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Country of origin:

Country of birth:

Year of birth:

Age at arrival in Italy: years old

He leaves the country of origin for reasons

The arrival in Italy did not involve intermediate stops

He arrives in Italy with family members

The map follows the movements of the interviewee, ending the year after their arrival in Italy

Saul Meghnagi was born in Tripoli in 1946, shortly after the end of World War II, into a family of Libyan origin whose roots trace back to the sixteenth century. The Meghnagi family—parents Joseph and Rosina Haggiag, Saul, and his sisters—lived in an apartment on Corso Sicilia, which was renamed Sharia al-Mizran after the end of the Italian colonial era. The family spoke Italian at home and their culture was predominantly Italian, although the grandparents spoke Arabic and Judeo-Arabic and maintained some Libyan customs.

Saul grew up in a city where Western influences were still very strong: he attended an Italian school and, like many of his generation, he was fascinated by the American music and culture brought by the US military base. He spent most of his time with his schoolmates, enjoyed his free time at the local beach club with his family, and attended parties at friends’ homes. The Meghnagi family celebrated Jewish holidays and attended the synagogue, keeping kosher and observing the Sabbath, although like many other Tripolitan families, they indulged in “small transgressions,” such as using the car.

In 1964, Saul moved to Rome to attend university, enrolling in the faculty of engineering. His early days in the Italian capital were difficult, but he strengthened his bonds with other young Jewish Tripolitans who, like him, had moved to Rome to study. Like many of his peers, Saul hoped to pave the way for the rest of his family to move to Italy, but it was the outbreak of the Six-Day War in 1967 and the resulting anti-Jewish violence that forced the rest of the Meghnagi family to leave Tripoli for Rome in July of that year. The family’s situation, like that of many other Jews who fled Libya at that time, was further complicated by their precarious legal status. Like many Libyan Jews, they had no recognized citizenship: they could only travel with a “Temporary Travel Document,” which allowed them to travel to certain countries, but not others, and was valid for six months, after which the sole way to renew it was via the Libyan authorities.

we were Libyan citizens de jure, but not de facto

Interviewer
What nationality did [your family] have?

Saul Meghnagi
I can answer legally. As I came to understand precisely when I arrived in Italy, we were Libyan citizens de jure, but not de facto. By the way, if you’d like, I could show you the certificate from the United Nations High Commissioner for Refugees, which recognized us as refugees, a legal status that was never acknowledged by the Italian authorities.

Interviewer
So you weren’t even declared stateless?

Saul Meghnagi
No.

Interviewer
You were nothing?

Saul Meghnagi
Yes. In fact, we acquired Italian citizenship after ten years, in ’77, as ex-Libyans, but the condition we found ourselves in was that of holders of a temporary travel document, which had two characteristics. One was that the first page had the “ya,” the initial of the word “yahudi” (Jew), which I found in a Libyan passport belonging to an uncle who actually had a passport. It was even present in some Libyan passports. [The second characteristic was] the duration, which was generally a maximum of six months.

Interviewer
So, could it be said that Libyan Jews in Libya were not considered citizens? Not even second-class citizens, nothing, not even dhimmi?

Saul Meghnagi
No, we had no recognized legal status, and as far as I know, there was no regulation that defined this anomalous condition. It was a common practice, but it had no explicit legal basis. At least that’s what we were told by the Italian authorities, who didn’t recognize us as refugees because, according to them, there was no Libyan law that defined us as such. So, for them, we were Libyan, despite the curious document we had.

After the family’s arrival in Italy, Saul changed his course of study and decided to deepen his knowledge of Hebrew in Israel, at an ulpan in Arad, in the southern part of the country. He was admitted to the Hebrew University of Jerusalem, but his lack of stable citizenship prevented him from staying there. Returning to Rome, he obtained a scholarship from the American Jewish Joint Distribution Committee and the Italian Jewish Assistance Agency, enrolling in a social work school. After graduating, he resumed his academic studies, earning a degree in philosophy and a doctorate in educational sciences.

During these years, Saul became actively involved in the Italian Jewish community, contributing to the creation of the Jewish Cultural Center, a family counseling center, and services for Jewish refugees in transit from the USSR to the United States. With the support of the American Jewish Joint Distribution Committee, Saul participated in youth training and community-building programs that were designed for Italian Jewish communities, solidifying his role in the community.

during those years, the American Joint began this professionalization, as they called it, of the Jewish communities

Saul Meghnagi:
I was entrusted with Kadima, the youth organization. This was because at that stage – maybe at the CDEC you will have more precise dates – but in those years, the American Joint was strongly engaged in the development of youth activities in Europe for the rebuilding of Jewish communities that had suffered the tragedy of the Shoah. Also, in those years, there were two events. This was in the early seventies, I graduated in the early seventies. [Two things happened]: one was the agreements with Germany for the compensation distributed by the [Claims Conference], which supported – also in Milan, [but] definitely in Rome – the establishment of the Jewish Cultural Center and the family counseling center. [The second thing] was the arrival of Jews from the Soviet Union on their way to the United States. During those years, the American Joint began this professionalization, as they called it, of the Jewish communities, meaning the training of young leaders in the communities, and I was involved with this effort. I must say, it was an extraordinary opportunity professionally, because the director of the Community Center in Minneapolis was sent to Rome. He had a reputation as a designer of educational and cultural activities in the Jewish field. He stayed in Rome for a year, and I was fortunate enough to be his official translator and guide, so I learned the profession and some methods from this experience. I then participated in the planning of this Jewish Cultural Center, which still exists today.

Since 1978, Meghnagi has continued his career in vocational education in the trade union field. The Institute for Economic and Social Research tasked him with designing the Higher Institute for Training, of which he later became president. After the agreement between the state and the Union of Jewish Communities (1987), he became personally involved in the activities of the Union of Italian Jewish Communities, first as cultural commissioner and then as a councilor. From his marriage with Anna Palagi, two children were born.

Related stories

Come leggere i data portrait
I dati rappresentati nei data portrait riguardano il genere, l’età all’arrivo in Italia, il decennio di arrivo in Italia, il paese di origine, i motivi della partenza, se il viaggio ha incluso tappe intermedie o è stato diretto e se la persona ha viaggiato da sola o con la famiglia.

Genere ed età all’arrivo in Italia

Femmina, età 0-9

Femmina, età 10-19

Femmina, età 20-29

Femmina, età 30-39

Femmina, età 40-49

Femmina, età 50-59

Femmina, età 60-69

Femmina, età 70-79

Femmina, età 80-89

Femmina, età 90-99

Maschio, età 0-9
Maschio, età 10-19
Maschio, età 20-29
Maschio, età 30-39
Maschio, età 40-49
Maschio, età 50-59
Maschio, età 60-69
Maschio, età 70-79

Maschio, età 80-89

Maschio, età 90-99

Decennio di arrivo in Italia

1940
1950

1960

1970

1980

Paese di origine

Egitto

Iran

Libano

Libia

Siria

Tunisia

Motivi della partenza dal paese di origine

Politici

Economici

Studio

Personali

Viaggio diretto o con tappe intermedie prima dell’arrivo in Italia

Viaggio diretto

Tappe intermedie

Arriva in Italia da solo/a o con familiari

Arriva in Italia da solo/a
Arriva in Italia con familiari

Cos’è un data portrait
Un data portrait è un’interpretazione artistica di un set specifico di dati riguardanti un individuo, che viene quindi ritratto a partire dai dati, anziché raffigurarne l’aspetto fisico come nei ritratti tradizionali. I data portrait sono rappresentazioni visive che mediano tra la visione dell’artista, i dati del soggetto e l’interesse del pubblico (Donath et al., 2010).
Seguendo questo concetto, i data portrait sviluppati da Sara Radice specificamente per il progetto TRAME forniscono un “ritratto” delle persone rappresentate, basato su alcuni dati specifici di interesse per il progetto e indipendente dal loro aspetto fisico.

Bibliografia e crediti
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375–383. doi: https://doi.org/10.1162/LEON_a_00011.

I data portraits ideati per questo progetto traggono ispirazione da alcuni progetti di data portraits di Giorgia Lupi, come, per esempio, l’installazione fisica “…Ma poi, che cos’è un nome? ” sviluppata per la Fondazione CDEC presso la Triennale di Milano nel 2018 e i TED Data Portraits del 2017.

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.