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?
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.
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!
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.
This was trending on my Twitter timeline tonight: #mencallmethings, where female bloggers and writers tweeted some of the things they’ve been called online by men who wanted to discourage them and who believed they were ‘too outspoken’ for a woman. These were the ones that most grabbed my attention.
* Jerk at my school said this as a joke after my rape: “Whoa there, can’t get too close. After all you are damaged goods”
* I’ve spent most of my online life avoiding #mencallmethings by attempting a genderless identity. So they call me ‘him’
* “Self-absorbed/bragging/self-involved” thing might be my favorite #mencallmethings. Makes it clear that you liking yourself is the problem.
* Man-hater, sex-hater, Free Speech-hater, fun-hater, baby-hater, humor-hater
* Insert the ubiquitous “dyke” slur too – even though I’m not a lesbian
* Vengeful, attention-seeking, hypersensitive, showboating, cowardly, fraud, Orwellian, dogmatic
* “We used to confine people to sanitariums for these kinds of outbursts.”
* unworthy of being addressed as “Ms.”
* you always remember the first time someone threatens to rape you, or kill you, or urinate on you.
* Does he know what it feels like to be subjected to regular rape threats or death threats? To have people send you emails quoting your address, or outlining their sexual fantasies about you?
* What frightens me the most is when an abusive message includes my personal details. I’ve had my own address quoted at me with a rape threat and — yes — that is terrifying. That’s when I call the police; they’re not much help.
* I was so nervous about the abuse I would receive when I wrote an article about cultural misogyny. It felt like I was exposing myself as a feminist.
* they focused on my age, used phrases like “little girl”, described rape fantasies involving me and called me “ugly” and “disgusting”. Initially it was shocking: in the space of a week, I received a rabid email that included my home address, phone number and workplace address, included as a kind of threat. Then, after tweeting that I’d been waiting for a night bus for ages, someone replied that they hoped I’d get raped at the bus stop.
* if the best argument someone can come up with against something I’ve written is to call me fat, I’ll consider that a win.
Read the article here: A Woman’s Opinion is the Mini Skirt of the Internet
You come to expect it, as a woman writer, particularly if you’re political. You come to expect the vitriol, the insults, the death threats. After a while, the emails and tweets and comments containing graphic fantasies of how and where and with what kitchen implements certain pseudonymous people would like to rape you cease to be shocking, and become merely a daily or weekly annoyance, something to phone your girlfriends about, seeking safety in hollow laughter.
An opinion, it seems, is the short skirt of the internet. Having one and flaunting it is somehow asking an amorphous mass of almost-entirely male keyboard-bashers to tell you how they’d like to rape, kill and urinate on you. This week, after a particularly ugly slew of threats, I decided to make just a few of those messages public on Twitter, and the response I received was overwhelming. Many could not believe the hate I received, and many more began to share their own stories of harassment, intimidation and abuse.
Perhaps it should be comforting when calling a woman fat and ugly is the best response to her arguments, but it’s a chill comfort, especially when one realises, as I have come to realise over the past year, just how much time and effort some vicious people are prepared to expend trying to punish and silence a woman who dares to be ambitious, outspoken, or merely present in a public space.
No journalist worth reading expects zero criticism, and the internet has made it easier for readers to critique and engage. This is to be welcomed, and I have long felt that many more established columnists’ complaints about the comments they receive spring, in part, from resentment at having their readers suddenly talk back. In my experience, however, the charges of stupidity, hypocrisy, Stalinism and poor personal hygiene which are a sure sign that any left-wing columnist is at least upsetting the right people, come spiced with a large and debilitating helping of violent misogyny, and not only from the far-right.
Many commentators, wondering aloud where all the strong female voices are, close their eyes to how normal this sort of threat has become. Most mornings, when I go to check my email, Twitter and Facebook accounts, I have to sift through threats of violence, public speculations about my sexual preference and the odour and capacity of my genitals, and attempts to write off challenging ideas with the declaration that, since I and my friends are so very unattractive, anything we have to say must be irrelevant.
The implication that a woman must be sexually appealing to be taken seriously as a thinker did not start with the internet: it’s a charge that has been used to shame and dismiss women’s ideas since long before Mary Wollestonecraft was called “a hyena in petticoats”. The internet, however, makes it easier for boys in lonely bedrooms to become bullies. It’s not only journalists, bloggers and activists who are targeted. Businesswomen, women who play games online and schoolgirls who post video-diaries on YouTube have all been subject to campaigns of intimidation designed to drive them off the internet, by people who seem to believe that the only use a woman should make of modern technology is to show her breasts to the world for a fee.
Like many others, I have also received more direct threats, like the men who hunted down and threatened to publish old photographs of me which are relevant to my work only if one believes that any budding feminist journalist should remain entirely sober, fully clothed and completely vertical for the entirety of her first year of university. Efforts, too, were made to track down and harass my family, including my two school-age sisters. After one particular round of rape threats, including the suggestion that, for criticising neoliberal economic policymaking, I should be made to fellate a row of bankers at knifepoint, I was informed that people were searching for my home address. I could go on.
I’d like to say that none of this bothered me – to be one of those women who are strong enough to brush off the abuse, which is always the advice given by people who don’t believe bullies and bigots can be fought. Sometimes I feel that speaking about the strength it takes just to turn on the computer, or how I’ve been afraid to leave my house, is an admission of weakness. Fear that it’s somehow your fault for not being strong enough is, of course, what allows abusers to continue to abuse.
I believe the time for silence is over. If we want to build a truly fair and vibrant community of political debate and social exchange, online and offline, it’s not enough to ignore harassment of women, LGBT people or people of colour who dare to have opinions. Free speech means being free to use technology and participate in public life without fear of abuse – and if the only people who can do so are white, straight men, the internet is not as free as we’d like to believe.