FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2400162740> ?p ?o ?g. }

• W2400162740 endingPage "325" @default.
• W2400162740 startingPage "310" @default.
• W2400162740 abstract "AbstractThis article examines the case of Jewish women immigrants from Ethiopia and their sense of belonging to the state of Israel and Israeli society. By focusing the discussion on the concept of home within the ideologies of nationhood and citizenship, it analyses artistic products of women that express their active participation in the production of meaning of the notion ‘to belong to a homeland’. Arguing that the artists present a multi-faceted attitude towards the nation-state, the article shows the complex positions they occupy as transnational subjects that hold hybrid identities and affiliations which open up new possibilities for civic action and subversive practices. The methodology of the present study, which integrates an analysis of artworks with a sociopolitical discussion, draws on cultural studies, migration studies and qualitative feminist methodology. It addresses three major identity categories in the discussion – those of gender, race and religion.Keywords: Tal DekelIsraeli-Ethiopian artistsTamar El-OrShula MullaTigist Yosef-RonHagar KotefEsti Almo WexlerGudai Bitoalin-ErezZaudito YosefGill PerryChandra Talpade Mohanty Notes1 Contemporary feminist research suggests that ‘experience’ and ‘voice’ are discursive products – the voice is not simply ‘there’, and experiences do not merely ‘happen’ to women. Therefore, I acknowledge that we cannot be satisfied with just ‘making an experience heard’ as a political project for its own sake.2 Pollock writes in the introduction to her book that, ‘In the 1970s–1990s, the necessity, or the intrusion, according to one’s position, was Theory … (such) theory constrains the creativity of the new generation of scholars familiar, perhaps too familiar, with the legacies of the preceding intellectual revolution that can easily be reduced to Theory 101 slogans (the author is dead, the gaze is male, the subject is split, there is nothing but text, etc.)’. See Griselda Pollock, ‘New Encounters: Arts, Cultures, Concepts’, in Conceptual Odysseys: Passages to Cultural Analysis, I B Tauris, London and New York, 2007, pp xiii–xiv.3 See, for example, Helena Reckitt, ‘Forgotten Relations: Feminist Artists and Relational Aesthetics’, in Angela Dimitrakaki and Lara Perry, eds, Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions, Liverpool University, Liverpool, 2013, pp 131–156.4 Ephfrat Huss, ‘Using Art-Based Research through Critical Perspective’, in Lea Kacen and Michal Krumer-Nevo, eds, Data Analysis in Qualitative Research, Ben-Gurion University of the Negev, Be’er Sheva, 2010 (in Hebrew)5 Tamar El-Or, Reserved Seats: Gender and Ethnicity in the Realm of Religion, Am Oved, Tel Aviv, 2006 (in Hebrew)6 Donald Preziosi, Rethinking Art History: Meditations on a Coy Science, Yale University, New Haven and London, 19897 Gideon Ofrat, One Hundred Years of Art in Israel, Westview Press, Boulder, Colorado, 1998; Yigal Zalmona, A Century of Israeli Art, Lund Humphries, London, 2013; Gilad Melzer, ‘Trespassing all Borders’, Ha’aretz (Musaf Sefarim), June 27, 2014, pp 14–15 (in Hebrew)8 Tal Dekel, Women and Migration: Art and Gender in a Transnational Age, Shlomit Lola Nehama, ed, Resling, Tel Aviv, 2013 (in Hebrew); Tal Dekel, ‘In Search of Transnational Jewish Art: Immigrant Women Artists from the Former Soviet Union in Contemporary Israel’, Modern Jewish Studies, Special Issue: Configuring and Contesting Jewish Identities in the Visual Field, vol 15, no 1, pp 109–130, Routledge, 20169 Feminist art history established a wide range of research areas, expanding form the early 1970s to the present. My research draws on seminal texts such as Ella Shohat, Talking Visions: Multicultural Feminism in a Transnational Age, New Museum of Contemporary Art, New York and Institute of Technology, MIT, Cambridge, Massachusetts, 1998; and Maura Reilly and Linda Nochlin, eds, Global Feminisms: New Directions in Contemporary Art, exhibition catalogue, Merrell, Brooklyn, London and New York, 2007. As to Israeli scholarship that relates to local feminist art history, to date only four major books have been published: Ruth Markus, Women Artists in Israel: 1920–1970, Kibbutz Meuhad, Tel Aviv, 2008 (in Hebrew); Tal Dekel, Gendered: Art and Feminist Theory, Kibbutz Meuhad, Tel Aviv, 2011 (in Hebrew); Dvora Liss and David Sperber, Matronita: Jewish Feminist Art, exhibition catalogue, Ein Harod Museum of Art, Jerusalem and Tel Aviv, 2012; Ktzia Alon and Shula Keshet, Breaking Walls: Contemporary Mizrahi Feminist Artists, Achoti, Tel Aviv, 2013. These researches, which I was deeply influenced by and which I strive to expand upon, outline the relatively short history of local art history from a feminist perspective, mainly stressing critique of gender differences and other identity categories (such as race, class and/or religion) in the context of a local, patriarchal, chauvinist and militaristic society; see: Hannah Safran, Don’t Wanna Be Nice Girls: The Struggle for Suffrage and the New Feminism in Israel, Pardes, Haifa, 2006 (in Hebrew).10 Shohat, Talking Visions, op cit; Reilly and Nochlin, Global Feminisms, op cit11 Marsha Meskimmon and Dorothy C Rowe, eds, Women, the Arts and Globalization: Eccentric Experience (Rethinking Art's Histories), Manchester University, Manchester, 201312 Many Ethiopian immigrants in contemporary Israel experience a transnational existence, as they continue to maintain relationships with family and friends still living in their country of origin, but also cultivate an interest and involvement in the politics of their first homeland, Ethiopia. They are politically active on behalf of the remainder of the Jewish community still living in Ethiopia and make substantial efforts to bring them to live in Israel despite countless bureaucratic obstacles. Many members of this community keep close contact through online forums with the Ethiopian diaspora community worldwide. In addition, many travel back to Ethiopia and initiate commercial and cultural links, mainly by importing goods and contemporary music from Ethiopia.13 Central Bureau of Statistics, Israel State, Jerusalem, http://www.cbs.gov.il/reader/newhodaot/hodaa_template.html?hodaa=201511099, accessed 14 August 2015 (in Hebrew)14 Rachel Wertzberger, The Ethiopian Community: A Situation Report, Gaps and Claims of Discrimination, Knesset Background Paper, Jerusalem, Israel, 2003 (in Hebrew)15 Smadar Tuval, Social Representations of Inclusion and Exclusion in the School System that Direct Children to Special Education, dissertation, University of the Negev, Be’er Sheva, 2004 (in Hebrew)16 Tal Dekel, Women and Migration, op cit, pp 110–11117 Arik Glasner, ‘The Price of Immigration and Acceptance with no Planning or Strategies’, Ertez Acheret Journal (A Different Land), vol 30, November 2005, p 44 (in Hebrew)18 Einat Yakir, ‘Bending Down in Order to Rise Again’, Eretz Acheret Journal (A Different Land), vol 30, November 2005, p 34 (in Hebrew)19 Esther Herzog, The Bureaucracy and the Immigrants from Ethiopia: A Dependency Relationship, Cherikover, Tel Aviv, 1998, p 121 (in Hebrew)20 Interview between the author and Tigist Yosef-Ron, 14 March 2008, in the city of Ra’anana21 Chela Sandoval, Methodology of the Oppressed, Theory Out of Bounds, vol 18, University of Minnesota, Minneapolis, 200022 Hagar Kotef, ‘House/Home’, Mafte’akh, 2010, p 1623 Ibid, p 1824 Safran, Don’t Wanna Be Nice Girls, op cit, pp 19–2025 Interview between the author and Esti Almo Wexler on 28 July 2010, in Tel Aviv26 Orna Blumen, Tovi Fenster and Chen Misgav, ‘The Body within Home and Domesticity: Gendered Diversity’, Hagar: Studies in Culture, Polities and Identities, vol 11, no 1, 2013, p 1027 Nicoletta Vallorani, ‘Skin-Deep: Women, Bodywork and National Belonging in Modern Culture’, Textus, vol 20 (2), 2007, p 46128 Kathleen Kuehnast, Chantal de Jonge Oudraat and Helga Hernes, eds, Women and War: Power and Protection in the 21st Century, United States Institute of Peace, Washington DC, 201129 http://www.un.org/en/peacekeeping/issues/women/wps.shtml30 Dalia Sachs, Amalia Sa'ar and Saria Aharoni, ‘How Can I Feel for Others when I Myself am Beaten? The Impact of the Armed Conflict on Women in Israel’, Sex Roles, vol 57, 2007, pp 593–60631 Amit Kama and Anat First, Exclusion: Mediated Representations of ‘Others’, Resling, Tel Aviv, 2015, p 72 (in Hebrew)32 Jeffrey Gettleman, ‘Women, War, and Development in Ethiopia’, Cultural Survival, vol 19, no 1, Spring 1995, http://www.culturalsurvival.org/publications/cultural-survival-quarterly/ethiopia/women-war-and-development-ethiopia, accessed 15 August 201533 Dekel, Women and Migration, op cit, p 8434 Eliezer Ben-Raphael, ‘Collective Identity in Israel’, in Hanna Herzog, ed, Reflection of a Society: In Memory of Yonathan Shapiro, Ramot, Tel Aviv, 2001, pp 489–514 (in Hebrew)35 Haggai Erlich, ‘Ethiopia: A Two Thousand Years Old Enigma’, in Sara Turel, ed, Ethiopia: The Land of Wonders, exhibition catalogue, Eretz Israel Museum, Tel Aviv, 2013, p 1736 Alon Ben David and Almez Menegisto, ‘Exposure: Rabbis Refuse to Marry a Couple of Ethiopian Origin’, Nana10, 22 May 2015 (in Hebrew)37 Email correspondence between author and Gudai Bitaulin-Erez, 15 July 2015 (in Hebrew)38 Ibid39 RedLine Gallery in Be’er Sheva is a branch of the Denver Gallery. See: http://redlineart.org/about/40 The orange juice is a reference to the famous brand ‘Jaffa Oranges’, which is one of the iconic symbols of the Zionist enterprise in the modern state of Israel, and also a symbol of the plentitude and generosity of that land. In this case it takes an inverted, ironic meaning.41 Michal Kravel-Tovi, ‘Bureaucracy of Belonging: Non-Jewish Immigrants and the Field of State Conversion in Israel’, in Zeev Shavit, Orna Sasson-Levy and Guy Ben-Porat, eds, Points of Reference: Changing Identities and Social Positioning in Israel, Van Leer Jerusalem Institute and Hakibbutz Hameuchad, 2013, p 221 (in Hebrew)42 Don Handelman, Nationalism and the Israeli State: Bureaucratic Logic in Public Events, Berg, Oxford, 200443 Gill Perry, Playing at Home: The House in Contemporary Art, Art Since the ’80s, Reaktion Books, London, 201344 Leslie McCall, ‘The Complexity of Intersectionality’, Signs: Journal of Women in Society, vol 30, no 3, 2005, pp 1771–180045 Because feminist praxis is always situated and its discussions must be contextualised, I find it crucial to position myself and acknowledge the fact that I, the author of the article, am a white woman. This fact might be problematic in the context of the different position I hold from my research subjects – a white women writing about black women. Although I endeavour to employ a culturally sensitive perspective, this tension cannot be easily resolved. My way to moderate this tension – albeit not cancel it altogether – is to acknowledge this dilemmatic issue and to turn to the source of knowledge, ie, the Ethiopian-Israeli women artists themselves, and rely heavily on their explanations of the artworks, always through dialogue.46 For more on pivotal research on contemporary feminist art in Israel see: Tal Dekel, ‘Feminism and Women's Art in Israel: Influences and Correlation with American Feminist Art’, in Tal Dekel, Gendered: Art and Feminist Theory, Cambridge Scholars, Newcastle, 2013; Tal Dekel, ‘The Politics of Representation and Recognition: Mizrahi Feminist Art’, in Ktzia Alon and Shula Keshet, eds, Breaking Walls: Contemporary Mizrahi Feminist Artists, Achoti, Tel Aviv, 2013, pp 354–329.47 Contra the extensive feminist scholarly work done internationally in relation to the complex intertwining of art, gender, etcetera: see N’Gone Fall, ‘Providing a Space of Freedom: Women Artists from Africa’, in Maura Reilly and Linda Nochlin, eds, Global Feminisms: New Directions in Contemporary Art, Merrell, London and New York, exhibition catalogue, Brooklyn Museum, 2007, in Israeli feminist literature of the arts much less has been done to date. This research aims to develop this perspective by problematising notions of representation, embodiment, gaze and agency by complicating the discourse and revealing local lacunas that are ‘transparent’ hegemonic categories – such as (Jewish) religion and colour, that stand apart from race and ethnicity (for more see: Henriette Dahan-Kalev and Maya Maor, ‘Skin Color in Israel Revisited’, Journal of Levantine Studies, vol 5, no 1, summer 2015, pp 9–33).48 For more on this notion see, for example, Jacques Derrida, The other Heading: Reflections on Today's Europe, Pascale-Anne Brault and Michael B Naas, trans, Indiana University, Bloomington and Indianapolis, 1992.49 Yoav Peled and Gershon Shafir, Who is an Israeli? The Dynamics of Multiple Citizenship, Tel Aviv University, Tel Aviv, 2005, pp 12–15 (in Hebrew); Cambridge University Press, Cambridge, 2002 (in English)50 Intersectional analysis allows us to introduce multiple identity categories in order to further understand the particularities of every subject's position (parameters such as living in the centre or periphery of the country, level of education, and age). Due to the scope of this article I was unable to include additional categories that could have explained in more detail the stratification points of each artist discussed and their artistic decisions.51 See: Gloria Anzaldúa, Borderlands/La Frontera: The New Mestiza, Aunt Lute, San Francisco, 1987; Gayatri Chakravorty Spivak, ‘Can the Subaltern Speak?’, in Cary Nelson, ed, Marxism and the Interpretation of Culture, University of Illinois Press, Urbana, 1988, pp 271–313; Ella Shohat, op cit; M Jacqui Alexander and Chandra Talpade Mohanty, eds, Feminist Geneologies, Colonial Legacies, Democratic Futures (Thinking Gender), Routledge, New York and London, 1997.52 Chandra Talpade Mohanty, Feminism without Borders: Decolonizing Theory, Practicing Solidarity, Duke University, New York, 200353 Marsha Meskimmon, Contemporary Art and the Cosmopolitan Imagination, Routledge, New York, 201054 For seminal research that uses intersectional analysis in transnational feminist art history in Israel see: Tal Dekel, Women and Migration, op cit, pp 99–143 (in Hebrew).55 In relation to African women in Israel it should be mentioned that these women hold various kinds of status and options of citizenship and do not comprise a single, monolithic group. Although marginalised, Jewish immigrant women from Ethiopia are more privileged than other Ethiopian and Eritrean women in the country. The latter are political refugees who, under Israeli laws, have no chance of ever gaining citizenship, as they are not Jewish. Thus, religious identity separates African women in Israel into different, hierarchical categories. For more about women migrants’ stratification point and reciprocal relations that exist between different structures of oppression within the context of global social structures see: Hae Yeon Choo and Myra Marx Ferree, ‘Practicing Intersectionality in Sociological Research: A Critical Analysis of Inclusion, Interactions, and Institutions in the Study of Inequality’, Sociological Theory, vol 28, no 2, 2010, pp 129–149." @default.
• W2400162740 created "2016-06-24" @default.
• W2400162740 creator A5043752234 @default.
• W2400162740 date "2015-09-03" @default.
• W2400162740 modified "2023-10-03" @default.
• W2400162740 title "Welcome Home?" @default.
• W2400162740 doi "https://doi.org/10.1080/09528822.2016.1170497" @default.
• W2400162740 hasPublicationYear "2015" @default.
• W2400162740 type Work @default.
• W2400162740 sameAs 2400162740 @default.
• W2400162740 citedByCount "1" @default.
• W2400162740 countsByYear W24001627402019 @default.
• W2400162740 crossrefType "journal-article" @default.
• W2400162740 hasAuthorship W2400162740A5043752234 @default.
• W2400162740 hasConcept C142362112 @default.
• W2400162740 hasConcept C144024400 @default.
• W2400162740 hasConcept C17744445 @default.
• W2400162740 hasConceptScore W2400162740C142362112 @default.
• W2400162740 hasConceptScore W2400162740C144024400 @default.
• W2400162740 hasConceptScore W2400162740C17744445 @default.
• W2400162740 hasIssue "4-5" @default.
• W2400162740 hasLocation W24001627401 @default.
• W2400162740 hasOpenAccess W2400162740 @default.
• W2400162740 hasPrimaryLocation W24001627401 @default.
• W2400162740 hasRelatedWork W1531601525 @default.
• W2400162740 hasRelatedWork W2748952813 @default.
• W2400162740 hasRelatedWork W2758277628 @default.
• W2400162740 hasRelatedWork W2899084033 @default.
• W2400162740 hasRelatedWork W2935909890 @default.
• W2400162740 hasRelatedWork W2948807893 @default.
• W2400162740 hasRelatedWork W3173606202 @default.
• W2400162740 hasRelatedWork W3183948672 @default.
• W2400162740 hasRelatedWork W2778153218 @default.
• W2400162740 hasRelatedWork W3110381201 @default.
• W2400162740 hasVolume "29" @default.
• W2400162740 isParatext "false" @default.
• W2400162740 isRetracted "false" @default.
• W2400162740 magId "2400162740" @default.
• W2400162740 workType "article" @default.