On Patriarchy & Misogyny In The West Or Things We Pretend No Longer Exist

It is becoming a habit – women writers, academics, intellectuals and activists are pushing the limits of political and intellectual thought and where ever I turn I find myself reading them.

Saba Mahmoood, Sara Ahmed, Wendy Brown, Judith Butler, Joan W. Scott, Amy Kaplan, Inderpal Grewal, Gyatri Spivak. So here is the brilliant Wendy Brown on women, sexuality, sex, freedom, liberty and this bizarre moment in history where women in the West have been convinced that sex, sexuality, and less clothing are the ‘true’ measure of their liberation.

“…the equation of secularism with women’s freedom and equality often traffics in the tacit assumption that bared skin and flaunted sexuality is a token if not a measure of women’s freedom and equality. Sexual difference is already written into this assumption, of course, since the equation of freedom with near nakedness in public is itself a gendered rather than generic sign of freedom: rarely is it suggested that men in loincloths are free whereas those in three-piece suits lack autonomy and equality. But this very asymmetry is a reminder that, like the hijab, highly revealing Western female fashion is a negotiation, not a negation of women’s sexualized status and value in male dominant orders. If, in one case, this sexualization is robed, secreted from public view, and in another it is orchestrated through revealing fashion or expensive cosmetics and surgeries, these are but two iterations of this negotiation.35 Nor are these two iterations themselves really so distant. Many Muslim women combine modest dress with detailed attention to fashion elements, including heels and lingerie. And Western women, especially but not only in the professions, are compelled to devote an inordinate amount of time and money to balancing modesty and exposure, professionalism and attractiveness, as part of their dress-for-success look in a male dominant world.

Moreover, in both cases, women remain designated as bearers of culture in ways that men rarely are, a bearing that itself indexes incomplete equality and autonomy, a sign that women remain something short of Kantian ends in themselves. In both cases, women are navigating heterosexual sexualization of female identity and navigating their tacit cultural assignment to secure collective religious-cultural or “civilizational” identities. The relentless sexualization of female identity itself signals this cultural assignment and the assignment, in turn, inscribes the relentless sexualization of female identity.

The association of freedom with sex integration and bared female skin is challenged by the hijab-wearing professional woman seeking to retain the advantages of sex-segregated spaces in male dominated ones and placing women’s agency and perhaps even women’s freedom on what Saba Mahmood has identified as a non-liberal secular trajectory. Such women make no pretense that women own their sexuality or that mingling with men in skimpy clothing is a sign of freedom and equality.37 If, inter-culturally, this bit of clothing does not protect its wearers from men for whom sexual entitlement to women knows no bounds, it remains an intra-cultural sign of honor and modesty, a marker of civilization that only those convinced of civilization’s exclusive ownership by the West would mistake for its opposite.”

From “Civilizational Delusions: Secularism, Tolerance, Equality” which can be found here:

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From “Headmen” To “Hitmen”–A People Brutalised Yet Again

Another photographer turns up at another manufactured ‘traditional’ geography, and produces another set of racist, reductive and entirely fake set of images. I don’t mean ‘fake’ in the way that most photographer’s get all concerned about. I mean ‘fake’ in a much more serious way, one that reduces people to social, political and historical caricatures and makes them into concocted objects for class titillation and voyeurism. And this American magazine–mired deep in the heart of American imperialism, its violence and its brutality–publishes the images and accompanies them with what can only be described as one of the most incredibly ahistorical, obfuscatory and infantile articles I have read outside of stuff frequently published by Time Magazine and/or The New York Times.

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Thomas Sankara’s Restless Children

The project is now complete. Although, we may never really complete the telling of this remarkable story. You can see the project by clicking on this link here, or on the image below.


Eyes Of Aliyah–Deport, Deprive, Extradite Initiative By Nisha Kapoor

I have publicly and on this forum very explicitly argued against the strange ‘disappearance’ of black/brown bodies that are the actual targets and victims of our ‘liberal’ state policies of surveillance, entrapment, drone assassinations, renditions and indefinite detention. I recently argued:

“Western visual journalism, and visual artists, have erased the actual victims of the criminal policies of the imperial state. Instead, most all have chosen to produce a large array of projects examining drone attacks, surveillance, detentions and other practices, through the use of digital abstractions, analogous environments, still life work or just simply the fascinating and enticing safety of datagrams and charts. Even a quick look at recent exhibitions focusing on the ‘war on terror’ or wars in general, have invited works that use digital representations of war, or focus on the technologies of war. An extreme case of this deflection are recent projects on drone warfare that not only avoid the actual brown/black bodies that are the targets of deadly drone attacks, but are not even produced anywhere near the geographies and social ecologies where drone attacks continue to happen! Yet, these works have found tremendous popularity, though i remain confused what kinds of conversations or debates they provoke given that the voices of the families of those who have been killed, are not only entirely missing, but people who can raised the difficult questions about the lies and propaganda that are used to justify the killings, are also entirely missing.”

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Public Release of “The Sinner”

This is my first feature length documentary film and we–Justice Project Pakistan, with the guiding support of Sarah BelalRimmel Mohydin and others at Justice Project Pakistan, are finally releasing it.

And we are doing it first in Pakistan.

The film takes us into the world of capital punishment in Pakistan through the life of one man; Jan Masi. Jan Masi worked as an execution for nearly 30 years, and claims to have executed over 1800 people. He started his work in the enthusiastic pursuit of revenge for the execution of Pakistan’s Prime Minister Zulfiqar Ali Bhutto.

This isn’t a typical documentary film. No talking heads. No linear story-telling. No polemics or moral grand standing. No righteous exclamations against capital punishment. Instead, Jan Masi, his life, his scars, his fears and despair, act as metaphors for the meaning of capital punishment in Pakistan, and the consequences it has on the broader Pakistani society.

Sudhir Patwardhan

Sudhir Patwardhan.

Can you discover ‘an influence’ after the fact?

What do you call someone who seems to embody your eye, your sensibility, and yet you had never seen his / her work, and yet, when you now see it, you see the ‘influence’…the similarities?

Is he confronting the same questions? Is he seeing this incredibly complex and multi-layered world with the same desire to depict it as close to that complexity as possible?

I was taken aback. The aesthetic pursuit is so familiar. It is as if he is a step ahead of me. He is a step ahead of me.

I am going through these images–gorgeous, striking, unique, and no, I refuse to give you some ‘European’ reference to understand them in any way. They are Patwardhan’s and his alone. But I want to make them as photographs.

They are the photographs I would make if in Mumbai. It is beautiful stuff. It makes me want to go and make photographs.

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Make It Right For Palestine, November 4, 2017

Be there. Hyde Park. Speaker’s Corner. London. 12:00 noon. 4th November, 2017.

The Polis Project…Is Up And Running

If you can’t join them, then just do it on your own.

We launched a new collective focused on research, reportage and resistance. The specific goals and objectives are being developed as we speak, but the idea is a simple one: to collect under one banner a group of individuals from different fields – artists, writers, academics, photographers, intellectuals, poets and others, who are consistently working against the grain. In this time of collective conformity, and a media sycophancy to power and extremism, some of us felt the need to create a small space where people are still determined to refuse the agendas of political power, debilitating capitalism, nationalist extremism and neoliberal idiocy, and remain fools in their hearts, and idealists in their souls.

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Short Doc: “As If A Nightmare”;The Story Of Former Bagram Prisoner Abdul Haleem Saifullah

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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Short Doc: “Prisoner 1432” – The Story of Former Bagram Prisoner Amanatullah Ali

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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10 Things To Consider…

I recommend that photographers, photojournalists, documentary photographers remember these wise words by Tania Canas, RISE Arts Director / Member – I am copying and pasting it here. As brown and black bodies are stripped of their clothing, as brown and black children are dehumanised to mere misery, as brown and black women are reduced to simply victims, as ghettos and brothels and refugee camps and slums become the ‘paint by number’ formula for White photographer’s career and publishing success, it becomes increasingly important that those of us on the receiving end of White ‘largesse’ begin to build obstacles, speak back, and refuse / reject these ‘representations’ and their reductive, violent and brutal narrative frames. We have lost too much, and are in danger of whatever little we have left as humans and as histories, if we permit this process to continue.

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