But the composition of the image invokes a clear sense of the “ caged ” woman ’ s separation from what is vibrant , sensual , and colorful .
Other images of women in the Akbar ’ s series are actually sculptures . In this representation of women as inanimate objects , Akbar exemplifies that the social constrictions , and not the individual women themselves , are what really matter to those who impose the burqa . The emphasis on women ’ s virginity as a symbol of family honor , and thus the object of control , leads Akbar to include nude depictions of women ’ s bodies .
In a number of images , Akbar imposes verses selected from the Quran onto various parts of the sculptures of women ’ s bodies . The verses are those most often used to justify women ’ s unequal treatment . The text is in the shape of fingerprints .
“ In this country , women are being oppressed and their identities unfairly shaped by the limitations of these verses ,” says Akbar of these images . Indeed , one might even read the Quranic ‘ fingerprints ’ on the women ’ s bodies as the ‘ criminalization ’ of women and their sensuality — as is evident in the image of the veiled women ( pictured above ) with an exposed breast inscribed with the Quranic verses .
Akbar , in conversation with me , underscored without any ambiguity that for her , the burqa is “ the worst thing to ever have been invented .” It forces women , she believes , to lose their self-confidence , and instead causes them to withdraw from the public sphere out of shame and fear .
This is significant . The public space is where we negotiate with others , over rules and laws , ideals , and the distribution of resources , rights and obligations .
Women ’ s absence from these spaces cements patriarchal control of men over women .
“ Women who wear the burqa lose their confidence about showing their face in public and feel themselves at ease in the burqa ,” she says . They become used to wearing the burqa , Akbar asserts , and eventually come to believe it is something good or normal , even though it is against their rights .
Akbar herself has worn a burqa while working on the Invisible Captivity project . “ The feeling was awfully disgusting . I couldn ’ t see clearly and the worst thing was that nobody could see my face , my expressions , and my smile ,” she says .
Akbar accepts that exhibiting this work creates risks for her safety in a part of the world where challenging women ’ s confined status elicits backlash — even though she hasn ’ t yet received any serious threats yet . She says , “ But if the extremists trace ( my work to me ), of course they can harm me .”
“ In this project , I have spoken up about taboos that nobody wants to talk about — the religious and cultural things that work against women ’ s rights and the superstitions that have held women in captivity for ages . As an artist , I felt it was my responsibility to create this work ,” she says . “ I was born free and I believe freedom is in my blood . Even if the whole country works against me and my rights , I will stand up and fight for the free and valuable life that I deserve .”
“ It can be risky but I believe changes happen when people dare to break the taboos and sometimes walk on the edge . Changes don ’ t happen without sacrifice .”
Invisible Captivity . © Rada Akbar , 2013 . Courtesy of the artist .
29 OF NOTE