The Arts
"I am Jugoslovenka!"
Feminist performance politics during and after Yugoslav Socialism
by Jasmina Tumbas, Amelia Jones, Marsha Meskimmon
Description
"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 Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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Albania, Algeria, Angola, Argentina, Armenia, Australia, Austria, Bahrain, Belgium, Belize, Benin, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Bulgaria, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo [DRC], Congo, Republic of the, Costa Rica, Ivory Coast, Croatia, Czech Republic, Denmark, Djibouti, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Faroe Islands, Finland, France, French Guiana, Gabon, Gambia, Georgia, Germany, Ghana, Greece, Guatemala, Guinea, Guinea-Bissau, Guyana, Honduras, Hongkong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Jordan, Kazakhstan, Kenya, Kuwait, Latvia, Lebanon, Lesotho, Liberia, Libya, Lithuania, Luxembourg, Macau, China, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Mali, Malta, Mauritania, Mauritius, Mayotte, Mexico, Mongolia, Montenegro, Morocco, Mozambique, Namibia, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Norway, Oman, Pakistan, Panama, Paraguay, Peru, Philippines, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Somalia, South Africa, South Korea, Spain, Sri Lanka, Sudan, Suriname, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tunisia, Turkey, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Venezuela, Vietnam, Western Sahara, Yemen, Zambia, Zimbabwe, South Sudan, Cyprus, Palestine, Bangladesh, Cambodia, Liechtenstein, Azerbaijan
Endorsements
This book reveals how feminist performance politics in art and culture were central to socialist Yugoslavia and traces a feminist legacy through the contemporary, post-socialist era. Using the term "Jugoslovenka" to encompass multiple generations of women who lived under or were born during Yugoslav socialism, it bridges decades of nation-building and violent rupture. Presenting analyses of well-known feminist artists like Sanja Ivekovic alongside controversial figures such as Marina Abramovic and Vlasta Delimar, and highlighting the feminist legacies of superstar music icons Lepa Brena and Esma Redzepova alongside contemporary artists such as Tanja Ostojic and Selma Selman, the book offers an essential insight into Yugoslav feminist performance politics. Ultimately, "I am Jugoslovenka!" introduces a starkly divergent narrative of socialism, one that reveals a vibrant Yugoslav feminist cultural production centered on questions of gender and sexuality-political commitments that shaped feminist, lesbian, and anti-nationalist movements from the 1980s to today.
Reviews
This book reveals how feminist performance politics in art and culture were central to socialist Yugoslavia and traces a feminist legacy through the contemporary, post-socialist era. Using the term "Jugoslovenka" to encompass multiple generations of women who lived under or were born during Yugoslav socialism, it bridges decades of nation-building and violent rupture. Presenting analyses of well-known feminist artists like Sanja Ivekovic alongside controversial figures such as Marina Abramovic and Vlasta Delimar, and highlighting the feminist legacies of superstar music icons Lepa Brena and Esma Redzepova alongside contemporary artists such as Tanja Ostojic and Selma Selman, the book offers an essential insight into Yugoslav feminist performance politics. Ultimately, "I am Jugoslovenka!" introduces a starkly divergent narrative of socialism, one that reveals a vibrant Yugoslav feminist cultural production centered on questions of gender and sexuality-political commitments that shaped feminist, lesbian, and anti-nationalist movements from the 1980s to today.
Author Biography
Amelia Jones is Robert A. Day Professor of Art and Design and Vice Dean of Critical Studies at the Roski School of Art and Design, University of Southern California; Dorothy C. Rowe is Senior Lecturer in History of Art at the University of Bristol
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Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date February 2022
- Orginal LanguageEnglish
- ISBN/Identifier 9781526156471 / 1526156474
- Publication Country or regionUnited Kingdom
- Pages344
- Publish StatusPublished
- Dimensions234 X 156 mm
- Biblio NotesDerived from Proprietary 5358
- SeriesRethinking Art's Histories
- Reference Code13712
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