Other People & Other Places
The past has piled up in my thoughts. The present is running faster than I can ever run. The future might have already happened and might be happening as we speak or might be waiting for the past to leave. All I know is that I have too much to say and that my thoughts and my experiences have been hesitating to turn into words. This blog is only an attempt to write, to talk, to tell, to narrate and to share.
For instance, let’s go over a simple day that I would spend at home, in school and outside when I was still in
My father would wake me up early in the morning. Before that, however, I was already waken up by the sound of the morning prayer that could be heard from the outside (for those who know we lived closed to the Mossala of Tehran). I, however, did not care much about the morning prayer and had simply taught myself to tune out the very loud sound of the Quran and sleep. In my pajamas, I would go to the kitchen, have breakfast with my father and if I had time I would listen to my Western music until it was time to go downstairs and wait for the school bus to come. Then, I would quickly wear my garment and tight scarf (maghnaye) and run downstairs. In school, my friends and I would not cease talking about this and that
Many of us were constantly advised to never share what goes on at home with our friends and our teachers. Although we often failed to abide by this ‘privacy’ rule and would share our stories with some of our friends, most of the times we would manage to keep these stories among ourselves and not have them leak to the authorities of the school or our teachers. The funny thing is that later when I was old enough to see things more broadly, I realized that our teachers and the staff of the school would do the same exact thing. They would talk about their controversial opinions and lives at those teachers who were in touch with the authorities of the Ministry of Education and other governmental institutions.
All in all, while being a teenager in
Anyhow, it is because of the kind of daily life that we(I am specifically talking about the middleclass, more Westernized middle class of Tehran) had during our childhood and teenage years that I think, many of us who grew up in Iran have developed more than simply one “face” with which we present ourselves to the society. We have learned from early on to be a certain way at home and to pretend almost the opposite of that in school and outside. This is why, I think, many of my non-Iranian friends or those who have not grown up in Iran tell me that I have many personalities and that I can easily switch from one “face” to another!
Dear friends,
please join us(IAAB) this Thursday, June 21 from 6-9pm for the opening reception of TRANSFORM/NATION: Contemporary Art of Iran and its Diaspora. There will be live music, food, and drinks and a chance to meet some of the artists.
TRANSFORM/NATION
CONTEMPORARY ART OF IRAN AND ITS DIASPORA
Join IAAB and 21 Iranian artists from around the world
to explore Iranian identity, tradition and stereotypes
Multi-media exhibitions in DC, Tehran, & online
Exhibiting Artists: Samira Abbassy, USA · Haleh Anvari, Iran · Kaya Behkalam, Germany · Mina Ghaziani, Iran · Pantea Karimi, USA · Bani Khoshnoudi, France · Haleh Niazmand, USA · Amir Rad, Iran · Afarin Rahmanifar, USA · Jairan Sadeghi, USA · Samineh Sarvghad, Iran · Farideh Shahsavarani, Iran · Samira Yamin, USA · Siamak Nasiri Ziba, Iran
Exhibiting Artists: Ali Alavi, Iran · Nazgol Ansarinia, Iran · Amir Sabber Esfahani, USA · Bani Khoshnoudi, France · Farideh Shahsavarani, Iran · Maryam Shirinlou, Iran · Shadi Yousefian, USA · Mahboubeh Zadehahmadi, Iran · Shahnaz Zehtab, Iran · Siamak Nasiri Ziba, Iran
Curated by: Narges Bajoghli, Nikoo Paydar, Leyla Pope and Maryam Ovissi
Boryana Rossa (Bulgarian, b. 1972). Celebrating the Next Twinkling (Praznuvane na sledvascia mig), 1999. Single-channel video, Edition of 2, 2 min. 45 sec. Private collection. Photograph courtesy of the artist
March 23–July 1, 2007
Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, 4th Floor
In celebration of the opening of the Elizabeth A. Sackler Center for Feminist Art, the Museum presents Global Feminisms, the first international exhibition exclusively dedicated to feminist art from 1990 to the present. The show consists of work by approximately eighty women artists from around the world and includes work in all media—painting, sculpture, photography, film, video, installation, and performance. Its goal is not only to showcase a large sampling of contemporary feminist art from a global perspective but also to move beyond the specifically Western brand of feminism that has been perceived as the dominant voice of feminist and artistic practice since the early 1970s.This exhibition is arranged thematically and features the work of important emerging and mid-career artists.
The Brooklyn Museum presents exhibitions that give voice to diverse points of view. Global Feminisms contains challenging subject matter that some visitors may find disturbing or offensive. Children 17 and under must be accompanied by an adult. Discretion is advised.
This exhibition is co-curated by Maura Reilly, Ph.D., Curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Linda Nochlin, Ph.D., Lila Acheson Wallace Professor of Modern Art, Institute of Fine Arts, New York University.
Global Feminisms is sponsored by Altria Group. Additional support is provided by the Elizabeth A. Sackler Foundation and the French Embassy Cultural Services.
She was dragged out of her house, her head held in a headlock. For just a second a close up of her face showed it distorted by fear, her eyes wild. There was shouting from the crowd. A sense of pandemonium. The raised fist clutching a rock dissolved in a blur of motion as the cell-phone video lost focus. You could only imagine the fury with which she was attacked. Imagine the impact of the rock on her skull, the screams. The rocks that followed. Blood streaming down her long dark hair. You had to somehow force yourself to imagine it because she had lived it, and had not lived through it. In the end there was only her body sprawled on the ground wearing a red cardigan sweater and dark pants. She had been kicked, beaten and stoned to death.
That morning, when 17-year-old Dua Khalil Aswad put on her red sweater, did she have any premonition of what lay ahead? When she heard the men outside her window did her heart sicken? When her cousin came into the house did she know then? When he grabbed her, holding her head in the crook of his arm like a cowboy dragging down a steer, she knew. But it was too late then to escape. Perhaps she saw the police looking on and thought they would save her. Perhaps she thought her mother would burst through the crowd and save her.Where was her mother? Was she in the house, screaming too, being held back from saving her by the father she had dishonored?
I wonder about the man who videoed the carnage with his mobile phone. Was it only a spectator sport? Did he have hopes of selling it to American television for a sum that would support his family for years? Or perhaps, as I like to think, he was the only hero in the crowd. He intended to show the world that medieval brutality still exists, knowing there was nothing he could do could stop it. Whatever his motive, Dua’s murder has been broadcast around the world. People are angry. Governments are appalled. Suddenly, it is as though nobody ever heard of honor killings and they are demanding both revenge and reform. Four people have been arrested in the murder of this 17-year old Kurdish girl in
It hasn’t taken long for the media to uncover another photograph of Dua. This one is reminiscent of most school photos where you are told to look into the camera, and so her beautiful almond eyes gaze directly into our own. Except for the slight smile on her lips, her expression is calm, almost placid. It is a photograph taken light years ago.
Only when studying the photograph I notice that she is wearing one small earring. Is this acceptable? Or is it too modern? And the way her hair dips slightly over here left eye. Is this too suggestive for a religion that expects sensuality to stay in the recesses of imagination? Perhaps these were clues that led her family to suspect an independent mind was in their midst. Clues radical enough to worry a cousin to follow her, and to finally catch her with a Sunni Muslim man. But was she only talking to him? Did they touch? Did the cousin watch them smile into each other’s eyes? Nothing is clear. It is only reported that she was seen with this man. But for a girl who knew her Yazidi religion forbade mixing with other faiths, she had done the unspeakable. The minds of family members raced towards the inevitable: How could it have been anything other than lust that persuaded her to be seen with this vermin? Had she already had sex with him? Were they planning to elope? There was no time to think further, only to act.
Now they are hunting the cousin, but are they really looking that hard? Or when Dua’s face fades from the world’s consciousness, will their attempts to bring these men to justice fade as well? After all, this has been going on as long as men have tried to control a woman’s actions, thoughts and desires. It doesn’t matter that the United Nations and human rights groups have condemned honor killings. They still take place by the thousands around the world. Houzan Mahmoud, spokeswoman for the Organization of Womens’ Freedom in
And so when women in Muslim fundamentalist families are raped, they bring dishonor and must be killed. Their brothers do it. Or cousins. Or any male relative macho enough to wipe the sin from the family‘s name with the girl’s blood.
Years ago, the voice of a Muslim father in
Two brothers gun down their sister in
“A woman shamed is like rotting flesh, a Palestinian merchant says. “If it is not cut away it will consume the body.”
In some communities, women who have the temerity to refuse a marriage, ask for a divorce, survive a rape, or who simply talk to a man, are guilty of bringing shame to the family. If she has the misfortune to be born into an Islamic fundamentalist family she can be beaten, burned, strangled, shot or stoned to death. Her death is often ruled a suicide. She is often buried in an unmarked grave, her very existence removed.
The light and intelligence in Dua’s eyes looked out onto a poor village in
I go back to the videotape on CNN and watch it again. There seems to be more footage this time. It shows Dua on the ground trying to get up. She is kicked again and collapses again.
It is a small village where she lived. These men knew her, and had probably known her since she was a child playing with their own children. It makes me wonder if those men who watched her die are obsessing over these images as I am. Do the pictures of Dua’s bloody and blackened face haunt their sleep? Perhaps, like me, they can’t turn away because bearing witness is so little to offer her. We must force ourselves to watch this inhumanity because she lived it, and she did not live through it.
Organization for Women’s Freedom in
http://www.vday.org
Phylis Collier