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Arghavan Khosravi's surrealist paintings of women embody a new sense of urgency. Khosravi is influenced by Persian miniature painting and her memories of coming of age in Iran. Image courtesy of the artist.
Source publication
Throughout Iran and various countries, the recent calls of the “Zan, Zendegi, Azadi” (in Persian), “Jin, Jiyan, Azadi” (in Kurdish), or “Woman, Life, Freedom” (in English) movement call for change to acknowledge the importance of women. While these feminist protests and demonstrations have been met with brutality, systematic oppression, and interne...
Contexts in source publication
Context 1
... digital graffiti demonstrates how feminist placemaking can occur within visual art, reshaping cultural narratives and challenging oppressive systems. The social media dissemination of her work extends this influence, opening avenues for national and international audiences and reflecting on Iranian gender politics today (see Figure 1). In analyzing the impact of her work, it becomes evident that Rouzbehani's art challenges societal norms and cultivates solidarity and collective action among those involved in the struggle for gender equality. ...
Context 2
... the face of physical assembly restrictions, digital spaces have become pivotal tools for raising global awareness, sharing experiences, and strategizing. Thus, the works of these artists, as presented in Figures 1-5, serve as a vivid illustration of the transformative power of digital art in promoting social justice. They not only reflect the challenges faced by individuals in Iran, but they also echo the global struggle for gender equality and women's rights. ...
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Citations
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... These methods, fraught with challenges and contestation, nonetheless represent critical pathways for resistance and placemaking within Iran's restrictive political landscape (Mehan, 2024a). Informal revolutionary feminist placemaking, as explored in this paper, captures the diverse ways Iranian women engage public spaces to assert their rights and initiate social transformation-ranging from organizing protests and demonstrations to the creation of public art such as murals and graffiti (Mehan, 2024b). ...
Urban spaces, often emerging outside formal, recognized boundaries, underscore the pivotal role women play in shaping these environments. Despite the enduring influence of patriarchal and hierarchical structures that render these spaces overtly gendered, it is within these contexts that women’s actions become particularly transformative. Drawing from feminist urban theories of the global south, this paper investigates informal placemaking, feminist urban activism, revolutionary placemaking, online protest movements, and the networks that support women’s solidarity groups. Employing a mixed-methods approach that includes case studies, interviews with activists, and social media analysis, this research focuses on Iran, with a specific emphasis on the recent ‘Women, Life, Freedom’ movement. This study not only highlights how women navigate, contest, and reshape urban spaces through feminist urban activism and informal revolutionary placemaking but also anticipates the broader implications of these actions for urban planning and policy. By analyzing and comparing these case studies, we aim to uncover the commonalities, differences, challenges, and opportunities between informal/formal, state-led/bottom-up, and revolutionary feminist placemaking practices in Iran. The findings of this paper are expected to contribute valuable insights into the dynamics of feminist urbanism and suggest avenues for future research in enhancing the inclusivity and responsiveness of urban spaces to gendered needs and activism.
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This abstract investigates the intricate web of caste, gender, and ethnicity within the diverse landscape of Indian literature in English, through the lens of renowned Indian writer Arundhati Roy. Positioned within the framework of Dalit Feminism, the abstract illuminates the multifaceted dynamics influencing the creation, portrayal, and reception of folk art in India. Roy's works often explore these complexities, offering a multidisciplinary approach to understanding societal structures and cultural expressions. The research elucidates how Dalit women, despite occupying the most marginalized positions in society, have contributed significantly to various forms of folk art, echoing their creativity through versatility. Roy's exploration of marginalized voices and experiences resonates with the struggles and triumphs of Dalit women in India. Examining regional variations and diverse influences, Roy's writings scrutinize the aesthetics and themes of Indian folk art, shedding light on the intersections of ethnicity, caste, and gender. Her works underscore the rich cultural mosaic of India and its implications for identity, diversity, and inclusion. Furthermore, Roy's literature delves into how Indian folk art serves as a tool of resistance, empowerment, and identity assertion for marginalized communities, particularly Dalit women. Through their creative expressions, these artists challenge existing power structures, advocating for social justice and redefining conventional narratives. Ultimately, Roy's work emphasizes the importance of recognizing the contributions of marginalized communities to India's cultural tapestry, echoing the themes of intersectionality, caste, gender, and ethnicity present in this abstract.
Keywords: Arundhati Roy, Dalit Feminism, Intersectionality, caste, gender, ethnicity, Folk Art, Dalit Aesthetics
