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Why Virginians Need to Care about the Assassination of Jamal Khashoggi

RVA Staff | October 18, 2018

Topics: Assassination, Crown Prince Mohammed bin Salman, Istanbul, Jamal Khashoggi, Middle East, President Trump, Saudi Arabia, Turkey, virginia, Washington Post

Jamal Khashoggi was assassinated to silence his voice as a prominent critic of Saudi Arabia. Moving to the U.S. in June 2017, after being banned by the Saudis for criticizing President Trump, Khashoggi was eventually hired by the Washington Post in September of the same year. As a journalist in the U.S., Khashoggi became a Virginia resident and a prominent commentator on the Saudi monarchy and their disastrous war in Yemen, which has left over eight million at risk of famine.

Two weeks ago the Virginia-based journalist was lured into the Saudi Arabian diplomatic consulate in Istanbul, Turkey. He was never seen again. According to Turkish intelligence reports, he was dispatched via Saudi operatives, dismembered, and then disavowed. Only after intense public outcry from the international community and media have the Saudis hinted that it was a possible “interrogation gone wrong.” Even by today’s frayed international norms, assassinating a journalist at a diplomatic consulate is dark — so very dark.

Jamal Khashoggi

While the Saudis continue to obfuscate and misdirect (in the face of U.S. silence), the Turkish government has investigated, and released intelligence reporting that shows Khashoggi was detained within minutes of entering the consulate. Officials have then said the journalist was tortured, and that his fingers and head were eventually severed from his body. The New York Times has also reported that the Saudi operatives included a “doctor of forensics,” who helped with Khashoggi’s dismemberment. 

So very dark. 

For anyone who has ever been involved in Middle East politics, this move by Saudi Arabia should come as no real surprise. They are a fascist country run by a religious monarchy. What is surprising is that the Saudis, for the first time, are truly experiencing international isolation, pressure, and condemnation. Which is also novel, since the scourge of Sunni-based international terrorism, including al-Qaeda, the Islamic State, and the Taliban, can be linked back to their involvement, funding, and religious ideology.

Remember that time 15 of the 19 September 11th hijackers were Saudi? You should. 

Yet when you are the world’s leading global exporter of oil, buy copious amounts of weapons from the U.S. for use in a disastrous civil war in Yemen, and pretend to be the bulwark against Iranian regional aggression, then all things can apparently be forgiven. Except this — maybe. 

This is why the killing of Khashoggi has caused such a global uproar. Even Senators like Lindsey Graham have broken ranks with Trump and urged him to “sanction the hell out of Saudi Arabia,” going so far as to say that Crown Prince Mohammed bin Salman, who is at the center of this diplomatic crisis, has “gotta go.”

Global executives and CEOs have also pulled out of an economic confederate scheduled for Saudi Arabia next week. The Saudi attempt to rebrand their country’s image as a moderate desert kingdom, away from the despotic oil state it actually is, has now become impossible — not that Saudi Arabia had any real desire to ever become such a country; they just wanted the international community to think they were. 

However, brutally assassinating a journalist at a diplomatic consulate calls into question basic protections which are the foundations of global law and order. Whether they’re saying it aloud or not, political and business leaders understand that allowing this kind of behavior to go unchecked puts their own interests in danger. Especially since Trump has not signaled any willingness to side against Saudi Arabia, claiming that Khashoggi “was not an American citizen.” He’s even gone so far as to connect Saudi suspicion to the outcry over Supreme Court Justice Brett Kavanaugh, telling the Associate Press, “You’re guilty until proven innocent.” 

So very dark.

Instead of speaking against Saudi Arabia, the president is putting U.S. arms deals with the Saudis’ (around $4bn in 2017) ahead of human rights, press freedoms, and the protections afforded by a citizen’s diplomatic consulate. Yet the president’s concern with defense contracts and U.S. economy is little more than smoke and mirrors. 

In truth, Trump doesn’t care. His antipathy towards the press is well known; his comment that Khashoggi might have been murdered by “rogue killers” supports this. And more than once on the campaign trail, he boasted about how many personal business deals he has with the Saudis. The Washington Post also found that Crown Prince Salman’s personal delegation boosted rental revenues at Trump’s New York hotel by 13 percent – the same Salman who’s denials Trump is taking at face value. 

So very dark.

Unfortunately for the international community, Secretary of State Mike Pompeo, who met with Trump today and traveled to Saudi Arabia to address the growing crisis, is fully bound by whatever reaction Trump thinks is appropriate in the moment. The Washington Post reported yesterday that the U.S. and Saudi Arabia are now looking to “[seek] a mutually agreeable explanation for journalist Jamal Khashoggi’s death.” All of which amounts to diplomatic and political doublespeak, allowing the Saudis’ to save face, divest responsibility, and return to business as usual.  

In his final column, Khashoggi wrote, “…the prominent Saudi writer Saleh al-Shehi wrote one of his most famous columns ever published in the Saudi press. He unfortunately is now serving an unwarranted five year prison sentence for supposed comments contrary to the Saudi establishment.” He finished this paragraph by saying, “These actions no longer carry the consequence of a backlash from the international community. Instead, these actions may trigger condemnation quickly followed by silence.”

For those of us concerned with anti-fascism, corruption, and how they connect to the creep of authoritarianism at a global level, Khashoggi’s words could not have proven more prescient. The U.S. (for the time being) still remains the indispensable nation that all other nations follow, warts and all. When we undermine our own fundamental values — diplomacy, press freedoms, and human rights — and exchange them in favor of a fascist religious monarchy, liberalism loses and authoritarianism wins, abroad and at home. 

Khashoggi might find it ironic that his assassination has led to the kinds of condemnation and outrage he didn’t think was possible — but only just. Early this morning, Pompeo recommended that the U.S. give Saudi a few more days to “investigate” and “let the process play out.” By then, though, there won’t be any more blood to paint over inside the consulate. 

So very dark, pitch black.

Lebanese American Artist Hannah Shaban Tackles Misconceptions of the Middle East in Latest Work

Sarah Honosky | May 23, 2018

Topics: Arab, art, Artspace, ceramics, Eastern culture, Hannah Shaban, Lebanese American artist, Middle East, RVA ARt, sculpture, vcu

Hannah Shaban leaves her audience with a gift. The first 86 visitors–the number of clay cups to survive the kiln–leave her VCU Graduate Candidacy Exhibition with full hands and a better understanding of what it means to be Arab American.

The opening night of Shaban’s exhibition at Artspace Richmond, she and her mother welcomed the guests trickling into the area as though they had been waiting for them all evening–sitting them down, feeding them a traditional Lebanese cake baked by her aunt, and gifting them with a hand-crafted Arabic coffee cup, plucked from the display on the wall.

Photo By: @hannah.shaban

It’s a performance piece, built as though you are stepping into their living room. At the beginning, the ceramic cups line the wall like an array of family photos, the display behind them yellowed with coffee, so even after they are taken down, their outline is unmistakable. By the end, the wall is empty.

“When you take a picture frame off the wall, it leaves a little bit of a halo. I was pushing for that,” said Shaban. “These cups are something I’ve cherished for a long time and I’m giving them to you. I wanted to fill their hands.”

Shaban is an MFA candidate at VCU with a focus on ceramic sculpture.  As a first generation Lebanese American woman, most of her pieces wrestle with identity, with the Western misconceptions that pervade representations of Eastern culture.

“I couldn’t really ignore what was happening in the media and how Arabs are being represented, from 9/11 to the Syrian refugee crisis happening now. It’s this weirdly awful negative image that represents nothing about our true culture,” said Shaban.

Shaban spent this semester focused inward, on her grandmothers, on the hospitality and generosity that that defines her culture, “If you have something to give, you give it all.”

Photo By: @hannah.shaban

Counter to the American standards of generosity, nothing is ever expected in return. There is no bookend of apologies or bargains, it is a pay-it-forward ideology so that if someone is ever in need, they won’t even have to ask.

Shaban’s life-size, realistic sculpted figures insert the audience into the scene, using spatial and physical interaction to take viewers into the environment. It’s an immersion of sorts, created to shatter the stereotypical Western assumptions that inform their understanding of the Middle East. They are left with a gift, be it the hospitality and kindness of a stranger, or the beautiful delicacy of a cup.

Photo By: @hannah.shaban

“Every time people see [the cup], they will remember the act that my mother and I did, the act of giving away the cups, of welcoming them all in,” said Shaban.

The sculptures themselves are stunning, so realistic that walking into the gallery space almost feels like an invasion of privacy, an interruption of an intimate moment. Looking at them, it’s hard to believe that Shaban only discovered her gift for ceramic sculpture in her last semester of undergrad.

“I think of it as another language, as another way of translating my life,” said Shaban. “I feel like in my head I’m constantly jumping between Arabic and English, between my American identity and my Arab identity, and clay comes in as another language of mine, another thing that I’m translating myself in and out of.”

As a first-generation American, Shaban said she is constantly forced to address the same question: “Where better?” In fact, it’s the central theme of one of her recent installations, an eight-and-a-half-foot tall rock wall, based off the retaining wall holding off the hill behind her grandparents’ house in Ammatour, Lebanon. It’s the place where relatives and people of the village come to greet her when she visits every summer, and ask, ‘Wayn ahla, Amerca ow Libnan?’ meaning, ‘Where do you like more, America or Lebanon?’

Photo By: @hannah.shaban

“We all are missing something here. There’s a popping back and forth between cultures,” said Shaban. It is a constant pressure to choose between two worlds, as though the cultures can’t exist in tandem.

It doesn’t help that Western culture has divided the Middle East into a series of stereotypes, with their only redeeming quality being beautiful women and hummus–that Americans are then defiling with avocado.

She spoke about the first images of the Middle East created by French Orientalist painters, who created the initial allure of Arab culture: beautiful possessed women, silks, architecture, and men with beards and curved swords. A series of stereotypes: beautiful, but cliched.

“I wanted to take my modern Arab subjects and layer them with this orientalist design–like things that were originally so seductive, I wanted to take that old seduction and put it on my modern subjects,” said Shaban.  “Lure people in with the beauty, have them stick around for the substance.”

Though there is an inherent politicism surrounding the Middle East, Shaban’s focus on social and cultural elements means she deals more with addressing the harmful cliches than the complex political landscape surrounding American foreign politics. Though she tried to push away from her focus on identity, feeling pressured to tackle the “big stuff” like the Syrian refugee crisis, it felt less authentic in her work.

Photo Courtesy of Artspace Richmond

“It wasn’t my story, I felt like I was almost cheating using them,” said Shaban. “What connection do I really have with Syrians being displaced from their homes, why did I feel like I could use their story in art?”

Instead, she turned again to the universality of identity, questions of who you are, and where you belong. Shaban is repairing the small damages, that in summation prove no less harmful. American misunderstanding and ignorance of the Middle East attempts to define a culture they don’t even understand, and Shaban’s work welcomes them into their ignorance, shows them hospitality and kindness, and then–sometimes–leaves them with a cup.

TOp Photo By: @hannah.shaban

 

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