{"id":37220,"date":"2025-06-06T10:21:11","date_gmt":"2025-06-06T08:21:11","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=37220"},"modified":"2025-06-06T10:21:11","modified_gmt":"2025-06-06T08:21:11","slug":"victorious-decolonization-in-the-work-of-joyce-joumaa","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/victorious-decolonization-in-the-work-of-joyce-joumaa\/","title":{"rendered":"Victorious Decolonization in the Work of Joyce Joumaa"},"content":{"rendered":"<h5>Lebanese Canadian writer and visual artist Joyce Joumaa\u2019s videos demonstrate that the colonized are not passive recipients of their condition.<\/h5>\n<p>&nbsp;<\/p>\n<h4><span style=\"font-weight: 400;\">Aidan Simardone<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/h4>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">A soccer match plays on screen between Algeria and France. A man unloads his gun into a soldier. The game continues. A chase begins; French soldiers stop and frisk a senior citizen. Spectators flood the soccer field. The French are unable to control the Algerian crowd. The game comes to an end.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Joyce Joumaa\u2019s <\/span><a href=\"https:\/\/momentabiennale.com\/exhibit\/betise-humaine\/\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">B\u00eatise Humaine<\/span><\/i><\/a> <span style=\"font-weight: 400;\">(Human Stupidity), previously <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=reHVLeAE6bw\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">exhibited<\/span><\/a> <span style=\"font-weight: 400;\">at the Jaou Tunis, will be on display at the <\/span><i><span style=\"font-weight: 400;\">MOMENTA Biennale d\u2019art contemporain <\/span><\/i><span style=\"font-weight: 400;\">in Montreal, Canada starting September 10, 2025. The video is a split screen of a 2001 <\/span><span style=\"font-weight: 400;\">French-Algerian soccer game and scenes of Algerian freedom fighters attacking French colonizers in the movie <\/span><i><span style=\"font-weight: 400;\">The Battle of Algiers<\/span><\/i><span style=\"font-weight: 400;\">. The match was the first and only one France played against Algeria since the latter gained independence in 1962.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As her<\/span><a href=\"https:\/\/joycejoumaa.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\"> site<\/span><\/a> <span style=\"font-weight: 400;\">notes, Joyce Joumaa is a Lebanese Canadian visual artist and writer \u201cbased between Beirut, Montreal and Amsterdam.\u201d Joumaa\u2019s work focuses on microhistories in the Arab world, as a way to understand how past structures inform the present moment.<\/span><\/p>\n<hr \/>\n<div class=\"ose-youtube ose-uid-836afeca16d48aea132e35f4d70bf9ea ose-embedpress-responsive\" style=\"width:600px; height:550px; max-height:550px; max-width:100%; display:inline-block;\" data-embed-type=\"Youtube\"><iframe loading=\"lazy\" allowFullScreen=\"true\" title=\"Biennale Arte 2024 - Joyce Joumaa\" width=\"600\" height=\"550\" src=\"https:\/\/www.youtube.com\/embed\/hHntDuyeX-M?feature=oembed&color=red&rel=0&controls=1&start=&end=&fs=0&iv_load_policy=0&autoplay=0&mute=0&modestbranding=0&cc_load_policy=1&playsinline=1\" frameborder=\"0\" allow=\"accelerometer; encrypted-media;accelerometer;autoplay;clipboard-write;gyroscope;picture-in-picture clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p><span style=\"font-weight: 400;\">The juxtaposition of violent decolonization, whether with guns or on the field, is part of Joumaa\u2019s growing work focusing on the microhistories of conflict and liberation in SWANA and its diaspora. <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine <\/span><\/i><span style=\"font-weight: 400;\">follows up on <\/span><a href=\"https:\/\/www.labiennale.org\/en\/art\/2024\/nucleo-contemporaneo\/joyce-joumaa\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">Memory Contours<\/span><\/i><\/a> <span style=\"font-weight: 400;\">at the 2024 Venice Biennale, where Joumaa was the youngest artist. Amid the sounds of rain droplets and waves, four pole-mounted screens give close up shots of hands drawing shapes on a piece of paper. There is beauty in the minimalist forms, until we learn it was part of a test administered to immigrants arriving at Ellis Island a hundred years ago, to measure their cognitive abilities. Failure meant deportation.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Resembling sigils in a book of magic, the drawings feel otherworldly. Yet, cognitive fitness is still part of immigration controls today. Having studied art in Canada, Joumaa had to demonstrate that she would not cause \u201c<\/span><a href=\"https:\/\/www.canada.ca\/en\/immigration-refugees-citizenship\/services\/immigrate-canada\/inadmissibility\/reasons\/medical-inadmissibility.html\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">excessive demand on health or social<\/span><\/a> <a href=\"https:\/\/www.canada.ca\/en\/immigration-refugees-citizenship\/services\/immigrate-canada\/inadmissibility\/reasons\/medical-inadmissibility.html\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">services<\/span><\/a><span style=\"font-weight: 400;\">\u201d before entering. These ableist laws assume that immigrants are coming to steal from \u201cour\u201d medical services. Or maybe they are just reclaiming what is theirs?<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Neocolonialism extracts from the Global South, leaving the latter with little to invest in medical infrastructure. Here, migration becomes a form of decolonial reparations.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Returning to <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine<\/span><\/i><span style=\"font-weight: 400;\">, decolonization also means reclaiming the ground, even a soccer field. International sports sells itself on reconciliation and meritocracy, with former enemies mending ties through the game and the best team coming first. But what does it mean when the game is between the colonized and the colonizer?<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cReconciliation\u201d means acceptance of the status quo, not giving back what was stolen. And \u201cmeritocracy\u201d means whoever has the most money to hire and train athletes wins. Ironically, the Western states that exclude \u201cunworthy\u201d immigrants also recruit racialized youth to join soccer clubs. The top players are then cheered on by racist football hooligans. Eugenics comes in again: the disabled immigrant must be kept out, while the fit immigrant can come in to promote nationalism.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Frustrated with France\u2019s 4-1 lead, Algerian spectators flood the field 15 minutes before the game\u2019s end, rushing past French security. Simultaneously, the left side of the screen shows Algerian masses storming French soldiers in Algiers. It is not just the demand for decolonization that threatens the French, but the crowd itself. With the city divided between European and Algerian areas, the fear is the Algerian mass could rush the checkpoints and take the city, along with the country.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Unable to control the Algerians, the match is cancelled. While France won the game, Algerians were victorious in rejecting the reconciliatory and meritocratic ideology. But the struggle continues, as the zones of control expand from the apartheid city and soccer field to the border. Today, politicians from the far-right to the center warn that Algerians will <\/span><a href=\"https:\/\/www.bbc.com\/news\/articles\/ckgnnelvz0do\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">take over<\/span><\/a> <span style=\"font-weight: 400;\">France, as the parliament <\/span><a href=\"https:\/\/www.amnesty.org\/fr\/wp-content\/uploads\/2021\/07\/pre012452010en.pdf\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">bans<\/span><\/a> <span style=\"font-weight: 400;\">the niqab, saying it will protect women. In <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine, <\/span><\/i><span style=\"font-weight: 400;\">the soccer announcer suggests that they should have had a fence to keep the spectators out, the same ones <\/span><a href=\"https:\/\/www.lemonde.fr\/en\/europe\/article\/2023\/03\/08\/calais-the-french-bunker-border-city-pushing-migrants-into-the-english-channel_6018589_143.html\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">found<\/span><\/a> <span style=\"font-weight: 400;\">now in Calais.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\">But what France fears is not that Algerians will turn France into a caliphate or force women to cover themselves. The problem is that Algerians remind France of its colonial past and defeat at the hands of the \u201cinferior\u201d Arab. Here we understand the anxiety around the niqab: rather than a symbol of women\u2019s oppression, Algerian women used it to smuggle weapons and supplies during the Algerian War of Independence. We see this in <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine, <\/span><\/i><span style=\"font-weight: 400;\">where a woman in a niqab passes a revolver to the protagonist, Ali la Pointe, before he kills a French soldier. Other scenes from the movie, although not featured in <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine, <\/span><\/i><span style=\"font-weight: 400;\">include women using the niqab to smuggle bombs and men hiding themselves under the niqab before unloading their machine guns into French soldiers.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">These scenes are why the <\/span><i><span style=\"font-weight: 400;\">Battle of Algiers <\/span><\/i><span style=\"font-weight: 400;\">still resonates for both the colonized and colonizer. Before the invasion of Iraq, the film was <\/span><a href=\"https:\/\/www.nytimes.com\/2003\/09\/07\/weekinreview\/the-world-film-studies-what-does-the-pentagon-see-in-battle-of-algiers.html\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">shown<\/span><\/a> <span style=\"font-weight: 400;\">to the Pentagon, with guests told it would demonstrate \u201cHow to win a battle against terrorism and lose the war of ideas.\u201d The film is a favorite of Palestinians, which is why it was initially <\/span><a href=\"https:\/\/www.opendemocracy.net\/en\/battle-of-algiers-transposed-into-palestinian-key\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">banned<\/span><\/a> <span style=\"font-weight: 400;\">in Israel. The fear was that the simulation of decolonization could provoke real life resistance.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In the 21st century, simulations of resistance have now moved from the film to computers. At the <\/span><a href=\"https:\/\/www.gallerytpw.ca\/neveronethingalone\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">Never One Thing Alone<\/span><\/i><\/a> <span style=\"font-weight: 400;\">exhibit at Gallery TPW in Toronto, Joumaa\u2019s <\/span><i><span style=\"font-weight: 400;\">Untitled <\/span><\/i><span style=\"font-weight: 400;\">is a variation of <\/span><i><span style=\"font-weight: 400;\">B\u00eatise Humaine<\/span><\/i><span style=\"font-weight: 400;\">. This time the 1974 documentary <\/span><i><span style=\"font-weight: 400;\">They Do Not Exist <\/span><\/i><span style=\"font-weight: 400;\">is layered over a soccer video game match of Manchester United \u2014 one of the most valuable sports clubs in the world \u2014 versus Club Deportivo Palestino, a century old Palestinian soccer club in Chile. <\/span><i><span style=\"font-weight: 400;\">They Do Not Exist <\/span><\/i><span style=\"font-weight: 400;\">shows daily life in Nabatieh refugee camp, a Palestinian refugee camp in Lebanon; freedom fighters training and condemning imperialism; and Israeli jets bombarding the camp until nothing is left.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The video game shows Manchester scoring goal after goal, with a final score of 6-0. Unlike in real life, the spectators are not going to stop the match. But what video games allow for is repetition, playing over and over again until you win. With enough practice, even a small group of Palestinians can defeat the Western Goliath. As we watch Israel\u2019s genocide of Palestinians in Gaza, we often forget that Palestinian\u2019s continuous struggle has often resulted in victory, including Israel\u2019s withdrawal from Lebanon in 2000 and from Gaza in 2005.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The title, <\/span><i><span style=\"font-weight: 400;\">They Do Not Exist, <\/span><\/i><span style=\"font-weight: 400;\">comes from Former Prime Minister of Israel Golda Meir who said, \u201cThere were no such thing as Palestinians\u2026 They did not exist.\u201d But as the film shows and as we see a half-century later, Palestinians do exist, whether in refugee camps or on the soccer field. Joumaa\u2019s videos demonstrate that the colonized are not <\/span><span style=\"font-weight: 400;\">passive recipients of their condition, but actively resist it through migration, guerilla warfare, storming the soccer field or playing against Manchester United in a video game.<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lebanese Canadian writer and visual artist Joyce Joumaa\u2019s videos demonstrate that the colonized are not passive recipients of their 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