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Features

Entering its 11th Year:

Al Jadid Magazine Begins Second Decade
Quality Coverage, and Dynamic Change

BY ELIE CHALALA

With this double issue (nos. 50/51) Al Jadid magazine enters its 11th year. During the past decade, we have rarely talked about ourselves, our pleasures or pains, neither self-congratulatory nor inviting pity. This has included not talking about our financial difficulties as well as the acclaim Al Jadid has received, including letters of support, articles and reviews written about Al Jadid in national and international magazines and newspapers, as well as professional, academic and mainstream books from major publishers.

The main initial purpose of Al Jadid was and is to establish a medium that facilitates communication between the world of Arab culture and arts and the English-language reader, and between the world of cultural and artistic productions about the Arab world in the West, mainly in the U.S., and the Arab intellectual community. Though an imbalance exists in this communication goal in that we bring more to the Western reader than to the English-speaking Arab reader, we are pleased with our publication and can humbly claim that we have attained our goal to a large degree. Al Jadid has become, through its print edition and its revamped website, an authoritative source for scholars, professionals and all readers interested in Arab culture and arts.

Throughout our professional journey, we have been guided by a set of values: maintaining independence, upholding professional integrity, and serving as a critical voice. We have avoided the trap of apologia, i.e., refusing to be a defender of all cultural productions, especially traditional productions sponsored by powerful governmental and non-governmental institutions.

Over the years, we have developed our own approach in covering Arab culture and arts. Though we are exclusively an arts and cultural magazine, it is impossible to ignore politics completely. Indeed, politics have always been featured in our coverage, but only as expressed via cultural and artistic media, such as books, articles, interviews, films, music, and other modes of artistic expression.

The myriad novelists, poets, musicians and other artists covered by Al Jadid face two types of threats to their artistic freedom: physical and professional. Physically, many literary figures and artists have suffered persecution and imprisonment at the hands of the state, and attacks and harassment from civil society, mainly from fundamentalist groups. Professionally, this cultural community has been deliberately marginalized, as it is neglected by mainstream Arab media and powerful publishing houses largely because of politics and the artists' lack of resources and connections.

Those enjoying proximity to power tend be "stars" on the Arab cultural scene. While we occasionally cover such figures, as obviously they still contribute much to Arab letters, overall we avoid the strategy of covering only highly-publicized names. These "stars" have their own media, literally, for many are editors of cultural pages and literary supplements of various Arab dailies.

Many of those featured on the pages of Al Jadid during the past decade do not enjoy such resources and connections (or wasta as it is called in Arabic) that ensure wide-scale name recognition. Thus, our attention has focused largely on this marginalized yet creative community. Its freedom to create and express itself ought not to be compromised by a lack of coverage.

It is our belief that the Arab creative map is much larger and more varied than the one sketched by the editors of Arab newspapers and magazines as well as by Arab news satellite stations, not to mention the narrow view afforded it by English-language publications, which occasionally recognize Arab literature in short articles or reviews. Covering this marginalized creative community thus becomes a necessity. Some have questioned why we cover artists they have never heard of; we respond that a picture of the Arab cultural scene remains incomplete as long as these marginalized authors and artists remain absent. At the heart of their contributions to Arab culture is a courageous critique of hegemonic ideology and the state in the Arab world, as well as a relentless defense of the weak and the vulnerable.

Sadly, at times we feel as though we are competing with death, which takes major literary and arts figures away from us before we have the chance to cover them. Often we have been forced to report on several of these voices posthumously; thus many Al Jadid headlines and sub-heads carry the word "legacy." Constantly reminded of these legacies, we have decided to devote much of our efforts and resources to ensuring their survival in the memory of current and future generations of readers.

Covering Arab-American cultural productions and welcoming contributions by young Arab-American professional and academic writers, thus providing them with an opportunity to convey their ideas to an interested readership, has also distinguished Al Jadid's approach. During the past decade, we have focused on two main areas. First, we covered Arab-American voices that questioned patriarchal society and the transplant of social traditions from the Arab world. Second, because of the events of September 11, we have shifted our focus to include civil rights violations resulting from discrimination against Arab-Americans and Muslims from the Middle East, and we portray this viewpoint particularly through essays, book and film reviews and interviews.

Al Jadid has never been reluctant to change when necessary. We have changed from a monthly to a quarterly publication, from a literary tabloid-size to a magazine format. Many other changes have been content related. Thus, many wonder what the future holds for Al Jadid, as this magazine attempts to cope with the information revolution, online publishing and other technological innovations. These changes offer exciting opportunities that will undoubtedly affect the quality of our future coverage. While new technology, namely satellites and the Internet, has its limitations, the positive aspects and effects of such advances will contribute to improving future coverage. New technology has produced access to unlimited and diverse sources of information, in Arabic and other languages, thus breaking the monopoly held by a few conglomerate media corporations over the flow of news. Technology has had a democratizing effect, making it possible for non-corporate media and small publications like us to diversify our access to news sources at little or no cost.

Soon we will offer a digital or electronic issue of Al Jadid alongside the print version. This digital issue will be posted on our website in a timely manner and will be available for subscription. We are currently working out the technical and logistical details.

Since the beginning, we have been more dependent on our subscribers than our advertisers for revenue, for, as our readers are quite aware, only a few advertisements appear on the pages of Al Jadid. Since the beginning, Al Jadid has relied on its writers, artists, translators and editors, whose work can only be described as a labor of love. As we look ahead, we are hopeful about the future of Al Jadid, though we are mindful of the challenges and the financial difficulties we face. In overcoming these financial challenges, we are in need of our readers' and friends' support now more than ever to continue Al Jadid's journalistic purpose to cover Arab culture and arts, a mission of the greatest importance and of the highest honor.

 

This essay appeared in Al Jadid, Vol. 11, nos. 50/51 (Winter/Spring 2005)
Copyright (c) 2005 by Al Jadid

 

 

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Students will be able to carry on simple conversations in Arabic in situations such as introducing oneself, taking a bus or taxi, asking for help, going to a market or restaurant, and being in public in general. Some regional and dialect differences will be introduced. Although the emphasis will be on expression and comprehension, basic grammar and reading skills will be covered and will serve as a solidfoundation for further study of Arabic.

 

INTENSIVE SPOKEN ARABIC OF THE LEVANT   Level II

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The course will focus on oral communication while reviewing basic reading/writing.You will   prove your ability to converse and will be able to read simple passages. Some knowledge of standard or colloquial Arabic or of Farsi, Urdu, Sindhi etc. is required.

 

INTENSIVE ARMENIAN I with emphasis on spoken language

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The course covers basics for beginners review of the alphabet and penmanshippronunciation and conversation with emphasis on Western dialect reading, writing, listening comprehensionbasic grammar & language structure

 

INTENSIVE ARMENIAN II with emphasis on spoken language

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Registration on Mon Thu 5:30 8pm downtown

or email/call for other arrangements

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 Persian Gardens & Iranian Prisons

 Behind Closed Doors

 Circumnavigating Islam

 Early Photos of Palestine
 Topics in Forthcoming Issue nos. 50/51
 

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AmazighKatebYassinDiscussesMaghrebBluesandGhanawaMusicaDiffusionofBerberArabicGenres.html0000664002420500242000000010207710135424220032164 0ustar lahirualjadid Amazigh Kateb Yassin Discusses Maghreb Blues and Ghanawa Music, a Diffusion of Berber, Arabic Genres
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Interviews

Amazigh Kateb Yassin Discusses Maghreb Blues and Ghanawa Music–a Diffusion of Berber, Arabic Genres

By Aziz ben Saidani

 

Musician Amazigh Kateb Yasin embraced music as if he wanted to escape the shadow and fame of his father, prominent Algerian writer Kateb Yassin. Yassin has used his artistic medium to plunge into the rich and diverse soil of the culture of the Maghreb, both African and Arab. He has emphasized his Berber roots even though he does not have a command of the tribal dialect. His music was born of a mixture of these varied influences which formed his identity, and this mixture has helped him to achieve popularity among the youth in the Arab Maghreb and Europe . Who is this controversial artist? How does he define his identity? What are the sources that nourish his experiment?

 

Amazigh is a Berber term meaning “a free man.” Amazigh Kateb Yassin, as his name suggests, is a free man! The interview with him soon mutated into a trial of everything. His country, he says, lacks everything, even air. His father's “Star” (the title of his father's famous novel) still shines brightly enough to exhaust the son living in its shadow. He will not be pressured to translate, even for the lovers of his music, one word of the song “Shara Allah.” The song is 300 years old and belongs to a distinguished musical genre in Algeria, known as Al Shabi.

Amazigh is considered the blues singer of North Africa. As a young singer, he founded the group Ghanawa Diffusion that became well known in the French and Algerian music scenes, distinguishing itself by combining the traditional and the modern.

"I am also very proud of the most beautiful gift I received from my father, my name: “Amazigh.” This name disturbs the “Arabized” and the Berbers alike. The Arabs want me to be part of them without my Berber name, and the Berbers blame me for not commanding their language. I find this condition infinitely amusing."

He was born in the Algerian capital, from which he and his father fled for France a few days before the events of October, 1988 (the beginning of the conflict between the government and the Islamic opposition). Amazigh settled in the city of Grenoble, far away from glamorous Paris. He hadn't returned to Algeria except once, to bid farewell to his dead father, whose novel, “Star,” is considered a milestone in modern Algerian consciousness. Then Amazigh Kateb Yassin finally returned to his city after a long time in May 2001, right at the peak of the demonstrations which saw tens of thousands of Berbers in the streets, marching in defense of their rights and cultural uniqueness. The result of the visit was an exceptional concert, which has become the material of his third CD, “Live-DZ.” I met him in Paris, where he talked about his experience.

Saidani: You chose to sing in French and Amazigh, but your second album, “Bab El Oued-Kingston,” marks a return to singing in Arabic.

Yassin : When you say the Arabic language, you mean in fact the Arabic of the street, the language of everyday, that strange combination of the languages of the peoples and races who lived on the southern bank of the Mediterranean. When people talk in Algeria, they use at least two languages—or more—in the same sentence, and that is the dominant language. My singing in the colloquial Arabic language allows a broader circulation for the songs. I am concerned also with defending that modern language against two hellish campaigns: first, Francophonization, and second, the coercive and superimposed Arabization encouraged by the different official policies. It can be said that I belong to a young generation of Maghrebian immigrants, but I refuse to be classified as their spokesman.

Saidani: But using colloquial Arabic would prevent non-Algerians from understanding the lyrics of your songs.

Yassin: The problematics of language have been an issue since the birth of the Ghanawa Diffusion. This brings me back to an incident that took place in the French city of Lyon during a celebration of Eid al-Fitr (Lesser Bairam). After the concert, a young man came to me and said that he did not remember a better conversation or happier moment with his mother than during the concert, when she kept calling upon him to translate sections of my music into French or English. This is what we hope for: forcing our Arab and French audiences to interact. My writing in colloquial Arabic, the language of my childhood, started during my secondary school days when I defied the teachers. When I started singing here in France, a French musical producer asked me to write in French because of market demands, a request that I turned down despite the difficulties that faced our first album, “ Algeria,” in 1996.

 

The Exit From Salons of the Intellectuals

 

Saidani: You lived your childhood moving from theater to theater with your father, the founder of the famous Sidi Balabas Troupe. Despite that background, you chose singing.

Yassin: In the spring of 1992 I was convinced by some friends to participate in a musical salon focused on non-European musical genres. And as a result, I formed a musical group in cooperation with some young people who had already accompanied me at some concerts and wedding festivals. The musical pieces we composed were well received. We performed to an audience of more than 3,000. Following that, more invitations to other festivals followed; we toured several French and Spanish cities. We created a loving and supportive group of fans who rushed to purchase our first album, “Algeria,” upon its release in 1996. I believe they recognized the distinguished character of our music and felt solidarity with our group, which produced the album at its own expense without assistance from any production company.

It can be said that I chose music as a means of expression because it allows me to transmit my words to a broader audience, not confined to the salons of the intellectuals. My father had gone ahead of me in this direction after he abandoned non-fiction writing and headed toward theater, leaving behind the elitist salons in Paris for a world where he could share bitter bread with the members of his theatrical group, Sidi Bal Abas. Because he discovered that the novel is only read by literate and fortunate people, he embraced the theater for its accessibility to the masses and the uneducated, which welcome the theatrical discourse; I still recall the festive atmosphere in the factories and industrial plants in which my father's theatrical works were performed.

Saidani: Based on what you say, it appears you are completing a family cultural project.

Yassin : Firstly, I want to clarify something very important. My father is my father, nothing more, nothing less. I didn't choose him, but I am proud of him. It disturbs me when sometimes people see me only as the son of Kateb Yassin, the author of “Star”! I have become tired of living in the shadow of my father. I hope I am not misunderstood. I do not deny the grace of my father. Nor do I need to be subjected to the psychological analysis of the son “killing his father” or the like. My performance exhibits influences from my father and also from my childhood, which I spent in theaters. Out of this I became interested in the neglected aspects of our culture, such as the Ganawa music which accompanied the pain of the black Africans in the countries of the Maghreb during the slave trade. I am also very proud of the most beautiful gift I received from my father, my name: “Amazigh.” This name disturbs the “Arabized” and the Berbers alike. The Arabs want me to be part of them without my Berber name, and the Berbers blame me for not commanding their language. I find this condition infinitely amusing.

"In southern Algeria , no massacres happened during the past dark years. The people live as if they are in another country, having nothing to do with the imposed dirty war on the people living in the northern part of the country. The explanation closest to the truth is that the south lives its identity with all its extensions, while the residents of the north are engulfed in dirty wars created by the identity merchants."

The African Face

Saidani: It is said that your mother had a role in your discovery of Ghanawa music.

Yassin: This is true. My mother decided one year to spend the fall vacation in the Algerian desert, a region that I hadn't visited before. When we reached the city of Timimon , I could not understand how a rational person like my mother would choose this place to spend her vacation! On the second day, the festivities started: it was the season of tomatoes, as I recall. To this day, I remember dancing like I was crazy until the late hours of the night. I suffered what can be called love, if you like, because I discovered the African face in my personality. Algerian schools, even today, do not mention that Algeria deeply belongs to the brown continent. Even the elitist intelligentsia have become divided into two. First, those who fiercely defend the Western and imperialist Francophone, and second, the ignorant defenders of a pure Arab and Islamic Algeria. In southern Algeria , no massacres happened during the past dark years. The people live as if they are in another country; they having nothing to do with the dirty war imposed on the people living in the northern part of the country. The explanation closest to the truth is that the south lives its identity with all its extensions, while the residents of the north are engulfed in dirty wars created by the identity merchants. The song “Humum” (Concerns) is an open indictment to those trading Algeria and its destiny. I believe our preoccupation with counting the victims and mourning the friends prevented us from focusing sufficiently on the real danger which threatens Algeria.

Saidani: Your musical experiment developed in France, and you refused to return to Algeria, which you left at 16 years of age. Suddenly you returned with a group in spring 2001, found yourself in the burning furnace, and you came back from it with a live recording which gave birth to your third CD, “Live- DZ.”

Yassin: I didn't think I would return soon to Algeria; I used to reject the idea entirely, due to my opposition to the government and the country's political life in general. Things did not change much after 1988, and my country looked to me like a large prison, its citizens hostages in the hands of a small military and civilian minority running public affairs with a patriarchal mentality. But after several successful tours by the Ganawa Division, not only in Europe but in Sudan, Iraq, and Syria, we found ourselves at the heart of the turmoil. The uprising of the Berbers in the tribal lands had reached its zenith. In defense of their rights and their culture, the uprising caused the death of hundreds. We did not know what to do other than to dedicate our songs to the uprising. The Algerian radio station stopped broadcasting one of our concerts after the third song, but we kept singing until the end. This was one of the rare pivotal moments in my short artistic life. Our return to Algeria took us to the recording studio, where we were able to produce a third CD, “Live-DZ” (Algeria – a Live Concert).

But I still live in France, which provides me with the necessary atmosphere of freedom to think and create.

 

The Arabic version of this article appeared in the Beirut based Zawayya magazine (June 2003). The translation and publication rights are from Zawayya.

Translated from the Arabic by Elie Chalala

Translation Copyright © by Al Jadid (2003)

 

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Features

Beirut Hosts a Conference on Edward Said

By Nezar Andary

Along with inflation, a growing gap between the rich and poor, and never-ending bickering between self-serving politicians, Beirut, this summer, hosted a conference entitled: “A Salute to Edward Said.”   With the growing censorship found in Beirut, this auspicious event was held during the first week of July and sponsored by the well-known publishing house, Dar al-Adab, which provided a positive impetus for diverse Arab intellectuals to communicate.   The conference created much debate in Beirut, as well as in the Arab press. As Said has burgeoned into an internationally well-known cultural critic, his reception in the Arab world has had only slight coverage in the United States.

Since the translation of “Orientalism” in 1981 (also by K. Abu-Deeb), Said’s work has generated a diverse range of scholarship and interpretation in the Arab world. Works ran the gamut, from total misunderstanding of Said’s work by advocating him as a champion of the East against the West, to Leftist critiques of Said’s methodologies, to certain intellectuals associating Said with Western hegemony.   Said has recently written how he never meant “Orientalism” as a diatribe against the West; yet to my knowledge, Said has infrequently responded to some of the more serious criticisms from the Arab world.   The Leftist critiques have not been sufficiently covered in the growing discourse on Said’s work.   Two works, for instance, are Sadiq Jalal al-Azm’s critique of “Orientalism” in his article “Orientalism and Orientalism in Reverse,” published in English in the journal Khamsin (1981), and Mahdi Amil’s book in Arabic, “Marxism in Edward Said’s Orientalism” (1985).

Sadiq Jalal al-Azm, who is currently the Chair of the Philosophy Department at Damascus University, has been a prolific intellectual over the last 25 years.   His book “The Critique of Religious Thought” (1969) provoked much controversy in the Arab Word during the 1970s.   His article on Orientalism can also be found in his Arabic book, "Dhihniyat at-Tahrim" [The Mentality of Taboo], which also includes a chapter defending Salman Rushdie. Al-Azm wrongly interprets Orientalism as a philosophical treatise and does not mention such influences on Said as Michel Foucault, Raymond Williams or Antonio Gramsci.   His harshest criticism, however, concerns Said’s treatment of Marx.   Al-Azm calls Said’s short section on Marx a “travesty.” The work further criticizes Adonis, the well-known Arab poet, and other Arab writers for essentializing the Islamic world in the same way as Bernard Lewis and other Orientalists.    Al-Azm also critiques Said for corroborating with the powerful elite in America.   Far from the truth! Interestingly, in many of the interviews Said gave during the conference to the Arab press, his closeness to power in the United States is always brought into the discourse.   Azm’s article, however, cannot be discounted and could be read along with other social science critiques, such as James Clifford’s chapter “On Orientalism” in “The Predicament of Culture”.

It is most unfortunate, however, that Mahdi Amil’s book on Said’s understanding of Marx has yet to be translated. I am not aware of anyone mentioning this study in recent academic works on Said in English.   Mahdi Amil was a committed Marxist and differed from many other Arab intellectuals because he did more work as a public intellectual; for example, he was known to go to villages and speak to different communities. He wrote extensively about sectarianism in Lebanon, Ibn Khaldoun, and Arab political economy.    Along with a long list of intrepid Arab thinkers, he was assassinated at the height of the Lebanese Civil War.

Unlike Azm’s article, Amil wrote a book focusing solely on the problems of Said’s interpretation of Marx.   The one hundred page book mainly discusses four pages of “Orientalism”; however, Amil does critique Said for defining the “West” without many class distinctions.   Many scholars assert that Said’s “Orientalism” essentializes the West, which Said has responded to in his new Afterword and his article “Orientalism Reconsidered.” Amil, however, takes this critique a step further by stressing the importance of understanding knowledge through class conflict.   This notion, if taken further, can provide an urgent addition to Said’s text.   How was the East seen by the impoverished of Europe or by the illiterate?   How was the East seen in public spaces as opposed to the elite spheres of literature and philology?

Amil’s two main dilemmas with Said’s methodology in “Orientalism” are first, that the study decontextualizes Marx’s work by underestimating Marxist insistence on the necessity of revolution in the Third World.   Amil does a precise textual analysis of how he believes Said misinterprets two pages of Marx.   Second, Amil blames the “meeting” of Foucaldian structuralism and Nietzsche’s nihilism for creating Said’s “absolute inability” to believe in anything beyond representation.   On this second point, Amil asserts that Said’s methodology denies revolutionary thought.   While Said’s “Orientalism” does produce a pessimism about the relationship between knowledge and power, it also encourages new ways to get beyond entrenched discourses like “Orientalism”.   While Amil and others have not recognized this, I find that Said’s “optimism of the will” becomes more forcefully expressed in his recent works.

While many in the Arab world have written about Said, Mahdi Amil’s work deserves consideration, not only because of the impressive scholarship of his work, but also because, unlike other critiques of Said, he does not diminish his effort by personalizing the debate. By reading Amil and many other Arab intellectuals unheard of in the United States, we can also gauge how knowledge travels and how certain sensitivities change across geography. Also, I want to emphasize how Said’s presence in Arab cultural circles is not, by any means, a new phenomenon.

In the last two years, the Arab press has carried myriad articles on Said.   The translation of “Representation of the Intellectual” was heavily debated in more than one newspaper.   Many Arabic journals like al-Fikr al-Arabi, al-Karmil, and al-Adab have translated his articles. Said’s courageous position against the cronies in the Palestinian Authority and the futile Oslo Accords are always brought into question during many interviews with figures like Mahmoud Darwish or Hisham Sharabi.   The recent conference in Beirut not only underlined Said’s significance as an Arab thinker, but also gave many new scholars a chance to share their work. I will try to highlight some of the intellectuals and their work at the conference.

Burhan Ghalioun, an Arab thinker, who has written extensively on Arab thought and religion, gave a paper entitled “Towards a Critical Culture.” In an interview with the Beirut daily As Safir , he claimed that the conference was positive because it was not just an effort to laud Edward Said. Like many others, he believes that Arab thought is “undergoing a profound internal crisis” which resembles a civil war between its much divided intellectuals and cultural activists.   Ghalioun sees a solution by creating a culture that is more able to be active and secular within different communities.

George Tarabishi, a noted Arab writer, presented a paper about “The Notions of Otherness in Arab Turath.”    Tarabishi, recently wrote a harsh critique of the Moroccan thinker Mohammad Abd al-Jabbiri (See Al Jadid issue no. 17 for an interview with him), and is also known for writing a Freudian critique of Nawal Saadawi.   His paper stressed that the notion of otherness has been imported by Arab-Islamic culture.   Tarabishi sees an irony in the contrasting notions of otherness in Arab society during the last century.   While, at the turn of the century, there existed a general willingness to understand the ‘other’, now there is, not only a demand to become independent of the other, but also a general war on all notions of otherness.    Tarabishi used three Arab historical writers, al-Jahiz, Sa’ad al-Andulsi, and Ibn Khaldun, to illustrate how Arabic culture was open to many other cultures in ways not present today.   This essay agrees with Said’s notion that culture and civilization is inherently hybrid.

An engaging paper by the Lebanese   intellectual, Fawaz Traboulsi, entitled “Arab Travelers to the West,”   focused on two Arab 19th century writers, Ahmad Faris al-Shidyaq of Lebanon and Rifa’ah Rafi’ al-Tahtawi of Egypt.   Traboulsi wanted to portray the complicated net of relationships between East and West.   This paper reiterated Said’s assertion in “Culture and Imperialism” that the East and West are not two fundamentally opposed entities.   The paper revealed how these two travelers had different perceptions about the West, as they were both in Paris during the years of the Industrial Revolution.    Traboulsi reads these writers ‘contrapuntally’ with travel writers like Gustave Flaubert. His paper interestingly showed how Flaubert and Shidyaq both identify foreign cultures by sexuality.

Ferial Ghazoul, a professor at the American University of Cairo, gave a talk that compared the works of the well-respected Syrian playwright who recently passed away, Sa’adallah Wannous, and Edward Said.    She asserted that both intellectuals believe in the importance of the written word as a way of confronting hegemony.   Wannous and Said both believe in making words turn into action.   She stated that Wannous’ work shows written expression can produce direct results in confronting power, while Said ‘s work illustrates how the written word diversifies and grows within its audience in a more indirect manner.

Jad Thabit, a prominent Lebanese engineer and intellectual, gave a unique paper on the relationship between architecture and culture in the Arab world.   He stressed how architecture cannot be separated from cultural activity. He compared the work of Iraqi architect, Rifa’ al-Jadrji and one of the leaders of avant-garde poetry, Yusif al-Khal.   Both of these figures found failure in the modernizing projects in their respective fields.   Thabit perceived this failure stemmed from the relationship between architecture and power, and an inability of Arab society to diversify its architecture.

The conference included other participants: Mohammad Malass, a   Syrian director, discussed his film about the Palestinian camps; Palestinian literary critic, Faisal Darraj, gave a talk about Palestinian literature; Ibrahim Abu-Lughoud, a Palestinian-American academic, presented a paper entitled The “Meaning of Return;”   Moroccan critic Mohammad Barada contributed a paper on new Arab literary criticism.   Michel Khalifi, a Palestinian director, discussed exile and, according to press reports, is currently making a film on Said.    Said himself participated by sharing parts of his yet to be completed memoirs.

In addition to the extensive coverage the Lebanese press gave to the conference, Said himself gave two interviews, one to the Lebanese leading daily An Nahar , and the other to the Saudi London-based al-Sharq al-Awsat.    In each interview, Said is asked about his identity.   Both interviewers perceived the notion of hybrid identity as problematic and asked naive questions like, “Are you American or are you Arab?”   As in so many interviews in the United States, Said’s identity is always under scrutiny.   His usual responses were that he has stopped focusing on identity or that he is bored with the search for one identity.   In the interview in al-Sharq al-Awsat by Sawsan al-Abtah, Said states:   “I refuse to be cornered inside any ghetto, religion, place, or nation.   I want to challenge borders and deny the opinions of others who want to imprison me inside of one model.”   Said’s notion of identity has been unsettling for even some of his strongest supporters among Arab intellectuals.

 

In Kamal Abu Deeb’s article in the Lebanese monthly Al-Adab about “Culture and Imperialism”, he states that one of his disagreements with Said concerns the notion of hybrid identity.   He writes:   “Year after year, Said’s inclination to minimize the significance of identity increases....    In a world emblazoned by identity conflicts, I remain unable in stripping off the close ties that bind me to a deeply rooted notion of identity.   On one occasion, I told him... In a world where my fate is threatened by Israel and the West’s desire to stamp out my identity, I cannot forsake my identity and fight in the name of a hybrid identity...”   Abu Deeb then goes on to define Said as an Arab-Palestinian who has fought to defend his specific identity many times.   While Abu Deeb writes most of the article defending Said’s views that culture is fundamentally mixed, he obviously is not comfortable with Said’s vision of identity.

When an-Nahar interviewer, Ali Barada, asked Said about the most important event in his life, Said poignantly responded:   “I am discovering right now, after deciding to write my autobiography in a personal style and not political or formal, that many things have influenced me. For example, coexistence and tolerance—I live in an environment that was accustomed to diverse languages and identities. What deeply saddens me is that I cannot travel or cross borders like I used too.

This anxiety over Said’s identity exists for many here in the United States as well.   How many articles attack Said because of his flexible identity?   The rhetoric has gone from “terrorist disguised as English professor” to Judith Mil