Feminist Art Histories in the Middle East and North Africa (Chair)

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.

Published for the British Academy by Oxford University Press, 2020

Under the Skin: Feminist Art and Art Histories from the Middle East and North Africa Today brings together a collection of essays focusing on art practices informed by feminisms and decolonisation in the Middle East and North Africa (MENA) from the 1950s to the present.

Atassi Foundation, 2022

In this essay, Nour Asalia presents a conceptual framework for the presence of women in the Syrian visual art scene and their multiple roles, and explores the changing artistic features of female artists by reflecting concerns through history, based on examples of artworks by Syrian artists from different generations.

Women, Activism, and the Arts, 2009

The Palestinian Cause in Arts, Media and Scientific Research, 2024

Call for papers for a special issue of International Journal of Literature and Arts (ISSN Online 2331-057X) on The Palestinian Cause in Arts, Media and Scientific Research LINK OF THE CALL: http://www.literarts.org/si/index/502025 Deadline for manuscript submissions: Jun. 30, 2024 The Palestinian Cause has long been a focal point for both Arabic and international societies, transcending gender, nationality, and age, and encompassing a wide range of educational and professional backgrounds. It has inspired various forms of artistic expression, including literature, music, drama, dance, visual arts, and film, as well as media investigations and academic studies. This cause has been recognized as an international issue, prompting in-depth examinations from different perspectives. Artists, both Palestinian and from the broader Arabic and international communities, have contributed significantly to addressing the Palestinian Cause. Their collective action underscores the universality of the issue, evoking deep emotions and a sense of shame in those who fail to grasp its depth and sensitivity. The love for Palestinian territory permeates the veins of many societies, fostering a strong attachment to the Palestinian land. Among the native Palestinian artists, prominent figures such as poets Mahmoud Darouich and Rifaf Zieda, painters Jamel Bedouin and the late Ismael Chammout, and the recently deceased artist and activist Rim Al Banna have captured the Palestinian experience through their respective artistic mediums. Furthermore, numerous Arabic artists have consistently engaged with the Palestinian Cause in their artistic pursuits, using art as a means of expression. Notably, the collaboration between the Rahbani brothers (a poet and composer) and the Lebanese singer Fairouz resulted in the creation of the renowned song "Zahrat Al Madaen" (The Flower of Cities), which powerfully conveyed the pain of the June 1967 setback. Arabic poets, too, have delved deep into the Palestinian quest, with the late Syrian poet Nizar Kabbani gaining recognition for his transcendent poems that crossed linguistic boundaries. The Palestinian cause has also found expression in docu-fiction films, including the notable work "Swallows Do Never Die in Jerusalem" by Tunisian filmmaker Ridha El Behi. Caricature and photography have played a significant role in portraying the Palestinian Cause, particularly with their widespread dissemination through social media platforms. These expressive art forms, with their instantaneous reach and timely updates, have become powerful instruments in supporting the Palestinian cause. Through these diverse artistic expressions and the power of media, the Palestinian Cause has emerged as a testament to pain and suffering, inspiring a collective demand for liberation from nations worldwide. This phenomenon calls for analysis, which can be explored through the contributions of different participants focusing on three main axes: • (1) The Palestinian Cause, as it is treated in artworks (music, cinema, literature, paintings, sculptures…) • (2) The Palestinian Cause, as it is treated through media (interviews, investigations, pictures, reports…) • (3) The Palestinian Cause, as a study and/or research field (in philosophy, psychology, human sciences, sociology…) We invite researchers, educators and practitioners to contribute their insights, experiences and research findings to this special issue. Keywords: 1. Palestinian Cause 2. Arts’ Issue 3. International Issue 4. Media Representation 5. Cultural Contributions 6. Liberation Demand 7. Research Field 8. Freedom Of Expression Lead Guest Editor • Faten Ridene Higher Institute of Music and Theatre, University of Jendouba, Tunisia , Ariana, Tunisia Guest Editors • Ali Chamseddine Higher Institute of arts and crafts Gabes，University of Gabes , Gabes, Tunisia • Asma Manai Department of Interior Design, University of Manouba , Manouba, Tunisia Call for Papers This special issue is open for submissions of original research. It accepts full papers, abstracts and tentative paper titles. The submission deadline is Jun. 30, 2024. Authors are encouraged to contribute research in related fields to the special issue. Manuscript Submission Publishing research works with Science Publishing Group is simple and efficient. Here are 3 ways for you to submit your manuscript.

Ragazine, 2012

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.