Monday 2 September 2013

Human Rights Office Marking 20 Years

This article originally appeared in the Queen's Alumni Review Magazine

When Irène Bujara was appointed to take charge of a Human Rights Office (HRO) at Queen’s in 1993, she never dreamed the office would grow to its current scale.

The HRO was established as a response to then –Principal David Smith’s advisory committee. Bujara stresses that without the support of the advisory boards that have supported the office, it would not be celebrating its 20th anniversary this fall.



Originally established to deal with issues related to race, the HRO now works in collaboration with the ­Equity Office to address topics of harassment and ­discrimination on the grounds of race, colour, ethnic ­origin, sexual orientation, discrimination, disability and gender identity.

The corridor walls of the HRO, located in Mackintosh-Corry Hall, are filled with colourful paintings by renowned artist, Leo Yerxa. Bujara, who directs both the HRO and the Equity Office, feels that art is a powerful medium through which human rights initiatives can be highlighted. Thus the staff has come up with the idea of celebrating the HRO’s anniversary by using art to comment on issues of social injustices.

Says Stephanie Simpson, Artsci’95, Ed’97, MEd’11, the HRO’s Associate Director, “Marking an anniversary for this kind of operation is a strange idea. Initially, we sat around a table and puzzled over how we can celebrate it. It’s not as if clients who’ve come to us would come back. It’s not going to be cakes and balloons and reunions.”
This painting by renowned artist Leo Yerxa served as the starting point for the Human Rights Office's mosaic project. All artists were invited to collaborate and create a piece of art that represents women empowerment and survival using this image as their starting point of inspiration.

In order to draw interest from the Queen’s community and to shed light on human rights issues, the HRO decided to create a mosaic by calling for various artists’ interpretations of women’s strength in the wake of ­gender based violence. All the accepted pieces will be incorporated into a large display that will be exhibited at a reception on campus on September 24. There will also be a speaker who will discuss the ways art can be used to create awareness of social issues.

Bujara says, “Even though Queen’s and the HRO have come a long way, we still face challenges, given the fact that the University’s principalship changes every five to 10 years. Any new principal takes time to get ­familiar with pertinent issues.”

Today, the HRO staff includes Catherine Wells, PhD’01, the Special Projects Coordinator, and Margot Coulter, who is the Human Rights Advisor with a focus on sexual harassment prevention. They, along with Simpson and Bujara, say they are looking forward to this fall’s anniversary celebrations and to future campus initiatives that will promote awareness and positive action on human rights issues.


Book Review: And the Mountains Echoed


Khaled Hosseini rose to fame with the phenomenal success of The Kite Runner and A Thousand Splendid Suns, which depicted the war-torn terrain of a wounded Afghanistan, and the fragile relationships between father and son, as well as mother and daughter.


Hosseini’s third book, And the Mountains Echoed, is another tearjerker filled with heartbreaking emotions, and the yearning for redemption. Set in rural Afganhistan of the 1950s, Hosseini immediately engrosses the reader through the narration of a folk tale about a farmer named Baba Ayub, whose son is kidnapped by a vicious demon. This introductory story serves as a sort of warning or foreshadowing of disastrous events to come.

The narrator of this story is a hardworking labourer, Saboor, who is later forced to give away one of his children. Abdullah and Pari are two siblings who have an inseparable bond but are torn apart as one of them is sold to a wealthy couple in Kabul. The novel then recounts the many repercussions of this separation and how it intertwines with, and affects the lives of future generations across the globe.

Unlike The Kite Runner and A Thousand Splendid Suns, which followed the lives of a few central characters, And the Mountains Echoed is narrated by a new character in each chapter. Although this new style of experimenting with different characters may seem a bit complicated, Hosseini beautifully seams each chapter together into one coherent whole.

In addition to Abdullah and Pari’s stories of love, loss, and betrayal are many sub-stories that all echo the central themes of the novel, which are loss and family betrayal. There is the story of Parwana and her twin sister, filled with deep seated pathos and jealousy; the story of the narcissistic Nila Wahdati who dares to defy traditional Afghan values and flees off to Paris; the life of a boy Adel whose father steals the land of Abdullah’s family; and the relationship of a social worker with a woman whose face has been scarred brutally by a dog bite.

The different stories intersect with each other, and depict the many strands and variations of human emotions across diverse cultures. Each story can stand on its own, but the way Hosseini connects the different dots in his poignant style, leaves one yearning for more. The introductory chapter is the most powerful start to a heartrending story, and leaves the reader racing through the pages in anticipation of how the characters will strive to achieve redemption.

The uniqueness of the novel lies in the complexity of the characters and how Hosseini brings them to life. The writer gives each character depth, and one can relate to each protagonist’s heartbreaks, failures and desire for atonement. The novel takes you on an exciting globetrotting journey as you start from Afghanistan and explore Greece, America and Paris through the eyes of a new and enigmatic persona. Even though most of the novel is centered in Europe and the United States, Afghanistan plays a central role in the hearts of all the characters. Much like his previous novels, Hosseini portrays how a person’s ties to their home country are never completely broken. Afghanistan keeps resonating in each person’s mind, is imprinted in their souls, and echoes like a nostalgic yearning.

Although the book is undeniably absorbing and captivating, Hosseini seems to be sticking to the same tedious formula that aims to tug at the heartstrings of his readers, through the tale of fractured relationships and the destruction of Afghanistan. In many ways, the book explores the same themes and relationship dynamics explored in the previous bestsellers. It’s almost as if the book is designed to be made into a movie, guaranteeing commercial success. Nevertheless, it will leave you teary eyed, and longing for more. It is definitely a compelling summer read!

This review was originally published in the The Queen's Journal

Image Sources:

Monday 26 August 2013

Restoring the “Suzie Q” and Other Treasures

This is an article that I wrote as News Reporter for my university's Alumni Review Magazine. 

Alumnae who were on campus back in the 1950s and 1960s will remember Suzie Q. “The Golden Girl” was a regular at the games of the women’s varsity basketball and volleyball teams. She wasn’t very big- in fact, Suzie Q was less than a metre tall- but whatever she lacked in size, she more than made up for in school spirit.

However, in the late 1950s, when organizers of the Women’s intercollegiate Athletic Union outlawed team mascots- after Suzie Q was kidnapped at a women’s basketball tournament in Toronto, and an uproar ensued- the tattered, kilt wearing mascot was “retired” to a trophy case in the athletics centre. There she sat for more than 40 years. Until recently.

Staff from the Queen’s Archives work with students from the Master of Art Conservation (MAC) program to restore some valuable artefacts belonging to the university and to the City of Kingston. Their latest Queen’s projects include a restoration of Suzie Q and a football signed by players of the 1922 varsity championship football team, the year the Tricolour won the first of three consecutive Grey Cups. The deflated ball was found in a trophy cabinet at Summerhill, the campus home of the Department of Alumni Relations.

To restore and preserve the ball and Suzie Q, Margaret Bignell, ArtsSci ’75, MAC ’77, the Principal Conservator at Queen’s Archives, last fall enlisted the help of students from the MAC program, which is the only one of its kind in Canada.

Corine Soueid, MAC ’13, set to work restoring the football. She said the project took almost eight months of painstaking effort. Soueid carefully cleaned the football so the players’ signatures were legible again, and because the ball’s rubber bladder had disintegrated, she filled the space with polyester felt.  Says Soueid, “Conservation is fragile work. I had to be extra careful to ensure that the ball was restored to its original state and then I created a customized box to preserve it.”

Suzie Q received similar special treatment. The doll was in sad shape, and work on her, initiated in January, is ongoing. So far a team of students has restored Suzie Q’s clothes and has reattached her hands. Suzie Q travelled to the U of T, and that’s where she was kidnapped. When she was rescued, she had an ink tattoo on her back that reads: ‘STOLEN-Mar 2/57 TORONTO.’ The Archives staff reported that the tattoo will not be removed because it is now an important part of Suzie Q’s history. 



University Archivist Paul Banfield, MA '85 says, "The collaborative efforts of the Archives staff and the MAC students enables Archives to restore artefects, books, and city property tax assessment rolls, while the MAC students get to work on projects that let them put their theoretical knowledge to practical use. It's a win-win situation for everyone."

Image courtesy: Queen's Alumni Review Magazine


Wednesday 7 August 2013

The Great Gatsby Movie Review: The Debauchery of 1920s America

This review originally appeared here



I’ve always been disappointed by movies based on books that I’ve read because the director usually fails to bring the literary ingenuity to justice in the film. That’s why I made sure that I didn’t read The Great Gatsby when I watched the movie so that I could witness Baz Luhrmann’s magic on screen without constantly comparing it with the book. After all, he did a pretty decent job with Moulin Rouge! and Australia.

The Great Gatsby starts off with Nick Carraway (Toby Maguire), a depressed insomniac, trapped in a sanatorium, going down memory lane and recounting the days of his enigmatic youth. He keeps mentioningGatsby, and how Gatsby changed his entire outlook on life. We witness Luhrmann’s interpretation of the wild, roaring, notorious, materialistic and wealthy American life of the 1920s filled with glitz, glamour, parties, and rambunctious effervescence and grandeur.

The 3D images try to capture the essence of a thriving New York in all its extravagant splendour and exuberant vigour. 

Nick Carraway is one such Yale graduate living amidst New York’s thriving and opulent economy, and getting into the bond business. We are then introduced to Nick’s extravagantly wealthy relatives, his distant cousin Daisy (Carey Mulligan), and her supercilious husband, Tom Buchanan (Joel Edgerton). 

Luhrmann goes way overboard in trying to capture the careless, superficial and wealthy lifestyle of the Buchanan household with the camera zooming in on the billowing white curtains that leave Nick stunned, as well as the shots of a bored, and superficial Daisy lying on a gargantuan couch, dressed in white, filled with opulent rapture, and desiring to do something fantastic with her lazy life. 

We find out that Nick lives in the fictional village of West Egg, right next door to a mysteriously famous man named Gatsby (Leonardo DiCaprio) who throws extravagantly lavish parties. The movie unfolds with Nick being invited to Gatsby’s grand festival, befriending him, and then finding out that Gatsby has had an affair with Daisy in the past, and is still in love with her.



The entire movie centers around Gatsby’s tragic obsession with Daisy, his undying love for her and his objective in life, which is to marry Daisy. He wants to devote his life to Daisy’s happiness by showering her with his opulent wealth. Throughout the movie, one gets a sense of the decadence and discontent seeping into the rich American lifestyle, as the characters are dissatisfied with their spouses and having affairs on the sidelines. The pursuit of the American dream seems to be the central theme in the movie, and one can guess that this is something that is entirely an illusion as the central characters are absolutely miserable with their haughty, extravagant lifestyles filled with hollowness, loneliness and debauchery.



So after 143 minutes of enduring an over exaggerated extravaganza that resembled a complex mix of a zombie movie gone badly astray, mixed with an attempt to display a colourful 3D imitation of Alice in Wonderland , and Anna Karenina, what’s my verdict? 

Luhrmann is best suited towards producing musicals, and The GreatGatsby may have been better off as a tragic musical. 

However, I immediately read the classic novel after watching the movie and discovered that Luhrmann actually did his best to stick as close as possible to the beautifully written novella by Fitzgerald. He may have gone a tad bit too far with all the ecstatic opulence and the wild parties with Jay-Z songs blaring in the background (an attempt to modernize the audience’s vision of the American Jazz Age?), but he truly did his best and one can see that after reading the book. 

Although the movie was a bit too long, Luhrmann’s attempt to use 3D images to capture the despondent lifestyle of amoral 1920s America was an interesting way of bringing the novella to life. Moreover, his extravagant display of the luxurious, wild, and excessive splendour of Gatsby’s parties was his way of depicting how hollow the pursuit of wealth actually is, and somehow, the disillusionment of the characters became more and more obvious through the riotous, ritzy and exuberant wasteland known as 1920s New York.

Leonardo DiCaprio is absolutely charismatic as the “Great Gatsby,” filled with an obsessive passion for the girl he loves. He brings the character of Gatsby to life beautifully, but we have already seen DiCaprio play the tragic lover boy who would easily die for the girl he lives in Titanic and Rome+Juliet, so his performance was nothing new. Carey Mulligan is appropriate as the selfish Daisy, and Elizabeth Debicki is passable as Jordan Baker (a friend of Daisy’s). Tobey Maguire barely has any role to play and is merely relegated to the role of acting as the mouthpiece of the movie, reading out Fitzgerald’s prose in an attempt to give the movie the same sort of melancholic splendour as the novella. 

The cameo appearance of Amitabh Bachchan (Meyer Wolfsheim) as a scrupulous bootlegger is absolutely horrible. Overall, Luhrmann should have left Fitzgerald’s masterpiece alone, and perhaps made a movie out of Oscar Wilde’s The Picture of Dorian Gray.

Image sources:
http://wac.450f.edgecastcdn.net/80450F/screencrush.com/files/2012/05/gatsby-trailer.jpg
http://fictoflick.com/wp-content/uploads/2013/04/GatsbyF-e1366254583695.jpg
http://abovethebuzz.com/wp-content/uploads/2013/03/The-Great-Gatsby.png

Monday 29 July 2013

The Fox News Fiasco

Printed here originally

Fox News has always been criticized for sensationalism, drama, and for coming up with the most bizarre conspiracy theories. But the latest scandal has resulted in numerous published articles condemning Fox News for spreading anti-Muslim propaganda.

Last Friday, Reza Aslan, a renowned scholar of religion who has a PhD in the sociology of religions was invited on FoxNews.com’s show Spirited Debate to talk about his new book, Zealot: The Life and Times of Jesus of Nazareth.

However, instead of asking intelligent questions about the argument of the book, or some of the scholarly discussion or sources used by the author, Lauren Green, the host of the show, went on to drill Aslan with the most ridiculous questions, which clearly insinuated that the host had some islamophobic sentiments.

For those of you who haven’t watched the video, go ahead and watch it below:


One immediately got the sense that the interviewer is up to no good when the first question she asked was: "You're a Muslim, so why did you write a book about the founder of Christianity?"

Most renowned scholars who are invited for interviews usually do not have to defend their credibility by listing the number of degrees that they have but Aslan, who seemed taken aback by Green’s question, was forced to say that he has four degrees, is an expert on the New Testament and is fluent in biblical Greek and has been studying Christianity for two decades.

For most people, this answer should have been enough to stop the ridiculous probing into Aslan’s background and faith but Green didn’t think so. She went on to drill Aslan, expressing incredulity at how he could possibly be interested in Christianity and in Jesus.

Aslan then went on to explain how academia works as if he was talking to a two year old child. He went on to tell Green that he has nothing against Christianity and that he is not against the religion he loves to write about. He said that the book in fact provides many arguments which conflict with Islamic beliefs about Jesus.

Green was unconvinced and went on to say that she had interviewed many religious scholars who have written books on Jesus and the resurrection, and that Aslan claiming that his information is different from the one presented by these renowned scholars is wrong.

Green’s comments displayed an utter lack of ignorance about how the world of academia works. The whole point of being in academia is to constantly question and critically analyze the information that is available, to probe the historical documents over and over again as well as to constantly have scholarly debate with other scholars in the field. Looking at particular historical incidents or figures and re-analyzing them, and then making an argument that is unique, that is “different” and that produces new evidence or a new viewpoint is exactly what produces a successful scholar.

Moreover, it’s not like Aslan was making up stuff about Jesus and Christianity in his book without supporting documentation. He claimed that his endnotes contained all the information that is needed for an academic to back up his argument, explaining that he consulted 1000 books in his discussion and that he has 100 notes at the end of the book.

Green still seemed unable to come to terms with the fact that a Muslim could somehow be interested in Jesus or Christianity even though Aslan cited his credentials as an expert religious scholar over and over again and even went on to say that he could not fathom why his faith had anything to do with him writing this book. Exasperated, Aslan said, “I am a historian, I am a PhD in the history of religions! This isn't a Muslim opinion. This is an academic work of history, not about the Christ or Christianity for that matter. It’s about a historical man who walked the earth two thousand years ago in the land of the Romans called Palestine.”

What’s wrong with being passionate about studying a certain subject? Does this mean that all Jewish and Christian scholars ought to stop writing about Islam because they have no right to do so? Does this mean that renowned scholars such as Karen Armstrong ought to stop publishing books that have anything to do with Islam?

Green’s most ridiculous assertion was that Aslan never mentioned in previous interviews that he was a Muslim. First of all, what does one’s faith have anything to do with one’s professional career? A Christian writing about Jesus would probably have a more biased opinion than someone from another religion writing about Jesus. And it was evident that Green had no idea what Aslan’s book was about since she had no clue that his faith was mentioned in the second page of the book, and he was not trying to hide the fact that he is a Muslim.

Not surprisingly, the interview caused immediate sparks on social media and blogging sites and Buzzfeed asked, "Is This The Most Embarrassing Interview Fox News Has Ever Done?"


The Twitter hashtag #foxnewslitcrit was born, where people mocked the utter lunacy of Green’s questions. Some of the popular tweets were the following:







All I would like to say to Ms. Greene is that since she is not an academic historian, nor a religious scholar, she has absolutely no right to have a discussion about a historical or religious figure or to interview someone who is an academic scholar. The fact that the interviewer forced the academic scholar to continuously defend himself against unjust allegations about having some kind of agenda against Christianity and forced him to continuously cite his credentials and defend his legitimacy as a scholar was disgraceful. However, this interview actually proved to be good for Aslan’s book as people are now dying to read it more than ever. If there is one thing Fox News is good at, it is at making something immensely popular. Thank you Fox News for promoting this book in such a demented fashion. I can’t wait to order it!

Monday 27 May 2013

Breaking the Silence in Pakistan


This article was published in the Kingston newspaper, 'The Whig Standard,' on August 15, 2013 (page 5) and also on the Queen's Alumni Review Magazine website:


On April 11 a young Pakistani school teacher was kidnapped, brutally gang raped, and then dumped in a field in the Punjab province of eastern Pakistan.[1] She reported that five men had raped and tortured her for more than two days. Such incidents of rape and violence against women are a daily occurrence in the rural areas of Pakistan. Newspapers report rape incidents daily, and the public is largely indifferent and de-sensitized to such repugnant assaults. In a patriarchal country such as Pakistan, women are supposed to stay home and obey the orders of men. Otherwise, they are beaten by their husbands in most rural areas. The situation is not quite the same among the urban educated elite class. However, women are still expected to obey their husbands, who are considered the major decision makers in most families.

But why are Pakistani women often so helpless?  Why are they unable to do much about the brutalities inflicted upon them on a daily basis?

One main reason is that with the exception of a small, educated, urban elite class in Pakistan, the majority of the people are illiterate and cannot afford such basic necessities of life as food, bread, and water. Amidst sky-rocketing poverty rates, most men face enormous frustrations, both at home and in the workplace. As a consequence, they resort to restricting the women in their lives, treating them as their personal property in order to assert some sense of power and control. The fact that they are uneducated does not help, and given the reality that women are strongly discouraged from pursuing education, they are not aware of their own rights. How will these women fight for their rights when they don’t even know what those rights are?

Last summer, I volunteered with War Against Rape (WAR), a leading non-government organization in Pakistan. WAR is making great strides in providing shelter to rape victims, offering them counselling, and helping them to report their perpetrators to the police, in hopes the criminals will face justice. The punishment for rape is death in Pakistan, but people are reluctant in bringing the perpetrator to justice due to lack of evidence confirming that the rape actually took place. This is largely due to the “islamisation” project that spread through Pakistan during General Zia-ul-Haq’s regime in the 1970s when discriminatory ordinances were put into practice. According to these laws, in order for a woman to prove that she had been raped, she has to produce four male witnesses that can attest to the crime. The system is absolutely ludicrous and steps need to be taken to change these policies.

When talking to some of the rape victims who chose to seek shelter at WAR, I was horrified to learn that many of the poor women who come from rural areas are raped by their own family members, and are victims of incest. Added to this ugly reality is the fact that the majority of the cases of sexual abuse, harassment and rape against women are grossly underreported because of the stigma and disgrace attached to the crime.

If a woman chooses to report a rape case, her own family often disowns her. Take the example of Dr. Shazia Khalid, who in January 2005, was blindfolded, and raped by a masked army officer in the heavily guarded government-owned natural gas plant. Her family was told to keep quiet about what had happened, and the gas company denied that any such incident had occurred. The family of Shazia’s husband, Khalid, told him to divorce her immediately. They felt her rape had disgraced the family’s honour. It is deplorable how women are continuously blamed for “bringing it upon themselves.” The common refrain is “Look at the way she used to dress. Such scandalous clothing!”

The reality is that whether a rape victim is adorned from head to toe in a burqa or whether she wears “scandalous” and “provocative” clothing, she is always blamed and nagged by family, relatives and the media. I often wonder why a rape victim is harassed by the media and her photo is splashed across the pages of every newspaper and magazine? Why aren’t any photos of the culprit taken and published in the newspapers? Shouldn’t the rapist be the one being condemned?

The criminal justice system and the police in Pakistan are not trained or sensitized towards the problem and frequency of rape in Pakistan. The problem most victims of rape and other sexual assaults encounter when approaching the police to file a First Information Report (FIR) -- to report the crime -- is that the police often mock the victim and blame the woman’s character, which supposedly led  to her being assaulted in the first place. In Pakistan, there are separate police stations for women and men precisely so that women who prefer to cover themselves in a burqa can easily talk to a female inspector about a rape incident. However, most female police stations do not even have the authority to file an FIR, and so women have no choice but to approach the male police stations to file a report.

Women hesitate to approach male police stations because they do not want to share the circumstances of their personal trauma or the intricate details of it with men. Even if some women gather up enough courage to report the rape and the case manages to reach the courts, the reality is that most victims do not get justice even after years of fighting for their rights in court. Judges are not sympathetic either, and most often the rapist is acquitted by the court. This is not due to the severity of the punishment of rape, but largely due to the fact that in a patriarchal society, men don’t like to accept the fact that violence against women happens. On top of that, the fact that the women usually cannot produce four male witnesses to attest to the crime results in the judge acquitting the perpetrator. Something needs to be done to change the discriminatory laws that were brought about by Zia in an attempt to “islamise” the country.

Recently, both Pakistan and neighbouring India have received enormous international media coverage to highlight the atrocities committed by men against women. The recent Delhi gang rape cases in India, and the documentary films made on violence against Pakistani women have stirred debate on the issue of rape in these countries. These are actually significant developments since public awareness is the first step in bringing about any kind of systemic change.

The best examples of the growing possibilities for change can be found among those victimized women themselves who have chosen to break the silence, fight against the stigma, and raise their voices against the abhorrent practice of rape. Mukhtaran Mai is one such exceptional warrior who decided to fight back. She was a quiet peasant woman in the Muzzafargarh district of Pakistan’s Punjab. She was the courageous survivor of a barbaric gang rape that was inflicted upon her in the village of Meerwala. Mukhtar was gang raped on the orders of the Mastoi Baloch clan because her brother allegedly “committed fornication” with a woman from their clan. Normally, a woman in her circumstance would commit suicide. Not Mukhtar. She fought back and reported her perpetrators. In September 2002, the anti-terrorism court sentenced her four rapists to death. However, the culprits were acquitted due to “insufficient evidence” by the Lahore High Court. Refusing to stay silent, Mukhtar Mai started the Mukhtar Mai Women’s Welfare Organization, recounted her traumatic story in an autobiography, and was lauded by international magazines such as the New York Times and Glamour Magazine for her bravery. Although she continues to receive death threats, she refuses to stay silent.

Another courageous woman is Kainat Soomro, a 13-year-old girl who was gang raped in 2007 by four men at Mehar, a small town in the Sindh province of Pakistan. She told the media that she stepped out of her house to buy a toy for her niece, and was kidnapped by the men who raped her. She managed to escape after being tortured and assaulted for three terrifying days. When her family fought back, and reported the heinous crime to the media and the police, they were harassed and threatened and the alleged rapists killed Soomro’s brother. The family moved to another town, but they continue to face daily death threats.

Women such as Mukhtar Mai and Kainat Soomro are inspiring examples who hopefully shall one day bring change in Pakistan. They are symbols for other women, and the fact that a few women have raised their voices to fight for their rights is a huge achievement for the country.

Moreover, the bravery of these women who will not be silenced has resulted in Pakistani media suddenly reporting about the unjust system, making films, documentaries, and shouting out to change the system.  Kainat Soomro’s daring decision to speak out against her rapists instead of resorting to suicide inspired two female journalists, Habiba Nosheen and Hilke Schellmann, to produce Outlawed in Pakistan, a short documentary film that depicts Kainat’s fight against rape. It was selected for the 2013 Sundance Film Festival. Nosheen is a Pakistani-Canadian journalist who has received several awards for her reporting, including the Gracie award given by the Alliance for Women in Media Foundation in 2012

Gender inequality is an ugly reality that exists in all countries not just in Pakistan. However, due to the warped laws, religious extremism, and the patriarchal mindset that pervades the country, Pakistani women suffer more injustices than most, and infinitely more than women from developed countries. However, human rights organizations and journalists are now taking a stand against the violent crimes that are committed against women.

Rape is not the only issue that plagues women. Other problems such as honour killings, prostitution, and acid attacks on women are frequent occurrences. But the public is taking notice and speaking out. In 2012, Pakistani-Canadian journalist Sharmeen Obaid-Chinoy launched her much-acclaimed documentary, Saving Face, which highlighted the plight of women who suffer horrific injuries when they are attacked by having acid thrown on them. Sharmeen Obaid became the first Pakistani Oscar winner when the film won the 2012 Academy Award for Best Short Documentary.

These awareness-raising campaigns, through the production of films, documentaries and newspaper articles, are positive steps in breaking the silence on violence against women in Pakistan. One can only hope that the government will take radical steps and change some of its discriminatory laws and do something about punishing the felons who commit these heinous crimes. Women of all classes should be made aware that they have rights and that they are not “objects” to be owned by men. They also need to be made aware of their inner strength and the support system of NGOs that is now available. Such resources were not accessible a few years back.

It is only when women will start fighting for their own rights that change will come. It shall be slow and painful but there is great hope because a woman has enormous strength and resilience. Strong women such as Mukhtaran Mai, Dr. Shazia and Kulsoom Soomro, who have been victims of rape are inspiring examples. They are women who kept on fighting and refused to give up even when all hope seemed lost. I hope they keep fighting, build awareness, and raise their voices in order to change the very structure of society and allow women to live free lives without fear of threats, persecution, rape, and harassment. As the American writer C. Joybell once said, “The strength of a woman is not measured by the impact that all her hardships in life have had on her; but the strength of a woman is measured by the extent of her refusal to allow those hardships to dictate her and who she becomes.”

Let us join hands, and fight to change the system.









Trauma of Rape

Do you see her sad, forlorn eyes,
Filled with misery, despair and angst?
The stains and marks all over her clean slate;
Her hollow eyes filled with darkness and despondency.
Tears streaking down her innocent cheeks
Which were once rosy and filled with vibrant ambitions,
Effervescence, exuberance and vitality.
All shattered by the dark crimes of the beasts that roam the darkened alleyways.
Broken. Desolate. Abandoned.
What is her crime?
Her soul, innocence and dreams,
Once within reach;
They are now broken and beyond repair.
The glimmering light of hope shines forth through her darkened world.
She will fight.
Because change comes with strength, resilience, passion and hope.
And there is always hope
Amid the darkness of anguish and pain.

Rape is an ugly reality that is prevalent everywhere in the world. In order to join hands against the rape culture, I have started writing about the topic recently in order to create more awareness. To read more, read my collaborative piece at http://tribune.com.pk/story/432536/rape-not-worse-than-death/

Saturday 11 May 2013

Resplendent Hope?


She stared at the faces
Filled with mirth, laughter, and hope.
The streets filled with people wrapped in the warmth of a splendid ecstasy;
Dreaming of a bold and ebullient future;
Bursting with patriotic spirit and resonating with joy;
United for the first time and shunning the cynical voices in their hearts.
Was this the time for blooming change?
A utopian era?
The shattering of the false promises of the past leaders and dictators?
One could only hope, she thought
As she watched people during the early hours of the morning
Running around with a brilliant fervour;
Dancing under the merciless heat of the vibrant sun.
Its yellow rage seemed to be diminishing,
Giving way to a more sunny opulence and a charismatic aroma.
Some said it was preposterous and irrational to be reverberating with such ecstatic joy.
But at least it brought the diversity together 
And combined it into an effervescent entity.
She didn’t know what would come next.
But for now it was enough to relish the voting fever
And hope for change.
Hope for the shining light of benevolence to shine on her country.
Hope was her greatest weapon
Against the misery wracking her motherland.
For now, she wanted to bask in it.
Let the exuberance sink in.

Thursday 28 February 2013

The Power of Hegemony over Sexuality: An Analysis of Game of Thrones and True Blood


Wordle: Cultural Hegemony      I admire Antonio Gramsci. Why, you ask. His work on cultural hegemony was ground-breaking. After spending four years studying history, literature, religion, and international development, my view towards the world has become largely pessimistic. My feminism has been strengthened. My passion to change the status quo has grown. I admit that I feel frustrated at times. I am disgusted by the news media, and the hegemonic power it exercises. We have become so influenced, and so brainwashed into accepting what the media presents us with that our abilities to question, analyze and critique have evaporated. The violence depicted on television on a daily basis has resulted in all of us becoming desensitized. We don’t care anymore that the Hazaras are subject to a mass genocidal campaign in Quetta. We don’t care that civil war rages on in Syria, and that women are beaten up by brutal Assad forces. It doesn’t matter that gang rapes take place in India every minute of the day, nor do we consider what the hell is happening in Mali. Life goes on. Let’s live in our tiny bubbles, and thrive in this neoliberal anarchist individualism that permeates our souls (thanks a lot, capitalism). In fact, hegemonic forces have become so invasive in our lives that we don’t even know that every single one of us is oppressed by them.

     Neoliberalism and capitalism have actually created a society driven by greed and consumerism. And of course, it has also resulted in the creation of gargantuan inequalities as Marx had predicted. Capitalism thrives on the concept of hegemony. Hegemony involves the clever exercise of power by a dominant force in such a way that the oppressed force or group does not realize that they are being exploited. Moreover, the oppressed group accepts the exploitation and even enjoys it in some ways. An excellent example of a powerful hegemonic force is the United States. The US exercises cultural hegemony globally. Canadians are dominated by US culture and obsessed with Hollywood and American television shows. South Asia consumes and enjoys US culture regularly. And so does the rest of the world. Patriarchy is founded on the premise of hegemony. The male strives to exercise hegemonic control of the female. Media perpetuates and helps to brainwash our minds on a daily basis.

     Have you ever stopped to consider the powerful and hegemonic influence that television shows exercise on our minds? We just consume them mindlessly, bathing in the pleasure of pure entertainment, without stopping to think what ideas we are unconsciously absorbing into our heads. Breaking Bad, for example, is one of the top rated American television shows. However, its popularity is based upon our instinctive craving for violence and blood. HBO shows, such as True Blood and Game of Thrones are two of my favourite shows. But the impact they exercise on one’s mind is astounding.  These television shows dictate sexuality, and gender identities. True Blood, and Game of Thrones help to perpetuate the idea that sexuality is subject to hegemonic forces.

     Take a look at how gender is portrayed in the shows. Cersei Lannister is the Queen Regent of the Seven Kingdoms in Game of Thrones, which is set in the medieval era (Game of Thrones, Season 1). However, despite being a powerful Queen in a position of great authority, she is still subject to the patriarchal hegemony of her husband who is the King. Thus, the show plays on how the male hegemonic influence shapes the behavior and structure of Cercei’s identity and gender. The male dictates norms for her to follow and adhere to while he is free to do whatever he wants to without being judged by the hegemonic gaze of society. Cercei’s husband treats her as if she is a sexual commodity who is not supposed to enjoy sexual pleasure; her body is merely a site for reproduction (Game of Thrones, Season 1). Muvley encapsulates this idea perfectly when she asserts, “Traditional Hollywood cinema perpetuates these roles, through the production of films that enable the audience to identify with an active male and a passive heroine (Szeman, 91).” So while the King is active and engages in sexual pleasure and promiscuity, Cercei is trapped under his authoritarian and hegemonic rule and as a woman in the medieval times, she is expected to conform to the role of a modest woman if she is to remain in the position of a royal and respectable Queen. Here, we also see how gender is overlapping with sexuality to a point where it is almost impossible to discern the difference between the two. Cercei, as a woman, becomes the very epitome of sexuality; her beauty makes her the object of sexual desire as Vance says, “women as a marked gender group constitute the locus of sexuality…gender and sexuality are seamlessly knit together (Vance, 46).” Thus, Game of Thrones perfectly depicts how hegemonic forces not only define gender but also dictate sexual behavior and identity. Weeks, in his article, asserts that many prominent researchers have equated sexual difference with the subordination and subservience of women as it is a way for men to exercise their hegemonic power over women (Weeks, 38).

      
     Another hegemonic influence operating in television shows is race. Race is commonly used as a concept that draws differences between groups based on power denominations on the basis of biological, physical and genetic differences; race is not a natural state but it is socially constructed by hegemonic influences (Szeman, 242). It is mainly the white man that exercises hegemonic power over the black man as the history of colonialism and slavery depict and Weeks asserts that in the nineteenth century, black people were considered as crude and wild beasts with uncontrolled sexual energies (Weeks, 39). This idea is shown in True Blood through the characters of Tara and Lafayette, both of African American descent. Tara, in True Blood, is a black female who experiments with her sexuality by not only having sex with a vampire, a shape-shifter, heterosexual males but also with women (True Blood, Season 4). Her aggressive nature further shows her as a sexually deviant woman who cannot seem to suppress her sexual energy. Lafayette, another African American in the show, is a gay prostitute and also operates a porn website illegally (True Blood, Season 1). His open homosexual identity and erotic relationships with men, shown vividly and explicitly in all seasons, as well as his aggressive sexual language, show him as sexually promiscuous. This is an arena where race, sexuality and gender are all intertwined. It is also noteworthy to observe that two of the lead characters depicted as engaging in homosexual acts are both black while none of the white lead characters are homosexual. This shows how the media, as a hegemonic institution, uses its hegemonic power to depict the idea of blacks as more prone to homosexuality and sexual deviance.
         
     A further way through which these sex television shows show hegemonic power being exercised to mould, administer and control sexuality and its construction, is through the traditional hegemonic institutions of marriage and family. This idea is also pointed out by Gagnon and Simon as they assert that for sexuality, “there are governing rules, hierarchies structuring mobility and standards of evaluation (Kimmel, 64).” In Game of Thrones, we see the institution of marriage functioning as the hegemonic system through which Cercei’s sexuality is controlled. As a woman, she is not allowed to have multiple sexual partners although her husband freely engages in sex with prostitutes and with many other women. However, the interesting thing to note here is how some of the hegemonic work is being undone here; Cercei secretly rebels against the institution of marriage by having sex with other men and also by having sex with her brother, thus defying the barriers imposed on her by the traditional institutions of both marriage and family (Game of Thrones, Season 1). Cercei is however, one of the villains of the story, which shows that even if females in popular culture try to rebel against the hegemonic powers, they are shown as ruthlessly power hungry and treacherous.
          
     The institution of religion is another powerful, hegemonic force that seeks to constantly regulate and control sexuality as Kimmel asserts in the article that, “One had to speak of sex as of a thing to be not simply condemned or tolerated but managed insteadninto systems of utility, regulated for the greater good of all…it was a thing one administered (Kimmel, 64).” This idea of religion being used as a hegemonic and authoritarian force to control and regulate sexual energies and limit sexual deviance is illustrated in True Blood through the characters of Steve Newlin and Maxine. Steve Newlin is the organizer of the Fellowship of the Sun, which is a Christian organization that abhors vampires as un-godly creatures that wreak havoc, and sexual relations with them must be explicitly condemned; vampires in the show may be used as an allegory for homosexual peoples (True Blood, Season 2). Thus, the idea of religion trying to stop people from adhering to homosexual identities comes across in True Blood. Maxine is another character who is depicted as a God fearing Christian who always attends church and reads the bible; she is shocked and scandalized when her son wants to puruse sexual relations with a vampire (True Blood, Season 2). Maxine does everything in her power to convince her son that Jessica, the vampire he is in love with, is a demon that God abhors and Christianity hates (True Blood, Season 2). Religion is shown as a very dominant and powerful force in society that can be used to regulate sexual behavior.
          
     The construction of bodies in the show is also heavily sexualized and bodies are often depicted in the show as the site of hegemonic control, whether they are male or female. In True Blood, all of the males and especially the vampires, are shown as the active agents with highly muscular bodies which dazzle all the females. The body is thus depicted as a sexualized site which controls the other gender and draws it under the hegemonic influence of the male. It is also interesting to note that the opposite is also true; the sexualized female body is also shown as a site of power that dominates the male as the female vampires in the show, such as Jessica, control the sexual desires of male characters such as Jason and Hoyte (True Blood, Seasons 3 and 4). Here, we see how the construction of bodies intersects with sexuality.
          
     Popular culture is a powerful medium that can shape one’s perceptions of sexuality, help perpetuate traditional stereotypes, and reaffirm traditional power structures, allowing them to continue doing their hegemonic work. While sex shows such as True Blood and Game of Thrones, help the authoritarian power structures to stay intact through their depiction of sexuality, gender, race and the construction of bodies, some of that work is also being undone. This is illustrated through the rebellious character of the vindictive and villainous Cercei and also through the powerful female vampire characters in True Blood, such as Pam and Jessica, who use their sexual prowess to assert their dominance over many of the male characters. Thus, there is some hope that a conscious effort to break the exploitative grip of hegemonic forces may be undertaken by the subordinate groups in order for societies and individuals to freely assert their identities.



Sources
-Game of Thrones (Seasons 1 and 2). Created by David Benioff and D.B Weiss. HBO, 2011, DVD.
-Kimmel, Michael S and Rebecca Plante. “Sexulaities.” Contexts 6, no. 2 (2007): 63-65.
-O’Brien, Susie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson, 2004.
-True Blood (Seasons 1-4). Created by Alan Bell. HBO, 2008, DVD.
-Vance, Carole. “Social Construction Theory and Sexuality.” Constructing Masculinity. Eds. Maurice --- Berger, Brian Wallis and Simon Watson. New York: Routledge, 1995. 37-48.
Weeks, Jeffrey. “The Invention of Sexuality.”  Sexuality. New York: Routledge, 1989. 19-37.

Confessions of a Writer

She stared at the faces. The faces full of life, vitality, vigour and of determination. They all had the same things in common. The passion for what they wanted. The determination and hunger to achieve their goals and the perseverance to strive and struggle in order to achieve their aims. They knew what they wanted. She looked at her face in the mirror, desperately trying to search for that same passion, that same vigour and determination in her face. But her face looked empty and hollow, devoid of any emotion. She did not know what she wanted. The only thing she felt was this sense of aimlessness, isolation and the sense of not being understood by those around her. The only things that could ease this pain and this ache were pen and paper. Writing was a channel through which she could speak out to the world and try to make it understand what she wanted, what she strived to achieve…what she wanted from life. It was the only means through which she could actually find herself and understand herself. It was the friend that she longed for, the friend that provided her comfort in times of sorrow, the friend that enabled her to pour out her feelings and all her anger. She wrote angrily…passionately…she did not know what she was trying to say, the words just flowed out effortlessly…almost magically…as if the pen in her hand had a power of its own…it just magically made her hand move and made it produce words that she did not even know she was capable of producing….the ink flowed and flowed on the paper...it represented the outflow of all her emotions, of all her feelings. As she looked at what she had written, she tried to scrutinize and fathom the meaning of her words. They seemed dull, prosaic and insipid to her. But when she read them again, a feeling of comfort and imperturbable calm enveloped her serene soul. In her own darkened gloom of thought, she had finally found the answer. The search for what she was looking for was over. The answer was in front of her and suddenly her life was full of meaning and full of hope. She looked at her pen and paper and smiled. This was what she wanted. It was not only a channel of communication with the outside world. It was also something that she loved. It was something that made her feel content and satisfied. She had finally found herself.

Henry R. Luce, an American Publisher and Editor once said, “I became a journalist to come as close as possible to the heart of the world.”

When I read this quotation, I immediately felt that Luce was trying to define exactly what I felt and what I wanted and that immediately told me that journalism was indeed the right career for me. The above italicized extract is not a story taken from any magazine or newspaper. It is written by me and the lost girl in the story represents me.  I realized when I began writing this essay that no particular work of art inspired me to study journalism. Writing has always been a passion for me ever since I was a child and I used to write all the time. The hunger to write was always inside me and it used to gnaw at my insides until I finally grabbed a pen and paper and wrote passionately. With the passage of time, I realized the power of the written word and how sharp it was; the wound of it could hurt a person more than the wound from a sharp sword.

I still remember the day when I was eleven years old and my home computer was out of order. It was the computer on which I constantly used to type and send articles to local magazines in Pakistan. The excruciating pain I felt during those days because I wasn't able to write or express myself is hard to put into words.  It was perhaps at that moment that I felt that I wanted to become a journalist. Not being able to type on the computer made me feel cut off from myself and from the outside world. I felt lost and isolated.

I remember the first poem and short story that I wrote when I was ten years old. I sent it to a local magazine and it was rejected. I felt so discouraged that I vowed never to write again. However, the separation from writing lasted for only a few days. It was something that was a part of me, something that I was born with and the gnawing hunger to write soon encompassed me again until I was incapable of feeling or thinking and the only comfort from the pain was to vent out all my feelings on paper. When I was twelve years old, my first article was published in a local magazine. The uncontrollable joy, enthusiasm, exuberance and vivid effervescence that I felt upon seeing my name in print is indescribable. I felt as if I was floating in the sky and I felt that I had won the Nobel Prize. From that day on-wards,  I wrote about everything and anything that I came across. I searched for some sort of inspiration in the white empty walls of my room, in the cloudy sky outside, among the birds that ate the leftover food lying in the garden, in the faces of the people around me and in the destruction and havoc that the outside world was going through.  I wrote and wrote and I constantly looked at the world from a completely different perspective. When people saw a tree outside the window, I saw something else entirely. I noticed the hunched reverence of the branches. I saw the tiny lines on the soft, brown leaves. I noticed the sparrows that were nesting in the tree and I saw how beautiful the tree was. It wasn't a tree. It was home to some living creatures. It was a symbol of comfort and beauty.  I wrote and almost all my work was published in the local magazines. I even expanded my horizons and I started writing to a magazine in the United Arab Emirates. Seeing my name in print was a constant source of pleasure to me.

When I turned sixteen, I noticed the attitude people had towards journalists in Pakistan. They were viewed as good for nothing people who only made a living out of writing worthless material on scraps of paper. Everywhere around me, all people wanted to become were doctors, engineers, lawyers, architects and businessmen. No one seemed to appreciate the art and beauty of the written word. I thus changed my mind and decided that I wanted to study business. However, when I turned eighteen I realized that I would never be happy or content unless I became what I wanted to become and unless I pursued a career that I was passionate about. And despite criticism from my family members, I decided that I would pursue journalism as a career. I knew that it was something that I had always wanted. I still strive to go to a university in a world where there would be like-minded people like me who can understand my hunger and passion for writing, and who may have gone through a similar experience as I did, and so that I can study in an environment where people do not have a condescending and narrow minded view about journalism. It is a channel through which I hope to reach out to the outside world and make them understand the power of the written word.

It would have been wrong if I had written about how a specific work of journalism inspired me because no particular work of journalism inspired me to study journalism. I believe it was a feeling that I was born with. The desire and passion to write came effortlessly and magically. It was something I loved, and something I believe that I was born with. Henry Anatole Grunwald once said:

“Journalism can never be silent: that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph and the signs of horror are still in the air.”