Category: Новини

Los Angeles — “Oppenheimer,” a solemn three-hour biopic that became an unlikely billion-dollar box-office sensation, was crowned best picture at a 96th Academy Awards that doubled as a coronation for Christopher Nolan.

After passing over arguably Hollywood’s foremost big-screen auteur for years, the Oscars made up for lost time by heaping seven awards on Nolan’s blockbuster biopic, including best actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and best director for Nolan.

In anointing “Oppenheimer,” the Academy of Motion Pictures Arts and Sciences did something it hasn’t done for more than a decade: hand its top prize to a widely seen, big-budget studio film. In a film industry where a cape, dinosaur or Tom Cruise has often been a requirement for such box office, “Oppenheimer” brought droves of moviegoers to theaters with a complex, fission-filled drama about J. Robert Oppenheimer and the creation of the atomic bomb.

“For better or worse, we’re all living in Robert Oppenheimer’s world,” said Murphy in his acceptance speech. “I’d like to dedicate this to the peacemakers.” 

As a film heavy with unease for human capacity for mass destruction, “Oppenheimer” also emerged – even over its partner in cultural phenomenon, “Barbie” – as a fittingly foreboding film for times rife with cataclysm, man-made or not. Sunday’s Oscars at the Dolby Theatre in Los Angeles unfolded against the backdrop of wars in Gaza and Ukraine, and with a potentially momentous U.S. election on the horizon.

The most closely watched contest of the Academy Awards went to Emma Stone, who won best best actress for her performance as Bella Baxter in “Poor Things.”

In what was seen as the night’s most nail-biting category, Stone won over Lily Gladstone of “Killers of the Flower Moon.” Gladstone would have become the first Native American to win an Academy Award.

Instead, Oscar voters couldn’t resist the full-bodied extremes of Stone’s “Poor Things” performance. The win for Stone, her second best actress Oscar following her 2019 win for “La La Land,” confirmed the 35-year-old as arguably the preeminent big-screen actress of her generation. The list of women to win best actress two or more times is illustrious, including Katherine Hepburn, Frances McDormand, Ingrid Bergman and Bette Davis.

“Oh, boy, this is really overwhelming,” said Stone. 

Nolan has had many movies in the Oscar mix before, including “Inception,” “Dunkirk” and “The Dark Knight.” But his win Sunday for direction is the first Academy Award for the 53-year-old filmmaker.

In his acceptance speech, Nolan noted cinema is just over a hundred years old. 

“We don’t know where this incredible journey is going from here,” said Nolan. “But to think that I’m a meaningful part of it means the world to me.”

Protest and politics intruded on an election-year Academy Awards on Sunday, where demonstrations for Gaza raged outside the Dolby Theatre in Los Angeles, and awards went to “Oppenheimer,” “The Zone of Interest” and “20 Days in Mariupol.” 

Sunday’s broadcast, hosted by Jimmy Kimmel, had plenty of razzle dazzle, including a sprawling song-and-dance rendition of the “Barbie” hit “I’m Just Ken” by Ryan Gosling, with an assist on guitar by Slash. A sea of Kens swarmed the stage. 

The lead winner, as expected was “Oppenheimer,” the blockbuster biopic. Though not quite the clean sweep that some expected, “Oppenheimer” was overpowering all competition — including its release-date companion, “Barbie” — winning awards for its cinematography, editing, score and Robert Downey Jr.’s supporting performance. 

Downey, nominated twice before (for “Chaplin” and “Tropic Thunder”), notched his first Oscar, crowning the illustrious second act of his up-and-down career. 

“I’d like to thank my terrible childhood and the academy, in that order,” said Downey, the son of filmmaker Robert Downey Sr. 

“Barbie,” last year’s biggest box-office hit with more than $1.4 billion in ticket sales, didn’t win an award until almost three hours into the ceremony. It won best song (sorry, Ken) for Billie Eilish and Finneas’ “What Was I Made For?” It’s their second Oscar, two years after winning for their James Bond theme, “No Time to Die.” 

But after an awards season that stayed largely inside a Hollywood bubble, geopolitics played a prominent role. Protests over Israel’s war in Gaza snarled traffic around the Dolby Theatre in Los Angeles, slowing stars’ arrival on the red carpet and turning the Oscar spotlight toward the ongoing conflict. Some protesters shouted “Shame!” at those trying to reach the awards. 

Jonathan Glazer, the British filmmaker whose chilling Auschwitz drama “The Zone of Interest” won best international film, drew connections between the dehumanization depicted in his film and today. 

“Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October the 7th in Israel, or the the ongoing attack on Gaza, all the victims, this dehumanization, how do we resist?”

The war in Gaza was on the minds of many attendees, as was the war in Ukraine. A year after “Navalny” won the same award, Mstyslav Chernov’s “20 Days in Mariupol,” a harrowing chronicle of the early days of Russia’s invasion of Ukraine, won best documentary. The win, a first for The Associated Press and PBS’ “Frontline,” came as the war in Ukraine passed the two-year mark with no signs of abating. 

Mstyslav Chernov, the Ukrainian filmmaker and AP journalist whose hometown was bombed the day he learned of his Oscar nomination, spoke forcefully about Russia’s invasion. 

“This is the first Oscar in Ukrainian history,” said Chernov. “And I’m honored. Probably I will be the first director on this stage to say I wish I’d never made this film. I wish to be able to exchange this (for) Russia never attacking Ukraine.”

In the early going, Yorgos Lanthimos’ Frankenstein-riff “Poor Things” ran away with three prizes for its sumptuous craft, including awards for production design, makeup and hairstyling and costume design. 

Kimmel, hosting the ABC telecast for the fourth time, opened the awards with a monologue that drew a few cold looks (from Downey, Sandra Hüller and Messi, the dog from best-picture nominee “Anatomy of a Fall”). But Kimmel, emphasizing Hollywood as “a union town” following 2023’s actor and writer strikes, drew a standing ovation for bringing out teamsters and behind-the-scenes workers — who are now entering their own labor negotiations. 

The night’s first award was one of its most predictable: Da’Vine Joy Randolph for best supporting actress, for her performance in Alexander Payne’s “The Holdovers.” An emotional Randolph was accompanied to the stage by her “Holdovers” co-star Paul Giamatti.

 

“For so long I’ve always wanted to be different,” said Randolph. “And now I realize I just need to be myself.” 

Though Randolph’s win was widely expected, an upset quickly followed. Hayao Miyazaki’s “The Boy and the Heron” won for best animated feature, a surprise over the slightly favored “Spider-Man: Across the Spider-Verse.” Miyazaki, the 83-year-old Japanese anime master who came out of retirement to make “The Boy and the Heron,” didn’t attend the ceremony. He also didn’t attend the 2003 Oscars when his “Spirited Away” won the same award. 

Best original screenplay went to “Anatomy of a Fall,” which, like “Barbie,” was penned by a couple: director Justine Triet and Arthur Harari. “This will help me through my midlife crisis, I think,” said Triet. 

In adapted screenplay, where “Barbie” was nominated — and where some suspected Greta Gerwig would win after being overlooked for director — the Oscar went to Cord Jefferson, who wrote and directed his feature film debut “American Fiction.” He pleaded for executives to take risks on young filmmakers like himself.

“Instead of making a $200 million movie, try making 20 $10 million movies,” said Jefferson, previously an award-winning TV writer. 

The Oscars belonged largely to theatrical-first films. Though it came into the awards with 19 nominations, Netflix was a bit player. Its lone win came for live action short: Wes Anderson’s “The Wonderful Story of Henry Sugar,” based on the story by Roald Dahl.

While “Barbie” bested (and helped lift) “Oppenheimer” at the box office, it took a back seat to Nolan’s film at the Oscars. Gerwig was notably overlooked for best director, sparking an outcry that some, even Hillary Clinton, said mimicked the patriarchy parodied in the film.
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Dohuk, Iraq — Huddled in the back of a van, Rebin Pishtiwan carefully scans one yellowed page after another, as part of his mission to digitize historic Kurdish books at risk of disappearing.

Seen as the world’s largest stateless people, the Kurds are an ethnic group of between 25 million and 35 million mostly spread across modern-day Iraq, Iran, Syria and Turkey.

In Iraq, the Kurds are a sizeable minority who have been persecuted, with thousands killed under the rule of late dictator Saddam Hussein and many of their historic documents lost or destroyed.

“Preserving the culture and history of Kurdistan is a sacred job,” said Pishtiwan, perusing volumes and manuscripts from Dohuk city’s public library in Iraq’s northern autonomous Kurdistan region.

“We aim to digitize old books that are rare and vulnerable, so they don’t vanish,” the 23-year-old added, a torn memoir of a Kurdish teacher published in 1960 in hand.

In Iraq, the Kurdish language was mostly marginalized until the Kurds’ autonomous region in the north won greater freedom after Saddam Hussein’s defeat in the 1990-1991 Gulf War.

After the U.S.-led invasion of 2003 toppled the dictator, remaining documents were scattered among libraries and universities or held in private collections.

Once a week, Pishtiwan and his two colleagues journey in their small white van from the regional capital Irbil to other Kurdish towns and cities to find “rare and old” books.

They seek texts that offer insights into Kurdish life, spanning centuries and dialects.

In Dohuk’s library, the archiving team scours the wooden bookshelves for hidden gems.

With the help of the library’s manager, they carefully gather an assortment of more than 35 books of poetry, politics, language and history, written in several Kurdish dialects and some in Arabic.

Pishtiwan holds up a book of old Kurdish folk stories named after 16th-century Kurdish princess Xanzad, before gently flipping through the fragile pages of another religious volume, tracing the calligraphy with his fingers.

Back in the van, equipped with two devices connected to a screen, the small team starts the hourslong scanning process before returning the books to the library.

In the absence of an online archive, the Kurdistan Center for Arts and Culture, a nonprofit founded by the nephew of regional President Nechirvan Barzani, launched the digitization project in July.

They hope to make the texts available to the public for free on the KCAC’s new website in April.

More than 950 items have been archived so far, including a collection of manuscripts from the Kurdish Baban principality in today’s Sulaimaniyah region that dates back to the 1800s.

“The aim is to provide primary sources for Kurdish readers and researchers,” KCAC executive director Mohammed Fatih said. “This archive will be the property of all Kurds to use and to help advance our understanding of ourselves.”

Dohuk library manager Masoud Khalid gave the KCAC team access to the manuscripts and documents gathering dust on its shelves, but the team was unable to secure permission from the owners of some of the documents to digitize them immediately.

“We have books that were printed a long time ago — their owners or writers passed away — and publishing houses will not reprint them,” Khalid said.

Digitizing the collection means that “if we want to open an electronic library, our books will be ready,” the 55-year-old added.

Hana Kaki Hirane, imam at a mosque in the town of Hiran, unveiled a treasure to the KCAC team — several generations-old manuscripts from a religious school established in the 1700s.

Since its founding, the school has collected manuscripts, but many were destroyed during the first war pitting the Kurds against the Iraqi state between 1961 and 1970, said Hirane.

“Only 20 manuscripts remain today,” including centuries-old poems, said the imam.

He is now waiting for the KCAC website launch in April to refer people to view the manuscripts.

“It is time to take them out and make them available for everyone,” he said.
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Los Angeles — As Universal Pictures prepared for a big night at the Academy Awards with “Oppenheimer,” the studio also celebrated the No. 1 debut of “Kung Fu Panda 4,” which collected $58.3 million in domestic theaters over the weekend, according to estimates Sunday.

“Kung Fu Panda 4,” the first film in the DreamWorks Animation franchise since the third installment in 2016, got off to a better start than all but the 2008 original. That “Kung Fu Panda,” which began the mystical adventures of Jack Black’s panda warrior Po, launched with $60.2 million.

Working in favor of “Kung Fu Panda 4”: It’s the first big family movie since “Migration” and “Wonka” hit theaters in December. “Kung Fu Panda 4” added $22 million internationally.

The news was just as good for last week’s top film, “Dune: Part Two.” Denis Villeneuve’s sci-fi epic sequel held strongly in its second week, dropping a modest 44%. It grossed $46 million in its second week, bringing its domestic cumulative total to $157 million for Warner Bros. and Legendary Pictures.

Riding strong reviews, great word-of-mouth and plenty of sandworms, “Dune: Part Two” appears well set up for a long theatrical run. Most of Sunday’s Oscar nominees have already moved on to home viewing platforms, but “Dune” could wind up at next year’s Academy Awards.

Opening in third place was the Lionsgate, Blumhouse horror release “Imaginary,” about a sinister teddy bear. It debuted with $10 million.

Following it was “Cabrini,” a portrait of the 19th century Catholic missionary Saint Frances Xavier Cabrini (played by Cristiana Dell’Anna). The film, released by the Christian-based company Angel Studios, the studio behind the 2023 surprise hit “Sound of Freedom,” collected $7.5 million.

A24 also debuted the critically acclaimed neo-noir “Love Lies Bleeding,” starring Kristen Stewart, on five screens in New York and Los Angeles. It grossed $167,463 for a good per-screen average of $33,493.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Kung Fu Panda 4,” $58.3 million.

2. “Dune: Part Two,” $46 million.

3. “Imaginary,” $10 million.

4. “Cabrini,” $7.6 million.

5. “Bob Marley: One Love,” $4.1 million.

6. “Ordinary Angels,” $2 million.

7. “Madame Web,” $1.1 million.

8. “Migration,” $1.1 million.

9. “YOLO,” $840,000

10. MET Opera: “La Forza del Destino,” $768,000.
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Los Angeles — Hollywood’s glitterati gather on Sunday to celebrate the best performances in film at the annual Academy Awards, a ceremony expected to turn into a toast to blockbuster atomic bomb drama “Oppenheimer.”

Talk show host Jimmy Kimmel returns for the fourth time to emcee the film industry’s highest honors from the Dolby Theatre in Los Angeles.

“Oppenheimer,” the three-hour drama directed by Christopher Nolan, leads the field with 13 nominations. The movie is the frontrunner to win the prestigious best picture prize, capping its sweep of other major awards this year.

“If the best picture isn’t ‘Oppenheimer,’ it will be one of the biggest upsets, if not the biggest upset, in the history of the Oscars,” said Scott Feinberg, executive editor for awards at The Hollywood Reporter.

After 2023 was marred by actors and writers strikes, the Oscars give Hollywood a chance to celebrate two global hits. “Oppenheimer” and feminist doll adventure “Barbie,” another best picture nominee, brought in a combined $2.4 billion in a summer box office battle dubbed “Barbenheimer.”

Oscar producers said they have planned unannounced cameos and other surprises to entertain audiences at home.

“My biggest hope is that they go through a range of emotions with us, that they feel happiness and joy, that we maybe make them shed a tear,” Executive Producer Raj Kapoor said. “And then they somehow feel connected and inspired to also live their dreams.”

Supporting actor nominee Ryan Gosling will sing the ’80s-style rock anthem “I’m Just Ken” from “Barbie.” Members of the Osage Nation will perform the nominated “Wahzhazhe (A Song for My People)” from “Killers of the Flower Moon.”

Cillian Murphy, the Irish actor who played physicist J. Robert Oppenheimer as he led the race to build the first atomic bomb, is considered the favorite for best actor. Murphy’s main competition, according to awards pundits, is “The Holdovers” star Paul Giamatti.

Best actress may go to Lily Gladstone of “Killers of the Flower Moon,” the real-life story about a murder plot to take over lucrative Osage oil rights in 1920s Oklahoma. If she prevails, Gladstone would be the first Native American actress to win an acting Oscar.

Gladstone’s rivals include previous Oscar winner Emma Stone, nominated this year for playing a woman revived from the dead in the dark and wacky comedy “Poor Things.”

The supporting actor race features “Oppenheimer” star Robert Downey Jr., who played the scientist’s professional nemesis, and Sterling K. Brown from “American Fiction.”

Da’Vine Joy Randolph, praised for her role as a grieving mother in “The Holdovers,” vies for best supporting actress against Danielle Brooks from “The Color Purple” and others.

“Barbie,” last year’s No. 1 film with $1.4 billion in global ticket sales, may be shut out of the top awards. Billie Eilish’s “Barbie” ballad “What Was I Made For?” is likely to win the original song prize, Feinberg said, and could snag the awards for costumes and production design.

For Nolan, the night could bring his first directing Oscar, as well as the award for adapted screenplay. The director of “The Dark Knight” trilogy, “Inception” and other acclaimed films has never had a movie win best picture.

The ceremony may end with “the industry-wide coronation for Christopher Nolan,” Feinberg said. With “Oppenheimer,” “he has he has made his best possible argument yet for why he is worthy of this recognition.”
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New York — Six years ago, Nachiket Chanchani visited Angkor Wat for the first time. Inspired, the architectural historian began thinking about the relationship between the complexities of modern post-genocide Cambodia and the ancient temple complex.

Chanchani, an associate art history professor at the University of Michigan, kept reflecting on Angkor Wat, juxtaposing the temple complex against art created since the Khmer Rouge killed nearly 2 million Cambodians between 1975 and 1979.

During the pandemic, his thoughts crystallized amid worldwide suffering, anxiety and fear. “I thought that this art, both from the deep past and from more recent times in Cambodia, can teach us lessons of how to kind of stay stable, find some way forward,” he told VOA Khmer Service via Zoom.

The University of Michigan Museum of Art, or UMMA, one of the largest university museums in the United States, is now exhibiting 80 pieces of Cambodian art in a show guest curated by Chanchani in Ann Arbor. Titled “Angkor Complex: Cultural Heritage and Post-Genocide Memory in Cambodia,” it opened February 3 and runs through July 28. Featured artists Vann Nath, Sopheap Pich, Svay Sareth, Amy Lee Sanford and Leang Seckon, who live in Cambodia and the U.S., have pieces in the exhibit.

The Angkor Archaeological Park, a UNESCO World Heritage site, covers more than 400 square kilometers (155 square miles). Once a city of nearly a million people, the site contains some of Cambodia’s most famous structures, including those recognized worldwide after being seen in movies such as “Lara Croft: Tomb Raider and In the Mood for Love.”

Playing with the dictionary meanings of “complex” such as “a whole made up of complicated or interrelated parts,” “a building or group of buildings housing related units” or “a group of repressed desires and memories that exerts a dominating influence upon the personality,” Chanchani saw how the exhibit could “allow us to think about these different layers, these different kinds of ideas of complexness.”

Today, “Cambodians regard Angkor Wat as a sacred center, a national symbol, and a site of memory,” according to the exhibition guide.

“Like Angkor Wat’s bullet-ridden walls, contemporary artworks from Cambodia and its diaspora bear the scars of a genocide and of related upheavals,” said Chanchani, adding that as a non-Cambodian outsider, he was aware of the exhibition’s sensitive nature. “It’s not as if this is something that happened a thousand years ago that you can just say, it happened,” he said. “The survivors are still there.”

Chanchani hoped bringing Cambodian art to the U.S. would console viewers.

But what could the U.S., one of the biggest economic and military powers learn from Cambodia, a small southeast Asian country, other than how to move on from painful memories and what the exhibition catalog describes as the current interwoven global crises of “public health, economic instability, authoritarian regimes, racial injustice and climate change?”

And how does one nation heal from an event like the Khmer Rouge killing nearly a quarter of the population in its quest to create an agrarian utopia for worker-peasants?

For some Cambodians, it can seem as if, 40 years later, the nation can barely move on or show off a new face when it is still being referred to in the context of the past suffering, especially on the international stage.

Reaksmey Yean, a Cambodian art writer, curator and researcher in Phnom Penh, applauded the Michigan show, but added it is a “cliche” because Angkor Wat and the Khmer Rouge have been overused to identify Cambodia.

“An exhibition about Cambodia, its history and culture is rare in the U.S., so I think it is important to have the exhibition to put Cambodia on the map,” Reaksmey Yean told VOA Khmer Service. “However, it is a cliche for me because it’s been more than 20 years when our civil war completely ended and there are so much in our cultures that can be shown.”

Museum Director Christina Olsen said the audience will have a chance to learn about the “distinct cultural and political [significance] of Cambodia” through the historical and contemporary arts by Cambodian and diasporic artists.

“At the same time, the exhibition invites consideration of today’s broader cultural, social and political happenings and fosters dialogue about the lessons that can be taken from the pain and resilience of the Cambodian people,” she added in the press release.

Svay Sareth is a Cambodian artist whose works in sculpture, installation and durational performance “are made using materials and processes intentionally associated with war — metals, uniforms, camouflage and actions requiring great endurance,” according to the Richard Koh Gallery in Singapore. Sareth’s interest in how Cambodia was affected by war and how its people are moving on has informed his art.

“I want the audience in the U.S. [to] see how the post genocide in Cambodia affect the intergeneration,” Sareth said.

Another work, “Full Circle,” by Khmer American artist Amy Lee Sanford, is comprised of 40 broken clay pots, repaired and installed in a circle. She is known for her “Break Pot” performance pieces where she would drop the clay pot from a height, then glue all the pieces back together, an effort to show how situations can change in seconds and even when repaired, can never be the same again.

Sanford said she hopes the Michigan exhibition will show that Cambodians “have a memory of some of the important architectural and religious structures … and that also that there are contemporary artists now doing things related to history and related to looking forward as well.”
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MUMBAI, India — Krystyna Pyszková of the Czech Republic was crowned Miss World at a glittering contest held in India on Saturday night.

Yasmina Zaytoun of Lebanon was the first runner-up among 112 contestants in the competition held in Mumbai, India’s financial and entertainment capital.

“Being crowned Miss World is a dream come true. I am deeply honored to represent my country and the values of ‘beauty with a purpose’ on a global platform,” Pyszkova said.

After the reigning Miss World, Karoline Bielawska of Poland, passed the crown to her, Pyszková waved to the large crowd at the Jio World Convention Center and hugged some of the other contestants.

The event showcased the rich tapestry of India’s culture, traditions, heritage, arts and crafts, and textiles to a massive global audience. The participants wore heavily embroidered skirts and blouses and danced to popular Bollywood songs.

The beauty competition returned to India for the first time in 28 years.

India’s Sini Shetty exited after making it to the final eight. Six Indian women have won the title, including Reita Faria (1966), Aishwarya Rai (1994), Diana Hayden (1997), Yukta Mookhey (1999), Priyanka Chopra (2000) and Manushi Chillar (2017).

The 71st Miss World beauty pageant was hosted by Bollywood filmmaker Karan Johar and Miss World 2013 Megan Young from the Philippines.
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Paris — The makers of “Game of Thrones” return with “3 Body Problem,” the adaptation of an iconic Chinese sci-fi trilogy.  

It premieres this weekend at the South by Southwest Festival in Texas before launching on Netflix on March 21. 

Showrunners David Benioff and D.B. Weiss, coming off their huge hit with “Game of Thrones,” have liberally translated from the books by Liu Cixin, which has already been adapted for Chinese TV.  

The trilogy of books, which began with “The Three-Body Problem” in 2008, jumps between countries, eras and protagonists as Earth confronts an existential threat. It is considered a sci-fi landmark.  

“Making ‘Game of Thrones’ was the greatest experience of our lives, but we spent 10 solid years living in that fictional world, so we wanted something that presented a new set of challenges on every level,” Weiss said. 

“It’s the story of an impending threat, but it’s tethered by and centered around this core group of characters,” said Benioff. 

The cast includes three of the main actors from “Game of Thrones”: John Bradley as an Oxford scientist, Liam Cunningham as the head of an intelligence agency and Jonathan Pryce as an oil tycoon.  

The showrunners also brought back key members of the effects and production crew — as well as composer Ramin Djawadi — to try to achieve the same grandiose and polished style.   

It was shot to a speedy nine-month schedule across England, Spain, the United Nations headquarters in New York and Cape Canaveral in Florida.  

“Between climate change and the pandemic, we’ve gotten a glimpse into how people in the world react differently to a global threat,” said Weiss. “We see a similar spectrum of reactions in ‘3 Body Problem,’ which resonates with so many of us now.” 
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Washington — A U.N. report released Friday about the prevalence of female genital mutilation around the globe is drawing attention to the practice among the Dawoodi Bohra community, a Muslim minority sect based in India.

India is not on the UNICEF list of 31 countries released Friday. But the extent of FGM in India, although small relative to its population and long shrouded in secrecy, is coming into the open.

The ritual is mostly practiced by the Dawoodi Bohras, a subsect of the Ismaili branch of Shia Islam with an estimated 1 to 2 million followers around the globe. Recent surveys show that as many as 80% of Bohra girls undergo genital mutilation as a religious right of passage.

“We are still significant, even if our numbers are few,” said Aarefa Johari, a Dawoodi Bohra activist and co-founder of Sahiyo, an anti-FGM advocacy group. “Injustices and harmful practices must be opposed because they are wrong, not because of the number of people they affect.”

Affluent and politically influential, most Dawoodi Bohras live in India’s Gujarat province, with smaller communities thriving in Pakistan, Yemen, East Africa, the Middle East, Australia and North America.

The World Health Organization defines FGM, also known as female genital cutting, as “procedures involving the partial or total removal of the external female genitalia or other injury to the female genital organs for nonmedical reasons.” The organization says the practice has no health benefits and classifies it as a violation of the human rights of girls and women.

The UNICEF report, released on International Women’s Day, shows that more than 230 million girls and women alive today have undergone FGM, an increase of 30 million compared with data released eight years ago. Africa accounts for over 144 million of the total, followed by Asia with over 80 million, and the Middle East with 6 million.

Shelby Quast, an international human rights lawyer, said India should have been “absolutely” included in the UNICEF report.

Noting that FGM is practiced in at least 92 countries, she said the report captures “just the tip of the iceberg.”

“We can’t eliminate FGM by 2030 if we’re not looking at it in all the countries where it exists,” Quast said in an interview.

The method practiced in the Dawoodi Bohra community involves the cutting of a part of the clitoral hood. The Bohras deny it’s a form of genital mutilation. They prefer the term khatna, or female circumcision, and say it is safe. Although not endorsed by most Muslim scholars, the Dawoodi Bohras see it as a religious duty.

Until recent years, the practice was little-known outside the close-knit community. The issue came to light after a 2011 online campaign launched by survivors. Others came forward with harrowing stories of trauma.

Court cases in Australia and the United States exposed its prevalence among diaspora communities.

In 2016, three Dawoodi Bohras in Australia were sentenced to 15 months in prison for violating the country’s FGM ban.

In 2017, four members of the community in the U.S., including two doctors, were charged with performing FGM on at least six minor girls. A federal judge later dismissed the charges as unconstitutional, but the case put the spotlight on the Dawoodi Bohra community’s practice of FGM.

Spurred by the publicity, community activists and human rights advocates sprang into action to shed light on the problem.

Research by Johari’s group revealed that FGM was also practiced by small communities in India’s Kerala state.

Female genital mutilation was long associated with Africa. But the recent “discovery” of FGM in India and other Asian communities has shown that it’s a global problem, Johari said.

“I believe it has important implications for the global movement to end it,” said Johari, herself a survivor.

Like many Dawoodi Bohra girls, Johari was “cut” at the age of 7. The physical effects of the ritual sometimes extend into adulthood. But Johari considers herself among the fortunate; she was spared the complications.

“What impacted me at a later age, however, was the realization and the understanding of what had been done to me,” Johari said via email from Mumbai. “When you are cut as a young child, you have no way of knowing what your original anatomy was like, how much was cut, and how it will affect your sexual experiences later.

“[FGM] supporters in the community like to claim that our type of ‘mild’ cut makes no difference to sexual life; some even claim it enhances sexual pleasure,” Johari said. “But none of them have a frame of reference, and the uncertainty, the not knowing, leaves me feeling frustrated, helpless and angry.”

The discord has divided the community. Syedna Mufaddal Saifuddin, the group’s spiritual leader, has defied calls for a ban.

“Whatever the world says, we should be strong and firm. … It must be done,” he said during a religious sermon in Mumbai in 2016.

Meanwhile, Indian government officials have wavered on the issue, and a push to criminalize FGM has stalled in India’s Supreme Court, according to Lakshmi Anantnarayan, a human rights activist and researcher.

Some officials initially backed a prohibition only to change their position and deny FGM’s existence, Anantnarayan said.

A petition filed in 2017 with India’s Supreme Court demanding an FGM ban has triggered strong pushback from the powerful Bohra community.

The petition calls FGM a discriminatory practice and a gross violation of the rights of women and girls. But Bohra leaders, joined by a group of Bohra women, have defended it as an “essential” religious ritual protected under India’s Constitution.

The Supreme Court has tasked two panels with examining the constitutionality of female genital cutting. A decision in the case is still pending.

The delay “clearly demonstrates the lack of political will amongst legal authorities, policymakers and law enforcement to prioritize protecting girls from FGM in India,” Anantnarayan said in an email. “Like so many other issues of violence against women in India, FGM/C too continues to be practiced with impunity as the country just turns a blind eye to the plight of women and girls.”

The Indian Embassy in Washington did not respond to a request for comment.

India is not the only Asian country without an FGM ban. The ritual persists in at least 10 countries on the continent, all without legal prohibition.

In the face of opposition from the powerful Bohra community, many activists view a ban as unlikely. But they don’t see changing laws as a panacea. Instead, they find hope in shifting mindsets.

Mariya Taher, another co-founder of Sahiyo and herself a survivor, noted that the same survey that revealed an 80% prevalence rate of FGM among the Bohras also found that 81% opposed continuing the tradition.

“The assumption was that everyone thought it was important to continue,” she said in an interview.

She said she learned from talking to fellow Dawoodi Bohras in the U.S. that some mosque leaders have been quietly urging mothers to spare their daughters, despite the group’s official stance.

“I think social change takes a long time, but it’s heartening to see that as this issue gets more attention, we are seeing that attitudes towards it are shifting,” she said.
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