happiness; in colour

In the late 70's an unofficial gathering began. The Tam Tam Music Festival. It takes place every Sunday in Montreal at the Mount Royal Park, near the monument Sir George-Etienne Cartier. Last summer I had the opportunity to join the flock, gathered together in the field of grass.

Tam Tam is a french word for hand drums - which makes it the best name for this colourful gathering. At the center of this festival is a drum circle - a place where the locals and the tourists lose themselves in a peaceful funk.

As you step into the forest that lays just beyond the open land, it feels like you have entered a fairytale. Police officers patrol on horses. Tightrope walkers travel between trees. Individuals wrap themselves in material and swing from a tree. And there is larping!

It is a mini-woodstock. A hippie carnival. A place that lets one escape from reality. I believe that the world should be filled with festivals like such. Imagine a world where a gathering is for everyone; where the sun shines; where the grass and the trees become a playground; where music is omnipresent; where peace is the main vibe. Its happiness, in colour.

a not-so-human characteristic: nude

'North Carolina Hates Boobs' - A common headliner in the media today. Why? It appears that the state of North Carolina is on the verge of passing a bill that makes it illegal for women to be topless in public. Also, theres a conflict in defining exactly what is considered 'topless'. A nip slip, too much cleavage, a quick flash, or full blown boobies out? One thing we do know is that such women who dare bare the nipples will be punished up to six months imprisonment.

About 13 hours and 23 minutes away is Bare Oaks Family Naturist Park in East Gwillimbury, Canada. Here families gather in the wilderness, up in cottage country, to partake in numerous recreational activities, BBQ, and camp. Oh, all in the nude! Butt naked.

Bare oaks naturist park states that every guest will "experience traditional naturist values in a modern setting" And that their "creed is so much more than just taking your clothes off. It is a life philosophy with physical, psychology, environmental, social and moral benefits".

I have often contemplated attending Bare Oaks. It would be an experience of a life time, and also extremely terrifying. Its weird how the most natural and primitive action - baring it all - feels the furthest away from normal. Even so far away from normal that it is being rendered a punishable act. When push comes to shove, doesn't the United States have more concerns then an old pair of saggy boobs? Its only human.

women as superheros

The entertainment industry is a man’s world. Without the entertainment industry we could not have contemporary culture as we experience it, or consider aspects of the culture at which we turn a blind eye to, such as a fascination with violence. The turn of the 20^th century casted a new light on the violent film industry, especially in terms of a woman’s role. It is argued that the release of Thelma and Louise in 1991 was a major turning point - the story of two females, portrayed as outlaw heroines, being chased by federal authorities after killing a man. This essentially changed the way women were seen in popular culture. Although distasteful, it points to the notion that if men can wreak bloody havoc, so can the opposite sex.

The view of the female hero continued to change over the past decade, as demonstrated by films such as Sarah Connor in the Terminator, Carrie-Ann Moss in the Matrix, and Angelina Jolie in Lara Croft. Arguably, films such as those previously mentioned, have paved the way for modern day films, which portray women in a different respect. A prime example is the films of Quentin Tarantino. His films stylize and exaggerate moments of violence, while at the same time “unmask the macho myth by making it laughable”.

The concept of femininity in society is seen as a constructed identity, in which a performance is repeated that involves a re-enactment and re-experiencing of a set of meanings that are already socially established. The gendered body is politically regulated and sustained through corporality and other discursive means.

To instill a simple example, it follows that when a baby is born, the statement “It’s a girl!” is a performative utterance.  This initiates a process of “girling”, which is based on imposed differences between men and women. Femininity is not a product of choice, but merely the citation of a norm, regulated by discipline, rule, and punishment. However, because the formation of identity is attributed to culturally mandated practices, the theory of gender performativity offers the possibility of restyling that same body in a non-normative and often rebellious way. Thus, gender can be radically incredible, which is demonstrated through the examples of transvestism, drag cross-dressing, homosexuality, and ultimate deviations from the standard gender roles in society.

Gender constructions of women, and at the same time the gender constructions of men, are ambiguous. This will be accomplished by a thorough analysis of Quentin Tarantino films, the theory of gender performativity, and respected academic works.

There are many ambiguities regarding the female gender. There is a polarization of representations of women within Tarantino’s films. At one extreme is the stereotypical female, adopting feminine characteristics and a sexualized body. The opposite extreme portrays the female-masculinity performance of violence. However, these two extremes often intersect within the same character, allowing to the ambiguity of the female character.

Tarantino creates hyper-sexualized female characters. Although the women are scandalous, at the same time they are often participating in normally exclusive male battles.  There are obvious examples of this dichotomy throughout his films. For instance, in Kill Bill Volume one – the character of GoGo Yubari, plays the role of an assassin, her weapon of choice is a chain mace. She is dressed in a school girl’s uniform, completed with a short kilt.  In Death Proof, the character of Abernathy is portrayed as a sexy, edgy, young woman. At the same time she is a potty-mouth, who, at the end of the movie is essentially the hero. She kills psychopath stuntman/serial killer Mike.  And in From Dusk till Dawn, the character of Santanico Pandemonium plays the role of an exotic dancer at a night club, who later morphs into a vampire and attacks a character played by Tarantino himself.  These are only a few of several examples of the sexualisation of the woman’s body. However, all of these examples point to the fact that these women are not only “attractive” subjects, but they immerse themselves in events that are otherwise labelled as masculine.

It is seen that other people have adopted the misconception that the female subject, the action heroin, are only enacting masculinity. The question is asked: is the tough woman already the male hero, but in drag? This leads to the notion that active and aggressive women in the cinema can only be seen as phallic, unnatural, or “figuratively male”. In direct opposition, it can be argued that when women behave in ways that  are engendered as male it is illogical to think of her as a ‘figurative male’ just because she is enacting a cinematic style of toughness that has been coded as masculine.

The ambiguity of the female character has resulted in the modern action heroine emerging as a fruitful, but difficult character to interpret. The dichotomy between the sexualized female body and the female-masculine performance of violence, has led to the emergence of the Super Woman. The Super Woman successfully acts as men do, and at the same time follows a comic book, fetishistic vision of women, with impossible bodies and a demeanour of sexual domination. In fact, the most profound example of the Super Woman is found within comic books. A large industry trend known as the Bad Girl genre became very popular in the 1980’s and 1990’s, releasing titles such as Lady Death, Witchblade, and Barb Wire. The common theme was to display a scantily dressed babe striking a revealing pose and carrying a weapon, predominately a gun, sword, or whip. The comic books, in themselves, only further exaggerate the notion of ambiguous female character. The hyper-sexualized action heroine blurs the line, and therefore, combines the symbolic manliness of toughness with the most basic symbols of womanliness. If we draw attention back to gender performativity theory, because these characters enact both genders, this ridicules the very notion of a stable gender position.

Tarantino’s Kill Bill features Uma Thurman, or rather Beatrix Kiddo as the ultimate action heroine.  Beatrix Kiddo is a former member of the Deadly Viper Assassination. She is targeted by her former allies in a wedding chapel massacre; and, four years later ventures on a deadly trail of revenge against the perpetrators.

She is an extraordinary dynamic character in popular culture, as she embodies the same qualities as the Super Woman found in comic books. She is both a mother, and a killer. Beatrix is an assassin, who travels the world committing murder. However, when she discovers that she is pregnant her priorities begin to shift, making the protection of her child of utmost importance. Although Beatrix does not meet her daughter until the end of Kill Bill Volume two, she makes sacrifices for her child throughout the film.  When Beatrix kills Bill – her enemy, her lover, and the father of her child, she is protecting and destroying her family all at once. This resembles the ambiguity between the symbolic murderous “male” economy and the “female” mode of domesticity.

Modern action heroines, such as Beatrix, who embody both female and male codes, are able to critique the normative standards of femininity because of this coexistent sexuality. The ambiguity of the Beatrix character destabilizes the concept of gender traits as being mutually exclusive. By being able to incorporate engendered traits into a solitary figure it effectively critiques the very notion of a stable gender identity. The solitary figure is important, as Beatrix is not a stereotype of a culturally defined female, but does not adopt the attributes of the opposite, heterosexual male identity.

In her role, Uma Thurman is able to move above gender segregation. To refuse to be a woman does not mean that one has to become a man. She discards the gender trap that culture has provided for men and women. By asserting that the body assumes its sex in the socially mandated practices of everyday life, the theory of gender performatvitiy allows an individual to re-innovate itself. Beatrix can fully realize her identity as a woman without assuming a feminine role defined by the culture. “Mommy is a bride with a Hanzo sword”.

It is also important to look at the male subject in Quentin Tarantino films. The male gender construct is ambiguous and thus vulnerable; the films offer two male identity choices: one is part of the masculine code, and the other is outside of it. In one way, Tarantino says look – these are the characteristics that construct the male gender. In doing so, he often exaggerates the social norms, depicting the male subject as a “Super Man”. This is particularly seen in the films Reservoir Dogs and Pulp Fiction. Male violence counts as “action”, and it is what counts in such Tarantino films as “real”.

Reservoir Dogs, Tarantino’s debut, connects an independent American crime film with gangsterism. The plot follows the events before and after a botched diamond heist. It blends masculinity and violence; they are one and the same. For example, a gang member Mr. Blonde severs police officer Marvin’s ear with a straight razor, dousing him in gasoline, while ironically dancing to “Stuck in the Middle with you”.  In accordance, it is apparent that the film is desperate to preserve screen violence as a white male privilege, to be the oppressor, not the oppressed (homosexual or female). In doing so, it’s described as an insular film – in which women get no more than 30 seconds of screen time. The female is merely portrayed as a sexualized subject, coming into focus only during conversations amongst the male figures – such as the castration threat of “phallic” women like Madonna.

The film Pulp Fiction is an ultimate crime drama, in which a variety of stories come to intersect.  In many ways the film deconstructs the code of masculinity; however, Tarantino still incorporates macho images and rhetoric – allowing for the traditional male hero to exist. The ultimate example is the character Butch Coolidge, played by Bruce Willis, the tough independent all American boxer.  After overcoming the hardships throughout the film, Butch is able to peel away with his girlfriend on a stolen motorcycle after he slaughters two homosexual criminals. In stark contrast, is Butch’s girlfriend Fabienne, who is the stereotypical feminine character. She is portrayed as simple minded, only speaking about blueberry pancakes and children. This serves to exaggerate Butch’s masculine qualities even more so.

Both of these films are described as returning to what was repressed in the film version of 1970’s masculinity – a paranoid, homophobic fear of the other that explodes in kicks and blows, and in blades and bullets.

Without question, the fundamentals of the true hero or the true man are portrayed as valid in modern times, however they are constantly contested. The male heterosexual identity is portrayed as being under attack and endangered. Tarantino, especially in Pulp Fiction, displays the vulnerability of the male subject – emphasizing the femininities adopted by each character. It follows the notion of crisis of masculinity.

To explain the vulnerability of the male subject, it is worthy to begin with the title “Pulp Fiction” itself. “Pulp” is defined as a “soft, moist, shapeless mass of matter” often reminding one of poo. “When it comes to shitting, even the toughest guys become susceptible dangers”. For example, Vincent Vegas a hit man, played by John Travolta, is blown to pieces by Butch while sitting on the toilet reading an action novel. It is seen that the dangers of shitting are correlated with a paranoid fear of the anus. Although it may seem like a radical notion, it is often argued that this so-called paranoia of the anus is a symbol for the contestedness of modern masculinity.

A simplistic explanation draws attention to the physical action of a male sitting down on the toilet, and how this is realigned with the biologically female subject. A second explanation focuses on homosexuality. Marsellus Wallace, the boss of a mob, is said to have thrown a guy off a four-story balcony for touching his wife’s feet.  However, Tarantino disparages this ultimate masculine role, by subjecting Mr.Wallace to a man’s paranoia with the anus. Mr. Wallace is a victim of homosexual rape, revealing the vulnerability of the male heterosexual identity. Pulp Fiction was released in 1994, a time when the acceptance of homosexuality was at a minimum, and was seen as going against the culturally mandated practices.

Another way in which the vulnerability of the male subject is portrayed is through the male sexualized body. Tarantino highlights Hollywood’s mode of framing the bodies of actors to be looked at. He displays men and women in ways that cultural codes dictated by the audience consider being feminine. The spectacle of the male body, as opposed to the heterosexual focus on female bodies, is profound in Tarantino’s film Pulp Fiction. Male characters are objects of the gaze, which are especially apparent in scenes where social norms say women should be.

One prime example is the scene in the taxi. After Butch’s fight, he jumps into the cab, half naked, sweating, and ripping his boxing gloves off. The camera focuses on Bruce Willis’ hard, boxer’s body, while only showing the female cab driver in the review mirror.  Another example is at the motel scene. Butch’s girlfriend, Fabienne, is displayed in the foreground wearing a terrycloth bath robe. In contrast, in the background Butch is having a shower, and the audience can see the outline of his naked body through the smoky glass door.  Butch’s body is highly erotized, at a point that would usually follow the cinematic cliché of a woman silhouetted in the shower. Tarantino is re-gendering this social norm in his own way.

In society when the male gender is subjected to vulnerabilities there are often repercussions. A modern day example is the 1993 United States policy called “Don’t ask, Don’t tell”. The policy holds that presence in the armed forces of people who demonstrate an intention to engage in same-sex acts would create an unacceptable risk to the high standards of morale, good order, and discipline which are the essence of military capability.

This follows the notion that only the heterosexual male has the ability to fulfill the role of a warrior. The military is an institution which is defined by norms. It would go against the very grain of the Armed Forces to advertise an acceptance of the homosexual. The homosexual is often seen as a threat to masculinity. This notion is especially profound when put in the context of the military – a guerrilla warfare organization. According to the social norm, homosexuals, like the female counterpart, do not belong on the battlefield. This is placed as an example of the detrimental effects that can be caused by the ambiguity of the gender. It reflects a real pattern in western thought: the hierarchy between dominant heterosexual masculinity and its deviant other, which is produced by mandated gender norms.

Simone de Beauvour states that “one is not born, but becomes a woman. No biological, psychological, or economic fate determines the figure that the human female presents in society: it is civilization as a whole that produces this creature”. In many ways, one would agree that for any girl to emerge at the end of adolescence as masculine women is quite amazing. This is because an indifference to female masculinity has ideological motivation, sustaining the social structure that weds masculinity to power. The maintained traditional male and traditional female is demonstrated in Tarantino’s films through the character of Butch in Pulp Fiction and the sexualized female body, as previously discussed.

However, it is possible to restyle the engendered body in a non-normative way. In Tarantino’s films this is especially apparent – the refusal of the traditional woman through the character of Beatrix Kiddo. As such, there arises a symbolic battle between the construction and deconstruction of masculinity; Tarantino film’s such as Pulp Fiction, subject the male characters to vulnerabilities.

There is  an ambiguity of gender. Quentino Tarantino casts a light on the performance of manufactured gender actions, enabling an emergence of the socially established male or female. On the other hand, he re-innovates gender, creating an ambiguity among his characters. This legacy continues, even in his most recent film Inglorious Bastards and Django Unchained. 

women; here and there

Equality. Civil rights. Egalitarianism. Balance. These are all words that have been passed around regarding the treatment of men and women, in western civilization. Arguably, there has been a profound transformation in the status of men and women in Canada. Although I believe there are numerous areas that are in need of improvement, I am thankful to have a great sense of freedom in my country. To develop a better perspective, I would like to change the focus to the land of Saudi Arabia.

The Kingdom of Saudi Arabia is the largest country in the Middle East, composed of the two holy cities of Meccah and Medinah. It is in these specific cities that Islam was born at the end of the 16h century AD, developed under the Prophet Muhammad, and where the religion’s holy book, the Quar’an , was revealed and written.  The continuous debate within Saudi Arabia is based around the roles and sexuality of women.

In pre-modern Islamic society, women in Saudi Arabia lived in absolute subjugation and degradation. The emergence of Islam sought to defend the rights of women and decrease the marked differences between the genders. There is increasing concern with socio-economic development and the pressure to integrate women into the process of development change. The preservation of the traditional Saudi identity composes a natural and essential element in the evolution of the social entity of women. However, as social change occurs, traditional norms are under increasing assault, affecting the status of both men and women. Of prime importance is the way this has impacted the sexuality of women in Saudi Arabia, with the specific focus on the processes of religion and politics.

To clarify, when speaking about sexuality, it refers to how people experience and express themselves as being a male or a female. In this way, the sexuality of a person can be defined and modified across different social dimensions. In Saudi Arabia, religion and politics interact to establish the sexuality of women. The sexuality of women is further implied by the specific norms about one’s physical appearance, and the existence of sex segregation in the public and private spheres. Furthermore, sexuality can be modified when one deviates from these so-called norms and when social change occurs; however, sexuality can also be held constant when following a strict conservative gender ideology.

First, we must put forth an explanation of religion in Saudi Arabia. The primary religion is Islamic, based on the sacred scripture of the Quar’an. Islam is not only a religious ideology, but a whole comprehensive social system embracing a detailed direction for the entire way of life. From the beginning of the educational process, the material taught in school is primarily surrounding religious traditions. The public school system is seen as a training ground for a particular kind of parochial, conservative religious orientation that affects all students. It is only once an individual reaches University that they learn anything approximating comparative religion, and even then one-third of the student population is in religious studies. It is important to understand that there is nothing in Islam which directly supports inequality among sexes. Islam did not mean the oppression of women; it only says that they are different from males.  In order to understand the religious processes within Saudi Arabia it is necessary to recognize the overlap between religion and politics.

The political culture in Saudi Arabia is shaped by a pretence in which religious identity has become the officially-sanctioned expression of identity with the state.  The Monarchy legitimates itself in public discourse by its support for Islam, which is manifested by showing its willingness to enforce Islamic behaviour on individuals. In doing so, it is high likely that the Monarchy will lose its legitimacy if he were to move against Islam. The ways in which religion and politics interact demonstrate how Islam is less a system of theology, and more a system of law – divine law. Islamic law, called the Shari’a is based on the Quar’an and the Sunnah (the teachings of Prophet Muhammad). In the Islamic concept, law precedes and moulds society.  The law is a major influence in shaping the sexual world. It regulates, represses, and constitutes the boundaries of sexuality and desire. However, ambiguities and contradictions exist within key concepts of the religious and political systems, particularly issues surrounding the sexuality of women. Women have been hoisted on the flag of national culture, becoming the symbol for the values for which the Saudi regime claims to stand. Of central importance is the appearance of women, sex segregation, and what occurs when one deviates from the norm.

One of the ways that sexuality of women in Saudi Arabia is defined is based on their physical appearance. Although the veil is not mandated by Islam, the face of a woman in the public sphere is considered taboo, and is culturally-ingrained within the Saudi regime. As a result, women wear a total body cover – composed by the “abaya” which is a long black overgarment, the “hijab” which covers their head, and the veil which conceals their faces. The veil existed long before Islamic society; it was introduced into the Arab society during the Abbassid period as a method to distinguish between free honourable women, and slaves.

In modern day, millions of women still wear the veil. Its purpose is described as a dichotomy between the elements of chastity, purity, and decency which are to be maintained by social distance and protection of Saudi women from unrelated men; and a vital role in social control.

A woman, from head to toe, is considered to be an element of provocation for men. A woman holds the power of female sexuality, and this is a dangerous distraction for men. Thus, the veil serves to prevent “Fitnah”, which refers to the fascination and sexual attraction felt by a man at the sight of a pretty woman. In private spheres, if the face is not veiled, it should be free of makeup and other form of beautification, because an unveiled, beautified face is considered seductive to men.  It is argued that the veil is a means of defending the traditional, cultural and Islamic values against the intrusion of the West. The Western world, characterized by impersonalisation and the lack of morals among Western women, is a threat to the Islamic identity. Islam holds that female purity should be maintained. Sex for women is to be restricted to a husband, for the ultimate purpose of, not pleasure, but to produce offspring. Thus, the veil outside of the home is to ensure that the woman does not draw attention to herself, protecting against the opposite sex. The veil is part of the armour that shields a woman from male eyes.

In a broader sense, the veil is a social control tool. It acts as a safeguard, a means of security, and a defence mechanism for the preservation of family honour. The overgarment and veil worn by women is associated with the protection of the “Ird”, or rather the honour and reputation of a woman. The “Ird” is largely based on a woman’s honour of the family. There is a strong connection between the sexual purity of women and family honour. Thus, the veil is a control mechanism that serves to maintain interpersonal distance, which is essential to the “Ird”, circumstances where a woman might be exposed to provocative encounters with non-kin males.

It is expressed that even the way a man and woman look at each other could lead to adultery, obviously threatening the honour of the family. Thus, the veil serves to preserve Islamic values, which puts great importance on marital chastity. It is interesting to note that the conduct of male members, their violation of social norms regarding gambling and drinking, and indiscretion in their association with women, is less harmful to the honour of the family. The difference between males and females is symbolized by the black veil worn by women, and the white robes worn by the men.

A second way that sexuality of women in Saudi Arabia is defined is based on the existence of sex segregation. It is expressed that behaviours such as daily prayer, the idealistic principle of Islamic banking, preventing the importation of alcohol and illicit drugs, and abstinence from eating pork, have all been downplayed, while the sex-segregation of women has been maintained. In this way, the sexuality of women has been shaped and maintained. It is repeatedly ingrained in the social system of what it means to be a male and a female.

Sex segregation is best understood in the division between the public and the private spheres. Primarily, women have been relegated to the private domain of the household. As a result, the only roles available to them are those of a daughter, wife, mother, familial roles that are tired to their sexual life cycle and others which unfold in the home. Even within the walls of the private sphere there are divides based on gender: a unit reserved for the male to receive his guests, and a private villa for the woman. This is based on an acceptance of a system of social spheres in which men and women have specified roles to play -  the women’s role centering around marriage, the children and the home; the men’s role centering around business and public affairs. The patriarchal Islamic culture continues to impose standards by which the moral and structural positions of women are defined. Women’s independent participation in the public realm is seen as destructive to the family institution. As a result, the protection of the family and the maintenance of social order justify the subordination of women to patriarchal institutions.

However, as social change occurs, the allocation of genders to the public and private spheres becomes blurred. For example, the petrodollar crunch increased economic pressure for greater female participation in the public sphere, and the desire of women to find a place for themselves in the workforce has been fed by the expansion in women’s education.

When women enter into the public sphere, the Saudi regime is faced with the obstacle of balancing their participation within society’s Islamic gender margins. This is demonstrated in the issue of finding places for women in the work force without violating Saudi Arabia’s prohibition of unrelated men and women working together. As a result, women who do work in the public sphere are taking on traditional “female” occupations such as those in the healthcare sector and social work. However, there is a fear that women who produce income-producing skills will be a threat to the nature of the family and Islamic traditions. This is becoming a reality, based on the fact that 70 percent of Saudi Arabian women in the workforce do not physically live in an extended family situation, which has been the tradition for centuries.

In addition to the workforce, education in Saudi Arabia is the area in which women have experienced the greatest progress. The oil boom of the early 1970’s led to the widespread availability of female education. Prior to this, because of their biological and maternal function, girls were considered unsuited for any kind of formal education. Due to social pressures, surprisingly from men, who complained about the ignorance and lack of modern education of Saudi women, change would soon occur. Men were even refusing to marry Saudi women, and looked to other Arab countries for educated intellectually compatible women. In 1960 public education for women was introduced.

However, the education system treats male and females differently due to the gender-based expectations of society. The Saudi Arabian education system seek to direct boys and girls into different courses; with girls being directed into classes concentrating on home management, childcare, sewing, and cooking.  The educational policy of Saudi Arabia forbids coeducation between the genders, and implies that the natural differences between males and females should be taken into consideration when teaching courses.

It is argued that separate public domains, whose participants are allocated by gender, such as separate women’s malls, banks, industrial zones, and education institutions provide an increased amount of opportunities for women. On the other hand, they validate segregation as a social system when segregation itself is based on a model of inequality.

The notion of Islam being more than just a religion is more valid in Saudi Arabia than any other location. As a result, it is difficult for members of this society to deviate away from the norm. This is particularly evident with the fusion of gender to definitions of Islamic behaviour, which has created a self-perpetuating mechanism for the gender status-quo. Since the rhetoric of Islam is the only language in which public discourse can occur, it becomes extremely difficult to argue for reforms.

In proposing reforms that center around women’s sexuality and roles within society, it is necessary that first there is an acknowledgement that marriage and motherhood are the primary Islamic goals for women.

There have been explicit protests in the public sphere, and more implicit forms of resistance against the conservative gender ideology. An example is a book entitled “Girls of Riyadh” by Rajaa Alsanea – a young Saudi woman. The book tells the stories of four middle-class young women searching for love and fun in a suffocating culture. With references to the yearning for sex, drinking, and sitting in the driver`s seat of a car, it caused a scandal within the Saudi regime; death threats and opponents attempting to suppress her book. On the other hand, she gained support from girls who were reaching out – those who have been divorced, and those who have been forced into arranged marriages. Her brother warned that by publishing this book, men would not want to marry her. Alsanea does not care, and points to the fact that there must be a separation between relgion and tradition in Saudi Arabia, God did not say women could not drive cars or that divorced women should be treated badly by society.  The women in Saudi Arabia are the same as women everywhere.

Although in some instances social pressures result in change, this is not always the case. In Saudi Arabia, in order for a formal change to occur it must be accepted by the Council of Senior Ulema, which is composed of religious scholars who have a symbolic relationship with the government. The Ulema makes sure that the relationship between religion and the state is maintained. Because the Qur’an, the religious text of Islam, is not a static document, it is possible for the Ulema to re-define gender to accommodate a more public, economically productive role for women, if the state should wish to do so. Unfortunately, on the issues surrounding women, the Ulema have remained consistent over the entire development, and have become more conservative in some aspects. In this way, the sexuality and roles of women are maintained.

The Council of Senior Ulema follows a conservative ideology, which shapes the public opinion and the behavioural rules validated by them. They are able to set the agenda for what is considered to be against Islamic law, such as women alone in a car with a male driver, and ensuring that couples dining together are married. The Ulema also has the ability to reject recommendations such as the use of contraceptives, raising the minimum age of marriage, and the promotion of co-education.

It is evident that the sexuality of women in Saudi Arabia has progressed in a more liberal direction over time. However, an inclusion of women as citizens with equal rights has not addressed itself to the myths of sex differences, stereotypes, sex roles and models of behaviour. This is particularly evident in the veiling of women, sex segregation within the social realm, and the difficulty in being the individual who deviates from the norm. The Saudi regime still holds true to various aspects of the conservative gender ideology, molding the identity and sexuality of Saudi women.

Upon exploring the treatment of the sexes in Saudi Arabia, I would like to make it clear that I was not attempting to take on a feminist perspective. I was simply educating myself and others on the treatment of men and women, here and there.