Concept: Marah Haj Hussein
Right from the outset, performer Marah Haj Hussein sets the tone by explaining how this performance will engage with multiple languages, incorporating three alphabets and three scripts: Arabic, English, and Hebrew.
She introduces four key words which are central to what unfolds on stage. ‘Yahoud’, which can be associated with religion, however, here taking the nationalist connotation, referring to Israelis. ‘Fosha’ denotes classical written Arabic, different from colloquial speech. ‘Nakba’ references the occupation of Palestine since 1948, and ‘Khalas’ translates simply to ‘enough’. These words are written in chalk onto a blackboard, which is then hoisted and suspended stage right, serving as a constant visual reminder throughout the performance.
A key aspect of the piece is a rich tapestry of voices reflecting on their personal and collective connections to Arabic, framing language as both a tool of identity and a mechanism of oppression. The latter is exemplified by the proverb cited, ‘If you want to destroy a nation, destroy its language’. The performance skilfully balances intellectual discourse with emotional resonance, illustrating how language permeates every facet of life. This is further grounded as Marah recounts personal encounters on a train in Belgium.
Despite its language-heavy format, the staging itself is dynamic and visually engaging. Projections serve a dual function, offering translation while also acting as an additional character, filling the space and deepening the narrative. The interplay of spoken word, projected text, and physical performance maintains a compelling rhythm. In the latter half, Marah engages in a near-acrobatic interaction with a wooden frame, before seamlessly transitioning into dance as an exploration of non-verbal communication that adds texture, even if it breaks from the linguistic core of the piece.
Perhaps the most affecting moment arrives with the discussion of the untranslatable word ‘Zankha’, which describes a distinct unpleasant smell from meats and eggs, which only Arab people are said to recognise. As Marah cooks an egg live on stage and invites the audience to engage their senses, the abstract becomes tangible, highlighting the intimate and embodied nature of language and culture. Though the ending feels slightly abrupt, the piece nevertheless underscores the power of words to connect, unify, and preserve identity against erasure.
Reviewed on 13 June 2025
The Reviews Hub Score
Compelling complexities of language
Yahoud directly translates as Jew.
It’s a derogatory term – it’s like saying the n word can be appropriately used in some contexts to refer to nationhood. Using it to refer to Israelis is equivalent to calling Jews by the k word, or Yid. All offenive and refer to Jewishness and not nationality.