Reaching Out to Women Through the Airwaves in Palestine

May 7, 2013 • 11:00 pm

The Yale Globalist

BY ERIN BIEL

Cruising around Ramallah in June 2010, Yazan Samara, a thirty-two -year-old music and production su­pervisor, was fiddling around with the dials on his radio. “I felt like listening to some other genres of music than the ones that I have on the CDs in my car, which led me to check the local radio stations. Surprised, I heard one of them stand out with the name ‘96 NISAA FM!’” Samara recounted.

NISAA FM’s radio sweeper, the pre-re­corded promotional used by radio sta­tions as a segue between songs and pro­grams, lilted across his radio [in Arabic]:

Wherever you are (female “you’ ’)

We shall talk about you

extensively and in details

So you won’t say

We have forgotten you

We have thought a lot about you

Nisaa means “women” in Arabic, and NISAA FM is the first and only radio station in the Middle East solely dedicated to wom­en’s issues. “It grabbed my attention that we have a women’s radio station in Palestine, which is unique, and from that point I start­ed listening to it,” Samara recalled. A month later, Samara heard that NISAA FM was hir­ing. The US-trained information technol­ogy specialist left his job at the Palestin­ian Broadcasting Corporation and joined a team of what is now six women and three men, plus a number of volunteer string­ers, who compose the staff at NISAA FM.

biel 2

While his gender may make Samara seem an unlikely candidate for a radio station focused on women’s issues, Sa­mara does not view his job in gendered terms—and neither does the station. As Maysoun Gangat, the director of NISAA FM, explained, “we recognize the importance of men as partners for change, rather than enemies or partisans.” As such, the radio station commonly interviews both male and female experts on a given program topic, and the daily segment Eileh (“Fam­ily”) caters to both husbands and wives.

However, the radio station does not gloss over the evident gender disparities in Palestinian society. A 2009 study published by the Gaza-based Palestinian Women’s In­formation and Media Centre found that 67 percent of Palestinian women reported be­ing subjected to verbal violence on a regular basis, 71 percent to psychological violence, 52.4 percent to physical violence, and 14.5 percent to sexual violence. Aware of the hurdles that women face in society, NISAA FM aims to project a discourse of women’s empowerment, rather than victimization.  Gangat believes that by focusing on wom­en’s stories of achievement, female listen­ers will realize their own potential as well: “NISAA FM is all about inspiration and em­powerment. Inspiration is very important in our society. Through [the] airwaves we can share our experience and knowledge, and support women to realize themselves.”

The radio station first began as a web radio station in December 2009 with the support of the Womanity Foundation, a Swiss non-governmental organization that launches women’s empowerment pro­grams around the world. Yann Borgstedt, founder and president of the Womanity Foundation, decided to test the concept in the Palestinian territories after starting a similar radio station for women in Afghani­stan. Through personal contacts, Borgst­edt was introduced to Gangat, then the managing director of RAM radio station, the first English radio station in the region. Funded by a South African businessman, RAM sought to connect Palestinians and Is­raelis on issues that concerned both parties through a neutral language. Having caught the “radio bug” while working there, “I came to NISAA FM with a spirit to create a station [that would] connect Palestinian women together…[and] engage more women in senior positions in media and empower them through media,” Gangat explained.

biel 1

Borgstedt, impressed by Gangat’s ex­perience and entrepreneurial spirit, pro­vided her with the seed money necessary to officially launch NISAA FM in June 2010. Now the radio station can be heard in the central, northern, and southern regions of the West Bank, and can also be streamed online. While most of the listenership comes from the Palestinian territories, there is also significant listenership among European nations, the United States, and Egypt. In 2011 the station ranked as one of the top five most popular sta­tions in the central West Bank, according to Jawal Telecommunications Company.

NISAA FM is markedly non-political and secular in a region commonly characterized as otherwise. As Gangat asserted, “Person­ally, I do not believe that religious beliefs fuel gender inequality. Islam as a religion has called for the equality between men and women… We still see some Christian families in Palestine who are more con­servative than Muslim ones.” Only during the month of Ramadan are issues related to women and Islam tackled extensively.

During the rest of the year, the station runs three live programs that span 7 am to 6 pm on Sundays through Thursdays. The NISAA FM audience is diverse, reaching a blend of listeners based in urban, rural, and refugee camp areas, along with Pales­tinian diaspora communities throughout the world. As such, the programming is equally varied. The morning show, called Qahwah Mazboot (“Coffee Moderately Sweetened”) remains the most popular and commonly utilizes NISAA FM’s volunteer reporters who provide stories from the ru­ral villages. Segments range from Turath, which seeks to unite the Palestinian com­munity by highlighting various aspects of Palestinian culture, to Tamkeen, a daily segment that hosts women from rural and marginalized areas who have started proj­ects through microfinance loans. By noon, the station transitions to heavier issues, such as domestic violence, poverty, and early marriage, targeting the housewives who tend to listen in at this time. The late afternoon show addresses issues related to Muasassat (NGOs), Eileh (family), and Iktisadiyat (economics). Topics include women’s rights in the workforce and how to launch social enterprise endeavors. Listen­ers are even encouraged to call in and ex­plain ideas that they would like to develop.

Despite NISAA FM’s rapid success, the radio station has had to work hard to sus­tain itself. As Gangat explained, “there are 43 radio stations in the West Bank, so you can imagine the competition for the lis­tenership and for the market share…. The economy is donor dependent and very volatile.” In an effort to reach out to even more women and augment their program­ming, NISAA FM has secured grants from the United Nations Educational, Scientific, and Cultural Organization (UNESCO) and other international organizations operat­ing in the West Bank. Last year, with the additional UNESCO funding, NISAA FM was able to train four community reporters who now work at the station on a volunteer ba­sis. Going forward, NISAA FM would like to hold focus groups with women to discuss their radio content. The station also hopes to extend their daily programming to 7 pm and add a Saturday weekend program.

Gangat was recognized in 2011 by the Palestinian Ministry of Women’s Affairs for helping to place women’s issues on the national agenda. As just one marker of women’s increasing empowerment, the proportion of women in Palestinian uni­versities has been growing, according to the Palestinian Central Bureau of Statis­tics, such that there are now more women than men pursuing post-secondary de­grees. Maysoun wants to see that trend continue, and she believes that radio is the answer: “Radio is a cheap, accessible com­munication medium for all socioeconomic groups; it also has a personal approach, [is] mobile…and reaches remote areas.” Just as education has long been viewed as the “great equalizer,” Maysoun views the radio, and the wisdom that it can bestow, as the new great equalizer for women— whether these women reside in the Jenin refugee camp in the West Bank or the more urban neighborhoods of Ramallah.

Erin Biel ’13 is a Global Affairs & Ethnicity, Race, and Migration double major in Ezra Stiles College. Contact her at erin.biel@yale.edu. 

 This article appeared at The Yale Globalist

Professor Stephen Hawking, BDS and the Zionists

ZazaFL's avatarzazafl

On Tuesday 7th May, BRICUP (British Committee for the Universities of Palestine) posted on their website and tweeted that Professor Stephen Hawking had declined an invitation to a conference in Jerusalem, to be hosted by war criminal Shimon Peres.

“Stephen Hawking declines invitation to attend Israeli conference

We understand that Professor Stephen Hawking has declined his invitation to attend the Israeli Presidential Conference Facing Tomorrow 2013, due to take place in Jerusalem on 18-20 June. This is his independent decision to respect the boycott, based upon his knowledge of Palestine, and on the unanimous advice of his own academic contacts there.”

BRICUP

Wednesday 8th May, the Guardian, Reuters, the BBC and much of the mainstream media had picked up the BRICUP news and were reporting it as Hawking joining the academic boycott of apartheid Israel. Guardian headline:

Stephen Hawking joins academic boycott of Israel

Physicist pulls out of conference…

View original post 919 more words

Audio Samah Sabawi Commemorating the Nakba – Exploring themes of exile in Palestinian poetry: a 3CR radio special Part 1

In photos: Palestinian Christians welcome Easter’s “Holy Fire” to Gaza

joecatron's avatarJoe Catron

Greek Orthodox Christians marked the beginning of Easter Sunday with a four-hour midnight service in Gaza’s 1,606-year-old Church of Saint Porphyrius last night.

On Friday, Israeli occupation authorities turned “dozens” of church members back from the Beit Hanoun checkpoint, despite their permits to spend Easter in the West Bank.

Those who reached Jerusalem faced “a battle camp scenario,” Hanna Amireh, a member of the Palestine Liberation Organization’s Executive Committee and head of the Presidential Committee on Church Affairs, told the AFP.

“It is not only that Israel has isolated our occupied capital from the rest of our country – forcing our people to apply for special military permits to access their families and holy places for religious occasions – but even Palestinians from Jerusalem were beaten when trying to reach the Church of the Holy Sepulchre,” Amireh said. “Even praying has become an act of resistance for Palestinians.”

Under…

View original post 103 more words

The Real News: Fears from fundamentalism are growing in Gaza after Hamas’ latest public modesty campaigns

MIFTAH: The vibrant canvas that is Palestine

Date posted: April 29, 2013
By Joharah Baker for MIFTAH

Oppression can do strange things to people. When it is oppression in the form of a decades-long military occupation, it means the occupied people run the risk of becoming one-dimensional in the sense that the occupation is what defines them and shapes their past, present and future.

For the Palestinians, this is true to a large extent. Because the Israeli occupation consumes us, preoccupies our everyday lives and effects the smallest aspects of it, we find ourselves thinking mostly about this occupation and ways to resist it, do away with it, or at least work around it.

The thing is, the Palestinians are hardly one-dimensional. The fact that the occupation has taken over so much of our lives does not mean we do not have the potential to embrace other less discouraging aspects of life itself. In the past week, Ramallah – the hub of Palestinian cultural life – has seen Palestinian Fashion Week, the Contemporary Dance Festival and a Spring Festival for children. All of the above activities have been distinctly Palestinian but they were not solely catered to the traditional theme of occupation and oppression, which the Palestinians have grown so accustomed to and believe is the only way the world views them.

Read more…

Two Palestinian titles to compete at Cannes

EUROMED Audio Visual 

Hany Abu-Assad’s Omar at Un Certain Regard, and a Gazan short in the competition

Two Palestinian titles to compete at Cannes

Palestinian director Hany Abu-Assad’s latest narrative feature film, Omar, has been selected for the Un Certain Regard sidebar section at the Cannes International Film Festival in France from May 15 to 26.

Omar, the tale of three childhood friends and a young woman who are torn apart in their fatal fight for freedom, is said to be the first film to be fully financed by the emerging Palestinian film industry. It stars Palestinian-American actor Waleed Zuaiter (American television series Homeland), and is reportedly produced by him and David Gerson for new American-Palestinian production company ZBros. German international sales agent Match Factory introduced the title to buyers at the last Berlinale’s European Film Market.

It’s Abu-Assad’s first time to be competing at Cannes, after the success of his previous narrative features Paradise Now in 2005 (three prizes at the Berlinale, European Film Award for Best Screenplay, first Palestinian nominee for an Oscar) and Rana’s Wedding in 2002 (Golden Antigone at the Montpellier Mediterranean Film Festival).

He thus follows in the footsteps of fellow Palestinian director Elia Suleiman who has attended the Cannes film festival multiple times, notably with Divine Intervention in 2002 (FIPRESCI Prize and Jury Prize), The Time that Remains in 2009 (Palme d’Or contender), and Seven Days in Havana, a film that he co-directed, in 2012 (selected for Un Certain Regard).

But there is even more good news for the Palestinian film sector. For the first time, a Palestinian film is to vie for the Short Film Palme d’Or this year.

Gazan brothers Mohammed and Ahmad Abou Nasser (also known as Arab and Tarzan Nasser)’sCondom Lead has been selected from 3,500 short films as one of the nine contenders for the world-famous award. The film, whose title is a pun based on the Israeli military’s name for the 2008 Gaza War, Operation Cast Lead, explores what becomes of ordinary passions between a man and his wife in the long interludes of a war’s heightened reality.

Condom Lead is the brothers’ second short after Colourful Journey and the first to be shot in Jordan. It is its lead actor Rashid Abdulhamid’s first production for Made in Palestine, as well as his and his fellow actress’ first time to act in a film, co-director Arab Nasser told Euromed Audiovisual by phone from Jordan.

The film’s idea and story was written by another Gazan filmmaker, Khalil al-Muzayen, whose DOCmed-supported documentary Gaza 36 mm, a film that notably stars the Nasser brothers, recently premiered in Beirut.

In 2011, the Nasser brothers told the Guardian that they had never watched a film in the cinema in their life. Now, less than two years later, their efforts are taking them to one of the most prestigious screening venues in the world.

“We have to go to Cannes,” Arab Nasser told Euromed Audiovisual. “It’s the chance of a lifetime!”

Alice Hackman

Picture: Condom Lead – Facebook page

Article appeared on EUROMED Audio Visual 

Palestinian Singer Gives Rare Concert in Gaza

Posted on April 30.

“I’m even happier than I appear.” With these words, Palestinian artist Reem Talhami began the concert to launch her first album in Gaza City, a place where musical concerts have typically been banned since Hamas came to power. She received warm applause from the audience, which swayed in delight to the beat of two songs that she sang from the new album, “Carried by the Night.”

The album features 10 songs. The lyrics were written by Gazan poet Khaled Jumaa, and Saeed Murad composed the melodies. Talhami sang these songs, which primarily aim to describe Gaza, she told Al-Monitor, “as we see it and as we hope for it to be, far removed from the news reports that only contain killing and destruction in this ancient city.”

Talhami noted, “The words of these songs are far removed from killing, destruction, war and bombing. They take you to a wider horizon and another space, filled with love and hope, as seen by the writer and as we all wish to see.”

Talhami was born in the Arab Israeli city of Shefa-Amr. She studied singing at the Rubin Institute in Jerusalem, where she currently resides, for five years, graduating in 1996. She has participated in a number of local and international festivals, singing songs that primarily express Palestinian heritage and nationalism.

On why she selected Gaza City to launch her first album, Talhami said, “In recent years, I’ve noticed that, whether intentionally or not, Gaza and Gazan intellectuals have been marginalized in Arab and Palestinian cultural activities. Through my participation in these activities, I found that Gaza was absent. So, through this album, I wanted to express my absolute rejection of this marginalization of Gaza City, a city I love.”

Since the imposition of the Israeli blockade, the Gaza Strip has been characterized by a state of cultural stagnation. This is due to the difficulty artists and intellectuals have faced traveling between the West Bank and Gaza through the Rafah crossing since the first years of the blockade. This is compounded by the pressures resulting from the political divide between Fatah and Hamas.

Talhami explained, “It was a great honor for me to be a part of this artistic work, which was in preparation for two and half years before now being revealed to the public. I am very proud of it. Although I wanted to record the album in a studio in Gaza, circumstances prevented us from doing that.” She described as “shameful” the West BankGaza political divide and lamented the inability of the Palestinian people, “who have confronted various challenges,” to force politicians to reach a compromise to restore unity between the two parts of the nation.

Those attending the Gaza concert, mostly youths, of both genders, swayed to Talhami’s songs at times and applauded at others. The joy was apparent in their faces.

Ahmed Rizaq, 21, was one of those in attendance, listening intently to the words and music and applauding warmly. He said to Al-Monitor, “I’m here so that I can live in the Gaza I want and desire. We have been lacking these types of cultural and artistic activities. My presence here and listening to the lyrics of Talhami’s songs helps me to confront the difficulties we face in Gaza.”

Rahaf al-Batniji, 22, agreed with Rizaq, and offered that it was the first time she had attended a concert with singing of this kind. These songs left a notable impression on her psyche, which has endured political and psychological pressures in her daily life.

Reem Talhami sings “Gaza Bitghanni”

She told Al-Monitor, “What we see and hear today is an exception. This is not the reality we live. Every time I’ve left the country I’ve made an effort to attend a musical concert. I’m amazed today to see a small concert in Gaza City.”

Since taking power, the Hamas-led government in Gaza has typically banned all private music concerts. They justify the ban by arguing that the concerts do not reflect the “customs and traditions” of the Palestinian people.

Speaking to Al-Monitor, Talhami directed a message to the government in Gaza: “Everyone must realize that goal-oriented singing is a means of resistance. Our battle today with the Israeli occupation is a cultural battle, not another type of battle.”

Following the concert to launch her album, held in the courtyard of the French Cultural Center, she said, “I think that differences of opinion do not undermine the entire cause. The Palestinian people are simple. They love art and singing. I think that it’s an integral part of our culture, which reflects Palestinians and is a part of the primary struggle.”

Hazem Balousha is a Palestinian journalist based in Gaza City. He has worked as a news producer for BBC World Service, as well as contributed to Deutsche Welle, The Guardian, Al-Raya (Qatar) and other publications. Balousha covered Israel’s Operation Cast Lead in Gaza in 2008 and the conflict between Fatah and Hamas in 2007. He is also the founder of the Palestinian Institute for Communication and Development (PICD) and has a master’s degree in international relations and a BA in journalism. On Twitter: @iHaZeMi

This article appeared in Al-Monitor http://www.al-monitor.com/pulse/originals/2013/04/palestinian-singer-gaza-concert.html#ixzz2Rzs9RiWT

 

RIP Rabea

Sarah Irving writes a moving obituary sharing her personal memory of Palestinian actor Rabea Turkman ” Palestine always teaches one to seize the moment, because it really may never come around again. Rabea, you will be deeply, sorely missed.” RIP Rabea Turkman and may we have the strength to continue our “cultural intifada” until we attain our vision of freedom, justice and liberation.

Sarah Irving's avatarSarah Irving

A few hours ago the Freedom Theatre in Jenin put out this short statement:

The Freedom Theatre mourns the death of one of our graduated Acting School students, the brave resistance fighter who chose to replace the gun with the stage, Rabea Turkman. Under Juliano‘s guidance Rabea developed his talent as an actor and later as a stand-up comedian. Our thoughts go to Rabea’s loved ones at this difficult time. May you rest in peace Rabea, you will be greatly missed and you will always be part of The Freedom Theatre.

Men-in-the-Sun-Rabea-II

I had the privilege of meeting Rabea in Jenin in 2010. I first encountered him in the cafe behind Cinema Jenin in the city centre. He and one of his friends, also an actor from the Freedom Theatre acting school, were arguing over the respective merits of Brechtian and Stanislavskian theories of performance. Rabea’s argument was passionate…

View original post 288 more words

The Freedom Theatre Premier Our Sign is the Stone: The Story of Nabi Saleh

The freedom theatre 

PREMIERE PERFORMANCE: 4TH MAY 3:30PM, NABI SALEH

Our Sign is the Stone is a production based on testimonies gathered from the village of Nabi Saleh. The play traces the political development of a young boy as his community organizes an extraordinary campaign against the Israeli Occupation.

The play attests to the struggles, sacrifices and steadfastness of Palestinian communities engaged in civil resistance against practices of land confiscation, ethnic segregation and racial discrimination.

Each performance will be followed by a Playback Theatre event, in which audience members will share their own stories of struggle against Israeli human rights violations.

PERFORMANCES
Wednesday 1st May 4pm: Jenin Refugee Camp, The Freedom Theatre (Preview performance)

Saturday 4th May 3:30pm: Nabi Saleh, Community Hall (Premiere performance)

Sunday 5th May 4pm: Al Walajah, School Hall

Monday 6th May 4pm: Arabeh (Old City), Palace

Tuesday 7th May 10:30am (Women-only performance): Faquaa, Community Hall

Tuesday 7th May 7pm: Faquaa, Community Hall

Wednesday 8th May 4pm: Qusra, Community Hall

DEDICATION
The Freedom Theatre dedicates this play to Mustafa Tamimi and Rushdi Tamimi.

CONTACT
For more information, please contact
Alia Alrosan: E: alia@thefreedomtheatre.org, T: 0599304523
Ben Rivers: E: ben@thefreedomtheatre.org, T: 0592902256

FACEBOOK
https://www.facebook.com/events/125810880944873/

THE FREEDOM BUS
Our Sign is the Stone is a production of The Freedom Theatre’s Freedom Bus initiative. The Freedom Bus uses interactive theatre and cultural activism to bear witness, raise awareness and build alliances throughout historic Palestine and beyond. Endorsers of the Freedom Bus include Arch Bishop Desmond Tutu, Alice Walker, Angela Davis, John Berger, Judith Butler, Maya Angelou, Mairead Maguire, Mazin Qumsiyeh, Noam Chomsky, Omar Barghouti, Remi Kanazi and Peter Brook. A range of other Palestinian and International artists, activists, academics and organizations have endorsed the Freedom Bus.

Email: freedombus@thefreedomtheatre.org
Web: www.freedombus.ps
Blog: freedombuspalestine.wordpress.com
Facebook: www.facebook.com/thefreedombus
Twitter: twitter.com/#!/FreedomBusPal

London Palestine Film Festival highlights the works of around 40 Palestinian and international directors – May 3rd to 15th

Source The Prisma 

London will get closer to Palestine from the 3rd to 15th of May thanks to the view of the Arab-Israeli conflict to be shown in the works of around 40 Palestinian and international directors taking part in the 14th season of this festival.

Through 38 films and more than 20 events, Londoners will have the opportunity to see the oppression that the Palestinian public are subjected to as well as the heterogeneity that can be seen within the country, through the various practices, genres and screenplays. Palestine’s representation of self is promoted through cinematic titles, from conceptual and experimental focuses of artistic innovation to realistic cinema about socio-political wars and social activism. In other words, they are tools to help society better understand life in Palestine and on the Gaza Strip.

Palestina Septimo 7The film screenings and other activities will be taking place in the Barbican cinema and at the University of London, where the lecture entitled“Palestine and the Moving Image” will be held.

Organised in collaboration with the Centre for Palestine Studies, part of the School of Oriental and African Studies (SOAS), the event will bring together academics, film makers and film critics to tackle the broad range of aspects related to film, or by extension, to Palestine.

This festival, pioneering in the UK, will disucss the historical, ethical and social aspects which envelop Palestinian life, as well as the aesthetics and subject matter of the films.

Palestina Septimo 8The festival will begin on 3rd May with the screening of the film Life in occupied Palestine(1981), directed by David Koff long before the first uprising.

The feature film, through interviews and a notable process of historical documentation, is a profound portrait of the conflict which breaks out daily in Palestine and Israel and which shows how the Palestinian resistance is generalised and on the rise. The programme also includes the 25thAnniversary of the first uprising and will show Elia Suleiman’s first film, Homage by Assassination(Part of 1991 portmanteau The Gulf War … What Next?).

Palestina Septimo 4More than 20 films will premiere at this year’s festival including a documentary about life in the Syrian Golan Heights; Apples of the Golan, an impressive portrait of the importance of the comet on the Gaza Strip; Flying Paper, as well as some of the new film shorts about Palestine and beyond.

The festival will run from 3rd to 15th May at the Barbican Cinema and at the University of London.

For more information please visit:http://www.palestinefilm.org

(Translated by Frances Singer – Email: francessingerriveros@hotmail.com)

Defying all odds, the first Palestinian Circus School flourishes

By Henrique Dores – April 24, 2013

Palestine Monitor

Roll up, roll up – ladies and gentlemen, boys and girls, friends and foes – please put your hands together and give your warm welcome to the unparalleled, the outstanding, the one and only Palestinian Circus School.

This could perfectly be the opening line of one of the shows of the Palestinian Circus School. Currently submerged in an ambience of red noses, big shoes, squeaky flowers, stilts and many other props, the Palestinian Circus School (PCS) began as a small circus group in August 2006 thanks to the determination of Shadi Zmorrod and Jessika Devlieghere, who initiated the pathway to introduce circus arts from Palestinians for Palestinians, amidst Israeli checkpoints and M-16 rifles.

The whole idea of creating the first circus school in Palestine was to provide an effective alternative to the massive effects that the Israeli military occupation has had over the lives of young Palestinians, particularly since 2000.

The stories of unlawfully demolished homes, personal humiliations at checkpoints, physical abuses and arbitrary detentions, together with accumulated grief of having loved ones killed by the Israeli military, constituted the sole motivation of the initial core group of the founders of the Palestinian Circus School. To them, too many young people were turning to the streets for an outlet, struggling to achieve nothing else than survival.

However, before becoming one of the most credited and successful Palestinian NGO’s, there were some bumps on the road. From the very beginning, the idea of creating a Palestinian circus school raised suspicions about its necessity. However, the general skepticism did not affect the initial core group.

Shadi Zmorrod was given the opportunity by the Belgian circus school ‘Cirkus in Beweging’ to start with a first intensive training course for young people living behind the Apartheid Wall. Further contacts were made in order to ensure training for the people who would be involved in creating the future circus of Palestine, through an intensive three-week workshop. The excitement about these first achievements can only be compared with the disappointment that took over the group when this first initiative was cancelled due to the outbreak of the Israeli-Lebanese war in 2006.

“We are engaged in showing our progresses in more places, and we are trying to start touring in many other places, like the south of Europe, where circus is still very alive”

Nevertheless, the resilient group persisted on the foundation of the PCS, and despite the lack of financial support, they managed to obtain the required training throughout the help of some Jerusalem circus students and later on, after launching an international appeal, from Italy, France and US circus professionals. This was the definitive step towards the birth of the first Palestinian Circus School, which would culminate with its premiere in Ashtar Theater, where an encouraging audience of 250 people applauded their effort.

Progresses and ambitions

The new premises of the school, which only became PCS’s home in November 2011, are inspiring. Located next to the Latin Church in the old city of Birzeit, the building and site was given for a period of 15 years free of charge by Dr. Hanna Nasir to allow PCS to develop to its full potential.

“When we first saw this place, we thought it was desperately needing some work, but also that it was the perfect place for the school,” says Jessica Devlieghere.

Indeed, the PCS has been constantly developing, and the two small circus training halls existing in the building brought the school to heights impossible to reach under the previous conditions. Currently teaching three levels of education in the art of circus (beginners, preparatory and professional), the Palestinian Circus School provides annual summer camps and open days in order to allow communities to get more acquainted with the goals and the approach of the school. Moreover, since its foundation, not only was PCS able to tour all around Palestine, defying checkpoints, borders and other movement restrictions, but also performed in Belgium, France, Germany and Italy.

When asked about the current projects of PCS, Jessica promptly replies, “I don’t like to use that terminology. We want PCS to stay away from the whole NGO’s way of thinking. This is an initiative from Palestinians to Palestinians and everything we do has a social impact.”

The merits of PCS are easy to identify. Operating in difficult scenarios such as Jenin, Al-Fawwar refugee camp, Birzeit or Hebron, the school has been distributing hope all around Palestine.

“At the moment we have more than 150 students,” Jessica says. “We present circus as a form of therapy, as an alternative to the hopeless lives of many youngsters.”

PCS has also been working together with Social Rehabilitation Center in Jenin, where they try to improve the lives of young women.

But the vision of the adventurers that made possible PCS is bigger than ever.

“We are trying to extend our field of action, so that more people have access to our initiatives,” Jessica explains. “We are engaged in showing our progresses in more places, and we are trying to start touring in many other places, like the south of Europe, where circus is still very alive. Another of our immediate goals is to provide a real circus tent on the courtyard, to allow the many disciplines needing lots of height and space.”

The Palestinian Circus School is flying higher than never, and the people involved are committed in keeping the same enthusiasm they had in making this project come alive. In a sea of disappointment, where bombs and aggression are the language used, the Palestinian Circus School emerges as a safe port to everyone willing to resist occupation with a smile on the face.

 

AlJazeera: Palestinians celebrate festival of dance

Away from the factional politics and the tensions, residents of the West Bank have been celebrating on the streets.

The second international dance festival in Ramallah has provided Palestinians with a rare chance to dance their woes away.

Al Jazeera’s Nour Odeh reports.

More from: Aljazeera English

Rana Baker responds to Dawber’s article in The Independent: Misconceptions Abound On Gaza’s Women, Politics

By: Rana Baker for Al-Monitor Palestine Pulse

Posted on April 25.

It has become commonplace when reading about Gaza to come across descriptions of it as an “Islamist enclave” or “Hamas-controlled territory” and so on. In case someone exists who does not know what Hamas is all about, commentators make sure their readers understand that it is the “fundamentalist” group bent on the “destruction of Israel” and nothing else.

The Palestinians of Gaza, therefore, are often categorized as either ardent Hamas supporters or suppressed dissidents, including women, who receive the severest treatment imaginable, not only from the Hamas government, but also from misogynistic and backward average male residents. Such categorizations are then followed by sweeping generalizations about each of these stereotypes. Whereas the Hamas supporters consist of “terrorists” and “bloodthirsty barbarians,” the dissents are seen as peace-loving minorities who seek neighborly relations with Israel, the occupying entity.

A recent example of such portrayals can be found in a feature story published in The Independent on April 13. In “Tales from Gaza: What Is Life Really Like in ‘the World’s Largest Outdoor Prison’?” the author alledges to provides “a small snapshot into life in Gaza.” Before he proceeds, however, he assures us that what follows are “testimonies” by people “who can rarely get their voices heard.”

At the start of six interviews, the author makes clear that all of those featured are men not because that was his intention — he is a Westerner who believes in gender equality after all — but because in his two and a half days in Gaza, he could not find a woman willing to speak to him “independently.” In fact, the only occasion when he had the chance to speak to a woman, he tells us, was in the presence of a male guardian, the woman’s husband in this particular instance. Hence, while he was able to “give voice” to men, his attempts to do the same for women were all thwarted.

Such assertions play into Orientalist notions. This usually results from foreign journalists coming to Gaza with a set of preconceptions about the place and its people and then seeking to confirm them rather than verify them. While Gaza is, indeed, no haven for women or anyone else, there are thousands of educated women who are willing to speak for themselves and do so in every field, from medicine, theater, and politics to fishing and farming.

Just a few months ago, a play written by the renowned Palestinian writer Samah Sabawi was read at one of Gaza’s cultural centers, which continue to thrive despite Israel’s ceaseless attempts at cultural de-development. Nearly all the participants who performed the play were women, as was the case with the vast majority of the audience. They were not accompanied by husbands, brothers or fathers in order to attend or to perform.

Events like this, however, hardly ever make it into the mainstream media. Moreover, any mention of a considerable number of women going out without a hijab instantly provokes expressions of surprise by those who have only heard about Gaza through mainstream and particularly Western publications. To say women in Gaza are also allowed to drive would sound like a lie to many ears.

Women are not the only part of this story. To claim that Gaza is “Islamist” automatically dismisses the existence of the leftist and secular groups there, most of which denounce religion in its totality. Homogenizing “life in Gaza” could not be more obvious than in The Independent feature.

Of the six interviews the author conducted, one was with a Hamas official, while four were with blue-collar male workers, and the remaining one was with an unemployed man. Despite being at odds with Israel, five of them belong to the category of “ready to forget the past,” has no problem inviting former Israel prime minister Ariel Sharon for coffee, and even views Yitzhak Rabin — the man behind the Iron Fist that broke hundreds of bone in the lead up to and during the first Palestinian intifada — as a man of peace.

With the exception of the Hamas official, the interviewees followed suit in reiterating the same unconditional desire to achieve peace with Israel that one might think no other viewpoint existed. At the same time, they viewed Hamas as the primary source of their distress. Israel was seen as only secondary to their everyday ordeal.

That no evidence was provided to challenge the views in question suggests that there is none — just as the author claims to have found no women able to speak to him. Thus, portraying the residents of Gaza as a homogenous people who all experience life in the same way is condescending at best and Orientalist at worst. The views expressed in the article are undeniably extant but do not reflect the reality.

Israel, which has launched two deadly assaults on Gaza in less than five years, is rarely perceived as a friendly entity. The vast majority of the politicized and non-politicized segments of Gazan society are not ready to “forget the past” that continues to shape the lives of 1.1 million local Palestinians officially registered as refugees at the United Nations Relief and Works Agency.

Rana Baker is a student of business administration in Gaza and writes for the Electronic Intifada

This article appeared here: http://www.al-monitor.com/pulse/originals/2013/04/gaza-misconceptions-women.html#ixzz2RVnXaJdB

Showcasing Palestinian composer and musician Simon Shaheen

From The Province written by Stuart Derdeyn on April 23, 2013

Since arriving in New York City in 1980, Palestinian composer and musician Simon Shaheen has been instrumental in the development of Arabic music across North America.

A master of the Arabic lute known as the oud, the 58-year-old Catholic born in Tarshiha, Upper Galilee, Israel, grew up in a musical dynasty with father and siblings all actively teaching and performing.

He is a professor at Columbia University music school and his students are everywhere bringing Arabic music into jazz, rock, pop and traditional music.

His latest show is presented in partnership with the MOA exhibit Safar/Voyage: Contemporary Works by Arab, Iranian and Turkish Artists.

Titled The Call: Songs of Liberation, it takes folk songs from the turbulent 1950s and 1960s era that have been revived as anthems of movements in the Arab Spring and mixes them in with his own adventurous traditional/jazz compositions.

“Beginning about two-and-a-half years ago, when people began to take the initiative to live with pride, dignity and freedom in Tunisia, Libya, Egypt and elsewhere, there was a revival of this amazing music from the ’50s and ’60s post-colonial era that sounded like it was written yesterday,” Shaheen said.

“It was almost as if the era had been forgotten in the face of modern pop, but then it came back and I took it upon myself to research songs that came from these places and tour with it.”

Shaheen and his group took the show on the road in 2011 to great response. He was inspired to compose an accompanying piece titled The Call following a show at the Metropolitan Museum, where a statue was unveiled.

“This statue just became a metaphor for the Arab world at the time, somewhat stagnant and unmoving. But, I thought, if I played enough music, that it would start to dance and come to life like so many of these places were. So I composed a piece and then took it to dancer Cassandra Shore to choreograph.”

The local performance includes bass, flute, percussion, violin and oud with solo dance. It is unlike anything the composer has done before and he hopes to record the results later this year. He said that it feels right to move from tradition into something contemporary and reflective of changing times in the Middle East.

Read more from this article here including added details regarding his upcoming show.  Get a taste of his music in this video below.

 

 

TED Video Suheir Hammad: Poems of war, peace, women, power

TED Ideas Worth Spreading

Poet Suheir Hammad performs two spine-tingling spoken-word pieces: “What I Will” and “break (clustered)” — meditations on war and peace, on women and power. Wait for the astonishing line: “Do not fear what has blown up. If you must, fear the unexploded.”

In her poems and plays, Suheir Hammad blends the stories and sounds of her Palestinian-American heritage with the vibrant language of Brooklyn to create a passionately modern voice. Full bio »

Boston Event: World-renowned Palestinian artist Samia Halaby presents ‘The Art of Palestine’ on April 27, 2013

The Boston Palestine Film Festival announces that world-renowned Palestinian artist Samia Halaby will give a presentation entitled The Art of Palestine on April 27, 2013.  For information visit Boston Palestine Film Festival.

The-Art-of-Palestine-Halaby-FINAL-web-790x1024

Why song performed by Palestinian Arab Idol struck a chord with millions of viewers – English translation of lyrics included

In the song that qualified him for the Arab Idol competition, Palestinian singer Muhammad Assaf  from Gaza city sang ‘ya tair altayer’ flying bird.  This national song struck a chord with Palestinians and Arabs everywhere and the original video clip from the Arab Idol competition has gone viral with over a million viewers.  A new clip has just been posted on youtube with images of the Palestinian cities Assaf sang for (see new video below).  Assaf told reporters that he sees no line between his art and being patriotic.  He is right.  His song expresses a Palestinian wish for freedom and for the ability to see loved ones in other villages that are now no longer accessible.  It is a reminder that even though Palestinians are confined within their bantustans and behind Israel’s big walls and towers, they haven’t given up on the dream that one day they too will fly like a bird and see their homes,  villages and loved ones.

Oh flying bird

Going to my home

My eyes follow you

And God’s eyes protect you

Oh you traveller

I am so jealous

Palestine my homeland

She is beautiful praise be to God

Go by Safed

Go by Tabariyyah

Pass by Acre and Haifa

And say hello to the sea

Don’t forget Nazareth

This Arab fortress

And give Bisan the good news

Her people will return

My people on this land

Stood tall

History is proud of us

And history’s back was bent

From all the pain we suffered

But we are patient

Go to Gaza

And Kiss its soil

Her people are dignified

Her men are mighty

And go to Jerusalem

The capital

Al Aqsa its landmark

Inshallah God willing

We will gather there

Oh flying bird

Going to my home

My eyes follow you

And God’s eyes protect you

Oh you traveller

I am so jealous

Palestine my homeland

She is beautiful

Praise be to God

Ma’an: Palestinian Arab Idol finalist says Issawi an inspiration

Published today (updated) 22/04/2013 21:09
BETHLEHEM (Ma’an) — Muhammad Assaf, a Palestinian finalist in the TV singing contest Arab Idol, says he is inspired by long-term hunger striker Samer Issawi and would trade winning the competition for the prisoner’s freedom.

“I am conveying Palestine’s message to the world, and if I had to choose between winning the Arab Idol title and the freedom of Samer Issawi, I would choose freedom for the Palestinian hero whose steadfastness is peerless and I can’t compare myself to it,” Assaf told Ma’an.

Speaking from Beirut, the singer from Gaza City said that he considers himself an “ambassador of Palestinian art,” who wants to convey a positive image of Palestinians, despite Israeli occupation and oppression.

Arab audiences are happy to see a Palestinian singing different genres of music rather than just patriotic songs, he said, adding that he has been receiving support from his fans in the Arab world.

Assaf says he has been moved by the plight of Palestinian prisoners, especially Samer Issawi who has been on hunger strike in Israeli detention for 265 days.

“Issawi has provided a model in the struggle which is too great to be imitated by artists, despite the fact that art has an element of resistance as it can deliver the message of a people under occupation to the whole world.”

“I can’t differentiate between my art and my patriotic attitude,” he added.

Assaf qualified on Friday for the final of MBC’s popular singing competition Arab Idol.

This article appeared in Ma’an News