Indigenising civil society : applying Ibn Khaldun’s asabiya concept on tribes in Iraq

After the US-led invasion of Iraq in 2003, civil society has become among the buzz words that are frequently used by local and international government and non-government institutions. However, the connotations of civil society were merely drawn from Western conceptions referring to formally organised types of institutions, like NGOs, unions and media. This paper argues that Muslim/Arab theories should also be tested in their original indigenous societies before generalisation of Western models. The Western conceptualisation overlooks the informal type of civil society organisations and excludes family and kinship ties from its equation. Indigenous social structures, i.e. tribes are key active player in the daily life of the Iraqi political, economic, social and cultural scenes. This study argues that the spirit of social solidarity drawn from Ibn Khaldun’s “asabiya” concepts as well as functions of civil society organisations are the bases for examining tribes in Iraq. Tribes have played significant roles in conflict management, peace-building, reconciliation, policy-formulation, advocacy, active citizenship and democratisation since 2003. The article concludes that, based on their sense of solidarity that is the impetus to functions, tribes are among the active civil society organisations in Iraq.

The artist in a networked society

Artists are under pressure from two conflicting sets of sociocultural expectations. On the one hand, they are expected to conform to the historically grounded myth of the artist as heroic genius. On the other hand, they must meet the expectations of the state (plus ensure their own survival) as economic contributors. One way  that these conflicting pressures are managed by artists working within the traditional art world is by separating the creator from the labourer through the use of intermediaries such as dealer galleries, critics, publishers and agents. This allows the artist to symbolically distance themselves from the economic structures that allow them to continue to work. However, for those artists working outside of these systems of support, legitimization and representation, the positioning of the individual as ‘artist’ becomes a much more complex task.

The construction of artists persona in online spaces can be seen most clearly in those artists who operate outside of the traditional art world. Lacking the symbolic distance between the economic producer and the bohemian, mythical genius, these individual artists instead negotiate a place to stand in direct relation to  their audience of fans, followers and audiences. Using examples from a range of fringe, alternative or counter-culture creative practice, this paper investigates artistic persona by linking the artist myth, economic considerations, and networked society to explore current presentation strategies.