Game, set, match = world peace, if for just 71 minutes

Tunisia's Malek Jaziri / 
Center of attention in a political hot-button issue.

In 2013, Tunisia's Malek Jaziri found himself the center of attention in a political hot-button issue no athlete ever wants to be in. The top Arab tennis player in the world was ordered by his country's governing tennis body, the Tunisia tennis federation, to withdraw from an ATP tournament in Tashkent, Uzbekistan, rather than face a Jew, Israel's Amir Weintraub, who happened to his scheduled opponent.

In response to Jaziri's abrupt withdraw, the International Tennis Federation (ITF) banned Tunisia from Davis Cup competition for an entire year, in 2014.

The basic principle is that sports has nothing to do with politics. However, it should be noted that many Arab countries have for decades observed, to varying degrees, boycotts against Israeli athletes as a matter of protest over the situation of Israel's treatment of Palestinians.

"What a lot of people don't understand is that it's a difficult situation for the player no matter what," Reem Abulleil, a Dubai-based tennis journalist for Sport360.com, told the New York Times' Ben Rothenberg during a 2015 tennis podcast No Challenges Remaining. "There's always consequences, whether you like it or not."

Malek Jaziri was the top-seeded player at Istanbul.

Fast forward to this past week in Istanbul, Turkey, where Jaziri was the top-seeded player and Dudi Sela of Israel was the tournament's No. 2 seed in an ATP Challenger Tour tournament, tennis' version of the minor leagues. If the seeds held true – and they did – it would mean an Arab and a Jew would play for the championship of the American Express Istanbul Challenger. Mind you, most tennis fans throughout the world were focused on the semifinal round of the Davis Cup competition.

As the Sunday final approached, despite the fear that the Tunisian tennis authorities may again intervene, the championship match between the 70th-ranked Jaziri and the 74th-ranked Sela went ahead – and without incident. Unlike three years ago, Jaziri's career has been on the upswing this year under the guidance of coach Dejan Petrovic. He's playing better and his visibility on the court has been enhanced by a new clothing endorsement with Hydrogen, an Italian athletic wear company. Earlier this year, the Tunisian achieved a career-best ranking of 53rd. Facing the possibility of further sanctions, perhaps it's safe to assume that the Tunisian tennis federation wised up to the possibility of harsher sanctions by the ITF if it ordered Jaziri off the court. Or, maybe, it has changed its stance on matters of allowing its athletes to compete against all comers without political interference.

Dudi Sela (left), umpire Adel Nour, and Malek Jaziri.

At 3 p.m. Sunday afternoon, Jaziri and Sela, friends off the court, posed for a pre-match photo with Adel Nour, an Egyptian chair umpire. And, the final was on. At the conclusion of their 71-minute match, won by Jaziri, 1-6, 6-1, 6-0, the Tunisian and the Israeli shook hands at the net with sincerity and without any outward appearance of awkwardness. (I must confess, I watched the match at home in the U.S. on my iPhone 6 using the free ATPWorldTour.com feed that was absent of any commentary.) 

The Center Court crowd applauded both players, and when Jaziri returned to the court, he waved and tapped his heart with his right hand. He seemed very genuine in his emotion and appreciative of the reception he received from the fans in attendance.

Malek Jaziri and Dudi Sela shook hands at the net.

The victory gave Jaziri his third ATP Challenger Tour of the season and sixth of his career. Importantly, he earned 90 ATP points, which boosted his ranking to No. 55, as he heads on to his next tournament in Metz, France, this week. The Istanbul champion's purse of $10,800, although modest, was most welcomed by Jaziri.

As the news spread across the Atlantic, a couple of prominent American tennis journalists expressed their sentiment via Twitter. "Forget Davis Cup," tweeted Ben Rothenberg of the New York Times. "This is the biggest thing happening in tennis today. Jaziri-Sela heading toward a third set." Then, after the match, Rothenberg tweeted again: "Game, set match: World Peace. Jaziri, a Tunisian pressured to withdraw against Israelis before, plays, beats Sela." 

Malek Jaziri posed with the championship trophy.

Also, TennisChannel host and commentator Brett Haber tweeted: "Pleased to see Jaziri play Sela in Istanbul final today. I choose to believe motivation was geopolitical progress & acceptance, not Pts & $."

Jaziri got to compete, the fans who attended witnessed a significant match, and the tournament organizers were not short-changed by an empty final. Most importantly, sport overruled decades of Arab-Israeli political differences. 

A source who has been in touch with Jaziri since his victory Sunday suggested to me that there are different people controlling sporting issues within Tunisia than three years ago, which may explain why Jaziri didn't meet any resistance in playing Sela. According to the source, Jaziri suggested that what happened to him in 2013 will not happen again.

For once, there would be no boycott. Instead, it was the players – not the politicians – who decided the outcome of the match.

Photos: Courtesy of Istanbul Challenger Facebook page, Malek Jaziri Facebook page, ATPWorldTour.com live match stream, and @tenisdunyasi via Twitter.

At eye level in Iraq: An invitation to learn more about sorrow and hope

Sadr over Prayer, Thawra, Baghdad, Iraq, April 18, 2003.
Photograph © Thorne Anderson.

Sadr City, Baghdad, Iraq, July 22, 2004.
Photograph © Kael Alford.

Eye Level in Iraq: Photographs by Kael Alford and Thorne Anderson, an exhibition which presented the photographs of two American-trained photojournalists who documented the deep impact and aftermath of the U.S.-led coalition invasion of Iraq in 2003, concluded a four-month engagement at the de Young Fine Arts Museum in San Francisco last weekend.

I viewed this incredibly compelling and moving exhibition Friday evening, which drew upon 62 digital inkjet prints that were representative of the work Alford and Anderson produced over a two-year period -- often under duress. (They were loaned to the de Young by the High Museum of Art in Atlanta.)

In an interview earlier this year with the PBS NewsHour, Julian Cox, the chief curator at the San Francisco Art Museums, told of how he was spellbound by the photos which he first saw in 2006. "I felt vehemently they needed to be seen by a large audience.

"Those kinds of pictures are not typically seen in major art museums. There are one or two institutions across the country that do show these kinds of pictures, but you don't usually see them in art museum context ... The pictures are incredibly moving."

For most freelance photographers who are working in a war zone, getting good action photos and selling them to newspapers and magazines around the world -- as well as merely staying alive -- comprise their daily to-do list. That's what Thorne and Anderson did 10 years ago when they went to Iraq as freelance journalists and covered the beginnings of America's war in trying to rid Iraq of weapons of mass destruction and of Iraqi leader Saddam Hussein.

Maintaining objectivity was paramount and, indeed, they were hardworking photographers. By not being embedded with the U.S. military, it enabled Alford and Anderson, who are now married and teaching at a university in Texas, the opportunity to cover Iraq itself -- to photograph objects of interest -- and to portray the daily life and realities of a people as they were living with war going on all around them. And, although there are no photographs shot in a combat zone, the bravery and commitment shown by Alford and Anderson was evident throughout this haunting exhibit.

"From the beginning I sensed that Americans' view of the war was obscured," said Anderson in his artist's statement. "Perfectly descriptive words like 'invasion' and 'occupation' were sidestepped in our national press. Prisoners, we were instructed, must be called 'detainees.' These taboos felt like veils, and I wanted to tear them away."

According to Anderson, he tried to abandon his preconceptions of war and asked Iraqis to guide him through their experiences of the war. "I went as deep as I could, even behind 'enemy' lines. It wasn't easy. I tried to remain open and nonjudgmental, and I never felt so patriotic as when I was doing this work."

In the years following the events which comprise Eye Level in Iraq, new political leaders have emerged in Iraq. Yet, even today's headlines coming out of Baghdad in which two coordinated suicide bombers targeted a Shiite mosque, killing 29 people and wounding 55 others, are just the latest in a string of attacks to hit Iraq. While violence has surged as well as political tensions, it revives the fear that Iraq could be headed for a return to widespread sectarian bloodshed.

"Violence has breached nearly every household and Iraq's cities have been divided by fear along sectarian lines," according to Alford, in her artist's statement. "Educated professionals have been targeted and millions of people have fled. Today Iraq is widely regarded as one of the most corrupt and dangerous places in the world."

Alford returned to Iraq in 2011 and found the people in her photographs "plagued by insecurity, a deeply iniquitous judicial system, failing public infrastructure, and a wariness of foreign intervention.

"I found men and women haunted by loss and disappointment and young people, as always, pressing toward the future."

Searching for solace in Iraq, Alford found it in the depth of the country's history and its rivers. "The Euphrates River flows south past Babel, the mythical birthplace of languages, where it joins the Tigris River. Together they cradle the legendary site of the Garden of Eden. Although I am one more on a long list of invaders, I am invited by families to sit beside these rivers. We share meals and sweet flutes of tea and trade stories of sorrow and hope."

To learn more about the Eye Level in Iraq exhibition:

http://deyoung.famsf.org/deyoung/exhibitions/eye-level-iraq-photographs-kael-alford-and-thorne-anderson

To watch the PBS NewsHour story "Remembering the Faces of the Iraq War Through the Eyes of Photojournalists":

http://www.pbs.org/newshour/bb/entertainment/jan-june13/iraqphotos_03-21.html