Reactions from Gaza to Morsi’s ouster and closure of Rafah crossing

A message to the Israeli Occupation Forces who fear Palestinian Children

According to the Israeli human rights group B’Tselem, a 5-year-old Palestinian boy was detained by seven Israeli soldiers after throwing a stone on July 9th 2013. It is estimated that Israeli authorities arrest 700 Palestinian children every year.

You…

In the army uniform

Rifle in hand

And finger on the trigger

Standing on a hill

Dressed to kill

Breathing in the still

Air of the night

Breathing in

Every drop of light

Leaving only darkness

Breathing in

Every open field

Every tree

Every rock

Breathing in

Our space

Consuming us

And consuming all that surrounds us

You inhale our land

Our freedom

And exhale only oppression

You breathe out insecurity

And fear

Spew toxic words

Your lies

Pollute the atmosphere

Suffocating us

With tyranny

But nothing here

Nothing here

Nothing

Here

Can save you

Nothing can assure you

Or put your mind at ease

Nothing

No armor

No guns

No bombs

Can protect you

From our existence

Nothing you do

Can match

Our resistance

The cries of our babies

Are fierce

To your colonial ears

The cries of our babies

Are fierce

They penetrate you

And pierce

Through your armour

Dissolving it

Like white phosphorous

You

In the army uniform

Inside your tank

Wrapped in steel

Why do you fear

Walking amongst us

Our streets are filled with children

Does that terrorize you

You shoot one

Maim another

Arrest a few

But deep down you know

They will out live you

Out grow you

Out survive you

Their anger will explode

Inside you

So put down your guns

And take your drones out of our sky

Let our children paint it

Pastel blue

With a smiling sun

And a colourful rainbow

Did Facebook kill Arab nationalism? The impact of social media on the drive for democracy in the Arab region

By Samah Sabawi

Social media played an essential role in the early days of the Arab revolutions in promoting and strengthening civil society actors in their quest for democracy.  However, more recently, social media has become a tool used by various movements in the region to disempower civil society and prolong democratic reform by highlighting divisions, polarizing views while making citizens more vulnerable to government propaganda and surveillance. After all, social media is open to anyone who logs in regardless of his or her true or made up identity, intellect, education, nationality or status in society. While this inclusive nature can be viewed as a positive democratic feature, it can have a detrimental impact on the quality, integrity and credibility of the content shared and the information needed in order to create a healthy and informed ‘public sphere’.

The arrival of the Internet opened up new and exciting venues for public deliberation. Transforming the power of broadcasting away from the centralized structure of traditional media to the decentralized nature of the Internet. This has been hailed as ‘the second media age’ (Poster1995). Many sources can now broadcast to many receivers, and citizens have seemingly equal access into this public forum that has global reach. This has transformed the existing political power structures, empowering and amplifying the voices of civil society while challenging the power and control of the ruling class.

Social media played an essential role in this transformation, with Facebook being one of its most popular social networking services, boasting 1.11 billion monthly active users as of March 2013 (Facebook 2013). These numbers continue to increase as users from around the world join the social networking site and form virtual communities unhindered by physical distance, class, ethnicity or gender. Within these virtual communities, strangers who may never meet in real life can become ‘friends’, exchange photo albums, comment on each other’s triumphs and tribulations and share their political and social views of the world. Semitsu (2011) described Facebook as a ‘controlled ecosystem’ where users voluntarily reveal private information about their lives and sometimes even their most intimate thoughts. This has made it a very attractive tool for advocates, corporations and world governments alike, as they all compete for access into the hearts and minds of this large online population in order to dominate the social networking space and to promote their agendas.  The current revolutions in the Arab world offer us great insight into how these cyber battles for space and influence are fought between citizens and state actors.

In the Arab world, the internet offers civil society and opposition groups space where they can express dissent, organize and network, away from the intrusive gaze and control of the authoritarian governments under which they function.  ‘To peruse the Arab social media sites, blogs, online videos, and other digital platforms is to witness what is arguably the most dramatic and unprecedented improvement in freedom of expression, association, and access to information in contemporary Arab history’ (Ghannam 2011). According to a report published by the online resource Arab Crunch, in the year 2010, before the first Arab revolution began, 17 million people were using Facebook in the Arab region with 5 million users in Egypt alone.

The year 2011 saw sweeping protests throughout the Arab world starting in Tunisia and moving to Egypt, then Syria, Jordan, Bahrain, Yaman and in smaller numbers other Arab countries. Howard and Hussain (2013) examined the role of digital media in provoking inspiring and sustaining these popular movements for democracy.  Adopting a comparative method in their approach and taking into account both the diversity and the common shared experiences of the citizens within the region, they argued that even though only a minority of the population in countries that were affected by the ‘Arab Spring’ had internet access, this minority was in fact significant politically as they represented the ‘educated elites’ who have the energy and the financial means to organize. This view was shared by many analysts and pundits who applauded the leading role Facebook and Twitter played in offering the protestors the space needed to organize, strategize, raise awareness and share tips on how to resist and challenge the authority.

Egyptian youth were amongst the first users of Internet in the Arab world to utilize social networking sites as a political tool (Harb 2011). They were the force behind various movements sprouting online focusing on Egyptian police repression and the corruption of the Mubarak regime. These movements included the 6th of April protest movement, which ultimately took its online expression of discontent into the streets, staging protests as early as 2007, years before the Egyptian revolution of 2011 began.

Governments in the Arab world watched these online communities closely and with contempt. Their initial reaction was to meet online criticism with brutality in order to strike fear into the hearts of the offenders while deterring others from such acts, after all ‘It is when power is wedded to chronic fear that it becomes formidable’ (Eric Hoffer 1954). For example, the former Egyptian regime implemented a heavy-handed response to online activism arresting bloggers and torturing and imprisoning them. This gave the regime a mistaken sense of security (Harb 2011), which soon began to diminish as Egyptians collectively decided to break the fear barrier and to take to the streets on the 25th of January 2011.

As protests spread in the Arab region, the important role of social networking became all the more evident as it gave the protestors access to the world community where they were able to amplify their message and receive tactical support. According to Howard and Hussien (2013) boingboing.net was quick to offer guidelines on how to protect anonymity online, an ‘Activist Action Plan’ was translated and hosted by the Atlantic Monthly while Telecomix posted information on how to rely on landlines in order to bypass the state’s efforts to block access to broadband networks. In the week leading up to the fall of Hosni Mubarak’s regime, the number of tweets from Egypt and world-wide about the Egyptian revolution increased from 2,300 a day to 230,000 a day while videos featuring protests and political commentary went viral (O’Donnell 2011).

During the first year of the Arab revolutions it appeared that ‘Digital media provided both an awareness of shared grievances and transportable strategies for action’ (Howard and Hussien 2013), which enabled the rise of the people and the fall of at least three oppressive regimes in Tunisia, Libya and Egypt.  But as time passed, it became more difficult for the people to achieve their democratic aspirations in other countries such as Syria, Bahrain and Yemen, where the protests still rage today. One theory as to why this may be the case was offered by Howard and Hussien (2013) who suggested that a revolution’s failure or success hinges on its citizen’s access to technology.  They argued that countries that have more ‘tech-savvy civil society groups’ such as Egypt and Tunisia were able to successfully overthrow their dictatorships faster and with less ‘casualties’ than those countries that were not as strong technologically such as Syria. While this may be the case, it is also important to consider that just as the protestors were learning from one another the blue print of revolution, the dictators were also learning from one another how to manage these revolutions, drive a counter revolution and gain the upper hand both in the real world and online.

Authoritarian regimes often apply the same blue print in controlling the flow of information and crushing dissent. In fact, Arab ministers of Interior meet annually in order to exchange ideas on how to further secure their regimes. Howard and Hussien (2013) point out that during the last several years, the meetings focused on developing ways to tighten media regulations, increasing censorship and government control and expanding this control to the world wide web. For these governments, it is crucial to establish deterrence by creating and fostering a culture of fear by way of arresting and torturing dissidents.

However, the traditional deterrence factor proved to be no longer sufficient in 2011 when dissent spilled out from the virtual realm into the streets. As the protests spread, Arab governments had to develop new strategies. The first strategy was to censor and block online content while using their state media agents to disseminate their version of events. For example, when the revolution began in Egypt, the regime quickly tried to block Twitter, then Facebook, and to disrupt phone-messaging services. This resulted in an ongoing ‘battle of the blogosphere’ (Ghannam 2011) where citizens relied on proxies to bypass government blockings and firewalls. Two days later, the Egyptian government tried to shut down the Internet all together and even targeted phone networks to disrupt the flow of text messaging. The result was not in the government’s favour.  Feeling a sense of isolation, people who lost their Internet connection and phone services were forced to go out into the streets ‘when they could no longer follow the unrest through social media’ (O’Donnell 2011). It didn’t take long for the tech savvy cyber army of activists from across the Arab World to exchange codes, tips and software to enable Egyptians to access the Internet once again.

When the Mubarak regime finally collapsed, many hailed the Egyptian revolution over attributing its apparent success to social media. Howard and Hussien (2011) even went on to suggest that ‘it is difficult to say whether the revolutions would or would not have happened without digital media’. Others proclaimed that the new media era has ushered in ‘the age of empowered individuals, who use potent new technologies and harness social media to organize themselves’ (Kirkpatrick 2011). But in hindsight, it would appear such views might have exaggerated the role of social media in the drive for democratic reforms in Egypt and beyond.

History teaches us that where there is state oppression, eventually the people will rise with or without the help of technology. Research done on political activism and the Internet also downplays the role of social media as a driver behind political action as it suggests that people who are likely to be politically active online are those who are already ‘political junkies’ (Johnson and Kaye 2000). Therefore, it would be incorrect to contend that without Facebook, the Arab revolutions wouldn’t have happened. As Zahera Harb points out, ‘social media facilitated the revolution when the right moment arrived’ (2011). The incident that sparked the first of the Arab revolutions in Tunisia was not planned on the pages of Facebook, it was a spontaneous act of despair by a Tunisian man who set himself on fire to protest the economic hardships the people of Tunisia endured. It was his act that brought about ‘the right political moment’. Harb notes that the success of the Tunisian revolution is what inspired the youth of Egypt to follow suit and to organize their revolt. In other words, the Tunisian revolution is what brought about ‘the right political moment’ for Egypt’s revolution to begin. Finally, the suggestion that the revolutions were a result of a sudden online mobilization lead by the youth grossly overlooks the importance of the older Arabs ‘whose participation was critical’ (Lust &Wichmann 2012).

More telling of the limited power of the Internet and especially social media in driving democratic reforms is the fact that the revolutions in the Arab region are not over and democracy is yet to be delivered even in places where the regimes did fall like Egypt, Tunisia and Libya. Remnants of the failed regimes and the existing authoritarian regimes are evolving and are becoming more sophisticated, creating and supporting websites that promote their own view of politics and morality while dispatching their foot soldiers online to spread confusion and gather information. Arab officials have also become active on social networking platforms such as Twitter and Facebook (Ghannam 2011) and governments are expanding their state-run media institutions into the online sphere.

Hussien and Howard explored in their work the rise of the counterinsurgency campaigns in the Arab world, pointing to how activists from the Arab region struggled to dominate their country’s hashtags on Twitter as army of advocates for the various Arab regimes used the countries’ hashtags to disseminate countless tweets depicting ‘photographs of national monuments and soccer statistics’ (Hussien and Howard 2013). Another method used by the Arab governments in the cyber battlefield was dispatching an army of anonymous trolls to defend the Arab regimes in order to silence the debate. This was evident when twitter feeds about the protests in Bahrain were suddenly dominated by the appearance of thousands of online anonymous defenders who ruthlessly executed a strategy of abusive attacks on anyone tweeting about Bahrain. Lynch (2013) argues it was the actions of these ‘trolls’ that ultimately crushed the online debate.

The use of anonymous trolls by governments adds to an already confused online ‘public sphere’ in which many activists and civil society actors also choose to remain anonymous for fear over their safety. With anonymity comes the question of credibility and trust. This issue is strongly evident if we observe the ongoing debate surrounding Syria on social networking sites. Videos and graphic photos are constantly being disseminated but many come with no disclosure and no way of verifying their origin or the authenticity of their message. The result of this is a public sphere where people become sceptical of any information they receive unless this information corresponds with their own pre-existing views. Unfortunately, this leads to increasing polarization.

Lynch (2013) argues that the polarization in the Arab world is reinforced within social media discourse, blaming this on the prevalence of the ‘informational bubbles’ that exist within social media. These bubbles do more to fragment and divide than they do to inform and encourage democratic compromise. Most often they foster  ‘a narrow geographic focus’ of the world (Lynch 2013). Lynch’s argument is supported by the fact that Facebook groups are mostly nationally based or driven by a common political or religious agenda.

In the Arab region, the lines have been drawn in social networking space between the various parties to the raging conflicts.  While such trends can strength the various groups internally by reinforcing their beliefs, they do little to encourage positive interaction with other groups who share different points of view.  Lynch (2013) points to the current online interaction between the Egyptian Muslim Brotherhood ruling party and opposition groups and observes that each side is eager to share and disseminate ‘uncritically’ any article that makes the other side look bad, in the final analysis he concludes that ‘the reality is that Islamists and their adversaries retreat to their respective camps, reinforcing each others’ prejudices while throwing the occasional rhetorical bomb across the no-man’s land that the centre has become’ (Lynch 2013).

This is not to say that social media is to blame for the current sectarian divisions in the Arab world. What social media does, is play a role in reflecting the current changes in the ‘texture of Arab politics’ (Lynch 2013) moving away from the traditional hold the Arab regimes had on the flow of information and creating new means by which the battle for control of information is waged.

Therefore, while it may be true that social media offers a new space not previously available for citizens to organize, communicate, and develop new and enhanced tactics of democratization, it cannot be viewed as an ideal space that will bring democracy to the Arab region, as many had hoped it would during the initial phase of the Arab revolutions. Democracy cannot be born nor flourish out of a sphere where the facts can be mixed with fiction, where sources cannot be verified and where accountability is lacking. If anything, social media is now being used to amplify sectarianism and to spread fear and mistrust of the other. And just as messages of Arab nationalism and unity dominated the social media networks at the start of the Tunisian and Egyptian revolutions, messages of sectarian hatred fuelled by the tragic ongoing fighting in Syria is what is now dominating social media networks in the Arab world.  The initial optimism for democratic reform has given way to scepticism while social media has become a virtual battlefield that is being manipulated equally by propaganda from all the different sides, as they all compete for dominance and power both in the turbulent regions of the Arab world and online.

References:

Arab Crunch 2010, ‘Facebook Population: Arabic The Fastest Growing, English Falls from The Majority Leader-ship’, August 30, accessed 11 May 2013, http://arabcrunch.com/2010/08/facebook-population-ar- abic-the-fastest-growing-english-falls-from-the-majority-leadership.html

Facebook 2013, News Room, Key Facts, accessed 14 May 2013, https://newsroom.fb.com/Key-Facts

Ghannam, J. 2011, ‘Social Media in the Arab World: Leading up to the uprisings of 2011’, Centre for International Media Assistance, February 3, accessed 10 May 2011, http://scholar.googleusercontent.com/scholar?q=cache:YEbWlPGY8xsJ:scholar.google.com/+social+media+revolutions+in+Arab+world&hl=en&as_sdt=0,5&as_vis=1

Harb, Z. 2011, ‘Arab Revolutions and the Social Media Effect’, M/C Journal, Vol. 14, No. 2  – ‘diaspora’, accessed 10 May 2013, http://journal.media-culture.org.au/index.php/mcjournal/article/viewArticle/364

Hoffer, E. 1954, The Passionate State of Mind, Harper & Brothers, New York.

Howard, P.N. & Hussain, M.M. 2013, Democracy’s Fourth Wave? Digital Media and the Arab Spring, Oxford University Press.

Johnson, T. J. & Kaye, B. K. 2000, ‘Using is believing: The influence of reliance on the credibility of online political information among politically interested Internet users’. Journalism & Mass Communication Quarterly, 77, 865-879.

Kirkpatrick, D. 2011, ‘Social Power and the Coming corporate revolution’, Forbes, July 9, accessed15 May 2013, http://www.forbes.com/sites/techonomy/2011/09/07/social-power-and-the-coming-corporate-revolution/

Lynch, M. 2013, ‘Twitter Devolutions: How social media is hurting the Arab Spring’, Foreign Policy, February 7, accessed 18 May 2013, http://www.foreignpolicy.com/articles/2013/02/07/twitter_devolutions_arab_spring_social_media?page=0,1

Lust, E. & Wichmann, J. 2012, ‘Three Myths About the Arab Uprising’, Yale Global, 24 July, accessed 1 May 2013, http://yaleglobal.yale.edu/content/three-myths-about-arab-uprisings

O’Donnell, C. 2011, ‘New Study Quantifies Use of Social Media in Arab Spring’, University of Washington, News Release, September 12, accessed 1 May 2013, http://www.washington.edu/news/2011/09/12/new-study-quantifies-use-of-social-media-in-arab-spring/

Poster, M.1995, Cyber Democracy: Internet and the Public Sphere, University of California, Irvine

Semitsu, J.P. 2011, ‘From Facebook to Mug Shot: How the Dearth of Social Networking Privacy Rights Revolutionized Online Government Surveillance’, Peace Law Review, Volume 31 Issue 1 Article 7, Social Networking and the Law, University of San Diego School of Law

EI: Palestine portrayed as plastic state in new art show

The title I Exist (in some way) — an exhibition in Liverpool — came from Syrian photographer Issa Touma, who has also said “they cannot cancel me, so they need to accept me.” Looking at the images in this show, however, one can’t help feeling that it is a record of constraints — and, admittedly, of attempts to overcome them — rather than of freedom.

To illustrate: one of the most celebrated artists in the show is the Palestinian Larissa Sansour. Her contributions come from the Nation Estate series of works, which conceive of a futuristic Palestinian state existing not in historical Palestine, or even in the West Bank and Gaza, but confined to a high-rise building.

One image shows her sitting in the sterile lobby of this imaginary edifice, a directory of the building lists the floors: “-1. Dead Sea; 0. Main Lobby; 1. Souq; 2. Permits and Passports; 3. Heritage Museum; 4. Jerusalem.” The remaining ten floors represent the main cities of the West Bank and Gaza. It is striking that one has to pass through shops, bureaucracies and tidily-assembled “heritage” in a museum before being able to reach the real spaces in which people live and work.

Link to full article here 

Palestinian poet Ghassan Zaqtan and Canadian poet David McFadden win 2013 Griffin Poetry Prize

Digital Journal

Zaqtan

Thursday night at Corus Quay, along Toronto’s waterfront, the winners of the 2013 Griffin Poetry Prize were announced during the annual awards ceremony.

Canadian poet David McFadden won for “What’s The Score?” and Palestinian Ghassan Zaqtan won the International Prize for his “Like a Straw Bird It Follows Me.”

The winners of the Griffin Prize, founded in 2000 by businessman Scott Griffin, each were awarded $65,000. The prize is for first edition books of poetry and are submitted globally.

Read more: http://www.digitaljournal.com/article/352216#ixzz2WRCwfMxq

 

Gaza: 7th Year of Unlawful Blockade (UN HRC SR Press Release)

Richard Falk's avatarGlobal Justice in the 21st Century

Gaza Blockade

Prefatory Note: I am posting a press release of yesterday, 14 June 2013, to take note of the start of the seventh year of the Israeli blockade. After the Mavi Marmara incident, 31 May 2010 and the more recent November ceasefire agreement between Israel and the Gaza government there was an undertaking to ease the blockade with respect to the flow back and forth of people and goods, but the situation remains desperate for the civilian population of Gaza that remains essentially locked into the Gaza Strip where economic destitution has reached epidemic extremes and where the water is mostly unfit for human consumption. The international community, and its main leaders, have commented adversely on the blockade, but nothing happens! It is this sense of powerlessness that is undermining the legitimacy and relevance of the United Nations to the suffering of the Palestinian people, and with…

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Artspace London announces upcoming show ‘From Palestine With Hope’ featuring works by Jeffar Khaldi and Tarek Al‐Ghoussein

June 12, 2013

Wall Street International Magazine

From Palestine With Hope

Jeffar Khaldi, Me Laden and My Middle, 2010-2013, 106cm x 135cm, Oil on Canvas

Artspace London is thrilled to announce the upcoming show, From Palestine With Hope, featuring works by Jeffar Khaldi and Tarek Al‐Ghoussein. From Palestine With Hope will challenge the viewers’ perceptions of the human costin Palestine, as well as their attitudes towards the reality of the consequences of conflict. Artspace London believes that art can nurture hope and peace and this wish for Palestine is strongly seen through the works of Khaldi and Al‐Ghoussein.

Both artists have different styles, yet the major theme of a never‐ending belief in a Palestinian homeland is striking in both their works. From Palestine With Hope comes at a time when many Palestinians are looking to the future for a life free from aggression, occupation, and conflict.

20% of the sales proceeds from From Palestine with Hope will be directly donated to Medical Aid for Palestinians (MAP). Established in the aftermath of the 1982 massacre of Palestinian civilians at the Sabra and Shatila refugee camp in Lebanon, MAP works towards re‐establishing the health and dignity of Palestinians living under occupation and as refugees. MAP is an international, non‐governmental, independent, non‐ political, non‐religious organization. It is with great honour that Artspace London is collaborating on this exhibition with MAP.

Palestinian artist Jeffar Khaldi (b. 1964) was born and raised in Lebanon. Before moving to Dubai in 1995, he studied architecture and interior design in the United States. In his works, Khaldi draws upon his multi‐cultural and diverse upbringing and merges his own experiences and memories with those of the Palestinian people. However, Khaldi is adamant that his work is by no means meant to be political nor does he want to force his opinion onto the viewer – he is more concerned about leading the viewers to draw their own conclusions through the political, social and contemporary images that he uses.

“I am not a political artist but I believe that art must have depth and meaning and should make people think. This work is not just about me and the history of my homeland. It is about making people aware of the past so that we can learn from it and not allow anybody to take advantage of our ignorance.”

With his theatrical use of wit, intelligence, emotion and pop culture imagery, Khaldi’s works successfully questions various notions that are commonly accepted or refuted – depending on the viewer’s own beliefs.

Tarek Al‐Ghoussein (b. 1962) was born in Kuwaitto Palestinian/Kuwaiti parents. Al‐Ghoussein moved to the USA for his BFA in Photography at New York University, and continued his studies with an MA in Photography at theUniversity of New Mexico. Al‐Ghoussein’s early experiences as a photo journalist has affected how he confronts his artistic output and, currently working as a professor of photography, has placed his conceptual and forward‐thinking compositions ahead of many Arab photographers working today.

In the last 15 years while living in the United Arab Emirates, Al‐Ghoussein has witnessed tremendous change that has challenged his understanding of what is meant by the term identity. “Since 2003 I have explored various aspects of “identity” through my work as a photographer. The rapid transformation of the UAE has been a catalyst and starting point for an investigation into issues related to my own personal relation to land and place.”

From Palestine With Hope will present paintings, photography, and mixed media works in a manner to provide a beacon of hope and reassurance that contemporary Palestinian art and charity has a place in the hearts and minds of viewers, collectors and enthusiasts.

Artspace
7 Milner Street
London SW3 2QA United Kingdom
Ph. +44 (0)20 75895499
info@artspace-london.com
www.artspace-london.com

Opening hours
Tuesday – Friday from 10am to 6pm
Saturday from 10am to 4pm

This article appeared here

 

 

Palestinian singer Mohamad Assaf responds to Israeli occupation army spokesperson Avichay Adraee’s ‘lies’

Palestinian singer Mohamad Assaf, a finalist in the Arab Idol TV show has responded to the Israeli occupation army spokesperson Avichay Adraee denying the allegation that he faced pressure to withdraw from the competition by the Hamas government in Gaza. According to Quds news Assaf wrote an angry response on Avichay Adraee’s Facebook page saying he regretted being forced to visit Adraee hateful page which reeked of lies and deception, but he felt he needed to respond.

Assaf wrote that neither him nor his family were threatened or pressured to withdraw and he pointed to how his pictures are hung everywhere in Gaza as proof that the people in Gaza support him. Assaf also responded to Adraee’s comment about him having a ‘brilliant’  voice saying what would really be ‘brilliant’ is if you stop killing our children and stop occupying our land so that our people can enjoy hearing our singing and not the sound of your bombs falling.

Translated from original article in Arabic which appeared at this link http://www.qudsn.ps/article/17585

London: Whole in the Wall first UK solo exhibition by Palestinian artist Khaled Jarrar

Yareah Magazine: This exciting body of work, which includes a new site-specific participatory installation, will be shown in London from 20 June – 3 August 2013.

Khaled Jarrar. Whole in the Wall. Ayyam Gallery London

Khaled Jarrar, Still image from video ‘Concrete’, 2012

Inspired by everyday events and experiences, Jarrar’s practice incorporates performance, video, photography and sculpture to document his observations on life in an occupied Palestine. The restrictions imposed on him and his fellow citizens have become the catalyst and subject of his occasionally satirical artistic output.
One of the highlights of the exhibition is an installation which will see Jarrar construct an imposing concrete wall extending along the length of the gallery; confronting the viewer immediately upon entering the space. In order to pass through the wall visitors will have to clamber through a hole shaped like Palestine – an allegory for the process endured by people crossing the apartheid wall in the West Bank in order to reach their homes in Palestine.
Alongside this installation, Jarrar will show a series of video works and new and recent concrete sculptures based on sporting paraphernalia: footballs, volleyballs, basketballs and ping pong rackets. These are formed from materials secretly chiseled by the artist from the separation wall. By making reference to the footballs left by the wall by children who use the area as a site for their games, and by repurposing this found material, Jarrar seeks to provoke a dialogue about possession and reclamation.
Other recent projects include Live and Work in Palestine (2011 – present) – an entry stamp Jarrar created for the ‘State of Palestine’, which he then stamped into the passports of tourists entering Ramallah. Designed to encourage a collaboration with his audience, the project enabled them to formally record their visit to a ‘stateless’ place – a symbolic gesture to interrogate the gap between an aspirational state and an actualised one. Jarrar has since performed this action in other countries, including the at the Pompidou in Paris and the Norwegian Nobel Institute in Oslo, as well as the 2012 Berlin Biennale; there Jarrar pointed to ‘Checkpoint Charlie’ as a key source of inspiration for the touring project.
A former captain of the Palestinian Presidential Guard, Jarrar is familiar with bureaucracy, politics, military discipline, and affairs of the state. This previous career informs his artistic practice, and much of his work has focused on the action of breaking free from disciplinary modes of being and subverting existing codes of conduct. Whilst explicitly addressing the ownership of land and displacement of people, Jarrar treads carefully but with authority, and offers a potent alternative account of life in an occupied Palestine.
This article appeared in Yareah Magazine

Families Interrupted – Adalah opens an exhibition in support of victims of Israeli racist citizenship law

freehaifa's avatarFree Haifa

Families Interrupted – Adalah opens an exhibition in support of victims of Israeli racist citizenship law

I have a neighbor. He is a quiet man, working hard in construction and after work he would stay with his family. You rarely even see him in the neighborhood. One morning I saw him sitting in the street – he had a story to tell.

He is from Jenin. He married in Hallisa (our Haifa neighborhood) and came to live with his wife here. They are already married for some twenty years but he couldn’t get his papers right. As the occupation gets old, so do many of its victims. So, that night, my neighbor felt his heart was betraying him and hurried to the hospital. Apparently it was not that bad. After checking him and verifying that he was no dying, the doctors in the hospital called in the police, which, at 3:00 am, drove him to Jenin (some 45 km south east of Haifa) and threw him…

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AlMonitor: Palestinian Cultural Scene Thrives Amid Hardships

Palestinian actors perform in the play “Steal Less, Please” in the West Bank city of Ramallah on Feb. 6, 2013. (photo by ABBAS MOMANI/AFP/Getty Images)

By: Lena Odgaard for Al-Monitor Posted on June 7.

In Al-Kasaba Theater in Ramallah, a group of actors were getting ready to go on stage. In the yellow light of lightbulbs framing the mirrors, actresses Amira Habash, Maisa Abd Elhadi and Shaden Kanboura applied makeup, painting their lips bright red and straightening their hair as they prepared to play American high-society girls in the romantic comedy “Holiday.” They laugh as they hear their male counterparts singing and joking in the hall.

“I like this theme because most plays and movies are about the Palestinian cause; there is no variety in the characters we play,” said young Abd Elhadi, who plays Julia Habib, daughter of a rich Palestinian-American businessman who falls in love with an ordinary guy, Jamil Selim, who cares not about money but about enjoying life to its fullest. The spoiled rich girl then has to decide if she is willing to go against her father’s wishes and leave the high-society life to follow love.

The play is originally from the United States and was written in 1928, but the general director of Al-Kasaba Theater, George Ibrahim, altered the characters to be Palestinians to make them easier for the audience to relate to. And though the play isn’t about the Israeli occupation, the play’s themes of love and money are also relevant for Palestinians, as they are for all human beings, said Ibrahim.

“I choose plays that concern society — the next play is about women’s rights. But I thought it was time for a comedy, and maybe next a musical,” said Ibrahim, adding that naturally, politics also dominate the themes of the plays. “You cannot avoid the occupation — it’s controlling us and is present in every part of our daily details. It’s like we are married to it with no way to divorce.”

Ibrahim has run Al-Kasaba Theater first in Jerusalem and later in Ramallah since 1970. And though it’s a struggle to find funding for long-term projects, the theater has survived in a turbulent environment and experiments with many different genres and themes. It is also the only place in the Palestinian territories to offer a three-year degree in drama. But it’s not easy.

According to Ibrahim, people have still not reached a place where they are willing to pay for culture and art. “There’s a lack of this bug I see other places which will drive people to the theater instead of buying cigarettes,” he said, adding that most people just don’t have money because of the current financial crisis in the Palestinian Authority. In many cases, performances like “Holiday” are therefore shown free of charge.

And in spite of the economic and political situations, the Palestinian cultural scene is thriving. Recent numbers from the Palestinian Central Bureau of Statistics show that throughout the past decade the number of theaters has more than doubled, museums have tripled and cultural centers have multiplied seven times from 50 in 2002 to 646 in 2012.

Palestinian Minister of Culture Siham Barghouty attributes the significant rise in cultural venues and activities to the long period of relative calm.

“People want a normal life. Going to the theater or listening to music is part of that — especially among youth,” she told Al-Monitor at her office in Ramallah, adding that during the second intifada in the early 2000s, people couldn’t go out, which killed the cultural scene. But now, 10 years later, the number of people who visit museums or attend lectures, poetry readings or concerts has risen to levels even higher than before the intifada. In Ramallah, colorful posters on every street corner advertise past and upcoming festivals.

According to Bargouty, the Ministry of Culture prioritizes cultural activities in rural areas or cities far from Ramallah where people have fewer opportunities. But she admitted that the ministry doesn’t focus on the Israeli-controlled Area C, which constitutes around 60% of the West Bank, due to Israeli restrictions. She said that even in Jerusalem and in Area B, which is under Israeli security control, they face obstacles if they try to build new venues and risk the military turning an area into a “closed military zone” if they try to arrange a festival.

According to Ibrahim, who has toured the West Bank with a mobile theater showing puppet shows for children, he sees villages in Area C being widely neglected.

“No one goes there. Sometimes I reach a place and there is no electricity and I have had to connect to my car battery,” he said. He sees it as the government’s responsibility to ensure that cultural events also reach these areas.

According to Julien Chiappone-Lucchesi, director of the French Institute in Ramallah, around 80% of major cultural activities happen in Ramallah. He sees the city’s many cafes, coffee shops and political and international institutions fostering an atmosphere of freedom to address even sensitive social and political topics. In his view, this has also lead to an increase in quality with some events, such as the annual Ramallah Contemporary Dance Festival, now offering a better program than its counterpart in Tel Aviv. Chiappone-Lucchesi added that while they are more careful when choosing events in the institutes’ Gaza branch, he never censors events in Ramallah. But the flipside of the vast number of cultural opportunities is competition for an audience.

“In a day, you can have up to three or four events and since it’s often a small circle of the bourgeois who attend, they can’t be at the same place,” he told Al-Monitor.

The American-funded “Holiday” has had no problems attracting audiences. On its opening night May 30, a wide international audience crossed the checkpoints from Jerusalem to see the play, which featured English subtitles on a screen above the stage. But the play also tours other cities and arranges for busses to bring people from rural areas.

“For some, it’s the first time they see a play, and you hear them complain that there is alcohol and girls in the play, or it not being about the occupation,” Firas Abu Sabah, one of the actors, told Al-Monitor with a smile.

Lena Odgaard is a Danish journalist reporting from around the Middle East, primarily on Israel and Palestine. On Twitter:  @l_odgaard

This article first appeared here: http://www.al-monitor.com/pulse/originals/2013/06/palestinian-culture-art-ramallah.html#ixzz2VZjbCw9a

 

AlJazeera: Palestinian pawns Egypt’s refugees

Author visits the “informal village” of Palestinians with no basic rights – not even official refugee status.

Neither Gezirat Fadel village in Sharqiya or its people are officially recognised by the Egyptian government [AP]
 

While Palestinians commemorate the 1948 “ethnic cleansing” of Palestine – the Nakba – the “catastrophe” neither started that year nor has it ended. The Palestinian people have suffered for generations. Today, they continue to be treated as second class citizens in their own homes, denied basic rights of mobility and secure livelihoods in the occupied Gaza Strip and the West Bank and live precariously in refugee camps in Lebanon, Syria and Jordan.

The Egyptian role in Palestine has historically differed from its Arab neighbours. In 1948, Egypt was the only country to close its borders to Palestinians, out of a principled interest in keeping Palestinians within their nation. The policy was in some ways long-sighted, as many of those who fled in 1948 have not been allowed to go back. It has often been suggested that the relative dearth of Palestinians in Egypt, or the higher socio-economic status of this group, could be attributed to this policy.

Palestinian refugees in Egypt

Recently, however, Arab activists have stumbled upon a sizeable group of 1948 Palestinian refugees in Egypt. A few months ago, a group of four Palestinian and Egyptian friends came across the mention of a mass exodus of Palestinians from Bir il-Saba’ village in 1948; the refugees were said to have gone to Egypt. The friends found it strange, as they and others had persistently inquired about the existence of Palestinian refugee groups in Egypt at the Palestinian embassy and organisations in Cairo. They called on others to help them locate this community, which they eventually tracked down.

A few hours north of Cairo, in the Nile Delta governorate of Sharqiya, is the village of Gezirat Fadel. It is aptly named “Gezira” – island – because of its physical isolation at the time of its foundation, and Fadel after the name of one of the founders of the village. For the past 65 years, this village has been almost completely off the radar, by choice or ignorance, of any institution – whether be it the Egyptian or Palestinian authorities, non-governmental organisations or activistsNeither the village nor the people are officially recognised by the Egyptian government, and thus the informal village is left with no infrastructure or public services, and the people with no basic rights – not even official refugee status. Since locating the village, the friends have visited it several times, gathering information on its history and current conditions, and have been lobbying Arab and Egyptian media to shed light on the neglected community.

For the anniversary of the Nakba, they called on other activists to join them to visit Gezirat Fadel, to commemorate the occasion and convey the simple message that this community of refugees would not be forgotten. As Syrine, a Palestinian activist from Jerusalem, put it: “These people, the refugees, are the biggest victims of the Nakba. They are the ones we should commemorate it with.”

I joined over 80 activists, who were predominantly Egyptian and Palestinian, but included Swedes, French, Iranians and others. On an early Friday morning, the buses drove out of Cairo, past the lush Delta fields, through the busy Sharqiya capital of Zaqaziq, and on to a dirt road that eventually became too narrow for the buses to continue.

The activists descended from the buses with dozens of Egyptian and Palestinian flags in hand and a banner that read:

“In memory of the Nakba, Gezirat Fadel will no longer be forgotten.
Egypt and Palestine, one people, one struggle.
From Egypt to Palestine, the revolution continues and will prevail.
We will return, one day, to Bir il-Saba’.”

As we walked towards the village, the path, filled with rubbish and lined with mud brick walls, was an indicator of what lie ahead. After a 20-minute walk, clay houses and Palestinian flags waving from hay rooftops appeared. The villagers, overwhelmingly young children, were excited by the news of visitors and lined the streets, Palestinian kufiyas draped from their necks and greeted us in their mixed rural Palestinian-Egyptian dialect.

While the trip was primarily humanitarian in purpose – the group came with toys for the children and doctors who paid house visits – the political nature of it was effusive. Though the organisers insisted upon the independence of the initiative, the identity of involved activists as core actors from the ongoing Egyptian revolution was belied either subtly or quite explicitly as it appeared on the banner. The ideals of the Arab uprising – ones that insist uncompromisingly on freedom and social justice – translate very directly into political stances which in the case of Palestine not only oppose Israeli forces’ brutality, but also reject intermediaries and facilitators of ongoing occupation and displacement, Palestinian authorities included.

Mired in poverty

In Gezirat Fadel too, politics was palpable. It became starkly apparent throughout the day that the isolation of this village has nothing to do with geography or ignorance, but rather has been constructed by Egyptian and Palestinian authorities and beneficiaries.

As we entered the village, we were greeted by a village head, the “omdeh“. One of the few educated members of the village, he works in Cairo and dressed in a suit that contrasted with a population where village elders were donned in traditional Palestinian dress and others in simple, often tattered clothing.

Standing on an elevated veranda before the villagers and visitors, the omdeh proceeded to warmly welcome the activists and referred to the Nakba as a celebration, a marker of the day that Palestinians will return to their homes, with all the embellishments of Arab oratory. The omdeh described the village in shining terms, claiming that villagers earn decent incomes and thanked for the support from Palestinian authorities and the Egyptians who have welcomed them as “guests”.

The performance stood in stark contrast to the private interactions of the omdeh with organising activists and with the realities of village life. The refugee audience was markedly acquiescent as the omdeh spoke. Among the crowd, an event organiser spotted an employee from the Palestinian embassy in Cairo.

The activists had brawled with the employee days before in Cairo, over the embassy’s persistent denial of the existence of a Palestinian refugee community in Egypt, despite evidence that the embassy had direct ties with the village omdeh and that the ambassador had himself paid a visit to the community. The activists have also had a turbulent relationship with the omdeh since first visiting the village; the omdeh had initially threatened the activists, telling them that he would inform Egyptian intelligence services if they returned to Gezirat Fadel.

The omdeh‘s remarks were incongruent with observations of village life. The conditions in which the Palestinians of Gezirat Fadel live are nothing short of appalling. The village is home to over 3,000 people. Other than a “guest building” – which consists of a large room that is used for community gatherings and is internally adorned with a banner thanking Palestinian Authority President Mahmoud Abbas for his contributions to the community – the village contains literally no public services. To say that the village was marked by poverty would be an understatement – on the way to the village, I spotted a young boy retrieving a tattered shirt from a pile of garbage and sewing it together to wear.

While the Gamal Abdel Nasser government had extended state services to Palestinians in Egypt, making it possible for Gezirat Fadel villagers to use state institutions at the same free or highly subsided prices offered to Egyptians, these rights were revoked in the Sadat era. The refugees must pay international fees to access most basic services; they have no right to property ownership.

A majority of the villagers are employed as day labourers on large tracts of land owned by Egyptian companies or families, as mechanics or in small shops in neighbouring villages, or collect and sort garbage. Donia, a 12-year-old refugee who walks for two hours each morning to join a reading class in a neighbouring village, said she aspires to work “for anyone who will employ me”.

While some mentioned the lack of legal rights, they were quick to thank Egypt for hosting them for so long. The hardships of their present lives were masked with evocations of their lost homeland. While most villagers have never laid eyes on Bir il-Saba’, even the youngest children describe it vividly, adding illustrative accounts of the night their grandparents were bombarded by Israeli fire in 1948, listing the death of relatives and recounting the journey to Egypt.

“We are Palestinian guests in Egypt, and will one day return to Bir il-Saba’,” was an unprompted phrase echoed by villagers of all ages. Eight-year-old Samih offered to show me his grandfather’s olive tree seeds, which he definitively told me that he will one day plant outside his family home in Bir il-Saba’.

Manipulation of power

While the population of many Egyptian villages may suffer from stark inequality and poor services, it seems particularly exasperated in the Palestinian case.

Basic rights for Palestinian refugees have often been presented by Arab officials as a contributor to resettlement, counter-productive to the right of return. What is apparent, though, is that these same institutions, while loudly touting their nationalism and dedication to the Palestinian cause, are largely removed from daily hardships experienced by the refugees.

One activist from Ramallah lamented the irony in the statements of Gezirat Fadel refugees who linked any hardships to a greater national cause and expressed pride in PA President Abbas, while in his home city political elites live relatively luxurious lives.

The link between personal interests and political institutions is a phenomenon that continues to have a real impact on people’s livelihoods in the Arab world. In the case of the Palestinian refugees, this is often intense, as in addition to community dynamics and Palestinian leadership, host countries add a layer of complication.

In the context of the Arab uprising, people are recognising and openly rejecting this manipulation of power. Despite the omdeh‘s threats, activists returned to Gezirat Fadel, openly challenged his statements in front of villagers and refused his monopolisation of the story of the refugee experience.

While for 65 years the right of return has been, and will continue to be, the essential demand of the Palestinian refugees, there is an evident need for an extension of basic rights to a community that suffers exponentially due to the politicisation of its identity. Arab governments’ hypocritical lip service to the Palestinian cause has long been transparent; Arab activists are now determined to bring it to an end.

Sarah Mousa graduated from Princeton University’s Woodrow Wilson School of Public and International Affairs in 2010, and was a 2010-2011 Fulbright Scholar in Egypt. She is currently a graduate student at the Center of Contemporary Arab Studies at Georgetown University. 

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial policy.

Gaza Sky Geeks backs tech startups in the Gaza Strip

The conflict-torn Gaza Strip produces more than 2,000 young graduates with technical degrees each year. Gaza Sky Geeks helps them launch their own high-tech businesses.

By Laura Mortara, Global Envision / May 29, 2013

In the isolated Gaza Strip, economic instability is a constant. But a startup accelerator called Gaza Sky Geeks Laboratory plans to help the region capitalize on one of its biggest assets: its technical graduates.

Between Gaza’s five universities, more than 2,000 young people graduate with technical degrees every year. Mercy Corps started the Arab Developer Network Initiative (ADNI) with a grant from Google.org a few years ago, and a number of programs supporting young entrepreneurs have come out of it, including Gaza Sky Geeks.

The laboratory will support standout technology entrepreneurs in Gaza, providing a wide range of free services designed to help them turn their ideas into viable investments. Global Envision connected with Reem Omran, co-founder of Gaza Sky Geeks, to talk about the effort – and whether Gaza could become the next IT hub in the Arab world.

What’s the blueprint for helping start-ups?
Reem Omran: The primary objective of Gaza Sky Geeks is to prepare start-ups for the next stage. We will provide logistical and consulting services, as well as workshops that can help them turn their ideas into concrete business plans capable of securing investment.

What resources does the accelerator offer?
Gaza Sky Geeks is outfitted with high-speed internet, desktop computers, iPads, and Androids[mc1] so that members have a reliable space to work on their projects. Members also have access to meeting spaces and a coffee shop, where they can network and collaborate on ideas.

What about events?
The accelerator hosts three types of events: workshops, hackathons, and mentorship programs and lectures. The workshops are held on a weekly basis and are designed to help with product development and promotion. Hackathons are held so that programmers have a forum to share ideas and explore software development. And the mentors are brought in to give developers feedback on their ideas and critique their business plans.

At the accelerator, are the resources and events free of charge?
Yes, you only need to be a member to use them.

What are the biggest barriers facing members?
Electrical shortages are common, and Gaza’s reputation as a conflict zone makes it difficult to attract investors. However, at the core the issues are the same as those facing start-ups everywhere. Many technology entrepreneurs are passionate about their field and ideas, but transforming a vision into a viable business plan is tricky. Most people in the IT industry in Gaza don’t receive a business education, let alone have experience running one.

How is Gaza Sky Geeks helping to bridge this gap?
This is where the mentors are key. As I mentioned, most programmers in Gaza don’t have experience running a business, and so sometimes their target audience is off or their marketing strategy isn’t practical, and so on. Mentors can provide valuable constructive criticism so that start-ups can strengthen their goals and infrastructure to become a feasible investment.

In the coming months, Gaza Sky Geeks will select the top five startups to participate in a three-month intensive acceleration program. Selected startups that participate in the acceleration program will be linked with five dedicated mentors who have varying backgrounds and experience. The three-month accelerator will also provide targeted business and technical training so each startup has a scalable business plan and validated prototype at the conclusion of the accelerator. Throughout the three-month program, each startup will work on a one- and three-minute pitch that they will give to potential investors at a Gaza demo day and regional road shows in cities such as Doha, Qatar; Amman, Jordan’ and Cairo.

• Stay up to date on Gaza Sky Geeks on Facebook and Twitter: @GazaSkyGeeks

• This article originally appeared at Global Envision, a blog published by Mercy Corps.

Hundreds of Palestinian refugees arrived into Gaza from Syria displaced for the second time and pushed into the furthest corner of their historic homeland

Yousef Al-Helou from the Real News conducted this report from Gaza on the growing number of Palestinian refugees who have come from Syria into the Gaza strip

 

Egyptian Siege on Gaza Day 5: 2400 Palestinians Stuck At The Rafah Terminal

occupiedpalestine's avatarOccupied Palestine | فلسطين

Tuesday May 21, 2013 08:14 by Saed Bannoura – IMEMC & Agencies

Tuesday May 21, 2013; the Himaya Center for Journalists Defending Human Rights has reported that more than 2400 Palestinians from the Gaza Strip are currently stuck at the Rafah Border Terminal between the Gaza Strip and Egypt, awaiting to be allowed through.

stuck_rafah[1]

In a press release, the center demanded the Egyptian Authorities to open the terminal without any delays, and to refrain from involving the Palestinians in internal issues in Gaza and Egypt.

It also demanded providing the Palestinians, stuck on the terminal, with temporary shelter and the needed care, and added that the border crossing must be continuously operating as agreed upon during meetings and arrangements, and called for applying all related laws.

Egypt closed the Rafah Border Terminal more than four days ago, leaving 2400 Palestinians stuck on the crossing, and preventing thousands of Palestinians from…

View original post 714 more words

High hopes for Palestinian 3-D animated film The Scarecrow

The National

AFP May 18, 2013

Filmmakers in Gaza have finished making what is believed to be the first Palestinian animated feature in 3-D, in a bid to show a fresh perspective on life through a child’s eyes. Called The Scarecrow, the 40-minute production tells the story of a 9-year-old orphan named Rima and the scarecrow she was given by her parents who died in a car crash.

One day, the scarecrow – who represents the guardian of Palestinian land – is taken away by an Israeli soldier from the family’s land near the border and Rima sets off with her school friends on a mission to find it.

It is a story which evokes some of the suffering of Palestinian refugees, says the director Khalil Al Mazen. “The world is used to seeing Palestinian children surrounded by death, destruction and war, but this film focuses on their simple dreams,” he said.

“Judgement (on the conflict) is left to the viewer,” says Mazen, who holds a diploma in filmmaking from the Saint Petersburg Academy in Russia and has already made several films and documentaries.

Read more: http://www.thenational.ae/arts-culture/film/high-hopes-for-palestinian-3-d-animated-film-the-scarecrow#ixzz2TeAGc4lK

The Real News Report from Gaza Palestinians mark Nakba

Part 2 Audio Samah Sabawi Commemorating the Nakba: a 3CR radio special

Exposing the ethnocentric nature of the state of Israel, the ethnic cleansing and denial of rights to the Palestinians and how we can put a stop to it all.

Palestine Festival of Literature: Ahdaf Soueif at TEDxIIMRanchi

Ahdaf Soueif is the author of the bestseller novel, “The Map of Love” (shortlisted for the Booker Prize in 1999 and translated into 28 languages), as well as the well-loved “In the Eye of the Sun” and the collection of short stories, “I Think of You”. Ms Soueif is also a political and cultural commentator. A collection of her essays, Mezzaterra: Fragments from the Common Ground, was published in 2004, as was her translation (from Arabic into English) of Mourid Barghouti’s I Saw Ramallah. She writes regularly for the Guardian in the UK and has a weekly column (in Arabic) in al-Shorouk in Egypt. In 2007, Ms Soueif founded Engaged Events, a UK based charity. Its first project is the Palestine Festival of Literature. Ms Soueif has recently edited Reflections on Islamic Art (BQFP: 2011). Her account of Egyptian events, “Cairo: my City, our Revolution”, was published in January 2012. She is a recipient of the Metropolis Bleu and the Constantin Cavafy Awards (2012) and the first recipient of the Mahmoud Darwish Award (2010).

In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)