Benghazi’s Reconstruction: Memory, Identity and the Future of the City Center

.”بعد الافطار في حمأة ليال رمضان أتمشى ، في مدينتي بنغازي ، من حى البركة ، حيث أسكن ، مخترقا شارع جمال عبدالناصر ؛ الاستقلال سابقا ، حتى ميدان الشجرة ؛ شجرة الأرز ـ التي ماتت ـ ما حمل الميدان اسمها فبقي الأسم رغم موت المدلول ، في ركنه ثمة نخيلة عجفاء تحتاج لمسبار لتتبين وجودها. في هذا الميدان محل أحذية يقف أمامه صاحبه مثل شجرة ، منذ تجرأت في مقتبل العمر وخالفت الوالد وزحفت من حى الصابري نحو قلب المدينة النابض المتلألئ”

– احمد الفيتوري, سيرة بني غازي

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Benghazi’s ‘Plaza of the Tree’ in 2018 after the end of the armed combat

In downtown Benghazi a few weeks ago, the historic Jumhouria Hospital witnessed the demolition of one of its damaged buildings, as part of the municipality’s attempt to begin reconstruction in the war-torn city’s central Al-Sabri district. This act was met with widespread outcries by many of the city’s residents, who believe that historic buildings should be renovated rather than demolished and rebuilt. It is the latest incident in the reconstruction debate that has divided the city since the end of the conflict.

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‘Plaza of the Tree’ renovated in 2019 by a local organization through volunteer efforts and donations (Picture source: https://www.facebook.com/benghazi.alamal.foundation/)

Al-Sabri is one of the areas that was hit hardest by the fighting during the 2014 conflict, and has only been accessible to civilians for the past year. Mines and unexploded ordinances concealed in the rubble of destroyed buildings still pose a threat to displaced residents  who are trying to return to the area, and the sheer extent of the destruction to buildings and infrastructure has slowed the pace of recovery. For the municipality, the renovation of Jumhouria Hospital will not only bring a crucial health center back to service, but will also revive the district.

But unlike Benghazi’s other health centers, Jumhouria holds significant historic sentiment for the city. Initially built as a military hospital under Italian colonization during the early 1900s, it became a civilian hospital post-independence and has served all of East Libya, offering a number of crucial services such as pediatrics, gynecology, psychiatry and radiology. The Jumhouria complex consists of several buildings, making it one of the largest hospitals in the Eastern region. Ask any Benghazi resident where they were born and the answer will most probably be Jumhouria.

It is perhaps for this reason why there has been such a strong vocal response to its demolition. Many are worried that the historic colonial design of the building will be lost. Others fear that corruption is involved, as rebuilding costs significantly more than renovation. It is also a process that will take more time to complete, leaving Benghazi’s other tertiary health centers under continued strain. The main fear is that the hospital, once demolished, will never be rebuilt, following the legacy of other incomplete construction projects across Libya. Another legacy, that of the destruction of heritage sites – both under the Gadhafi regime and most recently by extremist groups – underpins these fears, and residents fear that Benghazi will not be left with any of its historic landmarks.

However, many people have spoken out in favour of the demolition, including the hospital staff. Taking to social media, proponents of the rebuilding have said that the hospital has been neglected for years and was in disrepair before the war, due to its age and lack of constant maintenance. The damage caused by the conflict, they say, has given the institution a chance to completely refurbish and bring the hospital up to the latest standards. They also brought up the permission granted by the Historic City Authority (HCA), which is responsible for all construction and demolition permits in downtown Benghazi. After inspecting the buildings, the HCA consented to the demolition of the most damaged structures, provided that the “historic architectural integrity” of the hospital complex isn’t affected.

This debate has been playing out on different levels since the end of the conflict, and is part of the most pressing question in post-war cities; should we rebuild to preserve what had existed or use the destruction as an opportunity to forge a new vision? Cities such as Aleppo, Mosul and San’aa face a similar challenge, in politically-charged environments where deciding what counts as “historic” is hotly contested.

One of the catalysts of this debate is the lack of definition of this ephemeral ‘Benghazi identity’. Is the identity of the city preserved in the historic buildings, reflections of the city’s past, with Arab-Islamic buildings sitting next to Ottoman-era houses next to Italian apartment blocks, each infused with elements of a Libyan localism – from the ‘boukhoukha’ doors to the religious talismans written on the facade? Many people speak of the memory of living in the downtown, before Benghazi’s rapid urbanization, or the memory they inherited from their parents, a memory captured in time. But can a city thrive in the stagnation of memory alone?

For its part, the Benghazi municipality sees the downtown area – with its strategic seaside location – as a lucrative investment opportunity. There has been notable foreign interest in the reconstruction process, including by Solidere, the company notoriously responsible for reconstructing downtown Beirut after the Lebanese civil war. But this type of profit-driven reconstruction – absent of a vision that preserves the heritage of the downtown – poses a major concern for the Historic City Authority and the people of Benghazi.

This latest act of destruction-for-reconstruction has undoubtedly sparked a panic over what will be lost in the process of rebuilding Benghazi – which can be seen in the current activity around the cathedral and lighthouse – but it has also started a dialogue on preserving Benghazi’s cultural heritage and identity; a topic that would have been impossible to discuss a year ago when the city was still reeling from the aftermath of the conflict. Civil society groups have already mobilized volunteers and are leading grassroots efforts to revive the downtown, utilizing the narrative of Benghazi’s city center as an intrinsic part of the city’s identity. To ensure the protection of this identity, all these different circuits of repair should converge to ensure a holistic reconstruction process.

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Wedding Blues for Benghazi

Last week, the city of Benghazi witnessed the death of another Libyan cultural icon. Ali Alaraibi, a singer and songwriter known for his wedding music, died at the age of 42 due to cancer. Alaraibi’s death follows other cultural icons in the country, including Ahmed Ibrahim Fagih last month and Ali Wakwak at the start of the year. But unlike the books or artwork that were arguably meant for a more ‘intellectual’ audience, the music of Alaraibi was for everyone. People in Benghazi from different socio-economic backgrounds and generations all enjoyed his music.

And unlike other cultural figures, the work of wedding singers is appreciated as much as the artists themselves are vilified and maligned. When the social media posts mourning his death went up, there were some who commented negatively on his lifestyle; singing in Libya as a profession – especially in the wedding industry – is considered sinful, or looked down upon.

But the comments didn’t just attack Alaraibi’s art; they were more focused on his lifestyle. He occasionally presented himself in an effeminate way, and there was speculation on his sexuality. In a conservative* and patriarchal society like Libya’s – where masculinity is rigidly defined – Ali Alaraibi flaunted all the rules.  And his flamboyant personality and boisterous music – while earning him social disapproval – were also some of the factors in his success; to book Alaraibi for your wedding meant a very long waiting list, and would set you back a few thousand dinars. So popular that families would set the wedding date according to his availability.

Libya’s wedding singers are part of an industry that goes back centuries. Popularly known as ‘darbakat’ in East Libya and ‘zamzamat’ in West Libya (after the instruments they use), a proper wedding is not complete without their music. They are the life of the party, constructing lyrics around the bride and groom and their families, encouraging people to dance, and creating an atmosphere that is at the heart of the ceremony; celebration. For this reason, the most popular singers are those who create this atmosphere with ease, and are always the most in-demand. At the end of the day, even a ‘conservative’ society likes to have fun.

But when the music ends and guests go home, wedding singers go back to being considered part of the lowest class. Traditionally, those who get into the industry come from poorer background, with need outweighing “social propriety”. They are also associated with ‘farm parties’ – gatherings that take place in private farms in the outskirts of the city. These can range from a gathering of men drinking alcohol away from the judgmental eyes of society, up to full blown ragers involving both genders, a safe space to blow off steam and enjoy life away from strict social expectation; similar, in many ways, to weddings, but with no inhibitions or restrictions. In the mind of a conservative society, these dens of debauchery are only associated with the classes that wedding singers inhabit – selectively ignoring the fact that many in this society, including most Libyan men, have engaged in them at some point in their lives.

Wedding singers are located in the middle of this social hypocrisy, popular for their music but shunned socially for their lifestyles. My generation’s most sought-after singers include Ali Alaraibi and Nadia Star – singers who openly defy gender stereotypes – while in my parent’s generation it was Khadija Alkadiki – popularly known as The Funsha – whose maternal history has always been the subject of gossip. But the rumors of drugs, prostitution, illegitimate children, homosexuality and other “social ills” are ignored once its time to book a mutriba for the wedding, where they become the guests of honour and are paid top dollar to create a night that no one will forget.

Perhaps it is the memory of these nights, combined with the current troubled situation in Libya, that has softened society’s stance towards these individuals. The negative comments about the death of Alaraibi outweighed the outpouring of grief and sadness, with many defending him as an “envoy of peace”; this article in 218 TV described his singing as a “voice of hope that created joy amid the sounds death and rockets”. One Facebook post wrote, “At least he never shot a bullet…at least he never drove civilians out of their home.” The “localness’ of Alaraibi’s music, and it’s connection to a long legacy of Benghazi culture, probably also played a part in people’s sentiment towards him.

Whether the war in Libya has challenged social taboos and given some perspective to the lives of its inhabitants is a matter of speculation for now, but without a doubt the battle between cultural self-expression and socio-religious conservatism is waging just as strongly as that for military control of cities.


*I use the term conservative as this is how Libyans describe their society. But this description is often challenged, stating that Libyans are not inherently conservative but only act so in front of one another. Away from the public, many Libyans engage in a lifestyle not dissimilar to wedding singers, the latter who have no reason to hide what they do because their profession ostracizes them anyways.

The Myth of Libya’s Civil Society

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A parade in Benghazi organized by local community groups (2013)

In almost every single project proposal written by local and international organization on Libyan civil society, the first thing you’ll read is “Libya’s civil society was born after 2011, it is still a new sector” or some variation on this line. Hell, I’ve written this countless times when seeking funding for projects.

The problem is, it’s not entirely true.

Let’s backtrack for a minute. What is civil society, anyways? The official definition is that it’s the ‘third sector’ following public and private in any nation state, and it’s definitely a popular buzzword with the EU and UN. But the exact meaning is a bit murky, and ranges from any type of volunteerism up to professional income-generating institutions. There’s also a tangle of acronyms; CSO, CBO, I/NGO, NPO, etc, the common letter being the ‘O’ for organization. The contemporary definition of civil society seems to revolve around organizations, official registered bodies who normally don’t make a profit.

Jumping back to Libya, Gadhafi had initially quashed any type of civil society movements, along with banning political parties and arresting student protest organizers. The image of students being hanged on university campus was enough to stop any activism in the country for a long time. The only non-state movement that was begrudgingly allowed to operate was the Scouts, although with heavy oversight.

As Libya opened up following the lifting of international sanctions, there were renewed efforts to organize social movements. Careful not to catch the attention of the regime, these organizations were mainly focused on issues such as cancer awareness, the rights of people with disabilities, environmentalism and charity collectives. But even if the focus of the organization was benign enough for the regime, you still had to go through a draconian registration process that included 70 founding members acting as signatories.

Fast-forward to 2011, and the civil society ‘explosion’ happened. Suddenly, there were no rules and no limit to what you could do. Young people came together and started radio stations, training centers, political movements, book clubs, everything and anything that had collective interest. Half finished buildings or donated office spaces became headquarters and it was easy to find business owners willing to contribute anything to help fund projects. It was an amazing time to be alive, when we were fueled by revolutionary fervor and felt invincible. Until reality caught up and it all came crashing around us.

But this post is not about the rise and fall of Libya’s civil society. It’s about what we’re calling civil society. Whether before or after the revolution, the discourse is always on the formal or semi-formal organizations; as long as you had a name, a logo and at least two members, you were a civil society thing of some sort. The aspiration was always towards organization status, and many of those movements institutionalized, registering with the newly created Civil Society Commission and developing an administrative hierarchy. Part of this reason was the experience being gained over time, but the bigger and most compelling reasons was – drumroll please – international funding.

The international community, operating on the multiple acronym-formal bureaucracy-do-you-have-a-finance-officer definition of civil society, would only grant funding to CSOs who were a) officially registered with any government entity and b) had a bank account. In the face of these constraints, organizations and movements picked up the tricks relatively quickly, and many people saw the opportunity of making money by setting up organizations just to get funding.

BUT – and here comes the Whole Point of the Post – what about the non-official, ‘informal’ civil society?

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An art gallery in Benghazi, organized by Facebook group of art lovers (2015)

Libya has always had a civil society, and not just the charity aunts type. You see, civil society is more than just acronyms and logos. Anything outside of the government or private sector structure that organizes and mobilizes people is civil society, and Libyan society has a very long tradition of managing itself. Tribes have been mediating conflicts for centuries, and tribal land trusts are an efficient mechanism of ensuring housing. “Jam’iyat”, a form of community financing in which people collect and distribute monthly savings, has been very popular especially among Libyan women. Entire cities are the protectors of ancient heritage sites like in Leptis Magna or Shahat or Acacus. Neighbourhood watch groups, online forum communities, the zakat system, academic circles, the list goes on and on.

In our country’s legacy of state weakness, Libyans have had to figure out their own way of meeting their needs, bending the official procedures around their own self-made system. It’s a process that is constantly negotiated and renegotiated, but I believe that it’s one of the reasons why Libya has not completely collapsed at this point.

But international organizations don’t fund tribal land trusts or mosque groups that meet every week to teach illiterate women how to read and write. The development system has been configured in a way where informality is not recognized. If you don’t have a government stamp of some kind then you don’t have any claim to ‘legitimacy’, and it’s incredibly problematic for the international development sector to impart their version of legitimacy onto Libya. I worked in an organization where we had dozens of grants to give to ‘civil society’, but a list of regulations and guidelines on eligibility that excluded almost anyone who didn’t know the international development jargon, and who didn’t mold their organization to fit our vision of what civil society was, rather than the other way around. I can’t count the number of times I’ve begged local movements to get any type of registration so we could fund their work, because it was easier to convince them than to tell the EU or UN that their system was bullshit.

The institutionalization of civil society does not work well in countries where communities are held together by networks of trust and reciprocal benefits rather than paperclips and rubber stamps. The reason why civil society thrived in 2011 was because there was no formal funding, everyone contributed what they could and it was led by collective efforts, in the spirit that has kept Libyan society together until this day. This is a huge missed opportunity for any kind of development work.

I’m not against formal organizations, and I’m so proud that in the space of only eight years and in difficult circumstances we’ve witnessed the rise of truly remarkable civil society institutions in Libya. But this institutionalization should happen on our own terms, away from the exclusionary language of ‘legitimacy’. If international organizations want to work better in Libya then they should work within the system in place. And please, for goodness’ sake, let’s stop saying that Libya never had a real civil society.

Streets and Statues: Political Symbolism in Benghazi

The downtown center of Benghazi and the city’s nearby historic Birka district is connected by a 3.3 km arterial road. This street has gone by several different names in the past, depending on who is power at the time, but for local Benghazi residents, it’s known as Jamal Abdul Nasser St., named after the leader of the Pan-Arab movement that captivated Gadhafi. This passion for Pan-Arabism extended to most of Benghazi’s streets, with the main highway connecting Benghazi to East and West Libya named ‘Arouba’ (Arabism) street, and most members of the Arab League will find a road in Benghazi with their name, from Yemen to Sudan to even the historic Andalus. However, the only name that stuck with the locals was Jamal Street (the highway is known as Tripoli Road).

The naming of streets in Libya is serious political business. During the 2011 revolution, there was conscious willingness to rename all the streets and plazas and pubic buildings from symbols of Gadhafi’s Fateh revolution, with the new names representing the new era of Libya. This occurred throughout the region, with multiple ‘freedom squares’, ‘martyrs plazas’ and ‘revolutionary roads’ appearing across MENA cities. The 2014 civil war, which saw a shifting of political alliances, meant that names had to be changed yet again. The people of Benghazi, who could understandably not keep up with these constant changes, eventually reverted to the pre-revolution names.

Jamal Street retained its name in all this turmoil, despite losing the eponymous statue which marked its Western entrance. One year after the revolution, a group of “officials” ordered the statue to be torn down. News reports claim that the reason was unclear for bringing down the statue, but everyone in Benghazi knew why. After certain political groups co-opted the revolution, they began doing what Gadhafi had done before them; remove all symbols of past power.

The now demolished statue of Jamal Abdul Nasser
Photo credits: http://wander-wege.blogspot.com/2010/08/brief-history-of-benghazi.html

This is a trend that seems to be particular to Benghazi; it is one of the few cities where history is difficult is commemorate spatially. Gadhafi had a field day ordering the removal of any public icon that wasn’t linked to his ideology; the shrine of Omar Mukhtar was destroyed, the ‘souq al-thalam’ in the downtown demolished, the King’s Parliament building razed into a parking lot, the lion statues on the corniche mysteriously vanished overnight. What couldn’t be removed was left to decay. Piece by piece over 42 years, the landmarks of the city were erased, perhaps his own attempt at trying to control a disgruntled city that never really recognized his authority.

And after the revolution, this mindset of erasure was inherited by the winners; the statue of Jamal taken down, the ‘revolutionary bases’ burned to the ground, and new statues put up. Among the very grotesque and aesthetically horrifying symbols was an abstract mini-replica of the Benghazi lighthouse, a strange 10 meter skeletal box (?) with a neon hand and the words ‘God is Great’ written over it, and a particularly hideous clock with the colours of the flag placed on the face of the lighthouse itself, which elicited much rage from the architect community. Among less hideous statues were the fighter jets and tanks placed at various roundabouts, commemorating the Libyan air force and military.

The burned out ‘mathaba thawriya’ (revolutionary base) in central Benghazi

Other symbols were instead appropriated, such as the ‘pipe roundabout’ which was a celebration of the Great Man-Made River project. A grouping of several large, dusty white pipes, they were given a new coat of colourful paint after the revolution, and again re-painted after the war in the shape of book spines. I think the aim here was more about rejuvenating the spirit of Benghazi after a particularly difficult historic period (something difficult to appreciate when you are stuck in the traffic of the roundabout and yelling at the guy who just cut you off).

Because of the lack of any real pedestrian routes in the city aside from the city center, these statues invariably are placed in the city’s numerous roundabouts. Indeed, you’d be hard pressed to find a roundabout in Benghazi that doesn’t have some icon in the center, including in some cases the burned out cars of notable fighters during the war, statues representing rural life such as jars and wells, and of course more fighter jets.

A small model of the Omar Mukhtar shrine during a cultural parade in Benghazi, in which various historic symbols of the city were recreated

These symbols, while failing to actually reflect anything symbolic, instead offer some insight into the various power struggles; of religious ideology, military force, and the confusion that many of the local artists and residents have about what the city truly represents. Benghazi is more than revolutions or wars, and yet we don’t have anything to prove it except faded memories. It is a city that is doomed to repeat its own history because it can’t hold on to it.

The only way to live through the city’s past is through old photographs and memories of the people. It’s an invisible city, one that is superimposed onto the real one but which can only be viewed through the eyes of its residents. That’s where the Italian theater used to be, this is where the Benkato mosque once stood, here’s the building I once took classes. A city that ‘used to be’.

“Families Only”: Understanding Social Segregation in Libyan Cities

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Comic by Abdullah Hadia, a young boy can’t wait to visit a new amusement park only to be told that entrance is for families only (you can check out more of his work on Libyan culture and society here)

There are certain parts of Libyan society that you can only see if you’re a woman. Whether it’s the glass ceiling or anxiety of walking in the street, it’s hard to explain the invisible bonds that restrict a woman’s daily life to someone who isn’t tied down by them. It is the crux of the issue affecting the discourse on women’s rights in Libya, that men cannot fathom what it is that limits a woman’s abilities.

But then, there’s one aspect of injustice in Libya that only men experience: family-only spaces.

“للعائلات فقط” “Families only”; This is what is written on signs that are increasingly posted in front of cafes, restaurants, resorts, beaches, parks, any and all kinds of public spaces in Libyan cities. The term “family” is a euphemism; what the sign really says is “No single men allowed”. The sign also says something else, “This space is safe for women”. That’s because you don’t need to be a “family” to enter this space, you just need to be a woman. You can come alone, with friends, or even with your actual family. Women have complete access to this space, but men only have access if they are accompanied by a woman. In a patriarchal society, it’s a strange twist of power.

This concept began several years ago, when “public” (commercial) spaces became more ubiquitous in Libya following the lifting of sanctions. The ability of citizens to open private businesses led to the establishment of cafes and restaurants which – in conservative Libyan societies – were just for men, a space outside of the house to hang out. But in big cities, the trend began to change (either because city women are bold or because business-owners realized they also had disposable incomes, or both) and restaurants were designed to have two sections; “men only” and “family-only”. Since women were sometimes accompanied by men, it didn’t make sense to create a women-only section, so instead it became a condoned space for mixed-sex mingling.

But the family-only space has evolved to a multi-dimensional space not only limited as a place to ‘hang out’, especially as the spaces themselves have become more than just cafes; it’s where civil society organizations conduct their meetings, it’s where couples have their dates, and it’s where a lot of social events that were previously held in homes now take place. Birthdays, engagement parties, women’s gatherings, you name it. Libyans in big cities are moving out of their sitting rooms and into the public spaces offered by private businesses. In Benghazi, we’ve seen the creation of ‘resorts’ and ‘parks’, places that offer not just somewhere to eat but also outdoor areas to walk around, within the double enclosure of a physical wall and the protection of the family-only sign.

What is the logic behind the family-only space? In the unregulated jungle that is the Libyan street, women are often targeted by the harassment of men, whether uncomfortable leering or catcalling, and in some cases physical harassment. Unlike the more progressive example led by neighbour Tunisia, there are currently no laws (and in the case of the current situation, no law enforcement) stopping street harassment. Where can Libyan woman go that is both outside the confines of the house but also comfortable enough to walk around without being bothered? Behold the birth of the family-only space.

This family-only concept has evolved even further. Recently in big cities such as Benghazi and Tripoli, entire streets are closed off as ‘families-only’ during festivities. The entrances of one major street in Tripoli is manned by militia men at night during the entire month of Ramadan, with men being told to go away if they don’t have a “family” accompanying them. As this trend increases, men are feeling increasingly pushed out of their cities, especially as businesses see that it’s more profitable to target families rather than just men. Young men have taken to social media to complain about the family-only concept, saying that it’s not possible or fair that they need to have a female companion in order to enter most public places.

It’s not fair to be expected to have a member of the opposite sex with you at all times? Now you know how we feel, say the women! While it’s fantastic that this dialogue of gendered spaces has been opened in Libya, it avoids one key issue, which is that of our public spaces in general.

Whether it’s men-or-family only, most of the time it’s private businesses who regulate “public space”, which require that you pay to enter or stay. Actual public spaces, ones that don’t require fences or entrances and exits, are being neglected, because these are not considered “safe spaces”. The formation of two public spaces, one regulated and the other neglected, is cementing inequality in Libyan cities. Those who cannot afford to enter family-only spaces but don’t feel safe enough to use the free spaces will have no part of the city besides their homes, and they lose all the joy of being an urban dweller.

The segregation of single men from public spaces also creates a kind of inequality. A man is not considered decent enough to mix with society until he is part of a family or can create one. Women, by contrast, are expected to be part of a family but have full access to societal spaces since they are the “core” of any family anyways. A family is created when a woman is added to the mix. The entire concept is underpinned by the segregation of gender which permeates the functioning of cities in the Middle East and North Africa, that men and woman can’t, or shouldn’t, mingle together in spaces. Even in liberal Tunisia, cafes in less affluent parts of cities are clearly only for men, spaces that can’t be accessed by women.

Yes, big cities are moving away from this type of segregation, and smaller cities are following, but it’s being replaced by a new type, a more complex gendered segregation influenced by economics. Men still largely dominate the right to the city, but women are now taking this right through a more socially accepted approach, at the expense of the truly public spaces. Both men and women will have to negotiate city space and find a way to coexist without any type of segregation if the city is to be enjoyed by all its denizens.

Film Review: Freedom Fields, and the Perpetual Struggle for Choice

I’ve been in London for three weeks now, and I’m already dreadfully homesick for Libya. I know right now that every Libyan’s dream is to get out of the country, but there is so much emptiness (at least for me) outside the enclosure of our society. There’s no familiarity here, and it’s probably a side-effect of the war but I’m finding it difficult to bond with people who haven’t been through that same experience that I have. I’m probably being annoyingly pretentious to my Libya readers (my double-shafra-ness is showing *hides in shame*) but there you have it. Home is home, even if it’s broken.

I got a chance to briefly go back when I attended the screening of the documentary ‘Freedom Fields’, which chronicles the struggles of the Libyan National Women’s Soccer Team (“football team” for you annoying non-North Americans). I got a ticket by being my Libyan self and looking for a wasta (connection) because it sold out quite quickly. I’m sure you’re digging through your memories right now and remembering ‘oh yeah, there was a thing about a women’s soccer team a few years ago’. There was a lot happening in Libya back in 2012 and after the sensation died down we didn’t hear about the team anymore.

This film covers what did happen after the huge controversy, and follows the lives of these women over five years. Specifically it covers three main storylines; Na’ma, a Tawerghan woman living in a camp in Tripoli who’s circumstances have given her a nothing-to-lose iron will; Halima, a bombastic and passionate doctor-to-be; and Fadwa, an ambitious and headstrong young woman.

I think the film is geared more towards foreign audiences, to give them a rare glimpse into the lives of Libyans, but it really struck a chord with me as a Libyan viewer, simply because even we don’t have access to the kind of media that gives us a perspective on how different Libyans across the country live (how many of us have seen the inside of a Tawerghan camp?) but also how similar we all are (that constant societal pressure for women to get married and ‘settle down’ affects us all regardless of tribe or social class). The women portrayed in the movie could have been anyone I know, neighbours or friends or colleagues. For this reason the movie felt so personal to watch.

This point is particularly notable for me (and I believe for other Libyans) because I’m sure many people never looked into the issue of the women’s soccer team, we never realized that behind the controversy and Facebook wars, there were regular Libyan women who just wanted to play soccer (which is not that outlandish an idea, women have always played sports in Libya, it’s just that they’ve never played so visibly before). It’s incredibly sad to realize this in hindsight but the lost battle of the team set the tone for all the struggles that activists fought after the revolution, as our rights as women and citizens were put on the chopping block. If we had known this now, I think more people would have been vocal about this cause back in 2012.

The filmmaker is British-Libyan Naziha Areibi, who came to the premier decked out in a farmela and silver ‘abroug jewelry. She is completely invisible throughout the movie, acting only as a camera, but I’m sure that her relationship with the people played a large part in how she was able to shoot (and because Libyans aren’t the kind of people who would let you just passively watch but get you involved in the conversation), and it would have been interesting to see behind-the-scene footage into how the women interacted with this documentary process.

What I admired most about the structure of the film is that it is free from any kind of political or social statement. To be sure, there are a lot of political undertones in the film, but only in how it immediately ties with the lives of the players, and always told through their voice. You hear of the frustrations they have with a revolution that didn’t fulfill its promise of freedom, of the increasing isolation Libya faced after the 2014 war and all the restrictions that came with it. Even with the social aspect, you just see Libyans living their everyday lives, without any sensationalism or exaggeration. You know how merciless I get when it comes to representation of Libyans, but this film gets my Authentic Libyan™ seal of approval.

Being reminded of my own experiences as a woman in Libya, coupled with the heartbreak of what our country is capable of and yet unable to attain because of the situation, left me in tears at the end of the movie (it might have also been the homesickness). Yes there are still good and strong people in Libya who are trying to resist the hopelessness, but there is always that fear of how long they can last. How long can a person put up a fight and pick themselves up when they’re down, when the fight is against the very reality of your country?

This film is one of a few but growing number of media that covers Libya without casting the war as the main character, including the Tatweer Enjazi documentary on the entrepreneur contest of the same name, and the work of the Elkul channel. Yes, they are few and far in-between, but it’s a great start to begin magnifying Libyan voices and counter the wave of Western-produced garbage about our country.

I’m not going to spoil the film too much because you should definitely go and watch it for yourself. The next screening will be in Amsterdam, and the production team is currently trying to organize screenings inside Libya itself (if the situation permits). Whether you like it or hate it, as long as we can start a discussion in our country on what choices we give to our women and our society at large, maybe one day we’ll have a national women’s soccer team again.

The Outsider’s Guide To Libyan Weddings

Libyan Weddings 1

A tradition during the preparation of the marriage contract (fatiha) – the bride holds up a silver knife in front of a mirror with the Quran next to her, reciting the names of unmarried women (the equivalent to throwing a bouquet…sort of).

They’re loud, they’re expensive, and for Libyans of any age, they’re a rite of passage. I’ve been fascinated by Libyan weddings for as long as I can remember; extravagant and complicated social practices that are saturated in centuries-old customs, reflecting so much about the dynamics of Libyan society. While weddings have become modernized in the past few decades, there are many traditions that still stick.

Ask any Libyan about our society’s weddings, and they’ll be quick to vilify them. They’re too ostentatious, with focus on minute details in the quest for a perfect ceremony. They’re too expensive, as both bride and groom shell out tens of thousands of dinars on food, venue, favours, clothing, presents, etc. And yet, there’s a lot of societal pressure to make sure that weddings are as big and glamorous an affair as possible. After all, wedding culture in Libya is a complex web that serves many, from unmarried women to bored in-laws.

But to the unsuspecting foreigner or newly returned double shafra, it’s very easy to get tangled in this web as you wonder “Why the hell is that woman wearing green and pink eye-shadow?” or “Are my eardrums actually exploding right now?”. This guide will help you to navigate weddings in Libya and ensure that, even if you can’t fully understand them, you can make the experience less awkward. Let’s begin.

Preparation & Arrival: Libyan events run on a bizarre system of timing where it’s never explicitly stated when you should arrive or depart, and yet everyone seems to come and go around similar times. Whether it’s some kind of collectively synchronized biological clock or pure coincidence is a question best left to anthropologists. Ask your mother or grandmother, and she will tell you when you should go. (It’s also important to note that Libyan weddings – like other events – are segregated, which means from the men’s perspective, you just awkwardly sit outside the wedding hall waiting for dinner).

Preparation is a slightly futile event given that, no matter how glamorous you look at home, you will look pale and sickly under the cold, dazzling glare of the wedding hall bathroom lights. It’s best not to dwell on why the other girls look polished while the hairstyle you spent hours tending somehow wilted into a shapeless mass on your head as your mascara helplessly melts.

Upon Entering the Hall: If you want minimal interaction, pick an empty table near the wall and strew your belongings (abaya, hijab, handbag) on the other chairs, discouraging others to sit near you. If with friends and relatives, it’s best to get a table to yourselves somewhere near the middle. If there is no empty table and your only options are half filled tables, avoid ones that have old ladies (unless you enjoy listening to their stories, which they will ply you with for the rest of the evening) or little children (who will eat most of the pastries on the table, which are, let’s face it, the reason you decided to attend in the first place). Now comfortably seated, it’s time to get your bearings.

Types of Libyan Wedding Guests: You will see a wide variety of colours and shapes at a Libyan wedding, which can be overwhelming at first. But soon you’ll be able to pick out a pattern, based primarily on age:

The Not-Yet-Engaged: The girls you see walking back and forth throughout the halls despite wearing 6-inch heels are not, in fact, busy with anything. They are showing themselves off to the mothers of eligible single men, the telltale signs being the flipping of their curtains of hair and constant reapplying of their makeup. I could go on a feminist rant of why this practice is appalling and why it’s horrific for Libyan girls to be taught that their main asset and value is based on their looks, *deep breath*, but I’ll spare you. The not-yet-engaged are not to be interacted with, they are not here for you.

The Just-Married: This is the woman in the fancy hairstyle who sits confidently at her table like it’s a throne, constantly being surrounded by people who greet and congratulate her on finally snagging a man. You can feel the confidence and self-fulfilled attitude emanating from her for miles.

The Postpartum: With a few extra pounds and a perpetually tired look on her face, the postpartum is often toting around a baby in the crook of her arm as she tries to convince her relatives to take care of it. The postpartum’s glory days are over, and she knows it.

The Hajja: Named so because they are often called ‘ya hajja’ by storekeepers, and it would be rude to call her anything else. Too old to wear a strapless dress but too young to wear a jard, these are the League of Libyan Mothers – established monoliths in stylish but sensible bob haircuts – the basic backbone of Libyan society. They’re here to eat, laugh with friends, and glare disapprovingly at all others, thereby completing their societal duty. They’re also the prime target for the women in category 1.

After the Meal: This is the dull period between eating the food (which is always delicious) and waiting for the bride to come in. At this point, your eardrums should have become numb from of the incredibly deafening music if you haven’t brought ear plugs. You can have a shouted conversation with your neighbour, or, for the more adventurous, dance on stage. Be warned, Libyan dancing requires a lot of hip dexterity and confidence. Bringing a book to a wedding is highly discouraged. These are social events where you are expected to, err, socialize.

The Bride: Let’s face it, unless you’re directly related to her, no one cares much about the bride apart from a cursory glance to judge her dress, hair and makeup. If you want to personally greet her, do so as soon as she sits or the photographer won’t give you a chance.

The Groom: You’ll be alerted to his imminent appearance by a flurry of hijabs and abayas being whipped out and worn. The only time you’ll see him is when he’s walking down the aisle until he reaches the bride, where relatives will quickly converge on the couple to congratulate, cry and take pictures.

Conclusion: Once the bride and groom leave, that’s your indicator that the evening is done. Usually friends and relatives stay behind to help clean and gossip.

The above clip is from an old Libyan comedy show which parodies post-Libyan wedding gossip.

There’s not much to Libyan weddings, once you get over the initial noise and flurry of activity. Like everything else in Libya, they’re held together by unspoken rules. As a guest, you’re not expected to do more than smile, eat and leave before closing time. And once you go home, your hair will finally look perfect.


The day described above is usually called the ‘zaffa’, the culmination of a week-long procession (nowadays shortened to three days due to aforementioned modernization but also the economic crisis).

It’s also important to note that each Libyan city has its own specific traditions – for examples the henna patterns for brides in Benghazi differ from those in Tripoli. Wedding music is another region-specific aspect, with everything from ‘shetawa’, ‘gheeta’, ‘noba’, or hiring a zamzama/darbaka (I always like to brag that the Foonsha sang at my parent’s wedding. An entire post could be written about the fascinating underground life of Libyan wedding singers). The traditional outfits worn during these occasions are always very beautiful with their striped cloth and silver or golden jewelry, and there’s something special about walking into a house in full-wedding mode with its smell of bukhoor (incense), and women in a constant state of food-preparation while kids run around and fathers yell for tea.

I always learn something new when I attend a wedding, and I’m never bored. Being part of the preparation is also interesting but considerably more tiring (I’ve done my fair share of comforting nervous brides, scooping half-frozen ice cream for guests and applying eyeliner to a procession of young girls). The erosion of our customs in favour of faster ceremonies makes me sad, but I also know that I don’t have the time (or foot arch) to go through a week-long event. The new fads, like gift baskets overflowing with chocolate and euros, will hopefully die out, along with the need to inject so much money into the whole affair. All you need is someone who knows how to hit a darbouka and an endless supply of coffee and tea.