The Image of Oriental women in Street Art in the Middle East (original) (raw)
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Women representation in the post-revolution graffiti in Egypt
This paper argues that the graffiti production in Egypt after the revolution reflects unprecedented progressive and empowering image of the Egyptian women. Precisely, the paper will focus on women-centered graffiti drawings, which includes the graffiti produced by women artists and graffiti pieces where women’s liberation is the subject matter, taking into account that many graffiti have anonymous authors. I will show the significance of graffiti in different international cultures, moving to its development in Egypt before and after the revolution. The theoretical aspect of the paper will tackle Amy Mullin's theory of activist art (2009) and its application on the public arts, specifically graffiti. From this perspective, I will focus on four different women-centered graffiti drawings, using content visual analysis and relying on the rhetorical criticism methodology used by Bardhan and Foss (2015). Finally I will discuss the legacy of the post-revolution women- centered graffiti in Egypt and I will reflect on the relationship between art, socio-political climate and women empowerment.
the Journal "Science and Arts/Studies and Research" issued by Helwan University on 12/11/2019. ISSN 1110-1369, 2019
Full translated papers from Arabic to English: THE EMPLOYMENT OF PUBLIC MURAL DESIGN IN SERVING FEMINIST ISSUES IN THE EGYPTIAN SOCIETY AN EDUCATIONAL AND PRACTICAL EXPERIMENT WITH A GROUP OF STUDENTS FROM THE 4RTH LEVEL AT THE MURAL PAINTING SECTION IN 2018/2019 Exhibition: Graffiti... No for FGM The research was published 3 times: The 1st, as an exhibition titled "Graffiti... No for FGM", in "Cairo Atelier" on June 9, 2019 for one week, the exhibition presented about 90 designs of students; the designs are representing the outcome of an art project within the "Mural design" academic course under the supervision of Dr. Zeinab Nour. The 2nd time, it was accepted to be published (in Arabic) in the Journal "Science and Arts/Studies and Research" issued by Helwan University on 12/11/2019. ISSN 1110-1369 The 3rd time, it was presented in February 2020 for the promotion of Professorship Title to be examined and discussed as a peer reviewed publication (in Arabic) by "The Permanent Scientific Jury for Academic Promotions of Fine Arts" which is assigned by the Egyptian Ministry of High Education Abstract In 2017, the researcher published a paper in the scientific conference of the Faculty of Fine Arts in Cairo with the cooperation of Ierek publisher, entitled " Reflections of the Feminism in Contemporary Mural Painting between Occidental and Oriental societies" ; while working on this research she noted that treated feminist issues by female artists in Western societies have been diversified in their graffiti art, this case was not the same with the problems of eastern women, especially Egyptian ones; for the subjects presented by artists in Egypt and since 2011 were focusing in Egyptian graffiti works on harassment, personal liberty or independence of women, which is from the point of view of the researcher a kind of shallow social issues; for example she did not meet many of mass artworks that deal with more profound issues that affect the emotional and humanitarian construction of the Egyptian female in particular ... since such issues are considered "taboo" difficult to talk about or refer to, and from the researcher's point of view that this avoidance of deep issues of women in our society, it is no longer compatible with the development of age, especially contemporary art, which is concerned about social issues One of the most serious of these problems, for example.. The problem of the diffusion of the practice of female genital circumcision in the Egyptian society, Egypt is the most country in terms of the number of girls who underwent the process around the world, despite the fact that the origin of this habit has nothing to do with the history of ancient Egypt (before the late civilized degeneration periods) nor with the Islamic or Christian beliefs, which the researcher discussed in detail in a previous study entitled (The lie of the "Pharaohs FGM") . The researcher wondered about the reasons that may be behind this deficiency in expressing one of the most important problems of Egyptian women by artists, especially contemporary artists. What is meant here by Egyptian woman is that woman in rural areas, slums and poor communities before the woman who lives in the city and whose life is very different from First, it appears that the topic has dimensions related to customs, traditions and other restrictions that may be difficult for the artist to take up and present in public, which is a natural matter in an oriental society that tends to be religious and conservative and conceals the internal problems of homes, especially the problems of women, etc. But the researcher (as an artist as well) thinks that this deficiency should not prevent the artist from trying as long as he/she feels his responsibility towards the society in which he lives.. it is one of the most important roles of the mural painter who presents his art mainly for the public and not for the elite, the researcher believes that it is possible in light of contemporary social development and the openness that is taking place in increase .. It is possible to find or invent visual formulas through which the artwork can be presented so that it is acceptable, especially by the lower segments of society that need to receive intensified and diversified methods of awareness, they are the slides that spread this phenomenon more than other middle and upper social segments. In her role as a university professor, the researcher sees that for young artists in the specialization who are studying the basics of the public art, its philosophy and techniques in the Mural Painting Division, if they do not have the right and duty together to address social issues as an expression and a reform of it..Who has it? They must also have a more effective social role and keep pace with the global artistic and intellectual challenges in a way that does not contradict the human values in their eastern societies; as global feminist issues have someone who speaks in its name, so there must be someone who speaks in the name of eastern women as well, especially Egyptian, from the point of view of the Egyptian woman herself, and thus the conversation shall be balanced, the Egyptian woman cannot be dependent on the ideas of the West without examining what she needs to talk about or explain to the world and to her own society From the foregoing, and because the researcher has a special interest in feminist issues, the idea of presenting this issue with all its societal, historical, psychological, physiological and artistic dimensions emerged on a group of senior students in the mural painting division, as an artistic project that tests the extent to which they can interact with the issue, humanely first and then visually as it is basically a human issue. because the topic in terms of its nature is a difficult topic to tackle and new in terms of trying, there are many feminist topics that the senior students dealt with individually, especially in their graduation projects, but the researcher does not remember seeing or hearing that this particular problem - a problem or phenomenon of female genital circumcision - has been done or addressed through a group art project for a group of students in any of the Faculties of Fine Arts in Egypt; therefore it is a subject that needs a high degree of preparation, study and research, and also a good level of preparation of the student psychologically, conceptually and visually, which is exactly what the researcher did with her students; she tries through this paper, theorizing her educational experience and the steps she has taken on scientific, technical and psychological grounds ... to finally reap a group of high-level artworks that were displayed in a special exhibition at the Cairo Atelier Gallery in June 2019 titled "Graffiti..no FGM", Where the exhibition received a good media coverage, and most importantly, it was to achieve the goal of research in breaking the barrier of fear and shame among young artists, especially female ones, to address sensitive issues in artistic works that offer aesthetics of a special kind and the ability to address public masses through awareness-raising and cultural indirect methods to address them with moral and humanitarian awareness, even religious
The veil as a tool of expression in the work of Arab women artists, 2000 to 2019
2020
For a long time, the veil has been a signifier of great contention in the cultural encounters between the West and the Muslim world. A great deal of research has been conducted on its meanings as it is received in (predominantly Western) contexts where the veil is interpreted as a marker of exoticism and difference. However, there remains a scarcity of research considering the matter from the other directionthat is, in terms of what the veil means to Muslim women living in, or with connections to, Islamicate countries. To address this gap, this study considers representations of the veil and veiling in works by contemporary female Muslim artists from, or with connections to, the Middle East and North Africa (MENA) region, in the medium of photography. The artists whose work is considered in detail are Zineb Sedira, Lalla Essaydi, Shadi Ghadirian, Shirin Neshat, Newsha Tavakolian, Manal Al-Dowayan, Mona Hatoum, and the team of Farhad Moshiri and Shirin Aliabadi. Specifically, the representations considered are those in which the veil is mobilised as a specific thematic or semiotic resource. I do not consider Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns certain copyright or related rights in it (the "Copyright") and s/he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trademarks and other intellectual property (the "Intellectual Property") and any reproductions of copyright works in the thesis, for example graphs and tables ("Reproductions"), which may be The Author I am a lecturer in the Art Department of the College of Basic Education at the Jaber Al-Ahmad University. I was awarded a scholarship by the Public Authority for Applied Education and Training (PAAET) of Kuwait to carry out the research for this PhD. In my future teaching, I plan to focus on the sorts of approaches adopted here: a deconstructive, critical approach to the analysis of cultural and intercultural representations. My bachelor's degree was in Art, awarded by Jaber Al-Ahmad University in 2007. My MA was in the History of Art, awarded by Leeds University. My dissertation analysed the work of Lalla Essaydi and its response to Orientalism. My research interests are in the areas of post-colonialism; Orientalism; the representation of Muslim women; deconstructive analysis and Bhabha's development of this into specifically post-colonial contexts; contemporary Arab and Muslim visual art; and the sociological semiotics of the veil.
Reflections of Feminism in Contemporary Mural Painting between Occidental and Oriental societies
The Academic Research Community Publication (ARChive), 2017
Feminism as a global movement was and is still working on achieving women rights & liberation in different ways and by using different tools. Art in general and mural painting as a public art in specific, are very eloquent tools to help present feminist causes to different societies. These societies vary from a nation to another, from a culture to another, depending on the extent of suffering that women endure and also depending on how strong the feminist movement is in that particular society. Despite the fact that feminism is a global movement, each society's identity is reflected differently in such kinds of arts, especially when looking at occidental and oriental worlds where ethics and traditions are distinctly different. These differences shall be normally reflected in contemporary public art, like in subjects, messages, styles, and even concerning the amount of the architectural or structural available areas for such kind of arts. This is what the researcher will try to clarify through a kind of analytical comparison between occidental and oriental societies concerning the feminist movement. This includes its murals as a public art, especially in Egypt where feminist public art can be considered limited, the matter that may lead to some significant conclusions about the importance of such art, its role and its effect on the society.
ARTH 385 SYLLABUS-Women, Gender and Contemporary Art of the Middle East-REDUCED FILE.pdf
This course examines contemporary artistic practices of artists based in the Middle East and within the diaspora, through the lens of women's perspectives and gender issues. Taking cues from the late Jamaica-born cultural theorist Stuart Hall-in his argument that cultural identity is fluid, mobile, hybrid, and often plural in nature-this mid-level course examines contemporary visual and literary cultures (e.g. architecture, literature, painting, sculpture, photography, film, and beyond) against the backdrop of migration and cosmopolitanism, created by predominantly women artists who originally hail from, or have roots in, a range of Middle Eastern and North African nations. In addition to the intersections of cultural identity and geopolitics, our queries will focus on artistic production vis-àvis issues of gender and women's plural subjectivities. Identity in the Middle East and North Africa is an inherently complex matter, and it is rendered even more complex with the women artists we will look at this module. The Middle East and North Africa are plural, diverse regions with incredibly multicultural, multi-religious (e.g. Muslim (Shi'a, Sunni), Jewish, Coptic, Catholic, Druze, Orthodox Christian, Zoroastrian, etc.), multiethnic (e.g. Armenian, Jewish, Berber/Amazigh, Arab, Turkic, Kurdish, Farsi/Persian, etc.), multilingual (e.g. Arabic (a Semitic language) and its various dialects, Hebrew, Amazigh (a Berber language), Farsi (an Indo-European language), Turkish (Ural-Altaic language), Urdu (Indo-Aryan/Indo-European)) populations. Formerly referred to as the "Orient" or "Near East" by western colonial officials and administrators, we now understand those labels to be problematic for their presumptuous definition of this vast and multifarious region in terms of its relation to and orientation vis-à-vis Europe. It deserves mentioning that the term "Middle East" is also fraught with colonial connotations, but it is the descriptor we will nevertheless be employing in this class. Moreover, while the vast majority of women artists whom we will be exploring come from Muslim backgrounds, it would also be specious to call them "Muslim artists" or claim that they hail from the "Islamic World," as many of them do not practice Islam, though they might self-identify as culturally Muslim or some might proudly consider themselves Arab or Persian but not Muslim, for example. Such self-identifications are malleable, ever-changing, and often seemingly contradictory.
Re-Defining Revolution: A Case Study of Women and Graffiti in Egypt
Like any social phenomenon, revolutions are gendered. The male tilt of revolutionary processes and their histories has produced a definition of revolution that consistently fails women. This thesis aims to redefine revolution to incorporate women’s visions of societal transformation and the full achievement of their rights and freedoms. I argue that approaches to women’s revolutionary experiences are enriched by focusing on the roles of culture, consciousness, and unconventional revolutionary texts. Egypt is examined as a case study with a focus on the nation’s long history of women’s activism that took on new forms in the wave of socio-political upheaval since 2011. Using interdisciplinary, visual analysis, I examine graffiti created by women, or that depict women between 2011and 2015 to reveal how gender was publicly re-imagined during a period of flux for Egyptian society. The historical and visual analysis contribute to a new definition of revolution, one that strives to achieve the total transformation of society by disrupting gendered consciousness to finally secure rights and freedoms for all.
Street Art and the Arab Spring: The Passage from Revolution to Institution
In few decades, street art has succeeded in migrating from the hidden undergrounds to the open streets. Shortly after the Arab uprisings in 2011, street art has proliferated in almost all the Arab countries. Each country used it for its own purpose, producing works of art that are unique to the place where they were produced. This article traces the evolution of street art during and after the Arab Spring. Drawing from social theory, it discusses the context that catalysed the emergence of some Arab street art experiences and the dynamics that interplayed, strongly marking the artistic scene during and after the Arab Spring. The article is a prelude to further research conducted on the street art scene in the MENA region.
Arte, Individuo y Sociedad, 2023
The public space in the Arab World has historically been controlled and seized by political authorities. This appropriation has created a deep rift between citizens and public places. Nevertheless, since the beginning of the Arab revolutions, new youth art forms have emerged liberating the arts from traditional formalism and these have been transferred to open spaces making them accessible to the people. This research seeks to explore the youth street art that emerged during the Tunisian revolution, not only as an innovative artistic trend, but also as a social movement that claims a new kind of citizenship. It aims to analyze the philosophical and aesthetic purposes of street art and its role in the liberation of public space. The methodology is based on qualitative interviews and participant observation with members of two street art groups Ahl Al Kahf and Fanni Raghman Anni that emerged during the Tunisian revolution of 2011. The results reveal that the youth revolutionary artistic phenomenon represents a new creative project and constitutes a. intellectual and artistic rupture with the prevailing aesthetic practices.
MAI: Feminism & Visual Culture #10- 'Feminist Discourse in Comics and Graphic Novels', 2023
https://maifeminism.com/reclaiming-spaces-from-the-streets-to-the-gutter/ Throughout what is commonly referred to as the Arab world, comics addressed to adults have especially been booming since 2011 thanks to the efforts of ‘collectives’, i.e. groups of engaged visual artists and art practitioners joining forces for the establishment of various platforms for creative expression. The comics produced can be considered as one of the outcomes of the Arab Uprisings and they emerged in interaction with other forms of art facilitated by new means of communication. Although the issues, styles, topics covered and the languages used vary greatly from artist to artist, and from country to country, many are anchored in and reflect every day realities. This is significant, as the focus on everyday realities reveals how the social becomes the political. The critique of authoritarianism carried throughout the uprisings also included a critique of the patriarchal system. Unequal gender dynamics, the marginalisation of women and trans- and non-binary people, topics considered ‘taboo’ such as sexuality, LGBTQ+ issues, domestic violence have been the subject of a growing number of comics, both within the collectives, but also as special issues published in partnership with various local feminist organisations. This article delineates and discusses some of the contributions and argues that the question of gender represents the radical reassessment of public spaces, of notions of belonging and citizenry and overall a sense of agency in toppling dominant and power-orchestrated systems of value. Further, it asks: how are struggles related to political, social, and gender issues addressed in these comics? How is feminist agency regained collectively and against repressive national narratives? what kind of imaginaries and imaginations of the future do these graphic interventions renegotiate?