Akwai nau'o'i da yawa na "Bambancin Wasu" waɗanda ke haɓaka bayyanannun "Nuna Bambanci" na tsari.

There are many types of Otherness which advance ‘structural’ expressions of “Othering”.

Nisan da ke tsakaninmu, kamar "babban rafin" da ke cikin waƙar Lawrence Ferlinghetti inda "Masu Tsince Shara Guda Biyu A Cikin Mota" suka kusanci "Mutane Biyu Masu Kyau A Cikin Mercedes":

The distances between us, like the “high gulf” in Lawrence Ferlinghetti’s poem in which “Two Scavengers In A Truck” come into close proximity with “Two Beautiful People In A Mercedes”:

"Kuma ƙarami daga cikin biyun/Shi ma da tabarau da dogon gashi/Kusan shekarunsa ɗaya da direban Mercedes/Kuma dukkan masu tara kayan shara biyu suna kallo a ƙasa/Kamar daga wani nesa mai girma/A kan ma'auratan masu sanyi/Kamar suna kallon wani tallan talabijin mara ƙamshi/Wanda a cikinsa komai yana yiwuwa/Kuma jan haske mai tsanani na ɗan lokaci/Yana riƙe dukkan huɗun wuri ɗaya/Kamar babu abin da ba zai yiwu ba/A tsakaninsu."

“And the younger of the two/Also with sunglasses and long hair/About the same age as the Mercedes driver/And both scavengers gazing down/As from a great distance/At the cool couple/As if they were watching some odorless TV ad/In which everything is possible/And the very red light for an instant/Holding all four close together/As if anything at all were possible/Between them”.

Shairin ya bayyana wata "babbar motar shara mai haske" da ma'aikatan shara biyu sanye da riguna na roba ja, maza biyu da ke kallon ƙasa cikin "wata kyakkyawar Mercedes a buɗe, a ciki akwai wata kyakkyawar ma'aurata." Mazan suna "lanƙwasa baya / suna kama da wani / kamar gargoyle Quasimodo," yayin da mai kuɗin da ke cikin Mercedes yana da "gashin kai na shuɗi mai tsawon kafaɗa da tabarau." Abokin hamayyarsa, wanda ake kallon sa a matsayin "wani daban" saboda yadda muke kallon waɗanda ke rayuwa a gefen aji na zamantakewa, ana ba shi bayani mai sauƙi da fili. Tsarin wariya, wato raba mutane da ɗora wa "wancan wanin" wurin zama marar kyau da kafa shingaye na zahiri don hana "marasa horo," ya bayyana sosai a yanayin ƙasa na Hebron a Falasɗinu. Akwai hanyoyi biyu da ke kai zuwa Masjid al-Khalil (Masallacin Ibrahim), waɗanda shinge da wayar ƙaya ke raba su. Ɗaya daga cikin hanyoyin tana da tsabta kuma an shimfiɗa ta da kwalta, tana da sauƙin shiga ga tsofaffi da yara, tana da tsaro kuma tana da daɗi. Wannan hanya don 'yan mazauna Yahudawa ce. Ɗayar kuwa hanya ce ta ƙasa mai ɓaci, cike da shara, kunkuntar kuma ba ta dace da tafiya ba, musamman ga nakasassu da tsofaffi. Bambancin yana da bayyananne ƙwarai. Hanyoyin da aka tanadar wa Falasɗinawa suna cike da dubban tashoshin bincike da shingaye, waɗanda ke jinkirta shiga sosai. Ƙofofin tashoshin binciken suna kama da gaban gidan kurkuku mai tsaro mafi tsanani.

The poem describes a “bright garbage truck with two garbage men in red plastic blazers”, the men look down into “an elegant open Mercedes with an elegant couple in it.” The men are “hunched back/Looking like some/Gargoyle Quasimodo”, while the wealthy man in the Mercedes has “shoulder-length blond hair & sunglasses”. His apparent opposite, Othered by our perceptions of those who exist on the margins of social class yards, is afforded a more plain description. Structural otherness, the separating and designating to that Other a substandard living space, an erecting of physical barriers to keep out the ‘untamed’ is vivid in the landscape of Hebron in Palestine. There are two roads leading to Masjid al-Khalil (Abraham Mosque) separated by a fence and barbed wire. One of the roads is clean and asphalt-paved, easily accessible for the elderly and children, guarded and pleasant. This road is for Jewish settlers. The other road is an uneven dirt path, littered and narrow and unsuitable for walking particularly for the disabled and elderly. The contrast is glaring. Roads designated for Palestinians are restricted by dozens of checkpoints and barriers, severely delaying access. The entrances to the checkpoints resemble the front of a maximum-security prison.

Wariyar Apartheid a Afirka ta Kudu, wanda ya raba bakaken fata da sauran jama'a bisa tsari a Arewacin Amurka a karni na ashirin, katangar raba ta Isra'ila, da "hanyoyin Apartheid" a Hebron, duk an tsara su ne don korar wasu daga cikin da'irar kulawar mutane. Manufar ita ce isar da saƙon cewa waɗancan Sauran ba sa cikin al'umma, ba su cikin abin da "mu" muke. Kowannensu bayyanar tsari ce ta cewa "ba ku cikin wannan wuri ba", wanda ke haifar da matsayi na tsari da aka mayar da shi Sauran a cikin al'umma.

Apartheid in South Africa which forced segregation of Blacks in North America in the twentieth century, the Israel’s separation wall, the “Apartheid roads” in Hebron are all designed to remove others from the circle of human concern. This is to relay the message that those Others are not part of the society, not a part of who “we are”. Each is a structural expression of saying “you don’t belong”, creating an Otherised structural position within society.

Annabi (ﷺ) ya koya mana cewa girma ba lallai ya ta'allaka ga yawan dukiyar mutum ba, musamman idan wannan dukiyar ba a amfani da ita ta hanyar da ta dace ba, a'a girma yana cikin wadatar zuciyar mutum. Musulmi bai kamata ya taba yanke hukunci a kan mutumin da ya hadu da shi ta tufafinsa, ta bayyanarsa ta jiki ko duk wani nakasu da ake gani a tare da shi ba. Dukkan wadannan abubuwa na waje ne idan aka kwatanta da abin da ke faruwa a cikin zuciyar wannan mutumin. Yawancin sahabban Annabi (ﷺ) sun kasance suna nuna sauki a bayyanarsu duk da matsayinsu mai girma a cikin al'umma. Alkur'ani kuma ya koyar da cewa:

The Prophet (peace be upon him) taught us that greatness does not lie necessarily in the extent of a person’s wealth, particularly if that wealth is not used in a responsible way, but that greatness lies in the richness of a person’s heart. The Muslim must never judge a person he comes into contact with by his clothing, by his physical appearance or any seeming abnormality he might exhibit. Each of these is superficial in contrast to the workings of that individual’s heart. It was the practice of many of the Prophet’s companions to exhibit a simplicity in their appearances despite their lofty social standings. The Qur’ān in fact teaches that:

"Kada ku yi tafiya cikin girman kai a bayan ƙasa: ba za ku iya tsaga ƙasa ba, kuma ba za ku kai tsayin duwatsu ba." Kuma: "Bayin Ubangijin Rahama su ne waɗanda ke tafiya cikin tawali'u a bayan ƙasa, kuma idan wawaye suka yi musu magana, sai su ce, 'Salama'."

17:37 “Do not strut arrogantly about the earth: you cannot break it open, nor match the mountains in height.” And 25:63 “The servants of the Lord of Mercy are those who walk humbly on the earth, and who, when the foolish address them, reply, ‘Peace’”.

Ya dace mutum ba zai ɗaukaka kansa ta hanyar girman kai ba, kuma ba zai nuna halin fariya ba, domin hakan zai hana shi zuwa wurin, yin magana da, ko zama tare da waɗanda suke a gefen al'umma. Lallai Manzon Allah ﷺ ya kasance, kamar yadda Abū Hāmid al-Ghazālī ya kwatanta shi da kyau, a wannan hanya:

It is befitting one to not carry himself in an exalted way nor to adopt a spirit of arrogance which would inhibit his approaching, communicating with or keeping company with those who exist on the margins of society. The Prophet (peace be upon him) in fact was described beautifully by Abū Hāmid al-Ghazālī in the following way:

Ya kasance mafi haƙuri a cikin mutane, mafi jarumtaka a cikin mutane, mafi adalci a cikin mutane, mafi tsafta a cikin mutane. Hannunsa bai taɓa taɓa hannun wata mace ba sai dai idan ya mallake ta a matsayin bawa, ko kuma yana auren ta, ko kuma tana cikin dangantakar jini da shi (mahram) ﷺ.

“He was the most forbearing of people, the most courageous of people, the most just of people, the most chaste of people. His hand never touched the hand of any woman unless he owned her as a slave or was married to her or was closely related to her by blood (mahram).

Ya kasance mafi karimci a cikin mutane, wanda bai taɓa ajiye dinari ko dirhami a wurinsa har dare ɗaya ba.

He was the most generous of people, who never kept a dinar or a dirham with him overnight.

Idan yana da abin da ya rage, kuma bai sami wanda zai ba shi ba kafin dare ya yi, ba zai koma gida ba sai ya ba wanda yake buƙata. Bai karɓi komai daga cikin abin da Allah ya ba shi ba sai abincin shekara guda, mafi sauƙin abinci, dabino da sha'ir, yana ba da duk wannan don neman yardar Allah. Ba a taɓa roƙon sa komai ba sai ya ba da, sannan ya koma ga abincin shekara-shekara ya ba wa waɗanda suka fi buƙata, sai kuma ya ƙare kafin shekara ta cika. Yana gyara takalmansa da kansa, yana dinke tufafinsa da kansa, yana taimaka wa iyalinsa a cikin gida, kuma yana yanka musu nama. Shi ne mafi tawali'u daga cikin mutane, ba ya kallon kowa kai tsaye cikin ido. Yana amsa gayyatar bayi da 'yantattu duka, yana karɓar kyauta ko da kofin madara ne, kuma yana saka wa mai bayarwa da alheri. Ba ya cin abincin da aka ba da sadaka, yana amsa wa baiwa da talakawa idan sun roƙe shi wani abu. Yakan yi fushi saboda Ubangijinsa, amma ba ya yin fushi saboda kansa. Yana tsayawa kan gaskiya ko da hakan zai jawo wa kansa ko abokan tafiyarsa cutarwa. Ya taɓa samun ɗaya daga cikin mafiya nagarta daga cikin sahabbansa an kashe shi a wani yanki da Yahudawa suke zaune, amma bai yi musu tsauri ba, kuma bai aikata fiye da abin da shari'ah ta tanada ba.

If he had anything left over and he could not find someone to give it to before night came, he would not go home until he had donated it to someone who needed it. He did not take anything from that which Allāh had bestowed upon him except one year’s supply of the simplest provisions, dates and barley, giving all of that for the sake of Allāh. He was never asked for anything but he gave it, then he would go back to his annual supplies and donate from them to those who needed it more, then he might run out before the year ended. He used to repair his own sandals and mend his own clothes, and he would help his family in the home and cut meat for them. He was the most modest of people and would not look anyone straight in the eye. He would respond to the invitations of slave and free alike, and accept a gift even if it was a cup of milk, and he would reward a person for it. He did not eat food that had been given in charity, and he would respond to slave women and the poor when they asked him for something. He got angry for the sake of his Lord but he did not get angry for his own sake. He would adhere to the truth even if that resulted in harm for himself or his companions. He found one of the best of his companions slain in an area where Jews lived, but he did not treat them harshly or do more than what which is prescribed by sharīʿah.

Maimakon haka ya biya diyya a madadinsa na raƙuma ɗari, duk da cewa wasu daga cikin sahabbansa suna cikin matsananciyar buƙatar raƙumi ɗaya kawai. Yakan ɗaura dutse a cikinsa don kawar da radadin yunwa, kuma ba ya ƙin abinci mai halal, kuma ba ya cin abinci yana kwance ko a kan teburi.

Rather he paid a diyah for him of one hundred camels even though some of his companions were in desperate need of just one camel. He would tie a rock to his stomach to ward off hunger pangs, and he did not refuse halal food or and he would not eat reclining or at a table.

Bai taɓa cika cikinsa da burodi ba kwana uku a jere har sai ya haɗu da Allah, Mai girma da ɗaukaka, domin ya fi son ya ba da abin da yake da shi maimakon ya ƙoshi, ba saboda talauci ko rowa ba. Yakan karɓi gayyatar cin abinci, yana ziyartar marasa lafiya, kuma yana halartar jana'iza. Yakan yi tafiya shi kaɗai a cikin abokan gābansa ba tare da mai tsaro ba ﷺ. Ya kasance mafi tawali'u da nutsuwa a cikin mutane ba tare da girman kai ba, mafi fasaha wajen magana ba tare da yawan magana ba, mafi annuri a fuska. Ba ya damuwa da al'amuran duniya. Yakan sa duk abin da ya samu, kuma yakan bar bawansa ko wasu su hau bayansa a kan dabbarsa. Yakan hau duk abin da ya samu, wani lokaci doki, wani lokaci raƙumi, wani lokaci alfadari, wani lokaci jaki. Wani lokaci yakan yi tafiya babu takalmi, ba tare da alkyabba, rawani ko hula ba, yana ziyartar marasa lafiya a mafi nisan sassan Madina ﷺ. Yana son turare, yana ƙin wari mara daɗi ﷺ. Yakan zauna tare da talakawa, yana ba masu buƙata abinci yana ci tare da su, yana girmama masu kyawawan halaye, kuma yana sanyaya zukatan masu matsayi ta hanyar nuna musu alheri ﷺ. Yana kula da zumunta ba tare da fifita danginsa a kan waɗanda suka fi su ba, kuma bai yi wa kowa tsauri ba ﷺ. Yakan karɓi uzurin waɗanda suka nemi gafararsa ﷺ; yakan yi raha amma ba ya faɗin komai sai gaskiya, kuma yakan yi murmushi ba tare da dariya mai ƙarfi ba ﷺ.

He never ate his fill of bread for three days in a row until he met Allāh, may He be exalted, as he would prefer to give away what he had rather than eat his fill, not because of poverty or miserliness. He would accept invitations to meals, visit the sick, and attend funerals. He walked alone among his enemies without a guard. He was the most humble and quiet of people without being arrogant, the most eloquent without being long-winded, the most cheerful of countenance. He did not worry about worldly matters. He wore whatever he found, and let his slave or others ride behind him on his mount. He rode whatever was available, sometimes a horse, sometimes a camel, sometimes a mule and sometimes a donkey. Sometimes he walked barefoot, with no cloak, turban or cap, visiting the sick in the furthest parts of Madina. He loved perfume and hated foul smells. He would sit with the poor and offer food to and eat with the needy, honouring the virtuous and softening the hearts of people of status by treating them kindly. He upheld ties of kinship without favouring his relatives over those who were better than them, and he did not treat anyone harshly. He accepted the excuses of those who apologized to him; he would joke but he only spoke the truth, and he would smile without laughing out loud.

Idan ya ga wasa mai halatta, bai yi masa tsawa ba, kuma ya yi tsere da matarsa. Idan aka ɗaga murya a kansa, yakan jure hakan da haƙuri. Yana da bayi, maza da mata, amma bai ci ko ya sa tufafi mafi kyau fiye da nasu ba. Bai ɓata lokaci ba tare da yin jihadi don neman yardar Allah ko yin abin da ya zama wajibi don inganta kansa. Bai raina wani talaka saboda talaucinsa ko cutar da ke damunsa ba, kuma bai ji tsoron wani sarki saboda ikonsa ba. Ya kira su duka zuwa ga Allah a kan daidai.55

If he saw permissible play he did not denounce it, and he raced with his wife. When voices were raised against him, he bore that with patience. He had slaves, male and female, but he did not eat or dress any better than they did. He did not waste time without striving for the sake of Allāh or doing that which was essential to better himself. He did not look down on any poor person because of his poverty or chronic sickness, and he did not fear any king because of his power. He called both of them to Allāh on equal terms.”55

A cikin kallon wata duniya dabam, duniyar da wurare da iyakoki zasu iya tabbatar da asalin kansu, da jin zama na wani wuri, dole ne mu fahimci cewa waɗannan ma suna wanzuwa ga Ɗayan, ba duk da Ɗayan ba. Yin haka yana buƙatar tausayi wanda ya dogara da amincewa da gatan da ‘sarari’ ke bayarwa. Inda yaƙi da rikici ke da alaƙa da sarari da wuraren sarari, waɗanda ke adawa da su ma suna sanya kansu cikin sararin da aka ayyana ta abin da suke gani game da rikicin da suke ƙalubalanta. Brian Haw a shekarar 2003 ya zaɓi ya mai da wurin zanga-zangarsa ta adawa da yaƙi wani wuri a kan filin siminti a wajen Parliament Square. Dalilin zaman sansaninsa shi ne nuna adawa da yakin Iraki, musamman yadda yakin ya haifar da marayu da yawa a Iraki. A cikin kebewar kansa muna ganin tabbatar da Ɗayan da ya ji kusanci da shi; tausayin da ya haifar ba a gani kawai a cikin takurawar sarari ba, har ma a yadda ya ‘ɗauki matsayin’ Ɗayan. A zanga-zangarsa, muna fahimtar yadda ya nemi ya ‘nuna’ wa masu kallonsa ba kawai aikin zanga-zangarsa ba, har ma faɗaɗɗen iyakokin kai da Ɗayan, inda rashin daidaito tsakanin girman Majalisar da tentinsa, tsakanin ginin da zane, zai iya haɗuwa da abin da ya gani a matsayin rashin daidaito tsakanin wanda aka zalunta da mai zalunta.

So, in the viewing of a different world, a world in which spaces and boundaries can assert a self-identity, a sense of belonging, we must appreciate these also exist for the Other and not in spite of the Other. Doing this, involves an empathy founded on acknowledging the privilege that ‘space’ accords. Where war and conflict have to do with space and locations of space, those who resist also situate themselves within space defined by what they perceive about the conflicts they challenge. Brian Haw in 2003 chose to make the scene of his anti-war protest a site on the paved floor outside Parliament Square. The reason for his encampment was to protest against the war in Iraq and in particular how the war gave birth to many orphans in Iraq. We see in his self-confinement an actualising of the Other he identified with; the empathy he stimulated is discernible not only in ‘space’ restrictions, but in its way of ‘taking the place’ of the Other. In his protest, we appreciate how he sought to ‘show’ his spectators not only his act of protest, but also the broadened demarcations of self and Otherness in which the disparity in size between Parliament and his tent, between structure and cloth might connect to what he viewed as the disparity between victim and aggressor.

Bi irin wannan ra'ayin, a gidan tunawa da kisan kiyashi a Auschwitz, shaidar hotuna tana da matsayi da ke alamta mutumci da haɗin kai, kuma tana ƙin kwaikwayon yadda Nazi suka cire wa waɗanda suka kashe ɗan adam. Ana iya sanya shigarwar kowane mutum a wani wuri da aka tsara domin nuna girman wahalar gama-gari, ƙwarewar gama-garin fursunonin Yahudawa, da kuma jaddada sunayensu da sana'o'insu na kowane mutum. Ta haka wurin yana haɗa wani tunanin abin da ya gabata na gama-gari ga baƙi gidan tunawa da kuma haɗin gani na kai tsaye da kowane fursuna. Mutum yana fuskantar wani abu da ke soke abin da ya mayar da waɗannan fursunoni marasa mutumci. Tufafinsu, takalmansu, akwatunansu, da siffofin jikinsu kamar gashi da rubutun hannu, duk suna kawo kusa abin da aka hana, aka raba, aka nisanta. Wurin da gidan tunawa yake, hakika, yana da muhimmanci wajen jaddada tunawa da kisan kiyashi, duk da cewa Auschwitz kansa ba wuri ne mai kama ɗaya ba. Maimakon haka, an raba shi zuwa sassa, tare da ci gaba da motsin fursunoni daga ƙananan sansanoni. Kowanne yana nuna hoton fursunan tare da sunansa, a ƙarƙashinsa kuma akwai lambar kurkukun da cikakken bayani game da kabila, ranar haihuwa, sana'ar da yake yi kafin a kama shi, ranar da aka kai shi, da ranar mutuwarsa. Tsarin hotunan yana nuna haɗin kai, da daidaito a wahala, da kuma ƙarshen mutuwa a Auschwitz. Suna zama shaida ga rayuwa ta "yanzu", wadda duk da ta lalace har yanzu cikakkiya ce, kuma ba a riga an lalata ta a jiki, cikin motsin rai da tunani ba sakamakon rayuwar sansani. Bangon hotunan yana daidaita da wasu hotuna da zane-zane waɗanda ke nuna wancan yanayin a fili. Rachel Aliene Corrie, mai fafutukar zaman lafiya ɗan Amurka da ke aiki tare da ƙungiyar International Solidarity Movement (ISM), wadda Falasɗinawa ke jagoranta kuma take fafutukar kare haƙƙin ɗan adam da juriya ba tare da tashin hankali ba, ta ƙalubalanci wani nau'in bambancin tsari a aikinta na kare gidajen manoman Falasɗinawa. Ta yi tafiya zuwa Isra'ila a watan Janairu na 2003, sannan ta tafi Gaɓar Yamma inda ta sami horo daga ISM. Akan yi taro akai-akai tsakaninta da wasu masu fafutuka da dama daga Amurka da Birtaniya masu adawa da rushe gidajen Falasdinawa. A ranar 16 ga Maris, 2003, a lokacin Intifada ta Biyu, ta taru tare da sauran masu fafutuka a wajen gidan wani mai magani na Falasdinawa, sai ta mutu bayan wata bulldoza mai sulke ta IDF (Rundunar Tsaron Isra'ila) ta murkushe ta. Maganganunta da suke bayyana muhimman abubuwa game da la'akari da 'kai' da 'wani' da yadda suke da alaƙa da sarari, ainihi da ganewa, an ɗauko su daga littafin Let Me Stand Alone: The Journals of Rachel Corrie, wanda ya ƙunshi rubuce-rubucen littafin rubutu da imel da iyayenta suka zaɓa daga baya don bugawa.

In a similar sentiment, at the holocaust memorial in Auschwitz, photographic testimony is positioned in a way that symbolises individuality and togetherness and offsets Nazi depersonalisation of its victims. Individualised entries can exist in a space arranged to reflect the scale of collective suffering, the collectivised experience of Jewish prisoners, as well as to emphasise their individual names and occupations. The space thus meshes an imagined collective past for the museum visitors with an individualised visual connection with single prisoners. One is confronted with an undoing of what had dehumanised those prisoners. Their clothes, shoes, suitcases, physical features of hair, handwriting, all serve to bring into proximity what was denied, abstracted and distanced. The site and space of the museum is of course altogether present in accentuating the memory of the holocaust though Auschwitz itself was anything but an isotropic space. It was instead fragmented with the endless movement of prisoners from sub-camps. Each displayed a photographic portrait of the prisoner including his or her name, under which is the prison number and details of ethnicity, date of birth, occupation before imprisonment, date of deportation and date of death. The arrangement of the portraits suggests solidarity, as well as an equalising in victimhood and the finality of death at Auschwitz. They serve as a testimony to a ‘present’ life, sullied though still complete and not yet physically, emotionally and mentally decimated by camp life. The wall of portraits offsets other photographs and drawings which do graphically portray the latter. Rachel Aliene Corrie who was an American peace activist working with the Palestinian-led human rights and non-violent resistance group International Solidarity Movement (ISM henceforth) challenged a structural otherness in her work to defend the homes of Palestinian farmers. She travelled to Israel in January 2003 and then to the West Bank where she received training from the ISM. She would frequently gather with several American and British activists resisting the demolition of Palestinian homes. On March 16, 2003 during the Second Intifada she gathered with other activists outside the home of a Palestinian pharmacist when she was crushed to death under an armoured IDF (Israeli Defence Forces) bulldozer. Her statements which shed very important light on ‘self’ and ‘other’ considerations and the way they relate to space, identity and identification are taken from Let Me Stand Alone: The Journals of Rachel Corrie, made up of journal entries and emails later selected for publication by her parents.

A ranar 29 ga Janairu, 2003, yayin da Corrie take zaune a Gaza, ta lura kuma ta yi sharhi kan yadda iyakokin sarari, takurawar motsi, dangantakar hankali da ƙasa, da kuma yadda yara ke shafa daga tashin hankali, suna da muhimmiyar alaƙa da shimfidar wuri da aikin lambu ga Falasdinawa. Wannan kurkuku ne da masu tsaronta suka yanke shawarar cewa ya yi girma sosai, don haka yanzu suna matse shi ya ƙara ƙanƙanta. Mutanen nan suna zaune a cikin ƙamshin teku, amma ba sa iya zuwa ganinsa kuma. “Me ke da kyau a nan? Za mu iya zuwa mu ga teku. Abu ɗaya mai kyau. Yanzu ba zan iya ganin teku ba. Me ke da kyau ga yara? Wani yaro mai shekara takwas mai suna Ali ya mutu a ranar da na zo. Yana so kawai ya kalli tankin – ya ga tankin – sai suka tarwatsa kansa.”56 Faɗin teku yana bambanta da ƙuntataccen ƙasar Gaza. Wahalar mutanenta tana ƙara tsanani ta hanyar hana su ganin shimfidar wuri da suke ganin na su ne a zahiri. Duk da cewa 'shimfidar wuri' na kowace ƙasa an yi ta ne da irin wannan tsarin al'umma, 'aikin lambu', wanda aka fahimta a matsayin aiki, yana nufin yadda mutum ke sauya ƙasa, yana ƙirƙirar wurare na musamman da ake kafa wuraren a kansu.57

On January 29, 2003 whilst Corrie was stationed in Gaza she observed and commented on how limitations of space, restrictions of movement, of sensory relationship with land and the way children are affected by violence come to have an important bearing on landscape and landscaping for the Palestinians. This is a jail that the jailkeepers decided was too big, so now they are squeezing it smaller. The people here live within the smell of the ocean but they can’t go see it anymore. “What is there beautiful? We could go see the ocean. One thing beautiful. Now I cannot see the ocean. What is for the children that is beautiful? An eight-year old named Ali died the day before I came. He just wanted to look at the tank – see the tank – and they explode his head.”56 The expanse of the ocean is set against the constricted land of Gaza. The suffering of its people is exacerbated through their denial of vision of a landscape that they believe is inherently theirs. While ‘landscape’ of any land is made up of the same societal processes, ‘landscaping’ understood as a verb is about the way in which land is transformed by human agency, creating unique spaces upon which sites are located.57

Ga mazauna Gaza, wannan yana nufin cewa ko da yake suna iya "jin ƙamshin" teku, ba sa iya "ganinta", kuma wannan rashin iyawar 'yan asalin yankin su ji daɗin "abin da yake" kyakkyawa ga 'ya'yansu ne ke sanar da tausayin Rachel.58 Bambance-bambancen da ke tsakanin Kai da Wani a wurin Rachel masu karɓa ne; ba ta goyon bayan daidaito a dangantaka tsakaninta da Falasɗinawa, a maimakon haka yana ɗaya-ɗaya. Haɗa yaron da ya mutu, Ali, da Rachel ta yi a cikin labarinta yana kwatanta rashin ganin teku da ganin "tankin – sai su tarwatsa kansa." Ta yi amfani da wasiƙarta wajen jaddada barna a abin da take gani, ta hanyar kwatanta abin halitta da abin injina.

For the residents of Gaza, this means that though they can ‘smell’ the ocean they cannot ‘see’ it and it is this inability of natives to enjoy ‘what is’ beautiful for their children that informs her empathetic outlook.58 Demarcations of Self and Otherness for Rachel here are receptive; she does not espouse mutuality in relations between her and the Palestinians, it is instead unilateral. Rachel’s inclusion of child victim Ali in her account serves to juxtapose the failing to see the ocean with seeing ‘the tank – and they explode his head.’ She uses her letter to accentuate destruction in what she observes by juxtaposing the natural with the mechanical.

Ấn tượng là không có gì thật sự được "nhìn thấy"; cả cái đẹp lẫn sự tàn bạo đều đan xen vào một miền mà ở đó mọi thứ chỉ được cảm nhận. Hausa translation: Abin da ake ji shi ne cewa babu abin da ake "gani" da gaske; kyau da zalunci duka suna haɗe cikin wani yanki inda komai ana ji ne kawai. Rachel tana tunani a kan gatanta a matsayin mutum "farin fata" wanda zai iya gani da shaida, kuma wanda ji nata ke buƙatar ketare iyakokin Kai/Wani. Birnin Gaza da Corrie ya bayyana, a zahiri, "ya ɓace" "a filin gani", an raba shi daga gani da ƙwaƙwalwa. Tun da yaran Gaza sun san cewa teku tana nan, amma ba sa iya ganinta, suna da alaƙar gani da aka raba, amma har yanzu suna riƙe birnin ta hanyar alaƙar hankali ta ƙamshi, da wuraren shimfidar ƙasa da suka yi imani Falasɗinawa ne a asali. Muna tambaya ko za mu iya sanin ko Corrie yana madubin mahangar Ali? Menene ƙamshin tekun da Ali yake ji idan aka kwatanta da na Corrie?

The impression is that nothing is ‘seen’, both beauty and cruelty are meshed together into a domain in which things are only felt. Rachel reflects on her privilege as a ‘white-skinned’ person who can see and witness, and whose feelings mandate a transcending of Self/Other boundaries. The Gaza City that Corrie describes is actually ‘lost’ ‘in the field of vision’, dislocated in vision and memory. Since the Gazan children know the ocean is there, but cannot see it, they have a dislocated visual attachment but still retain the city through sensory attachment of smell, and points of landscaping they believe are inherently Palestinian. We question whether we can know if Corrie mirrors Ali’s vantage point? What is Ali’s smell of the ocean in comparison to Corrie’s?

Corrie kuma ta sake haɗa yadda ake kallon sarari da lokacinsa ta fuskar Falasɗinawan da ta lura da su yayin da suke wasa: "Yara suna wasa a bayanmu, sai mu yi ihu, 'La! La!' idan suka yi ƙoƙarin fita cikin ɓarnar gini don su yi wasa da mu – domin ko da yake an haife ka a cikin keji, kuma ba ka taɓa rayuwa ba tare da harbe-harbe duk dare ba, har yanzu kana iya yin wasa."59

Corrie again juxtaposes the way space and its temporalities are considered by the Palestinians she observes whilst they play: “Children play behind us and we yell, “La! La!” when they try to wander out into the rubble to play with us – because somehow even though you are born in a cage and you have never lived without shooting all night, you are still able to play.”59

Kalmar yadda take nuna ‘keji’ yana nufin takurawa; a cikin tsare-tsaren zahiri da take gani, tana iya haɗa ‘keji’ da ‘harbi’ tare da ‘wasa’, tana amfani da alamomin da masu sauraronta suka saba da su wajen danganta kansu da yara. Bayanin Corrie game da yaran da suke da alaƙar ji da wata ƙasa da ta zama ‘wadda aka ƙirƙira’ kuma kamar keji, yana da hikima ga abin da yake gaya mana game da fahimtar Kai/Wani. Dukkan bayanan biyu fahimtar ta ce, kuma fahimtar babba ce, game da abin da yara a Gaza ke fuskanta.

Her description of a ‘cage’ denotes restriction; in the physical confinement that she witnesses she is able to juxtapose ‘cage’ and ‘shooting’ with ‘play’, drawing on the mutual iconic codes by which her audience can relate to children. Corrie’s description of children who have a sensory relationship to a land that has become ‘imagined’ and cagelike is insightful for what it tells us about Self/Other perceptions. Both descriptive accounts are her own perceptions, and an adult perception, of what children in Gaza are experiencing.

A cikin wata wasika da ta aika wa mahaifiyarta a ranar 19 ga Janairu, 2003, Corrie ta sake iya tsallake salon maganar wahala da zalunci mai rinjaye ta hanyar jujjuya iyakokin 'kai' da 'wani'.

In a letter to her mother dated January 19, 2003, Corrie is able to further transcend the dominant discourse of suffering and victimisation by inverting ‘self’ and ‘other’ boundaries:

"Ina ganin cewa fararen fata wani lokaci suna shan wahala a Amurka saboda wani tsari da har yanzu yake ba mu fifiko a kan mutanen launin fata; maza suna shan wahala saboda tsarin da yake ba su fifiko a kan mata; kuma Yahudawan Isra'ila suna shan wahala (fiye da yadda fararen fata da maza ke shan wahala a Amurka) saboda wani tsari a Isra'ila da yake ba su fifiko a kan Falasdinawa-Isra'ilawa da Falasdinawa a Yankunan da aka mamaye. Duk da haka, tsarin har yanzu tsari ne na wariyar launin fata."60

“I think white people sometimes suffer in the United States from a system that still privileges us over people of color; men suffer from the system that privileges them over women; and Jewish Israelis suffer (much more than white people and men in the U.S.) from a system in Israel that privileges them over Palestinian-Israelis and Palestinians in the Occupied Territories. Nevertheless, the system remains a racist one.”60

Corrie’s words, a representation of unipolarity between dominant and subordinate, seem to stem from empathetic considerations informed in her 5th grade school speech in which she instructed: “They are us, we are them.”61 Ta ga cewa wannan daidaita Self da Other shi ne sharadin tunani mai tausayawa. Haɗin kan da Corrie ke bayyanawa wani muhimmin jigo ne a aikin masu fafutuka waɗanda suka fahimci cewa wajibi ne a wuce lokutan siyasar duniya domin sake fasalin yadda ake ganin ‘kai’ da ‘wani’. A cikin sharhin da ke biye, Corrie na gina ainihin Self/Other ta hanyar ƙirƙirar wuri, inda lalata ‘gonakin itatuwa, da gidajen noma, da itatuwan’ ’ya’yan itace ke ba da damar tausayawa a matakin kusa da zuciya; ta hanyar yin amfani da ‘Uncle Craig’ da ‘Grandma’: “Ina tunani game da wannan musamman idan na ga gonakin itatuwa, da gidajen noma, da itatuwan ’ya’yan itace an lalata su - shekaru da yawa na kulawa da noma. Ina tunani game da ku da tsawon lokacin da ake ɗauka kafin abubuwa su girma, da kuma yadda aiki ne na ƙauna. Da gaske ina tunanin cewa, a irin wannan yanayi, yawancin mutane za su kare kansu da duk abin da za su iya. Ina tunanin Uncle Craig zai yi haka. Ina tunanin Grandma wataƙila za ta yi haka. Ina tunanin ni ma zan yi haka.”62

Corrie’s words, a representation of unipolarity between dominant and subordinate, seem to stem from empathetic considerations informed in her 5th grade school speech in which she instructed: “They are us, we are them.”61 She sees this normalising of Self and Other as prerequisite to empathetic considerations. The togetherness that Corrie describes is a salient motif in the work of activists who realise the need to transcend geo-political temporalities to reshape ‘self’ and ‘other’ perceptions. In the following comment, Corrie constructs Self/Other identity through place-making wherein the destruction of ‘orchards and greenhouses and fruit trees’ allows for an empathic consideration at a particularly personal level; by drawing on ‘Uncle Craig’ and ‘Grandma’ “I think about this especially when I see orchards and greenhouses and fruit trees destroyed - just years of care and cultivation. I think about you and how long it takes to make things grow and what a labour of love it is. I really think, in a similar situation, most people would defend themselves as best they could. I think Uncle Craig would. I think probably Grandma would. I think I would.”62

Corrie na neman shawo kan mahaifiyarta ta hanyar haɗa martanin rikici na bambancin Kai/Wani.

Corrie seeks to convince her mother by merging conflict responses of Self/Other binaries.

Hanyoyin tunani na Corrie, waɗanda ta haɗa daga wurare biyu, na Falasɗinawa da na Amurka, sun hana a karɓi tsarin da aka yi wa kwaskwarima a matsayin kawai salon al'adu. Ta hanyar daidaita kanta da wurare biyu, ba mu jin wani "nisa" daga abubuwan da ke haifar da lalacewar muhalli da ta bayyana. Corrie ta kwatanta cewa duk wani tunani game da wurin tsarki na Gaza zai bukaci a yi la'akari da nauyin muhalli na waɗanda ke zaune a can. Maganganun Corrie game da kakanta suna nuna cewa gogewa wani abu ne mai tabbatar da tausayi.

Corrie’s drawing together mental landscapes from Palestinian and American settings disallow an embracing of an idealised system as a mere cultural fashion. By aligning herself with both landscapes, we do not sense a ‘distance’ from the causes of the environmental destruction she describes. Corrie describes how any consideration of the sacred landscape of Gaza would necessitate a reflection of the ecological responsibilities of those who live there. Corrie’s references to her grandfather reflect the necessity of experience as a determinant of empathy.

Ta ce ‘Kakar’ tana iya fahimtar halin da Falasdinawa suke ciki sosai, domin ita ma ta taba fuskantar abin da za su ji idan aka rasa bishiyoyin zaitun nasu.

She submits that ‘Grandma’ could well understand the plight of the Palestinians since she has experience of what they might feel at the loss of their olive trees.

A cikin wasikarta, ta kuma tattauna zahiri da kuma aikace-aikacen yadda jikkuna ke motsawa ta yankuna, wurare da cikas, ta hanyar sanya 'yan asalin Gaza, ita kanta da danginta a matsayin masu hallara da masu rashi a cikin al'amura. Harshen da Corrie ke amfani da shi wajen bayyana jin rashin adalci da kuma haƙƙin Falasɗinawa na yin tsayayya ya dogara sosai kan nata gogewa ko kuma abin da ta ɗauka a matsayin martani na duniya ga haƙƙoƙin zama da kasancewa. Saboda haka Corrie tana nuna cewa ga Falasɗinawa da Amurkawa baki ɗaya, akwai wani jin zumunci na zuciya ga filayen noma, inda kalmomin 'kulawa', 'nomawa' da 'girma' suka zama manyan kalmomin da ke siffanta yanayin siyasa na goyon bayanta. 'Aikin ƙauna' da ta bayyana, wanda ake buƙata domin 'sa abubuwa su girma', wani bayani ne mai ban sha'awa idan aka duba yadda yake dacewa da alamar uwa da manoman Falasɗinawa ke amfani da ita.63

In her letter, she also engages the theoretical and practical reality of bodies moving through areas, locations and obstacles by situating native residents of Gaza, herself and her relatives as present and absent actors. The language Corrie uses to describe feelings of injustice and the right of the Palestinians to resist draws extensively on her own or what she considers universal responses to rights of belonging. Corrie therefore intimates that for both Palestinians and Americans, there is an emotional sense of belonging to agricultural landscapes, ‘care’, ‘cultivation’ and ‘grow’ becoming keywords that shape the political form of her solidarity. The ‘labour of love’ she describes required to ‘make things grow’ is an interesting description in light of how it correlates with the maternal symbolism used by Palestinian farmers.63