Civil Alliance

I had the pleasure and the honor to participate in the film of Ariela Ariella Azoulay Civil Alliance.

The film brings out dozens of cases of agreements and good neighbourhood between Palestinians and Jews before and during the war of 1948 – A possible history that we hope to make in our reality today.

Please take the time (52 min.) for a history lesson that we were not taught in school.

http://www.youtube.com/watch?v=lqi4X_ptwWw

 

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Umbrela for the Sun, by Tomer Gardi

Print version

Don’t expect my English to be perfect. I was made in China. I don’t know how you call me in English. I am like the umbrella, but for sun, not for the rain. I don’t know how to say.

In the factory where I was fabricated, they make umbrellas for sun, and umbrellas for rain. The materials are the same almost. There are these thin sticks, they are like bones. For the structure, they are. Then, there is the bigger stick, in the middle. This is to keep everything together, and to balance against the sky, in the hand or in the sand, sun or rain. Then there are also these little parts, connecting all the sticks. Like knees they are, or elbows. Then, there is the top. In this there is a difference. Umbrellas for rain have thin tops, from plastic, that will not let water come in. They make them in colors mostly dark. The top of umbrellas for the sun, like me, they make thicker, from different material, and with bright colors, to tell people what is summer.

To be at home in the world, humans need to fabricate, to produce things. This is now true for more than two million years. This production has now become for humans like an irrational habit. A belief. It is their nature. They produce, to be in the world at home. But they do not feel at home. And the less they are in the world at home, the more they fabricate. And they do not feel at home. And so they fabricate. More and more and more. And the world become like giant room for storage. Like warehouse or garage. Not like home. A garage, with no home next to it. And in the world then the humans don’t feel at home. And so they fabricate more things. To be at home in the world. But it doesn’t help. They do not feel at home. And when humans do not feel at home, they fabricate. To feel at home. They are repetitive. This is very sad. They are caught.

I will not tell the long long tiring story of my production in the factory. And the packing, and the waiting in the box, the transporting, the unpacking. Five or six times, I do not remember anymore, I was bought and sold, until I reached the beach. In a shop I was bought, for the last time, this is what I thought. A man came into the shop with two children. A small child, and her older brother. The man paid for me and carried me outside. The two children ran before him, chasing each other, playing. Outside in a parking lot we reached a car. A woman was sitting inside, where the driver is. Behind her was her big daughter, perhaps seventeen. We went into the car and we drove. We reached the beach. They left the car and walked to the water. They chose a place and they put me there, in the sand. Between them and the sky. In the shade I made they sat. I liked them.

The beach where I was taken did not look at all like the picture of the beach that was printed on my fabric. Look, the strange way my palm trees grow from water up into the sand. Look, my bright yellow and deep blue. The only palm trees on the beach where I was taken were palm tree reproductions. Palm trees drawn on plastic beach balls, palm trees drawn on swim suits. Palm trees drawn on surf boards, palm trees drawn on shirts. On towels. On sandals. A huge plantation of printed palms.

I shaded and I watched the people. What they talked and made. A shading eye, I was. A shading witness. Collecting memories. I don’t know how to say. The little girl played in the sand. She had a bucket that she filled with water from the sea, and carried next to where I shaded, to make the sand wet. She build a palace, she built a fortress, she played and learned the art of fabrication. Her older brother did not know if he should play with her or not. He took two little rackets and a small plastic ball and found a friend to play. The woman told her teenage daughter a story. A woman was tired of the city. The work. The stress. She had to go. And so she took a suitcase and a train and she went. She went away. After two months, she returned. She missed her life in the big city, she missed her friends. She got off the train and went towards the entrance. Next to the place where they sold coffee and sandwiches, she stopped to get something to eat. Her home she knew was empty. She lived alone. She was not there for very long. Where she bought the coffee she saw a sign. A piece of paper on a glass counter. In the sign was a picture of herself. On the sign was her name. It said she was missing. It described a place where she was last seen. Her brown eyes. Her short dark hair. Her centimeters and her kilograms. What she was wearing then. The sign asked for anyone who will see her to please call the police. Looking at herself, the woman took the sign off. She put it in her pocket. She started walking towards outside the station. At the gate she saw another sign. She took it off too. Waiting for the bus to take her home, she saw another one, and then another. She felt very strange. The next day she called her friends to say she was ok. She was just away awhile. Then she went to the police. On the way to the police she saw more signs, saying she was not there. She hated them. Everywhere she went on the city were signs like this. She took the signs off but there were just too many. Everywhere she went.  

And you? I heard you are from Montreal. I think. Or from Toronto? I forget. I remember it is a place in Canada. For you those cities maybe are different totally. For me, they are only names. Their sound is different, but they are same. Me, the beach where I was taken, was next to a place called Sdot Yam. It’s in a land some call Israel. Others call it Palestine. I call it broken sun umbrella land. The land has many names. It is in the arms of the beholder, if you allow me, a stranger to the English tongue, to try a little word game.

This was how most beach days went. The smaller children played, the woman and her older daughter told each other beautiful, strange stories. The man ate grapes or watermelon and read. One day the daughter told her mother this story. The Tower of Babylon that the humans built was a trick to trick god. The humans know god. God is predictable. Six days of original creation and an eternity of self multiplication. The humans built the tower. They knew god will get angry. God is constant. Let him destroy it. It was a trick. How to say. What they were really building were the Babylonian Basements. Huge under city. God in anger destroyed the tower as they knew god would but left the under city there. But what the humans did there after tricking god the daughter did not tell.

At an end of summer giving shadow, I broke. Not at once this happened. There was a crack, then one little part fell, then came rust. One beach day, a blow of wind. Is this how you say? A blow of wind? It tore me. I fell. The older daughter took me to the beach alone that day and left me there. I was broken. I could not anymore stand shade between the humans and the sun, protect. And also, autumn came. Soon time for umbrellas for the rain.

For months I laid then on the beach. I was content. I do not need to fabricate. Not like humans, I do not need to master. At home in the world. What is it, for you humans? Some objects are washed ashore from sea. I was washed ashore from land. I needed nothing. I was left alone. I was happy. I was quiet. I do not need to make.

A woman came. With her, came time again. She looked at me with interest. Why do they need to resurrect? I would like to ask her. She then went away. Then she returned. On the sand above me she put this device, with three legs. I don’t know in English how to say. On it, she attached her camera. She took a picture. She looked closely. She looked carefully. She took more pictures. Then she left. I would like to ask her. What did you feel, after you left me there?

I am an umbrella for the sun. Now, there is a replica of me. An image. Broken me. Lying on the sand. The sand printed on me is bright yellow. The sand on me and around and under me is wet and brown grey. Afternoon winter light is lighting it. Next to me are shells. The replica of me, the woman made it. She photographed more things. Then she went to meet a friend.

The friend she met, he is a writer. She brought him the images she made. To be at home in the world, humans have to make. She showed the writer friend her photographs. The writer friend, he has no money. Broke you say in English, yes? They wanted to produce something. So in the world they can feel at home. He looked at the photographs she took. He looked closely. He thought long . I will write, they will print, they will sell or give away.

He knew and she knew. But they are humans. They must survive. They have to fabricate. To feel at home in the world. They have to make. They have to earn. To buy food. To pay. So they fabricate. They fabricate this print. She fabricates the photographs, he fabricates this text. Soon it, too, will lie torn on some beach or asphalt, an off road earth. Perhaps, he says, he’ll never write another word again. But he is only human. You cannot believe this when he says.

Family and Community

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Throught Language, Jaffa

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Parhesia Group With Sadaka-Reut  and the Arab – Jewish Communal Center

 

Through Language

 

10.11.2007 | 12:00

http://jaffaproject.org/events/?page_id=7

 

Opening Event includes a tour and meeting with Ajami residents

 

Initiated by “Ayam” with the support of the Tel Aviv – Jaffa Municipality’s Culture & Arts Division, Department of Arts / The Israeli Center for Digital Art, Holon / The New Israel Fund

 

Autobiography of a City

 

www.jaffaproject.org

http://jaffaproject.org/events/?page_id=7

 

The project turns the public sphere of the quarter – the sidewalks, roads, fences, the fronts of houses – into a visual Arabic- Hebrew dictionary. The project was formed as a result of a meeting with pupils from the quarter who, together with the residents, decided on places that should be marked with words. The words, designated in spray paint, in Arabic with a Hebrew transcript and translation into Hebrew, create a walking tour course and a story. This is the story that the residents of the quarter chose to tell about themselves and their language. The concept is to turn the quarter into a visual Arabic dictionary in urban standards. The presence of the memory and everyday life of Jaffa as an Arabic city appears, for the most part, in the private sphere. The Arab identity of the city is slowly disappearing from its public sphere, as a result of the processes of urban development and economic developments of the real estate market which are leading to the banishment of the Arab residents of the quarter. “Through Language” is a course for a walking tour that integrates getting acquainted with the quarter through wandering around and being invited to read it in a new perspective. The words constitute a key to many stories. Memories, hopes and fears, which, for the most part, are only heard inside the houses, without their bearing any kind of presence in the public sphere or its discourse.

 

The project “Path of Language” was first presented in August 2006, in the framework of the exhibit “Neighborhood Works” (Curators: the Sala-manca Group), in the German Colony in Jerusalem. In Jaffa, the project is being carried out in collaboration with the Sadaka- Re’ut Association that is active among the youth in the city.

 

Throught Language in Vienna

Through language

Parrhesia, Zochrot and Ursula Hofbauer 

in the exhibition:Overlapping Voices-Israeli and Palestinian Artists
Essle Museum, Vienna
Curators: Karin Schneider, Friedemann Derschmidt,Tal Adler & Amal Murkus

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Through Language is a public art project, a visual dictionary and site-specific glossary alternating between Arabic, German and Hebrew.

The project was carried out in two places in Israel – in Jerusalem and in Jaffa – employing Arabic and Hebrew transcriptions and translations. It was a response to the widespread practice of Israeli extremists who erase the Arabic language from street signs, using stickers or spray paint , and to the state practices of Palestinian cultural oppression through marginalizing and under-privileging Arabic, an official language in Israel. The Arabic words, constitute keys to stories, memories, hopes and fears, which, for the most part are heard only inside private homes, without having presence in the public sphere or its discourse. The idea is to allow Arabic a presence in our public life. We would like to promote the cultural presence of the Palestinian citizens of Israel, the native people and culture upon whose destruction our state is built, and to express our wish to become culturally integrated in the Middle East.

Giving the Arabic and the Hebrew languages presence in the public sphere in Europe may evoke questions relating to the presence of our languages and culture within Europe. We hope to question the current tendency of the Western world to perceive the Arabic and Hebrew languages and culture as a threat and thus refer to the constant uprising of xenophobia and Anti-Semitism in Europe. It also proposes language and culture as an arena for listening and engaging in dialogue with the other. AugartenStadt was not chosen by chance; as “verlorene Insel (lost island)” it was the main scene of Jewish displacement in 1938 – and as a site of new migration, it is the space of current conflicts between populism, xenophobia and Muslim self-assertion.

Art in Sedek Magazine

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אמנות ותרבות כהשתתפות אזרחית

The contribution of art, and cultural work in general, to participatory social affairs and to developing active and meaningful citizenship could be understood through some of the practices that artists develop:

Creativity, exploration and playfulness
Independent and critical thinking
Courage and freedom
Entrepreneurship

Artists can develop and explore ideas, visions, identities, narratives, discourses and utopias.

Artists make stories, they tell stories, his-stories and hopefully her-stories also.

Artists deal and negotiate with different bodies on many levels such as ideas, feelings, stories, the levels of materials, craftsmanship, aesthetics, presentation and representation, in as much as levels of production, timetable, resources, deadlines, PR, etc.

Artists have room to explore with different forms of dialogue, to makes some cracks within a frozen discourse, using images, voices and gestures, new and old ideas.

The practice of art makes us be experienced living within the tension of individuality and the need for a dialogue with audience, thus continuously develop dialogue between self and community, cultivating our individual and collective identity.

The practice of art gives us a stage (with the amplifiers of Media), allow us to elaborate our voices, a space to tell narratives. At times, depending to a great extent on the context and level of our citizenship and participation, we are being heard, and we might influence our realities.

Being self motivators and hard workers sometimes help leading us to fruitful participation.