtar Abbas Naqvi has said that a record number of two lakh Indian Muslims will go to Haj this year without any subsidy.

Mr Naqvi said this while inaugurating a two-day ‘orientation-cum-training programme’ for Haj 2019 deputationists in New Delhi yesterday. He said, nearly 48 per cent of the pilgrims are women.

The Minister said, even after removal of Haj subsidy, there is no unnecessary financial burden on the Haj pilgrims. He said the Central Government has taken effective steps to ensure safety and better facilities of the pilgrims.

Mr Naqvi emphasised that no negligence will be tolerated in this regard. He added that a total of 620 Haj coordinators, Assistant Haj Officers, Haj Assistants, Doctors and Paramedics have been deployed in Saudi Arabia to assist the pilgrims.

The Minister also informed that the number of women Haj pilgrims going without Mehram this year is double in comparison to last year. A total of 2,340 Muslim women from India will go for Haj without Mehram this year while 1180 women had performed Haj last year without Mehram.

source: http://www.thenorthlines.com / The NorthLines / Home> Latest News / June 26th, 2019

Islamic history expert Prof. Ibrahim Kutty is dead

Kaloor (Kochi), KERALA :

P. A. Ibrahimkutty
P. A. Ibrahimkutty

Islamic history expert Prof. P.A. Ibrahim Kutty, 71, a prominent presence in the city’s cultural and literary circles, passed away on Wednesday.

He was the vice president of Kerala History Association and treasurer of Samastha Kerala Sahitya Parishad. His body, kept at his house Nilofer on SRM Road at Kaloor, will be buried at the Kaloor Thottathumpady Juma Masjid on Thursday.

Born in 1948 at Mala, Prof. Ibhahim Kutty had his education in Maharaja’s College, Aligarh Muslim University and Ernakulam Law College.

He had retired as Head of Islamic History Department from the Maharaja’s College in 2001. He was a member of boards in various universities and was the chairman of the Islamic Studies Board in Kerala University, Calicut University and Mahatma Gandhi University.

He is survived by his wife Razia, daughter of former Mayor A.A. Kochunni Master.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Kochi / by Special Correspondent / Kochi – July 04th, 2019

The artist who decided to go abstract in the symmetrical world of ajrakh

Ajrakhpur (Kutch ), GUJARAT :

An artisan works on one of Khatri’s unique asymmetrical designs. | Photo Credit: Vijay Soneji
An artisan works on one of Khatri’s unique asymmetrical designs. | Photo Credit: Vijay Soneji

Khalid Amin Khatri’s favourite theme is clouds floating atop mountains

He grew up in a world of symmetry. The perfectly synchronised movement of wooden blocks from a plate of colour onto long stretches of cloth, and the accompanying sound of a regular, dull beat, are deeply ingrained in Khalid Amin Khatri.

This is, after all, Ajrakhpur, in the Kutch region of Gujarat , and he was born the son of generations of ajrakh printers. Khatri, however, was bored by the regularity. He wanted to capture his imagination on a piece of cloth, to bring the clouds and the mountains, shrines and monuments down to his canvas.

So that’s what he did.

Khatri, 26, calls himself an artist — more than an artisan. A step away from the traditional ajrakh block-printing that relies on uniformity of design, Khatri’s work is dominated by asymmetricity. But it’s more than that. “Each of my creations has a theme,” he tells us, as he unfolds piece after piece, each hand crafted, each guided by a theme. Unlike the traditional form that mostly prints floral motifs and geometrical designs, Khatri’s designs are guided by his imagination. His favourite theme, for example, is clouds floating atop mountains.

Different strokes

Showing us one such piece — it has a river, flowers, bushes, and yes, clouds and mountains — Khatri recalls a time, not even 10 years ago, when other artisans in his village would look at him with dismay. “‘Why are you hell-bent on destroying the art form,’ they would ask,” he says, smiling. “But I didn’t care. I always knew if I was going to do Ajrakh, I would do something different.”

Khatri was a child when the 2001 Bhuj earthquake destroyed their village, Dhamadka, and the entire community of artisans moved to Ajrakhpur. Most villagers went back to their craft, but Khatri’s father, Amin Khatri, stopped working on ajrakh and instead opened a grocery shop.

He did not however discourage his son from learning the art form in his uncle’s workshop. But traditional ajrakh could not capture the boy’s interest, and he ran away to Mumbai. He was just a teenager and he had found himself a job as a telemarketer.

“I lasted just six months there,” he smiles sheepishly. “I decided to come back to my world — but to innovate and leave my mark.” In 2010, his uncle, Dr. Ismail Khatri, encouraged him to study textile design at Kala Raksha Vidyalaya.

During the one-year course, one theme caught Khatri’s fancy: concept design. “Concept development was completely new to me. We were taught how to develop a theme; it was aligned to what I wanted to do,” he says.

Dargah on cloth

Khatri’s first finished product as a student was a black stole on which he made mountains and clouds. “A lady from the U.S. had come to see our products and when she saw my creation, she said my talent was qudrati, that I was a natural, like M.F. Husain. I didn’t even know who Husain was then,” he says. The stole sold for ₹50,000.

Since then, Khatri’s visually arresting work has gained widespread popularity, both among Ajrakhpur’s regular customers and new buyers. His work is unusual, for instance, a stole with a vivid image of Mumbai’s Haji Ali Dargah, complete with the half-submerged road leading to it. Or the white Rann of Kutch printed on a scarf. He also does a lot of abstract work, both on silk — modal, mashroo, etc. — and on cotton.

“I spend a lot of time on each piece and make sure it is unique. I take at least two hours to print a two-metre piece of cloth, when traditional ajrakh block-printing would have taken 10 minutes,” he says.

He gets wooden blocks made for every design and theme, and uses paper to cover portions of the cloth in order to break the symmetry; he hand-paints some as well. This means that unlike the traditional six metre long ajrakh prints, he usually does stoles, scarves and dupattas. “But I recently got an order for a cotton sari and I did that,” he says.

Khatri has travelled across the country for exhibitions and his wares are displayed at fashion shows. A lot of his orders come from overseas. “These,” he says, showing a pile of abstract art stoles on his bed at home, “are ready to be shipped to a textile designer and collector in the U.S.”

Khatri’s work was exhibited at the V&A Museum in London. And he is renowned enough for students from design schools like the National Institute of Fashion Technology (NIFT) and M.S. University (Vadodara) to visit him for learning.

Asked about his future plans, Khatri looks up for a second and then smiles. “I don’t think too much about the future. I enjoy doing what I do. Like, right now, I want to work on a piece that celebrates Delhi, its monuments and landmarks,” he says. His father, who now helps him in his workshop, nods approvingly.

The author is a Gujarat-based freelance journalist.

source: http://www.thehindu.com / The Hindu / Home> Sunday Magazine>  Focus> Society / by Azera Parveen Rahman / June 29th, 2019

Miyah Poetry Weaves a World of Suffering and Humiliation in Contemporary Assam

ASSAM :

The genre has given new life to the literary landscape of the northeastern state.

Miyah poetry gives us a peep into how it is to live in the Char Chapori or riverine geographies in Assam. Photo: Kinshuk Kashyap/Flickr (CC BY 2.0)
Miyah poetry gives us a peep into how it is to live in the Char Chapori or riverine geographies in Assam. Photo: Kinshuk Kashyap/Flickr (CC BY 2.0)

For Richard Rorty, there are two kinds of writers largely – those who strive for ‘private perfection’ and those who are collectively engaged with efforts to make our institutions ‘more just and less cruel’. I wish to draw from his seminal work Contingency, Irony and Solidarity to critically think about the ongoing debate about Miyah poetry. It might come across as a highly unusual reference, but I do believe that there are interesting parallels.

Miyah poetry as a genre is multilingual and encompasses a world of suffering and humiliation of a group of people whose life-world has passed through numerous political claims and counterclaims. My first introduction to Miyah poetry was through an article  written by the talented poet and translator Shalim M. Hussain. I was deeply moved reading his account of the word Miyah and how this subaltern group of committed poets are trying to create something beautiful through protest and celebration of life. Hussain shared with us this beautiful poem of Maulana Bande Ali written in 1939:

“Neither charuwa, nor pamua 
I am an Asomiya. 
Of Assam’s earth and air 
I am an equal claimant.”

This one is seen as the first wave of poems, followed by a series of poems in the 1980s mostly written in Assamese by the likes of Khabir Ahmed and Dr Hafiz Ahmed. Hussain notes in a recent article that the new wave of poems has been more explorative and has moved beyond protest and resistance. This new generation is committed to writing a total history of their being.

If one follows Miyah poetry closely, it has always attempted to enrich our understanding of the cultural and political landscape of Assam. It gives us a peep into how it is to live in the Char Chapori or riverine geographies in Assam. It teaches and asks us to be ‘more just and less cruel’. These groups of poets also share a love for Assamese culture and society. In their humble effort, they seek to beautify the cultural landscape of Assam. And to remember Jyoti Prasad Agarwala, their contribution brings light (puhor) to our society.

Criticism of Miyah poetry

The recent debate about Miyah poetry  questions its very existence and need. This discomfort and criticism mirror the condition of Assamese civil and literary class/society which is deeply rooted in the hegemony of Assamese language, its form and one that guards its boundaries. It cannot digest a new discourse emerging from the within which reflects our own condition of culture. It fails to give freedom even for artistic and aesthetic expression, like it does to any critical intellectual pursuit. The ‘otherisation’ that Bangla speakers of the state face is precisely a product of this Assamese hegemony and the ‘class condition’ in the state.

Criticisms about Miyah poetry suffer from a ‘liberal irony’. For Rorty, such a condition and being is one where people hope for a decrease in suffering and hope that humiliation shall end one day. They indulge in discussions involving concerns about whether it is right to deliver innocents to the torturer if they let go more people instead. In Assam, there is a considerable section who thinks that something good may come out of the National Register of Citizens (NRC) process. This something good is indeed a discourse of ‘private perfection’ where there are many sacrificial lambs being created. Such ironists are far greater in number. In essence, they determine a hierarchy of responsibility, which is indeed an irony.

For Rorty, it is a liberal utopia that irony is hostile for democracy and human solidarity at once. In essence, criticism of criticism is the only way out of the present milieu. However, it doesn’t threaten human solidarity itself. Solidarity for him is not only possible by enquiry, perhaps even criticism, but also, through imagination. Solidarity can be created by highlighting the pain and suffering of people that are not familiar or who you know.

To agree with Rorty again, one needs to think of human beings as ‘one of us’ and not as ‘them,’ write about the ‘other’ as ‘us’ and ‘redescribe’ and re-visit who we are. In other words, we ought to write not only about others but also of the capabilities of love and evil one carry. In the process, we create more vocabularies to understand our everyday life. It makes us better, not worse off.

Need for a cultural revolution

It struck a chord with me and I have come to admire the poems, its discourse and have shared them with numerous friends and acquaintances. Recently, when Miyah poetry is being put in a pickle by a few writers, one should always remember that being in Assam, the world of beauty and its articulation is not lost on us. The cultural icon of Assam, Jyoti Prasad Agarwala believed that any culture ought to have a revolution (biplab) in society whenever there is a threat to our cultural mores.

Jyoti Prasad Agarwala. Photo: YouTube
Jyoti Prasad Agarwala. Photo: YouTube

Our culture, and I use ‘our’ with much discomfort and keeping in mind the syncretism that we find in Assam theoretically and the ‘otherisation’ that is rife, requires a biplab – for Assamese political and cultural landscape have become narrow and selfish. Our social boundaries are more rigid than before. In Agarwala’s words, we have an unholy presence of anti-cultural (duskriti) in our society that asks us to become divisive. It is, thus, imperative that we need a revolution, a cultural one as Agarwala articulated.

Miyah poetry, of which there is no gatekeeper as Hussain empathically puts it, gives new vocabularies to a culture that comes out of a ‘lifetime of oppression’. A new grammar of suffering and humiliation is being written through these poems that tell us not to walk those paths that treat people with disdain and humiliation.

Like the contribution of Henry James and Nabokov, it shows us the limits of our culture and the ‘cruelty we are capable of’. Miyah poetry, in fact, creates a meta-vocabulary of our everyday life, of possible ways of knowing and feeling.

Why Assam should embrace Miyah poetry

This genre of poetry has given new life to the literary landscape of Assam. It creates new grounds for solidarity and takes us to a world unknown – of suffering, othering and humiliation. Assamese society ought to embrace it, not brush it aside as unnecessary and describe it as reactionary. Brushing them aside also means forgoing the possibility of solidarity. It is time to move beyond ‘private perfection’ and think of human solidarity outside the gaze of liberal irony. People who engage in art and intellectual pursuit ought to extend their love, not silence, and certainly not hollow criticism.

Perhaps, Miyah poetry needs to accept the politics it carries or its potential, although, Hussain notes that ‘they are least bothered about politics’. The history of Miya poetry suggests that in many ways, it essentialises Char Chapori settlements as only Miyah settlements, however, the history of permanent settlement in riverine areas of 90 odd tributaries of the mighty Brahmaputra suggest that there are other river people (nadiyal) who share the same precarity, perhaps not the intensity of social othering.

A complete history of Char Chapori ought to appreciate that heterogeneity of Char Chapori scapes and how it is home to the other margins of Assam – the Mishings and the Kaibartas (a lower-caste group), among others, who are the first permanent settlers of these areas. As non-colonising settlers of these geographies, there are many commonalities that these communities share.

At the moment, there is no solidarity among these communities as such, but as Rorty suggests, solidarity can be created. It can be created from the shared lived experiences, of being marginalised through religion and caste and the productive activities that they are engaged with. Hussain notes in the FirstPost article that ‘Miyah poetry has done its job’, however, borrowing Hafiz Ahmed’s words: I beg to state that it has, in fact, began.

Suraj Gogoi is a doctoral student in sociology at National University of Singapore and tweets @char_chapori.

source: http://www.thewire.in / The Wire / Home> Culture / by Suraj Gogoi / July 03rd, 2019

From Kannur orphanage to Kollam Collector’s office

Thalassery, KERALA :

For Abdul Nasar, it was a long journey from an orphanage to the District Collector’s office.

Abdul Nasar
Abdul Nasar

Kollam :

For Abdul Nasar, it was a long journey from an orphanage to the District Collector’s office. The Thalassery man who assumed office as Kollam Collector the other day had lived the hard ways of life, spent childhood in an orphanage and came up to the top fighting all odds in life. Tragedy befell his family when Abdul was just 5. His father Abdul Khadar passed away, leaving his mother Manjumma Hajjumma alone to fend for six kids. The financial crisis pushed Manjumma to send her youngest son Abdul to an orphanage in Thalassery.

He spent the next 13 years at the orphanage. He had worked as a supplier and cleaner in hotels during his school days to fund his education. While pursuing his BA in English Literature at Government Brennen College, Thalassery, Abdul also worked as a telephone operator and a newspaper boy. After his graduation, he worked as a health inspector in Kerala Health Department and then as an upper primary teacher at a school in his village, and finally, after his preparations, he cracked the PSC exam for the post of deputy collector.

He passed the prelims in 2002 and mains in 2004. In 2006, he was appointed deputy collector. During his stint as the State Entrance Exam Commissioner, he was able to convert the exams into an online format. And in October 2017, he was elevated as an IAS officer.

Abdul is all praise for his mother whose hard work is behind all his achievements. “It was her hard work that made me the person I am today,” said the 49-year-old. He also appreciated the support he had received from his wife MK Ruksana, a higher secondary teacher. The couple has three children – Nayeema, an engineering graduate; Nuamul Haq, BBA student; and Inamul Haq, who studies in Class VIII.

source: http://www.newindianexpress.com / The New Indian Express / Home> States> Kerala / by Express News Service / July 04th, 2019

Kerala MLA Muhsin marries UP student

Karakkad (Pattambi), KERALA  :

The Nikah between Muhammad Muhsin and Shafaq Qassim was a strictly family-and-friends event
The Nikah between Muhammad Muhsin and Shafaq Qassim was a strictly family-and-friends event

Palakkad:

Pattambi’s young MLA Muhammad Muhsin has married a student from Uttar Pradesh’s Balrampur. The wedding was held in the bride’s hometown.

The Nikah was a strictly family-and-friends event as the bride, Shafaq Qassim, has to fly out to Europe on December 31 for studies leading to a PhD.

Shafaq, who has completed her M Phil from the Jamia Millia University in Delhi, has worked at the National Physical Laboratory there for sometime.

Muhsin and Shafaq knew each other for the last year-and-a-half.

Muhsin, who was a firebrand leader at the Jawaharlal Nehru University in Delhi, is an MLA of the CPI. The bride’s family, however, are Samajwadi Party supporters and they have contributed MLAs to that party.

Muhsin is the son of Puthenpeediyakkal Abubaker Haji and Jameela Begum of Karakkad, Pattambi.

source: http://www.english.manoramaonline.com / OnManorama / Home> News> Kerala / by OnManorama Correspondent / December 23rd, 2018

When covering up becomes rebellion

INDIA :

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  • Many young Muslim women are becoming the first in their families to take to the hijab
  • For these women, taking to the hijab is a matter of self expression and choice

_____________________________________________________________________

Ten years ago in Bengaluru, inside one of those cookie- cutter 2-BHKs built in bulk next to colleges for students to escape hostel restrictions, as I was contemplating booze, boys, and cutting sleeves off my clothes, something very different was happening in the other room. My flatmate Sanaa Hyder was considering taking to the hijab.

Hyder and I had little in common—except that we were in the same BA course, and that we both came from Muslim families. She had grown up on American TV and music in the NRI alleys of Riyadh while my adolescence had been spent on pirated VCDs of Bollywood films in provincial Ranchi. Much of our relationship was about me ridiculing her lack of knowledge of desi culture, and she correcting my pronunciation of the English words I had read but never heard in small-town north India. So when conversations in Christ College’s hip food courts drifted to Pink Floyd or Sylvia Plath, as they often did, Hyder—in her sweatshirt, jeans and colourful Converse shoes—was way more at home than I would ever be.

In the scale of conservative-to-modern that I had been trained to rank women on, I had not slotted Hyder as the “purdah type”. Neither had her family, it turned out. When she went back to Saudi Arabia for the semester break and told one of the elders about her decision to wear the hijab in public, their first response was: “Are you trying to teach religion to us?”

India’s popular culture has constantly caricatured the burqa as a garment of oppression or ridicule. If a Muslim woman dons it, she is oppressed. If a non-Muslim hero wears it on screen (probably to disguise himself), it is funny. But what is our imagination of the hijab? In the 10 years since I lived with Sanaa, I crossed paths with several young women who took to the headscarf. These women grew up wearing Western attire, were urban, educated, had successful careers, and did not fit into popular stereotypes of the “oppressed Muslim woman”. No one else in their families wore the hijab.

“Where I come from, where I grew up, the friends I had—it wasn’t considered okay to wear it. It was like taking a step backward,” says Tasneem Pocketwala, a 26-year-old writer from Mumbai. Wearing jeans was second nature till she took to the rida (a kind of hijab that members of the Bohri community wear) after she finished her bachelor’s at St Xavier’s, Mumbai. “Even though I grew up in a religious family, the understanding was that it didn’t have to translate to our clothes.”

For Asma Chandragiri, a 24-year-old who converted from Hinduism to Islam and married a Muslim while studying psychology in Delhi’s Ambedkar University, the issue was even more complicated. It meant upsetting her family, which had not come to terms with her becoming a Muslim. “I would walk out of my home and once I would enter the bus, I would clumsily wrap the shawl around myself.”

So what made these women take to the hijab?

In that Bengaluru apartment, while Hyder and I were seemingly going in opposite directions—she towards greater religiosity and me away from it—the processes enabling our respective journeys were similar: being away from our families for the first time, having the time to read and think for ourselves, and studying a humanities course that encouraged us to worry about the world and our place in it. All this, and good internet connection.

Several women I interviewed for this article said they took up the hijab because they wanted to inhabit Islam and the teachings of the Quran “fully”. This was distinct from their parents’ generation, which had been okay with following religion to the extent that their social upbringing had shaped them to.

The journeys of these women reveal a personal and textual relationship with religion, made possible by education, access to information, and a certain level of empowerment or privilege enabling choices. Pocketwala found encouragement in a YouTube community of immigrants in the West talking about #MyHijabStory.

Safina Khan Soudagar, a writer from Goa, was studying in St Xavier’s Mapusa when she was gifted a translated Quran by a friend. She immersed herself in it, recognizing that she had only read it in Arabic without understanding it. There was no one day when she decided to “take to” the hijab. It was an organic, visceral process.

“I always loved scarves. Even for college, one probably hung on my bag tied in a knot. Because of pollution, when I used to travel on a bike to college, I used to put a scarf around me. Eventually, I stopped taking it off right after I got off the vehicle. So till my class I would keep the scarf tied on. And then, very gradually, I started accepting the covering. And one day, I didn’t take off my scarf in class.” When I met her at a café in Panaji a few months ago, she told me she had felt much more confident since because “I know that people are going to look at my work, they won’t look at my outer appearance. It empowers you to do whatever you want. With the hijab, everything is possible.”

Chandragiri’s initial struggle was with how to look good in a hijab. “Earlier, I used to wear the skimpiest of clothes. But the more I learnt about the reasons for the hijab and why we cover ourselves, I realized it’s to take this pressure off women.”

Being Dalit, Chandragiri had gone to the university named after B.R. Ambedkar, hoping for an ideal liberal space, but the lack of awareness about caste disappointed her. Disillusioned, she found solace in Ambedkarite groups initially but moved on to find promise of social justice in ideas in the Quran.

In a world where women are forced to constantly worry about how to hold their bodies—what to wear, how attractive to look—so that it doesn’t come in the way of how people perceive their worth, the hijab can be both a godsend and, sometimes, an extra hurdle.

A few years before she took to it, Chandragiri thought the women who wore the hijab were stupid. “I never realized that it was a bias I had until it happened to me. I had to work extra hard to get my point across because of the assumption that people who wear the hijab are not thinking for themselves. Because they don’t fit into the standard of what liberated women should look like according to Western standards. Because, you know, a strong woman is supposed to be one who doesn’t care about anything.”

Soudagar has had to pay the price for being a hijabi. In December, she was due to appear for the National Eligibility Test (NET), an entrance exam for college- and university-level lectureship. She was in the queue leading up to the examination hall when a male official asked her to take off her headscarf. Shocked, she tried to argue with the officials at the venue that she had given the same exam twice in her hijab, while a long queue full of people behind her stared on.

When she asked why, she was told they needed to see her ears because it was a computerized exam. When she offered to retie the hijab in a washroom so her ears were visible, she was told she would have to sit without the scarf for the entire exam anyway. Humiliated and flustered, she walked out. Standing outside, she checked the NET website for rules regarding covering the head and found none. A week later, she moved the Goa Human Rights Commission for violation of the right to religion. The case is yet to be heard.

“Why didn’t you take it off ?” men commented on her social media post about the incident. “Anyway you aren’t wearing the whole thing.” Soudagar said men from different religions, and even Muslim men from other countries, slut-shamed her. “How can you do that, right? I put on the scarf because I respect my modesty. I respect my religion,” she explains, exasperated. “But you cannot decide someone else’s hijab, somebody’s pace of religion with their lord. You don’t have the right.”

While Hyder’s immediate family came around to accepting her hijab soon enough, relatives in Aligarh still find it hard to digest, with comments like “Look, the dog is barking at you because of your hijab!” Hyder shrugs, “I am doing this to please God, not people.”

Regardless of what hijabi women say, however, they are often asked if they are oppressed: “Even if it is choice, isn’t it inherently patriarchal?”

In a world that is intrinsically patriarchal, the female body has been pierced by the male gaze to such an extent that it is impossible to retrieve its pre-objectified self.

I, like many other feminist women I know, tried to reclaim my body by freeing my skin of (some) cloth, hoping that men would get used to it eventually. We take loud pride in our liberation. But we make sure we hide ourselves and take cover in shrugs and stoles when we are not feeling as safe.

We Instagram our body hair but also wax, we go on diets, we marry, cook for our fathers, we talk about unrealistic beauty standards and use make-up. Why, then, is the question of oppression reserved only for women who choose to wear a scarf?

Pocketwala says she felt the most liberated when she was able to choose to cover herself.

In a deeply sexist world, there can’t be anything inherently feminist or oppressive about letting men see our bodies, just like there isn’t anything inherently feminist or oppressive in deciding to cover ourselves.

As I write this, women in Iran are being sentenced for protesting against the hijab—in March, a human rights activist got 38 years and 148 lashes—and France’s Muslim women await the next “secular” law that will decide how they should carry their bodies. So the stories of Indian women who chose to take on the hijab cannot answer every question about choice and oppression in the man’s world that we live in.

What these women’s stories can show, however, is that while religiosity is often conflated with conformism, it could be rebellion as well; it shows religious practice can go against the norms and expectations of the society people grow up in.

Mostly, however, the stories of Soudagar, Chandragiri, Pocketwala and Hyder should show us that young Muslim women are quite capable of thinking for themselves.

source: http://www.livemint.com / LiveMint / Home> Explore / by Shireen Azam / May 12th, 2019