The Muslim women are in the western world - Essay Example

?The Muslim women in the western world 15/02 Words: 3,045 Introduction This essay is based on my own cultural background. It will explore the reasons for honour killing. There are female artists in the West who have used the idea honour killing in their works. Artist, Hayv Kahraman’s work becomes significant because it represents the state of women who are exploited and abused. Women’s position is such that they are caught between what Islam preaches and what the cultural dictates. This is because, Asian families expose their daughters to the western culture; daughters are not given the same life chances and opportunities as sons. The Muslim children are left perplexed and confused and left to cope with this form of sexism. First generation Muslim women were forced to marry at a younger age: a time when they did not realize the need for emotional, physical or economical dependence, they were married off. It is a disturbing notion that women from several so-called Islamic households are only seen as somebody’s possession, who are given away at the time of marriage. While sons carry on the family name, hence they are given more importance in a family structure. A prevalent backward custom practiced by most parents is to keep daughters at home who may or may not dishonor the family’s name; they are not proponent to invest in their daughters’ well-being and instead consider it a waste of money eventually women are not encouraged to pursue their aspirations. They are believed to have only three roles - to be a dutiful wife, bear children, and serve her family. Times have changed; education is making a difference for the generation of today, letting women decide their own good. However, the education system propagates the western culture which is in direct contradiction with the ways of the East. Parents are not willing to accept that their daughters and sons have equal rights according to Islam. As a result, women feel the need to abandon their own Islamic beliefs and adopt those of the west. A Muslim woman’s position is such that she is helpless and cannot escape subjugation. Honor killings are committed if a woman is seen associating with the opposite sex she is assumed to put the family name to disgrace and is sentenced to death at the hands of her own family. The height of this injustice is such that women are the only ones who bear the burn of the honor killing. This essay will explore Hayv Kahraman’s works, which is rooted in the social context of Iraq’s Islamic society. She has managed to experiment with the idea of honor killings and incorporate it into her work. Her work shows the reality of the honor killings in a subtle way, and also questions the justification of such acts from the world outside. The isolated and hidden nature of honor killings and other such injustices against women are perpetual in patriarchal society. It is an important investigation since it helps highlight the idea of such crimes with formal and aesthetic concerns. Main Body In a traditional society, men are thought to believe that women are an “object owned by the man who assumes responsibility for her behavior and her life” [Mirza, 2005]. Women are expected to meet the demands of their father, brother or husband and should be forcefully domesticated. Since Islam gives importance to husband and their well-being, women are made to believe that their sole purpose is to fulfil the wishes of her husband or she will not enter paradise. However, the same men who live by this rule of thumb forget that the very same religion has given women far more important rights to remember and practice. For example, “the role of mother is given a higher status in Islam, the Prophet said that Paradise lies under a mother’s feet” [Unknown, 2007]. In Islam women have property rights and the rights to own wealth, to work, to get an education, to run a business and have the freedom to choose who to marry. However, at home, parents make justifications for the way they treat their daughters. Sons are seen as the inheritors of family land and wealth, and in this way wealth remains within the family. Not only are sons a source of wealth and prestige for the family but also are parents’ caretakers around old age. Boys are the superlative by a mother [Hongying, 2001]. There is a “demand for boy infants in Indian, Chinese, and Muslim families and in rural areas” said Song Liya (edited by China women’s News, 2001). Girls are kept home to work around the house until they are of marriageable age, [All-China women Federation, 2001]. As daughters, women are doomed to this fate. It is believed that, to have a daughter is like “watering another family’s field” [Zedong, 2009]. Muslim women eventually are socialized to think this, then take matters into their own hands and find a suitor. However, in most cases, the relationship between the boy and girl is not approved and the girl is yet again accused to have put the family name to shame. In order to avoid this altogether, parents do not believe that their daughters should be independent and are married off at an early age as possible. Women’s deprivation of education is a deliberate attempt by the patriarch to stop women asking questions and simply accept their fate [Miah, n.d]. Islam teaches us that these are important relations in a woman’s life. They should protect and safe guard the rights of the woman. In this regard, Hazrat Aisha (RA), the wife of the Holy Prophet, ‘the Mother of believers’, said that even a Pagan “women should be treated in the best way possible” [Silas, n.d]. Islam does not allow women or men to be in a relationship, physical or otherwise outside the bonds of marriage. The reason behind this is to cater to the emotional needs of a woman. So that she does not feel used. However, if the knowledge of the affair is made public, people viciously attack the woman’s reputation ruthlessly whereas the man is almost excused of speculation. On the other hand, there are cases when women pursue a relationship with a man who is not their husband and is involved in a sexual relationship outside wedlock even though it is not permitted in Islam. The family then again has a disapproving attitude towards the relationship instead of finding a reasonable solution. Since it is unacceptable, and it becomes a matter of pride for the family, they force their daughter to marry someone else. They are then put in a situation, where if it is known that she is not a virgin she will suffer the wrath of her husband, and her life is also in danger" [Berlin social worker, 2005]. Even though, we witness a change in the status of women in the patriarchal society, that Muslim women from Asia, specifically, are still treated as they were in the past. Men have always had more freedom than women. The brotherhood has always been loyal and united and since they have subjugated women there has never been a sisterhood. From Belil’s example above, the mother’s role clearly shows how women are divided within themselves. Even in a public sphere, women face prejudice. Often time, they ask that if they do the same amount of work as men then why they are discriminated against. The attempt to inquire for an answer is futile because the patriarch will never betray the brotherhood. “Muslim leaders in Berlin assert that there exist no grounds for honor killings in the Quran, however they do not make a strong disapproval." We have preached twice in the last year on human rights, saying that it is forbidden to kill," says Huseyin Midik, who is a part of Germany's biggest association of Mosques. A social worker from Berlin reports that “when victims seek help from the authorities, they expect that we should respond. However, our task is to elucidate Islam. That is what needs to be done to have a lasting effect – to clear up false ideas." But the practice continues among Pakistani and Arab minorities in Germany. In the last decade, the police listed 45 cases. In one of the cases, a woman was drowned in her bathtub, while another was stabbed to death by her husband in front of their three-year-old daughter. If we continue to allow immigration of such people who do as they feel then the law is equally responsibly for reinforcing what they do [Daniel Pipe]. Honor killing is a misunderstood concept along with other crimes against women. The argument so far makes a context for female artists who work with issues faced by women. When people in a society follow their own set of rules by deforming the truth, it becomes difficult to address or even illustrate the practices of such people. Kahraman takes on the challenge and passes with flying colors. She is an Iraqi born, immigrated to Europe at an early age and now lives in the US. Her cultural background and exposure to the west makes her as good as any person to make art about taboo issues in society. This makes for an interesting dialogue around her work. She is representing the plight of women from her native country to the West, where women are free to practice their own free will. Even in her style of unique and distinct. It is a culmination of many forms of art including Arabic calligraphy, Art nouveau, Persian miniature, Japanese paintings and fashion drawings. Her work can be broadly categorized as Feminist Art; art made by women, about women. The protagonists of her narratives are mostly female figures. The figures are almost like dolls with elongated and disproportioned yet elegant bodies. The paintings usually have an illustrative sensibility however they are painted meticulously and rendered to look life like. This helps to signify important aspects of the reality she depicts. It is a reality where women are the object of desire and exploitation. Her style of narration is such that while it hides the gruesome reality, the sheer volume of the acts of crime against women is loud enough to attract the viewer and horrifies them Kahraman refers to the event of ‘The Sacrifice of the Lamb’, which is documented in the Quran and the Bible to refer to honour killing. This is a traditional and religious event in the Islamic society. The sacrifice is about the true story where Abraham was told by God in a vision to sacrifice his only son as proof of his undying devotion. In seeing the extent of Abraham’s faith God allowed the substitution of a ram in his son’s place. The celebration of Eid ul Adha is in remembrance of this symbolic gesture of God’s Love. In her work,, Kahraman “illustrates this fable form a woman’s perspective, controversially approaching the sacred masculine theme to assert feminism”[ Saatchi Gallery, 2012]. In works such as Sacrifice 2008, (right) Heads on Plate 2008(on left) and Collective cut 2008(above), the image can also be a symbol for honor killing. The way in which Kahraman approaches this taboo issue is impressive. At first glance, the paintings speak of no such violence. The female bodies are elongated to show beauty and grace; the cloth, luxurious and extravagant, draped complementing the elongated figures. The fabric of the women’s garments is intelligently divided into patterns, enhancing the spatial element of the painting. Patterns tend to ornament and beautify: sometimes artist tend to employ this technique to attract the viewer only to reveal another hidden agenda. The meticulous technique of painting by the artist on the unprimed canvas helps illustrate the idea of the disillusioned reality that women live in as opposed to the actual harsh reality. In the Migrant series, she created eighteen poker playing card of size 70 x 40 inches each. They too depict a kind of violence. In the two paintings to the left, the artist uses female figures, committing a secret yet dark act of violence. On face value, each painting is a poke card; one hybrid figure. However, the cards show a dichotomy between women who self inflict as oppose to those who are victims of violence. It is an interesting question that is put into the viewer’s mind. Are women responsible for their own doom? Or is it their misfortune a product of dominance of men in society? This sense of questionening is felt and can been seen in the expressionless faces of her characters. Kahraman states that “Now is the time to ascend and recognize that both men and women are equal in life; this is the essence of my work. For that matter, whether a man, or a woman will understand it or not is beside the point” [Honigman, 2009] she also said “I paint what I feel needs to be said in the hopes of touching the public in a rich and unprecedented way” [Honigman, 2009]. In two other works titled, Honor killings (left) Disguised Marionettes (right), Kahraman illustrates the idea of honor killing in contrast with other works discussed earlier. These two works are far less decadent. The imagery is more sinister and the undertone is foreboding. The hanged figures function as a warning for the rest of the society and to instill fear for other disobeying women. There are more than two figures indicating the severity and scale of the crime. In respect to formal elements of the work, there is a minimal use of color and pattern and there is no attempt by the artist to give details to the background. The use of line is exceptional; with just the use of line the artist is able to contour the stiff and curvaceous bodies of dead women. The economy of line and color is utilized so that viewer is directly engaged with the content of the paintings. With concealing some of the information as to why the women are hanged to death, the artist is successful to pose questions in the mind of viewer. Death is a means to an end, however in two other works titled Chained Women (left) and In line (right) reveal the actual reality of how women are treated in the Middle. From what can be derived from these images is that women are no more significant than slaves or cattle. They are slaves to their masters, the patriarch. This time the figures are placed in a literal and symbolic line, which cannot be crossed or even questioned at anytime. If this line is crossed they are great consequences which have been illustrated in works Honour killings and Disguised Marionettes. The Burqa clad women here are extremely important as they are an emblem of the Islamic culture and society. However, it is interesting to note that the veil is not oppressive. There is another invisible force that is the evident oppressor who has the woman chained and made to keep in line. Specifically in these two works the element of design is strong, the figures become more like icons. The black and red vertical composition of color is intriguing in In line (right). The figures are more like shapes except for few hints of the human form and the arms. In both works, it is noteworthy how the arms are left exposed. Whereas women are not meant to reveal any part of their bodies except for the face and hands. Otherwise, in Islam it becomes a matter of indecency. Therefore, the artist talks about shame of women in two respects i.e. the disrespect of women’s physical and psychologically. Conclusion The fact remains that women are still powerless in a patriarchal society; they always have and still seen as the inferior sex, destined to fulfil domestic duties, [McElroy, n.d]. The Arts voice the concern of Muslim women, made by Muslim women themselves, which show a progress in the status of Muslim women. “The subject of women studies has gained much popularity over the years, including t Muslim women and their predicament. Social Science research on Muslim women has also increased. Even though, in the west, Muslim women are expected to have other rights and duties, and while Islam has by and large catered to women’s rights, yet “Muslim women are becoming ever more like other women”, wedged between the outdated male-controlled family model and an unrestricted nuclear model of contemporary Muslim families. They keep on bringing out intra-familial gender-based inequality” [Offenhauer, 2005]. “In every regard the status of women in the west is much better in the light of the word of The Prophet Muhammad (PBUH), who in history was the first man to stand up for woman rights; whereas, it is observed that some Muslim men treat women unjustly in the name of Islam, when in reality their actions are a lot based on cultural norms than on the teachings of Islam” [Roark, n.d]. The Artist Hayv Kaharman has become the voice of the younger generation and is the source of strength for young artists, who don’t feel alone in this battle for Islam. Honor killing is justified due to misinterpretation of the lamb story, which is strongly propagated by Muslim men. Men try to justify what they do by saying it is done in the name of Islam. Hayv Kaharman work readily conveys to the younger generation to help them and bring the issue of honor killing to their knowledge. So that women are aware of what is happening around them in the context of their own culture. Art then becomes a vehicle of communication and education. It is often taken for granted. However, sometimes the only way to show the reality of a situation is to say it in a noteworthy yet subtler way. The plight of women can perhaps only be understood by other women. All women feel the same and want the same, to love and to be loved, to be protected and cared for. Through her paintings, Kahraman reaches out to women and represents them. Her work is dynamic because she stays true to her traditions through her formal and conceptual concerns while retaining value to shock and awe. The use of line, color and pattern are distinct yet recognizable of a certain tradition. When the content of the image corresponds with idea then viewer is convinced and artist’s idea is effectively conveyed to her audience. The meaning of her work is never limited to one interpretation; within a particular painting she is able to talk about various issues by using layers of meanings and symbols. Bibliography Mirza.S.K. [September 26th, 2008] ‘Islam Under Scrutiny by Ex-Muslims’ [online]http://www.islam-watch.org/SyedKamranMirza/honor_killing.htm.Accessed on: 24th December 2011 Unknown. [July, 05th 2007] ‘Understanding the role of Muslim women’ [online] http://www.khilafah.com/index.php/the-khilafah/social-system/626-understanding-the-role-of-muslim-women. 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