Honouring Iraqi Literature Helps Diaspora Heal - New Canadian Media
Samaah Jaffer
March 21, 2016
“Near the old Jewish quarter of Baghdad, at Al Rasheed Street, there is a meandering alley named after the Iraqi poet Al Mutanabbi,” read Shawk Alani, the organizer of the ninth “Al-Mutanabbi Street Starts Here” reading in Vancouver.
The reading, quoting Phillip Robertson’s 2005 report, “The death of Al Mutanabbi Street,” was the first of many during an evening in commemoration of Iraqi literature.
On Mar. 5, 2007, a car bomb devastated the famous bookselling street. Since 2007, writers, activists and artists have marked the anniversary of the attack with literary readings as part of a project called “Al-Mutanabbi Street Starts Here.” Spearheaded locally by the Pandora’s Collective at the invitation of founder Beau Beausoleil,  the annual event has  included readings from Vancouver writers like Bonnie Nish and Hadani Ditmars.
This year, readings were held in over 20 cities across North America, Europe and the Middle East.
“I think the idea of Al-Mutanabbi Street ‘starting here,’ is to put context to history, and to say that these issues are not just issues that are local,” said Shawk, who prefers to be referred to using her first name. “These politics cross borders, there is relationships between what happens here and what happens in Iraq.”
During Saddam Hussein’s reign, writers and intellectuals were servants of the state who produced literature praising the regime, for which they were rewarded.
The evening at Simon Fraser University’s Vancouver campus was an immersive experience, where guests were greeted with a classical Iraqi playlist as they entered and offered cardamom tea.
Alani introduced the historical and political significance of the event, reminding the crowd of the pitfalls of the literary culture that was being celebrated. During Saddam Hussein’s reign, writers and intellectuals were servants of the state who produced literature praising the regime, for which they were rewarded.
The readings included the original and translated works of the 10th century poet, Al-Mutanabbi, read by Wadood Hamad, adjunct professor in chemistry at the University of British Columbia.
Hamad also read the poetry of one of Iraq’s most famous and influential poets of the 20th century, Muzaffar Al-Nawab, who wrote on the themes of love, politics, philosophy and existentialism.
Iraqi writer Dima Yassine and Palestinian filmmaker and songwriter Sobhi Al-Zobaidi performed original works that reflected on their lived experiences and memories of their homes.
“Art is an outlet; it is a place where we put our pain.”
Sara McIntyre read an excerpt from Inaam Kachachi’s American Granddaughter, a novel about a young Iraqi-American who serves as a translator during the 2003 invasion of Iraq. In the passage, the protagonist must stage a raid of her own grandmother’s house, as it’s the only way she is allowed to see her.
Alani issued a trigger warning prior to reading from journalist Anthony Shadid’s book Night Draws Near.
The excerpt, titled “A boy who was ‘like a flower’” dealt with the funeral of two teenaged boys who were victims of an unattributed attack. The scene addressed a raw, intimate moment of sorrow, anger and frustration that was all too common during the Iraq War.
In addition to the readings, Shawk showcased a short film by Iraqi creative director Mustafa Al-Sumaidaie, featuring the rebuilt Al-Mutanabbi street today, and played Walid Gholmieh’s Symphony No.2, “Al-Mutanabbi” B. Flat Major.
Shawk’s grandfather collaborated with the Lebanese composer to produce the piece, which was meant to provide listeners with an auditory experience similar to that of reading Al-Mutanabbi’s poetry.
“I think it’s important to make spaces that are critical, events that are a bit more involved, bringing more critical thought into people’s consciousness,” said Shawk of her involvement in the initiative.
She said that bringing the story of Al-Mutanabbi Street into consciousness and awareness was the first step, but she also felt the need to give people an opportunity to act upon this knowledge.
“Doing readings by other people is kind of like sharing that thing that has been externalized, and realizing that actually there are so many ways in which we have the same experiences.”
To inspire action, Shawk screened a video clip featuring Iraqi-born artist Wafaa Bilal: 168:01, an art installation in Windsor, Ont. that includes a 12-metre bookcase filled with 20,000 blank books. Bilal hopes to swap each of the blank books for a real book that will be donated to the University of Baghdad’s College of Fine Arts.
Shawk said the significance of hosting this reading is about saying, “I’m here, I’m a part of this city now, and I want to bring to people’s awareness things that are happening in the other place where I also belong.”
She indicated that for members of the Iraqi and Arab diaspora, the event also represented an opportunity for “dealing with the emotions, the crisis, the trauma, all in a way that’s productive.”
Shawk noted that the Iraqi diaspora is quite diverse and unique in that there have been multiple conflicts over the past 50 years during which large populations emigrated, either as refugees or by choice.
“Art is an outlet; it is a place where we put our pain. You take the pain, you externalize it in a piece of art, and then you can step back and look at it and deal with it in a different way, and you can share it with other people,” said Shawk.
“Doing readings by other people is kind of like sharing that thing that has been externalized, and realizing that actually there are so many ways in which we have the same experiences.”
Shawk added that “Al-Mutanabbi Street Starts Here,” enables Iraqis — a group that has been historically victimized and portrayed as weak, unhappy and constantly being killed — to partake in creating an alternate history for themselves.
Reflecting on her own birth in Baghdad in the wake of the first Gulf War, Shawk explained, “You can create a space in literature where you can celebrate life, resistance, and existence.”
Publisher’s Note: This report has been updated to correct the history of this initiative: this was the ninth – not the first – edition of the reading. We regret the error.
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