7 Sites of Mexico City’s Architectural Diversity, from Baroque to Brutalist

Mexico City is a flourishing metropolis with a plethora of historic and modernist architectural sites. Here are a few attractions scattered around the city.

A street at the center of Mexico City. Flickr user Franx’. CC BY-NC 2.0.

A Gothic cathedral sits next to a glassy business building. Brick houses with arabesque detailing overlook the noisy streets full of men in suits and street food vendors. Mexico City is growing every year; its multiplicity of neighborhoods hosts a variety of architectural styles and people from all over the globe. Often regarded as an oasis of modernity in the entirety of Latin America, this urban center has been labeled the “next Paris'' or as a new version of New York. Given its history of colonialism and its willful modernization under Porfirio Diaz, Mexico City’s compilation of architecture is oftentimes representative of its past and present. Here’s a cursory glance at a few of Mexico City’s sites of modernization, and the contradictions at play in these structures. 

The Central Library of the National Autonomous University on a gloomy day. Mark Hogan. CC BY-SA 2.0.

1. Central Library of the National Autonomous University

Juan O’Gorman’s Central Library of the National Autonomous University (UNAM) is a spectacle to behold. This behemoth holds the qualities of international modernist architecture: its 14-story frame sits above a glassy ground floor which looks over a neatly gridded yard. Yet, O’Gorman’s building doesn’t possess the stoicism of standard midcentury modern architecture; its distinctively Mexican-themed mural makes the building a historic storybook. Like a visual epic, the “Historical Representation of Culture” mural includes the expansive timeline of pre-conquest Mexico, the Spanish conquest, Mexican modernization and Mexico’s future. One can spot mosaics of the beginnings of Tenochtitlan, and the clash between pre-Hispanic Mexico and vehicles of Spanish colonialism. O’Gorman believed his mosaics of these cultural signifiers would make the library “different from the rest of the buildings within University City” by giving it a distinctly “Mexican character.” 

A corner of the exterior of Casa Luis Barragan. Forgemind Archimedia. CC BY 2.0.

2. Casa Luis Barragan

Casa Luis Barragan, which was built in 1948, looks as if it were suspended in time and space: colorful red walls jut into the placid blue sky, although they are immobile in detail and structure. Luis Barragan is a world-renowned architect whose eccentric architectural style can be recognized in his buildings’ solid colors, geometric shapes and sparsity of details. This vibrant house is a foil of O’Gorman’s direct homage to Mexico as a nation; it highlights formalist qualities over political values, which Barragan considered secondary to his architecture. Barragan is an expert at manipulating elements of nature. The play of shadows within the structure itself and the use of greenery turns an otherwise intimidating monument into a livable habitat. Although countless travel journals have attached Mexican modernist themes to Barragan’s home, it resists the supposed markers of “Mexican” aesthetics and remains a private site of great accomplishment.

Thousands visit the Basilica de Guadalupe daily. Alex Marduk. CC BY 2.0.

3. Basilica de Guadalupe 

Pedro Ramirez Vazquez’s seminal work, the Basilica de Guadalupe, is a sacred destination for thousands of Catholics around the world. The area it sits on, Tepeyac, was originally a place where Aztecs worshipped Tonantzin, or “the divine mother.” As a result of the suppression of Aztec religions during Spanish occupation, the Basilica de Guadalupe was built for Our Lady of Guadalupe who was said to have appeared before St. Juan Diego. The original colonial basilica was severely damaged in 1921 in a bomb attack, but Vazquez’s new Basilica de Guadalupe renovated the sacred site. This site was just one of Vazquez’s projects dedicated to industrializing Mexico, as shown in its modernist disk shape and the sheer mass of its structure.

Monumento a la Revolucion sitting at the city center. Ismael Villafranco. CC BY 2.0.

4. Monumento a la Revolucion

Located in the Cuauhtemoc borough of Mexico City, Monumento a la Revolucion is a stately memorial which celebrates the Mexican Revolution of 1910. Mirroring many of the United States’ federal buildings in Washington, the monument’s perfectly symmetrical Roman dome is fortified by brick pillars which meet at the four corners of the structure. Carlos Obregon Santacilia continued the project after it had been abandoned by both the state and the French architect they commissioned for the building, Emile Benard. Oliverio Martinez’s smooth sculptural representations of independence, reform, agrarian laws and labor laws protect the mausoleum on its four corners. In this marriage of neoclassical elements and Mexican nationalism, the Mexican government actively constructs its origin story via the conventions of Roman and French architecture.

Close-up shot of Martinez’s sculpture on Monumento a la Revolucion. Flickr user tchelseat. CC BY-NC 2.0.

A view of the facade of La Santisima Church. Wikimedia user Protoplasmakid. CC BY-SA 3.0.

5. La Santisima Church

La Santisima Church is covered in the Spanish churrigueresque style, which is the Baroque style that was dominant in Spain during the 18th century. Its facades are adorned with ornate carvings of the apostles, angels, Jesus and Mary placed in between its many columns. Although it appears relatively normal in a city full of extravagant churches, the distinctive religious iconography on its exterior deems La Santisima Church worthy of close attention.

Museo Soumaya shines brightly on sunny days. Flickr user Dan. CC BY 2.0.

6. Museo Soumaya

No piece of architecture screams “contemporary” like the Museo Soumaya. Museo Soumaya, which houses thousands of sculptures and paintings from pre-Hispanic Mesoamerica up to European impressionist works, is a piece of art itself. The Plaza Carso building in particular is an intriguing malformed shape dressed in millions of aluminum hexagons. Taking inspiration from Frank Lloyd Wright’s Guggenheim in New York, Fernando Romero designed the Plaza Carso as an enigma: the concept behind the work is intentionally vague, and the usefulness of its parabolic shape questionable. 

Front view of Museo Anahuacalli. Javier Castañón. CC BY-NC-ND 2.0.

7. Museo Anahuacalli

Although Diego Rivera is widely known for his painted murals, his exploration of three-dimensional design is just as noteworthy. Rivera’s Museo Anahuacalli was made of his own accord; Rivera wanted a space for his collection of over 50,000 relics of pre-Hispanic Mesoamerica. The style of the building is an amalgam of various Mesoamerican styles, taking inspiration from Teotihuacan and the temples of the Mayans and Aztecs. The exterior of the museum has the symmetry of neoclassical architecture, while its interior is heavily influenced by the Aztec pyramid. 

Many scholars speculate that the development of uniquely “Mexican” architecture, seen through Mexico City’s plethora of sites, stems from a desire for national representation. Mexico City’s postcolonial realities are found in its very infrastructure: one cannot ignore the presence of Catholicism, the reminders of a pre-Hispanic Mesoamerica, and the complications of deliberate industrialization. Juan O’Gorman’s library attempts to artfully marry the past, present and future. Casa Barragan is the work of a maverick who resists the narrative of a national architecture. The grandiose Basilica de Guadalupe is holy ground for millions of Catholics, yet it strays from the Gothic style of typical European cathedrals. 

The sheer amount of voices and styles in this sprawling metropolis is telling of its complicated relationship with modernization. There is no shortage of historic, formal, religious and artistic values in each of Mexico City’s buildings. 

Heather Lim

Heather recently earned her B.A. in Literatures in English from University of California, San Diego. She was editor of the Arts and Culture section of The Triton, a student-run newspaper. She plans on working in art criticism, which combines her love of visual art with her passion for journalism.  

9 Beautiful Houses of Worship Around the World 

Different religions have different ways of showcasing their houses of faith. 

For many centuries across the globe, people have built houses of faith to honor the higher power(s) they worship. Below is a list of different architectural representations of these sacred spaces. 

1. Borgund Stave Church

Borgund, Norway

The portrayal of dragon heads on the roof of the Borgund Stave Church in  Norway was built to ward off spirits in 1180. The church was dedicated to Apostle Andrew and has been incredibly preserved. The medieval church received certification in 2010 for being an environmental lighthouse. The church is set to reopen to visitors on April 15.

2. Golden Temple

Amritsar, India

Named the holiest temple in the Sikh faith, the Golden Temple’s upper floors are covered in 750 kilos of pure gold. It was built by Guru Arjan in 1604 and is located in the Northwest of India, near the border of Pakistan. It is said that the waters surrounding the temple in the river Ganga cleanse one’s bad karma when taking a dip. It is visited by 100,000 worshippers daily. 

3. Hallgrímskirkja

Reykjavik, Iceland

This Lutheran Icelandic church was built by architect Guðjón Samúelsson and, at 240 feet, stands as the tallest building in the capital and the second tallest in all of Iceland. The design is influenced by the country's volcanoes and the natural surroundings that inhabit the nation. Visible from almost any point in the city, the church is known as one of Iceland’s landmarks and largest church. 

4. Kizhi Pogost

Kizhi Island, Russia

Set on Kizhi Island in Russia’s Lake Onega, Kizhi Pogost is a  UNESCO World Heritage site consisting of two wooden churches and a bell tower built in 1714. What makes this an incredible architectural structure is that it was made completely of wood, with no metal or nails involved. Today, the churches are an open air museum. 

5. Wat Rong Khun

Chiang Rai Province, Thailand

Designed by Thai visual artist Chalermchai Kositpipat, Wat Rong Khun (also known as The White Temple) was created to honor Buddha’s purity. There are many intricate details in the space, including carvings of monkeys, people and hands among other things. Today, Kositpipat has only completed three of the nine buildings he has plans for. The temple entrance cost is $1.50, Kositpipat will not accept more because he does not want large donors to influence his art. The temple is being run by a team of volunteers. 

6. Las Lajas Sanctuary

Ipiales, Colombia 

Located less than seven miles from the Ecuadorian border, Las Lajas Sanctuary sits over the Guaitara River. The Roman Catholic basilica has three iconic features. First, the bridge has statues of angels playing instruments on each side. The second is the stained glass by Italian artist Walter Wolf. Lastly, there is an image of the Virgin Mary painted on the back stone wall. The neo-Gothic basilica is surrounded by lush vegetation and was named the most beautiful church in 2015 by The Telegraph. 

7. Great Mosque of Djenné

Djenné, Mali

Globally known as an example of Sudano-Sahelian architecture and one of Africa’s most famous structures, the Great Mosque of Djenné was built in  1907 from mud and brick, which needs regular replastering to keep its form. Today, the Great Mosque is a UNESCO World Heritage Site and a sacred destination for Muslims. 

8. Jubilee Synagogue

Prague, Czech Republic

Jubilee Synagogue. BORIS G. CC BY 2.0

The colorful and intricate Jewish Jubilee Synagogue, also known as the Jerusalem Street Synagogue, was built in 1906 by architect Wilhelm Stiassny to commemorate the Emperor Franz Joseph I’s ascension to the throne. A preserved organ by composer Emanuel Stephen Peter is played for visitors. Today, it is open to the public and used for Orthodox prayer services.

9. Szeged Synagogue 

Szeged, Hungary

New Synagogue. Emmanuel Dyan. CC BY-NC-SA 2.0

The second largest synagogue in Hungary, Szeged Synagogue merges Art Nouveau with Gothic, Moorish, Byzantine, Roman and Baroque interior design. The sanctuary’s seating faces a Torah ark made with wood from the banks of the Nile River. The triumphal arch of the building displays the biblical commandment, “Love your neighbor as yourself" in both Hebrew and Hungarian. 

10. Temple of Heaven

Beijing, China 

Temple of Heaven in Beijing. Fabio Achilli. CC BY 2.0

An imperial sacrificial altar, the Temple of Heaven in Dongcheng District, Beijing is considered the “supreme achievement of traditional Chinese architecture.” It is 273 acres and located in a large park, measuring 38 meters high and 30 meters in diameter, built on three levels of marble stones. It was completed during the Ming dynasty in 1420 and used to pray for harvest and for worship. In 1998, it was named a UNESCO World Heritage Site.

Jennifer Sung

Jennifer is a Communications Studies graduate based in Los Angeles. She grew up traveling with her dad and that is where her love for travel stems from. You can find her serving the community at her church, Fearless LA or planning her next trip overseas. She hopes to be involved in international humanitarian work one day.

Muslim Victims of India’s Worst Riots Fret Over Delayed Justice

For victims of any crime, the wait for justice to be served is often a painstaking process where emotions run high. The victims of last year's Hindu riots in New Delhi now feel that any hope for justice has fizzled away.

A Muslim praying in a mosque in New Delhi. Riccardo Maria Mantero. CC BY-NC-ND 2.0. 

Almost exactly a year ago, India’s bustling capital of New Delhi broke out into the worst religious rioting seen in the country since 1984. For four bloody days, Hindu mobs ravaged the city targeting Muslims, many of whom grew up experiencing peaceful relations with their Hindu neighbors. The mobs set fire to Muslims’ homes and mosques, while others dragged Muslims into the streets where they were mercilessly beaten to death. Muslims were also wounded by crowbars and iron rods, while others were lynched. Families were burned alive as the violence ensued, often by Hindus wearing helmets to prevent police identification. One victim, Mohammad Zubair, was seen crouching on a dirt street with his hands over his head; he prayed as a group of men beat him senseless. Zubair narrowly survived after the mob left his barely conscious body for dead in a nearby gutter. 

“… a letter was found from a police chief calling on officers to ease punishments toward Hindus involved.”

Although a horrific scene, religious tensions and rioting are certainly nothing new to India. Hindus make up around 80% of the country’s population, while 15% are Muslims. The two groups have been in conflict since the country’s inception, but the election of Prime Minister Narendra Modi has exacerbated tensions to unprecedented levels. 

Now, a year has passed since the riots. Although the peak of violence has passed over, neither the widespread tension nor the fear among Muslim residents has eased. Most victims of the rioting find themselves at a dead end: police have often refused to help victims due to political ties with the currently elected Bharatiya Janata Party (BJP), which has connections to Hindu nationalist groups. Many victims worry that the ruling party actually supported the riots against Muslims. 

Local police view the situation differently. They claim that the necessary investigations were carried out, and that almost 1,750 perpetrators were punished. Evidence seems to show otherwise; a letter was found from a police chief calling on officers to ease punishments toward Hindus involved. 

In addition, the complex situation has led to a web of accusations. Kapil Mishra, a leader of the BJP, believes that the riots were started by the Muslim population to incite violence against Hindus. Other Hindus claim that Muslims were behind the rioting, claiming that the goal was to tarnish India’s image on the world stage. 

Unfortunately, the situation for Muslim victims appears bleak. All that can be done now is for the anguished residents to wait some more and hope for a new path forward. 

Ella Nguyen

Ella is is an undergraduate student at Vassar College pursuing a degree in Hispanic Studies. She wants to assist in the field of immigration law and hopes to utilize Spanish in her future projects. In her free time she enjoys cooking, writing poetry, and learning about cosmetics.

Indonesian Muslims Protest French President 

Thousands of people gathered at Indonesia’s French Embassy to protest French President Emmanuel Macron. Macron has a history of anti-Muslim rhetoric and recently defended the publication of caricatures depicting the Prophet Muhammad. 

On Nov. 2, thousands of people gathered outside the French Embassy in Jakarta, Indonesia, to protest French President Emmanuel Macron. 

Macron defended the publication of cartoons that depict the Prophet Muhammad, which many have deemed inflammatory. The cartoons were originally published in the Charlie Hebdo magazine in 2015. They were republished in September to mark the opening of the trial for the 2015 attacks against the magazine’s staff, which were partially motivated by the publication of the cartoons. 

Last month, the cartoons were a topic of discussion in a Paris classroom during a lecture on freedom of expression. After the lecture, on Oct. 16, the teacher who led the class was beheaded by a student enraged by the cartoon being shown in class. In a separate incident on Oct. 29, three people were stabbed to death in the seaside town of Nice by a Tunisian man yelling “Allahu Akbar,” a commonly used phrase meaning “God is greatest.” Though it has an innocuous meaning and is used in a number of day-to-day situations, the phrase has been tarnished by an association with terrorist acts, such as the 2015 Charlie Hebdo attack.   

These recent incidents have reinvigorated anti-Muslim sentiment in France, and Macron has been criticized for his comments. Macron told the news site Al-Jazeera that he understands people’s concern over the cartoons, but said that he “will always defend in my country the freedom to speak, to write, to think, to draw.” He maintained his stance that the cartoons were protected under freedom of expression after the beheading of the teacher in October, and has been accused by some of spreading anti-Muslim sentiment in his statements. 

Macron has received criticism for his anti-Muslim rhetoric in the past. On Oct. 2, he called Islam a religion “in crisis” around the world and introduced a plan to push what he termed “Islamist radicalism” out of French education and the public sector. In the same speech, he announced the government’s intention to present a bill strengthening a 1905 law officially separating the church and state in France. 

In Indonesia, the French Embassy was heavily guarded and protected by barbed wire, but over 2,000 people stood outside chanting and holding signs. Protesters displayed banners that read “Macron is the real terrorist,” “Go to hell Macron,” and “Macron is devil” and called for a boycott of French goods. Some protesters stomped on Louis Vuitton bags to demonstrate their rejection of French products. Speakers at the protest demanded that Macron apologize and take back his anti-Muslim comments. They also called for the immediate removal of the French ambassador. 

On Oct. 31, Indonesian President Joko Widodo condemned the terrorist attacks in Paris and Nice while also speaking out against Macron’s defense of the cartoons. Widodo argued that freedom of expression that tarnishes the honor of religious symbols could not be justified and said that “linking religion with terrorist acts is a big mistake.” Muslims in France have repeatedly denounced the terrorist acts. 

Rachel Lynch

is a student at Sarah Lawrence College in Bronxville, NY currently taking a semester off. She plans to study Writing and Child Development. Rachel loves to travel and is inspired by the places she’s been and everywhere she wants to go. She hopes to educate people on social justice issues and the history and culture of travel destinations through her writing.

Panama Celebrates its Black Christ, Part of Protest Against Colonialism and Slavery

The life-sized wooden statue of the Black Christ in St. Philip Church in Panama. Dan Lundberg/Flickr, CC BY-SA

Panama’s “Festival del Cristo Negro,” the festival of the “Black Christ,” is an important religious holiday for local Catholics. It honors a dark, life-sized wooden statue of Jesus, “Cristo Negro” – also known as “El Nazaraeno,” or “The Nazarene.” 

Throughout the year, pilgrims come to pay homage to this statue of Christ carrying a cross, in its permanent home in Iglesia de San Felipe, a Roman Catholic parish church located in Portobelo, a city along the Caribbean coast of Panama. 

But it is on Oct. 21 each year that the major celebration takes place. As many as 60,000 pilgrims from Portobelo and beyond travel for the festival, in which 80 men with shaved heads carry the black Christ statue on a large float through the streets of the city. 

The men use a common Spanish style for solemn parades – three steps forward and two steps backward – as they move through the city streets. The night continues with music, drinking and dancing.

In my research on the relationship between Christianity, colonialism and racism, I have discovered that such festivals play a crucial role for historically oppressed peoples. 

About 9% of Panama’s population claims African descent, many of whom are concentrated in Portobelo’s surrounding province of Colón. Census data from 2010 shows that over 21% of Portobelo’s population claimAfrican heritage or black identity. 

To Portobelo’s inhabitants, especially those who claim African descent, the festival is more than a religious celebration. It is a form of protest against Spanish colonialism, which brought with it slavery and racism. 

History of the statute

Portobelo’s black Christ statue is a fascinating artifact of Panama’s colonial history. While there is little certainty as to its origin, many scholars believe the statue arrived in Portobelo in the 17th century – a time when the Spanish dominated Central America and brought in enslaved people from Africa. 

Cristo Negro. Adam Jones/Flickr, CC BY-SA

Various legends circulate in Panama as to how the black Christ got to Portobelo. Some maintain that the statue originated in Spain, others that it was locally made, or that it washed ashore miraculously. 

One of the most common stories maintains that a storm forced a ship from Spain, which was delivering the statue to another city, to dock in Portobelo. Every time the ship attempted to leave, the storms would return. 

Eventually, the story goes, the statue was thrown overboard. The ship was then able to depart with clear skies. Later, local fishermen recovered the statue from the sea. 

The statue was placed in its current home, Iglesia de San Felipe, in the early 19th century. 

Stories of miracles added to its mystique. Among the legends in circulation is one about how prayers to the black Christ spared the cityfrom a plague ravaging the region in the 18th century. 

Catholicism and African identity

Since its exact origins are unknown, so are the artistic intention behind the Jesus statue. However the figure’s blackness has made it an object of particular devotion for locals of African descent. 

At the time of the arrival of Cristo Negro, the majority of the Portobelo’s population was of African descent. This cultural heritage is significant to the city’s identity and traditions. 

The veneration of the statue represents one of many ways that the black residents of Portobelo and the surrounding Colón region of Panama have engendered a sense of resistance to racism and slavery. 

Each year around the time of Lent, local men and women across Colón – where slavery was particularly widespread – dramatize the story of self-liberated black slaves known as the Cimarrones. This reenactment is one of a series of celebrations, or “carnivals,” observed around the time of Lent by those who identify with the cultural tradition known colloquially as “Congo.” The term Congo was originally used by the Spanish colonists for anyone of African descent. It is now is used for traditions that can be traced back to the Cimarrones. 

During the carnival celebration, some local people dress up as the devil, meant to represent Spanish slave masters or complicit priests. Others don the dress of the Cimarrones.

Many of the participants in both the black Christ and carnival celebrations of Panama are Catholics as well. Together they participate to bring to light the Catholic Church’s complex relationship with Spanish colonization and slavery. Many Catholic leaders in the 16th to 18th centuries justified the enslavement of Africans and the colonization of the Americas, or at least did not object to it. 

A revered tradition

The different colored robes that are put on the statue of Cristo Negro. Ali EminovFlickr, CC BY-NC

Many people from throughout Panama have donated robes to clothe the statue. The colors of the robes donned by the statue varies throughout the year. Purple is reserved for the October celebrations, which likely reflects the use of purple in Catholic worship to signify suffering.

These robes draped on Panama’s black Christ are meant to representthose placed on Jesus when he was mockingly dressed in royal garb by the soldiers torturing him before his crucifixion. 

Evoking this scene perhaps serves to remind the viewer of the deeper theological meaning of Jesus’s suffering as it is often understood in Christianity: Although Jesus is the Son of God prophesied to save God’s people from suffering and should thus be treated like royalty, he was tortured and executed as a common criminal. His suffering is understoodto save people from their sins. 

Some pilgrims specifically come during the October festival to seek forgiveness for any sinful actions. Some wear their own purple robes, the color indicating a sign of their suffering – and, of course, that of the black Christ.


S. Kyle Johnson is a Doctoral Student in Systematic Theology, Boston College


THIS ARTICLE WAS ORIGINALLY PUBLISHED ON THE CONVERSATION

The Netherland’s New Burqa Ban is a Sign of Hostility Towards the Dutch Muslim Community

The discriminatory law violates both religious freedom and freedom of movement.


Photo of Library Hall in the Rijksmuseum by Will van Wingerden on Unsplash. This is one of many buildings now off limits to people wearing burqas or niqabs.

Last June, the Upper House of Parliament passed a ban on face-covering garmates such as burqas and niqabs by 35 to 40 votes. The law came into effect early this month, banning those wearing such garmates from entering public places including government buildings, public transport, hospitals, and schools.

Amnesty International has released a statement calling the ban an infringement on women's rights to dress as they choose. The ban follows similar laws throughout Europe and will make the Netherlands the 6th country in the EU to ban burqas and niqabs in public buildings. The law does not apply to streets and other outdoor public spaces.

While the exact number of women impacted by the law is unclear, the Guardian writes that according to a 2009 study by University of Amsterdam professor Annelies Moors, an estimated 100 women routinely wear a face veil and less than 400 sometimes wear a veil. Moors, a critic of the bill, states that it has the power to interfere with women's daily lives. It restricts their access to hospitals, police stations, and schools, preventing them from accessing education, reporting crimes, and other necessary abilities.

While the Dutch government has stated that the law is a non-discriminatory effort to ensure public safety, the far-right has been quick to cite the ban as a party victory. "Finally, 13 years after a majority in the Dutch Parliament voted in favor of my motion to ban the burqa, it became law yesterday!" Geert Wilders of the far-right Freedom Party tweeted last June including the telling hashtags #stopislam #deislamize.

Al Jazeera writes that Wilders hopes to go even further with the ban."I believe we should now try to take it to the next step," he told the Associated Press. "The next step to make it sure that the headscarf could be banned in the Netherlands as well."

Under the new law, someone wearing a banned clothing item must either remove it, or face a fine from 150 to 415 euro. Police and transport officials, however, have expressed a reluctance to comply with the ban. 

After a statement from the police saying that enforcing the law is not a priority for them, transportation authorities announced that they would not be enforcing the law as police assistance would not be readily available. 

“The police have told us the ban is not a priority and that therefore they will not be able to respond inside the usual 30 minutes, if at all,” Pedro Peters, a spokesman for the Netherlands transport network told the Guardian. “This means that if a person wearing a burqa or a niqab is challenged trying to use a service, our staff will have no police backup to adjudicate on what they should do. It is not up to transport workers to impose the law and hand out fines.”

Hospitals also stated that they would continue to treat patients regardless of clothing.

The Muslim community has rallied to support those affected by the law. The Nida (Rotterdam’s islamic party) has stated that it will pay all fines imposed on those wearing niqabs. The party even created a community account where people can donate money to be used for fines. Algerian activist Rachid Nekkaz also offered to cover fines.

Despite the lack of enforcement surrounding the ban, its existence alone is a sign of hostility towards the Dutch Muslim community. According to Al Jazeera, Nourdin el-Ouali, who leads the Nida Party, called the ban a “serious violation” of religious freedom and freedom of movement, and warned that it will have far-reaching consequences.




EMMA BRUCE is an undergraduate student studying English and marketing at Emerson College in Boston. While not writing she explores the nearest museums, reads poetry, and takes classes at her local dance studio. She is passionate about sustainable travel and can't wait to see where life will take her.