From Local to Global in the Company of Afghan Women 233
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FROM LOCAL TO GLOBAL IN THE COMPANY OF AFGHAN WOMEN 233 HOLLY EDWARDS GLANCING BLOWS, CROSSING BOUNDARIES: FROM LOCAL TO GLOBAL IN The COMPANY OF AfghAN WOMEN The contemporary Afghan artist Lida Abdul has said imbricated processes of seeing and being seen, theo- that Afghanistan works hard for the world, the site of rized as “the gaze,” advance the fashioning of self as well and metaphor for intractable problems—war, gender, as the recognition of the other, and, by extension, they religion—and the screen for myriad orientalist projec- are constitutive of individual identities, diverse groups, tions.1 Perhaps the most vexed arena of contestation in larger communities, and ultimately, transnational rela- which Afghanistan has figured (along with other play- tions. Such relational encounters—the terms of engage- ers) has been termed the image wars,2 wherein diverse ment implicating self and other in the “politics of vision”5 acts of iconoclasm have been committed: women were across wider fields—are exponentially complicated by veiled, Buddhas were bombed, museums were looted, modern technologies of image-making arising from the and Islam was invoked in efforts to claim and retain medium of photography. As Catherine Collins and Jane clout and credibility around the globe. That widespread Lutz have elaborated, photographs entail the intersec- and “deep uncertainty about the power, sanctity, and tion of multiple gazes, including that of the photogra- violence of images” (termed “iconoclash” by Bruno La- pher, the subject, and myriad viewers of different tour)3 is not the main focus of this article, but it is the persuasions.6 One gaze of ambiguous but undeniable conceptual backdrop against which to position some force is that which is encoded in a portrait photograph— photographs of Afghan women. Transgressive images in the fixed focus of the represented subject, looking back some contexts and compelling icons in others, these at diverse audiences. Such faces can be powerful proxies photographs entail power and risk in the cracks between in the self/other encounter, agents of both differentia- people, classes, cultures, and nations, and therefore they tion and homogenization.7 can drive change, foment instability, and even incite Portraits of Afghan women are a complex case in violence or destruction. Such processes, transpiring in point, given the risks as well as the powers that photog- those interstitial spaces, are both synchronically and raphy offers to anyone ordinarily excluded from the diachronically manifest, working to globalize visual cul- public realm. Operative deterrents to female visibility ture. By subjecting these processes to scrutiny, this proj- and agency can vary, but the quandaries that Afghan ect is, in effect, an exploration of the aesthetics of social women have regularly faced—whether to be seen and change across boundaries of time and space, among to look back or not—are fraught and situational, subject myriad agents operating in disparate centers of cultural to a tenuous balance of variables and institutions, gravity. among them tribe, state, and Islam.8 Sometimes women To explore the complexity of such interstices, one are victims of coercion; other times they have the power useful strategy is to situate images in what James Elkins to choose, opting for the security of the veil or the pub- has called “the weightless skein of vision,” that cat’s licity of the photograph.9 I will consider cases in which cradle of interlocking, overlapping, and otherwise tan- photographs of Afghan women were widely dissemi- gled sightlines first articulated by Jacques Lacan and nated, in the 1920s, at mid-century, and then at century’s subsequently elaborated by many others.4 These end. In these instances and for diverse reasons, Afghan An Annual on the Visual Cultures of the Islamic World DOI: 10.1163/22118993-00321P12 ISSN 0732-2992 (print version) ISSN 2211-8993 (online version) MUQJ Muqarnas Online 32-1 (2015) 233-251 234 HOLLY EDWARDS women became visible, extricated from (presumptive) Abdur Rahman (r. 1880–1901), gradually coalesced as a socially mandated invisibility by means of the camera, bounded state, albeit in relative isolation from the out- a globally disseminated but locally deployed tool of side world.13 After Abdur Rahman, Habibullah took documentation and self-realization.10 My intention power as amir of Afghanistan (r. 1901–19), and the ruling here is not to belabor the familiar feminization of “the clan began to formalize and modernize the nation, Orient,” or to castigate abuse of Afghan women, or to molding the society from the top down, beginning in revisit reductive refrains about iconoclastic Islam, Kabul; the changes were manifest in architecture, insti- though my comments impinge on all these issues to tutions, dress, and other aspects of visual culture. varying degrees. This project is also not about the per- Photography was a significant part of this transforma- formance of power over subalterns or others, although tion, with images figuring diversely in private and public there are asymmetrical dynamics among players in the spaces. In general, it was a useful technology for those story as well. Rather, my goal is to track the helix of dis- in power, confirming rule with verisimilitude, extending crete or localized visual proprieties twining together to and reifying established social norms, and offering new generate broader networks of seeing, as people and their options for expression and communication. Deployed proxy pictures transgress sightlines and transcend initially from the top down and the center out, photo- boundaries between self/other, man/woman, public/ graphs were obedient agents in the larger campaigns of private, and ultimately between cultures and nations. modernization—until they were not. Doing so will entail ranging across the full spectrum of Images of women are indicative of this complex func- visuality, from production to reception. tionality. A formal portrait taken in the Arg harem serai On one level, then, this is an exercise in what W. J. T. around 1915–16, shows Amir Habibullah surrounded by Mitchell has called “showing seeing”—sorting out the fourteen consorts from the royal household (fig. 1).14 For visual construction of the social and the social construc- the ruler, it was clearly a desirable and even flattering tion of the visual11—as it transpires over time. On picture, posed to capture power, comfort, and privilege. another level, it is a case study of female beauty as nego- It was also evidence of being “modern,” but it was not tiable currency in transnational consumer culture, man- intended for public distribution. Since the women, the ifest vividly in the entanglement between two quite photograph, the negative, and the photographer—that disparate political entities—Afghanistan and the is, all possible sightlines—were controlled by the patron United States. By throwing a spotlight on some univer- patriarch, the canons of visual propriety more broadly sally legible photographs operating in the interstices operative in early twentieth-century Afghanistan were between local and global, I hope to explore the imbri- not overtly violated with this act of image-making. cated processes of looking, of being seen and looking The situation was quite different when the next ruler, back, of exercising agency and being erased. Thus the King Amanullah (r. 1919–28) and Queen Soraya went project concerns images but also “image,” a ubiquitous abroad for the first time, in 1927–28, to introduce their anxiety in the contemporary public domain. fledgling republic to other countries.15 During the course of this diplomatic tour, Soraya chose to perform her role as a royal ambassador in “modern” terms and to capital- AFGHAN IMAGES IN TIME AND OVER TIME ize on “modern” technologies such as photography. Not surprisingly, to veil or not to veil was a critical question, By way of preface, it is necessary to acknowledge the and while she ultimately acquiesced to covered mod- relationships between image-making and self-fashion- esty in both Egypt and Iran,16 she charted an incremen- ing, between photography and nation-building, in Af- tal path to visibility as she traveled through Europe, thus ghanistan in the early decades of the twentieth century, effectively advancing her own (orientalist) exposure. because the modern polity took shape even as the tech- Described in the Illustrated London News as veiled and nology was being adopted.12 Over the course of a few retiring in Bombay on January 7, “unveiled in public for short decades, tribes under the hand of the “Iron Amir,” the first time” by January 14, lauded for her fashion sense FROM LOCAL TO GLOBAL IN THE COMPANY OF AFGHAN WOMEN 235 and skin tone by February 4, she appeared on the cover zeal and political upheaval within the nation-state of of that august publication on March 24. Exposed, Afghanistan. dressed, and launched appropriately in “civilized” soci- That the same photographs sustained three qualita- ety, Soraya thus became, in picture and person, an in- tively different gazes/perspectives, synchronically op- ternational celebrity.17 erative in discrete locales, is worth elaborating. At each Publicity shots of the queen traveled considerably site, individuals/societies made meaning, forged values, farther than she did, and the reception they garnered and confirmed identity with reference to the queen’s was mixed. For example, whereas English audiences portrait, although those processes entailed quite dispa- had applauded her sartorial panache, the Turkish press rate codes of honor, norms of behavior, and claims to published the same images, noting patronizingly that sophisticated civility. In the moment, a few images social proprieties in “far away Afghanistan” were com- bridged vast distances and convened heterogeneous parable to those operative in Turkey ten or fifteen years audiences around shared experience; such is the poten- previously.18 Thus cultural commonalities between the tial of photographs to activate the spaces between cul- two young republics were acknowledged even as Tur- tures in diverse and even seemingly contradictory ways key’s own more advanced modernity was asserted.