Interview with Iranian/Australian Writer & Actor Osamah Sami by Kyriaki Maragozidis. Originally broadcast 13/6/16 Live to Air on Voiceprint Arts, Three D Radio 93.7fm in South Australia.
Interview with Iranian/Australian Writer & Actor Osamah Sami by Kyriaki Maragozidis. Originally broadcast 13/6/16 Live to Air on Voiceprint Arts, Three D Radio 93.7fm in South Australia.
by Julia Wakefield
Following its sold out premiere Melbourne season in 2014, Tales of a City by the Sea opened at The Bakehouse Theatre this week. The author is Palestinian/Australian/Canadian writer Samah Sabawi. She describes her work as ‘a poetic journey into the ordinary lives of people living in abnormal circumstances and their struggle to survive’.
The play grew out of a collection of poetry that Sabawi wrote while she was in Gaza during the three week bombardment of 2008/2009, prompted by her own experiences and those of her friends and family. She says she is not trying to put across a political message. Although this is a story based on real life events that took place during Israel’s assault on Gaza in 2008, its main purpose is to highlight the resilience and compassion that people display in such dire circumstances. In this current era of global conflict and confusion, there are many places featured in news bulletins that are enduring similar situations. Sabawi wants us to see ‘the detail of daily lives of people they see for brief seconds on the news’.
The play was originally directed by Lech Mackiewicz, and the current director is Wahibe Moussa. When it opened in Melbourne the plan was to have two simultaneous performances on the West Bank and in Gaza. The play was performed on the West Bank a week later; the script has been read in Gaza but as yet there has been no opportunity to perform the play there.
In the main characters of the play, Jomana and Rami, we see another theme: the gulf between the Palestinian diaspora (those whose families escaped from Gaza and who have grown up in an affluent, privileged society), and the same generation who remain trapped in Gaza. Jomana lives in Gaza, Rami is a doctor raised in Texas by refugee Palestinian parents. They are in love, but in order to enter each other’s world they have no choice but to abandon their families and the reality they grew up in.
The play ideally suits the intimate atmosphere of the Bakehouse Theatre. Scenes are evoked with the simplest of props, and Sabawi’s poetry slips seamlessly into the characters’ dialogue, serving to highlight emotional moments. In some places it appears as a passionate soliloquy, as in Rami’s heart rending speech “what price a life?” But it is also there in the play’s frequent humorous moments, such as the Dr Zeuss style banter that Rami exchanges with his mother. This reference to a familiar Western poetic style serves to emphasize the gap between Rami’s and Jomana’s upbringing. We realise that Rami, in spite of his heritage, has more experience in common with the audience than he has with Jomana. The contrast is cleverly portrayed in a particularly riveting scene where Jomana is conversing with her father in Gaza, while Rami is simultaneously speaking to his mother in Texas, on either side of a dining table.. Read more
Adelaide Theatre Guide
June 11, 2016
This is a tale of conflict and survival told principally through the stories of two couples during the 2008 Gaza war.
Jomana (Helen Sawires) is a Palestinian journalist in Gaza who meets American born Palestinian doctor, Rami, (Osamah Sami) who arrives on board one of small boats that breaks the Israeli blockade.
Ali (Reece Vella) and Lama (Emina Ashman) are residents of Gaza. He loves her but she’s unsure whether to marry him or not.
The play traces the development of these two relationships amid the death and destruction that is everyday life in Gaza.
Samah Sabawi has created a potent narrative that brims with raw examples of the reality of living under a hostile authority. She explores relationships and family values in a place where people fight to retain some sense of normality amid the daily death toll; where “funerals and weddings have become part of daily life”. Read more
The play Tales of a City by the Sea is a unique and poetic journey into the lives of ordinary people in the besieged Gaza strip prior to, during and after its bombardment during the winter of 2008. Jomana, a Palestinian woman who lives in the Shati (beach) refugee camp in Gaza falls in love with Rami, an American born Palestinian doctor and activist who arrives on the first Free Gaza boats in 2008. Their love is met with many challenges forcing Rami to make incredible decisions the least of which is to take a dangerous journey through the underground tunnels that connect Gaza to Egypt. Although on the surface this love story appears to explore the relationship between diaspora Palestinians and Palestinians under occupation, there is a broader and more universal theme that emerges – one of human survival and tenacity. Tales of a City by the Sea avoids political pitfalls, ideological agendas and clichés by focusing on the human story of the people in Gaza. Although the play’s characters are fictional, the script is based on real life events and is a product of a collection of real stories the author Samah Sabawi and her family have experienced during the events of the past several years. Sabawi has written most of the poetry in the play during the three-week bombardment of Gaza in 2008/2009.
The writer Samah Sabawi is a Palestinian-Canadian-Australian published writer, commentator and playwright. She has travelled the world and lived in its far corners, yet always felt as though she was still trapped in her place of birth Gaza. The war torn besieged and isolated strip has shaped her understanding of her identity and her humanity. So what else could Sabawi do but to indulge in Gaza’s overwhelming presence and to succumb to tell the stories of her loved ones back home. Her most recent play Tales of a City by the Sea is dedicated to them and to all of those who still manage to have faith and hope even as the sky rains death and destruction.
The script is available to interested theatre makers upon request. Please email email@example.com for more information.
Follow Samah Sabawi on Twitter @gazaheart
Samah Sabawi’s professional bio can be found here
For more information on Samah Sabawi: http://en.wikipedia.org/wiki/Samah_Sabawi
Ramzi Aburedwan was one such child, who grew up in the refugee camp of Al Amari near Ramallah. At the tender age of 8, he witnessed his best friend being killed during an Israeli military operation. He then found himself throwing stones during the first Intifada and as a street combatant Aburedwan seemed destined for an Israeli prison or a Palestinian martyr’s poster. But fate decided to intervene.
At 17, he was invited to a music workshop in Al Bireh, adjacent to Ramallah, where he fell in love with the art and started to learn to play the viola. Replacing stones with a musical instrument led to a journey of channelling his anger into creativity and of personal transformation.
After studying for a year at the Edward Said National Conservatory of Music (ESNCM) in Ramallah and thereafter attending a summer workshop in the United States — at the Apple Hill Centre for Chamber Music of New Hampshire — he enrolled at the Conservatoire National de Region d’Angers.
In 2000 Ramzi created the ensemble “Dal’Ouna”, music that symbolised the link between East and West. It flowed from an encounter between Palestine and France, from the melting of pure traditional Middle Eastern songs with mixed jazzy compositions, played on Western classical musical instruments (viola, violin, clarinet, flute, guitar, piano), and traditional Eastern instruments (bouzouk, oud, darbouka, bendir, etc).
In 2005, he was awarded the “DEM” gold medal for viola, chamber music and music theory. While in France, he also learnt to play the piano.
Yearning to share his knowledge and experience, and inspire a new generation of Palestinians, by helping their anger and frustrations find musical expression, Aburedwan established Al Kamandjâti (The Violin) in October 2002. It was to be the place where Palestinian children and youth could learn music and develop their culture.
In August 2005, Riwaq, the Palestinian architectural organisation engaged in conservation and rehabilitation, completed the renovation of the Al Kamandjâti Music Centre in the old city of Ramallah and it was here that Aburedwan launched his nonprofit musical enterprise, funded mainly by European donors.
Taking music to the people, Al Kamandjâti set up music schools for Palestinian children in various cities, villages and refugee camps. These music schools offer children the opportunity to learn to play music, to discover their cultural heritage as well as other musical cultures, but above all to explore their creative potential.
In addition, Al Kamandjâti produces numerous concerts and several music festivals throughout the year as part of its mission to bring music to all Palestinians.
Aburedwan explains the rationale: “Perhaps the least recognised effect of the violent Israeli occupation on the lives of Palestinian people is the undermining of culture, art and leisure. When a regime wants to weaken a people, it uses psychological, cultural and physical means. It attempts to erase tangible evidence of that people’s unique cultural heritage. Our struggle must be cultural and militant, artistic and political, and economic. But on no account should we forget the primary reason behind the projects and activities led by Al Kamandjâti, which is to educate children, who suffer most from the unjust politico-economic situation.
“We cannot afford to sit back and wait for favourable political decisions which would establish a Palestinian State,” he says. “We must proactively work on galvanising Palestinian cultural life. We must give our children the opportunity to think beyond soldiers and tanks. They must think creatively, not about the destruction of their country, but about rebuilding their way of life and future.”
In the West Bank, Al Kamandjâti today provides music training to around 500 students in places such as the Al Amari, Jalazon, Qalandiah and Qaddura refugee camps, the village of Deir Ghassana, the old cities of Ramallah and Jenin, and in Tulkarem.
Since 2005, Al Kamandjâti, with ten French musicians, has also organised annual music workshops in the Palestinian refugee camps of Lebanon, where, today, they have 60 students at Bourj el Barajneh and Shatilla.
In Palestine, Al Kamandjâti employs 22 musicians who teach violin, viola, cello, guitar, flute, clarinet, oboe, bassoon, trombone, trumpet, saxophone, piano, accordion, oud, nay, Arabic percussion, orchestra, singing, harmony, choir, improvisation and music theory.
“Music is a universal language,” Aburedwan says. “We encourage Palestinians to use this artistic tool to harmonise and enrich their cultural life, promoting international awareness and recognition of the Palestinian nation.
“Through music, Al Kamandjâti seeks to show that education and culture can transcend and overcome the Israeli violence from which Palestinians suffer,” he adds. “Learning music provides children with a form of expression to channel their energy creatively and constructively. Are not today’s children tomorrow’s adults? Classical music is, for the children, a discovery. We introduce each one to an instrument. Moreover, these workshops enable children to gather in a disciplined setting, whether as neighbours or friends or new acquaintances”.
Many young international musicians have been working at Al Kamandjâti, discovering music and a practical approach to mastering various instruments with Palestinian children. Jason Crompton came from New Jersey four years ago to visit his sister in occupied Jerusalem and after learning about Al Kamandjâti, he stayed on to teach piano and conduct the orchestra. He learnt Arabic to communicate with the children and eventually married a fellow teacher from Italy, Madeleine, who teaches the flute and also works with UNRWA schools in the refugee camps around Ramallah. They have a child and now live in Ramallah.
“The feeling of sharing in the musical experience with anyone who wishes to indulge is special and we believe that we belong here,” Crompton says.
Their story lends credence to the oft-held belief that music transcends both borders and barriers. At Al Kamandjâti, it has been an enriching experience for both the Palestinian children and the teachers of many nationalities.
Not only does Al Kamandjâti teach Palestinian children how to play music, it also teaches some of them how to repair, maintain and tune instruments.
Shehadeh, a young man who has been involved in setting up a local lute-making workshop, spent three months in Italy with stringed-instrument makers who had previously been to Palestine, learning to repair and make instruments. Today his workshop adjoins the Al Kamandjâti building in Ramallah.
Al Kamandjâti organises The Music Days Festival in June, in partnership with the French Cultural Centres Network. The festival lasts 12 days and takes place in more than ten Palestinian cities. A Baroque Music Festival follows in December and various churches in the cities of the West Bank and occupied Jerusalem host it.
Al Kamandjâti also engages in exchange programmes abroad with partner organisations. Some students have been given the opportunity to take part in music workshops abroad to improve their technical skills. Khalil, the coordinator, explains, “We had nine students who completed their scholarships in France last year — in violin, percussion, bass, clarinet and guitar, and two of them learnt how to fix string-section instruments.
“We have two blind brothers, Mohammad and Jihad, who today teach percussion and oud at the Helen Keller Centre in [occupied] Jerusalem,” he adds.
Today, Al Kamandjâti stands for Aburedwan’s transformation from a stone-pelter to a viola player and his dream of sharing his knowledge and experience with his people, bringing joy to the children growing up in refugee camps and under occupation.
This article appeared on http://www.albawaba.com/entertainment/palestine-camps-music-479027
By Samah Sabawi
Gaza is one of the most reported on and yet least understood places on earth. Its mere mention conjures up images of war victims, war criminals, piles of rubble, militants with guns, dead children and weeping mothers. A simple google search will bring up disturbing images of heart break, terror and destruction. But all of this is an infliction on a place that has neither surrendered its identity nor lost its beauty to decades of violent Israeli occupation.
Gaza is a city of many tales. While some are about loss, grief and misery, many others are about enduring love, triumphant moments, tenacity, passion, music and hope that lives beyond the confines of the siege and the occupation. If you dig deeper than the negative headlines and the devastating news reports you will find many pleasant surprises. You can take a walk along Gaza’s gorgeous fields, enjoy its magical sunsets, get to know its warm people, visit its ancient sites and eat its delicious dishes. You will find in Gaza everything that would make you love life with a passion! So join me here to explore some of Gaza’s unknown side.
There is a common belief that Gaza’s art scene is all but dead. While it may be true that art in general is not a great priority for the people in Gaza who are too concerned with bigger financial and political issues, Gazan artists continue to create and to excel in their fields. There is also an appreciation of the need to encourage art in children starting from a young age.
One establishment worthy of salutation for supporting the arts is the Qattan Centre for the Child in Gaza. This cultural centre is an oasis for the hearts and the minds of children. Equipped with a large library painted in vibrant colors and comfortable eye soothing furniture the QCC in Gaza focuses on developing the children emotionally and intellectually through visual art, music, education, cultural events and much more.
Below are some images of the QCC in Gaza. Keep in mind all of the paintings you’ll see in some of these photos were in fact painted by children under 15 years of age at the centre.
The Qattan center was built on land donated by the Gaza municipality and has succeeded in meeting its goal of creating an educational and stimulating space for children and their caregivers. Parents are encouraged to join their children in the library, engage with them over art and craft activities, or just watch them proudly as they perform their song and dance routines.
Membership at the QCC is free of charge to all children in Gaza from all walks of life and some of the classes offered charge a small symbolic fee. Many of the events are also free of charge such as the concerts captured in the video below that took place as part of the winter camp activities in January 2013. In this video below you’ll see a variety of instruments, you’ll hear music of both Arab and western origins ranging from Gershwin to Darweesh.
Also worthy of special salutation is the Gaza Music School and its incredible teachers and talented children. The children featured in the next video are nine years of age. They are very dedicated to the art they practice in spite of all the challenges they face including Israel’s bombardment of the Gaza Music School in 2009.
The Gaza Strip is densely populated mostly by refugees who fled Israel’s war of ethnic cleansing in 1948 and have not been allowed to return to their homes since. As the population continues to grow in the besieged strip the natural landscape changes to make way for more cement structures and buildings to accommodate this growth.
However, population growth is not the only challenge facing Gaza’s green spaces. Agricultural land is shrinking as Israel usurps more of Gaza’s water supplies and if that’s not enough, Israel’s siege, blockade, frequent bombardment and occasional land incursions have left their mark on many of Gaza’s farming land. A recommended report that sheds great light on this is the UNISPAL report Farming without Land, Fishing without Water.
Below are two pics of bombed trees in our farm in Gaza. The first depicts a tree totally uprooted from the power of a one ton bomb blast. The second photo depicts a tree that was uprooted from the blast, flew in the air and actually landed straight on top of another tree.
Despite all of the challenges and the uncertainties of Israel’s incursions and bombings, some farmers have insisted on maintaining their land. When visiting their farms you get a sense of what Gaza’s landscape looked like before Israel’s war of ethnic cleansing began. You can imagine how before the refugees were chased into the far corners of their homeland to settle into camps under occupation, how most of Gaza’s natural landscape would have looked like.
Perhaps the most important feature of Gaza is its sea. It is the only landscape that remains unchanged, unaffected by the occupation and the aggression. The sea is an open recreational space that is free of charge. For Gazan families the sea is a cure for all of life’s problems.
Finally, no matter where you go to in Palestine, you will always be overwhelmed with warm hospitality and great food. Gaza is no different. Here are some pics of some of my favourite dishes, but if you’re looking for a more comprehensive list along with recepies I highly recommend you visit The Gaza Kitchen. Bon appétit or as they say in Gaza Saha we afya!
Palestinian artists at this year’s Venice Biennale showcase installations tackling issues such as alienation, identity and conflict.
Monday 11 Mar 2013
‘Otherwise Occupied’, an exhibition of Palestinian artwork at the 55th edition of the prestigious Venice Biennale, will be held from 29 May until 30 June, presenting a neutral space in which Palestinian artists can showcase their art.
The exhibition is organised by The Palestinian Art Court (Al Hoash), a Jerusalem based non-profit organization seeking to develop Palestinian visual arts as a tool for expression and communication, and curated by Bruce Ferguson, Dean of the School of Humanities and Social Science at the American University in Cairo. Bruce Ferguson and Al Hoash director Rawan Sharaf, will feature the work of two globally acclaimed Palestinian artists; Bashir Makhoul and Aissa Deebi as part of the exhibition.
“’Otherwise Occupied’ describes other ways of imagining the nation outside and beyond the conflict; it is therefore a means of artistic and critical thinking through the de-territorialization of Palestine,” reads the curatorial statement.
Both Palestine-born artists have emigrated, yet continue to create artwork abroad that somehow redefines their roots. Both artists are “in continuous search of new ways to imagine the nation from a distance,” according to the the press release.
UK based artist and head of the Winchester School of Arts at Southampton University, Bashir Makhoul, will exhibit a large-scale installation project entitled “Giardino Occupato” at this year’s Venice Biennale. Thousands of cardboard boxes, assembled by members of the public during the show, will be shown in the garden of the Liceo Artistico Statale di Venezia, simulating a shanty town, or refugee camp, probing questions regarding the spaces and shelters that have emerged in the wake of conflict and occupation.
While Makhloul is occupied with raising questions about the impact of war on the livelihoods of people, his work often offers political critiques on various issues, Aissa Deebi is more concerned with issues of cultural-migration, his work investigating notions of alienation and identity. Deebi is based between Cairo and New York, and is currently the Director of the Visual Cultures Program at the American University in Cairo.
In ‘Otherwise Occupied‘, Deebi exhibits a series of drawings, and an installation recreating a speech by the Palestinian citizen of Israel, Daoud Turki, who tried “to advance an idea against the paranoid Zionist fantasy of conflict toward the larger idea of a socialist class struggle, proclaiming solidarity with ‘…all workers, peasants and those persecuted in Israeli society.'”
This article first appeared here .