Oppression Essay

Oppression Essay-70
Unknown, because un-understood, is both a form of exclusion silencing women and the power of expression between women that the poem reveals. / Let me write my last poem.” Writing, threatened by the ultimate punishment, becomes the ultimate gesture of resistance, as well as a provocative message to and for other women.“Damn you God (…) / For building a wall in front of my will” marks how contradictions in a traditionally elevated religious order – understood as a repressive political programme – cruelly demotes women. Roya’s poems are accompanied by harrowing works by Freshta.

Unknown, because un-understood, is both a form of exclusion silencing women and the power of expression between women that the poem reveals. / Let me write my last poem.” Writing, threatened by the ultimate punishment, becomes the ultimate gesture of resistance, as well as a provocative message to and for other women.“Damn you God (…) / For building a wall in front of my will” marks how contradictions in a traditionally elevated religious order – understood as a repressive political programme – cruelly demotes women. Roya’s poems are accompanied by harrowing works by Freshta.

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The Western opera tradition chose love as its vital theme and has primarily focused on relations between the sexes.

Thereby, it has shown great creativity in constructing models for Western intimacy and its understanding.

The Afghan poets’ defiance is not only an act of writing that can become a death sentence.

It is not only a report of a crime committed by a political regime creating a retroactive order that is violent towards women and, by being so, exposes its primitive weakness.

Confronting a typically Western ‘high-art’ music form with the power of resistance to the fundamentalist, religious retrotopia – which literally realizes the fundamental patriarchal idea of the inferiority and serfdom of women – says a lot about the present.

It emphasizes the continuum of the precarious conditions of women under social orders founded upon patriarchal ideas of religion.Her performance brings an overwhelming sense of despair but also a peculiar tenacity.Californian singer and transgender woman, Lucia Lucas offers a rare and brilliant bass-baritone that intertwines with falsetto in a vital dialogue between a victim and executioner, bringing the disturbing effect of a disjointed and broken narrative.In this context, The Airport Society collective’s founder Krystian Lada’s decision to take the extraordinary texts written by contemporary Afghan female poets – under a pseudonym and in a politically restricted situation – and adapt them into an opera seems extremely strong.Lada – a director, librettist, dramaturg, and music activist – repeatedly insists that correcting historic operas is not his aim.Meena Z’s quiet complaint again focuses on the ambivalence of enslavement: “When / my heart begins to open / Something / closes it with fear (…) When / I start to blossom / Something / keeps me captured.” A recurring desire for community amongst women – and particularly an affirmation of mother-daughter relations as an outline for an alternative world with more empowering and open values – dominates here.Fattemah AH writes: “I feel something strange inside me / The days are more beautiful (…) I feel you inside me, my daughter – moving.” The text’s metaphor of blossoming is striking as an attempt to respond to oppression through a different understanding of that which is bodily, organic, and gives the sense of permanency and infinity.Composer Katarzyna Głowicka’s music responds to this perfectly: it is designed to express the monotony of oppression and the explosive moments of revolt.The sounds of the string quartet and live electronics interact through unsettling contradiction, playing out the story of abuse and vulnerability.Their embodiment of tragic tensions arises precisely from their sexuality that cannot be positively accommodated in existing social structures.The conflict and proximity between female desires (not only sexual) and death show the extent to which our culture is founded upon the exclusion of the integrity of the female experience.

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