This project tries to offer an imaginary possibility by reclaiming spatial fragments that reflects on occupation through a 6-month research based short film.
1 miuntes trailer.This project is in the application stage of the film festivals. The short film will be updated on the website after applications are completed.
1分钟预告。这个项目处在申请电影节的阶段。电影节申请结束以后会被更新在网站上.
Synopsis
As a short experimental documentary, the video responds to the illegal occupation of a Palestinian train station by Israeli settlers in 1976, which expanded to change the territorial fabric of the West Bank. The video is 15 minutes long and consists of three parts: 1. an introduction to the background of the historical event 2. a presentation of information gathered from authoritative institutions, thus exposing the intentions of large institutions such as archives/libraries to legitimize the invasion 3. a presentation of actual interviews with local Palestinians, showing a more vivid history excluded from the archives/libraries and other state institutions, completing the true narrative of the event.
A map shows the location of the sebastia station, a book describes the history of the occupation of the station, and an occupier's archive exposes the "legitimacy" of the occupation of the station. The station, which used to take the villagers to faraway places, is still inaccessible to outsiders because it is controlled. The writing of history is confined to images, words and archives. The train station, as a typical urban space, has become a living archive after its abandonment, revealing to us more aspects of the past. Memories, sounds, time and stares open up our re-imagination of history - the rift between reality and memories creates a great potential for spatial narratives, and it is this potential that brings us to a different story.
南京大气层空间展览现场照片，7.16-8.20 2023
Abstract
The project began with the occupation of Masudiya station by Gush Emunim, which led to the Sebastia agreement. Sebastia agreement is a document signed between Gush Emunim and Israeli government that legitimates settlement movement by Israeli government even though it is illegal under international law. It was a turning point that opened up the northern part of the West Bank for Jewish settlement. The station was on the Hejaz railroad, which originally connected the Middle East, Turkey, Egypt etc,. Gush Emunim occupation is not only entry point into the encroachment of northern West Bank, but also a foretell the control of Palestinian mobility.
The project focuses on occupation, and was developed in three stages: the collection of testimonies about the Masudiya Station occupation, the testimony translation in material and spiritual terms, and finally the production of a short film and an archival website as intervention claims.
The short film presents key testimonies and reflections on the occupation: the performance of hands reveals the materiality of the occupation, while the constant interplay of reality and fiction in the simulated re-entry to the station reiterates the severance of the memory of the station from the current present. Memory acts as an extension of the physical environment, connecting the past and offering the possibility of re-imagining the future.
Archival website exposes the collection of testimonies forms a forum that fosters public awareness and discussion and aim to rebuild mobility through solidarity. Some of the testimonies during the research phase of the project were taken from The National Library of Israel and the State Archives (see footnote for details). Only 1.29% of materials from the state archive are open to public which are usually presented in a standard archival format with names, descriptions, times and places. This narrative serves state propaganda, provides legitimacy to the invasion of the land, and obscures the brutality of the occupation. Archival website as a design proposition complements the limitations of the linear narrative of this project's short film and gives the public a platform to freely explore the testimonies and the relationships between individual testimonies, presenting the origins of the design proposition and the transcription of the testimonies, thus challenging the materiality and one-way narrative erased from the authoritative record represented by the state archives. Meanwhile, the free access of my research date support future potential research, which functions as solidarity building too.
Keywords: occupation, materiality, memory, archive, narrative identity
1. Background: Sebastia agreement
1.1 Before occupation: Hejaz railway
Sebastia was served by two stations on the Hejaz railway: Masudiya station and Sabastiya station, the latter has no records. The Hejaz was used to establish a connection between important cities such as today’s Istanbul, Mecca, Jerusalem, Cairo, Damascus, etc. Work on this railway began in 1900, during the reign of the Ottoman Sultan Abdul Hamid II (1876 - 1909), and was opened after 8 years. Parts of the railway were destroyed in 1916 during the First World War (1914 - 1918).
Masudiya station was initially intended for both, access for pilgrims, and for Palestinian residents of the villages to move to neighboring cities quickly. The deputy head of the Burqa Municipal Council, north of Nablus, Jihad Sherida, said about it: "It is a land with an area of about 26 dunums, donated by the residents for the benefit of the Hejaz Railway, during the time of the Ottoman Empire, and it is now owned by the Palestinian state. After it was private property. Israeli resource claimed the Station property is now owned by the Israeli state.”
1.2 During occupation: Sebastia agreement and Gush Emunim
In 1975, the station was occupied by an Israeli right-wing group, the Gush Emunim, who demanded the establishment of a settlement in Sebastia. At the end of that year, the Israeli government and Gush Emunim signed the Sebastia agreement in the main hall of the station. The government relocated the settlers near the Qadum barracks and the temporary settlement was expanded into a permanent settlement - Kedumim. This model was replicated in other settlements in the northern West Bank. According to APN Settlement in Focus: Vol. 1, Issue 10 - "Behind the Barrier: A Profile of Elon Moreh", “From 1967 until the Yom Kippur War, the government of Israel supported settlement in only a few areas of the newly occupied territories - mainly the southern West Bank and the Jordan Valley - and justified land expropriations on the basis of the military/security needs of the State of Israel.” However, The Sebastia agreement was a turning point, opening the northern West Bank to Jewish settlement. As one of the first permanent settlements established by the Gush Emunim movement, it was particularly important because its establishment spawned the legal basis for future settlements in the West Bank.
Gush emunim is a non-governmental organization. Unlike the Zionists, who did not address the contradiction between the "Promised Land" and lands with good agricultural soils but relatively few historical ties to Israel, the Gush emunim movement saw height as a strategic resource, e.g., the "March to Samaria" movement. The research-based relationship map shows a network of settlement movements.
Zaid al Azhari (Hilali) works with the Palestine Heritage Trail to develop more tourism in the West Bank in collaboration with small businesses. When he was asked why the settlers have such an obsession with this abandoned station, he provided one of the possible reasons: "The settlers have told the construction workers that there is an old jewish myth about their people not being able to sleep in Sebastia. This is partially why the masudiya is also important.” Another explanation is more random, suggesting that Gush Emunim chose the station as a settlement only because of its abandoned state. The site was recommended by Ariel Sharon according to Hollow Land. As a settlement outside of the government's Allon plan at the time, Gush Emunim, as a civic grassroots right-wing organization, had the advantage of being strategically efficient and gaining a "retrospective" status as a non-government sanctioned occupation against the traditional top-down government plan. legitimization. From a spatial perspective, the dimension of settlement is extended from the horizontal development of the plains to the vertical valleys. As Zygmunt Bauman writes in Liquid Modernity, '[t]he "conquest of space" came to mean faster machines ', and 'accelerating the moves was the sole means of enlarging the space’ . While Gush Emunim's mobility echoes the mobility of the station, its occupation seems to foreshadow the loss of sovereignty and the fate of the local inhabitants who will henceforth be in control.
1.3 After occupation: Settlers impacts
Shavei Shomron is the nearest settlement near Sebastia. It was founded in 1977. Shavei Shomron is located on a hilltop which over looks the valley as is generally the case with the features of Israeli settlements presented in Hollow Land,. The good sight facilitate its regional monitoring and control. What’s more, according to ARIJ, Israel confiscated land from two nearby Palestinian villages in order to construct Shavei Shomron: 680 dunums of land were taken from An-Naqura, while 236 dunums were taken from Deir Sharaf. The expansion diagram is done based on the changes in satellite maps provided by Geomlog.ps between 1999 -2020, showing its continuous outward expansion. Besides land expansion, in the RCA underground politics lecture series, invitee Zaid al Azhari described in detail the current Sebastia situation of controlled mobility during a Q&A session of one of the lectures. As a beneficiary of the Gush Emunim movement, Shavei Shomron's impact on the local Palestinian people in the present day proves that the historical events of 1975 did not end with the pass of time and that the metaphor of land occupation and mobility continues to this day.
2. Research: Testimony collection
2.1 State archive testimony vs vibrant testimony
Some of the historical photographs found during the research process are from the National Library and the State Archives. By making testimonies, defining them and carefully deciding on either to public them or not, their materiality has been erased and the archives form a system of oppression that alters national history and thus affects the narrative identity of the oppressed people.
Israeli Chief Archivist Dr. Yaakov Lozowick's State of Access to Israeli Government Archives data sheet proves that as of 2017, just 1.29 percent of state archival material has been made accessible to the public. Noam Hofstadter quotes the first paragraph of Dr. Yaakov Lozowick's open report stating that one of the reasons for this result is "Israel is not dealing with its archival material in a manner befitting a democracy. The little of the material that will be made accessible, will be accessible only with unreasonable restrictions. The process of releasing of records lacks any public accountability or transparency." Bizarrely, today, five years later, the front page of the State Archives shows that "Much of the classified They have now passed. Here it is." What exactly has passed? For whom? Who defined it as having passed? Does the opening of the document now assume that this event can no longer be pursued? The Sebastia agreement, one of the key testimonies found for this project, at least wasn't released until 2015 (estimated based on a report) documents in detail the entire event, including the execution of the plan, the timing, the number of people, etc. As carefully filtered 1.29 percent, this event seems to be defined as an important point in the glorious history.
When images, videos, maps, texts, and objects function as testimonies, their power to exist is gained by revealing an event. These testimonies are usually presented in standard archival form, with names, "objective" descriptions, times and places, etc. They are electronically incorporated into state institutions. This process of digitalization is a kind of filtering and sifting, where the materiality of the occupation is erased not only by technology but also by the choice of disclosure or concealment.
In addition to authoritative testimony, this project included testimonies that were excluded by the State Archive. This includes interviews with local residents, oral histories, social network photos and videos, news, and text. Topics covers from land property to local memories. These testimonies revisit this historical event with a wild, vivid, and diverse perspective, creating an online archive. This archive not only rebels against the State Archives' sifting of the content of the masudiya station occupation, erasing the materiality and the one-way narrative, but also confronts its authority from the bottom up. How do the events of the past affect the present? Is it possible to re-imagine the future based on the influence of the past on the present? Inspired by applied theater, this project applies space to narrative through timelines, image mapping, moving images, soundscape, and the overlapping of the station's material present and imagined past. Memory as an extension of the physical environment, can bridge the past and contribute to reimagine the future.
2.2 Not showing as occupation (materiality and memory):
The pdf file of the Sebastia Agreement was found in the State archives, along with other occupation photographs. The investigation revealed that many of the photographs were attributed to IPPA Staff. This is because most of the national photography archives in Israel were established, along with photography departments that actively ordered photographs from photographers in the service of the institutions they represented, for national benefits. These digital files, without any tangible material, lie on the screen, present the brutal occupation to the public as a great national chronicle, seemingly innocent. By turning land into property, ostensible people and plantations into numbers, and life into a record of expansion, what is erased from an authoritative organization is the brutality of the occupation, and therefore a nation.
The archive contains no documentation of the origin of the station plot, no textual descriptions of the station as it sits on the edge of a large area of farmland where often local residents were employed to organize activities such as farmer's market, no photographs capturing the childhoods of local children playing near the station, no sound presenting the cries of local residents at the time of oppression, and no video recording of local residents articulating their perspectives. Yet videos documenting the invasion of Gush Emunim were collected on YouTube, and videos recalling memories of the station were found on YouTube, videos documenting how local youth fought back were found on British Pathe.
If the land occupation is a surface occupation, the archive can be considered the cornerstone of the occupation movement, buried beneath the ground, providing legitimacy to the activities on the ground and thus changing the historical narrative, identity, and memory of the oppressed people step by step.
2.3 Showing as occupation (state narrative creates legitimacy of invasion):
The GPO(Government Press Offic)’s photographs are more often included in the Hulton Archive. Interestingly, the GPO's photographs are more focused on the settlers, while the IPPA's photographs are not only of the settlers, but also of the military posture during this historical event. IDF shared a twisted relationship with settlers. They were supposed to evacuate settlers but also they protect settlers. When the investigator can find such narrow and specific results in order to study a historical event, should the investigator himself be more vigilant in choosing to use these historical photographs? The seemingly "innocent" and "objective" presentation of the settlers' living conditions in these photo-archive, under the carefully selected lenses and filtered composition of the photos, makes people forget the historical background and specific context of the photos for a while. A feeling of sympathy is inevitably generated. Sela Rona claims that these archives were selected as representations of Palestinian history by considering up to seven factors (missing chapters for Palestinian history, documented physical violence, Functional violence inherent in archival structures etc,.) . It is important to note that these 7 factors are the result of a thorough as well as extensive research. By inference, what effect would such an archive have on the general public?
3. Translation:
3.1 Reveal materiality through gestures and objects
The testimonies collected were reassembled, reorganized, amplified, pixelated, and other gestures that create an alternative historical discourse.
In the process of collecting evidence, the gestures of the hand caught my attention: the hand holding a flag, the hand carrying a door panel, the hand pulling a tent rope, the hand pointing at somewhere and so on. From the gesture of the hand derives materiality, either full of violence, or full of mobility, or full of faith. Materiality, as a being without consciousness, achieves a result because of its capacity to do so. From a physical perspective, the act of occupying space interacts with the land, the existing space in various ways. The shovel is inserted into the land, swinging the earth into the sky, and the ground is constantly replicated from solid to void to solid again. In making the castings, the hand reproduces the action of occupation: measuring, cutting, excavating, filling, liquid curing, demolishing and replicating. In the constant production of positive and negative shapes, the occupation and the occupied appear and disappear as the opposite of reality. Traces of hand violence are recorded on the object and captured by the camera. The tool of occupation is not a tool, but a fact. When focusing on the gesture of the hand as well as the material traces, my intention is to advocate a closer look, which in turn evokes a concrete examination as well as a reflection on the aggressive act of occupation.
“Does the model simulation romanticize the process of occupation?” The occupation itself is easily identifiable, but it is the 'everyday' occupation that deserves the same specific attention. The settlers use containers, caravans, and tents in the process of occupation, which is more “everyday “ objects. But it was the mobility and lightness of these objects that greatly facilitated the speed of the occupation. As Irit Katz argues: The tight link between mobility and colonialisation is not only about the great contradiction pointed out by Ballantyne 'that "settlers" were typically unsettled and mobility was their defining characteristic’ but also that these unsettled settlers had the power to unsettle those who already settled the area they have lived. Considering mobility and consolidation, the "un" settlement of settlers and displacement of inhabitants are fraught with contradictory cause and effect as well as correspondence, the model's simulation attempts to show this history through the process by which materials were cured.
In agriculture, gypsum is used to lower the pH value of the soil. It was also used as a fertilizer and as a source of calcium and sulphate sulphur for plant growth. Masudiya station is now used by the locals as a place for organizing frequent agricultural activities, thanks to the surrounding farmland and the natural landscape. Gypsum itself has the property of transition from liquid to solid. From an Interview by Craig Houser that Rachel Whiteread argues " It was the first piece in which I realized that I could absolutely disorient the viewer. I then took all the panels to my studio and fixed them to a framework. There was the door in front of me, and a light switch, back to front, and I just thought to myself: 'I' m the wall. That's what I've done. I've become the wall.'" Whiteread is curing her memory with plaster, at the same time transforming her relationship with both of memory and space. What is it that I want to reveal in making a small sculpture? An abstracted history, an occupied land, a series of settlements built on this foundation, and an inverted narrative. The process of plaster loses its fluidity reveals this history about lost mobility through mobility.
3.2 Reveal memory
Zaid, a local resident, mentioned in an interview that the station played a very important role in the life of the local farming community. Local farmers often used the natural setting and space of the station for activities such as farmers' markets until the new checkpoint was built. The new checkpoint controlled major intersections for local traffic, such as the intersection leading to Highway 60 and the main roadway into the station compound. Interestingly, Hejaz Railway was paved directly underneath the road. The same path that once sent people to distant places but is now inaccessible even from their homes. The design of the checkpoint is just one of the intrusions that have reshaped the lives of local residents. The same type of events are repeated in various parts of the West Bank. Farouz describes her life as a dream and her desire to go to the beach. One local elder recalled growing up by the railroad and how he got food from the workers on the trains when they passed through the village.
The choice of film as a medium to translate space and memory was inspired by The Theatre of the Oppressed, in which Augusto Boal presents several examples from practice: interviewees are more able to express their own experiences without limitations when using images and the body rather than languages. Cinema, of all the arts, this would have been the one that would appear to have truly been able to present ‘situations.’ Farocki regards that digitalization as a present of re-materialization of the image. I therefore choose to use non-literal language - sound, image, space - to relay memories, aiming to 1) reveal materiality erased from the state archive, 2) help with building identity. In Apichatpong's Emeralds, when discussing memories and space, the willows floating in mid-air evokes the feeling of reversing time, and the unintelligible and inaudible conversations time to time recreates the situation at that moment. As a container, space always carries tons of stories. Since the Israeli embassy refused to accept Palestinian visa applications starting from May 2022, the biggest problem for me was how to make the film without being able to go there. William Kentridge's syble is an example of using multiple media to represent memories in a limited space. With the overlapping use of projection, painting, music, installation, poetry and performance, the entire performance expresses the progression of a family across time without the use of language. This may not be exactly the script the author himself wanted to express, but this space of open interpretation is part of the fascination of his work. And my film, starting with site research and reimagining memories, also hopes to connect a little with audience who reserve a place in their memory that they can no longer reach.
My film attempts to tell the story of memory through multiple media. By using applied space to help build a local narrative identity. Narrative identity is the internalized, evolving story of the self that one constructs in order to make sense of one's life. In the previous workshop, Hagit Keysar emphasized the presence of the village by fixing a camera to a kite and obtaining ground information to form a local map, which in this case generates a knowledge to build narrative, from her work Prototyping the Civic View from Above . Inspired by this lecture and the Theatre of the Oppressed, I believe that the existence of a region can be secured through discourse. Thus, testimony collection extend to memory collections. Memory as an extension of physical space, as a concrete experience of being on the ground, links different dimensions of time together and produces different imaginations. People are used to living with inertia, and change requires great courage and cost, as well as political imagination. We need not only to think of what to oppose, but also to imagine the future.
4. Proposition:
4.1 Reveal the hidden as an intervention (film)
Based on the previous process of research and analysis, my proposition is ultimately divided into two parts: the film and the website.
The film consists of a series of key images and translations of testimony throughout the research, reflections on the materiality of the occupation, and recreations of memories. Corresponding to the State Archives' use of images, the film starts with images, focuses on their localization, and emphasizes their message. The images are complemented by models, video, and sound. For example, based on interviews with local elders - textual descriptions of obtaining oranges as a child - I use spatial language to translate the memories into moving images, and juxtapose it with the sounds of Palestinian youths fighting in front of the station during the occupation in 1975. One is a re-imagining of memories, the other is a documentary film, one happened before and one happened after the occupation, one more focused on pictorial information, the other one gave more attention to sound information. While the juxtaposition of these two materials creates a sense of conflict, the intention is to rouse more layers of imagination. In this instance, I understand the weight of sound and the situated spatial narrative as a kind of materiality, a materiality that is the very message that the authoritative State Archives wants to erase as important.
The organization and structure of the film also echoes the methodology of the project as a whole: starting with the collection of testimonies, their transcription, and finally the film itself playing the role of a proposal. Comparing the two parts of my proposition, the film use of a multi-media narrative focuses on a summary of this research and is more oriented towards the audience of a transient event, such as a film festival or screening event, while the website is more oriented towards researchers and the masses who are not able to travel to Sebastia.
4.2 Create a forum as an intervention (website)
What is the significance of the little remaining ruins of the station when the railroad has been buried underground, the trains are late in arriving in time, and the vast mobility system has disappeared? How should I intervene in a historical event when the settlers have unsettled the local residence, when locals cannot reach distant places, and when I, as a foreigner, cannot reach the local area? Sharing the same dilemma of mobility, a more direct and subtle connection between me and the locals arose: we all have a distant place that we cannot reach.
Even though the station no longer serves as a transportation hub, the station itself - although inaccessible to the Palestinian community - is a living archive that has seen the sea, has been to haifa, it has carried countless pilgrims, and has heard countless stories. The station is like a time capsule, what I am doing here is to pull back the folds of the dress of history. There are many stories about the station, but unfortunately I only found two memories during my research. That's why I realized the importance of passing on these stories. The occupation and resistance it has witnessed is of crucial importance in terms of national narratives and resistance to oppression. Materiality creates evidence, evidence precedes the collection of forums, and forums promote public awareness.
So I had the idea of creating an open source archive website. But my expectation for this site is not only an online archive, but also a public forum. As an archive, the site provides testimonies collected throughout the research process, as well as data such as models I produced, which I expect to be accessible to other researchers, forming a network of solidarity, just as the station was once an important node in the transportation network throughout the Middle East, Turkey and Egypt. As a public forum, the site encourages audiences to freely explore testimonies and their relationships, presenting the origins of design translation, thus challenging the absence of materiality, questioning the meaning of historical narratives and State archives, and validating that the legitimacy of a nation's attempt to justify its "return" to the land is actually based on the violent oppression of another people. Thus, an archive of objects and videos, deciphered from the original testimonial objects, maps, models, and hidden memories, reveals that violence can be perceived through materiality and material gestures. When the physical accessibility is broken, we can still hope with the cyber connection.
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