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“The Fourth Language for all Females”: Women's Subversive Bodies in Assia Djebar's Fantasia, an Algerian Calcavade
Abstract
This article aims to illustrate the dialogic significance of the trance dance, a discursive scene of women's bodily expressions, in the Algerian feminist postcolonial novelist and film director, Assia Djebar's Fantasia (1985). While Djebar's literary oeuvre has been subject to enormous critical readings, this essay focuses on Djebar's representation of the female body as a medium of subversive expression in the ritualistic trance dance. Following the critical lines of psychoanalysis, deconstruction, and postmodern and postcolonial feminism, we contend that the trance scene is an uncanny, subjective space of women's collective voices that undermine patriarchal authority. Women's movement into the domestic sphere of the Harem is a retreat into the semiotic, imaginary order and an escape from the symbolic order that deprives women from their bodies and their expressions. Thus, we propose that the trance privileges the matriarch's body/signs over the phallocentric system of Arab, benign patriarchy, her unconscious over social consciousness, irrationality over rationality, the ritual over the real, and ultimately the feminine over the masculine. The dissident practice of periodic dancing gives a space for dancers to claim dramatic authority and agency over their bodies, that is, to empower themselves socially and psychologically despite the patriarchal constraints lurking over them.
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References
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