I feel pleased and humbled to announce the publication of my first book, Gender and Islam in Indonesian Cinema (2017 Palgrave Macmillan. Chapters can purchased separately here) based on my field research between 2011 and 2012 in Jakarta and Yogyakarta where I was privileged to interview film directors, film producers, festival organisers, film critics and enthusiasts in the Indonesian film industry. I have made many wonderful friends in the process who became colleagues in a rather niche and important field of Southeast Asian cinemas and cultural production. It was written up as my PhD thesis supervised by Dr. Ben Murtagh and examined by Dr. Felicia Hughes-Freeland and Dr. Yvonne Michalik.
I’ve written a commissioned article for The G-Blog on the present challenges of Muslim feminism in Malaysia and globally, linking it to wider structures of war, (post)-neoliberal economics, and the rise of alt-right political narratives.
Situating Muslim feminism in the bigger picture
Let’s face it, times are bad. Full-time and secure paid work are drying up, and real wages are not catching up with the rising prices of basic essentials. More adults in their 20s and 30s continue to live with their parents because it is too expensive to live on their own. Millennials have inherited a post-2008 global recession that never really recovered and an overpowering culture of debt. And now we welcome 2017 on a low note. We watch a car crash in slow motion as global superpowers and their leaders prove themselves to be devastatingly anti-women, anti-LGBT, anti-immigration, anti-Islam, and anti-peace. It will take a long time to offset the damage of their politics.
So what is the role of Muslim feminism during this period of cruelty and despair? Feminist-identified Muslim women of all ages are faced with challenges that crisscross faith and the secular arenas of their lives. It is time to connect the dots between different types of gender-based oppressions with those of male-dominated interpretations of religion. But being female and Muslim is not isolated from the economic and political reality either. In fact, the poor economic situation and political corruption have an impact on feminist and faith-based belief. The spiritual meaning of patience (sabar as being a component of one’s iman) and moral right or haqq are not used and reclaimed in the public discourse to alleviate the daily humiliations of Muslim women and non-normative people. Instead, sabar is distorted to justify domestic and national suffering. What is morally right becomes manipulated to condone the discrimination of women and people of non-normative genders and sexualities from attaining their full potential in the public sphere.
What does it mean to be young, Muslim and feminist today? For many young women, it means a whole new life; a commitment that transforms their way of thinking about the world, a new set of friends, and re-orientation of priorities manifested in their ambitions and daily practices. This commitment is synonymous with what is understood as ‘feminist consciousness’, a process of seeing the world from a gendered perspective and about being re-born as a feminist. However, the backlash that awaits them for articulating their feminist commitment is often hostile and violent. Rather than an apparatus and ideological framework for social justice, the iconoclastic demands of feminism are frequently judged as un-Islamic and inimical to local culture. Muslim feminism is not the default feminism for people who identify as feminist women and Muslim. When I conducted a focus group last September on what it means to be a Muslim feminist today, the responses I got were eye-opening: Muslim feminists are not entirely enamoured by the limits of ‘Muslim feminism’. Perhaps there is an assumption that being a Muslim feminist means looking at every feminist issue from a religiously-informed lens when not everything that is important to being a person is religious or Islamic.
Are you between ages 18 to 29 and identify as a woman, Muslim, and feminist? Do you have thoughts about the burkini ban and the treatment of Muslim women who wear the hijab in France and Europe more generally?
I am coordinating a focus group of 10 participants to discuss what it means to be a Muslim feminist today and how as Malaysians, we engage with global discourses on feminism, religion, secularism, ethnicity, and gender. The focus group will be conducted as an open space conversation, audio-recorded and participants can request anonymity.
If you are interested in participating in the focus group, do contact me at email@example.com or drop me a Whatsapp message at 012-63121-54. You can also drop me a message in the comments section of this post.
The date (in September), time (after 8 pm), and place (most likely in the PJ area) for the focus group will be finalised and announced once at least five participants have confirmed to attend.
The ultimate aim of feminism is to end sexism and establish gender equality by dismantling patriarchy. While this has not yet happened for the majority of the world, this will be a ‘feminist future’. Thus, feminism is a project that is temporal in quality; it is about the now (not ideal) and tomorrow (ideal).
Feminist theorists also argue that femininity and masculinity are gender constructs – they are not fixed, but can change and, over time, transform. Thus, gender identities are always a process and dynamic. Gender is about becoming (towards the future) rather than being (fixed in the present). This means that from a feminist perspective, gender as a dynamic construct means that as women/men, all gender identities are the active sex and never inert.
Women have a close relationship with time. Women’s reproductive capacities are time-based (ovulation, menstruation). But with reproductive technology, women have the power to control time (regulate ovulation and menstruation. Restore, delay, and reactivate fertility).
Because women do more domestic and housework, we have significantly less leisure time than men. Domestic technology is designed to reduce the amount of time on domestic responsibility.
Women’s relationship with their own femininity is also time-based. And as a relationship with time, it is for many women a vexed one. Beauty is commonly associated with youth, a prized quality that is defined by a short period of time for women. But with cosmetic technology, women may be able to ‘stretch’ the time on their faces.
Even when assisted by financial resources to limit the creeping of time on our mortal flesh, to reduce household chores to a single button, and to reset and boost our reproductive capabilities, time will always be in diminishing supply. It could be argued that unless women make peace with time, we will always be in a futile race with it.
I’ve been asked to write a blog post for The G-Blog on women who do not wear the hijab as a ‘counter’ opinion to other pieces on women who wear it. During the editorial process of the blog post, I was reminded again how sensitive the topic of the hijab is and that ‘strong’ views against the dominant current of opinions such as mine will face opposition. At the same time, I am reminded how the priorities of my views on Muslim women and veiling have shifted of the years; from defending women’s decision to wear all iterations of the hijab to being critical of social pressures on women to wear it. At face value, this isn’t much of a shift. In fact, they are usually part of the same argument. However, I have made it a point to emphasise in my own work the real pressures women face to wear the hijab, the lifeworlds of women who do not want to wear it but have to, and women who face abuse because they do not wear it. I feel that the foregoing side of the ‘same’ argument is given less air time in the contemporary discourse on the hijab. Perhaps because of this neglect, my criticism of social pressures is often seen as a critique of the hijab tout court. With all that taken into consideration, the following article I’ve written for The G-Blog is my modest attempt to reconfigure the terms of the contemporary discourse on the hijab:
I have always been interested in how the social influences the individual. My research project on the hijab helps me understand the relationship between society and the self. Of course, articles about Muslim women’s choice to wear the hijab have been written and dissected ad nauseam – and here I am writing about it again – so, what makes this piece different from the many others? Perhaps by proposing that both wearing the hijab and the rejection of the hijab cannot be reduced to choice.
In fact, I am forgoing the notion of ‘choice’ by illuminating the narrowing dimensions of Malay-Muslim women’s lives under the aggressive processes of Islamisation and how such limitations inform their decisions to wear or reject the hijab. These narrowing dimensions are experienced in the moral micro-management of Malay-Muslim women’s social landscape. My research assistant Zena and myself have been very privileged to listen and record the oral histories of women who have an ambivalent relationship with the hijab and capture elements of their social landscape.
Since 1st June, I had been implicated as a complainant in a sexual harassment allegation in the local progressive activist scene, details of which I will provide soon here. But in the subsequent days after making allegations on social media about a serial harasser of women, my corroborator of the allegations who had gone semi-public with a statement on Facebook has experienced intimidation, bullying and blackmail from the harasser. For women who’ve become aware of these allegations and likely to have experienced sexual harassment themselves, some will still feel afraid to come forward and continue to shoulder what I call the emotional labour of keeping silent due to fear and shame.
This post was published in The G-blog on 16th May 2016 prior to the allegations on 1st June, but I feel it was prescient and relevant enough for all times:
There is a man who has a history of harassing women but always got away with it. His friends and colleagues know about it but remain steadfast in their loyalty towards him. Close friends vouch for his good behaviour. Yet, stories about his behaviour travel far, into the living rooms of people who have never met him, into the coffee sessions shared between friends. Some do not know his name yet tales of his behaviour have achieved the status of legend. In the meantime, the voices of the women he had harassed are quashed. They stand by close to the scene of the crime – the circle of friends who protect the perpetrator and his reputation. They watch and wait in vain for laws and attitudes to change beyond their own lifetimes.
I have a new journal article published in the latest issue of Asian Cinema, Vol. 26 Issue 2.
Female ghosts and other supernatural entities, including the pontianak, in Malaysian horror cinema are excessive psychosocial articulations of traditional Malay femininity gone awry. In Malay ghost stories, the pontianak is a vengeful spirit. She is the ghostly reincarnation of a pregnant woman who dies before or during the birth of her child and who then seeks vengeance on the living for causing the gruesome death that kills her and her unborn child. Since biological reproduction is the primary determinant of a woman’s social value in traditional Malay societies, the double death is devastatingly cruel. The pontianak thus embodies the horror of abject femininity associated with thwarted womanhood. Another recurring theme in Malaysian horror cinema relates to women possessed by evil spirits. Typically portrayed as lacking in emotional restraint, and therefore given to hysterical behaviour, such women are thought to be particularly vulnerable. Malaysian horror cinema has been adept at depicting psychosocial horrors of feminine excesses as such that transgress otherwise restrictive social and customary expectations for Malay femininity. This article examines the horror of abject femininity in two contemporary Malaysian films by female film-makers: Shuhaimi Baba’s Pontianak Harum Sundal Malam/Pontianak of the Tuber Rose (2004) and Zarina Abdullah’s Chermin/Mirror (2007). Both films collectively provide a spine-chilling commentary on female–female relations and motherhood that puts to play the female gaze and the monstrous feminine. This article argues that the themes of failed motherhood, death and the abject are salvaged by strong mother–daughter relations and the female gaze, making the two films a women-oriented rejoinder to spirit possession and the misogynistic tale of the pontianak.