Women in Wartime: Yes We Can

A drawing of a young woman, seen from behind, pulling away to the right from a hand on the left, and yelling towards the left, as if escaping and fending off another person, just off the panel. Artist is Emily van Lidth de Jeude.I once installed a show called Woman Story here in my home community. The core of Woman Story is a series of 24 portraits of bald, naked women drawn with graphite, crayon and acrylic wash onto reclaimed panels from my own home. They're actively expressing a complex array of experiences that inform woman-ness, but anonymously, because each of our stories might belong to any one of us.

At some point, a local I know distantly ‒ a retired judge and art collector ‒ came in to the gallery and sat down on the bench near the door. He stayed for about forty minutes. I eventually went to sit with him, and asked him what he thought of the show.

"Oh, I'm not here for the show." He answered. "I'm waiting for my ride."

"Ah. I see." What was I supposed to say next?

But he continued. "Is this your work?" He asked, bluntly. 

"Yes."

"Well it's awful. An insult to women."

I was completely shocked, but also curious, and asked, "Why do you feel that way?"

"They're bald," he answered, point blank. "Why would you be so disrespectful to women?"

A reclaimed raw wood panel with a drawing of a powerful woman holding standing, facing to the right, holding a silhouetted hand up to the viewer in an act of defiance. Artist is Emily van Lidth de Jeude.
"I drew them without hair in order to make them anonymous; to remove an identifier, and so their hairstyle doesn't speak to any potential prejudice or assumptions we make about people's hairstyle choices. But also to make their stories about everywoman."

He never once looked at me while he spoke. "They look like the bodies that came out of Buchenwald," he said. And then he was silent. And soon afterwards, his ride came.

Obviously, I could see his point. And, despite feeling regretful about possibly triggering trauma in people (my family definitely also carries trauma from WWII), I feel like maybe it's not a bad thing to have made this connection in my work. Because in war, women are also casualties. Women are also contributing to and leading both the offensive and the underground support systems. Women did come out of Buchenwald, dead. And women are found in shallow graves, abandoned vehicles, hospitals and landfills all over this world. It truly is awful, and I guess that's why I feel it needs to be told.

Here we are on the brink (or over the brink?) of WWIII, at the same time as we're experiencing a rise in femicide, exploitation, abuse and violence against women. It's not a coincidence. In our greed-based apathy we have allowed a very small handful of men to own and control our world. Most obviously, that's not acceptable! And what do strong women do when a situation is not acceptable? We make change. Women all over the world are protecting the vulnerable and building systems for survival, protection, and recovery, even as the war is only getting started.

Generally speaking, women are fully half of the world's population that knows from a deep generational place what exploitation, vulnerability and violence looks like ‒ and how to both survive and heal it. We're working throughout our communities, already, to build peace and resilience; to educate, support, and empower. Even to empower the women who foolishly allowed their fear to make them hate. We're working to bring and keep people together. 

We cannot rest. As born survivors, it's our strength and duty to not become bald bodies in concentration camps, mass graves, or landfills; to make sure our sisters, brothers, and children are also safe. To de-escalate fear and reactionary hatred before it harms us. A lot of us are already experienced with this. The rest of us can learn. We have to deal with our own crap and become our best selves, in order to show up for our world. And we have to start now.

A reclaimed raw wood panel with a drawing of a powerful shouting woman, visible only from her breasts up, and with her arms raised in the air.  There is a rectangular hole where her mouth should be, which used to be a hole for an electrical outlet in the wall this panel came from. Artist is Emily van Lidth de Jeude.
There's work to do! I'm not talking about just directly protecting and defending, although there's a need for that, as well. I'm talking about building the world we need, so that it displaces the world of hate and greed that is being fed right now. And there are infinite ways we can do this. Some of us are out putting our bodies and voices on the line; putting ourselves in danger to inform and advocate. Some are donating money, time or skills to organizations that amplify our voices and work. Some of us are building networks and repositories for the protection of people, environment, information, culture, and as a whole, the future of our world. Some are educating and supporting our communities, so that we can have and maintain peace. And all of us, no matter what our lives look like or how limited we feel, can make conscious choices in every act we make to defy and devalue hatred, to promote love and peace, and to pull away from systems, corporations and ideologies that promote hatred.

Even when we feel weak, we can be strong. We are all challenged; women and men, too. That doesn't mean we're beaten. A challenge is, by definition, an opportunity to overcome. That's not just where we're at right now; it's who we are

We are strong. We are capable. We are determined. We can do this.

Comments

  1. Nice one Emily. That's a big piece and that guy was always plain spoken and, well probably perfect for his job, judgemental. He ask;t much to look at either! None of us really are!

    I loved that show. Like all your shows, provocative, empowering and contemplative. And powerful enough to keep on generating reflections many years later.

    ReplyDelete
    Replies
    1. Thank you, Chris. His comments that day have really continued to make me question and contemplate what I do, all these years later. I think they were very good for my art and really for all of us to consider.

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