Outing the Muslimness, Finally: Some Viewing (and Hearing) Pleasures (The King is Out: Part VI)

The King is out: he is irreversibly a Muslim. His name is Khan: pronounce it correctly please. Long Live the King!

by Huma Dar

[Read Part I Part II Part III Part IV Part V]

Rizwan Khan Offering His Namaz

[I]n one scene I wanted to have just a half open door and I wanted to be shown saying namaz once. We couldn’t take that shot. Then we put that bit where I say the prayer: Nasrun minal lahe wah fatahun kareeb (God give me strength to win) [sic] [Victory is Allah’s, and the opening/victory is close] which is my own prayer too. I don’t think we should intellectualise entertainment.  See the fun of it.

This is how Shahrukh Khan describes his experience working in the film Chak De! India (Dir: Shimit Amin, 2007).  With apologies to King Khan for discarding his proposal to not “intellectualize” films, yet taking due “fun” in it, I argue that it is only in My Name is Khan (Dir: Karan Johar, 2010) that the King finally comes “out” as a Muslim.  No “half open door” is needed.  This coming out affords particular visceral pleasures to an audience (or at least a large section of it spread across the globe) long resigned to seeing SRK endlessly and persistently marked by the specifically filmic variety of Hinduness practiced in Bollywood: doing various pujas and aartis at different Hindu temples, or adorning his spouses’ hair-parting with sindhoor and smearing his own forehead with tilaks.  This performative Hinduization of Shahrukh Khan in Urdu-Hindi cinema is unrelenting precisely due to the dogged presumption of SRK’s Muslimness that is not easily obscured.  “In my films I have been going to temples and singing bhajans; no one has questioned that,” (my emphasis) SRK exclaims in the same interview.  No one “questions” the diegetic (filmic) Hinduness of SRK; it is expected and mandatory.  With the increasing and explicit polarization in India since 1990s, the anxiety around Muslimness is such that it requires perpetual masking: an iterative performance of Hinduness, secular or otherwise.  When the mask slips off, the performance is momentarily paused – as when SRK plays a Muslim character in a film and critiqued the anti-Pakistani politics of Indian Premier League (IPL) – Hindutva activists target SRK’s suburban Bombay home, Mannat, with massive demonstrations (See the earlier Part II for more).[1]

Continue reading “Outing the Muslimness, Finally: Some Viewing (and Hearing) Pleasures (The King is Out: Part VI)”

The Price of Translating a Narrative and its Context (The King is Out: Part V)

Karan Johar falteringly attempts to fashion a cinematic alliance of sorts between African-Americans and South Asians — very unusual in the Bollywood context and more so for Karan Johar, himself — but fails to seize the radical politics embedded. One wishes that the spirit of this song was continuously re-thought, re-energized, re-contextualized, re-translated. A revolution that stops moving, stops “revolving,” is nothing but an aborted one.

by Huma Dar

[read Part I Part II Part III Part IV]



In an interesting twist, Karan Johar’s My Name is Khan displaces or translates (one original meaning of “translate” is to bear or carry across from one place to another) the convoluted and complex, determining context from India, with a specific genealogy, on to the US.  The post-9/11 circumstances provide some unfortunate resonances, yet much of the untranslated/untranslatable context results in the particular aporias of the filmic text.  Even beyond Mandira’s furious and irrational directive to Rizwan Khan, he has to go around saying his name is Khan and “he is not a terrorist” because in that originary terrain of imposed defensiveness there is not much space for a “Muslim name” (besides certain limited spheres), leave alone for “My Name is Khan, and I am an American.”  This latter, more “affirmative” alternative to the “apologetic” cinematic version, is proposed by Suad Abdul-Khabeer in her excellent critique of the film.

Continue reading “The Price of Translating a Narrative and its Context (The King is Out: Part V)”

A Suitable Boy, “Decent” People, and Names that Pass (The King is Out: Part IV)

by Huma Dar

[read Part I Part II Part III]

Ripping Apart the King, Separating Him from Kajol

In the second half of the film, My Name is Khan (2010), Karan Johar shows that Rizwan Khan’s wife, Mandira (played by Kajol) is on a personal journey to obtain justice for her son and accountability from the perpetrators of a hate crime.  It is thus ironic that Mandira’s own negligence towards Rizwan Khan (played by SRK) and the lack of accountability for making him set off on an ostensibly unfeasible mission, albeit in a fit of grief and anger, is not problematized at all in the film.  A mission that might very well have remained unfulfilled but for Rizwan Khan’s Herculean efforts, his unusual talents and disabilities, and a string of exceptional circumstances.  Rizwan Khan, given his Asperger’s syndrome, “fear of new places,” and his Muslimness (actively practiced), would have been equally, if not more, susceptible to the kind of hate crime that victimized Mandira’s son.  After the initial outburst at the place of death, Mandira had had enough time to re-think  the consequences of her angry directive to Khan, yet she never apologizes to Khan.  Here too, the immediate context of Bollywood, the multiple Hindu-Muslim marriages amongst the stars of Bombay, and the general lack of acceptance of such marriages in mainstream India are crucial to keep in mind.

Continue reading “A Suitable Boy, “Decent” People, and Names that Pass (The King is Out: Part IV)”

Placating the gods of Citizenship: the Ritual Sacrifice (The King is Out: Part III)

The obligatory declaration of cinematic patriotism for Indian Muslims necessitates a continuous performance of “loyal citizenship” invariably through offering the sacrifice of a “disloyal” one. This leaves little space for critical engagement with the nation and the state.

by Huma Dar

[read Part I Part II]


King Khan and his divinity

The obligatory declaration of cinematic patriotism for Indian Muslims (discussed in Parts I and II earlier) necessitates a continuous performance of “loyal citizenship” invariably through offering the sacrifice of a “disloyal” one. This leaves little space for critical engagement with the nation, the state, and the unending wars.  An example of this ritual performance is the sequence in My Name is Khan where Rizwan Khan, played by Shahrukh Khan (SRK), reports the “doctor” in the Los Angeles Masjid to the FBI.  How do we know the “bad” doctor is an al-Qaeda member or a terrorist?  Dr. Faisal Rahman does indeed talk about his “blood boiling” at the oppression of the Muslim Ummah in Iraq, Afghanistan, Palestine, Chechnya, Kashmir et al and even exhorts the handful of audience in a completely open space inside the Masjid to “join him and do something.”  The details of that “something” are never revealed.

Continue reading “Placating the gods of Citizenship: the Ritual Sacrifice (The King is Out: Part III)”

Shahrukh Khan and the Pound of Flesh: the Cost of Stardom (The King is Out: Part II)

by Huma Dar

[read Part I]

Shahrukh Khan (SRK) has a long history of playing the fraught field (of the Indian context) with flawless diplomacy, perhaps even overplaying the field.  In early 2002, precisely during the days of the state-sponsored anti-Muslim pogroms in Indian Gujarat, the then Indian Prime Minister Atal Bihari Vajpayee, from BJP (a Hindu Nationalist party), released an MTV-esque album,Samvedna [Sensitivity]. Widely broadcast on Doordarshan, the State-owned television channel, as well as on Indian-American programs (at least in the San Francisco Bay Area), the video features Vajpayee reciting his Hindi poetry while Jagjit Singh, the ghazal singer, sings in tune.  The album is prefaced by the rhapsodizing words of Javed Akhtar — another famous Muslim from Bollywood, narrated by Amitabh Bachhan.

Continue reading “Shahrukh Khan and the Pound of Flesh: the Cost of Stardom (The King is Out: Part II)”

‘Going Deeper’ Not ‘Muslim’: Islamophobia and its Discontents

Photo by Ridwan Adhami

by Huma Dar

I deeply missed June Jordan today. Back in Fall 1995 (or was it 96?) the acclaimed poet read not her own poems, but those of her Arab students, at the first ever Berkeley “Poetry at Lunch” event. I adored her, and adored her even more when she courageously asserted that Arabs/Muslims were one of last groups it was explicitly kosher (read: not un-PC) to be racist or prejudiced towards in any given circle. Way before 9/11…

Tunku Varadarajan, a professor at NYU’s Stern Business School and a research fellow at Stanford’s Hoover Institution, recently wrote a piece “Going Muslim: America after Fort Hood.”(1) He coins the phrase “Going Muslim” to “describe the turn of events where a seemingly integrated Muslim-American—a friendly donut vendor in New York, say, or an officer in the U.S. Army at Fort Hood—discards his apparent integration into American society and elects to vindicate his religion in an act of messianic violence against his fellow Americans.”(2)

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Free Palestine- Free Yourself

I’ve probably told this story — orally — hundreds of times in the past nine months. It’s a story I find fascinating, and I ask it of every Israeli I meet: How did you become a dissident?

A Zionist Upbringing

I was born and raised in Israel. A daughter to “Atheist Jews”, secular Zionists, white collar, upper middle class, capitalists, Neo-Liberals, who “built this country”. I’ve had many internal struggles with these values and identity labels. Always self aware, at some point I decided to just accept that I will never be in the mainstream, and to accept the “rebel without a cause” label I’ve been given by my family.

Through the Zionist thicket of my own family’s education, school, and the Israeli media, I found myself rootless, alone, but most of all numb. It seems to me that the biggest achievement of Zionist propaganda is to make the majority of Israelis numb and confused. I would despise school (which I often described as “oppressive”), my army service (“jail with better visiting conditions”), and national ceremony (“disgusting solidarity”).

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The Violence of Illusion

Amartya Sen on Identity and Violence. In his otherwise thought provoking lecture, Sen appears to assume that identities are only determined, discovered or assumed. He overlooks the fact that sometimes they are imposed. He also appears to overlook the relations of power which accentuate identity, or for that matter the functional, defensive necessity of identity as a means of resisting domination. (thanks Eric)

Nobel laureate Amartya Sen is widely recognized for his ability to join economics and philosophy, reflected in his work through ethics and a sense of common humanity. In this Hitchcock Lecture from UC Berkeley he explores the violence of illusion.

Seven Jewish Children – a Play for Gaza

Caryl Churchill
Caryl Churchill

by Caryl Churchill

A video of the play can be viewed here:

No children appear in the play. The speakers are adults, the parents and if you like other relations of the children. The lines can be shared out in any way you like among those characters. The characters are different in each small scene as the time and child are different.

1

Tell her it’s a game

Tell her it’s serious

But dont frighten her

Dont tell her they’ll kill her

Tell her it’s important to be quiet

Tell her she’ll have cake if she’s good

Tell her to curl up as if she’s in bed

But not to sing.

Tell her not to come out

Tell her not to come out even if she hears shouting

Dont frighten her

Tell her not to come out even if she hears nothing for a long time

Tell her we’ll come and find her

Tell her we’ll be here all the time.

Tell her something about the men

Tell her they’re bad in the game

Tell her it’s a story

Tell her they’ll go away

Tell her she can make them go away if she keeps still

By magic

But not to sing.

Continue reading “Seven Jewish Children – a Play for Gaza”

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