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Souvenir Patch
Article 309: Handala and the Cartoons of Naji al-Ali, By: Dr. Fayeq Oweis – Part V
Posted By Hasan A. Yahya, Ph.Ds- Dryahyatv from USA.
Handala: A Character and a Symbol of Struggle:One of the hallmarks of Naji al-Ali's cartoons was his creation of these unique characters. Besides the good-hearted characters, a small child appears with his hands clasped behind his back, his face hidden, standing as a witness to an event, or participating in it by speaking, writing, throwing a rock, hugging, kissing, and presenting flowers. This child's name is Handala, a representation of al-Ali himself frozen in time at the age of 10. Handala became al-Ali's most famous character, appearing in the majority of his cartoons, and personifying bitterness, resilience and dignity.
From the time that al-Ali started drawing in the early 1950s and until 1969, he signed his drawing with his first name (Naji) or with a cross or both. In 1969 while al-Ali was working in Kuwait for al-Siyyasa newspaper, he introduced a character he called Handala (also pronounced Hanthala, Hanzala, and Handhala) This character, whose name is derived from a plant called handhal in Arabic, is a small, barefoot boy with patched clothing and sparse hair. The handhal is a resilient plant that has deep roots and the ability to grow back regardless of attempts to cut or weed it out. It is always associated with bitterness and thus bitterness and resilience became common features of Handala. Handala himself became the signature and the "trademark" of Naji al-Ali that was present in every drawing from 1969 until al-Ali's assassination in 1987.
Naji al-Ali introduced Handala in a cartoon published in al-Siyyasa newspaper on July 13, 1969. He appeared in the middle of the cartoon looking like a frog sitting down and facing the reader. In the cartoon, Handala introduced himself as "only an Arab person" and offered to be part of al-Ali's life from that time on. Handala made a promise to be faithful to the Palestinian cause and to fight corruption and criticize everyone who did not follow the path toward the liberation of Palestine. Handala also declared that he was not afraid of anyone but God. He used an Arabic saying "go and pave the sea" which is the equivalent of "I do not care about what you do" or "To hell with you". Handala's use of this proverb was a strong indication that he was willing to criticize everyone and was determined to say the truth regardless of the consequences.
Handala introduced himself as a common and ordinary boy representing a generation that was suffering as a result of the Nakba (the catastrophe of 1948) and the Naksa (the defeat of 1967). Freedom of expression was a major principle in Handala's introduction. When al-Ali told Handala that each time he created a cartoon criticizing someone, the "embassy protests and the official news gives warning and threats," Handala encouraged al-Ali to continue and not to run away from the "battle field." From the time Handala was introduced, he appeared in al-Ali's cartoons playing many roles. Until 1973, Handala faced the reader and later on turned his face away from the reader and clasped his hands behind his back never to show his face again. Al-Ali used this to symbolize the rejection of the unjust solutions being offered to the Palestinian people.
As a child from the refugee camp representing the poor and displaced refugees, Handala always appears barefoot with patched clothing, indicating the living conditions of refugee camp children. Handala functioned as a symbol of al-Ali's childhood in the refugee camp of Ein al-Hilwa in south Lebanon. When Naji al-Ali was asked about Handala's age, he responded, "Handala was born 10 years old and he will always be 10 years old. It was at that age that I left my homeland. When Handala returns, he will still be 10 years old, and then he will start growing up." In this, the laws of nature did not apply to Handala, because he was an exception. As al-Ali said, "losing the homeland is not normal" and for him, life would only normalize upon the return to the homeland. Al-Ali sometimes referred to Handala as the son that he carried in the Gulf and gave birth to in 1969. Handala's spikey hair represented the thorns of a hedgehog which al-Ali said "uses his thorns as weapons." Al-Ali also described Handala as ugly from the outside, but full of musk and amber on the inside.
Handala's identity was declared from the first day he was introduced; he sided with the poor and suffering people of the refugee camps and with ordinary Arab people. Al-Ali wanted Handala to guard him from committing mistakes and to represent the common people, witnessing the events unfolding around him and exposing and criticizing them. He did not want Handala to take part in anything that would dictate unjust solutions to the Palestinian cause. Al-Ali once said: "Handala is a witness to a generation that did not die, and he will not leave life, ever, he is eternal. He is a character that was born to live, and challenged to continue."
In one cartoon, Handala stands next to a grave where the tombstone reads: "I think, therefore I exist," showing the fate of creative, free-thinkers. This was one of the ways al-Ali criticized the lack of democracy and freedom of expression in the Arab world. He saw in Handala a compass that directed him toward the just cause of Palestine. He said that if he wanted to rest or think about luxury living, then Handala would pinch him and remind him of his people and his cause. He also explained that the role of Handala was to observe every thing that he drew and that these drawings could not be bought: "they wanted me to be a tribal artist, to be with this regime against that; but how can I accept and Handala is there watching me? I can mislead the censorship of the official newspaper because they may not understand my cartoons, but I can not mislead Handala, because he is my son."
From 1973 onward, Handala turned his face completely away from the reader and clasped his hands together behind his back. After the October war of 1973 and the events that led to the end of the war and the agreements brokered by Henry Kissinger, al-Ali predicted unjust solutions that would be imposed on the Arab side. He decided to turn Handala's face away and clasp his hands behind his back as "a symbol of rejection of all the present negative tides in our region." Additionally, Handala was not willing to participate in the negative tides or these unjust solutions. The turning of Handala's face was also a symbol that represented the reader, the ordinary and the oppressed Arab person. Some people viewed the role of Handala as a witness or non-participating observer negatively, but al-Ali defended that role, saying, "when Handala exposes the plots and conspiracy of the enemies of the people, his role is positive in the cartoons." When asked about when people would see the face of Handala, he replied: "…when the Arab dignity is restored, and when the Arab individual regains his freedom and humanity."
Handala became an advocate of democracy and human rights. He was provocative and incited people to take action. Handala was not only a Palestinian boy, he was an Arab, a humanitarian, and a global person. He participated in many international events. As a Palestinian, Handala was faithful to the cause of Palestine, to the refugee camps, to the Palestinian people, and to the poor and the oppressed. As an Arab, he advocated democracy, human rights, opportunity for all, freedom of expression, Arab unity, and protecting the Arabs' natural resources. His role in the cartoons was also to expose the brutality of the oppressor, whether it was the Israeli occupation, the dictatorship of the Arab regimes, or the hypocrisy of the Palestinian leadership.
To al-Ali, Palestine was just not a geographical entity, but a just cause representing other just causes. For him, Palestine was "not just Palestine in geographical terms, but Palestine in its humanitarian sense -- the symbol of a just cause, whether it is located in Egypt, Vietnam or South Africa." Handala was against all the disputes between the Arab countries. His role was to erase individual identity slogans, which he did not believe in, and to support a nationalistic Arab identity. Handala was a person of unity, not only in the greater Arab world, but also in Lebanon which suffered a great deal from the civil war. He was against the civil war and against the classification of people based on religion. As an international freedom fighter and a global figure, Handala appeared in South Africa fighting apartheid, and in Vietnam, Central America, alongside the revolutions there.
In some cases, al-Ali showed more than one Handala in a single cartoon. In one cartoon, Handala holds a Palestinian flag in one hand while the other hand is throwing a rock at Menachem Begin, the late prime minister of Israel. In the same cartoon, another Handala is crucified like Jesus Christ but urinates on the crucifiers. When the Evil Man, representing the official Arab media, presents a sign to Handala and al-Zalama that reads "People should be followers of their kings' religion," Handala responds "we are unbelievers." Handala is also a loving, compassionate, and caring boy who presents flowers to the wounded, kisses their arms, or places flowers on the graves of the martyrs. His flower represents hope when he gives it to al-Zalama inside an Israeli jail, or to Beirut through an opening that was caused by a shell during the Israeli invasion in 1982.
Al -Ali knew that some day he would be silenced. During his artistic career, he drew many cartoons voicing his refusal of the use of the "silencer", be it censorship or a gun. In some of his last cartoons, al-Ali showed Handala as an immortal and eternal character that would not and could not die. In one of his interviews, al-Ali said: "Handala, whom I created, will not end after I die. I hope that this is not an exaggeration when I say that I will continue to live in Handala, even after I die." Handala was and still is resilient as the handhal plant. He faced death with a song. In a cartoon published in al-Qabas newspaper on July 4, 1987, about two weeks before al-Ali's assassination, Handala is depicted on a "wanted" poster that reads "Wanted Dead or Alive" but he ignores the warning and instead sings "Oh my homeland, oh my homeland… for you is my love and my heart."
Handala was a symbol of struggle in the cartoons of Naji al-Ali and he has continued to play the same role, even after the assassination of his father and creator. On the walls of occupied Palestine, in protests and demonstrations all over the world, Handala has become a symbol of Palestinian struggle and resistance. He is a representative of the refugees and their right of return to their homeland. A group of Palestinians created a network called "Handala Palestine" and adopted the name of Handala as a symbol for educating others about the injustice that has been committed against the Palestinians.Handala has also become a symbol for the campaign to boycott Israeli products. He appears as the logo of various human rights organizations and media groups. He can be found as a tattoo on the bodies of thousands of people, and as a gold or silver pendant hanging around the necks of millions. Handala, crafted from the wood of olive-trees uprooted by Israel, can also be found in souvenir shops all over Palestine.
References and Resources:
Al-Asadi, Abdu and Tadmuri, Kholud. A Study in the Creativity of Naji al-Ali [in Arabic]. Dar il-Kunuuz al-Adabiyya, Beirut, Lebanon: 1994
Al-Ali, Naji. The Cartoons of Naji al-Ali [in Arabic] Forwarded by Mahmoud Darwish. Beirut, Lebanon: 1976.
Ibrahim, Daoud. Encyclopedia of Naji al-Ali Cartoons, Vol. 1: The Man and the Revolutionary [in Arabic]. Palestinian Publishing Institute, Ramallah, Palestine: 2003
Ibrahim, Daoud. Naji al-Ali, the Life and Death of a Palestinian Artist [in Arabic]. Yarmouk Publishing Institute, Ramallah, Palestine: 1988.
Idris Samah (Ed.). Sihr ilKkaraama [The Magic of Dignity – in Arabic], Al-Adab Magazine. Vol. 50 # 9-10. Beirut, Lebanon: 2002
Kallam, Mahmoud Abdallah. Naji al-Ali, The Whole of Palestine: That is why they killed me [in Arabic] Bisan Publishing, Beirut, Lebanon: 2001
Web sites:
http://knol.google.com/k/handala-and-the-cartoons-of-naji-al-ali# http://www.oweis.com/handala.html
http://www.newjerseysolidarity.org/alawda/sept2005/najialali.shtml
About the Author
Professor, Dr. Hasan A. Yahya is an Arab American writer, scholar, and professor of Sociology lives in the United States of America, originally from Palestine. He graduated from Michigan State University with 2 Ph.d degrees. He published 65 books plus and 315 plus articles on sociology, religion, psychology, politics, poetry, and short stories. Philosophically, his writings concern logic, justice and human rights worldwide. Dr. Yahya is the author of Crescentologism: The Moon Theory, and Islam Finds its Way, on Amazon. He's an expert on Race Relations, Arab and Islamic cultures, he is also, interested in religion, world affairs and global strategic planning for justice and human rights. www.dryahyatv.com
Souvenir patches in Toronto?
I wanted to get the flag of Toronto as a souvenir patch that someone can sew onto their travel bag. I know I can just order it online, but does anyone know of places in downtown Toronto where I can get said patch?
Thanks.
If you are downtown there are lots of little hole in the wall places that have flag patches. They are all over the place. One of the best places is the Surplus store on Yonge just a little north of Welesly St. It's on the west side - Central Surplus 610 Yonge Street, Toronto. If not there, any rinky dink place all the way south on Yonge will have them.
Onceovers Souvenir Patch walking