Hijab Cool (Michael Lumish)

Twenty-First Century "Hijab Cool"

When I was growing up in the outskirts of New York City in the 1970s there was hardly a hijab to be found.

Of course, when I was growing up in the outskirts of New York City in the 1970s there was hardly a Muslim to be found, either.

There were only a few more Muslims in Kingston, N.Y. or Trumbull, Connecticut than there were Jews living in Mayberry, North Carolina, ten years earlier, with that nice Sheriff Andy Taylor and his cute little boy, Opie Cunningham.

It was only long after 9/11 - as political Islam stridently re-asserted its presence on the international stage - that I focused on political Islam and its relentless hostility toward Gay people, women, and dhimmis throughout the Middle East. Christians in that part of the world have it the worst, as Raymond Ibrahim will be more than unhappy to inform you. Although neither Europe, nor the Vatican, seems to much care, there is a Christian genocide happening right at this very moment throughout much of what was the Byzantine Empire.

To the extent, however, that as a kid I even thought about Muslims I figured that they were pretty much like everybody else. I grew up somewhere in the middle of the middle class, during the early years of the Age of Sesame Street, and my friends were from all across the ethnic kick-ball court.

Irish kids. Black kids. Italian kids. Asian kids. Catholics. Protestants. Jews. It was all just part of the mix and virtually none of us gave a damn one way or the other.

Although I did not realize it at the time, I grew up during a period when the United States, in the aftermath of the Civil Rights Movement, was well into the process of moving beyond racial animosities. I came across the occasional antisemitic slur, because it's not as if all of my neighbors were head-over-heels in love with Jewish people or Gay people or Black people to begin with.

Yet us kids played baseball together and went fishing together and hung out after school. Most of our parents were not particularly bigoted, and considerably less so than were their parents, and we were less so, still. The United States was shedding its prejudicial past as minority groups moved into the professional class, as women gained social and economic equality, and as Gay people, through the efforts of people like Harvey Milk in San Francisco, gained acceptance in the general culture toward the end of the twentieth-century.

Sadly, however, the ideal of ethnic and gendered diversity has been replaced on the illiberal progressive-left by multicultural fragmentation and identity politics as represented by the hijab... all of which moves in a direction entirely counter to Martin Luther King, Jr.s liberal dream of equality.

The hijab is a symbol of Muslim supremacism, not liberal diversity.

It could recently have become a symbol of liberal diversity in the United States if people like faux-feminist icon, Linda Sarsour, had made it so, but they did not. There is nothing essentially anti-feminist about any style of headscarf, so long as it is worn voluntarily, but unfortunately that is not the case for hundreds of millions of women throughout the Muslim world.

If Sarsour, and those westerners unironically adopting an Islamic patriarchal style of women's apparel in the name of feminism, had made it clear that they oppose the rise of political Islam, things might be different. If they had stood up for the 1,200 women victimized by the mass rapes in Cologne on New Years Eve, 2016, things might be different.

But they did not.

On the contrary, contemporary feminism betrayed its essential values precisely because it failed to speak up for the rights of women, Gay people, or dhimmis in either Asia or Europe. Thus it becomes difficult to see how contemporary feminism can possibly be said to stand for universal human rights.

By embracing the hijab western feminism drains itself of ideological content. It stands for everything and nothing, which is precisely why the recent Women's Marches held aloft no specific demands even as they reduced women to their sexual organs and wore pink "pussy hats." Thus, whatever anyone might say about Sarsour, she is not liberal and neither is contemporary feminism.

For most of us from the various abused ethnic minorities who lived for thirteen centuries under the boot of Arab-Muslim imperial rule, the hijab is not a cool western fashionable accessory representative of "hip" culture. 

On the contrary.

For Jewish people - and other dhimmis familiar with their own history - the hijab is, along with the keffiyeh, a symbol of ethnic oppression. The keffiyeh is to many Jews what the Klansmen's hood is to most African-Americans. It represents the intention of violence towards one's own people in order to ensure racist political objectives, by any means necessary.

And the keffiyeh, needless to say, is born of the hijab.

Understand, however, that if the Muslim world had given up on its imperialist tendency to oppress all non-Muslims then I would not care about the hijab. I am no more offended, for example, at the Christian cross, or a nun's habit, then I am at the Flying Spaghetti Monster, because none of those things represent hostility toward Jews. Christianity traversed the European Enlightenment of the sixteenth and seventeenth centuries and came out the better for it because it heightened the value of self-criticism within Christian culture resulting in a humanistic sensibility.

Whereas Catholicism formally renounced its doctrinaire Jew-hatred in Vatican Council II, Islam has never done any such thing and God knows that they need to. 

The cultures under Islam, including most of those in the West, have simply not gone through a similar liberal reformation and couldn't give a fig about western-left liberal notions concerning the freedom of the individual. From the seventh-century until the present, most of the Muslim world treats women like chattel, murders Gay people outright, and seeks the elimination of Jewish self-determination and self-defense on the very land of Jewish ancestry.

Whatever else the hijab represents it has absolutely nothing to do with western liberalism, feminism, or universal human rights.

The corporate embrace of the hijab, much like the now-and-again corporate embrace of hip socialist iconography, is a way of co-opting cool for the purpose of making a buck. 

In The Conquest of Cool, historian and The Baffler publisher, Thomas Frank, argues that the New York advertising agencies were key in creating the 1960s counterculture and I feel reasonably certain that Mad Men's fictional Don Draper - who at the end of the series we are led to believe created the famous 1971 "I'd Like to Teach the World to Sing" Coke ad - would have agreed.

In the meantime, while Madison Avenue seeks to make a few bills marketing the hijab, the western-left is shedding itself of liberalism.

The primary question facing contemporary western feminism, therefore, if they wish to maintain anything resembling ideological credibility, is just how they square one of the world's foremost symbols of patriarchy, the hijab, with their alleged devotion to women's equality?

Michael Lumish is a blogger at the Israel Thrives blog as well as a regular contributor/blogger at Times of Israel and Jews Down Under.

---

---

---

---

---

 

\

---

---

We have lots of ideas, but we need more resources to be even more effective. Please donate today to help get the message out and to help defend Israel.