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Monday, November 22, 2010

On the Road: the Cultural Heritage Tour of Southeast Asia



2-28-08
from Bangkok, Thailand

I am at the end of my second day here in Bangkok, and it has definitely been an education. I am exhausted but full of delicious Thai food and completely ready for bed...in the Massage Parlor King's hotel.

What?

Our troubles at the Davis started yesterday when Kecia, who had requested a nonsmoking room, was assigned a smoking one. I’m not entirely sure how the desk clerk didn’t see this coming; if he had any discerning capacities he’d have understood from her long, unbound hair, her organic-textile skirt, and the beads bejeweling her neck, ears and fingers that she’s not the kind of woman who smokes. In fact, she’s the kind of woman who walks around barefoot to “feel the earth,” eats seaweed, and uses nontraditional grains in her bizarre salads. She doesn’t even have a chair in her office; she uses a burgundy inflatable ball. A smoking room is something she didn't take lying down. Picture a righteous yogic anger compounded by transoceanic jet lag, and you’ll arrive at something akin to the clerk’s experience.

While we waited for the scurrying clerk to rectify Kecia’s room situation, we went to collect our "welcome drink" at the hotel bar. When we requested wine (necessary to dull the edge of the jet lag), we were informed that the welcome drink was 7-Up only. Rolling our eyes, we ordered a wine chaser with our 7-Up. We were quietly sipping our purchased wine when out of nowhere, two scantily clad Thai ladies clambered aboard a makeshift stage in their knee-high leather boots and proceeded to sing cheesy pop songs into microphones, about two feet behind us. All signs indicated that a restful trip to Bangkok wasn’t in the stars for us.

Then today the bombshell dropped.

Yes. We discovered today that the owner & designer of our hotel, Chuvit Davis, is a notorious character around Bangkok. He made a fortune on massage parlors, which he then parlayed into a massive hotel complex (that mistakenly brands itself as a boutique hotel - it is certainly not). While I can make no comment about his political qualifications, the hotel décor is a hideous, sour version of the W hotel meets traditional Thai decoration. Something about the whole scheme is saccharine, fake, artificial, like you could just peel back the entire wall, the entire hotel suite. But now that I know that I am staying somewhere decorated by the "massage parlor king," everything makes more sense...Every Thai we told where we were staying (including cab drivers) has smirked. Also, Mr. Chuvit is trying to run for public office, on the platform of being a watchdog for Thai decency and morals and culture. Jay told us that he puts huge billboards of himself all over Bangkok. We unwittingly are contributing to his advertising campaign! His marketing campaign for the hotel (which is on free postcards, and the calendar in the room, and everything) is "The Way We Live in the Davis, Bangkok." Living as a madam? Pimp?

Yesterday Kecia and I had gone to Siam Paragon to get cell phones and do some basic shopping, and today we headed over to SPAFA (our partner) to do some workshop business. Our partner Jay is wonderful (she also very kindly informed us the true nature of our hotel owner). She sent us out with her colleague Mo and a driver to do some shopping. We had thought we were being clever by not buying most of our supplies in the US, but instead planning to buy them in BKK. After all, BKK is sophisticated and a business capital of the world.

Not so much a capital of laser printer labels or flipcharts of white paper...our lovely friend Mo did the best she could do, with all five feet of her tiny adorable self leaning over various counters in her sparkly shoes and speaking rapid-fire Thai accompanied to hand motions ("big paper" "flip" "stick" "divide") but to no avail. We were met only with blank looks, not blank paper, and squiggly eyebrows. We are label-less, and our flipchart will be man-made. As in, large pieces of paper that we literally clip together. First class all the way, Getty.

As we drove the streets of Dusit and Phra Athit (n. Bangkok), we noted that many Thais were wearing black and white. I remembered from my visit last year that many Thais wore yellow polos with the royal crest on them. The Thais love them some king. Mo explained that the black and white is for mourning, and for 100 days. The King's sister, a beloved princess, passed away earlier this year, and there has been ordained 100 days of mourning, during which all government employees are required to wear black and white (for the rest of the population, it is merely a recommendation). The Royal Garden outside Wat Pra Keow is now a mourning ground, where mourners come to the royal palace to pay their respects to the princess. There are buses of students and country folk who come in, as well. It is difficult for me to imagine something similar in the US for a political figure or ruler - I cannot imagine us wearing black and white for 100 days as a nation to commemorate anyone...

Mo also told us as we passed the ministry of defense that originally all the canons decorating the carefully manicured lawn had been pointing out towards the street - and across the street at the Royal Palace. A few years ago, someone made a stink about it, saying it was inappropriate for even decorative canons to be hinting at firing at the King, so in the middle of the night the canons were turned, and now face north and south instead of west towards the palace. The idea of an army of tiny Thais grunting to turn canons 90 degrees in another direction in the middle of the night is hilarious to me.

Tonight, after braving an hour of traffic to at rush hour to cross the town from SPAFA to return to our hotel, Kecia and I stopped to have dinner at the Lemongrass restaurant, near the Emporium mall. It was amazing - we had a dish that was eggplant, yellow bean, and peanut, pomelo salad (well, Kecia did - I don't eat shrimp), and the spiciest green curry ever. Our waiter didn't tell us it was spicy - perhaps because Kecia is Asian he thought we were able to handle it? No. I thought my lips were actually burning off.


Now, I'm back in my hotel to finish up a few loose ends for the workshop while I watch Chinese MTV. (I know! I didn't know they were allowed to have MTV). The music here is so amazing - Kecia keeps making fun of me for knowing all the pop songs in malls, taxis, and lobbies - hey, a girl's gotta have some Backstreet Boys knowledge if she lived in Europe in the 90s, right? My choices are Chinese MTV and something called the Australia Network, which, when I watched ten minutes yesterday, was an instructional video on how to casually invite people to hang out with you, and featured a 50-something gentleman repeating phrases slowly and with subtitles. "Would you like to join us? It would be great if you could join us. Do you want to join us?" Since I already speak English I didn't find it super helpful, but it was interesting to see Western manners of hospitality reflected, detached from their standard cultural context.

Anyhow, meetings with UNESCO tomorrow, probably more shopping for things we won't find, and then finally some relief on the weekend - shopping at Jatujak, Wat Pho, massages. And hopefully more 3-flavor mangos to dip in chili sugar!

Sunday, November 21, 2010

LandFlow

"My usual question, unanswered by these - by most - travel books, is, How did you get there? We have become used to life being a series of arrivals or departures, of triumphs and failures, with nothing noteworthy in between. Summits matter, but what of the lower slopes of Parnassus?...Meanwhile, what of the journey itself? ... What interest me is the waking in the morning, the progress from the familiar to the slightly odd, to the rather strange, to the totally foreign, and finally to the outlandish. The journey, not the arrival, matters; the voyage, not the landing. Feeling cheated that way by other travel books, and wondering what exactly it is I have been denied, I decided to experiment by making my way to travel-book country, as far south as trains run."
-Paul Theroux, The Old Patagonian Express: By Train Through the Americas

Inspired by Theroux, I recorded pieces of my train journey from Los Angeles to San Diego, to see how the land changes, how the terrain slowly evolves, in an attempt to capture and explore the feelings of movement through different spaces, of train travel, of crossing the earth and noticing the spaces that shift along the way. Our train passed from one urban configuration (flat, diffuse, with small clusters of small buildings and a certain reputation of openness, possibility) to another urban configuration (walkable, not as extensive, with a more conservative reputation) through urban sprawl, small rural towns, and natural settings. I am intrigued by the meanings and sensory experiences of these different spaces in passing through them, and how they are woven together on the fabric of the land in a seamless way.

From the Road: One Time in Bangkok

I’m coming up on a year of blogging, and looking back and trying to figure out what works and what doesn’t. When I initially started, I wanted to use the blog as a way to share my writing, both creative and academic. As life sort of happened (Lennon’s famous note about life happening while you’re busy making other plans, anyone?), I felt the pressure to blog and post but I want my posts to be worth reading rather than just numerous. As a result, I’ve started to edit some older pieces…so, here we go. I am now fairly critical of my early travelogues, as I don’t want to essentialize or exoticize the places I have been and the people I have met, but to share my experiences in an honest way. Let me know what you think.
April 2007
From Bangkok, Thailand, and Phnom Penh/Siem Reap, Cambodia

"This is my first time in Bangkok. When I landed and got in the car to drive through the brightly lit streets of Bangkok after midnight, I felt like this was so different from anywhere I’d ever been: Eastern, Western Europe – Turkey – Russia, I was wide awake. I was excited to see a part of the world I’d never seen before, and to visit my friend who was working on his Fulbright.
Hong lives on "Little Arabia Street" in Bangkok, so I was surprised to be able to read something (it is incredibly disorienting to lose your literacy). It was a last taste of something familiar, before a lot of unfamiliar. We toured Bangkok under Hong's brisk knowledge of every method of public transportation (including river ferries!) We visited Wat Arun, the temple of the Dawn, one of the oldest temples in Bangkok, as well as making it up to the Chatuchak market in the north of the city (where Thais shop). For most of the day, we didn't see many tourists or white people; because Hong had learned Thai, our experience was so different. We were off the beaten tourist track, and visiting spaces that were the spaces of Bangkok residents, not visitors. The next day, when we went to the famous backpacker's Khao San Road, we found them....all of tourists! I overheard backpackers talking about where to get the cheapest food, fighting to get 3 scarves for $5 instead of $2, arguing down to pennies with the Thai. Many of these tourists come to Bangkok and stay on Khao San Road, dealing with English-speaking Thais in the hospitality industry, meeting and hanging out with other white tourists (Australian, Kiwi, Brit, Canadian), drinking cheap Tiger beer and exchanging stories about where to get the “best” authentic street food or pashminas. In a way, there is a village of international tourists within the city of Bangkok, and they barely overlap. One is a village of long cotton skirts, dreads and braids, textile bags, and bragging about how long they’ve been off the grid; the other is a bustling, vibrant city, with incredible smells and tastes and people trying to make their way.


We also were surrounded by international tourists at the Vertigo bar at the Banyan Tree Hotel. Bangkok has a mix of very poor areas and very wealthy areas - there is a slum behind Hong's fingerprint-entry, 2-security-guard-patrolled apartment; there are food stalls where you can get meatball skewers, chili dipping sauce, and some mango slices for $1 and rooftop bars like the Vertigo (62nd floor!) where you can pay $10 for a (watered-down, if I may say so) martini. The Vertigo was amazing - to see all of Bangkok spread out at your feet at night, all lit up, the bridges over the Chao Phraya - it was breathtaking under a crescent moon (it was still 100 degrees at 10pm though).
We woke up early on Monday morning to make our flight to Phnom Penh, where we spent 3 days. Hong still has family there who stayed during the Khmer Rouge and subsequent Vietnamese communist occupation, so we got to meet his grandmother, aunt, and some random family members. After Bangkok, Phnom Penh seemed quiet. BKK has skyscrapers, it’s vertical, it’s buzzing with cars and activity and lights; Phnom Penh has no buildings (that I saw) over 5 stories and few "positive" tourist attractions. There is a Golden Palace and a Silver Pagoda, as well as Wat Phnom, but none are distinctive or historically significant enough to attract tourists en masse. What Phnom Penh does have is genocide - the Killing Fields, about 15 km from the city, and the S-21 Prison of the Khmer Rouge, now a museum. Somehow this sense of loss permeates the city. We visited both of these places, first taking our tuktuk out to the Killing Fields. It was incredibly difficult to see, because several placards clearly stated what each part of the field was used for ("Here a loudspeaker was hung to drown the sounds of the dying", "Here is the tree they flung the babies against", etc). There was no sugar-coating, no careful wording, no sanitized history. Also, only 4 of 20-something mass graves have been excavated...like the concentration camps of Germany, death hangs in this place, sitting in the humid air, stirring in the trees, pressing down from the sky. Afterwards, we sat quietly, our words sucked out of us, rattling along in our tuktuk as we drove through the outskirts of Cambodia’s capital city to go to the S-21 Museum. We hired a guide, who had herself lost members of her immediate family to the Khmer Rouge. She told us that none of the Khmer Rouge had stood trial for their crimes, and that many of them had come out of the jungle in the early 80s to take back power from the Vietnamese Communists...she said, "I do not want revenge, I want to move forward." Fellow traveler and Fulbright Sarah wondered if this was because Cambodians believed in karma - I want to be understanding and culturally sensitive, but it made me angry and sad to know that a quarter of the population of Cambodia was killed and that (my Western ideal of) justice would never be served...that someone got away with killing a quarter of his own people and making refugees out of another quarter of the population...and it scared me to think how close I came to never knowing Hong. His family survived the Khmer Rouge to live in Vietnamese labor camps, from which they escaped over the border at night into Thailand, and from there sought asylum in the United States. How many Hongs will the world never know? And in these circumstances, what is justice, and who has the right to ask for it? If a society holds other ideas of justice than “an eye for an eye,” do outsiders have the right to push for a different iteration of justice? Is there something to be learned from a desire to move forward, rather than holding accountabilities from the past?


That day was really heavy, and after our trek through Cambodia's darkest chapter, we met up with Hong's aunt for dinner. A sharp negotiator, she paid a few dollars for all 6 of us to pile onto a belabored tuktuk and headed across town to eat dinner in an alley cafe. An empty garage-like room, cruelly lit with fluorescent tubes, long picnic tables in plastic tablecloth had Bunsen burners with soup broth and meatballs cooking. The waitresses brought us bowls of noodles, pork crackling, vegetables, and more meat - we were literally to make our own soup. It was really good - but hot sitting on the updraft of the burner! Hong sat in the middle, with his family speaking Khmer and his English speaking friends waiting patiently for his back-and-forth translations! Hong's uncle (we think) kept toasting us, so, after my time in Cambodia, the only real Khmer word I know is "Swa-khum!" and I hope that means “Cheers.”


On Wednesday, we went for luscious breakfast crepes, topped with dazzling fresh fruit, down the street, dropped off Sarah at her volunteering gig, and then Hong, Razz, Jeremy and I rented a driver from our hotel to drive us up to Siem Reap, a four-hour drive through the jungle next to the Tonle Sap lake that marks the heart of Cambodia. It was a beautiful drive, allowing us to see much of the countryside we otherwise would not have seen. Most of the houses were built on stilts, because the Tonle Sap floods, but in the hot/dry season, the Khmers were relaxing during the day's heat in hammocks strung up between the stilts of their homes. We whizzed through the countryside in our black Mercedes (now, when I say Mercedes, I mean, the most broken down, seats-caving-toward-the center, pleather-seated, A/C "works" style car with a Mercedes doohickey on the hood you've ever seen), and stopped for a lunch break at a beautiful open-air restaurant built over the Tonle Sap. Here we had a chance to relax in the hammocks as we waited for our food, and overlook the lake with its fishermen and water lillies.
It was really beautiful, and after eating we relaxed in the hammocks over the lake, but the road was calling us north. We got to Siem Reap at 4pm or so, and checked into our hotel, the Golden Banana (of much fame at my job...apparently no one else at a commercial real estate firm would think of staying at a gay-friendly hotel in the jungle called the Golden Banana!). It was an oasis, with a POOL! I averaged 4 showers a day in Southeast Asia, because it is SO hot and sticky and it is hard to feel clean when you have only a certain number of clothes in your bag and the weather is that hot. So I nearly got on my knees in thanks to see a pool. We freshened up, and then Hong, Razz and I went to the Angkor Mondiale hotel for dinner and a performance by some Apsara dancers. These women were incredible - wearing these intense and detailed costumes, and then standing almost still, moving only their hands and fingers in these complex and joint-defying movements! Afterwards, we went back to the pool and dove in to cool off before bed. We ended up hitting the sack fairly early so we could wake up and be at Angkor by 7am.
Angkor, oh Angkor...long on my list of places I have to see before I die, I still wasn't prepared for its beauty. It was such a contrast to see Cambodia's darkest past, and then two days later, to see Khmer civilization's pinnacle of accomplishment! Our tuktuk drove us to the gate, where foreigners pay $20/day to get in (there is no entry restriction for Cambodians, who literally drive right past the toll booth), and then we drove up to the first temple, Angkor Wat. Angkor itself is a 400-km park, with so many temples you could buy a week-long pass and still not see them all. A bunch of Khmer kings decided to build temples up there, so there are at least 20 "big" temples, and more yet undiscovered in the jungle. We came around the side of Angkor, next to the moat, and I couldn't believe it....Angkor is stunning in its size. The outer wall, inside the moat, is imposing...and then you walk through the gate (careful not to step on the monkeys, though) and all of a sudden you see the classic view of Angkor, with the beehive towers...and the sun is rising behind it. And even if you think you're going to get through it just fine, you find your breath catching in your throat and maybe (if you're like me) you tear up. It is incredible to me that this amazing temple has survived reigns both Hindu and Buddhist, has survived 1000 years of life in the jungle, survived the Khmer Rouge's plundering of Cambodia’s cultural heritage...and as Phnom Penh is haunted by its terrible past, in a way that the visitor can feel palpably, Angkor Wat overwhelms, it gives you goosebumps. You feel profoundly, immediately, that you are on holy ground, and that changes how you come to these temples. There is a quieting, a calming – you feel yourself small in comparison to this magnificent, enormous and imposing temple complex that has outlasted so much.
We walked up into the heart of the temple and climbed up into the central tower. This may sound easy, but it is not for the faint of heart (the American idea of “sue them if you get hurt” does not apply here; the safety industry hasn’t quite taken off). The stairs up to the central tower are tiny, half-stairs; the top half of my foot only fit on a stair at once. These steps are not built for fat white tourists who eat Big Macs. Or for wussy little girls who are afraid of heights! I admit I had a rough time coming down - looking at giant flat rocks just waiting for me pancake myself was a bit intimidating. But the view from the top was worth the climb...you can look out over the jungle, and see the perfect symmetry of the temple. There are several Buddhas up there (it is completely unfathomable how those ponderous Buddhas got up there, just from a physics perspective, and Angkor Wat was constructed as a Hindu temple, as the Hindu bas-reliefs on the outer walls attest, from an ideological perspective). Attending the Buddhas were several monks, who seemed to have no trouble on the stairs (the key is a sideways walk, it seems).
On our way out, after about 3 hours, we saw a group of monks removing a tree from one of the reflecting pools outside the temple. It seemed incongruous to see a monk wielding a buzz saw, dismembering a tree! Perhaps because the act was so destructive, but I admit trouble reconciling priests with modern tools, like chain saws.
We then got back on our tuktuk and headed up to the temple of Bayon, with all its faces staring ominously into the forest...smaller, and in a bit more disarray than Angkor Wat, but still beautiful...and then lunch and Ta Prohm, the "Tomb Raider" temple, and one of the few that has been completely abandoned to nature...so you climb over tree trunks and vines and giant fallen stones. The jungle seems to be slowly encroaching on the temple, but that just renders it more beautiful. There is no "path", so you carefully pick your own. I felt like an intruder, and worried about tourists coming to deface the temples or destroy them with their shoes, boots, knives, breath. As I gingerly picked my way through the cluttered maze of stones and trees, I entered into a doorway and blinked my eyes in the darkness. An old Buddhist nun came into view, and then a seated Buddha, and some lit incense sticks...she grabbed my arm and said a prayer over me, and tied a red bracelet on me. I couldn't help but smile; her smile as she tied my bracelet on was so encouraging, generous.
After Angkor, we prepared to return to Thailand. Friday saw us get on a plane and head back to Bangkok, where we hit the Southern Bus Terminal (Hong's "You have to do a bus trip if you come to SE Asia; it's required" echoing in our ears) and hopped a $4, 1st-class bus trip out to Hua Hin, a beach resort town. Perhaps because I hadn't gotten sick yet and it was inevitable or perhaps because we had the foolish idea to eat dinner in an American restaurant, both Razz and I got horribly sick, to the dismay of Hong, who shared our hotel room. I spent my final day in Thailand curled up in our hotel room, under the gently blowing (read: intermittently functional) A/C and watching Thai pop music and Al-Jazeera Asia. Another bus trip back to Bangkok, a quick shower and the final cramming of the bags, and I was back at Suwarnapum Airport, headed home."

Thursday, November 18, 2010

Mythologizing the West



From San Diego/Los Angeles, CA


Paul Theroux notes in the beginning of The Patagonian Express that travel feels very different when it is undertaken overland, that there is something particularly important in understanding how the land progresses and changes and evolves as one goes across it, rather than just landing in a plane, experiencing the earth as disjointed territories and pieces rather than a slow evolution.

On the East Coast, it’s easy to get anywhere – the cities are fairly close together (100 miles or so) and the land is contiguous, interwoven with packed freeways. The East Coast itself (at least the Northeast, where I have now lived for over 2 years) has a sense of being together, being intimate, in that it’s difficult to ever get out and get lost somewhere without running into a housing development, civilization, freeways, stores. There are a few nature preserves, such as the Delaware Gap, but even that is a narrow strip of “wilderness” and when you kayak to the end of it, the end is signaled by crossing under a freeway overpass. East Coast cities are vertical – New York built upwards, creating a constellation of skyscrapers. They are beautiful, monuments to greatness in many cases, and illuminate the night sky. But the sky becomes so hard to see in New York, too many buildings obscure the broad arc of the sky.

The sky is so much bigger here, on the West Coast. You can see the sky, no matter where you are. It is blue and deep and light. It is not heavy, dense, dark. My experience of space in California is completely different than my experience in New York: in California, I want to be outside, to smell the orange and eucalyptus trees. To sit by the tiger lilies while looking at the mountains in the haze of the distance. The buildings here are closer to human scale, they are not imposing physically. As a result, the distance you travel horizontally on the West Coast roughly equal the distances you travel vertically on the East Coast. It’s just a very different way of being.

More people have cars here, because these distances are greater, and things are more spread out. There’s more space in the West, more room to expand. More freedom, more air. The spaces are more stark, there is more contrast. There are mountains, valleys; the East has rolling hills, no sharply contrasting landscapes in texture and size (excepting Maine).

The West has a long history of being mythologized as a space of freedom, for pioneers, for dreamers, for the sons and daughters of families that didn’t have important last names or dynasties…the place where the American dream stands, where anyone can make their future and fortune. The exhibition at LACMA, “The Modern West,” looked at the ways that artists mythologized the West and created a visual language to explain the sense of possibility and creative opening they felt here. The West is also rough: it is a ragged, demanding place to live that. Los Angeles, as a city, should not exist; there is no water to sustain it, so it had to be stolen from elsewhere (see Mike Davis' City of Quartz, Marc Reisner's Cadillac Desert). Anyone who has visited Yosemite understands the awesome and awe-inspiring intensity of living in a landscape so beautiful but dangerous. The history of the West includes lawless vigilantes, cowboys, and rough “Wild West” towns, people who wanted to live outside strictures of society. Perhaps this epitomizes the inherent danger in freedom: if you are constrained, there is little risk; if you are free, you are also free to make the wrong choices and take yourself down a path of no return. The wide open spaces of the West open that opportunity.

I know that I play into this, that I fall under the lure of the “wide open West” idea. I know I idealize Los Angeles, because I was doing interesting work with the Getty <here's one of our projects, I did the video for this> and my two best friends from Seattle U were living there to attend USC (still reside there). So for me, LA was a place where I had fulfilling, stimulating work, I got to travel, and I had great friends. In my memory, it has become something so mythic it could never have been real. I have edited out the traffic, the eating disorders of the women I saw in Whole Foods, the odd surreal nature of living in a place you recognize, deja-vu-like, because you’ve seen it on tv somewhere. I’ve redacted the unreal relationship to the land and water, the beautiful topiary and manicured lawns that depend on siphoning water to render the city livable, beautiful, vibrant. In my mind, even though I know these things to be true, they have melted away.

I have to admit a predilection towards the desert, too. Perhaps this is vestigial from my childhood in Albuquerque, but the desert feels like home. My childhood weekends were filled with visits to Mesa Verde, Pueblo National Monument, Santa Fe. The mesas and brush of the desert, long brown and ochre expanses dotted with the occasional cacti or magnificent tree, with imposing stark peaked mountains in the distance, feels comfortable. My cousin, who has spent 20 years in Seattle, can’t imagine living in the desert; to her, it is beautiful in its way but not bearable past a few days. The lush verdant greens of the Pacific Northwest are home to her; the desert alien. In a way, I am biased towards the desert, it is inescapable the way I feel at home here. I cannot make it not feel this way. Tennyson was right, “I am a part of all that I have met.” And I met the West when I was so young, and fell in love with her, and have never managed to fall out of love with her again.

Wednesday, November 17, 2010

Contemporary Arab Art: Zineb Sedira

Silent Sight, 2001 from zsedira on Vimeo.



ZINEB SEDIRA
Lately I’ve been working on a number of academic projects in addition to my job, and that has kept me from updating the blog. Rather than remain radio silent, I thought I’d share a snippet of the presentation I’ve been working on for the Middle Eastern Studies Association conference, which focuses on representations of the veil in contemporary art from the Middle East.

The photography and video installations of Zineb Sedira often focus on identity politics. Sedira has used her work to explore questions of belonging and ancestry; she was born in France to Algerian parents, and later moved to Britain. Her earlier work tended more toward the autobiographical, examining family dynamics, with more recent work focusing on the geographies and landscapes of identity politics. Silent Sight, 2000, is a video installation where the camera brackets a woman’s eyes, and a thin wisp of the Algerian haik (veil), so that they inhabit the entire field of view. The woman’s eyes blink, and look to the left and right, towards the frame of the white haik; the viewer immediately focuses on the woman’s eyes and the haik blends into the background. As “Veil” curators Bailey and Tawadros remark, “Here it is the woman’s gaze and the control of her own gaze that takes precedence, while the veil dissolves into a white haze.” Thus, the veil becomes invisible, not a hindrance or restriction upon the woman, and exists as one chosen element of a multifaceted identity as the viewers examine body language. Here the veil doesn’t cover but instead clarifies and focuses attention on the body (at least parts of it); and this focus is not directed to a gender-specific anatomy. The audio accompaniment to the video recounts this experience of limited visibility due to the veil from another perspective; the narrator, as a child, “struggling to interpret her mother’s feelings from beneath her haik. The spectator, who only has access to Sedira’s voice and eyes, is encouraged to replicate the process of establishing trust within a limited visual field.” The narrator recounts an experience from childhood when she failed to recognize her mother because the haik obscured her mother beyond recognition. Here the audio and the video reveal two separate and distinct subjectivities: critic Rachel Epp Buller describes, “The soundtrack plays on the emotion of this moment: sometimes Sedira’s voice shakes, or becomes strained or unclear...This random rhythm – eyes opening, blinking, then closing – matches the moments of silence and speech, white it is the gaze, fixed or lowered, that keeps us in the time frame of the video and in the present tense of its duration.” The narrator comments that she finally accepted the veil was her mother’s “home,” invoking images of domesticity and an almost Victorian “angel-in-the-house” perspective. Instead of unilaterally supporting this assertion, however, the young daughter’s inability to connect to her mother because of the veil could be read as the veil preventing feminine roles (that of motherhood) while simultaneously playing into them (socially respectable veiled woman). Critically, however, the important intervention made here is to reconcile two potentially opposing viewpoints (for and against the veil). The veil is not a symbol of feminine submission, or a backwards, “uncivilized” woman; it does not render a woman invisible, but acutely visible. In a single physical experience, the viewer’s senses recount different stories: the audio portion gently presents a story of frustration, difficulty and isolation in a relationship because of the veil whereas the visual portion affirms the agency and power that veiling can afford. The viewer’s senses are split and yet dually embodied.

Sedira also explores the veil, and the question of anonymity and visibility, again in her photographic installation Don’t Do To Her What You Did To Me, No. 2, 1996 (above). This series of photographs shows Sedira in varied stages of veiling and unveiling, thus making the act of veiling visible and demystified, stripping it of mystery. Epp Buller further comments, “Using herself as the photographic subject, Sedira asserts through her series the individual identities of women despite their veils, which in turn combats Western mythologies about veiled women. As the artist herself asserts, ‘The unveiled woman is seen as an individual and civilized subject, a far cry from the over-represented and culturally constructed veiled woman, who is considered anonymous, passive, and exotic.’” In this installation, Sedira shows a woman in various states of veiling, performing multiple identities simultaneously, and thus breaking the dichotomy. Sedira has developed the metaphor of “veiling-the-mind” as she produced work questioning and probing the veil. This metaphor, she writes, explains “the (mis)reading of cultural signs; to counteract the Western view of veiling, I try not to resort to the literal veil in my artistic practice. Instead I refer to veiling-the-mind in order to explore the multiple forms of veiling in both Western and Muslim cultures.” Sedira uses her work as a space to explore and expand the definition of the veil, rendering it more catholic and philosophical and moving it to a mental, rather than physical, plane.

Sedira also plays on the veil in another religious background. Sedira photographs herself wearing a haik in her Self-Portraits or the Virgin Mary series, 2000 (above). The title of the work blurs the Algerian haik with Christian veils, calling attention to the historic similarities in veiling practices between Christianity and Islam; it also highlights the sexualized nature of women’s bodies as religious saints, and perhaps alluding to the way women artists are similarly singled out for their gender. In this series, the veiled woman is visible, but barely; the photographs contain little contrast between the background the subject, the whiteness at once suggesting an ethereal invisibility, transparency, but also absence. Thus, Sedira employs a color that is the sum of all colors, with no discernible competition between different strains of light, hinting towards a synthesized, pluralistic approach; simultaneously, white references a disturbing colonial history and is evocative of absence, loss and invisibility.
Commenting on her own work, Sedira writes, “At first sight, my artistic practice refers to the veil as a visual motif. But the veil is never purely a physical code, delineated and present; it is also a transparent and subtle mental code.” Here Sedira encourages the viewer to think of the veil as a subjective mental idea, unique to each wearer. She also notes in her catalog essay for “Veil:”

“The visual art in “Veil” has many readings, but I wish to foreground that of transgression. All the artists in this project communicate the personal and the collective, with photography, video, words, installations, and sound as their media of expression and inscription. My ambition for such a dialogue was, and still remains, the need for a critique that enables a renewed lexicon with which to articulate the complexities and subtleties - the ambiguities and contradictions, the generalities and specificities, the similarities and differences - of veiling...such a lexicon could then speak to and about the paradoxes of the veil.”

Sedira’s work transgresses stereotypes, shattering binaries by weaving them into rich tapestries of plurality and simultaneity. While her work references common assumptions and stereotypes, she toys with them to challenge them rather than submitting to them. Furthermore, Sedira’s work does not play into easy tropes of East/West distinctions. Her work has drawn on loaded imagery of the veil and women in domestic capacities, but the messages underpinning their presentations are complicating rather than essentializing.
-Elizabeth Harrington, 2010


(La maison de ma mere, 2002, above)

For other thoughts on Sedira:
http://homepage.mac.com/kmcspadden/IStudy.html

http://libcom.org/library/documentary-representations-british-european-muslim-women-essay-review

Monday, November 1, 2010

Seeds of a Fruitful Endeavor

Kamala Visweswaran, citing Leila Ahmed, cites women writers' tendency towards metaphors of seasons, growing, and nature. Here I give in to the pull of this tendency, as the turning of the season to autumn has sparked more contemplative reflection.

Fall inherently turns us to thoughts of preservation, to thinking about saving things, plans for harvesting, and the natural cycle of life- things grow, they die, the earth turns again. Loss, quiet, renewal, exuberance and abundance. Watching the leaves turn in my neighborhood in south Brooklyn has shown me visually how fast the fall is flying by and I feel unprepared for the heavy cold season approaching. The air is still brisk, with jackets becoming a necessity only recently - and as this year has tended, the fleeting season hasn't wanted to depart on time. Last week, we had days at 75 degrees that were anachronistic of two months past. I remember the end of February this year, when we were so ready for spring, and looking to March for salvation, and the final week of the month brought a record-breaking blizzard. Perhaps this is the legacy of 2010.

I can see many intersections that come together around questions of saving things: whether it's harvesting and preparing for the winter, saving our country and the upcoming elections, and questions in my job about documentation and preserving in material form the work we do. I have also recently explored the work of professors Fred Myers, Haidy Geismar, and Craig Campbell, who all focus on art and material culture and how it is represented or deployed. And most concretely, my parents are packing up their house in Virginia for a move to Nebraska, sifting through their belongings and making decisions about "what stays and what goes." Sifting and sorting seem to be the order of the season.

The criteria we use in saving things is important, I think - I imagine, perhaps naively, that what we choose to save reveals something about who we are. Collectively, as a nation, but also down to the familial level. Perhaps that's why this natural cycle is so beautiful - it clarifies what is important, what is worth being around, in, keeping. It is sobering to look at friendships, jobs, habits, and belongings and evaluate what is helpful to us, and what can be discarded - getting rid of what is no longer useful does not mean the act of discarding is not painful.

I have read, between Barbara Kingsolver's Animal, Vegetable, Miracle & other literatures about the crisis in farming and especially around seeds. Producing heirloom vegetables has become difficult, with corporations like Monsanto putting patents and prohibitions on farmers who have grown similar crops (see Vanity Fair expose here). I came across a local "seed bank" - like a library, but for seeds - a way to keep a record, reproducible if and when needed and desired, to promote and sustain generations of natural diversity. Here is a link to the Hudson Valley Seed Library, folks who are saving the seed legacy of the possibilities for growing plants in our area.

Seeds is a lovely metaphor for fall, the idea of something with explosive and powerful potential locked away underground, that something can look like nothing but then surprise us with its bounty, that the surface doesn't always tell the whole story, challenging us to look - and to dig - more deeply. John Butler wrote a song called "From Little Things Big Things Grow." Here he relates the story of an Australian who fought the government and big interests for his land, sitting in his struggle for 8 years, in a simple environment - waiting for the seeds of justice that he had planted to grow. The song is a great exhortation to plant seeds, however small - but to realize that change takes time, and that everything beautiful, good and true takes time to root, to flower, to reach full glory. It requires patience (not my strong suit), but ... nothing is possible without the seed. So we should plant seeds of hope in our speech, in our everyday lives, in every manner we can, striving for what we believe in, knowing that every small act is potentially the genesis of something deeper, wider, and more vibrantly beautiful than we can possibly imagine.


from The Airlie Center
Warrenton, VA
11.1.2010