themes in the art and drag performances of Zulfikar Ali Bhutto / Faluda Islam

 Artist and memory activist Zulfikar Ali Bhutto Jr. created a drag persona to address issues of Islamophobia and homophobia in the world. Drag is ​​a performance

of gender that parody gender norms could shatter the illusion that there are only two genders – man and woman – and lead to a proliferation of genders; or rather to a recognition of, and ability to speak about, the already existing great diversity of genders, sexualities, bodies and pleasures (Evans and Williams, 2013).

 

In an interview, Zulfikar, also known as Zulfi, discussed his drag persona “Faluda Islam”: “She is a zombie, she was resurrected through Wi-Fi technology and the way she died was in the future queer revolution,” Zulfi explained. “She’s sort of an oracle… she’s able to give an insight into [the] past, present and future” (Burke, 2018). Faluda disrupts the binaries of organic-machine, male-female, even life-death with each performance as a queer Muslim icon.

Zulfikar Jr. is named after his late ancestor Zulfikar Ali Bhutto who was a prominent politician and leader of the People’s Party in Pakistan. In a way that subverts heteronormative expectations of Zulfi, he bravely entered the international art world with pieces that address his cultural background and extended the limits of the name in creating a drag persona. Zulfi recalled his father, Murtaza Bhutto’s assasination, when discussing this persona, and the themes he wishes to explore: “I talk about injustice, who gets the right to live or die, who is the decider of that,” says Zulfi. “War comes up, aspects of martyrdom come up, Islamophobia comes up.” (Burke, 2018) In my understanding, he is addressing the existential weight of being born a male in a Shi’a family and the expectations of martyrdom of such a gender identity. This responsibility was heightened during the Iran-Iraq war that started in the late 1980s when mostly Shi’a men as well as children in Iran fought their enemy combatants in Iraq.

Zulfi explained his ideas in an interview with Reconstructed Mag in May, 2020:

Why are we forced to make our children and families martyrs? What are the forces against us that make us go into these spaces that end in death? The drag character Faluda Islam questions this. The character is my attempt to look at revolution through a high femme lens (Bhutto, 2020).

 

Digitisation allows for “humans to mobilise memories that cut across the individual and the collective, the institutional and the corporate, the local and the global in ways that disrupt conventional binaries of the public and private, of the body and other” (Reading, 2016). Faluda exists digitally and in performances, disrupting the idea that a “man” protects “his women.” Faluda’s martyrdom and reincarnation as a Zombie may have been for all queer individuals, rather than for prolonging a heterosexual mode of reprdocution. Faluda as a Zombie, in Zulfi’s intention, also remembers the anti-imperialist slave rebellions in Haiti, where Zombies were an esoteric instrument to defeat the white settler-enslavers.

As a multidisciplinary artist, Zulfi’s other conventional artworks likewise explore the Shi’a Muslim’s conundrum of remembering assaults in Islamic history through lamenting the past, while other events celebrate masculinity as strength. As an artist, Zulfi highlights the inherent queerness of such an identity, despite the state’s priority to limit the identity as straight and one-dimensional. In critiquing the national imagery of a strong man, Zulfi said in an interview, in the context of his textile artwork series “Mussalman Muscleman”: “What for me is masculinity? It's softness” (Bhutto, 2017). In his works of a fictitious queer rebellion, he uses imageries of “brown and black body by creating glamorous queered future guerrilla fighters who do not fit neatly into categories of gender, race, faith, threat or desirable subject.” The works sought “to challenge the shifting borders between terrorist and freedom fighter as seen and named by the Anglo-Saxon world” (Bhutto, 2019). Memory, gender and technology are the themes explored by Bhutto’s works and the tools which allow him to express his ideas to a largely heteronormative public.

 

 

 

One of his exhibits

In “Future Faithful: Islamic Experiments in Space Exploration and Posthumanism” in 2021 at the Bass & Reiner gallery in San Francisco, U.S., Zulfi's artworks incorporate imagery of the calf as a reference to the second chapter in the Holy Quran, “The Heifer.”

 

 

“mustaq-bel 2,” 2019. By Zulfikar Ali Bhutto

Zulfi’s artworks reference traditional architecture and mythology. The calf has appeared prior as a sacrificial motif in Abrahamic traditions. This metaphoric practice has been substituted by the sheep or lamb in some ritual instances out of respect for others who found the sacrifice of the cow offensive, such as in India and Pakistan. In Sher Shah, Pakistan, a Shi’a saint’s shrine has been used by pious locals both as a shrine for fulfilling human prayers and a cow sanctuary, which demonstrates the power of cultural syncretism in the subcontinent (Khalid, 2016).  The popular press and general population in South Asia interpret spaces like shrines (dargah) as examples of tolerance, since both Hindus and Muslims participate in worship and place requests to the saint of the shrine. They burn incense (loban) and consequently experience therapeutic convulsions against evil spirits that possess them (haziri) (Bellamy, 2011). Sometimes they are places of refuge and sources of cures to illnesses and evil spirits, while other times they are Gedächtnisraum (memory spaces). The usages of these spaces have been altered by modernity, as witnessed by the declining numbers of cows at the Sher Shah shrine.

The textile works by Zulfi were “created to honor real and imagined queer guerrilla fighters from Shiite Muslim traditions of martyr and saint veneration” (Bass & Reiner, 2021). More than just remembering a scar from a millennium-old feud, Muharram rituals as well as Zulfi’s artworks both symbolize a rejection of illegitimate state authority, which many Shi‘as also regard as a key feature of their faith (Freitag, 1989). In Zulfi’s praxis, he is directly addressing wealth inequality of the present.

The evolution of Muharram rituals in South Asia from a religious ritual to an “urban ritual” can be observed from the level of urban negotiation among the multi religious participants (Nejad, 2015). The processions are not limited to one sect or codified in one practice and often have multiple meanings. Different communities establish their own tazia, (also spelled as ta‘ziyah and ta‘ziyeh) which symbolically represents martyrs’ tombs, and carry it to the area that symbolizes the battlefield of Karbala. Zulfi’s work of “Mercy 258 رحیم ۲۵۸” paid tribute to such a practice; his symbolic Karbala was the art gallery of his exhibition.

 

 

 

Mercy 258 رحیم ۲۵۸. by Zulfikar Ali Bhutto. Screen print on muslin, chiffon and raw silk, inkjet print on silk, various trimming and plastic sequins. 2020, 148 x 28 in

 

In conclusion, this essay has explored the drag persona Faluda Islam, along with other works by Zulfikar Ali Bhutto, to demonstrate the potency of memory in his artwork. As an activist addressing Islamophobia and homophobia, Zulfi uses both embodied performances, audiovisual recordings, as well as hand sewn textiles in his ongoing works. Memory both informs the work and energizes the viewers who share part of the knowledge systems and geographies as Zulfikar’s upbringing. The drag zombie Faluda Islam interrogated on the idea that gender is a learned memory that is hard to alter or evolve; rather, the gender practices may or may not survive a future apocalypse. Memory is both the medium and the message.

 

 

 

Works Cited

Bass & Reiner. 2021. Future Faithful — Bass & Reiner. [online] Available at: <https://bassandreiner.com/zulfi> [Accessed 21 December 2021].

 

Bellamy, C., 2011. The Powerful Ephemeral: Everyday Healing in an Ambiguously Islamic Place. University of California Press. 33.

 

Bhutto, Z., 2020. Live Interview with Reconstructed Mag.

 

—----------., 2019. [online] Praxis Center. Available at: <https://kzoo.edu/praxis/artists/zulfikar-ali-bhutto/> [Accessed 21 December 2021].

 

—----------. 2017. [online] The Tumeric Project. Available at: <youtube.com/watch?v=bc8VtrHA8QE> [Accessed 21 December 2021].

 

Burke, S., 2018. Meet Faluda Islam, the Muslim Drag Queen From the Future. [online] Vice.com. Available at: <https://www.vice.com/en/article/7xjbgb/muslim-drag-queen-faluda-islam-zulfikar-ali-bhutto-queerly-beloved> [Accessed 21 December 2021].

 

Evans, M. and Williams, C., 2013. Gender. Routledge.

 

Freitag, S., 1989. Collective Action and Community. Berkeley: University of California Press. 251.

 

Khalid, H., 2016. The changing fate of a Muslim shrine where cows are sacred. [online] The Caravan. Available at: <https://caravanmagazine.in/lede/thinning-the-herd> [Accessed 21 December 2021].

 

Nejad, R. M. 2015. "Urban Margins, A Refuge For Muharram Processions In Bombay: Towards An Idea Of Cultural Resilience". Südasien-Chronik 5. 341.

 

Reading, A. 2016. Gender and Memory in the Globital Age. Palgrave MacMillan.

Ramadan 2019: Day 16-18

Day 16 Tuesday

In the morning, I blocked the person who was man-trolling my posts and also wrote posts celebrating Modi's electoral success on Faceb00k.

In the afternoon, Walid and I ventured to the MIT area because I was scheduled to meet a friend from college, as well as her parents. Walid and I parted at H-Mart. I felt nervous because I hadn't seen her since 2014 when she was interning in D.C. She looked good, with a new lipstick habit she picked up from Columbia University. She seemed to have enjoyed my company and her mother was very interested in my Ph.D.-student life. Her mother probably worried that her daughter might suffer if she went on the path of academia. I found out later in the meeting that she was working at a New York corporation. Her father spoke little and us three women enjoyed his non-intrusive presence. We parted ways, and I thought they went to their hotel in Allston.

When I tried to find Walid again in H-Mart, I saw his text that he was in the Cambridge mosque. I felt upset because I did not being in Cambridge on a busy afternoon by myself. I also felt that he ditched me. When I called him I was upset and informed him to meet me. Coincidentally, I also saw my friend and her parents buying sushi and food from the supermarket. My friend's father commented on my purchased good--a bag of frozen dumplings. They did not seem to be very free or talkative as before. When I finally found Walid at the door of H-Mart and we left for the red line, we ran into her parents again. I introduced them to Walid and he greeted them, graceful as always during such occasions. I was ill at ease and we later fought in the subway. I was ready to forgive him when we arrived at my home station. He helped me return my frozen dumplings to my fridge while I hurried to meet Manho at Malden Center. Manho was early as usual. The Vietnamese restaurant we intended to eat was closed on Tuesdays. So we walked around, saw the older-than-America First Baptist church and went to Ming's (See my post on Day 1 of Ramadan). Manho was very pleased by the cleanliness of Malden, in comparison to Boston's Chinatown.

We ordered seafood and veggies. We ate and chatted, even though Manho felt that it was rude to eat before Walid. At around 8pm, Walid broke fast with my friend, Manho, and I. Manho was happy to leave Boston; we celebrated his birthday. By the end, the waiters almost forgot about us as well as the dessert they usually served to everyone. But Walid remembered, and we ate our share of a taro sweet soup.

Here are some other observations we had about tea and eating habits, which I wrote in Chinese: 看得出成长环境的不同 比如喝茶的习惯我到了17才有 而我对象和文豪都是从小喝茶。另，文豪如果早点来 是有机会认识一个四姨太的小孩 结果没撞上。我和对象翻译了这个故事 他没反应到点是什么 . 还有Nutella 我到了德国才吃到 吃过ferroro 但没想到还有如此平凡的酱版。文豪以前吃过 他来到美国惊奇于人对花生酱的热衷 觉得pb&j是一种懒人的食物。对象说他某一天并不知该三明治的做法 但自己却“发明”出来了 所以也很难说到底是美国人造就了pb&j 还是环境使然

In the evening, I was too full to fall asleep. I delved deeper into my insecurities in regards to Walid's visit to the holy place of the mosque. The membership system seems very strict, even though it does not appear as such at the surface. The same issue occurred with a Sikh temple in Germany--diasporas guard such spaces with more scrutiny as well. Walid understood my concerns about his sudden departure today. We made up a scenario about if all humans became 5-year-old children, there would probably still be hierarchies among us. We fell asleep at 3am.



Day 17 Wednesday


I went to Zumba in the afternoon and Walid broke his fast at his work. Ahmad messaged me the day before, "My mobile has been dead for the last few days and I could not have it fixed yet." I found our friendship as resilient as ever, despite the presumed difficulties.


I chatted with Amina about a new e-magazine founded by Chinese youngsters that tried to carry on our legacy from our e-magazine (South Asian Hutong). She was bored by their electoral analysis, whereas I was a bit happier: at least some Chinese-speakers continued to study and write about South Asia, albeit from a more practical lens. We also chatted about the new social media industry of youtubers and gamers. She decided to attend a talk on Afghanistan.


Day 18 Thursday

Riyadh

I went to a therapy session, which I am increasingly suspicious of the efficacy, but Walid finds that it might be helpful for me. He is more patient than me in many matters. On the way there, I read about the Greek architect Constantinos Apostolou Doxiadis' contribution to Riyadh's current city layout. I was surprised the extent to which modernist aesthetics and urban standards affected parts of the world I was connected to. One could argue that Zaha Hadid was as much a child of "Iraqi" (premodern) art as she was of modernist architecture. What I found troubling about Chinese history is that so much of Communism is mixed up with modernist aspirations, such as Doxiadis-style architecture. Yet many of Doxiadis' architectural works were designed for repressing social revolts. Arguably, modernist architecture was not very effective in preventing uprisings on either side of the Cold War. I thought (in an abstract way), that modern architecture largely failed to live up to its expectations of engineering modern human societies.  After digesting this information, I experienced a breakthrough in my research presentation for the MESA 2019 conference. 

Riyadh Development plan

Al-Shaab Stadium, by Francisco Keil do Amaral and Carlos M. Ramos (and the Calouste Gulbenkian Foundation), Baghdad, c1966

ملعب الشعب، تصميم فرانسيسكو كيل دو امارال و كارلوس م راموس (و مؤسسة كالوست كلبنكيان)، بغداد، ١٩٦٦

After therapy, I saw a short exhibition for the Asian American Heritage month at the Brookline library and also took a short tour of the Brookline townhall.

I ate at a Pakistani restaurant called Nachlo. I expected a more vibrant eating environment but perhaps due to fasting, I was one of the two customers inside. I wondered when did Pakistani cuisine emerge in America as a distinct genre and how it must have fought hard in the face of competition from the more popular (North) "Indian" cuisine. The owner was a person who looked like he worked in Saudi Arabia and saved enough money to open his own store in America. The main person handling business was a young man Walid's age. I felt that his job was quite difficult. Another more reticent man who looked like me was not speaking. I felt judged for eating at a place where people were fasting. Another Bangladeshi man bought some food and asked enthusiastically about the store's offerings, such as sweets. I found it amazing that he, as a Bangladeshi person, had let certain bygones be bygones and found comfort in desi Muslim brotherhood.

I paid, left and went home. At 1am, Walid told me that he volunteered for free. I was quite upset about it, and I said that we are not in the position to offer that kind of help to workplaces, even if we find it ethically sound. I also read about Betty Shabazz and her fights with Malcolm about similar issues later, and I found my situation very similar to hers. 

Day Trippin' Tripoli, the one in Sham

Tripoli, aka Tarābulus / Tarabulus al-Sham, was not on top of my list of tourist destinations. Like many millenials who travel to Lebanon, I had watched the Vice documentary about the armed urban conflict and decided best to stay away from Tripoli. My Airbnb flatmates Ian and Dan held a similar impression of the city when they arrived in Lebanon for their holiday. Dan was especially worried that something wrong might happen. Ian was eager to see the city because it is closer in architectural style to his hometown, Damascus, than Beirut. But our host Ibrahim said that it is a cool city and showed us a short documentary on the reconstruction efforts since the conflict. I was also hoping we could visit the bookstore that burned. 


We set off on July 15 and made jokes about getting shot by crossfire. The same jovial middle-aged Lebanese driver who took us to Jounieh also found us again and offered to take us to Tripoli as well. At first he did not even recognize us, even though I think we stand out as a odd group of tourists. Ian, who continued to act as our trusty translator, said we didn't have the money and opted to take a bus for 5000LL per person.

At the bus stop in Beirut

On the way north, we passed by the same places we visited before; Jounieh and Harissa, which I might write about in a future post. The main highway artery is right next to the sea. We shared the bus with soldiers and a classmate from Arabic. There was supposedly 1 hour wifi for free but we didn't log in successfully. I snapped more shots of the road while Ian and Dan slept. 

When we arrived at the last stop, we were a bit at loss because there was no Google Maps. But I had the tour book with me from Ibrahim, which showed that the famed Citadel was at the bank of the river, so we ambled towards the river. On the way, we passed by bazaars and busy streets.


 Now I look back at the photos, I am surprised that the architecture maintained some uniform style, even though a lot of them are dilapidated. Clearly someone put in some effort in urban planning. But I have yet to read into the history. I took a lot of photos of the landscape and buildings that had religious significance or signs because I noticed the use of calligraphy was different from the signs in Beirut. 

(Colonial) Clock tower

We stopped by a very beautiful shop with tourist ornaments on the 1st floor and generic cosmetics on the 2nd floor. The architecture was beautiful.

As we left from the bazaar area, political posters began to appear. We also looked at the Syrian street from afar.

On the way to citadel, we passed a shop that sold religious CDs and cassettes. Ian interpreted the shopkeeper's brief explanation and I remembered my anthropology Professor's work on Islamic soundscapes.

Instructional DVDs on proper conduct in Islam with English translations

Skull caps imported from Turkey

We hiked along the river a while and found a very unconventional route that took us to the foot of the citadel but not the main entrance.

#OfficiallyLost #Tripoli

We even passed by a private home right next to it. The home seemed very peaceful with lots of (stray) cats.

We passed through an ancient alleyway. It seemed as old as the citadel itself. 

After stepping over a gully that had a dead rat in them, we made it to a grave which led to a side entrance of the citadel.

Pictures of the tombstones and flowers. Very picturesque graveyard and probably the only predominantly Islamic grave I have been inside.

At this point I still have not seen anything that "makes" this place a tourist spot.  

At the darwaza of the citadel

Stray cat at the citadel

What impressed me most was the birds eye view of the city as well as the presence of the Lebanese army. We found an army post with tents in a very secluded corner of the citadel. Even after centuries, a fort will more or less function as a fort. I have not seen any similar form of army presence at the Great Wall in Beijing or the Red Fort in Delhi, which is telling about the precarity of Lebanon. A guard emerged from his tent, saw us and shooed us away from the premises. 

There were also dungeons and I was kind of spooked, afraid that there might still be dead organic matter lying around. It reminded me of some former royal places in India.

We had lunch at a normal looking joint because there was chicken roasting by the corner. Most of the people who worked and patronized there are from Syria and they also talk with Ian about his British-Syrian origins. The cashier guy was so generous and warm, when he heard how far we traveled from, he gave us falafels for free. I was a bit unwell (shang huo) and didn't want falafels; Ian was a bit annoyed with me that I didn't eat meat and thus created more issues for him in terms of solving the food logistics. But I decided to eat them anyways. 

Beautiful archways in the old part of Tripoli

At some point while we we were wandering in the bazaar, we were apprehended by some youngsters. They were hired by the soap-selling shops and wanted us to buy some soap. We entered in a courtyard with a very classic fountain, one that reminds Ian of his home in Damascus. I also saw the soap-making bucket and was impressed by the antique-style set up. One girl who worked at the same shop said she learned English from watching English television. I was shocked and finally accepted the fact that I would have to learn languages through other means. I bought two bars of soap for 12,000LL. The male shop keeper also said that he had customers from China who bought soap by the ton.


I asked the soap-seller where I could find the bookstore. He was fluent in English, had heard about the bookstore, but was not sure about where it was and thought it might be closed. I realized I might leave without visiting it. 


I also realized that most books available are very generic.

I wanted to visit a mosque but all of them were closed. So we just snapped shots outside of them. Mamluk architecture is so different from other architectural styles I have seen in the same area.

Lovely street calligraphy

We passed by this cute kid and stylish car. They look like they were headed to some event. Ian was still full of energy while Dan and I were beat. We asked several people for the directions to the bus station and many of them told us that the buses were already finished. Still, we persevered just in case there were buses left.

A tank parked on the street. We passed by an army point in the city. One officer said hello to me. Other boys on the street also notice I am Chinese and say "ni hao". Ian gets a great kick out of it; one of them chuckles in a very silly way after he said ni hao and Ian was so amused by the corniness of it all and repeats the anecdote time after time.

I also bought some string beans for 1000LL. That was definitely cheaper than what I would get in Beirut. At last we found the bus station but the last bus to Beirut indeed had left the dock. We luckily found a minivan and packed into it. The Americans we saw from the castle also joined us in the bus. We learned that most of them study about the Middle East at Harvard. But the one we talked with the most was exchanging at AUB from Georgetown University. His name was Hank.

On the way back, Hank and Ian discussed their impressions of the city.

Ian: Beirut is capitalist and divided. It's very different than Tripoli's vibe.

Hank: The latter is connected more to Damascus. It was never considered part of Mount Liban until the 1920s partition of the Ottoman Empire and official establishment of the French Mandate.
Beirut rose into prominence during the 1800s. More people came and missionaries took advantage. Western trade oriented. It was very rich until civil war.

Then the conversation shifted to the Shia neighborhood in Beirut: Hank explained that in the 1890s, Dahiya became part of Beirut. The inhabitants were mostly village people and more conservative than the heart of Beirut. Hank lived there in 2015 for several months. He also gave us a brief overview of his understanding of Syrian history: the French favored Alawis and minorities because they were part of the war zones. The Alawis suffered a lot from the late 1800s famine as well. Alawis were heavily divided in their attitudes toward the French. They were not a coherent group until the Assad family came into power. The first Assad removed religious authority and dismantled "Alawi" as a religion. The French gave them social mobility. It would have been difficult for them to achieve mobility otherwise; although there were also Alawi tax collectors (which is a relatively high social position) in 1860s.

Later I lost track of the conversation and focused on the beautiful scenery.

  

 Then we arrived in the Armenian town of Beirut; Ian, Dan and I took a bus back to the promenade close to where we lived while the others took a taxi. We arrived at the promenade just in time for the sunset. 

End note: I wrote this a bit later than I expected, and may have left out some details. Overall I should accept that blogs will not reflect experiences as they were, but rather filtered through memory and time. I really appreciated Ian's role of interpreting and guiding us, even though Dan and I also got fed up with him sometimes. The trip would not have happened if I did not have their company. My blog's readership exceeded 5000 hits last month! Thanks to all of you for reading!