Torn between two identities

Born to a Jewish mother and Palestinian father, Ibrahim Miari is an Arab-Israeli actor who hails from the northern city of Akko (Acre), a city known for its higher percentage of non-Jews than any other Israeli city.

Miari is a member of the Akko Theater, who together with Israeli actress Meirav Kupperberg co-wrote and starred in a new play entitled "Blood Relative", which they have taken to San Francisco and Berkeley, California.

The play tells the story of a young man who is born to an Israeli mother and a Palestinian father. Torn apart by unending conflict, he embarks on a journey through the collective memory of the Middle East.

It could be said that the inspiration for the main character himself - Ibi - came from my personal background in that I was born to a Jewish mother and a Palestinian father. I grew up in Akko, a city of Jews and Arabs. I lived in a Jewish neighborhood but was raised as an Arab. Intertwined in the character of Ibi are some of my life stories, so the “controversial identity” is, in fact, mine.

2. Do you think the play would be successful in Israel?

It would be very challenging for the Israeli audience to watch this kind of play. The Israeli/Palestinian conflict as a topic has been exhausted for the Israeli audience.

However, in "Blood Relative", we bring a new story - the main character lives in Israel, carries both cultural identities, and must deal with both cultures that have a real-time effect on his life.

"Blood Relative" may hold interest for the Israeli audience since often this subject matter demonstrates only the Palestinian or Jewish points of view - not a combination of the two. Israeli and Arab actors are working together with American Jews and Arabs bringing an even wider perspective.

The cast has worked together in an intimate collaboration to create a story that reflects truths, poses new questions and presents unique experiences within all facets of this difficult topic.

3. What message are you trying to portray to your audience?

Several important aspects of the play, for me, are educating the audience about certain historical facts, about the personal aspects of human drama created by the histories of these peoples and uncovering truths that may hold importance in creating more understanding. Here, we are searching for common ground and finally an invitation to openness.

4. How have American audiences received it?

As the play developed and was presented in "A Traveling Jewish Theater" in San Francisco, the audiences were diverse, both culturally and in opinion.

The Israeli/Palestinian conflict is not dramatized often, nor readily apparent in other art forms with regularity. There is very little coverage in the mainstream US media. Although there are many Americans who are politically savvy and very active on this issue and have a wide comprehension of the regional conflict, often with detailed historical information and first-hand knowledge, many Americans are unfamiliar or haven’t really engaged themselves in the problem at all.

Some Americans were moved to tears, others were inspired, shocked, stunned, hopeful - but altogether, most of the audience, I think, was very supportive of the efforts of "A Traveling Jewish Theater" to mount this play and open the theater and its ensemble to any and all responses.

After many of the performances, there were dialogues with the audience, led by Libby and Len Traubman from the Palestinian/Jewish Dialogue Group from the Bay Area. This gave viewers an opportunity to have direct interaction with people from both cultures, the theatre, cast, writers and the director. Extending these opportunities to hear about how the play was received was invaluable for the ensemble and also, I think, for the audience.

The Arabs in Israel would like the play, I think, since we are talking about both sides, trying to touch both histories without judging or omitting obvious components.

In general, for Arabs living in Israel, the play depicts part of their specific problems in daily life. However, the main character is unique from most other Arabs living in Israel since he carries both cultural identities. That having been said, it is my hope that they can not only find aspects of the story very relevant but also may identify with the inner conflicts of Ibi, the main character.

6. What type of audience has mainly viewed the play?

In San Francisco and Berkeley, California, it would be extremely difficult to typify an audience. Members were young and old, multi-racial, political activists and also those who may have known very little about the conflict in general. But since this play was mounted by A Traveling Jewish Theatre, a mainstay of the audience was from their subscription audience—American Jewish patrons, often with varying degrees of opinion as well. This area of the United States is very liberal and the audience reflected this fact. The Bay Area has a reputation of not only liberalism, but supporting racial/sexual equality, personal freedom, civil rights, global peace and humanitarian efforts. I could imagine that many people in the audience long for a resolution to this conflict, an end to the occupation and equality for all the people living in the area.

7. What made you join the 'A Traveling Jewish Theater'?

I am from Akko, where Jews and Arabs live and work together consistently, not from ideology but from a reality. I work in Akko Theatre Center and as artists; we want to create together...that is what we do.

In the summer of 2003, I was fortunate to meet Aaron Davidman, the director of “Blood Relative” at the Akko Festival. As the new artistic director of "A Traveling Jewish Theater" in San Francisco, he shared with me his ideas and thoughts about creating this theatre piece. Immediately, I thought what an incredible opportunity for me to share some of my story to the American Jewish audience as well as to the extended American audience.

The members of "A Traveling Jewish Theater" are extremely professional, caring, passionate and liberal. I have learned much from their work. During the creation of “Blood Relative”, we built a strong ensemble, which is not always possible today, as such relationships require time.

We began our journey three years ago in workshop retreat and continued from there. Such collaborative effort requires ground work, research and lots of listening to one another to create the necessary chemistry between people to succeed in playing well together. I was honored and happy to be a part of this ensemble and hope to work with them again on other projects.