MAP is in Santa Fe

This slideshow requires JavaScript.

From 16th September to 16th October ‘The Map is not the Territory’, curated by Jennifer Heath and Dagmar Painter will be showing at the Santa Fe University of Art and Design, Santa Fe, New Mexico, USA.

http://themapisnottheterritory-artshow.weebly.com/about.html

 

The Map Is Not the Territory. thanks from students at Concordia

http://themapisnottheterritory-artshow.weebly.com/about.html

Thank You from Dr. Duncan’s Postcolonial Lit Students

Dear Jennifer,

We deeply appreciate the time you spent and the work you did to provide our Postcolonial Literature Seminar with the PowerPoint accompaniment to your stunning exhibit of The Map Is Not the Territory. After moving through it in class and allowing students to return to it on their own via Moodle, I asked my students to express to you their thanks in a short note, saying whatever struck them most. I have copied those into a single document here. I hope you can tell how much your efforts have meant to us.

With sincere gratitude,

Dawn

Thank you so much for putting together this PowerPoint for my class. Seeing the art that has come out of these struggles truly helps to deepen my understanding of these conflicts. The Flying Lessons series by Hani Zurob particularly struck me, as did Free D by Rawan Arar and Palestine Dublin 2012. The solidarity and hope that these oppressed peoples have found among one another is so important for the world to witness. Thanks again for taking the time to put together the special presentation for my class – it was a unique experience, and I’m so glad I had the chance to see it.

Audrey Gunn

Dear Jennifer Heath,

I thoroughly enjoyed your PowerPoint presentation on the exhibit, and I was able to make many connections to indigenous people in my homeland (Norway) as well as connections within postcolonial studies. There were a lot of aspects that interested me, but I especially wanted to highlight the art I liked the best. The picture of Palestinian support in Dublin shows clearly the importance of countries that are in, or have been in, a postcolonial situation to stand together. By standing together, they can unite in the quest for true freedom and independence. Thank you so much for creating this presentation and exhibit, and for sharing it with us!

Best wishes,

Ellie Pedersen

The depth and intertwining relevancy of your work struck me throughout the PowerPoint, as your discourse spreads through culture and through time. One slide I particularly liked, was the one that featured your analysis of the role currency can play in different contexts. While I’ve been surrounded by various types of currency in my lifetime, I hadn’t fully considered the implications of currency’s connection with identity. I found the concept of currency operating as an aesthetic that celebrates cultural and political value within the milieu of spaces of social encounter and cultural complexity to be very stimulating. Thank you for making such a huge effort to help us as students connect with the material in the PowerPoint. I appreciated it very much and enjoyed the learning experience thoroughly.

Ben Deetz

Jennifer, thank you so much for the time you took to prepare your PowerPoint and share it with us. It was very helpful for me to go through it, especially after reading the three novels that cover the three communities your PowerPoint focuses. I really like the section about identity. From my experiences of reading the novels, I would definitely agree with you saying that despite all the sufferings they have gone

through, the Palestinians, Native Americans, and the Irish have never lost their identity. I think it is an important lesson for us as readers to note because identity is what defines us. The visuals were also very helpful in understanding these three cultures. Thank you again.

Kalai Laizer

Ms. Heath,

Thank you for creating the interactive The Map is Not the Territory presentation for use in our class. The individual piece that most struck me was Vivien Sansour’s Abu Nadal, particularly with understanding of its context in mind; the Nadal quote,”They consider my parents’ graves, my olives, and my old pine tree a problem,” was interesting for its juxtaposition of such simple, peaceful things as olives and a pine with the looming specter of military government and court disputes.

Thank you again,

Austin Gerth

Thank you for allowing our class to view your presentation. I never realized the ways in which Palestine, Ireland, and the Native Americans are connected. This presentation made me understand how the occupation of a place is more than an occupation of the land, but also an occupation of the people and the ways in which we identify ourselves goes deeper than the place where we live. Your work made me think about the different ways in which art can tell a story. Art has the ability to break down barriers, convey emotions, and tell a story without saying any words. Being able to see these works of art gives insight into the experiences of the people. Again, thank you for putting this all together and giving us the opportunity to learn from it.

Thanks,

Sarah Swansen

I really enjoyed your presentation connecting the three postcolonial peoples we studied. Knowing that the Irish and the Palestinians had a kind of camaraderie was something entirely new to me, but it informed my reading of Mornings in Jenin. The Irish character in that book made so much sense knowing the historical background that your presentation provided. One of my favorite art pieces was Currency 1, 2, and 3 by Mick O’Kelly. I studied in Ireland last fall and learned a little bit of Irish. I love how it was incorporated on the 20 pound note, and how the 10 pound note incorporated bits of Dublin. Then only thing I was confused about was why they were pound notes instead of Euros. Perhaps the artist is trying to say something with that, but I’m not really getting it. Thank you so much for putting together this powerpoint. I really appreciated all your hard work and learned a lot from it. thank you -Michaila Gerlach

MAP Review

Link to a review on MAP that came out yesterday in Muftah, written by Sarah Moawad.

http://muftah.org/solidarity-and-survival-in-the-palestinian-native-american-and-irish-struggles/#.Vhk6gPlVikq

Israeli journalist Amira Hass penned an impassioned op-ed in Haaretz this week that is garnering a slew of both positive and negative reactions. Referring to the recent wave of violence in Jerusalem and the Occupied Territories, Hass writes that Palestinians are fighting for survival, whereas Israel is fighting to maintain the occupation:

The war did not start last Thursday, it does not start with the Jewish victims and does not end when no Jews are murdered. The Palestinians are fighting for their life, in the full sense of the word. We Israeli Jews are fighting for our privilege as a nation of masters, in the full ugliness of the term. That we notice there’s a war on only when Jews are murdered does not cancel out the fact that Palestinians are being killed all the time, and that all the time we are doing everything in our power to make their lives unbearable. Most of the time it is a unilateral war, waged by us, to get them to say “yes” to the master, thank you very much for keeping us alive in our reservations. When something in the war’s one-sidedness is disturbed, and Jews are murdered, then we pay attention.

Young Palestinians do not go out to murder Jews because they are Jews, but because we are their occupiers, their torturers, their jailers, the thieves of their land and water, their exilers, the demolishers of their homes, the blockers of their horizon. Young Palestinians, vengeful and desperate, are willing to lose their lives and cause their families great pain because the enemy they face proves every day that its malice has no limits.

Hass is calling out the hypocrisy of a reaction amongst Israelis that is reliant upon tragedy of a certain variety, an outrage that excludes the usual victims because they are just that – usual, commonplace, collateral damage or target practice. She is leveling a critique from within, aimed at the community of which she is a part (much like Sara Swetzoff’s Muftah article about being a white settler in North America), in the hopes of delivering a message: that it is, and always has been, the occupation that is the problem. But she is also doing something else. Her language indicates a desire to situate the Palestinian struggle within a broader context, to draw parallels to those struggles that have come before. Her choice of words seems deliberate and intentional, as she calls out Jewish Israelis and their privilege as “a nation of masters,” waging a unilateral war “to get them to say ‘yes’ to the master, thank you very much for keeping us alive in our reservations.” Hass has previously written about Israel’s tendency to draw inspiration from the United States. It is unsurprising, then, that she has again seems to be making a direct reference – using the language of “reservations” and “masters” – to the Native American struggle, and possibly slavery, in her discussion of the plight of Palestinians. In her 2012 Haaretz article, “Israel Must Understand It Cannot Be America,” Hass draws the parallel more explicitly, writing:

Thinking America guides Jewish-Israeli society in its policy toward our very own red Indians. Why should we be less successful than the United States, Canada or Australia, which, as they came into being and gained world eminence, wiped out – to differing degrees – the societies and communities that lived there before? When it comes to us, why should people not forget what they have forgotten about those countries, which now present themselves as bastions of enlightenment?

Connecting Palestine to other historic and ongoing struggles with similar characteristics and roots – Indigenous, Irish, Black struggles – is significant because it builds solidarity among these groups, which have suffered the effects of settler-colonialism and racism, helps them preserve collective memories and resist erasure, and allows them to learn from one another and hold those in power accountable. This is the idea behind the traveling art exhibit, The Map is Not the Territory, sponsored by the Boston Palestine Film Festival and currently on display at the Cambridge Multicultural Arts Center in Cambridge, Massachusetts until November 3rd. Its next stop is the Arab-American Museum in Dearborn, Michigan. The exhibit derives its name from a phrase coined by philosopher/scientist Alfred Korzybski, who argued that our perceptions and representations of reality – “maps” – are not necessarily synonymous with reality – the actual territory. People may exist in a territory that is not reflected in the maps and borders drawn by colonizers. Featuring work by thirty-nine contemporary artists, most of whom are Palestinian, Native American, and Irish, the exhibit’s website makes its mission clear:

“The Map is Not the Territory” looks at relationships and commonalities in Palestinian, Native American, and Irish experiences of invasion, occupation, and colonization – not as novelty or polemic, but as history and current events. Although many peoples worldwide have suffered long and brutal intrusions, Palestinians, Native Americans, and the Irish have intersected for centuries in specific and often unusual ways. What are some of these intersections and how do contemporary artists examine and process them through their own lives and visions?

The pieces on display are divided into themes like “Occupation/Wall,” “Conflict/Resistance,” and “Home/Diaspora.” Through these categories the viewer gets a sense of the critical issues that make up the stories of these struggles, and how they manifest themselves in both different and intersecting ways. The pieces, ranging from photographs to paintings to mixed media works, engage with notions of identity, resistance, sovereignty, memory, and tradition by featuring cultural artifacts and designs (tipis, Bedouin tents, Palestinian embroidery), flags, passports, and graffiti in their work.

Jaune Quick-to-See Smith, House and Home (Source: Jennifer Heath)

c6c79b2ef2ab798f71cf6c3c5e1d2103

 

72337a7bc0c79febf72bea16059e6932

While most of the pieces focus on one specific struggle – such as Gazan artist Hani Zurob’s Flying Lesson series featuring paintings of his young son set against a void portraying exile and erasure – some are collaborative efforts that bring together the issues of more than one group. One such piece by Native American printmaker Melanie Yazzie, entitled Seeing Each Other, features a Native American woman and a Palestinian woman side by side, surrounded by their respective cultural symbols and artifacts, a testament to the endurance and survival of cultural heritage and memory. Others include Najib Joe Hakim’s Fraternal Bond, which places a photo of a Native American boy alongside a Palestinian boy in a frame set against a Palestinian keffiyeh (traditional scarf), and Grace Woodward’s Shaping the Enemy, a compilation of political cartoons and caricatures depicting Palestinian, Native American, and Irish stereotypes.

ff780c9c5182946eecf052783a4e1703

 

Najib Joe Hakim, Fraternal Bonds (Source: Sarah Moawad)

The exhibit is a powerful testament to the endurance of the human spirit and an insistence on preservation in the face of decades of colonization, occupation, and systematic erasure. These artists are creating their own maps – maps of memory, heritage, and the legacy of resistance – to replace those they have been left out of. If maps are mere representations of reality, then these are the retraced boundaries of lived reality from below, rather than those imposed by the colonizer. Whether we are seeingthe beginnings of a Third Intifada or not, the fight of Palestinians, like that of the Northern Irish and Native Peoples, is a fight for life, a fight for preservation, a fight to draw one’s own map.

Boston Palestine film Festival

The Boston Palestine Film Festival
cordially invites you to the gala opening of
 
Parallel Paths: Palestinians, Native Americans, Irish 
 
Opening Reception
Thursday, September 17, 2015
6:00 – 8:00 pm
41 Second Street
East Cambridge, MA 02141
 Thirty-nine contemporary artists (see list below) from around the world–

most of them Palestinian, Native American, and Irish–

explore the shared historical and contemporary paths of the three cultures

with 68 original works, including paintings, photographs, prints, drawings,

artist books, and films.

Conceived by Jennifer Heath and co-curated with Dagmar Painter, 

the exhibition is traveling throughout the United States and abroad

on a five-year tour.

 

INVITED ARTISTS, PLEASE TAKE NOTE

We would love to have as many of the participating artists present at the Opening Reception as possible. If you are a participating artist and plan to attend, kindly let us know in advance, and if so, if you would be willing to say a few words to guests about the exhibit and what it means to you, as well as sign exhibit catalogues.

R.S.V.P.: Michael Maria, Operations Director

michael@bostonpalestinefilmfest.org
The favor of a reply is requested by August 25, 2015

Learn more about:

The Map Is Not the Territory

The Boston Palestine Film Festival

The Cambridge Multicultural Arts Center

*”The Map is Not the Territory” was coined by philosopher/scientist Alfred Korzybski.

Participating Artists 
 
6+: A WOMEN’S ART COLLECTIVE
JOHN HALAKA
NADEMA AGARD
MICHELE HORRIGAN
NORMAN AKERS
ANDREW ELLIS JOHNSON
FATIN Al-TAMIMI & LISAMARIE JOHNSON
MICHAEL KEATING
NEAL AMBROSE-SMITH
TOM QUINN KUMPF
RAWAN ARAR
JANE MCMAHAN
SCOTT BENESIINAABANDAN
ALAN MONTGOMERY
CLAUDIA BORGNA
MALAQUIAS MONTOYA
RAJIE COOK
MICK O’KELLY
WAHSONTIIO CROSS
VIVIEN SANSOUR
MANAL DEEB
DONNA SCHINDLER
RITA DUFFY
SUSANNE SLAVICK
MATTHEW EGAN
JAUNE QUICK-TO-SEE SMITH
MONA EL-BAYOUMI
MARY TUMA
MICHAEL ELIZONDO, JR.
KERRY VANDER MEER
NAJAT EL-TAJI EL-KHAIRY
SHERRY WIGGINS
PHOEBE FARRIS
MELANIE YAZZIE
ELENA FARSAKH
HELEN ZUGHAIB
NAJIB JOE HAKIM
HANI ZUROB
RULA HALAWANI

Now Available The Exhibition Catalogue for “The Map is Not the Territory”‏

2a04c5c3-44a7-4c05-a9fc-14b57bf5b2adAs the show is attracting and receiving more and more attentions I’d like to share few links as well as announce the exhibition catalogue. available on Amazon.

To learn more about the exhibit, visit our website here

http://islamicartsmagazine.com/magazine/view/p21_gallery_presents_the_map_is_not_the_territory/

http://www.iainbiggs.co.uk/2015/06/considerations-of-the-map-is-not-the-territory-an-essay/

The Map is Not the Territory” looks at relationships and commonalities in Palestinian, Native American, and Irish experiences of invasion, occupation and colonization. Although many peoples worldwide have suffered long and often brutal intrusions, Palestinians, Native Americans and the Irish have intersected for centuries in specific and often unusual ways. What are some of these intersections and how do contemporary artists examine and process them through their own lives and visions?The artists and writers — most of them Palestinian, Native American and Irish — explore the many profound connections between these three groups across centuries of conflict and resistance in this enlightening and revolutionary exhibition conceived by Jennifer Heath and co-curated with Dagmar Painter.

The Map is Not the Territory” will tour through 2018. To follow the show’s progress from Washington D.C. to London and beyond, check out our calendar.

Responses to the Catalogue“Given the current climate around the Middle East, and especially around Israel’s predations in Palestine, few in the world of the arts have had the courage to approach the subject, or the intelligence to approach it reasonably. This exhibition and publication make amends for such omissions, and do so with fierce integrity.” — LUCY R. LIPPARD, writer, art critic, activist and curator, author most recently of Undermining: A Wild Ride Through Land Use, Politics and Art in the Changing West

“The Map is Not the Territory” is a phenomenal project … a terrific collection of words and images. The connections among Natives, Palestinians and Irish are both fruitful and under explored, so this show will go a long way in addressing a deficit in transnational exploration of the communities who withstood colonization. I feel profoundly enriched having engaged the creativity of these artists. — STEVEN SALAITA, scholar, writer and public speaker, author ofThe Holy Land in Transit: Colonialism and the Quest for Canaan

Copyright © 2015 baksun books & arts, All rights reserved.

Our mailing address is:

baksun books & arts

1838 Pine Street, Boulder, CO, United States

Boulder, CO 80302

Ramadan is coming soon At the Arab british centre

Arab British Centre

RAMADAN IS COMING TO TOWN!

Thumb Pic
R amadan Night
This evening will revive old Ramadan traditions from the Arab and Muslim world. Arts Canteen will gather musicians, poets and story tellers for a magical evening.
Saturday 20 June, 9pm @Rich Mix |£12 -£15
Thumb Pic
T he MapIs Not the Territory
This exhibition looks at relationships and commonalities in Palestinian, Native American, and Irish experiences of invasion, occupation, and colonisation.
12 June- 25 July @P21 Gallery |Free
Thumb Pic
PALMUSIC UK Concert
An evening of Western Classical and Arabic Music with Palestinian and British musicians   dedicated to the students and teachers of the Edward Said National Conservatory of Music in Palestine.
Thursday 25 June, 7:30 pm @St James’ Church | £70- £40-£25-£15
Thumb Pic
B E F estival: MOUVMA! Collectif Corps Citoyen (Tunisia/Italy) 30 min
Three actors take us back to the beginning of the Arab Spring in Tunisia. Torn between a desire to witness change and a desire to escape the chaos, a time of anger, dignity, and dull helplessness.
June 27, 7pm, @The Studio, Birmingham| £12-£22

Proud To be part of this show: a preview of The Map is Not the Territory at P21 in London

This slideshow requires JavaScript.

The Map is not the territory now showing in London at P21 Gallery

I am very honoured to announce that the Itinerant show curated by Jennifer Heath and Dagnar Painter is showing at P21 Gallery in London.

P21 gallery presents The Map is Not the Territory, looking at the relationships and commonalities in Palestinian, Native American, and Irish experiences of invasion, occupation, and colonization – not as novelty or polemic, but as history and current events. To understand history is the first step toward peace.

Press-release: http://www.p21.org.uk/AboutTheMapisNottheTerritory.aspx

The Exhibition continue 12 June 2015 – 25 July 2015 | Open Tuesday – Friday 12 – 6pm, Saturday 12 – 4pm, Wednesdays until 8pm

Location: 21 Chalton Street, London, NW1 1JD | Nearest underground: King’s Cross/St. Pancras and Euston Station | Tel: 020 7121 6190 | Web: p21.org.uk

The Map is Not the Territory-page-001 2

WATER PERSPECTIVES

IN FLOW, FLUID AND LIQUID IS WATER’S PERSPECTIVE. It goes beyond 3D and 4D. Thank you Jack Collom for your beautiful poem it has change my perspective and the way I look and think the world. Thank you Jennifer Heath for posting it on your Blog:

https://waterpoetryprose.wordpress.com/2015/01/25/jack-collom/

collom-10-ways1

Jack Collom: born Chicago 1931, grew up in nearby Western Springs. Woods and birds. Moved to Colorado, studied Forestry. USAF four years, factory, GI Bill English degrees. Freelance poetry teacher forty years. Longtime Naropa U. adjunct. Books on kids’ writings. 25 books of own poetry. National Arts Endowment awards, FCA award. Seeks to match nature’s variety with variety of ways to think/talk about it.

Helen Zughaib

Surfing through WATER, WATER EVERYWHERE ~ Poems, Short Prose & Art I just could not resist to ask permission to Jennifer Heath, curator of the show Water Water Everywhere Pean to a Vanishing Resource, and to artist Helen Zughaib to include this beautiful artwork to my blog:

moonlight_fishing-helen_zughaib-1

Painting by Helen Zughaib©

Moonlight Fishing

A recollection of days gone by before Kuwait struck it rich with oil. Pearl diving is now just a highly respected folkloric celebration to remind the younger generation of the old days. Moonlight Fishing is a paean to a vanished tradition, a vanished resource.

Helen Zughaib was born in Beirut, Lebanon, and lived mostly in the Middle East and Europe before coming to the United States to study art. She received her BFA from Syracuse University, College of Visual and Performing Arts. She paints using gouache and ink on board, transforming her subjects into a combination of colors and patterns, creating a nontraditional sense of space and perspective.

Zughaib has exhibited widely in New York and the Washington D.C. area. Her paintings are included in more than 80 private and public collections, including the White House, World Bank, Library of Congress, United States Consulate General, Vancouver, Canada, American Embassy in Baghdad, Iraq, and the Arab American National Museum in Detroit, Michigan. Most recently, she served as United States Cultural Envoy to the West Bank, Palestine.

Zughaib feels that her background in the Middle East allows her to approach the experiences she has in the U.S. in a unique way, remaining an observer of both the Arab and American cultures. She believes that the arts are one of the most important tools we have to help shape and foster dialogue and positive ideas about the Middle East.

Hopefulness, healing, and spirituality, are all themes that are woven into her work.

Moonlight Fishing, 24 x 24, gouache on board, collection of Russ Conlan and Doug Hansen.