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The Silent Witness: Art as a Mode of Representation of Voices and Visions of How, as a Woman, I Build Borders and Bridges in Enacting My Identit(ies)


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1 Deakin University, Australia
     

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Feminist theorists unveil how women negotiate their identities within complex entanglements of social constructs such as race, ethnicity, religious belief and practices, cultural tradition, and values. Feminist artists use subjective experiences that shape representation and performativity in empowering women to have a 'voice'. In this paper, I focus on 'breaking silences' through series of my artworks (as part of my PhD research) that represent selfnarratives as subjectivities of life experiences, contingencies, and cultural shifts through migration transitions as new ways of figuration and reflection on such issues. I look through discourses of gender differences, nomadic subjectivity, and new ways of figurations (Braidotti 2011, 10) and the affect theory (Gregg and Seigworth 2010), and the concept of giving 'voice' (Berlant 2011). Such discourses frame how I interrogate and represent my gendered identities.

Keywords

Feminist Theories, Feminist Art, Gendered Identities, Art as a Mode of Representation.
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  • The Silent Witness: Art as a Mode of Representation of Voices and Visions of How, as a Woman, I Build Borders and Bridges in Enacting My Identit(ies)

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Authors

Nishta D. Rosunee
Deakin University, Australia

Abstract


Feminist theorists unveil how women negotiate their identities within complex entanglements of social constructs such as race, ethnicity, religious belief and practices, cultural tradition, and values. Feminist artists use subjective experiences that shape representation and performativity in empowering women to have a 'voice'. In this paper, I focus on 'breaking silences' through series of my artworks (as part of my PhD research) that represent selfnarratives as subjectivities of life experiences, contingencies, and cultural shifts through migration transitions as new ways of figuration and reflection on such issues. I look through discourses of gender differences, nomadic subjectivity, and new ways of figurations (Braidotti 2011, 10) and the affect theory (Gregg and Seigworth 2010), and the concept of giving 'voice' (Berlant 2011). Such discourses frame how I interrogate and represent my gendered identities.

Keywords


Feminist Theories, Feminist Art, Gendered Identities, Art as a Mode of Representation.

References