How are these literary formulations themselves being reshaped along a sectarian/secular divide? In what capacity can nonviolent resistance through art combat sectarian violence on the ground?
Tara Khaled
Art can have a tremendous role in resisting social violence and even sectarian violence. First, art and, especially, literature as a discourse has a psychological impact on its readers. So, it might reshape their attitudes about the `other` and hence promote social integration between different sects or social groups. Second, art and literature can have an effect on people`s identities. For instance, postcolonial poetry that promotes a `plural` identity stemming from a unified cultural identity is very important in resisting social and sectarian tensions. In this respect, I recommend reading Pablo Neruda`s poetry (e.g. `walking around`/ `we are many`...etc). You can also read WB Yeats` poetry (e.g `September 1913`, `A Meditation Time of War`, `nineteen hundred and nineteen`...etc).
You could further understand my view point through these articles:
- my article "The Impure Identity in Pablo Neruda`s Poetry"
- my article "Narrating Irish Identity: Retrieving Irishness in the Works of William Butler Yeats and Seamus Heaney"
- my article "Questioning Essentialism in the Construction of Post-Colonial Identity"
Rafik Massoudi
The analysis of the poems (al-Fusha and others) sung by Fayrouz will reveal many of these formulations, because they are collected between groups in the Arab country that suffers from sectarian differences the most. Thus art reveals this through songs, revolution poems, cinema, and sometimes novel
Tara Khaled
Yours are very intriguing questions which need not only thorough research to be answered, but also time to pass before any claim is validated. The Iraqi political and literary scenes are at large at odds with each other. Contemporary politucs is being severely ridiculed and parodied by novelists, poets, artists, dramatists and other intellectuals. Sectarianism has been also changing and shifting greatly over the last two decades. Many writers today would prefer not to be defined by sectarian background. Many are revolting against it and some have turned against altogether. Think of Hassan Blassam or Ahmed Saadawi. Poetry wouldn’t be long before it rides the same wave.
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