Literature Polygyny has appeared in literature in many different Islamic societies. Indian Muslim literature has traditionally stood divided on its position on polygyny as a justifiable practice. Two Indian authors, Akbari Begum and Bashiruddin Ahmad, revealed in their novels a belief that polygyny is acceptable in certain circumstances; whereas Nazr Sajjad Hyder opposed this notion and completely rejected the practice in her work.
Gudar ka Lal (The Ruby in Rags), written in 1907 by Akbari Begum, projected the author's beliefs on a wide range of subjects involving the treatment of Muslim women and girls, including polygyny. The story's plotline revolves around the relationships between Yusuf Raza and his two wives, Maqbool and Mehr Jabeen. Yusuf Raza remarries when he realizes that his first wife is so uneducated that she does not know how to properly take care of her children or the household. At first, Maqbool is resentful of Mehr Jabeen, but eventually she recognizes Mehr Jabeen's kind and friendly nature, and the two become friends. This happy outcome reflects Begum's belief that polygyny in Islam can be justified when marriages are seen as incompatible and could benefit from a second wife who could help around the house and thus ease tensions. Bashiruddin Ahmad's novel,
Iqbal Dulham (The Bride Iqbal), also promotes the ideal polygynous relationship where the wives become friends and find vital companionship instead of competition. Published in 1908, Iqbal Dulham follows a young man, Iqbal Mirza, who marries a second wife after his first wife fails to conceive children. The initial tension between the wives is relieved when the second wife gives birth. Once Iqbal Mirza has children, his relationship with his first wife improves, and the two wives are then able to become friends. Thus, Ahmad portrays how polygyny can be used to ease the pressure on the first wife to produce children. The complexity of Islamic polygyny is also revealed in
Assia Djebar's
Ombre sultane (Shadow sultana). Written in Algeria in 1987, it is told from the perspective of the first wife, Isma. She thus constructs through her descriptions how the reader perceives the second wife and the husband. The second wife, Hajila, is seen as a rival and is reduced through Isma's portrayals to body parts that are disassociated from Hajila as a whole person. This reveals Isma's lack of respect for Hajila and the process of "othering" that Isma uses to degrade Hajila. Hence, the idea that polygyny creates a sense of solidarity between wives is shown to be flawed. Isma also describes Hajila in unflattering terms that distance her from the attentions of the husband they share and of other men. This is in contrast to Isma's depiction of herself as constantly being the object of male desire, creating a sense that sisterhood between the two women is out of the question. However, Isma's diction also creates a relationship between herself and Hajila in which neither can exist without the other; "they are locked in a sorority created, in a way, in tandem with the patriarchal force that remains a threat to their very existence." Therefore, Djebar's portrayal of polygyny is multifaceted and conflicting: it has the ability to create both rivalry and solidarity.
Music Polygyny in Islam has surfaced in music around the world and across the decades. For instance, in Malaysia in the 1950s and 60s, the famous entertainer
P. Ramlee dealt with many sociopolitical issues in his art. Whereas the rest of the music industry was under the outside influence of Latin America, India, and the United States, Ramlee's music was inspired by what was going on in Malaysian society. He critiqued the practice of polygyny to keep in line with his self-proclaimed role of exposing the weaknesses of his society. These socially critical songs did not necessarily fit into the categories of popular music at the time, but they were still embraced by his audiences. Hip hop has become increasingly popular across the world, and Islam has had a significant influence in rap music in the United States where hip hop first emerged. Two Muslim hip hop artists who bring up the concept of polygyny in their music are Miss Undastood and Sons of Hagar. "Miss Undastood, a young veiled, African-American lyricist, raps on her CD
Dunya or Deen (Life or Faith) about war, love, the challenges of being a young Muslim woman in America, and the power of faith." Sons of Hagar is another hip hop group that seeks to positively portray Islam in their lyrics and support Islamic practices in their actions. Their song, "Sisterssss," supports polygynous practices. The members of the group rationalize that even though polygyny is illegal in America, rapping about it is much less offensive than when other artists rap about prostitutes.
Film Islamic polygyny has also appeared as a controversial issue in films. For example,
Ayat-ayat Cinta (Verses of Love) was released in Indonesia in 2008. This movie follows the life of Fahri bin Abdillah, a student in Egypt, and his relationships with four women. The film inspired more open, public discussion on polygyny in Indonesia by calling attention to the conditions of women who enter into polygynous relationships. Another Indonesian movie that tackles the subject of polygyny is
Berbagi Suami (Husband for Share), which came out in 2006. The director, Nia Dinata, was inspired by her experiences in Indonesia with women who were in polygynous relationships. She acknowledges that every woman reacted in different ways to their marriage but ultimately all felt isolated and saddened by the addition of a new wife. It is noted as the first Islam-oriented television series in the country. ==See also==