Written by Adi Roy
Research Intern,
Jindal Centre for the Global South,
O.P. Jindal Global University, India
During the 1980s in the United States, penetrating the world of art, a silent revolution brewed beneath the surface, hidden behind the masks of guerrillas. Armed with powerful and thought-provoking art and installations, anonymous figures emerged, challenging the deeply rooted gender bias and sexism in the art world. Known as the Guerrilla Girls, this group of feminist artists sparked a global movement with their unapologetic and audacious activism, challenging an industry designed to suppress women. Using their creativity to voice the unheard, such feminist activists attack the structures working against them. This is true for movements and individuals worldwide, particularly in the Global South. Art has always been a medium of critique and activism, with such creative expressions becoming powerful channels of voicing oneself, and one’s community.
The Guerrilla Girls’ revolutionary movement not only made waves in the United States but also expanded its influence globally, resonating with artists and activists in diverse corners of the world. Their fearless approach to challenging gender bias and sexism found echoes in various feminist movements, inspiring artists to use their creative mediums to fight for equality and justice. In India, the collective ‘Gulabi Gang’ emerged in the 2000s, led by Sampat Pal Devi, a social activist. Clad in pink saris, this group of women activists and artists tackled domestic violence, caste discrimination, and women’s rights issues. Their powerful protests and street performances often incorporated elements of theatre, dance, and art to draw attention to the struggles faced by women in rural communities.
In Mexico, the ‘Mujeresen Resistencia’ (Women in Resistance) movement has combined art and activism to advocate for gender equality and women’s rights. This collective of artists, writers, activists, and more, leverages various creative mediums, including street art, murals, performance art, and poetry, to address the pressing issues women face in Mexican society. Through their powerful street art murals, ‘Mujeresen Resistencia’ artists depict the strength and resilience of women while shedding light on the pervasive gender-based violence and femicide in the country. These murals often feature symbolic representations of empowered women, aiming to reclaim public spaces and create a sense of solidarity.
It is, thus, evident that deep within the boundaries of the Global South, artists and writers take to their skill and imagination to fight their causes. From the powerful autobiographical works of Frida Kahlo with evocative symbolism, to the writings of Chimamanda Ngozi Adichie tackling issues of gender and identity, art as a medium is an avenue to challenge normative power structures, oppressive narratives, and hierarchies. An artistic medium’s intrinsic nature of being non-conforming allowed it to become a tool of resistance. However, the most potent aspect of feminist art is its intersectionality. Feminist art intersects with public discourse, and lends itself to other movements, such indigenous and LGBTQ+ rights, environmentalism, and such.
In Nigeria, the ‘Bring Back Our Girls’ campaign gained international attention following the abduction of over 200 schoolgirls by the extremist group Boko Haram in 2014. Activists and artists, including novelist Chimamanda Ngozi Adichie, mobilized their creative talents to demand the safe return of these girls and advocate for the right to education for all Nigerian girls. Adichie’s eloquent speeches and powerful writings shed light on the complexities of gender identity and social justice, resonating with audiences both within and outside Africa.
A few years earlier, in 1981, in Karachi, Pakistan, a group of 15 women established the Women’s Action Forum (WAF), which acted as a collective for artists, activists, and writers amidst repressive military dictatorship. Through protests, public demonstrations, and art exhibitions, WAF directly challenged patriarchal systems and fought for more excellent representation and gender equality. Their activism sparked a greater wave of women’s rights movement in Pakistan. Here, by capturing the power of art, WAF organised exhibitions showcasing women artists, focusing on themes like domestic violence, empowerment, and more. Through collective action, using a creative medium allowed for more significant proliferation of their message and made their fight more accessible to the broader public.
However, while participating in activism through art, such movements and individual artists face the delicate task of navigating cultural and social contexts while addressing sensitive issues. Such artists, often part of larger movements, engage with their audiences delicately. In this, symbolism plays a pivotal role in the artistic expressions of feminist artists in the Global South. With the incorporation of contextualised imagery, folklore, history, and local symbols, artists attempt to converge the lines of artistic intent and unique cultural contexts. This generates spaces for more excellent dialogue and discussion, furthering awareness.
In addition, many movements adopt collaborative practices, through creative collectives and the inclusion of local artists, activists, writers, community leaders, etc. With a number of renowned series of photographs and videos, Iranian-born artist Shirin Neshat explores the complexities of identity, veiling, and female agency within Islamic culture. By employing contextualized symbolism, Neshat confronts stereotypes and challenges assumptions surrounding Muslim women. Her art reflects a nuanced understanding of cultural sensitivities, engaging viewers in a dialogue that bridges cultural divides and fosters a deeper appreciation for the diverse experiences of women in the Global South.
Artists employ a plethora of mediums and innovative creative expressions to challenge prevailing gender norms productively. Their artistic endeavours serve as potent catalysts for transformative social change, as they confront societal constructs, amplify marginalized voices, and promote the pursuit of gender equality within their respective contexts. In her novel ‘Woman at Point Zero’, Nawal El Saadawi, an Egyptian writer and activist, exposes the systemic injustices women face in Egyptian society, highlighting the need for gender equality. Sparking widespread conversations on women’s rights, El Saadawi’s boldness in addressing taboo subjects and her commitment to activism make her a powerful voice for social justice in Egypt and beyond. This demonstrates the transformative potential of art and literature in advancing such discourse and addressing inequalities.
Through their artistic struggles, these artists harness the power of imagination, symbolism, and subversion, carving innovative paths. Zanele Muholi, a South African artist, uses their art to disrupt entrenched gender norms, advocating for the rights of the LGBTQ+ community and driving social change. Through their compelling photographic series ‘Faces and Phases’, Muholi portrays the diverse experiences and identities of Black LGBTQIA+ individuals in South Africa. By capturing their subjects with intimacy and respect, Muholi humanizes and celebrates their existence, countering stereotypes and challenging societal prejudice. Their art not only addresses local issues but also contributes to the global discourse on gender equality. This champions the intersectionality of feminist art and other social issues, with pioneering artists driving change.
In summation, the feminist art movements in the Global South have emerged as a resounding call for change, harnessing the transformative power of creativity to challenge societal norms and redefine narratives. Through their bold and innovative expressions, these artists navigate the intricate tapestry of cultural and social contexts, paving the way for a more inclusive environment. These artists dismantle oppressive structures and ignite conversations that stir empathy, understanding, and collective action by amplifying marginalised voices and offering fresh perspectives.
References
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Guardian News and Media. (2015, May 11). Chimamanda Ngozi Adichie: “fear of causing offence becomes a fetish.” The Guardian. https://www.theguardian.com/books/2015/may/11/chimamanda-ngozi-adichie-fear-causing-offence-a-fetish
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Singh, P. (2021, July 7). The power of art: An instrument for activism & resistance. Feminism in India. https://feminisminindia.com/2021/07/08/the-power-of-art-an-instrument-for-activism-resistance/
Smith, S. A. (2021, March 22). Nawal El Saadawi obituary. The Guardian. https://www.theguardian.com/world/2021/mar/22/nawal-el-saadawi-obituary
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Zanele Muholi. The Guggenheim Museums and Foundation. (n.d.). https://www.guggenheim.org/artwork/artist/zanele-muholi
The opinions expressed in this article are those of the author (s). They do not purport to reflect the opinions or views of the Jindal Centre for the Global South or its members.
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