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Jamika Ajalon, artist, musician and poet, speaks with Cae Massena, artist, musician, academic and co-founder of Caona, a collective dedicated to supporting women musicians in France.

Jamika: What do you do?

Please can you introduce yourself?
With general introductions it could take too long to really explain myself. Personal histories can be really funny and sometimes really traumatic but I’ll try to tell you the funny part of the story.

I mean an introduction related to your media production, of course.

Radiointerview über das Feministische Internetarchiv und Netzwerk grassrootsfeminism.net

Zum Anhören bei freie-radios.net:
http://freie-radios.net/40583

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THE FUGITIVE ARCHETYPE OF RESISTANCE: a metamorphical narrative

by Jamika Ajalon
presentation @ Civilmedia 2011 in Salzburg
Stream: Feminist Media Production in Europe

Melanie Manos' performance work has romped on the tightrope between absurdity and solemnity since the late 1990s, giving a view into the tension between the individual and the exigencies of modern society. Whether through the Beckettian work of unending circularity with MBC partner Sarah Buckius, physically demanding minimalist body sculptures or the recent narrative-based work performed at Marygrove College in Detroit, Manos reminds me that performance is at its core political.

The PRIDE PARADE took place.
This is roughly the fourth time that there was an attempt to organize it, gather the people, stroll down the streets, so that we can show that lesbians, gays, trans and queer people exist in Serbia. However you classify yourself, whichever group you belong to, you either think you have freedom or you know that you don’t have it.

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When I first heard about ! Women Art Revolution – A Secret History, I thought that a film had been made about the Guerrilla Girls and that era and was thrilled as it was a period of history crying out for a documentary. The film starts out quite ambiguously, introducing some of the characters, and then asks women through vox pops to name female artists – and my reaction as a viewer, and someone who went to art school, was of shock that people weren’t listing the likes of Jenny Saville, Sam Taylor-Wood, Gillian Wearing, Julie Doucet or even Tracy Emin straight off the bat.

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Tell me about the work you have been doing.
My recent bodies of work are around the notion of the prostitute, they are part of a dialogue about what creating a sexualized identity and advertising on the internet might mean. I take apart the process of taking photographs, I also use text and collage to question what one is seeing and who is being addressed. It is also a personal journey about my own relationship to my womanliness.

How did you get into doing this?

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Can you introduce yourself?