On indigeneity

Language is important. It can help us clarify our thinking, by crystallizing ideas and making grounded analysis possible, or it can befuddle, disorient, and completely disengage with reality – not only our own but also that of our human family. I will try to be as clear as possible in this post.

I agree with Mary Adams that it’s good Brighton is being exposed for what it is. I have heard stories about how hard it is for Black kids at the town’s high school and how they’re frequently harassed by police, so I never understood the charms of Brighton’s so-called success with diversity.

It’s unfortunate that this unravelling of the Brighton myth is happening at the expense of Robin Wilt, the only Black woman on their town board. She is being persecuted by a large (and extremely loud) portion of Brighton’s Jewish community for posting a picture with Linda Sarsour and saying the words, “Free Palestine.”
That Linda and Robin are both women of color is no accident. Zionism is a European, ethnonational, Jewish-supremacist ideology. How is it supposed to treat people of color or women for that matter?

Amidst all the brouhaha and surreal accusations, the word “indigeneity” has been thrown around by Robin’s attackers. It’s also incorporated into some of the softer liberal Zionist discourse coming from people who support Robin. So let’s be linguistically precise.

Israel is a settler colony. It is justified by the same kind of self-righteous, racist propaganda as America’s Manifest Destiny, “a phrase coined in 1845 and the idea that the United States is destined—by God, its advocates believed—to expand its dominion and spread democracy and capitalism across the entire North American continent.” At the last Brighton town meeting, one of Robin’s detractors used the words “Gospel-given right” to claim indigeneity to Middle Eastern land. It fits.

Palestinian Jews are indigenous, of course, but the white people ranting against Robin and harassing Palestinian Muslim families in the audience are not. Neither were the founders of Israel. They were white European settlers with generational links to European lands, not Palestine.

What is indigeneity? See this document from the United Nations Permanent Forum on Indigenous Issues, but here are some ways to understand “indigenous”:

• Self- identification as indigenous peoples at the individual level and accepted by the community as their member.
• Historical continuity with pre-colonial and/or pre-settler societies
• Strong link to territories and surrounding natural resources
• Distinct social, economic or political systems
• Distinct language, culture and beliefs
• Form non-dominant groups of society
• Resolve to maintain and reproduce their ancestral environments and systems as distinctive peoples and communities.

The settlers who moved to Israel cannot claim any of these continuities. Neither can they be called a non-dominant group by any stretch of the imagination. Their military, economic, and political power and privilege are obvious. They (Jews with European ancestry in particular) occupy the highest echelons of an apartheid system where the Palestinians are so savagely oppressed even their food and water are controlled.

From the same UN document: “Indigenous peoples often have much in common with other neglected segments of societies, i.e. lack of political representation and participation, economic marginalization and poverty, lack of access to social services and discrimination. Despite their cultural differences, the diverse indigenous peoples share common problems also related to the protection of their rights. They strive for recognition of their identities, their ways of life and their right to traditional lands, territories and natural resources.” — almost a word for word description of the Palestinian struggle.

To co-opt the word “indigenous” and apply it to colonizers is a stunning bastardization and corruption of language.

If 2,000-year-old connections to land define indigeneity, then we are all indigenous to Africa. But I doubt it means that we can (or should) walk into an African country, move into someone else’s house, and resort to ethnic cleansing and genocide in order to be able to return home.

Let’s be careful and intentional with our words. Otherwise “War is peace,” “Freedom is slavery,” and “Ignorance is strength.”

Remembering Bob Moses

Bob Moses passed away on July 25th. Here are powerful words from Margaret Burnham’s excellent tribute, Remembering Bob Moses, 1935–2021:

“In telling this personal anecdote, I violate what Bob Moses taught us—not didactically but by his example. The first-person singular pronoun, a dangerous thing, should be used sparingly by those who seek to break the deafening silence of the subordinated.

Bob Moses’s storied life is the stuff of myth, told in scores of books, films, and archives, and crowned with a “genius” award. Perhaps less well-rehearsed is what he imparted to those of us who worked with him about how to move around in communities that were not ours but were of us, how to learn from the unschooled, how to be a charismatic follower rather than an acclaimed leader.”

immersive van gogh in nyc

immersive van gogh at pier 36 felt like a touristy thing to do, but i got to see my lovely kids and have brunch with them, so what could be better? my deep connection to van gogh: i read “lust for life,” irving stone’s biography (a comprehensive tome on van gogh’s life and work but also on impressionism broadly) when i was in high school. his tragic story and gorgeous art (it pulsates with color and intensity) have been with me all my life and perhaps became a lens through which i learned to appreciate all art.

at the end of the show, we finally come face to face with van gogh’s self portraits, to the sound of handel’s saraband, and it strikes one what a hard, sometimes brutal, life he lived and how commercially profitable his art has become now. i hope that his brother’s family is getting a piece of it still, his brother theo who supported him through all the illnesses and crises.

pier 36’s “75,000 square foot waterfront space located in manhattan’s lower east side” didn’t really work for me. i prefer the intimacy of arttechouse for a truly immersive experience, but this is a great instagram opportunity.

imaginary man

shahzia sikander. miniature in mughal style: imaginary man, 1991 (vegetable color, watercolor, tea, and gold leaf on wasli paper, 11 x 8 inches). this piece made me tear up. its exquisite detail, the subdued color palette, the delicate hands and fingers, the otherworldly beauty of this serene male figure — a bearded, muslim figure and all that it has come to mean in the western imaginary, yet here it is, portrayed as something distinguished and light, frail rather than threatening, gossamer rather than immovable. i stood there for a long time, coming close to the piece and connecting with the arduous, detail-oriented work that went into creating this dazzling art. it took sikander years to complete it.

shahzia sikander: extraordinary realities

this past weekend, my sister, daughter and i went to see ‘shahzia sikander: extraordinary realities’ at the morgan library and museum in nyc. a tremendous exhibition even though it spans the first 15 years of her work only. she moved to the US the same year i did, in 1993, and i’ve been following her work since the 90s. rooted in rigorous research, filled with symbolism and iconography, unafraid to engage with the politics of empire, race and patriarchy, bent on creating a unique and personal vocabulary, sikander’s work is bold, original, and always ahead of its time. it is also beautiful – many pieces painted painstakingly over years. the details are astonishing, the overall impact of her images almost mystical (in how they simultaneously activate the mind and enchant the eyes), and the narrative intricacies of her work (with its rich subtext and references) demand attention. that she is an artist from lahore, educated at the national college of arts (NCA), who studied miniature painting under the tutelage of professor bashir ahmad, makes her all the more special to pakistanis. my daughter read every art label and took pictures of every artwork. she told me it was the best exhibition she’d ever been to. it’s moving to encounter extraordinary art. it’s sublime to recognize bits and pieces of oneself in it. i will be sharing images in several posts. as molly crabapple has said: if u are in ny, u owe it to yourself to see this exhibition.

morgan library and jazz at birdland

yesterday at the morgan library & museum with my lovelies, persian food for lunch at ravagh on madison ave, visits to vintage clothing stores (mostly for my sister and daughter), some matcha at cha cha, and then dinner and jazz at the birdland jazz club featuring arturo o’farrill and the afro latin jazz ensemble ? live jazz makes me happy! more about what we saw at the morgan library soon.

Pakistan One on One is now on Vimeo

Friends, I am thrilled to share that in addition to The Muslims I Know, you can also watch my second film online. Pakistan One on One (2011) was shot in Lahore. It’s a fascinating series of conversations with a wide range of Pakistanis (including students, shopkeepers, real estate agents, tailors, teachers, and the incredibly gracious Navid Shahzad). We talk about the War on Terror, the Taliban (a hot topic once again as we move closer to the US exit from Afghanistan), and what Pakistanis think of US foreign policy and Americans. Most interviews are shot outdoors, on location, and they shine with the freshness and vitality of Hassan Zaman’s funky music and Liz Phillips’s quirky visuals and transitions. It’s a film I’m very fond of. Pls watch and support activist filmmaking here.