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Aicha Janeiro-Anne

Universidad de Granada / Centro de Estudos Africanos da Universidade do Porto (CEAUP)

Username: aichajaneiro@correo.ugr.es

Email: aichajaneiro@correo.ugr.es

Biography: Investigadora predoctoral Fundação para a Ciência e a Tecnologia de Portugal (FCT). Doctoranda en Historia y Artes en la Escuela de Posgrado de la Universidad de Granada. Investigadora asociada Centro de Estudos Africanos da Universidade do Porto (CEAUP).

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Development, New Media Art and Gender in Contemporary Visual Art in Nouakchott (Mauritania)

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Hola, Josefa, muchas gracias por tu presentación que, como dices, es una cuestión muy pertinente en el marco de este congreso y que me ha suscitado algunos interrogantes: - Mencionas dos continentes, África y América, como áreas geográficas clave en tu planteamiento sobre los procesos de descolonización y de lugar de origen de los materiales usados para la digitalización. Para este estudio, ¿te centrarás en algunas zonas en concreto, o sería más bien una comparativa?, y ¿cuáles son las fuentes y metodología que utilizas? Saludos, Aicha

Dear , thank you for your questions. The decolonization process in Mauritania is an interesting topic that will most likely constitute a chapter of the doctoral thesis I am currently developing. As I have described in my presentation, the theoretical I use in this preliminar study, which is focused on how Development, New Media Art and Gender are considered in contemporary visual art in Nouakchott, is inscribed from the perspective of Socially Engaged Art, and considers these practices as citizen-led social and political actions contributing to empowerment and accountability within Development research recent considerations in this social and political context. Thank you again for your interest and panel proposal.

Dear Patricia. Thank you for your questions, as they address key concepts in my current line of research. 1. In the case studies I have presented in this preliminary study, the selection criteria were to include Mauritanian artists whose work addressed Development, New Media Art or Gender in their artworks, artistic practices or discourses. Moreover, the cases were selected taking into consideration the variety of art languages found within contemporary Socially Engaged Art (SEA) practices of artists based in Nouakchott. 2. "Artist" in this context is used to refer to creatives engaging in different activities that may include painting, photography, sculpture, cinema, installation, performance, music, dance, and other types of media. On the other hand, "artivist" is used to describe the artists that utilize political or cultural activism strategies in their work, while "cultural entrepreneur" refers in this context to people engaging with activities in the cultural field, such as the creation or organization of cultural or artistic events or spaces. 3. In short, in regard to the expression "South of the Sahara", Mauritanian artistic/activist expressions include social and aesthetic traits shared with other North and West African spaces. 4. Regarding the connection between social movements and the cases that I am working on, as it is often the case with contemporary SEA expressions, there are various instances in which the artworks, practices and artist discourses relate to online and/or offline social mobilizations, as well as to social activism in Mauritania or elsewhere. For example, the anti-slavery mobilizations by the IRA (Initiative pour la Resurgence du Mouvement Abolitioniste en Mauritanie) in Mauritania addressed in the series "Libre ou Esclave" by Saleh Lo that I have considered in the presentation. I thank you again for your questions and for this interesting panel proposal.

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Aicha Janeiro-Anne

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