Loading ...Ending memoricide-- the Nakba Museum project
Photo in the Nakba museum, photo by Hamde Abu Rahma
By: Alice Rothchild
A decade ago I was on a speaking tour in Washington DC with Husam el Nounou, administrative director of the Gaza Community Mental Health Program. I will never forget while exploring the National Museum of the American Indian, he suddenly left in tears. As we stood in front of the large stone edifice he explained this is what he fears for Palestinians, that we will mostly know their culture and history through static dioramas reflecting a reality that exists only in the past, while the remaining population is left to eke out a desperate existence living on reservations.
More recently Bshara Nassar whose family founded the extraordinary Tent of Nations near Bethlehem in the West Bank, also arrived in Washington DC to work on a master’s degree in conflict transformation. He noticed the numerous museums dedicated to recording the history and culture of oppressed peoples, the National Museum of the American Indian as well as the Holocaust Museum, Laogai Museum, Women in the Arts, African Art, etc. In this city where the powerful narrators of human history collect and frame the cultural and historical bits and pieces that shape official memory, he realized there was no space for Palestinian stories. He noted a deafening absence of his own family trauma, the experience of the Nakba, Arabic for “Catastrophe,” referring to the loss and dispossession of the indigenous peoples that began in 1948 with the founding of the State of Israel.
A team of Palestinian and Jewish-American artists, (“a passionate Palestinian” and “a well meaning Jew”), joined Bshara to organize, fundraise, and launch the first in the world Nakba Museum Project of Memory and Hope. They chose to focus on the 750,000 people originally displaced from their homes in historic Palestine and their five million descendants, UN registered refugees living the consequences of that expulsion in nearby villages, cities, refugee camps, and the Diaspora.
On June 13, 2015, the humble but deeply aspirational two-week exhibit opened at the Festival Center in Washington DC. The exhibit features large, beautifully rendered panels (produced by a German group Fluchtlingskinder im Libanon e. V., a charitable organization dedicated to aiding Palestinian refugee children in Lebanon), each focusing on different fragments of history. The panels start before 1917, moving sequentially up to today, explaining important United Nations Resolutions, and the human consequences of this complex and tortured saga. The sections encompass factual texts, excellent maps, evocative historic photos, and personal narratives to present a compelling and accessible account. Some of the material is from the Israeli organization Zochrot, Hebrew for “Remembering,” that researches the destroyed Palestinian villages in Israel and brings this information and the painful questions that arise to an ambivalent and largely ignorant Jewish Israeli public. But this is not only a tribute to a past that has been made invisible; there are also a series of panels with narratives and photos of today’s refugees, living in camps from Lebanon to cities in Germany, making these stories personal, real, and compelling.
Source: mondoweiss.net