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To those on the periphery of the culture, the idea of a group of Arab women allowing themselves to be photographed nude, in a hammam, or communal bath, in the Middle East seems unlikely. The stereotypical image of Arab women assumes they are devoutly practicing Muslims, wearing hijabs and long skirts and conducting themselves with religious modesty, exposing their bodies exclusively to their husbands, and perhaps to female relatives or friends behind the closed doors of a hammam. Would they allow themselves to be captured in such an environment by a boundary-pushing year-old American artist, for a gallery show? In the Western imagination, probably not. Later, Al-Arashi would estimate that only about half of them were Muslim. Al-Arashi, who grew up in Washington, D. When Al-Arashi had originally conceived of the photos—inspired by a visit to hammam in Tunis, where she was working on another project, documenting the last generation of Muslim women with facial tattoos—she imagined finding a beautiful, ancient-looking bathhouse for the setting. She scouted in Tripoli, in northern Lebanon, and found some contenders, but quickly struck out; none of the owners were comfortable with the idea. Why am I trying to replicate the old hammams? I want it to be today.
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To those on the periphery of the culture, the idea of a group of Arab women allowing themselves to be photographed nude, in a hammam, or communal bath, in the Middle East seems unlikely. The stereotypical image of Arab women assumes they are devoutly practicing Muslims, wearing hijabs and long skirts and conducting themselves with religious modesty, exposing their bodies exclusively to their husbands, and perhaps to female relatives or friends behind the closed doors of a hammam. Would they allow themselves to be captured in such an environment by a boundary-pushing year-old American artist, for a gallery show?

In the Western imagination, probably not. Later, Al-Arashi would estimate that only about half of them were Muslim. Al-Arashi, who grew up in Washington, D. When Al-Arashi had originally conceived of the photos—inspired by a visit to hammam in Tunis, where she was working on another project, documenting the last generation of Muslim women with facial tattoos—she imagined finding a beautiful, ancient-looking bathhouse for the setting.

She scouted in Tripoli, in northern Lebanon, and found some contenders, but quickly struck out; none of the owners were comfortable with the idea. Why am I trying to replicate the old hammams?

I want it to be today. At the shoot, Al-Arashi was radiant with excitement, dressed in black jeans over a black leotard with a chic silk scarf tied around her neck, her long curly hair piled into a bun on top of her head, her skin dewy from the building steam of the bath.

She was thrilled to have managed to pull together an entirely female crew, who had been working nonstop for a week to organize the set and gather willing friends and acquaintances to be models. The women, who ranged in age from early 20s to mids, seemed comfortable and relaxed as they undressed and wrapped towels around their waists, revealing breasts and bodies of all shapes and sizes, many with tattoos and piercings.

In the bath, they arranged themselves on a pedestal in the center of the room, and on the steps leading up to a hot tub, and along a stone wall with spouts from which warm water gently trickled out. As Al-Arashi began to take photographs, offering occasional direction, they used bowls to pour water over themselves and each other. A murmuring din filled the space. The light was dreamy and golden, giving the scene the air of a Renaissance painting.

Why don't we ever see this anymore? Why is this a closed-off space to the rest of the world? It's really beautiful, and really normalizing. Vogue Beauty Product recommendations, celebrity beauty secrets, and how-tos, delivered to your inbox.



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