Gaza prepares for Christmas: “the people of Gaza cling to life…the smiles of the children attest to it … the happy mothers … the open shops, the noisy traffic…Gaza vibrates with life”

Posted on Dec 18, 2012 in DioceseSlide

GAZA – Traditionally, the Latin Patriarch of Jerusalem, His Beatitude Fouad Twal, visits the parish of the Holy Family in Gaza before Christmas.  He did this year on the third Sunday of Advent and celebrated Christmas Mass for the faithful in Gaza.  The communications team of the Latin Patriarchate was in Gaza three days early and met with the parishioners in anticipation of this visit.

This year, Christmas has a special dimension for Catholics of the Holy Family Parish in Gaza. In the three weeks since the end of the Israeli operation “Column of Defense,” the parish has seen the ceasefire as “a miracle.”  Patriarch Fouad Twal who went for the first time to Gaza since the ceasefire,  explained in his Sunday homily that “Christmas is a gift from Heaven, but the good will of men so that there may be peace is also needed.”  He also invited Christians “to live a strong faith”  in order to continue living in this Holy Land where the Holy Family passed during the flight to Egypt and to remember that “even Jesus suffered injustice.”  According to the parish priest, Father Jorge Hernandez, IVE: “the parishioners are very appreciative of this visit and it is also a little of Jerusalem that came here to them, and this touches them very much in their faith life.”  To thank all those who supported them with their prayers and their gifts during the war, the parish celebrated an official Mass of Thanksgiving. The pastor said “that they all know we have prayed for them.”

After yesterday’s Mass, the Patriarch, together with  Bishop Marcuzzo, Vicar inIsrael, as customary, met with the families for the exchange of Christmas greetings. The General Administrator of the Patriarchate, Fr. Humam Khzouz, who coordinated the entrance of the delegation to the Gaza Strip and the Chancellor, Fr. George Ayoub, were also part of the Patriarchal delegation.

The small Catholic parish of the Holy Family has exactly 185 faithful. Among the 1.6 million Gaza inhabitants, a crowded area of 360 sq. kilometers, there are 1,550 Christians (Greek Orthodox for the most part) now only half of the 3,000 in 2008.

 

Christmas, however, will be celebrated after the bombs.  So life goes on in Gaza. Eight days of mass destruction left  traces on houses, public buildings and schools. Along the roads are found several ruins as those of the football stadium where the stands collapsed after the stadium was struck by bombs. In the midst of the rubble, violence still resonates and on their faces “exhaustion is seen by the dark circles around the eyes” as Bishop Marcuzzo noted yesterday.

By this, we must recognize, the people of Gaza cling to life. The smiles of the children attest to it in front of our photo cameras, the happy mothers and the daring of their sons, the open shops, the noisy traffic. In fact, Gaza vibrates with life. Men, women, children confronted with violence, scarcity, the conservatism that strongly rules daily life, they suffer from a high unemployment rate (60% of the population) and from the weight of the days without some distraction. But the inhabitants here also live the joyful feasts and marriages. In the Catholic parish, for example, there are on average 1- 2 marriages and 3 – 4 baptisms a year.

Immediately after the ceasefire, the three Catholic schools of the Gaza Strip, which accommodate 1500 students of which the overwhelming majority are Muslims, organized the resumption of classes. The two Catholic schools of the Holy Family reopened their doors. The School of the Rosary Sisters instead had to wait until the following Monday in order to repair broken windows because of the explosions. “The winter cold was arriving and they needed to act quickly” says Sister Davida, Principal of the School. In this school where four Rosary Sisters serve, the principal tells of the resuming of classes: “many children made great effort to concentrate after thirty minutes of class. Some psychologists from Caritas came to help them restart by playing and singing. Restoring to a child the sense of security is a long process.”

The relentless drama continues in the interior of each person. Father Jorge Hernandez noted, together with the School Principal, different problems in children of school age. “When the bell announces the end of classes, when an airplane flies above their heads, some students are afraid” they explain. “Other children stay in small groups near the walls. They always have the behavior of war. They are afraid of the silence, of the grand silence.” The Pastor then says “In Gaza now, when a child begins school, he has already seen two wars. And he is not yet 4 or 5 years old.”

 

To these children born in war and who live in war, the parish proposes a pastoral life of prayer  and playful activity to help them grow “normally” in this little strip of overpopulated land that suffers the embargo by its neighbors. More than ever the religious communities that live in Gaza strain themselves to do everything to help the faithful of the parish, but also the Orthodox and the Muslims so that they catch again their breath after the recent events. The parish is supported by three sisters of the Incarnate Word Institute, to which the pastor also belongs as well as the new parochial vicar, Father Mario, who arrived just three weeks ago.

At their side work the Rosary Sisters and the Missionary Sisters of Charity of Mother Teresa, who are dedicated to disable children. Through “the festive oratorio”, children, parents and families can lead an almost normal life. There are some beautiful moments, the people come to develop themselves, to pray, to see each other and to play. So as in the streets of Gaza, also in the parish life resumes its rights, forgetting the daily problems of security, the health services but also the constant problems with electricity.

The parish is an island of life, where calm seems reestablished again, away from the images of a Gaza “ghost city”. Of course, they have rediscovered their life, but with an embargo. As the Patriarch has said on several occasions “the people of Gaza do not have a normal life. They live in an open-air prison.” On Saturday afternoon, before the arrival of the Patriarch, in the parish courtyard some youth were playing ball, the scout band had its rehearsals, the crib was ready, the Christmas tree decorated, the divan straightened up and the Sunday lunch prepared.  It is here that the Patriarch greeted the parishioners the following day, extending to them personally his Christmas wishes.

A mother of a family who welcomed us for Friday evening dinner said: “We will resume our daily life. It was really a very hard period, it was not easy, but with the children we are ready to celebrate Christmas. We need it to live well.” The Christmas tree, the crib, the imminent birth of a fifth child shows that there is life here. Right here! And in our parish we are preparing for Christmas with forgetting the sick and elderly persons. In the ten days that precede the Christmas feast, the pastor visits 4 elderly or sick (that is, 40 persons in all) each evening in the company of a small delegation of youth and the Sisters of the Incarnate Word. We shared in four of these meetings. The visitors, about fifteen, this evening, in the blue night of the Holy Land joined together in prayers and songs, distributing holy water and small gifts. Sometimes the priest administers the anointing of the sick. Father Jorge explains: “For three years, since I am here, I saw that this little round of visits interests many. In the beginning we started with five, now the movement has expanded. All the youth today want to participate. We are obliged to organize turns. During the year, we also distribute communion to the sick. At times it also happens that   2-3 scouts come along to offer their service.

On Tuesday, December 18, the Latin Church in Gaza expects 450 persons for the traditional “Christmas Concert” organized every years at this time of years in the context of the Baroque Music Festival, supported by the service of Cultural Cooperation of the French General Consulate in Jerusalem. On the evening of December 24, maybe some parishioners will have obtained permission from the Israeli authorities to go for Christmas Eve in Bethlehem. But all cannot have it. Those who remain in Gaza will welcome near the living crib His Excellency, Bishop Shomali, Auxiliary Bishop for Jerusalem who will spend Christmas Night in the company of the Parish faithful. And not only that… as many non-Catholics will come to rejoice at the coming on earth of the Prince of Peace and to pray with the pastor who has a message of Christmas:  “that the Savior may give His peace to the people of Gaza and especially to the leaders of the region. That He may also give us the strength to continue advancing.”

Christophe Lafontaine

Click here for more Christmas in Gaza images or go this link https://picasaweb.google.com/medialpj/LePatriarcheAGazaPourNoel2012#slideshow/5822930124911516418

 

Palestine Youth Orchestra: the sound of resistance

Palestinian Art Organization based in Jerusalem announces initiation of work on Otherwise Occupied for the 55th Venice Biennial 2013

  palestinianpavilion_2013

Aissa Deebi & Bashir Makhoul
Otherwise Occupied
29 May–30 June 2013

Venice Biennale 2013
55th International Art Exhibition

Palestine has been occupied for so long it is no longer a spatio-temporal entity but a construction of the imaginary: a national designation that includes a far-flung diaspora, a huge population of refugees, as well as members of an indeterminate territorial authority under occupation and even a large number of Israeli citizens. There exist simultaneously no Palestinian state and many Palestinian states. It is the quintessence of Benedict Anderson’s classic formulation of nationhood as ‘imagined communities.’

Both artists, Makhoul and Deebi, were originally born inside the 1948 borders, in the margins of another state in their homeland and outside the occupied West Bank and the centres of contemporary Palestinian culture, and have immigrated to live elsewhere. In order to get closer to Palestine, to engage in new ways of thinking or imagining the nation, it is perhaps necessary to live at a distance from it.

Al Hoash is a Jerusalem based nonprofit Palestinian organization that seeks the development and elevation of the status of visual arts as a substantial and critical tool for communication, innovation, pleasure, free expression and national pride. Its work is based on the belief that the visual arts play a vital role in promoting the welfare, development and independent creative spirit of all people.

Al Hoash’s mission is to provide and sustain a knowledge-based platform for Palestinians to express, explore, realize and strengthen their national and cultural identity through visual practice. Visual culture can be utilized to analyze, research and explore the formation and transformation of our collective and individual memory in the process of producing identity.

wwww.thepalestinianpavilion.com

info@alhoashgallery.org

The war in Gaza: photographing the conflict

The Guardian

Associated Press photographer Bernat Armangué tells the story behind some of his images that have featured on front pages around the world in the last week

Palestinians flee their homes after an Israeli forces strike on nearby a sports field

Palestinians flee their homes after an Israeli forces strike on a nearby sports field

During this last Israeli offensive inside the Gaza Strip we were working 18 hours every day, non stop. We usually started at 5am taking pictures of the Israeli air strikes and rockets launched by Palestinian militants. At first light we would cover the direct consequences of these air strikes: destroyed buildings, bodies in the hospital morgues and funerals. In situations like this, there is no fixed agenda; reality changes every minute. It is the experience you have as a photographer and a certain level of improvisation that leads you to tell the story as well as you can and as fast as possible. Our working day finished late at night and then we would attempt to do normal things: eat, take a shower and try to sleep in between the air strikes.

You don’t decide what to photograph, you decide where not to photograph, which is always based on a hypothetical average of risk. There were certain areas that were constantly affected by bombs, which I avoided. My main priority was to show the life of the people in Gaza; I followed them in their houses, on the streets, to the morgues.

The way the people of Gaza face their reality is very different to my life. I guess I tried to transmit some of this through the pictures. In my job, I work with a team of journalists, photojournalists and TV crews. Everyone tells the same story in a different format. But specifically on the street I work with my colleague Majeed Hadman, known as a “fixer”. He helps me in everything; he’s half of my vision and my hearing and most importantly: he’s my friend.

Smoke rises after an Israeli forces strike in Gaza City by Bernat Armangue

Smoke rises after an Israeli forces strike in Gaza CityThis air strike (pictured above) was at around 6 in the morning. It’s just in front of our office building, which is why I had this close view. But due to the proximity of the explosion, it was complicated to shoot: we strongly felt the air-expansion caused by the blast, the extremely loud sound and obviously your heart accelerates a little.

A Palestinian man kisses the hand of a dead relative in the morgue of Shifa Hospital in Gaza City

A Palestinian man kisses the hand of a dead relative in the morgue of Shifa hospitalThis was the last picture I took that day. I spent most of the day taking photographs of Palestinian rescue workers recovering people under the rubble of homes – some of them alive, some of them dead. That day 11 members of the al-Dallu family were killed when an Israeli missile struck the two-storey home of the family in a residential area of Gaza City. Some bodies were recovered and brought to the morgue, so I went there to take some pictures. While I was there, another family came to check if it was true that one of their relatives had been killed. They cried, held his body and one of them kissed his hand while saying goodbye. It was a rare tender moment there.

A Palestinian woman is helped after being injured during an Israeli forces strike

A Palestinian woman is helped after being injured during an Israeli forces strike next to her houseIt was early in the morning and we heard an explosion nearby. We arrived at the scene (pictured above) and saw a woman injured by shrapnel. She was being helped to safety.

Palestinian mourners cry during the funeral of Salem Paul Sweliem during his funeral in Gaza City

Palestinian mourners cry during the funeral of Salem Paul SweliemMost of the population in Gaza are Muslim, but there is also a Christian community. A member of the family pictured above died of shrapnel wounds after an air strike. The photograph shows the family members leaving their house to attend the funeral mass.

A Palestinian man rides past a destroyed area after an Israeli airstrike

A Palestinian man rides past a destroyed area after an Israeli airstrikeThis building (pictured above) was destroyed during the night. It was aHamas government complex known as Abu Khadra. It is less than 100m from our office, so we literally jumped from our beds during the air strike due to the loud noise and the shaking of our building. I arrived at the scene at first light and started to take pictures. Donkeys are used a lot as transport in Gaza, and I guess this man was probably on his way to work.

Osama Abdel Aal is rescued after his family house collapsed during an Israeli strike in Tufah, Gaza

Osama Abdel Aal is rescued after his family house collapsed during an Israeli forces strike in the Tufah neighbourhoodThis picture shows Osama Abdel Aal moments after being rescued. His family house collapsed during an Israeli forces strike in the Tufah neighbourhood. The first thing he did was point and tell the rescue team that there were other family members buried beneath the rubble.

This article appeared in The Guardian Photography Blog

Palestine gallery to open in London

OneWorld Events

Londoners will soon be able to get off the tube at King’s Cross and walk into a Palestinian refugee camp.

They will be able to meet some of the 12,000 descendants of the 750,000 Palestinians forced to flee their homeland in the wake of the creation of the state of Israel in 1948.

The people of Shatila camp are squeezed into one square kilometre. The labyrinthine alleyways are plastered with posters and inscribed with graffiti and street art.

You enter the home of Mariam, a 90-year-old woman who is propped up in bed. She tells her family’s story, part of the story of the Nakba (The Catastrophe – the Palestinian displacement).

You can call in on Hassan, sitting in his shrine contemplating the history that has brought him here, fingering a string of blue prayer beads as he explains his eclectic collection of objects – Muslim and Christian, secular and religious, prayer beads, crucifixes, icons, clay pots and seashells, all illuminated by fairy lights.

Or you can meet three generations of the Al-Awwal family: Rasheed, 42, his mother, sitting regally in her armchair, and his son, Abdul.

All this is possible through an interactive touch-screen tour of Shatila soon to be unveiled at Europe’s first Palestinian gallery, which opens in October.
“Palestinian artists are not widely recognised,” says the gallery’s communications and events officer, Sami Metwasi. “They are isolated. This gallery will give them a chance to be presented to the world.”

He says the Palestinian image “has been polluted during the years of struggle and conflict”, and the exhibitions and activities will help highlight its people’s rich, diverse culture.

“It is always after others see the high quality of our art and culture that their respect for Palestine grows. We Palestinians are not just victims of injustice but a living culture worthy of admiration and respect.

“What is wonderful about it and about our people is that even under the most terrible circumstances of occupation, exile and war we have not only kept our cultural heritage alive but created new cultural output of such high quality to earn its place among world class modern art and culture.”

Another aim, he says, is to communicate with British culture, to build bridges and to give an opportunity to British people to explore Palestinian culture.

“We are not a traditional gallery with traditional divides and barriers between installations and users,” notes Metwasi. “Rather, we aim to use this modern space to bring people together and to bridge gaps between Palestinians and locals.”

It will also be a centre for Britain’s Palestinian community, estimated at 75,000.
The gallery’s original sponsor was the Prince of Sharjah, Sheikh Sultan al-Qassimi, who funded it through the London-based Palestine Return Centre. It is now an independent entity.

The gallery has already started work, with activities that include creative workshops for teenagers and, on 26-27 June, performances by a group of youngsters from a camp in Bethlehem who tell their stories through photographs, images and dance, “proving that talent can bloom in the most difficult conditions of life in exile and under occupation”.

* The Palestine Gallery, 21-27 Chalton Street, NW1. Tel: 0207 121 6190

Original article appeared here

Gaza 2012: Palestine’s Long Walk to Freedom

By: Haidar Eid

Published Wednesday, December 12, 2012

AlAkhabar English

 

The long walk to South Africa’s freedom is marked by two immensely tragic events: the Sharpeville massacre in 1960 and the Soweto Uprising in 1976, both of which led to the galvanizing of internal and international resistance against the apartheid regime. Ultimately, these events would lead to the long-called for release of Nelson Mandela and to the end of one of the most inhumane systems the world has ever seen.

Without Sharpeville and Soweto, among other landmarks towards victory over settler colonialism, South Africa would still be ruled by a minority of fanatic, white settlers claiming to fulfill the word of (their) God.

Palestine’s long walk to freedom has gone through similar harrowing events, beginning with the 1948 Nakba to the latest eight-day onslaught on Gaza.

In order to understand Gaza in 2012, one ought to trace its origin back to 1948. Two thirds of the Palestinians of Gaza are refugees who were kicked out of their cities, towns, and villages in 1948. In After the Last Sky, the late Palestinian thinker Edward Said argues that every Palestinian knows perfectly well that what has happened to us over the last six decades is “a direct consequence of Israel’s destruction of our society in 1948…”

The problem, he argues, is that a clear, direct line from our misfortunes in 1948 to our misfortunes in the present cannot be drawn, thanks to “the complexity of our experience.”

At 139 square miles, Gaza is the largest refugee camp on earth, a reminder of the ongoing Nakba. The inhabitants of Gaza have become the most unwanted Palestinians, the black heart that no one wants to see, the “Negroes” of the American south, the black natives of South Africa, the surplus population that the powerful, macho, white Ashkenazi cannot coexist with.

Hence the calls to “flatten” Gaza and “send Gaza back to the Middle Ages.”

In 2008-9, Gaza was bombed by Apache helicopters and F-16 jets for 22 days, killing more than 1400 civilians. As if that was not enough, Israel decided to return to Gaza in 2012 and repeat the same crimes in eight days, this time killing more than 175 civilians and injuring 1399. These are massive losses for a population of just over 1.5 million people.

Israel’s airstrikes, which damage essential infrastructure and terrify the civilian population, are a form of collective punishment against the Palestinian people. Even more, they are war crimes forbidden under international humanitarian law, specifically the Geneva Conventions.

Yet Israel consistently gets away with war crimes. The official, government-based “international community” does not seem interested in the suffering of the native Palestinians. The much-admired, “better than Bush” American president, Obama, thinks that “Israel has the right to defend itself.” The same right does not apparently apply to Palestinians.

Likewise, the British Foreign Secretary William Hague believes that Hamas is “principally responsible” for the current crisis, as well as the ability to bring it most swiftly to an end. This is in spite of the deadly siege imposed on Gaza for more than five years, so much so that Israel even used calorie counting to limit the amount of food that entered Gaza during the blockade.

The fact that Palestinians in Gaza are not born to Jewish mothers is enough reason to deprive them of their right to live equally with the citizens of the state of Israel. Hence, like the black natives of South Africa, they should be isolated in a Bantustan, in accordance with the Oslo terms. If they show any resistance to this plan, they must be punished by turning the entire Strip into an open-air prison.

Both the US and the UK display deliberate and unconscionable ignorance in the face of the brutal reality caused by Israel to Gaza. As a result of Israel’s blockade on most imports and exports and other policies designed to punish Palestinians, about 70 percent of Gaza’s workforce is now unemployed or without pay, according to the UN, and about 80 percent of its residents live in grinding poverty.

But don’t Obama and Hague know this?!

As Hamid Dabashi put it:

Obama is fond of saying Israelis are entitled to defend themselves. But are they entitled to steal even more of Palestine, terrorise its inhabitants and continue to consolidate a racist apartheid state…? Was South Africa also entitled to be a racist apartheid state, was the American south entitled to slavery, India to Hindu fundamentalism?

The only option for Palestinians is to follow the same route as the South African struggle. The South African internal campaign aimed to mobilize the masses on the ground rather than indifferent governments around the world. What hope could they have gotten from the likes of Margaret Thatcher, Ronald Reagan, and Helmut Kohl? It was left to ordinary South Africans and global citizens to show their moral rejection of crimes committed by the ugly apartheid system.

In South Africa’s long walk to freedom, there was no compromise on respect for basic human rights. Apartheid’s attempts to point fingers at “black violence” and “intrinsic hatred” toward Western civilization and democracy, did not hold water.

Similarly, international civil society, and some governments, have seen through Israel’s propaganda campaign where the aggressor is turned into the victim. Across the years, Palestinians have been completely dehumanized. Instead of Reagan and Thatcher, we have Obama and Hague, blaming the victim and condemning resistance to occupation, colonization, and apartheid.

But South Africans did not wait for the American administration to “change its mind.” The global BDS campaign, steered by South African anti-apartheid activists, coupled with internal mass mobilization on the ground, was the prescription for liberation, away from the façade of “independence” based on ethnic identities. Similarly, the Palestinian call for boycott, divestment, and sanctions has been gathering momentum since 2005. Gaza 2012, like Soweto 1976, cannot be ignored: it demands a response from all who believe in a common humanity.

Gaza 2012 has, undeniably, given a huge impetus to this process by making all Palestinians inside and outside of historic Palestine realize that “Yes, We Can!” We are no longer the weaker party, the passive victim who does not dare bang on the walls of Ghassan Kanafani’s trunk in Men in the Sun, but rather Hamid in All That is Left To You, the Palestinian hero who decides to act.

Haidar Eid is Associate Professor of Postcolonial and Postmodern Literature at Gaza’s al-Aqsa University and a policy advisor withAl-Shabaka, the Palestinian Policy Network.

Original article appeared here https://talesofacitybytheseadotcom.wordpress.com/wp-admin/post-new.php

 

As people dig out of the rubble, a Palestinian doctor says civilians were targeted by Israeli attack

Published on Nov 27, 2012 by 

I Am Yusuf and This Is My Brother: A Palestinian story about Palestinians

In the war of 1948, thousands of Palestinians were uprooted from their homes never to return, and playwright Amir Nizar Zuabi is determined to tell their stories.

 

Amir Nizar Zuabi, a Palestinian director and playwright

Amir Nizar Zuabi in Jerusalem. Photograph: Gali Tibbon

 

It was six decades ago, but the fallout from the war continues. A few months ago, one fast-rising, rightwing Israeli party tried to introduce a bill that would ban Palestinians from commemorating the Nakba of 1948, their catastrophe (but which Israelis hail as the creation of their state, the apogee of their independence struggle). In the end, the law will probably be watered down, but the principle seems to have wide support. As far as most Israelis are concerned, they won in 1948, the Palestinians lost, and history has moved on. Except, of course, it hasn’t.

Next week, a compelling new play opens at London’s Young Vic, promising to thrust the discomforting story of that war back into public scrutiny. At the age of 33, Amir Nizar Zuabi, the play’s writer and director, is from a generation of Palestinians raised on stories of the Nakba, haunted by tales of how hundreds of thousands of Palestinians were uprooted from their homes, never to return. “We have it as a covert partner in everything,” says Zuabi. “Two of us can sit having coffee and the third person will be Mr Nakba.”

Zuabi was brought up in Nazareth, in the Galilee, where there is a large population of Palestinians living within Israel, and where all around there is evidence of the 1948 war, including ruined villages. One of the razed villages was Baissamoon, a tiny Palestinian community. It is here that Zuabi set his play, I Am Yusuf and This Is My Brother, which tells of two brothers, an ill-fated love, and the dislocation and tragedy brought about by the war.

The play, says Zuabi, began as a personal investigation to scrape away layers of myth. “Why did people make the decision to leave? Or did they make the decision to leave? What would you have done?” Zuabi, living in Israel, found the story had been “hushed up”: “It’s the big taboo, because it’s the primal sin. It is the mother of all problems here. They don’t like talking about it.”

Zuabi’s writing is, however, far from polemical. The Jews who fought to create their state are almost absent; never named, they appear only in the background. “We saw them first in January, then all the time,” says one brother. “They invaded our dreams, our conversation.” Zuabi simply wanted to tell a Palestinian story about Palestinians. “Our narrative is the less known one – history is written by the victors,” he says, but adds: “There is no spite. I find the blame game futile. It’s not like I do theatre to crush Israeli propaganda. I don’t hear Israeli propaganda. I don’t care about it.”

The villagers are divided: should they run or fight? Some see the battle in stark terms. “The war was over before it began,” says one character. “We lost. They won. It was that simple.” But with Britain’s Mandate ending, the same character tells a British officer: “We are not a rubbish heap for your guilt, my friend. We’re in your Middle East and what you sow here you’ll reap in 50 years or 100 years in your lovely London.”

Dropped into the middle of this is the original, sombre recording of the results of the UN vote on the 1947 Partition Plan. Rejected by Palestinians, it was passed by the UN and, but for the war, would have carved Palestine into two states around an internationally protected Jerusalem. “Soviet Union: Yes. United Kingdom: Abstained. United States: Yes . . .”

The play explores the what ifs, says Zuabi. “My grandmother, this Palestinian matriarch, used to say, ‘If you plant what ifs, you’ll sow I wish.’ When I walk around Haifa, in some of the neighbourhoods that are empty, I really have to ask myself, ‘What if that hadn’t happened? What are they doing, these people that once lived here?'”

Zuabi studied acting in Jerusalem, then worked with the al-Kasaba theatre in Ramallah as the second intifada, the Palestinian uprising, took hold. He and his actors produced short sketches that drew unexpectedly large audiences, hungry for relief. The sketches turned into Alive from Palestine, which toured abroad, with runs at the Royal Court and the Young Vic. Zuabi then spent a year working at the Young Vic, studied in Moscow, and returned home to work with the Palestinian National theatre.

I Am Yusuf is the first play from ShiberHur, a new touring theatre company based in Haifa, whose name means Within a Few Inches of Freedom. It has already toured Palestinian villages and refugee camps – communities with little access to the theatre. “We have everything going against us as a theatre movement,” says Zuabi. “Lack of funds, infrastructure, the fact that theatre is not really part of our cultural tradition – we come from a poetic tradition.”

When Zuabi was at drama school, he was the sole Palestinian among Israeli students (one of whom, now a successful actor, later became his wife). Only recently has a drama school opened in Ramallah. Until then, Palestinians went to Israel, if they could obtain the permit, or abroad, if they could afford it. “It’s a new art form for us. We have an audience that’s completely uncatered for and is very thirsty. Once they know theatre exists, they keep coming back.”

He has been surprised by the reaction to the play across the generations. In Jerusalem, an elderly man came up to him after one performance and said: “Thank you very much for telling my story.” In Haifa, a woman in her 20s told him: “I understand my parents better now.” Still, he doubts how much difference one play can make towards unravelling this bitter conflict. “I have to believe it does affect people,” he says. “On the other level, I’m not daft. I know I can’t change the reality. I can’t make a show and tomorrow everyone will walk hand-in-hand.”

I am Yusuf and This Is My Brother Young Vic,  London SE1 Starts 19 Jan Until 6 Feb Box office:  020-7922 2922 Venue website

Original article was posted here.

CNN: Soccer stars protest Gaza bombing

December 2, 2012 — Updated 1831 GMT (0231 HKT)
Palestine Stadium in Gaza City was bombed by the Israeli airforce last month during a conflict with the territory's ruling Hamas party.Palestine Stadium in Gaza City was bombed by the Israeli airforce last month during a conflict with the territory’s ruling Hamas party.

 

(CNN) — A group of soccer stars have called for Israel to be stripped of hosting rights for a top European age-grade tournament next year following last month’s bomb attacks on Gaza.

More than 60 players including Didier Drogba, Eden Hazard, Papiss Cisse and Demba Ba signed a petition which was posted on the website of former English Premier League and Spanish La Liga striker Fredi Kanoute.

“We, as European football players, express our solidarity with the people of Gaza who are living under siege and denied basic human dignity and freedom,” the statement said.

“The latest Israeli bombardment of Gaza, resulting in the death of over a hundred civilians, was yet another stain on the world’s conscience.”

American soccer star playing for Palestine

It cited reports of a bomb attack by Israeli forces on a football stadium in Gaza on November 10, which killed four teenage players, and said that two players from the club Al Amari had been detained in Israel “without charge or trial” since February.

“It is unacceptable that children are killed while they play football. Israel hosting the UEFA Under-21 European Championship, in these circumstances, will be seen as a reward for actions that are contrary to sporting values,” the statement said.

“Despite the recent ceasefire, Palestinians are still forced to endure a desperate existence under occupation, they must be protected by the international community. All people have the right to a life of dignity, freedom and security. We hope that a just settlement will finally emerge.”

Tel Aviv will host the European Under-21 Championship next June, when eight nations will compete in Israel.

European football’s governing body UEFA has already rejected calls to move the tournament from pro-Palestine groups including the disputed territory’s football association.

Refugee United: Palestinians debut at Homeless World Cup

“UEFA is an apolitical organization and (Israel) earned the right to host this competition through a fair, democratic vote,” UEFA president Michel Platini said in June.

“I am sure that it will be a beautiful celebration of football that, once again, will bring people together.”

World football’s governing body FIFA also says it does not interfere in countries’ political affairs, but said it would help rebuild the stadium in Gaza — as it did in 2006 following a similar attack.

“We see it our mandate to rebuild football infrastructure which has been destroyed,” FIFA secretary general Jerome Valcke said last week.

“Football brings people together and we will support any reconstruction necessary when football infrastructure is destroyed through disasters.”

Palestine: A national soccer team without a nation

Valcke’s statement was criticized by Israeli media, which reported that the stadium was used by Hamas militants to fire rockets at Jerusalem and Tel Aviv.

Palestine’s bid for recognition was boosted last week when the U.N. general assembly voted to upgrade its status to that of a non-member observer state — a move which was opposed by Israel and the U.S.

“We came to the United Nations not to confront the U.S. and not to isolate Israel or to discriminate Israel. We came to preserve the two-state solution,” Chief Palestinian Negotiator Saeb Erakat told CNN’s Piers Morgan.

Read original article here.

euronews le mag : Art festival in Ramallah

Published on Nov 15, 2012 by 

http://www.euronews.com/ Qalandiya, the first ever Palestinian Contemporary Art Biennale has been held in Ramallah. One of the most popular displays was a pop art-inspired needlework portrait is of Mohamed Bouazizi, the market stall holder who sparked the beginning of the Arab Spring when he burned himself to death in protest at being rough-handled by the police.

The biennial took its name from one of the most famous symbols of Palestinian separation, the Israeli checkpoint at Qalandiya, which is one of the main crossing points between the West Bank and Israel.

Displaying art installations in hard-to-access Palestinian villages scattered across the West Bank was a gamble, but it worked. People flocked to the Abwein village for a day packed with art and fun.

Using villages as art galleries, and borrowing its name from a crowded refugee camp and Israeli military checkpoint, Qalandiya International was a chance for Palestinian artists of the West Bank, Jerusalem, Israel and Gaza to get together and overcome their politically fragmented world.

Jerusalem artist, Jumana Manna’s short movie was inspired by a 1942 picture of a high society masquerade hosted by Palestinian politician Alfred Roch, a reenactment that has won Manna the festival’s “Young Artist of the Year” award.

For more information see
http://centrefortheaestheticrevolution.blogspot.fr/2012/11/gestures-in-time-a…

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Palestinian artist Bashar Al Hroub wins Grand Prize at 15th Asian Art Biennale

New Age Online Edition December 2, 2012  reported on the inauguration of the 15th edition of Asian Art Biennale at the Bangladesh Shilpakala Academy with the participation of 35 Asia-pacific countries.  Amongst the winners was Palestinian artist Bashar Al Hroub who along with Bangladeshi artist Kazi Salahuddin Ahmed, and Japanese artist Meiro Koizumi “won Grand Prizes for their works respectively in mixed media, photography and video installation”.

Read full article here or visit Bashar Al Hroub’s website and find out more about his work.

 

 

The Nomadic Memorial Cast Lead

Translation in French  Translation in Arabic

On 21 September 2012, the International Day of Peace, the Nomadic Memorial Cast Lead was first performed in The Hague, City of Peace and Justice. From the 30st October till the 2nd of November 2012, the nomadic monument was shown in Bozar, Centre for Fine Arts in Brussels. For the finissage on the 2nd of November 2012 – All Souls’ Day –  the acknowledged Palestinian playwright and actor, Taher Najib gave a lecture-performance.

Reminiscent of a graveyard, the Cast Lead installation consists of 1430 unique books ‘floating’ above the floor in battle-array. Each copy of the book has the name of one of the casualties of Operation Cast Lead, carried out by the Israel Army in Gaza during 2008/2009, on its cover. The books contain texts by writers, artists and thinkers from both the East and West. Each of these books is a monument filled with knowledge that proved incapable of changing the course of events.

Would you like to cooperate in the realisation of this work of art? For the price of €65, you will receive your own unique book as part of the work of art Click to order the book

  

map of the installation for Bozar, Brussels

Exhibition Bozar

Taher Najib

BOZAR
www.bozar.be

The project is a co production of Ontwerpwerk, Den Haag; Vlaams-Nederlands Huis deBuren, Brussels; Stef van Bellingen, Erwin Jans and Felix Villanueva.

For more information and to donate to this project go to  http://www.gegotenlood.nl/en 

 

Operation Pillar of Death: Naming Gaza’s Dead – a film by Harry Fear for GazaReport.com

Maysoon Zayid: Funny Arabs – Review

 LSMedia The Independent Liverpool Student Newspaper

In a brilliantly candid account of topics such as terrorism and the Israel-Palestine conflict, Zayid’s autobiographical stand up deals with the post 9/11 relationship between America and its Arabs.

Having heard nothing about Maysoon Zayid other than she is a Palestinian-American comic with cerebral palsy, it was with large amounts of curiosity rather than anticipation that I headed down to the Epstein Theatre on Sunday afternoon.  Even before Zayid stepped on stage, I suspected that I was going to enjoy her take on things. With a fantastic and glowing introduction by Liverpool’s very own Alexei Sale, it was great to see a Jewish comic warming up for his Palestinian counterpart and roundly condemning Israel’s treatment of the Palestinian people.

Maysoon gets her gig underway with her take on the traditional call and response, berating the audience for even daring to feel sorry for her and making light of the jerking limbs caused by her cerebral palsy. The comedy comes thick and fast, with topical stories punctuated with quick, jokes leading up to weighty and often bawdy punch lines.

Using an ever growing number of call backs to previous anecdotes, Maysoon weaves her own narrative along with that of the Israel-Palestine conflict and life in post 9/11 America.

Maysoon’s parents moved to the New Jersey from a small village in rural Palestine and by her own admission her upbringing was exceptionally strict. Her father forbade Maysoon and her sisters from riding a bike or sitting on a seesaw, in what can only be described as a misguided attempt to retain her virginity until her wedding day. The comedy respectfully yet openly pokes fun at some of the more extreme examples of parenting.

Treating her family in much the same way Jewish comics have often conjured up caricatures of the dreaded ‘Jewish mother-in-law’, Zayid refers to her husband as ‘the refugee’ because she first met him in one of the West Bank’s crowded refugee camps.  Using tales of visits over to Palestine to see ‘her refugee’ she explains the backward attitudes that a society under such oppression resorts to, at one point telling of how her mother-in-law gathered all the women of the village together to assess whether a disabled person was worthy of her son.

Zayid lampoons the post 9/11 attitudes to Muslims in the US, by conveying the difficulties of being a shaking Arab at the airport who was dropped off by a father with a striking resemblance to Saddam Hussein.

Regardless of the history her people, Maysoon’s comic digs are sharply leveled at both Israeli and Palestinian politicians. Packing out theatres as a listened to voice for the Palestinian people, whether it’s the US or the West Bank, gives her comedy the kind of importance that few achieve, and puts her up there with the very best. She uses her voice and position to raise awareness and address issues that not many politicians, never mind comics, often go near.

The barriers to success that Maysoon Zayid has overcome are larger than most and that alone makes her worth listening to. However, her comic skill in turning the trials of being a disabled Palestinian woman born in America into something very funny, without losing its point, shows her to be a remarkably gifted performer.

Read original article here 

 

Art on the edge: Palestinian artist Larissa Sansour

Denise Marray

23 November 2012

Khaleej Times

Palestinian artist Larissa Sansour draws inspiration from the political occupation and dehumanising treatment witnessed during her childhood days, and transforms them into profoundly symbolic 
works of art.

A Palestinian astronaut plants the national flag on the moon and then floats away into space. These sequences, bas-ed on iconic images from the US moon landing and Stanley Kubri-ck’s 2001: A Space Odyssey, are at once startling and moving beca-use they express both profound hope and sadness.

The images, from the short film A Space Exodus, are the work of the Palestinian artist Larissa Sansour, whose name made headlines last year when the clothing and accessories company Lacoste forced the withdrawal of her shortlisted photography artwork from a competition being held at L’Élysée Museum in Lausanne, Switzerland. Her work was apparently considered ‘too pro-Palestinian’.

In response to the censorship, the museum broke off relations with Lacoste, the corporate sponsor, and cancelled the competition which carried a first prize of £21,000. The story of the censorship made headlines across the world, and Sansour and her Danish husband found themselves at the centre of a media storm, which proved both uplifting and exhausting. The censored work, Nation Estate, which has since been developed into a futuristic short film, places the Palestinian people in a skyscraper, supported by the international community, with each floor representing a city — Jerusalem, Bethlehem, Ramallah. The citizens in this luxury development can move about freely, via elevators (no checkpoints), but it is a sterile environment affording ‘freedom’ within the confines of an 
artificial construct. The skyscraper has views over the Dome of the Rock of Jerusalem — so the inhabitants overlook the real Jerusalem, forcing them to face a painful reality of exclusion and separation.

Speaking from her London apartment, Sansour said she and her husband are taking a much-needed rest after completing the film version of Nation Estate, which took nine months of intense work. Ironically, Sansour had wanted to win the Lacoste Nation Estate photography prize. In the event, the publicity that ensued from the ban raised her profile, and she was able to pour the res-ulting profits from sales of her work into financing the high-end production film made in Copenhagen.

Sansour was born in Bethlehem; her parents met in Moscow where her Palestinian father was studying mathematics. Her mother is Russian and worked in radio in Moscow. Upon returning to Palestine, her father was invited by the Vatican to found Bethlehem University. The family home, recalled Sans-our, was like an unofficial embassy, full of leading thinkers and political discussions. As a child, she drew instinctively and her father encouraged her precocious talent by finding her art classes to attend.

She remembers her childhood as ‘sunny’ but punctured by disturbing moments of images of violence on the street. “I think what it does psychologically, and you can’t shake that off, is that you feel that not all humans are equal. As a kid that sends a strong message: ‘You’re Palestinian so you will be treated like dirt.’ It becomes cemented — this dehumanisation — from an early age.”

When she was 15, her family life with parents, brother and sister, was harshly disrupted with the ons-et of the First Intifida, an uprising against the occupation of the Palestinian Territories, which lasted from December 1987 to 1993. Her parents, in an effort to protect her, sent her to boarding school in England, where she studied for her O and A levels. Her memories of this time, she said, are full of gloomy grey skies and a feeling of alienation. Those years sowed the seeds of an aversion to London, which she has only recently overcome. She now loves the international buzz of the city, with its 
vibrant cultural scene.

After returning to Palestine for high school, she then set off for the United States, studying art first in Baltimore and then in New York, where she completed her Masters. She continued her Fine Art studies in Copenhagen, Denmark, where she met her husband, a writer, who works with her on the film scripts. The couple, who moved to London three years ago, have a five-month-old daughter, whose joyful arrival has meant a shift in priorities.

A Space Exodus was showing at the Edge of Arabia’s ‘Come Together exhibition in the heart of London’s East End last month. Artists from across the Middle East showed contemporary work using a wide range of mediums and expressing powerful ideas.

Edge of Arabia is unique in engaging directly through educational programmes with the local East End community. This approach is appreciated in an area of London where, after years of social deprivation, a burgeoning arts scene has given a new lease of life to the once run-down streets, but left many residents feeling excluded. “We’re proud to be the education partner with Edge of Arabia,” said Narull Islam, co-founder of the Mile End Community Project.

“This is probably the first exhibition that has really engaged with the local community. They have got the young people involved; that’s really refreshing. It gives our young people confidence to meet renowned artists.”

Article appeared here khaleejtimes.com

Gaza children return to school after ceasefire

HADEEL by Rafeef Ziadah

When all we have are words to keep the dignity of those killed alive… Palestinian poet Rafeef Ziadah in her moving tribute to a child named Hadeel killed by the IDF in Gaza.

Shakespeare in Palestine

By Abdullah H. Erakat, Ramallah

Yasmin Qadmany’s parents did not want her to study acting. In fact, they tried to prevent the 26-year-old engineer from doing so, to the extent that when she told them she was going to follow her heart, they stopped talking to her. That was three years ago, and next year she will graduate. But before she does, she and fellow thespians at the Drama Academy in Ramallah will put on a production of “Romeo & Juliet.”

“I faced difficulties. But I overcame it because I saw it as a challenge,” says Qadmany noting that her relation with her family is now better than ever. Qadmany is gearing up for another challenge in late November: a two-week workshop taught by the all-female company, the Manhattan Shakespeare Project.

Sarah Eismann, the founding artistic director of the Manhattan Shakespeare project says the project came about last year after she performed in an international production of “A Midsummer Night’s Dream” at the Folkwang University of the arts in Germany. Students from Palestine’s Drama academy also made up the cast.

“They were just incredible artists, as well as passionate, courageous and really wonderful people. So when their director asked if I wanted to work with them again, I was like yeah, of course, I would love to,” she adds.

The Drama Academy managing director Petra Bargouthi says the workshop, (English with Arabic translation), is an excellent way to prepare her students for next year’s Shakespeare festival in Germany.

“Language is the most important character when it comes to Shakespeare. It’s a game of language, so this will be very helpful for our students to understand and discover the poetry in Shakespeare,” explained Bargouthi – also a movement therapy instructor – in an interview with Variety Arabia,

The academy, the first of its kind acting school in Palestine, is located in downtown Ramallah and is hosted by Al-Kasaba Theatre and Cinematheque.

Teaching artist Jensen Olaya says she hopes that she and her colleague Eismann will contribute to the “already rich curriculum” of the Academy.

Olaya explained that the sessions will be recorded by film documenter Lena Rudnick: “I feel that Shakespeare is a widely used tool to teach theatre and performance. I feel like his themes are universal on the smallest, most intimate level and I hope that the universal themes can help us connect past cultural and political divides,” she wrote in an email to Variety Arabia.

It’s not only her first trip to the Palestine, but to the Middle East. While she says there are people in Ramallah who have already welcomed her, Olaya says she still cannot quite comprehend that she is actually going and does not know what to expect.

“We have received support – both financial support and moral support – from people in the US and I feel like I have a lot of people who are hoping that I go out there and return with wonderful stories to share about Ramallah and its’ people,” Olaya adds.

“It’s a little scary,” says second-year acting student Rabee Hanani, who has mostly been educated in Germany, but his feelings are more of curiosity than fear.

“By being exposed to different cultures from different countries in the world, we gain more,” he said.

Third-year Drama Academy student Jihad Al Khateeb says he hopes this workshop will make him a better actor, not only in performing Shakespeare, but in general.

“I think the most important thing is how to do Shakespeare the way he intended for us to do it,” says the 24-year old.

Leaving Ramallah, Olaya and Eismann will head north to Jenin’s Freedom Theatre, where they will carry out the same thing.

The venue made the news headlines in April 2011, when its co-founder Juliano Mer Khamis was murdered in broad daylight by unknown men on the steps of the theatre.

Managing director Jonatan Stanczak said the incident caused some students to drop out of the student theatre acting school, but things are now back on track.

Currently, British director Diane Trevis, the first woman to work with the Royal Shakespeare theatre, is conducting a workshop there.

“I am aware that Shakespeare is a very important component of any actor’s development. It’s a great opportunity for us to have one of the best Shakespeare troupes in the world working with our students,” adds Stanczak, who is a nurse by profession.

“We believe culture is the glue that keeps everything together and it is also the process that allows Palestinian society to form itself around ideas,” he said.

“Most of the people who come to Palestine and do the workshop become more aware of the Palestinian life and Palestinian humanity,” says Bargouthi. “I hope this will be a way of knowing us and understanding us and also for our students to see how people perceive them.”

“I merely want to connect as an artist on a human level: person-to-person, overcoming political barriers,” said Olaya.

Eismann says the Manhattan Shakespeare project is simply excited because it is their first venture into creating international relationships.

“We’re not there to make a political statement. We’re just there to create theatre, and to create art,” she concluded.

The story was originally published in Variety Arabia November issue.

On Babel an interview with Samah Sabawi

Marika Sosnowski  talks with Samah Sabawi  about Gaza, poetry, politics, music, culture, the upcoming play Tales of a City by the Sea plus much more.   http://marikasosnowski.com/2012/11/babel-4-samah-sabawi/

 

Samah Sabawi: Gaza and the responsibility of the international community on 3CR Radio