Daybreak in Gaza

Daybreak In Gaza:

Daybreak in Gaza is a compilation of accounts from many contributors on the genocide in Gaza. Accounts are taken from residents of Gaza, humanitarian workers that have lived there previously, refugees, and cultural icons including poets and singers. The purpose of this piece is to humanize Gaza. It is compiled in English, for the consumption of a Western audience. It gives insight into the daily life of a Gazan prior to the genocide and the coping mechanisms of Gazans currently experiencing the mass suffering and displacement. The compilation focuses on the emotional aspect rather than the political, the cultural rather than the practical, poetry over speeches and words over action. It gives a vivid portrayal of what Gaza was, what it is, and what it represents. While it excels in its job to humanize, it is apparent that it is directly geared to a certain type of Western reader, namely liberals and leftists for a variety of reasons.

A disproportional number of contributions and excerpts are from Gazans who have had the opportunity to leave and return. Many have lived a portion of their life in the West where some currently reside. A decent number are from Western humanitarian workers and reporters who have visited Gaza in peacetime to work on development in educational and cultural institutions. Excerpts from Gazans currently suffering is rare, which is understandable given their inability to access signal or the internet. In a sense, the compilation is a blast to the past rather than what is currently occurring on the ground for the average Gazan. The average Gazan is not represented in the past either. Intellectual contributions are provided by Gazans who inhabit the middle to upper classes of Gaza. The poetic tales of Gaza’s beaches and parks aren’t accessible to all Gazans. It is reminiscent of tales from privileged Afghan and Ukrainian refugee advocates in the West, residing in Berlin or London.

There exists an apparent dedication to promoting Gazan culture like art and poetry. Art is shown in a modern light – abstract and of Gazans themselves, overwhelmingly women. There is a distinct lack of traditional art, landscapes, etc. Evidently, the focus on abstract art and the emphasis on women is aimed to interest an educated Western audience.

There is an attempt to make Gaza seem more liberal than it perhaps is. It is written from an extremely secular perspective that aims to showcase aspects of Gaza that bare resemblance to the Western lifestyle. For example, there are sections exploring Gaza’s hip-hop scene, concerts, the sale of revealing clothes most prominently worn in the west etc. In a Western socio-political context, these forms of entertainment and art pertain and are consumed by younger, liberal sectors. There is one reference of Gaza being more Conservative than the rest of Palestine but nothing else. In addition, there is a substantial focus on minorities and interfaith relations. For example, there is a section on Armenian Christian Palestinians and their cultural institutions and relationships with Palestinian Muslims. Similarly, the existence of Palestinian Christian schools attended by Muslims is also brought up. Muslims and Christians are described as celebrating the same holidays, with Muslims participating in Christmas and Christians participating in Eid. There is also a contribution on the role of Dom Palestinians (Related to the Roma people of Europe, also referred to as Gypsies) and the discrimination they face as a minority in Gazan society owing to their supposed free nature, defined by the fact that Dom women are perceived as being dressed in an indecent manner, being dancers etc. Finally, there is a contribution by an Afro-Palestinian singer who shares her own experience through her identity. The point here is not to tread on the experiences of minorities and their struggle. Rather, it is to analyse and compare the rhetorical approaches of these contributions to Western society. Racial justice and an astute focus on the rights of minorities is adamantly pursued by those on the liberal/left side of the political spectrum. Of course, this is a generalisation. There exist liberals who give lip service regarding such issues while proclaiming its relevance for a just society. An example being Keir Starmer and the Labour party in the UK when it comes to Islamophobia. Regardless, focusing on minorities lends credence to the fact that this compilation is geared towards a certain type of Westerner.  

Of grave relevance is the complete separation of Gazan culture and people from Islam, the religion followed by nearly all Gazans. Observing the tragic videos online, we find almost every single one with few exceptions to include the name of God and prayer. In the videos of funerals, we find the Islamic funeral prayer (janazah). When faced with death, they raise their hands and put their trust in God that he is the best of disposers of our affairs. When they receive small respite, they turn to God. The ruling party in Gaza calls itself a religious movement, and most other groups tie themselves with religious legitimacy. Gazan men are typically with beards and Gazan women typically in Hijabs. The compilation includes nothing relating to the religious aspect of Gazans, which is so clearly observably a massive part of their lives. They are described as more conservative than the rest of Palestine, but this is evidently tied to their religiosity. I make sure to use the word religiosity over religious identity. There is a quote where resistance is described as influenced by Islamic identity, rather than Islamic practice. Identity here is used in the Western sense. Identity in the West is related to things that don’t encompass an entire way of life. The identity of a member of the LGBT community, the identity of an ethnic group, a socio-cultural identity (e.g. Cholos in America). In comparison, Islam is viewed by majority of its adherents not as an identity but as a way of life dictating how they act, how they dress, how they eat and how they engage in prayer. Its relegation to an identity and a sidenote of Gazan life is, in my opinion, a manifestation of neo-orientalism and intentional. Abdul Qadir al-Husayni, a Palestinian hero and freedom fighter is described solely as an “Arab-nationalist”. It completely ignores his staunchly religious ideals that drove him to fight against Israel. Al-Husayni led the militant group known as Jaysh al-Jihad al-Muqaddas (Army of Holy Struggle), it is apparent with the term “Jihad” that his movement incorporated Islam in its ideals. Sites of prayer like the Omar Mosque in Gaza are portrayed as a part of the landscape and a tourist attraction rather than a place of prayer. It is evident that a massive portion of what constitutes Gaza and Gazans daily lives has been intentionally cut to make the compilation more palpable to a Western secular audience.

Palestinian resistance in Gaza is put abstractly. On the one hand, Gaza is praised as a land of perpetual resistance to occupation, as freedom loving people who won’t let themselves be stepped on. This concept of Gazan resistance is romanticised, yet there is no actual positive mention of any resistance group or individuals. When it comes to the role of Hamas, they are described as being angry men stalking concerts and threatening singers. They are portrayed as faceless and arrogant. Actual resistance movements in Gaza are portrayed in a broadly negative light in the rare moments they are mentioned.

Daybreak in Gaza does a great job for the purpose it was compiled. It humanises Gazans and informs non-Gazans. It explains grievances and provides images and stories of hope. It shows the radiance of what Gaza was before the genocide. However, it is geared at a certain audience. The aim of the book is to influence liberals and those on the left of the spectrum to see Gazans as they are. To this end, it has sliced Gaza in half. It has completely cut one of the most defining traits of Gaza, and Palestine in general – it’s faith. The importance of Islam in Gaza, its people, their hopes and their resistance has been relegated to an identity. Any mention of it as something greater than an identity is hidden due its potential threat to the sympathy of the liberal/leftist. It affirms the idea that liberals/leftists have negative prejudices towards Islam and Muslims when it is expressed as more than a political identity and political demographic. To garner sympathy, Daybreak in Gaza has cut a massive portion of what makes Gazans. Instead, they are portrayed in a western, upper class, secular image of what the perfect victim should be.

-Ghurkan- 22/11/2024