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Transcript Ep. 12 Ep. 12 - Wafaa Bilal ABDUL-REHMAN MALIK VOICEOVER: My name is Abdul-Rehman Malik. I’m canvassing the world for the most interesting people, to hear about their journeys, their work, and what it means to be alive in the world today. And perhaps nobody has captured that experience, of being alive, better than the 13th-century Persian poet and Sufi mystic Jalaluddin Rumi in his poem, “The Guest House.” FEMALE VOICE: This being human is a guest house. Every morning a new arrival. A joy, a depression, a meanness, some momentary awareness comes as an unexpected visitor. Welcome and entertain them all. ABDUL-REHMAN MALIK VOICEOVER: So welcome to This Being Human. A podcast inspired by Rumi’s words and motivated by all those who carry that message forward in the world today. Today, performance artist Wafaa Bilal. WAFAA BILAL: I use my body in order to solicit empathy. When the body is mutilated, when the body in pain, other body understand that language and understand what it takes for a person to put themselves in harm way to talk about others. ABDUL-REHMAN MALIK VOICEOVER: Wafaa Bilal has gone to extreme lengths in the name of art. He has mounted a camera to the back of his head, been shot at by tens of thousands of paintballs and was even waterboarded. It’s all to create dialogue about human rights and his home country of Iraq. Wafaa was born in the sacred city of Najaf, the burial place of the prophet Muhammed’s son-in-law, Imam 'Alī ibn Abī Tālib. Both Imam Ali and his son, Iman Hussein, were deeply venerated in his community. WAFAA BILAL: We used to see these processions of, commemorating the death of Imam Hussein by these Shiite ritual and by the reenactment of the battle of Karbala. So that seeped into my mentality without knowing, that is history commemorated by, physically, by the body itself. ABDUL-REHMAN MALIK VOICEOVER: Growing up, Wafaa wasn’t allowed to go to art school. But he made art anyways, which raised the suspicion of Saddam Hussein’s government. He eventually fled the country, after refusing to volunteer in the Iraqi army for the invasion of Kuwait. He settled in America, where he established himself as a major artist, exhibiting work around the world and even becoming the subject of network news stories. We reached Wafaa in New York, where he teaches at the NYU’s Tisch School of the Arts. But ironically, when he was growing up in Iraq, he wasn’t allowed to study art at all. WAFAA BILAL: As you might know, art being viewed back home in Iraq under Saddam's regime as a powerful tool. So, many of us for that reason were not allowed to study art. And the other layer is that the government dubbed it as central allocation of people to different profession. So that was -- if you refused to go to any of these schools, which is artist school or physical training, sport, then the government will pick a study for you and somehow they picked geography and geology for me. ABDUL-REHMAN MALIK: Not, not disciplines that you wanted to study. WAFAA BILAL: No, not at all, not at all, but it really never deterred me from continue the thing I love. And during that time, every college in Iraq has a studio for people to go and practice. And I did. I practiced and I seek the connection with the College of Fine Art in Baghdad. I become a frequent visitor there, but at the same time, I was not part of the discourse there. So when I finally arrived to United States, I said, that’s it, I have to start from zero. ABDUL-REHMAN MALIK: Wafaa, when you were making art in Iraq, what kind of art were you making and what kind of art raised red flags with the Saddam Hussein government at the time? WAFAA BILAL: So I must admit, Iraqi artists in that period were extremely creative in creating this duality between criticism and aesthetic. So criticism to the regime were layered with the aesthetic on the surface, but everybody knows and the government are suspected of artists who does this duality. But not only the artwork will get you in trouble, because if you are doing art and you're coming from, let's say, a city like my city, Najaf, the holy city of Najaf, I'm a suspect automatically. You know, so anything I put out there, it was a suspect. So when I would put a show -- and I think I mounted three show at the College of Fine Art -- the College of Art in Baghdad -- I was dragged to the office of the government on campus every single time. And sometimes the show will completely disappear. ABDUL-REHMAN MALIK: Like it would be removed? WAFAA BILAL: It would -- it would not exist, just like I would go there and it's gone. One of the time when I went to the show to see it after the opening, the dean of the college would open the show, and then I went back and it was nothing. And after that, I remember I’d been asked by one of the intelligence officers on campus to follow him quietly. And sometimes when you are asked that question, you may never come back. But in my case, I really played it smart. I would go to the office, sit down, and sometimes for hours, you know, I mean, they mentally play with you. You get locked in sort of interrogation office and you sit there with a cup of tea after a cup of tea, after a cup of tea, you know. And then it depends on how you answer these questions. But again, just like how we play with the duality of aesthetic and deep meaning to the artwork, we carry that in our conversation, you know. And we survive. But you never know what trigger an arrest. Luckily, and to this day, I said I was really lucky, I was able to do artwork critical and then at the same time I was able to evade any arrest. ABDUL-REHMAN MALIK VOICEOVER: But Wafaa had a mark on him. His time was limited. When Iraq invaded Kuwait in 1990, he was approached by a government recruiter and asked to volunteer in the army. WAFAA BILAL: I said, I am not going to volunteer. I mean, it was spontaneous and it was from from the heart. This is also come from losing family members in Iran-Iraq war and I thought, “does life worth living if we live it this way?” And to my surprise, that small act of courage give people the power, the entire class to say no. And when the Ba'athist regime left, we looked at each other just like, what did we do? ABDUL-REHMAN MALIK VOICEOVER: Wafaa left Baghdad. Not long after that, in January 1991, war broke out in Iraq. He hid out with his family in the countryside for a bit. WAFAA BILAL: So I think when Kufa start being bombed, I got my family out and first in loading them in a car to the countryside. Then I jumped on my bike after they left and nobody left behind and then joined them in the countryside, staying in a school. I remember one day waking up my mother in, living in a school and using the school desk to warm up. ABDUL-REHMAN MALIK VOICEOVER: Then one day, he heard some friends were planning to leave the country. WAFAA BILAL: And I said, “Mom, I am leaving. Don't tell anybody.” And she said, “where are you going?” I said, “I don't know. I heard some of my friends going toward Iran.” ABDUL-REHMAN MALIK VOICEOVER: And so Wafaa and his fellow travelers set out on the long walk to Iran. But when they got to the road that would take them across the border, they found out it had been closed and taken over by Saddam Hussein’s military. So they changed course. WAFAA BILAL: Many days later, I arrived to the Kuwait border. And we saw allies and allies were not taking any refugees at the time. We were running from Saddam regime, but we heard there is a camp across the border. So at night, we crossed the border into that camp. We got arrested. And really, that was one of the moment I thought, “OK, well, this is the last day,” because when you get attacked by angry people who you just decimate their country and they pick you up, they threw you in the back of a pickup truck and told you “this is your last day,” you think, “well, this is last day.” But again, luck had it. I remember with us was an older man with his grandkids. And in his pocket was his son execution certificate by the regime and the Kuwaiti officers were very kind, sympathizing with us and letting us go. ABDUL-REHMAN MALIK VOICEOVER: Within a week, Wafaa was living in a refugee camp in Saudi Arabia. He kept himself busy teaching art to the children there. WAFAA BILAL: In the camp, art become way of making sure we still alive. As simple as that. And I remember it was really harsh reality. I mean, imagine you're in the desert, the heat and the cold and you living in a tent, that's it. No electricity, no water.
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