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seum of Modern Egyptian Art in Cairo. In the first half of the 20th century, women artists globally, and across the Arab world—like Gazbia Sirry—were often relegated to a secondary role. The School of Fine Arts that opened in Cairo in 1908, for example, accepted only male students. It was over thirty years later, in 1939, that the Higher Institute of Fine Arts for Female Teachers opened as the first arts academy for women in the region. The 1930s also saw the establishment of annual Women’s (art) Salons in Egypt, although—as scholar Patrick Kane notes in Egyptian Art Institutions and Art Education from 1908 to 1951—they have not been well studied. Additionally, male artists across the region—unlike their female counterparts—were the recipients of overtly political and nationalist commissions by Arab governments, ranging from Mahmoud Mokhtar’s Renaissance of Egypt (sometimes called Egypt’s Awakening) unveiled in Cairo in 1928, to Jewad Selim’s Monument to Liberation in Baghdad, completed after the artist’s passing in 1961. Nevertheless, women artists, although omitted from state commissions, did actively take part in documenting major political and social events through their work. Perhaps no other artists exemplified political activism thought art more than Inji Eflatoun (1924-1989), who used her paintbrush to depict historic cases of British injustice towards Egyptians, including the notorious Denshway massacre that took place following an altercation between Egyptian peasants and British soldiers. In somber black and white ink, Eflatoun depicts a scene from the massacre of a peasant being hung under the watchful eyes of British troops. She would go on to spend more than four years in jail for her political activism, producing dozens of works that captured the solitude and desperation of her fellow female inmates. At the height of Gamal Abdel Nasser’s ambitious Aswan Dam project, a number of women artists including Effat Nagi, Tahia Halim, Menhat Helmy, and Gazbia Sirry documented the round-the-clock construction, as well as the “resettlement” of tens of thousands of Nubians who were displaced by the project. Syrian women artists also depicted major social and political moments in regional history. Lebanese-born, Syrian-naturalized artist Derrieh Fakhoury (1930-2015), wife of fellow artist Mahmoud Hammad, in 1963 painted Hunger, a work that was shown in the Autumn Salon in Damascus of the same year. The work depicts a mother and child who endured harsh circumstances surrounding a severe drought that extended from 1958 to 1961. In 1958, when Egypt and Syria forged a political union, Shukri alQuwatli (1891–1967), the first president of an independent Syria handed over power to Gamal Abdel Nasser and stepped down from power, earning him the title of “First Arab Citizen.” A decade later, one year after his passing, Hala Quwatly (b. 1938), the late politician’s daughter captured her father in that solemn moment in one of her paintings. The 1967 Nakba was also the subject of several works by female Syrian artists, including Asma Fayoumy who was born in Amman in 1943. Her 1968 painting Requiem for a City depicts the architectural contours of a town with several abstracted human faces huddled below, perhaps in sadness or in apprehension of the defeat and loss of the Golan Heights. In The Nation, painted in 1978, Syrian artist Leila Nseir (b.1941) depicts a female martyr being carried by a group of mostly women sur-
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Dispatches برقيات The Activism of Arab Women Artists Celebrating women artists of the Arab world whose works have documented important historical moments and rallied for social and political change. By Sultan Sooud Al Qassemi
Education Outreach ف التربوي
n February 1946, Egyptian students and laborers marched on Abbas Bridge connecting Old Cairo and Giza to protest the policies of Prime Minister Mahmoud Fahmy Nokrashy (18881948). The police pushed back by opening the movable bridge and “leaving many of [the protesters] to fall into the Nile or get trampled in the stampede.”1 The scene of huddled students dangling from the seams was captured by Egyptian artist Gazbia Sirry (b.1925) in her 1955 painting Abbas Bridge, now in the collection of the Mu-
In the Headlines في العناوين 1
Abdullah Al-Arian. “Egypt: Reduxing the past,” Aljazeera. Feb. 1, 2011.
Mabrouk! مبروك
12 Center for Contemporary Arab Studies - Georgetown University
Sultan Sooud Al Qassemi
I
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