This book tells the story of new Yugoslav feminism in the 1970s and 1980s, reassessing the effects of state socialism on women’s emancipation through the lens of the feminist critique. This volume explores the history of the ideas defining a social movement, analysing the major debates and arguments this milieu engaged in from the perspective of the history of political thought, intellectual history and cultural history. Twenty-five years after the end of the Cold War, societies in and scholars of East Central Europe still struggle to sort out the effects of state socialism on gender relations in the region. What could tell us more about the subject than the ideas set out by the only organised and explicitly feminist opposition in the region, who, as academics, artists, writers and activists, criticised the regime and demanded change?
Coining the term "Jugoslovenka" to designate the unique history of Yugoslav women's resistance to patriarchy during and after socialism, this book shows how Yugoslavia's anti-fascist, transnational and feminist legacies manifest in performance, conceptual, video and activist works.
This book describes, compares, explains, and contextualises the positionings, i.e. discourses and activities, which feminists in Belgrade, Serbia and Zagreb, Croatia produced in relation to the (post-)Yugoslav wars of the 1990s. Two types of positionings are analysed: those which the feminists have produced on the (sexual) war violence and those which they have produced on each other. Applying a Bourdieuian framework and using interviews with key feminist and peace activists in the region alongside a thorough examination of organisational documents and printed media articles, Ana Miškovska Kajevska challenges the common suggestion that the outbreak of the war violence in 1991 led to the same reorganisation of the Belgrade and Zagreb feminist fields. She corrects the understanding that the activists in each city, who had up until then worked together without tensions, divided at the same time and in the same manner into antinationalists and nationalists and began clashing with each other because of the different war-related positionings. Miškovska Kajevska explains further that the terms ‘antinationalist’ and ‘nationalist’ were not completely value-free and objective, and had different meanings attached to them. These designations were an essential part not only of the local and international efforts to stop the (sexual) war violence, but also of the struggle for legitimacy among the feminists in each city – endeavours in which many Western (feminist) academics, activists, and funders were involved, too. In addition to providing insights into the situation in Croatia and Serbia, this book will also help increase the understanding of intra-feminist dynamics in other regions of the world which are dominated by nationalism and war violence, and where the work of the local feminists is closely intertwined with – and often dependent on – these activists’ contacts with foreign academic, funding, activist, and/or political entities.
Rwanda and Bosnia both experienced mass violence in the early 1990s. Less than ten years later, Rwandans surprisingly elected the world's highest level of women to parliament. In Bosnia, women launched thousands of community organizations that became spaces for informal political participation. The political mobilization of women in both countries complicates the popular image of women as merely the victims and spoils of war. Through a close examination of these cases, Marie E. Berry unpacks the puzzling relationship between war and women's political mobilization. Drawing from over 260 interviews with women in both countries, she argues that war can reconfigure gendered power relations by precipitating demographic, economic, and cultural shifts. In the aftermath, however, many of the gains women made were set back. This book offers an entirely new view of women and war and includes concrete suggestions for policy makers, development organizations, and activists supporting women's rights.
The collapse of socialist regimes across Southeastern Europe changed the rules of the political game and led to the transformation of these societies. The status of women was immediately affected. The contributors to this volume contrast the status of women in the post-socialist societies of the region with their status under socialism.
Describes the territories and collective identities of former Yugoslavia within the politics of race - not just ethnicity - and the history of how ideas of racialised difference have been translated globally
Despite having become marginalized on the map of contemporary art since the wars of the 1990s, the regions of former Yugoslavia continue to be a hub of creative activity. Especially noteworthy is the strong presence of women artists, scholars, and activists whose deeply personal, yet highly political artwork is rooted in a long legacy of female artistic agency. Building on existing scholarship as well as original research, this book highlights how female figures – through art and exhibition making, writing, mentorship, and activism – have shaped the alternative art scene in former Yugoslavia and placed the region firmly on the map of the international post-avantgarde. Using the founding of the Student Cultural Center Belgrade in 1971 as a starting point, the book details the pioneering work of women in the realm of curation, where they developed radical exhibition concepts and programs that furthered the development of the New Art Practice and embedded Yugoslavia firmly on the map of the international postwar-avantgardes. It highlights the agency of female artists in the then-novel realms of performance art, video art, and new media art and shows how their work has helped these disciplines to gain the impact they retain until the present day. What is more, it shows how female cultural workers have courageously used their work to further the discourse on gender, sexuality, and the female body and, at a time when they saw themselves stripped of basic rights by the chauvinist-nationalist regimes emerging after Yugoslavia's breakup, formed a strong artistic and activist opposition. Highlighting the role of women in the diversification of the ex-Yugoslavia states and its highly unique cultural and political landscape, this book addresses the noticeable gap in art historical scholarship that exists not only around Yugoslavia and its successor states, but especially on its female representatives.
A compendium of one hundred sources, preceded by a short author’s bio and an introduction, this volume offers an English language selection of the most representative texts on feminism and women’s rights from East Central Europe between the end of the Second World War and the early 1990s. While communist era is the primary focus, the interwar years and the post-1989 transition period also receive attention. All texts are new translations from the original. The book is organised around themes instead of countries; the similarities and differences between nations are nevertheless pointed out. The editors consider women not only in their local context, but also in conjunction with other systems of thought—including shared agendas with socialism, liberalism, nationalism, and even eugenics. The choice of texts seeks to demonstrate how feminism as political thought was shaped and organised in the region. They vary in type and format from political treatises, philosophy to literary works, even films and the visual arts, with the necessary inclusion of the personal and the private. Women’s political rights, right to education, their role in nation-building, women, and war (and especially women and peace) are part of the anthology, alongside the gendered division of labour, violence against women, the body, and reproduction.
“I am Jugoslovenka” argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia’s unique history of patriarchy and women’s emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia’s anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redžepova. “I am Jugoslovenka” tells a unique story of women’s resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
