Operation Muslim Virgin

Mona Eltahawy recently did an interview with Ron Kuby on Air America Radio on the recent New York Times articles about hymen reconstruction, a Moroccan couple in France who divorced because the wife was not a virgin, and feminism in Islam. The interview was 12 minutes, which is longer than those five segments you see on cable newschannels. Still, I feel that a topic like this, especially for non-Muslim audiences should be afforded more time. The interview itself, though, did cover a lot of topics for 12 minutes.

First, Kuby brings up the the NYT articles in his introduction. He says that hymen restoration is an increasing practice among Muslim women. I’m always skeptical when something is said to be increasing but no actual numbers are given and I’m skeptical in this case since the the Times articles say there are no reliable statistics on this procedure. So, on the one hand, I always wonder if this issue is being overblown. At the same time, the operation, no matter how large or small the number of women having it done, does point to a bigger problem of patriarchy and control of women’s sexuality.

Also, Kuby didn’t mention that this practice does not only occur among Muslims (Eltahawy did mention this point later) but said that there are similar practices of people trying to give themselves “do-overs”. An example he gave was annulment in Catholicism. While it was great that he saw that this idea isn’t isolated to Muslims, I definitely think the analogy he gave misses factors at play with hymen reconstruction. It’s not simply about a “do-over”, nor is it something these women are doing to make themselves feel better. They’re doing it so that they are accepted by their families and communities and sometimes to even protect their lives. There is much more at stake for a woman who undergoes this operation than for a Catholic who annuls her marriage.

As Kuby began discussing the divorce with Eltahawy, she brought up the issue of marriage as a contract. She said that the husband considers the marriage a contract. The Religious Studies major must have jumped out of me at this point because as I heard her say that I thought “aren’t all marriages contracts in Islam?” Without getting technical or derailing the post, a marriage in Islam becomes valid as soon as the marriage contract is signed by both parties. Marriage in Islam isn’t seen religious sacrament, as it is in some other religions, but literally as a contract and if one of the parties breaks the contract, the marriage could be over. Also, I wondered if this was actually relevant to the issue, especially considering that marriage contracts could be used to actually help women. For instance, a woman could put in her marriage contract that she does not want to be a co-wife.

Going further into the contract issue, Eltahawy asserts that the husband used “breach of contract” in a secular court to fight for a religious issue. Initially, I would have agreed with Eltahawy but again, considering that marriages are contracts in Islam, I wonder how far that logic can go. In the U.S., Islamic marriage contracts can be used in secular courts. It is not hard to see how a marriage contract could also be viewed as a legally binding document in a French court. I think the issue isn’t contracts but the fact that the man felt that his wife’s virginity was such an issue that he put it in the contract and thus based his marriage on it. The real issue is patriarchy and control of women’s sexuality.

Later in the interview, Kuby asked about women who get hymen reconstruction after living “Western, secular” lifestyles. It wasn’t the question itself that bothered me, but how it was phrased. “Muslim” and “Western” are usually portrayed in the media as being mutually exclusive. When we ask about Muslim women who live “Western, secular” lives there seems to be an assumption that one can’t possibly be Muslim and Western. This view is problematic because it ignores a whole portion of Muslim women who are indigenous Western Muslims. White, Latino and African American converts are Western and Muslim.

While I thought Kuby’s question could have been phrased differently, Eltahawy’s response was great. She focused on how this was an issue with “conservative” families and how hymen reconstruction is done in other communities that aren’t Muslim. This is an important point because it shows that the issue isn’t Islam but conservative patriarchal social norms that force women to present an ideal of virginity.

Another excellent point that Kuby raised was cultural relativism. Eltahawy pointed out how cultural relativism is usually harmful to women. In regard to the recent divorce case in France, cultural relativism might have possibly played a role in the verdict. Eltahawy acknowledged the tendency of some Muslims and non-Muslims to fall back on cultural relativism, especially in face of the attacks to immigrants and Muslims by right-wing politicians and ideologues in both Europe and the U.S. However, she also challenged Muslims to prove ideologues wrong by challenging our own norms and values. This is such an important point because some Muslims have a tendency to become defensive when attacked, while not looking at our own actions. Eltahawy seemed to be making the point that change can only come when we challenge ourselves to change. Perhaps that was the most important message to come out of the interview.

Gay and Muslim!? Yes, It’s True!

I saw this documentary, called Gay Muslims, quite a while ago…it came out more than two years ago! Still, I found that not too many people knew about it or had seen it. And with A Jihad For Love touring around the country right now, I thought it might be a good idea to take a look at what Parvez Sharma’s predecessors have come up when it comes to queer Muslims.

The video above is only part 1 of 6. The documentary, which follows the lives of (mostly) young, gay, Muslims in the U.K., starts with the statement that “Islam is fierce in its condemnation of homosexuality” and that led me to be a little bit worried about what was coming next. What is funny is that almost right after, the narrator says that “homosexuality has been legal [in the U.K.] for almost 40 years.” Okay well FORTY YEARS is really not that long. I wish that the self-righteous attitude of the filmmakers didn’t come through right away because it left a bad taste in my mouth for the rest of the film…which was actually not that bad!

The portrayal of these people’s struggles with being queer and Muslim simultaneously was something that was gravely needed. Too often are young queer Muslims pushed away from their religion because they are taught that their religious and sexual identities are mutually exclusive. This documentary shows otherwise, and through a variety of different perspectives. This was especially apparent in the bit about London’s Gay Pride (episode 6). While one Muslim gay man was trying to blend with the rest of the festivities, another queer Muslim woman was wearing her burqa and niqab and saying that even if she is gay, she need not flaunt it. So wait – not all Muslim queers think alike?? My first thought was to get defensive at how that particular woman was portrayed, but then I realized that they had successfully shown a variety of perspectives and that her viewpoint was a valuable one that also needed to be publicized.

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The subject of Muslim queer people is somewhat new in the media, probably because of the mass denial of any sort of sexuality other than heterosexuality in Muslim communities. But also, as one of the participants lamented, the ‘mainstream’ queer community is centered around White, middle-class ideologies and can be extremely racist at times. It seems, though, that as both queer and Muslim invisibility diminishes, this growing minority may face more media scrutiny in the next few years.

So what is next for queer Muslims? As the documentary so vividly showed, the fear of being outed is so strong and the consequences of being gay are so real that most of the participants in the film asked for their faces to not be shown. So when most queer Muslims are afraid to come out, how can a supportive community be created? How can Muslim communities reach out to their queer constituencies to show that they can be both Muslim and queer at the same time?

Your thoughts on the subject would be great to hear! And of course, I would love to know what you thought of the documentary too.

Editor’s note: Here are the other episodes: episode 2, episode 3, episode 4, and episode 5.

Beyond the burqa…with Bluetooth

MMW thanks G. Willow Wilson for the tip!

Woah. When I first read this, it took me several tries before I could even start to get my head around what it’s trying to say. Go read it, take a minute to roll your eyes, shake your head, look quizzically at the computer screen, or whatever else you need to do, then come back and let’s talk.

 

 

This latest source of mind-bogglement comes from an art project that was part of a course involving technology and the body. We are told that:

“The CharmingBurka sends a self-defined picture of the wearing person to every mobile phone next to it. The project researches about clothes with a digital layer that is different to their first optical impression. […] The CharmingBurka deals with Freud’s idea that all clothes can be positioned between appeal and shame. The Burka was chosen, because it is often perceived in the west as a symbol of repression. A digital layer was added so that women can decide for themselves where they want to position themselves virtually. The Burka sends an image, chosen by the wearer, via Bluetooth technology. Every person next to her can receive her picture via mobile phone and see the women’s self-determined identity. In the artist’s interpretation the virtual appeals can not be gathered by the laws of the Koran and so the Charming Burka fulfills the desire of living a more western life, which some Muslim women have today.”

Oh my goodness, where to start? It’s the going-beyond-the-veil fantasy for the age of wireless communications. The assumption, as always, is that the clothing that a woman may choose to wear while out in public says much less about her identity than what we find when we see what’s underneath. That under this burqa we will find a pretty woman with a stylish haircut and v-necked top, which is how she truly would like others to see her.

What bothers me most about this assumption is that any agency that a burqa-wearing woman may have to choose to present herself to society as a burqa-wearing woman, for whatever religions and/or cultural reasons she may have, is totally ignored. We are led to believe that “the woman’s self-determined identity” is necessarily other than what is conveyed by the burqa, and that if she had her way, the woman under the veil would be showing a lot more skin. There is little space for the woman to be wearing the burqa as a religious practice, or as a way of articulating her identity as a Muslim. This technology acts, apparently, as a way to circumvent Qur’anic guidelines (we’ll leave the artist’s understanding of fiqh for another discussion), since although those are the rules that the woman is bound to follow, it is a “more western life” that she truly desires.

That western life, of course, is taken as synonymous with unveiling, which is in turn synonymous with liberation. It’s the same old story… though at least we can give the artist points for a creative new way of articulating it.

The focus on visuals is really interesting as well. We are not being asked to look beyond the burqa to see the human being underneath; we are simply being given an alternate visual image to replace the one we saw first, with little additional information about the person herself. The images that are shown here are very generic-looking, hardly indicative of who she is as a person.

Although she is able to provide an image that supposedly illustrates her identity, the woman still seems to be rendered passive in many ways. The photo of a couple people standing around her with their cell phones out was somehow disturbing; this burqa makes its wearer an increasing object of curiosity, but her identity remains rather limited, since the onlookers’ engagement with her is confined to the novelty of seeing an alternate visual image. But could it be possible that her “self-determined identity” might be more complex than either the burqa or the selected photo could convey?

Of course, this isn’t the first time that representations of Muslim women’s clothing have come up on this site (this isn’t even my first time writing about it, and it’s only my third post!) I’m sure MMW readers can do a lot of these critiques yourselves, and I probably owe you more than just yet another deconstruction of some representation of the veil. So, stay tuned for my post next week, when I want to have more of a conversation about these images and what it means that we come up against them so often.

Until then, I’d love to hear your thoughts on this “Charming Burka”…