Results for Tag: Tunisia
Tunisian filmmakers have shared their anxieties and personal perspectives in feature films and documentaries with a political message. Between 2011 and 2018, at least four feature films addressed radicalisation and other frequent topics about the position of women, the struggles of the youth as well as the changing parent-child relationships in Tunisian society. Some of these films have received financial support from international donors, but filmmakers often prefer to ensure their independence and turn therefore to low-budget films.
Before 2011, self-immolation was the third or fourth most common method of suicide. Most of these cases were related to mental illness, marital conflicts (especially women) and financial problems, and took place in the victim’s home. After the revolution, the same studies reported a threefold increase in self-immolation. Specifically, self-immolation in public spaces and outside public administration buildings rapidly expanded. Simultaneously, more suicides were motivated by financial hardship or a conflict with a state representative.
Tunisia is tending towards a hybrid system. The crucial point here is that such a hybrid system would probably not be able to carry out the key reforms which both the international community and the Tunisian population expect. Reforming the state apparatus and highly corrupt economic structures is imperative to ensure sustainable social and political stability in Tunisia. Preventing hybrid political structures from becoming entrenched is therefore of critical importance.
Abandoned hospitals, empty schools, deserted government buildings: Tunisia’s cities seemed like ghost towns on 17 January 2019. A nationwide public sector strike organized by the powerful Tunisian General Labour Union (UGGT) received mass support and solidarity from both the public and private sector with, according to the union, participation by more than 90 per cent of the 677,000 civil servants and 350,000 of the employees in public sector enterprises, representing a quarter of the population.
Despite these setbacks, Mathlouthi continues to thrive professionally and dedicate her art to political causes, as she stated in an interview for Okay Africa. “We have to still feel the pain of others. That’s the basis of us not going towards dehumanization. That’s my big point. So that’s political. I just hate the word political today more than ever because it’s so dirty. Art has to find a new definition to fight, to be associated with. I think that my art is always going to be concerned. I feel more comfortable adding [that term] to my art than adding the term political.”