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Walls Talk a sound presentation (in a new exhibition the sound installation
will be re created as a short film in which the talk will be integrated)
This work by Mualem Doron included placing on the walls of the structure and in the well a
series of audio excerpts from an interview with Walid Bibi, grandson of Ali Bibi, who lived in
this place till the age of 17. The interview was conducted by A. Dandeis and F. Salameh as
a part of the Palestine Remembered oral history project. It lasted for more than five hours,
and detailed the personal and collective history of Jaffa in the first half of the twentieth century. Mualem Doron selected for the sound presentation an hour long excerpt in which Walid
Bibi focuses on the family and the house where he grew up. Parts of the interview were
translated into Hebrew and are placed by the source of the voices. Architect Alice Abed and
Assad Zuabi participated in selecting excerpts.

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Pedagogic Acts short films

Important part of the exhibition is a
series of short films titled "Pedagogic
Acts. These films describe the pupils
art actions in and outside the school
and document the artistic-pedagogic
methods that were used in these projects.

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Simultaneous Translation
A sound presentation heard in the divan vacuum is composed of two soundtracks.
The one is a recording of an art lesson in which sixth grade pupils, while drawing,
are trying to translate the song Yaffa by Lebanese singer Faira Azar (from the album Jerusalem in My Heart). The song was sung spontaneously at one of the
drawing actions on Manshieh pavements. The second soundtrack in the background is the song itself. Its length is three minutes but it is drawn out to the length
of the translation (about 12 minutes). At that length the song loses its coherency
like a fading memory. The coherency is only restored as the song is sung, albeit in
excerpts while being translated by the pupils.

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Room Installation: My Jaffa

My Jaffa is a photographic project
by the pupils in the frame of the International Education Forum Palestine
Festival. The well known images of
Jaffa Clock Tower Square, the port,
the Old City, etc. were ignored, to be
replaced by the daily locations in
which the pupils live, including the
housing distress in Jaffa in general,
and among the Arab population where
it has reached previously unknown
levels that have become the centerpiece of demonstrations in Jaffa in the
last two years.[iv] Jaffa is depicted in
this series of photos in the vast collection of characteristics of well houses,
tenements, private homes, shacks and
illegal building. The project shows
new buildings facing the neglect, deprivation and discrimination. The photos appear on the poles regularly used
to hang placards at demonstrations in
which the Committee for the Arabs of
Jaffa participates. The poles are
wedged into blocks. Yehudit Ilani, photographer and member of the Popular
Committee Against House Demolitions, shared her know-how in the
presentation of the photographs.

We Returned to the Land to Build and be Rebuilt

The project We Returned to the Land to Build and be Rebuilt was created of the future narrative in
which the Bibi family returns to Jaffa to live at 13 Gaza Street. In this project of the Studio for Community
Architecture, the students restored the building to residential use while adding a gallery of items from
the history of the family and of Jaffa over the preceding century. Within this frame, the students underwent a design and model building workshop together with fifth and sixth grade pupils of the school,
which dealt with the history of the building, the tradition of Muslim architecture in general and of Jaffa in
particular, and constructed conceptual examples of future design. In the exhibit are presented models
that focused on the change and development of the divan (the central space of the house in Muslim
architecture) and the surrounding rooms, with photos of these models.

To move a mountain, you begin with the small stones.

The project started with the pupils collecting broken floor
tiles from a derelict starch of land at the edge of two parks in
Jaffa, which were for years a damping ground to demolished
Arab houses in Jaffa, especially of the Manshieh Neighborhood.
The tile fragments collected from Ajami beach were returned
to Manshieh to serve as the floor for models of buildings
typical of the neighborhood models divided into two categories: firstly, miniature representatives of houses and, secondly, conceptual models of collages that incorporated textual-visual information on the history of the neighborhood.
The models were laid across Manshieh in a kind of temporary
exhibit, appearing, inter alia, on the outer walls of the Etzel
Museum that took control over one building, on the steps of
Textile House and the Dan Panorama Hotel and around the
Ottoman railway station. While placing models in the past,
and in further activities in the coming month, the pupils ask
passers-by what they know about Manshieh. Gigantic drawings of Manshieh buildings were drawn on the asphalt of the
station parking lot, which covers the ruins of some buildings.
The exhibit presents some of the models, photos of them
printed on sandbags and a series of short films of
pedagogic acts that describe the process and the artistic
intervention in the urban space.
The sandbags that appear as a recurring motif of the exhibition both as an echo of the myth that Tel Aviv was built on the
sand and not upon and between a series of ten Palestinian
villages. The bags (filled with sand from Manshieh) correspond with the tradition of Palestinian refugees preserving a
handful of soil. The sand in the bags in fact cancels the possibility of using images as something only of aesthetic value.
To hang photos, the sacks must be emptied, and the jute
cloth needs to be framed.

Bibis House
The exhibit Bibis House is a cooperation between the artist and culture
theoretician Gil Mualem Doron and pupils of the Arab Democratic School.
The exhibit deals with the history of the school building and of Jaffa, in the
creative frame of pedagogic art and by means of artistic political intervention in the urban space. The exhibit includes a sound presentation that overflows the walls of the building into the street, art-video films that document
the pupils artistic involvement in the city space (primarily in Manshieh District), photos and architectural models. The exhibition is presented in the
frame of the Festival of Architecture of Housing Interiors.
Bibis House is a well house built in 1910 in the Jaffa Muslim style by Haj Ali
Bibi, head of one of Jaffas rich families.[ii] In the 1948 war the family left the
house in the expectation of returning when the battles ended something denied them till this day. The house and surrounding orange groves were confiscated by the state, which sold them into private hands. In the beginning the
building served light industry, and from the 1950s it became a chemistry
school. For the last five years it has housed the Arab Democratic School for
Science and Technology. The exhibition focuses on two main locations: the
Bibi House in Nuzha District (13 Gaza Street), and Manshieh District now a
wasteland, a park and car parks area between Jaffa and Tel Aviv.
Manshieh (in Arabic new district), where according to Walid Bibi the family
had a house, was the central place for study and creativity. Few among the
pupils knew that under the place where they love to stroll, the Charles Clore
Park and the asphalt parking lot of the Ottoman railway station, lies one of the
most developed of Jaffas neighbourhood, of 10,000 residents, most of them
Arabs from Jaffa.[iii] The occupation of the neighbourhood in 1948 and its
erasure from the ground and from the collective memory of the citys residents was one reason for its choice as the scene of study and action. This
activity strayed from memory and documentation of the past in trying to point
to the place, which is still the both the dividing point and bridge between
Jaffa and Tel Aviv, as a potential arena for change.

The borderline work of culture demands an encounter with `newness` that is not part of the continuum
of past and present. It creates a sense of the new as
an insurgent act of cultural translation. Such art does
not merely recall the past as social cause or aesthetic precedent; it renews the past, refiguring it as a
contingent `in-between` space, that innovates and
interrupts the performance of the present. The `pastpresent` becomes part of the necessity, not the nostalgia, of living."
Homi K. Bhaba , The Location of Culture