{"id":9324,"date":"2022-07-15T08:39:43","date_gmt":"2022-07-15T06:39:43","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=9324"},"modified":"2022-12-25T11:22:45","modified_gmt":"2022-12-25T09:22:45","slug":"war-and-trauma-in-yemen-asim-abdulazizs-1941","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/war-and-trauma-in-yemen-asim-abdulazizs-1941\/","title":{"rendered":"War and Trauma in Yemen: Asim Abdulaziz\u2019s &#8220;1941&#8221;"},"content":{"rendered":"<h4>\u00a0<\/h4>\n<figure id=\"attachment_9326\" aria-describedby=\"caption-attachment-9326\" style=\"width: 1400px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.youtube.com\/watch?v=LWUMFdNpIPQ \"><img decoding=\"async\" class=\"size-full wp-image-9326\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz.jpg\" alt=\"\" width=\"1400\" height=\"778\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz.jpg 1400w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz-600x333.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz-300x167.jpg 300w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz-1024x569.jpg 1024w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz-768x427.jpg 768w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-443-video-still-\u00a9-Asim-Abdulaziz-1320x734.jpg 1320w\" sizes=\"(max-width: 1400px) 100vw, 1400px\" \/><\/a><figcaption id=\"caption-attachment-9326\" class=\"wp-caption-text\">Outtake from Asim Abdulaziz&#8217;s experimental short film, <em>1941<\/em>, 2021 (courtesy Asim Abdulaziz).<\/figcaption><\/figure>\n<h4>\u00a0<\/h4>\n<h4>\u00a0<\/h4>\n<h4>Farah Abdessamad<\/h4>\n<p>&nbsp;<\/p>\n<p>Yemen-based Adeni artist <a href=\"https:\/\/www.asimabdulaziz.com\/about\" target=\"_blank\" rel=\"noopener\">Asim Abdulaziz<\/a> (b.1996) is obsessed with one question: what has war made us become?<\/p>\n<p>The artist\u2019s question lends itself to an appraisal of the effect of violence and trauma on human lives. As a result of seven years of continuous war in Yemen, which by the end of last year the <a href=\"https:\/\/www.aljazeera.com\/news\/2021\/11\/23\/un-yemen-recovery-possible-in-one-generation-if-war-stops-now\">United Nations<\/a> estimated had caused upwards of 350,000 direct and indirect deaths (from famine and disease), and with the backdrop of a <a href=\"https:\/\/news.un.org\/en\/story\/2022\/06\/1120402\">fragile UN-brokered truce<\/a>, Abdulaziz chose to explore this complexity using an experimental form. His <em>1941<\/em> is Yemen\u2019s first experimental film. It discusses masculinity, agency, liminality, and the value we ascribe to time and place.<\/p>\n<p><iframe loading=\"lazy\" title=\"1941  trailer\" width=\"750\" height=\"422\" src=\"https:\/\/www.youtube.com\/embed\/LWUMFdNpIPQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>\nWithout any dialogue, the film opens on a cloudy sunrise. We recognize Aden\u2019s volcanic mountains and, soon after, a building appears nested against the rock. This single location \u2014 a 19th century Hindu temple \u2014 is where men mechanically knit with red yarn.<\/p>\n<p>Different scenes depict the multilayered, sensory forms of trauma-generating alienation in solo shots and group settings. For instance, young men knit in unison while walking down the temple\u2019s beautifully-carved wooden staircase. They look alike \u2014 closely shaved heads, shirtless, with grey slack pants. Their hands animate as in a choreography, obeying to an invisible urge to commune. Their walk is stiff, soldier-like.<\/p>\n<p>While the characters are seemingly constrained by their own inner torment, they move together. Their destinies and shared experience sometimes binds them in more intimate ways \u2014 literally. A sense of inextricability arises when two characters have their heads conjoined and wrapped in red yarn. The threads are pulled with arachnid patience; their layers channel the sacredness of a mummification process.<\/p>\n<p>Narratively, the film follows a non-sequential suite of symbolisms touching upon inter-generational trauma, mixing old and young characters. No one is spared from a haggard existence. While a boy awkwardly learns to manipulate his knitting needles tightly framed by a suffocating window, an older man with a salt-and-pepper beard observes his long scarf. He\u2019s experienced a great deal and we think not only of the most recent conflict but also of the civil war in 1994.<\/p>\n<figure id=\"attachment_9328\" aria-describedby=\"caption-attachment-9328\" style=\"width: 980px\" class=\"wp-caption alignright\"><img decoding=\"async\" class=\"size-full wp-image-9328\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-4.43-still.jpg\" alt=\"\" width=\"980\" height=\"550\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-4.43-still.jpg 980w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-4.43-still-600x337.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-4.43-still-300x168.jpg 300w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Asim-Abdulaziz-1941-2021-video-color-sound-4.43-still-768x431.jpg 768w\" sizes=\"(max-width: 980px) 100vw, 980px\" \/><figcaption id=\"caption-attachment-9328\" class=\"wp-caption-text\">Outtake from Asim Abdulaziz&#8217;s experimental short film, <em>1941<\/em>, 2021 (courtesy Asim Abdulaziz).<\/figcaption><\/figure>\n<p>The characters avoid staring directly at the camera. We hardly identify them and in some cases, a decoy such as a rock masks their faces. In doing so, Abdulaziz remind us of an indiscriminate quality. Anxiety, depression, and post-traumatic stress can affect anyone. The body hosts these psychological assaults. Along with inserted cuts showing the decayed appearance of the building\u2019s walls, the film presents a physical allegory of fragility.<\/p>\n<p>The knitting balls that populate the film are the external projections of ruminations, meanderings, and the haziness of resilience. In one room, they hang from the ceiling without touching the floor \u2014 suspended, incomplete, vulnerable. Windswept, they evoke a sense of floatation, uprootedness, and challenge the possibility of firm anchoring.<\/p>\n<p style=\"text-align: center;\">\u2b2a \u2b2a \u2b2a<\/p>\n<p>\nAbdulaziz came cross an article in 2020 recalling a cover of <em>Life <\/em>magazine from November 1941, which described knitting as a war effort during the WWII. This article led came to influence his film\u2019s title, <em>1941<\/em>, and for the artist to reflect on utilitarianism, distraction, and emotional expression. \u201cIn Yemen and in the Middle East, men aren\u2019t allowed to express their emotions. They always need to be tough and emotionally detached. But in fact, what I realized when I returned from Yemen after living in Kuala Lumpur for four years is that men also have emotions and they can experience depression and anxiety,\u201d he told The Markaz Review. Upon returning to Aden in 2019, he immediately noticed people\u2019s empty gaze.\u00a0<\/p>\n<p>The cinematography created by Abdulrhman Baharoon embraces visual contrast, from Aden\u2019s luminosity to the cavernous insides of the temple, from the building\u2019s mint and white-painted walls to the splash of red yarns against the characters\u2019 neutral-warm tones. The characters sometimes double like mirrors, twins, and clones. Their stillness combined with the dynamic act of knitting offer depth in how we understand movement and the hyper-sensorial ways of living in the world.<\/p>\n<figure id=\"attachment_9325\" aria-describedby=\"caption-attachment-9325\" style=\"width: 616px\" class=\"wp-caption alignleft\"><img decoding=\"async\" class=\"size-full wp-image-9325\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Yemeni-photographer-and-filmmaker-Asim-Abdulaziz-the-markaz-review.jpg\" alt=\"\" width=\"616\" height=\"744\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Yemeni-photographer-and-filmmaker-Asim-Abdulaziz-the-markaz-review.jpg 616w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Yemeni-photographer-and-filmmaker-Asim-Abdulaziz-the-markaz-review-600x725.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/07\/Yemeni-photographer-and-filmmaker-Asim-Abdulaziz-the-markaz-review-248x300.jpg 248w\" sizes=\"(max-width: 616px) 100vw, 616px\" \/><figcaption id=\"caption-attachment-9325\" class=\"wp-caption-text\">Asim Abdulaziz is an experimental film director and producer. His work has been exhibited locally and internationally, from Aden to Washington DC and the United Kingdom. It has also been featured in The Washington Post, ArtNews, i-D, and Hypebeast amongst other publications. Asim won both the 2020 &#8220;Artist Support Grant&#8221; by the Arab Funds For Arts and Cultures (AFAC) which helped him develop the concept of his current project <em>Homesick<\/em>, and the 2021 Masarat grant by the British Council for his short film, \u2018<em>1941<\/em>\u2019.<\/figcaption><\/figure>\n<p>To where does the staircase lead and does it allow any escape? And what are these sounds made up of what seems to encompass metallic needles clicking against each other, locusts, and a print room? In this rhythmic white noise of percussions and buzzing, the film reinterprets aerial bombardments and the commotion of war.<\/p>\n<p><em>1941<\/em> embodies time, incarnated in the physicality of a building and in these bodies. Abdulaziz searched for a location for over five months until he remembered this Hindu temple in Khusaf, near Crater, one of several historical heritage sites that still stand in the diverse city that prides itself for its tolerance. \u201cThe temple represents Aden, beautiful but neglected. It\u2019s the city itself,\u201d Abdulaziz said. \u00a0<\/p>\n<p>The temple assumes multiple functions. In our imagination, it can be a hive, sanctuary, asylum, sanatorium. Time can feel diffracted and endless, such as when figures follow each other in circles, or a more linear, for instance in the old man\u2019s long scarf. Time can be insidious and a thief; men knit in their backs, unconscious of what their hands produce.<\/p>\n<p>The film poignantly reasserts a form of slowness in various propositions on temporality as a form of solace, necessary acceptability, and torture. Simplicity, in d\u00e9cor and motion, is an artistic tool. \u201cI always try to produce art and films that have a simplicity that reflects Yemeni life that outsiders might not know much about,\u201d Abdulaziz said in a <a href=\"https:\/\/agsiw.org\/asim-abdulaziz-pushing-boundaries-through-experimental-film-in-yemen\/\">recent interview<\/a> with the Arab Gulf States Institute in Washington.<\/p>\n<p style=\"text-align: center;\">\u2b2a \u2b2a \u2b2a<\/p>\n<p>In focusing on the human scale, Abdulaziz tries to understand how war shapes and transforms \u2014 an event seen as a disorientation, numbness, and nudge. \u201cWe are still facing a war, a psychological war, living under threats. For example, in the past two months we have experienced three car bombings, including close to my office. War is not about having an army that comes and attack another city. For me it\u2019s about feeling unsafe,\u201d he said, noting the daily hardships and shortages that Adenis continue to face.<\/p>\n<p><em>1941<\/em> reminds of the artist\u2019s previous photography work,<em> Untitled<\/em> (2019), in which he peels potatoes blindfolded among rubbles. The artists see his first film as a \u201cshift\u201d using another medium to relentlessly interrogate psychology and men\u2019s emotional density.<\/p>\n<p>The film premiered at the Canada Short Film Festival in 2021, where it won distinctions in Best Experimental Film and Best Cinematography. Abdulaziz was recognized as Best Karama Yemen Human Rights Film Festival (2022) and Best Independent Film at the Spotlight Short Film Awards (2021). It also features at the <a href=\"https:\/\/12.berlinbiennale.de\/artists\/asim-abdulaziz\/\">12th Berlin Biennale for Contemporary Art<\/a> (2022).<\/p>\n<p>Around one in five people in Yemen suffer from mental health disorders according to a <a href=\"https:\/\/www.unfpa.org\/news\/against-odds-delivering-mental-health-support-yemen\">2017 study<\/a>, a figure likely underestimated given existing stigma and the difficulty in accessing mental health care services. \u00a0Dr. Bilqis Jubari, the founder of Yemen\u2019s first public mental health service in 2011, thinks it\u2019s closer to <a href=\"https:\/\/www.cordaid.org\/en\/news\/mental-health-care-in-yemen-were-finally-able-to-breathe-again\/\">one in three<\/a>.<\/p>\n<p>There are fewer than 50 psychiatrists in Yemen and only <a href=\"https:\/\/www.theguardian.com\/global-development\/2021\/may\/11\/hidden-scars-mentally-ill-patients-lost-in-yemens-war\">four public psychiatric health facilities<\/a> across the country. In the absence of accessible healthcare, it\u2019s not uncommon for people to cope with anxiety and insomnia by consuming more qat and adopting other risky behaviors. Depression, gender-based violence and suicides are on the rise since the start of the war. Years ago, I visited an institution in Aden which kept people suffering from mental health disorders in cages; many of them were shackled to their beds. And customary beliefs often prevail, assigning a mental health condition to being possessed by a djinn.<\/p>\n<p>\u00a0\u201cA lot of people misunderstood my ideas. They didn\u2019t see them as serious topics to be discussed. But the more they see my work, the more they start to understand and support my work,\u201d Abdulaziz said.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Farah Abdessamad considers generations of survivors in Yemen&#8217;s first experimental film.<\/p>\n","protected":false},"author":27,"featured_media":9326,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[18,24,72],"tags":[502,653,1121,1712,1784,1846],"coauthors":[1943],"class_list":["post-9324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-review","category-review","category-tmr-23-madness","tag-depression","tag-film","tag-mental-illness","tag-trauma","tag-war","tag-yemen","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v27.3) - 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