CLIO TALKS BACK: Do Mothers Have a History?

The illustration above is possibly the first and oldest illustration of a birth by Caesarian section.   Not all mothers give birth the usual way.

Clio found this illustration in the first comprehensive history of motherhood, written by her colleagues Catherine Fouquet and Yvonne Knibiehler.  Their lavishly illustrated volume, which spans the centuries from the Middle Ages to the later twentieth century, is a book that women’s historians ever since have admired, envied, and tried to supplement.  It is a book from which we can all learn a great deal.

Here are the authors’ thoughts from the Introduction to their history of motherhood, as translated from the French by Clio. Their observations are still worth pondering as the International Museum of Women prepares to launch its online exhibition “Mama.”

Do Mothers - and Motherhood -  have a history?

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"Historians have hardly paid attention to mothers. If a Blanche of Castille, a Catherine de Medici have attracted their attention, it is especially because they were queens and their motherhood carried political weight. Traditional history hardly entered into private life: first defined as the expression of human collectivities, it cristallized around the State and the Nation. Why did Herodotus write his Histories? To tell how the Greek people, despite their small number, triumphed over a great king with innumerable troops: thanks to this triumph, the Greeks became conscious of their national identity and their freedom. It was there that history was born, as consciousness of liberty: born of the idea that the human being was achieved through a collective destiny. In order to enter the field of history, it must, one thought, shed its individual dimension, the intimate and personal part of its existence. In this perspective, there can be no history except political history, at the civic level. . .].

"Mothers, with very rare exceptions, belong to private life, and even to the most intimate aspects of private life. They do not have history: at least this is what one might think, given the silence of historians. But, in our time, private life falls with a great clamour into the public domain, and everything becomes political. Could one go so far as to say that the recent laws on abortion and contraception have granted mothers this liberty which is the first condition of history? This would be false: they have acquired there an entirely negative, entirely individual liberty, the liberty for each to not be a mother, but not that of existing as mothers, collectively and actively. In fact, it was the public powers which constituted mothers as a homogenous but passive group, when they began to get nervous about the drop in the birth rate. Then we witnessed [the advent of] Mother’s Day, Motherhood Medals, assistance to mothers, protection of mothers. At the end of the nineteenth century and especially in the interwar period [of the twentieth century], one could suddenly measure the political importance of anonymous mothers in the nation. It is from there that the historians have taken up the issue: by interrogating the origins of dénatalité, they began to be concerned with mothers, but only indirectly, without placing them at the center of their inquiry. These first investigations, however, sufficed to make it clear that maternity lay neither outside time nor outside history.

"Once admitted as a subject of history, one must define it and locate its limits. To begin with, where does maternity begin and where does it end? The young woman who has just conceived for the first time – is she already a mother? And the grandmother who knits for her children’s children, is she still one? Does a mother who loses her children cease to be a mother? Maternity has no end. She who abandons her little ones, she who slays them, becomes an “unnatural mother,” a “criminal mother” – she does not cease to be a mother in the eyes of society. Further, who is a mother? She who gives birth to the infant? She who raises it? She who cherishes it and will love it always whatever else happens? In other words, is motherhood a biological function, a social function, a psycho-affective function? In one period, in one collectivity, one of these functions has been accented without the others necessarily disappearing. And how can we account for the cruel stepmother [marâtre], the godmother, the mother-in-law, the big sister who takes care of the little ones? Finally, motherhood is not the result of parthogenesis. The material and moral situation of the mother, her relationship to the infant, depend to a very great extent on the father, for better or worse. Can one speak of mothers, even of unmarried mothers, without thinking of love, marriage, laws and norms, of mentalities and family customs?

"Thus it is a vast subject, of indecisive form, this history of mothers. It spills over into the history of medicine and health by the birth process and care to newborns, into the history of demography by rates of birth and death, into that of material life and techniques with housework, into that of mentalities with regard to the carving up of masculine and feminine roles and generational conflicts, that of education, that of feelings. The quest for sources, indispensable materials for the historian, is not so easy. The historian quickly discovers that the consultable documents fall into two categories: on the one hand those that contain concrete information on maternal behavior, and on the other those who talk about maternity or who depict it. The first group are particularly of the demographic or ethnographic sort. By looking at documents from the civil registry and parish registers, demographic historians have been able to establish, for example, the age of mothers when their first child is born, the spacing of births, the total number of children born and surviving, the number of illegitimate births, of foundlings, of babies put out to wetnurses. Other sources provide information on traditional means of preventing births, the rate of infanticides, the closing of ranks by families around children. The ethnologists, for their part, explore the concrete environment of maternity and traditional practices about giving birth, breastfeeding, and infant care. All these phenomena can vary considerably with respect to the time, place, and surroundings: economic, political, and cultural factors that underlie these differences begin to be discernable little by little, attesting to the fact that mothers certainly do have a history. As for the discourses and representations that motherhood has inspired, they are for the most part produced by men. Theologians and moralists who announce the divine will, physicians and anthropologists who reveal the order of nature, jurists and statesmen who formulate the needs of society, artists who translate a sensibility: all speak abundantly about what a mother is and what she should be.

"During this time, paradoxically, the women, the mothers keep still. They have written poems and novels about love: they have not written poems or novels about maternal love. Even their letters are often lacking on this subject, apart from those of Madame de Sévigné. Nor do they describe their specific experiences: neither giving birth nor nursing have been the objects of any sincere and profound accounts until very recently. At the dawn of the nineteenth century one can see, at the same time as a decisive progress in the reduction of the birthrate among those in the higher levels of society, the arrival of a number of texts by women about little children. This is no accident, insofar as it is true that the act of writing is above all else the expression of a freedom. As long as babies were simply something one submitted to, the sign of biologic destiny, they were not discussed. The silence of women is a fact of civilization which scarcely lends itself to simple interpretations: the history of mothers is mysterious and difficult.

"Then why try to write it?

"History is memory. Individuals who lose their memories lose their identities at the same time. The same thing goes for human groups: inasfar as a group has no history, it has no identity, it does not exist as a group, however numerous it might be. But if it gives itself a history, it begins to exist; at the same time as its past, it has the possibility of constructing its future. The authors of this book, mothers and women historians hope to aid women in constructing theirs."

Source: “Les Mères ont-elles une histoire?,” Introduction to Yvonne Knibiehler and Catherine Fouquet, L’Histoire des Mères du moyen-âge à nos jours (Paris: Editions Montalba, 1980), pp. 4-6. Transl. from the French by Karen Offen

Women Helping Women: Somalian Famine Refugees Find Relief in Neighboring Kenya

The people of Somalia are in need of so much. They need a stable government – or any government at all, really, having basically been without one for the past two decades. They need jobs, income, clothing, medical care.

But perhaps right now, more than anything, they just need a little rain.

An East Africa drought continues to plague Somalia and neighboring countries, causing a famine that’s estimated to have cost tens of thousands of Somalian residents their lives thus far. But thanks to a for-women, by-women program in northeast Kenya, some 2,700 Somalian women and their families have found a bit of relief.

Womankind Kenya, along with partners such as MADRE and Zenab for Women in Development, has provided food, water and anti-diarrheal medicine to these women and their families, in addition to counseling and medical services to women who have survived rape or robbery during the trek to Kenya.

“We counsel women who arrive traumatized from sexual violence, from being uprooted from their home communities, or from burying a child along the way,” said Hubbie Hussein al-Haji, pictured above, executive director of Womankind Kenya. “We ensure pregnant and breastfeeding women emaciated from famine receive the nutrition and health care they desperately need.”

Hussein al-Haji says the famine could be somewhat lessened if regional resources were adequately and sensibly used.

“While the worst drought in six decades has destroyed crops in the northeast, very close by in the south of Kenya, the farms are green and plentiful,” she said. “People are growing wheat, vegetables and more. But this locally-grown food is not getting to the people who need it. Meanwhile, the price of staple crops like rice, corn and wheat is shooting up. Drought means that poor people can no longer raise their own food for lack of water. If the prices go up, they can’t buy food either.”

In the meantime, women-focused partnerships will continue to help as many famine escapees as possible. MADRE recently utilized one of its partner organizations, a group of women farmers in Sudan, to deliver a crucial supplement to Womankind and the refugees it supports. Hussein al-Haji says that in addition to this help from outside organizations, creating more sustainable, locally grown food sources will be key to aiding famine victims and preventing future outbreaks.

The Ultimate Sacrifice: Tragedy in Tibet

Last week, in the highest form of nonviolent resistance, a 20 year old women, Tenzin Wangmo, set herself fire in a Tibetan town near China, imploring that the Chinese government grant religious freedom to Tibet and allow for the peaceful return of The Dalai Lama. While Tenzin Wangmo was the 9th Tibetan to self-immolate in protest of the Chinese policies against Tibet this year alone, she is the first woman in the Free Tibet movement to have take this action- ever.

Tragically, self-immolation is rather common amongst women in some parts of the world, particularly Afghanistan. However, more often than not in these cases, the most commonly sited cause for such action is an extreme reaction to violence against women. 'Women and girls appear to see this horrifying act as a means of both escaping from intolerable conditions and speaking out against abuse, since their actual voices do not bring about changes that would allow them to lead safe and secure lives.' Conversely, some view Tenzin Wangmo's act as the most extreme act of selflessness--some Buddhists believe that only through their own suffering can they bring Enlightenment to others.

Not surprisingly, reaction to her death has been mixed. “The Dalai Lama has said many times in the past that suicidal protests are not something he approves of or wants to encourage, but he can’t put himself in the position of criticizing people’s right to protest, and he certainly can’t put himself in the position of saying these people don’t experience intolerable pressure … It’s quite clear that they do.”

Kara Walker on My Mind

Image via Wikipedia

"Is that a razor blade she's holding?"

This was my observant friend's first reaction when I shared my current reading material.

This week, I resumed reading a book that's been leaving impressions on just about all interactions that I've had lately--from workplace conversations about regional cultural climates to quieter moments of reflection about racism.

Gwendolyn Dubois Shaw's, Seeing the Unspeakable: The Art of Kara Walker, has considered Walker's evolution as an artist while distilling the painful reality of racism at the same time. Furthermore, it discusses the formation of a global dialogue that can stir complex feelings about one's own identity. Chapter 4, "Censorship and Reception," was especially considerate in relating Walker's powerful imagery. While reading, I learned that even fellow artists have questioned Walker's "appropriateness," which brings up an important question: who do we ultimately answer to as individual artists, and how does a sense of community foster that?

A New York Times article summed up her uncategorizable presence as an African-American artist in the art industry, by noting:

Race dominates everything, yet within it Ms. Walker finds a chaos of contradictory ideas and emotions. She is single-minded in seeing racism as a reality, but of many minds about exactly how that reality plays out in the present and the past.

Lebanese artist Ginou Choueiri

This week I thought that I would lighten up a bit and introduce a very special Lebanese artist, Ginou Choueiri. I met Ginou five years ago at a party the first night I arrived in Lebanon. In the beginning, I never inquired about her work but it was clear that she was an artist of life by the positive creative vibes oozing out of her being.

After completing a degree in Marketing at the University of Connecticut, Ginou returned to Beirut and started a career in advertising. Seven years later after realizing that she was destined for greater creativity, Ginou traveled to Barcelona to participate in Metafora’s International Art Workshop and has been making art ever since.

Her work has been exhibited in venues such as the Contemporary Cultural Center of Barcelona, the Mario Merz Foundation in Turin, Italy, and Beirut Art Lounge. Last year, her mural "Nomad’s Land" was part of the Pop Up Lisboa 2010 Festival. Here’s a video of Ginou in action.





Ginou’s long-term project, "Potato Portraits," has created a global buzz. The series, which uses potatoes as the main canvas, saw the transformation of political figures, celebrities, friends, and family to random people Ginou would meet on the streets into potato heads.

Sarah White: Chronicling Oman

Originally from United Kingdom but having resided in Oman for over half of her life, visual artist Sarah White’s work has evolved over time into a continuous narrative of her engagement with Oman, interweaving the colors, textures, history, and the cultural vibrancy of her environment into it.

Much of Sarah’s earlier work dealt with exploring Omani architectural spaces, focusing on minute architectural details and imbuing them with what has now become a characteristic kaleidoscopic, iridescent palette. Her interest in architecture and its surrounding environment has been a focal point of her work since her education at Canterbury College of Art, the University of the West of England, and the Royal College of Art. “During my art school years, my parents moved to Oman and I was inspired by the country’s traditional architecture and particularly the way in which people adapted to the harsh geographic conditions through their built environment,” she tells Her Blueprtint, adding that she then sought to record as much traditional Omani architecture as she could while learning about the shapes, textures, and colors of a country that had instantaneously fascinated her.

In her most recent exhibition, In Homage To (also featuring Omani artist Juma al Harthy), she focuses upon the historic 17th century castle of Jabreen, which has been an enduring presence in her work for over two decades. “My personal interpretation and emotional response to this historic space with all its aesthetic details and cultural significance forms the basis of the exhibition,” she describes. 

A work from In Homage to Jabreen

A glimpse into her large body of work reveals that the intense, microscopic focus that White places upon architectural detail, magnifying its beauty is similarly lavished upon Omani women’s clothing, which themselves are visual implosions of colors, patterns, and embellishments. “Omani women are very creative and their dresses are pieces of art in themselves,” she says. 

The theme of adornment, whether through clothing or make-up, greatly interests White. "Our perceptions of our own beauty as human beings can be quite bizarre and women need make-up to alter themselves in order to fulfill their personal expectations of being beautiful," says White. "Make-up, therefore, becomes a vital accessory in addition to hair styles, shoes, and outfits.” 

Breast Cancer Awareness Month: For Women Globally.

Breast Cancer is a type of cancer that predominantly affects women. One in eight women will receive a diagnosis of breast cancer. It affects women of all races and is most prevalent in women over 50 years of age. There are risk factors such as age, genetics, medication, and environmental exposure to certain toxins that can increase or exacerbate risk.

Risk factors can vary depending on race, environment, and culture. For example, a study by the World Cancer Research Fund attributed the drinking culture in Britain to the higher incidence of breast cancer in women. This was compared to women in East Africa where women have virtually no exposure to alcohol. The highest incidence rates are in women in the West including the United States, United Kingdom, Europe, Australia, and Canada. However, ethnic women in western countries are also at a greater risk. The World Health Organization (WHO) attributes this increased risk in the West to the lifestyle.

Regardless of location, women should be taught to be aware of any changes in the breast. For some women it is uncomfortable touching or looking at their bodies, so health educators have begun to address this through creative resources that are inclusive to all women.

Women in the Military: Ready to Fight?

Just last week, Australia (whose forces make up the largest non-NATO contingent in Afghanistan) announced that women in the military will now be allowed to fight in combat unit, including participation in both special forces and frontline combat units. While some say this move is purely symbolic, as it will take as many as five years to implement, on the face it marks some interesting gains in women's equality.

Historically, Australian women have been included in a wide range of combat-support arms units and excluded from the fighting sub-units of combat-maneuver arms units. Generally speaking, I am a pretty ardent supporter of liberalizing women's roles, but in this particular circumstance, I find myself asking some questions raised earlier this year in the Small Wars Journal:

1) Will these women be truly "equal" to men in that they'll be forced to serve in combat operations against their will, just as men must? Or will they be given the option to join combat missions?

2) If women are given the option to turn down combat missions, will men also be given the same liberties? And if not, is the military planning some way to address this issue with military families? Surely it seems a bit unfair that given two combat ready soldiers--one woman and one man, both equal in physical and psychological preparedness for battle--one is mandated to fight, while the other has the option to abstain.

3) While some technologies, such as self-propelled guns with automated loading systems, can help neutralize the physiological differences between men and women in combat, should governments be required to invest in more expensive equipments if it means achieving gender neutral objectives, but not necessarily improving operational capabilities?

I think it is wonderful that women who would like to serve their country are able. However, it is fundamentally important that this not turn into a gender-equality issue, whereby concessions are made to increase women's participation in combat units. Rather, women must be held to the same physical and phycological standards as their male counterparts, not only for their own safety, but for the safety and security of the entire unit.

Furthermore, one must recognize that the restrictions placed upon women come not from the military, which tends to be characterized as chauvinistic and misogynistic in culture, but from the government, which has an unquestionable duty to do all within its means to protect the very people willing to risk their life for the preservation of the nation. Too often we make rash judgements when hearing that women are excluded from certain roles, when we should be asking questions such as, "Will including women in combat roles increase the operational capability of her force?" or "Will including women in roles will a high probability of hand-to-hand combat increase the risk of casualties?"

It's a difficult issue without clear answers. Surely equality isn't giving women the right to choose to engage in combat missions while denying their male counterparts the same choice. What do you think?

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Susan Turcot's Drawings & Wall Street Protests

The other day, I found myself repeatedly going back to this page on Fecal Face's website--images taken on site at Occupy Wall Street. The protest has reportedly spread beyond its point of origin, and has become a symbol for communal efforts and questioning social inequities to which people from all walks of life can relate.

via Fecal Face

Some of the images depict young protesters wearing bandannas across their faces in order to stay fairly anonymous. The bandanna is also commonly recognized as an anti-authoritarian article of clothing. These images pair this otherwise confrontational accessory with intimate moments of couples embracing, friends resting alongside each other, and unexpected tenderness that shift these images into a broader narrative about humanity. We don't need to know anything more about these people beyond their gathering, and that is motivating to many across the nation (and globe).

While contemplating this visual catalyst and very real result, Susan Turcot's drawings seem an appropriate choice for this week. Her drawing, The Future for Less #3, reminds me of the united and nostalgic effect that a group gathering can have as an image. You can view it at the SFMoMA website here.

Although she takes her imagery from various sources, the international news is a notable point of reference. By transforming a moment in history into small scale drawings, Turcot's work invests an overwhelming sense of history and privacy.  Both history and privacy are contentious subjects, and are easily dispelled from one moment to the next.  Exalted moments exist for a second these days--if you Google a bit of news or an event, there will surely be plenty of information to satiate any desire to know more--but this isn't necessarily a consequence of technology.  Instead, it makes me marvel at the early days of photographic and documentary photography, and of course, social reform movements.

What Turcot's work suggests to me is also about the moment--the few minutes that it took to stop and appreciate the political climate that I live in as an American woman.  Although presented in a thoroughly 21st century medium, it was silently presented to me in the same manner that The Future for Less #3 alludes to a great moment in time without declaring too much for the viewer.

This sense of agency might also explain why many have felt at ease with gathering in their prospective cities as a sign of allegiance with the Wall Street protesters. Are you in a city that is home to a protest, too? Please share your stories and images if you'd like!