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Reversing the Domestic GazeChaza Charafeddine’s Maidames Exhibition in Beirut

Reversing the Domestic GazeChaza Charafeddine’s Maidames Exhibition in Beirut THIRD S PACE Reversing the Domestic Gaze Chaza Charafeddine’s Maidames Exhibition in Beirut YA S M I N E N A C H A B E TA A N ebanese human rights activists see the Kafala system as a staggering social L problem,which many have likened to a system of slavery. Currently supported by the Ministry of Labor, migrant workers are required to have a host-country sponsor, who is responsible for maintaining their legal status and controlling their mobil- ity. The institution leaves a growing community of migrant workers, mostly women employed in domestic service, with no legal rights to escape abusive employers and poor working conditions, rendering them vulnerable to sexual, verbal, and physical abuse on a daily basis. Between October 11 and November 10, 2018, the Beirut-based contempo- rary artist Chaza Charafeddine (b. 1964) sought to destabilize the power dynamics between migrant domestic workers and their employers in Maidames, a series of twenty 55×80cm photo-portraits, printed with archival ink on special photo paper and framed with UV filter glass, exhibited at the Agial Gallery in Beirut (see Agial Art Gallery n.d.). Other Beirut-based artists before her have launched awareness campaigns to prevent the exploitation of migrant workers http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Middle East Women's Studies Duke University Press

Reversing the Domestic GazeChaza Charafeddine’s Maidames Exhibition in Beirut

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Copyright
Copyright © 2020 by the Association for Middle East Women’s Studies
ISSN
1552-5864
eISSN
1558-9579
DOI
10.1215/15525864-8016590
Publisher site
See Article on Publisher Site

Abstract

THIRD S PACE Reversing the Domestic Gaze Chaza Charafeddine’s Maidames Exhibition in Beirut YA S M I N E N A C H A B E TA A N ebanese human rights activists see the Kafala system as a staggering social L problem,which many have likened to a system of slavery. Currently supported by the Ministry of Labor, migrant workers are required to have a host-country sponsor, who is responsible for maintaining their legal status and controlling their mobil- ity. The institution leaves a growing community of migrant workers, mostly women employed in domestic service, with no legal rights to escape abusive employers and poor working conditions, rendering them vulnerable to sexual, verbal, and physical abuse on a daily basis. Between October 11 and November 10, 2018, the Beirut-based contempo- rary artist Chaza Charafeddine (b. 1964) sought to destabilize the power dynamics between migrant domestic workers and their employers in Maidames, a series of twenty 55×80cm photo-portraits, printed with archival ink on special photo paper and framed with UV filter glass, exhibited at the Agial Gallery in Beirut (see Agial Art Gallery n.d.). Other Beirut-based artists before her have launched awareness campaigns to prevent the exploitation of migrant workers

Journal

Journal of Middle East Women's StudiesDuke University Press

Published: Mar 1, 2020

References