{"id":214,"date":"2012-05-01T01:12:36","date_gmt":"2012-04-30T23:12:36","guid":{"rendered":"http:\/\/padjournal.net\/?p=214"},"modified":"2022-04-13T17:34:09","modified_gmt":"2022-04-13T15:34:09","slug":"the-mediterranean-of-women","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/the-mediterranean-of-women\/","title":{"rendered":"The Mediterranean of Women. Evolutions and new Opportunities for Design in the Network Society"},"content":{"rendered":"

Abstract<\/strong> This article examines and documents the emergent phenomena, wich in the countries of southern Mediterranean coast manifest a grater awareness by women of their role in society. Those phenomena can be considered as the effects of convergent actions like investment plicies in education programa, promotion of artistic practices and the widespread use of social networking media, enables by ICT. We can note a growing tendency towards democracy that is expressed in various ways on artistic and productive activities by women. So much so that today a new Mediterranean can be told through observating of the women\u2019s practices that are a clear reflection of the growth of talents, skills, ideas and projects. All the more so if we consider art and design, not only the mirror of social change, but also as an agent of socio-economic development.<\/em>
\nKey words<\/strong>\u00a0mediterranean design, gender study, social web, communication technologies, crowdfunding.<\/em>
\nOnly 15 months ago The Arab Spring proposed some democracy scene, that were unthinkable. Apparently, it seemed that the process towards democracy, that had started slowly, had suddenly sped, thus giving voice to bottom-up phenomena, to the needs of\u00a0 minority and discriminated poor classes, to the demand for freedom and respect of human rights. Whereas on the other side, on the North side, the awareness of the decreasing Western influence was developing more and more, although such an influence was considered as a necessary condition for a more balanced relationship between the two parts.
\nThe rebirth of North Africa had represented an incredible opportunity to reevaluate the social role of women. The events of those days, with protest marches, were characterized by a heavy participation of women asserting their rights, showing a great need for coming out and widening their limited horizons in the participation to the social, economical and cultural development of their countries.
\nNowadays we are going through a period of regression. The expected change has occurred not according to the principles of democracy and reformation that had inspired the Arab Spring, but in relation to the success of the conservative Islamic parties. The scene is still confusing and the outcomes of the transitional process are even more uncertain. In general, the situation has been worsened by the Syrian question and the economical crisis spreading in the Euro-Mediterranean area.
\nDespite disenchantment, in this particular moment, it is crucial to talk about Mediterranean design. Above all if we consider design as that act of design culture that is the expression of social changes and of lifestyles. The designer’s attitude to \u2018catch’ the meaning of changes and to turn them into plans and therefore in product\/service shows that it’s possible to play a role in the transformation of society: leading the smallest and the most important social and behavioural changes to the system of objects, then to the dimension of every day makes any transformation concrete and comprehensible to common people, thus avoiding the arise of fears and social oppositions, but, most of all, avoiding the passive acceptance of the new {{1}}. Art and design are innovation factors and can become instruments for the social and economical development, if associated to production activities.
\nThe above-mentioned theory has been shown by the history of fashion design, a developing sector in the South coast of the Mediterranean, that has involved a stance on the women role and on its interpretation, by claiming the dignity of the body and of the gender\u00a0 in the visual communication. Design understands style, renovates expressive languages, signs and products, by promoting great changes in the daily life of women or showing its disapproval for some emerging positions. Often, who works in this sector is an avant-garde figure, but his creativity is not separated from what happens in common life, what can be observed on the street, what\u00a0 happens in young and artistic fields.
\nIn Europe, the periods of rapid social changes have provided artists with the opportunity to open new perspectives in fashion trends; such trends have encouraged important changes in the women’s role. Let’s take Coco Chanel, for example, who acted in the limits of fashion industry; she managed to create a new style, responding to the social changes that were occurring at that time.
\nNevertheless, fashion also means social control, as it belongs to the group of mechanisms developed by every collectivity in order to avert the deviance from a certain kind of attitude. The social group holding the power exercises control on the ability of the citizen to conform to the social and civil prescriptions (Merton, 1983).
\nEven more crucial, at the moment, is to talk about the ‘The Mediterranean of\u00a0Women’, by gathering information on professional and research activities of women operating in the area of creative, artistic, business, architecture and handcraft project {{2}}.
\nTo support this theory, we’ll refer to Griselda Pollock, the design protagonist of the Cultural Studies, who in the 1970s stated that a feminist approach is neither a side-issue nor a novel historical perspective \u2013 it is the main concern of contemporary history design… \u201cwe are involved in a contest for occupation of an ideologically strategic terrain\u201d {{3}}.
\nDespite the debate generated by the Design Cultural Studies in Anglo-Saxon countries, that has shaken all the certainties about historiographical methods, thus unmasking the ideologies laying behind the lack of valorisation of women designers and opening new ways to research,\u00a0 such a theory has not been very successful in the Mediterranean countries. The reasons are the ones just mentioned by Cheryl Buckley during her interview, concerning the particular historical-political conditions of each country, that have blocked or inhibited the diffusion of ideas deviating from the official behaviour.
\nA rebuilding of the problems and motivations that have affected\u00a0 the lack of valorisation of women’s role is essential in each of the Mediterranean countries, such as the one carried out by Cheryl Buckley. As it would be impossible to face such a wide subject here, we will state our theory through some statements.
\n1. “When women change, everything changes. And women in Muslim world are changing radically.”<\/strong>
\nThe sentence of the famous feminist writer Naomi Wolf (2011) represents the starting point to state that, despite the barriers created by political issues and predominant ideologies, world is continuously evolving, sometimes with original elements that escape from stereotypes.
\nAmong the predominant stereotypes in Western world about Muslim countries, the most popular are the ones concerning women, that are seen as veiled and victims, exotically silent, closed inside their strict gender roles.
\nSuch a stereotype does no longer respond to reality. The participation of women to the manifestations of North Africa of last year is an evidence of this theory, together with the work of many Arab women involved in the art field. Education represents one of the most important changes occurred.
\nAmong the countries of the South coast of the Mediterranean, Tunisia represents the most significant example of\u00a0 a politics of investments in education (the highest investments in the world) that, started in 1956, has been successful so far. In 2000, about 92% of children from 6 to 12 years attended school. Thanks to this change, women in Tunisia represent a vital part of the qualified work force.
\nTwo generations ago, only a little minority of \u00e9lite<\/em> daughters got university education. Nowadays. Women represent more than 50% of Egyptian university students and more than 60% in Iranian students (Esfandiari, 2003). Many investments on education have been done also in Israel and Palestine.
\nAnother great change has occurred in the art field, where women belong to a developing artistic independent movement; also they are among the biggest patrons and collectors of Middle-East.
\nCurrently, in the Arab world, there is a huge space for art, exhibitions and artists’ rewards: festivals, meetings, competitions, galleries, auction sales are organized more and more often and new museums, such as Abu Dhabi and Qatar (wanted by Sheik Mayassa Al Thani) have been opened. Finally, even Western world starts to get interested in this \u2018stranger’.
\nWomen find in art the ideal terrain to express themselves freely, to fight against stereotypes and to start a career on their own, even staying at home.
\nThe true art is a crucial part in the dialogue with society and it can change it from the inside. Quoting the critic Lucy R. Lippard (1995): “women’s art is not a style \u2026 , it’s a system of values, a revolutionary approach and a lifestyle”.
\nAlso in the Mediterranean, as in the Anglo-Saxon world, renovation originates from art and from acknowledgment\u00a0 of women work and it belongs to the feminist movement. As we learned from history, after women’s education, it is difficult to stop the tendency towards democracy.
\n2. There is a link between the use of ICT and the tension towards democracy.<\/strong>
\nWe have learned from media how crucial the role of ICT (telephone nets, cable TV, Internet and social network) was in the recent manifestations of North Africa, both for the diffusion of Western lifestyles and as an instrument of dissidents. It has led to the awareness of being part of the world, by encouraging the confrontation of Southern and Northern coasts populations with different identities and lifestyles.
\nMobile phones has developed really quickly. And, although some surveys (carried out by teenagers) show that girls are less likely to be up to date with technological developments and communication technology items, nowadays, more and more women, who are interested in their interactive and aesthetic dimension, use technology to get in touch with people who are geographically distant (Virpi Oksman and Pirjo Rautiainen, 1997, p. 148) and to know better the different \u2018faces’ of the world.
\nIn the Middle East, women are very active in social networks, with a high participation, about 70%, of which 34% connecting at least 10 hours a week on their spare time (Qudoos, 2010){{4}}. The desire to chat, share information and contents, talk about themselves on the web is increasing. Women have been among the first ones to use the net as a space for dissidence.
\nSond\u00e8s Ben Khalifa, journalist for Radio Tunisienne and blogger says: \u201cNew technologies have given women the strength to fight against men. They have helped them communicate, to express themselves quite openly. And all their efforts have turned into a virtual reaction that has become real\u201d (Manfredi, 2011){{5}}.
\nEhab el-Zelaky, Egyptian journalist of the independent newspaper Al-Masry Al-Youm has stated that \u201cThe manifestations of Maghreb have distant roots \u2026 since 2004 the voices of dissidents and of minorities on the net have risen, above all women voices\u2026some bloggers have started to tell about their life experience, thus\u00a0 uncovering taboos and reacting against solidarity among criminals\u201d. On the internet Egyptian women have started to talk about female homosexuality and homely violence.
\nSocial media, because of their technological nature, enable men and women to share their thoughts, understand differences, have a dialogue, express their needs, by means of different communication codes. Social networks encourage women to take part actively to the building of society, politics and culture in full consciousness.
\nAs pointed out by Naomi Wolf (2011), women, if not trained to manage power, can have some difficulties in dealing with leadership and protest, traditionally conceived, because these involve a technique that is \u2018unknown’ to women body, such as standing on a stage, under the search-lights or\u00a0 challenging the crowds, actions that are usually associated to young activist men, holding a megaphone. Social networks, instead, and Facebook in particular with its interface, imitate the women attitude towards the social reality: in fact, they base their attitude on the relationships among people, according to links that are also instruments of dominance and control.
\n\u201cOn Facebook you can be a simple human being, but also a powerful leader, without having to be an authority or having to state your dominance, only by creating a great \u2018we’.\u201c(Wolf, 2011).
\n3. New technologies create new models, systems and projects.<\/strong>
\nMany professional women are experimenting new the ways towards self-affirmation and professional developments thanks to the communication system, that is more and more fluid and changeable, by creating new instruments and languages, opening new ways, thus starting a process of global personal interaction that is turning around the social web.
\nLet’s take for example the crowdfunding. This is a means to detect funds to be used for the start-up of projects and businesses that is based on the global cooperation through the Internet. The idea is not new at all: we still remember the ‘money collection’ usual among students or in the church for charity, or the so-called tontines, that is to say the modality of self-organised micro-credit very common among the women of North Africa in order to overcome the difficulty in reaching finance, as they cannot offer much in terms of guarantee. This practice is typical of all communities and associations created spontaneously for the mutual interest of all participants, by paying a very small share that raises a mutual fund that is regularly used to achieve initiatives and projects.
\nNowadays the number of specialized crowdfunding platforms for technology businessmen, for journalism and also for creative professions and for arts (cinema, television, music, photography, etc.) is increasing.
\nThis instrument is particularly efficient for all those projects that would never get the institutional and political support; these projects can be realized thanks to a fund collection among people that are interested in the project proposed on the platform. A real shared society is then created, besides classical economy, based on independent rules.
\nIraqi photographer Tamara Abdul Hadi has presented on the crowdfunding\u00a0 platform for journalists Emphas.is an interesting project: a real challenge to the western stereotype of all Arab men that are likely to be terrorists. She has taken some pictures of Arab men and has collected them in a presentation that portraits reality for different and unexplored points of view.
\nIn Italy, Naba and Domus Academy design school, the latter being one of the most prestigious in the world,\u00a0has started a cooperation with Eppela platform.
\nThe first Arab crowdfounding portal will be launched on the 2nd July. The portal, called Aflamnah, aims at encouraging the proposal of projects for the Arab world in different fields: cinema, television, art, music, photography and fashion.
\nAccording to Vida Rizq, the main founder of Aflamnah, the initiative aims at changing the way of conceiving creativity in the region and hopes to encourage a new generation of\u00a0 directors, software programmers, artists and designers to pursue their hobby and realize their ideas.
\n4. The Mediterranean will be told through the development of talents, competences and projects.<\/strong>
\nMarinella Ferrara, Politecnico di Milano, INDACO department.<\/em>
\nhttpv:\/\/www.youtube.com\/watch?v=2NdBuJQhtOE
\nBibliography<\/strong>
\nBuckley, C. (1986, autumn). Made in Patriarchy: Toward a Feminist Analysis of Women and Design. Design Issues<\/em>, Vol. 3, n. 2 pp. 3-14.
\nEsfandiari, G. (2003). Number of Female University Students Rising Dramatically in Iran [WWW page]. URL http:\/\/www.payvand.com\/news\/03\/nov\/1133.html.
\nLippard, L. R. (1995). The Pink Glass Swan: Essays on Feminist<\/em>. New York: The New Press.
\nManfredi, A. (2011, March 15th). Rete, blog e social media. Voci di donna dal web alla piazza. La Repubblica esteri<\/em>. Extracted from http:\/\/www.repubblica.it\/esteri\/2011\/03\/15\/news\/intervista_sondes_ben_khalifa-13634909\/.
\nMerton, R.K. (1983). Teoria e struttura sociale<\/em>. Bologna, IT: il Mulino.
\nOksman, V. & Rautiainen, P. (1997). Il prolungamento della mano. Il rapporto di bambini e adolescenti col cellulare in Finlandia. In L. Fortunati, J. Katz, R. Riccini (Eds.), Corpo Futuro<\/em> (pp. 144-154). Milano, IT: Franco Angeli.
\nQudoos, M. (2010, giugno 14). Arab women score high in Internet use online. Khaleej Times online<\/em>. Extracted from http:\/\/www.khaleejtimes.com\/DisplayArticle08.asp?xfile=data\/middleeast\/2010\/June\/middle east_June452.xml&section=middleeast. Wolf, N. (2011). The Middle East Feminist Revolution [WWW page]. URL http:\/\/www.asafeworldforwomen.org\/conflict\/middle-east-peace\/cp-general\/603-the-middle-east-feminist-revolution-by-naomi-wolf.html.
\n[[1]] In 2008, in occasion of the exhibition \u201cDesign and Elastic Mind\u201d Paola Antonelli, curator of the design section of MOMA of New York, claimed that the role of design consists of \u201ccatching\u201d the meaning of changes occurring in the fields of science, technology, social attitudes and turning them into projects concepts, by tracing the achievements back to the human dimension and to daily life. Therefore, one of the fundamental aims of design is to be between revolution and daily life and to help people understand changes.[[1]] [[2]] It has been done in other occasions. See: Ferrara, M. (2009). \u201cDonne dal Mediterraneo\u201d, Disegno Industriale-Industrial Design. 40. 34-39.[[2]] [[3]] Pollock, G., (1982). \u201cVision, Voice and Power: Feminist Art History and Marxism\u201d Block 6. Estratto da: Buckley, C. (1986).\u201dMade in Patriarchy: Toward a Feminist Analysis of Women and Design\u201d Design Issues, Vol. 3, N. 2 (Autumn, 1986), The MIT Press, p. 4. \u201cGriselda Pollock has stated, a feminist approach is neither a side-issue nor a novel historical perspective – it is a central concern of contemporary design history. As she has pointed out, “we are involved in a contest for occupation of an ideologically strategic terrain.\u201d [[3]] [[4]] Journalist for Khaleej Times, Mohammed Qudoos, reports the data related to a survey carried out by YouGovSiraj in April 2010, commissioned by anaZahra.com, portal devoted to Arab women, created by Abu Dhabi Media Company (ADMC). The survey has been carried out in order to understand the evolution of behaviours in the women of Middle-East and to turn them into opportunities for a dialogue. It has pointed out that \u201cArab women are highly involved in the social networking space, with Facebook ranking as the leading social networking site among Arab women: 91 per cent in Lebanon, followed by 80 per cent in Egypt, 78 per cent in the UAE, 70 per cent in Jordan, 68 per cent in Kuwait and Qatar each, 66 per cent in Bahrain, 64 per cent in Saudi Arabia, 55 per cent in Oman, and 45 per cent \u2028in Syria.\u201d Cfr. Qudoos, M. (2010).\u201cArab women score high in Internet use\u201d, Khaleej Times online, 14 giugno 2010, online on http:\/\/www.khaleejtimes.com\/DisplayArticle08.asp?xfile=data\/middleeast\/2010\/June\/middle east_June452.xml&section=middleeast.[[4]] [[5]] A. Manfredi, \u201cRete, blog e social media. Voci di donna dal web alla piazza\u201d, La Repubblica, 15th March 2011, online on http:\/\/www.repubblica.it\/esteri\/2011\/03\/15\/news\/ intervista_sondes_ben_khalifa-13634909\/.[[5]]<\/p>\n

Abstract<\/strong> L\u2019articolo prende in esame e documenta i fenomeni emergenti nei paesi della costa sud del Mediterraneo, che manifestano una presa di coscienza da parte delle donne del loro ruolo nella societ\u00e0. Questi fenomeni possono essere considerati come gli effetti di azioni convergenti: politiche d\u2019investimento nell\u2019istruzione, azioni di promozione di pratiche artistiche e l\u2019uso diffuso di mezzi di social networking, abilitati dalle ICT.\u00a0<\/em>Si prende atto di una crescente tensione verso la democrazia che si esprime in vari modi nelle attivit\u00e0 artistiche, creative e produttive condotte dalle donne. Tanto che oggi un nuovo Mediterraneo pu\u00f2 essere raccontato attraverso l\u2019osservazione delle pratiche femminili che sono il riflesso di un\u2019evidente crescita di talenti, competenze idee e progetti. Tanto pi\u00f9 se consideriamo l\u2019arte e il design, non solo specchio dei mutamenti sociali, ma anche come agente di sviluppo socio-economico.<\/em><\/p>\n

\u00a0<\/em>Key words<\/strong> design mediterraneo, studi di genere, social web, tecnologie delle comunicazioni, crowdfunding.<\/em><\/p>\n

Solo 15 mesi fa la Primavera Araba aveva proposto scenari di democrazia impensabili. L\u2019impressione era quella che nei paesi della sponda Sud del Mediterraneo il processo di democratizzazione, lentamente avviato, si fosse improvvisamente accelerato dando voce ai fenomeni bottom-up<\/em>, alle esigenze delle classi povere, minoritarie e discriminate, alle richieste di libert\u00e0 e di rispetto dei diritti umani. Mentre dall\u2019altra parte, nella sponda Nord, cresceva la consapevolezza che l\u2019influenza dell\u2019occidente in questa regione fosse destinata a diminuire, ma che questa fosse una condizione necessaria per un rapporto pi\u00f9 equilibrato tra le due parti.<\/p>\n

La rinascita del Nord Africa si era dimostrata un\u2019occasione eccezionale per rivalutare il ruolo sociale della donna. Gli avvenimenti di quei giorni con le manifestazioni di protesta \u201cdi piazza\u201d avevano visto una cospicua partecipazione di donne che rivendicavano i loro diritti, mostrando un gran bisogno di emergere e di allargare gli orizzonti, piuttosto limitati, della loro partecipazione al progresso economico-sociale e culturale dei loro paesi.<\/p>\n

Oggi viviamo un momento di regressione. Il cambiamento atteso non \u00e8 avvenuto sulla base di quegli ideali di democrazia e riforma che avevano ispirato la Primavera Araba quanto piuttosto nel segno dell\u2019affermazione di partiti islamico-conservatori. Lo scenario continua ad apparire confuso, e incerti sono gli esiti del processo di transizione in atto. Pi\u00f9 in generale il quadro appare complicato dall\u2019inasprirsi della vicenda siriana e dalla crisi economica che sa colpendo l\u2019area euro-mediterranea.<\/p>\n

Nonostante la disillusione, in questo particolare momento, parlare di \u201cdesign mediterraneo\u201d \u00e8 strategico. Lo \u00e8 se ci riferiamo al design come a quell\u2019atto della cultura progettuale che diventa espressione dei mutamenti sociali e degli stili di vita. L\u2019attitudine del designer ad \u201cafferrare\u201d il senso dei cambiamenti e tradurli in progetto e poi in prodotti e servizi \u00e8 indice della possibilit\u00e0 di esercitare un ruolo nella trasformazione della societ\u00e0: ricondurre al sistema degli oggetti, quindi alla dimensione quotidiana, le pi\u00f9 piccole come le pi\u00f9 dirompenti trasformazioni sociali e dei comportamenti, rende concrete le trasformazioni e chiaramente comprensibili per la gente comune, evitando l\u2019insorgere di paure infondate o di eccessive resistenze sociali, ma soprattutto evita l\u2019accettazione passiva del nuovo{{1}}. L\u2019arte e il design sono fattori d\u2019innovazione e possono divenire, ancora pi\u00f9 se associati alle attivit\u00e0 produttive, strumenti e agenti di sviluppo socio-economico.<\/p>\n

Lo ha dimostrato la storia del fashion design, settore in forte espansione nella costa Sud del Mediterraneo, che ha implicato una presa di posizione sul ruolo della donna e su come viene interpretato, affermando la dignit\u00e0 del corpo e del sesso nel dominio della comunicazione visiva, anche al di l\u00e0 di questo. Il design interpreta lo stile, rinnova i linguaggi espressivi, i segni e i prodotti promuovendo grandi cambiamenti nella vita quotidiana delle donne oppure manifestando il dissenso da alcune posizioni emergenti. Spesso chi lavora in questo settore \u00e8 una figura d\u2019avanguardia, ma la sua creativit\u00e0 non \u00e8 avulsa da ci\u00f2 che avviene nella vita comune, da ci\u00f2 che si osserva nella strada, da quello che avviene negli ambiti artistici e giovanili.<\/p>\n

In Europa, i periodi di rapido cambiamento sociale hanno fornito agli stilisti l\u2019opportunit\u00e0 di aprire nuove prospettive nelle linee d\u2019abbigliamento che hanno poi stimolato importanti modifiche nei ruoli delle donne. Si pensi a figure come quella di Coco Chanel che, dapprima collocata ai margini dell\u2019industria della moda, fu capace di creare un nuovo stile rispondendo ai cambiamenti che stavano avvenendo nella societ\u00e0.<\/p>\n

Tuttavia la moda \u00e8 anche controllo sociale perch\u00e9 rientra in quell\u2019insieme di meccanismi che ogni collettivit\u00e0 elabora per prevenire la devianza di un individuo da un tipo di comportamento. Il gruppo sociale che detiene il potere esercita un controllo, anche attraverso la conformit\u00e0 dell\u2019abito alla moda del tempo, sulla capacit\u00e0 del cittadino di uniformarsi alle prescrizioni civili e sociali (Merton, 1983).<\/p>\n

Ancora pi\u00f9 strategico, in questo particolare momento, \u00e8 parlare del \u201cMediterraneo delle donne\u201d, documentando le attivit\u00e0 professionali e di ricerca delle donne che operano nell\u2019ambito del progetto creativo, artistico, imprenditoriale, di design, architettura e artigianato{{2}}.<\/p>\n

Per sostenere questa posizione facciamo riferimento a Griselda Pollock, la storica del design protagonista dei Cultural Studies<\/em>, che negli anni \u201870 ha affermato che un approccio femminista non \u00e8 n\u00e9 un problema marginale n\u00e9 una nuova prospettiva storica – \u00e8 la preoccupazione centrale della storia contemporanea del design … \u201csiamo coinvolti nella sfida di occupare un territorio ideologico strategico\u201d{{3}}.<\/p>\n

Nonostante l\u2019ampio dibattito suscitato nei paesi di lingua anglosassone dai Design Cultural Studies<\/em>, che hanno scardinato le certezze consolidate sui metodi storiografici, smascherando le ideologie che stavano dietro alla mancata valorizzazione delle donne nella storia del design e aprendo nuovi percorsi della ricerca, il discorso di genere non ha avuto molto seguito nei paesi dell\u2019area mediterranea. Alcuni dei motivi sono quelli appena accennati da Cheryl Buckley nell\u2019intervista che ci ha gentilmente concesso e che riguardano le particolari condizioni storico-politiche di ciascun paese che hanno bloccato o anche solo inibito una diffusione di idee devianti dal comportamento ufficiale.<\/p>\n

Una ricostruzione dei problemi e delle motivazioni che hanno influito sulla mancata valorizzazione del ruolo delle donne, come quelle fatte da Cheryl Buchley, sarebbero auspicabili per ciascuno dei paesi del Mediterraneo.<\/p>\n

Non potendo affrontare un\u2019analisi di questo genere in questa sede, esponiamo la nostra argomentazione mediante alcuni statement<\/em>.<\/p>\n

1. \u201cQuando cambiano le donne, cambia tutto. E le donne nel mondo arabo stanno cambiando in modo radicale.\u201d<\/strong><\/p>\n

<\/strong>La frase della celebre scrittrice femminista Naomi Wolf (2011) da lo spunto per affermare che, nonostante le vicende politiche e le ideologie dominanti creino degli sbarramenti all\u2019evoluzione delle cose, il mondo si rinnova continuamente, a volte con elementi inediti che sfuggono agli stereotipi.<\/p>\n

Tra gli stereotipi prevalenti nel mondo occidentale sui paesi musulmani vi sono quelli riguardanti le donne: velate e sottomesse, esoticamente silenziose, rinchiuse dietro rigidi ruoli di genere.<\/p>\n

Tutto ci\u00f2 non corrisponde pi\u00f9 alla realt\u00e0. La partecipazione delle donne ai moti del nord Africa dell\u2019anno scorso ne ha dato prova, come il lavoro di molte donne arabe impegnate nel campo dell\u2019arte.<\/p>\n

Tra i pi\u00f9 grandi cambiamenti avvenuti c\u2019\u00e8 quello dell\u2019istruzione. Tra i paesi della costa Sud del Mediterraneo, la Tunisia \u00e8 l\u2019esempio pi\u00f9 significativo di una politica di investimenti nell\u2019istruzione (i pi\u00f9 alti al mondo) che, avuto inizio nel 1956, ha ottenuto un notevole successo. Gi\u00e0 nel 2000, circa il 92% dei bambini da sei a 12 anni frequentava la scuola. Grazie a questo cambiamento le donne in Tunisia costituiscono un segmento vitale della forza lavoro qualificata.<\/p>\n

Due generazioni fa, solo una piccola minoranza delle figlie delle \u00e9lite riceveva una formazione universitaria. Oggi, le donne rappresentano pi\u00f9 della met\u00e0 degli studenti nelle universit\u00e0 egiziane e pi\u00f9 del 60% in quelle iraniane (Esfandiari, 2003). Molti investimenti nell\u2019istruzione sono stati fatti anche in Israele e Palestina.<\/p>\n

Altro grande cambiamento \u00e8 avvenuto nel campo dell\u2019arte dove le donne rappresentano un movimento artistico indipendente e in crescita, e sono tra i pi\u00f9 grandi mecenati e collezionisti del Medio Oriente. Attualmente, nel mondo arabo c’\u00e8 un grande spazio per l\u2019arte, per le esposizioni e il riconoscimento degli artisti: abbondano festival, incontri, concorsi, gallerie, aste pubbliche e vengono aperti nuovi musei come quelli di Abu Dhabi e del Qatar (voluto dalla Sheikha Mayassa Al Thani). Aumenta anche in occidente la curiosit\u00e0 per questo \u201csconosciuto\u201d.<\/p>\n

Nell\u2019arte le donne trovano il terreno adatto per esprimersi liberamente, lottare contro gli stereotipi e iniziare una carriera anche da casa.<\/p>\n

La vera arte \u00e8 parte integrante del dialogo con la societ\u00e0 e riformula la societ\u00e0 dal suo interno. Per citare il critico Lucy R. Lippard (1995): “l’arte femminile non \u00e8 uno stile \u2026 , ma un sistema di valori, un approccio rivoluzionario e uno stile di vita”.<\/p>\n

Anche nel Mediterraneo, come \u00e8 successo nel mondo anglosassone, il rinnovamento parte dall\u2019arte e dal riconoscimento del lavoro delle donne e fa parte del movimento femminista.\u00a0Come abbiamo appreso dalla storia, una volta educate le donne la tensione verso la democratica \u00e8 difficile da arrestare.<\/p>\n

2. C\u2019\u00e8 una connessione tra l\u2019utilizzo delle ICT e la tensione verso la democrazia.<\/strong><\/p>\n

Abbiamo appreso dai media quanto sia stato importante il ruolo delle ICT (reti telefoniche, TV via cavo, Internet e social network) nei recenti moti del Nord Africa, sia per la diffusione dei modelli di vita occidentali sia come strumento della dissidenza. Esse hanno favorito una presa di coscienza del proprio essere nel mondo, stimolando il confronto tra le popolazioni della costa meridionale e quelle della costa settentrionale, con identit\u00e0 e stili di vita diversi.<\/p>\n

La telefonia portatile \u00e8 penetrata in tempi rapidissimi. E anche se da alcuni studi (condotti tra gli adolescenti) risulta che le ragazze si mostrano pi\u00f9 refrattarie agli sviluppi tecnologici e agli apparecchi della tecnologia della comunicazione, oggi sempre pi\u00f9 donne, interessate alla loro dimensione interattiva ed estetica, hanno accesso alle tecnologie e le utilizzano per entrare in contatto con persone geograficamente distanti (Virpi Oksman e Pirjo Rautiainen, 1997, p. 148) e per conoscere meglio le diverse facce del mondo.<\/p>\n

In Medio Oriente le donne sono molto attive nei social network, con una partecipazione molto alta, circa il 70%, di cui il 34% si connette almeno 10 ore alla settimana durante il tempo libero (Qudoos, 2010) {{4}}. Cresce il desiderio di conversare, condividere informazioni e contenuti, raccontarsi sul web.<\/p>\n

Le donne sono state tra le prime a utilizzare lo spazio virtuale come luogo di dissidenza. Sond\u00e8s Ben Khalifa, giornalista a Radio Tunisienne e blogger dice: \u201cSono le nuove tecnologie ad aver dato loro la forza di combattere con gli uomini. Le hanno aiutate a comunicare, esprimersi pi\u00f9 o meno liberamente. E i loro sforzi si sono tradotti in una reazione che da virtuale si \u00e8 fatta reale\u201d (Manfredi, 2011) {{5}}.<\/p>\n

Ehab el-Zelaky, giornalista egiziano del quotidiano indipendente Al-Masry Al-Youm ha affermato che \u201cI moti del Maghreb hanno radici lontane \u2026 gi\u00e0 dal 2004 si sono moltiplicate le voci dei dissidenti e delle minoranze sulla rete e tra queste quelle di molte donne \u2026 alcune blogger hanno cominciato a raccontare delle loro esperienze di vita alzando il velo sui tab\u00f9 e reagendo all\u2019omert\u00e0\u201d. Su Internet le donne egiziane hanno cominciato a parlare in prima persona di omosessualit\u00e0 femminile e di violenza domestica.<\/p>\n

I social media, per la natura stessa di questa tecnologia, attraverso i collegamenti che posso operare a livello di piccola e grande rete, consentono a uomini e donne di condividere il loro pensiero, comprendere le differenze, dialogare, dare voce ai pensieri e ai bisogni prima inespressi utilizzando diversi codici comunicativi. I social network facilitano e stimolano anche le donne a partecipare attivamente alla costruzione della societ\u00e0, della politica, della cultura in modo consapevole.<\/p>\n

Come ha fatto notare Naomi Wolf (2011){{6}} le donne, se non allenate al governo del potere, hanno spesso difficolt\u00e0 alla leadership e alla protesta, come tradizionalmente viene concepita, perch\u00e9 questo comporta una tecnica \u201cestranea\u201d al corpo femminile, come stare in piedi d\u2019innanzi ad un palcoscenico, un riflettore e attivare o sfidare la folla, alla maniera dell\u2019attivista idealmente rappresentato come un uomo giovane, testa calda, con un megafono, proiezione del potere. Invece, i social network, e in particolare Facebook con la sua interfaccia, imitano il modo di vivere la realt\u00e0 sociale delle donne, basata sulle relazioni tra le persone secondo connessioni che fungono anche da strumento di dominanza e di controllo.<\/p>\n

\u201cSu Facebook si pu\u00f2 essere un semplice individuo ma anche un potente leader senza dover essere un\u2019autorit\u00e0 o far valere il proprio dominio ma semplicemente creando un grande “noi”.\u201c(Wolf, 2011).<\/p>\n

3. Le nuove tecnologie producono nuovi modelli, nuovi sistemi e nuovi progetti.<\/strong><\/p>\n

Nel sistema delle comunicazioni sempre pi\u00f9 fluido e in constante trasformazione sono molte le professioniste che sperimentano nuove modalit\u00e0 di affermazione e crescita professionale coniando strumenti e linguaggi nuovi, aprendo percorsi inediti in un processo di interazione personale di massa che si sta strutturando attorno al web sociale.<\/p>\n

Pensiamo al fenomeno del crowdfunding<\/em>. Questo \u00e8 un mezzo per la ricerca di finanziamenti da utilizzare per lo start-up di progetti e idee imprenditoriali che utilizza la collaborazione di massa attraverso Internet. Il concetto non \u00e8 sicuramente nuovo: ricordiamo la \u201ccolletta\u201d praticata comunemente tra studenti o in chiesa per la beneficienza, oppure le tontines<\/em>, cio\u00e8 la modalit\u00e0 di microcredito auto-organizzato diffuso tra le donne del Nord-Africa per superare la difficolt\u00e0 di accesso alla finanza, non avendo molto da offrire in termini di garanzia. Questa pratica \u00e8 tipica delle comunit\u00e0 e delle associazioni nate spontaneamente sul comune interesse in cui i partecipanti, pagando una quota molto esigua, alimentano una cassa comune di cui ciclicamente dispongono per portare a termine iniziative e progetti.<\/p>\n

Oggi nella rete aumenta il numero di piattaforme di crowdfunding<\/em> specializzate per gli imprenditori della tecnologia, per il giornalismo e anche per le professioni creative e le arti (cinema, televisione, musica, fotografia, ecc.).<\/p>\n

Questo strumento \u00e8 particolarmente efficace per i progetti che difficilmente avrebbero l\u2019appoggio istituzionale e di soggetti politici e che, grazie ad una raccolta fondi dal basso tra appassionati e persone che si interessano al progetto proposto sulla piattaforma, possono realizzarsi. Si forma cos\u00ec una societ\u00e0 reale e partecipata, fuori dall\u2019economia classica, che funziona su regole autonome.<\/p>\n

La fotografa irachena Tamara Abdul Hadi ha presentato sulla piattaforma di crowdfunding<\/em> per fotogiornalisti Emphas.is un interessante progetto: una vera e propria sfida degli stereotipi occidentali, quello che vede tutti gli uomini arabi come potenziali terroristi. Ha realizzato alcune foto di uomini arabi e le ha raccolte in una presentazione che offre uno sguardo sulla realt\u00e0 da punti di vista inesplorati.<\/p>\n

In Italia le scuole di design Naba e Domus Academy, quest\u2019ultima una delle pi\u00f9 prestigiose al mondo, hanno avviato una collaborazione con la piattaforma Eppela.<\/p>\n

Il primo portale arabo di crowdfounding<\/em> sar\u00e0 lanciato il 2 luglio. Aflamnah – \u00e8 questo il suo nome – vuole incoraggiare la proposta di progetti per il mondo arabo in diversi campi: cinema, televisione, arte, musica, fotografia e moda.<\/p>\n

Secondo quanto afferma Vida Rizq, la principale fondatrice di Aflamnah, l’iniziativa vuole cambiare il modo di concepire la creativit\u00e0 nella regione e spera di incoraggiare una nuova generazione di registi, sviluppatori di software, artisti e designer a perseguire la loro passione e realizzare le loro idee.<\/p>\n

4. Il Mediterraneo potr\u00e0 essere sempre pi\u00f9 raccontato attraverso la crescita di talenti, competenze idee e progetti.\u00a0<\/strong><\/p>\n

Marinella Ferrara, Politecnico di Milano, Dipartimento INDACO<\/em><\/p>\n

httpv:\/\/www.youtube.com\/watch?v=2NdBuJQhtOE<\/p>\n

Bibliografia<\/strong><\/p>\n

Buckley, C. (1986, autumn). Made in Patriarchy: Toward a Feminist Analysis of Women and Design. Design Issues<\/em>, Vol. 3, n. 2 pp. 3-14.<\/p>\n

Esfandiari, G. (2003). Number of Female University Students Rising Dramatically in Iran [WWW page]. URL http:\/\/www.payvand.com\/news\/03\/nov\/1133.html.<\/p>\n

Lippard, L. R.\u00a0(1995). The Pink Glass Swan: Essays on Feminist<\/em>. New York: The New Press.<\/p>\n

Manfredi, A. (2011, marzo 15). Rete, blog e social media. Voci di donna dal web alla piazza. La Repubblica esteri<\/em>. Estratto da http:\/\/www.repubblica.it\/esteri\/2011\/03\/15\/news\/intervista_sondes_ben_khalifa-13634909\/.<\/p>\n

Merton, R.K. (1983). Teoria e struttura sociale<\/em>. Bologna, IT: il Mulino.<\/p>\n

Oksman, V. & Rautiainen, P. (1997). Il prolungamento della mano. Il rapporto di bambini e adolescenti col cellulare in Finlandia. In L. Fortunati, J. Katz, R. Riccini (Eds.), Corpo Futuro<\/em> (pp. 144-154). Milano, IT: Franco Angeli.<\/p>\n

Qudoos, M. (2010, giugno 14). Arab women score high in Internet use online. Khaleej Times online<\/em>. Estratto da http:\/\/www.khaleejtimes.com\/DisplayArticle08.asp?xfile=data\/middleeast\/2010\/June\/middleeast_June452.xml\u00a7ion=middleeast.<\/p>\n

[[1]] Nel 2008, in occasione della mostra \u201cDesign and Elastic Mind\u201d Paola Antonelli, curatrice della sezione design del MOMA di New York, ha affermato che il ruolo del design consiste \u201cnell\u2019afferrare\u201d il senso dei cambiamenti in atto negli ambiti della scienza, della tecnologia, dei comportamenti sociali e tradurli in concept di progetto, riconducendo le acquisizioni alla dimensione umana e della vita quotidiana. Cos\u00ec uno dei compiti fondamentali del design \u00e8 stare tra la rivoluzione e la vita quotidiana, e aiutare la gente a comprendere i cambiamenti. [[1]]<\/p>\n

[[2]] In altre occasioni \u00e8 stato fatto. Vedi: Ferrara, M. (2009). \u201cDonne dal Mediterraneo\u201d, Disegno Industriale-Industrial Design. 40. 34-39. [[2]]<\/p>\n

[[3]] Pollock, G., (1982). \u201cVision, Voice and Power: Feminist Art History and Marxism\u201d Block 6. Estratto da: Buckley, C. (1986).\u201dMade in Patriarchy: Toward a Feminist Analysis of Women and Design\u201d Design Issues, Vol. 3, N. 2 (Autumn, 1986), The MIT Press, p. 4. \u201cGriselda Pollock has stated, a feminist approach is neither a side-issue nor a novel historical perspective – it is a central concern of contemporary design history. As she has pointed out, “we are involved in a contest for occupation of an ideologically strategic terrain.” \u201d [[3]]<\/p>\n

[[4]] Il giornalista di Khaleej Times, Mohammed Qudoos, riporta i dati di una ricerca condotta da YouGovSiraj nell\u2019aprile del 2010, su commissione di anaZahra.com, portale dedicato alle donne arabe, creato dalla Abu Dhabi Media Company (ADMC). La ricerca \u00e8 stata condotta per comprendere l\u2019evoluzione dei comportamenti delle donne in Medio Oriente e per individuare in queste opportunit\u00e0 di dialogo, ha rivelato che \u201cArab women are highly involved in the social networking space, with Facebook ranking as the leading social networking site among Arab women: 91 per cent in Lebanon, followed by 80 per cent in Egypt, 78 per cent in the UAE, 70 per cent in Jordan, 68 per cent in Kuwait and Qatar each, 66 per cent in Bahrain, 64 per cent in Saudi Arabia, 55 per cent in Oman, and 45 per cent \u2028in Syria.\u201d Cfr. Qudoos, M. (2010).\u201cArab women score high in Internet use\u201d, Khaleej Times online, 14 giugno 2010, online su http:\/\/www.khaleejtimes.com\/DisplayArticle08.asp?xfile=data\/middleeast\/2010\/June\/middleeast_June452.xml\u00a7ion=middleeast [[4]]<\/p>\n

[[5]] A. Manfredi, \u201cRete, blog e social media. Voci di donna dal web alla piazza\u201d, La Repubblica, 15 marzo 2011, online su<\/p>\n

http:\/\/www.repubblica.it\/esteri\/2011\/03\/15\/news\/intervista_sondes_ben_khalifa-13634909\/ [[5]]<\/p>\n

[[6]]Wolf , N. (2011). The Middle East Feminist Revolution [WWW page]. URL http:\/\/www.asafeworldforwomen.org\/conflict\/middle-east-peace\/cp-general\/603-the-middle-east-feminist-revolution-by-naomi-wolf.htm<\/a>l.[[6]]<\/p>\n


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