Published on Nov 27, 2012 by TheRealNews
In the war of 1948, thousands of Palestinians were uprooted from their homes never to return, and playwright Amir Nizar Zuabi is determined to tell their stories.
It was six decades ago, but the fallout from the war continues. A few months ago, one fast-rising, rightwing Israeli party tried to introduce a bill that would ban Palestinians from commemorating the Nakba of 1948, their catastrophe (but which Israelis hail as the creation of their state, the apogee of their independence struggle). In the end, the law will probably be watered down, but the principle seems to have wide support. As far as most Israelis are concerned, they won in 1948, the Palestinians lost, and history has moved on. Except, of course, it hasn’t.
Next week, a compelling new play opens at London’s Young Vic, promising to thrust the discomforting story of that war back into public scrutiny. At the age of 33, Amir Nizar Zuabi, the play’s writer and director, is from a generation of Palestinians raised on stories of the Nakba, haunted by tales of how hundreds of thousands of Palestinians were uprooted from their homes, never to return. “We have it as a covert partner in everything,” says Zuabi. “Two of us can sit having coffee and the third person will be Mr Nakba.”
Zuabi was brought up in Nazareth, in the Galilee, where there is a large population of Palestinians living within Israel, and where all around there is evidence of the 1948 war, including ruined villages. One of the razed villages was Baissamoon, a tiny Palestinian community. It is here that Zuabi set his play, I Am Yusuf and This Is My Brother, which tells of two brothers, an ill-fated love, and the dislocation and tragedy brought about by the war.
The play, says Zuabi, began as a personal investigation to scrape away layers of myth. “Why did people make the decision to leave? Or did they make the decision to leave? What would you have done?” Zuabi, living in Israel, found the story had been “hushed up”: “It’s the big taboo, because it’s the primal sin. It is the mother of all problems here. They don’t like talking about it.”
Zuabi’s writing is, however, far from polemical. The Jews who fought to create their state are almost absent; never named, they appear only in the background. “We saw them first in January, then all the time,” says one brother. “They invaded our dreams, our conversation.” Zuabi simply wanted to tell a Palestinian story about Palestinians. “Our narrative is the less known one – history is written by the victors,” he says, but adds: “There is no spite. I find the blame game futile. It’s not like I do theatre to crush Israeli propaganda. I don’t hear Israeli propaganda. I don’t care about it.”
The villagers are divided: should they run or fight? Some see the battle in stark terms. “The war was over before it began,” says one character. “We lost. They won. It was that simple.” But with Britain’s Mandate ending, the same character tells a British officer: “We are not a rubbish heap for your guilt, my friend. We’re in your Middle East and what you sow here you’ll reap in 50 years or 100 years in your lovely London.”
Dropped into the middle of this is the original, sombre recording of the results of the UN vote on the 1947 Partition Plan. Rejected by Palestinians, it was passed by the UN and, but for the war, would have carved Palestine into two states around an internationally protected Jerusalem. “Soviet Union: Yes. United Kingdom: Abstained. United States: Yes . . .”
The play explores the what ifs, says Zuabi. “My grandmother, this Palestinian matriarch, used to say, ‘If you plant what ifs, you’ll sow I wish.’ When I walk around Haifa, in some of the neighbourhoods that are empty, I really have to ask myself, ‘What if that hadn’t happened? What are they doing, these people that once lived here?'”
Zuabi studied acting in Jerusalem, then worked with the al-Kasaba theatre in Ramallah as the second intifada, the Palestinian uprising, took hold. He and his actors produced short sketches that drew unexpectedly large audiences, hungry for relief. The sketches turned into Alive from Palestine, which toured abroad, with runs at the Royal Court and the Young Vic. Zuabi then spent a year working at the Young Vic, studied in Moscow, and returned home to work with the Palestinian National theatre.
I Am Yusuf is the first play from ShiberHur, a new touring theatre company based in Haifa, whose name means Within a Few Inches of Freedom. It has already toured Palestinian villages and refugee camps – communities with little access to the theatre. “We have everything going against us as a theatre movement,” says Zuabi. “Lack of funds, infrastructure, the fact that theatre is not really part of our cultural tradition – we come from a poetic tradition.”
When Zuabi was at drama school, he was the sole Palestinian among Israeli students (one of whom, now a successful actor, later became his wife). Only recently has a drama school opened in Ramallah. Until then, Palestinians went to Israel, if they could obtain the permit, or abroad, if they could afford it. “It’s a new art form for us. We have an audience that’s completely uncatered for and is very thirsty. Once they know theatre exists, they keep coming back.”
He has been surprised by the reaction to the play across the generations. In Jerusalem, an elderly man came up to him after one performance and said: “Thank you very much for telling my story.” In Haifa, a woman in her 20s told him: “I understand my parents better now.” Still, he doubts how much difference one play can make towards unravelling this bitter conflict. “I have to believe it does affect people,” he says. “On the other level, I’m not daft. I know I can’t change the reality. I can’t make a show and tomorrow everyone will walk hand-in-hand.”
I am Yusuf and This Is My Brother Young Vic, London SE1 Starts 19 Jan Until 6 Feb Box office: 020-7922 2922 Venue website
Original article was posted here.
Palestine Stadium in Gaza City was bombed by the Israeli airforce last month during a conflict with the territory’s ruling Hamas party.
(CNN) — A group of soccer stars have called for Israel to be stripped of hosting rights for a top European age-grade tournament next year following last month’s bomb attacks on Gaza.
More than 60 players including Didier Drogba, Eden Hazard, Papiss Cisse and Demba Ba signed a petition which was posted on the website of former English Premier League and Spanish La Liga striker Fredi Kanoute.
“We, as European football players, express our solidarity with the people of Gaza who are living under siege and denied basic human dignity and freedom,” the statement said.
“The latest Israeli bombardment of Gaza, resulting in the death of over a hundred civilians, was yet another stain on the world’s conscience.”
American soccer star playing for Palestine
It cited reports of a bomb attack by Israeli forces on a football stadium in Gaza on November 10, which killed four teenage players, and said that two players from the club Al Amari had been detained in Israel “without charge or trial” since February.
“It is unacceptable that children are killed while they play football. Israel hosting the UEFA Under-21 European Championship, in these circumstances, will be seen as a reward for actions that are contrary to sporting values,” the statement said.
“Despite the recent ceasefire, Palestinians are still forced to endure a desperate existence under occupation, they must be protected by the international community. All people have the right to a life of dignity, freedom and security. We hope that a just settlement will finally emerge.”
Tel Aviv will host the European Under-21 Championship next June, when eight nations will compete in Israel.
European football’s governing body UEFA has already rejected calls to move the tournament from pro-Palestine groups including the disputed territory’s football association.
Refugee United: Palestinians debut at Homeless World Cup
“UEFA is an apolitical organization and (Israel) earned the right to host this competition through a fair, democratic vote,” UEFA president Michel Platini said in June.
“I am sure that it will be a beautiful celebration of football that, once again, will bring people together.”
World football’s governing body FIFA also says it does not interfere in countries’ political affairs, but said it would help rebuild the stadium in Gaza — as it did in 2006 following a similar attack.
“We see it our mandate to rebuild football infrastructure which has been destroyed,” FIFA secretary general Jerome Valcke said last week.
“Football brings people together and we will support any reconstruction necessary when football infrastructure is destroyed through disasters.”
Palestine: A national soccer team without a nation
Valcke’s statement was criticized by Israeli media, which reported that the stadium was used by Hamas militants to fire rockets at Jerusalem and Tel Aviv.
Palestine’s bid for recognition was boosted last week when the U.N. general assembly voted to upgrade its status to that of a non-member observer state — a move which was opposed by Israel and the U.S.
“We came to the United Nations not to confront the U.S. and not to isolate Israel or to discriminate Israel. We came to preserve the two-state solution,” Chief Palestinian Negotiator Saeb Erakat told CNN’s Piers Morgan.
Read original article here.
Published on Nov 15, 2012 by Euronews
http://www.euronews.com/ Qalandiya, the first ever Palestinian Contemporary Art Biennale has been held in Ramallah. One of the most popular displays was a pop art-inspired needlework portrait is of Mohamed Bouazizi, the market stall holder who sparked the beginning of the Arab Spring when he burned himself to death in protest at being rough-handled by the police.
The biennial took its name from one of the most famous symbols of Palestinian separation, the Israeli checkpoint at Qalandiya, which is one of the main crossing points between the West Bank and Israel.
Displaying art installations in hard-to-access Palestinian villages scattered across the West Bank was a gamble, but it worked. People flocked to the Abwein village for a day packed with art and fun.
Using villages as art galleries, and borrowing its name from a crowded refugee camp and Israeli military checkpoint, Qalandiya International was a chance for Palestinian artists of the West Bank, Jerusalem, Israel and Gaza to get together and overcome their politically fragmented world.
Jerusalem artist, Jumana Manna’s short movie was inspired by a 1942 picture of a high society masquerade hosted by Palestinian politician Alfred Roch, a reenactment that has won Manna the festival’s “Young Artist of the Year” award.
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New Age Online Edition December 2, 2012 reported on the inauguration of the 15th edition of Asian Art Biennale at the Bangladesh Shilpakala Academy with the participation of 35 Asia-pacific countries. Amongst the winners was Palestinian artist Bashar Al Hroub who along with Bangladeshi artist Kazi Salahuddin Ahmed, and Japanese artist Meiro Koizumi “won Grand Prizes for their works respectively in mixed media, photography and video installation”.
Read full article here or visit Bashar Al Hroub’s website and find out more about his work.
Translation in French Translation in Arabic
On 21 September 2012, the International Day of Peace, the Nomadic Memorial Cast Lead was first performed in The Hague, City of Peace and Justice. From the 30st October till the 2nd of November 2012, the nomadic monument was shown in Bozar, Centre for Fine Arts in Brussels. For the finissage on the 2nd of November 2012 – All Souls’ Day – the acknowledged Palestinian playwright and actor, Taher Najib gave a lecture-performance.
Reminiscent of a graveyard, the Cast Lead installation consists of 1430 unique books ‘floating’ above the floor in battle-array. Each copy of the book has the name of one of the casualties of Operation Cast Lead, carried out by the Israel Army in Gaza during 2008/2009, on its cover. The books contain texts by writers, artists and thinkers from both the East and West. Each of these books is a monument filled with knowledge that proved incapable of changing the course of events.
Would you like to cooperate in the realisation of this work of art? For the price of €65, you will receive your own unique book as part of the work of art Click to order the book.
map of the installation for Bozar, Brussels
Exhibition Bozar
Taher Najib
BOZAR
www.bozar.be
The project is a co production of Ontwerpwerk, Den Haag; Vlaams-Nederlands Huis deBuren, Brussels; Stef van Bellingen, Erwin Jans and Felix Villanueva.
For more information and to donate to this project go to http://www.gegotenlood.nl/en
Toby Brown LSMedia The Independent Liverpool Student Newspaper
In a brilliantly candid account of topics such as terrorism and the Israel-Palestine conflict, Zayid’s autobiographical stand up deals with the post 9/11 relationship between America and its Arabs.
Having heard nothing about Maysoon Zayid other than she is a Palestinian-American comic with cerebral palsy, it was with large amounts of curiosity rather than anticipation that I headed down to the Epstein Theatre on Sunday afternoon. Even before Zayid stepped on stage, I suspected that I was going to enjoy her take on things. With a fantastic and glowing introduction by Liverpool’s very own Alexei Sale, it was great to see a Jewish comic warming up for his Palestinian counterpart and roundly condemning Israel’s treatment of the Palestinian people.
Maysoon gets her gig underway with her take on the traditional call and response, berating the audience for even daring to feel sorry for her and making light of the jerking limbs caused by her cerebral palsy. The comedy comes thick and fast, with topical stories punctuated with quick, jokes leading up to weighty and often bawdy punch lines.
Using an ever growing number of call backs to previous anecdotes, Maysoon weaves her own narrative along with that of the Israel-Palestine conflict and life in post 9/11 America.
Maysoon’s parents moved to the New Jersey from a small village in rural Palestine and by her own admission her upbringing was exceptionally strict. Her father forbade Maysoon and her sisters from riding a bike or sitting on a seesaw, in what can only be described as a misguided attempt to retain her virginity until her wedding day. The comedy respectfully yet openly pokes fun at some of the more extreme examples of parenting.
Treating her family in much the same way Jewish comics have often conjured up caricatures of the dreaded ‘Jewish mother-in-law’, Zayid refers to her husband as ‘the refugee’ because she first met him in one of the West Bank’s crowded refugee camps. Using tales of visits over to Palestine to see ‘her refugee’ she explains the backward attitudes that a society under such oppression resorts to, at one point telling of how her mother-in-law gathered all the women of the village together to assess whether a disabled person was worthy of her son.
Zayid lampoons the post 9/11 attitudes to Muslims in the US, by conveying the difficulties of being a shaking Arab at the airport who was dropped off by a father with a striking resemblance to Saddam Hussein.
Regardless of the history her people, Maysoon’s comic digs are sharply leveled at both Israeli and Palestinian politicians. Packing out theatres as a listened to voice for the Palestinian people, whether it’s the US or the West Bank, gives her comedy the kind of importance that few achieve, and puts her up there with the very best. She uses her voice and position to raise awareness and address issues that not many politicians, never mind comics, often go near.
The barriers to success that Maysoon Zayid has overcome are larger than most and that alone makes her worth listening to. However, her comic skill in turning the trials of being a disabled Palestinian woman born in America into something very funny, without losing its point, shows her to be a remarkably gifted performer.
Read original article here
Denise Marray
23 November 2012
Khaleej Times
Palestinian artist Larissa Sansour draws inspiration from the political occupation and dehumanising treatment witnessed during her childhood days, and transforms them into profoundly symbolic works of art.
A Palestinian astronaut plants the national flag on the moon and then floats away into space. These sequences, bas-ed on iconic images from the US moon landing and Stanley Kubri-ck’s 2001: A Space Odyssey, are at once startling and moving beca-use they express both profound hope and sadness.
The images, from the short film A Space Exodus, are the work of the Palestinian artist Larissa Sansour, whose name made headlines last year when the clothing and accessories company Lacoste forced the withdrawal of her shortlisted photography artwork from a competition being held at L’Élysée Museum in Lausanne, Switzerland. Her work was apparently considered ‘too pro-Palestinian’.
In response to the censorship, the museum broke off relations with Lacoste, the corporate sponsor, and cancelled the competition which carried a first prize of £21,000. The story of the censorship made headlines across the world, and Sansour and her Danish husband found themselves at the centre of a media storm, which proved both uplifting and exhausting. The censored work, Nation Estate, which has since been developed into a futuristic short film, places the Palestinian people in a skyscraper, supported by the international community, with each floor representing a city — Jerusalem, Bethlehem, Ramallah. The citizens in this luxury development can move about freely, via elevators (no checkpoints), but it is a sterile environment affording ‘freedom’ within the confines of an artificial construct. The skyscraper has views over the Dome of the Rock of Jerusalem — so the inhabitants overlook the real Jerusalem, forcing them to face a painful reality of exclusion and separation.
Speaking from her London apartment, Sansour said she and her husband are taking a much-needed rest after completing the film version of Nation Estate, which took nine months of intense work. Ironically, Sansour had wanted to win the Lacoste Nation Estate photography prize. In the event, the publicity that ensued from the ban raised her profile, and she was able to pour the res-ulting profits from sales of her work into financing the high-end production film made in Copenhagen.
Sansour was born in Bethlehem; her parents met in Moscow where her Palestinian father was studying mathematics. Her mother is Russian and worked in radio in Moscow. Upon returning to Palestine, her father was invited by the Vatican to found Bethlehem University. The family home, recalled Sans-our, was like an unofficial embassy, full of leading thinkers and political discussions. As a child, she drew instinctively and her father encouraged her precocious talent by finding her art classes to attend.
She remembers her childhood as ‘sunny’ but punctured by disturbing moments of images of violence on the street. “I think what it does psychologically, and you can’t shake that off, is that you feel that not all humans are equal. As a kid that sends a strong message: ‘You’re Palestinian so you will be treated like dirt.’ It becomes cemented — this dehumanisation — from an early age.”
When she was 15, her family life with parents, brother and sister, was harshly disrupted with the ons-et of the First Intifida, an uprising against the occupation of the Palestinian Territories, which lasted from December 1987 to 1993. Her parents, in an effort to protect her, sent her to boarding school in England, where she studied for her O and A levels. Her memories of this time, she said, are full of gloomy grey skies and a feeling of alienation. Those years sowed the seeds of an aversion to London, which she has only recently overcome. She now loves the international buzz of the city, with its vibrant cultural scene.
After returning to Palestine for high school, she then set off for the United States, studying art first in Baltimore and then in New York, where she completed her Masters. She continued her Fine Art studies in Copenhagen, Denmark, where she met her husband, a writer, who works with her on the film scripts. The couple, who moved to London three years ago, have a five-month-old daughter, whose joyful arrival has meant a shift in priorities.
A Space Exodus was showing at the Edge of Arabia’s ‘Come Together’ exhibition in the heart of London’s East End last month. Artists from across the Middle East showed contemporary work using a wide range of mediums and expressing powerful ideas.
Edge of Arabia is unique in engaging directly through educational programmes with the local East End community. This approach is appreciated in an area of London where, after years of social deprivation, a burgeoning arts scene has given a new lease of life to the once run-down streets, but left many residents feeling excluded. “We’re proud to be the education partner with Edge of Arabia,” said Narull Islam, co-founder of the Mile End Community Project.
“This is probably the first exhibition that has really engaged with the local community. They have got the young people involved; that’s really refreshing. It gives our young people confidence to meet renowned artists.”
Article appeared here khaleejtimes.com
When all we have are words to keep the dignity of those killed alive… Palestinian poet Rafeef Ziadah in her moving tribute to a child named Hadeel killed by the IDF in Gaza.
By Abdullah H. Erakat, Ramallah
Yasmin Qadmany’s parents did not want her to study acting. In fact, they tried to prevent the 26-year-old engineer from doing so, to the extent that when she told them she was going to follow her heart, they stopped talking to her. That was three years ago, and next year she will graduate. But before she does, she and fellow thespians at the Drama Academy in Ramallah will put on a production of “Romeo & Juliet.”
“I faced difficulties. But I overcame it because I saw it as a challenge,” says Qadmany noting that her relation with her family is now better than ever. Qadmany is gearing up for another challenge in late November: a two-week workshop taught by the all-female company, the Manhattan Shakespeare Project.
Sarah Eismann, the founding artistic director of the Manhattan Shakespeare project says the project came about last year after she performed in an international production of “A Midsummer Night’s Dream” at the Folkwang University of the arts in Germany. Students from Palestine’s Drama academy also made up the cast.
“They were just incredible artists, as well as passionate, courageous and really wonderful people. So when their director asked if I wanted to work with them again, I was like yeah, of course, I would love to,” she adds.
The Drama Academy managing director Petra Bargouthi says the workshop, (English with Arabic translation), is an excellent way to prepare her students for next year’s Shakespeare festival in Germany.
“Language is the most important character when it comes to Shakespeare. It’s a game of language, so this will be very helpful for our students to understand and discover the poetry in Shakespeare,” explained Bargouthi – also a movement therapy instructor – in an interview with Variety Arabia,
The academy, the first of its kind acting school in Palestine, is located in downtown Ramallah and is hosted by Al-Kasaba Theatre and Cinematheque.
Teaching artist Jensen Olaya says she hopes that she and her colleague Eismann will contribute to the “already rich curriculum” of the Academy.
Olaya explained that the sessions will be recorded by film documenter Lena Rudnick: “I feel that Shakespeare is a widely used tool to teach theatre and performance. I feel like his themes are universal on the smallest, most intimate level and I hope that the universal themes can help us connect past cultural and political divides,” she wrote in an email to Variety Arabia.
It’s not only her first trip to the Palestine, but to the Middle East. While she says there are people in Ramallah who have already welcomed her, Olaya says she still cannot quite comprehend that she is actually going and does not know what to expect.
“We have received support – both financial support and moral support – from people in the US and I feel like I have a lot of people who are hoping that I go out there and return with wonderful stories to share about Ramallah and its’ people,” Olaya adds.
“It’s a little scary,” says second-year acting student Rabee Hanani, who has mostly been educated in Germany, but his feelings are more of curiosity than fear.
“By being exposed to different cultures from different countries in the world, we gain more,” he said.
Third-year Drama Academy student Jihad Al Khateeb says he hopes this workshop will make him a better actor, not only in performing Shakespeare, but in general.
“I think the most important thing is how to do Shakespeare the way he intended for us to do it,” says the 24-year old.
Leaving Ramallah, Olaya and Eismann will head north to Jenin’s Freedom Theatre, where they will carry out the same thing.
The venue made the news headlines in April 2011, when its co-founder Juliano Mer Khamis was murdered in broad daylight by unknown men on the steps of the theatre.
Managing director Jonatan Stanczak said the incident caused some students to drop out of the student theatre acting school, but things are now back on track.
Currently, British director Diane Trevis, the first woman to work with the Royal Shakespeare theatre, is conducting a workshop there.
“I am aware that Shakespeare is a very important component of any actor’s development. It’s a great opportunity for us to have one of the best Shakespeare troupes in the world working with our students,” adds Stanczak, who is a nurse by profession.
“We believe culture is the glue that keeps everything together and it is also the process that allows Palestinian society to form itself around ideas,” he said.
“Most of the people who come to Palestine and do the workshop become more aware of the Palestinian life and Palestinian humanity,” says Bargouthi. “I hope this will be a way of knowing us and understanding us and also for our students to see how people perceive them.”
“I merely want to connect as an artist on a human level: person-to-person, overcoming political barriers,” said Olaya.
Eismann says the Manhattan Shakespeare project is simply excited because it is their first venture into creating international relationships.
“We’re not there to make a political statement. We’re just there to create theatre, and to create art,” she concluded.
The story was originally published in Variety Arabia November issue.
Marika Sosnowski talks with Samah Sabawi about Gaza, poetry, politics, music, culture, the upcoming play Tales of a City by the Sea plus much more. http://marikasosnowski.com/2012/11/babel-4-samah-sabawi/
By Samah Sabawi
Israel’s current assault on Gaza will not bring Israel peace nor will it force the Palestinians to surrender. Three years ago, Israel launched a brutal attack on the city it occupies and besieges killing more then 1400 Palestinians, mostly civilians, and injuring thousands more while destroying most of Gaza’s infrastructure and turning vast landscapes where houses once stood into rubble. What happened in the years since then is a testimony of the Palestinian people’s real weapon – tenacity, a weapon no one in Israel can understand nor truly match. A weapon Palestinians possess that will see them through until they gain their freedom.
When foreigners visit the Occupied Territories they are often struck by just how resourceful Palestinians are, how positive they remain and how ineffective Israel’s policy of subjugating them is. Yes, Gaza is an impoverished, besieged, overcrowded and occupied strip of land, but a closer look helps shed some light on exactly what it is that Israel is up against.
This past year, despite the crippling siege on Gaza, some amazing things happened. Gazans stood on the cutting-edge of urban agriculture: they were learning through a UN funded project to produce fish and vegetables on their tiny rooftops. The skill of learning to farm without soil in confined spaces is necessary in a place like Gaza where 1.6 million residents are cramped into 360 square kilometers of land and where much of the agricultural land is off limits because Israel maintains a 300-metre deep zone along the length of the border fence denying Palestinians access to their prime agricultural land.
Gaza opened its first ever paintball park bringing equipment and protective clothing through the tunnels that link Gaza with Egypt. The game referee Rami Eid told Reuters this was important so “the youth of Gaza can play games that are played around the world”.
Gaza also hosted this year for the first time an actual circus along with clowns and acrobats. The circus that travelled through Egypt’s Rafah border brought happiness to many children who had never had such an experience. Gaza also hosted its first ‘PalFest’, an international Palestinian literature festival along with poets and musicians coming from all over the world.
If that’s not enough to impress, Gaza opened its first restaurant for the deaf. The stylish Atfaluna restaurant near Gaza port was hailed as one of a few facilities for the disabled in a besieged impoverished city where waiters and cooks use sign language. The restaurant was realissed with help from the Drosos Foundation of Switzerland in order to generate income for the deaf in Gaza, where the unemployment rate is over 25 percent.
This year, as always, the youth in Gaza were finding ways to express their creativity and their skills. From amazing daredevil Parkour, learning how to surf, to rap songs and art exhibits, they were finding their confidence and were healing from the aftermath of the trauma of Israel’s last destruction of their city.
This year, Gazans lead the way to inspire people around the world as they literally turned rubble into art. Gazan women driven by the determination to self-empowerment mixed with environmental awareness turned garbage and rubble into pieces of art that can be sold, this project was made possible with funding from the non-government organization ‘Supporters of Palestinian Environment’.
Despite the restriction on building supplies, Gazans used the tunnels to bring in cement and iron and have rebuilt many of the structures that were destroyed. A highlight for many was the walkway ‘corniche’ by the sea side which many proudly posted photos of on their facebook profiles.
Within the walls of their big prison and in spite of the siege and the frequent Israeli bombardment, the people of Gaza managed to find the space to create, to dream, to build and to hope. This is the essential stuff that resistance is made of. This is why Israel’s recent attack will not defeat the Palestinians and will only hurt Israel in the end, exposing it for the tyrannical state that it is.
Israel has launched a war to break the Palestinian spirit, to destroy all they’ve rebuilt, to uproot all that they’ve replanted. This is a war on the Palestinian people’s tenacity to resist despair. Israel will lose this war because it fails to understand what it is up against. A state that only knows how to destroy will never understand the art of turning rubble into masterpieces.
In January 2009 when Israel bombarded Gaza for three weeks, they called their assault ‘Operation Cast Lead’, Amnesty International had a better way to describe it; they called it ’22 Days of Death and Destruction’. Today, we are reliving that nightmare once again, and once again I find myself searching for words…
Searching for words
Gaza…I search desperately
For words… for definitions
To tell the story of ammunitions
Exploding in a child’s body
I try to shout my indignation
But I am lost in vocabulary
Drowned in phrases as old as me
And I am as old as the Occupation
I need new words
How hard it is to find
Definitions that can restore
Humanity to a small strip of land
Along the Mediterranean shore
Siege, starvation collective misery
Familiar words in my head they linger
Bombs fall from the sky every day
Powerless words I can’t use any longer
I need new words
“Palestine is occupied….”
These are now hollow words…
“Palestinians are oppressed…”
These are now daily words…
“Palestinians are dispossessed”
These are now…tired words
“Palestinians….have a right to exist”
Words often spoken…worn out words
I need new words
Gaza…my home city
My earliest memory of Jasmine flowers and meramiah tea
My first taste of sour lemon dipped in salt
My first climb on an almond tree
Gaza, my destiny
My father’s heart sky and sea
My mother’s first love
My sister’s first breath
My pride and dignity
Gaza is under fire
Obliterated by hate
Strangled by a demonic desire
To erase my history
Gaza is in pieces
And I…the writer…
I’m speechless
What language can possibly save me?
What words?
Samah Sabawi January 2009
Press Release: A new Gaza Massacre!
14.November.2012
Besieged Gaza, Occupied Palestine–The Palestinian Students’ Campaign for the Academic Boycott of Israel, University Teachers’ Association and The One Democratic State Group condemn in the strongest possible terms the criminal Israeli attack against innocent Palestinians in the Gaza Strip. More than 7 people have been killed within the last 6 hours, including 7-year-old child Ranan Arafat. Charred bodies of injured children are pouring in to Al Shifa hospital and the other depleted hospitals around the Gaza Strip. This heinous crime also comes one week after the re-election of Barak Obama for a second term. Tel Aviv claims to have been given the green light to annihilate as many Palestinians in Gaza as possible.
Gaza has been enduring Israeli policies of extermination and vandalism since 2006. We reiterate our condemnation of the international conspiracy of silence and Arab impotence in the face of these continuous Israeli crimes. We note that not a single action against Israel has been taken by any Arab country. Will the Arab Spring stand aside and watch while we are being butchered? Empty rhetoric will no longer be accepted. Words of condemnation have to be translated into action!
We also reiterate our call on all civil society organizations and political parties to boycott Israeli embassies and compel their governments to sever their diplomatic ties with Apartheid Israel. This time, Apartheid Israel must not get away with its crimes against the innocent civilians of Gaza. All students and academics should stand in solidarity with their Palestinian colleagues and peers. We ask, what more does the international community need to see to be convinced to act than the dozens of dead corpses of children in Gaza? It is left to civil society and people of conscience to stop the ongoing massacre in Gaza.
Inaction has led us to this point.
ACT NOW BEFORE IT IS TOO LATE!
One Democratic State Group
Palestinian Students’ Campaign for the Academic Boycott of Israel
University Teachers’ Association
—
When I was young it all seemed like a game
Living here brought no sense of shame
But now I’m older I’ve come to understand
Once we had houses
Once we had land
They rained down bullets on us as our homes collapsed
We lay beneath the rubble terrified
Hoping.. Dare we dream?
We gave up waiting
For us, to dream is still a dream
When I woke up, the house was broken stones
We suddenly had nothing
And nothing’s changed
We live, eight people, in this overcrowded heat
Factory-farmed animals living in our own sweat
Living like this is all my baby brother ever knew
The world does nothing. What can we do?
We will kick the ball
We will skip the rope
We will play outside. Be careful
We will paint and draw. We will say our prayers
Outside the pitiless sun bleaches the broken streets
The darkness drops in the evening like an iron door
The men play cards under torchlight
The women stay inside
Hell can erupt in a moment day or night
You ask for trouble if you stray too close to the wall
My father died ..feeding the birds
Mum goes in front of me to check for soldiers
For every hot-head stone ten come back
For every hot-head stone a hundred come back
For every rocket fired the drones come back
For thirteen years the roads have all been closed
We’re isolated. We’re denied medical supplies
Fuel and work are scarce. They build houses on our farms
The old men weep. The young men take up arms.
We’re packed like chickens in this town of block cement
I get headache from the diesel. When it rains, the sewers too
I had no idea what martyrdom meant
Until my older brother.. my older brother
I’m sorry. I can’t continue.
You sow the wind, you reap the whirlwind, it is said
When people know they have no future
Can we blame them if we cannot tame them?
And when their hopes and dreams are broken
And they feel they might as well be dead
As they go, will we forgive them
If they take us with them?
Stay close
Stay home
Stay calm
Have faith
With the love of our family we can rise above anything
Someday surely someone must help us
With the love of our family we can rise above anything
Someday surely someone must help us
Even now we will go to school
Even now we will dream to dream
Someday surely someone must help us
Nothing’s ever simple – that’s for sure
There are grieving mothers on both sides of the wire
And everyone deserves a chance to feel the future just might be bright
But any way you look at it – whichever point of view
For us to have to live like this
It just aint right
It just aint right
It just aint right
We all want peace and freedom that’s for sure
But peace won’t come from standing on our necks
Everyone deserves a chance to feel the future just might be bright
But any way you look at this – whichever point of view
For us to have to live like this
It just aint right
It just aint right
It just aint right
It’s like a nightmare rose up slouching towards Bethlehem
Like a nightmare rose up from this small strip of land
Slouching towards Bethlehem
It’s like a nightmare rose up from this small strip of land
Slouching towards Bethlehem
Stay close
Stay home
Have faith
I can’t know what twist of history did this to me
It’s like a nightmare
With the love of our family
We can rise above anything
Some day surely someone must help us…
By DIAA HADID Associated Press
NUS JUBAIL, West Bank—The Palestinian olive harvest, an ancient autumn ritual in the West Bank, is going upscale.
In an emerging back-to-the-land movement, Palestinian farmers are turning the rocky hills of the West Bank into organic olive groves, selling their oil to high-end grocers in the U.S. and Europe.
The move is a reflection of the growing global demand for natural, sustainable and fairly traded products, albeit with a distinct Palestinian twist. The hardships faced by local farmers, ranging from a lack of rainfall to Israeli trade obstacles, mean that organic growing is one of the few ways Palestinians have to compete in outside markets.
“The Palestinian future is in the land,” said farmer Khader Khader, 31, as he stood among his organic olives in the northern West Bank village of Nus Jubail.
Organic farming has grown into a thriving business, by Palestinian standards, since it first was introduced in the West Bank in 2004. Now, at least $5 million worth of organic olive oil is exported annually—about half of all Palestinian commercial oil exports, said Nasser Abu Farha of the Canaan Fair Trade Association, one of the companies that sells high-end organic olive oil to distributors abroad.
The West Bank-based company purchases the oil at above market prices and pays what’s called a “social premium”—extra money to farming cooperatives to improve their communities.
About 930 farmers have fair-trade and organic certification, while another 140 are “converting” their land—a two- to three-year process during which they stop using chemical fertilizers and pest controls while monitors from Canaan and the Palestine Fair Trade Association provide training and check soil for chemical levels.
Their work is overseen by the Swiss-based Institute for Market Ecology, which is accredited to certify organic products for the U.S., E.U., and Japan. Hundreds more farmers are simply certified as fair-trade, where they and their workers are paid decent wages for their work and produce.
The trade is tiny when compared to major olive growers like Spain, Italy and Greece. But it’s significant for Palestinians, for whom harvesting olives is a cultural tradition that gathers even the most urbanized families.
An average of 17,000 tons of olive oil is produced in the West Bank every year by thousands of farmers, according to aid group Oxfam, which works on the olive industry. Most is for local or personal use, and only about 1,000 tons is exported a year, though that number is likely higher since many farmers sell oil informally through relatives abroad, Abu Farha said.
Organic farmers hope the high-end trade will keep them on their lands, despite difficult odds and high overhead costs.
Palestinians seek the West Bank as the heartland of a future independent state. Most of the 2.5 million Palestinians in the West Bank live under a semi-autonomous government. But Israel, which captured the West Bank in the 1967 Mideast war, wields overall control. Roughly 500,000 Jewish settlers live in the West Bank and neighboring east Jerusalem, taking away resources.
More than 120 Jewish settlements dot the West Bank, often encroaching on Palestinian farmlands or preventing farmers from reaching their land. Israel’s separation barrier, built to prevent militants from entering Israel, has swallowed nearly 10 percent of Palestinian farmland, according to U.N. estimates, limiting access and lowering yields.
Israel also controls more than 80 percent of the West Bank’s water in lopsided sharing agreements, said Palestinian water official Ribhi al-Sheik. In other areas dilapidated water pipes have wasteful leaks. Most farmers depend on rain and unlicensed wells, depleting already-stressed aquifers. In some parts, Israeli military authorities also ban rain-collecting cisterns. Badly planned Palestinian towns have paved over fertile lands.
Outside markets for fresh produce aren’t profitable. Goods must cross through Israeli-controlled export crossings, causing delays and lowering quality through exposure to sunlight and constant reloading from one truck to another.
Israeli military spokesman Guy Inbar said the long export process was solely for security reasons and “not intended to harm” exports, noting that Palestinians export some 100,000 tons of fresh produce a year. He said Palestinians access more water than what is allowed for under sharing agreements and that farmers with permits are able to reach land on the other side of the separation barrier.
The challenges sparked a new way of thinking: Palestinians had to make finished goods that could survive the rough growing conditions and lengthy journey to outside markets.
Fair-trade, organic products that can be rain-fed, particularly olives, were the perfect solution.
“It’s the future of Palestinian exports. The future is in added value, through environmental and social accountability,” said Abu Farha of Canaan Fair Trade. “People want to know: “Where is this oil coming from? Whose life is it changing?”
The changes are visible in Nus Jubail, a village crowded with olives and pines, its 400 residents in houses with blue doors and rooftops sheltered by grape arbors. A decade ago, most residents pressed their oil for personal use. Little was sold commercially and prices were low, said Khader, the farmer.
Around 2004, agricultural activists formed the Palestinian Fair Trade Association, seeking out farmers across the West Bank. They persuaded Khader to establish an organic cooperative of five farmers, allowing them to collectively press their olives and sell better-priced oil.
During the three-year conversion process, Khader and his colleagues were taught to grow olives without chemicals, pruning and plowing instead of using herbicides and fermenting sheep droppings into fertilizer. Once certified, Khader and his partners sold their oil above market prices, attracting other recruits. Now 18 of the village’s 30 farmers are organic.
This year, organic oil is selling for about $5.40 a liter—a dollar higher than conventional oil, said Abu Farha of Canaan Fair Trade, which purchases much of the oil. Other independent farmers are selling directly to consumers for $9 a liter, far above market price.
Farmers are going organic on other products, such as maftoul, a chewy sun-dried staple resembling couscous, as well as dried almonds and a spicy herb mix called hyssop.
But high-end oil is key.
In Whole Foods supermarkets in New York and New Jersey, it’s sold under the “Alter Eco” brand, Abu Farha said. It’s in Sainsbury’s in Britain, and in boutique shops globally through Canaan and other distributers. Dr. Bronner’s Magic Soap, a popular organic, fair traded vegan soap, sources 95 percent of its oil—some 165 tons—from Palestinian growers, the soap company said.
Even so, challenges abound. Palestinian oil production is irregular because they can’t irrigate their crops and export costs are still high. Abu Farha of Canaan said some farmers have cheated by mixing conventional oil into their products.
Still, the move toward organic, sustainable farming is an important, elegant fight.
“I don’t throw rocks,” said farmer Khader, referring to young men who frequently hurl stones during demonstrations. He pointed to his rock-built terraces. “I use them to build our future.”
This article appeared in http://www.mercurynews.com/breaking-news/ci_21962774/palestinian-farmers-turn-organic-farming
Details Published on Monday, 05 November 2012 08:46
PNN
Thirsting for Justice Campaign said in a press release that during November 2012, the Ride for Water Justice! is taking place in communities impacted by Israel’s illegal appropriations of Palestinian water resources.
The Ride includes guided walks, Playback Theatre performances, and community discussions about water apartheid and the broader struggle for freedom and justice in occupied Palestine. Audience members share autobiographical accounts and watch as a team of actors and musicians instantly transform these accounts into improvised theatre pieces. Playback Theatre provides opportunity for education, advocacy and community building.
The Ride started on Friday, November 2, in the village of Faquaa (in the Jenin district), one of many Palestinian communities impacted by Israel’s illegal appropriations of Palestinian water resources.
In the next Fridays, Palestinian and international activists, students, journalists, artists and the wider public are invited to join any or all of the Ride for Water Justice events:
November 9th: Attuwani, South Hebron Hills
November 16th: Al Hadidiya, Jordan Valley
November 23rd: Gaza via Video Conference
This four time event is organized by the Freedom Bus and EWASH’s West Bank local partner Juzoor.
The Freedom Bus is an initiative of The Freedom Theatre that uses interactive theatre and cultural activism to bear witness, raise awareness and build alliances throughout occupied Palestine and beyond.
Juzoor for Health and Social Development is a Palestinian non-governmental organization based in Jerusalem working at the national level, dedicated to improving the health and well-being of Palestinian families and promoting health as a basic human right.
The Emergency Water, Sanitation and Hygiene group (EWASH) is a coalition of almost 30 organisations working in the water and sanitation sector in the occupied Palestinian territory.
The Freedom Theatre: http://www.thefreedomtheatre.org/
Thirsting for Justice Campaign: http://www.thirstingforjustice.org/new
Juzoor: http://www.juzoor.org/portal
For further information about the event, visit
https://www.facebook.com/events/429492253776932/?ref=ts&fref=ts
Tales of a City by the Sea 