Osman Hamdi Bey is one of my non-negotiable favorite painters. In popular culture he is recognized for his painting "L’homme aux Tortues/The Tortoise Trainer" where he captures a moment of a Sufi dervish training little tortoises. (1) However, I have 2 specific reasons for admiring his art, and the Tortoise Trainer is not one of them.
First, as the pupil of the legendary Jean-Léon Gérôme, Osman Hamdi Bey is among the rare artists capable of accurately depicting daily life in Ottoman Empire under the umbrella of Orientalist art movement. Secondly, some of his works carries political significance for those with a discerning eye. It was through his piece ‘’Mihrab/La Genèse’’ that I first recognized the powerful and sophisticated role of art as an aesthetically pleasing form of political expression. (3)
Mihrab depicts a sinful, scandalous scene. Holy texts spread across the floor beneath the feet of a woman in a bright yellow décolleté dress. She sits on the stand that is meant to hold the Qur’an, turning her back to a prayer niche (Mihrab) that indicates the direction of the Kaaba in Mecca.
This painting is what made me believe that political allegory provides a unique blend that is far more thought-provoking than some of the plain theories of politics and international relations.
Political allegory is a crucial tool in the making of memory politics. Through the art of the artist, the memories, prejudices, and aspirations of the given groups are encapsulated. A notable instance is Il Duce’s obsession with the Roman Empire and his endeavors to push the La Romanità art movement among Italian artists. This played a key role in shaping Fascist identity, which was intrinsically linked to political memory.
On the other hand, thanks to political allegory the interpretation and the distinction between the ‘dominant’ and ‘recessive’ memories can preserved much better, particularly when the art is created by a member of a disadvantaged recessive group. This brings us back to Osman Hamdi Bey.
Photo by Birmingham Museums Trust on Unsplash
Back in the day, with rare exceptions as in Ottoman Miniature Art and Ebru Marbling, painting or crafting realistic sculptures of the people were not permitted due to the Ottoman interpretation of Sunni Islam. As a result, it is often difficult to gain insights into daily life during that period through Ottoman art. Meanwhile, particularly in the early 19th century, the vast majority of the European painters who followed the Orientalist art movement portrayed ‘the Oriental East’ as a distant land where camels wander around in thirsty deserts or where naked women in Sultan’s Harem seductively belly dancing all day long. What a mirage.
Yet, it is known that many of these non-Muslim male painters had never set foot in the region. Moreover, it was forbidden for men to be any close to the Sultan’s Harem unless they were castrated (ouch!) and converted to Islam to become Kizlar Agasi/Eunuch (2).
Regardless of the irrelevance of non-Muslim male painters to Oriental reality, we still witness the preservation of this artificial memory to this day.
For instance, the director of the James Bond Skyfall movie utilized a slight sepia filter for the Grand Bazaar Chase scenes in Istanbul(4). Furthermore, local Turkish businesses continue to encounter requests for camel rides which led to the emergence of a new industry. If you see tourists enjoying camel rides along our Aegean coast, it is actually local businesses importing camels to entertain these unaware tourists, which is hilarious at some point.
Fortunately, toward the end of the Ottoman Empire, this strict prohibition on art was relaxed allowing Osman Hamdi to paint. Thanks to him, we can get a glimpse into the reality of daily life, particularly in Istanbul, through his masterpieces such as The Musician Girl, A Lady of Constantinople, Theologist, and The Petitioner…
I do not claim that the collective consciousness of a society/group merely depends on the artistic undertakings. However, I strictly believe that art deserves wider recognition as a political element in the construction and preservation of the memory. To illustrate this point, I would like to highlight three living artists who have crafted iconic artworks as political allegories.
Walled Off Hotel by Banksy
I may not be an artist, but I cannot deny having discerning senses that always guide me through the path of appreciation of beautiful things. However, I am aware that senses are not enough to fully comprehend political art. The awareness of it pushes me to discover more about the world.
As a simple admirer of the fine arts, the artists I consider to be creating iconic work do not only possess subtle talent. I seek to find exciting twists in their artworks, easter eggs, signs of awareness, and post-modern ways of conveying 'things', just as in the work of Banksy.
And that’s my opinion, quite subjective, as it exactly should be.
Throughout my research of the Walled Off Hotel in Bethlehem, established by Banksy in 2017, I was in complete awe and I am not even exaggerating—I constantly had goosebumps. Located just 500 meters from the checkpoint to Jerusalem, the hotel features a striking 700 km long wall landscape. (10)
On October 12th, 2023, the hotel announced its closure for an indefinite period due to the conflict. However, I was still able to see the hotel’s features on their website. Soon, I realized that the Walled Off Hotel not only functions as an actual hotel but also serves as a political allegory in which guests can interact. I would argue that it should be considered a form of performance art.
There are four rooms each themed to share the history of the region, ensuring an educational yet aesthetic experience for their guests. The room that stood out the most to me was the Budget room, which is furnished with surplus items from the Israeli military barracks.
The rest of the rooms include the Scenic room, located within view of the army watchtower; the Artist room, which has been customized by Banksy, Sami Musa, and Dominique Petrin. Lastly, the Presidential room, equipped with everything one might expect for a corrupt head of state according to Walled Off's description. (8)
The hotel features a variety of five facilities: the Piano Bar, which is themed as a colonial outpost from the time Britain took control of Palestine in 1917. The Sahra Bar focuses on showcasing local art and music. The Gallery operates independently from the rest of the hotel as it serves as the largest permanent platform for Palestinian artists to showcase their work in Palestine. The Museum is dedicated solely to the biography of the wall. The Bookshop serves as their alternative since they don't have TVs; it is stocked with every title about the wall ever published. (9)
By no means this hotel is Anti-Semitic as they also clearly express on their website that they welcome Israeli tourists. It is important to note that the Walled Off Hotel is not affiliated with any political institutions. They have an alternative branch in Paris, but I must say I did not find it as impressive as the Walled Off in Bethlehem.
Fairuz — Lebanon’s Ambassador to the Stars
To Beirut,
Greetings from my heart to Beirut; kisses to the sea and to the houses,
To the rock that resembles an old sailor’s face.
Beirut… a glory from the ashes.
Le Beirut by Fairuz & Rahbani Brothers
The daughter of a Lebanese mother from Beirut and a Syriac father from Türkiye, Fairuz is known as the Ambassador to the Stars across the entire Middle East. Despite the bloody springs that promote division, she is the one who evangelises the summer within the unity.
I want to list some of her famous political allegories, so to speak songs.
Zahrat al-Mada’en — The Flower of the Cities
Produced by the Rahbani Brothers and Fairuz after the Six-Day War in 1967, celebrates the city of Jerusalem. Its lyrics highlight the experiences of the city's residents and express a prayer for its future liberation, emphasizing the city's rich religious and multi-confessional history.
Le Beirut — To Beirut
Nour Abdul Reda, a Lebanese columnist, expresses her deep appreciation for this song in her piece, saying, ‘'My absolute favorite. We carry Beirut wherever we go in our hearts and we protect our city from all the greedy hands that come near it.’’ (11)
Ya Herriyeh — O Freedom
An inspiring call by Fairuz to continuously fight for freedom and embrace persistence.
Shout out loudly,
Run in the fields merrily.
Tell freedom that we’ve come,
Be happy, be happy.
Hey night! Hey love! Hey roads! Hey stones!
Follow us to the wild tree.
As the Civil War in Lebanon started, Fairuz decided to suspend her concerts in the country until the conflict ended in 1996. Meanwhile, she continued to pursue her artwork with audiences around the globe. In 2008, the Diva visited Syria for a six-day performance at the Damascus Opera House of her iconic 1970 musical "Sah-al Nom," which translates to "Did You Sleep Well?" This created significant controversy. Some argued that Fairuz should have refrained from performing in front of the leaders of a nation accused of a series of assassinations in Lebanon during the previous three years(14).
What those people failed to recognize was that the musical Sah-al Nom told the story of a reckless ruler who was challenged by a poor young woman. Didn't this sound like a message from Fairuz to the former Syrian government?
Another fantastic political allegory.
Throughout her career, she has received numerous honors and distinctions from various countries, including Lebanon, Syria, Jordan, Palestine, Tunisia, the United States, Egypt, and France, which highlights her global impact and the enduring power of her artistry. (13)
Rhythm 0 by Marina Abramovic
Born in 1946, Marina Abramovic is a Serbian performance artist who defines performance art as, ‘’Performance is a mental and physical construction that a performer make in a specific time, in a specific space in front of an audience and an energy dialogue happens. The audience and the performer make the piece together.’’ (16)
Marina is a woman whose mind, perception, and awareness are ahead of her time; thus, one of her magnificent works will serve as my last example.
Caccianli i ciel per non esser men belli,
né lo profondo inferno li riceve,
ch'alcuna gloria i rei avrebber d’elli.
Inferno, Dante Alighieri
Rhythm 0
In 1974, Marina, at the age of 23, decided to perform Rhythm 0 in a gallery in Naples, where she stayed still as an object for 6 hours straight. She placed a table right next to her that had 36 objects for pleasure, such as a rose, wine, honey, and a feather, and 36 objects for pain, including a knife, a gun with a bullet, and a razor. Lastly, she put a sign that says, “I am the object. You can use anything on me, and I take full responsibility for any results that may occur.” on the table. (15)
At the beginning of the performance, the visitors to the art gallery treated her well, fed her cakes, and offered her wine. Soon, as some audience members felt comfortable, they began to harm her. They ripped her clothes to expose her breasts, cut her neck slightly to drink her blood which she carries the scar of it still, hit her despite seeing her crying...
She believes the only reason she had not been raped was because there had been a mass watching them. As the six hours concluded and she began to move, the people ran away to avoid confrontation. When she returned to her hotel, she discovered a section of her hair had turned white due to the stress and pain she had been through.
Marina expresses that her motivation for Rhythm 0 stemmed from a curiosity about human nature, preferences, and behavior.
While it may be controversial to some, I must express that I cannot understand how people fail to recognize the connection between Hannah Arendt’s concept of the Banality of Evil and Rhythm 0. After seeing the Adolf Eichmann case, Hannah Arendt argues that while law and regulations are necessary, it does not always guarantee justice. The capability of self-questioning one's ability of their own sense of judgement, good and evil plays an important role within the process. Being able to call out and intervene the evil is part of the path to virtue.
In Rhythm 0, we see a mass of people that lack the simple understanding of that harming another human being just because they can, is evil. Should we harm the person next to us if we know there will be no criminal consequences? If we are among those governments with significant influence and power, does this imply that we are allowed to cause harm to those who are weak and cannot retaliate?
Shouldn't we, as a global community, question our sense of virtue? We should. If we still need to harm others, let he who is without sin cast the first stone.
And dear reader, these are my reasons why I believe that political allegory should gain a wider recognition as a political element in the construction of perceptions and memories.
Sources
1- The Tortoise Trainer by Pera Museum, Available at: https://www.peramuseum.org/artwork/the-tortoise-trainer/15/92 (Accessed: 03.02.2025)
3- Eldem, Edhem. ''What's in A Name? Osman Hamdi Bey's Genesis'', Available at: Essays: Osman Hamdi Bey, Archeologists and Travelers in Ottoman Lands. (Accessed: 05.02.2025) https://muze.gen.tr/document/OsmanHamdibey.pdf
4-- Ullmann, Jeremy. (25.06.2020) ''Yellow Filter: A Cinematic Technique or Pushing Stereotypes?''. (Accessed: 20.02.2025) https://www.media-diversity.org/yellow-filter-a-cinematic-technique-or-pushing-stereotypes/
11- Abdul Reda, Nour. (22.11.2019), ''10+ Songs of Fairouz That Hit the Spot During These Times in Lebanon'' .961. Available at: https://www.the961.com/10-songs-of-fairouz-that-hit-the-spot-during-these-times-in-lebanon/ (Accessed: 08.02.2025)
12- Issa, Dima. (01.10.2023), '''Fairouz: The Peacemaker and Champion of Palestine'' , The Markaz Review. Available at: https://themarkaz.org/fairouz-the-peacemaker-and-champion-of-palestine/ (Accessed: 13.02.2025)
13- Danıs, Mehmet Fahri. ''An Artist Uniting A Nation''. Available at: Daily Sabah https://www.dailysabah.com/op-ed/2019/12/24/an-artist-uniting-a-nation-lebanons-fairuz (Accessed: 13.02.2025)
14- Blanford, Nicolas. (28.01.2008), ''Fairouz Fans Angry Over the Diva's Concert in Syria'' Available at: The Christian Science Monitor. Available at: https://www.csmonitor.com/World/Middle-East/2008/0128/p04s02-wome.html (Accessed: 09.02.2025)
17- Alighieri, Dante. (1321) 40, 41, 42, Canto III, Inferno, La Divina Comedia.
'' The heavens expelled them, not to be less fair;
Nor them the nethermore abyss receives,
For glory none the damned would have from them. ''
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