New exhibit opens up discussion of age-old tradition

By Mary Chamaki

The West often holds a skewed portrayal of eastern traditions.

One tradition in particular, that of the veil, is frequently misunderstood. Contrary to popular belief, the eastern veil is not necessarily religiously linked or forced upon women. The veil is much more of a cultural tradition than one rooted in religion.

Although the Qur'an describes the Hijab as a veil worn by the wives of the Prophet, it is unclear what style or amount of coverage is necessary and which members of the Islamic faith are required to wear it.

The de Saisset Museum held a reception for its newest feature exhibit, "The Veil: Visible and Invisible Spaces" on Jan. 21. The showcase featured artists Victoria May and Judith Selby Lang, both of whom were present at the reception to provide a personal outlook on their pieces.

"Speaking with the artists and specialized members of the exhibit proved to challenge my previous thoughts and misconceptions on the veil." said Berkeley Fial, a student-worker at the showcase. "Certain pieces stood out with a strong relation to culture and others presented internal humanistic issues dealt with by women that transcend cultural boundaries"

The traveling exhibition features more than 30 works of art and serves as a visual companion to the curator Jennifer Heath's edited volume, "The Veil: Women Writers on its History, Lore and Politics."

Lindsey Kouvaris, the curator of exhibits and collections said, "The goal of this showcase, as presented by Jennifer Heath and the artists involved, is to look beyond the cultural stereotypes and clichés that we all associate with the practice of veiling especially in regard to the Muslim religion.

"The artists are looking at veiling in much broader sense, in a social, metaphorical and religious perspective. The practice of veiling transcends cultures, religions and centuries and this show is trying to redefine the current associations involved with veiling."

According to Fayeq Oweis, Arabic language and culture professor at Santa Clara, the artwork aims to break the prevalent western perception of the veil as an oppressive garment worn as part of the Muslim tradition. "For many cultures in the Eastern tradition, the veil is a choice and serves as a symbol of transition to adulthood for many young women, allowing for a sense of modesty and class," said Oweis.

 Naim Farhat, founder of the Farhat Art Museum in Lebanon, and owner of the central piece "The Dresses" by Mary Tuma. said, "The presentation of these artworks allows for dialogue and open discussion on certain controversial issues and provides for less friction between opposing viewpoints."

The artwork features five dresses sewn from a single, uncut sheet of black fabric. The piece serves as a memorial for the generation of Palestinian women displaced from their villages upon the creation of Israel in 1948.

These women were sent to refugee camps in countries such as Jordan and Tunisia and many of them died before they ever received the chance to return to their homeland.

The dresses, just like the veil, represent womanhood in the Palestinian culture by portraying grace and endowment as well as deep-rooted sorrow stemming from their dislocation.

"One of these things is not like the other: Elizabeth Smart," created by Brenda Oelbaum, served as one of the most controversial pieces in the exhibition.

The work displayed four pictures; a woman in a Pakistani veil, another woman in Afghani Veil, a member of the Ku Klux Klan in their traditional headgear, and the seemingly indistinguishable Elizabeth Smart, famously abducted and held 18 miles away in Sandy, Utah, wearing the veil her kidnapper forced upon her. The piece received mixed interpretations from the audience at the opening showcase.

Moving away from the cultural outlook, Victoria May, creator of "The Perfect Daughter" and "Headgear" looks more toward the internal definition of the veil. "My work falls into the metaphorical category, focusing on how certain psychological states can veil a person's outlook, whether by internal interpretation or societal standards," said May.

"The Perfect Daughter" depicts a young woman engaging in an unwanted marriage to fulfill the desires of her parents and relatives. Due to her internal unrest, she envisions countless nightmares of her teeth crumbling from her mouth, and yet never says a word in order to maintain societal standards.

Founded in 1955 on the Santa Clara University campus, The de Saisset museum is currently one of the three museums in the South Bay accredited by the American Association of Museums.

The museum is operated by the university and funded largely by member support. This particularl showcase is included in one of the six to 12 temporary exhibitions presented by the de Saisset museum annually, and will be available for general viewing from Jan. 15 to March 11.

Contact Mary Chamaki at mchamaki@scu.edu.