In a recent interview in Brooklyn, Rawya El Chab, a prominent artist and educator, shared her experiences teaching a performance class for children, many of whom are children of immigrants. Recently, she noticed a shift in their demeanor, with some students expressing fear of Immigration and Customs Enforcement (ICE) actions against their families. This reminded her of her own childhood in Beirut during the Syrian and Israeli occupations of the 1980s, where censorship and surveillance were part of daily life.
El Chab's artistic journey spans two decades, encompassing interactive theater in Palestinian refugee camps and explorations of themes such as mortality with older adults in nursing homes. Her work often reflects the narratives of those around her, as seen in her recent performance titled Crossing the Water, which took place at The Brick in Brooklyn. In this piece, she metaphorically rows across the River Styx, reassuring the audience, "It's not the first time I die."
Mythology and storytelling are central to El Chab's creative process. She believes that storytellers thrive on sharing experiences and learning from others. Her latest performance series delves into the complexities of the Lebanese Left during the Civil War, aiming to counteract the often distorted narratives surrounding Lebanon. "While these people are being erased, I want to anchor this reality by telling these stories," she stated.
El Chab's personal connection to this history is profound. Following the Israeli invasion in 1982, her father fled to the Ivory Coast to escape potential repercussions for his journalistic work. El Chab and her mother joined him a year later. The inspiration for her current series emerged from discussions about her cousin Loula Abboud, a Communist fighter whose legacy has been romanticized over time. This exploration began with a performance in 2024, blending science fiction with historical elements.
In Crossing the Water, El Chab recounts her family's flight from Beirut, using a mix of roles to illustrate the experiences of her neighbors and her own childhood. Her performances incorporate humor and props, such as paper cutouts and puppets, to engage audiences while unpacking complex political narratives. Through these artistic choices, she aims to humanize the stories often overshadowed by political discourse.
El Chab's work resonates beyond Lebanon, prompting connections among diverse audiences who find parallels in their own histories. She emphasizes the importance of acknowledging the humanity in every story, striving to create a space for these narratives in a world that often seeks to simplify them.
As she prepares for her next project, which will focus on the Al-Jarmak Battalion within the PLO, El Chab reflects on the urgent need for solidarity in today's fragmented social movements. "We need to create connections that transcend our differences," she asserts, highlighting the potential for collective healing through shared stories.
In a time when Lebanon faces renewed conflict and displacement, El Chab's work serves as a crucial reminder of the resilience of memory and the power of storytelling in shaping a more inclusive future.
