Performing the Historical Moment
Nadia Seboussi's Hidad
Bibliographic Data
| ID | 3650997 |
|---|---|
| Authors | Sheila Petty (0000-0002-0024-8204, University of Regina, corresponding author) |
| Year | 2018 |
| Volume | 230 |
| Issue | 230 |
| Pages | 455-467 |
| Publication date | 2018-06-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Cahiers d études africaines (JOURNAL) |
| Journal identifiers | ISSN: 0008-0055 • E-ISSN: 1777-5353 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/etudesafricaines.22141 |
| OpenAlex | W2807443154 |
| Language | EN |
| References cited | 11 |
Through artist Nadia Seboussi’s three-channel video installation Hidad (2015), she bears witness and documents the struggle of Algerian women who took up arms (“Women Patriots”) during the civil war, taking the Bentalha Massacre of 1997 as the catalyst for the movement and Hidad. Hidad, which means “mourning” in Arabic, involves the remediation of an iconic press photo taken by Algerian press photographer Hocine Zaourar during the Bentalha Massacre. Remediation of press images is relatively common in contemporary art practice, but what is fascinating about Seboussi’s project is that she has firmly anchored her personal participation in a shared memory, the outcome of which, for Seboussi, was exile and emigration. Hidad involves staged “performances” of the photo to impose movement from grief to compassion. Hidad thus acts as a form of shriving of trauma, violence and silence, a memorialization process that involves reconstructing memories and chronicling historical events collectively
Aesthetics · Archaeology · Art · Compassion · Grief · Memorialization · Political science · Silence · Sociology · Spanish Civil War · Witness · African history and culture studies · History · Law · Middle East Politics and Society · North African History and Literature · Psychology
| Citation velocity | historical |
|---|---|
| Highly cited | No |