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Date: 24-02-2025
Topic: Identity Art from the Muslim Global South
Institution: Bath Spa University, Department of Creative Media, Ras Al-Khaimah
Speaker: Kanwal Syed, PhD, Assistant Professor of Art History, American University in Dubai

Definition of Global South: A geo-ideological concept indicating identities that represent: - Colonial - Postcolonial - War-torn - Economically struggling regions
The term is an amalgamation of geographical and ideological aspects, replacing colonial terms like "third world."

Identity Art: Art that seeks to explore, present, and interrogate the complexities of identity, particularly from marginalized perspectives.

How colonization, global politics, and neo-colonialism create identity issues in art and culture: - Artists from post-colonial regions utilize art to: - Present authentic life experiences - Critique mainstream perceptions of identity - Address systemic issues such as: - Colonialism - Postcolonialism - Classism - Gender issues - Includes self-representational art from communities maintaining a connection to traditional identities despite colonial discourse.

Orientalism: Introduced by Edward Said in 1978; describes a framework where the West creates an eroticized and romanticized image of the East. - Portrays the East as: - Inferior - Mysterious - Exotic - Binary Analysis: West framed as rational and progressive; used to justify colonial expansion. - Visual Orientalism: Represents a justification for colonization by portraying Eastern cultures through Western lenses, often leading to stereotypical depictions.

The Snake Charmer (c. 1879): Oil on canvas, 82.2 cm × 121 cm (32.4 in × 48 in) - Location: Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
Une Plaisanterie (A Joke) (1882): Depicts a playful interaction between a Turkish man and his dog.

Napoleon in the Pesthouse at Jaffa (March 11, 1799): 1804, oil on canvas, dimensions 5.32 x 7.15 m, location Musée du Louvre, Paris.

Definition: Modern continuation of Edward Said's concept highlighting the impact of terrorism on Muslim representation in art post-9/11.
Increased Islamophobia and reassertion of Orientalist stereotypes: - Portrays Muslim societies as: - Violent - Inherently backward - Incompatible with Western values - Promotes East/West dichotomy (Azimi, p.25).
Blue Burqa Trope: Associated with the Taliban’s interpretation of Sharia law; - Controls women’s public presence and moral enforcement (Azimi, p.20).

Orientalism: - Historical framework stereotyping Eastern cultures as 'other' and justifying colonization.
Neo-Orientalism: - Contemporary representation post-9/11 emphasizing violence and cultural victimization; - Justified through media narratives and political agendas (e.g., War on Terror). - Reduction of cultural identities to stereotypes, exemplifying how political contexts affect representation and intervention.

Key Artists from the Global South addressing these themes include: - Shirin Neshat (Iranian-American) - Lalla Essaydi (Moroccan-American Photographer) - Rashid Rana (Pakistani) - Tammam Azzam (Syrian, lives in Berlin) - Kader Attia (Algerian-French Artist)

Women of Allah Series (1994-1997): - Complex interplay between realism and fiction; uses allegory to communicate issues of gender and identity within Islam. - Photographs are both confronting and reflective of cultural tensions, reframing the narrative around the veiled figure to remove the passive role of women.

Les Femmes du Maroc: La Grande Odalisque (2008): Chromogenic print, dimensions 33 x 40 inches (Reclining nude).

Veil #6 (2007): Cibachrome print mounted on plexiglass, dimensions 130.6 x 177.8 cm (51.4 x 70 in).

Known for A kiss for the whole world and the photomontages of the Syrian Museum inspired by historic artworks placed within the context of war-torn Syria.
Bon Voyage: Depicts a shattered Syrian apartment suspended by balloons before the 9/11 burning Twin Towers; it critiques global indifference to loss of life in Syrian conflict and the West's selective commemoration of tragedies.

Explores colonialism's impacts through his work, such as: - The Repair from Occident to Extra-Occidental Cultures (2012): Highlights complex identities shaped by colonial histories through juxtaposition of traditional and Western art. - La Mer Morte (The Dead Sea) (2015): Installation featuring discarded refugee clothes symbolizing lost lives and critiquing immigration policies. - Ghost (2007): An installation reflecting on themes of cultural erasure and identity, utilizing aluminum to represent fragility and globalization's impact on cultural identities, addressing issues of representation and faith amidst cultural displacement.

The discourse on identity art is central to understanding how artists from the Muslim Global South respond to historical and ongoing narratives of colonialism, orientalism, and cultural misrepresentation. These responses challenge stereotypes, reclaim identities, and articulate the socio-political dimensions inherent in their work.

The lecture underscores the importance of representation and the role of art in addressing identity politics in the context of the Global South. Artists utilize various mediums to engage with these critical themes dynamically, responding to historical injustices and contemporary social issues.