The Black Panthers of Israel and Ya’akov Shofar’s Musrara Photographs: Taming and Politicisation (1978–83)

IF 0.3 2区 艺术学 0 ART History of Photography Pub Date : 2023-10-12 DOI:10.1080/03087298.2023.2257459
Na’ama Klorman-Eraqi
{"title":"The Black Panthers of Israel and Ya’akov Shofar’s Musrara Photographs: Taming and Politicisation (1978–83)","authors":"Na’ama Klorman-Eraqi","doi":"10.1080/03087298.2023.2257459","DOIUrl":null,"url":null,"abstract":"AbstractIn 1971, men from Musrara, an impoverished Jerusalem neighbourhood, formed the Black Panthers in protest against institutionalised discrimination against Jews from Muslim countries (Mizrahim). This article examines Born in Israel, a photography project by Ya’akov Shofar that appeared as a photography book in 1984 and as an exhibition at the Israel Museum in Jerusalem in 2017, to unpack the differences between these two instances. Shofar’s 1984 project portrayed young Mizrahi Musrara men while being interviewed by a Jerusalem municipality social worker. This collaboration had political potential but only fragments of these interviews are reproduced in the book. Although the men participated in the Black Panthers’ protests, the book underscores their ethnicity and avoids mentioning this movement. My study explores the visual and discursive elements that depoliticised the book due to the Black Panthers’ perceived threat to the hegemonic social order and in relation to local developments in photography as fine art. I show that, unlike the book, the 2017 Israel museum exhibition promotes Born in Israel’s relation to the Black Panthers, but also had limitations and contradictions. Finally, I argue that accounting for the unabridged interviews uncovers hegemonic Israel’s patronising attitude towards the marginalised photographed men, and compensates for lacunas in this project’s presentations.Keywords: Ya’akov Shofar (1947–)Musrarasocial documentarysocially engaged photographyBlack Panthers of Israel (1971–73)Mizrahi protestMizrahi masculinityBorn in Israel (1978–842017) Notes1 – Henriette Dahan Kalev, ‘The Big Missed Opportunity of Israeli Democracy: The Traumatic Memory as Legacy of the Wadi Salib Protests’, Israel Democracy Institute Articles, 7 July 2009 (Hebrew), https://www.idi.org.il/articles/5474.2 – See Na’ama Klorman-Eraqi, ‘Acting Out for the Camera: Performing Mizrahi Masculinity and the Politicisation of the Jerusalem Neighbourhood, Katamon Tet’, Journal of Modern Jewish Studies (March 2023), 1–27. Katamon Tet, one of the nine sub-neighbourhoods of Katamon, is also known as The Katamonim – tet is the ninth letter of the Hebrew alphabet. Among the social workers who worked with Shofar were Zadok Lavan, Doron Nehari and David Meiri. Shofar, interview with the author, 17 June 2019, The Israel Museum, Jerusalem; and Noa Zdaka, Photographic Truth is Natural Truth – Chronicles of a Photography Department (Tel Aviv: Resling, 2018), 238 (Hebrew).3 – Ya’akov Shofar, ‘About the Photographs’, in Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew); and The Knesset Channel Broadcast Channel 99, ‘Aharon Barnea interviewing Ya’akov Shofar – Photographer and artist’, 7 June 2017 (Hebrew), https://www.youtube.com/watch?v=VP6g53L_fsk (accessed 14 February 2021).4 – Edith Varga-Biro, ‘The Other Sabras’, Jerusalem Post Magazine, 14 September 1984, N. Some of the photographs in Born in Israel were first published in Ya’akov Shofar, Finding a Way Out (Jerusalem: The Photography Unit Bezalel Academy of Art and Design and the Division for Youth Advancement of the Jerusalem Municipality, 1981) (Hebrew).5 – Born in Israel also includes other themes such as portraits of young men smoking or playing pool at a Musrara Youth Club and of individuals dancing and celebrating at a wedding in Musrara, and images devoid of human presence of the neighbourhood’s disintegrating urban landscape.6 – This approach was shared by Avner Amiel, the head of the Jerusalem municipality’s Social Work Division (1965–73), whose work was based on principles of community social work and residents’ participation. Roni Kaufman, ‘Panthers in the Institution: Engagement of Jerusalem Municipality Social Workers in Public Struggles and Social Protest Movements 1965–1985’, in Justice Instead of Charity: Chapters in the Development of Social Work in Israel, ed. by Johnny Gal and Roni Holler (Beer-Sheva: The Ben-Gurion Research Institute for the Study of Israel & Zionism, Ben-Gurion University of the Negev, 2019), 373–77, 381–82 (Hebrew).7 – Shofar, ‘About the Photographs’, unpaginated.8 – Gilad Meiri, interview with the author, 30 October 2020, Makom le Shira, Jerusalem; and David Meiri, ‘David Meiri: Curriculum Vita Summary’, in Davidi a Memoir, ed. by Gilad Meiri, independently published, Israel 2019, 127–28 (Hebrew). Playwright Charlie Aboutboul, later the manager of the Musrara Social Theatre, came up with the idea for the theatre which he shared with Sa’adia Marciano who encouraged the project, and soon after, Avner Amiel became a key figure in its foundation and activity. Author’s conversation with Charlie Aboutboul, 3 September 2023.9 – Shofar, Born in Israel.10 – The man was identified as David Shitrit by Reuven Abergel.11 – Ashkenazim are Jews of Eastern European origin who held most of the influential social and political positions. In the late 1960s, ‘Mizrahim’ became the common category for Jews from Muslim countries and for understanding ethnic differences and tensions between them and the Ashkenazim. Since the 1980s, ‘Sepharadim’, the earlier prevalent term for marking Middle Eastern ethnicity, has been increasingly linked with religiosity. Throughout the 1980s, the two terms were used interchangeably. Harvey Goldberg, ‘From Sephardi to Mizrahi and Back Again: Changing Meanings of “Sephardi” in Its Social Environments’, Jewish Social Studies: History, Culture, Society, 15, no. 1 (Fall 2008), 165–88 (179); Deborah Bernstein, ‘The Black Panthers: The Personal and the Collective Story as a Political act and as a Politicization Platform’, in Israel/Palestine: Scholarly Tributes to the Legacy of Baruch Kimmerling (Jerusalem: Magnes: The Hebrew University Press, 2017), 258 (Hebrew); Dahan Kalev, ‘Big Missed Opportunity’; and Black Panther flyer, ‘The Goal of the Organisation’, in The Black Panthers, ed. by Avi Sabag and Roni Edri (Jerusalem: The School for Photography Musraraa, 1999) (Hebrew).12 – Kochavi Shemesh, unlike other North African Black Panthers, was born in Iraq. Deborah Bernstein, ‘The Black Panthers of Israel 1971–1972: Contradictions and Protest in the Process of Nation Building’ (PhD thesis, University of Sussex, 1976), 164, 202, 244.13 – Kaufman, ‘Panthers in the Institution’, 380.14 – Tali Lev and Yehuda Shenhav, ‘The Formation of the Enemy on the Inside: The Black Panthers as Objects of Moral Panic’, Israeli Sociology, 12, no. 1 (2010), 135 (Hebrew); Bernstein, ‘Black Panthers of Israel’, 160; Kaufman, ‘Panthers in the Institution’, 381; and Deborah Bernstein, ‘Conflict and Protest in Israeli Society: The Case of the Black Panthers of Israel’, Youth Society, 16 (1984), 141. The Black Panthers challenged the fundamental Zionist aspiration to end the exile of Jews by bringing them to the land of Israel. Their protests thus fractured and exposed the hegemonic and discriminatory ethnically based power relations of this aspiration. Oz Frenkel, ‘What’s in a name? The Black Panthers in Israel’, The Sixties: A Journal of History, Politics and Culture, 1, no. 1 (June 2008), 10.15 – La Merhav was established in 1954 and published until 31 May 1971, when it merged with Davar, a paper owned by the dominant Mapai labour party. Orly Tsarfaty, ‘La-Merchav: The Evolution of a Newspaper between Union and Division’, Kesher, 35 (Winter, 2007), 119 (Hebrew); and author’s correspondence with Debbie Eylon, editor of Kav Adom series of the HaKibbutz HaMeuhad, 7 July 2020.16 – Sara Bartal, ‘The Black Panthers Will Protest Today’, La Merhav, 2 March 1971, 6 (Hebrew).17 – Sara Bartal, ‘Conversation with Two Named the Black Panthers’, La Merhav, 12 March 1971, 3 (Hebrew).18 – Bernstein, ‘Black Panthers of Israel’, 340–41.19 – In 1973, the Black Panthers entered official politics. Itay Negri, The Mizrahi Protest in Wadi Salib the Events and Their Impact on the Black Panthers (Tel Aviv: Resling, 2018), 185 (Hebrew); and Israel Democracy Institute, ‘The Black Panthers Israeli Democrats’ (Hebrew), https://www.idi.org.il/policy/parties-and-elections/parties/hapanterim-hashorim/.20 – Zdaka, Photographic Truth, 238.21 – Shofar, interview; and Negri, Mizrahi Protest in Wadi Salib, 187.22 – Dahan Kalev, ‘Big Missed Opportunity’.23 – Reuven Abergel, interview with the author, 22 October 2019.24 – Shofar, interview; and Zdaka, Photographic Truth, 238.25 – There is no indication whether the Born in Israel exhibition at the Haifa Museum of Art in 1984 mentioned the Black Panthers.26 – There are three introduction sections in Born in Israel written by Hanan Laskin, David Meiri and Ya’akov Shofar (Hebrew).27 – Yael Guilat, The Lost Generation: The 1980’s generation in Israeli Art (Ben-Gurion Research Institute for the Study of Israel and Zionism, Ben-Gurion University of the Negev, 2019), 153–154 (Hebrew); and Edna Barromi-Perlman, ‘Visions of Landscape Photography’, Landscape Research, 45 no. 5 (2020), 574–77.28 – Tal-Or K. Ben-Choreen, ‘Emergence of Fine Art Photography in Israel in the 1970s to the 1990s through Pedagogical and Social Links with the United States,’ Contemporary Review of the Middle East 6, no. 3–4 (2019), 263.29 – Guilat, ‘Lost’ Generation, 153–54.30 – Na’ama Klorman-Eraqi, The Visual is Political: Feminist Photography and Countercultural Activity in 1970s Britain (New Brunswick, NJ: Rutgers University Press, 2019), 95.31 – Jochai Rosen, ‘The End of Consensus: The Crisis of the 1980s and the Turning-Point in Israeli Photography’, Journal of Modern Jewish Studies, 9, no. 3 (November 2010), 327–47.32 – Guilat, ‘Lost’ Generation, 154.33 – Ben Choreen, ‘Emergence of Fine Art Photography’, 257–65 (264 n. 5).34 – Hanan Laskin, interview with author, 19 October 2020.35 – Zdaka, Photographic Truth, 181; and ‘Hanan Laskin’, Hamichlol Jewish Encyclopedia, https://www.hamichlol.org.il/%D7%97%D7%A0%D7%9F_%D7%9C%D7%A1%D7%A7%D7%99%D7%9F. The Bezalel Academy of Arts and Crafts in Jerusalem was established in 1906 by Boris Shatz and became hegemonic in the (Jewish Israeli) fine arts field; see Yoav Peled and Horit Herman Peled, The Religionization of Israeli Society (Abingdon: Routledge, 2019), 180–81.36 – Zdaka, Photographic Truth, 181, 184–85, 238. The impact of US attitudes towards photography on Israeli photography can be viewed as part of an Americanisation process that Israeli culture underwent particularly since the late 1960s. Oz Frankel, ‘What’s in a name? The Black Panthers in Israel’, The Sixties: A Journal of History, Politics and Culture, 1, no. 1 (June 2008), 9–10.37 – Zdaka, Photographic Truth, 238; and Shofar, interview.38 – Bruce Davidson, East 100th Street (Cambridge, MA: Harvard University Press, 1970); Bruce Davidson, Bruce Davidson – Brooklyn Gang (Santa Fe, NM: Twin Palms, 1998); and Jim Lewis, ‘Leader of the Pack’, New York Times, 7 September 2010. East 100th Street was exhibited in the 1970s at the Museum of Modern Art in New York, and The Brooklyn Gang was exhibited in 1998 at the International Center of Photography, New York. Lynne Warren, ‘Bruce Davidson’, in Encyclopedia of Twentieth-Century Photography, vol. 1 A–F (New York: Routledge, 2006), 364.39 – Shofar, interview.40 – Zdaka. Photographic Truth, 238; Shulamith Lev-Aladgem, Theatre in Co-Communities: Articulating Power (London: Palgrave Macmillan, 2010), 79–82; and Tobi Arbel, ‘The Israeli Natives are Sad: Ya’akov Shofar Photographs the Musrara Neighborhood in Jerusalem’, Ha’aretz, 24 October 1984 (Hebrew), courtesy of The Israel Museum Jerusalem and Ya’akov Shofar.41 – Shofar, interview; and Zdaka, Photographic Truth, 238.42 – John Tagg, Burden of Representation: Essays on Photographies and Histories (Minneapolis: University of Minnesota Press, 1993), 2–5.43 – Shofar, interview.44 – Ibid.; and Hanan Laskin, ‘Introduction’, in Ya’akov Shofar, Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew).45 – Shofar, interview.46 – The literature on this image is extensive; see for example James Curtis, ‘Dorothea Lange, Migrant Mother, and the Culture of the Great Depression’, Winterthur Portfolio, 21, no. 1 (Spring, 1986), 1–20; Sally Stein, Migrant Mother, Migrant Gender: Reconsidering Dorothea Lange’s Iconic Portrait of Maternity (London: Mack, 2020); and David Campany, ‘An Essay on Dorothea Lange’s “Migrant Mother”’, Journal of Science and Technology of the Arts, 14, no. 2 (2022), 96–103. https://doi.org/10.34632/jsta.2022.11647.47 – Shofar, interview.48 – Emanuel Bar-Kadma, ‘Sabras born with Big Thorns’, 7 Days Yediot Aharonot, 19 October 1984, 16–17, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.49 – Shofar, interview.50 – Shofar, Born in Israel.51 – Ibid.52 – Motti Gigi, Development Towns – Kibbutzim Relations: Status Identity and Space – The Case of Sderot-Sha’ar ha Negev 1950–2012 (PhD thesis, Ben Gurion of the Negev University, 2016), 34 (Hebrew).53 – Author’s interview with Giora Rosen, founder and chief editor of Kav Adom series, 9 July 2020; and author’s correspondence with Debbie Eylon, editor of Kav Adom series of the HaKibbutz HaMeuhad, 7 July 2020.54 – Allan Sekula, ‘The Body and the Archive’, October, 39 (Winter, 1986), 3–64; Allan Sekula, Photography Against the Grain: Essays and Photo Works, 1973–1983 (Halifax, Nova Scotia: The Press of the Nova Scotia College of Art and Design, 1984); Martha Rosler, ‘In, Around, and Afterthoughts: On Documentary Photography’ (1981), in Decoys and Disruption Selected Writing, 1975–2001 (Cambridge, MA: MIT Press, 2004); Victor Burgin, ed., Thinking Photography (London: Macmillan, 1982); John Tagg, ’Power and Photography – Part One: A Means of Surveillance: The Photograph as Evidence in Law’, Screen Education, 36 (Autumn 1980), 17–24; and Abigail Solomon Godeau, Photography Against the Docs: Essays on Photographic History, Institution, and Practices (Minneapolis: University of Minnesota Press, 1991).55 – John Tagg, The Disciplinary Frame: Photographic Truths and the Capture of Meaning (Minneapolis: University of Minnesota Press, 2009), 58–59; and John Tagg, ‘The Currency of the Photograph: New Deal Reformism and Documentary Rhetoric’, in Burden of Representation Essays of Photographies and Histories (Minneapolis: University of Minnesota Press, 1988), 153–83 (chapter based on a lecture given at the Midland Group Gallery in August 1977).56 – The coupling between documentary images and the evocation of emotion has been prompted by various documentary practitioners. US documentary photographer Edward Steichen suggested that there are two types of documents: one gives factual information, and the other gives human information conveying the feeling of lived experience. Similarly, Scottish documentary filmmaker John Grierson claimed that the essence of documentary is not information but the power to move; he believed that emotion, properly felt and understood, engenders decent seeing and is intelligent. William Stott, Documentary Expression and Thirties America (Chicago: University of Chicago Press, 1986), 11–12.57 – Rosler, ‘In, Around, and Afterthoughts,’ 176.58 – Ibid., 179.59 – Ibid., 177.60 – Guilat, ‘Lost’ Generation, 154.61 – See Klorman-Eraqi, ‘Acting Out for the Camera’, 2–3; Knesset Channel Broadcast Channel 99, ‘Aharon Barnea Interviewing Ya’akov Shofar’; and Shofar, interview.62 – Since 1968, Shofar has been a Kibbutz member; first, a member of Nir David, then Sdeh Yoav and, finally, En HaShoffet. Shofar biography, personal archive.63 – Gigi, Development Towns, 34.64 – Zdaka, Photographic Truth, 81–87; and Dalia Manor, Art in Zion: The Genesis of Modern National Art in Jewish Palestine (London: Routledge Curzon, 2005).65 – Dahan Kalev, ‘Big Missed Opportunity’; and David Peretz, interviewed by David Meiri, 8 December 1982, Musrara Neighborhood, Jerusalem, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.66 – Noa Hazan, ‘Display of Institutional Power between Race and Gender’, Israeli Sociology, 2 (2013), 344 (Hebrew). Tova Levi and Rachel Abergel, women associated with the Black Panthers, took part in the group’s meeting with Prime Minister Golda Meir in 1971. Tali Lev, ‘“We will Erase the Past of Those who do not have a Past”: The Complete Protocol of the Black Panthers’ Meeting with the Prime Minister of Israel, April 1971,’ Theory and Criticism 32 (Spring 2008), 197 (Hebrew).67 – See the discussion on race gender and post-colonial conflict in Hazan, ‘Display of Institutional Power’, 344.68 – Niza Erel, ‘Without Fear and Prejudice’ Uri Avnery and Ha’olam Ha’ze (Jerusalem: Magnes Press, 2006), 1–10 (Hebrew).69 – Uri Avneri, ‘Black Flag’, Ha Olam Haze, 1 May 1973, 11–13 (Hebrew).70 – Three photographs by Bar-Am were included in an article covering a Black Panther demonstration in Jerusalem’s Menora square. Menahem Talmi, ‘The Panthers’ Roar in Menorah Square’, Ma’ariv, 7 January 1972, 16 (Hebrew).71 – Rosemary N. Nduati, ‘The Post-Colonial Language and Identity Experiences of Transnational Kenyan Teachers in U.S. Universities’ (PhD thesis, Syracuse University, 2016), 36. It should be noted that Bar-Am, an Israeli German-born journalistic photographer, had chronicled social developments in Israel throughout his photographic career. His interest led him to capture an inside view of the Black Panthers during street protests and political group meetings. Micha Bar-Am, interview with the author, 8 July 2020.72 –Wigoder’s photographs can be found in Nissim Musak’s documentary film Have You Heard of the Black Panthers? (2022). Meir Wigodar’s photography exhibition A Look from the Past was at Camera Obscura gallery in Tel Aviv in 2011 curated by Haim Lusky, and in Musrara mon Amor, an exhibition and catalogue produced by The Musrara School of Photography in 1999. Meir Wigoder, interview with the author, 2 August 2020.73 – Yaron Peleg, ‘From Black to White: Changing Images of Mizrahim in Israeli Cinema’, Israel Studies, 13, no. 2 (Summer 2008), 123.74 – Sammy Smooha, ‘Black Panthers: The Ethnic Dilemma: Israel and its Third World Jews’, Society, 9, no. 7 (May 1972), 32–33.75 – Hazan, Photographic Truth, 345–46.76 – Peleg, ‘From Black to White’, 142 n. 25; and Hazan, ‘Display of Institutional Power’, 346.77 – Peleg, ’From Black to White’, 128.78 – Ibid, 123.79 – Raz Yosef, Beyond Flesh: Queer Masculinities and Nationalism in Israeli Cinema (New Brunswick: Rutgers University Press, 2004), 91.80 – Peleg, ‘From Black to White’, 131.81 – Ibid., 125, 130–32, 134.82 – Uri Ben-Eliezer, War Instead of Peace: One Hundred Years of Nationality and Militarism in Israel (Moshav Ben Shemen: Modan, 2019), 153, 168.83 – Shofar, Born in Israel.84 – Bernstein, ‘Black Panthers: The Personal’, 261–62, 265–66 (Hebrew).85 – Peretz, interviewed by Meiri.86 – Ibid.87 – Ibid.; and Shofar, interview.88 – Eli Dahan, interviewed by David Meiri, 22 December 1982, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.89 – Meir Amzaleg, interviewed by David Meiri, 8 December 1982, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.90 – Chiefly Sa’adia Marciano and Charlie Biton cultivated friendships with Matzpen members, which initially began through obtaining and smoking Hashish in downtown hangouts. These meetings led to conversations about politics and society. Maztpen members, among them Shimshon Wigoder, introduced them to ideas of political organisation. See Bernstein, ‘Black Panthers of Israel’, 151–52; and Frankel, ‘What’s in a name?’, 11.91 – Bernstein, ‘Black Panthers of Israel, 157, 258–59, 261.92 – Meiri often involved the media without the authorisation of his superiors, and at times this led to conflicts and the withholding of his salary; see for example Meiri, in Davidi a Memoir, ed. by Meiri, 36–38; and Gilad Meiri, interview with the author, 30 October 2019, Makom le Shira, Jerusalem, Israel.93 – Arbel, ‘Israeli Natives are Sad, 9.94 – Henriette Dahan Kalev, ‘Colorism in Israel: The Construct of a Paradox’, American Behavioral Scientist, 62, no. 14 (2018), 2106.95 – Yoav Peled, ‘Towards a Redefinition of Jewish Nationalism in Israel? The Enigma of Shas’, Ethnic and Racial Studies, 21, no. 4 (1998), 704.96 – The Mizrahi Democratic Rainbow successfully appealed to the High Court of Justice to intervene with decisions of the government to change land-use rights of the agricultural sector. The Rainbow claimed that the decisions unjustly benefited the agricultural (Ashkenazi) sector at the expense of the low-class urban sector and their neighbouring Mizrahi townships. Kalev, ‘Colorism in Israel’, 2108.97 – Haviva Pedaya, ‘The Identity Skretch: The Chronicle and Problematics of the Mizrahi Art’, in Breaking Walls Contemporary Mizrahi Feminist Artists, ed. by Kzia Alon and Shula Keshet (Tel Aviv: Ahoti [Sister] for Women in Israel, 2013), 77–78 (Hebrew).98 – Ibid., 86.99 – Breaking Walls, ed. by Alon and Keshet; and Shula Keshet, Sigal Eshed, Ahuva Mu'alem, Shuli Nachshon, Zmira Poran Zion, Dafna Shalom, Chen Shish, Parvin Shmueli-Buchnik and Orna Zaken, ‘Sister: Mizrahi Women Artists in Israel’, Bridges, 9, no. 1 (Summer 2001), 49–58.100 – The woman cleaner is a recurring theme in the works of Mizrahi artists such as Tal Shochat, Myriam Kabesa and Leor Grady. Kzia Alon, ‘Without Shoes: Contemplating Feminine Mizrahi Art in 2014 Israel’, Bezalel Journal of Visual and Material Culture, 6 (January 2020), 212 (Hebrew); and Leor Grady, Natural Worker (Tel Aviv: Sternthal Books, 2019) (Hebrew and English). The theme of the women cleaner also appears in works by poet and essayist Yonit Na’aman. Yonit Na’aman, ‘Portrait of a Cleaning Worker 1–3’, in Pining for the Tree Tops (Tel Aviv: Gama Publishing House and Hakibbutz Hameuchad, 2015), 20–25 (Hebrew); and Yonit Na’aman, ’The Woman that Thought a Cleaning Rag was Chasing Her’, in To Dwell in a Word, ed. by Kzia Alon (Tel Aviv: Gama Publishing House, 2015), 119–28 (Hebrew).101 – Shani Litman, ‘The Artist who Moves the Social Margins into the Front of the Israeli Art World’, Ha’aretz, 28 May 2016 (Hebrew), https://www.haaretz.co.il/gallery/art/.premium-MAGAZINE-1.2953833.102 – Eyal Sagi Bizawi, ‘The Big Empress of Ars Poetica: Adi Kaesar is the most influential and prominent poet today in Israel’, Haaretz, 10 September 2015 (Hebrew), https://www.haaretz.co.il/gallery/literature/.premium-MAGAZINE-1.2727123.103 – Ines Iliyas, ‘Four Years of Ars Poetica, what is happening with the Revolution’, Haaretz, 19 January 2017 (Hebrew), https://www.haaretz.co.il/gallery/.premium-1.3265143.104 – The State of Israel, Ministry of Education, ‘The Whole Story – A Program for Empowering the Legacy of Sephardic and Eastern Judaism’ (Hebrew), https://edu.gov.il/special/East_legacy/background/Pages/Report.aspx (accessed 8 September 2020).105 – Shofar, interview.106 – Anat Barzilai, ‘Ya’akov Shofar the Photographer who Photographed the Black Panthers in their House Slippers’, Calcalist, 23 February 2017 (Hebrew), https://www.calcalist.co.il/consumer/articles/0,7340,L-3708349,00.html; and Noam Gal, ‘Ya’akov Shofar Born in Israel’, Museum of Israel exhibition pamphlet 2017, Ya’akov Shofar’s private collection. Born in Israel was exhibited alongside Ron Amir’s photography exhibition Doing Time in Holot that dealt with the African asylum seekers’ Holot Detention Centre in the Negev. Israel Museum Newsletter, ‘Ron Amir: Doing Time in Holot | Ya’akov Shofar: Born in Israel’, 1 January 2017, https://us2.campaign-archive.com/?u=c17802e2023013491447988eb&id=8daa44bb1f&e=6b565a7e70.107 – Ibid.108 – Barzilai, ‘Ya’akov Shofar’.109 – Zohara Ron, ‘The Absent Present’, Globes, 26 January 2017 (Hebrew), https://www.globes.co.il/news/article.aspx?did=1001173903.110 – Born in Israel includes a photograph of Reuven Abergel’s father David Abergel and a photograph of his dining table adorned with an oriental carpet and a traditional Moroccan tea tray. Abergel, interview.111 – Leor Grady is another artist that dealt with Mizrahi experience and memory. His 2017 project ‘Natural Worker’ dealt with the expulsion of Yemeni Jewish settlers from Kinneret in 1930 by the Zionist Ashkenazi settlers who desired to take over the agricultural land that was promised to the Yemenis. Grady, Natural Worker; and Uzi Zur, ‘Natural Worker: and Exhibition about the Rejects of the Zionist Consensus’, Ha’aretz, 6 January 2017 (Hebrew), https://www.haaretz.co.il/literature/closeoneeye/.premium-1.3197491.112 – Abergel, interview.113 – Liron Zayed ‘They are Nice: A Tribute to the Black Panthers’, N12 Main Newscast, 21 December 2016 (Hebrew), https://www.mako.co.il/news-channel2/Channel-2-Newscast-q4_2016/Article-b4386b964e22951004.htm.114 – Local examples of socio-political activist uses of documentary photography are, for instance, Activestills Collective established in 2005 by Jewish, Arab and international photographers who raise awareness to issues, such as women’s rights, LGTBQI rights, migrant rights and other struggles for freedom and equality; and B’Tselem human rights organisation, founded in 1989, that uses photography and video footage to document violations of Palestinians’ human rights in the West Bank and the Gaza Strip. Activestills collective, ‘Statement’, https://www.activestills.org/about_us/ (accessed 18 February 2021); and B’Tselem - The Israeli Information Center for Human Rights in the Occupied Territories, ‘About B’Tselem’ https://www.btselem.org/about_btselem (accessed 18 February 2021).","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"1 1","pages":"0"},"PeriodicalIF":0.3000,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"History of Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03087298.2023.2257459","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

Abstract

AbstractIn 1971, men from Musrara, an impoverished Jerusalem neighbourhood, formed the Black Panthers in protest against institutionalised discrimination against Jews from Muslim countries (Mizrahim). This article examines Born in Israel, a photography project by Ya’akov Shofar that appeared as a photography book in 1984 and as an exhibition at the Israel Museum in Jerusalem in 2017, to unpack the differences between these two instances. Shofar’s 1984 project portrayed young Mizrahi Musrara men while being interviewed by a Jerusalem municipality social worker. This collaboration had political potential but only fragments of these interviews are reproduced in the book. Although the men participated in the Black Panthers’ protests, the book underscores their ethnicity and avoids mentioning this movement. My study explores the visual and discursive elements that depoliticised the book due to the Black Panthers’ perceived threat to the hegemonic social order and in relation to local developments in photography as fine art. I show that, unlike the book, the 2017 Israel museum exhibition promotes Born in Israel’s relation to the Black Panthers, but also had limitations and contradictions. Finally, I argue that accounting for the unabridged interviews uncovers hegemonic Israel’s patronising attitude towards the marginalised photographed men, and compensates for lacunas in this project’s presentations.Keywords: Ya’akov Shofar (1947–)Musrarasocial documentarysocially engaged photographyBlack Panthers of Israel (1971–73)Mizrahi protestMizrahi masculinityBorn in Israel (1978–842017) Notes1 – Henriette Dahan Kalev, ‘The Big Missed Opportunity of Israeli Democracy: The Traumatic Memory as Legacy of the Wadi Salib Protests’, Israel Democracy Institute Articles, 7 July 2009 (Hebrew), https://www.idi.org.il/articles/5474.2 – See Na’ama Klorman-Eraqi, ‘Acting Out for the Camera: Performing Mizrahi Masculinity and the Politicisation of the Jerusalem Neighbourhood, Katamon Tet’, Journal of Modern Jewish Studies (March 2023), 1–27. Katamon Tet, one of the nine sub-neighbourhoods of Katamon, is also known as The Katamonim – tet is the ninth letter of the Hebrew alphabet. Among the social workers who worked with Shofar were Zadok Lavan, Doron Nehari and David Meiri. Shofar, interview with the author, 17 June 2019, The Israel Museum, Jerusalem; and Noa Zdaka, Photographic Truth is Natural Truth – Chronicles of a Photography Department (Tel Aviv: Resling, 2018), 238 (Hebrew).3 – Ya’akov Shofar, ‘About the Photographs’, in Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew); and The Knesset Channel Broadcast Channel 99, ‘Aharon Barnea interviewing Ya’akov Shofar – Photographer and artist’, 7 June 2017 (Hebrew), https://www.youtube.com/watch?v=VP6g53L_fsk (accessed 14 February 2021).4 – Edith Varga-Biro, ‘The Other Sabras’, Jerusalem Post Magazine, 14 September 1984, N. Some of the photographs in Born in Israel were first published in Ya’akov Shofar, Finding a Way Out (Jerusalem: The Photography Unit Bezalel Academy of Art and Design and the Division for Youth Advancement of the Jerusalem Municipality, 1981) (Hebrew).5 – Born in Israel also includes other themes such as portraits of young men smoking or playing pool at a Musrara Youth Club and of individuals dancing and celebrating at a wedding in Musrara, and images devoid of human presence of the neighbourhood’s disintegrating urban landscape.6 – This approach was shared by Avner Amiel, the head of the Jerusalem municipality’s Social Work Division (1965–73), whose work was based on principles of community social work and residents’ participation. Roni Kaufman, ‘Panthers in the Institution: Engagement of Jerusalem Municipality Social Workers in Public Struggles and Social Protest Movements 1965–1985’, in Justice Instead of Charity: Chapters in the Development of Social Work in Israel, ed. by Johnny Gal and Roni Holler (Beer-Sheva: The Ben-Gurion Research Institute for the Study of Israel & Zionism, Ben-Gurion University of the Negev, 2019), 373–77, 381–82 (Hebrew).7 – Shofar, ‘About the Photographs’, unpaginated.8 – Gilad Meiri, interview with the author, 30 October 2020, Makom le Shira, Jerusalem; and David Meiri, ‘David Meiri: Curriculum Vita Summary’, in Davidi a Memoir, ed. by Gilad Meiri, independently published, Israel 2019, 127–28 (Hebrew). Playwright Charlie Aboutboul, later the manager of the Musrara Social Theatre, came up with the idea for the theatre which he shared with Sa’adia Marciano who encouraged the project, and soon after, Avner Amiel became a key figure in its foundation and activity. Author’s conversation with Charlie Aboutboul, 3 September 2023.9 – Shofar, Born in Israel.10 – The man was identified as David Shitrit by Reuven Abergel.11 – Ashkenazim are Jews of Eastern European origin who held most of the influential social and political positions. In the late 1960s, ‘Mizrahim’ became the common category for Jews from Muslim countries and for understanding ethnic differences and tensions between them and the Ashkenazim. Since the 1980s, ‘Sepharadim’, the earlier prevalent term for marking Middle Eastern ethnicity, has been increasingly linked with religiosity. Throughout the 1980s, the two terms were used interchangeably. Harvey Goldberg, ‘From Sephardi to Mizrahi and Back Again: Changing Meanings of “Sephardi” in Its Social Environments’, Jewish Social Studies: History, Culture, Society, 15, no. 1 (Fall 2008), 165–88 (179); Deborah Bernstein, ‘The Black Panthers: The Personal and the Collective Story as a Political act and as a Politicization Platform’, in Israel/Palestine: Scholarly Tributes to the Legacy of Baruch Kimmerling (Jerusalem: Magnes: The Hebrew University Press, 2017), 258 (Hebrew); Dahan Kalev, ‘Big Missed Opportunity’; and Black Panther flyer, ‘The Goal of the Organisation’, in The Black Panthers, ed. by Avi Sabag and Roni Edri (Jerusalem: The School for Photography Musraraa, 1999) (Hebrew).12 – Kochavi Shemesh, unlike other North African Black Panthers, was born in Iraq. Deborah Bernstein, ‘The Black Panthers of Israel 1971–1972: Contradictions and Protest in the Process of Nation Building’ (PhD thesis, University of Sussex, 1976), 164, 202, 244.13 – Kaufman, ‘Panthers in the Institution’, 380.14 – Tali Lev and Yehuda Shenhav, ‘The Formation of the Enemy on the Inside: The Black Panthers as Objects of Moral Panic’, Israeli Sociology, 12, no. 1 (2010), 135 (Hebrew); Bernstein, ‘Black Panthers of Israel’, 160; Kaufman, ‘Panthers in the Institution’, 381; and Deborah Bernstein, ‘Conflict and Protest in Israeli Society: The Case of the Black Panthers of Israel’, Youth Society, 16 (1984), 141. The Black Panthers challenged the fundamental Zionist aspiration to end the exile of Jews by bringing them to the land of Israel. Their protests thus fractured and exposed the hegemonic and discriminatory ethnically based power relations of this aspiration. Oz Frenkel, ‘What’s in a name? The Black Panthers in Israel’, The Sixties: A Journal of History, Politics and Culture, 1, no. 1 (June 2008), 10.15 – La Merhav was established in 1954 and published until 31 May 1971, when it merged with Davar, a paper owned by the dominant Mapai labour party. Orly Tsarfaty, ‘La-Merchav: The Evolution of a Newspaper between Union and Division’, Kesher, 35 (Winter, 2007), 119 (Hebrew); and author’s correspondence with Debbie Eylon, editor of Kav Adom series of the HaKibbutz HaMeuhad, 7 July 2020.16 – Sara Bartal, ‘The Black Panthers Will Protest Today’, La Merhav, 2 March 1971, 6 (Hebrew).17 – Sara Bartal, ‘Conversation with Two Named the Black Panthers’, La Merhav, 12 March 1971, 3 (Hebrew).18 – Bernstein, ‘Black Panthers of Israel’, 340–41.19 – In 1973, the Black Panthers entered official politics. Itay Negri, The Mizrahi Protest in Wadi Salib the Events and Their Impact on the Black Panthers (Tel Aviv: Resling, 2018), 185 (Hebrew); and Israel Democracy Institute, ‘The Black Panthers Israeli Democrats’ (Hebrew), https://www.idi.org.il/policy/parties-and-elections/parties/hapanterim-hashorim/.20 – Zdaka, Photographic Truth, 238.21 – Shofar, interview; and Negri, Mizrahi Protest in Wadi Salib, 187.22 – Dahan Kalev, ‘Big Missed Opportunity’.23 – Reuven Abergel, interview with the author, 22 October 2019.24 – Shofar, interview; and Zdaka, Photographic Truth, 238.25 – There is no indication whether the Born in Israel exhibition at the Haifa Museum of Art in 1984 mentioned the Black Panthers.26 – There are three introduction sections in Born in Israel written by Hanan Laskin, David Meiri and Ya’akov Shofar (Hebrew).27 – Yael Guilat, The Lost Generation: The 1980’s generation in Israeli Art (Ben-Gurion Research Institute for the Study of Israel and Zionism, Ben-Gurion University of the Negev, 2019), 153–154 (Hebrew); and Edna Barromi-Perlman, ‘Visions of Landscape Photography’, Landscape Research, 45 no. 5 (2020), 574–77.28 – Tal-Or K. Ben-Choreen, ‘Emergence of Fine Art Photography in Israel in the 1970s to the 1990s through Pedagogical and Social Links with the United States,’ Contemporary Review of the Middle East 6, no. 3–4 (2019), 263.29 – Guilat, ‘Lost’ Generation, 153–54.30 – Na’ama Klorman-Eraqi, The Visual is Political: Feminist Photography and Countercultural Activity in 1970s Britain (New Brunswick, NJ: Rutgers University Press, 2019), 95.31 – Jochai Rosen, ‘The End of Consensus: The Crisis of the 1980s and the Turning-Point in Israeli Photography’, Journal of Modern Jewish Studies, 9, no. 3 (November 2010), 327–47.32 – Guilat, ‘Lost’ Generation, 154.33 – Ben Choreen, ‘Emergence of Fine Art Photography’, 257–65 (264 n. 5).34 – Hanan Laskin, interview with author, 19 October 2020.35 – Zdaka, Photographic Truth, 181; and ‘Hanan Laskin’, Hamichlol Jewish Encyclopedia, https://www.hamichlol.org.il/%D7%97%D7%A0%D7%9F_%D7%9C%D7%A1%D7%A7%D7%99%D7%9F. The Bezalel Academy of Arts and Crafts in Jerusalem was established in 1906 by Boris Shatz and became hegemonic in the (Jewish Israeli) fine arts field; see Yoav Peled and Horit Herman Peled, The Religionization of Israeli Society (Abingdon: Routledge, 2019), 180–81.36 – Zdaka, Photographic Truth, 181, 184–85, 238. The impact of US attitudes towards photography on Israeli photography can be viewed as part of an Americanisation process that Israeli culture underwent particularly since the late 1960s. Oz Frankel, ‘What’s in a name? The Black Panthers in Israel’, The Sixties: A Journal of History, Politics and Culture, 1, no. 1 (June 2008), 9–10.37 – Zdaka, Photographic Truth, 238; and Shofar, interview.38 – Bruce Davidson, East 100th Street (Cambridge, MA: Harvard University Press, 1970); Bruce Davidson, Bruce Davidson – Brooklyn Gang (Santa Fe, NM: Twin Palms, 1998); and Jim Lewis, ‘Leader of the Pack’, New York Times, 7 September 2010. East 100th Street was exhibited in the 1970s at the Museum of Modern Art in New York, and The Brooklyn Gang was exhibited in 1998 at the International Center of Photography, New York. Lynne Warren, ‘Bruce Davidson’, in Encyclopedia of Twentieth-Century Photography, vol. 1 A–F (New York: Routledge, 2006), 364.39 – Shofar, interview.40 – Zdaka. Photographic Truth, 238; Shulamith Lev-Aladgem, Theatre in Co-Communities: Articulating Power (London: Palgrave Macmillan, 2010), 79–82; and Tobi Arbel, ‘The Israeli Natives are Sad: Ya’akov Shofar Photographs the Musrara Neighborhood in Jerusalem’, Ha’aretz, 24 October 1984 (Hebrew), courtesy of The Israel Museum Jerusalem and Ya’akov Shofar.41 – Shofar, interview; and Zdaka, Photographic Truth, 238.42 – John Tagg, Burden of Representation: Essays on Photographies and Histories (Minneapolis: University of Minnesota Press, 1993), 2–5.43 – Shofar, interview.44 – Ibid.; and Hanan Laskin, ‘Introduction’, in Ya’akov Shofar, Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew).45 – Shofar, interview.46 – The literature on this image is extensive; see for example James Curtis, ‘Dorothea Lange, Migrant Mother, and the Culture of the Great Depression’, Winterthur Portfolio, 21, no. 1 (Spring, 1986), 1–20; Sally Stein, Migrant Mother, Migrant Gender: Reconsidering Dorothea Lange’s Iconic Portrait of Maternity (London: Mack, 2020); and David Campany, ‘An Essay on Dorothea Lange’s “Migrant Mother”’, Journal of Science and Technology of the Arts, 14, no. 2 (2022), 96–103. https://doi.org/10.34632/jsta.2022.11647.47 – Shofar, interview.48 – Emanuel Bar-Kadma, ‘Sabras born with Big Thorns’, 7 Days Yediot Aharonot, 19 October 1984, 16–17, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.49 – Shofar, interview.50 – Shofar, Born in Israel.51 – Ibid.52 – Motti Gigi, Development Towns – Kibbutzim Relations: Status Identity and Space – The Case of Sderot-Sha’ar ha Negev 1950–2012 (PhD thesis, Ben Gurion of the Negev University, 2016), 34 (Hebrew).53 – Author’s interview with Giora Rosen, founder and chief editor of Kav Adom series, 9 July 2020; and author’s correspondence with Debbie Eylon, editor of Kav Adom series of the HaKibbutz HaMeuhad, 7 July 2020.54 – Allan Sekula, ‘The Body and the Archive’, October, 39 (Winter, 1986), 3–64; Allan Sekula, Photography Against the Grain: Essays and Photo Works, 1973–1983 (Halifax, Nova Scotia: The Press of the Nova Scotia College of Art and Design, 1984); Martha Rosler, ‘In, Around, and Afterthoughts: On Documentary Photography’ (1981), in Decoys and Disruption Selected Writing, 1975–2001 (Cambridge, MA: MIT Press, 2004); Victor Burgin, ed., Thinking Photography (London: Macmillan, 1982); John Tagg, ’Power and Photography – Part One: A Means of Surveillance: The Photograph as Evidence in Law’, Screen Education, 36 (Autumn 1980), 17–24; and Abigail Solomon Godeau, Photography Against the Docs: Essays on Photographic History, Institution, and Practices (Minneapolis: University of Minnesota Press, 1991).55 – John Tagg, The Disciplinary Frame: Photographic Truths and the Capture of Meaning (Minneapolis: University of Minnesota Press, 2009), 58–59; and John Tagg, ‘The Currency of the Photograph: New Deal Reformism and Documentary Rhetoric’, in Burden of Representation Essays of Photographies and Histories (Minneapolis: University of Minnesota Press, 1988), 153–83 (chapter based on a lecture given at the Midland Group Gallery in August 1977).56 – The coupling between documentary images and the evocation of emotion has been prompted by various documentary practitioners. US documentary photographer Edward Steichen suggested that there are two types of documents: one gives factual information, and the other gives human information conveying the feeling of lived experience. Similarly, Scottish documentary filmmaker John Grierson claimed that the essence of documentary is not information but the power to move; he believed that emotion, properly felt and understood, engenders decent seeing and is intelligent. William Stott, Documentary Expression and Thirties America (Chicago: University of Chicago Press, 1986), 11–12.57 – Rosler, ‘In, Around, and Afterthoughts,’ 176.58 – Ibid., 179.59 – Ibid., 177.60 – Guilat, ‘Lost’ Generation, 154.61 – See Klorman-Eraqi, ‘Acting Out for the Camera’, 2–3; Knesset Channel Broadcast Channel 99, ‘Aharon Barnea Interviewing Ya’akov Shofar’; and Shofar, interview.62 – Since 1968, Shofar has been a Kibbutz member; first, a member of Nir David, then Sdeh Yoav and, finally, En HaShoffet. Shofar biography, personal archive.63 – Gigi, Development Towns, 34.64 – Zdaka, Photographic Truth, 81–87; and Dalia Manor, Art in Zion: The Genesis of Modern National Art in Jewish Palestine (London: Routledge Curzon, 2005).65 – Dahan Kalev, ‘Big Missed Opportunity’; and David Peretz, interviewed by David Meiri, 8 December 1982, Musrara Neighborhood, Jerusalem, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.66 – Noa Hazan, ‘Display of Institutional Power between Race and Gender’, Israeli Sociology, 2 (2013), 344 (Hebrew). Tova Levi and Rachel Abergel, women associated with the Black Panthers, took part in the group’s meeting with Prime Minister Golda Meir in 1971. Tali Lev, ‘“We will Erase the Past of Those who do not have a Past”: The Complete Protocol of the Black Panthers’ Meeting with the Prime Minister of Israel, April 1971,’ Theory and Criticism 32 (Spring 2008), 197 (Hebrew).67 – See the discussion on race gender and post-colonial conflict in Hazan, ‘Display of Institutional Power’, 344.68 – Niza Erel, ‘Without Fear and Prejudice’ Uri Avnery and Ha’olam Ha’ze (Jerusalem: Magnes Press, 2006), 1–10 (Hebrew).69 – Uri Avneri, ‘Black Flag’, Ha Olam Haze, 1 May 1973, 11–13 (Hebrew).70 – Three photographs by Bar-Am were included in an article covering a Black Panther demonstration in Jerusalem’s Menora square. Menahem Talmi, ‘The Panthers’ Roar in Menorah Square’, Ma’ariv, 7 January 1972, 16 (Hebrew).71 – Rosemary N. Nduati, ‘The Post-Colonial Language and Identity Experiences of Transnational Kenyan Teachers in U.S. Universities’ (PhD thesis, Syracuse University, 2016), 36. It should be noted that Bar-Am, an Israeli German-born journalistic photographer, had chronicled social developments in Israel throughout his photographic career. His interest led him to capture an inside view of the Black Panthers during street protests and political group meetings. Micha Bar-Am, interview with the author, 8 July 2020.72 –Wigoder’s photographs can be found in Nissim Musak’s documentary film Have You Heard of the Black Panthers? (2022). Meir Wigodar’s photography exhibition A Look from the Past was at Camera Obscura gallery in Tel Aviv in 2011 curated by Haim Lusky, and in Musrara mon Amor, an exhibition and catalogue produced by The Musrara School of Photography in 1999. Meir Wigoder, interview with the author, 2 August 2020.73 – Yaron Peleg, ‘From Black to White: Changing Images of Mizrahim in Israeli Cinema’, Israel Studies, 13, no. 2 (Summer 2008), 123.74 – Sammy Smooha, ‘Black Panthers: The Ethnic Dilemma: Israel and its Third World Jews’, Society, 9, no. 7 (May 1972), 32–33.75 – Hazan, Photographic Truth, 345–46.76 – Peleg, ‘From Black to White’, 142 n. 25; and Hazan, ‘Display of Institutional Power’, 346.77 – Peleg, ’From Black to White’, 128.78 – Ibid, 123.79 – Raz Yosef, Beyond Flesh: Queer Masculinities and Nationalism in Israeli Cinema (New Brunswick: Rutgers University Press, 2004), 91.80 – Peleg, ‘From Black to White’, 131.81 – Ibid., 125, 130–32, 134.82 – Uri Ben-Eliezer, War Instead of Peace: One Hundred Years of Nationality and Militarism in Israel (Moshav Ben Shemen: Modan, 2019), 153, 168.83 – Shofar, Born in Israel.84 – Bernstein, ‘Black Panthers: The Personal’, 261–62, 265–66 (Hebrew).85 – Peretz, interviewed by Meiri.86 – Ibid.87 – Ibid.; and Shofar, interview.88 – Eli Dahan, interviewed by David Meiri, 22 December 1982, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.89 – Meir Amzaleg, interviewed by David Meiri, 8 December 1982, courtesy of the Israel Museum Jerusalem and Ya’akov Shofar.90 – Chiefly Sa’adia Marciano and Charlie Biton cultivated friendships with Matzpen members, which initially began through obtaining and smoking Hashish in downtown hangouts. These meetings led to conversations about politics and society. Maztpen members, among them Shimshon Wigoder, introduced them to ideas of political organisation. See Bernstein, ‘Black Panthers of Israel’, 151–52; and Frankel, ‘What’s in a name?’, 11.91 – Bernstein, ‘Black Panthers of Israel, 157, 258–59, 261.92 – Meiri often involved the media without the authorisation of his superiors, and at times this led to conflicts and the withholding of his salary; see for example Meiri, in Davidi a Memoir, ed. by Meiri, 36–38; and Gilad Meiri, interview with the author, 30 October 2019, Makom le Shira, Jerusalem, Israel.93 – Arbel, ‘Israeli Natives are Sad, 9.94 – Henriette Dahan Kalev, ‘Colorism in Israel: The Construct of a Paradox’, American Behavioral Scientist, 62, no. 14 (2018), 2106.95 – Yoav Peled, ‘Towards a Redefinition of Jewish Nationalism in Israel? The Enigma of Shas’, Ethnic and Racial Studies, 21, no. 4 (1998), 704.96 – The Mizrahi Democratic Rainbow successfully appealed to the High Court of Justice to intervene with decisions of the government to change land-use rights of the agricultural sector. The Rainbow claimed that the decisions unjustly benefited the agricultural (Ashkenazi) sector at the expense of the low-class urban sector and their neighbouring Mizrahi townships. Kalev, ‘Colorism in Israel’, 2108.97 – Haviva Pedaya, ‘The Identity Skretch: The Chronicle and Problematics of the Mizrahi Art’, in Breaking Walls Contemporary Mizrahi Feminist Artists, ed. by Kzia Alon and Shula Keshet (Tel Aviv: Ahoti [Sister] for Women in Israel, 2013), 77–78 (Hebrew).98 – Ibid., 86.99 – Breaking Walls, ed. by Alon and Keshet; and Shula Keshet, Sigal Eshed, Ahuva Mu'alem, Shuli Nachshon, Zmira Poran Zion, Dafna Shalom, Chen Shish, Parvin Shmueli-Buchnik and Orna Zaken, ‘Sister: Mizrahi Women Artists in Israel’, Bridges, 9, no. 1 (Summer 2001), 49–58.100 – The woman cleaner is a recurring theme in the works of Mizrahi artists such as Tal Shochat, Myriam Kabesa and Leor Grady. Kzia Alon, ‘Without Shoes: Contemplating Feminine Mizrahi Art in 2014 Israel’, Bezalel Journal of Visual and Material Culture, 6 (January 2020), 212 (Hebrew); and Leor Grady, Natural Worker (Tel Aviv: Sternthal Books, 2019) (Hebrew and English). The theme of the women cleaner also appears in works by poet and essayist Yonit Na’aman. Yonit Na’aman, ‘Portrait of a Cleaning Worker 1–3’, in Pining for the Tree Tops (Tel Aviv: Gama Publishing House and Hakibbutz Hameuchad, 2015), 20–25 (Hebrew); and Yonit Na’aman, ’The Woman that Thought a Cleaning Rag was Chasing Her’, in To Dwell in a Word, ed. by Kzia Alon (Tel Aviv: Gama Publishing House, 2015), 119–28 (Hebrew).101 – Shani Litman, ‘The Artist who Moves the Social Margins into the Front of the Israeli Art World’, Ha’aretz, 28 May 2016 (Hebrew), https://www.haaretz.co.il/gallery/art/.premium-MAGAZINE-1.2953833.102 – Eyal Sagi Bizawi, ‘The Big Empress of Ars Poetica: Adi Kaesar is the most influential and prominent poet today in Israel’, Haaretz, 10 September 2015 (Hebrew), https://www.haaretz.co.il/gallery/literature/.premium-MAGAZINE-1.2727123.103 – Ines Iliyas, ‘Four Years of Ars Poetica, what is happening with the Revolution’, Haaretz, 19 January 2017 (Hebrew), https://www.haaretz.co.il/gallery/.premium-1.3265143.104 – The State of Israel, Ministry of Education, ‘The Whole Story – A Program for Empowering the Legacy of Sephardic and Eastern Judaism’ (Hebrew), https://edu.gov.il/special/East_legacy/background/Pages/Report.aspx (accessed 8 September 2020).105 – Shofar, interview.106 – Anat Barzilai, ‘Ya’akov Shofar the Photographer who Photographed the Black Panthers in their House Slippers’, Calcalist, 23 February 2017 (Hebrew), https://www.calcalist.co.il/consumer/articles/0,7340,L-3708349,00.html; and Noam Gal, ‘Ya’akov Shofar Born in Israel’, Museum of Israel exhibition pamphlet 2017, Ya’akov Shofar’s private collection. Born in Israel was exhibited alongside Ron Amir’s photography exhibition Doing Time in Holot that dealt with the African asylum seekers’ Holot Detention Centre in the Negev. Israel Museum Newsletter, ‘Ron Amir: Doing Time in Holot | Ya’akov Shofar: Born in Israel’, 1 January 2017, https://us2.campaign-archive.com/?u=c17802e2023013491447988eb&id=8daa44bb1f&e=6b565a7e70.107 – Ibid.108 – Barzilai, ‘Ya’akov Shofar’.109 – Zohara Ron, ‘The Absent Present’, Globes, 26 January 2017 (Hebrew), https://www.globes.co.il/news/article.aspx?did=1001173903.110 – Born in Israel includes a photograph of Reuven Abergel’s father David Abergel and a photograph of his dining table adorned with an oriental carpet and a traditional Moroccan tea tray. Abergel, interview.111 – Leor Grady is another artist that dealt with Mizrahi experience and memory. His 2017 project ‘Natural Worker’ dealt with the expulsion of Yemeni Jewish settlers from Kinneret in 1930 by the Zionist Ashkenazi settlers who desired to take over the agricultural land that was promised to the Yemenis. Grady, Natural Worker; and Uzi Zur, ‘Natural Worker: and Exhibition about the Rejects of the Zionist Consensus’, Ha’aretz, 6 January 2017 (Hebrew), https://www.haaretz.co.il/literature/closeoneeye/.premium-1.3197491.112 – Abergel, interview.113 – Liron Zayed ‘They are Nice: A Tribute to the Black Panthers’, N12 Main Newscast, 21 December 2016 (Hebrew), https://www.mako.co.il/news-channel2/Channel-2-Newscast-q4_2016/Article-b4386b964e22951004.htm.114 – Local examples of socio-political activist uses of documentary photography are, for instance, Activestills Collective established in 2005 by Jewish, Arab and international photographers who raise awareness to issues, such as women’s rights, LGTBQI rights, migrant rights and other struggles for freedom and equality; and B’Tselem human rights organisation, founded in 1989, that uses photography and video footage to document violations of Palestinians’ human rights in the West Bank and the Gaza Strip. Activestills collective, ‘Statement’, https://www.activestills.org/about_us/ (accessed 18 February 2021); and B’Tselem - The Israeli Information Center for Human Rights in the Occupied Territories, ‘About B’Tselem’ https://www.btselem.org/about_btselem (accessed 18 February 2021).
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以色列的黑豹党和Ya 'akov Shofar的穆萨拉拉照片:驯服和政治化(1978-83)
1971年,来自耶路撒冷贫困社区穆斯拉拉(Musrara)的男子成立了黑豹党(Black Panthers),以抗议对穆斯林国家犹太人的制度性歧视。本文考察了Ya’akov Shofar的摄影项目《出生于以色列》(Born in Israel),该项目于1984年以摄影书的形式出现,并于2017年在耶路撒冷的以色列博物馆展出,以揭示这两个实例之间的差异。Shofar 1984年的作品描绘了年轻的米兹拉希·穆斯拉拉男子在接受耶路撒冷市政社工采访时的情景。这种合作具有政治潜力,但书中只复制了这些采访的片段。虽然这些人参加了黑豹党(Black Panthers)的抗议活动,但这本书强调了他们的种族,并避免提及这一运动。我的研究探讨了视觉和话语元素,这些元素使这本书去政治化,因为黑豹党意识到对霸权社会秩序的威胁,并与当地摄影艺术的发展有关。我指出,与这本书不同的是,2017年以色列博物馆的展览推广了《出生于以色列》与黑豹党的关系,但也有局限性和矛盾。最后,我认为,对未删减的采访的解释揭示了霸权以色列对被边缘化的照片男性的光顾态度,并弥补了本项目展示中的空白。关键词:Ya ' akov Shofar (1947 -) musrara社会纪录片社会参与摄影以色列黑豹(1971-73)Mizrahi抗议Mizrahi男子主义出生在以色列(1978-842017)注1 - Henriette Dahan Kalev,“以色列民主的重大错失机会:Wadi Salib抗议的创伤记忆遗产”,以色列民主研究所文章,2009年7月7日(希伯来语),https://www.idi.org.il/articles/5474.2 -见Na ' ama Klorman-Eraqi,“为镜头表演:表演米兹拉希男子气概和耶路撒冷邻里的政治化,Katamon Tet ',现代犹太研究杂志(2023年3月),1-27。Katamon Tet是Katamon的九个子社区之一,也被称为Katamonim - Tet是希伯来字母的第九个字母。与Shofar一起工作的社会工作者包括Zadok Lavan, Doron Nehari和David Meiri。Shofar,对作者的采访,2019年6月17日,耶路撒冷以色列博物馆;Noa Zdaka,摄影真相是自然真相-摄影部门编年史(特拉维夫:Resling, 2018), 238(希伯来语)。3 - Ya ' akov Shofar,“关于照片”,生于以色列(特拉维夫:Hakibbutz Hameuchad, 1984)(希伯来文);以色列议会广播频道99,“Aharon Barnea采访Ya ' akov Shofar -摄影师和艺术家”,2017年6月7日(希伯来语),https://www.youtube.com/watch?v=VP6g53L_fsk(访问日期为2021年2月14日)。4 -伊迪丝·瓦尔加-比罗,《其他的Sabras》,《耶路撒冷邮报杂志》,1984年9月14日,N.《生于以色列》中的一些照片首次发表于Ya ' akov Shofar,《寻找出路》(耶路撒冷:比撒列艺术与设计学院摄影组和耶路撒冷市青年进步部,1981年)(希伯来语)。《出生在以色列》还包括其他主题,比如在穆斯拉青年俱乐部吸烟或打台球的年轻人的肖像,以及在穆斯拉婚礼上跳舞和庆祝的个人的肖像,以及附近正在解体的城市景观中没有人类存在的图像。Avner Amiel是耶路撒冷市政府社会工作部门的负责人(1965-73),他的工作是基于社区社会工作和居民参与的原则。Roni Kaufman,“机构中的黑豹:1965-1985年耶路撒冷市政社会工作者在公共斗争和社会抗议运动中的参与”,正义而不是慈善:以色列社会工作发展的章节,由Johnny Gal和Roni Holler主编(比尔-舍瓦:本古里安研究所以色列和犹太复国主义研究,内盖夫本古里安大学,2019),373 - 77,381 - 82(希伯来语)。7 - Shofar,“关于照片”,未分页。8 - Gilad Meiri,对作者的采访,2020年10月30日,耶路撒冷Makom le Shira;David Meiri,“David Meiri:履历总结”,载于Gilad Meiri主编的《David Meiri回忆录》,独立出版,以色列2019年,127-28页(希伯来语)。剧作家查理·阿布特波尔,后来是穆斯拉拉社会剧院的经理,提出了剧院的想法,他与鼓励该项目的萨迪亚·马西亚诺分享了这个想法,不久之后,阿夫纳·阿米尔成为剧院建立和活动的关键人物。作者与Charlie Aboutboul的对话,2023年9月3日- Shofar,出生于以色列。10 -该男子被Reuven abergel确认为David Shitrit .11 -德系犹太人是东欧血统的犹太人,他们占据了大多数有影响力的社会和政治职位。 1906年,Boris Shatz在耶路撒冷建立了比撒列工艺美术学院(Bezalel Academy of Arts and Crafts),成为(犹太以色列)美术领域的霸主;参见Yoav Peled和Horit Herman Peled,以色列社会的宗教化(阿宾登:Routledge出版社,2019),180-81.36 - Zdaka,摄影真相,181,184 - 85,238。美国对摄影的态度对以色列摄影的影响可以看作是以色列文化美国化过程的一部分,尤其是自20世纪60年代末以来。奥兹·弗兰克尔:“名字有什么意义?”《以色列的黑豹党》,《六十年代:历史、政治与文化杂志》,第1期。1(2008年6月),9-10.37 - Zdaka,摄影真相,238;和Shofar,采访。38 -布鲁斯·戴维森,《东100街》(剑桥,马萨诸塞州:哈佛大学出版社,1970);布鲁斯·戴维森,布鲁斯·戴维森-布鲁克林帮(圣达菲,新墨西哥州:Twin Palms, 1998);吉姆·刘易斯,“族群领袖”,《纽约时报》,2010年9月7日。《东100街》于20世纪70年代在纽约现代艺术博物馆展出,《布鲁克林帮》于1998年在纽约国际摄影中心展出。林恩沃伦,“布鲁斯戴维森”,在二十世纪摄影百科全书,卷1 A-F(纽约:劳特利奇,2006年),364.39 - Shofar,采访。40 -兹达卡。摄影真相,238页;Shulamith Lev-Aladgem,共同社区中的戏剧:表达力量(伦敦:Palgrave Macmillan出版社,2010),第79-82页;和Tobi Arbel,“以色列本地人是悲伤的:Ya ' akov Shofar拍摄耶路撒冷的Musrara社区”,《国土报》,1984年10月24日(希伯来语),由耶路撒冷以色列博物馆和Ya ' akov shofar41 - Shofar采访;约翰·塔格,《表现的负担:摄影与历史论文集》(明尼阿波利斯:明尼苏达大学出版社,1993),第2-5.43页。44 -同上;哈南·拉斯金,《导言》,《雅科夫·肖法尔,生于以色列》(特拉维夫:哈基布兹·哈穆查德出版社,1984年)(希伯来文)。羊角法,面试。46 -关于这一形象的文献非常广泛;参见詹姆斯·柯蒂斯,《多萝西娅·兰格,移民母亲,与大萧条的文化》,《温特图尔作品集》,21,第2期。1 (Spring, 1986), 1 - 20;莎莉·斯坦,移民母亲,移民性别:重新思考多萝西娅·兰格的标志性母性肖像(伦敦:麦克,2020);《论多萝西娅·兰格的“移民母亲”》,《科学与技术艺术杂志》,第14期。2(2022), 96-103。https://doi.org/10.34632/jsta.2022.11647.47 - Shofar,采访。48 - Emanuel Bar-Kadma,“Sabras born with Big Thorns”,7天Yediot Aharonot, 1984年10月19日,16-17,由耶路撒冷以色列博物馆和Ya ' akov Shofar提供。Motti Gigi,《发展城镇-基布兹关系:地位、身份和空间——内盖夫Sderot-Sha 'ar 1950-2012的案例》(博士论文,内盖夫大学Ben Gurion, 2016), 34(希伯来文)。53 -作者对Kav Adom系列创始人兼主编Giora Rosen的采访,2020年7月9日;以及作者与HaKibbutz HaMeuhad的Kav Adom系列的编辑Debbie Eylon的通信,2020年7月7日- Allan Sekula,“身体和档案”,10月39日(1986年冬季),3-64;艾伦·塞库拉,《逆谷摄影:散文与摄影作品,1973-1983》(哈利法克斯,新斯科舍省:新斯科舍省艺术与设计学院出版社,1984年);玛莎·罗斯勒,“在,周围和事后的想法:纪实摄影”(1981),在诱饵和破坏精选写作,1975-2001年(剑桥,马萨诸塞州:麻省理工学院出版社,2004年);Victor Burgin主编,Thinking Photography(伦敦:Macmillan出版社,1982);约翰·塔格:《权力与摄影——第一部分:一种监视手段:作为法律证据的照片》,《屏幕教育》,第36期(1980年秋),第17-24页;阿比盖尔·所罗门·戈多,《与文献相悖的摄影:摄影历史、制度和实践随笔》(明尼阿波利斯:明尼苏达大学出版社,1991年)。55 -约翰·塔格,学科框架:摄影真理和意义的捕捉(明尼阿波利斯:明尼苏达大学出版社,2009年),58-59;约翰·塔格,“照片的货币:新政改革主义和纪实修辞”,载于《摄影与历史的表现负担》(明尼阿波利斯:明尼苏达大学出版社,1988),153-83页(这一章基于1977年8月在米德兰集团画廊的一次演讲)。56 -纪录片影像与情感唤起之间的耦合是由各种纪录片从业者推动的。美国纪实摄影师爱德华·斯泰肯认为,文献有两种类型:一种是真实的信息,另一种是传递生活体验感的人类信息。同样,苏格兰纪录片导演约翰·格里尔森(John Grierson)声称,纪录片的本质不是信息,而是感动的力量;他相信,情感,如果被正确地感受和理解,就会产生良好的洞察力,而且是智慧的。 94 - Henriette Dahan Kalev,“以色列的肤色主义:悖论的构建”,《美国行为科学家》,62,第2期。Yoav Peled,“对以色列犹太民族主义的重新定义?”《沙斯派的谜》,《民族与种族研究》,第21期,第2期。4(1998), 704.96——米兹拉希民主彩虹成功地向高等法院提出上诉,要求干预政府改变农业部门土地使用权的决定。彩虹党声称,这些决定不公正地使农业部门(德系犹太人)受益,而牺牲了下层城市部门和邻近的米兹拉希镇。Haviva Pedaya,“身份素描:米兹拉希艺术的编年史和问题”,载于Kzia Alon和Shula kesheet主编的《破墙当代米兹拉希女权主义艺术家》(特拉维夫:以色列妇女协会,2013),77-78页(希伯来语)。98 -同上,86.99 -《破墙》,阿隆和凯舍特主编;Shula kesheet, Sigal Eshed, Ahuva Mu'alem, Shuli Nachshon, Zmira Poran Zion, Dafna Shalom, Chen Shish, Parvin Shmueli-Buchnik和Orna Zaken,“姐妹:以色列的Mizrahi女性艺术家”,Bridges, 9号,no。1(2001年夏天),49 - 58 - 100——女清洁工是米兹拉希艺术家的作品中反复出现的主题,如Tal Shochat, Myriam Kabesa和Leor Grady。Kzia Alon,“没有鞋子:思考2014年以色列女性米兹拉希艺术”,《比撒列视觉与物质文化杂志》,6(2020年1月),212(希伯来文);Leor Grady,《自然工作者》(特拉维夫:Sternthal Books, 2019)(希伯来语和英语)。女清洁工的主题也出现在诗人和散文家Yonit Na 'aman的作品中。Yonit Na’aman,《清洁工肖像1-3》,载于《思念树顶》(特拉维夫:Gama出版社和Hakibbutz Hameuchad, 2015), 20-25页(希伯来文);尤尼特·纳阿曼,《以为有块清洁抹布在追她的女人》,出自Kzia Alon主编的《活在一个字里》(特拉维夫:伽马出版社,2015年),第119-28页(希伯来文)。101 - Shani Litman,“将社会边缘推向以色列艺术界前沿的艺术家”,《国土报》,2016年5月28日(希伯来语),https://www.haaretz.co.il/gallery/art/.premium-MAGAZINE-1.2953833.102 - Eyal Sagi Bizawi,“诗歌艺术的大皇后”;“Adi Kaesar是当今以色列最有影响力和最杰出的诗人”,国土报,2015年9月10日(希伯来语),https://www.haaretz.co.il/gallery/literature/.premium-MAGAZINE-1.2727123.103 - Ines Iliyas,“四年诗坛,革命发生了什么”,国土报,2017年1月19日(希伯来语),https://www.haaretz.co.il/gallery/.premium-1.3265143.104 -以色列国,教育部,“整个故事-赋予西班牙系犹太人和东方犹太教遗产权力的计划”(希伯来语),https://edu.gov.il/special/East_legacy/background/Pages/Report.aspx(2020年9月8日访问)。Shofar,采访。106 - Anat Barzilai,“Ya ' akov Shofar:拍摄穿着拖鞋的黑豹的摄影师”,Calcalist, 2017年2月23日(希伯来语),https://www.calcalist.co.il/consumer/articles/0,7340,L-3708349,00.html;Noam Gal,《出生于以色列的Ya’akov Shofar》,2017年以色列博物馆展览小册子,Ya’akov Shofar的私人收藏。“生于以色列”与Ron Amir的摄影展“在Holot做时间”一起展出,该摄影展涉及非洲寻求庇护者在内盖夫的Holot拘留中心。以色列博物馆通讯,“Ron Amir:在Holot做时间b| Ya ' akov Shofar:出生在以色列”,2017年1月1日,https://us2.campaign-archive.com/?u=c17802e2023013491447988eb&id=8daa44bb1f&e=6b565a7e70.107 - Ibid.108 - Barzilai,“Ya ' akov Shofar”。109 - Zohara Ron,“缺席的现在”,金球奖,2017年1月26日(希伯来语),https://www.globes.co.il/news/article.aspx?did=1001173903.110 -出生于以色列,包括Reuven Abergel的父亲David Abergel的照片和他的餐桌的照片,餐桌上装饰着东方地毯和传统的摩洛哥茶盘。做烤鸡,面试。Leor Grady是另一位处理Mizrahi经验和记忆的艺术家。他2017年的作品《自然工人》(Natural Worker)讲述了1930年犹太复国主义阿什肯纳兹定居者将也门犹太定居者驱逐出Kinneret的故事,这些定居者希望接管承诺给也门人的农业用地。格雷迪,自然工作者;Uzi Zur,“自然工作者:关于犹太复国主义共识的拒绝的展览”,《国土报》,2017年1月6日(希伯来语),https://www.haaretz.co.il/literature/closeoneeye/.premium-1.3197491.112 - Abergel,采访。113 -利隆·扎耶德“他们很好:向黑豹致敬”,N12主要新闻广播,2016年12月21日(希伯来语),https://www.mako.co.il/news-channel2/Channel-2-Newscast-q4_2016/Article-b4386b964e22951004.htm。 114 -当地社会政治活动家使用纪实摄影的例子是,例如,2005年由犹太、阿拉伯和国际摄影师建立的activstills Collective,提高人们对妇女权利、同性恋、双性恋和同性恋者权利、移民权利和其他争取自由和平等的斗争等问题的认识;以及成立于1989年的B’tselem人权组织,该组织利用照片和录像记录了在约旦河西岸和加沙地带侵犯巴勒斯坦人人权的行为。actistils集体,“声明”,https://www.activestills.org/about_us/(2021年2月18日访问);和B ' tselem -以色列被占领土人权信息中心,“关于B ' tselem”https://www.btselem.org/about_btselem(2021年2月18日查阅)。
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来源期刊
CiteScore
0.30
自引率
50.00%
发文量
23
期刊介绍: History of Photography is an international quarterly devoted to the history, practice and theory of photography. It intends to address all aspects of the medium, treating the processes, circulation, functions, and reception of photography in all its aspects, including documentary, popular and polemical work as well as fine art photography. The goal of the journal is to be inclusive and interdisciplinary in nature, welcoming all scholarly approaches, whether archival, historical, art historical, anthropological, sociological or theoretical. It is intended also to embrace world photography, ranging from Europe and the Americas to the Far East.
期刊最新文献
The ‘Chok’ of Image ‘Constellations in Themselves’: Reframing Walter Benjamin’s ‘Little History of Photography’ (1931) Maria Morris Hambourg: A Curator Lighthouse for Photography Sandra S. Phillips with Allison Pappas and Natalie Zelt: Excerpt from Framing the Field Interview Transcript, 21–23 March 2022 Deborah Willis with Allison Pappas and Natalie Zelt: Excerpt from Framing the Field Interview Transcript, 8–9 June 2022 After the Flood: Notes on Photography and the Archive
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