"After Obama spoke, Elizabeth Alexander rendered a poem." *
"After Obama spoke, Elizabeth Alexander rendered a poem." *
Latset! An Anthology against the War in Gaza is currently available as a free pdf download (Hebrew only). In Hebrew, "latset" means "to leave, get out" and is used in this context as an imperative. The anthology represents a collaboration between poets and visual artists, some of whom may be familiar names outside of Israel. The work of the poet Aharon Shabtai, for instance, has been widely translated. I'd also like to highlight the participation of the poets Salman Masalha, Rami Saari, Merhav Yeshurun and Efrat Mishori. The anthology, Mati Shmuelof writes, "has been prepared with great urgency and rage, at the outbreak of the war, as an act of emergency protest." It is also, "a collaboration of hope." A number of journals came together to put together this anthology, including Daka, which I wrote about in an earlier post. For those who don't read Hebrew, here's my translation of a poem that I thought was particularly outstanding:
She was killed in Gaza
by Roni Hirsch
Maybe I was killed today
I do not know
there were discrepancies
in the international news reports
maybe I was killed today in Gaza
my family and I embraced and watched the blue sky
afterwards we scattered, maybe it happened then
and maybe we were still together
I went back to the past
the war was still before us
I do not know
in which one I was killed
maybe it was World War II
and Italian planes bombed Tel Aviv
image copyright The Qattan Foundation
Last Friday's edition of Haaretz featured a very interesting article by Yitzhak Laor on the young artist Randa Mdah. Mdah was born in the Golan Heights and studied art in Damascus, Syria. Laor and his friend traveled to Ramallah to see her work, which is currently on exhibit at the Al-Mahata Gallery.
Our hosts show us Mdah's work, "Puppet Theater," which is in a back room of the gallery. Photos cannot convey its full power. The wall bears a 2- by 3-meter polyester relief, next to three full-sized figures representing Arabs, bound by ropes to the ceiling. Mdah says [John] Berger thought the thick ropes supporting the marionettes were unnecessary. She insisted; he was persuaded, she says. Why did she insist? Because human beings are bound here to a routine, she explains, and gradually lose their identity amid the power game between the occupation, the poverty, the religious and the political--among other forces.
The Qattan Foundation named Mdah one of twelve "Young Artists of the Year" for 2008. The foundation's website includes a photograph of a detail from "Puppet Theater," which I included above. I haven't been able to locate more images of Mdah's work, though I would very much like to. She observes: "...I am confident that most objects, people and events are driven by a force beyond their nature. I see my surroundings as a theatre of rod puppets, with tight ropes controlling their movement at times and choosing their destiny at others. Trying to break free from the puppet inside me, I present this work as an attempt to capture reality."


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