Dormitory lovers: a very short story

Mel has never seen herself like this before; her hair carefully, no, chastely, tucked away underneath her tudung from the ever-intrusive eyes of those considered non-mahram, revealing only her heart-shaped face and that twinkle in her eye that Amir loves so much.

“How do I look, Mir?”
“Delicious. Good enough to eat.”
“You do realise I’m naked, don’t you? It’s a bit wrong!” That twinkle flashing brighter than any distant star.
“Not really. You’re wearing the tudung. That makes everything okay.”

There was something about Amir that always turned Mel on. Alone with her, he had a kind of shyness punctuated with a self-conscious flirtatiousness that jarred with years of his maahad schooling in Muar. Maybe he learned to talk with girls like that from the Jackie Collins novels that belonged to his English teacher mother. Regardless, she hopes she’s the only one he’s ever found tasty enough to eat even when she knows there will be others who will stir a similar appetite.

She hopes that she stands out as special out of all the girls he had fallen for before. She hopes she is his first. The first to ever pounce on him, like a cat and her new-found plaything, with her dilated Nescafe ice-coloured nipples thrust in his face, while his warm and hard penis crashed against her perineum.

***

The sound of a young woman holding back her giggles seguing into breathy moans as she leaps on her equally naked lover, is barely audible from the dorm room next door. Miraculously the thin and worn mattress on the hostel bed smothers the creaks and knocks of an under-skilled amorous couple, itself a witness to and punctured by the solitary sexual release of boys from generations past.

Tonight Amir is a receptacle to the corporeal manifestations of her yearning. His body, an ever-crimson stamen of a fragile blossom, a saucy metaphor she learned from reading Mills and Boon as a twelve year old. Tonight was indeed special.

It was almost like the recurring trope in American teen movies; everyone loses their virginity on prom night. But for Mel and Mir, it was the final semester of their final undergraduate year together and Mel hasn’t thought very much about what her and Amir’s future hold. But mutual friends have expressed some grown-up ideas about their next plan of action: open a photo-processing shop, get married, do a Masters degree.

But tonight, before forever, they are together. They held each other close like they did for the first time, in fact with a member of the opposite sex for the first time. But together, perhaps, for the last time.

End.

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Orang Afrika di Malaysia: Antara stereotaip dengan kenyataan

First published on Merdeka Review, 13th May 2012. plus ça change, plus c’est la même chose.

Terdapat pelbagai teori media yang mengatakan bahawa saluran media mempunyai kuasa untuk mempengaruhi pendapat awam, terutamanya kuasa untuk mengeruhkan lagi sentimen perkauman terhadap pekerja dan penuntut asing yang sudah lama berakar umbi di minda dan jiwa rakyat kebanyakan. Sentimen perkauman terhadap lelaki Afrika di Malaysia didapati lebih parah daripada wanita. Tanggapan buruk ini banyak disumbang melalui stereotaip lelaki Afrika sebagai kaki lawan dan penjenayah yang memporak-perandakan keamanan dan budaya kita. Stereotaip ini muncul di kaca televisyen, di internet, dan di muka akhbar. Seringkali orang berkulit hitam disamakan dengan orang Afrika seolah-seolah Afrika itu satu negara yang monolitik, tanpa kepelbagaian budaya, bahasa, dan rupa. Realitinya, ramai yang meneruskan pelajaran atau datang mencari rezeki di Malaysia datang daripada latar belakang sosial, kelas, agama, bahasa, dan keadaan geopolitik yang berbeza.

Kini, kita sering mendengar di wahana media tentang “kebanjiran” pekerja dan penuntut Afrika pada tahap yang membimbangkan di seluruh pelusuk Malaysia, dari Kota Kinabalu hingga ke Alor Setar. Kita menggarapi migrasi sebagai satu masalah “baru” yang melanda negara, yang menyerupai gejala jenayah, hakisan budaya tempatan, dan meningkatkan satu iklim yang menakutkan dan penuh bahaya. Kehadiran populasi Afrika dianggap sebagai sesuatu yang baru, seolah-olah tidak wujudnya sejarah migrasi dan penempatan orang-orang dari benua Afrika.

“Gelombang” pertama pergerakan orang Afrika (atau “Negrito”) ke Asia bermula lebih kurang 100,000 tahun dahulu, dan kemudiannya berkembang di Pakistan selatan, dan kepulauan Polynesian dan Melanisia. Golongan ini berpecah kepada etnik Khyeng di Pakistan, Jawawa di Teluk Benggala, dan Agta di Filipina. Sejak 1970-an, kedatangan warga asing ke tanahair dimangkinkan oleh situasi ekonomi dan globalisasi. Tahap penghijrahan yang meninggi jelas menunjukkan kemakmuran ekonomi Malaysia dan gawatnya ekonomi negara-negara penghantar para penghijrah. Malangnya, tahap kesedaran sosial tidak setimpal dan jauh kebelakang; lain kata, kemakmuran dan pembangunan tidak pernah menjamin perikemanusiaan dan keadilan.

Pada 31 Mac, seorang pelajar IPTS berusia 35 tahun yang bernama Onochie Martins Nwankwo telah dipukul sehingga mati di Hulu Langat di tangan lima anggota RELA. Onochie dipercayai mencabul seorang pencuci wanita di tempat tinggalnya. Wanita tersebut melapor bahawa beliau melarikan diri daripada Onochie dan meminta tolong kepada kumpulan suspek-suspek yang kemudiannya bertindak dengan membelasah Onochie. Di sebuah negara yang mempunyai sistem perundangan yang dicipta untuk menjamin keamanan dan menghukum pesalah dengan saksama, anggota RELA tidak berhak untuk menjatuhkan “hukuman” mereka ke atas mendiang Onochie. Motif di sebalik pembunuhan beliau berbaur perkauman terhadap orang-orang berkulit hitam.

Disebabkan layanan kelas kedua yang terpaksa dipikul oleh warga Afrika amnya, kesahihan kes cabul yang dibayar oleh Onochie dengan nyawanya mungkin tidak dipersoalkan lagi, seperti kesahihan kes-kes jenayah lain yang melibatkan warga Afrika yang lain. Tragedi seperti beberapa penuntut IPTS dari negara Botswana pernah dilaporkan membunuh diri disebabkan tekanan yang dicetus oleh perkauman dan layanan buruk warga Malaysia. Ekoran kejadian tersebut, kematian seorang warganegara Nigeria bulan lalu di tangan pengganas RELA, yang kemudiannya mencetus pertunjukan perasaan oleh kumpulan sewarganegara di Ulu Langat kini menunjukkan betapa parahnya keadaan perkauman yang mengganas dan berdarah di Malaysia dewasa ini.

Terdapat beberapa faktor yang menjadikan Malaysia sebagai destinasi tarikan ramai penuntut Afrika. Pertama sekali, kerana kos pembiayaan untuk pendidikan tertiari adalah lebih rendah daripada di Eropah, Amerika Syarikat, atau di Australia. Kemudahan dan kualiti pendidikan juga dianggap setanding dengan IPT di negara-negara tersebut. Sesetengah IPT memperuntukkan RM25,000 bagi penuntut pasca-siswazah antarabangsa. Kedua, ramai penuntut yang beragama Islam dari benua Afrika yakin bahawa gaya hidup di negara yang majoriti Islam seperti Malaysia membantu memelihara akidah mereka. Ketiga, visa untuk belajar di Malaysia lebih muda diperolehi berbanding negara-negara barat yang kini mengetatkan polisi imigresen negeri masing-masing. Dan keempat, ramai akan mengambil peluang untuk meninggalkan negara masing-masing untuk kehidupan di luar negara kerana nilai prestij mereka akan meraih daripada pengalaman merantau dan gaji yang dijangka lebih lumayan di sini. Faktor-faktor diatas begitu logikal, tetapi mampukah kesemuanya menangkis prejudis terhadap warga asing Afrika yang menular?

Terdapat lebih kurang 22,000 penuntut di IPT dari benua Afrika; yang terjebak dalam gejala jenayah dan sosial adalah sangat minima mengikut Menteri Pengajian Tinggi Mohamed Khaled Nordin – terdapat hanya 66 kes dilaporkan membabitkan orang Afrika lewat tahun lepas. Menurut Abiodun Musa Aibinu, wakil Diaspora Nigeria dan Profesor Madya kejuruteraan mekatronik di Universiti Islam Malaysia (UIA) pula, hanya 5% daripada 5,000 warga Nigeria yang berada di Malaysia terlibat dalam pengedaran dadah dan penipuan (“black money”). Hakikatnya wujud hierarki manusia di mana layanan yang diberikan kepada mereka di lapisan bawah pekerja, penuntut IPT asing, dan golongan pelarian secara automatis jauh lebih teruk. Tetapi kesemua warganegara Afrika yang berkulit hitam digolongkan sebagai “pariah” di mata rakyat Malaysia: walaupun sebagai seorang pensyarah, Abiodoun juga sering menjadi mangsa penghinaan orang-orang tempatan.

Sebagai rakyat Malaysia, kita merayakan imej negara kita yang berbilang kaum – itulah satu-satunya “keistimewaan” yang diwarisi daripada sejarah kolonial kita. Tetapi sayangnya, kepelbagaian bangsa dan budaya yang dibanggakan hanya dikhaskan untuk mereka yang berwarganegara Malaysia, walaupun mereka yang bukan banyak menyumbang kepada pembangunan dan melancarkan kehidupan seharian kita. Kepelbagaian bangsa dan budaya Malaysia senantiasa berubah dan kita seharusnya menerima bahawa migrasi adalah hakikat masakini di era globalisasi dan geopolitik dan ekonomi dunia ketiga yang tidak pernah lelah goyah.

Pendidikan seks untuk memupuk nilai bertanggungjawab

First published on Merdeka Review, 23rd March 2012.

Zaman remaja merupakan masa yang paling jahil, menakutkan, dan mengujakan bagi mereka yang masih muda. Sewaktu di bangku sekolah menengah perempuan beribu tahun dahulu, saya, dengan perasaan penuh malu, bertanya kepada rakan sekelas yang lebih ‘berpengetehuan’ tentang perkara-perkara intim apakah maksudnya ‘klimaks’ atau orgasme. Jawab rakan saya dengan penuh yakin: ia adalah apabila pasangan yang asyik bersenggama berteriak-teriak seperti haiwan ternakan bergaduh. Atau mengawan. Usia saya sewaktu itu baru mencecah 13 tahun, seorang anak dara tetapi sudah didedahkan dengan unsur-unsur ‘dewasa’ melalui rakan sebaya. Saya pernah sekali seperti anak-anak remaja yang lain, yang mempunyai sifat ingin tahu.

Dengan kurangnya pendidikan seks, golongan remaja akan terjebak dalam kancah kejahilan tentang tubuh dan naluri mereka dan kurang berasa tanggungjawab atas perbuatan mereka. Pendidikan seks yang baik bukan sahaja mengajar anak-anak tentang bagaimana hubungan seks berlaku, tetapi menyampaikan nilai-nilai seperti rasa tanggungjawab, kehormataan dan keyakinan diri kepada kaum muda. Tanpa mengajar nilai-nilai seperti ini, anak-anak mungkin akan mencuba apa yang telah dipelajari dalam kelas pendidikan seks tanpa rasa tanggungjawab pada diri, keluarga, dan pada pasangan mereka. Namun, saya rasa yakin pendidikan seks yang komprehensif bukannya menggalakkan remaja untuk ‘mencuba’ tetapi akan menjadikan mereka lebih berhati-hati dan prihatin tentang implikasi hubungan seks di bawah dan sebelumnya berkahwin.

Tanpa disedari, sebenarnya pendidikan seks tidak formal sudahpun berlaku di rumah, diajar oleh ibubapa dari usia bermulanya anak mereka boleh bercakap dan memahami bahasa. Ibubapa telahpun mengajar bagaimana menamakan kemaluan anak-anak mereka, bagaimana untuk tidak menyalahgunakannya, bagaimana untuk memeliharanya daripada pandangan orang lain. Pendidikan seks tidak formal sudahpun bermula di sekolah tetapi dikalangan rakan-rakan sebaya. Ada yang dipelajari tentang seks oleh mereka, sama ada melalui orang-orang dewasa, filem-filem lucah, majalah Mastika, dan sebagainya bukan boleh kita, ibubapa, atau guru mengawal.

Pendidikan seks yang formal akan mendidik anak-anak remaja untuk menghormati pasangan mereka, membasmi deraan seksual, dan boleh mengurangkan kes-kes keganasan rogol dan sumbang mahram. Dengan melengkapkan anak-anak dan remaja dengan pengetahuan tentang tubuh badan mereka, tentang defininya cabul dan perkosaan (dengan cara dan bahasa yang sesuai), mereka akan lebih tegar memaklumkan ibubapa mereka jika sesuatu yang tidak diingini berlaku kepada mereka. Antara faktor yang memberanikan perogol dan pencabul anak-anak adalah mangsa-mangsa yang mendiamkan diri, dimalukan, dan tidak boleh bersuara. Pendidikan seks yang formal boleh memberikan ‘suara’ kepada anak-anak untuk melindungi diri mereka dan membawa pesalah seksual ke kebenaran.

Masalahnya di sini adalah ibubapa, guru-guru, pakar isu-isu keagamaan – kesemuanya dewasa – yang kurang selesa, segan, dan malu untuk berkongsi pengetahuan tentang lumrah manusia, kehormatan, dan masa depan anak-anak dan remaja. Yang ganjilnya, kanak-kanak secara lazimnya kurang segan bertanya tentang perkara yang sensitif berbanding anak-anak remaja dan mereka yang sudah mencecah dewasa. Kita tidak boleh mengharapkan pendidikan agama di sekolah atau menunggu di ambang perkahwinan untuk maklumat dan tanggapan tentang seks dan seksualiti yang sihat. Setahu saya, ustazah dan ustaz saya sepanjang persekolahan saya tidak pernah membincangkan tentang kontrasepsi (cara-cara menghindar daripada kehamilan), HIV, keganasan dan gangguan seksual.

Tetapi nampaknya kerajaan kita enggan berganjak ke arah masyarakat yang matang dan mandiri. Berita lama tentang pengharaman buku ‘Where Did I Come From?’ (Dari Mana Saya Datang?) oleh Peter Mayle yang pertama kali diterbit pada tahun 1984 membuktikan sekali lagi keengganan kerajaan kita untuk membaca dan menilai sebuah buku untuk kanak-kanak dengan matang dan saksama. Buku karya Mayle yang berkisarkan sepasang suami isteri yang saling menyayangi, berhubungan intim lantas dikurniakan anak telah dicapkan ‘keterlaluan’ di sebuah negara yang tidak segan bermain politik lucah dan menghalalkan pengedarkan majalah Mastika, Pesona, dan seangkatan dengannya di perkarangan kaki lima.

Buku yang ditujukan untuk bacaan kanak-kanak dan ibubapa dianggap melanggar Seksyen 292 kerana penggambaran lukisan kartoon sepasang suami isteri yang telanjang, bersetubuh, dan memaparkan maklumat tentang penamaan anatomi reproduksi yang betul untuk kanak-kanak. Pengharaman buku Mayle dan tindakan-tindakan drakonian anti-pendidikan oleh kerajaan yang lain tidak jauh bezanya daripada kongkongan seorang ibu atau bapa yang pantang melihat anak mereka berfikir dan membuat pertimbangan sendiri dengan cara yang matang.

Kita tidak boleh menghalang golongan remaja daripada mengenali dan memahami seksualiti mereka, walaubagaimana khuatir kita akan berasa tentang gejala seks di bawah umur dan pembuangan anak. Pendidikan yang baik tidak boleh dipertikaikan, ini termasuk juga pendidikan seks dan tenaga pengajar yang terlatih, sensitif, dan berfikiran terbuka. Pengenalan pendidikan seks ke sekolah-sekolah bukannya agenda liberal, tetapi boleh mempunyai unsur-unsur yang berlandaskan ajaran moral di mana nilai-nilai universal seperti sikap bertanggungjawab dan penyayang, kehormatan diri, melindungi yang lemah, dan pengurusan perasaan dan imej kendiri boleh diterapkan dalam syllabus.

Lecture notes: Trans identities and queer acceptance in Indonesian cinema?

The following are notes from my final lecture for Sex and the City: Gender and Sexuality in Southeast Asia on trans identities in Indonesian cinema.

Disclaimer on the use of ‘definitions’

Since I am teaching this class in English, to students in a British institution with a largely unproblematised epistemological culture that privileges western ways of knowing about the world with a penchant for derivatising non-western epistemologies as ‘critiques’ at best, adjuncts at worst, I will need to introduce my lecture on trans identities with terms we already know or at least recognise in our nomenclature for variant gendered subjectivities.

That said, does anyone in class know the differences between transgender, transsexual, queer, transvestite, cross-dressers, drag kings and drag queens?

Transgender is a broad term to describe people whose gender identities do not match their biological sex. Gender and sex are different. Gender denotes social characteristics that are usually used to differentiate between women from men. But this is a limiting, binaristic term that has a risk of becoming quite essentialist.

Cross-dressers and tranvestites tend to be used inter-changibly to describe people who simply have just have a preference, sometimes involving sexual arousal when they wear clothes worn usually by the opposite sex.

Queer is an umbrella term to denote sexual minorities and gender variant people. The term was reclaimed from the derogative term to mean homosexual individuals, and now it is used as a political position against heterosexist and transphobic ideologies and discourse.

Drag king is a female performance artists who dress and act like a caricuture man often performing stereotypes of men, incorporating singing and dancing at times. Drag Kings also do impersonations of famous male personalities like Elvis Presley, which is a drag king favourite – I believe both Annie Lennox and Sharleen Spiteri of the band texas have done Elvis impersonations, and very well, too. I’m sure you’re more familiar with drag queens, particularly now that we have Priscilla Queen of the Desert the musical on Shaftesbusy Avenue. Yes, what’s wrong with a bit singing and dancing men in drag and conflate trangender and transsexual people into the mix? Hm.

So, transsexuality is a person’s identification with a gender identity that is not consistent with biological sex. Transsexuality comes with a desire to live and be accepted as a member of the opposite sex, usually accompanied by a sense of discomfort with, or inappropriateness of, one’s anatomic sex, and a wish to have surgery and hormonal treatment to make one’s body as congruent as possible with one’s preferred sex.

Transsexuality

Because I am using the terms transsexual women and men quite a lot in this lecture, I will use the terms cis-gender or cis-sexual women and men to describe people who are not transsexual. Mainly because if I said just ‘woman’ to describe cis-sexual woman, it seems as if the default woman is only those who are born with the biological sex and gender match. To use to term cis-sexual/cis-gender also destabilises the dominance and normality of cis-gender identities. It draws attention to the fact that we cannot take for granted that only cis-gender women are in fact ‘women’. Transsexual women are women, too. They identify as women, feel that they’re women inside, and most definitely prefer the pronoun ‘she’. It is very offensive for many transsexual women to be described as a ‘he’.

Representations of transsexuality – cliches and bad stereotypes

For the sake of the film, we will focus on transsexuality as characters in cinema more generally as opposed to simply transgender identities. And then I will focus on representations of characters assumed to be transsexual, transvestite, and just transgender in Indonesian film. Representations of transsexual identities in film tend to fall into a very limited, often very negative spectrum of freak-show exploitation that occur in documentaries, fictional film, and pornography.

In film-making of the Anglosphere, that includes Hollywood, independent American, British, and Australian cinema, transsexual characters are usually played by cis-sexual male actors and exhibit flamboyance, campness, tawdriness, and tragicomedy with great frequency. We have depictions of transsexuals as a joke: these characters tend to inhabit tragic and comedic roles often at their own expense. They’re often conflated with drag queens and cross-dressers who find themselves in outrageous situations where they are the source of the joke or object of derision. Transwoman actor and model Calpernia Addams who has written about representations of transsexual people in film, says that transsexuals in film can be summed in 4 P’s: Prostitutes, Psychos, Punchlines, and Poor Thing! Who are the “noble victim” of society’s intolerance.

In Hollywood film-making from the 1970s onwards, transsexual characters became psychopathic serial killers in the B-film Dr Jekyll and Sister Hyde in 1971, Brian de Palma’s 1980’s Dressed to Kill, and the characterisation of Buffalo Bill in the Silence of the lambs, made in 1991. In both Dressed to Kill and Silence of the lambs, the serial killers were denied sex-reassignment surgery and because of this denial, murder people out of revenge for society’s lack of acceptance towards trans people, otherwise known as transphobia. The two films suggest that their murderous tendencies are all down to their lack of access to a sex reassignment surgery.

Then there are the films based true or actual documentaries depicting real-life transsexuals. Among them include the highly acclaimed Paris is Burning, an excellent film about the Black gay and transsexual ball in New York City. There is Southern Comfort about the female to male transsexual, and there is Boys Don’t Cry, starring Hilary Swank a cis-sexual woman who won an Oscar for her role in the film.

There will always been close-ups on transsexual women and men dressing up, putting on make-up, painting their nails, their wigs, bounding their breasts to make their chests flat. Such close-ups fetishise the bodies of transsexual people, and sexualise their body parts, objectifying them, turning them into objects of our prurient and voyeuristic interests. This is also typical in images that eroticise cis-women’s body parts, close-ups that focus on exposed or exposing body parts for the viewer’s pleasure. The use of close-ups here are certainly different; close-ups of transsexual bodies are meant to shock yet titillate, while close-ups of cis-women’s bodies are just titillating. These shots are problematic because they reduce ideas about femininity in very crude ways, through make-up, high heels, stockings, and clothes.

Clichés and stereotypes serve as a kind of shorthand that people use to categorise others into comfortable “types” without having to do much work, and even when someone seems to fit a cliché, there are always deeper levels. Outside of the easy clichés, there are so many other interesting realities that transsexual people experience.

The trends and stereotypes we’ve seen is largely part and parcel of how transphobic film industries tend to be, with little awareness of trans issues and rights, and most importantly the fact that there are always so few to no trans people working in the film industry. As one transsexual activist Calpernia Addams has observed, transsexual people very rarely are featured in film as themselves or as transsexual people. What is much rare still are transsexual people playing non-transsexual people. There are some similarities in the representations of transsexual people in Indonesian cinema.

Representations of transsexuality in Indonesian cinema

There are not many depictions of trans characters in Indonesian films. But when they are, transsexuality in New Order Indonesian cinema is mixed with cross-dressing and real transsexual characters. Depictions of trans people tend to be similar to some of the stereotypes in Anglo-American and Australian films of impoverished street sex workers and in newer post New Order Indonesian films, drag queens. In Indonesian films of the late 1970s, such as Betty Bencong Slebor, transgender women are featured as comedic relief. Oftentimes, they are ridiculed and denigrated in public. As shown in this clip from Betty Bencong Slebor, who is a domestic servant in an Indonesian household. Here, she is invited to sing in a village fair. But it becomes clear that people do not like her for some reason. Interestingly, we have a white woman from out of nowhere who is most vociferous in attacking Betty:

One film that stands out as a true-to-life depiction of life as a transsexual in Indonesia is Akulah Vivian (I am Vivian), also made in the late 1970s, about a woman who undergoes a sex reassignment surgery to transition from male to female. Vivian faces prejudice and transphobia, and eventually finds a cis-sexual man who loves her.

In the film we have watched today (Realita Cinta dan Rock n Roll, 2006) we have Mariana who challenges all previous stereotypes of the poor, desperate, and marginalised transsexual woman. We have a transsexual character who is a parent, wealthy, and a quirky combination of masculinity and femininity. In constrast to the maternal waria is the reflexive caricuture of Madame X, trans super hero and avenger of fellow waria who are victimised by a religious cult group. But how does this portrayal fare against the realities of being a trans person in Indonesia?

The reality of life as a waria in Indonesia

In Indonesia, there isn’t one term that best translates as “transsexual”. There is the waria, which is the combination of the Indonesian words for wanita to mean women and pria to mean men. In different parts of Indonesia, the cultural terms are different; in Bali and Sulawesi, they’re sometimes called Kedi. In Makkasar, they’re kawe-kawe. Among the Bugis and in Kalimantan, Borneo, they’re called the cultural term, calabai and calalai.

But the generic term waria has come to mean mainly transgender women who are born biologically male but feel that they have the ‘soul’ of a woman. Because sex reassignment surgery is very expensive and not available in hospitals, the sex reassignment surgeries are very rare, and so post-operation transsexuals in Indonesia are rare.

Waria tend to be confused with gay men a lot in Indonesia. The term that blurs trans people and gay men is banci, a broad pejorative term to describe any effeminate man, a man who does feminine work, a playground insult, a transgender or transsexual woman. The widespread use of a derogatory term that collapses multiple gender and sexual identities make it quite hard to get more neutral terms like waria and gay (the Indonesian version of gay) to come into wider use.

There is also a tendency to class warias as a “third gender”, which is now being challenged by scholars in Indonesian studies. I know that a number of authors on Indonesian studies such as Leonard and Barbara Andaya like this term, while Tom Boellstorff is more reluctant to use this term. Instead, he classes them as “male tranvestites” and “male transgenders.”

In some ways, I can understand why a lack of agreement on terms occurs; it’s mainly because people like to put categories on people’s gender usually without referring to gender variant individuals themselves what terms or pronouns would suit them best. Most of the people who make such categories are rarely ever trans people themselves and place labels as they please without causing much harm or identity crisis on people like themselves. It’s called cis-gender privilege.

Also ,we live in a gender-obsessed society. So we MUST know how to address a person: are they male or female. There’s a fascination, obsession, and insistence that we know one’s gender. Which is why many trans people are faced with the completely unsolicited question by total strangers, “Are you a bird or a bloke”?

When babies are born, is it a girl or a boy? When people do not fit our rather rigid gender binary, then we think we’re coming across a problem, an abnormality, and very often what we think as problems cause more complications on the lives of transgenderism and transsexual people.

For the sake of this class and some 101 guide to trans identities in Indonesia, it’s safe enough to categorise the waria under transgender or transsexual. Most seem to prefer to identify as women, so they are trans women. Unless many are versed in gender theory and fully embrace the notion that there’s a seperation between biological sex and gender which is socially constructed, many of which may belong to educated, middle-class economic bracket, we need to keep the gender categories loose due to difference in culture and class within cultures.

This includes the terms like gay, which is not really used as an identity marker in Indonesia very much unless you happen to identify with global, more western gay culture. Which is why David Cameron’s proposal to cut aid in non-western countries that do not have provisions that protect gay people is ignorant, classist, and Eurocentric. A country or cultures are not necessarily homophobic because many do not identify as ‘gay’ or ‘lesbian’, sometimes the terms, practices, and sexual norms which we may consider as homosexual or non-normative just happen to have different systems of classifications, names, or none at all.

To a certain extent, warias are generally considered acceptable for a variety of reasons, warias, just like the trans women in Malaysia and Singapore who called the Mak Nyah, are stereotypically known to be good as hair-dressers and make-up artists. Considered as experts of feminine beauty, they are usually hired as bridal make-up artists during weddings, and they’re called Mak Andam.

There’s also the local court tradition in southern Sulawesi of the bissu, who are holy individuals who are blessed with special powers. The bissu, although displaying both feminine and masculiine characteristics, mainly through attire, are not according to authors on Indonesian studies, waria. They are, as Tom Boellstorff rather clunkily coines them, the “ethnolocalised homosexualities and transvestite subject positions” or rather charmingly, ETPs.

But this does not mean that the waria do not experience discrimination, oppression, and violence on a regular basis in Indonesia. They do. As we recall in various scenes in Realita Cinta, the trans women in the beginning of the film are depicted as far from desirable and almost always as sex workers. Mariana, not matter hard she tries to be a good parent, Nugi’s idea of a ‘real’ family is a male father and female mother. Very heteronormative.

For the best accounts on the life of waria and gay men in Indonesia, I suggest you read the works of the Indonesian LGBT activist Dede Oetomo. According to Oetomo, although many warias wish to identify as women, and become real women through superficial appearances, many display characteristics that make them quite unique from other cis-gender women, such as greater physical strength to fight off other men, the boldness in attracting a cis-man’s attention, through groping and grabbing a man’s crotch that one perhaps never will see in Indonesian cis-gender women.

In sum, I would stress that it is important to consider gender categories as fluid. Although we may assume that biological sex is binaristic between male and female genitalia, new evidence is showing that even biological sex, based on our primary and secondary sexual characteristics – which are our primary being are sexual reproductive organs – our gonads, and sex organs. And secondary sexual characterisatics – hormones, things like facial hair, shape of face, growth or lack of growth in breasts – these things are shown to exist on spectrum. The fluidity of our biological sex and gender challenges some rigid ideas about makes a ‘real’ woman or ‘real’ man. These ideas are social and cultural. In the case of transsexual people in Indonesia, or the waria, some may identify with the globalised western framework of gender that seperates gender from biological sex. Other may not. Film currently may not or may not be the best forum to discuss the variances of gender. But we will find out in our tutorial. But now, we’ll take a 10 minute break.