Arab Jew’ in Contemporaryarabic Literature and Film

Najat Abdulhaq Dissenting Narratives – The Figure of the ‘Arab Jew’ in ContemporaryArabic Literature and Film

“Iwas aJew in Iraq, and now IamanIraqi in Israel.” Samir Naqqash(1938–2004)¹

Over the last tenyears, atopic that had been previouslyskirted in the public sphere of Arab countries has been broached, namely, the expulsion and depar- ture of the Jewish population from these countries.When writers had addressed this phenomenon in the past,they did so onlyinthe context of the Palestinian/ Arab-Israeli conflict.The history of the Jews living in Arab countries (ArabJews)² has been dominated by an official nationalisticdiscourse that has rarely been questioned (Abdulhaq 2016,7–48). This discourse consists of two parts,one Arab and the other Zionist.Both reject consideringJews as an organic component of the society in which they live.Arabdiscourse connects Jewish life to Is- rael and hence to the Palestinian/Arab-Israeli conflict. Anew generation of authorsand film makers is questioning this discourse, through novels mainlyand,toalesser degree, through non-fiction works,with consequences extendingbeyond the Palestinian/Arab-Israeli conflict.The cen- tral figures in these works are the Jewwho used to live in Egypt,Iraq, Syria or Tunisia, but had been drivenfrom theircountries in the 1950s and 1960s. Only in the last decade achangehas taken place, and aheightened interest in Jewish history in Arab countries arose that transcended the official nationalistic thought. This literary trend createsanew space whereindividual stories about Jews are discussed. This changehas not yetbroughtabout ashift in the official line, but literature is clearlyquestioning its discourse, creatingabeginning of the emergenceofapost-nationalistic discourse. This interest in Jewish history is not limited to one Arab country.Between 2004 and the end of 2017,more than 23 novels and works of non-fiction thatcen- tered around an Arab Jewwerepublished in Arab countries.These Arab-Jewish figures movebeyond the stereotypical disloyal, greedy, selfishJew so often found in modern Arab literature.

 Elimelekh(2013).  Fordiscussion of the term “Arab Jew”,see Abdulhaq 2016,31.

OpenAccess. ©2020 Najat Abdulhaq, published by De Gruyter. This work is licensed under the CreativeCommons Attribution-NonCommercial-NoDerivatives 4.0 License. https://doi.org/10.1515/9783110619003-008 54 Najat Abdulhaq

As an example, we can take the novels of Ihsan AbdelQuddous (1919– 1990). Quddous was afamous Egyptian journalist,aneditor of the popular mag- azine Rose Al Youssef and laterthe editor in chief of the dailynewspaper Al- Ahram. He wrote sixty novels and collections of shortstories,manyofwhich weredramatized and filmed. His works wereoften described as unconventional and emancipatory but they are faithful to the Arab nationalist discourse. Qud- dous’ novel Don’tLeave Me Alone employs negative stereotypes of Jews. The figure of the Arab Jewhas been at the margin of history,politics, and religion. In the past decade, however,writers and filmmakers have created subversive works that challengethe norms of the previous generation and hegemonic nationalistic discourse. As this essayintends to show,this confrontation –born out of an awareness of liminalityand thresholds–evokes asense of dissent. This essayanalyzesEgyptian films and fictional as well as non-fictional narratives. While circumstances in Arab countries vary,the Egyptian case tells us a great deal about how official nationalistic discoursesdominatedthe scene until arecent change. While about one hundred thousand Jews livedinEgypt by the end of the 1940s, about eight hundred thousand to one million Jews werea major component of the societies from Morocco to Bahrain (Abdulhaq 2016, 82). The war that brokeout in Palestine in 1947, followed by the proclamation of Israeli independence in 1948 and the conflicts thatarose between Israel and its neighbors, resultedinmost of the Jews in Egypt and other Arab nations leaving their countries.Inaddition, the emergence of nationalism and economic changes had adeep influenceonminorities in Arab countries,includingthe Jews. In the late 1970s, early1980s, two discoursesstarted to evolve.³ While the dominant discourse wasnationalistic in character,the other challenges and criti- cizes anationalistic framework, and includes works by Western and Egyptian authorswho reviewed the social,economic, and political history of Egyptian Jews (Abdulhaq 2016,36–37).

 Foradetailed discussion of these discourses,see Abdulhaq 2016,7–48. Dissenting Narratives – The Figure of the ‘Arab Jew’ 55

1The winds of change

By 2006,anew interest in “Arab Jews” wasstarting to become evident in literature, in non-fiction,⁴ and in anumber of translations of books taking up this theme,mainlyfrom English and French.⁵ This newinterest in thehistory of Arab Jews is notlimited to writers.Docu- mentaryfilmmakers have been in thevanguardinthisregard. This trendstarted with Forget Baghdad (2002), afilmabout IraqiJews, in which, SamirNaqqash, amongother things,declaresthatheisanArabJew andthathewillnever writeinany otherlanguagebut Arabic. In thefilmaswell, Ella Shohat talks

 Exhausted hearts: the Muslim Jew [qulūbmunhaka] (Ruhayyim 2004); Oh Ali [yānā ʿAlῑ](Alsa- far 2006); TheWorld through the Eyes of Angels [al-dunyā fῑ ʾaʿyūnal-malāʾika] (Said 2006); Diary of aJew from Damascus [yaumiyātyahūdῑ min Dimashq] (Aljabeen 2007); TheTobacco Keeper [ḥaris al-tabgh] (Badr 2008); TheJews of Bahrain [yahūdal-baḥrain] (Jallawi 2008); Daysin the Diaspora [ʾayāmal-shatāt] (Ruhayyim 2008); The last Jews of Alexandria [ʾākhir yahūdal-ʾis- kandariya](Fatiha 2008); TheSweet Jew [al-yahūdῑ al-ḥālῑ](Almaqri 2009); AbuJamil Valley [Wādῑ abū jamῑl] (Abdelsamad2009); Widad from Aleppo [widādmin ḥalab](Muhanna 2010); Themaze of the last one [matāhat ʿākhῑrihim] (Al-Ahmad 2011); AJewishwoman in my heart [ʾunthā ʾibriya fῑ qalbῑ](Hamdy2012); Dreams of return [aḥlāmal-ʿawda] (Ruhayyim 2012); Thelast JewofTamentit [Le dernier Juif de Tamentit] (Zaoui 2012); Mazen Latif, [yahūdal- ʿirāq] (Bagdad: Dar Mesopotamia, 2013); Book of Ttravel [ṣifr al-tirḥāl] (Oreid2013); The Tattoo [al-washm] (Adly 2014); Thelast Jew [al-yahūdῑ al-ʾakhῑr] (Nasser 2015); Migration or expulsion: the circumstances of Jewishmigration fromIraq [hijra ʾaū tahjῑr: dhrūfwamulābasāthijrat yahūd al-ʿirāq] (Shiblaq,2015); TheJews of Alexandria,[yahūdal-ʾiskandariya] (Nasr 2016); [al-tārῑkh al- mansῑ li- yahūdal-ʿirāq] (Latif 2014); Samir Naqash: Iraqi cravings for memory [SamῑrNaqqāsh, naqsh ʿ irāqῑ fil-dhakira] (Latif 2015); Iraqi intellectuals: Jews in the service of Iraqi journalism, [muthaqafūn ʿirāqiyūnyahūdfῑkhidmat ṣaḥibat al-jalāla al-ṣaḥāfa al-ʿirāqiyya] (Latif 2017a); Fromthe stolen Iraqi archive,[min ʿarshῑfal-ʿ irāqal-manhūb], (Latif 2017b); Iraqi Jews,poets, and authors with Mesopotamian roots, [yahūd ʿirāqiyūn, ʾudabāʾ tajrῑ fῑ ʿurūqihim miyāhal-rāfi- dayn] (Latif 2017c).  In addition to novels and nonfiction works written by Arabs about Arab Jews,anumber of books by Arab Jews themselvesortheir children enjoyed popularity in Egypt and other Arab countries.The most famous is the autobiographyofLucette Lagnado: TheMan with the White Sharkskin Suit,anArabic edition of which was published under the title Dar al tanani in Cairoin2010.Notealso the followingtranslations: Adieu, Babylone (Qattan 1986), in Arabic: [wadaʿānBābil]; Farida,(Qattan 1991), in Arabic: [farῑda]. The Moroccan novelist Edmond Amran el-Maleh also wrote on this theme in threeworks that were translated into Arabic: Aïlen, ou, la nuit du récit (el-Maleh 1983), in Arabic: [Ilān ʿaw layl al-ḥakῑ]; Mille ans,unjour (el-Maleh 1986), in Arabic: [ʾalf ʿāmbi-yaum]; Le retour d’Abou el Haki (el-Maleh 1990) in Ara- bic: [ʿawdatabūal-ḥakῑ ]. See also Eli S. Malka’sstudy Jacob’sChildren in the Land of the Mahdi: Jews of the Sudan (Malka1997), translatedinto Arabic by Maci AbuQarja; [al-yahūdfil-sūdān: qirāʾafῑkitābilyāhū salamūnmalkā : ʾatfālyaʿqūbfῑbuqʿat al-mahdῑ]. 56 Najat Abdulhaq aboutwhatitmeans to be an Iraqi Jewishchild in Israel, speaking Arabicand liv- ingthe Iraqiculture at home.The film discussesaquestion that hadnot been raisedbefore.⁶ Forget Baghdad wasafilminEnglish,madefor thenon-Arabau- dience.Despite beingthe firstofits kind,itdid nothavemuchofanimpact. Salata Baladi (2007) is the first documentary of this group, made in Arabic for the Arab audience with English subtitles.The film maker Nadia Kamel documents the story of her mother Mary Rosenthal alias Naila Kamel and her Egyp- tian Jewish-Catholic-Muslim family. Somefamilymembers left the country for Italyand Israel, while Mary Rosenthal stayedinEgypt and participatedactively in the political life of the country.Mary was imprisoned for five years for beinga communist,during the reign of Gamal Abdel Nasser.⁷ She shares her story with her grandson and with the audience thatdidn’tknow that the journalist and col- umnist Naila KamelisMary Rosenthal.The film unveils an Egyptian story that had been ignored for decades. Aheated debate brokeout after screening Salata Baladi in Cairoin2007, not onlybecause the film unfolds ataboo and portraysa part of Egyptian history in anon-conventional way. Nadia faced harsh criticism and wasthreatened to have her membership in the Cinema Syndicate suspended because the film follows her parents to Israel to visit the mother’srelativeswhom she had not seen for more than 50 years. This was considered an act of compro- mise with Israel that did not conform to the official understanding of how to deal with Israel. Rejecting Israelmeans boycottingitonall levels. Anyvisit –whatever the reason–is considered as breakingthis boycott.The filmmaker and her family stated clearlyondifferent occasionsthat theirvisit does not mean that they sup- port Israel. On the contrary,they are loud critics of the Israeli occupation and supporters of the rights of the Palestinian people. Nonetheless, this is part of the family’sstory that Kamelbelieved had to be told. The film is still screened worldwide. The last screening took place in Cairo in May2018. The debate that wassparked by Salata Baladi pavedthe path that Amir Ramses followed, encountering much less criticism and rejection for his twodoc- umentaries titled Egypt’sJews.⁸ Thefilms are based on interviews with Egyptian Jews in Egypt and France. Despite censorship, Ramses’ films reachedcinemas in Cairo and Alexandria in 2013 and 2014 and gained much interest and success.⁹

 Forget Baghdad. Dir.Samir (2002).  Salata Baladi [The house salad]. Dir.Nadia Kamel. 2007.In2018, Nadia Kamel published the memoirs of her mother,[al-mawlūda] (Kamel 2018).  Jews of Egypt. Dir.Amir Ramses.2012. Jews of Egypt: End of aJourney. Dir.Amir Ramses.2014.  In 2016 the Arab Film FestivalBerlin (ALFILM) dedicated part of its program to the question of Arab Jews in films.The resultingprogram, Cousins: Jewish-Arab Identities in Postcolonial Cultural Discourse,comprised the screening and discussionoften films,apanel discussion, and apub- Dissenting Narratives – The Figure of the ‘Arab Jew’ 57

Other films such as the 2012 documentary El Gusto by the Algerian-Irish Safinez Bousbia tell the story of an Algerian music orchestrawhereAlgerian Jews and Muslims sang the popular chaâbi music which flourished in the mid-twentieth century,but then faded into the background. Bousbia’sfilm attemptstobring together the members of this orchestra; men who are now in their seventies. Their personal stories paintapicture of the country’sturbulent history,with the war of independence provingtobeaturningpoint.Somejoined the struggle, while others had to flee after independence to France wherethere was no warm welcome in storefor these pieds noirs. Bousbia managed to track down many of the former musicians and bring them together for areunion concert in Marseilles which forms the stirring climax to this sentimental journey into Algeria’sculturalhis- tory.¹⁰ The Moroccan-Canadianfilm maker KathyWazana, made the film They Were Promised the Sea which tells the story of apeople whose identity as Arab Jews challenges the very notion of an enemy. Informed by the director’s familyhistory,the film investigates the exodus thatvirtuallyemptied Morocco of its Jewish population, manybelieving they werenolonger safe in their Arab homeland. Intimate interviews,poetry,recordingsofJudeo-Andalusian music performedinArabic, Hebrew,and Ladino thread the subjects’ storylines and reveal alittle-known history of aland and apeople thatresisted the sepa- ration of Arabs and Jews and acountry that sees itself as reincarnating the spirit of Andalusia.¹¹ The two latest films of this group are From Brooklyn to Beirut (2016) and At Titi’sBalcony (2017). From Brooklyn to Beirut by the Lebanese filmmaker Rola Khayyattells the story of LebaneseJews who left Beirut to New York and are returning to visit their homecity and to renovate one of the old synagogues.¹² At Titi’sBalcony by the French Egyptian film maker Yasmina Benari deals with the life of the Egyptian Communist JewAlbertArie.¹³ The above-mentioned films subversively challengethe official nationalistic discourse. Documentary films and novels shifted the whole discussion forward and openedanew spacethat enables to rethink the concept of the nation and facilitates amore critical and differentiated discussion in the publicsphere. Here, Iargue, we are observing the emergence of anew,post-nationalistic dis-

lication. See http://www.alfilm.de/2016/spotlight-cousinscousinen/ (14January 2018), see also Cousins: Jewish-ArabIdentities in Postcolonial Cultural Discourses. Berlin: Makan 2016.  El Gusto. Dir.Safinez Bousbia. 2011. https://www.idfa.nl/en/film/aad6988b-0964-47e0- 968c-39459dc0ad4a/el-gusto(6February 2020).  They Were Promised the Sea. Dir.KathyWazan. 2013.https://www.imdb.com/title/tt1965232/ (6 February 2020).  From Brooklyn to Beirut. Dir.Rola Khayyat.2018.  At Titi’sBalcony. Dir.Yasmina Benari. 2017. 58 Najat Abdulhaq course. This rethinking did not find abroad acceptance in the academia in the Arab world, despite the work of afew historians and social scientists who work on this topic.¹⁴

2Beyond stereotyping

In the literary discourse two novels TheTobacco Keeper by the Iraqi writer Ali Badr¹⁵, TheBook of Travel by the Egyptian writer Fatma Oreid¹⁶,and the non-fiction work of Ali Jallawi on the Jews of Bahrain.¹⁷ These literaryworks are excep- tional in that they werenot written by the Jews who livedinthese countries and left them in the lastdecades, their children, or even those who have known Jews living among them. The writers represent anew generation of authors, the ma- jority of them in their thirties, acohort without the experienceofencountering Jews in their daily life. Theses, novels, and non-fictionalworks share common aspects, despite differencesindetails. All of them try to reconstruct the lives of Jews, whether historical or contemporary.Most of the fictional accounts are based on real biographies,orreal stories,that have been changed for literary purposes. Badr is an Iraqi author who published more than 14 novels and plays some of which weretranslated into several languages. His novel TheTobacco Keeper was nominated for the Arab Bookers Prize in 2009.The novel tells the story of the musician Yousef Saleh, an Iraqi Jewwho was forced to leave Baghdad for Is- rael in the 1950s.Determined to return to his homecountry,hesucceeded only after assumingthe identity of Kamal Midhat, an Iranian-Iraqi. He gainedfame as aconcert violinist while hiding his real personality and background. His wife and son, whom he left behind in Israel, learned the details of his life through letters thatreached Jerusalem by wayofPragueand Moscow.All did not end well. Saleh was kidnapped and killed in Baghdad in 2006 after avisit from an Americanmarine. That marine, it turns out,was his son, who had migrated to the United States at an earlyage and had decided to visit him. The price of this fateful visit is his father’slife. TheTobacco Keeper hence explores the com-

 Aomar Boum is aMoroccansocio-anthropologist whoworks on the Jews of Moroccoatthe University of California, LosAngeles. Amonghis publications: Memories of Absence: HowMus- lims Remember Jews in Morocco. (Boum 2013) and “Partners Against Anti-Semitism: Muslims and Jews RespondtoNazism in FrenchNorth African Colonies, 1936–1940” (Boum 2014).  Badr, ḥaris al-tabgh (Badr 2008).  Oreid, ṣifr al-tirḥāl (Oreid 2013).  Jallawi, yahūdal-Baḥrain (Jallawi 2008). Dissenting Narratives – The Figure of the ‘Arab Jew’ 59 plexity of the refusal of displacement and uprootingand deals with the psycho- logical impact of arriving in an alien land. In herfirst novel, The BookofTravel (2013),the Egyptian shortstory writer, novelist andlawyerFatma Oreidtells thestory of an oldwoman namedSarah whotravels formedical treatmentfromCairo to Pariswhere hergranddaughter Aminalives. Sarah’sillness brings them both closer,asAmina learns something of thelifeofher grandmother,who is oneofthe last Jews living in Egypt. Stories of Sarah’slovefor herMuslimhusband unveil aworld of whichAmina knew noth- ing. Thenovel is structured as an intergenerational dialogue wherefamilysecrets arebrought to light. Thereaderisled throughthe streets of cosmopolitan Alexan- dria,passing theshops,the apartmenttowers, andthe synagogues.The joyofthe Jewish high holidays fadesasthe city losesits faithfuls, andSarahgrows accus- tomedtoaunique loneliness.Like Badr, Oreidrelegates thePalestinian-Israeli conflicttothe marginsofher novel. Thestory is notabout thenationalcause, or thepolitical enemy. Hence, The BookofTravel offers adissentingdiscourse. TheJews of Bahrain,published in 2008, is astudybythe Bahraini Ali Jalla- wi. The study documents the social and economic history of Bahrain’sJews. Prior to the book’sappearance this history had been ignored. Jallawi is awriter, poet, artist,and dissident who sought asylum in Germanyin2011. With his work he hoped to fill agap in Bahrain’shistory.Writingand publishing the book was subversive,arefusal to be complicit with the official discourse. These three books are representativesofthe numerous works on Arab Jews publishedoverthe course of the lastdecade. These works leave the narrowcircle of nationalistic narratives, deconstructing it to understand the story of the individuals behindhistoricalevents.¹⁸ This is the beginning of adiscourse that is at odds with the official one. The films and literaryworks discussed here moved the debate forward and opened anew space thatenables arethinking and amore critical and differentiated discussion. In the Arab context,literature and documentaryfilms are spheres in which unconventional questions can be raised and discussed. This rethinking is taking place in distinct intellectual spheres thatallow free expression of thought.The rise of this new discourse is part of awider process of questioning the official discourse of Arab states on the history of the Jews in Arab countries and implies questioning authoritarian regimes. It is part of abroad emancipation process, re- flected in the Arab Spring that filled the streetsofTunis, Cairo, Damascus, and Sana’a, culminatinginthe eighteen days of protests in Cairo’sMidan al-Tahrir.

 Thereisanexception to this generalization: MoustafaNasr’s TheJews of Alexandria re- mained faithful to the nationalistic discourse. 60 Najat Abdulhaq

These processes are not unconnected. Avivid example is the changethat took place in Tunis, celebrating the al-Ghariba feast,aTunisian-Jewishfeast on Jerba island. Prior to 2012,this feast wasnot public and took place secretly. After 2012 it returned to be apublic event in which Tunisians,Jewish and non-Jewish, participate. The government adopted this celebration and its repre- sentativesattend the official part of it.¹⁹ Keenlyaware that questioning the history of the Jews was athreat,otherstates imposed systematic censorship, ban- ning anypublication thatmight raise questions about and challengethem. The novel by the Syrianauthor Ibrahim Aljabeen titled DiaryofaJewfrom Damascus (2006) was censored and banned.²⁰

3Astep forward, astepbackward: the role of television and mass culture

In Egypt,television drama series, known as musalsalat,havetheir share in this phenomenon. The first to present an Arab Jewinasympathetic light was a2009 Egyptian series, ʾAnā qalbῑ dalῑlῑ (My heart is my guide).²¹ It portrays the life of the famous Egyptian Jewish singer Laila Murad. Since the series was broadcast duringRamadan via satelliteTV, it reached an audience beyond Egypt in all Arab countries.Laila Murad’sJewishness was atopic but not the focus of the show. The question of Egypt’sJews started to gain public attention after decades of being neglected. At the end of 2012,during an interview,Issamal-Aryan, aleader of the Muslim Brotherhood, offered displaced Egyptian Jews an invitation to return.²² This invitation boosted apublic debate taking place mainlyontelevision and in social media. On 4January 2013,for the first time an Egyptian Jew, Magda Haroun,²³ wasinterviewed on television by the famous moderator Hafiz Almira-

 The author attended this feast on 2–3May 2017 and 2–3May 2018.  Aljabeen, yaumiyātyahūdῑ min Dimashq.  ʾAnā qalbῑ dalῑlῑ .Dir.Mohamed Zuhair Rajab. 2009.  Bi-tawqῑtal-qāhira(CairoTime), talk show of Hafiz al-Mirazi on the Egyptian Channel Dream, on 28.12. 2012.https://www.youtube.com/watch?v=rnAW47yVPf4 (14January 2018).  Magda Haroun is the daughter of the famouslawyerShehata Haroun (1920 –2001). AJewish communist,herefused to leave and emigratefromEgypt.Helater published memoirs entitled A Jewfrom Cairo. MagdaHaroun grewupinCairo. On March 2013 she was chosen by the Jews who still live in the country to be the head of the Egyptian Jewish Community.The Egyptian Jewish community represents the 10 Jews who still live in Egypt and is responsible for the Synagogues and other community ownership in the country. Dissenting Narratives – The Figure of the ‘Arab Jew’ 61 zi.²⁴ Besides Haroun, who subsequentlybecame the headofthe Egyptian Jewish community,other Jews were interviewed by telephone during the program, in- cludingAlbert Arie and Nadia Haroun. Other interviews followed, one of the most famous being Professor Khaled Fahmy’sconversation with Liliane Dawood on 14 January 2013.²⁵ Since these individuals were getting the chance for the first time to speak for themselvesabout their own history,this marked aturning point.Other television and newspaper interviews followed. One of these was the appearance of Magda Haroun on one of Egypt’smost populartelevision shows sāhibat al-saʿāda (Her Excellency), which is ahybrid between atalk show and an interview in which the famousEgyptian actress Isaad Younis interviews prominent figures of cinema, art and society.²⁶ They featured Magda Haroun on 16 September 2014²⁷,the BBC broadcasted an interview with Giselle Khoury on 14.09. 2015.²⁸ Television programmersand journalists hence ended years of complicity with the official narrative, offering acompetingversion of events. In 2015,however,the official discourse regainedground. During Ramadan, at prime time,the Egyptian satellitechannelCBC broadcast adrama entitled

 Bi-tawqῑtal-qāhira(CairoTime), talk show of Hafiz al-Mirazi on the Egyptian Channel Dream, on 04.01. 2013,see: https://www.youtube.com/watch?v=WOrf35rPJbs (14January 2018). This video does not exist online anymoredue to the changesinthe media systeminEgypt and the security service takingovermedia houses.Asaresultofthis, the open online archives have been deleted. Idid not mangetofind anydownloads.More on the Egyptian Statetaking over media production, please see: https://madamasr.com/en/2017/12/21/feature/politics/look ing-into-the-latest-acquisition-of-egyptian-media-companies-by-general-intelligence/ (05 July 2020)and https://madamasr.com/en/2017/04/12/feature/politics/egypts-media-in-a-state-of- emergency/ (05 July 2020).  Interview with Professor Khaled FahmybyLiliane Dawood in her talk show al-sūra al-kāmila (Full Picture) on the Egyptian ON-TV channel, on 13.01.2013,see: https://www.youtube.com/ watch?v=Bgquuxr1brY (1 January 2018). The historian Prof. Khaled Fahmyand the presenter Li- lain Dawood have been banned from the TV.See: https://madamasr.com/en/2016/06/27/news/u/ update-tv-host-liliane-daoud-deported-to-beirut/ (05 July 2020)and https://www.bbc.com/ news/world-middle-east-36649781 (05 July 2020). Notice that the Egyptian authorities banned the talk show of Liliane Dawood and she was deported fromEgypt.All her shows arebanned from youtube sinceMarch2018.  HerExcellency [sāhibat al-saʿāda], talk show by Isaad Younis,onthe Egyptian CBC channel, interview with Magda Haroun on 16.09. 2014,https://www.youtube.com/watch?v=oNm9ZFRgVgk (14January 2018).  HerExcellency [sāhibat al-saʿāda], talk show by Isaad Younis,onthe Egyptian CBC channel, interview with Magda Haroun on 16.09. 2014,https://www.youtube.com/watch?v=oNm9ZFRgVgk (14January 2018).  The Scene [al-mashhad], longinterview format -mainlypolitical-byGisele Khoury BBC Ara- bic, on 14.09. 2015,see: https://www.youtube.com/watch?v=gnEuIKYvLjA (14January 2018). 62 Najat Abdulhaq

Haret al-Yahud (The JewishQuarter), about the Jewishquarter in Cairo. Not only wereEgyptians watching; millions in otherArabcountries swelled the broadcast audience. This television drama consolidated the nationalist discourse tremen- douslydue to the very highnumber of viewers throughout the Arab worldand beyond. In her study, Dramas of Nationhood,Lila Abu-Lughod analyzed the politics of television in Egypt.Reaching all social strata, television and othermass media in Egypt have enormous power: “Television drama is akey institution for the production of national cultureinEgypt.”²⁹ Going beyond Abu-Lughod’scontention thattelevision drama produced clichedversions of Egyptian personalities, the concept of a “culture industry” de- velopedbyMax Horkheimer and Theodor Adorno is amodel that can shedlight on the role of TV Series and soap operas in influencing public awareness.Along with “massculture,” this term wasfundamental to the Dialectic of Enlightenment (1944). AccordingtoHorkheimer and Adorno,aculturalindustry exists when cultureand art become functional instruments (technologies) to createamass culturethat aims to shape popular awareness (Horkheimer and Adorno 1979, 161). “Criticism and respect,” they explained, “disappear in the culturalindustry; the former becomes amechanicalexpertise, the latter is succeeded by ashallow cult of leadingpersonalities.” (Horkheimer and Adorno 1979,161) Besides the technicalaspect of the cultureindustry,³⁰ the production company Al-Adlgroup is one of the most powerful production companies in Egypt and they are allies of the political system in Egypt.The images of the Jewish quarter in Haret al-Yahud,with its expensive apartments,fancy clothing,and snatches of French conversation reflect the livesofthe middle and uppermiddle class. Con- tradicting reality,one never catches aglimpse of the narrowalleys of the quarter that was inhabited by the Jewish and non-Jewish Egyptian workingclass. Most of the Jews depicted in the show are either Zionists who want to emigrate to Israel or followers of the king who dislike the Free Officers.Ifone had to assign acause for Jewishemigration, basedonthe show,one would point to the Muslim Broth- erhood,whose faithful are shown burning the stores of good Jewishneighbors and underminingany harmonybetween Muslims, Christians, and Jews. Neither the title of the soap operanor the story itself reflects the reality of the quarter as it existed in the second half of the 1940s. One could say, in an Adorno/ Horkhei- merian mode, thatthe show becomes a “technology” to manifest the official and

 Lila Abu-Lughod, Dramas of Nationhood: ThePolitics of Television in Egypt,The Lewis Henry Morgan Lecture series (Chicago:University of Chicago Press,2004), 8.  Max Horkheimer and Theodor Adorno. The CultureIndustry:Enlightenment as Mass Decep- tion, in: Meenakshi Gigi Durham and Douglas Kellner (eds.), Media and Cultural Studies:keyworks. Oxford: Blackwell Publishing 2006.41–73. Dissenting Narratives – The Figure of the ‘Arab Jew’ 63 nationalist narrativeabout Egyptian Jews which brought success to the production company. Departing from Abu-Lughod’sstatement and Horkheimer and Adorno’snotion of cultural industry,the series presents normative images of good and bad along the lines of religious affiliations. Haret al-Yahud receivedsignificant media attention. Over seventy articles and reports discussed the series, among them the main mediaoutletsofthe Arab world and foreign newspapers and television channels.³¹ Most of the cover- agewas positive,though some accused General Sisi of flirting with Israel and

 Al-hayat newspaper. TheJewishQuarter and it’sTails [ḥārit al-yahūdwaḥikāyatuha] 25.09. 2015,http://www.alhayat.com/Articles/11351227/. al-jazeera: TheJewishQuarter,adrama controversial in Egypt and Israel [ḥārit al-yahūd, drāmā tuthῑral-jadal bi-misr wa ʾisrāῑl], 22.06.2015-link al-jazeera. TheJewishQuarter,gains back the normalization between Cairo and TelAviv, [ ḥārit al-yahūd, yuʿῑd ṭarῑqal-taṭbῑʿ bayn al-qāhirawatal abῑb] 22.06.2015,http://www.aljazeera.net/news/reportsandinterviews;al-jazeera English. Ramadansoap rediscovers Egypt’sJews http://www.aljazeera.com/indepth/opinion/2015/06/ramadan-soap-rediscovers-egypt-jews-150625094603247. html; Rowan El Shimi. Ramadanseries ‘TheJewishAlley’ to show birth of sectarianism in Egypt (Mada Masr,18.06.2015) https://www.madamasr.com/en/2015/06/18/feature/culture/ramadanseries-the-jewish-alley-to-show-birth-of-sectarianism-in-egypt/; Hala Moustafa. TheJewishQuarter, [ḥārit al-yahūd], (al-Ahram, 18.07.2015), http://www.ahram.org.eg/NewsQ/415047. aspx; English Ahram, TheJewishQuarter Wins Best TV Series Award at Bahraini Festival, (Ahram Online, 20.03. 2016) http://english.ahram.org.eg/News/19340 Yousef al-Qaeed, Scenes,Shihata Haroun [mashāhid- Shiḥāta Hārūn] http://m.alraimedia. com/Home/Details?Id=d3d09bad-f5c7-4d99-ac67-31b6de1f70b5 (Al-Rai, 15.09. 2015); Saleh al- Nuami. Sisi’sEgypt speakes Hebew [Miṣral-Sῑsῑ tatakalam al-ʿibrῑya], https://www.alaraby.co. uk/opinion/2015/6/30David D. Kirkpatrick. ForEgypt,TVShow’sShockingTwist Is ItsSym- pathetic Jews,(New York Times,23.06.2015), https://www.nytimes.com/2015/06/24/world/mid dleeast/for-egypt-tv-shows-shocking-twist-is-its-sympathetic-jews.html; Josef Joffe, Soap miracle [Seifenoper Wunder] http://www.zeit.de/2015/32/tv-serie-aegypten-juden-muslime, (Zeit Online, 06.08.2015); Ronen Steinke. Forbidden Love [Verbotene Liebe], http://www.sueddeutsche.de/ medien/israel-in-arabischen-fernsehserien-verbotene-liebe-1.2550722,(Süddeutsche Zeitung, 05.07. 2015); Julia Nikschick. Theinvisible Jews on the Nile [Die unsichtbaren Juden vomNil], http://www.juedische-allgemeine.de/article/view/id/23179, (Jüdische Allgemeine, 27.08.2015); Willliam Booth and Sufian Taha. TheJewishQuarter: New Egyptian TV Program is Promoting Peace in the West Bank, http://www.independent.co.uk/arts-entertainment/tv/features/the-jew ish-quarter-new-egyptian-tv-programme-is-promoting-peace-in-the-west-bank-10403053.html; (The Independent 20.07. 2015); Eyal Sagui Bizawe, How The JewishQuarter Became the Talk of Cairo, https://www.haaretz.com/israel-news/culture/television/.premium-1.664402, (Haaretz, 5.07.2015); Alawa Mizyani. TheJewishquarter series is controversial in Egypt and createsanger in Israel [musalsal ḥārit al-yahūdyuthῑrjadalan fῑ-misr wa ġaḍaban fῑ ʾisrāῑl], http://www. france24.com/ar/20150625;n.tv, Egypt lovesand hates this series, [Ägyptenliebt und hasst diese Serie] https://www.n-tv.de/leute/Wenn-ein-Araber-mit-einer-Juedin-geht-article15381056.html, (n.tv,26.06.2015). 64 Najat Abdulhaq others criticized the show’slack of historical accuracy.Atnopoint,however,the narrativedeparts from the official nationalistic discourse on Egypt’sJews. De- spite the fact thatsuch abroadcastingevent was unimaginable adecade ago, the series constitutes astep backward because it reinforced the official nationalistic discourse. The producers hijacked the figure of the Arab Jewand the Jewish quarter,puttingthem to the use the culturalindustry mandated, in an act of complicity with the official nationalist discourse. The contrast between the de- piction of Jews in Haret al-Yahud and the work of young authors and filmmakers highlights the zone of dissent opened by the latter. This essayargues that despite setbacks apost-nationalistic discourse is being born. This post-nationalistic discourse maynot yetbesystematicallyim- plemented across the rangeofgenres in the cultureindustry of Egypt.However, it occupies anarrow margin that rejects anyform of complicity with the official narrativeand arepresents amovement towarddissent,toamore differentiated and amore critical perception of history.

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