A<scp>rt under the</scp> S<scp>iege</scp>

Boullata, Kamal

doi:10.1525/jps.2004.33.4.070

Cited by 12 publications

(3 citation statements)

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“…When dealing with members of a population experiencing unprecedented migration out of the country, it might be argued that the most appropriate method is 'multi-sited ethnography', a necessary adaptation of the discipline to changing world realities, suited to the study of transnational communities (Marcus 1995;Gupta and Ferguson 1997). Existing literature on diasporas is extensive 3 , including research on displaced artists from the Middle East, especially Iraqi (Shabout 2012), Egyptian (Winegar 2008a), Palestinian (Boullata 2004; De Cesari 2012; Salih and Richter-Devroe 2014), and Iranian (Naficy 1991;Walker-Parker 2005). I deal with individual, displaced professionals with different personal paths and approaches, rather than a unified community of artists, and my methodological choices respond to these conditions.…”

Section: Methodsmentioning

confidence: 99%

Artists from Syria in the International Artworld: Mediators of a Universal Humanism

Cusenza

2019

Arts

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With the outbreak of the Syrian conflict in 2011, many artists left as part of a massive migratory flow out of the country. Other artists had already migrated because of perceived constraints to art-making due to censorship and lack of professional opportunities. Both waves of migration converged in artistic hubs throughout the Middle East and Europe. From the interviews I carried out with visual artists from Syria displaced in London and other locations, it emerged that they faced a shared dilemma. Many wished to move away from politics focusing on universal themes like human suffering, which in the Syrian art-scene were perceived to be apolitical. In exile, however, it is precisely these themes that marked their works as political in the eyes of agents of the artworld and international audiences. I argue that this politicization is a form of essentialization and homogenization of the Syrian art-scene abroad, for categorizing these artists as ‘Syrian’ or ‘Middle Eastern’ flattens their individual creativity by placing them within a national or regional category. This form of ‘othering’ is rooted in the history of Western colonialism in the Middle East and postcolonial geopolitics and power relations structuring the Syrian conflict and Western perceptions of it. I show how my informants attempt to overcome these constraints by employing the discursive register of universalism, while often organizing their lives around the ‘Syrian artist’ category.

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Section: Methodsmentioning

confidence: 99%

Artists from Syria in the International Artworld: Mediators of a Universal Humanism

Cusenza

2019

Arts

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“…When dealing with members of a population experiencing unprecedented migration out of the country, it might be argued that the most appropriate method is 'multi-sited ethnography', a necessary adaptation of the discipline to changing world realities, suited to the study of transnational communities (Marcus 1995;Gupta and Ferguson 1997). Existing literature on diasporas is extensive 3 , including research on displaced artists from the Middle East, especially Iraqi (Shabout 2012), Egyptian (Winegar 2008a), Palestinian (Boullata 2004;De Cesari 2012;Salih and Richter-Devroe 2014), and Iranian (Naficy 1991;Walker-Parker 2005). I deal with individual, displaced professionals with different personal paths and approaches, rather than a unified community of artists, and my methodological choices respond to these conditions.…”

Section: Methodsmentioning

confidence: 99%

Arts and Refugees: Multidisciplinary Perspectives

Martiniello

2019

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This book focuses on the relevance of the arts and of artistic practices in the actual integration of refugees into the social fabric-a topic which is relatively neglected both in media and political discourse. In the context of the highly polarized public opinion on migration and refugee issues, migrants and refugees tend to be seen either as a threat against which we have to protect ourselves, or as passive victims in need of our help, sometimes in a paternalistic way. Too rarely do we see migrants and refugees as agents, persons who contribute positively to the development of human society in various ways, including through their artistic practices, despite the hardships they are going through. This book contributes to the much-needed counternarrative of migration and asylum. I would like to dedicate it to the thousands of women, men, and children who lose their lives every day, in trying to reach a safe haven.

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“…A través de la vida de su protagonista, una madre que vive en el campo de refugiados de Burj el-Barajne, en Líbano, muestra la feminización de la resistencia y la noción de fertilidad y la reproducción como un arma (Kanafani, 2015). Las viñetas de Nayi al-Ali también contienen representaciones de la madre palestina: uno de sus personajes más importantes es Fátima, una madre de un campo de refugiados que ha perdido a su hijo en la resistencia (Khoury et al, 2013: La representación de Palestina como la madre también se popularizó en las obras de arte de Sliman Mansour, Nabil Anani e Ismail Shammout, (Ankori, 2006;Boullata, 2004;Sherwell, 2001) quienes, durante la década de los setenta, imprimieron y distribuyeron carteles y postales con las imágenes de sus obras, que circularon tanto en los Territorios Ocupados como en campos de refugiados palestinos. En la línea de dichos carteles, se encuentran aquellos producidos por Fatah.…”

Section: Nación En Femenino: El Símbolounclassified

Dando a luz a la nación: la matria palestina // Bearing the nation: Palestinian motherland

Azuara

2018

JFGWS

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ResumenEste artículo analiza la feminización de la nación palestina partiendo del marco teórico elaborado por Nira Yuval-Davis y Floya Anthias en su obra Woman, Nation, State (1989), donde identifican las vías por las que las mujeres participan en los procesos de construcción de la nación. Se va a prestar especial atención a la mujer como participante en las contiendas nacionales y como símbolo de identidad.No obstante, dentro del análisis de la participación de las mujeres palestinas en las contiendas nacionales se incluye también su papel como reproductoras biológicas y culturales de la nación ya que dar a luz, en el contexto palestino equivale a la participación en combate. A partir de la participación de las mujeres en tanto que agentes activas de la resistencia y símbolos, el presente estudio propone el término “matria” como una forma de narrar el nacionalismo palestino. En contraposición a patria, matria denominaría un espacio en términos femeninos donde las mujeres son las actrices principales en la construcción de la nación.El presente artículo explora la construcción nacional de la matria palestina con un enfoque de género que visibiliza a las mujeres palestinas. La conclusión central es que hay una superposición en la importancia del papel de las mujeres como agentes activas en la construcción de la nación y como símbolo de la nación feminizada, por lo que se puede afirmar que Palestina es una matria.Palabras Clave: Palestina, nacionalismo, mujeres. AbstractThe article analyzes the Palestinian nation and its process of feminization based on the theoretical framework elaborated by Nira Yuval-Davis and Floya Anthias on “Woman, Nation, State” (1989) that locates different ways of women’s participation on the national process. The study will focus on women as active agents on the nation building process and as symbols of identity. Their role as biological and cultural reproducers of the nation will be included as a form of participation in the national struggle, since giving birth in the Palestinian context is considered equivalent to participation in combat. Present study proposes the term matria (motherland) as a way of narrating Palestinian nationalism. In contrast to patria (fatherland), matria is a feminine space where women are the main actresses in the construction of the nation. This article explores the national construction of the Palestinian matria and concludes that there is an overlap in the importance of the role of women as active agents in the construction of the nation and as symbols of the feminized nation, therefore Palestine is a motherland not a fatherland.Key Words: Palestine, nationalism, women.

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Art under the Siege

Cited by 12 publications

References 0 publications

Artists from Syria in the International Artworld: Mediators of a Universal Humanism

Artists from Syria in the International Artworld: Mediators of a Universal Humanism

Arts and Refugees: Multidisciplinary Perspectives

Dando a luz a la nación: la matria palestina // Bearing the nation: Palestinian motherland

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