Modern history is built upon exodus and displacement

“We are cursed to live in a time of great historical significance: when future historians look back at 2023, the distinguishing feature of this year will likely be the recurrence of ethnic cleansing on a vast scale”.

Thus wrote Unherd columnist and former war correspondent Aris Roussinos in December. 2023, but he would draw the same conclusion in 2024 and in 2025. He notes that ethnic cleansing is taking place on a vast scale in many parts of the world. Yet, apart from the current outrage at Israel’s war on Hamas in Gaza, turbocharged as it is by unprecedented and arguably one-sided mainstream and social media coverage, international reaction has been muted to the point of indifference. Roussinos’ article is republished below, and the following overview is inspired by and draws on his observations.

The term ethnic cleansing is elusive and politically charged. In an age of endemic conflict, identity politics and competing narratives, it has become a contested and often diluted concept invoked with increasing frequency. Yet, it remains undefined in law. Unlike genocide or war crimes, it has never been codified as a distinct offence under international law, and so its use is contested.

A United Nations Commission of Experts investigating violations during the wars in the former Yugoslavia offered the most widely cited descriptions. In its interim report it defined ethnic cleansing as “rendering an area ethnically homogeneous by using force or intimidation to remove persons of given groups from the area.” In its final report the following year, the Commission elaborated: it is “a purposeful policy designed by one ethnic or religious group to remove by violent and terror-inspiring means the civilian population of another ethnic or religious group from certain geographic areas.” What is clear in these descriptions is that ethnic cleansing is deliberate, systematic, and political in nature.

The Commission also catalogued the methods through which such policies are carried out. They include murder, torture, arbitrary arrest and detention, extrajudicial executions, rape and sexual violence, severe injury to civilians, confinement of populations in ghettos, forcible deportation and displacement, deliberate military attacks or threats of attacks on civilian areas, the use of human shields, the destruction and looting of property, and assaults on hospitals, medical staff and humanitarian organisations such as the Red Cross and Red Crescent. The Commission concluded that these acts could amount to crimes against humanity, war crimes, and in some instances, fall within the meaning of the Genocide Convention.

Many people today use the term ethnic cleansing interchangeably with genocide, since both involve the violent removal and destruction of communities and often lead to similar outcomes of death, displacement, and cultural erasure. Ethnic cleansing, which refers to the forced expulsion of a group from a territory through intimidation, violence, or coercion, frequently overlaps with acts that fall under the 1948 UN Genocide Convention, such as mass killings and the destruction of cultural or religious life. This blurring of concepts reflects not only the moral outrage provoked by such crimes but also frustration at the narrowness of legal categories, which can leave survivors feeling their suffering has been minimized by technical distinctions. Historical cases illustrate how the line between the two has often been perilously thin: the mass deportations and killings of Armenians in 1915, which many scholars and states regard as genocide and even describe as a holocaust – though Türkiye denies it and Israel avoids official recognition for fear of diluting the unique status of the Shoah – the expulsions and massacres of Bosnian Muslims in the 1990s, and the flight of the Rohingya from Myanmar all show how ethnic cleansing has so often carried genocidal dimensions – as is particularly the case today with the war in Gaza which has polarized and politicized ordinary people and activists alike worldwide who have through lack of knowledge or opportunism conflated the two.

Yet it is important to recognize that genocide and ethnic cleansing are not strictly interchangeable. Genocide requires proof of an intent to destroy, in whole or in part, a national, ethnic, racial, or religious group, whereas ethnic cleansing focuses primarily on expulsion, which may or may not involve that deeper intent to annihilate. Ethnic cleansing can amount to genocide when the purpose is to eradicate a group, but not all instances meet this threshold. In public discourse, however, people motivated more by empathy and emotion than by detailed knowledge of history or law are often inclined to conflate the two, since the lived experience of the victims—violence, displacement, and cultural obliteration – appears indistinguishable from destruction itself. More informed observers, by contrast, emphasize legal precision and historical context, recognizing that while the outcomes often overlap, preserving the distinction remains vital for accurate analysis and accountability.

The moral revulsion ethnic cleansing excites is the natural and humane reaction, but historically and also presently, it is not an uncommon phenomenon. For the American sociologist and academic Michael Mann, ethnic cleansing is the natural consequence of modernity, “the dark side of democracy”: a recurring temptation of the modern nation-state. The following sections provided examples from the last thirty years, followed by a survey of instances of ethnic cleansing during the early to mid Twentieth Century. They describe how ethnic cleansing is not only a crime of forced removal and murder but also an assault on identity, memory, and the very visibility of a people.

[The featured picture at the head of this blog post is one of Palestinian artist Ismail Shammout’s striking illustrations of Al Nakba, the dispossession of tens of thousands of Palestinian Arabs during Israel’s war of independence, from In That Howling Infinite’s Visualizing the Palestinian Return – the art of Ismail Shammout]. More of his art is included below]

Expulsion, eradication and exile

The Wars of the Yugoslav Succession in the 1990s – encompassing Croatia, Bosnia, and Kosovo – offer a clear illustration of ethnic cleansing in a modern European context. As Yugoslavia disintegrated, political and military leaders pursued campaigns aimed at creating ethnically homogeneous territories, often through the systematic targeting of civilians. In Bosnia, Serb forces carried out mass killings, forced deportations, rape, and the deliberate destruction of homes, schools, and cultural heritage sites, culminating in the Srebrenica massacre of 1995, in which more than 8,000 Muslim men and boys were killed. In Croatia and Kosovo, similar tactics were deployed: ethnic minorities were expelled, villages razed, and communities terrorised into flight. The International Criminal Tribunal for the former Yugoslavia (ICTY) documented and prosecuted these actions as crimes against humanity and war crimes, establishing that the campaigns were not chaotic consequences of war, but deliberate, coordinated policies of ethnic removal. The tribunal’s rulings provide a legal benchmark for understanding ethnic cleansing as the purposeful removal of populations through violence, intimidation, and coercion, a pattern that recurs across history and geography—from the forced expulsions of Armenians in 1915, to the population exchanges of Greece and Turkey in 1923, to the contemporary displacement of Rohingya, Palestinians, Ukrainians, and Afghans. These cases demonstrate that ethnic cleansing combines physical violence, forced migration, and cultural erasure, often leaving long-term social, political, and demographic scars that endure generations after the immediate conflict.

Sudan has witnessed repeated waves of ethnic cleansing over recent decades, most infamously in Darfur in the early 2000s, when government-backed Arab Janjaweed militias targeted non-Arab communities with systematic violence. Villages were burned, civilians massacred, women subjected to mass rape, and more than 2.5 million people displaced, in what the International Criminal Court later described as crimes against humanity, war crimes, and genocide. The displacement and destruction in Darfur followed earlier campaigns of forced removal during Sudan’s long north–south civil war, where entire communities in the south and Nuba Mountains were uprooted by aerial bombardment, scorched earth tactics, and starvation sieges. Today, ethnic cleansing has returned with devastating intensity: since April 2023, renewed fighting between the Sudanese Armed Forces and the Rapid Support Forces (successors to the Janjaweed) has triggered mass atrocities, including the killing of thousands and the flight of more than 7 million civilians, many across borders into Chad, South Sudan, and Egypt. Reports of targeted massacres against non-Arab groups in West Darfur suggest continuity with earlier campaigns, underscoring how ethnic cleansing in Sudan is not an isolated event but a recurring feature of its violent political landscape.

The Rohingya expulsions in Myanmar provide a stark contemporary example of ethnic cleansing. Since 2017, Myanmar’s military has carried out systematic campaigns of violence, including mass killings, sexual violence, arson, and the destruction of villages, aimed at driving the Rohingya Muslim population from Rakhine State. More than 700,000 Rohingya have fled to neighbouring Bangladesh, creating one of the world’s largest refugee crises. The violence has been accompanied by measures of cultural and social exclusion: denial of citizenship, restrictions on movement, and the erasure of Rohingya identity from official records. The United Nations and international observers have described these actions as ethnic cleansing, noting the deliberate intent to remove an entire ethnic group from a geographic area, while some investigators have determined that elements of the campaign meet the criteria for genocide.

Armenia and its surrounding regions have been scarred by cycles of ethnic cleansing for more than a century. The Armenian genocide of 1915–1916, carried out by the Ottoman Empire, combined forced deportations, massacres, and cultural destruction with the intent of removing Armenians from their ancestral lands in Anatolia. More than a million were killed or died on death marches, and countless others were scattered into diaspora communities across the Middle East, Europe, and the Americas. Later, in the Soviet period, Armenians and Azerbaijanis experienced repeated forced movements, with pogroms and expulsions erupting during times of political instability. Most recently, the 2023 offensive by Azerbaijan in Nagorno-Karabakh resulted in the flight of almost the entire Armenian population of the enclave—around 120,000 people—into Armenia proper, effectively erasing a centuries-old community. These waves of displacement illustrate how ethnic cleansing in Armenia is not confined to the past but has recurred across generations, leaving lasting demographic, cultural, and political consequences for the region.

During the past two years, mass expulsions from neighbouring countries returned large numbers of Afghans to Taliban-run Afghanistan. Pakistan has deported nearly half a million Afghans; Iran has driven out hundreds of thousands more. What is packaged as “repatriation” is, in many cases, forced displacement: exiles who had tenuous livelihoods, access to education, or limited civil freedoms in exile are now returned to a polity where the rights — especially the rights of women and girls — are ruthlessly curtailed. The Taliban’s record on gender is well known: it controls a society where women are barred from education and work, forced into early marriages, and denied even minimal public freedoms. Public-life prohibitions and systematic punishments disproportionately harm women and girls. Returning families are therefore being pushed into what many observers describe as among the worst possible places in the world for women — a profoundly gendered and life-threatening form of displacement.

The erasure of culture and historical memory

Like genocide, ethnic cleansing may not be limited the physical expulsion or eradication of people. It can be political, cultural and geographical, and often works through more insidious forms of erasure.

China’s policies in Xinjiang are an example. It has renamed at least 630 villages in Xinjiang, erasing references to Uyghur culture in what human rights advocates say is a systematic propaganda rebrand designed to stamp out the Muslim minority group’s identity. Human Rights Watch has documented a campaign of renaming thousands of villages across the region, stripping out references to Uyghur religion, history and culture. At least 3,600 names have been altered since 2009, replaced by bland slogans such as “Happiness,” “Unity” and “Harmony.” Such bureaucratic changes appear mundane, but they are part of a systematic project to erase Uyghur identity from the landscape itself.

Ukraine illustrates another, more violent dimension of contemporary ethnic cleansing. Russia is coercively integrating five annexed Ukrainian regions — an area the size of South Korea — into its state and culture. Ukrainian identity is being wiped out through the imposition of Russian schooling and media, while more than a million Russian citizens have been settled illegally into the occupied zones. At the same time, some three million Ukrainians have fled or been forced out. Torture centres have been established, with one UN expert describing their use as “state war policy.” Russian forces have employed sexual violence, disappearances and arbitrary detentions, and carried out massacres. Civilian deaths officially stand at around 10,000, but independent estimates suggest a figure closer to 100,000. Homes and businesses have been seized and redistributed to the cronies of Russian officials and officers. On top of these abuses, thousands of Ukrainian children have been taken from their families and deported into Russia for adoption and assimilation, with the threat that when they reach 18 they will be conscripted into the Russian military. This programme of child transfers has been declared a war crime by international courts, and represents perhaps the most chilling element of the campaign to erase Ukrainian identity across generations. Russian propagandists, including ideologues such as Alexander Dugin, routinely describe Ukrainians as “vermin” to be eliminated — language that many experts say is consistent with genocidal intent.

The long arm of history

Historical precedent is sobering, underscoring how entrenched practices definable as ethnic cleansing are. Some examples follow.

The Armenian genocide of 1915–1916 is a historical example where the term “ethnic cleansing” can be applied alongside, though not identical to, the legal concept of genocide. Ottoman authorities systematically deported, massacred, and starved Armenians from their ancestral homelands in Anatolia, often under the guise of military necessity. Entire villages were emptied, survivors forced on death marches into the Syrian desert, and cultural and religious heritage deliberately destroyed. These actions aimed to remove the Armenian population from the territory of the Ottoman Empire, making the region ethnically and religiously homogeneous, which aligns closely with contemporary definitions of ethnic cleansing. The genocide combined mass killing with forced displacement and cultural erasure, illustrating how ethnic cleansing and genocide can overlap in both intent and method. (See The Fall of the Ottoman Empire and the birth of Türkiye)

The Armenian case also illustrates how recognition of genocide is often bound up not only with history but with contemporary politics. Türkiye continues to deny that the mass deportations and killings of Armenians in 1915 amounted to genocide, framing them instead as wartime relocations within the collapsing Ottoman Empire. Israel, despite wide acknowledgment among its own scholars of the genocidal character of the events, has avoided official recognition, partly out of diplomatic considerations toward Türkiye, once a key regional ally, but also out of concern that equating the Armenian tragedy with the Shoah might dilute the unique historical and moral status attached to the Holocaust in Jewish memory and international discourse. This reluctance is not unique to Israel: several states have long hesitated to employ the term “genocide” for fear of straining relations with Ankara or complicating their own foreign policy priorities. Such debates demonstrate how the line between ethnic cleansing and genocide is not only a matter of legal precision but also of political narrative, with governments and institutions sometimes reluctant to apply the most condemnatory labels even where evidence overwhelmingly supports them.

As the Northern Irish writer Bruce Clark observed in his excellent book Twice A Stranger on the euphemistically termed “population exchanges” between Greece and Turkey exactly a century ago, “Whether we like it or not, those of us who live in Europe or in places influenced by European ideas remain the children of Lausanne,” the 1923 peace treaty, finalizing the dismemberment of the Ottoman Empire after the First World War, which decreed a massive, forced population movement between Turkey and Greece”, and in effect, One and a quarter million Greek Orthodox Christians were removed from Anatolia, the heartland of the new republic of Türkiye, and nearly 400,000 Muslims from Greece, in a process overseen by the Norwegian diplomat Fridtjof Nansen leading a branch of the League of the Nations which would later – perhaps ironically – evolve into today’s UNHCR.

During the Second World War, Soviet Union alone deported half a million Crimean Tatars and tens of thousands of Volga Germans to Siberia. In 1945, the victorious Allied powers oversaw the removal of some 30 million people across Central and Eastern Europe to create ethnically homogeneous states. At Yalta and Potsdam, Britain, the US, and the Soviet Union endorsed the expulsion of 12 million Germans, over 2 million Poles, and hundreds of thousands of Ukrainians, Hungarians, and Finns.

The partition of British India in 1947 produced one of the largest and bloodiest forced migrations in modern history. As the new states of India and Pakistan were created, an estimated 12 to 15 million people crossed borders in both directions – Muslims moving into Pakistan, Hindus and Sikhs into India – in a desperate effort to reach what they hoped would be safer ground. The upheaval was marked by extreme communal violence, massacres, abductions, and sexual assaults. Between 500,000 and 1 million people are thought to have been killed, and millions more were uprooted from ancestral homes they would never see again. The trauma of Partition continues to shape Indian and Pakistani national identities, as well as the politics of South Asia to this day. (See Freedom at Midnight (2): the legacy of partition) and Freedom at Midnight (1): the birth of India and Pakistan

The dismemberment of Mandate Palestine by the new state of Israel, Jordan and Egypt in 1948 brought two simultaneous mass displacements that remain unresolved. During the first Arab–Israeli war more than 700,000 Palestinians fled or were expelled from their homes in what became Israel. Known as the Nakba or “catastrophe,” this created a vast refugee population now numbering in the millions, many still stateless. Jews living in what is now the Old City and East Jerusalem, and the West Bank seized by Jordan were expelled. Jews living across the Arab world in Iraq, Yemen, Egypt, Libya, Syria and elsewhere – faced growing hostility, persecution, and expulsion. Between 1948 and the 1970s, an estimated 800,000 to 1,000,000 Jews left or were forced out, many stripped of property and citizenship. Most resettled in Israel, where their presence profoundly altered the country’s politics and culture. Palestinians and Jews alike endured dispossession, trauma and exile, and both experiences fuel competing narratives of grievance that continue to define the conflict.

Israelis are themselves, for the most part, the product of 20th-century ethnic cleansings, in the Middle East as well as Europe: indeed the descendants of Middle Eastern Jews, like the Security Minister Itamar Ben-Gvir, are the country’s most radical voices on the Palestinian Question. But unlike the Mizrahim,  and displaced of Eastern and south-eastern Europe, the Palestinians have no Israel to go to. There is no Palestinian state waiting to absorb them. Indeed, for Gaza’s population, the vast majority of whom descend from refugees from what is today Israel, Gaza was their place of refuge, and the 1948 Nakba the foundational event in their sense of Palestinian nationhood. For all that ethnic cleansing punctuates modern history, there is no precedent for such a process of double displacement, and the political consequences cannot at this stage be determined. We may assume they will not be good, and an analogue to Europe’s post-war neighbourly relations will not be found.

Conclusion: The Age of Dispossession 

In many historical cases, expulsions, however brutal, were stabilized by the existence of ethnic homelands ready to absorb the displaced. Refugees were incorporated into nationalist projects in Greece and Türkiye, or into newly homogenized states such as Poland and Ukraine, where they became central to the shaping of modern politics. The Karabakh Armenians driven into Armenia may follow this precedent, potentially reshaping the political order of a small and embattled state.

Ethnic cleansing in the twenty-first century, however, combines these older methods with new techniques. Violence, rape, deportation, and massacre continue, but are now accompanied by cultural erasure, bureaucratic renaming, engineered resettlement, propaganda, and the deliberate targeting of children for assimilation. Unlike many twentieth-century precedents, today’s displaced populations often have nowhere safe to go, forced into territories with no protective homeland or into environments of repression, creating open-ended cycles of dispossession. The erasure of identities in Xinjiang, the coercive integration of Ukrainian territories, the expulsion of Rohingyas and Afghans, the depopulation of Karabakh, and the looming threat of Gaza – where Palestinians face the looming threat of another mass displacement, echoing the 1948 Nakba – collectively demonstrate that ethnic cleansing is not a relic of the past.

It remains a recurring feature of our age – modern history is indeed built upon exodus and displacement – and its human cost is profound and incalculable.

© Paul Hemphill 2024,2025. All rights reserved

Nagoorno Karabakh

Postscript … Al Nakba, a case study in dispossesion

In the late nineteenth and early twentieth centuries, European Jews came to a land that was already inhabited by another, different people. Over two decades, they forced the guarantor power out by terrorism and took the land by conquest, expelling most of  its original inhabitants by force. They have sowed their share of wind, too. Both sides want all the land for themselves.

Al Nakba, is the Arabic name for the “catastrophe” that befell the Arab inhabitants of Mandate Palestine during the war that was fought between Arabs and Jews in 1947-1948, resulting in the expulsion of upwards of 700,000 Arab Palestinians. That it happened is incontrovertible. But the facts, even those that are attested to by all reputable politicians and academic authorities, including Israelis, have long been subject to doubt and distortion by all sides of what has since been called “The Middle East Conflict” – notwithstanding that there have been conflicts in the Middle East more devastating and bloodier in terms of destruction and mortality including in Lebanon, Iraq, Syria, Algeria, Libya, and Sudan.

I do not to intend here to retell the history of Al Nakba. There many accounts available in print including those by Arab and Israeli authors, and in film, particularly an excellent documentary broadcast by Al Jazeera in May 2013 and repeated often?

June 17th, 2018, I wrote about it in a Facebook post:

Al Nakba did not begin in 1948. Its origins lie over two centuries ago….


So begins this award-winning series from Al Jazeera, a detailed and comprehensive account of al Nakba, the establishment of the State of Israel in 1948 and the dispossession and expulsion of the Palestinians who lived within its borders.

It is a well-balanced narrative, with remarkable footage, that will not please the ardent partisans of both sides who prefer their story of 1948 to be black and white.

Revisionist Israeli historians Ilan Pappe, Avi Shlaim, and Teddy Katz describe the ruthless and relentless military operations to clear and cleanse “Ha’aretz”, the land, of its Arab inhabitants and their history, whilst Palestinian historians tell the story from the Palestinian perspective, describing the critical failings of Palestinian’s political leaders and neighbouring Arab governments. Elderly Palestinians who were forced into exile and to camps in Jordan and Lebanon tell their sad stories of starvation and poverty, violence and death, and of terrible sadness, homesickness and longing that the passing years and old age have never diminished.

“When I left my homeland, I was a child. Now, I’m an old man. So are my children. But did we move forward? Where is our patriotism? Patriotism is about the pockets of our current leaders. They build high buildings and go to fancy banquets. They pay thousands for their children’s weddings”. Refugee Hosni Samadaa.

“We’re repeating the same mistakes. Before 1948 the Palestinian National Movement was split on the basis of rival families. Today, it is split into different parties over ideology, jurisdiction and self-interests. We didn’t learn our lesson. We were led by large, feudal landowners. Today, we are led by the bourgeoisie. Before 1948, we were incapable of facing reality. Today, we are just as inept. Before 1948, people chose the wrong leadership. And today, we are following the wrong leaders”. Researcher Yusuf Hijazi.

https://www.aljazeera.com/program/featured-documentaries/2013/5/29/al-nakba

I republish below Roussinos’ article in full, also a brief but comprehensive account about Al Nakba by economist and commentator Henry Ergas.

al Nakba, Ismail Shammout

al Nakba, Ismail Shammout

The truth about the ethnic cleansing in Gaza – modern Europe was built on exodus and displacement

Aris Roussinos, Unherd, December 18 2023

We are cursed to live in a time of great historical significance: when future historians look back at 2023, the distinguishing feature of this year will likely be the recurrence of ethnic cleansing on a vast scale. In just the past few months, Pakistan has deported nearly half a million Afghan migrants, while Azerbaijan has forced 120,000 Armenians — the statelet’s entire population — from newly-conquered Karabakh, both to broad international indifference. As the UNHCR has warned, the forced expulsion — that is, the ethnic cleansing — of Gaza’s Palestinian population is now the most likely outcome of the current war.

With no prospect of Palestinians and Israelis living together peaceably, anything short of absolute military victory unacceptable to both the Israeli government and its voters, but no meaningful plan for who will rule the uninhabitable ruins of post-war Gaza, the only realistic solution to the Palestinian problem, for Israel, is the total removal of the Palestinians. As Israel’s former Interior Minister has declared: “We need to take advantage of the destruction to tell the countries that each of them should take a quota, it can be 20,000 or 50,000. We need all two million to leave. That’s the solution for Gaza.”

Israeli officials have not been shy in promoting this outcome to a war, according to the President Isaac Herzog, for which “an entire nation… is responsible”. Israel’s agriculture minister Avi Dichter has asserted that “We are now rolling out the Gaza Nakba,” adding for emphasis that the result of the war will be “Gaza Nakba 2023. That’s how it’ll end.”Israel’s Intelligence Ministry has published a “concept paper” proposing the expulsion of Gaza’s entire population to the Sinai desert, and Israeli diplomats have been trying to win international support for this idea. According to the Israeli press, Israeli officials have sought American backing for a different plan to distribute Gaza’s population between Egypt, Turkey, Iraq and Yemen, tying American aid to these countries’ willingness to accept the refugees. In a Wall Street Journal opinion piece, two Israeli lawmakers have instead urged Western countries — particularly Europe — to host Gaza’s population, asserting that: “The international community has a moral imperative—and an opportunity—to demonstrate compassion [and] help the people of Gaza move toward a more prosperous future.” The outcome for Gaza’s Palestinians does not appear to be in doubt: what remains to be haggled over is their final location.

The only actor that can prevent the ethnic cleansing of Gaza is the United States, and for domestic political reasons it is disinclined to do so. While the Biden administration declaresit does not support “any forced relocation of Palestinians outside of the Gaza Strip”, it is not taking any action to prevent it. If the expulsion of Gaza’s 2.3 million population comes to pass, the result will be the most significant instance of ethnic cleansing in a generation, which will define Biden’s presidency for future historians. Yet outrage over such events is selective. It is not entirely true, as some Middle Eastern commentators claim, that Western complicity in the looming ethnic cleansing of Gaza highlights a lesser interest in Arab or Muslim lives: the Armenian case highlights that eastern Christians also barely flicker on the world’s moral radar.

This week’s awarding of the right to host next year’s COP29 climate conference to Azerbaijan, just a few months after its ethnic cleansing of Karabakh, reminds us that the supposed international taboo on the practice does not, in reality, exist. When ethnic cleansing is permissible, and when it is a war crime, depends, it seems, on who is doing it, and to whom. Azerbaijan is oil-rich, useful to Europe, and able to buy favourable Western coverage; Armenia is poor, weak and friendless in the world. Similarly, the extinction of much of the Christian population of the Middle East as a result of the chaos following the Iraq War won very little international attention or sympathy: communities which survived in their ancient homelands from Late Antiquity, riding out the passage of Arab, Mamluk, Ottoman and European imperial rule, did not survive the American empire.

Yet while the moral revulsion such events excite is the natural and humane reaction, ethnic cleansing is less rare an event than the crusading military response to its Nineties occurrence in the Balkans may make us think. For the sociologist Michael Mann, ethnic cleansing is the natural consequence of modernity, “the dark side of democracy”. As the Northern Irish writer Bruce Clark observed in his excellent book Twice A Stranger on the euphemistically termed “population exchanges” between Greece and Turkey exactly a century ago, “Whether we like it or not, those of us who live in Europe or in places influenced by European ideas remain the children of Lausanne,” the 1923 peace treaty “which decreed a massive, forced population movement between Turkey and Greece”. One and a quarter million Greek Orthodox Christians were removed from Anatolia, and nearly 400,000 Muslims from Greece, in a process overseen by the Norwegian diplomat Fridtjof Nansen leading a branch of the League of the Nations which would later — perhaps ironically — evolve into today’s UNHCR.

It was a cruel process, wrenching peoples from ancestral homelands in which they had lived for centuries, even millennia— and by the end of it half a million people were unaccounted for, presumably dead. Yet it was viewed as a great diplomatic triumph of the age, perhaps with good reason: without meaningful minorities on each side of each others’ borders to stoke tensions, Greece and Turkey have not fought a war in a century. Indeed, as late as 1993, the Realist IR scholar John Mearsheimer could propose a “Balkan Population Exchange commission” for the former Yugoslavia explicitly modelled on the 1923 precedent, asserting that “populations would have to be moved in order to create homogeneous states” and “the international community should oversee and subsidize this population exchange”. For the younger Mearsheimer, ethnic cleansing was the only viable solution to Yugoslavia’s bloody and overlapping ethnic map: “Transfer is a fact. The only question is whether it will be organized, as envisioned by partition, or left to the murderous methods of the ethnic cleansers.” Thirty years later, however, Mearsheimercondemns Israel’s planned expulsions from Gaza outright.

There is a dark irony here: the forced expulsion of peoples is an affront to liberal European values, yet it is rarely acknowledged that our modern, hitherto peaceful and prosperous Europe is built on the foundation of ethnic cleansing. Perhaps the ramifications of such a truth are too stark to bear, yet it is nevertheless the case that the peaceable post-1945 order depended on mass expulsions for its stability. Using the 1923 exchange as their explicit model, the victorious allies oversaw the forced removal of 30 million people from their homes in Central and Eastern Europe towards newly homogeneous ethnic homelands they had never seen. At the Yalta and Potsdam conferences, Britain, the United States and the Soviet Union settled upon the expulsion of 12 million Germans, more than 2 million Poles and hundreds of thousands of Ukrainians, Hungarians and Finns from their ancestral homes.

As Churchill declared in Parliament in 1944, “expulsion is the method that, so far as we have been able to see, will be the most satisfactory and lasting. There will be no mixture of populations to cause endless trouble, as has been in the case of Alsace-Lorraine. A clean sweep will be made.” Only two years later, once the Cold War had begun and the Soviet Union and its vassal Poland become a rival, did Churchill fulminate against the “enormous and wrongful inroads upon Germany, and mass expulsions of millions of Germans on a scale grievous and undreamed of” by “the Russian-dominated Polish Government”. In ethnic cleansing, as in so many other things, political context is the final arbiter of morality.

But as a result, Germany has never since unsettled Europe with revanchist dreams; both Poland and Western Ukraine became, for the first time in their histories, ethnically homogenous entities. As the Ukrainian-Canadian historian Orest Subtelny has observed, the forced separation of Poles and Ukrainians, once locked in bitter ethnic conflict against each other, has led to today’s amicable relationship: “It seems that the segregation of the two peoples was a necessary precondition for the development of a mutually beneficial relationship between them. Apparently the old adage that ‘good fences make for good neighbors’ has been proven true once more.” That we have forgotten the vast scale of the forced expulsions which established Europe’s peaceful post-war order is, in a strange way, a testament to their success.

Yet what made the mass expulsions following the First and Second World Wars broadly successful was that those expelled at least had ethnic homelands to receive them. In Greece and Turkey, the refugees fully adopted the ethnic nationalism of their new countries, in Greece providing the bedrock of later republican sympathies, and in Turkey the core support for both secular Kemalist nationalism and occasional bouts of military rule. In the newly-homogenous Poland and Ukraine, refugees shorn of their previous local roots and at times ambiguous ethnic identities fully adopted in recompense a self-identification with their new nation-states which has helped define these countries’ modern politics. The 120,000 Karabakh refugees will likely become a political bloc in tiny Armenia, affecting the country’s future political order in ways yet hard to discern.

Israelis are themselves, for the most part, the product of 20th-century ethnic cleansings, in the Middle East as well as Europe: indeed the descendants of Middle Eastern Jews, like the Security Minister Itamar Ben-Gvir, are the country’s most radical voices on the Palestinian Question. But the Palestinians, like the ethnic French narrator of Houellebecq’s Submission, have no Israel to go to. Unlike the 20th century displaced of Eastern and south-eastern Europe, there is no Palestinian state waiting to absorb them. Indeed, for Gaza’s population, the vast majority of whom descend from refugees from what is today Israel, Gaza was their place of refuge, and the 1948 Nakba the foundational event in their sense of Palestinian nationhood. For all that ethnic cleansing punctuates modern history, there is no precedent for such a process of double displacement, and the political consequences can not at this stage be determined. We may assume they will not be good, and an analogue to Europe’s post-war neighbourly relations will not be found.

Egypt’s disinclination to host two million Gazan refugees is not merely a matter of solidarity, but also self-preservation: flows of embittered Palestinian refugees helped destabilise both Lebanon, where their presence set off the country’s bloody ethnic civil war, and Jordan, where they make up the demographic majority. It is doubtful too, given the recent tenor of its politics, that Europe will be eager to receive them, no matter how humanitarian the language with which Israeli officials couch their planned expulsion. Rendered stateless, driven from their homes and brutalised by war, Gaza’s refugees remain unwanted by the world, perhaps destined to become, as the Jews once were, a diaspora people forever at the mercy of suspicious hosts.

A terrible injustice for the Palestinians, their ethnic cleansing may yet provide Israel with a measure of security, even as it erodes the American sympathy on which the country’s existence depends. The broader question, perhaps, is whether or not the looming extinction of Palestinian life in Gaza, like the expulsion of Karabakh’s Armenians, heralds the beginning of a new era of ethnic cleansing, or merely the settling of the West’s unfinished accounts. Like the movements which bloodily reshaped Central Europe, Israel’s very existence is after all a product of the same nationalist intellectual ferment of fin-de-siècle Vienna. In 1923, while acknowledging its necessity, the British Foreign Secretary Lord Curzon called the Greco-Turkish population exchange “a thoroughly bad and vicious [idea] for which the world would pay a heavy penalty for a hundred years to come”. Exactly a century later, Gaza’s Palestinians look destined to become the final victims of Europe’s long and painful 20th century

Nakba, where Palestinian victim mythology began

‘Nakba Day’ was commemorated this week with even more vehemence than usual. The greatest tragedy is that the Palestinian people who fled remain frozen in time.

The Australian, 18th May 2024

Pro-Palestinian protesters hold banners and flags as they listen to speakers at a rally held to mark the anniversary of the ‘Nakba’ or ‘catastrophe’ of 1948, in Sydney on Wednesday. Picture: David Gray/AFP

Protestors at a Sydney rally to mark the anniversary of the ‘Nakba’. David Gray/AFP

On Wednesday, “Nakba Day” was commemorated around the world with even more vehemence than usual as outpourings of hatred against Israel, sprinkled with ample doses of anti-Semitism, issued from screaming crowds.

What was entirely missing was any historical perspective on the Nakba – that is, the displacement, mainly through voluntary flight, of Palestinians from mandatory Palestine. Stripped out of its broader context, the event was invested with a uniqueness that distorts the processes that caused it and its contemporary significance.

It is, to begin with, important to understand that the displacement of Palestinians was only one facet of the sweeping population movements caused by the collapse of the great European land empires. At the heart of that process was the unravelling of the Ottoman Empire, which started with the Greek war of independence in 1821 and accelerated during subsequent decades.

As the empire teetered, religious conflicts exploded, forcing entire communities to leave. Following the Crimean War of 1854-56, earlier flows of Muslims out of Russia and its border territories became a flood, with as many as 900,000 people fleeing the Caucasus and Crimea regions for Ottoman territory. The successive Balkan wars and then World War I gave that flood torrential force as more than two million people left or were expelled from their ancestral homes and sought refuge among their co-religionists.

The transfers reshaped the population geography of the entire Middle East, with domino effects that affected virtually every one of the region’s ethnic and religious groups.

The formation of new nation-states out of what had been the Ottoman Empire then led to further rearrangements, with many of those states passing highly restrictive nationality laws in an attempt to secure ethnic and religious homogeneity.

Nothing more starkly symbolised that quest for homogeneity than the Convention Concerning the Exchange of Greek and Turkish Populations signed on January 30, 1923. This was the first agreement that made movement mandatory: with only a few exceptions, all the Christians living in the newly established Turkish state were to be deported to Greece, while all of Greece’s Muslims were to be deported to Turkey. The agreement, reached under the auspices of the League of Nations, also specified that the populations being transferred would lose their original nationality along with any right to return, instead being resettled in the new homeland.

Underlying the transfer was the conviction, articulated by French prime minister (and foreign minister) Raymond Poincare, that “the mixture of populations of different races and religions has been the main cause of troubles and of war”, and that the “unmixing of peoples” would “remove one of the greatest menaces to peace”.

That the forced population transfers, which affected about 1.5 million people, imposed enormous suffering is beyond doubt. But they were generally viewed as a success. Despite considerable difficulties, the transferred populations became integrated into the fabric of the recipient communities – at least partly because they had no other option. At the same time, relations between Turkey and Greece improved immensely, with the Ankara Agreements of 1930 inaugurating a long period of relative stability.

The result was to give large-scale, permanent population movements, planned or unplanned, a marked degree of legitimacy.

Thus, the formation of what became the Irish Republic was accompanied by the flight of Protestants to England and Northern Ireland, eventually more than halving, into an insignificant minority, the Protestant share of the Irish state’s population; that was viewed as easing the tensions that had so embittered the Irish civil war.

It is therefore unsurprising that further “unmixing” was seen by the allies in World War II as vital to ensuring peace in the post-war world. In a statement later echoed by Franklin Roosevelt, Winston Churchill made this explicit in 1944, telling the House of Commons he was “not alarmed by the prospect of the disentanglement of populations, nor even by these large transferences, which are more possible in modern conditions than they ever were before”.

The immediate effect, endorsed as part of the Potsdam Agreements and implemented as soon as the war ended, was the brutal expulsion from central and eastern Europe of 12 million ethnic Germans whose families had lived in those regions for centuries. Stripped of their nationality and possessions, then forcibly deported to a war-devastated Germany, the refugees – who received very little by way of assistance – gradually merged into German society, though the scars took decades to heal.

Even more traumatic was the movement in 1947 of 18 million people between India and the newly formed state of Pakistan.

As Indian novelist Alok Bhalla put it, India’s declaration of independence triggered the subcontinent’s sudden descent into “a bestial world of hatred, rage, self-interest and frenzy”, with Lord Ismay, who witnessed the process, later writing that “the frontier between India and Pakistan was to see more tragedy than any frontier conceived before or since”. Yet in the subcontinent too, and especially in India, the integration of refugees proceeded to the point where little now separates their descendants from those of the native born.

All that formed the context in which the planned partition of Palestine was to occur. The 1937 Peel Commission, which initially proposed partition, had recommended a mandatory population exchange but the entire issue was ignored in UN Resolution 181 that was supposed to govern the creation of the two new states.

When a majority of the UN General Assembly endorsed that resolution on November 29, 1947, the major Zionist forces reluctantly accepted the proposed partition, despite it being vastly unfavourable to them. But the Arab states not only rejected the plan, they launched what the Arab League described as “a war of extermination” whose aim was to “erase (Palestine’s Jewish population) from the face of the earth”. Nor did the fighting give any reason to doubt that was the Arabs’ goal.

At least until late May 1948, Jewish prisoners were invariably slaughtered. In one instance, 77 Jewish civilians were burned alive after a medical convey was captured; in another, soldiers who had surrendered were castrated before being shot; in yet another, death came by public decapitation. And even after the Arab armies declared they would abide by the Geneva Convention, Jewish prisoners were regularly murdered on the spot.

While those atrocities continued a longstanding pattern of barbarism, they also reflected the conviction that unrestrained terror would “push the Jews into the sea”, as Izzedin Shawa, who represented the Arab High Committee, put it.

Arabs flee in 1948 ahead of the ‘war of extermination’ against Israel. Picture: History/Universal Images Group via Getty Images
Arabs flee in 1948 ahead of the ‘war of extermination’ against Israel.
History/Universal Images Group via Getty Images

A crucial element of that strategy was to use civilian militias in the territory’s 450 Arab villages to ambush, encircle and destroy Jewish forces, as they did in the conflict’s first three months.

It was to reduce that risk that the Haganah – the predecessor of the Israel Defence Force – adopted the Dalet plan in March 1948 that ordered the evacuation of those “hostile” Arab villages, notably in the surrounds of Jerusalem, that posed a direct threat of encirclement. The implementation of its criteria for clearing villages was inevitably imperfect, but the Dalet plan neither sought nor was the primary cause of the massive outflow of Arab refugees that was well under way before it came into effect.

Nor was the scale of the outflow much influenced by the massacres committed by Irgun and Lehi – small Jewish militias that had broken away from the Haganah – which did not loom large in a prolonged, extremely violent, conflict that also displaced a very high proportion of the Jewish population.

Rather, three factors were mainly involved. First, the Muslim authorities, led by the rector of Cairo’s Al Azhar Mosque, instructed the faithful to “temporarily leave the territory, so that our warriors can freely undertake their task of extermination”.

Second, believing that the war would be short-lived and that they could soon return without having to incur its risks, the Arab elites fled immediately, leaving the Arab population leaderless, disoriented and demoralised, especially once the Jewish forces gained the upper hand.

Third and last, as Benny Morris, a harsh critic of Israel, stresses in his widely cited study of the Palestinian exodus, “knowing what the Arabs had done to the Jews, the Arabs were terrified the Jews would, once they could, do it to them”.

Seen in that perspective, the exodus was little different from the fear-ridden flights of civilians discussed above. There was, however, one immensely significant difference: having precipitated the creation of a pool of 700,000 Palestinian refugees, the Arab states refused to absorb them.

Rather, they used their clout in the UN to establish the UN Relief and Works Agency for Palestine Refugees, which became a bloated, grant-funded bureaucracy whose survival depended on endlessly perpetuating the Palestinians’ refugee status.

In entrenching the problem, the UN was merely doing the bidding of the Arab states, which increasingly relied on the issue of Palestine to convert popular anger at their abject failures into rage against Israel and the West. Terminally corrupt, manifestly incapable of economic and social development, the Arab kleptocracies elevated Jew-hatred into the opium of the people – and empowered the Islamist fanaticism that has wreaked so much harm worldwide.

Nor did it end there. Fanning the flames of anti-Semitism, the Arab states proceeded to expel, or force the departure of, 800,000 Jews who had lived in the Arab lands for millennia, taking away their nationality, expropriating their assets and forbidding them from ever returning to the place of their birth. Those Jews were, however painfully, integrated into Israel; the Palestinian refugees, in contrast, remained isolated, subsisting mainly on welfare, rejected by countries that claimed to be their greatest friends. Thus was born the myth of the Nakba.

That vast population movements have inflicted enormous costs on those who have been ousted from their homes is undeniable. Nor have the tragedies ended: without a murmur from the Arab states, 400,000 Palestinians were expelled from Kuwait after the first Gulf War, in retaliation for the Palestine Liberation Organisation’s support of Saddam Hussein. More recently, Myanmar has expelled 1.2 million Rohingya.

But the greatest tragedy associated with the plight of the Palestinians is not the loss of a homeland; over the past century, that has been the fate of tens of millions. Rather, it is the refusal to look forward rather than always looking back, an attitude encapsulated in the slogan “from the river to the sea”.

That has suited the Arab leaders, but it has condemned ordinary Palestinians to endless misery and perpetual war. Until that changes, the future will be a constant repetition of a blood-soaked past

تصور عودة الفلسطينيين – فن إسماعيل شموط

As a COVID-19 lock-down diversion, In That Howling Infinite has translated the story of the life and art of Ismail Shammout into Arabic:  Visualizing the Palestinian Return – the art of Ismail Shammout. Please excuse any grammatical and vocabulary errors.

قمنا بترجمة قصة حياة وفن إسماعيل شموط إلى اللغة العربية. يرجى إعفاء أي أخطاء نحوية ومفردات

المفتاح والعودة – فلسطين كمجاز

رأى الشاعر الفلسطيني محمود درويش فلسطين وطنًا ولكن أيضًا مجازًا – لفقدان عدن ، وأحزان الطرد والنفي ، من أجل القوة الباهتة للعالم العربي في علاقته مع الغرب (محمود درويش ، فلسطين كمجاز)

نشرت النجمة والأستاذة الفلسطينية الأسترالية نجمة خليل حبيب – ومدرسي للغة العربية في العديد من الفصول الدراسية في جامعة سيدني – ورقة بحثية في مجلة نيبولا عام 2008 تبحث في كيفية عودة “العودة” – موضوع متكرر في الأدب العربي المعاصر. – تم تناوله في الرواية العربية ، وكيف يصور من يعيش حلم “العودة” ومن عاد بالفعل إلى فلسطين بعد حرب 1967 أو بعد اتفاقيات أوسلو.

تكتب: “يتجلى مفهوم” العودة “في هذا الأدب بطرق مختلفة بما في ذلك العودة الروحية (كما يتجلى في الأحلام والتطلعات) ؛ العائد المادي الحرفي ؛ عودة الفرد (“العودة” على أساس لم شمل الأسرة) ؛ “العودة” نتيجة احتلال غزة والضفة الغربية بعد حرب 1967 ؛ و “العودة” نتيجة لعملية السلام بعداتفاقيات أوسلو“.

Al Mufta مفتاح

المفتاح ، المفتاح ، المفتاح هو رمز دائم للعودة. وهي موجودة في فن الشارع وفي اللافتات والملصقات في جميع أنحاء فلسطين وفي مخيمات اللاجئين. إنه رمز ، لذكرى ، يعود في يوم من الأيام – إلى المنازل الضائعة ، القرى ، الضواحي ، البلدات ، الأرواح وسبل العيش. كما يكتب نغمه ، “العودة” (العودة) متأصلة بعمق في الذاكرة الجماعية الفلسطينية. إنها متجذرة في ضميرهم كإيمان لا يمكن إنكاره ، لأن إنكاره سيعني اقتلاع العقدة التي يعتمد عليها التاريخ والهوية الفلسطينية الحديثة ”.

ولكن بالنسبة للكثيرين ، هو أكثر من ذلك. كتب نجمة: “سواء حدث النفي طوعًا أو في ظل ظروف قمعية ، فإن حلم العودة إلى الوطن يبقى على قيد الحياة في ذهن الشخص المنفي. يتوهج أو يتلاشى من شخص لآخر ومن ظرف إلى آخر ؛ ومع ذلك ، فإن مفهوم “العودة” لم يعد معناه الأساسي ، ولكنه أصبح ينظر إليه على أنه وسيلة للمقاومة وتحدي القمع “.

وتلاحظ الكاتب والناشط الأمريكي الفلسطيني الناشط فواز تركي أن “حق العودة وحلمها هو الصخرة التي تأسست عليها أمتنا والتوازن الاجتماعي الذي يوحد الأمة في هذا العالم البائس”.

إنه الحلم ، الأمل الذي مكن عشرات الآلاف من اللاجئين في المخيمات في جميع أنحاء بلاد الشام من إدراك وضعهم على أنه مؤقت ومقاومة جاذبية الاستيعاب والتعميم في البلدان المضيفة لهم – إذا كان هذا ممكنًا بالفعل نظرًا لأن معظم المضيفين لديهم بثبات قاومت منح الفلسطينيين الحقوق والامتيازات التي يتمتع بها مواطنوهم. في حين أن كونهم جزءًا كبيرًا من الشتات في الغرب قبلوا الإدماج والتجنس ، فإن هؤلاء الفلسطينيين يتواصلون مع شعبهم وثقافتهم في فلسطين ، ولا يزالون يحتفلون بأعيادهم الوطنية.

فر ما بين سبعمائة وثمانمائة فلسطيني من منازلهم في إسرائيل الحالية أو تم طردهم خلال حرب عام 1948. بقي العديد في إسرائيل إما في منازلهم الأصلية أو حيث لجأوا. لقد أصبحوا مواطنين إسرائيليين ، ولكن حتى بالنسبة لهم ، تستمر الذكريات ويستمر الكثيرون في الإشارة إلى المدن والقرى والمحليات بالأسماء التي كانت لديهم قبل قيام دولة إسرائيل.

ومع ذلك ، فإن العودة وحق العودة هو وهم ، حلم يتدلى أمام أعينهم من قبل قادتهم مثل عرض منوم مغناطيسي. ووضع لاجئ الأمم المتحدة ، وهم قديم متعب دأبت عليه الأونروا لتبرير وجودها ورواتبها الجيدة ، وجامعة الدول العربية كورقة تين لنبضها. كان تعريف وتأسيس الأونروا مخطئًا منذ اليوم الأول ، وبينما خلق اللجوء إلى الأجيال ، ولّد أملًا زائفًا ، وأحلامًا غير قابلة للتحقيق ، وحاجزًا لجهود السلام اللاحقة هناك بالفعل اقتصاد كامل ، وعيش ، ونمط حياة مكرس ويعتمد على إدارة الصراع ومشكلة اللاجئين بدلاً من حلها. كان المنفى غير معقول وغير عادل ، لكن الماضي لن يتراجع أبدًا – وبالتأكيد قرارات الأمم المتحدة.

المفتاح ، إذن ، هو أمل بائس ، باب مغلق لا يمكن لأي كمية من المفاتيح فتحه ؛ والواقع هو أن يكون هناك حظر ، خارج السياسة ، خارج المجتمع ، خارج سوق العمل والإسكان. اللاجئون هم أقلية في فلسطين. لا توجد مفاتيح للمنازل والشقق الجديدة التي ترتفع في مدن الضفة الغربية وحولها في طفرة عقارية مستمرة منذ عدة سنوات ولا يمكن الوصول إليها وبأسعار معقولة إلا للطبقة المتوسطة المتنامية من موظفي السلطة الفلسطينية والمنظمات غير الحكومية الأجنبية والمهنيين الشباب.

ولكن بالنسبة للاجئين ، كل هذا مفارقة. إنهم محرومون من فلسطين القديمة من آبائهم وأجدادهم وأسلافهم. لكنهم أيضاً أغلقوا فلسطين الجديدة التي تناضل من أجل الولادة.

شعراء مثل درويش والروائيين استوعبوا وعكسوا النكبة والعودة في عملهم. ينعكس حلم العودة في كتاباتهم. كما هو الحال مع فناني الجرافيك – لا شيء بنفس القوة والحيوية مثل إسماعيل شموط ، المولود في ليديا ، فلسطين عام 1930. عندما وصل آخر مرة في رام الله ، “عاصمة” إدارية بحكم الأمر الواقع لهذا الجزء من حكومة الضفة الغربية من قبل السلطة الفلسطينية – المنطقة أ (لعباس ، نكتة الذكاء) من إدارة أوسلو ، قمنا بزيارة المركز الثقافي دار زهران ، وهو منزل عثماني تم ترميمه بشكل جميل جنوب وسط المدينة مباشرة (وساحته المركزية المليئة بالصور من المفتاح).

من خلال الصدفة المحظوظة ، كانت دار زهران تستضيف معرضًا صغيرًا للوحات بالتذكير بسلسلة مذهلة من اللوحات للفنان الفلسطيني الراحل إسماعيل شموط التي تحكي قصة النكبة والطيران والمنفى.

لقد نشرت من جديد أدناه سيرة موجزة لشموط من مدونة

Palijounrneys.

https://www.paljourneys.org/en/biography/9727/ismail-shammut

فن إسماعيل شموط

يتذكر إسماعيل شموط ويحتفل به لتصويره للحياة اليومية في القرى الفلسطينية قبل النكبة ، لتصويره المروع لهروب وطرد الكثير من سكان فلسطين العرب المنتدبين ، ولوحاته الرمزية للشتات التالي.

إن فلسطين هي مكان خالد ، يكاد يكون منامياً ، شبه بعيد عن الزمان والمكان بواقعه المعاصر. كان الحنين والفنانين والشعراء في عصر سابق يصفونه بأنه رعوي مع صوره للحياة اليومية في الريف ، ونقوشه من الشباب والكبار الشباب والرجال والنساء والأطفال والرضع. هناك أزواج من الشباب في الأزياء التقليدية ، والأمهات الشابات مع الأطفال في الأسلحة ، والمزارعين في الحقول ، ومجموعات عائلية من أجيال عديدة. هم في الصالات والمطابخ ، في الساحات والحدائق والحقول والبساتين وأسواق الشوارع كمشترين وبائعين. هناك موسيقيون ومغنون وراقصون في بيئات اجتماعية لا تعد ولا تحصى – في الحفلات والاحتفالات والزواج والمهرجانات والعروض والمواكب.

               

 

واحتفالًا بدائرة الحياة من المهد إلى اللحد وإيقاع الفصول ، هناك مشاهد من وقت الحصاد وجمع ثمار الحقول والبساتين. هناك الحبوب والخضروات والزيتون والبطيخ والمشمش والرمان والتين والعنب والبرتقال الذي اشتهرت فلسطين به منذ زمن طويل.

هذه المشاهد الخلوية لعالم مضى – ذهب لنا جميعًا ، وليس فقط لشعب بلاد شموط – تُقترن بصور بيانية للنكبة ، والمنفى ، والطرد والتشريد ، والغزو والاحتلال ، والاحتجاجات والمقاومة المستمرة . وعبر كل شيء ، هناك زخارف أمل وسلام – أزهار وطيور مغنية وحمامات – وأيضًا صراع ومقاومة – أعلام ولافتات وبنادق وصخور.

وتشمل هذه اللوحات الشهيرة شموط لطيران الفلسطينيين وطردهم ، والطريق الطويل الصعب للطائرة على درب الدموع ، والشمس المعادية تنبض. عرضه للحرارة والجوع والعطش والإرهاق يتذكر قصيدة WH Auden المروعة  “درع أخيل”، مع صورها المتناقضة والمضطربة للفرح والاحتفال والدمار القاتم ، أحادي اللون تقريبًا … “سهل بدون ميزة ، عارية وبنية ، لا شفرة من العشب ، وليس علامة على الجوار ؛ لا شيء يأكله ولا مكان للجلوس فيه ، لكن المجتمعين على فراشه وقفت على جمهور مفهومة ، مليون عين ، ملايين الأحذية في الطابور ، دون تعبير ، في انتظار إشارة “.

تظهر هذه الصور ، النزيهة والخطيرة ، في لوحات أكبر تصور العقود التي تلت ذلك ، سواء المباشرة – المخيمات والتناثر – والمعاصر – الاحتلال ، الانتفاضتان ، المقاومة المستمرة ، وعملية السلام المتعثرة بشكل دائم . تظهر في الخلفية رموز وأيقونات فلسطين في الماضي والحاضر – خاصة القدس والقدس الذهبية ، والأماكن المقدسة الثمينة جدًا للعديد من الأديان – المساجد والكنائس والأديرة والمدارس ، بما في ذلك الحرم الشريف وكنيسة القيامة.

هناك صور لمخيمات اللاجئين ، ومدن الخيام المزدحمة التي استقر فيها المنفيون لأول مرة ، وحقول النفط الخليجية التي يعمل فيها المغتربون ، والمهن التي دخل إليها المغتربون في جميع أنحاء العالم ، من العمال إلى عمال المختبرات. يوجد أطفال المدارس في مكاتبهم وعمال المكاتب على أجهزة الكمبيوتر ، والحشود ، دائمًا ما تكون حشود من الأشخاص الذين لا حصر لهم ، مجهولي الهوية ، تقريبًا مجهولي الهوية. هناك مسيرات ومظاهرات واشتباكات مع جنود مجهولي الهوية مجهولي الهوية. هناك شباب يرمون الحجارة ويواجهون سيارات مدرعة وجنود يحملون أسلحة. وهناك أحداث سياسية مثل اللقاء الذي عقد في كامب ديفيد بين ياسر عرفات واسحق رابين والذي سهله الرئيس كلينتون ، مما أثار الآمال والتوقعات لم تتحقق.

دى اللوحات هي قوية ومؤثرة بشكل خاص. امرأة مسنة وابنتها تعانقان شجرة الزيتون مع اقتراب جرافة. يسعى صبيان صغيران لعرقلة  ;طريقه الذي لا هوادة فيه – وهو مشهد غير معتاد على الإطلاق ، مثل الصورة التي قمت بإقرانها بالعروض

“كيف نجد أشجار الزيتون عندما تختفي جميع أشجار الزيتون؟”

 

 

إسماعيل شموط – سيرة

وُلد إسماعيل شموط في بلدة اللدة في 2 مارس 1930. وكان والده عبد القادر شموط تاجرًا لبيع الفواكه والخضروات. كانت والدته عائشة الحاج ياسين. كان لديه سبعة أشقاء: إبراهيم ، كوثر ، جميل ، ميسر ، انعام ، جمال ، توفيق. كانت زوجته الفنان تمام عارف الأكحل ، المولود في يافا عام 1935. أولاده هم يزيد ، بشار ، وبلال.

في عام 1936 بدأ المدرسة الابتدائية ، ورصدت موهبته الفنية في سن مبكرة. تولى مدرسه داود زلاطيمو توليه المسؤولية. خدم زلاطيمو مدرسًا للفنون في ليدا من عام 1930 حتى عام 1948 ، وزينت رسوماته للأحداث التاريخية والطبيعة جدران المدرسة. تم تعليم شموط من قبل زلاطيمو لرسم بالقلم الرصاص والحبر ، والطلاء بالألوان المائية ، والنحت في الحجر الجيري.

بعد إقناع والده الديني والمحافظ بأن “الفن يمكن أن يكون مهنة مربحة” ، بدأ بتزيين فساتين الزفاف بالورود والطيور ثم افتتح متجرا خاصا به ، وهو في الواقع أول استوديو له. وهناك رسم أول زيوته التي تصور المناظر الطبيعية والبورتريه قبل النكبة عام 1948.

بعد ثلاثة أيام من سقوط اللدة و الرملة على يد القوات الصهيونية ، في 13 يوليو 1948 ، اضطر شموط وعائلته (إلى جانب سكان المدينتين) إلى المغادرة والذهاب سيرا على الأقدام إلى رام الله ولم يُسمح لهم بحمل المياه . توفى شقيقه الشاب توفيق من العطش قبل وصولهما إلى قرية نيلين ، بالقرب من رام الله. وثق شموط مسيرة الموت والإرهاق والعطش في العديد من اللوحات المنفذة في الخمسينيات. استمرت العائلة في التحرك حتى استقرت في الخيام التي شكلت في نهاية المطاف مخيم خان يونس للاجئين.

باع شموط المعجنات لمدة عام ، ثم تطوع لتدريس الرسم في مدارس اللاجئين ، التي أقيمت في خيام. هذا سمح له باستئناف مهنته الفنية وعرض لوحاته في غرفة في مدرسة خان يونس الحكومية في عام 1950. وفي نفس العام التحق بأكاديمية الفنون الجميلة في القاهرة وعاش من أرباحه ، ورسم ملصقات الأفلام.

أقام شموط معرضه الأول في عام 1953 ، حيث جمع ما يكفي من اللوحات لمعرض كبير “لكن لم يكن لديه ما يكفي من الشجاعة” لعقده في القاهرة. لذلك عرض في نادي الموظفين في مدينة غزة بالاشتراك مع شقيقه جميل. في ذلك المعرض ، قدم شموط ستين لوحة بما في ذلك لوحاته الشهيرة الآن إلى أين؟ وفم من الماء. اعتبر هذا المعرض أول معرض فني معاصر في تاريخ فلسطين من قبل فنان فلسطيني على الأرض الفلسطينية ، وفقًا لحجمه وعدد الأعمال المعروضة وطريقة افتتاحه والحضور الجماعي.

         

في عام 1954 ، أقام معرضًا في القاهرة تحت عنوان “اللاجئ الفلسطيني” بالاشتراك مع طالب فني في أكاديمية الفنون الجميلة ، تمام الأكحل ، والفنان الفلسطيني نهاد سباسي. كان هذا المعرض تحت رعاية جمال عبد الناصر ، في ذلك الوقت رئيس وزراء مصر ، وحضره قادة فلسطينيون. شجعته أرباحه من هذا المعرض على السفر إلى إيطاليا حيث سرعان ما حصل على منحة للدراسة في أكاديميا بيلي أرتي في روما ، وظل هناك لمدة عامين (1954-1956).

بعد تخرجه ، انتقل للعيش والعمل في بيروت مع شقيقه جميل في وكالة الأمم المتحدة لإغاثة وتشغيل اللاجئين الفلسطينيين (الأونروا). أنشأ الأخوان مكتبًا للفن التجاري وتصميم الكتب ؛ وقد تضمن الأخير كتيبًا للجيش اللبناني بعنوان “التربية المدنية الإنسانية”.

في عام 1959 ، تزوج من زميلته الفنانة تمام الأخال ، وبعد ذلك عملوا معًا عن قرب ، من الناحية الفنية والمهنية. قاموا بتدريب معلمي الفنون في بيروت والقدس والضفة الغربية وقطاع غزة وعقدوا معارض مشتركة في تلك المناطق.

تابع شموط والآخر عن كثب إنشاء منظمة التحرير الفلسطينية في المؤتمر الوطني الفلسطيني الأول في القدس في عام 1964. في عام 1965 ، أنشأ قسم الثقافة الفنية في قسم الإعلام والتوجيه الوطني لمنظمة التحرير الفلسطينية (المعروف لاحقًا باسم دائرة الإعلام والثقافة) ) ووجه أنشطته حتى عام 1984. عندما أغلقت مكاتب منظمة التحرير الفلسطينية في القدس ، عاد الزوجان إلى بيروت في عام 1966 واستأنفوا العمل مع منظمة التحرير الفلسطينية هناك ، بالإضافة إلى عملهم الشخصي كفنانين. أكمل شموط عددًا لا يحصى من الملصقات والمشاريع الأدبية والسياسية والتقليدية ، ونظمت صحيفة

الأخال عشرات المعارض السياسية والشخصية في مدن حول العالم ، بما في ذلك غزة والقاهرة والقدس ورام الله ونابلس وعمان وواشنطن (بالإضافة إلى اثني عشر مدن أمريكية أخرى) ، طرابلس ، دمشق ، الكويت ، لندن ، بلغراد ، صوفيا ، بكين وفيينا ، بالإضافة إلى الجداريات المسماة “المسار في عمان وأنقرة واسطنبول والدوحة والشارقة ودبي والقاهرة ودمشق وحلب وبيروت . ومن بين أبرز إنجازاته قاعة تسمى دار الكرامة في بيروت حيث تم عرض معارض موسمية لفنانين شباب من مخيمات اللاجئين الفلسطينيين ، وكذلك معارض تضامن عربية ودولية أخرى

في عام 1969 ، أسس شموط وغيره من الفنانين الفلسطينيين أول اتحاد عام للفنانين الفلسطينيين. ظل أمينًا عامًا لها حتى عام 1984. وشارك أيضًا في تأسيس الاتحاد العام للفنانين العرب في عام 1971 وكان أول أمين عام لها ، وهو المنصب الذي شغله حتى عام 1984.

بعد الغزو الإسرائيلي للبنان في عام 1982 ، ورحيل المقاومة الفلسطينية وقادتها ، وإغلاق مكاتب منظمة التحرير الفلسطينية ، اضطر شموط (الذي كان يعاني من مرض في القلب وتفاقم) إلى الانتقال مع أسرته إلى الكويت في عام 1983 ، حيث عاشوا خلال احتلال الكويت عام 1991 وحرب الخليج الثانية. بعد تحرير الكويت ، أُجبرت الأسرة مرة أخرى على الانتقال عام 1992 ، هذه المرة إلى ألمانيا. في عام 1994 ، استقر أخيرًا شموط والأخل في عمان ، الأردن.

يعتبر شموط عمومًا رائدًا في الفن الفلسطيني المعاصر. كان فنانًا ملتزمًا كان أسلوبه واقعيًا مع بعض العناصر الرمزية. سيطرت القضية الفلسطينية على فنه ، وقد تم توزيع بعضها على نطاق واسع في المخيمات والمنازل وتضامنًا مع حملات فلسطين في الدول العربية وخارجها. يمكن اعتبار بعض أعماله أيقونة للشعب الفلسطيني.

لم يتوقف شموط عن تصوير الخروج الفلسطيني من فلسطين في لوحات تحمل ألقابًا ومعانيًا موجودة كثيرًا في أذهان الناس وفي تجربته الخاصة ؛ مثال على ذلك هو اللوحة التي تحمل عنوان أين؟ (1953). كانت لوحاته مستوحاة من حياة المخيم (مثل      Memories and Fire ، 1956 ؛ We Shall Return ، 1954 ؛ و Bride and Groom at the Border ، 1962) ودعت إلى التفكير في معنى الأمة في الانتظار.

منحته منظمة التحرير الفلسطينية الدرع الثوري للفنون والآداب ، وميدالية القدس للثقافة والفنون والآداب ، وجائزة فلسطين للفنون. منحه منتدى الفكر العربي الجائزة الإبداعية للرسم العربي. يتم منح جائزة سنوية باسمه عن اللوحة الفلسطينية الممتازة. تم الحصول على أعماله من قبل العديد من المتاحف العربية والدولية.

أجبرته حالة قلبه على الخضوع لثلاث عمليات حرجة ، أجريت الثالثة في لايبزيغ ، ألمانيا ؛ توفي في 3 يوليو 2006 ودفن في عمان.

بالإضافة إلى لوحاته ، كتب قصصًا عن الرسم والحرف الفلسطينية وأنتج عددًا من الأفلام التي تأثرت بخبراته الفنية. تشمل هذه الأفلام فيلمًا بعنوان الذكريات والنا (1973) ) ، وفاز بجائزة الأفلام الوثائقية القصيرة في مهرجان لايبزيغ ؛ نداء عاجل (1973) ؛ وعلى الطريق إلى فلسطين (1974). أنتجت نورة الشريف فيلمًا قصيرًا يدعى إسماعيل ، وتناول جزءًا من حياته خلال فترة ولايته الأولى كلاجئ في مخيم خان يونس. يتوفر موقع ويب مخصص لعمله على الموقع

http://www.ismail-shammout.com

   In That Howling Infinite   رأ المزيد عن سياسات وتاريخ الشرق الأوسط في كتاب   

In English: Visualizing the Palestinian Return – the art of Ismail Shammout

Joy فرح

That was the year that was – a year of living dangerously

Last December, when we wrote our review of the year that was ending, fires were ravaging Eastern Australia, and civil unrest had broken out across the world, from Hong to Chile, Beirut to Bolivia. Calling it The End of the Beginning, we wrote:

“We enter a new decade with an American election that will focus our attention; Britain’s long farewell to Europe; an end, maybe, to Syria’s agony (accompanied by renewed repression and victor’s revenge); the rise and rise of China and the geopolitical challenge it presents to the senescent “Old World”. And that is just a few things we have to look forward to”.

As they say, “be careful what you wish for”, or more prosaically, when men make plans, god laughs.

This was a year unlike any other in my, dare I say it and invite the evil eye, long lifetime. It started so well with the abatement of our smoky, fiery Black Summer, and then the rains came. This was the year optimists hoped would be one of 20/20 vision: progress on tackling climate change, perhaps, and end to the entertaining but scary presidency of Donald Trump, a cure for … well everything.

But it was to be the year of the virus. By year’s end nearly eight million people will have been infected and almost two million will have perished, with the US recording more than any other country – by New Years Day, its death-toll will very likely exceed its dead in World War II. Economies have been shattered, livelihoods threatened or destroyed, borders closed, cities, towns and homes closed, locked-down and isolated.

In its turbulent and divisive election year, the death of George Floyd at the hands of – or more specifically under the knee of a policeman, painted a brutal portrait of the implacable indifference to black life that defines American policing. It reopened America’s long-festering wounds of racial and social injustice, white racism and vigilante violence. Rather than douse the flames with water and retardant, The White House reached for a can of petrol. The Black Lives Matter Movement, like #MeToo in recent years, an incendiary spark ignited protests around the world, showing that police violence, injustice and inequality do not belong to the USA alone.

Armed protesters on the steps of the Michigan State Capitol in Lansing, demanding the reopening of businesses

Whilst most of the world had entered into a kind of limbo, awaiting the vaccine that will end our travails and reopen our countries and indeed, the wide world, others dropped down the rabbit hole of conspiracy theories that alternatively deny that the pandemic exists or that it had been deliberately created and spread by mysterious and malevolent cabal that seeks total control, like some villain from an old James Bond film or an Avengers movie. Social media has enabled a veritable eBay of ideas and explanations where the isolated and excluded who do their own research and follow the breadcrumbs into the Matrix can buy one and get four free.

On a saner but nonetheless destabilizing level, denizens of the so-called “cancel culture” had a field day exercising its democratic right to be easily offended by demanding the deplatforming, defenestration and demolition of persons, ideas, careers, and monuments. Long-dead slavers, imperialists and generals bit the dust; JK Rowling and Nick Cave got a serve, the latter for devaluing that “cancel culture’s refusal to engage with uncomfortable ideas has an asphyxiating effect on the creative soul of a society”; and an episode of Fawlty Towers was temporarily committed to the naughty corner. 

In the cold-blooded, brutal real world, there was no abatement in the wars and insurgencies that have been grinding on years now in Africa and the Middle East, whilst an old conflict over blood and soil broke out anew between Armenians and Azerbaijanis. Donald Trump’s much touted “deal of the century” that would reconcile Israelis and Palestinians was revealed to be no more than a shifty and shitty bribe, whilst US-brokered “peace” deals with a bunch of autocracies who had never gone to war against Israel are but smoke and mirrors that like Kushner’s Peace to Prosperity plan throw the unfortunate Palestinians under the bus. It is as if there is, beyond the planets COVID, Conspiracy and Cancel, a parallel universe of misery and carnage, power games and proxy wars.

Meanwhile, China, or more precisely, the Chinese Communist Party, having let loose the virus, has taken advantage of the world’s distraction and confusion by pressing forward in its quest its political, military and economic predominance. Uighurs, Mongolians and Tibetans face cultural extinction whilst in Hong Kong, the flame of freedom flickered and went out. Sooner or later, something is going to give – what some pundits perceive as President Xi’s impatient recklessness will be followed by a reckoning.

Michelle Griffin, World Editor with the Sydney Morning Herald provides a brief but excellent run down of 2020: The 2020 Pandemic – our year of living dangerously. And on 2020 as the year of “cancel culture”, the reflex response of the easily offended, here is 2020, the year we finally broke our culture. Both are well worth a read.

Time during 2020 has been elastic and confused. On 21st December, The Guardian asked readers to sum up how they felt about 2020 in one word – and likewise their feelings for 2021. As of Xmas Eve, the standout words were respectively (a) shit, fucked and challenging and (b) hopeful and better. My poll responses were “fascinating” and “unpredictable”.

The year ahead?

Our year in review

And so to our review of what In That Howling Infinite published during the plague year. Curiously, deliberately or by mere circumstances, nothing about the plague.

The year began with the fires and smoke abating here on our Mid North Coast, though raging still in southern New South Wales and eastern Victoria. Inspired by an early Cat Stevens song, we opened with a light, nostalgic history of the first the schools of the Tarkeeth, where we live.

Before we knew it, Australian Day was upon us. Normally, the weeks preceding our national day see social and mainstream media, posturing politicians and personalities and cultural warriors of all our tribes caught up in argument and invective about its meaning and significance. This year, however, things are unseasonably quiet. As a nation and a community, we were perhaps too preoccupied with Australia’s unprecedented bush-fire crisis to wage our customary wars of words. Elizabeth Farrelly asked what it means to be Australian: “As the fires rage on, bringing little but anti-green and pro-coal propaganda from our governments, we have a choice. We can go on pretending that exploitation is a sustainable way of life. We can pursue this culture of denial, where truths about nature, climate, women and Indigenous peoples are held in contempt. Or we can smarten up” … It was Australia’s choice – survive by respect or die by stupid.

February saw the first of several cynical and futile attempts by the international community to resolve the morass of the Libyan civil war. In Tangled – a cynic’s guide to alliances in the Middle East, we pointed out that Libya was not the only quagmire of outside powers and their local proxies. Then there the Trump administration’s “deal of the century”. Intended to end half a century of conflict between Israel and Palestine, it was the beginning, dead in the water: Clouded Vision – no peace, no plan, no Palestine, no point.

The unfortunate Palestinians were viewed more sympathetically in a retrospective of the life and work of one of Palestine’s most celebrated artists: Visualizing the Palestinian Return – The art of Ismail Shammout.

The ominous drumbeats of the novel coronavirus we now know as COVID19 drew close and closer during January and February, and by mid March, it was all on for young and old. A tiny but loud minority protested that all a cod. It was to misapply Bob Dylan, “just a dream, babe, a vacuum, a scheme babe that sucks you into feeling like this”.  With enough being written about the pandemic on mainstream and social media, we took the pasty now very well traveled with The view from the grassy knoll – the resilience of conspiracy theories.

The onward March of the “Conspiratualists” merged by midyear with anti-lockdown protests in otherwise rational western democracies, the violence on America’s streets following the death of George Floyd, and the anticipation of open war between rival militia in the Land of the fearful – home of the heavily armed. As the US descended into a social and political division as contagious as the coronavirus, the calls to right historical wrongs led to the demands that statues of morally dubious long-dead white be torn down led to Arguments of a Monumental Proportions.

It was time for In That Howling Infinite to retreat into history, with The Bard in the Badlands 2 – America’s Shakespearean dreaming, a sequel to an earlier piece on America’s historical fascination with William Shakespeare. The lockdowns and self-isolation of the pandemic’s first wave saw people going out less, homeschooling, drinking more (and sadly, in many instances, beating each other up more. But many of us were also avidly FaceBooking, Tweeting and Zooming; and also binge-watching Netflix and Scandi-noir and reading large books.

In Bad Company – how Britain conquered India, we reviewed The Anarchy, the latest in a long list of excellent histories of the sub-continent by Scottish scholar and longtime resident of India, William Dalrymple – the daunting and depressing story of the rise and fall of the British East India Company, a quasi-military industrial complex that earned the misleading sobriquet The Honourable Company.

Flashman in the Great Game

Just in time for the lock-down, Hilary Mantel gave us the finale of her magisterial and magnificent Wolf Hall trilogy – The Light and the Mirror. In That Howling Infinite took up two themes that threaded through all three books. We know how the story ends, but are fascinated with how Mantel takes us there. Taking as it theme the golden bird-boy flying too close to the sun, Beyond Wolf Hall (2) – Icarus ascending asks the question “could Thomas Cromwell have avoided his doom?” Beyond Wolf Hall (1) – Revolution Road reviews Cromwell’s legacy, the Protestant Reformation that changed the course of English (and British) history.

Mark Rylance and Damian Lewis as Tom and Hal

Fast forward from the life and dangerous times of Henry VIII to the present, and Netflix’ release in November of the third season of The Crown, a sumptuous soap that beguiles even ardent republicans. The latest serve, highlighting the rise and fall of Margaret Thatcher and the salacious pas de trois of Charles, Diana and Camilla, is deliciously seditious. And there was an entertaining Australian interlude, as described in The Crown – the view from Down Under  even if it was actually filmed in Spain.

In August 2020, the largest man-made explosion since Hiroshima and Nagasaki rippled the heart out of Lebanon’s capital. Over two thousand tons of illegal, combustible, unstable, and almost forgotten ammonium nitrate went up in a fireball that resembled an atomic blast. Social media shared memes and messages, hearts and flags, and “we are all Lebanese” profiles. Expatriates and others wrote and spoke about the country’s present turmoil and fears of a return to the bad old days. Many shared  videos of songs by Lebanon’s national cultural icon, Fairuz – most particularly, her poignant Li Beirut, which she wrote during the civil war as a tribute to the city’s timeless beauty and the suffering of its people people. O Beirut – songs for a wounded city presents Fairuz’ songs, and also Syrian poet Nizar Qabbani’s famous O Beirut, Mistress of the World, and Khalil Gibran’s iconic Pity the Nation.

And finally, as this strangest of years was ending, we published a frolic that has been several years a’making. A cowboy key – how the west was sung takes us on a leisurely jaunt through some of those grand old songs, films and musicals that have shaped our more pleasant perceptions of America.

Happy New Year.

Our reviews of previous years: 2019, 201820172016; 2015

Androids Dolores and Teddy enjoy the Westworld view

Visualizing the Palestinian Return – the art of Ismail Shammout

The Key and the Return – Palestine as a metaphor

And who will live in the house after us, my father?
The house, my son, will remain as it was!
Why did you leave the horse alone?
To keep the house company, my son.
When their residents go, the houses will die.
Together we will hold on
until we return.
When, my father?
Tomorrow, my son, and perhaps in another day or two!
That tomorrow trailed behind them, chewing the wind
in the endless winter nights.
Mahmoud Darwish

Palestinian poet Mahmoud Darwish saw Palestine as a homeland but also as a metaphor –  for the loss of Eden, for the sorrows of dispossession and and of exile, for the diminishing power of the Arab world in its relationship with the west (Mahmoud Darwish, Palestine as Metaphor). Arab-Israeli commentator Raja Natoor wrote in Haaretz that Darwish “wrote, faithfully communicated and defended the undisputed Palestinian narrative – the linguistic realm that dealt with the homeland and its loss, with displacement and being a refugee. It shaped the awareness and work of many Palestinians, which turned the poet, knowingly or not, into the Palestinian narrative itself and even into the Palestine lost” (June 28, 2020). Blogger Samah Sulaimi wrote a few days later in a reply to Natour: “In the eyes of most of the Palestinian people, Darwish was able to bring the Palestinian narrative into every home where an olive-wood map of Palestine hangs in the living room, on which the following words are engraved in Arabic: على هذه الارض ما يستحق الحياة – “We have on this land all of that which makes life worth living” (8 July 2020).

Palestinian Australian author and academic Nejmeh Khalil-Habib – and my Arabic teacher for many semesters at the University of Sydney – published a paper in Nebula magazine in 2008 examining how the “Return”  – al ‘awda العودة – a recurring theme in contemporary Arabic literature – has been dealt with in Arabic fiction, and how it depicted those who live the dream of “Return” and those who actually returned to Palestine after the 1967 war or after the Oslo Accords.

She writes: “The concept of “Return” throughout this literature manifests itself in various ways including the spiritual return (as manifested in dreams and aspirations); the literal, physical return; an individual’s return (a “Return” on the basis of family reunions); the “Return” as a result of the occupation of Gaza and the West Bank after the war of 1967; and the “Return” as a result of the peace process after the “Oslo Accords.”

Al Muftah, المفتاح, the key is an enduring symbol of al ‘awda. It is present in street art and in signs and posters throughout Palestine and in the refugee camps. It is a symbol, of a memory, of one day returning – to lost homes, villages, suburbs, towns, lives and livelihoods. As Nejmeh writes,“The Return” (Al-Awda) is deeply implanted in the Palestinian collective memory. It is rooted in their conscience like a faith that could not be denied, because denying it would mean uprooting the lynchpin upon which modern Palestinian history and identity depends”.

Al Mufta مفتاح

But for many, it is something more than that. Nejmeh writes: “Whether exile happens voluntarily or under oppressive circumstances, the dream of returning home stays alive in the mind of the exiled person. It flares or fades from person to person and from one circumstance to another; however, the concept of “return” ceases to be about its basic meaning, but comes to be seen as a means of resistance and challenging oppression”.

She notes American-Palestinian author and activist Fawaz Turky assertion that “the right and dream of Return is the rock upon which our nation was established and the social balance that unites the nation in this wretched world”.

It is the dream, the hope that enabled tens of thousands of refugees in camps throughout the Levant to perceive their situation as temporary and to resist the allure of assimilation and mainstreaming in their host countries – if this was indeed possible given that most hosts have steadfastly resisted granting Palestinians rights and privileges enjoyed by their own citizens. Whilst being much of the diaspora in the West has accepted inclusion and naturalization, these Palestinians connect with their people and their culture in Palestine, and still celebrate their national holidays.

Between seven and eight hundred thousand Palestinians fled their homes in present day Israel or were expelled during the 1948 war (a similar number of Jews were expelled from Arab countries after 1948). Many remained in Israel either in their original homes or where they sought refuge. They became Israeli citizens, but even for these, the memories endure and many continue to refer to the towns and villages and localities by the names they had prior to the establishment of the state of Israel.

And yet, al ‘awda, and the Right of Return is a chimera, a dream dangled before their eyes by their leaders like a hypnotist’s show. And UN refugee status, a tired old delusion perpetuated by UNRWA to justify its existence and well-paid salaries, and the Arab League as a fig leaf for their pulsanimity. UNWRA’s definition and establishment was at fault from day one, and whilst creating generational refugeedom, it engendered false hope, unrealisable dreams, and a road-block to subsequent peace efforts  There is indeed a whole economy, a living, a lifestyle devoted to and dependent on managing the conflict and the refugee problem rather than solving it. The exile was unreasonable and unjust, but the past will never be undone – and most certainly never by UN resolutions.

UNRWA is the only agency dedicated to helping refugees from a specific region or conflict and is separate from the UNHCR, the main UN refugee agency, which is responsible for aiding other refugees all over the world. Unlike UNRWA, UNHCR has a specific mandate to aid its refugees to eliminate their refugee status by local integration in current country, resettlement in a third country or repatriation when possible. It focuses on resettlement and rehabilitation of refugees and building new lives, not maintaining services that prop up a six-decade-long status quo. UNRWA , uniquely, allows refugee status to be inherited by descendants.

Palestinians were not helped by the original establishment of UNRWA which created a special, indeed, unique category of refugee where by heirs and successors are entitled to the aid and benefits normally given only to the dispossessed generation. Normally, the original refugees and their children have either returned to their homelands or have been resettled in another country within one generation. Hence, for better or for worse, Vietnamese, African, Burmese, and even Afghan, Syrian and Iraqi refugees leave the UNHCR’s care in the short to medium term.

But generations of Palestinians are locked into their special jail of statelessness by the duplicity and discrimination of their Arab “brethren” and by their inherited culture of victimhood and dependence. It is a vicious circle which gives all (dis)interested parties an excuse to do nothing but bloviate, and posture, and propose unrealistic resolutions. 

The key, therefore, is a forlorn hope, a closed door that no amount of keys can unlock; and the reality is that of a lock-out, out of politics, out of society, out of the jobs and housing market. The refugees are a minority in Palestine. There are no keys for the new houses and apartments that are going up in and around the cities of the West Bank in a property boom that has been going on for several years now and accessible and affordable only for a growing middle class of employees of the PA and foreign NGOs and young professionals.

But for refugees, all this is paradox. They are locked out of the old Palestine of their parents and grandparent and forebears. But they are also locked out the new Palestine that is struggling to be born.

Poets like Darwish and novelists have internalized and reflected al Nakba and al ‘awda in their work. The dream of al ‘awda is reflected in their writing. As it is also do with to graphic artists – none as powerfully and poignantly as ismail Shammout, born in Lydia, Palestine in 1930. When last In Ramallah, de facto administrative “capital” of that part of the West Bank government by the  Palestinian Authority – Area A (for Abbas, joke the wits) of ththe Oslo dispensation, we visited the cultural centre Dar Zahran, a beautifully restored Ottoman house just south of the city centre (and its central square festooned with images af al Muftah).

By fortunate serendipity, Dar Zahran was hosting a small exhibition of paintings by recall an amazing series of paintings by the late Palestinian artist Ismail Shammout that told the story of al Nakba and of flight and exile.

I have republished below a concise biography of Shammout by the  Palijounrneys blog.

https://www.paljourneys.org/en/biography/9727/ismail-shammut

The Art of Ismail Shammout

Ismail Shammout is remembered and celebrated for his depictions of everyday life in Palestinian villages before the Nakba, for his harrowing portrayal of flight and expulsion of much of Mandate Palestine’s Arab population, and his allegorical tableaux of the ensuing diaspora.

His Palestine is a timeless, almost dreamlike place quite out of time and place with its contemporary reality. Nostalgists and artists and poets of an earlier era would have described it as pastorale with its images of everyday life in the countryside, and its vignettes of young folk and old, men and women, children and babies. There are young couples in traditional costumes, young mothers with babes in arms, farmers in fields, and family groups of many generations. They are in lounges and kitchens, in yards and gardens, fields and orchards, and street markets as buyers and sellers. There are musicians and singers and dancers in myriad social settings – at parties and celebrations, marriages and festivals, parades and and processions.

 

 

And, celebrating the circle of life from cradle to grave and the rhythm of the seasons, there are scenes of harvest time and the gathering of the fruits of the fields and the orchards. There are grains and vegetable, olives, and water melons, apricots and pomegranates, figs and grapes, and the oranges for which Palestine was long famous.

Such bucolic scenes of a gone world – gone for us all, and not just for Shammout’s country folk- are juxtaposed with graphic images of al Nakba, and of exile, of expulsions and dispossession, of conquest and occupation, and of ongoing protest and resistance. And through, it all, are motifs of hope and of peace – flowers, songbirds and doves – and also, of conflict and resistance – flags and banners, rifles and rocks.

These include Shammout’s famous paintings of the Palestinians’ flight and expulsion, and the long hard road of flight on a trail of tears, the hostile sun beating down. His rendering of the heat, hunger, thirst and exhaustion recall of WH Auden’s harrowing poem The Shield of Achilles, with its contrasting and jarring snapshot images of joy and celebration and of bleak, almost monochrome desolation … “a plain without a feature, bare and brown, no blade of grass, not sign of neighbourhood; nothing to eat and nowhere to sit down, but congregated on on its blankness stood an intelligible multitude, a million eyes, a millions boots in line, without expression, waiting for a sign”.

These images, the fair and the foul, reappear within larger paintings that depict the decades that followed, both the immediate – the camps and the scattering – and the contemporary – the occupation, the two Intifadat, ongoing resistance, and the perpetually stuttering  peace process. In the background are the symbols and icons of Palestine past and present – particularly of al Quds, Jerusalem the golden, with the holy places that are so precious to many faiths – its mosques and churches, its monasteries and madrasas, including the Haram al Sharif and the Church of the Holy Sepulcher.

There are images of refugee camps, the crowded tent-cities where the exiles first settled, of Gulf oil fields where expatriates laboured, and of the professions that expatriates entered into all over the world, from labourers to lab workers. There are school children at their desks and office-workers at computers, and crowds, always crowds of numberless, nameless, almost faceless people. There are  marches and demonstrations, and clashes with anonymous, faceless soldiers. There are youths throwing stones and facing off against armoured cars and troops bearing weapons. And there are political events like the meeting at Camp David between Yasser Arafat and Yitzhak Rabin facilitated by President Clinton which fired up hopes and expectations rest were never realized.

One painting is a particularly potent and poignant. An elderly woman and her daughter hug their olive tree as a bulldozer approaches. Two young boys endeavour to block its relentless path – a scene that is not at all unusual, as the picture I have paired it with shows. “How shall we find olive branches when all the olive trees are gone?’

               

Ismail Shammout  – a brief biography

Ismail Shammout was born in the town of Lydda on 2 March 1930. His father, Abd al-Qadir Shammout, was a fruit and vegetable merchant. His mother was Aisha al-Hajj Yasin. He had seven siblings: Ibrahim, Kawthar, Jamil, Muyassar, Inam, Jamal, and Tawfiq. His wife was the artist Tamam Arif al-Akhal, who was born in Jaffa in 1935. His children are Yazid, Bashar, and Bilal.

In 1936 he started elementary school, and his artistic talent was spotted at an early age. His teacher, Dawud Zalatimu, took him in charge. Zalatimu served as an art teacher in Lydda from 1930 until 1948, and his drawings of historic events and nature decorated the school walls. Shammut was taught by Zalatimu to draw with pencil and ink, to paint with watercolors, and to sculpt in limestone.

After convincing his religious and conservative father that “art could be a profitable profession,” he started by decorating wedding dresses with flowers and birds and then opened his own shop, which was in fact his first studio. There he painted his first oils depicting natural scenery and portraiture before the Nakba of 1948.

Three days after the fall of Lydda and Ramla to the Zionist forces, on 13 July 1948, Shammout and his family (along with the inhabitants of the two towns) were forced to leave and go on foot to Ramallah and were not allowed to carry water. His young brother Tawfiq died of thirst before they arrived at the village of Nilin, near Ramallah. Shammout documented that march of death, exhaustion, and thirst in several paintings executed in the 1950s.  The family continued to move until it settled in the tents that eventually formed the Khan Yunis refugee camp.

Shammout sold pastry for one year and then volunteered to teach drawing at the refugee schools, which were set up in tents. This allowed him to resume his artistic career and to exhibit his paintings in a room in the Khan Yunis government school in 1950. That same year he joined the Fine Art Academy in Cairo and lived off his earnings, drawing movie posters.

Shammout held his first exhibition in 1953, having accumulated enough paintings for a large exhibition “but did not have enough courage” to hold it in Cairo. So he exhibited at the Employees Club in Gaza city jointly with his brother Jamil. At that exhibition Shammout presented some sixty paintings including his now famous Where to? and A Mouthful of Water. That exhibition was regarded as the first contemporary art exhibition in Palestine’s history by a Palestinian artist on Palestinian soil, as judged by its size, the number of works exhibited, the way it was opened, and the mass attendance.   

In 1954 he held an exhibition in Cairo called The Palestinian Refugee jointly with an art student at the Fine Arts Academy, Tamam al-Akhal, and the Palestinian artist Nuhad Sabasi. This exhibition was under the auspices of Gamal Abdel Nasser, at that time Egypt’s prime minister, and was attended by Palestinian leaders. His earnings from that exhibition encouraged him to travel to Italy where he soon received a scholarship to study at Rome’s Academia di Belle Arti, and he remained there for two years (1954–56).

Following his graduation he moved to live and work in Beirut with his brother Jamil at the UN Relief and Works Agency (UNRWA). The brothers set up an office for commercial art and book design; the latter included a pamphlet for the Lebanese army entitled “Human Civic Education.”

In 1959 he married fellow artist Tamam al-Akhal and thereafter they worked closely together, artistically and professionally. They trained art teachers in Beirut, Jerusalem, the West Bank, and Gaza Strip and held joint exhibitions in those localities.

Shammout and al-Akhal followed closely the creation of the PLO at the First Palestine National Congress in Jerusalem in 1964. In 1965 he set up the Artistic Culture Section of the PLO Department of Information and National Guidance (later known as Department of Information and Culture) and directed its activities until 1984. When the offices of the PLO in Jerusalem closed, the couple returned to Beirut in 1966 and resumed work with the PLO there, in addition to their personal work as artists. Shammout completed an innumerable number of posters and literary, political, and traditional projects and with al-Akhal organized tens of political and personal exhibitions in cities around the world, including Gaza, Cairo, Jerusalem, Ramallah, Nablus, Amman, Washington (plus twelve other US cities), Tripoli, Damascus, Kuwait, London, Belgrade, Sofia, Beijing, and Vienna, in addition to murals called The Path in Amman, Ankara, Istanbul, Doha, Sharjah, Dubai, Cairo, Damascus, Aleppo, and Beirut. Among his most notable achievements is the hall called Dar al-Karama in Beirut where seasonal exhibitions by young artists from Palestinian refugee camps were displayed, as were other Arab and international solidarity exhibitions.

In 1969, Shammout and other Palestinian artists founded the first General Union of Palestinian Artists; he remained its secretary-general until 1984. He also participated in founding the General Union of Arab Artists in 1971 and was its first secretary-general, a position he held until 1984.

Following the Israeli invasion of Lebanon in 1982, the departure of the Palestinian resistance and its leaders, and the closing of the PLO offices, Shammout (who had a heart condition that had worsened) was forced to move with his family to Kuwait in 1983, where they lived through the occupation of Kuwait in 1991 and the second Gulf War. After the liberation of Kuwait, the family was again forced to move in 1992, this time to Germany. In 1994, Shammout and al-Akhal finally settled in Amman, Jordan.

Shammout is generally regarded as a pioneer of contemporary Palestinian art. He was a committed artist whose style was realistic with some symbolistic elements. The Palestinian cause dominated his art, some of which was widely distributed in camps and houses and in solidarity with Palestine campaigns in the Arab countries and beyond. Some of his works can be regarded as iconic for the Palestinian people.

Shammout never ceased to depict the Palestinian exodus from Palestine in paintings that carried titles and meanings very much present in people’s minds and in his own experience; an example is  the painting he titled Where to? (1953). His paintings were inspired by camp life (such as Memories and Fire, 1956; We Shall Return, 1954; and Bride and Groom at the Border, 1962) and called for reflection on the meaning of a nation in waiting.

The PLO awarded him the Revolutionary Shield for Arts and Literature, the Jerusalem Medal for Culture, Arts and Literature, and The Palestine Prize for the Arts. The Arab Thought Forum awarded him The Creative Prize for Arab Painting. An annual prize in his name is awarded for excellent Palestinian painting. His works have been acquired by several Arab and international museums.

His heart condition forced him to undergo three critical operations, the third of which was performed in Leipzig, Germany; he died on 3 July 2006 and was buried in Amman.

In addition to his paintings, he wrote histories of Palestinian painting and crafts and produced a number of films, which were influenced by his artistic experiences. These include a film called Memories and Fire (1973), which won the Short Documentary Film Prize at the Leipzig Festival; Urgent Appeal (1973); and On the Road to Palestine (1974). Noura al-Sharif produced a short film called Ismail, which dealt with a part of his life during his first period as a refugee in the Khan Yunis camp. A website devoted to his work is available at http://www.ismail-shammout.com

From Palestinian Journeys

Read more about Middle Eastern politics and history in In That Howling Infinite in:  A Middle East Miscellany

Joy فرح