By Diah Ariani Arimbi
Interpreting modern Indonesian Muslim ladies Writers appears on the paintings of 4 writers—Titis Basino P.I., Ratna Indraswari Ibrahim, Abidah El Kalieqy, and Helvy Tiana Rosa—paying specific cognizance to questions of the way gender is developed and in flip constructs the identities, roles, and standing of Muslim girls in Indonesia. additionally, Diah Ariani Arimbi specializes in problems with authenticity, illustration, and tool in those authors’ works and info how every one girl challenged perceptions of Muslim ladies in Islamic societies.
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Extra resources for Reading Contemporary Indonesian Muslim Women Writers: Representation, Identity and Religion of Muslim Women in Indonesian Fiction (AUP - ICAS Publications)
The ‘fashionable jilbab’ known as baju Muslim (Muslim fashion) can be bought almost everywhere, from department stores, often having a special section for baju Muslim, to traditional markets. Some women, young and old, choose to tailor their jilbab ranging from the simplest to the most extravagant colourful designs. Many match their headscarves with branded clothing such as Polo, Guess, or Levi’s. Those who view veiling as an anti-consumerism act will look for the simplest and least-colourful design – usually dark colours and long, loose garments – whilst others will reason that since only the face, hands and feet are to be exposed, it is enough to simply match their headscarves with blouses and pants from a range of colours and prints, or with tight jeans and long-sleeved lycra tops.
In many countries where veiling is not required for women, the return-to-veiling movement gives an opportunity to women to define their own identity. In this way, it marks their claim to their own agency. In societies where veiling is a norm for women, unveiling also bears a similar signification of women’s agency. As a construction of a woman’s image, the veil stands as a crucial marker through which a woman is identified, recognised and perceived. Not only does veiling affirm a Muslim female identity, it also requires an observer to acknowledge the wearer’s religious identity.
Majid criticises those who limit the term ‘Islamic’ to a pure religious belief and insists that the adjective ‘Islamic’ refers to more than just religion. S. Hodgson on the use of the term ‘Islamicate’. ’101 What ‘Islamicate’ is for Hodgson, then, is really much closer to Majid’s ‘Islamic’, exposing their apparent opposition as simply a lexical difference. Any attempt to theorise Islamic feminism must, therefore, move beyond Islam as a pure religion, but also beyond feminism as mere Western secular ideology and conceive Islamic feminism as dynamic with its roots in the historiography of Muslim societies.