Supermoon 2011

Driving back on Highway #2 a.k.a. the coastal road from Haifa to Tel Aviv at the sunset hours is almost always the opportunity for taking beautiful pictures of the sun setting in the sea. Yesterday was no exception. Here are the fish pounds of kibbutz Maagan Michael with the Mediterranean on the background.

As the night fell and we came near Herzlya another phenomenon drew our attention. The full moon seemed to be shining brighter than ever. Even for a full moon night (it was Purim’s eve) the moon was more visible in the sky than the city lights.

I entered the Internet when I got home and learned that this was no coincidence or just an impression. Actually what we had been witnessing a supermoon – which happens every few years when Moon and Earth are at minimal distance. The visual effect was enhanced by the full moon, which was last night 23% brighter than usual. This was the first supermoon in the last 18 years.

According to the Christian Science Monitor web page the moon was last night about 221,567 miles (356,577 kilometers) away from Earth. The average distance between the Earth and the moon is about 238.000 miles (382.900 km).

There is however practically no influence of this astronomical phenomenon to geological events happening on Earth. This includes no connection at all with the earthquake that devastated Japan last week and the tsunami that followed. It was just an opportunity for a few beautiful pictures.

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Film: The Shining (Stanley Kubrick, 1980)

In the mid-90s I was fascinated by the Danish TV series The Kingdom. The story happened in a hospital which was a labyrinth building that played an active and determining role in the action – a structure built on unsafe ground claimed by ghosts and haunted by crimes of the past. I had discovered a great and original director named Lars Von Trier. Now 15 years later a discussion on the Internet list doubled by the coincidence of the screening of The Shining on ARTE-TV reveals me what may have been one of the sources of inspiration of Von Trier.

source www.imdb.com

The film is an adaptation of a book by Stephen King, although the writer had many reservations and critics about Kubrick’s version, who took the characters and the basic story but moved the emphasis on what seemed to him to be more relevant and expressive. As in a few of King’s other novels the principal character is a writer who hides in the mountains in order to find the tranquility for his creation, and finds horror instead and the tranquility and power of nature becoming soon a threat. Kubrick was no strange from the recluse position, as a few years before the making of the film he had retreated into an isolated house he had bought, actually starting a personal evolution towards the image of the great director with sparse output he took in the last decades of his life. The frustrated writer story is however only the surface, as we soon get into a much more complicated epic with multiple layers of horrors and incertitude, where family relationship drama, ghosts, haunted manors, supernatural powers interleave and place the viewer in the situation of never being sure from what perspective the story should be considered. The answer is that it is probably about all of these and more that would be revealed when thinking about the film after the projection or seeing it again.

(video source Robobos)

Jack Nicholson plays the lead role and this is one of his powerful creations in a type of roles in which insanity takes control not only of the character but also places under question the sanity of the whole world around him. The question critics asked was whether his stronger than life acting did not shadow completely the other actors and characters. His partner in the film is Shelley Duvall, an anti-Hitchcock female character (opposite to Hitchcock’s blond and beautiful heroines). She was so overwhelmed by the work with Kubrick and Nicholson that her career crashed after this film. The musical score is dominated by Gyorgy Ligetti’s Lontano but also includes other significant excerpts from Berlioz (directed by von Karajan) and Bartok. It is however the exceptional cinematography that makes this film unforgettable. As the hotel isolated in the mountains and cut from the outer world by the winter storms plays a central role in the action the filming of the deserted rooms in the huge and empty hotel (when it does not become populated by ghosts) provide the opportunity of an aesthetic exercise which is valuable in itself, but together with the acting and the music provides one of the most consistent visions in any horror movie I have seen. Always on the edge with technical inventions Kubrick used here the Steadicam which allows for a stable holding of the camera with unusual angles to film the kid running though the endless corridors from the lower angle of his toy. The effect is amazing.

http://www.youtube.com/watch?v=6XJ5pStuBfE

(video source blackchevy316)

The initial reception of the film by critics was rather negative, adding to the cool reception by King. Themes like alcoholism or the disintegration of the family were considered as downplayed.  My opinion is that they are there for anybody who wants to interpret the story through one of these angles but they are not the only ones possible. The very last sequence changes the perspective and provides a very different reading through which the film can be seen, one that has hints planted in some of the previous dialogs and situations. The presence of the native American as ‘true owners’ of the ground where the hotel is built is also mentioned in several sequences and provide an alternate reading. As time passed this film (which was also a commercial success from start) started to gain critical acclaim and gathered interest from aficionados of Kubrick and of the horror film genre. I had seen it for the first time only now but my impression if that as with many other good films it gets better at each viewing.

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Hag Purim Sameach

They say that Not Everyday is Purim, but today it is (or almost)! We went out for a morning walk in Herzlya and the streets were full of Queens Esther, brave Mordechai’s and Gadhafi’s … uh … sorry … Haman’s. Let’s see what new, interesting and fun material can be found on the Internet about this holiday.

(video source MaccabeatsChannel)

The Maccabeats are a a capella group formed in 2007 by students at the Yeshiva University. You can learn about them and hear their music at http://www.maccabeats.com/. Here they are with a Purim song put on the net a few days ago.

(video source einpratfountainheads)

The same song gets here an interpretation mixing rap and dance in the Israeli landscape coming from a group named The Fountainheads.

(video source kartiv2)

Here is a home video by a musician from Israel named Sivan (she writes it C-van) Yihye whose videos on youTube are really fun.

Hag Purim Sameach!

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Takashi Murakami

With Japan on my mind and actually in so many people’s minds these days I decided to write today about the Japanese artist Takashi Murakami who was recently in the center of several segments on the European cultural TV stations.

source http://www.takashimurakami.com/

Murakami is an example of the combination of classical and popular culture that are the two principal coordinates of modern Japan. In many places they live one near the other, but in his case they seem to have merged and this is reflected in the biography of the artist and in the art that he creates. He studied classical Japanese painting but was and is fascinated by the Japanese styles of animation and comics anime and manga.More information about the artist biography can be read on his Web site http://www.takashimurakami.com/.

Mr. Dob - source http://www.takashimurakami.com/

The influence of the major pop artists especial American is also quite visible. Murakami’s work creates symbols and characters inspired by the manga world as Roy Lichtenstein did and then upscales them in dimensions or downscales them to the commercialized gadgets industry objects in a manner that reminds Andy Warhol. He did create actually a whole industry around these objects and you can buy ‘a Murakami’ in many tourist souvenir shops.

source http://www.dezeen.com/

One could also find his bigger scale works at the Versailles Castle last year, in an exhibition that caused a lot of controversy. See more pictures at http://www.guardian.co.uk/world/gallery/2010/sep/10/takashi-murakami-palace-versailles and read about the controversy at http://www.smh.com.au/travel/travel-news/japanese-manga-controversy-hits-versailles-20100914-159xv.html.

source hypebeast.com

That was not his first major show in Europe. A year before an exhibition dedicated to his superflat style sponsored by Louis Vutton was organized at the Guggenheim Bilbao. More details can be read at http://www.ilvoelv.com/2009/02/takashi-murakami-retrospective-at.html.

(video source mondaygirl)

Here is also anterview with Takashi Murakami by Jonathan Ross in Japanorama a series of documentaries realized in 2006-2007 by the BBC about life and art in modern Japan.

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Tourist in Romania / 1 – New Wine and New Churches

This series is dedicated to Rodica and Virgil, my good friends of a lifetime, who made this trip possible.

——–

It took me a while to start this series of travel notes. I had to finish first the previous one, of course. Then some health adventures interfered. However, I think that these were just very good excuses. The real reason is that these are not usual travel notes. These places were not completely new for us. Our relation with them is special. We left Romania in 1984, at the peak of one of the most horrible periods in the history of the country. Although we came back to visit and we are visiting our country of birth twice a year for the last decade, most if not all of our visits were conscripted to Bucharest, seeing my mother, meeting friends, seeing one or two theater plays (when we are lucky to find tickets) and buying at least half a suitcase of books. This was the first time we had a few days of vacation, and thanks to our good friends we ventured out Romania’s capital city for a six days trip. Most of the places we visited were places we had been at least once in the past but that was more than a quarter a century ago. We found some of the elements of the geography unchanged, and some of the colors of the splendid churches still shining. Yet Romania was on many respects a new country for us, a space to discover. Hence this title which hides a paradox – can you be a tourist in your own country? I do not know yet the answer, and I may not know it even when I will finish this series of notes. I will write these in English, as I want my family and friends who do not speak Romanian to be able read them. One day when I will have time I may write a Romanian version as well.

wine on the side of the road

Rodica and Virgil took us from my mother’s home, and after we discovered how to lock the slightly broken trunk of the car we started our 360 kilometers trip to Targu Neamtz. I know the distance, as this was the trip that I had taken every summer until the age of 14 to the near-by Piatra Neamtz, the city in Moldavia were my father was born and where my grand-parents still lived. Their house, the house of my summer vacation will be the subject of the next episode.

Until getting there however we had to fuel – not only the auto but also ourselves. It was the end of September, and the sides of the road near the Vrancea area were full with small barracks that were selling young wine. Of course, the wine was from the previous year vintage, but still young and towards what the non-Romanian would be called demisec. Each barrack sells basically two sorts of wine – a red and a white. I’ll write more about Romanian wine later. We stopped at one of the last barracks. From the barrels the wine was poured into five litters plastic bottles. We bought one such bottle of red wine and one of white wine. We succeeded to finish the red one in the six days trip.

the small church

The itinerary took us through several cities which are not the most exciting places on earth, and actually until we crossed the now historical border between Valachia and Moldavia, flat and uninteresting. Yet there was one aspect the stroke us – almost each village not to speak about the bigger cities had at least one, in many cases more new churches. Romania undergoes after the fall of the Communism a religious renaissance. During the Communist rule atheist Marxism was the state religion, and very few new churches were built, actually many more were destroyed by a system that in many instances ignored or even oppressed the deep religious feelings of the majority of the population.

the big church

After 1990 the freedom of religion found its expression especially in the revival of the Orthodoxy (Eastern Christianity) which is embraced by the majority of the Romanian population. Rodica and Virgil explained how the system worked in many places. First a smaller church was built. The congregation gathered money and donations and a few years later bigger churches were built near-by, dwarfing the smaller ones. The architectural value of the buildings is very un-even, you can find everything from ugly to beautiful, from kitsch to art, from grotesque to sublime. What is obvious is that churches are everywhere. We shall see of course also the older ones and the fabulous monasteries in Moldavia and Bucovina, historical and art monuments which are unique in the whole world. For this you will need to follow however the coming episodes.

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Film: Gei Oni (Dan Wolman, 2010)

‘Gei Oni’ based on a book by Shulamit Lapid and directed by Israeli veteran Dan Wolman is the kind of epic story from the beginnings of the Zionist endeavor in Palestine at the end of the 19th century that includes elements that are well known to most Israelis, but may be very little known or known from a very different perspective outside Israel. It tells the story of a young woman named Fania, a survivor of the anti-Jewish pogroms in Russia who arrives with no possessions and a baby-girl in her arms in the strange and hostile environment of a new country, where small groups of Jewish immigrants were just starting to return to their ancestral homeland to find it very different from the promised land dreams and hopes.  She marries a widower of Syrian-Jewish origin and moves to a small settlement near Safed, were the immigrants are facing drought, arid land and the hostility of the Arab neighbors living in the area for centuries prior to their arrival. It is a tough pioneering story combined with the personal drama of Fania and the very difficult building of her relationship with her husband Yechiel.

source wolmandan.com

From one of the few critical reviews already published about the film I read that it is designed as a TV mini-series of six episodes out of which a less than two hours version was cut for the big screens. This can be felt in the version that I saw which is focusing on the personal drama and leaves of the screen the development of most of the supporting characters. The result looks somehow unbalanced as long scenes follow the personal endeavors of the main characters without adding much each to the other, while side characters which we guess have each their interesting story to be told (Fania’s brother, the Poet, the Arab girl) are being just sketched. I could feel that Wolman has enough experience to tell a story but I would have liked more daring and originality in the dialogs, some of them seeming to be taken out of history text books. Overall the film succeeds in bringing up the landscape of the period with beautiful exteriors that catch a Galilee just starting to be modeled by the human presence and costumes carefully crafted for authenticity. Acting is low-tone most of the time, growing in intensity only in the key scene towards the end which is really moving. Besides Tamar Alkan and Zion Ashkenazi in the lead roles I especially enjoyed the supporting part of Yidish-speaking actor Yaakov Bodo as Fania’s uncle.

(video source IFFPhiladelphia)

More details about the film can be learned from the Web site of the director http://wolmandan.com/ and from the beautiful Web site created especially for the film http://www.geioni.com/. From the director’s Web site I learned also interesting details about the distribution. According to what is written there the big distributions companies refused to distribute Wolman’s film or put conditions that he could not accept. As a result he chose to give up PR and other commercial distribution methods and make the film available himself, using the Internet and the Web sites as PR engines. Apparently the tactics worked and I am happy to hear about yet another way to use the Internet for good purposes.

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Film: Kikujiro (Takeshi Kitano, 1999)

By one of these coincidences that make you wonder the very day the strongest earthquake in memory hit Japan, a Japanese film festival took place at the cinematheque in my city. Kikujiro which I saw last night is a very special film in the Japanese cinema and in the filmography of Takeshi Kitano.

source www.imdb.com

The fans of Kitano will notice that he is taking the character he usually plays in the gangster movies and creates here a failed version of it. He is dominated by a bad-mouthed wife. His walk is uncertain, closer to Chaplin’s than to a well assured yakuza. He does have a scaring tatoo on his back but this becomes just the reason of the bad dreams of his little boy friend. When confronted with a gang of local gangsters he ends by being beaten in a situation in which his self from other movies would have killed his opponents in a fraction of time. All over the film he looks more like inadequate and unadapted to reality.

http://www.youtube.com/watch?v=te5gmO6nj9w

(video source wsavantgarde)

There is however much more in the character than this. The name – which we learn in the last scene – is the real name of Takeshi Kitano’s father which is said to have shared at least some of the vices of the character in the movie like gambling. This is a personal film in which a lonely young kid gradually gains some kind of a father instead of the one he never had. The feelings of the little boy and his permanently sad look may have been inspired by the feelings of kid Takeshi and his disappointments in the relation with his father.

http://www.youtube.com/watch?v=Ip9OI7ockW8

(video source atteheikkinen)

By the time Kitano made this movie the ‘grumpy man – lonely kid’ films (which had the classic in Chaplin’s Vagabond) were making a comeback. In 1996 the Czech Kolya had moved audiences and the Oscar jury with the story of the relation between the Czech musician and a Russian kid in occupied Czechoslovakia. Two years earlier Natalie Portman’s first breakthrough was in Leon, where she befriended another gangster played by the wonderful Jean Reno. Kitano was not afraid to take over a popular theme which he developed adding to it other dimensions to the merge of mature and childish loneliness.  The film speaks about in-adaptation and about the right to be different.  It brings on screen characters to illustrate that different people can get together and create beauty from weird. The Poet and the two motorcyclists seem to come out from the Land of Oz in a very different road experience.

http://www.youtube.com/watch?v=ijgHAtMrx1k

(video source getting2)

The style of the film is inspired by some of the Japanese popular culture techniques and form of art. The kid’s dreams look like traditional theater scenes. A toy he receives and starts relating to it as an amulet looks like one of artist’s Takashi Murakami gadgets. Acting is excellent and the music belongs to Joe Hisaishi, a composer famous in Japan and author of the soundtrack of more than 100 films. While you need to make a small effort to get into the mood and buy the transformation of the traditional gangster image in Kitano’s films, Kikujiro ends by being a very satisfying cinema experience.

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Foto Rachel

Another exhibition which I visited last week at the Eretz Israel Museum in Tel Aviv was the very interesting and moving exhibition of photographs named Foto Rachel – open to the public until March 30. It marks and brings testimony from one of the remarkable moments in the fight of survival of the Jewish people, its return to the homeland and the formation of the state of Israel at the end of the 1940s.

foto Rachel

Rachel Fisher was born in Cluj (today in Romania) in 1926 and lives today in Haifa. Her family owned a photo shop and she received her first camera at the age of 15. Cluj was part of Northern Transylvania which fell under Hungarian rule during the second world war, as the Jews of Cluj shared the same fate as all Jews of Hungary (excepting those who were living in Budapest) and were deported to the death camps. From all the family only Rachel and her mother survived. When she returned back to Cluj she married her boyfriend Yehuda and they took the way to Eretz Israel.

behind barbed wires - again

These was the period between the approval of the plan of partition of Palestine by the UN in November 1947 and the proclamation of the state of Israel in 1948. The British had closed the gates of Jewish immigration in order not to change the demographic balance of the area, and the immigrants from Europe were deported in camps in Cyprus. These camps operated between 1946 and 1949. Many of the internees were survivor of the death camps. Rachel and her husband arrived in such a camp on January 1st 1948. Soon after they opened a photo shop in the camp, and photographed the life there. 146 negatives survived, and the form the base of the exhibition today.

haircut

I know the story from many sources, books and films, but also first hand from my own family. Liliana’s uncle David Moscovici was also interned with his family in such a camp. These were certainly not extermination camps, life was rough but acceptable. The principal pressure was psychological, as people who underwent and survived the Holocaust in Europe were again deprived of their freedom, and prevented to reach the shored of their new country.

the Zionist Worker factory

Yet, they could organize their own economic and social life and prepare for the alyah and the life in the future new state. Workshops opened, and people trained in skills and crafts.

playing games to pass the time

Much of the time was spent in waiting.

sculpture workshop

Arts also started to be created. A sculpture shop created works which were sold.

art exhibition in the camp

Painting was also created here – and exhibitions opened.

Shraga Weil - Winter Camp nr. 65

Here is one of the works belonging to Shraga Weil present in the exhibition. I am not sure if it represents a camp in Cyprus however, or rather reflects his experience during the war – as the wikipedia entry about him says that he immigrated illegally to Palestine in 1947 and settled in kibutz HaOgen without having passed through the camps in Cyprus.

preparing for the wedding

Life continued in the camp in what must have been a strange type of normality. Weddings took place …

a new born in the camp

… and children were born.

May Day parade

Holidays were respected but also the new celebrations of the Socialist beginnings of the young state.

locking the camp

A few months the proclamation of the state the doors of immigration of the state of Israel opened and the camps were closed. Rachel Fisher caught in a picture the last moments of existence of the camp.

What happened with my wife’s uncle? He also reached the state of Israel soon after the proclamation and almost immediately was sent as a medic on the front of the war of Independence. Then he started to work, but the salary of a doctor was not enough to keep a family, so at nights he worked in the orange pardesim in Petakh-Tikvah. In time he became one of the well-known and beloved doctors in Herzlya.

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Trenul credintei

After writing yesterday about the Eretz Israel exhibition about the First Governor of Jerusalem, I was asked about my article on the Hejaz train exhibition. I looked back in my archives and I discovered that it was written a few days before I started the blog and never posted here. Here it is in its original version in Romanian.

Trenul Hejaz

Putem privi ultimul deceniu al secolului 19 si primul deceniu al secolului 20 ca pe o perioada romantica in zona araba a Imperiului Otoman, care isi traia ultima perioada de existenta. Sultanul Abdulhamed al II-lea deschisese imperiul reformelor economice si influentei capitaliste a marilor puteri europeene, intr-o incercare disperata care avea sa esueze in cele din urma de a face sa supravietuiasca sistemul. Imensul teritoriu cuprins intre Asia Mica la nord, Egipt la sud-vest si golful Persic la sud-est devenise un fel de noua frontiera, un Est Salbatic, o tabla uriasa de jocuri unde intre dunele si pietrele deserturilor triburile de beduini se intalneau si se confruntau pentru prima data in istorie cu noul tip de aventurieri colonialisti europeeni, costumati in antreprenori, constructori de drumuri noi si de cai ferate, arheologi, etnografi si mai intotdeauna si spioni pentru marile puteri europeene ai caror cetateni erau. In aceeasi perioada incep sa se stabileasca in Eretz Israel sau Palestina cum numeau arabii zona primele grupuri de evrei sionisti, pionierii primelor valuri de ‘alia’ fugiti de persecutiile Europei, care aveau sa intemeieze in prima jumatate a secolului 20 patria regasita a evreilor.

scrisoare catre doctorul Ruppin

Initiativele sultanului aveau ca scop sa aduca chiar cu jumatate de secol si mai mult intarziere revolutia industriala in imperiul otoman, revolutie in care crearea unei retele feroviare rapide si stabile era un element esential. Greutatile de comunicare, incetineala propagarii firmanelor de guvernare de la Istanbul, capitala situata la extremitatea europeana a imperiului, dificultatea transportarii de trupe in cazul unei revolte si costul ridicat al transportului de marfuri devenisera probleme cronice. In centrul reformelor sultanului se afla deci ambitiosul proiect de a construi o cale ferata intre Istanbul si Bagdad. Inceput in 1886, proiectul a fost subiectul unei licitatii internationale, care a fost castigata in cele din urma de compania germana a lui Heinrich August Meissner. Aceasta gigantica antrepriza a durat peste un sfert de secol, fiind terminata (si nu complet) cu putin inainte de primul razboi mondial. Este posibil ca intarzierile acestui proiect sa fi fost dintre cauzele care au accelerat caderea si destramarea imperiului turcesc, la fel cum se considera ca controlul german asupra acestei cai de acces spre Asia a fost una dintre cauzele economice ale izbucnirii razboiului.

primul pod

Expozitia pe care am vizitat-o acum cateva saptamani la Muzeul Eretz Israel din Tel Aviv era dedicata unei ramificari al acestei linii ferate importante si anume segmentul care era proiectat sa uneasca Damascul cu Mecca. Traseul trecea prin zona Hejaz din peninsula araba si din acest motiv acest proiect a capatat numele de ‘linia ferata Hejaz’. Pentru musulmani el avea insa si o alta semnificatie si anume transportarea credinciosilor care implineau fundamentala porunca islamica a pelerinajului la Mecca (‘hadj’) si de aceea un alt nume cunoscut istoric mai ales in lumea araba este ‘trenul credintei’.  Incercand sa se prezinte drept conducator al credintei sultanul a decis ca spre deosebire de linia principala Istanbul – Bagdad, linia spre Mecca sa fie realizata numai cu finantare musulmana si cu materiale si echipament fabricat in imperiul otoman. Pana la urma doar finantarea a fost intr-adevar din surse strict musulame, cele cinci milioane de lire sterline, suma fabuloasa la acea vreme fiind colectate de la conducatorii Marocului, Persiei, Egiptului si a comunitatilor musulmane din India, suplimentar peste contributia principala – finantele otomane rezultate din impozite. Executia liniei a fost incredintata tot germanilor, ei au adus si majoritatea utilajelor, si inginerul Meissner aflat intr-o pauza fortata din cauza intreruperii lucrarilor la linia spre Bagdad din cauza lipsei de fonduri a fost si seful acestui proiect. Forta de munca a fost furnizata in cea mai mare parte de armata turca, in unele perioade aceasta numarand peste 9000 de soldati.

podul Jensim

Lucrarile au inceput in septembrie 1900, in conditii deosebit de vitrege. Clima este aspra, desertul Arabiei este fierbinte ziua si friguros noaptea, triburile locale de beduini care intelesesera ca aparitia caii ferate va lichida monopolul transporturilor cu caravane au devenit in scurta vreme ostile, iar obstacolele naturale, in special in zona muntilor Moab din Iordania de astazi au pus probleme ingineresti dificile, rezolvate insa cu ingenuitate de inginerii germani care acumulasera experienta in munca pentru drumul spre est, prin construirea de tunele si poduri spectaculoase. In 1904 au fost inaugurate primele tronsoane ale liniei de la Damasc spre sud precum si linia de 161 de kilometri dintre Haifa si Der’a care trece prin Galileea, in nordul Israelului de astazi. O fotografie de epoca din expozitie ii arata pe demnitarii timpului fotografiati in vesminte turcesti in fata monumentului din fata garii Haifa. In 1908 au fost completate tronsoanele pana la Medina, drumul dintre Damasc si Medina in lungime de 1300 de kilometri fiind gata pentru exploatare comerciala. Ultima parte a liniei, cea dintre Medina si Mecca insa nu a mai fost continuata. In august al celui an revolutia tinerilor turci il obliga pe sultan sa accelereze ritmul reformelor democratice, intregul imperiu intra intr-o perioada de turbulenta si banii nu vor mai fi disponibili pentru proiecte de asemenea dimensiuni.

monumentul garii

In timpul razboiului linia ferata a capatat o importanta strategica permitand transportul de trupe si materiale de razboi spre zona peninsulei arabe si a golfului Persic. Lawrence de Arabia si-a cucerit faima prin atacuri repetate si acte de sabotaj asupra liniei Hejaz. Dupa razboi ea a continuat sa fie exploatata comercial devenind o linie internationala care strabatea terirotiul statelor desenate de marile puteri pe tabla de jocuri a Orientului Mijlociu prin tratatele prin intelegerea Sykes-Picot si tratatele care au urmat primului razboi mondial.

mersul trenurilor

In viata comunitatii evreiesti care crestea in numar si putere linia ferata Hejaz a jucat un rol economic si geopolitic important. Existenta liniei de tren a faclitat comunicatiile postale facandu-le mai rapide si mai sigure. Unul dintre exponate reprezinta o scrisoare care Arthur Ruppin, una dintre personalitatile importante ale Tel Avivului si ale comunitatii evreiesti din acele vremuri, francat cu timbru emis de posta otomana. Existenta liniei ferate a dus la dezvoltarea economica a Galileei si si a vailor Izrael si a Iordanului, si infiintarea a numeroase asezari evreiesti care au facut din aceasta una dintre zonele cele mai populate de evrei din Palestina mandatara. Existau in acea perioada servicii de tren regulate pe aceasta linie si ea era mentionata chiar si in ghidurile turistice (vizitatorul israelian poate visa astazi doar la restabilirea unui asemenea serviciu care sa lege Tel Avivul de Beit Shean de exemplu). In perspectiva mai larga linia facea parte din sistemul feroviar comun al zonei pe care englezii planuiau sa il extinda pana la Cairo, planuri care au ramas in arhivele istoriei odata cu infiintarea statului Israel si inchiderea forntierelor intre acesta si vecinii sai arabi. Astazi linia ferata este aproape complet abandonata, transporturile rutiere facilitate de descoperirea petrolului in zona au inlocuit transporturile feroviare. Si totusi trenul a redevenit in ultimii ani cel putin in discutii ca o alternativa viabila, mai rapida si mai putin poluanta a transportului rutier asa incat nu este exclus ca viitoare proiecte sa duca la revenirea sa, sub o forma si alta, iar cand pacea va izbucni candva si in Orientul Mijlociu ideea unei retele feroviare internationale care sa strabata intreaga zona va redeveni si ea poate actuala.

ghidul Vilnay

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Sir Ronald Storrs – The First Governor of Jerusalem

The Eretz Israel Museum in Tel Aviv has a great tradition of exceptional historic exhibitions, based on photography and documents that bring back important and sometimes forgotten episodes from the history of the Land of Israel before and after the foundation of the state. About a year ago I wrote about the Hejaz train line whose segment in Israel (‘the train of the valley’) was announced to be renewed in the coming years. Now in the same pavilion which also hosts the museum of the Postal Services I visited last Saturday a fascinating exhibition dedicated to a forgotten figure who was one of the important personalities in the history of the Palestine at the beginning of the British Mandate period – Sir Ronad Storrs, the first governor of Jerusalem.

The First Governor - entry in the exhibition

The Web page of the exhibition which is open until June 15 can be accessed here. Ha’Aretz published a detailed review of the exhibition with many more interesting details about the man and his times in the Land of Israel.

The First Governor - in the exhibition

Although his name is less known today eclipsed by other personalities like Herbert Samuel the first High Commissioner who ruled the mandatory Palestine in the first period, Ronald Storrs was a well known figure in the area even before entering the Palestinian history. His name is mentioned tens of times in books like The Balfour Declaration by Jonathan Schneer or A Peace to End All Peace by David Fromkin, fundamental reading for anyone who wants to understand the modern and contemporary history of the Middle East and the roots of the conflicts and complex situation that plague the area and only seem to become more complicated as the time passes.

the future governor and two future kings

Born in 1881 in the family of a priest, Storrs made his studies in a Cambridge college and entered very young the diplomatic service, being assigned in Cairo. He learned Arabic (and later Hebrew) and his language skills among other made of him one of the key persons who built prior and during the First World War the relation between the British Empire and the Arab leaders, who revolted in 1916-1917 against the Turks bringing a significant contribution to the British victories in the war in the area. The price of this alliance was promises made to the Arab rulers by the same time Balfour was making commitments to the Zionist movement and here lie some of the roots of the future conflict between Jews and Arabs. The photo above represents Storrs with emir Abdullah the future king of TransJordan and founder of the Hashemite dynasty and prince George of Kings Speech fame.

the High Commissioner and the Governor have a meal on the roadside

In December 1917 general Allenby liberated Palestine and by the end of the month Storr was named Governor of Jerusalem. He was the first Christian ruler in the Holy Land after seven centuries of Muslim rule and his title is the same the Pontius Pilatus once hold. He hold the highest British position in the land until 1920, when the civil mandate rule replaces the military law, and stood as governor of the Jerusalem city and area and second to High Commissioner Herbert Samuel until 1926.

Samuels, Storrs and the heads of the Christian communities in Jerusalem

The experienced diplomat that Storrs already was by the time he took the positions in Palestine found quickly that the balancing act between the different communities in the Holy Land was by no means an easy one. Even the Christian communities – a minority in a city central to Christianity were divided in issues related to the administration of the holy places.

Three Lectures - No Questions or Discussions

In his memoirs he will write later a paragraph that expresses with characteristib British humor the feelings of frustration that myriads of foreign mediators have felt along the time when faced with the parties in the Jewish vs. Arabs conflict over Palestine: “Being neither Jew (British or foreign ) nor Arab, but English, I am not wholly for either, but for both. Two hours of Arab grievances drive me into the Synagogue, while after an intensive course of Zionist propaganda I am prepared to embrace Islam”

Founding a Settlement (Gezer)

As military governor and then as civil governor he participated in more than one significant event in the development of the Jewish presence in Palestine. Here he is participating at the foundation ceremony of a new Jewish settlement.

Anti-Zionist Demonstration, 1920

The promises made to the two communities – Jewish and Arab – during the war of which Storrs was also part of soon resulted into the surfacing of the broken expectations on both part, and then in the first anti-Jewish demonstrations in 1920 and violent incidents in 1921.

caricature in the Jewish press

Soon the British governor became the preferred target of criticism in the Jewish press. Some of the critics were justified, as Storrs was no supporter of the Zionist plans, and had ideas and proposals of his own that often came in conflict with these. For example by the time he took over the governor position in Jerusalem he was siding the idea of Palestine to become part of a Muslim kingdom based in Egypt – an idea which was taken of the table with the start of the British mandate. Later in his life he supported the White Book and was opposed to the partition plans.

Jerusalem ceramics

The exhibition throws light over the remarkable urban and culture development of the city under Storrs’ governance. By the end of 1917 when Storrs took over the city of Jerusalem was ravaged by war and marked by many decades of neglect and mis-management under the Turkish rule. The governor put means and passion in modernizing the city and encouraging all its communities to express themselves. He even brought new communities in the city like the Armenians, among which the ceramic artists like David Ohanesian, who opened factories and shops and created a tradition of ceramic arts that persists until today. I wrote about this episode (in Romanian) on the blog of my friend Pierre a few years back.  The above tiles were designed to be part of the renovation of the mosque on the Temple Mount but did not make it to the final project.

ceramics street signs

Until today the ceramics street signs in Jerusalem are witnesses of this tradition.

a concert in 1923

A lover of arts Storrs also founded the Pro-Jerusalem Society to promote cultural activities in the city. Above is the poster of a concert he attended in 1923.

Reuven Rubin - Prophet in the Desert

Among the artists he remarked and encourages we can find the Romania-born Reuven Rubin. The lithography above dates from 1923, the year Rubin settled in Palestine. Later in his memoirs Storrs will write the following: “The two outstanding artists of my time were Rubin and Bomberg; Rubin with a whimsically interesting vision, Bomberg seeming to record a powerful cosmic staresmic stare”.

planning the city of Jerusalem

City planing was as important part of the focus of his activity. Our image of Jerusalem today and especially of the Old city area owes a lot to decisions and laws that came under effect during his time – for example the use of native Jerusalem stone in all houses to be built in the city, the decisions not to build East of the Old City in order to conserve the landscape as close as possible to the Biblical appearance, and to build low in the rest of the perimeter of the city to keep the fortress walls visible from any point, and other.

conserving the past

In 1926 Storrs was promoted to the position of Governor of Cyprus, and he later hold a similar position in North Rhodesia. He retired in 1934 and many of his experiences and stories during the Middle East are recorded in his book of memoirs Orientations published in 1937.

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