Curator' note: This version of the Edward Said Mural does not have the image of "Handala", Naji Al Ali's cartoon character, the key or the pen which were considered inflammatory by SFSU President Robert Corrigan.
The original version of the mural with the Handala character may be viewed here
Dedicated on November 2, 2007, the Palestinian Cultural Mural honors Dr. Edward Said.
1. Professor Edward Said (1935 - 2003)
Edward Said was a Palestinian Arab-American educator, writer, philosopher, and civil and human rights activist. His activism for human rights, justice, and a peaceful solution to the Palestinian-Israeli conflict inspired millions of people around the world. His writing has also been an inspiration for Arab-Americans and others. He is considered by many to be one of the greatest Arab-American thinkers and scholars of the 20th century primarily for his work dissecting the stereotypes of "Orientals," which have been perpetuated in Western society for hundreds of years. In the mural, Said wears a Palestinian headdress or scarf (Kuffiyya or Hatta), which is a cultural garment that has come to symbolize the struggle to maintain and preserve Palestinian identity.
2. The City of Jerusalem
Jerusalem is the birthplace of Said, and its representation in the mural (through its landscape and monuments) complements the poem in items 5 and 6 ("I am from there…"). Jerusalem represents the genesis of Said's thought. Since Said was born and lived in Jerusalem, his earliest experiences (and hence his thought process) were influenced by Jerusalem.
3. Palestinian Folkloric Dance
Debka is a traditional, folkloric Arab dance. Palestinian Debka is a non-violent form of resistance and preservation of Palestinian culture and heritage. It is presented on the mural to bring attention to the rich culture of the Palestinian people, and performed by students at San Francisco State in the Malcolm X Plaza (item 14) wearing traditional Palestinian clothing. One of the women dancers is holding a Palestinian flag. The presence of Palestinian women pays homage to the matriarch responsible for maintaining and preserving Palestinian life and culture. Palestinian women play an integral part in Palestinian life, society, resistance to occupation, and in the struggle for human rights through mobilization and education.
4. Said's Books
Said's scholarly work and his contributions to academia are imperative to, and have influenced, such fields as literary studies, comparative literature, area studies (specifically the Middle East and the Arab/Islamic world), anthropology, political science, comparative religion, and music. Books represented include: The Question of Palestine, Orientalism, and Covering Islam.
5. Mahmoud Darwish Poem (in traditional Arabic Calligraphy)
Mahmoud Darwish is a well-known Palestinian poet who was a personal friend of Said. He wrote a farewell poem in Arabic dedicated to Said in 2003. For the mural, a verse of the poem that reads: "ana min hunaak, ana min huna," ("I am from there, I am from here") was selected. The selection of a verse from this poem serves several purposes: it recognizes Said's identity as an Arab-American and reflects the identities of others in the diaspora. Arabic calligraphy, with many styles, is an art that has been used to decorate architectural monuments, manuscripts, and objects of daily life for over 1,400 years. The Arabic poem noted above is rendered in an artistic form to enhance the Arab and Eastern influence of the mural.
6. English Translation of Darwish Poem
The same verse noted above (in item 5) is rendered in English on the Wall of Jerusalem.
7. Cacti
Cacti (Sabr in Arabic) are a resilient plant and a part of the landscape of Palestine. They represent Palestinian people's desire for peace and their patience waiting for it.
8. Dove
The dove is the universal symbol of peace and represents the Palestinian desire for peace for all people. Two doves are rendered in Arabic calligraphy using the word "Salam" which means "Peace" in Arabic.
9. Olive Tree
Olive trees are indigenous to Palestine. Palestinians have a deep cultural connection to the olive tree because it represents their subsistence, their deep history and their profound connection to the land that gives them life. Furthermore, the olive branch is a universal symbol for peace.
10. Children Reading
Children are the bearers of the future who will carry on the cultural traditions of the Palestinians. Their presence on the mural represents the recognition of Palestinians children's right to freedom, life, and education. The children reading a book complements the mural's overall theme and its dedication to a great writer.
11. Postage Stamp
The postage stamp represents the hope that one day Said will be recognized on a U.S. postage stamp as one of the greatest thinkers of the 20th Century. The postage stamp includes Said's name in both Arabic and English.
12. New York City Landscape
The landscape of New York (where Said spent most of his life in exile) is represented by a Colombia University building where he taught and by well-known New York City monuments like the Chrysler Building and the Empire State Building.
13. The Golden Gate Bridge
The Golden Gate Bridge (in conjunction with images of the New York City landscape) illustrates the vast geographical scope and reach of the Palestinian diaspora in the United States.
14. Malcolm X Plaza
The Cesar Chavez Student Center's Malcolm X Plaza is included in recognition of student activism at San Francisco State, as well as to pay homage to the connection between the Palestinian-American and other civil and human rights struggles in the United States.
15. Piano Keys
The piano keys honor Said's artistic talent. They also make reference to his efforts to use music to bridge the Palestinian-Israeli divide. Together with conductor Daniel Barenboim, Said created the East-West Diwan Orchestra in 1999, featuring young Israeli and Palestinian musicians.
16. Edward Said Quote
The following quotation by Edward Said is taken from his most influential book, Orientalism: "Humanism is the only, and I would go so far as saying the final, resistance we have against inhuman practices and injustices that disfigure human history."
17. Traditional Arabic Calligraphy
Each quotation in the mural is translated into Arabic and rendered in a traditional Arabic calligraphy style, recognizing the Arabness of Palestinian culture and demonstrating the importance of art, language, and culture to all Arabs.
Friday, October 6, 2006 | return to: opinions Share SFSU president keeping Jews safe with mural censure by michael futterman & rabbi douglas kahn Follow j. on and We have held our collective, communal breath waiting for signs of anti-Israel activity on local college campuses this fall. The Israel/Hezbollah war, and continued opposition to the U.S. presence in Iraq, augurs a potential return of heightened tensions and creation of an unwelcome, and possibly hostile atmosphere for pro-Israel students. Fortunately, most local campuses thus far have been fairly quiet on Middle East issues. But that is not universally true. First out of the box this school year was a proposed Palestinian mural at San Francisco State University. The student government approved the mural, subject to final approval by President Robert Corrigan before it became a permanent fixture on the exterior of the student union building. There it would have taken its place alongside other murals, including the Malcolm X mural that replaced a prior mural that Corrigan ordered sandblasted after the artist added anti-Semitic symbols at the last moment some 12 years ago. The proposed Palestinian mural focused on the life of Edward Said, the late Columbia University professor, and incorporates numerous symbols of significance to Palestinians. Permanent murals at SFSU are expected to focus on the ethnic American experience and to express pride in one's culture. At first glance the mural appeared to be relatively benign. Upon closer examination, however, it was clear that symbols of political resistance and hostility to Israel had been included, with enormous potential to create a divisive atmosphere on campus. While there were several troubling symbols, two stood out as explicitly offensive — an image of a key with the Arabic term "return" representing the purported Palestinian "right of return" and the concomitant destruction of the state of Israel, and a cartoon-like character known as "Handala" holding a sword. Handala has been used by Palestinian artists to represent active and often violent resistance against Israel. Yitzhak Santis, JCRC's Middle East Affairs Director, did invaluable research on the significance of these two symbols and why they would, as permanent fixtures on the side of a public building, send a chilling message to Jewish students and all on campus who support Israel's rights. In short, the Palestinian key is more than just a key, just as a conical hat on the top of a man dressed in white robes is more than just a hat. President Corrigan and his administration have been accessible and responsive when Jewish students, Hillel and the broader Jewish community have raised concerns in the past about conditions for Jewish students on campus. He has demonstrated strong leadership and absolute determination to maintain an open and welcoming climate on campus for all. His decisive action on the Malcolm X mural, his support for establishing a strong program in Jewish studies and his response to hateful anti-Israel activity on campus have exemplified that leadership. Now, once again, President Corrigan has been asked to take a stand on campus that will help foster a welcoming and safe environment for all students, including Jewish students and other supporters of Israel. Such a stand will no doubt prove unpopular with student government; the Associated Students have already approved a resolution in support of the proposed mural. Inevitably, the president will be criticized on campus for denying free speech, even though preventing construction of a hostile, permanent mural on the university campus does not contravene free speech rights. We are pleased to report that Corrigan's moral voice and leadership continue to be demonstrated on campus and the community. After he had already told student leadership that the mural in its present form was unacceptable, and that he would not approve it until the mural proponents demonstrated affirmatively how the mural fit into the overall goals of the university as an inclusive institution, he recently informed the Student Center Governing Board and the chair of the Arts Committee of that board that he had made a final decision not to approve the proposed Palestinian mural. It is possible that the mural proponents will acknowledge Corrigan's objections, and eliminate those symbols that have a threatening and divisive intent. It is also possible that they will manipulate the controversy and use the administration's decision as a pretext to heat up the conditions on campus. In anticipation of the latter, we continue to work closely with Hillel to support its proactive, pro-Israel educational efforts at various Northern California universities. At this time, one thing is clear: Corrigan has demonstrated yet again what true leadership and moral clarity mean. He has modeled for the campus community the lengths a university president sometimes must go to in order to ensure that every segment of the university community feels included and welcome. Thank you, President Corrigan, and your administration, for standing tall once again. Michael Futterman is the president of the Jewish Community Relations Council (JCRC). Rabbi Douglas Kahn is the executive director of the JCRC.