A Moroccan-Born Jewish Artist Who Became the Master of a Traditional Artform

Currently on display at New York’s Aquavella Galleries are some recent works by Jacob El Hanani, who has been dubbed “the grandfather of micro-drawing.” This painstaking artform involves the creation of images through thousands of tiny pen-strokes. Sometimes El Hanani uses a form of this technique he borrowed from traditional Jewish religious art, where pictures are constructed from tiny Hebrew letters, which often spell out a biblical text. Yael Friedman, having interviewed El Hanani about his life and work, writes:

El Hanani was born into a booming postwar Casablanca, to a middle-class family. . . . His father was an accountant who “dressed to kill,” they spoke French at home, and he was surrounded by the gifts and trappings of a comfortable and urbane world. Like most Moroccan Jews, his family left in the early 1950s, arriving by ship in Haifa Bay in 1953.

The El Hanani family moved to a moshav (a type of cooperative agricultural community first founded in Israel in the early 20th century) and eventually to Petaḥ Tikvah. At an ulpan, [an intensive Hebrew course for immigrants], his father, conspicuously elegant and refined for that setting, made an impression on a fellow student, a woman who was the president of a women’s Mizraḥi organization. She asked him whether he’d like to come work for their school in Ra’anana. It was a religious school for World War II orphans—his father would have to wear a kippah and say the prayers. When he’d come home, he would remove it.

Slowly, he grew to appreciate and enjoy the traditions and began absorbing them. As El Hanani describes it, it was a process of “na’aseh v’nishma” [literally, “We shall do and we shall hear,” from Exodus 24:7]—first do it and understand later. Friday nights transformed into special and solemn occasions in their household and they became more observant than their extended family.

El Hanani’s work, the current exhibition included, remains infused with Jewish themes, with pieces titled Ivrit (the Hebrew word for Hebrew), Dot-Nekuda (from the Hebrew word meaning either “dot” or the diacritics used to represent vowel sounds), and Without Form and Void, a reference to the second verse of Genesis.

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Read more at Forward

More about: Jewish art, Judaism, Moroccan Jewry

Salman Rushdie and the Western Apologists for Those Who Wish Him Dead

Aug. 17 2022

Ayatollah Ruhollah Khomeini, the founder and supreme leader of the Islamic Republic of Iran, issued a fatwa (religious ruling) in 1989 calling for believers to murder the novelist Salman Rushdie due to the content of his novel, The Satanic Verses. Over the years, two of the book’s translators have been stabbed—one fatally—and numerous others have been injured or killed in attempts to follow the ayatollah’s writ. Last week, an American Shiite Muslim came closer than his many predecessors to killing Rushdie, stabbing him multiple times and leaving him in critical condition. Graeme Wood comments on those intellectuals in the West who have exuded sympathy for the stabbers:

In 1989, the reaction to the fatwa was split three ways: some supported it; some opposed it; and some opposed it, to be sure, but still wanted everyone to know how bad Rushdie and his novel were. This last faction, Team To Be Sure, took the West to task for elevating this troublesome man and his insulting book, whose devilry could have been averted had others been more attuned to the sensibilities of the offended.

The fumes are still rising off of this last group. The former president Jimmy Carter was, at the time of the original fatwa, the most prominent American to suggest that the crime of murder should be balanced against Rushdie’s crime of blasphemy. The ayatollah’s death sentence “caused writers and public officials in Western nations to become almost exclusively preoccupied with the author’s rights,” Carter wrote in an op-ed for the New York Times. Well, yes. Carter did not only say that many Muslims were offended and wished violence on Rushdie; that was simply a matter of fact, reported frequently in the news pages. He took to the op-ed page to add his view that these fanatics had a point. “While Rushdie’s First Amendment freedoms are important,” he wrote, “we have tended to promote him and his book with little acknowledgment that it is a direct insult to those millions of Moslems whose sacred beliefs have been violated.” Never mind that millions of Muslims take no offense at all, and are insulted by the implication that they should.

Over the past two decades, our culture has been Carterized. We have conceded moral authority to howling mobs, and the louder the howls, the more we have agreed that the howls were worth heeding. The novelist Hanif Kureishi has said that “nobody would have the [courage]” to write The Satanic Verses today. More precisely, nobody would publish it, because sensitivity readers would notice the theological delicacy of the book’s title and plot. The ayatollahs have trained them well, and social-media disasters of recent years have reinforced the lesson: don’t publish books that get you criticized, either by semiliterate fanatics on the other side of the world or by semiliterate fanatics on this one.

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Read more at Atlantic

More about: Ayatollah Khomeini, Freedom of Speech, Iran, Islamism, Jimmy Carter