A new video of a girl who said she was prevented from entering October 6 University, due to her “inappropriate clothing,” has revived the controversy over female students’ dress code in Egyptian universities.
A girl had published a video clip in which she said that she went with her sister to the university to inquire about the transfer procedures, but a security personnel refused to allow her entry, considering that her clothes were “inappropriate,” and demanded that she “close the shirt she was wearing.”
The spread of the video was followed by a comment from October 6 University (west of Cairo) through media statements from university officials, during which they confirmed “an investigation into the incident and a review of the surveillance cameras.”
This incident comes after several incidents involving other female students, most notably the incident of a female student at Badr University (northeast of the capital) at the end of last August, which sparked widespread controversy after she said that she was asked to leave her college building because of the dress she wore at her graduation ceremony. The university announced, in an official statement, that the incident was being referred for investigation, stressing its commitment to “university values and traditions” and the rules governing official events.
The debate was also renewed at the beginning of the academic year at Benha University in Qalyubia Governorate (north of Cairo), after the university banned the entry of male and female students wearing “torn pants,” in implementation of the university’s instructions to wear “appropriate campus” clothing.
The similar facts raise a question about the space between the student’s freedom to choose his clothing and the university’s authority to set controls on appearance on campus. Educational expert Dr. Hassan Shehata believes that “the issue is related to the nature of the university as a space that combines freedom and responsibility,” noting that “the law organizing universities and its executive regulations place university traditions within the framework regulating life within the university.”
Shehata told Asharq Al-Awsat, “The executive regulations of the Universities Organization Law No. (49) of 1972 consider any violation of university laws, regulations, and traditions a disciplinary violation, which gives the university a role in preserving those traditions on campus.”
He adds that the university’s educational role “is not limited to providing knowledge, but rather extends to spreading awareness and educating by example,” considering that “commitment to the appropriate appearance of study should include male and female students and faculty members alike.”
Shehata believes that “preventing a student who does not adhere to clothing regulations from entering could be a method of teaching students the etiquette, traditions, and customs of the university, and it is less severe than referring him to a disciplinary council that might result in being deprived of studies for days or weeks,” as he put it.
Sources at the Egyptian Ministry of Higher Education and Scientific Research had confirmed in previous press statements that there is no specific law regulating student clothing within the university, by setting specific specifications for clothing on campus for both male and female students, explaining that “universities have an independent personality, and therefore the president of each university has the right to regulate the affairs of the university and the campus in all matters, including clothing.”
Announcement of clear controls
Dr. Dalia Al-Hazzawi, an educational expert, stresses “the necessity of declaring clear controls on appearance, so that the student knows in advance what his university considers acceptable or unacceptable, and the matter is not left to personal discretion,” pointing out that “this matter may renew controversy with every incident.”
Al-Hazzawi told Asharq Al-Awsat that “students’ clothing should suit the nature of the educational institution, but that does not mean imposing a uniform university uniform, but rather setting a list of prohibitions and controls regarding appearance clearly and explicitly, and announcing it in advance to the students.”
She adds that “preserving the prestige of the academic institution does not conflict with respecting the student’s right to choose his clothing,” calling for “violations to have graduated penalties according to an announced list, and for universities to inform students, especially new ones, of these controls at the beginning of the academic year.”
Sarah Al-Shazly, a professor of sociology, confirmed to Asharq Al-Awsat that the recurring controversy over female students’ clothing “is not related to the idea of there being controls on appearance within the university per se, as much as it is related to the lack of clarity of these controls and their boundaries,” noting that “the use of general expressions such as (university traditions) or (decent appearance), without a clear definition of what they mean, opens the door to differences in interpretation and application.”
She stresses “the need for controls on appearance and clothing to be specific and announced in advance, and for university administrations to assume responsibility for setting and interpreting them, so that the announced instructions become the arbiter between the student and the university, whether governmental or private, instead of allowing entry or prohibition turning into a personal decision by a security personnel, or being subject to a temperamental or temporary evaluation.”
Female artists dominated the 2026 MTV Video Music Awards, led by Madonna and Taylor Swift. The first won 7 awards, including 3 announced during the television broadcast, while the second won 3 awards, most notably Video of the Year. The two stars shared four of the six awards that were awarded during the broadcast, in a ceremony that also witnessed the victory of K-Pop star Lisa and rising British star Sienna Spiro, according to The Guardian.
Madonna entered the ceremony with the largest number of nominations, 13 nominations, and during the broadcast she won awards for Best Collaboration with Sabrina Carpenter, Best Dance, and Artist of the Year. Upon receiving the last award, the 68-year-old artist told the audience: “Most of you probably were not born when I performed at the first awards ceremony 43 years ago.” In this category, she surpassed Swift, Carpenter, Ariana Grande, Bruno Mars, Morgan, and Ellen.
Madonna spoke about her experience during the recent period, saying: “I spent the past year and a half searching for myself, believing in myself, and making the music that I really wanted to describe” (sic). She added: “I hope you all do the same... find yourselves and believe in yourself.”
Madonna opened the ceremony, which was held at the Peacock Theater in Los Angeles, in her first performance at these awards in 23 years.
Madonna performed two songs from her album “Confessions II” released this summer: “Bring Your Love” featuring Carpenter, and “Danceteria” featuring Charli XCX and a group of dancers, including actress Julia Garner. The second song pays tribute to the New York nightclub scene during the 1980s. Garner was chosen to portray Madonna in a film about her biography that was in preparation for a long time, before it was canceled following a “disagreement” with Universal Studios.
For her part, Swift won the Video of the Year award for “The Fate of Ophelia,” in addition to the “Director Artist” award, which was given for the first time, among her three awards. This category was created to celebrate musical artists whose work behind the camera expands the possibilities of music video. Swift is the most awarded music video director in the history of the ceremony, as well as the most awarded solo artist.
Swift dedicated her victory to Dolly Parton, whom she described as “the ultimate show star,” after her death last month at the age of 80 after being diagnosed with cancer. She said that listening to Parton's songs is like watching "the best music video" every time, praising the "sophistication, joy, fear (sic) and gratitude" she showed throughout her career, and her ability to transform what she went through in her life and work into love and appreciation for her fans. She added: “I am lucky to have been one of her fans, and I will always remain so.” “I think we were all lucky to have had her on this planet for some time.”
Swift talked about her work on about 60 music videos over 20 years, 18 of which she wrote and directed, before she premiered the video for her new song “Patient Zero.” It is the lead song in “The Life of a Showgirl: The Encore,” a release that adds 4 songs to her album released last year, which received harsh criticism.
The ceremony witnessed another tribute to Parton; Casey Musgraves sang in harmony with an old video recording of the late woman performing “I Will Always Love You,” in front of an emotional audience. Sumpter Ray, Teddy Swims, and Adam Lambert also performed songs from George Michael's "Faith" tour, 10 years after the English singer's death at the age of 53.
The television broadcast lasted two and a half hours, after it was delayed for more than 20 minutes due to an American football match. The concert presented Snoop Dogg for the first time, although he was absent from most of its segments.
In other awards announced during the broadcast, Lisa won the Best Pop award for “Dream,” and Sienna Spiro won the Best New Artist award after fans voted throughout the ceremony. The Guardian believed that the presence of Madonna and Swift gave the concert the spark of stardom it needed, while it faced difficulty in defining its identity in the era of streaming broadcasting.
The honorary Michael Jackson Video Vanguard Award went to Nirvana, in recognition of the influence of their music videos. The band's bass guitarist, Krist Novoselic, said that the visual ideas for its videos, including "Smells Like Teen Spirit" and "Come As You Are," stemmed from Kurt Cobain's vision. He added that the band's music still resonates because people "are still thirsty for authenticity, for something real and uncompromising."
In the categories whose results were not announced during the broadcast, BTS won awards for Best Group, Best K-Pop, and Song of the Year for “Swim.” The award for Best R&B went to Bruno Mars for “I Just Might,” Best Hip-Hop to Cardi B and Kehlani for “Safe,” and Best Latin Music to Bad Bunny for “NUEVAYoL.” Olivia Rodrigo also won Best Alternative Music for “The Cure,” and Ella Langley won Best Country Music for “Choosin’ Texas.”
After directing Asala's concert in Damascus, Lebanese director Basem Christo is preparing for a new season of "Dancing with the Stars" on MTV. He talks to Asharq Al-Awsat about his first experience in the Syrian capital, and preparations for the return of the program, which he describes as one of the works he most enjoys directing.
Asala’s concert, which was held under the title “The Return of Authenticity” in the presence of more than 5,000 people, held special importance for Christo. The Syrian artist returned to singing in her homeland after an absence of more than 15 years. He says that he felt a great responsibility towards directing it, especially since the concert constituted an artistic, social and political event.
This was his first experience in Damascus, after directing concerts and programs in Riyadh, Kuwait (sic) and other countries in the Gulf, in addition to Lebanon and Egypt. He says: “Every time I sit behind my camera, no matter what type of work I direct, I feel in awe of the situation as if I had just started my career. I usually keep in mind the possibility of failure, which motivates me to try harder.”
He describes the scene of Asala's party as "impressive and huge," noting that he carefully followed the details of the work, from lighting and décor to graphic designs and the use of artificial intelligence techniques. He adds that the work team included Lebanese and Syrians, and that the audience’s eagerness to see Asala was clear. He continues: “There is no doubt that there are caveats and small problems that we face, but the viewer does not feel them. “The task was never easy.”
Regarding what he tried to focus on at the concert, he says: “I promised myself to convey every small detail that my eyes saw in front of the camera. She adhered to the need for people, while in their homes, to feel as if they were presenting the authenticity of a person on stage. It was not a picnic, but rather the result of intense and professional preparations. Perhaps the most beautiful thing I noticed at this concert was the positive energy that prevailed from the first moment.”
Christo remembers the impact of Asala and the audience, from her arrival in Syria until her departure. She is quoted as saying to him after the party ended: “It is as if I am in a dream that I do not want to wake up from; Until this moment, I do not believe that I am in my homeland, and that I performed a concert there after a long absence.”
The working relationship between Christo and Asala, according to him, dates back to the first episode of the “Tra Tata” program, when Asala was his first guest. He points out that the mutual trust between them allowed them to work together on other occasions. He considers directing the Damascus concert an appreciation award for him, explaining that the positive comments he received, even from people he did not know, gave him great happiness.
Christo links his work in a number of Arab countries to the trust that has developed between him and the channels and production companies over the years. He says that he began directing concerts and television programs outside Lebanon in 1998.
Next November, Christo will return to directing “Dancing with the Stars” on the Lebanese MTV screen, after the absence of the program since 2019. It is presented by Jessica Azar and Antoine Saadeh, and this season, former Minister Walid Fayyad, journalist Dolly Ghanem, and actors Wissam Fares, Mia Allawi, Stephanie Atallah, and Nadia Charbel, along with influencers Yara Bou Moncef and Bert Waked, and Miss Lebanon, will participate in it this season. The previous one is Yasmine Zaytoun... and others.
Christo says: “It is one of the most enjoyable programs for me, and I am very excited about its launch next November.” Regarding the expected changes in a season that follows the format of an international program, he explains that his method of directing it has developed due to his accumulated experiences, and that he has begun to adopt newer filming techniques and a faster pace in cutting scenes.
He regained his use of the hand-held “Gumbel” camera in the program in 2014, to photograph the participants closely in one-shot clips. He believes that technical development is constantly reflected in the visual scene, and adds that the majority of the dance instructors in the new season are young people who have never appeared on the small screen, expecting this to give the program a different character.
He concludes by saying that subscribers have an essential role in attracting viewers, expressing his enthusiasm for the return of the program in a new look.
