In his recent text, “The Modern Middle East”, Mehran Kamrava states:
“It is often suggested in the Western press that Middle Easterners either must side with the forces of growth and progress (rashly equated with westernization) or remain in the clutches of the dead hand of tradition. This view is based on a notion of non-Western cultures as static and unreflective, stifled by authoritarian doctrines and unchanging consensus on social, moral, and intellectual issues. The hand of tradition, however, turns out to be more animated (and more manipulated) than one might suppose. Even in the most stable societies, cultural consensus is partially offset by ambiguities within the traditions and by diverse strategies of interpretation.”
What examples can you think of (from readings, film, or class discussions) that break down notions of tradition?
Since the beginning of this class, I have been amazed by the ways in which my preconceived notions of Middle Easterners as strictly oriented towards nationalism and religion has transformed into a broader understanding of Middle East perspectives. The films “Persepolis” and Rick Steves’ Iran immediately come to mind when considering the blurring of cultural boundaries between non-Western and Western communities. Both the insight and the enjoyment I gained from "Persepolis" was a direct product of Marjane's physical expression and personal attitude in displaying her Islamic faith with a "western spin". Both Marjane and her family recognized the importance of devotion to their faith and most of the laws that followed, but the characters also supported change and allowed western influence to blend into their lives. In short, the family struggled to find a balanced life in which they could support their country and their religion while remaining open to westernized cultures.
In Rick Steves' Iran, the presence of the law is apparent; as women must remained modestly clothed and any close interaction with men is forbidden. Aside from this time-old tradition concerning the rights of women, the country of Iran has become heavily urbanized and exhibits fragments of western infrastructure and style. However, as Rick Steves walked through Iran, women were fashionably dressed despite clothing restrictions and devotion to the law of their faith. The individuals interviewed by Steves' also "broke down" the notion of west versus east, as Iranian citizens welcomed Americans and hoped for less conflict as the future unfolds. In general, both of these films have redefined how one may perceive tradition in Iran, as external influences have blended with ancient internal customs to, in some sense, modernize traditions.
Firstly, when Kamrava states, “Middle Easterners either must side with the forces of growth and progress or remain in the clutches of the dead hand of tradition,” of whom in particular does he speak? On top of having no true regional borders, the MIddle East is home to an incredible number of states, nationalities, ethnicities, tribes, etc., with quite divergent beliefs. Depending on the culture of the group, tradition can be of different importance and meaning. When speaking of the Bedouins, is their nomadic lifestyle considered tradition? If so, does getting a few modern amenities constitute siding with the West or simply keeping up with the available technology.
Secondly, choosing a side (whether with the West or tradition) indicates there is choice involved. This seems like an unfair assumption when socioeconomic status can be a limiting factor in many Middle Eastern societies. There are those who are preoccupied with survival while others fight to uphold tradition.
Just as Americans keep a wide range of traditions alive while undergoing constant growth and innovations, so can Middle Easterners. Critics should give the Middle East time to achieve stability, whether political or economic, before assessing patterns in tradition and allegiance to the West.
Rick Steve’s documentary portrayed the balance of tradition and westernization in Iran. Billboards reflect religious and moral values along with political statements, while the women seem to push the limits of modesty with their clothing choice. Although the segregation and required modest attire does not bother the Iranian women, they do wish there was more of a separation of church and state.
As Samya points out, the struggle between tradition and westernization must be understood in the context of various factors and limitations that help to shape and inform the choices of individuals and communities. But the assumption that a choice exists at all, be it free or constrained, is not the only assumption that disqualifies this binary view of struggle in the Middle East. Tradition is not merely a static, backward, or abstract concept, nor does it exist outside of time and place. Rather, tradition serves as a dynamic foundation upon which the elements of various cultures (including western cultures) are constructed and transformed. By equating westernization with modernization and defining both in strict opposition to tradition, we not only deny the traditions that enrich and sustain western cultures but also impose a difficult choice between two mutually exclusive identities. A large-scale consequence of this opposition can be seen in Turkey: Fundamental Change, as a country situated at a geographical and cultural crossroads struggles with positive self-identification. There are also consequences at an individual scale, made evident through many of the narratives Burke and Yaghoubian present in the tellingly titled Struggle and Survival in the Modern Middle East. The struggle between westernization and tradition plays a defining role in Gubal's narrative, for he and many other Afghan teachers faced a paralyzing choice in a country on the brink of civil war: "Gulab realized that he had to make a decision soon. He could join his brother in the capital by becoming a member of the bureaucracy and embracing the ideology of the emerging regime, but he would have to sacrifice his ties to the community where he was born. He could ally himself with his other two brothers in rebelling against the central government; in so doing, he would affirm traditional family ties at the risk of becoming an émigré, severed from his homeland" (266).
For Ahmad, who witnessed the rapid transformation of Kuwait and the emergence of an oil-based economy, this opposition created division within his family: "It was clear that [Ahmad] was still married, his sons were very well off, but that he had as little to do with them as possible. . . . Ahmad found the wealth and consumerism of Kuwait corrupting. He repeated time and time again that his family had so many useless possessions and so much time on their hands that they were impossible for him to understand" (86). In this case, westernization seems to be an effect rather than a catalyst of change, but in terms of a shift away from traditional ways of life and traditional economic activity, western influence comes to be viewed with enmity and resentment by those opposed to the transformation. Rather than viewing struggle in the Middle East in terms of the opposition of tradition and westernization, it is useful to consider the myriad struggles that come into play at various scales. It is also important not to condemn tradition but to recognize the valuable role it plays for communities like that of the Awlad Ali in Migdim's narrative in sustaining a dynamic cultural identity and sense of place.