Sun, May 18, 2008

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Critics Claim Flight 93 Memorial Glorifies Islam

When one man's embrace is another man's Muslim crescent moon
 

The story of Flight 93 is, for lack of a better description, incredibly moving. One of four planes to crash during the September 11th attacks, this plane is unique in that it crashed in a field in Somerset County, Pennsylvania following a courageous passenger effort to regain control of the hijacked cockpit and to subvert an additional planned attack.

In 2005, Paul Murdoch’s design for a national memorial to the victims of Flight 93 was chosen from a pool of over one thousand applicants. The design, which features a large ring of red maple trees surrounding a circular walkway and stone wall that frame or “embrace” the axis of the plane’s flight path and the crash site where forty people lost their lives on September 11th, 2001. All visitors will enter through a western portal walking along , passing by a large bell tower containing one bell for every Flight 93 passenger. The project was initially titled “Crescent of Embrace.”Flight 93 National Memorial: giving a sad field a hugFlight 93 National Memorial: giving a sad field a hug

The mock-up images on Murdoch’s website are truly stunning projections of what the site will begin to look like upon its halfway completion, currently scheduled for September 2011, in time for the tenth anniversary of 9/11. Unfortunately, not everyone is so happy about the design. Some have gone so far as to call the project “an insult” to the memorial’s honorees.

So what’s all the fuss about? Although it may not be immediately obvious, put your thinking cap on and consider the following picture. Here we have: a gigantic, red crescent structure surrounding sacred ground, with a western gate, a large eastern wall, and a gigantic, noise-making tower. That, my friends, is what some would call a mosque: minaret, qibla, and all.

At least, that is what about 5,300 petitioners are saying about Murdoch’s proposed plan. The New York Times reports that representatives from this opposition group met with the Flight 93 Memorial Task Force and the Flight 93 Advisory Committee over the weekend in attempts to halt all construction of the proposed memorial and to come up with a new, design. And if the task force and advisory committee do not comply, they say they’re taking their campaign to Congress.

“It’s really revolting to me, this whole thing,” Tom Burnett, Sr., father of Flight 93 passenger victim Tom Burnett, Jr. who has been outspoken against the proposed memorial design since it was first chosen. Harry Beam, a former Army lieutenant colonel and primary anti-memorial design activist also spoke on behalf of the full group as to why the design is offensive. “They all believe there’s no place for Islamic symbolism or anything that would elevate the status of the terrorists,” he said.The numbers don't lie: memorial's comparison to a mosqueThe numbers don't lie: memorial's comparison to a mosque

Murdoch, who, coincidentally, is currently involved in the renovation of the American Jewish University campus, has shrugged off suggestions that his design is subliminally Muslim. When interviewed by the Times, he called the protests “someone else’s distraction.” But the fact that his project’s name was changed from “Crescent of Embrace to “Circle of Embrace” and the originally planned gap at the western end of the memorial has been altered and is now set to be filled in by trees suggests that Murdoch I not as impervious to criticism as he says.

While this is an emotional subject, the more one learns about Murdoch’s design, the more unfortunate it becomes that what was clearly intended to be sensitive, well thought out plan has been degraded to an architectural “[elevation of] the status of the terrorists.” That kind of sentiment is more hurtful than the proposed memorial design will ever be. The design is centered, both literally and metaphorically, around the memory of the crash victims, and any criticism should be too.



I currently live and study in New York City. I'm a religion major, which basically means I spend most of my time writing essays about the journeys of metaphorical Sufi birds and how tripped out the book of Daniel is. I have also been caught DJing for


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Cori C


ah, well

Art, in general, is inextricably linked first to intention, and then to interpretation and perception of others. I guess that the unfortunate reality is that when you create a monument/memorial/anything with a predetermined purpose defined by someone else, the perception of others overrides the intent of the artist.

Personally, I find the design rather inappropriate, though I'm positive that this wasn't the artist's intention.

Cori C

http://cori-c.blogspot.com

coriac@gmail.com





Ali Eteraz


weird

first time i heard about this. thanks a lot.

when the burj ul arab hotel opened in dubai, everyone complained that it was the world's biggest cross made as a show of strength by norwegians (its designed as a sailboat's mast).

it should also be noted that muslims got the idea of a 'noise-making tower' from christians. in fact, some early muslims suggested using bells in a tower as the muslim call to prayer, but muhammad opted for something a little different.





Anonymous


Hmm...

Muslims own the moon, right?





naftali


I'm Missing the Clearly Sensitive Part

I mean, have you ever spoken to an artist for more than fifteen minutes about the meaning of their work? Fifteen minutes is my limit. The design makes sense in an abstract way--to me the artist sees the events as a misunderstanding between two cultures. But the families see it as a tribute to their loved ones who gave their lives for a principle.

The artistic question is whether to commemorate the principle or the misunderstanding.

I mean, there were two sentiments on flight 93, one sentiment was to drive the plane into the White House, other to keep that from happening. That doesn't leave a whole lot of room for a compromising artistic vision that isn't somehow disconnected from reality.

So, Jessica, I'm missing who's hurt by this--referring to your last paragraph. Are you hurt? Or are the families whose relatives were murdered--were they hurt? Or was the artist hurt?

Did Murdoch ever talk to the families and ask what they would like to see? I'm curious if he did so. And if he did, what were the responses--and why did he disregard them? If he didn't ask--then the work would be about Murdoch himself.

In which case then I'm shocked, shocked that an artist could be so insensitive.





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