Reading White Feminism: A Most Masculine State by Madawi al-Rasheed

Selections from recent readings against Western feminism – in particular, its racist and Orientalist origins and its continuing centrality in Western liberal imperial practices and discourse.

A Most Masculine State: Gender, Politics, and Religion in Saudi Arabia

Reading White Feminism: “Sexual Decoys” by Zillah Eisenstein

Selections from recent readings against Western feminism – in particular, its racist and Orientalist origins and its continuing centrality in Western liberal imperial practices and discourse.

Sexual Decoys: Gender, Race and War in an Imperial Democracy by Zillah Eisenstein

Reading White Feminism: “White Women’s Righs” by Louise Newman

Selections from recent readings against Western feminism –  in particular, its racist and Orientalist origins and its continuing centrality in Western liberal imperial practices and discourse.

White Women’s Rights: The Racial Origins of Feminism in the United States – Louise Michelle Newman

Unexpected Journeys Or How Did You Get To San Francisco?

She turns thirteen today. She dances at San Francisco Ballet School’s Summer Intensive programs this summer. It was just two years ago that she had auditioned for the Swedish Royal Ballet’s dance school, only to be rejected at the last stage of the week-long audition. It was just two years ago that I remember waking up at 2 am that night, and hearing her quietly crying in the bathroom. Last week, when she received the letter from the San Francisco Ballet, inviting her to come and train in the Summer Intensive Program, Sofia completed a journey that began in painful disappointment. This summer is no ordinary summer. For this 13-year old, this invitation letter was not just to another Summer Intensive program, but a confirmation that hard work, a refusal to accept the judgement of others, and a determination to become what she dreamed about, was the only way to face the dance world.

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Dubai – a rework

a room of my own. #dubai #uae #metaphorsareboring #cynicalcelebration

A post shared by Asim Rafiqui (@asim_rafiqui) on

Musings & Confusions: 8th Feb. 2017

Still love reading these amazing stories…Carlos Saavedra’s work…

…and Mashruk Ahmed’s 

The Pakistan Photo Festival Fellowship Orientation – Feb. 5th, 2017 Lahore

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Quixotic. It is really the only word that comes to mind. Essential. That is the other word that comes to mind. We are launching a Fellowship for young photographers and documentarians from Pakistan. It is no ordinary Fellowship. It is rather a mentor-ship program to help a select group of visual activists, intellectuals, and artists, produce critical and intellectually engaged, challenge and imaginative works about Pakistan and Pakistanis.

Unlike a conventional photography fellowship, our focus is equally analytical and intellectual as it is visual and artistic. Students will be pushed to not only develop their visual skills, but also their critical thinking, research, and field work skills. Throughout the mentor-ship period, they will be asked to look past traditional publishing platforms (newspapers, magazines), and focus on utilizing digital media platforms to create broad, multi-faceted bodies of work.

So join us on February 5th, 2017 and we will talk more about our goals, our ambitions and our plans for the Fellowship. We will answer your questions, offer you chai, share a laugh and ideally, inspire you to become part of this new adventure.

Inshahallah.

We Are Walking The Streets Again – GPP Workshop February 2017

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Ayodhya: Wounds, Resistance & Resurgence

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It was the 24th anniversary of the attack on and destruction of the Babri mosque in Ayodhya, Uttar Pradesh on December 6th, 1998. Click on the image above to go to a selection of essays about and/or related to Ayodhya.

My project on India began in Ayodhya. In fact, when I arrived in Ayodha in the Fall of 2009, I wasn’t even sure what the project was going to be. It was after staying in Faizabad – Ayodhya’s sister city some 30 minutes rickshaw ride away, for some weeks, and spending time walking and talking to people in Ayodhya itself, that the shape and structure of the work finally emerged. The Idea of India is a very personal engagement with complex histories, and my first attempt to break away from the suffocating definitions, rules, constrictions and limits of what passes for photojournalism. I did not want to have anything to do with it. It was during this work that I discovered why I went out into the world with cameras and a notebook, and what it was that I wanted to do with them. And though there were many mistakes along the way, and though the work remains intentionally ‘incomplete’ – what is this bizarre obsession people have with completing a project? No one completes a project, you merely abandon it!, because the questions I began to ask, the spaces I began to seek, and the inquiries I began to make, are still with me. And I am grateful for it. The curiosity, the excitement, the joy of producing this work remains, and since I can abandon the project at any time – the entire work has over 250 final selected images and dozens of essays, I have chosen not to. I do not want to give it up, nor do I want to feel that I am done with it. Perhaps it isn’t a personal choice anyways – the issues plaguing the region: the xenophobia, the sectarianism, and what Eqbal Ahmed called ‘distorted histories’, stay and are perhaps more extreme today than when I began working on the project. Perhaps I feel that now would be a good time to return, to re-start, to add more to the work if for no other reason than to keep up what was always an act of resistance and personal refusal to accept official and state historical narratives. It can still happen. After all, the project isn’t ‘complete’.

Vas Bien Fidel

am3ubw6

If we carry courage, and our determined resistance, then we do so because of the example that you, and so many of your travelling companions in our post-colonial aftermath, set for us.

Long live the Revolution. Long remain our resolve.

Vas Bien Fidel.