Showing posts with label Orientalism. Show all posts
Showing posts with label Orientalism. Show all posts

Saturday, November 29, 2008

Again, the boycott and its many questions

Again the boycott issue, with its difficult questions already tackled in previous posts, like that one about two movies, an Israeli one, The Band’s visit, and another, Egyptian, Salata Baladi (Salade maison).

This time the discussion concerns a book, Madinah, City Stories from the Middle East. This collection of short stories edited by the Lebanese writer Joumana Haddad gathers ten texts written by various Arab writers, by a Turkish one and… by the Israeli writer Yitzhak Laor with a text about Tel Aviv.

The Palestinian poet Najwan Darwish started the whole discussion in the Lebanese daily Al-Akhbar asking how Arab writers could have accepted to participate in a project which presents Tel Aviv side to side with the other Arab towns, as a figuration of the New Middle East map…

Because of such reactions, the English publisher published on his site a declaration mentioning among other things that “the request to include an Israeli story was the publisher's” and that the editor “was initially very much against it (…) until the name of writer Yitzhak Laor was eventually suggested”, an idea “highly supported by the Palestinian contributor to the book, Ala Hlehel.”

Hlelel, a Palestinian living in Acco, had already expressed his point of view in Al-Akhbar saying that Yitzhak Laor, as a radical opponent to the Sionist state, was perfectly entitled to participate in such a book, even with a story about Tel Aviv, a city built on the ruins of the Palestinian villages.

Later on, Al-Akhbar published Laor Yitzhak’s answer. His text begins with an interrogation about the wijdân¸a word used by Najwan Darwish and for which there is no easy translation in other languages. Then, Yitzhak Laor goes on saying that Darwish’s attitude means in fact that when an Arab public discourse speaks of secularism, democracy and so on, another one, like in Darwish’s article, denies any right for a Jewish presence in the Middle East.

Of course, explains Yitzhak Laor, nobody is asked to forget on which ground Tel Aviv has been built but, at the same time, somebody like Najwan Darwish should learn that all the people who live in that city are not the same. Something the reading of his text, which describes Tel Aviv as a huge and frightening military camp, makes quite obvious…

Pierre Abi Saab, the editor of Al-Akhbar cultural section, comments on Yitzhak Laor’s position. He regrets that the Israeli writer sees Najwan Darwish’s position as racist when it is just the denial of a policy which aims at making the Jewish occupation like something natural (tabî‘î, a key word very closed to the Arabic tatbî‘ for “boycott” "normalization" [see comments]).

Of course, the dispute is much more elaborated than said in this short summary. But it has to be mentioned that it was published in Al-Akhbar, a daily supposed to be very close to the Lebanese Hizbollah, and thus to Al-Manar. A TV station that Germany has recently banned on grounds that it violates the country's constitution!

Just to make things more complicated, another boycott issue was raised by the same Al-Akhbar with the possible coming to Beirut of the West-Eastern Divan. Founded by Daniel Baremboim and the Palestinian Edward Said, the orchestra has played only once in an Arab country. It was in Ramallah, some three years ago. Knowing that the players come from various Arab countries, from Spain and from…Israel, should the visit be boycotted?

As usual, here are the links to the more developed posts in French, about Al-Madinah and the West-Eastern Divan.

Sunday, November 23, 2008

Occidentalism : the other face of Orientalism

In Beirut, two galleries run an exhibition of art works by the well-known Lebanese film director Jocelyne Saab. In the first one, called Soft Architecture, pictures of abstract patterns taken from the local traditions are displayed at the Agial gallery. In the second one, Sense, Icons and Sensitivity, the artist uses neo-pop art icons objects of mass production and of popular culture like Barbie dolls to express the hidden thinking of Arab society towards changes in cultural taste and habits due to globalization.

Some of those last works have been deemed unsuitable by Solidere, the company which which owns the venue where the exhibition opened. Among the most controversial pictures was a photo entitled "American-Israeli playground" where Christ is on a crucifix surrounded by images of Nasrallah and two Barbie dolls in the background. “French Can Can in Bagdad,” with Barbie dolls wrapped in Iraqi currency bearing the image of former dictator Saddam Hussein has not been very much welcomed too!

Even if the Agial gallery has agreed to host, not in a too noticeable place, the pictures expressing “the popular anger in the face of Israeli-Lebanese conflict,” Jocelyne Saab’s last exhibition shows how politics and religion remain two very sensitive issues.

As usual, links to articles in Arabic or English with the more developed post in French.

Sunday, December 2, 2007

Orient deserted by Oriental dancers


Today, Oriental dance is mostly Occidental. In Cairo cabarets and elsewhere is the Arab world, belly dancers are no more local as most of the professionals come from countries of Eastern Europe.

In 2003, Egyptian authorities tried to cope with that situation and prohibited foreigners from practicing in clubs. A ban which was left in September 2004, because of the lack of performers!

Belly dancers are seen from very contradictory perspectives: heirs of an ancestral tradition or exotic puppets in the tradition of Orientalism; venal femmes fatales seduced by the power or free women fighting against conventions…

The great names of the Oriental dance have vanished and the fact that an Arab satellite TV is preparing a soap opera about Tahia Carioca’s life is just another proof of it. Today, who could dare to perform as Tahia? And which Carioca will be depicted? The repented old woman of her last days or the outrageous lady who married 14 times and was sentenced to jail under different governments?

As one feels in the beautiful “Farewell to Tahia” written in 1999 by Edmard Said, “Nanaesque figures” are no more to be found on the stage of the Arab theatre.

To read the original post in french
To read Edward Said's text, and to watch a nice video featuring Tahia Carioca and Samia Gamal, this link.