Velvet Jihad: Muslim Women’s Quiet Resistance to Islamic Fundamentalism

By Faegheh Shirazi
University of Florida Press

Central to Islamic scripturalist assertion, or "Islamic fundamentalism" as it is often referred to, is the notion of the ideal Muslim woman, whose status, roles and functions are defined by rules and norms deriving from a narrow, restrictive and patriarchal reading of the Islamic scripturalist tradition. The ‘ideal’ Muslim woman in Islamic ‘fundamentalist’ discourse is defined as being submissive to male authority, while being modest and virtuous in a patriarchally-defined sense. She is to be carefully controlled and monitored, at all times, by patriarchal authority. The spread of Islamic ‘fundamentalism’ throughout Muslim communities has had seriously negative consequences for Muslim women’s rights and status. Not surprisingly, groups of Muslim women across the world have begun mobilizing against Islamic ‘fundamentalism’, some on a secular basis, using secular human rights arguments, others, working within a broadly-defined Islamic tradition, employing Islamic arguments for achieving gender equality and challenging patriarchy and misogyny in the name of Islam.

Velvet Jihad provides a fascinating general picture of the status and conditions of women in Muslim communities around the world faced with the challenge of Islamic scripturalist assertion. Shirazi admits that patriarchy is, of course, not a Muslim-specific phenomenon, but argues that the forms that it takes in Muslim communities and Muslim-majority countries makes it particularly problematic and difficult to oppose in that it is generally sought to be legitimised in the name of religion. Hence, challenging such patriarchy is a particularly arduous task as it is easily branded as a challenge to religion itself. The book catalogues a long list of hurdles and restrictions that millions of Muslim women across the world are subjected to in the name of Islam.

With abysmal levels of education, and being economically heavily dependent on their men folk, it is not surprising that vast numbers Muslim women simply have no choice but to accept their lot. Many, as Shirazi tells us, even accept this as mandated by Islam itself. Yet, Shirazi tells us there is what she colourfully calls a "velvet jihad" astir in across numerous Muslim communities spearheaded by bold Muslim women who are now vocally and stridently challenging all forms of oppression in the name of Islam. She likens it to the "velvet revolution," a peaceful movement of resistance that brought down communist dictatorships in eastern Europe in the late 1980s.

What, then, are the means that assertive Muslim women (and there are many, as Shirazi documents) are today adopting to fight patriarchy and misogyny in the name of Islam? They fall into two broad categories. Some Muslim women, who may be defined as "Muslim feminists," are seeking to oppose patriarchal laws, rules, and practices using modern human rights arguments, such as secularism, freedom, justice, and democracy, linking up with reformers, both men and women, both within their communities and countries and at the international level, to highlight the oppression of women in the name of Islam. Shirazi describes numerous such Muslim women’s groups across the world which are using this approach, with varying degrees of success. This strategy might not, however, have much resonance with religious-minded Muslims, who could easily be made to be believe that such arguments for women’s rights are not just "un-Islamic," but, rather, represent, as it is often put, an "anti-Islamic, Western conspiracy." Indeed, that precisely is what Islamic conservatives and radicals never tire of arguing.

A more culturally-rooted, and, therefore, for many practising Muslims, perhaps a more acceptable way of shaping demands for gender equality and of critiquing misogyny and patriarchy in the name of Islam, Shirazi points out, is represented by the phenomenon often labeled as "Islamic feminism." Not all the women (and men) who are engaged in articulating an Islamic feminist discourse and politics might, however, identify with that label, given the political and ideological baggage associated with the term feminism. Be that as it may, Islamic feminism, Shirazi shows by drawing on empirical evidence from extensive fieldwork in Africa, Asia, Europe, and America as well as a massive corpus of literature available on the Internet, is today a growing challenge to the authoritarian, deeply-patriarchal versions of Islam zealously upheld both Islamic conservatives and ‘fundamentalists’, who, despite their differences, are almost unanimous on the "women’s question."

Citing the works—both literary as well as practical—of a vast number of Muslim women scholars and activists as they seek to counter patriarchy in the name of Islam, Shirazi concludes that their valiant efforts, derided and fiercely opposed by powerful patriarchal forces, truly herald the arrival of a velvet jihad, one that can play a key role in not just championing Muslim women’s rights but also in fashioning more compassionate and just understandings of Islam while critiquing and standing up to violent, authoritarian, patriarchal mullahs and Islamists who claim to represent Islamic authenticity. That, in short, is what this inspiring book is all about.

Review by Yoginder Sikand

A longer, more in-depth version of this review can be found at CounterCurrents

Veiled Voices

By Brigid Maher
Typecast Releasing

When people think of Muslim leaders they rarely envision women; however, many women are have made their mark as religious leaders in Islam. Veiled Voices presents the lives of three such women, allowing them to tell their own stories filled with struggle, triumph, and irony.

The film centers on Ghina Hammoud from Lebanon, Huda Al-Habash from Syria, and Dr. Su’ad Saleh from Egypt. Each woman is making waves in her country as she carves out milestones in faith and society. These women are teachers who get their messages of Islam and women’s strength across through lectures, television appearances, one-on-one lessons, and living their lives as examples to others.

The film begins with the women telling about their past, how they become religious leaders, and what they believe makes them who they are. Next, we get to see them in action as they talk to students and speak on television. The film concludes by looking at the next generation, the daughters of the women.

The interviews with the women's daughters and husbands were important because it shows how equality within the home is very valuable. All of the women demand the men in their lives support their passion and refuse to settle for anything less. This is evident in Ghina’s standing up to family and societal pressure to divorce an abusive husband. The decision and its outcomes weren't easy, but it is apparent that this was the right decision for her.

The film shows how institutional sexism prevents speedy social evolution. One example in the film is when Sheikh Tantawi, Grand Imam of Al-Azhar, says it would be fine for a woman to be appointed as a mufti, a Muslim scholar trained to interpret Islamic law, so long as she is qualified through education and practice. However, it is revealed that when Dr. Su’as Saleh submitted an application, she only received one vote from an all-male panel. It is wonderful to celebrate these strong women making a difference in the Islamic world, but there is much progress to be made and it is important that the film highlighted the outright sexism these women face.

There wasn’t much discussion in the film about these women's thoughts on oppression and violence done to women in the name of Islam and based on misogynist interpretations of Sharia. Many people see this as a human rights abuse, and I would have liked to hear what these women think about these interpretations and the outcries to stop these violent acts. The personal stories of these Muslim women are inspiring, and their determination to be positive role models is clear. Veiled Voices is a good start to a conversation by and about women in Islam to change misconceptions held about the role of women in the religion.

Review by Andrea Hance

My Name is Khan Soundtrack

Sony Music



My Name is Khan is a Bollywood movie that captures the post-9/11 journey of a Muslim immigrant who has been diagnosed with Asperger’s Syndrome. The movie and its soundtrack by Shankar Mahadevan, Ehsaan Noorani, Niranjan Iyengar, and Loy Mendonca has remained at the top of the charts since its release in January.

There are six original tracks on My Name is Khan. The first song, "Sajdaa," is sung by Richa Sharma Rahat Fateh Ali Khan and Shankar Mahadevan. "Sajdaa" is the hip, happy song of this album, and brings a spring to your feet. The tracks that follow are the melodius "Noor E-Khuda, sung by Adnan Sami, Shankar Mahadevan, and Shreya Ghoshal then "Tere Naina," whose lead vocals by Shaqat Amanat Ali are an absolute delight to ears. The song praises the “eyes of beloved” and transforms into more traditional qawwali toward the end.

“Allah Hi Reham” is a concoction of Sufism and spiritualism that includes a four-minute solo sung by Rashid Khan. It's lyrics are the best in that the song stays longest in your mind. The titular theme performed by The Bombay Film Orchestra is mildly pleasing, but it could have been better. The album ends with "Rang De," sung by Shankar Mahadevan with Suraj Jaggan on accompanying percussion, and is the perfect close for this wonderful musical experience, as it is an inspirational tune that conveys the virtue of goodness and honor.

The disc also has four bonus tracks that reference the filmic history the stars of this movie (Shahrukh Khan and Kajol) have together: “Kuch Kuch Hota Hai,” “Suraj Hua Maddham,” “Kal Ho Na Ho,” and “Kabhi Alvida Naa Kehna.” The CD also features a video of the film's theatrical trailer. The album artwork is designed beautifully, like a manual. The pages have the storyline of the film, director’s notes, stills from movie, song lyrics translated into English, and a dedication to the people behind music.

All the songs on this soundtrack are a welcome change from your typical boisterous filmy pop. My Name is Khan takes a detour by embracing classical Hindustani music, and the elements from Sufism give the music a mystical touch. The lovely lyrics sung by soothing voices make these songs exemplary.

Review by Sunitha Jayan