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Creative source:
Rhetorical situation
Directed by: Mary Dore
Text/ subject: The documentary She’s Beautiful When She’s Angry chronologically examines significant events during the women’s liberation movement and features commentaries from activists who lived through those events.
Audience: women all over the world
Context: The opening scenes of She’s Beautiful When She’s Angry introduce the viewer to what it meant, according to the activists interviewed, to be a woman in the 1960s. The film details a number of things that were inaccessible to women at the time with a series of interviews and footage.

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SHE'S BEAUTIFUL WHEN SHE'S ANGRY resurrects the buried history of the outrageous, often brilliant women who founded the modern women's movement from 1966 to 1971. SHE'S BEAUTIFUL takes us from the founding of NOW, with ladies in hats and gloves, to the emergence of more radical factions of women's liberation; from intellectuals like Kate Millett to the street theatrics of W.I.T.C.H. (Women's International Conspiracy from Hell!). Artfully combining dramatizations, performance and archival imagery, the film recounts the stories of women who fought for their own equality, and in the process created a world-wide revolution.

SHE'S BEAUTIFUL does not try to romanticize the early movement, but dramatizes it in its exhilarating, quarrelsome, sometimes heart-wrenching glory. The film does not shy away from the controversies over race, sexual preference and leadership that arose in the women's movement. SHE'S BEAUTIFUL WHEN SHE'S ANGRY captures the spirit of the time --- thrilling, scandalous, and often hilarious.

That story still resonates today for women who are facing new challenges around reproductive rights and sexual violence, as the film shows present-day activists creating their generation's own version of feminism. SHE'S BEAUTIFUL WHEN SHE'S ANGRY is a film about activists, made to inspire women and men to work for feminism and human rights.

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The Film - She's Beautiful When She's Angry

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SHE'S BEAUTIFUL WHEN SHE'S ANGRY resurrects the buried history of the outrageous, often brilliant women who founded the modern women's movement from 1966 to 1971. SHE'S BEAUTIFUL takes us from the founding of NOW, with ladies in hats and gloves, to the emergence of more radical factions of women's liberation; from intellectuals like Kate Millett to the street theatrics of W.I.T.C.H.

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Creative source;
Rhetorical situation
Writer: Rokeya Sakhawat Hossain
Text/subject: The poets aim is to tell the world how women used to feel going out during the day and how people make them feel especially for Indian women. It shows that she was awkward and shy aswell.\
Audience: The whole world especially shy women who doesn't feel comfortable going out.
Context: The narrator is relaxing one evening and thinking of the condition of Indian women. She has a surreal experience as her friend, Sister Sara, suddenly appears and invites her for a walk. It turns out to be morning, and the streets are full of people, but only women.

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Rokeya Sakhawat Hossain.

One evening I was lounging in an easy chair in my bedroom and thinking lazily of the condition of Indian womanhood. I am not sure whether I dozed off or not. But, as far as I remember, I was wide awake. I saw the moonlit sky sparkling with thousands of diamond-like stars, very distinctly.

All on a sudden a lady stood before me; how she came in, I do not know. I took her for my friend, Sister Sara.

'Good morning,' said Sister Sara. I smiled inwardly as I knew it was not morning, but starry night. However, I replied to her, saying, 'How do you do?'

'I am all right, thank you. Will you please come out and have a look at our garden?'

I looked again at the moon through the open window, and thought there was no harm in going out at that time. The men-servants outside were fast asleep just then, and I could have a pleasant walk with Sister Sara.

I used to have my walks with Sister Sara, when we were at Darjeeling. Many a time did we walk hand in hand and talk light-heartedly in the botanical gardens there. I fancied, Sister Sara had probably come to take me to some such garden and I readily accepted her offer and went out with her.

When walking I found to my surprise that it was a fine morning. The town was fully awake and the streets alive with bustling crowds. I was feeling very shy, thinking I was walking in the street in broad daylight, but there was not a single man visible.

Some of the passers-by made jokes at me. Though I could not understand their language, yet I felt sure they were joking. I asked my friend, 'What do they say?'

'The women say that you look very mannish.'

'Mannish?' said I, 'What do they mean by that?'

'They mean that you are shy and timid like men.'

'Shy and timid like men?' It was really a joke. I became very nervous, when I found that my companion was not Sister Sara, but a stranger. Oh, what a fool had I been to mistake this lady for my dear old friend, Sister Sara.

She felt my fingers tremble in her hand, as we were walking hand in hand.

'What is the matter, dear?' she said affectionately. 'I feel somewhat awkward,' I said in a rather apologizing tone, 'as being a purdahnishin woman I am not accustomed to walking about unveiled.'

'You need not be afraid of coming across a man here. This is Ladyland, free from sin and harm. Virtue herself reigns here.'

By and by I was enjoying the scenery. Really it was very grand. I mistook a patch of green grass for a velvet cushion. Feeling as if I were walking on a soft carpet, I looked down and found the path covered with moss and flowers.

'How nice it is,' said I.

'Do you like it?' asked Sister Sara. (I continued calling her 'Sister Sara,' and she kept calling me by my name).

'Yes, very much; but I do not like to tread on the tender and sweet flowers.'

'Never mind, dear Sultana; your treading will not harm them; they are street flowers.'

'The whole place looks like a garden,' said I admiringly. 'You have arranged every plant so skillfully.'

'Your Calcutta could become a nicer garden than this if only your countrymen wanted to make it so.'

'They would think it useless to give so much attention to horticulture, while they have so many other things to do.'

'They could not find a better excuse,' said she with smile.

I became very curious to know where the men were. I met more than a hundred women while walking there, but not a single man.

'Where are the men?' I asked her.

'In their proper places, where they ought to be.'

'Pray let me know what you mean by "their proper places".'

'O, I see my mistake, you cannot know our customs, as you were never here before. We shut our men indoors.'

'Just as we are kept in the zenana?'

'Exactly so.'

'How funny,' I burst into a laugh. Sister Sara laughed too.

'But dear Sultana, how unfair it is to shut in the harmless women and let loose the men.'

'Why? It is not safe for us to come out of the zenana, as we are naturally weak.'

'Yes, it is not safe so long as there are men about the streets, nor is it so when a wild animal enters a marketplace.'

'Of course not.'

'Suppose, some lunatics escape from the asylum and begin to do all sorts of mischief to men, horses and other creatures; in that case what will your countrymen do?'

'They will try to capture them and put them back into their asylum.'

'Thank you! And you do not think it wise to keep sane people inside an asylum and let loose the insane?'

'Of course not!' said I laughing lightly.

'As a matter of fact, in your country this very thing is done! Men, who do or at least are capable of doing no end of mischief, are let loose and the innocent women, shut up in the zenana! How can you trust those untrained men out of doors?'

'We have no hand or voice in the management of our social affairs. In India man is lord and master, he has taken to himself all powers and privileges and shut up the women in the zenana.'

'Why do you allow yourselves to be shut up?'

'Because it cannot be helped as they are stronger than women.'

'A lion is stronger than a man, but it does not enable him to dominate the human race. You have neglected the duty you owe to yourselves and you have lost your natural rights by shutting your eyes to your own interests.'

'But my dear Sister Sara, if we do everything by ourselves, what will the men do then?'

'They should not do anything, excuse me; they are fit for nothing. Only catch them and put them into the zenana.'

'But would it be very easy to catch and put them inside the four walls?' said I. 'And even if this were done, would all their business - political and commercial - also go with them into the zenana?'

Sister Sara made no reply. She only smiled sweetly. Perhaps she thought it useless to argue with one who was no better than a frog in a well.

By this time we reached Sister Sara's house. It was situated in a beautiful heart-shaped garden. It was a bungalow with a corrugated iron roof. It was cooler and nicer than any of our rich buildings. I cannot describe how neat and how nicely furnished and how tastefully decorated it was.

We sat side by side. She brought out of the parlour a piece of embroidery work and began putting on a fresh design.

'Do you know knitting and needle work?'

'Yes; we have nothing else to do in our zenana.'

'But we do not trust our zenana members with embroidery!' she said laughing, 'as a man has not patience enough to pass thread through a needlehole even!'

'Have you done all this work yourself?' I asked her pointing to the various pieces of embroidered teapoy cloths.

'Yes.'

'How can you find time to do all these? You have to do the office work as well? Have you not?'

'Yes. I do not stick to the laboratory all day long. I finish my work in two hours.'

'In two hours! How do you manage? In our land the officers, - magistrates, for instance - work seven hours daily.'

'I have seen some of them doing their work. Do you think they work all the seven hours?'

'Certainly they do!'

' No, dear Sultana, they do not. They dawdle away their time in smoking. Some smoke two or three choroots during the office time. They talk much about their work, but do little. Suppose one choroot takes half an hour to burn off, and a man smokes twelve choroots daily; then you see, he wastes six hours every day in sheer smoking.'

We talked on various subjects, and I learned that they were not subject to any kind of epidemic disease, nor did they suffer from mosquito bites as we do. I was very much astonished to hear that in Ladyland no one died in youth except by rare accident.

'Will you care to see our kitchen?' she asked me.

'With pleasure,' said I, and we went to see it. Of course the men had been asked to clear off when I was going there. The kitchen was situated in a beautiful vegetable garden. Every creeper, every tomato plant was itself an ornament. I found no smoke, nor any chimney either in the kitchen -- it was clean and bright; the windows were decorated with flower gardens. There was no sign of coal or fire.

'How do you cook?' I asked.

'With solar heat,' she said, at the same time showing me the pipe, through which passed the concentrated sunlight and heat. And she cooked something then and there to show me the process.

'How did you manage to gather and store up the sun-heat?' I asked her in amazement.

'Let me tell you a little of our past history then. Thirty years ago, when our present Queen was thirteen years old, she inherited the throne. She was Queen in name only, the Prime Minister really ruling the country.

'Our good Queen liked science very much. She circulated an order that all the women in her country should be educated. Accordingly a number of girls' schools were founded and supported by the government. Education was spread far and wide among women. And early marriage also was stopped. No woman was to be allowed to marry before she was twenty-one. I must tell you that, before this change we had been kept in strict purdah.'

'How the tables are turned,' I interposed with a laugh.

'But the seclusion is the same,' she said. 'In a few years we had separate universities, where no men were admitted.'

'In the capital, where our Queen lives, there are two universities. One of these invented a wonderful balloon, to which they attached a number of pipes. By means of this captive balloon which they managed to keep afloat above the cloud-land, they could draw as much water from the atmosphere as they pleased. As the water was incessantly being drawn by the university people no cloud gathered and the ingenious Lady Principal stopped rain and storms thereby.'

'Really! Now I understand why there is no mud here!' said I. But I could not understand how it was possible to accumulate water in the pipes. She explained to me how it was done, but I was unable to understand her, as my scientific knowledge was very limited. However, she went on, 'When the other university came to know of this, they became exceedingly jealous and tried to do something more extraordinary still. They invented an instrument by which they could collect as much sun-heat as they wanted. And they kept the heat stored up to be distributed among others as required.

'While the women were engaged in scientific research, the men of this country were busy increasing their military power. When they came to know that the female universities were able to draw water from the atmosphere and collect heat from the sun, they only laughed at the members of the universities and called the whole thing "a sentimental nightmare"!'

'Your achievements are very wonderful indeed! But tell me, how you managed to put the men of your country into the zenana. Did you entrap them first?'

'No.'

'It is not likely that they would surrender their free and open air life of their own accord and confine themselves within the four walls of the zenana! They must have been overpowered.'

'Yes, they have been!'

'By whom? By some lady-warriors, I suppose?'

'No, not by arms.'

'Yes, it cannot be so. Men's arms are stronger than women's. Then?'

'By brain.'

'Even their brains are bigger and heavier than women's. Are they not?'

'Yes, but what of that? An elephant also has got a bigger and heavier brain than a man has. Yet man can enchain elephants and employ them, according to their own wishes.'

'Well said, but tell me please, how it all actually happened. I am dying to know it!'

'Women's brains are somewhat quicker than men's. Ten years ago, when the military officers called our scientific discoveries "a sentimental nightmare," some of the young ladies wanted to say something in reply to those remarks. But both the Lady Principals restrained them and said, they should reply not by word, but by deed, if ever they got the opportunity. And they had not long to wait for that opportunity.'

'How marvelous!' I heartily clapped my hands. 'And now the proud gentlemen are dreaming sentimental dreams themselves.'

'Soon afterwards certain persons came from a neighbouring country and took shelter in ours. They were in trouble having committed some political offense. The king who cared more for power than for good government asked our kind-hearted Queen to hand them over to his officers. She refused, as it was against her principle to turn out refugees. For this refusal the king declared war against our country.

'Our military officers sprang to their feet at once and marched out to meet the enemy. The enemy however, was too strong for them. Our soldiers fought bravely, no doubt. But in spite of all their bravery the foreign army advanced step by step to invade our country.

'Nearly all the men had gone out to fight; even a boy of sixteen was not left home. Most of our warriors were killed, the rest driven back and the enemy came within twenty-five miles of the capital.

'A meeting of a number of wise ladies was held at the Queen's palace to advise as to what should be done to save the land. Some proposed to fight like soldiers; others objected and said that women were not trained to fight with swords and guns, nor were they accustomed to fighting with any weapons. A third party regretfully remarked that they were hopelessly weak of body.

'"If you cannot save your country for lack of physical strength," said the Queen, "try to do so by brain power."

'There was a dead silence for a few minutes. Her Royal Highness said again, "I must commit suicide if the land and my honour are lost."

'Then the Lady Principal of the second university (who had collected sun-heat), who had been silently thinking during the consultation, remarked that they were all but lost, and there was little hope left for them. There was, however, one plan which she would like to try, and this would be her first and last efforts; if she failed in this, there would be nothing left but to commit suicide. All present solemnly vowed that they would never allow themselves to be enslaved, no matter what happened.

'The Queen thanked them heartily, and asked the Lady Principal to try her plan. The Lady Principal rose again and said, "before we go out the men must enter the zenanas. I make this prayer for the sake of purdah." "Yes, of course," replied Her Royal Highness.

'On the following day the Queen called upon all men to retire into zenanas for the sake of honour and liberty. Wounded and tired as they were, they took that order rather for a boon! They bowed low and entered the zenanas without uttering a single word of protest. They were sure that there was no hope for this country at all.

'Then the Lady Principal with her two thousand students marched to the battle field, and arriving there directed all the rays of the concentrated sunlight and heat towards the enemy.

'The heat and light were too much for them to bear. They all ran away panic-stricken, not knowing in their bewilderment how to counteract that scorching heat. When they fled away leaving their guns and other ammunitions of war, they were burnt down by means of the same sun-heat. Since then no one has tried to invade our country any more.'

'And since then your countrymen never tried to come out of the zenana?'

'Yes, they wanted to be free. Some of the police commissioners and district magistrates sent word to the Queen to the effect that the military officers certainly deserved to be imprisoned for their failure; but they never neglected their duty and therefore they should not be punished and they prayed to be restored to their respective offices.

'Her Royal Highness sent them a circular letter intimating to them that if their services should ever be needed they would be sent for, and that in the meanwhile they should remain where they were. Now that they are accustomed to the purdah system and have ceased to grumble at their seclusion, we call the system "Mardana" instead of "zenana".'

'But how do you manage,' I asked Sister Sara, 'to do without the police or magistrates in case of theft or murder?'

'Since the "Mardana" system has been established, there has been no more crime or sin; therefore we do not require a policeman to find out a culprit, nor do we want a magistrate to try a criminal case.'

'That is very good, indeed. I suppose if there was any dishonest person, you could very easily chastise her. As you gained a decisive victory without shedding a single drop of blood, you could drive off crime and criminals too without much difficulty!'

'Now, dear Sultana, will you sit here or come to my parlour?' she asked me.

'Your kitchen is not inferior to a queen's boudoir!' I replied with a pleasant smile, 'but we must leave it now; for the gentlemen may be cursing me for keeping them away from their duties in the kitchen so long.' We both laughed heartily.

'How my friends at home will be amused and amazed, when I go back and tell them that in the far-off Ladyland, ladies rule over the country and control all social matters, while gentlemen are kept in the Mardanas to mind babies, to cook and to do all sorts of domestic work; and that cooking is so easy a thing that it is simply a pleasure to cook!'

'Yes, tell them about all that you see here.'

'Please let me know, how you carry on land cultivation and how you plough the land and do other hard manual work.'

'Our fields are tilled by means of electricity, which supplies motive power for other hard work as well, and we employ it for our aerial conveyances too. We have no rail road nor any paved streets here.'

'Therefore neither street nor railway accidents occur here,' said I. 'Do not you ever suffer from want of rainwater?' I asked.

'Never since the "water balloon" has been set up. You see the big balloon and pipes attached thereto. By their aid we can draw as much rainwater as we require. Nor do we ever suffer from flood or thunderstorms. We are all very busy making nature yield as much as she can. We do not find time to quarrel with one another as we never sit idle. Our noble Queen is exceedingly fond of botany; it is her ambition to convert the whole country into one grand garden.'

'The idea is excellent. What is your chief food?'

'Fruits.'

'How do you keep your country cool in hot weather? We regard the rainfall in summer as a blessing from heaven.'

'When the heat becomes unbearable, we sprinkle the ground with plentiful showers drawn from the artificial fountains. And in cold weather we keep our room warm with sun-heat.'

She showed me her bathroom, the roof of which was removable. She could enjoy a shower bath whenever she liked, by simply removing the roof (which was like the lid of a box) and turning on the tap of the shower pipe.

'You are a lucky people!' ejaculated I. 'You know no want. What is your religion, may I ask?'

'Our religion is based on Love and Truth. It is our religious duty to love one another and to be absolutely truthful. If any person lies, she or he is....'

'Punished with death?'

'No, not with death. We do not take pleasure in killing a creature of God, especially a human being. The liar is asked to leave this land for good and never to come to it again.'

'Is an offender never forgiven?'

'Yes, if that person repents sincerely.'

'Are you not allowed to see any man, except your own relations?'

'No one except sacred relations.'

'Our circle of sacred relations is very limited; even first cousins are not sacred.'

'But ours is very large; a distant cousin is as sacred as a brother.'

'That is very good. I see purity itself reigns over your land. I should like to see the good Queen, who is so sagacious and far-sighted and who has made all these rules.'

'All right,' said Sister Sara.

Then she screwed a couple of seats onto a square piece of plank. To this plank she attached two smooth and well-polished balls. When I asked her what the balls were for, she said they were hydrogen balls and they were used to overcome the force of gravity. The balls were of different capacities to be used according to the different weights desired to be overcome. She then fastened to the air-car two wing-like blades, which, she said, were worked by electricity. After we were comfortably seated she touched a knob and the blades began to whirl, moving faster and faster every moment. At first we were raised to the height of about six or seven feet and then off we flew. And before I could realize that we had commenced moving, we reached the garden of the Queen.

My friend lowered the air-car by reversing the action of the machine, and when the car touched the ground the machine was stopped and we got out.

I had seen from the air-car the Queen walking on a garden path with her little daughter (who was four years old) and her maids of honour.

'Halloo! You here!' cried the Queen addressing Sister Sara. I was introduced to Her Royal Highness and was received by her cordially without any ceremony.

I was very much delighted to make her acquaintance. In the course of the conversation I had with her, the Queen told me that she had no objection to permitting her subjects to trade with other countries. 'But,' she continued, 'no trade was possible with countries where the women were kept in the zenanas and so unable to come and trade with us. Men, we find, are rather of lower morals and so we do not like dealing with them. We do not covet other people's land, we do not fight for a piece of diamond though it may be a thousand-fold brighter than the Koh-i-Noor, nor do we grudge a ruler his Peacock Throne. We dive deep into the ocean of knowledge and try to find out the precious gems, which nature has kept in store for us. We enjoy nature's gifts as much as we can.'

After taking leave of the Queen, I visited the famous universities, and was shown some of their manufactories, laboratories and observatories.

After visiting the above places of interest we got again into the air-car, but as soon as it began moving, I somehow slipped down and the fall startled me out of my dream. And on opening my eyes, I found myself in my own bedroom still lounging in the easy-chair!

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Rokeya Sakhawat Hossain. One evening I was lounging in an easy chair in my bedroom and thinking lazily of the condition of Indian womanhood. I am not sure whether I dozed off or not. But, as far as I remember, I was wide awake.

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Creative Source
Rhetorical Situation:
Artist: Artemisia Gentileschi
Text/subject: This painting is by an Italian Baroque painter who was born on 8 July 1593 in Rome, Italy and died. in 1653 in Naples, Italy.
Audience: women, and influence women all over the world.
Context: During ancient times, women are always portrayed as goddesses and mythological creatures, which influenced the many ancient arts still represented until today by the great ruins in Greece, Italy, Turkey, Iran and other countries. also a man said This is so good you wouldn’t know it was done by a woman.” – said by famous German painter, Hans Hoffmann  as a quote of appreciation to the influential abstract expressionist painter Lee Krasner. he is pointing out that women is not capable of such a beatiful art that how the society think.

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One can always argue that women have played a pivotal role - as much as the men, in the enrichment of the arts. Strangely, their contributions always take the co-starring role when it comes to how mainstream media covers the world of art. Women in art are now the ones who're creating meaningful and innovative works at their own freedom and creativity.

"This is so good you wouldn't know it was done by a woman." - said by famous German painter, Hans Hoffmann as a quote of appreciation to the influential abstract expressionist painter Lee Krasner

One would falsely believe that there are too few women artists around the world because those who hog the headlines in the art world are mostly men. This prevailing notion should be put to rest because women have always been at the forefront of art and women in art have consistently contributed heavily to design, fine arts and performance arts.

Strong Participation of Women in Art since the Ancient Times

After a sterling crusade in the late 20 th century that spearheaded the feminist movement, women became more enamored and involved in the world of art. Both as a collector of art and as an artist as well, this emergence started giving credence to the women's increasing role in both art historical discourse and artistic production.

Women started off with purchasing vast amounts of artworks until this work of art became the driving influence that drove hordes of women to study in the leading art schools all over the world - giving birth to a new generation of women artists that would make waves in the modern art.

During ancient times, women are always portrayed as goddesses and mythological creatures, which influenced the many ancient arts still represented until today by the great ruins in Greece, Italy, Turkey, Iran and other countries.

The ancient art of history also suggests a good number of women artists namely; Alcisthene, Anaxandra, Kora of Sicyon, Lala de Cizique, Stratonice of Pontus and Timarete.

Women in Art - Not merely inspirational or model subjects of art

From merely art inspirations, women have become more active in the creative arena by slowly progressing in various fields of arts, fine arts, visual arts, and design to performance arts.

According to an essay published by Art and Women " Renaissance was a period of transformation in arts and in women's lives but many customs still remained the same as the Middle Ages for women. Renaissance was a period where women gained more freedom ".

During the Victorian period in England, women started to make a name for themselves with such classic artworks such as Elizabeth Sirani's "Portia Wounding Her Thigh", a painting that signifies the message that a woman is now willing to distance herself from gender biasedness.

The painting's subject depicts an act of a woman possessing the same strength as that of a man. "Portia" represents surrender because she isn't the same type of woman known in society as weak and prone to gossip.

The earliest pre-modern art female painters played the role that started the revolution that ultimately opened the doors of arts to women in general.

One shining example is Emily Mary Osborn's "Nameless and Faceless' '.

The painting conveys the uncomfortable state a woman feels in a male-controlled society where the subject is shown inside an art gallery and is being observed at awkwardly by the males surrounding her; she is fiddling with her dress and staring down The men are obviously disregarding her as a serious artist.

Women in Art - Major Contributions and Leading Contributors

During ancient India, it is said that "For about three thousand years, the women - and only the women - of Mithila have been making devotional paintings of the gods and goddesses of the Hindu pantheon. It is no exaggeration, then, to say that this art is the expression of the most genuine aspect of Indian civilization." This passage says it all about women's contribution to art dates back to ancient times.

During Medieval Period, the role of women in art continued throughout the classical European period where women contributed a lot in poetry, music, textiles and other cultural art performances. The Medieval period saw the emergence of women artists such as Claricia, Diemudus, Ende, Guda, Herrade of Landsberg and Hildegard of Bingen.

During Renaissance period, the world had seen art talents of more women namely; Sofonisba Anguissola, Lucia Anguissola, Marietta Robusti (daughter of Tintoretto), Properzia de' Rossi, Plautilla Nelli, Levina Teerlinc, Mayken Verhulst, Lavinia Fontana, Fede Galizia, Diana Scultori Ghisi, Caterina van Hemessen, Esther Inglis, Barbara Longhi, Maria Ormani and St. Catherine of Bologna (Caterina dei Vigri).

The Baroque period saw a large number of women painters taking the self-portrait route, this period are flooded with many impressive self-portraits that elevated fine arts more as this presented a healthy competition among the male artists of this period.

During 20th Century to Contemporary Era, Women artists started getting known for their artworks, that have now reached a wider audience and portrays an expanded documentation of everyday life. An example of this is Zinaida Serebriakova's "the Harvest" which simply depicts a life at the farm for a family of farmers. (Featured Image)

Expanded Women's Contribution to Design, Visual Arts and Performance Arts

The long and winding struggle of the women gender finally reached its peak as clearly, today's finest artists consists of a large number of women, ranging from design arts, visual arts, cultural arts, to performance arts.

Imagination is one important recipe for surreal art. Surrealism is one style of art where women has truly contributing and leading this space since ages.
Significance of Female Surrealism in a Male-dominated World
From the Dorothea Lange of the Photography world to famous contemporary artists such as Karen Kilimnik, Sarah Lucas, Yoko Ono, Jenny Saville, Carolee Schneeman, Shazia Sikander, Lorna Simpson, Magdalena Abakanowicz, Marina Abramović, Jaroslava Brychtova, Bettina Werner, Lynda Benglis, Lee Bul, Sophie Calle, Janet Cardiff, Marlene Dumas, Marisol Escobar, Jenny Holzer, Runa Islam, Chantal Joffe, Yayoi Kusama, Lisa Steele, Stella Vine, Kara Walker, Rebecca Warren, Bettina Werner and Susan Dorothea White, women's adventure in the world of art has rightfully completed its long and arduous circle.

Because we live in a fortunate time of history when women can now freely participate and become creators of art, we should further appreciate and celebrate their continuous contributions by being more supportive and constantly on the lookout for that next great woman artist.

Women aren't only limited to being merely inspirational or model subjects of art; women are now the ones creating art at their own freedom and creativity.

About The Artist Editorial

Delivering inspiring and authentic content for the Art, Design and Culture lovers and allowing artists to draw inspiration from no less than the best works of art in the world. View all posts by The Artist Editorial →

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One can always argue that women have played a pivotal role - as much as the men, in the enrichment of the arts. Strangely, their contributions always take the co-starring role when it comes to how mainstream media covers the world of art.

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Informational Source
Rhetorical Situation:
Writer: Dr Amanda Foremen
Text/subject: Whether you look to the past or the present, the inclusion of women  in the public space – from the economy to culture – is a vital component of a prosperous and peaceful society.
Audience: children and elders in every country of the world. Most of the women all over the world.
Context; A groundbreaking four-part documentary series originally created for BBC2 in the UK that charts the role of women in society over the course of 10,000 years.

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The Ascent of Woman Written and Presented by Dr. Amanda Foreman

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Informational Source
Rhetorical Situation:
Writer: Michele Gran
Text/subject: An article about the role of women as care takers, and the role of women as educators.
Audience:  children and elders in every country of the world. Most of the women all over the world.
Context;Throughout history, the central role of women in society has ensured the stability, progress and long-term development of nations. Globally, women comprise 43 percent of the world’s agricultural labor force – rising to 70 percent in some countries.

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Throughout history, the central role of women in society has ensured the stability, progress and long-term development of nations. Globally, women comprise 43 percent of the world's agricultural labor force - rising to 70 percent in some countries. For instance, across Africa, 80 percent of the agricultural production comes from small farmers, most of whom are rural women. It's widely accepted that agriculture can be the engine of growth and poverty reduction in developing nations. Women, notably mothers, play the largest role in decision-making about family meal planning and diet. And, women self-report more often their initiative in preserving child health and nutrition.
The Role of Women as Caregivers

Women are the primary caregivers of children and elders in every country of the world. International studies demonstrate that when the economy and political organization of a society change, women take the lead in helping the family adjust to new realities and challenges. They are likely to be the prime initiator of outside assistance, and play an important role in facilitating (or hindering) changes in family life.

"Rural women play a key role in supporting their households and communities in achieving food and nutrition security, generating income, and improving rural livelihoods and overall well-being."
- UN Womenwatch Organization

The Role of Women as Educators

The contribution of women to a society's transition from pre-literate to literate likewise is undeniable. Basic education is key to a nation's ability to develop and achieve sustainability targets. Research has shown that education can improve agricultural productivity, enhance the status of girls and women, reduce population growth rates, enhance environmental protection, and widely raise the standard of living.

It is the mother in the family who most often urges children of both genders to attend - and stay - in school. The role of women is at the front end of the chain of improvements leading to the family's, the community's long-term capacity.

The Role of Women in the Workforce

Today, the median female share of the global workforce is 45.4 percent. Women's formal and informal labor can transform a community from a relatively autonomous society to a participant in the national economy. Despite significant obstacles, women's small businesses in rural developing communities not only can be an extended family's lifeline, but can form a networked economic foundation for future generations. The role of women in the urban and rural workforce has expanded exponentially in recent decades.

The theme for International Women's Day 2019 "Think equal, build smart, innovate for change," was chosen to identify innovative ways to advance gender equality and the empowerment of women, accelerating the , building momentum for the effective implementation of the new U.N. Sustainable Development Goals. Of course, women's opportunities still lag behind those of men worldwide. But, the historic and current role of women is indisputable.

"When women are empowered and can claim their rights and access to land, leadership, opportunities and choices, economies grow, food security is enhanced and prospects are improved for current and future generations."
- Michelle Bachelet, Under-Secretary-General and Executive Director of UN Women

The Role of Women as Global Volunteers

Global Volunteers' community development work in host countries worldwide strengthens women's and children's capacity and supports their sustained health and development. Under the direction of local leaders, our volunteers help ensure academic accessibility, foster parental involvement, offer psycho-social support, provide nutrition and health education, fund girls' scholarships, construct schools with girls' bathrooms, tutor literacy, and numeracy, and so much more. Contact us using the form below to learn how you can contribute to this critical agenda.

To learn more about the vital role of women in the world, read Women and the Sustainable Development Goals.

Request more information below to learn how you can support women around the world as a Global Volunteer.

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The Global Role of Women - Caregivers, Conscience, Farmers, Educators and Entrepreneurs

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Throughout history, the central role of women in society has ensured the stability, progress and long-term development of nations. Globally, women comprise 43 percent of the world's agricultural labor force - rising to 70 percent in some countries. For instance, across Africa, 80 percent of the agricultural production comes from small farmers, most of whom are rural women.