Amplifying the voices of young Bedouin Lebanese women through photovoice

Lead researcher: Nagham Khalil

Co-researchers: Fatima Abu Eid – Inas Abu Eid – Israa Nazzal – Mariam Hamad – Shaymaa Abu Eid – Zahraa Abu Eid

Final Thoughts: The Struggle Between Public and Private Spheres

Bedouin girls navigate hierarchical assumptions — such as modernity vs. tradition, women vs. men, secularism vs. religion, and the private vs. the public sphere — in complex and varied ways. Using pictures paired with narratives, the girls express their experiences through a framework that blends pride in tradition with a desire to adapt to modern values such as independence and gender equality. In this way, they balance their traditional identity with the pressures of modernization and globalization. 

In the photovoice project, the girls used photography as a means to articulate complex, meaningful experiences that are difficult to express verbally. The images they selected challenge stereotypes that portray Bedouin women as passive recipients of cultural heritage, instead, appearing as active agents shaping their own narratives. These images capture moments of resilience and resistance against reductive interpretations of their gender and ethnic identities.  

The narratives and images provide a nuanced understanding of the young women’s positions within various power structures — whether gender-based, social, or cultural—and of their strategies for coping with, or even resisting, these structures.  Their efforts represent not only a personal journey, but also, a social commentary on the roles and expectations of Bedouin women in a changing world. 

The tension between the private and public spheres is clearly reflected in the lives of young Bedouin women who strive to maintain a balance between upholding community traditions and integrating into the wider society. Amid this tension, a young Bedouin woman may find herself in a continuous process of reshaping her identity, choosing which aspects to embrace, modify, or reject. This process reflects a strong sense of self-awareness and autonomy, leading to the formation of a composite identity that merges authenticity and modernity. 

Thus, the conflict between the public and private spheres is an integral part of the young Bedouin woman’s experience, contributing to the shaping of her identity in multiple and complex ways. Dealing with all aspects of this tension can be exhausting and burdensome. To manage this process, Bedouin women may choose to confront one challenge that feels most urgent or changeable, rather than try to address all issues at once. This approach reduces the pressure of striving for perfect balance across all contradictory aspects of identity and belonging. 

You can tell from the feedback from the co-researchers that the photovoice methodology provided these Bedouin girls with a powerful and empowering medium to express themselves and the impact of their experiences within broader discussions on identity within in Bedouin communities, academic circles, and public discourse. 

Feedback gathered from the co-researchers on photovoice

On storytelling and photography: 

 “Sometimes storytelling is hard, but when I photograph something from my daily life, it becomes easier.” – Fatima

“Photos can express more than what we say. A photo can be a principle or a starting point— it helps connect different ideas together.” – Zahraa

“In the exhibition, photos inspire people and push them to read. The image simplifies things, whereas writing is harder.” – Israa

On the project experience: 

“The project is beautiful because it reflects our lives as an idea.” – Shaymaa 

“This project shouldn’t stop; there should be other continuous projects. There could be other topics, like documenting our dialect. It would be great to work with a new group. If we mix participants, it could raise awareness — we’d get to see how youth think, compare perspectives, and bring good ideas together.” – Shaymaa

On methodology and participation: 

“The topics were broad, not fixed. The project didn’t impose anything. If someone comes and forces something, I feel anxious. The topic was open — we talked about what we wanted, about anything we liked. There was ease in communication and freedom. Whether someone is educated or not, whether she has information or not, she could still tell a story. In the past, some projects I was part of did not let me talk about my mother; they asked for something specific. But in this one, we talked about what we wanted. It had guidelines, but it never restricted us. You could say what you wanted.” – Shaymaa 

On discovering hidden talents: 

“I didn’t know I would enjoy writing until I tried it. I told my teacher about the project, and she encouraged me to keep writing. We discovered hidden talents — like Inas, who never thought she could write so much.” – Fatima 

“We gained new skills like empathy and dignity, and we learned from each other.” – Mariam

On identity, courage, and empowerment: 

“There are girls who don’t like to say they are Bedouin to assert their identity. I felt we had common ground. Each of us took something from the others — problems, advice — we talk to our friends and show our talents. We love talking about the project.” – Inas 

“We talk about real problems we live through, and we learn from each other. We contribute to change — it’s not just talk. We speak up and strive to make a difference.” – Shaymaa 

“The method is beautiful—I am no longer shy.” – Mariam 

“I want to admit that I’ve become bolder. I didn’t used to think like this. I’ve decided to say all this — my mind is now open to something new.” – Israa 

“For the first time, I said I want to go to Housh al-Arab.” – Israa. Note: the women were ashamed when they were younger to say where they live because they feared judgment. 

“My ID says I’m from Housh al-Rafqa, but today I’m proud to say I’m from Housh al-Arab.” – Maryam 

“I’ve overcome my fear of ‘the other’. I’m happy with the positive outlook too.” – Mariam 

“The most important thing is the exhibition. Without it, my voice might not be heard. I want to become well known — even if I write important things, I want to talk about them in the end.” – Shaymaa 

“You fear your work won’t reach its goal. We might put in the effort and no one will care, and then we go back to our lives.” – Zahraa 

About the lead researcher:

Nagham’s interest in photovoice began while earning a master’s degree in Rural Community Development at the American University of Beirut. As part of her thesis, she developed a photovoice guideline tailored to the Bedouin community, using it as a case study. She later interned with Photovoice Worldwide and attended its summer school, where she developed a detailed photovoice project proposal for young Bedouin women in Lebanon.

Nagham was later awarded a grant from Ettijahat – Independent Culture, allowing her to lead her first photovoice project on the cultural identity of young Bedouin women. She will publish an article on this project soon. This sample of photos and captions is Part I of the article, while the second part, covering the findings and conclusions, will be published soon. Nagham is currently preparing an exhibition with the co-researchers this year. In addition to her research, Nagham joined Photovoice Worldwide as a coordinator earlier this year.

To know more about the project, reach out to Nagham through Instagram, LinkedIn, or email her at: nagham@pvww.org