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Abstract
This paper highlights the emergence of a “new turn” in feminist forms of cultural production in Egypt post-2011. Forms such as monologues, storytelling, re-imagining of folk tales, songs, and plays have all become part of what is termed “artivism”: the interplay between forms of cultural production and activism. It is consequently my aim to answer the following question: How do some activists use feminist performance to challenge gender norms about the body in Egypt post-2011? Through semi-structured interviews with the feminist band Bnt Al Masarwa, which was founded in 2015 and is composed of three women, it becomes clear that the use of feminist performance in light of shrinking public space becomes crucial to understanding this “new turn.” This is due to the ability of feminist performing arts to effectively voice dissent and challenge prevalent norms. Furthermore, the band demonstrate agency by creating new meanings for femininity and corporeality in a rapidly changing political and social landscape. This is seen through three main themes: feminist performing arts as more efficient than institutionalized political participation; feminist performing arts as the ideal platform to challenge gender norms about embodiment by speaking through lived experience; and feminist performing arts as disrupting space. Ultimately, I ascertain that this artistic and cultural turn – in a sense diversifying the means of resistance in Egypt – is a crucial aspect of feminist activism.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes
1 For a specific and critical analysis of women’s participation in the 2011 uprising, see Sorbera; ElSadda; Abu Lughod and El Mahdi.
2 Although the Protest Law was not specifically invoked, these articles outline the difficulties faced by an independent theater, Rawabet, being closed down in 2015 and again in 2019: “Cairo’s Townhouse Gallery reopens, challenges prevail.” Ahram Online. Al Ahram English, 16 Feb. 2016. Web. 31 Mar. 2020. See also, “Cairo’s Townhouse gallery forced to close its Rawabet Theatre.” Ahram Online. Al Ahram English, 19 June 2019. Web. 31 Mar. 2020.
3 See Association for Freedom of Thought and Expression’s 2017 Report.
4 See Abdou and Skalli for a discussion on youth participation in civil society.
5 Bnt al Masarwa is comprised of three members; the band was formally established in 2015, after meeting at a workshop in 2014. The band name itself means “Daughter of the Egyptians” (Samir). All of their performances are free, and they often perform at events hosted by feminist NGOs, as well as in independent venues. Unfortunately, most of these NGOs are no longer operating. At the time of the interviews (2017) Marina was twenty-two years old, was studying political science, and is the executive manager of the band. Her sister, Mariam, joined the band in 2017; she studies music, and at the time of the interview was nineteen. Her main roles include composing the music and taking care of the social media accounts. Israa was twenty-eight at the time of the interview, had studied law, and is primarily responsible for writing the lyrics as well as maintaining the social media accounts with Mariam. All of them perform and sing together. It is important to note that there had a female rapper as part of the band, who left before I started the interviews.
6 The National Women’s Studies Association journal is now called Feminist Formations.
7 See Isherwood on hip-hop in the Arab diaspora; on music and artivism in Tunisia see Laine et al., and Korpe; for Egyptian protest music see Swedenburg and for poetry see Yusuf.
8 It is worth noting that this research was conducted starting 2016 until the first draft of this paper was written in 2018. Much has changed since then, specifically the closing up of these spaces for expression as well as many of the feminist NGOs.
9 This is based on personal experience attending such events.
10 See Høigilt for an analysis of comics and print media.
11 The way I did this research was as follows: the first time I met the band, I explained the research project, how this research was funded, why it was important to me, how I wanted to disseminate it and that I wanted to publish it. I presented them with the research question and hypothesis; the interview questions; and with the consent form which I had written in detail what their rights were as participants. All of this was open to questioning and amendment, as per the PAR guidelines.
12 In terms of coding, I focus on the performers themselves and how they consider their work to be feminist. Embodiment was coded/recognized through references to the body (what it means to have a female body, the body as symbolic of wider powers struggles) in BaM’s performances and interviews. Regarding agency, I recognized it as instances in both the performances and the interviews where the band are actively changing ideas about womanhood and femininity (not just through the lyrics but through the performance, the clothing, and usage of swear words – things commonly associated in Egypt with challenging hegemonic femininity). References to spatiality where used when they mentioned space, the public sphere, lack of space for peaceful dissent through state instituted procedures such as the Protest Law of 2013, (known formally as Law 107 of 2013); the creation of new spaces, and alternative spaces.
13 For an analysis of other means of youth political participation and youth disillusionment with institutional participation, see Abdou and Skalli 76–80.
14 All emphases in the text are my own unless otherwise indicated.
15 The Arabic word used by the band, awra translates to something that is shameful; not meant to be seen but rather meant to be hidden. The literal translation is genitalia – but the deeper meaning is that it is something not meant to be on display. My own translation.
16 See Laine et al. for artivism in Tunisia; Women on Walls for artivism through graffiti; and Yusuf for poetry. Regarding performance, some collectives existed before 2011 but continued artivism nonetheless such as “BuSSy.”
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Hana Shaltout
Hana Shaltout graduated from the American University in Cairo in 2014 with a B.A. from the Political Science Honors Program with a specialization in International Relations, and minors in English and Comparative Literature, and History. Deciding to pursue a gender studies postgraduate program, she completed her MSc in Gender, Media, and Culture from the Gender Institute (now the Department of Gender Studies) at the London School of Economics and graduated in 2015. While both undergraduate and postgraduate dissertations were at the intersection of gender, cultural studies, and international relations, her more recent interests are focused on feminist activism and different modes of cultural expression within Egypt. She is currently a Researcher at the Arab Council for Social Sciences working on the World Humanities Report. Her latest research is titled “Comix as Artivism: The Intersection between Art and Critique.” Her research interests include alternative knowledge production, gender studies, cultural studies, and women’s participation in the political arena.