Colonialims in Middle East

Middle East

CASE NR.4

Title: 'They AND Us"

MUA: Science Po

Floor: MAIN CORRIDOR

The Middle East witnessed significant French colonial influence, particularly in the Levant region, comprising modern-day Lebanon and Syria. Following the collapse of the Ottoman Empire after World War I, the League of Nations granted France a mandate over these territories. Under the guise of modernization and stability, the French imposed direct administrative control, reorganized local governments, and sought to shape the region in alignment with European ideals.

French colonial rule profoundly impacted Lebanon and Syria, fostering infrastructure development and urban planning while introducing French language and education systems. However, these interventions often prioritized colonial interests over local aspirations. The division of the region into Lebanon and Syria under the mandate sowed political divisions, emphasizing sectarian lines that still influence the region today.

The cultural influence of French colonialism is evident in the art, architecture, and urban development of Beirut and Damascus, where French designs merged with local traditions. However, this period also witnessed the erosion of local identities and traditions, as the colonial regime prioritized showcasing the "civilizing mission" of France. This section will explore how French colonialism influenced Middle Eastern art and culture, focusing on Orientalist depictions of the Levant and their role in constructing a Western narrative about the region. We will also delve into the resistance and resilience of local cultures as they navigated the imposition of foreign rule.

"At Prayer" by Ludwig Deutsch (1923) captures a solemn and spiritual moment within an intricately decorated Islamic interior. The painting portrays a man dressed in a rich, red robe, standing barefoot on an ornate carpet as he performs his prayers. The surrounding space is adorned with vibrant geometric tiles, Islamic calligraphy, and ornate furnishings, such as a golden vase and a wooden Quran stand. The meticulous detail in the architecture and textiles creates an atmosphere of devotion and tranquility, showcasing the artist’s fascination with the Middle Eastern aesthetic and culture.

This painting reflects the colonial-era fascination with the Middle East, often termed "Orientalism," a lens through which Western artists like Deutsch viewed and represented the region. While it celebrates the region's cultural richness, it also reveals a European perspective that exoticizes Islamic traditions and spaces. Painted during a time of colonial domination, such artworks reinforced stereotypical and romanticized notions of the "Orient" as mystical and timeless, often ignoring the political realities of European control and exploitation in these regions. The ornate depiction of religious devotion and architecture serves as both a documentation of cultural beauty and a projection of European ideals about the "exotic East," shaped by the colonial mindset of the era.

This painting, an exemplar of Orientalist art, vividly portrays a scene steeped in exoticism and cultural fetishization. Set against an intricately detailed backdrop of Islamic tilework, the image captures a group of men observing a snake charmer—a young, nude figure wrapped in a serpent, performing for the entertainment of the onlookers.

The ornate blue tilework adorned with Arabic calligraphy signifies the Islamic architectural heritage, but here it serves merely as an aesthetic frame for the spectacle, reinforcing the colonial gaze that reduces Middle Eastern culture to visual consumption. The men, depicted in varied attire that reflects stereotypical portrayals of Middle Eastern diversity, are passive observers, further emphasizing the theme of voyeurism and objectification.

This scene embodies the colonial mindset, portraying the "East" as mysterious, sensual, and decadent—a stark contrast to the "civilized" West. It reflects the way colonial powers, particularly France, used art to construct narratives of domination, reducing complex societies to static, exoticized spectacles. Such depictions fueled Western fascination and justified colonial interventions by framing the East as a space in need of control and moral reform.