Showing posts with label warofterror. Show all posts
Showing posts with label warofterror. Show all posts

Friday, January 11, 2008

Covering Countries in Crisis

The international news has recently been dominated by countries in crisis, first Pakistan’s pre-election rioting following the assassination of Benazir Bhutto, and the by Kenya’s post-election violence following a disputed presidential poll.

Kenyans and Pakistanis face an uncertain year ahead, but the way these two stories are being reported has raised serious issues. Kenya reports often boiled down to machetes, tribal warriors and rage; and on TV this mantra was accompanied by appropriate images of angry young men confronting each other, the police, and their neighbors. This was strikingly similar to the Pakistan coverage, when video packages of violent mobs shaking their fists, burning tires, and smashing cars were used over and over again.

Without providing adequate background and explanation, a lot of reporting simply perpetuates the idea of black and brown people as inherently savage and barbaric, their modern politics tribalism and feudalism by another name. Kenyan journalist Peter Kimani paints a very different picture by detailing the alliances and rivalries among the countries politicians in the last few decades and how they lead to the current tragic outcome, without ignoring or minimizing the role tribal allegiances play.

Kenyan Pundit (one of the bloggers who have come to the fore during this crisis as sources of information) felt that the way the international media reported the current crisis “only served to reinforce what I have always felt about news that emanates from Africa, we need to really work on news for us by us, we can no longer rely on the international stations and media”, and hoped that A24, a pan-African 24 hour news channel to start broadcasting this year, would change things when it launches. After all China has International CCTV, Germany has DW-TV, there’s Russia Today and France-24 and Jazeera English so it’s high time that Africa gets its own station to with an African perspective.

In the mean time, the Kenyan blogosphere had some praise for the quality of Aljazeera English’s coverage, which can in part be ascribed to the fact that AE’s reporters (Haru Mutasa, Mohammad Adow and Andrew Sullivan) were not network stars parachuted in for the disaster.

Anchors and reporter without detailed knowledge of the country they’re reporting about tend to extrapolate, and in the case of African nation experiencing a horrific mixture of ethnic, political and criminal gang violence, this means “the specter of Rwanda” is invoked. CNN, the Guardian and Germany’s Der Spiegel for example used the comparison repeatedly.

In the case of Pakistan, meltdown took on a whole different dimension, with the notion of Alqaeda somehow getting hold of the bomb once the country had descended into lawlessness being bandied about frequently, especially in the American media. You’d think the Pakistanis kept the nukes in a shed.

But the real interest in the Pakistan story was of course Bhutto herself, the assassinated leader. She was “pale-skinned” (the phrase was used by The New York Times and the AP news agency, others slipped in references to her “fair complexion” as clarification for her nickname Pinkie), spoke English as her mother tongue, and had been educated in convent schools and then attended Harvard and Oxford. She was good looking, she was a Muslim woman and she said what the west wanted to hear.

How powerful her image had become is made clear by the fact that one of the Republican candidates for president, Rudy Guliani, launched a new advert to try and boost his dismal ratings, and featured Benazir Bhutto. The same man had reprimanded his fellow republican candidates for attempting to make political profit out of a tragic event. The video features a lot of scary brown people while a voice over warns of “a people perverted” “madmen” and “a nuclear power in chaos”. Then archive footage of a younger, prettier Benazir Bhutto as the voice talks of “democracy attacked”.

In a way this posthumous ‘tribute’ is appropriate, Bhutto personifying an embattled democracy in the East, exactly the image she had spent a lot of time and money creating, and consistently repeated in interviews, TV appearances, op-ed pieces. She knew that she needed the US on her side if she was ever to return to power, and like any shrewd political operator, crafted a message to achieve her goal.

But according to Richard Engels the Richard Engel, Middle East bureau chief of the American network MSNBC, “Pakistan’s Ms. Liberty” perfidiously performed a “dance of the seven veils” and should not be trusted. The phrase also turned up in a biography by the NYT company which was printed in other newspapers, though it seems that the original New York Times was induced to change the wording of its online edition after reader’s indignant comments. Benazir Bhutto was a politician not a saint, but her political wheeling and dealing can be described without resorting to a phrase that combines misogyny and orientalism.

The negotiations between her and Musharraf for a power sharing agreement were brokered by Washington and London, which are also involved in negotiations between Kibaki and Odinga, and perhaps that is the most overlooked point in the coverage of both crises: foreign intervention.

Both Kenya and Pakistan were divided and ruled by the British, both became US allies against the Soviets, which meant periods of American backed dictatorship, and both are involved in the current ‘war on terror’, which has proved a divisive issue in both countries. The Pakistani army is pitted against its own people in an unpopular war in the Northern provinces, while Kenyan opposition leader Odinga is being characterized as the ‘Shariah candidate’ by his opponents, and described as a closet Muslim.

While there is no case for blaming the current unrest on the West, it does seem strange that most talking heads and op-ed writers prefer horrified glee over the natives displaying the atavistic urges to analysis of the 20th century history of the countries in question.

Sunday, November 18, 2007

'Free Sami' Button

Tasnim from epiphanies has created a new button, linking to the Reporters Without Borders petition, to support Aljazeera cameraman Sami Alhaj.

Wednesday, August 15, 2007

The Making of a Saint


With my parents coming from opposite ends of the country I spend a fair amount of the summer with the Libyan landscape whizzing by the car windows. The one constant feature, from east to west, and even the desert in between, is the Maqams.

Domed white buildings, built over the tomb of Wali, and all marked as such by a profusion of green banners, are just everywhere. Perched half-way up a hill in the J'bal Alakhdar, surrounded by a rippling sea of wheat, golden in the sun light; in the middle of an almond orchard, where goats prefer it's cool shade to the trees' more patchy shadow; or on the right hand side of a much used desert highway alongside petrol stations, truckers restaurants, and the occasional sheepherders' village.

Which was why I wasn’t surprised when, driving back from a cousin's wedding, we drove by a Saints tomb right next to the main road into Tubruk. It was larger than usual though, with quite a few cars parked nearby and people milling about.

I thought they were just using it as a place to rest, as travelers often do, for which reason Maqams, like roadside mosques, are never locked, and sometimes don't even have a door.
But no, this was the tomb of the Mujahid Yunis Hashim, a Maqam so famous I was told, that even now, with such superstitious practices on the decline, there were visitors from all over the Eastern provinces.

My uncle filled us in on its story: apparently the grave belonged to a Shaheed from the Jihad against the fascist occupation, who volunteered to hold off the Italians soldiers after a skirmish, giving the others time to escape.When his body was recovered and buried, some people, hearing his story, and the fact that he had been a member of one of the more mystically prone Sufi tariqas, began visiting his grave to seek blessings from one they considered closer to God.

(To those who think Sufis are a quiescent bunch, too busy chanting and spinning in circles to know, or care, if the Kaba was nuked: a ‘Sufi Jihadi’ is not an oxymoron)
So Yunis Hashim became a Wali of sorts, one to whom people would turn for guidance and example, and sometimes mentioned as an intercessor in a du’a, which is as always addressed to God, but prefaced by a formulaic reference ("By the high worth in which you hold Si ...") to a Wali.

With time the tomb was built, then a Maqam was added over it, and gradually gifts of tomb covers and wall hangings, without which no Maqam is complete, were embroidered by women fulfilling a vow or in gratitude for a granted prayer.
But there was still another stage in the evolution of this Maqam, which was responsible for its remarkable - I would say anachronistic-popularity.Sometime shortly before the sanctions regime ended a family, on their way to Egypt to treat their crippled daughter, stopped at this Maqam for a rest, as I had imagined the present crowd was doing. The girl was left inside the Maqam with her brother, as she was really suffering from the long journey, while the others went to get supplies from a nearby village.
When they returned they found the children asleep, and her father bent over her to wake her up, and as soon as he said her name -so the story goes- she stood up as naturally as any healthy child.The overjoyed father donated the money he was planning to spend on her treatment to extend the Maqam, whose fame has spread so widely that it now draws pilgrims by the score each week.

Saturday, August 4, 2007

Stupid Americans - Uncle Sam inspires 3ami 3arabi


افتراء

شعب أمريكا غبي
كف عن هذا الهُراء
لا تدع للحقد
أن يبلغ حد الفتراء
قل بهذا الشعب ما شئت
ولكن لا تقل عنه غبي
اأيقولون غبيا
ًللغباء؟
احمد مطر -



Whether it is calumny, as the title of Ahmad Matar's poem claims (only to be contradicted by the text), to call American's stupid seems a moot point; the world having decided that the its sole Superpower is characterised by this trait above all others.

And the American as voter is particularly afflicted with a lack of brain power, eating up such patent whoppers as in Steve Brodner's cartoon.

You have to wonder though, with a media driven by the bottom line parroting the same message, if it isn't what they want to hear. And if the leaders the rest of the world find so ridiculous might be elected because their policies, and even the annoying mannerism, are what appeals.

The nation of shopkeepers appreciates a Tom Brownian PM who quotes his school motto in his inaugural speech, and the Americans prefer a straight-talking cowboy. To each his own.

And as to foreign policy, those who celebrate the fall from grace of neo-cons as the awakening of the gullible and naive seem to ignore the fact that their detractors feel the need to compete.

With Iraq burning, and the rest of the region apparently gearing up for a similar inferno, we have more than our share of certified experts in the global phenomena of Yankee bashing, most of whom have a sub-speciality in attention-deficiency, short-term fixation and sheer stupidity studies.

From the perspective of a local groundling, watching the US of A's military and diplomatic [sic] machine wreak havoc across it's current stomping ground, America appears as a lobotomised blindfolded colossus on the rampage.

Seeing such a monster - and the destruction it leaves in it's wake - up close and personal gives an intensity to the anti-US rants, and enough emotion to inspire poetry on their stupidity- as in the Iraqi Ahmad Matar's poem above, and the Lebanese Khaled El-habir's below:

ابانا الذي في السما

ابانا الذي في السما انت عراسي انما عندي كلام
في كم سؤال بها لعمر اجتمعوا براسي من القهر والانهزام
ما هيدا مبارح كان ولد كيف تبلع كل البلد... اول سؤال
مبارح اخونا كان فقير وهلق تيابو من حرير... تاني سؤال
ليش العرب بعد النفط صارت حضارتهن زفت... تالت سؤال
كيف العدالة بنعدم والحرية بتنحرم... رابع سؤال
كيف بيخلق واحد زعيم والتاني ما عندو ملّيم... خامس سؤال
كيف اليهودي مضطهد، ما هوّي سارقلي بلد... هوني السؤال
كيف العراقي بينقتل ما قالوا حرية وعدل... سابع سؤال
ليش الضمير بيحتضر عنا وبيضلو مستتر... تامن سؤال
كيف الامركاني حكم، هيدا الغبي بين الامم... تاسع سؤال
ليش الفتك فينا حلال، فكرلي بهذا السؤال... عاشر سؤال
هيدي وصايا يا ابي... ارشف وصفها بمكتبي كي لا تزال

ابانا الذي في السما انتا عراسي انما عندي كلام
ابانا الذي في السما انت الهي انما هذا حرام
اخيراً ليس آخراً ما يطلع حكيي نافراً... ولا تعتبرني كافراً
اطلع فيي يا ابي... ساعدني خطيّ يا ابي ...عليك السلام

خالد الهبر -

Not since their Southern neighbours gave vent to their furious anti-gringo rage amid uncivil proxy wars, a sting of coups, and a plethora of military dictators have Americans been reviled in verse so frequently.

Ahmad Matar and Khaled El-habir are not among the more passionate practitioners of this art form though.

افتراء (Calumny) is one of Matar's shortest, and in comparison with the rest of his poetry is positively mild...which is probably why it's also one of his worst, since his genius is for Swiftian humour. He reserves his venom for certain Arab rulers, and is perhaps even harsher with their people, who seem to have resigned themselves to endure oppression as their inevitable lot.

I must say his Lafitat is a bit extreme, and although I can understand the frustration that prompts it, blanket statements regarding ALL Arab rulers and the Arab people as a whole don't seem to leave the all important chink of possibility open.

Khaled El-habir's ابانا الذي في السما (Our Father which art in heaven) has a confused speaker questioning injustice, and specifically asking ten questions (for which no answers are provided, although something like Naji Al3ali's cartoon is implied) out of which only three (Palestine, Iraq and "how the stupid American rules the world") acknowledges the American elephant in the Arab living room.

The rest deal mostly with issues of reform and good governance, as talked up but not practised by various Western leaders.

For example:"how is it that he has swallowed the country, only yesterday he was a boy", which just conjures up that memorable Saad Hariri Jack Straw moment (to my mind anyway).

Neither Matar nor El-habir ignore America's role, but they realise that العيب فينا the main problem is not with America, but with us.

In the words of Abu Al-qasim Al-shabi, as taught to every schoolchild:

إذا الشعب يوماً اراد الحياة فلابد ان يستجيب القدر

Monday, July 23, 2007

Folktales without borders

Re-reading Marina Warner's From the Beast to the Blond her analysis of a German folktale, the Juniper Tree, reminded me of a half-remembered Palestinian one I'd heard as a child, The Green Bird, and when I checked it in Muhawi and Kanaana's collection it turns out to be a more than striking similarity.

There are quite a few differences in details of course, the one I found intriguing was the father's reluctance to remarry in the Palestinian version, fearing how a step-mother would treat his children, which made him more of a 'sympathetic character' than the father in the Juniper Tree - who nevertheless escapes death, despite similarly unconsious canibalism.

The avoidance of patricide and purging of all evils through the surrogate mother figure might be part of the Grimm brothers' reworking of their materials for the sensibilities of contemporary child

I don't mind bowdlerisation though; some experts seem to imply 'authentic' tales, crude and earthy and true, told by peasant hags in some hut and being disfigured by the Perraults seeking to satisfy a literate elite, but tales passed on orally are also changed at each telling with regard to the audience.

The Green Bird as I remember it told years ago, started of with the stepmother making kib'e and greedily gobbling it all up herself, and as we were old enough to enjoy being scared, we were told in gory detail how she made her step-son into a replacement meal, but there was greater stress on the father's constant worry about his missing son, who he is told ran away. The woman who told it might have heard it in this version, or she might have made her own changes...or maybe she first encountered it reading Muhawi and Kanaana's 's popular anthology.

The relationship between written and oral folktales should not privilege either, and actually with the tradition of elites gathering these narratives and recreating them in forms to suit their literary taste and social, or even political, purpose going back so many centuries, it seems senseless to imagine a folklore purely oral, even if oral narrative was to be seen as the more pure, essential form of these stories. They have always been a collaborative, collective effort, always something made, not just existing, constantly being consciously remade, not spontaneously mutating.

And not necessarily a cosy process around the home fires . The resemblance between Mameluk sagas like Sayf bin dhi Yazin, or Alf layla wa layla, and Russian folklore is usually explained with reference to the the Central Asian hordes marauding across, and then settling in, both areas. Battles and blood baths, are probably also the reason for this instance of cross-culturation between the fertile crescent and central Europe. In fact Warner's book makes a couple of references, in the context of legends based on Biblical figures, to Crusaders bringing back the Muslim folktales about Solomon and Bilqais the Queen of Saba2/Sheba for example, and adding them to the local mix.

So anyway, war and empire building/dashing seems to be an ideal time to swap fairy tales...will something positive come out of the creative chaos the region is currently experiencing after all?

The Green Bird
The Juniper-Tree

Thursday, July 12, 2007

Om kriget i TV'n

I was about 7 or 8 when I first came across this poem in the fattest book in our library. The books satisfyingly wide spine was the reason it was often the one I chose to flip through whenever I wanted to act truly ‘growed up’; but as it was a collection of over a 1000 Swedish poems, some pieces were short and simple enough for me to actually read.

‘Om kriget i Vietnam’ was not the sort of thing I would usually attempt, but I was hooked from the first line. Of course I knew nothing of Vietnam, but a few days earlier, despite my parent’s best efforts, I had seen a news segment from the then ongoing 2nd (or 91) Gulf War. They thought we were all safely asleep and were watching the evening news, but for some reason I woke up and came into the living room; from the doorway I watched the whole report, complete with the Iraqi corpses and POW’s (paraded across the globe sans condemnation for barbarity) and it wasn’t until the anchor moved unto some local item that my mother noticed me. I remember I slept with her that night.

Those images, perhaps more inexplicable than shocking, were what made me read and re-read the poem. Obviously it was way over my head, I couldn’t even understand some of the words, but I was fascinated by the disjunction between placid Scandinavia and the horrors on TV - it seemed so distant, so unreal, like it was something going on literally inside that black box.


Om kriget i Vietnam

Bakom TV'n ändrades ljuset
utanför fönstren. Mörkret bytes
mot grått och träden framträdde
svarta i det klara grå ljuset
från ny snön. På morgonen
var allt igen snöat. Jag går nu
ut och sopar efter stormen.
Jag hör i radio att USA
gett ut en vitbok
om kriget i VIETNAM
i vilken Nordvietnam anklagas
för aggression. I går kväll
på TV såg vi en filmspelning från
Viet Congs sida, fick höra
helikoptermaskinernas
dova fladdrande,
från marken, från de beskjutnas
sida. I en annan film
för ett par veckor sedan
intervjudnas de amerikanska
helikopternforärna av CBS. En av dem
beskrev sin utlösning
när han äntligen fick skott på
en “VC”: han slungades
tre meter fram
av raketerna. Det blir säkert mer snö idag
säger min granne, svartklädd
på vag till sitt arbete. Han
balsamerar döda och är nåttvardare på
mentalsjukhus. Trackten jag bor i —Lund
med omnejd — blir en allt vitare
bok, solen kommer och lyser
brännande kall over de vidsträkta sidorna.
De döda är siffror, som vilar, vivlar
som kristaller, i vinden over fälten. Hittils
beräknas 2 millioner ha dött i VIETNAM.
Här dör knappast någon
av annat än personliga skäl. Den svenska
ekonomin dödar numera
inte många, i varje fall
inte här i landet. Ingen för
krig i vårt land for att skydda
sina egna intressen. Ingen
bränner oss med napalm
fär en feudal frihets skull.
På 14- och 1500-tålen fanns ingen napalm.
Solen stiger här mot middag.
Det är snart mars 1965.
För var dag.
dödas allt fler i USA’s vidriga krig.
Snöflingorna på fotot av
president Johnson
vid tiden för det sista bombingarna
i Nordvietnam — han steg
ur eller in i en bil — faller
allt tätare over de vita sidorna.
Fler döda, fler rätt fårdiganden,
tills allt snöar igen
i den natt som slutgiltigt
ändrar sitt ljus utanfär fönstren.

-Göran Sonnevi

Sunday, June 24, 2007

Mixed Middle East Metaphors


was blog-grazing when I stumbled across the above at the this blog....

Last summer Rice's be-laboured metaphor generated lot's of ME midwife jokes, and made regular apperances in Hizb'Allah's Divine Victory Ad-campign (no really) ...anyway so they're all being renovated in light of recent events in Gaza, which actually is not a major mess, courtesy Dayton's gang of Dahlan thugs, but the birth of a new dawn, the rise of a new statelet, and the deification of another moderate....and the prelude to another another hug-and-kiss to death fest
(In)conclusion: 07 suffering a sever case of 06 repetitiosis, what with the second shrine bombing and all

Saturday, June 23, 2007

Popaganda

Can pop music make the Arab world love us?

American book publishers can tell you that American men between 18 and 30 don't read a lot of books. The Arab street reads even fewer—just one book, mostly: the Quran.

The United States should have followed the lead of Arab governments, which know that music is the region's most powerful form of expression. That's why they use it for propaganda—and also why they
ban so much of it.
What the State Department ought to have done to reach those underemployed young men, then, is call Miles Copeland [who] became interested in Arab culture while... growing up in the Middle East, where [his] father worked for the CIA.
(how appropriate...)

Maybe Copeland can start turning out Arab-American fusion hits for another federal agency, the Broadcasting Board of Governors, which oversees... Radio Sawa, an Arabic-language news and entertainment station with frequencies throughout the Middle East.
Genuine Query: on what basis fusing Britney/Haifa imagined to have an effect different from alternating Britney/Haifa?

Arab Muslims still mostly experience the Quran that way and listen to it all day long, in taxis, coffee shops, stores. Quranic reciters are something like pop stars.

Long before the Quran, classical poetry in Arabic issued from an oral tradition; it wasn't written down until well after the text of the Quran was established.

6aha Husain says the Hanged Poems....were mp3 files festooning the ka3ba
The Arabic language itself, its rich vocabulary, argues for the overwhelming pleasure of sound in a culture that was not very visually interesting...
Such monochrome dreariness backed up by eskimo textbook example linguistic evidence:
There are, I believe, nine different words for "desert" in classical Arabic—which reminds you that 1,500 years ago most Arabs were looking at desert most of the time.

and a native guide who is said to have said:

so we stay at home and listen to the music of singers like Umm Kulthoum, marveling at her perfect diction, piecing out the phrasing, the repetitions, the variations.
Cairenes = streetlife. He must have taken the joke kul yuom el masri yif6ar foul, wi yitghada kora, wi yit3asha Um Kulthum too seriously


Tuesday, June 5, 2007

Literary Journalism - an oxymoron?



"In the region's cultural history, journalism evolved from the French tradition of partisan journalism married to the Levantine fondness for belles lettres "adab" literature rather than the alternative Arab literary tradition of "hadith"…sacred reporting, with its seemingly obsessive stress on reliable sourcing and research to ensure objective accounts of what the Prophet Muhammed really said and did." Arab Talk Shows and TV Journalism, a TBS article by S. Abdallah Schleifer

What a delightfully Fatima Mernissi-esque idea!! It’s a fascinating way of classifying the unclassifiable Arab media scene:

On the one hand, Levantine Adabies + Frenchies = partisan journalism where rhetorical considerations take precedence over fact.

And on Schleifer's other hand Khaleeji Hadithites + Anglo-Saxonites = Al-Jazeera and Al-Arabia: Now supplanting Egypt and the Levant, the traditional providers of news gossip for old men in Qahwas to squabble about while playing tawla and sipping thick black coffee.

...like i said, it's interesting, whether you agree with it or not. But why the dichotomy between objective journalism and adabi style?

For example, Yousri Fouda in Siri lil ghaya uses Riwaya language in what are essentially investigative reports about subjects such as Israel and Hizbullah's prisoner swap, the effects of Depleted Uranium in Iraq, Sufi brotherhoods in North Africa...

In Siri lil ghaya the Riwa’i narrative hasn't affected the journalism, it just added another dimension to it. As a conter-orientalising comment: Arab culture since the Jahiliya has always placed a high value on poetic style.

Another Egyptian who I think has a similar ‘hybridizing’ style is As3d Taha. His documentary series Yu7ka ana is definitely my favorite. Literally it means something like "it is related/told" but the phrase is actually used in the sense of "Once upon a time".

It has a definite folkloric quality as Taha draws on the repetitive, rhyming language of traditional fables to tell the story of the war in Kosovo, Venzeula's original inhabitants, religious oppression in Central Asia, the orange revolution in Ukraine and of Fort Makuna - where Morrocan political prisoners where held in secret for decades.

A lot of Arab TV journalists write in such a deadly booooooring way.... perhaps they fall into the western factual/literary divide ....or maybe it's just that they're working in a visual medium?

And (although irrelevant to the above) I couldn't resist the opening - this on the "arbiters of global opinion":

Looks are deceiving. Right now the mood among Western journalists taking a fleeting look at the new Arab public affairs talk shows that have become the hottest popular format throughout the region in all their variations is upbeat, amazingly positive. A new world of free speech is dawning in the region and according to the columns appearing in the New York Times, the International Herald Tribune and other arbiters of global opinion, most of the credit goes to Al-Jazeera channel. Well, there are a number of ironies right there

....multiplied to the power of ten in a post-9/11, post-Kabul, post-Baghdad, post-al-Hurrah world

Saturday, June 2, 2007

Bilingual Terrors


This post is really just an excuse to put up this cartoon by 3bd el-3al in Al-Arabi magazine, which for some reason I really really really like. As they don't say (or do they?) : simplicity is the mother of perfection.

Anyway so it's illustrating an article by Dr. Hamid Tahir, a Professor of Islamic Philosophy, intoning the usual doomsday litany: the degeneration of the language, the desperate need for regeneration, the danger of non-identification…etc, etc, etc

But this was interesting:

“One of the most important effects of the absence [of a living link with fus7a]…is the disconnection of young people from the balanced religious concepts which should prevail in society…”

hee ho humming & hummus

Monday, May 21, 2007

Naive Propagandist?

"a naïf collector of customs would be a paradoxical monster" said someone or other about Chaucer... and a naïf propagandist would be a paradoxical monster... but how else to explain such paradoxical monstrosity?

This from Isi Leibler's Response to Aljazeera :

The "People of the Book" seem to have forsaken the ability to harness the power of the word. However, it is the increasing impact of the electronic media dispensing with objective truth and selectively concentrating on graphic images of "innocent" civilian casualties that has been the primary factor contributing to our demonization....

WHAT CAN WE DO? The answer is obvious. The creation of a global TV channel promoting a Jewish viewpoint must now assume the highest priority....In these trying times for the Jewish people a shortage of funds must not represent an insurmountable barrier to such a vital project. There are now more Jewish billionaires and greater Jewish wealth than at any other time in our history...

and it goes on

We spend hundreds of millions of dollars annually on numerous Jewish agencies and bodies whose primary objective is to protect Jewish rights, promote the case for Israel, and combat anti-Semitism. Yet many of these organizations are ineffective, overlap and compete with one another rather than pooling their resources to overcome the common threat.

and on

In addition to American organizations like the Anti Defamation League and the American Jewish Committee, which have huge budgets, there are smaller, parallel bodies in the UK and Europe. There are also the powerful American synagogue roof bodies with the capability of raising enormous funds simply by adding a modest surcharge on synagogue seats or membership that would in no way detract from their core activities.

and on

It is time for an international summit of major bodies engaged in pro-Israel and anti-defamation activities to review this crucial enterprise. They should explore the possibility of forming a board comprised of representatives of organizations willing to divert funds from their existing budgets in order to seed and maintain a genuine global Jewish TV channel. Of course, other Jewish resources and contributions from wealthy individual donors and foundations would also be tapped.

And then this from his truly impressively elaborate sweeping under the carpet of Christian Zionism's rapturous Final Solution:

As genuine Christian Zionists whose faith is based on the Bible they believe that God gave Eretz Israel to the Jewish people. They pray for our welfare and most of them unconditionally love Jews as God's chosen people. I often wish that some of our more aloof Diaspora kinsmen could display similar passion and commitment for our cause...

However that should not be seen as suggesting that 100 million Evangelicals throughout the world are all philo-semites. They are in fact no more monolithic than Jews. Yes, many of them believe that the return of their Messiah will be hastened by the Jewish ingathering of the exiles. But this surely should not be of concern to us. Some undoubtedly may be obsessed with the wish to convert Jews and others may even be anti-Semitic. But the overwhelming majority are unquestionably decent men and women seeking to promote Christian ethical values - many of which mirror the Judeo-Christian heritage....

Of course we unquestionably differ from Evangelicals on many other issues. But today, it is unbecoming to insult our friends and painful to witness ignorant Jews biting the hand that feeds us - especially at a time when we so desperately seek allies. As an observant Jew I am comfortable, enthusiastic and grateful for the support we receive from Christian Evangelicals.

Friday, May 18, 2007

‘Seducing America: Selling the Middle Eastern Mystique’

BY JUDITH GABRIEL

Orientalist imagery has long been appropriated for use in American film posters, cigarette packs, pulp fiction and popular music: scantily clad harem girls, tyrannical despots and turbaned mystics have personified an imagined Middle East in the popular culture, creating an American fantasy that represents the exotic and the erotic.

Hundreds of objects reflecting that imagined realm has just wrapped up its first run at the University of California at Los Angeles. “Seducing America: Selling the Middle Eastern Mystique,” an exhibit of Middle Eastern-inspired ephemera, is about to be launched as an extensive on-line data base complete with music samples, selected film clips and a comprehensive assortment of “Middle Eastern Americana” artifacts such as sheet music, souvenirs, book jackets and consumer goods, many bearing Middle Eastern insignias, and the accompanying advertisements which range from the crass to the cartoonish.

Appropriately housed in the tiled, arch-encircled rotunda of UCLA’s Powell Library, select items from the collection of Jonathan Friedlander, assistant director of the Center for Near Eastern Studies, comprised the display. Objects included comic books from the 1930s, pulp fiction book covers with titles such as “Desert Madness” and “Spicy Adventures,” video games such as “The Prince of Persia,” vintage sheet music for songs including “The Sheik of Araby” and “Rebecca Came Back from Mecca,” photos of topless women on the covers of CDs, fierce warriors on the covers of DVDs, “Turkish” tobacco products, Egyptomania films, and various and sundry consumer items such as Palmolive beauty products, Ben Hur flour, Sheik condoms – and a couple of Shriner fezzes.

The graphics and objects reflected the many images – some lurid, some diabolically savage, and others strikingly beautiful – that the mysterious East has provided for the imaginations of advertising artists and commercial and packagers, all to hawk the wares of popular culture. Many of the images are crassly commercial, some risqué enough to be deemed borderline lewd, while others are grotesquely distorted or lampoonish. At the same time, some reflect the skill of graphic designers who turned out cover art with distinctive beauty, incorporating the graceful lines of the region’s architecture and the exotic images favored by the Art Nouveau artists of an earlier century.

But they are all manifestations of the Orientalist image of the “mysterious East” that runs through American popular culture, notes Friedlander, with the distortions and negative stereotyping that continue to manifest their dangerous ramifications in American political posture today. The emphasis is on American, and Friedlander terms it all “Middle Eastern Americana.”

“What is the appeal of this iconography in the United States? The answer is complex,” Friedlander told Al Jadid. “Back in the 1920s, the mysterious Middle East represented freedom from the rigid morality of the preceding era, and so it was a popular icon on sheet music for fox trots and waltzes.” Sheet music was a popular medium at the time. Americans bought new songs up with the same enthusiasm that today’s music fans snap up CDs. “The graphic appeal of the front cover design, racy lyrics and catchy dance melodies made sheet music a popular medium at a time when many Americans were taught to read music and play a musical instrument. And with the advent of mass media, color printing and consumerism, and the dance craze of the 1920s, the four-to six-page pamphlet, often strikingly illustrated, had wide appeal,” Friedlander said.

“American Orientalism is undoubtedly our own creation and as such it deserves critical study leading to self reflection,” Friedlander said. With the co-option of the images of the East into so many areas of the popular culture, the impact has never been more chilling. “While academia has debunked Orientalism it is still a profoundly influential force, affecting consumer culture and American foreign policy alike.”

Copyright (c) 2005 by Al Jadid