Between the state and the artist: Representations of femininity and masculinity in the formation of ideas of the nation in Central Asia

Abstract

After the Soviet collapse, the newly independent states of Central Asia found themselves in the process of forming their own national “imagined communities.” This was done to legitimize their existing territorial integrity, their rights to their titular ethnicities, and the position of political elites. This process expressed itself through the creation of particular symbols, myths, and rituals which distinguished the nation but were also used to legitimize the nation's right to exist. The symbolic and ideological construction was influenced by the former Soviet era. For example, symbolically the country was still called Rodina (motherland), but most of the symbols of power were represented by male images, for example, Amir Timur in Uzbekistan or Ablay Khan in Kazakhstan. The tradition of representing power through a male connotation had a long history in Soviet Central Asia. Interestingly, however, some contemporary artists took an alternative view and used feminine images as strong, central symbols of their interpretation of national identity, contesting the official view of nation-building. This paper seeks to trace the development of the feminine and masculine dichotomy of representation by comparing official iconography with works of famous female artists such as Umida Akhmedova from Uzbekistan and Saule Suleimenova and Almagul Menlibayeva from Kazakhstan.

Overcoming Gender Stereotypes in the Process of Social Development and Getting Higher Education in Digital Environment

“…has not yet been sufficiently studied. Though, researchers indicate that the higher educational status of the mother, as well as her status of work, income level and social position, are crucial in the gradual accumulation of positive changes in traditional and post-traditional societies [17,24,35]. Our research highlights the importance of institutionalising the concept of gender in higher educational institutions.…”

“…Furthermore, the position of men is not even discussed. Thus, the subsequent hypothesis may look as follows: if a woman chooses social independence and abandons family responsibilities in favour of career, she risks being in a position of social ostra-cism and under intense public pressure [35,36]. This pressure can also be exerted by those females, who adhere to a more traditional point of view than expected.…”

Medium of Instruction, National Identity and Attitudes Towards Gender Roles in Kazakhstan

“…While educational (Durrani et al, 2022;Palandjian et al, 2018) and media (O'Neil, 2020) discourses emphasize traditional gendered images that entertain more limiting patriarchal gender roles for women, alternative competing gendered narratives exist in cinematography, art and poetry in Central Asia (Belafatti, 2019;Kudaibergenova, 2016b;Salimjan, 2017). Unlike Uzbekistan, in Kazakhstan and Kyrgyzstan, women are occasionally portrayed as strong characters and agents in state-sponsored movies and videos imbued with nationalist discourses (Belafatti, 2019).…”

“…For instance, cultural and biological reproduction of the nation is viewed as a task for women, whereas men are expected to protect the nation. In contrast to existing literature, which has explored nation-building and language (Burkhanov, 2020;Eschment & De Cordier, 2021;Fedorenko, 2012;Kesici, 2011;Mkrtchyan, 2014;Sharipova et al, 2017), and nationbuilding and attitudes towards gender (Belafatti, 2019;Kudaibergenova, 2016b;Kudaibergenova, 2018;O'Neil, 2020;Salimjan, 2017) separately, this chapter attempts to explore all three-language, national identity and gender-in the context of education. The study examines if there is a difference in national identity and attitudes towards gender roles between university students studying in Kazakh-medium and Russian-medium groups.…”

Gender and nation in post-Soviet Central Asia: From national narratives to women's practices

“…The continuity between Soviet authorities and present nationalist states regarding gender issues is also explored by Diana Kudaibergenova (2016) who analyzes the positioning of Kazakh and Uzbek women artists' work regarding nationalist gender norms of their respective countries. She analyzes the itineraries of women artists who explore alternative ways of constructing gender representations -alternative, specifically, to official and monumental art of the Soviet and post-Soviet states, which ostentatiously focuses on masculine warrior figures.…”