The Longing Of The Stranger Whose Path Has Been Broken - portfolio by Rehab Eldalil

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The Longing Of The Stranger Whose Path Has Been Broken February 2021 Rehab Eldalil Online Portfolio


The Longing Of The Stranger Whos

Rehab Eldalil 2018-ongoing


se Path Has Been Broken ّ ‫اللي تقطع سبيله‬ ‫شوق الغريب‬

Self-portrait


Statement

The Longing Of The Stranger Whose Path Has Been Broken is a the meaning of home and the idea of belonging in the liminal Bed Bedouin community to depict a contemporary portrayal of the Bed photographic bodies of work including their commentary in traditiona

The project attempts to understand the layers of an identity and th the Sinai lands which defines the notion of belonging. The project’s community and western audience. Using multimedia and multisens

The project has additionally branched to produce a field guide spe Developed through a collaboration with tribe elders and older mem and herbs natively grown in South Sinai with many medicinal an plants, descriptions of its traditional use handwritten by collaborat and harvested including illustrations. This field guidebook is aimed the traditional and modern Bedou’ identity. It is a bridge between g


a personal project in which I reconnect to my roots and explore douin life in South Sinai, Egypt. Working collaboratively with the dou’ identity, the project invites the community to engage with the al mediums such as poetry, sound, embroidery and plant foraging.

he intertwined connections between the Bedouin community and s intent is to spark dialogue on representation within the Bedouin sory format to engage with the audience through various forms.

ecifically for the younger generations in the Bedouin community. mbers in the community, this field guide is a compilation of plants nd hygiene benefits. The field guide includes photographs of the tors and information on when and where the plants can be found d towards engaging younger members to celebrate and preserve generations to reconnect to their land.










“We’re almost there” A Bedou’ white lie to get you to the top of the mountain. Sheikh Jamil, tribe elder and leader of Sheikh Awad village, natural medicine expert and guide aged 67.




Up until the 1990’s women were prohibited from being seen by men from other tribes without consent. As technology evolved, the awareness of the circulation of an image on social media and lack of control of who gets access to an image escalated this concern, leading some women from never being photographed in fear of uncontrolling its access, circulation and how they’re represented. Collaboratively working with the female Bedouins, every woman photographed adds embroidery on to her portrait printed on fabric. She has full control over what to reveal or conceal using the traditional medium of embroidery. Taking full control over her representation in the project.

Nadia, 23 year old bride to be from Sheikh Awad village. Collaborative portrait: photograph printed on fabric, embroidery work by Nadia.


Chapter One The Keepers Of The Land



Chapter Two The Land




Chapter Three The Land and its keepers


We are the Arabs the genuine Bedou’ We carry loyalty and kindness at heart We walk with all kinds with no hate We protect our guests and welcome them No color but all color equally Equals without calculations We shake hands to form bonds Our hearts has no doubt but agony Poetry created and written by Seliman Abu Anas










After years of drought, a major flood occurred in mid-March 2020, providing an agricultural opportunity for the Bedouin community amid the economic impacts caused by the pandemic. For the community whose main source of income is tourism, the flood is a miracle. The land has given back to its keepers in the time of crisis.


















When the 1918 flu struck Egypt, Bedouin communities in Sinai established a communication method between villages. Each village assigned one person to climb the highest nearby mountain and signal to the rest of the villages. If infected, the village self quarantines and by signaling to the rest no one would go over to their neighborhood until it’s safe. As told by Seliman while collecting plants in the mountains.











Walk my pen and write the best of meanings And draw on paper the best of words I worry of the cloudness of my thoughts From the words to repeat and rerun I dug a grave of pain that filled me I built a castle of loyalty for months I loved as an infant in the end of my days I lift the rope off the palms I answered the lines of my poetry At first harvest I reap the fruits of glory Written and original poetry by Seliman Abu Anas





Field Guide Contents












Moussa: The book is amazing, any negative comments. But our names and didn’t write

bravo. I don’t have you wrote all of your own name, why?

Me: Really? You don’t have any suggestions to make it better? Yes I forgot to put my name before printing! Moussa: I find it excellent, very simple and easy to read, the information is useful and interesting. Me: I’ll sign the copy you have! Are there any missing information for the plants featured? Moussa: No its not missing anything, its almost exactly the same information we know. Me: Regarding the younger generations, will they be able to understand the traditional Arabic text properly or should I also add the Bedoui dialect? Moussa: The traditional Arabic is great and understandable. You can add the Bedoui dialect for those who don’t know it like forgeiners. Me: Yes but the main target is the Bedoui young generations. I tried to use very simple Arabic text and I added the English for foreigners who might be interested to buy the plants. People can use the field guide to sell the plants, you know. Moussa: Yes that’s great! Many people will find benefit from it.


Portfolio/lookbook Realisation

Handmade portfolio lookbook, used as an exhibition and limited edition book mock up. I’ve used recycled paper and binded the book using handstitches. To date, 30 pieces of embroidered photographs have been developed with female community members.



Reviews

Ariella Azoulay

https://vivo.brown.edu/display/aazoulay

Author, art curator, filmmaker, and theorist of photography and visual culture. Professor of Modern Culture and Media and the Department of Comparative Literature at Brown University.

Thank you for sharing with me your rich and timely projects.

The Field guide with the plant is fantastic, as well as the col

Imperialism, and local projects of colonialism, like the state their grandparents, including not knowing their languages, m not irreversible. In this sense your projects are very importa

It is great to hear that you print and share it with the elders - th and shared inter-generational knowledge.


.

llaboration with women through embroidery.

e of israel, did everything possible for children not to know the worlds of modes of growing food, knowledge of the environment etc, it is painful but ant, and i hope you will keep going with it.

his is extremely important and i hope it will generate further conversations


Reviews

Tanya Habjouqa http://tanyahabjouqa.com/ Jordanian-Texan visual artist, educator, and a member of NOOR Images. Her book “Occupied Pleasures” has received critical acclaim from Time Magazine and Smithsonian and won a World Press Photo.

The Bedouins have long been reduced and flattened e Arabia imagery or actually racist tropes inside various approach understanding first the history, working with

It’s notoriously difficult to access the Bedouin community, p and flattened. Not only has she gained the access and re make a health clinic, and giving back to the community. I th us. I can only think of Nina Berman’s Autobiography of Mis This isn’t our story, its what is shared…and Rehab works wi

It’s ethnographic, folkloric, art, conceptual, and academic tak It’s multidisciplinary, brilliant and unique. Rehab is a rare pho this is the direction that I think the world is demanding that w and she is ahead of the curve and we can learn from her app


even within local communities. An orientalist trope, a Lawrence of Arab countries that have sizeable Bedouin communities. Rehab’s the community to develop their own stolen archive is brilliant.

part of the reason that in the orientalist tropes: they are often simplified espect of the community, but she is actively collaborating; worked to hink the ethical standard that Rehab is working on is a lesson to all of ss Wish in terms of understanding and meeting our ethical obligations. ith the community as they narrate their own reality as active partners.

ke on notion of archive, and subverting the stolen archive in this case. otographer, an author, wearing many hats. She is one to watch because we go. People are increasingly demanding a say in their representation proach.


Exhibition Sketches

Exhibition plan based on senses Smell Hear

Touch

Touch

See


Hear



Installations of the natural material in Sinai. Set in jars with close up backgdrops imitating the below photograph.

Plant installations




Recognitions Magnum Foundation’s and AFAC’s Arab Documentary Photography Program 2020 Link Awarded eight months mentorship program and 5,000USD grant. Art Jameel Research and Practice Program 2020 Link Awarded 1,000USD grant to work on my project during the pandemic. Marilyn Stafford Award 2020 Link Shortlisted for the award and grant to continue the photo essay.

Catchlight Fellowship 2020 Link Finalist for the prestigous one year fellowship which includes 30,000USD grant. National Geographic Emergency Fund For Journalists 2020 Grant to continue working on the covid-focused chapter.




info@rehabeldalil.com +201003515486 rehabeldalil.com