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Visual Culture in the Modern Middle East Visual Culture

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Visual Culture in the Modern Middle East Visual Culture VISUALVISUAL CULTURECULTURE IINN THETHE MODERNMODERN MIDDLEHIPPIE EASTEAST RHETORICRHETORIC OFOF THETHE IMAGEIMAGE EDITEDEDITED BYBY CHRISTIANECHRISTIANE GRUBERGRUBER ANAf\IDD SUNESUNE HAUGBOLLEHAUGBOLLE IndianaIndiana UniversitUniversityy PressPress Bloomington and IndianapolisIndianapolis ThisThis bookbook isisa apublication publication ofof IndianaIndiana UniversityUniversityPress Press OfficeOffice ofofScholarly ScholarlyPublishing Publishing HermanHerman BBWells WellsLibrary Library350 350 13201320 EastEast10th 10thStreet Street Bloomington,Bloomington,Indiana Indiana47405 47405USA USA iupress.indiana.eduiupress.indiana.edu TelephoneTelephone ordersorders 800-842-6796800-842-6796 FaxFoxorders orders 812-855-7931812-855-7931 ©© 20132013by byIndiana Indiana UniversityUniversity PressPress AllAll rightsrights reservedreserved NoNo partpart ofofthis this bookbook maymaybe be reproducedreproduced oror utilizedutilizedin inany anyform formor orby byany anymeans, means, electronicelectronic oror mechanical,mechanical, includingincluding photocopyingphotocopying andandrecording, recording, ororby byany anyinfor­ infor- mationmation storagestorage andand retrievalretrievalsystem, system, withoutwithout permissionpermissionin inwriting writingfrom fromthe thepub­ pub- lisher.lisher. TheTheAssociation Association ofofAmerican AmericanUniversity UniversityPresses' Presses'Resolution Resolution ononPermissions Permissions constitutesconstitutes thethe onlyonly exceptionexception totothis thisprohibition. prohibition. S© TheThe paperpaper usedused inin thisthis publicationpublication meetsmeets thethe minimumminimum requirementsrequirements ofofthe the AmericanAmerican NationalNationalStandard Standard forfor InformationInformationSciences-Permanence Sciences—Permanenceof ofPaper Paperfor for PrintedPrinted LibraryLibraryMaterials, Materials,ANSI ANSIZ39.48-1992. Z39.48-1992. ManufacturedManufactured ininthe the UnitedUnitedStates States ofofAmerica America LibraryLibrary ofof CongressCongressCataloging-in-Publication Cataloging-in-PublicationData Data VisualVisual cultureculture ininthe the modernmodern MiddleMiddleEast: East:rhetoric rhetoric ofofthe theimage image/ / editededitedby by ChristianeChristiane GruberGruberand and SuneSuneHaugbolle. Haugbolle, pagespages em.cm. "The"The contributionscontributions werewere firstfirst presentedpresented atatthe the AprilApril2009 2009conference conference "Rhetoric"Rhetoric ofofthe the Image:Image:Visual VisualCulture Culturein inPolitical PoliticalIslam," Islam,"held heldin inMagleaas, Magleaas, Denmark"Denmark"—Acknowledgements-Acknowledgements.. IncludesIncludesbibliographical bibliographicalreferences referencesand andindex. index. ISBNISBN 978-0-253-00884-8978-0-253-00884-8(cloth: (cloth :alk. alk.paper) paper) -—ISBN ISBN978-0-253-00888-6 978-0-253-00888-6 (pbk.(pbk.::alk. alk.paper) paper) -—ISBN ISBN978-0-253-00894-7 978-0-253-00894-7(ebook) (ebook) 1.1.Art Artand andsociety­ society- MiddleMiddle East--Congresses.East—Congresses. 2.2.Visual Visualcommunication-Middle communication—MiddleEast-Congresses. East—Congresses. 3.3.Arts, Arts,Modern-20th Modern—20thcentury-Middle century—MiddleEast-Congresses. East—Congresses. 4.4.Popular Popularculture- culture- .MiddleMiddleEast-Congresses. East—Congresses. I.I.Gruber, Gruber,Christiane ChristianeJ., J.,[date] [date] II.II.Haugbolle, Haugbolle,Sune, Sune, [date][date] NX180's6V475NX180.S6V475 20120133 700.103-dc23700.103-dc23 20130164442013016444 11234 2 3 4 55 1717 1616 1515 1414 1313 VisualVisual CultureCulture inin thethe ModernModern MiddleMiddle EastEast CHAPTERCHAPTER 3 - MemoryMemory andand Ideology:Ideology: Imageslinages ofof SaladinSaladin inin SyriaSyria andand inin IraqIraq -- STEFANSTEFAN HEIDEMANNHEIDEMANN Through itsits cultural heritage a society becomes visible to itself and toto others. WhichWhich past becomes evident inin that heritage and which valuesvalues emergeemerge inin itsits identificatoryidentificatory appropriation tellstells us much about thethe con-con­ stitution and tendenciestendencies of aa society.society. -JAN—JAN ASSMANN,ASSMANN, "Collective MemoryMemory andand CulturalCultural Identity,"Identity," 133.133. SinceSince thethe MiddleMiddle Ages,Ages, SaladinSaladin hashas beenbeen oneone ofof thethe mostmost influentialinfluential figuresfigures ofof historicalhistorical memorymemory inin Eurasia.Eurasia. HeHe waswas usedused asas aa symbolsymbol ofof thethe noblenoble enemy,enemy, ofof warwar withwith thethe WestWest andand Israel,Israel, andand ofof peace.1 InIn variousvarious incarnationsincarnations hehe waswas alsoalso aa nationalnational hero.hero. DuringDuring thethe LebanonLebanon WarWar ofof 2006,2006, eveneven Nasrallah,Nasrallah, thethe shi'iShi'i leaderleader ofof thethe HizbullahHizbullah inin Lebanon,Lebanon, waswas eulogizedeulogized byby SyriansSyrians asas thethe "Saladin"Saladin ofof thethe modernmodern age."zage."2 Moreover,Moreover, afterafter thethe fallfall ofof SaddamSaddam Hussein,Hussein, thethe SunniSunni Kata'ibKata'ib SalahSalah aI-Dinal-Din inin IraqIraq chosechose SaladinSaladin asas thethe eponymeponym forfor theirtheir guerrillaguerrilla warwar againstagainst thethe shi'iShi'i governmentgovernment andand AmericanAmerican troops.troops. BernardBernard Lewis,Lewis, inin hishis 19751975 PrincetonPrinceton lecturelecture seriesseries History:History; Remem­Remem- bered,bered, Recovered,}nvented,Recovered, Invented, waswas oneone ofof thethe firstfirst toto studystudy thethe politicalpolitical useuse ofof thethe pastpast inin thethe MiddleMiddle East.East.3 EricEric Hobsbawm'sHobsbawm's studiesstudies furtherfurther advancedadvanced thethe analysisanalysis ofof thethe InventionInvention ofof TraditionTradition (1983)(1983) asas anan attemptattempt toto establishestablish continuitycontinuity withwith aa suitablesuitable historichistoric past,past, focusingfocusing onon thethe deliberatedeliberate "polit­"polit- icalical mass-producingmass-producing oftraditions."4Janof traditions."4 Jan Assmann'sAssmann's DasDos kulturellekulturelle GediichtnisGeddchtnis (1992)(1992) allowedallowed forfor aa moremore refinedrefined comprehensivecomprehensive approach.approach. AccordingAccording toto Assmann,Assmann, anyany collectivecollective memorymemory ofof aa symbolsymbol oror figurefigure createscreates orientationorientation withinwithin aa groupgroup andand identityidentity forfor thethe individual.individual. CulturalCultural memorymemory isis recon­recon- structive,structive, asas knowledgeknowledge ofof thethe pastpast isis alignedaligned anewanew withwith contemporarycontemporary needs.needs.s5 InIn thethe post-colonialpost-colonial statesstates inin thethe MiddleMiddle East,East, inventedinvented pastspasts enforceenforce social,social, "national""national" coherencecoherence wherewhere itit hashas notnot existedexisted before.before. HistoricalHistorical rhetoricrhetoric legitimizeslegitimizes currentcurrent ideologiesideologies andand identitiesidentities acrossacross religiouslyreligiously andand ethnicallyethnically diversediverse populations.populations. SymbolsSymbols andand figuresfigures ofof collectivecollective memorymemory mustmustbe beemotionally emotionallymeaningful meaningfuland andresonant resonant forforthe the audience;audience;they they pre­pre- supposesupposeknowledge knowledgeand andmemory memoryamong amongthe the targetedtargetedgroups groupsand andrequire, require, asasHobsbawm Hobsbawmstates, states,"broadcasting "broadcasting ononthe the wavelengthwavelength totowhich whichthe the publicpublic isisalready already tunedtuned in."6in."6 InInmodern modern statesstates thethe resonanceresonance ofofsuch such historicalhistorical rhetoricrhetoricis isestablished established largelylargelyby bycompulsory compulsory schoolschool attendance.attendance.77Political Political resonance,resonance, politicalpoliticalorientation, orientation,and and nationalnational identityidentity areare fabricatedfabricatedby by meansmeans ofofthe the publicpublic presencepresence ofofthese these memorymemory figures-representedfigures—represented onon monuments,monuments,statues, statues, oror murals,murals,or or transmittedtransmitted viaviaendlessly endlesslyreproduced reproduced carrierscarriersof ofimages imagesand andmeaning, meaning,such suchas asposters, posters, banknotes,banknotes, stamps,stamps, coins,coins, politicalpoliticalslogans, slogans,popular popular movies,movies,and andtelevision television programs.programs. ThisThisessay essayexplores exploresthe the memorymemoryfigure figure "Saladin""Saladin"and and hishisapplication application acrossacrossdifferent different media,media,emphasizing emphasizingthe the useuseof ofhis hisimage imagein inco.ntemporary contemporary Syria.Syria.The The firstfirst partpart ofofthis this studystudy summarizessummarizesthe the WesternWestern·origin origin ofofthe the memorymemoryfigure figure totoexplain explainits itsemergence emergencein inthe the MiddleMiddleEast, East,which whichdid didnot not havehavea avisual visualmemorial memorialculture culturebefore beforethe thelate latenineteenth nineteenthcentury. century.The Thesec­ sec- ondondpart partconsiders considersthe theIraqi Iraqicase caseto tocontrast contrast ititwith withits itsSyrian Syriancounterpart counterpart ininthe the thirdthird part.part.Both Bothstates states havehaveor orhad hada aBaathist Baathistgovernment government andandused used thethe figurefigure ofofSaladin Saladinnearly nearlysimultaneously simultaneouslybut but toto differentdifferent ends.ends.
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