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Somali Female Hybrid Subjectivities and the Gabar Xishood Leh

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Somali Female Hybrid Subjectivities and the Gabar Xishood Leh Sexual Desire, Modesty and Womanhood: Somali Female Hybrid Subjectivities and the Gabar Xishood Leh Discourse by Bilan Hashi A thesis submitted to the Department of Gender Studies in conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada (October, 2016) Copyright ! Bilan Hashi, 2016 Abstract Extending work that examines Somali female identity, this thesis addresses how gendered subjectivity is articulated and performed within the Somali social imaginary vis-à-vis notions of “tradition,” modernity, colonialism, and post-colonialism. The project starts with the construction of an idealized Somali womanhood (what I refer to as gabar xishood leh, a modest girl), the affective pull and attachment of this identity formation, and the compulsion to perform it. In part, I illustrate how this gendered paradigm lays the conditions for being and belonging within the Somali collectivity. As the gabar xishood leh discourse is embedded with a particular conception of modesty, female desire and agency is bracketed outside the gabar xishood leh ideal. As such, this distancing precludes collective belonging and opens up real possibilities of unbelonging. The negotiation of modesty and female sexual desire is the focus of this project. I ask: how do women exert sexual agency, ‘voice,’ and modesty in ways that allow them to participate fully in the (various but often silenced) performances of Somali womanhood? In looking at classical Somali female poets (1899-1944 in pastoral lands of Northern Somalia) and modern Somali female poets (1969-1989 in the urban centre of Mogadishu, Somalia), I argue these poets have hybrid subjectivities that allow the expression of sexual desire thorough the subversion of normative codes of modesty. In addition to re-signified codes, specific spaces such as alternative publics, and the agentive acts of speaking through codes and performative listening, open up the different trajectories of how classical and modern Somali female poets creatively, socially, and politically participate in the Somali public sphere. Using theories of affect, hybridity, in-between space, and public culture, among others, I question how the nexus of modesty, sexual desire, and Somali femininity not only exposes lacunae in the Somali collective imagination but creates an ii unconventional map of Somali womanhood—a map that re-imagines gabar xishood leh in its complexity. iii Acknowledgements I would like to start off my acknowledgements with my Ayeeyo (illaahay ha u naxariisto). Without her, I would not and could not be the person I am today. For my Aabo and Hoyo, thank you for all the support. There were times when I needed that extra push. This has been a long time coming—I hope I have made you proud. I love you both. My brothers, Mohamed, Ahmed, and Hussein, thank you for all the late nights and your patience in listening to me “droning on” about this project, I am sure you never want to hear the words ‘xishood’ or ‘gabar xishood leh’ again. To my cousin Muna, Edo Asha and Edo Zahra, thank you for all the times you were there for me to bounce ideas off you, your help with the clarity and linear progression in my writings, and your editing ninja skills. Abti Abdillahi, thank you for all the sheeko sheeko, you were invaluable in formulating my ideas around this project. For the rest of my family, all my uncles, aunts, and cousins, thank you for the small but very meaningful ways you have helped me out. I love you all. To my supervisor, Dr. Katherine McKittrick, thank you very much for your support, guidance, and patience. My experience at Queen’s University has surpassed my expectations because I have had you as a professor, supervisor, mentor, and a support system. You have been generous with your time, feedback and dedication in enabling me to become the best academic thinker and writer that I could be. From the beginning, you introduced new theoretical concepts and theorists and pushed me to question my assumptions. At the same time, you allowed me the intellectual space to grapple with and explore my ideas. If there was an issue with clarity or contextualization, for example, you made no quibbles about alerting me about where improvements could be made. I appreciate your candour and the ease with which you convey iv your feedback. When there were instances where doubt crept up in regards to my thesis, you listened when needed be, encouraged when required, and pointed out moments of originality and creativity in my work to get me back on track. To say this project would not be what it is without you is an understatement. Thank you to the members of my defense committee: Dr. Sarita Srivastava, Dr. Margaret Pappano, and Dr. Elaine Power. I appreciate your time and support. To the people at the Department of Gender Studies—professors, colleagues, friends— thank you so much for creating a safe, inviting and comfortable space. Thank you to Kathy Baer and in particular, Terrie Easter Sheen for all your support, advice, and general help in making my time here much smoother and more enjoyable. Dr. Scott Morgensen, I appreciate all your help and support, thank you. Idil, Sanchari, Ahsan, Altug, Nate and the rest of my friends, thank you for all your help, encouragement, and support. I am finally done! v Table of Contents Abstract........................................................................................................................................... ii Acknowledgements ....................................................................................................................... iv Chapter 1 Introduction ................................................................................................................ 1 Methodological Framework............................................................................................... 13 Literature Review .............................................................................................................. 16 Chapter Breakdown ........................................................................................................... 19 Chapter 2 Theorizing Gabar Xishood Leh through Affective Ties and Ruptures ................ 23 Affective Belonging to the Construction of Gabar Xishood Leh ..................................... 23 Contextualizing Origins of Gabar Xishood Leh in “Tradition”........................................ 29 Xishood as Affect and Sexual Modesty/Good Shame......................................................... 34 Affect and Attachment in Gabar Xishood Leh .................................................................. 36 Recognizable and Shared Codes of Xishood .................................................................... 41 UnBelonging in Gabar Xishood Leh ................................................................................. 45 Hybridity and In-between Space........................................................................................ 47 Alternative Publics and Spaces of Performances .............................................................. 52 Chapter 3 Speaking through Codes of Xishood and Counterpublics in Classical Somali Female Poetry................................................................................................................... 58 Subordinate Social Positioning of Classical Somali Female Poets ................................... 62 The Devalued Status of Classical Female Somali Poetry.................................................. 63 Acceptable and Unacceptable Topics in Somali Classical Poetry.................................... 67 The Difference between Sexual Awareness and Sexual Desire ......................................... 69 Overt Expressions of Sexual Desire................................................................................... 73 vi Hybrid Discourses.............................................................................................................. 78 Sexual Desire and Modesty................................................................................................ 79 Recoding Codes of Xishood .............................................................................................. 82 Complex Performances of Gabar Xishood Leh ................................................................ 84 Chapter 4 Performative Listening and Female Intimate Publics in Modern Somali Female Poetry ................................................................................................................................ 90 The Historical Progression of Modern Somali Poetry....................................................... 97 Tensions surrounding Somali Womanhood in Modern Poetry ......................................... 99 Somali Female Intimate Publics and Modern Poetry ...................................................... 102 The Hidden Message........................................................................................................ 105 Listening to the Other ...................................................................................................... 112 Chapter 5 Conclusion ................................................................................................................ 116 The Contained Power of Hybridity.................................................................................. 117 Naming and the ‘Unnamable’ in Diasporic Somali Female Poetry............................................. 120 Bibliography..............................................................................................................................
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