Glossary l(a)unch: gender issues

WCSCD started its transition through merging rural and urban with research on artistic practices in the region. The research was undertaken through educational program of WCSCD 2023/2024. We encountered the number of examples starting from early 70’s  Oho Group, Family of Clear Streams, and some from recent past  Gera Museum ( 2000’s).  Our research was done though site visits and conversations. Places we visited Gera Museum,  Family of Clear Streams were ruins or remains of what was originally there. What was originally there were communities or potentiality for creating one.

Program participants developed glossary unpacking key words related to these practices in relation to art making, economy, politics, spirituality, and gender.  

During the research we spoke mostly with men hearing their stories and that fact left us troubled. What was the role of women in these communities? As a response to that WCSCD program participant, Laura Rositani  developed  keywords in relation to gender issues that lingered through field trips and conversations we had. 

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Gender issues

By Laura Rositani

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Our case studies revealed a recurring theme: the presence of gender issues. These issues encompass all aspects and concerns related to women's and men's lives - both in the social and art-making realms.

 

In its original meaning, gender issues refers to the historic lack of inclusion and equality for women compared to men. It delves into the power dynamics between genders, their historical evolution, and how these dynamics play out across political, legal, economic, and cultural landscapes. Essentially, gender functions as a powerful social structure, shaping relationships between individuals and institutions in profound and lasting ways.

 

Examining these issues through a gender lens exposes a web of interconnected inequalities. The experiences of men and women diverge dramatically due to unequal access to resources, participation opportunities, and agency. For example, the interviews with the men involved in our archive research served as a stark reminder of this disparity. Instances of sexual discrimination, gender stereotyping, and inappropriate language and conduct emerged during these conversations.

It was incredibly difficult to find even a mention of women in these stories, despite the fact that their unseen presence was clearly the foundation upon which most of these projects, at least initially, achieved some measure of success. Women were the ones pulling the strings and holding everything together.[1] However, this crucial role was overshadowed by the overwhelming presence of male figures, whose dominance permeated every corner of the archival material.
My observations of the case studies and the overall situation reveal a continuous pattern of women's contributions being either ignored or downplayed. This can be seen as a subtle but persistent form of violence that has relegated and continues to relegate women to the margins of history, artistic practice, and even their own lives as mothers, wives, and simply women. While the case studies don't offer definitive answers about how things could have been different, One can imagine that if these women had been afforded greater gender equality within their families and communities, the outcomes might have been more positive. I'm not suggesting that the projects wouldn't have faced challenges, but perhaps they could have failed in a more constructive way, allowing for a chance to rebuild on a stronger foundation. What remains now are ashes: untold or distorted stories under the oppressive gaze of patriarchy.
Interestingly, one aspect I observed that could potentially bridge the gender gap and offer a path to healing is the shared love for the earth. Nature could serve as a common ground, fostering respect and understanding between genders.

 

The Glass Ceiling and Beyond: Unveiling Women's Contributions
The glass ceiling metaphor aptly describes the invisible barriers that women often face.This glossary literally refers to a glass box, a cage that confines women's achievements and obscures their impact. In this case, it's not just the barriers that are transparent - the very presence and contributions of women are rendered invisible. This invisibility extends beyond the encompassing art practice, politics, to all aspects of life.
Our archive research exemplifies this phenomenon. Women are relegated to the margins of the stories, their contributions as active participants left untold or rarely acknowledged. They are primarily mentioned as wives and collaborators, never as the driving forces behind their communities. This is akin to them being confined within a glass cage, their achievements obscured and their impact minimized.

 

Gender Blindness and the Lingering Shadow of Patriarchy
Almost every encounter we had while researching showed the lingering presence of a patriarchal legacy and a lack of gender equality. Gender blindness refers to the failure of recognizing the unequal structure of gender relations: while it might seem like a neutral approach, it actually maintains the status quo and doesn't address the existing power imbalance. Furthermore, the lingering influence of a system that privileges men, continues to shape how we view and discuss gender. This dominance extends to language itself, where the terms used to describe women can often be a subtle form of violence.
The research highlighted the need to recognize the crucial roles women played, beyond wives or companions. Moreover, the research exposed a shocking blindness towards these deeply rooted behaviors, a complete failure to recognize their significance and consequences. 

 

Co-creation
Our research identified several instances where men positioned women as assistants, diminishing their contributions to community building and artistic endeavors.
The concept of co-creation extends beyond the artworks themselves. It encompasses the very foundation of life within these communities. However, our research revealed a persistent pattern: while both men and women were undoubtedly involved in the creative process, women were consistently relegated to a subordinate role.
This becomes particularly evident in the way women were described. They were partially acknowledged as "makers," but their intellectual contributions are erased. The language used never elevates them to the level of thinkers or authors.

 

The power of stones and plants related to women’s knowledge
Across many cultures, women have been the custodians of a vast universe of knowledge and skills related to healing plants, herbs, spices, and the hidden powers of minerals. This knowledge, passed down through generations from woman to woman, reflects a deep eco-sensitivity and connection to the natural world. Plant’s knowledge and other aspects of medicine were often labeled as witchcraft by patriarchal and religious authorities. Women who possessed and used this knowledge were often accused of witchcraft and persecuted, undergoing torture, trials, and death sentences.The repression of this knowledge, aimed to limit women's autonomy, consolidated male power and controlled access to natural resources. Women knew the medicinal properties of every plant, every herb, every root, and they used them to heal themselves, their children, and their communities. The witch hunt was a war against women, against their knowledge and their autonomy. While sexual and domestic violence were undoubtedly prevalent during this era, a deeper examination reveals the underlying economic, social, and structural factors that transformed women into perceived threats, requiring their elimination or confinement to subordinate roles.The witch hunt went beyond mere physical persecution; it aimed to dismantle an entire universe of knowledge and relationships that underpinned women's social power. In many pre-capitalist societies, women held significant economic and social roles, often serving as healers, herbalists, and caregivers. Their knowledge of natural remedies and practices posed a challenge to the emerging patriarchal and capitalist structures. Hence, the witch hunt served as a tool to subdue women's autonomy, suppress their knowledge, and confine them to predefined gender roles.[2] Our case studies reveal that some women possess a rich understanding of traditional knowledge systems related to plants and minerals. This knowledge, often passed down through generations, might involve interpreting subtle signs in the environment or using specific rituals to connect with nature. This process of women seemingly communicating with nature underscores the immense value of their relationship with the land. This deep understanding could be the very foundation for the art-agriculture projects they were developing.[3] [4]  It's also clear that this knowledge wasn't previously considered in sufficient depth.

Indeed, my (our) observations align with what happened in the past with the “witchcraft”: since women’s roles were not acknowledged, these stories have essentially erased them from the narrative, leading to their marginalization.

 

Ruins as human and non-human resources:
The places visited in relation to the practices being researched were all ruins. In some cases they were ruins in literal sense, where space was overtaken by nature and decay and in other sense (metaphorical) ruins of the idea or utopia of community. The intersection of ruins and feminism offers a rich and complex area of study. It provides a way to challenge traditional narratives, reclaim lost histories, and imagine more inclusive futures where women's contributions are recognized and valued. Through the feminist lens, the concept of ruins isn’t solely male-centric representations of fallen empires.Ruins could be re-examined to understand spaces traditionally associated with women's work, domestic life, and cultural practices. By studying the ruins from this perspective, we can attempt to reclaim the lost stories of women who contributed to these societies.
Furthermore, according to Posthumanism (ist) theories, ruins become potent symbols of human impermanence and the possibility of coexistence with other forms of life beyond the human, criticizing human exceptionalism.

According to this way of seeing things, ruins signifies not the end, but a blossoming of potential. As we delve into the depths of our archival research, we encounter the haunting presence of ruins - remnants of a once-thriving endeavor. Yet, these vestiges seem to whisper tales of unfulfilled potential, a story of progress stunted by a profound sense of detachment. The community, it appears, failed to forge a sense of belonging, fostering an atmosphere of alienation that ultimately led to the project's demise. To fully comprehend the project's decline, we must delve into the depths of the archives. Why did individuals feel disconnected? Was it a structural issue, a lack of shared purpose, or something else entirely? An answer could be the male-centric power structure potentially contributed to the project's downfall and it is recurrent in every archive story.[5] An extremely important open question is the following one: Were there any successful efforts to breathe new life into these relics of the past?

This skewed perspective necessitates a rewriting of history, one that acknowledges the full spectrum of participation, encompassing both men and women and more than human world. To fully comprehend the project's trajectory, we must re-analyze into the archives, employing a gender-inclusive lens. Archeological evidence, oral histories, and art practices can all offer valuable insights.

 

Family project:

The case studies we have looked at started as a family project-  families moving to rural with potential of turning into community. While this approach can offer a strong foundation, it also carries the potential for perpetuating gender inequality. Traditional gender roles often get transported from the family unit to the larger project, potentially limiting women's participation and decision-making. Furthermore, the traditional family often reinforces male dominance: men hold more power, while women are expected to manage domestic labor and childcare.
The concept of family, particularly the traditional monogamous structure, is often intertwined with an outdated notion that has little to do with modern ideas of romantic love. This rigid model can become exclusionary, pushing those who don't conform to its narrow definition to the margins, even demonizing them. It reinforces a social construct that assigns a singular "ideal" identity to families, emphasizing exclusivity and a sense of ownership.
This monogamous mindset aligns perfectly with the capitalist and patriarchal structures of modern society. It can contribute to a range of social ills, including violence, colonialism, and racism. Furthermore, the traditional gendered definition of family can cultivate possessiveness, exclusivity, and a focus on individualism, potentially hindering social cohesion. From a political perspective, Fascist and totalitarian regimes viewed the traditional peasant family as a model to be championed and controlled. This was due to the specific characteristics it embodied, seen as essential for maintaining social order and consolidating their power. The peasant family was typically defined by a strict patriarchal structure, with the father as the undisputed head and women and children subordinate to his authority. This mirrored the authoritarian hierarchy that these regimes sought to impose on society at large. Life for peasant families was arduous, demanding discipline and unwavering obedience. Regimes heavily emphasized values like hard work, sacrifice, and unquestioned respect for authority, as crucial for maintaining societal order.  Additionally, peasant life was deeply connected to the land and rural values. Fascist and totalitarian regimes often romanticized the simplicity and purity of rural life, contrasting it with the perceived "corruption" of urban living. This served to further tighten their grip on society and suppress any ideas deemed subversive.

Our case studies consistently reveal the same pattern: the narrative revolves around a family headed by the paterfamilias, with the wife having no say in the matter. This exclusivity and narcissistic approach has led not only to the inability to integrate their project into a community, but also to a failure to achieve independence. When discussing these families, we are not referring to the romantic ideal of shared love, but rather to a strict patriarchal structure that impacts the wives and, subsequently, the children. Kids are the first to break away from what their fathers have tried to build through imposition.

 

Motherhood and invisible labor:

Another important aspect related to the women of our case studies is motherhood. Mothers were the ones in charge of keeping the spaces clean, of cooking, of taking care of children and assisting their husbands in every tasks- even if their efforts and irreplaceable help were completely invisible in the narration. It is important to mention, how this invisibility is strictly linked to a gender based idea of motherhood.  Ecofeminist theories argue that the patriarchal and capitalist system exploits the female body through forced reproduction. Women are seen as mothers and caregivers, relegated to the private sphere and deprived of their autonomy. Motherhood becomes unpaid labor that perpetuates female subordination.In the main essay on ecofeminism, Françoise D'Eaubonne advocates a "Womb strike" (1974) as a radical solution to curb patriarchal power. This is an act of radical rebellion, in which women reclaim control over their bodies and refuse to be considered as reproductive machines. The “womb strike" is not limited to the mere refusal to have children, but also implies a social and political transformation that challenges existing power structures. According to ecofeminist studies, the threats of overpopulation and resource depletion can be traced back to the power that men have acquired in cultivating the land and their participation in the reproductive act. The relationship between the domination of nature and female subordination gains relevance, in relation to the nature-body connection, where there is an overlap between the exploitation of nature's resources and sexual-procreative potential.
A focal point of feminist theories is the critique of the patriarchal model that has relegated motherhood to a subordinate and subservient role to women. Motherhood thus becomes a forced sacrifice, an obligation that limits the woman's personal and professional fulfillment.

The mothers in our case studies prioritized their wish to be loved and cared over any professional recognitions, but they were undervalued and ignored.[6] Cooking, cleaning, laundry, childcare, etc. were invisible labor, unpaid and unrecognized work that is often essential for the smooth running of a household or community.

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[1] While a wider view on case studies is certainly important, Dragana Kojičić's project in Mošorin stands out as a precious exception. It's important to note that her project is contemporary, and thus the social-political context is distinct from the others, even though they share the same national origin.

[2] Silvia Federici, “Caccia alle streghe, guerra alle donne”, NERO edition, Rome, 2022

[3] Marko Pogačnik mentioned Kathi Lightstone, Milenko Matanovic’s wife, who, after an experience hitchhiking in Scotland, she got in touch with Findhorn foundation. This community thrived with incredible vegetables, thanks to the women's remarkable ability to connect with the plants. Her knowledge, brought to Šempas, perfectly laid the foundation for a unique idea: agriculture intertwined with art.

[4] Marko Pogačnik referred also to Gimbutas's work on millennia of peaceful societies became a revelation, upending his worldview. Inspired by this, he and his daughter, Ajra, developed a method to perceive and understand landscapes as "landscape temples" structured according to the Triple Goddess principle ( they wrote The Daughter of Gaia: Rebirth of the Divine Feminine, Findhorn Press, 2001)

Among her most important accomplishments, Gimbutas developed a fundamental glossary of the figurative motifs that serve as an interpretative key to the mythology of an otherwise undocumented era (Neolithic), but also she established, on the basis of the interpreted signs, the characterizing lines and the main themes of a religion that venerated both the universe as the living body of the Mother Goddess Creator and all living things within it as partakers of her divinity. Gimbutas also coined the term “Gilania” ( from the Greek terms gynè, "woman" and anèr, "man”) to describe a society existed in 8.000-2500 a.c in the Ancient Europe based on the equality of rights between men and women and the lack of hierarchy and authority within the community.

[5] Gera Museum is an example of ruins in a literary way and it shows how things could be potentially different if the power was not centered on one person but shared with the collective. When things felt apart, nobody took care of what Gera built and nobody felt like belonging to what he created.

For Family of Clear stream the story is not that different at all, especially the ending. If at the beginning the idea was to create a collective project, through the time Bozidar ends up alone probably because he didn’t manage to have an horizontal approach to the community but he always put himself and his ideas first. The Sempas didn’t work either in this sense: they weren’t able to build a relationship with villagers but at the same time couldn’t be independent.

[6] According to Braila’s experience, the first wife of Bozidar, it is clear how her presence was at the same time fundamental and not recognized: she was the one who took care of three kids, woke up at 5 to cook for the 20 people part of Family of Clear stream, she was also involved, against her wish, to perform and be part of her husband’s art processes.