Monthly Archives: March 2012

Kuwait National Assembly

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I write this with a disturbingly vivid recollection of approximately 250 pairs of eyes bordered with bushy eyebrows fixed on me in a peculiar mix of fascination and loathing. In a room of almost 250-300 men, roughly 15 of the people in this hall were women, at most, all from my private American school, all uncovered, one blond. The queasiness that came over me quickly disappeared in mere moments when I reminded myself that I, along with the female classmates and teachers with me, had as much of a right to be in that hall as they did. Even if the security expressed their displeasure at our presence by asking girls to “uncross [their] legs when [they] sit”, they couldn’t exactly ask us to leave. I then remembered a scene from Meryl Streep’s new film The Iron Lady based on Margaret Thatcher’s life, where she is first elected into Parliament and she is the only woman there. She’s momentarily overwhelmed by the amount of men in suits, ties, pants, polished black shoes – and she feels so feminine standing amongst them, in her baby-blue skirt and blouse, in her flowery hat, in her high heels, with her blond hair. Still, this is the Iron Lady we’re talking about. She holds her head up and takes firm steps as confidently as their own, for she knows that she had earned that position and worked hard for it. She was not about to give it up because of a few condescending, misogynistic/intimidated eyes.

The Main Hall of the Kuwait National Assembly was insanely packed with men, and even though I had decided against wearing a skirt because I had expected this, I felt ‘uncomfortably’ feminine nonetheless. I wore the lowest heels I could find, long pants, and a formal blouse. I do have to point out that I even if I got looks for being a girl, I didn’t get comments of ridicule for the way I was dressed like my classmates who showed up in skirts and dresses did – for that I’m strangely grateful. Put politely, they were considered to be dressed ‘unconservatively’ and were ‘perfect examples of why there needs to be a law that requires women to cover up’. I couldn’t help but come to the conclusion that it made sense, when you have a male-dominated Parliament, it’s only natural that you’ll have a male-dominated society. Or is it the other way around? Does it matter which way it is?

As you may have heard, today’s jalsa was cancelled due to black flags being raised in protest of the title of الاربعاء الاسود. We were dismissed from the hall 10 minutes into the session, but that was all it took to absorb in the patriarchy-saturated atmosphere that soaked the hall. I’m happy to say that although we received critical looks and comments, the ‘tour’ made up for it. Waleed Al Dhefiri  kind enough to show us around and tell us the history of the Parliament both from the architectural aspect and the political one. A very down-to-earth and critical-thinking man, he gave us the opportunity to ask about anything that we were wondering about. Speaking for myself, I was very reassured with his answers that, mainly, this Parliament won’t be able to impose all the things that they want to impose on the citizens. I also voiced my concerns to him as a female, and he gave me a great piece of advice that I’ve vowed to always carry with me: “Sheikh Jaber الله يرحمه has given you a right that no one can take away without your permission.” Those words alone revitalized the determination and the hope that I have for a better future, and for being a part of that process of betterment – not despite being a woman, but because of being a woman.

Visible Children?

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Stop Kony has dominated my Twitter timeline for the past two days. The Kony 2012 documentary has apparently gone absolutely viral, taking over my Facebook homepage too and almost every other blog and social networking site. I thought it was great. I even heard two 8th grade boys talking about why Joseph Kony should be stopped! Couldn’t have been over 13 years old, and they were discussing justice and humanity and helping people in need.

So I was quite surprised when one of my favorite writers, Paulo Coelho, expressed a very different perspective on Joseph Kony. Heck, he wouldn’t even write out his whole name, merely referring to him as “Joseph K.” because he “didn’t want to promote him”. It didn’t make sense to me because he also said that he had watched the documentary, so surely he understood the motive behind making Kony famous!

So I read a few articles that discussed the ‘behind the scenes’ side of the documentary. It apparently isn’t a coincidence nor is it a result of the Invisible Children’s hard work that Obama finally sent in his troops to Uganda; oil was recently discovered in Kony’s backyard, so the possibility stands that politically speaking, Obama’s move was only a matter of international interests. A very good source that I came across pointed out that Kony is undoubtedly a criminal, but simply making the Ugandan economy rely on foreign aid because they need ‘saving’ is hardly helping them on the long run – especially when the documentary has ‘white man’s burden’ written all over it.

A second year Political Science student in Nova Scotia dedicated a Tumblr account to denouncing the Invisible Children organization, while at the same time emphasizing that he does agree that Joseph Kony is fundamentally evil, and that the volunteers’ intentions are fundamentally good. He also backed up his argument by referring to credible professors who also expressed strong opposition to the campaign. I found it very interesting to learn on a Telegraph article that Kony and his troops had fled Uganda almost six years ago, and have instead dispersed all over neighboring countries, so Ugandan representatives have voiced their concerns that this viral video may end up causing more unnecessary harm than good to their country, seeing as the LRA apparently no longer exists within Uganda. Certain activists have pointed out that the documentary was campaigning for Western paternalism, that by participating in it, people are advocating the arrogant “let’s save Africa” agenda. I can’t help but wonder whether it matters if the man doing the activism is from the U.S., and that the region he’s focusing on is Africa. If people take the time to inform themselves on an issue, is it naive to think that good people might band together to help others around the world?

Sins on Canvas

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As the #PaintToFreedom online movement grows and sparks more controversy and discussion and encourages people to speak up, many are wondering what the story is – who Shurooq Amin is. I thought that posting my old article “Sins on Canvas” from the LoYACY magazine in the November issue would help people get a good image of this great artist. I would also like to say that the Paint to Freedom movement is not just about Shurooq’s particular gallery being shut down, nor is it restricted to painters. It includes artists, poets, writers, film-makers, dancers, musicians, designers. It’s one that seeks to protect our right to freedom of expression and appreciation of art, literature, poetry, and beauty in all its forms. No one has the right to control what another person paints, writes, thinks, or believes. Paint to Freedom seeks to abolish the false assumption that the intellectuals will simply hand over the power to people who are blind to such beauty. Art, cinema, poetry, and literature are all tools to enlightenment and liberation – which is the exact reason that these groups are attempting to kill them, and also the reason that in turn, the intellectuals must retaliate by practicing these acts of rebellion from now on more passionately than ever.

Paint on the floor. Poetry in the air. Smiles in the hallway. Children here and there. The home of a woman whose fingers have formed a long-lasting friendship with her paintbrush since her early childhood: Shurooq Amin’s home. I was privileged enough to be invited to visit Shurooq’s studio in her humble home, where I felt more than welcome, and was greeted with warm hellos. After meeting her children, Shurooq and I went up to her studio. Within those four simple walls, I saw some of the most thought-provoking paintings I had ever laid eyes on. Pure taboo: everything that is forbidden, everything deemed unspeakable – painted on canvas, speaking thousands of words that would never do her paintings justice.
Shurooq Amin is an artist, a poet, a member of the Kuwait Arts Association, and a professor at Kuwait University, to name only a few of the high-status positions she holds. She is the first and only Kuwaiti artist to feature a nude painting in international art galleries. She is also a mother of four children: Nujood, Lujain, Khaled, and Abdulla. Just by hearing this, most people would say: there is no way she is managing all of those things at once. Quite the contrary, Shurooq says balancing every factor in her life has not been difficult – it was all a matter of time management.
She considers her job at KU to be a day job which she has maintained simply because it is her source of income, and that it is “not something [I] love anymore because of the education system”. I personally thought this was an interesting point, so I asked Shurooq to elaborate. She discussed how the university used to be an academic environment, but is now politically charged, where “everybody wants to be a politician, but nobody wants to do the work”. She expressed frustration at how the KU Student Union now “has more power than the faculty”. Naturally, her frustration is reasonable; one cannot help but question whether or not all of the KU faculty members feel the same way. As a result, Shurooq no longer feels passionately about her day-career – her students are only growing less and less enthusiastic about their major with each passing year, making it difficult for Shurooq to teach with passion.
Instead, Shurooq focuses on her conceptual, controversial art works and her children. She feels most strongly about those two things: her artwork, and her children, and puts all of her energy into them. I personally have spent my life around adults who said they were too busy with their career to give their all to their children, but Shurooq said that such talk was “merely an excuse”. She considers her children to be gifts, to be future citizens actively taking part in the development of their society.
The sensational artist has paint coursing through her veins. She grew up painting, and had the constant support of her father. Her father took her to art galleries and museums, and at the time, she didn’t realize how exceptional such opportunities were. She assumed all girls her age saw what she saw. At the young age of 11, her father passed away in her arms, and after that point, nothing scared her anymore. At the age of 11, she witnessed the death of one of the dearest people to her heart. Death, Shurooq said, is the most common fear. Since she faced that at an early age, there was nothing left to fear anymore. From that point onwards, all of the endless obstacles she faced didn’t seem so difficult to tackle anymore.
Death threats have surprisingly been amongst those obstacles. But Shurooq says she didn’t care. “They can’t judge me — we’re all souls, only God can judge me, or an art critic, which doesn’t exist in Kuwait. I won’t listen to regular people judging me just because I’m painting the truth. We have people preaching Haram and Halal when they are hypocrites, telling girls not to talk to boys and in the weekend he’s with his mistress.” Because Shurooq addresses taboo subjects in her paintings, she is met with violent opposition. She addresses religion, politics, morality, sex, socio politics.
Shurooq was kind enough to show me her upcoming series, “It’s a Man’s World”, consisting of a total of 18 paintings which depict the secret lives of Arab men, including factors such as homosexuality, polygamy, double-lives, hypocrisy, alcoholism, adultery, the demeaning of women by turning them into non-human objects of sexual gratification, all the while preaching against the very acts they participate in on a nightly basis. The one that most caught my attention was “My Harem in Heaven”, a painting that portrayed a Kuwaiti man laying on a couch, barefoot in his dishdasha. He is smoking shisha, has a glass of whiskey on the table in front of him, an ashtray next to it. The ashtray and the glass of whiskey are placed on a glass table, and underneath the table, you see his bottle of Red Label – the most common choice of alcohol in Kuwait. A key element painted that would be noted is that the table was made of glass, so everyone can see the Red Label. Regardless of how hard he tries to hide it, everyone in the society knows this man is an alcoholic. Furthermore, there are women all around him. Tiny, Tinkerbell-like women, representing the alleged 70 virgins in Heaven–sitting on his shoulder, grabbing his feet, swimming in his glass of whiskey, all posing very promiscuously. He is relaxed and seems to be immensely enjoying this overflow of sensual sinning – because no one can see him indulging in these pleasures. Shurooq says this painting was done with love and passion, it had been a “eureka moment, a vision, pure inspiration from God Himself”.
Another one of her paintings portrayed an Emarati man, a symbol of your average male from any of the Gulf countries, with a BlackBerry, an iPhone, and a pack of cigarettes in front of him. Around him you see symbols of Abercrombie & Fitch, and other popular consumer products within the Gulf region. Next to him you see newspaper articles. Egyptians still fighting for their freedom. Syrians slaughtered ruthlessly. Palestinians oppressed by Israelis. Parliament members stealing millions of Kuwaiti Dinars. Saudi women demanding the simple right to drive, while women in the West are astronauts. The Khaleeji man doesn’t care. He is living in his own little world of consumerism and materialistic values. So long as it does not affect him directly, he sees no reason to care about other people’s pain. He’s naive and happy, driving his expensive car, killing himself slowly with his posh cigarettes, drinking away his petty troubles with cheap Red Label, taking advantage of women and blackmailing them with pictures. He sees no real reason to care. Consumerism has made him grow numb to reality. It has created an alter universe for him, one in which he is content, one in which he does not acknowledge the guilt that should be gnawing at his insides for allowing other human beings to suffer while he lives in luxury and silence. Had he not been a slave to consumerism, he would realize that his silence is complicity.
Shurooq does not take part in that silence. She is doing what she loves, and uses her art as a message to society, to broaden minds, enlighten people, change the world. “Every single person who thinks about the message behind my work is being influenced. His mind works. He discusses it with a friend. Something has shifted. It has been passed on, a ripple effect, a pay-it-forward technique, a new generation of people who are activists, full of hope and power to do something, not just watch TV. They will reach a point where they will challenge themselves to be consistent with their actions, not just their ideas.”

So far, there have been tweets, blog posts, articles, and other forms of media published in support of Paint to Freedom all over the Arab world. Bahrain, Saudi Arabia, Egypt, and the UAE are only some of the countries whose writers and activists have took part so far. I particularly liked my friend Arie’s bold article here, and greatly appreciate his effort to support us. The influence has been overwhelmingly remarkable. You are more powerful than you think.

Invisible Children: Who is Joseph Kony?

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I loved, LOVED this documentary. It really makes you want to reach out to all of humanity instead of just your own country. Thank you Elio for sharing this with me!

“The people of the world see each other, and can protect each other. Right now, what we do, or don’t do, will affect every generation to come. We live in a world where we should be saying that the technology that is in our hands is allowing us to reach out to others. We are not just studying human history, we are shaping it. The better world we want, is coming. It’s just waiting for us to stop at nothing.”

This is another example of how you don’t need to be part of a corporation or hold a political position or have a lot of money in order to make a change. These are all students who made a difference. Students who painted, wrote, protested, advertised, did a bunch of small things that all added up to one big influence. Please share!

Write for Rights

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I watched this video, and it made me think of the infinite power that writers possess. What really shook me the most is Adnan Ibrahim saying that the average Arab reads of his own free will for approximately three minutes a year – an utmost tragedy. Yet, I can’t help but wonder who is to blame. The Arab himself for not trying to find the tools to his own liberation, or the government for making the tools seem unappealing? I know people who HATE reading. Even more who actually can’t read. 18 year old full-blooded Arab students who stutter over their words in Arabic class, and use terms like “imaginating” in English class. It would be one thing if they compensated for their lack of Arabic fluency with their English skills, but it’s a total embarrassment when they can’t speak either of the two. Then again, I do have to say that schools, in this case, are partially to blame. When the material presented is deathly-boring and dry as a dead man’s bones, the student won’t show any interest and won’t feel encouraged to learn the material. But if you present him or her with poetry, or stories, or articles, or literature that they can relate to and will grab their attention, it’s almost guaranteed that he’ll want to take part in the class – and there you have it, he’s learning! I sometimes sit in my Arabic class while the teacher is talking about grammar, and I hide my poetry book under my desk and read. And to be honest, it feels like I’m learning more while I’m reading that book than while I’m listening to my teacher – my appreciation of language is deepened, my understanding of certain concepts expands, my own writing develops. How else can you be a better writer if you don’t read?

 

Almost every intellectual will tell you that he only managed to liberate himself through reading. And the ones in Kuwait will tell you they did it by reading many, many banned books. Adnan Ibrahim also mentioned self-critiquing; I along with several other writers I know have made this a habit through our writing. Keeping a journal to keep yourself in check is the best way to see how much you’ve grown from day to day. It gives you easy access to the person you were last night, or last month, or last year. That way, you can compare the ‘two people’. You can also compare yourself to the characters you read about, whether in fictional or in non fictional books. Read books that insult you, read books that provoke you, read books that make you squirm and feel uncomfortable and queasy. Those are the only books that challenge your frame of thought; if by the time you reach the last page, you still don’t agree, then your beliefs are firm. If not, then you’ve acquired new, better beliefs that would make you more comfortable with yourself. Read books that tell you to question everything, to doubt, to inquire, to aspire, to love, to fight, to rebel. Rebelling does not necessarily have to be violent. Simply by carrying a set of values and beliefs that opposes your society’s, you are rebelling. Simply by reading books that your society has deemed to be inappropriate, you are rebelling. And most importantly, by writing, you are rebelling.

In 1984 by George Orwell the main character keeps a journal. He’s afraid of keeping a journal, because he’s not allowed to – the ‘Thought Police’ arrest anyone who keeps track of his own thoughts or feelings or memories. Yet he writes, with a trembling hand and a quivering pen, he writes to remember. He writes so he can later assert the truth. He writes of his dreams, his secret desires, his childhood memories, the country he knew before it turned into a totalitarian state. Of course, later he is arrested – but it takes so much to break him after he had liberated himself. Books were also banned in this state, so when his new-found lover gives him books that discuss liberty and freedom and innate rights, he’s introduced to a completely new world. All of a sudden he’s awestruck with intimacy being an expression of love rather than a duty, with education being enlightening rather than evil, with family being sacred rather than a group of people put together to worship Big Brother. Of course, because he’s so enlightened, he’s caught. Intellectuals are always outcasts in these societies, and rejected because they think differently.

People of Kuwait, Bahrain, Saudi Arabia, Egypt, the Arab world altogether – write. Write about the injustices you experience, the disrespect you’re forced to tolerate, the discrimination you witness, the hopes you dream of for our future, your ambitions, your goals, your disappointments, your expectations, your demands, your sadness, your happiness – whatever that may be. You’ll be surprised to find that you’ll experience your own epiphanies while you are writing. Do it through poetry, fiction, non-fiction, articles, books, editorials, blog posts, anything. Write for you, write for your people, write for freedom, write for rights. Bring back the true power of the pen. Pour your heart and soul on paper and then share it. I’ve finally realized that the only reason the radical religious figures are more influential than the liberals is because they are organized and the liberals are dispersed and afraid of speaking out, for more often than not, they are already social outcasts.

But yesterday with the Paint to Freedom incident, I was surprised to see how many people seemed to share the same thoughts. Once you get your ideas and concerns out, I guarantee you will find at least one more person who feels the same way you do. And it’s always good to find someone who’s on the same side as you are.

Paint to Freedom

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Shurooq Amin had her gallery “It’s A Man’s World” at Al Salhiya tonight, and was surprised to find that someone had reported her artworks to be ‘inappropriate’. Police received complaints of people feeling ‘insulted’ by her artworks, and around 10 PM headed there to notify Shurooq that her gallery would be shut down, and if she didn’t comply she would have to pay a fine. They referred to her artwork as “pornographic” and مخلة. They took photos of her artworks, saying that they would be sending them to the ministry.

This is exactly why we’re always either stuck in limbo or in a constant state of regression rather than progress. We can’t find proper books in our own country anymore, now with Virgin being shut down and all the good writers banned in the other bookstores. Our movies are censored, and instead we’re fed a bunch of media advertisements to turn us into consumerist robots during those 15 minutes that the cinema had cut out. Our writings are censored, it’s inappropriate to write about love and inappropriate to address the endless issues our society is facing. How does denial help anyone? Why is it believed that if we pretend a problem doesn’t exist, it’ll go away? It only gets worse the more it’s ignored. Shurooq addressed those issues in her paintings and I for one am glad she did, someone needed to speak up. As a writer I relate to her, because I know how frustrating it is to constantly be forced to bite my tongue and mute my voice when I know that what I’m seeing is wrong – yet, pointing out the wrongs of society is apparently wrong in itself.

I say it needs to end. The intellectuals of the Arab society need to unite to fight censorship and ignorance and regression. I really wouldn’t be surprised if this regression was planned. Why would higher powers want ‘the public’ to enlighten and liberate themselves from their own shackles? Better to make them love those shackles and brainwash them well enough to have them enforce your ideologies on others too. That way, it won’t just be your security forces imposing your beliefs on others. It’ll be the monsters you created too.

Please hashtag #painttofreedom with any tweets regarding Shurooq Amin’s gallery or art/writing censorship in the Gulf.