Facing challenges and pioneering feminist and gender studies: women in post-colonial and today's Maghrib
In: African and Asian studies: AAS, Band 7, Heft 4: Researching African Women and Gender Studies, S. 447-470
ISSN: 1569-2094
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In: African and Asian studies: AAS, Band 7, Heft 4: Researching African Women and Gender Studies, S. 447-470
ISSN: 1569-2094
World Affairs Online
In: African and Asian studies: AAS, Band 7, Heft 4, S. 447-470
ISSN: 1569-2108
AbstractStarting from the premise that the nature and impact of women's agency can be understood only within specific historical and socio-cultural environments (Sadiqi, 2003), the major aim of this paper is to highlight the multi-faceted agency of women in post-colonial and today's Maghrib. The Maghrib is a North African region that includes Morocco, Algeria, Tunisia, Libya and Mauritania, but I chose to focus on the first three countries given their common historical and socio-cultural background. Not only have women in this region faced challenges, but they have also pioneered feminist and gender studies and raised new issues for these disciplines in the global South as well as the North. Four major interrelated domains where these achievements are significant are considered: women's reproductive rights, women's movements, women's legal rights, and women's knowledge production. Issues related to these domains are analyzed from a broad comparative perspective which involves an overall political and economic contextualization. The paper reveals the positive role that Maghribi women have been playing in the overall development of their countries and the main outcomes show that the future of the Maghrib is significantly linked to the fate of these gains.
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In this talk, I want to examine the place of art in women and gender studies, and how these areas draw upon the interdisciplinary promise of feminist theory when considering cultural production. Art history has been part of women's studies and the work of women artists is studied, but in the pre-dominant switch to gender, sexuality and representation in course structures, I want to draw attention to areas of enquiry that are missing from debates about feminisms in relation to contemporary art. I will refer back to different understandings of the role of art within the women's movement in the 1970s and to the situation of women artists in the art world then and now which are contributing to this situation. Artists and artworks have produced a visual language for feminist protest and produced works which are strongly issue-based and politically engaged with regard to feminist issues, but visual art itself is marginal in most women and gender studies by comparison with research on mass media, film and literature. Studying gender, sexuality and representation (the dominant course, where feminism appears in arts curricula and visual arts in gender studies), art emerges again as a key area of interest, but this provides a very specific focus on certain types of visual representation and I will argue, as a result, other formulations of the relations between aesthetics and politics are not at the centre of these debates.
BASE
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