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Collective Memory and Arab Jewish Identity

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Collective Memory and Arab Jewish Identity City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 Collective Memory and Arab Jewish Identity Maya Yadid CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/627 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Collective Memory and Arab Jewish Identity by Maya Yadid Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Sculpture, Hunter College The City University of New York 2020 05/14/2020 A.K. Burns Date Thesis Sponsor 05/14/2020 Carrie Moyer Date Second Reader Table of Content List of Illustrations Memory 1 Arab Jews 3 Collective Memory and Representation 5 Collective Memory and Assimilation 10 ​ Food and Hospitality as a Vehicle of Remembering 13 ​ Thesis Exhibition: Sharing Recipes is Sharing Knowledge 15 ​ Bibliography 20 ​ List of Illustrations Fig. 1: Maya Yadid, (Landscape, French Hill and Isawiya, Jerusalem), 2018, digital image. Fig. 2: Krikorian Garabed studio,(Orientalist portraits, Jerusalem) ca.1900, printed photograph, size unknown, source: Malikian Collection, Middle East & Armenian Photographic Studios From 1850-1960. Fig. 3: Avrahm Suskin studio, (Zionist portraits, Tel-Aviv) ca.1930, printed photograph, size unknown, source: The Pinhas Lavon Institue, Labor Movement Archive. Fig 4: Yaakov Ben-Dov, Bezalel drawing class under direction of Abel Pann, 1912, printed photograph, ​ ​ ​ size unknown, Source: The David B. Keidan Collection of Digital Images from the Central Zionist Archives. Fig 5: Maya Yadid, (Installation detail), 2020, ceramic, cheese, zaatar, olive oil. Fig. 6: Maya Yadid (Installation shot), 2020, curtain, ceramic, mixed materials. Fig. 7: Maya Yadid, (Installation shot: passing through a curtain), 2020, curtain, ceramic. Fig. 8: Maya Yadid, (Installation detail), 2020, ceramic, curtain. Fig. 9: Maya Yadid, (Installation detail), 2020, ceramic and sardines. Fig 10: Maya Yadid, (Installation detail) 2020, Ceramic vessel. Memory We speak so much of memory because there is so little of it left. -Pierre Nora Fig. 1 Between 1990-1992 I lived near the northeast border of Jerusalem, in a mountainside neighborhood called The French Hill, facing the Judean desert. Across the valley, was a Palestinian ​ ​ village called Isawiya. Isawiya was an easy 15-20 minute walk, however I had never gone there. By the ​ ​ time I was four or five, I had never met a person from Issawiya, but I had concrete ideas about the place and its people. When the view was clear of sandstorms, we could see the dead sea at the edge of the landscape. A little before it, and to the left was Jericho, a biblical city with tall palm trees emerging from I never actually went into Jericho, except for ׳.Oasis׳ the desert mountain and a big shiny casino called one time we took the wrong turn and ended up inside the Palestinian territory. I remember the sense of uneasiness, replaced with relief when finding the way out. Right outside of Jericho, on the side of the road ​ ​ ​ ​ to the Dead Sea, were neighboring parking lots with merchants selling ceramic vessels. These Middle-Eastern vessels came in different sizes, made of local clay, and fired but not glazed. Jericho is located 82 ft below sea level which makes it the lowest city in the world. It is also known to be the oldest ​ 1 inhabited city in the world and so much ancient pottery was found there. The vessels from the side of the ​ ​ road are often seen as a “replica” of the ones found in the archeological digs in Jericho. Yet the two are made locally, with the same clay, maintaining some aspects of tradition that have been used for thousands of years. Seeing them as part of an ongoing lineage reveals their cultural transformation: from innovative and crucial instruments of the ancient world, to agents of representation in modern life. Perhaps, the relationship between the archaeological object and its replica is anchored in the fundamental role of the vessel to carry something in it: whether it is food, water, or a memory, these vessels are storytellers of a culture. Within this paper I will explore my Arab-Jewish identity by confronting the historical ​ development of that term. I will look at the ways in which collective memory and photography are ​ ​ utilized to construct images used as colonizing tools to assimilate Arab-Jews into Israel and Palestine after 1948 as part of Zionist Ideology. In an effort to explore productive forms of collective memory, I will ​ ​ investigate the way food and hospitality are used as a vehicle to strengthen this cultural diaspora. I will ​ ​ ​ conclude by discussing my thesis installation in which the gallery is activated by food preparation and ​ consumption, ceramic vessels on display, and borders being broken down through the political act of communing. 2 Arab Jews Yehudim `Aravim) refers יהודים ערבים :al-Yahūd al-ʿArab; Hebrew اﻟﯿﻬﻮد اﻟﻌﺮب :The term Arab Jew (Arabic ​ ​ ​ ​ to Jews living in or originating from Arab countries around the world. Most of the population was either forced out, fled or voluntarily left these countries after the founding of Israel in 1948. The term Arab Jew ​ has become part of the language of post-Zionism and was first introduced by Professor Ella Shohat, an Iraqi-Jew scholar for Cultural and Middle Eastern Studies at NYU. Shohat, who has written extensively on colonialism, feminism and representation of the Middle East, argues that the Zionist state did not accept the Arab-Jewish history as part of its narrative. Rather, it was on a mission to remove the “Arabness” from the Arab Jew.1 Shohat also argues that the use of the term Mizrahim (a popular term for Jews of Arab decent meaning “easterners”) is, in some sense, a Zionist achievement in that it created a single unified identity separated from the Islamic world. Emily Benichou Gottreich argues that the term Arab Jew was used to push back against both Zionism and Arab nationalism, which tended to view the categories of Jews and Arabs as mutually exclusive, and was a way to show solidarity with the Palestinians.2 In 1975, the French Tunisian writer and essayist, Albert Memmi said: The term "Arab Jews" is obviously not a good one. I have adopted it for convenience. I simply wish to underline that as natives of those countries called Arab and indigenous to those lands well before the arrival of the Arabs, we shared with them, to a great extent, languages, traditions and cultures ... We would have liked to be Arab Jews. If we abandoned the idea, it is because over the centuries the Moslem Arabs systematically prevented its realization by their contempt and cruelty. It is now too late for us to become Arab Jews.3 This quote points to the general feeling of betrayal that many Arab Jews share towards the Arab world, as many Jewish communities were treated as a seperate class of citizens in their countries, and expelled after the formation of a Jewish state. Others see Judaism as an ethnicity rather than a religion. The conflicting 1 Ella Sohat, On the Arab Jew, Palestine, and other Displacements, selected writing, (London: Pluto Press, 2017) ​ ​ ​ 2 Emily Benichou Gottreich. Historicizing the Concept of Arab Jews in the Maghrib. The Jewish Quarterly Review Vol. 98, No. 4 ​ ​ ​ ​ ​ ​ (Fall, 2008): 433-451 3 Albert Memmi, “Who is an Ara-Jew?”, Israel Academic Committee on the Middle East, 1975 ​ ​ ​ ​ ​ ​ 3 terminology of the term “Arab Jew” reveals the relationship of language and ideology as it reflects my own identity and the larger diaspora of that community. As a third generation Jewish-Israeli of Yemenite and Turkish descent, who immigrated to the U.S., I work toward exploring the transformation of its meaning over time within my art practice. While I identify as an Arab Jew, I am aware of the controversy ​ ​ it holds. However, the exclusion of the Palestinian narrative goes hand in hand with the exclusion of my own Arab decent as a means of assimilation. The compound term Arab Jew confronts the exlusion of Arabness from Israeli society and the formation of Jewishness and Arabness as nationalistic entities. Yet it exemplifies the many ambivalences and unsolved questions that are still being asked today. 4 Collective Memory and Representation Collective memory refers to the shared pool of memories, knowledge and information of a social group that is associated with its own identity. It plays a significant role in shaping a collective identity of the members of society and their psychological view of themselves and of others. Collective memory can evolve through a coincidental sequence of events or it can be strategically targeted as a way to influence certain people. There are three main components that shape collective memory.4 First, is the cultural significance that controls representations of a certain society, for instance ideology or politics. Next, are the elite and influential groups who shape the representation of the past, for example: media, academia and the state. And lastly, are the members of society who consume that representation and their psychological view of themselves. Photography from the 19th century in Palestine was one of the earliest tools used to construct collective memory between the Middle East and the West. European delegations of Christian photographers, illustrators, and writers visualized the growing interest in the Middle East by highlighting Biblical and Christian sites in order to ‘prove’ that the land is empty. These appeared in literature and prints as souvenirs for religious tourism and by doing so, helped to build a moral foundation of colonization in Palestine.
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