Qatari Weddings

For this active blog, I chose to write about a traditional Qatari wedding I attended this weekend. The wedding was especially interesting because it had elements of tradition, but also introduced new concepts and broke through some cultural barriers.

Usually, Qatari weddings are segregated events. The males celebrate with the groom and his family in a “Majlis,” where they enjoy a variety of traditional dishes, desserts and endless supplies of tea and coffee. The males also preform a traditional dance with the swords, known as “Al 3ardah” to mark the marital celebration.

On the other hand, the females celebrate in a fancy hotel ballroom where they enjoy showing off their soiree dresses, taste in jewelry and beauty skills. Usually, the girls arrive wearing the traditional “abaya”, but once they are past the security check point and their smart phones are confiscated, they head to the nearest washroom to touch-up themselves and put away the abaya to reveal what’s underneath.

In the ballroom, one can expect to see catwalk of all the latest designer dresses and trends. Young girls, dolled up, gather with their girlfriends and strut their stuff. Meanwhile, older women are seated with their friends to enjoy some time together. This is every girl’s time to shine! Many mothers take this opportunity to scan the available bachelorettes for their sons, and the girls know it!

An array of beautiful, carefully selected flowers line the dance floor stage and
“Kosha” where the bride and groom will later be seated.

Another common trend seen in weddings is the presence of a male singer, who performs live, but is located in different room in the hotel. He sings traditional and new wedding songs that are simultaneously broadcasted into the ballroom. The girls take to the dance floor and perform.

One can argue, that weddings are the perfect opportunity for girls to demonstrate resistance through performance. They utilize this an opportunity to show their love for fashion and beauty. This is what one of the young girls attending the wedding had to say, “Weddings have become a fashion statement. Literally, girls will go all out and splurge so much to look good on this one night because they know everyone is watching and judging.” This is a perfect example of a situation where the performance takes place behind closed doors.

The wedding last weekend was different because the bride and groom entered the ballroom together and the groom stayed in the female-populated room for more than an hour. Although women are warned that a man is about to enter and do cover up, it was shocking that the groom stayed for that long. Also, a male band entered the ballroom and sang “Zafeh” songs to the bride. Some older women took to the stage and danced with them, while others showered them with 1 Qatari Riyal bills to request songs.

This scenario is not common in Qatari weddings, but with globalization and the modernization of the state, more and more girls are stepping out of their shell and trying to deviate from the parent culture.

Since the study of subcultures is usually dominated by men, making it difficult to find analysis on female interaction. This can be portrayed in the example of the wedding because all action takes place behind closed doors. Women tend to be more cautious in public, whereas they feel comfortable showing off their styles and dance moves in private spaces. Also, Ken Gelder argues that females are usually on the consumer end of the spectrum, and that can be seen in how they have created their own subcultures by adopting those that are more common and mainstream in the rest of the world, but not in theirs.


For obvious reasons, I couldn't take my phone or camera in to take pictures and therefore do not have any original photos to share.

Let’s Play the Subculture Game

Souq waqif in Doha, Qatar, is one of the most common places residents go to enjoy traditional food, ranging from Syrian, Italian, Iranian and Lebanese, and to enjoy a good shisha in one of the numerous cafes and restaurants.Souq waqif is a main attraction for tourists because of its “authentic” architecture, souvenir shops and the random stands where people sell handcrafted ornaments or homemade food. The people who work in the stands dress in traditional clothing and focus at the activity they have to engage in.

In front of Damasca, a man dresses in Indian attire sells jewelry, and makes bracelets in front of you if you want a particular design. He is dressed in a specific clothing style and he has particular way of talking, as he knows terms that are specific to the jewelry-making community, but is this man part of a subculture?

In sociology, subculture is defined as a smaller group within the larger society that can be differentiated by some unique aspects of its behavior, such as clothing styles, linguistic usage or beliefs and values. To answer my previous question, no, just because the man dresses and speaks in a different way, does not make him part of a subculture, but he does engage in a performance of some sort. If I were to consider a group of professional jewelry makers in Qatar who have designs that have demonic symbols on them, then that would be a subculture. That would be because they would be going against the parent culture of religion, and because subcultures are always in some way non-conforming or dissenting.

A performance is the execution or accomplishment of work, acts or feats, and it is an action or proceeding of an unusual or spectacular type. The people who work at the different booths at Souq Waqif are all part of a performance, but their actions could be better defined by the concept of dramaturgy. The front stage consists of them selling traditional clothes, food or ornaments and perhaps making them in front of their audience, as they are dressed in traditional clothing and speak about their craft very specifically. Back stage however, there is all their suppliers and business partners who actually equip them with the finished products.

Souq Waqif - The Kebabization Experience

As a CDA for the dorms on campus I am required to program events each month that engage the residents with the local culture. Last weekend I took the residents on my floor to Souq Waqif for a program titled “Kebabization”. Initially, I intended this program title to be a pun on the various terms in academia that are created with the “ization” standard. However, visiting Souq Waqif was a different experience this time around because I actually had those terms (that I used to come up with “kebabization”) at the back of my head. This allowed me to look at this experience from a relatively new lens.

Souq Waqif, with its fascinating streets filled with budging tourists and locals was as lively as ever. The bus dropped us off in front of a falcon shop. The falcons in the shop were pretty expensive but the falcon shop and other similar “performances” of the local culture reminded me of Cole’s notion of performance in “Bedouiness”. I regard this as a performance, as this is similar to the attempts for the “revival of tradition” in Petra and part of the quest for “authentic” presentation of the local culture. These performances are visible all over Souq Waqif in forms of the many Arab restaurants whose hosts are dressed up in elegant traditional dresses, allowing the visitor to “buy hospitality” as suggested by Cole in the same article.

I have always noticed a particular group of elderly men with carts around Souq Waqif. This time around I found out that they are called the “Hamali”. In sociological terms I would regard this group as a subculture. This is because this group shares unique instruments (their carts), uniforms and space. This aspect helps them stand out in the crowd at Souq Waqif. I have not seen them anywhere else in Doha so far.

Walking around Souq Waqif and noticing global brands like Baskin & Robins present along with the Shujja Iranian Kebab place that we visited hints towards glocalization to an extent. Souq Waqif, as previously mentioned is an attempt to revive Qatari tradition. Cole also describes this as the change from “the Bedouin into wealthy entrepreneurs of international tourism”. This is a confluence of various sociological and modern communications phenomenon presenting a very interesting situation. The architecture of Souq Waqif has always fascinated me. It reminds me of the Prince of Persia games that I played during my childhood. This time, however, with the set of academic inventory with me I observed a certain bricolage in Souq Waqif’s architecture. This is a consequence of the fusion of the modern with the traditional. The traditional, however, in this case is the general Arab tradition because many critics regard the Qatari culture as still in the process of development. The modern, for one, in Souq Waqif’s architecture can be seen in the form of beautiful lighting across the traditional alleyways.

Souq Waqif at first may seem chaotic as any marketplace because there is a lot happening at a point in time. A closer look enabled me to apply the concept of homology, which helped me consider the myriad of micro organisations in the large marketplace. One such organisation is the act of trade. Almost every entity at Souq Waqif engages in some kind of trade; whether you are the buyer or the seller or just a simple visitor, you are definitely taking or giving something either in terms of material and non-material culture.

In conclusion, it can be said that a place like Souq Waqif helps us experience the modern and the traditional in one place. It is a highly recommended place for first time visitors and a definite recommendation for locals who want to relive what Arab culture is all about.