Exit 11, Issue 03

Page 136

Performing Family: A Utopian Vision NU R A I SHA H SH A F IQ

Hope. It is a fragile thing. Most find it futile in the face of a world so vast in its inequality that even the act of imagining kinder realities is most often mocked as naïve. Systems of oppression are so deeply embedded within the functioning of our society that not only is it difficult to imagine different ways of structuring our world, but a great many individuals feel severely disempowered and without agency to actually pursue efforts in realizing such conceptions. In an era of global capitalism and rampant neoliberal ideology, the struggles one faces in improving the ills of society are no longer so well-defined. Who are we fighting? What are we fighting? As a well-known film theorist Robert Stam indicates, “the enemy now takes a more diffuse, abstract and quasi-ungraspable form” (3). Yes, sometimes the root of abject suffering manifests itself within a person – some politician, a CEO, a drug lord, or any other person who stands on a socio-economic model that pits capital above human life – but often, these people stand in for institutions of power, institutions that prescribe certain means of existing within our world that normalizes inequality as a way of maintaining the status quo. One such institution is the family. How family has typically been understood is bound by the model of the heteronormative nuclear family. Such a definition may not necessarily suffice for those who do not conform to normative ways of being (e.g. sexuality and gender), and thus isolates these individuals from others. Humans are socially conditioned to expect love and this model subjects them to the violence of prejudice and discrimination. Such a definition deprives people of the means to fulfill the basic need for dependency and intimacy – be it physical, emotional or social – that is inherent to human nature (Davies and Robinson 42). Without the support of family in all its forms, from emotional stability to financial security, one is left vulnerable in a society that privileges the very few at the expense of so many others. Thus, where does hope lie, if one is to challenge such a deeply ingrained and vastly

134

EXIT 11


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Articles inside

Creativity within Silence – Cameron Wehr PHOTOGRAPH: The City’s Life – Am Silruk

16min
pages 155-166

The Paratha, Abu Dhabi and Migration – Abhyudaya Tyagi

17min
pages 144-154

Performing Family – a Utopian Vision – Nuraishah Shafiq

14min
pages 136-143

PHOTOGRAPH: The Arabian Dream Mareya Khouri Smelly Sounds – Phonetic Symbolism in Scent – Lachlan Pham

13min
pages 127-135

How do we maintain our sense of cultural identity in new environments? Meg Nakagawa

16min
pages 115-126

The Air is Delicate” (Macbeth 1.6.10): The Role of Olfactory Design in Punchdrunk’s Sleep No More – Rayna Li

17min
pages 104-114

You’re Not One of Us: Britain’s Problem with Returning Foreign Terrorist – Omar Hussein

12min
pages 96-103

The Virtual Circus: A Comparison of Appropriation of The Black Body in 19th & 20th Century Freak Shows and Contemporary Instagram Trends – Tatyana Brown

23min
pages 81-95

Kosovo: Convenient Humanitarian War? – Maja Wilbrink

23min
pages 64-80

Praying to Progressive Gods: The Liberating Role of Violence – Luis Rodríguez

9min
pages 59-63

No Simple Code: Google and the Exploitation of Altruism – Mary Collins

11min
pages 44-49

Representations of the Maasai: Jimmy Nelson’s fantasy – Mareya A. Khouri

15min
pages 50-58

Ancestors: Our Blood-Related Strangers – Amy Kang PHOTOGRAPH: Before They Sail Away Usman Ali

9min
pages 34-43

Mumbai in Slumdog Millionaire Ethnicized or Globalized? – Sana Elgamal

8min
pages 25-29

Absence and Uncertainty: A New Form of Terror – Runyao Fan

6min
pages 30-33

How to Build a Fire- The Power of Poetry in “This Big Fake World” – Mary Collins

8min
pages 20-24

PHOTOGRAPH: Mina Fish Market Sebastian Kalos Introduction – Marion Wrenn PHOTOGRAPH: Timbers of the Gulf Sara Almarzooqi

5min
pages 13-19
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Exit 11, Issue 03 by Electra Street - Issuu