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Influence of African traditions on religion
Religion and women empowerment
African influence on religion
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In this essay I will discuss how the use of religion and law over moral degeneracy and dress have been linked in Nigeria as a of control women’s’ sexuality. I will explain how the religion serves to discriminate against other faiths and cultures and I will also discuss how debates over morality and dress are a way for men to reinforce patriarchy.
Western influence is always referred to when indecent dressing and moral degeneracy is debated over in Nigeria, even though historically and now partial nudity (exposure of the body, torso) and minimal clothing is part of the Nigerian society mainly in rural areas. Therefore this means that debates over dress based constructed on a conservative African culture are highly fictionalised.
The debates seem to be linking nudity in women’s bodies with sexuality in order to control it. This not only causes communities of Nigerians who previously viewed the nude body as normal and non-sexual, to readjust their perception to one that sexualises and burdens the women’s body with the shame of being a site of sin, sexual anxiety and corruption. As Bakare-Yusuf (2011) states, a general overseer of the largest Pentecostal church addressed the issue of morality and social corruption among his congregation and condemned women’s clothing for it (Bakare-Yusuf, 2011).
Moreover the sexuality of women is seen as an essential part of their body, and the debates are centred on women dressing to please and attract men, ‘this ignores the fact that sexuality is not an essential feature of bodily display and dress, but an effect of the reaction of others’ (Bakare-Yusuf, 2011:123). It also ignores the fact that women might be dressing to please and express themselves or that their sexuality is not heterosexual...
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In addition what this says about the men in our society is that they impose conditions that control women because of the insecurities they have. Would it be right to compare male desire to that of primitive beings because they seem unable to control themselves; are men insecure about their sexuality and manhood and that they are victims of their own desires thus place the blame on women?
In general it is interesting to see that women are only given three role choices (mother, virgin or whore) in the context of the debates, it’s also interesting to see how women are embodied as the site of moral degeneracy in the heterosexist masculine context of Nigeria. Overall it is interesting that the debate was fostered by a woman, ‘power in society operates through the silent internalisation of its strictures by the victims themselves’ (Bakare-Yusuf, 2011:127).
Holloway’s experiences in Mali regarding childbirth and the difficulties of women shed light on the topic of ethical and moral issues in other countries. Prior to reading Holloway’s “Monique and the Mango Rains”, I had only heard about FGM and poverty in Mali. Transforming data and numbers into descriptions of people, Holloway reveals the faces and voices of the people of Mali.
Another issue that the writer seemed to have swept below the carpet is the morality of women. First, women seemed to have been despised until they started excelling in mass advertising. Also, the author seems to peg the success of the modern woman to clothing and design. This means that women and cloths are but the same thing. In fact, it seems that a woman’s sex appeal determine her future endeavours, according to the author. It is through this that I believe that the author would have used other good virtues of women to explain
In Ibn Battuta’s description of his time in West Africa, he frequently writes of his disapproval in the way women dress and behave in this culture. In traditional Islam society, women are typically under the tight control of their husbands or fathers, and cover their faces with veils so as to not draw any unwanted attention. However, in this region, Battuta notes that, “With regard to their women, they are not modest in the presence of men, they do not veil
Men are still looked at as the dominant gender and still believed to “own their wives.” According to BBC News, women are still looked at as property and are perceived to be pure and submissive to their parents and husbands. Yes, society has changed in the world to where women are allowed to have “equal right as men,” and women are allowed more freedom. Nonetheless, women in Nigerian society have not had that same change and are now standing up for themselves. Women went from being valued in culture, to being submissive housewives. Men went from being strong warriors who cared for women’s rights, to not caring about women. It was always seen in the Igbo culture that women are supposed to be pure and able to bear multiple children for their husband, but it has taken a bigger turn than expected in their
She makes the case that Western feminists have radically misinterpreted the veil. For many Muslim women, the veil acts as a divide between the public and private. The veil may actually liberate women from “the intrusive, commodifying, basely sexualizing Western gaze”. The veil frees women from the oppressive hyper-sexualization of found in Western culture. Reducing the veil to a symbol of oppression disregards the possibility of female agency outside a Western feminist paradigm. The veil has the potential to liberate women in the public space. Projecting our Western notions of sexuality and gender roles denies the possibility of different forms of sexual
We are all familiar with the creation story in Genesis of the Bible—a rib was taken from Adam (man) in order to create Eve (woman). Did this set the tone for women’s submissive role in society? History shows us that this is not true, since women dating as far back as the 6th century had power and were taken seriously. Strong women, such as Perpetua of Carthage, used their faith as a means of helping others and asserting their power in a male-dominated culture. As the years went on, though, women experienced a loss of power and control. A woman’s worth was directly associated with h...
In almost all instances that I have been ‘out’, either to a party, club, braai or any other social event, women are wearing sexualising clothing. Sexualizing clothing, for the purpose of this essay, is defined as clothing that reveals or emphasizes a sexualized body part; and has characteristics associated with sexiness and/or sexually suggestive writing (Goodin et al., 2011: 1). This reminds me of my first night out. It was my twentieth birthday and my friends decided to give me my first nightclub experience. I must say I was very much experienced, because clubbing was something one only read about or watched on television. It was autumn and the weather had stared to get a little bit cold, so I decided to add another (thin) layer of clothing. When we got to the club it felt like we were Eskimos, mostly me because my friends were on the notion that ‘it gets hot in the club (with all the movement and talking) and that an additional layer was unnecessary’. What I found to be unfortunate, about the experience is how the different sexes dressed. Yes, it was ‘hot’ in the club, but a lot of young women went overboard with respects to the amount of material worn. In that regard, I argue that women’s attractiveness, according to the social standards of ‘the night life’, is determined by sexualised clothing and also on the number of sexual advances made towards them in a single night. Therefore, one
Muslim dress for females, as Emma Tarlo explains, is a matter of individual choice. Tied up in issues relating to belief, freedom, modesty, traditional diversity and beauty, British Muslim females are articulating themselves yet not without some setbacks along the way. View from within and outside the Muslim religion is mixed and sometimes, passionate, though Emma Tarlo is determined to expose long held beliefs that Muslim women are not free to make their own decisions. She shows that Muslim women are no different from women of any other religion, and orthodoxy is not exclusive to the Muslim religion yet it is stigmatised much more than any other.
It is ordinary seeing woman in a veil in countries where the majority of people are Muslims. Even though, the picture of “Hijab” is not strange because it was known in previous cultures before Islam, it is considered as a phenomenon especially in the western societies which it still carries many of misunderstood thoughts. Some People who are non-Muslims in United States view “Hijab” as a fundamentalism, fanatics, barbarism, oppression, retro gradation, and terrorism image. Wearing the veil raises many controversial questions such as: Why do Muslim woman wear the veil? Is wearing the veil a cultural tradition or religious practice! What exactly is “Islamic Dress Code” and is it must be altered in its qualities from periodical time to another in order to be acceptable! Does “Hijab” isolate woman from interacting normally within society? However, all facts behind this issue will be revealed throughout the discussion of its meaning, the purpose of practicing it and seeing Hijab within references and historical context. This would unveil the mystery.
Women have many responsibilities in the Igbo society such as having children, cooking, cleaning, and farming. These are important functions for women, yet they are not given much credit or meaning for their existence in the roles they fill. As Rose Ure Mezu points out “The world in Things Fall Apart is one in which patriarchy intrudes oppressively into every sphere of existence. It is an andocentric world where the man is everything and the woman nothing.” In some way, Mezu is correct in saying that the man is everything and the woman nothing.
Unlike sexuality in western carvings where sexual orientation goes beyond heterosexuality, in African art sexuality was limited to heterosexuality. A critical analysis of African carvings demonstrate that apart from expressing the society’s perception of sexuality, deities were also assigned sex in most instances incorporating both male and female organs. This does not imply that sexuality in African art has also experienced the sexuality debates like western art. Intersex carvings are an important observation in African art, and this demonstrates the role played by the supernatural in African beliefs as pertaining sexuality. Sexuality in African carvings demonstrates the spirituality of sex and the fact that sex is believed to be of significant importance in worship.
There has been a long and on going discourse on the battle of the sexes, and Simone De Beauvoir’s The Second Sex reconfigures the social relation that defines man and women, and how far women has evolved from the second position given to them. In order for us to define what a woman is, we first need to clarify what a man is, for this is said to be the point of derivation (De Beauvoir). And this notion presents to us the concept of duality, which states that women will always be treated as the second sex, the dominated and lacking one. Woman as the sexed being that differs from men, in which they are simply placed in the others category. As men treat their bodies as a concrete connection to the world that they inhabit; women are simply treated as bodies to be objectified and used for pleasure, pleasure that arise from the beauty that the bodies behold. This draws us to form the statement that beauty is a powerful means of objectification that every woman aims to attain in order to consequently attain acceptance and approval from the patriarchal society. The society that set up the vague standard of beauty based on satisfaction of sexual drives. Here, women constantly seek to be the center of attention and inevitably the medium of erection.
Premise 1 contains many examples to back up its factuality. For instance, Muslim culture requires females, who reach puberty, to cover up practically everything from head to toe. It is deemed morally wrong for women to show their hair or skin to men for it is a means of seduction. However, in other cultures, causal wear is seen as normal and accepted without any men falling for a woman by the sight of her hair or skin. Therefore, the act of not covering one’s body is seen as right in one culture, and completely wrong in another.
Okeke, Phil E. "Reconfiguring Tradition: Women's Rights and Social Status in Contemporary Nigeria." Africa Today 47.1 (2000): 49-63.
Okin states that a culture “endorses and facilitates the control of men over women in various ways of life” (12). There are several rituals, matrimonial cultures, and property ownership that make it nearly impossible for women to live independently. Although certain cultures have myths that justify control over women, or “to blame and punish them for men’s difficulty in controlling their own sexual impulses,” (14) several global cultures do not suppress women. Okin does not provide readers with the women’s perspective on their supposable suppression through their culture. An example of how Okin’s claim is incorrect pertains to Middle Eastern women that participate in Islamic culture. Women are required to wear the Muslim headdress, also known as the hijab. Although most individuals would assume that women wearing the hijab are oppressed, treated poorer than Muslim men, and are a symbol of modesty, when in fact the Muslim women wear the hijab to affirm personal identity. Leila Ahmed, author of the Veil debate- Again, interviewed different American Muslim college students regarding whether they personally believe the hijab is required in the Qur’an or not and their personal feelings towards it. A particular opinion from a woman states that wearing the hijab “is a way of affirming my community and identity,” (153) and another women states, “I believe it’s a choice not an obligation. I wear it for the same reason that