People 29 October 2018
Sobia Ahmad, a 25-year-old Muslim artist, is gaining some recognition in the art world for her nuanced exploration of Muslim-American life. She recently won a fellowship with the Vermont Studio Center and held a solo show at the VisArts Gallery in Rockville, Maryland in late February. Her body of work touches on a myriad of themes that mirror both personal narrative and the adversities Muslims face while living in America.
“There was a time when the headscarf was considered a symbol of oppression. Now it's become a symbol of resistance, of empowerment almost.
“I'm not trying to communicate just one idea of Muslim identity," says Ahmad, who moved to America from a town called Gujranwala with her family at the age of 14. “It's about how identities are in constant flux, and how socio-political ideologies affect it."
For a lot of her work, Ahmad draws from her past, while also channeling immigration, treatment of minority women and muslim identity in the Trump era.
In an ongoing project, “Home is just a Memory Palace" artifacts of her past life in Pakistan, including family photographic, Islamic tiles, hand-written calligraphy, and an oriental rug, are digitally copies onto a white, chiffon scarf.
“When I think of home in Pakistan, I think of the adhan – the Islamic call to prayer on the rooftops. The nostalgic feeling of being in a place where there's this melodious echo in the air. As an immigrant, you begin carrying home within you through memory."
When Ahmad first came to Maryland as a teenager, she found herself caught between two conflicting cultures.
“Nothing was familiar," Ahmad recalled. “Not the language, clothing, or the food. It was interesting because I was labeled as foreign, but, actually, everything was foreign to me. I felt like I didn't belong and people weren't very inclusive."
She believes it was important for her to keep to her religious and cultural values. She stayed away from things teens her age were interested in, like drinking and partying. It was easier for Ahmad to keep herself than push in an unfamiliar society. When she did try to socialize outside of school, she was often not allowed to.
“It was very difficult to convince my parents to let me go out to the movies or hang out. “You go to school and that's one world. And you come home and that's another world."
Ahmad didn't have art classes in Pakistan. She was unaware of the power that art could give her. Once she had discovered the power behind art, she knew this was the way to call attention to her beliefs. She went on to double major in art and behavioral health in college.
“I didn't realize art had potential to raise awareness about issues of social justice or be cathartic."
While much of Ahmad's work is specific and autobiographical, it also represents something larger.
In a series of 40 by 60 black and white paintings, Ahmad cut out images of Muslim women from magazines and laid them on top of each other until past the point of recognition. She then coated the canvas with black and white paint, symbolizing the erasure of Muslim identity in America.
“I've seen identities reduced to symbols and soundbites," she says referring to how Muslim women are represented in the media. “As Muslims, we're not seen as full individuals."
The headscarf is also prominently featured in her paintings. She believes it has many connotations in today's political climate.
“There was a time when the headscarf was considered a symbol of oppression. Now it's become a symbol of resistance, of empowerment almost."
Ahmad used to wear the headscarf herself, but decided to take it off a couple of years ago. She notes that what Muslim women wear is unfairly obsessed over by “both cultures." It wasn't a political statement, but rather a part of her spiritual quest.
Since the 2016 presidential election, Ahmad's art has taken a political bent. Trump's travel ban spurred one of her most evocative installments – “Small Identities," – a collection of real life ID photos of Muslim immigrants transferred onto ceramic tiles, that she plants to grow into a larger series.
“Art is inherently political and using it to raise awareness in issues that are affecting a certain community is a form of activism," Ahmad says. “I deeply believe in the catalytic power of art for social change. It can touch people emotionally."
Susan Main, gallery director and curator of the VisArts Gallery, was impressed with Ahmad's commitment to creating dialogue through her art.
“She's articulate about what she's doing as an artist. Just starting in her career, it's really rare to see that level of maturity. I see her moving forward and developing as an artist who has consequential impact in the field."
While much of Ahmad's work is specific and autobiographical, it also represents something larger.
Her art is an act of defiance in and of itself, as if to say, Muslim identity is fluid, complex and vivid, and doesn't need to fit anyone's expectations of it.
For decades, women have been unknowingly suffering from PSD and intergenerational trauma, but now Dr. Valerie Rein wants women to reclaim their power through mind, body and healing tools.
As women, no matter how many accomplishments we have or how successful we look on the outside, we all occasionally hear that nagging internal voice telling us to do more. We criticize ourselves more than anyone else and then throw ourselves into the never-ending cycle of self-care, all in effort to save ourselves from crashing into this invisible internal wall. According to psychologist, entrepreneur and author, Dr. Valerie Rein, these feelings are not your fault and there is nothing wrong with you— but chances are you definitely suffering from Patriarchy Stress Disorder.
Patriarchy Stress Disorder (PSD) is defined as the collective inherited trauma of oppression that forms an invisible inner barrier to women's happiness and fulfillment. The term was coined by Rein who discovered a missing link between trauma and the effects that patriarchal power structures have had on certain groups of people all throughout history up until the present day. Her life experience, in addition to research, have led Rein to develop a deeper understanding of the ways in which men and women are experiencing symptoms of trauma and stress that have been genetically passed down from previously oppressed generations.
What makes the discovery of this disorder significant is that it provides women with an answer to the stresses and trauma we feel but cannot explain or overcome. After being admitted to the ER with stroke-like symptoms one afternoon, when Rein noticed the left side of her body and face going numb, she was baffled to learn from her doctors that the results of her tests revealed that her stroke-like symptoms were caused by stress. Rein was then left to figure out what exactly she did for her clients in order for them to be able to step into the fullness of themselves that she was unable to do for herself. "What started seeping through the tears was the realization that I checked all the boxes that society told me I needed to feel happy and fulfilled, but I didn't feel happy or fulfilled and I didn't feel unhappy either. I didn't feel much of anything at all, not even stress," she stated.
Photo Courtesy of Dr. Valerie Rein
This raised the question for Rein as to what sort of hidden traumas women are suppressing without having any awareness of its presence. In her evaluation of her healing methodology, Rein realized that she was using mind, body and trauma healing tools with her clients because, while they had never experienced a traumatic event, they were showing the tell-tale symptoms of trauma which are described as a disconnect from parts of ourselves, body and emotions. In addition to her personal evaluation, research at the time had revealed that traumatic experiences are, in fact, passed down genetically throughout generations. This was Rein's lightbulb moment. The answer to a very real problem that she, and all women, have been experiencing is intergenerational trauma as a result of oppression formed under the patriarchy.
Although Rein's discovery would undoubtably change the way women experience and understand stress, it was crucial that she first broaden the definition of trauma not with the intention of catering to PSD, but to better identify the ways in which trauma presents itself in the current generation. When studying psychology from the books and diagnostic manuals written exclusively by white men, trauma was narrowly defined as a life-threatening experience. By that definition, not many people fit the bill despite showing trauma-like symptoms such as disconnections from parts of their body, emotions and self-expression. However, as the field of psychology has expanded, more voices have been joining the conversations and expanding the definition of trauma based on their lived experience. "I have broadened the definition to say that any experience that makes us feel unsafe psychically or emotionally can be traumatic," stated Rein. By redefining trauma, people across the gender spectrum are able to find validation in their experiences and begin their journey to healing these traumas not just for ourselves, but for future generations.
While PSD is not experienced by one particular gender, as women who have been one of the most historically disadvantaged and oppressed groups, we have inherited survival instructions that express themselves differently for different women. For some women, this means their nervous systems freeze when faced with something that has been historically dangerous for women such as stepping into their power, speaking out, being visible or making a lot of money. Then there are women who go into fight or flight mode. Although they are able to stand in the spotlight, they pay a high price for it when their nervous system begins to work in a constant state of hyper vigilance in order to keep them safe. These women often find themselves having trouble with anxiety, intimacy, sleeping or relaxing without a glass of wine or a pill. Because of this, adrenaline fatigue has become an epidemic among high achieving women that is resulting in heightened levels of stress and anxiety.
"For the first time, it makes sense that we are not broken or making this up, and we have gained this understanding by looking through the lens of a shared trauma. All of these things have been either forbidden or impossible for women. A woman's power has always been a punishable offense throughout history," stated Rein.
Although the idea of having a disorder may be scary to some and even potentially contribute to a victim mentality, Rein wants people to be empowered by PSD and to see it as a diagnosis meant to validate your experience by giving it a name, making it real and giving you a means to heal yourself. "There are still experiences in our lives that are triggering PSD and the more layers we heal, the more power we claim, the more resilience we have and more ability we have in staying plugged into our power and happiness. These triggers affect us less and less the more we heal," emphasized Rein. While the task of breaking intergenerational transmission of trauma seems intimidating, the author has flipped the negative approach to the healing journey from a game of survival to the game of how good can it get.
In her new book, Patriarchy Stress Disorder: The Invisible Barrier to Women's Happiness and Fulfillment, Rein details an easy system for healing that includes the necessary tools she has sourced over 20 years on her healing exploration with the pioneers of mind, body and trauma resolution. Her 5-step system serves to help "Jailbreakers" escape the inner prison of PSD and other hidden trauma through the process of Waking Up in Prison, Meeting the Prison Guards, Turning the Prison Guards into Body Guards, Digging the Tunnel to Freedom and Savoring Freedom. Readers can also find free tools on Rein's website to help aid in their healing journey and exploration.
"I think of the book coming out as the birth of a movement. Healing is not women against men– it's women, men and people across the gender spectrum, coming together in a shared understanding that we all have trauma and we can all heal."