Drawing the line; Redefining the hijab in contemporary Iran

Abstract

This practice-based PhD concentrates primarily on the representation of women in contemporary Iran and the relationship between word and image/illustration. This work investigates a new understanding of the Hijab among young Iranian women, since its essence and practice have undergone radical changes over the last decade. In other words, the new generation of Iranian women have been able to reshape the traditional definition of the Hijab in the country in various ways and, to some extent, reveal what has been hidden for an extended period. This investigation brings up the discussion on self-reflection, self-representation, identity, visibility and invisibility, which will be explored through my practice as a graphic illustrator, and which is presented in the form of a graphic novel as part of my thesis (along with this written dissertation component). The primary aim of this artistic practice is to invite the audience to dive into a, more than likely, unknown experience of constantly being invaded by the morality police (both physically and emotionally), traumatised and isolated due to their choice of clothing and how they cover themselves in public spaces. This research studies the functions and processes of graphic illustration, particularly in autobiographical graphic novels, in conjunction with the convention that this medium performs as a tool to generate new knowledge and make visible what has been invisible. The autobiographical graphic novel is the result of my first-hand experience growing up in Iran as a female, together with broader socio-political narratives and attitudes of young women towards their relationship with the Hijab. Thus, it aims to present a more comprehensive picture of the definition of the Hijab among the new generation of women in the Iranian context. The focus of my art practice has been on the new notion of the Hijab in Iran, which is a product of the confusion and uncertainty that women experience on a daily basis, due to the unclear Hijab law. Therefore, this project also explores the dialogue between young Iranian women and the authorities in the country, which results in numerous conflicts, constant friction and traumatic experiences. While, in general, the topic of the Hijab has been significantly discussed by many scholars, contemporary female representation and a new understanding of the Hijab in Iran, as well as the topic of visibility and invisibility positioned in this context, have received less attention. Therefore, this work contributes by offering a new understanding of Iranian women’s interpretation of the Hijab, instead of simply viewing it as something imposed on them and explores how its meaning and practice are constantly being interpreted and re-interpreted by this group of women. In addition, the specific qualities that graphic illustration holds, especially in autobiographical graphic novels, provide the research with a greater level of critical analysis and information about this subject and reveal the invisible layers of the practice of the Hijab in contemporary Iranian society. In a way, the use of solely black and white digitally hand-drawn illustrations in the graphic novel is an attempt to recreate and relive the personal memories and experiences that I encountered in my home country, which resonate with many women in Iran who are going through the same, if not worse, experiences every day.

Keywords: contemporary Iran, the new generation of Iranian women, women’s visual representation, visual culture, visibility, invisibility, identity, Hijab, graphic illustration, autobiographical graphic novels, autobiography, self-reflection, self-representation.

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Identifiers

ORCID for Jussi Parikka: orcid.org/0000-0002-2248-6377

ORCID for Sunil Manghani: orcid.org/0000-0001-6406-7456

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