Wasma Manour: Single Saudi Women
Since 2008, my photography explored the spatial and material constructions of Saudi women who do not fit the stereotype: women who have chosen to live alone despite their belonging to a culture where male presence, shaping lives and spaces, is the norm. Pictorial conventions in mass media exhibited recurring visual tropes that stereotype and limit Saudi women to being placed under two categories: she is either passive, docile and therefore in crisis, or defiant, rebellious and consequently liberated. The women I’ve met and photographed revealed a complex set of negotiations made to reconcile with their identities and assert their sense of individualism. My work interrogates these two polar existences by showing that the participants exist and function in a wide area between them.
It could be argued by some that my choice of apparatus is politically motivated. Especially since issues concerning Saudi women’s visibility have been a subject of heated debates of two opposing and equally hegemonic headings: ‘liberation’ and ‘domination’. I should clarify that the position I hold both as photographer and citizen belongs to neither camps. The hope and aim of my project from the outset is to bring forth an alternative, and more encompassing, view of what it means to be a single Saudi woman.
This group is of particular interest for visual enquiry, and unlike previous attempts utilized to ‘interrogate’ Saudi women, I considered the potential a multi faceted approach, by giving the women I’ve met and worked the opportunity to discuss (c-type prints, 8” x 10”) and reveal their identities through their narratives, their spaces and their things. My personal investment in this endeavor was encouraged by the diversity of experiences I have encountered. And to illustrate that even through photography, I was able to capture the many realities and the plentiful negotiations that are worked out on a daily basis. The challenge was to aesthetically narrate the multifarious ways in which Saudi women assert their subjectivity. And to create images from interacting with their worlds. The objective, therefore, has been (and still remains) to represent that rich world in a plethora of settings and spaces, and hope to transmit some of its texture and flavor.
– Wasma Mansour, 2012
Gender tapas. Edit:- Fixed for Viewability
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Man ballet really doesn’t get the respect it deserves for what a badass, hardcore art form it is.
I’ve never spent so long staring at someone’s calves.
hey, hannahmosk! It’s Etta! @hannahmosk
A few months ago, I went to a big family gathering at my grandparents’s house and ran into a cousin of mine. She seemed much older than the last time I had seen her (oh, the passage of time), so I asked her what age she was. She replied, “Oh, I’m fifteen.” And my immediate reaction?
“Oh my god,…
This is *amazing*
I’m not for abortion
I’m for every woman having the right to choose what to do with her own body
I’m for preventing the fear of what to do with a child that is unwanted or unplanned
I’m for protecting women from back-ally abortions because they have no other option.
thats why it’s called pro-choice, not pro-abortion
Violent scenes are still occurring around Turkey, including in Istanbul once again this past weekend, but the Standing Man protests continue unabated. The following images explore one aspect of the protest in Taksim Square, ongoing since before the communal standing took off. Public reading and informal education has been notable since the earliest days of the protest, but has since merged with the Standing Man to form “The Taksim Square Book Club”. The chosen reading material of many of those who take their stand is reflective, in part, of the thoughtfulness of those who have chosen this motionless protest to express their discontent. (via In Pictures: The Taksim Square Book Club - In Pictures - Al Jazeera English)
George R.R. Martin, A Clash of Kings
Typewriter Series #431 by Tyler Knott Gregson