{"id":1478,"date":"2023-03-08T12:54:46","date_gmt":"2023-03-08T11:54:46","guid":{"rendered":"https:\/\/diarieducacio.cat\/ArtsEducacio\/?p=1478"},"modified":"2024-08-08T12:03:54","modified_gmt":"2024-08-08T10:03:54","slug":"imaginaris-feministes-per-al-8-de-marc","status":"publish","type":"post","link":"https:\/\/diarieducacio.cat\/artseducacio\/2023\/03\/08\/imaginaris-feministes-per-al-8-de-marc\/","title":{"rendered":"Imaginaris feministes per al 8 de mar\u00e7"},"content":{"rendered":"

Un parell de d\u00e8cades despr\u00e9s de la que es defineix com una de les primeres manifestacions feministes a occident, t\u00e9 lloc un altre inici: els or\u00edgens del cinema amb la presentaci\u00f3 de \u201cLa sortida dels obrers de la f\u00e0brica<\/a>\u201d dels Lumi\u00e8re, l\u2019any 1895. Tot i el mascul\u00ed gen\u00e8ric del t\u00edtol, en els quaranta-sis segons de metratge veiem desenes de treballadores sortir del seu lloc de feina. Hist\u00f2ricament, la relaci\u00f3 entre les reivindicacions de les dones de diferents latituds i les imatges ha estat determinada per formes de mirar, d\u2019ensenyar i d\u2019ocultar, marcades pel no reconeixement d\u2019aquestes com a subjectes i per pol\u00edtiques de control sobre els seus cossos. Formes de mirar que es manifesten a trav\u00e9s de m\u00faltiples estrat\u00e8gies com, per exemple, la de fer desapar\u00e8ixer \u2013davant del film dels Lumi\u00e8re, ens trobem amb el relat dominant en els imaginaris socials sobre la inexist\u00e8ncia de dones al mercat laboral europeu fins a la primera guerra mundial. Una estrat\u00e8gia, la de no documentar, assenyalada tamb\u00e9 per Pilar Monsell en el seu curtmetratge \u201cUna revuelta sin im\u00e1genes<\/a>\u201d. I \u00e9s tamb\u00e9 la de situar en els marges determinades lluites i desitjos, com ho evidencia Yvonne Rainer en el film \u201cPrivilege<\/a>\u201d, en qu\u00e8 posa en q\u00fcesti\u00f3 la construcci\u00f3 dels cossos femenins com a \u201ccamps de batalla per a les frustracions i ambicions dels homes\u201d.<\/p>\n

\"\"
Campanya de Guerilla Girls<\/figcaption><\/figure>\n

\u00c9s convenient revisar com s’han configurat els imaginaris occidentals dels discursos feministes<\/p><\/blockquote>\n

Si acceptem com a v\u00e0lides les paraules de\u00a0Donna<\/span>\u00a0Haraway<\/span>\u00a0en afirmar \u00abToda\u00a0realidad<\/span>\u00a0en la cultura del\u00a0capitalismo<\/span>\u00a0tard\u00edo<\/span>\u00a0ans\u00eda<\/span>\u00a0convertirse<\/span>\u00a0en\u00a0imagen<\/span>\u00a0por\u00a0su<\/span>\u00a0propia<\/span>\u00a0seguridad<\/span>\u00bb (2015: El\u00a0patriarcado<\/span>\u00a0del osito<\/span>\u00a0Teddy<\/span>), \u00e9s convenient revisar com s’han configurat els imaginaris occidentals dels discursos feministes. Alguna de les imatges que ens vindran al cap seran el cartell amb l’esl\u00f2gan \u00abWe<\/span>\u00a0can do\u00a0it<\/span>!\u00bb (1947) de l’estatunidenc J. Howard Miller, per afavorir la ideologia\u00a0b\u00e8l\u00b7lica<\/span>; la performance de l’estatunidenca Martha<\/span>\u00a0Rosler<\/span>\u00a0\u00abSemiotics<\/span>\u00a0of<\/span>\u00a0the<\/span>\u00a0Kitchen<\/span>\u00bb (1975), per posar en q\u00fcesti\u00f3 la representaci\u00f3 reduccionista de les dones com a mestresses de casa; o el cartell que\u00a0la Guerrilla\u00a0Girls<\/span>\u00a0van col\u00b7locar davant del\u00a0Metreopolitan<\/span>\u00a0Museum<\/span>\u00a0de Nova York amb la pregunta \u00abDo\u00a0women<\/span>\u00a0have<\/span>\u00a0to be\u00a0naked<\/span>\u00a0to get into the<\/span>\u00a0Met.\u00a0Museum<\/span>?\u00bb (1989), per denunciar l’abs\u00e8ncia d’artistes als museus. Tot d’imatges generadores de contingut que esquerda l’estructura patriarcal, per\u00f2 que provenen d’un context art\u00edstic occidental i eminentment blanc.<\/p>\n

Partim de la idea que el m\u00f3n \u00e9s divers, per\u00f2 les imatges, les autories, els relats que imperen no reflecteixen aquesta representaci\u00f3 complexa. Per poder sortir d’aquest cercle hegem\u00f2nic sembla que calgui fer una feina d’arqueologia, d’informar-se i contrastar. Si del c\u00e0non s’esborren hist\u00f2ries i aportacions, de qui \u00e9s responsabilitat la restauraci\u00f3? I si des d’un inici hagu\u00e9ssim parlat de \u00ables obreres sortint de la f\u00e0brica\u00bb? I si en l’audiovisual vei\u00e9ssim diversos models familiars? De capacitats? Dones racialitzades? Diferents cossos i identitats?<\/p>\n

Vuit de mar\u00e7 de 2023. Fa poc de la vaga estatal de les treballadores d’Inditex, que reclamen millores salarials i denuncien la difer\u00e8ncia de sou respecte als companys homes que es dediquen a la log\u00edstica, les f\u00e0briques i les centrals i que cobren gaireb\u00e9 el doble. Precarietat i condicions desiguals en un gegant t\u00e8xtil que elles, en un 86%, sostenen. El context ja no \u00e9s el de la Revoluci\u00f3 Industrial sin\u00f3 el del capitalisme globalitzat, amb desigualtats compartides: les empreses precaritzen el seu personal i contribueixen a l’escletxa salarial. D’Inditex en sab\u00edem el relat: empresa espanyola que creix a Gal\u00edcia i fa beneficis r\u00e8cord, que el seu propietari i fundador \u00e9s l’home m\u00e9s ric del pa\u00eds. I n’intu\u00efm d’altres: el fast\u00a0fashion<\/span>\u00a0inunda\u00a0Tik-tok<\/span>\u00a0i Instagram de noies fent-se v\u00eddeos amb canvis de\u00a0looks<\/span>\u00a0i\u00a0outfits<\/span>. Es consumeixen per xarxes pel\u00b7l\u00edcules que remeten a les del cinema dels or\u00edgens: de curta durada, amb formats repetitius que s’imiten entre ells (els\u00a0trends<\/span>), i amb trucs senzills com apar\u00e8ixer i desapar\u00e8ixer o les bases de l’stop-motion. Existeix cert paral\u00b7lelisme entre modes de creaci\u00f3 i consum cinematogr\u00e0fics i les reivindicacions laborals de les f\u00e0briques t\u00e8xtils entre el vuit de mar\u00e7 de 1875 i el de 2023.<\/p>\n

Existeix cert paral\u00b7lelisme entre modes de creaci\u00f3 i consum cinematogr\u00e0fics i les reivindicacions laborals de les f\u00e0briques t\u00e8xtils entre el vuit de mar\u00e7 de 1875 i el de 2023<\/p><\/blockquote>\n

A les primeres treballadores de la f\u00e0brica enregistrades, els germans Lumi\u00e8re les van denominar treballadors, amb un esborrat de la marca g\u00e8nere; a les dependentes d’Inditex d’A Coru\u00f1a<\/span>\u00a0que inicien les reivindicacions laborals que s’estendran pel pa\u00eds, l’empresa les infantilitza quan les anomena ‘las ni\u00f1as<\/span>‘. Un gest de llenguatge, de com narrar l’altra, fent-li ocupar una posici\u00f3 discursiva des de la\u00a0qual\u00a0no pot parlar (perqu\u00e8 no \u00e9s treballador) o respondre (perqu\u00e8 se li nega l’ag\u00e8ncia de persona adulta). En cap cas les treballadores no s’hi podrien sentir identificades, perqu\u00e8 cap dret es pot reivindicar si no es reconeix l’estructura que el vulnera: nosaltres hi \u00e9rem, diuen unes i altres, per molt que molest\u00e9ssim. I ara ‘las ni\u00f1as<\/span>‘ han dit que prou. El reconeixement de les respectives pres\u00e8ncies (les lluites) \u00e9s imprescindible per entendre les dones com a subjectes hist\u00f2rics del passat i del present. La categoria anal\u00edtica del g\u00e8nere permet passar-ho tot, imatge i discurs, pel sed\u00e0s de la construcci\u00f3 sociocultural. I advertir: no \u00e9s producte del dest\u00ed, aquest 8M hi som, per totes elles, i les xarxes aniran plenes d’imatges que ens representin. I les haurem enregistrat nosaltres.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Un parell de d\u00e8cades despr\u00e9s de la que es defineix com una de les primeres manifestacions feministes a occident, t\u00e9 lloc un altre inici: els or\u00edgens del cinema amb la presentaci\u00f3 de \u201cLa sortida dels obrers de la f\u00e0brica\u201d dels Lumi\u00e8re, l\u2019any 1895. Tot i el mascul\u00ed gen\u00e8ric del t\u00edtol, en els quaranta-sis segons de<\/p>\n","protected":false},"author":1144,"featured_media":1480,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[130,297],"tags":[136,203,182,138,141,96,97,117,282],"tipo":[223],"class_list":["post-1478","post","type-post","status-publish","format-standard","has-post-thumbnail","category-nous-punts-de-vista","category-opinio","tag-activitats-educatives","tag-art-i-cultura","tag-art-i-educacio","tag-art-i-escola","tag-arts-esceniques","tag-cultura-bcn","tag-cultura-escola","tag-educacio-artistica-i-cultural","tag-mirada-critica","tipo-opinio"],"yoast_head":"\nImaginaris feministes per al 8 de mar\u00e7 - Arts & Educaci\u00f3<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/diarieducacio.cat\/artseducacio\/2023\/03\/08\/imaginaris-feministes-per-al-8-de-marc\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Imaginaris feministes per al 8 de mar\u00e7 - Arts & Educaci\u00f3\" \/>\n<meta property=\"og:description\" content=\"Un parell de d\u00e8cades despr\u00e9s de la que es defineix com una de les primeres manifestacions feministes a occident, t\u00e9 lloc un altre inici: els or\u00edgens del cinema amb la presentaci\u00f3 de \u201cLa sortida dels obrers de la f\u00e0brica\u201d dels Lumi\u00e8re, l\u2019any 1895. 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