Reliving Gaza 2009: Searching for Words!

In January 2009 when Israel bombarded Gaza for three weeks, they called their assault ‘Operation Cast Lead’, Amnesty International had a better way to describe it; they called it ’22 Days of Death and Destruction’.  Today, we are reliving that nightmare once again, and once again I find myself searching for words…

Searching for words

Gaza…I search desperately
For words… for definitions
To tell the story of ammunitions
Exploding in a child’s body
I try to shout my indignation
But I am lost in vocabulary
Drowned in phrases as old as me
And I am as old as the Occupation
I need new words

How hard it is to find
Definitions that can restore
Humanity to a small strip of land
Along the Mediterranean shore
Siege, starvation collective misery
Familiar words in my head they linger
Bombs fall from the sky every day
Powerless words I can’t use any longer
I need new words

“Palestine is occupied….”
These are now hollow words…
“Palestinians are oppressed…”
These are now daily words…
“Palestinians are dispossessed”
These are now…tired words
“Palestinians….have a right to exist”
Words often spoken…worn out words
I need new words

Gaza…my home city
My earliest memory of Jasmine flowers and  meramiah tea
My first taste of sour lemon dipped in salt
My first climb on an almond tree
Gaza, my destiny
My father’s heart sky and sea
My mother’s first love
My sister’s first breath
My pride and dignity

Gaza is under fire
Obliterated by hate
Strangled by a demonic desire
To erase my history
Gaza is in pieces
And I…the writer…
I’m speechless
What language can possibly save me?
What words?

Samah Sabawi January 2009

Press Release: A new Gaza Massacre!

Press Release: A new Gaza Massacre!

14.November.2012

Besieged Gaza, Occupied Palestine–The Palestinian Students’ Campaign for the Academic Boycott of Israel, University Teachers’ Association and The One Democratic State Group condemn in the strongest possible terms the criminal Israeli attack against innocent Palestinians in the Gaza Strip. More than 7 people have been killed within the last 6 hours, including 7-year-old child Ranan Arafat. Charred bodies of injured children are pouring in to Al Shifa hospital and the other depleted hospitals around the Gaza Strip. This heinous crime also comes one week after the re-election of Barak Obama for a second term. Tel Aviv claims to have been given the green light to annihilate as many Palestinians in Gaza as possible.

Gaza has been enduring Israeli policies of extermination and vandalism since 2006. We reiterate our condemnation of the international conspiracy of silence and Arab impotence in the face of these continuous Israeli crimes. We note that not a single action against Israel has been taken by any Arab country. Will the Arab Spring stand aside and watch while we are being butchered? Empty rhetoric will no longer be accepted. Words of condemnation have to be translated into action!

We also reiterate our call on all civil society organizations and political parties to boycott Israeli embassies and compel their governments to sever their diplomatic ties with Apartheid Israel.  This time, Apartheid Israel must not get away with its crimes against the innocent civilians of Gaza.  All students and academics should stand in solidarity with their Palestinian colleagues and peers. We ask, what more does the international community need to see to be convinced to act than the dozens of dead corpses of children in Gaza? It is left to civil society and people of conscience to stop the ongoing massacre in Gaza.

Inaction has led us to this point.

 ACT NOW BEFORE IT IS TOO LATE!

One Democratic State Group

Palestinian Students’ Campaign for the Academic Boycott of Israel

University Teachers’ Association

One Democratic State Group
odsg.org/co

“Gaza” from the soon to be released album “Sounds That Can’t Be Made”.

Gaza

When I was young it all seemed like a game
Living here brought no sense of shame
But now I’m older I’ve come to understand
Once we had houses
Once we had land
They rained down bullets on us as our homes collapsed
We lay beneath the rubble terrified

Hoping.. Dare we dream?
We gave up waiting
For us, to dream is still a dream

When I woke up, the house was broken stones
We suddenly had nothing
And nothing’s changed

We live, eight people, in this overcrowded heat
Factory-farmed animals living in our own sweat
Living like this is all my baby brother ever knew
The world does nothing. What can we do?

We will kick the ball
We will skip the rope
We will play outside. Be careful
We will paint and draw. We will say our prayers

Outside the pitiless sun bleaches the broken streets
The darkness drops in the evening like an iron door
The men play cards under torchlight
The women stay inside
Hell can erupt in a moment day or night

You ask for trouble if you stray too close to the wall
My father died ..feeding the birds
Mum goes in front of me to check for soldiers

For every hot-head stone ten come back
For every hot-head stone a hundred come back
For every rocket fired the drones come back

For thirteen years the roads have all been closed
We’re isolated. We’re denied medical supplies
Fuel and work are scarce. They build houses on our farms
The old men weep. The young men take up arms.

We’re packed like chickens in this town of block cement
I get headache from the diesel. When it rains, the sewers too
I had no idea what martyrdom meant
Until my older brother.. my older brother
I’m sorry. I can’t continue.

You sow the wind, you reap the whirlwind, it is said
When people know they have no future
Can we blame them if we cannot tame them?
And when their hopes and dreams are broken
And they feel they might as well be dead
As they go, will we forgive them
If they take us with them?

Stay close
Stay home
Stay calm
Have faith

With the love of our family we can rise above anything
Someday surely someone must help us
With the love of our family we can rise above anything
Someday surely someone must help us
Even now we will go to school
Even now we will dream to dream
Someday surely someone must help us

Nothing’s ever simple – that’s for sure
There are grieving mothers on both sides of the wire
And everyone deserves a chance to feel the future just might be bright
But any way you look at it – whichever point of view
For us to have to live like this
It just aint right
It just aint right
It just aint right

We all want peace and freedom that’s for sure
But peace won’t come from standing on our necks
Everyone deserves a chance to feel the future just might be bright
But any way you look at this – whichever point of view
For us to have to live like this
It just aint right
It just aint right
It just aint right

It’s like a nightmare rose up slouching towards Bethlehem
Like a nightmare rose up from this small strip of land
Slouching towards Bethlehem

It’s like a nightmare rose up from this small strip of land
Slouching towards Bethlehem

Stay close
Stay home
Have faith

I can’t know what twist of history did this to me
It’s like a nightmare

With the love of our family
We can rise above anything
Some day surely someone must help us…

http://marillion.com/music/lyric.htm?id=824

The Freedom Bus’s New Initiative “The Ride for Water Justice”

Details Published on Monday, 05 November 2012 08:46

PNN

Thirsting for Justice Campaign said in a press release that during November 2012, the Ride for Water Justice! is taking place in communities impacted by Israel’s illegal appropriations of Palestinian water resources.

The Ride includes guided walks, Playback Theatre performances, and community discussions about water apartheid and the broader struggle for freedom and justice in occupied Palestine. Audience members share autobiographical accounts and watch as a team of actors and musicians instantly transform these accounts into improvised theatre pieces. Playback Theatre provides opportunity for education, advocacy and community building.

The Ride started on Friday, November 2, in the village of Faquaa (in the Jenin district), one of many Palestinian communities impacted by Israel’s illegal appropriations of Palestinian water resources.

In the next Fridays, Palestinian and international activists, students, journalists, artists and the wider public are invited to join any or all of the Ride for Water Justice events:

November 9th: Attuwani, South Hebron Hills

November 16th: Al Hadidiya, Jordan Valley

November 23rd: Gaza via Video Conference

This four time event is organized by the Freedom Bus and EWASH’s West Bank local partner Juzoor.

The Freedom Bus is an initiative of The Freedom Theatre that uses interactive theatre and cultural activism to bear witness, raise awareness and build alliances throughout occupied Palestine and beyond.

Juzoor for Health and Social Development is a Palestinian non-governmental organization based in Jerusalem working at the national level, dedicated to improving the health and well-being of Palestinian families and promoting health as a basic human right.

The Emergency Water, Sanitation and Hygiene group (EWASH) is a coalition of almost 30 organisations working in the water and sanitation sector in the occupied Palestinian territory.

The Freedom Theatre: http://www.thefreedomtheatre.org/

Thirsting for Justice Campaign: http://www.thirstingforjustice.org/new

Juzoor: http://www.juzoor.org/portal

For further information about the event, visit

https://www.facebook.com/events/429492253776932/?ref=ts&fref=ts

DAM featuring AMAL MURKUS – If I Could Go Back In Time لو أرجع بالزمن

http://www.DAMRAP.com
Translation and Credits
Arabic script: If I Could Go Back In Time
‏Suhel Nafar:
‏Before she was murdered, she wasn’t alive
‏We’ll tell her story backwards from her murder to her birth
‏Her body rises from the grave to the ground
‏The bullet flies out of her forehead and swallowed into the gun
‏The sound of her echo screams, she screams back
‏Tears rise up from her cheeks to her eyes
‏Behind the clouds of smoke, faces of her family appear
‏Without shame, her brother puts the gun in his pocket
‏Her father throws down the shovel and wipes the sweat off his forehead
‏He shakes his head, satisfied from the size of the grave
‏They pull her back to the car, her legs kicking
‏Like a sand storm, she’s erasing her own tracks
‏They throw her in the trunk, she doesn’t know where she is
‏But she knows that three left the house and only two will return
‏They reach the house; throw her to the bed in violence
‏”So you want run away huh?” they wake her with violence

‏Amal Murkus (Chorus)
‏If I could go back in time
‏I would smile
‏Fall in love
‏Sing
‏If I could go back in time
‏I would draw
‏Write
‏Sing

‏Mahmood Jrere:
‏She dreams before falling asleep
‏We’ll tell her story backwards, maybe understand
‏The clock hands move right to left
‏She reconstructs her steps as if she were lost
‏She sleeps prepared, money for the taxi
‏Plane ticket and passport under her pillow
‏Answer: leave the clothes in the closet; she plans to wear a new life
‏Question: what if they ask what the suitcase is for?
‏She went to bed, leaves table
‏Eats well, she must act today
‏Her nose stops bleeding, that’s what they see
‏But it’s a fresh wound; before they will beat her she will beat them
‏Her mom says “your life is like heaven”
‏She’s right, if you taste the forbidden you better know someone is watching
‏Two hours before dinner, the phone hangs up
‏Her mom is shocked “the flight is delayed”
‏Phone rings

‏ Amal Murkus (Chorus)

‏Tamer Nafar:
‏Before she answers, she isn’t even asked
‏The story is like the logic in her life, all backwards
‏Her hands up in the sky, begging for help
‏Their hands up in the sky reciting the Fatiha (ceremony before marriage)
‏The calendar page moves one day back, the time is
‏Afternoon, the argument is over, her brother commands her
‏Blood flows from her lips to her nose
‏A sound of a fist, his hand jumps from her face
‏It’s the first time in her life that she says “NO!”
‏Her mom announces happily “tomorrow you will marry your cousin”
‏If I look through the album of her life
‏I won’t see a photo of her standing up for her rights
‏It’s hard, the pages are stuck to my hand
‏Her past full of blood and tears
‏But we promise you, from her murder to her birth
‏Their expressions filled with anger as if someone announced a crime
‏”Congratulations, it’s a girl”
‏The beginning.

Arabic script:Freedom For My Sisters

Lyrics written by DAM
Music produced & arranged by NABIL NAFAR
Mixed by SAQIB and NABIL NAFAR
Mastered by SAQIB

Directed by JACQUELINE REEM SALLOUM and SUHEL NAFAR
Produced by LAURA HAWA
Assistant Director ELI REZIK
Director of Photography ARI ISSLER
Editor ABDUL JABBAR MAKI
Composting and Visual Effects CONRAD OSTWALD
Colorist SETH RICART
Costume Designer and Stylist NADA NAFAR
Art Director BASHAR HASSUNEH
Production Manager JAMAL KHLAYLEH
Makeup Artist VERED NIVO
Lighting Director ARI ISSLER
Steadicam Operator HAIM ASIAS
Focus Puller GEORGE DABAS
Key Grip MORDI BOAZ
Key Gaffer YANA MITNICK
Production Assistant MANAR YACOUB
Best Boy Gaffer REA’OT GING
Best Boy Grip FADI MATAR
Art Assistant PAULINE CARBONIER
V
Visual Effects Supervisor HASHEM ODEH
Sound Playback JAMIL NAFAR
Catering NADIA NAFAR and MONIRA GOHAR

Cast
Main Girl SAMAA WAKEEM
Brother DORAID LIDAWI
Mom KHAWLA DIBSI
Dad BAHJAT YOUNIS

Chorus scene
YARA ZRIEK
ISIS AZAM
NERIAN KEYWAN

Fateha Readers
BAHA KADURA
ABEDALLAH NAHFAWI
RAMI YOUNIS
SAMI AWADI
WAEL ABU SHAREKH
ABED SHAHADA
MUHAMAD HADDAD

Young girls
ASIL KADURA
CILIN AWADI

Special Thanks
UN WOMEN
JULIEN VAISSIER
FAIEZ NAFAR
MARKO MATKOVIC
MARTIN BJERREGAARD
AdTomic
WALEED ZAITER
SALIM SHEHADEH
SALMA SAMARA
AHMAD KANAAN
AYED FADEL
NINA ZIDANI
ABED HATHOT
BAHAA RASHED
ADI KHALEFA
ADI KRAYEM
ELYAN BASEL
MANAL BASEL
RASSLAN BASEL
ABEER AWADI
RASHA KADURA
CINDY THAI THIEN NGHIA

Smuggling some fun: Teens sneak paintball game into Gaza

By REUTERS
GAZA

It was once the Jewish settlement of Netzarim, but now the site has been turned into the Gaza Strip’s first ever paintball park.

The arrival of the strategic action game in Gaza is offering Palestinian youths a chance to try something new.

But bringing the relevant equipment and protective clothing into the blockaded territory was no small achievement: everything had to be smuggled in through one of the 1000-metre (yard) underground tunnels that link Gaza with Egypt.

“We brought it over via a very hard route, via the tunnels from Egypt, so that we can play games that are played all over the world, so that the youth of Gaza can play games that are played around the world. This is a peaceful game and it’s really, really fun. There’s no danger whatsoever,” said paintball referee Rami Eid.

Palestinian youths have been teaming up for a chance to play the new game, which involves hiding behind positions laid out in a field, before jumping out to spray competitors with balls of colored paint.

“We came to play paintball today. It’s the first time I’ve played it and it’s a really fun game, a really nice game. We were a big group but it’s a nice game with suspense, preparation, action and war. Young men like us like these kinds of games. It’s a nice game and we’ve enjoyed it a lot,” said participant Ahmad Abu Ryaleh.

Paintball has become increasingly popular around the world in recent years, with national teams going head-to-head in regional and world tournaments.

Enthusiasts say it is a game of skill and team-work – something Gaza’s new participants are just discovering.

“I am really happy, I hope there will be more things like this because it is better for young people to use up their energy playing these games, rather than getting up to no good somewhere else,” said Abu Ryaleh.

But with an entrance fee of 10 shekels ($2.5), 50 shekels ($12.8) to rent the paintball field and 30 shekels ($7.6) for 50 paintballs, the experience is beyond the reach of most Gazans.

A recent U.N. report said tougher Israeli policies and settlement expansion were pushing all Palestinian territories deeper into poverty.

Amid persistently high unemployment, one in two Palestinians was now classified as ‘poor’, the UNCTAD report said.

Palestinian artists launch art festival to protest Israel’s barrier

By REUTERS
WEST BANK

Sunday, 04 November 2012

Palestinian artists showcased their art work at West Bank’s Qalandia International Festival on Thursday framed as part of a creative reaction to the Israeli barrier that separates Palestinian villages from each other.

Israel has said the barrier, a mix of electronic fences and walls that encroaches on West Bank territory, is meant to keep suicide bombers out of its cities.

Palestinians call the barrier — whose course encompasses Israeli settlements in the West Bank — a disguised move to annex or fragment territory Palestinians seek for a viable state.

The International court of Justice declared the planned 600-km (370-mile) barrier, more than half of which is completed, illegal but Israel has ignored the non-binding ruling.

Qalandia International Festival Art Director, Jack Persekian, said it was an important way for Palestinians to channel their emotional reactions to the barrier.

“The wall and the road that was constructed recently connect the Israeli settlements together and separate the Palestinian villages from each other. The reaction to this separation was a cultural festival. It is an important and a good reaction — it shows a positive, artistic and cultural spirit in a painful situation that should be stopped,” he said.

The festival, which showcases Palestinian contemporary art projects, performances, films, and other cultural activities, kicked off on Thursday at Qalandia village northern of Jerusalem and ends on November 15.

According to the festival’s organizers, over 50 local and International artists came together for the launch of Qalandia International, ‘a milestone contemporary art event’.

Palestinian artist Khaled Jarar screened his 2 minutes film at the festival. His film, too, addresses barrier issues and Palestinians’ reactions to it.

“I went to the wall and I cut out some pieces of it. I smashed them then I mixed them with cement and water and I made a ball which children play with. My message is that the wall is an ugly thing, so we should seek out ways in which to use it and the occupation for our benefit,” he told Reuters television.

The festival was organized by seven Palestinian institutions- Riwaq, Al Ma’mal Foundation for Contemporary Art, A. M. Qattan Foundation, Palestinian Art Court – Al Hoash, International Art Academy – Palestine, Sakakini Cultural Centre and the House of Culture Arts – Nazareth.

Palestinian band ‘Dar Qandeel’ performed traditional and modern music at the festival’s opening ceremony and people from various Palestinian villages and cities as well as Internationals came to attend.

Yara Bayoumi, a visitor at the festival, said the cooperation involved in hosting such a festival was wonderful.

“The festival is very nice. It is the first of its kind in Palestine. It is the first time seven organizations have worked together to organize such a festival. I hope it will have a good effect, and put Palestine in the world’s contemporary art,” she said.
The festival is expected to tour Jerusalem and other West Bank cities.

This article appeared in http://english.alarabiya.net/articles/2012/11/04/247588.html

SoA Women take Shakespeare project to Palestine

 

By Zoë Miller

Columbia Daily Spectator

Published October 1, 2012

The Manhattan Shakespeare Project’s current venture is centered on the creation of original theatrical pieces that will incorporate Shakespeare’s sonnets and Palestinian youth songs.

For the all-female Shakespeare company Manhattan Shakespeare Project, all the world really is a stage­ for cross-cultural communication.  MSP’s newest project, “Shakespeare For A New World: The Palestinian Voice,” is centered on the creation of original theatrical pieces that will incorporate Shakespeare’s sonnets and Palestinian youth songs. Teaching artists Sarah Eismann, SoA ’12, and Jensen Olaya, SoA ’12, will travel to Palestine in late November, accompanied by documentary film director Lena Rudnick, SoA directing candidate, to work with students at the Drama Academy Ramallah and the Jenin refugee camp’s Freedom Theatre.

Eismann said that although “Shakespeare For A New World” and MSP are not political entities, projects “have the potential for having political undertones” by nature of the fact that MSP is an all-female company traveling to a region often associated with more rigid patriarchy. But the purpose of “Shakespeare For A New World,” above all else, is for Eismann and Olaya to work with the students at the Drama Academy Ramallah to create theater and art. Due to their geographical location, the Palestinian theater students are extremely isolated. The project will “help get their voice outside of the borders of Palestine,” Eismann said.

The concept of “Shakespeare For A New World” emerged after Eismann performed in an international production of “A Midsummer Night’s Dream” that took place in 2011 at the Folkwang University of the Arts in Germany. The “Midsummer” cast was comprised of acting students from Folkwang, in addition to students from Columbia, the Drama Academy Ramallah, the Shanghai Theatre Academy, and the Lucian Blaga University of Sibiu. Eismann said that she was inspired by the beauty of “a Palestinian Helena working with a Romanian Demetrius.” Shakespeare’s words, she realized, could effectively cut across cultural and linguistic barriers. “We found our common world. We found our common language,” she said.

The Folkwang production, Eismann said, led to an epiphany. “If only the world could work this way, we would have no problems,” she said. “It wouldn’t be me against you—it would be what was on that stage.”

Eismann was thrilled when the Drama Academy Ramallah’s director invited her to teach the “Shakespeare For A New World” workshops and make this vision of “a completely united, holistic, humanistic world” more of a reality—at least in theater.

As time went on, the project gained momentum and “exploded into this very idealistic, very grandiose plan.” The intense, six-hours-a-day workshops will include not only actors from the Academy but also teenagers at the Jenin refugee camp, which is one of the oldest, most devastated refugee camps in Palestine. With the help of a team including Rudnick, these workshops and the performances that result from them will be filmed.

In the next five years, Eismann hopes to take the methodology that the MSP team learns from the Ramallah and Jenin workshops and bring it to high school students in New York.

The end goal, she said, is to get diverse communities across the globe to learn about each other, “to use Shakespeare to talk, to create theater, to create peace.”

arts@columbiaspectator.com

This article appeared in Colubmia Spectator

 

 

 

 

A Message from Young Palestinians in Gaza to the World!

Gazans produce fish and vegetables in tiny rooftop spaces

by Sara Hussein

GAZA CITY, Palestinian Territories, Oct 29, 2012 (AFP) – Abu Ahmed looks out over a sea of grey, empty Gaza rooftops, and smiles as he looks back at the lush greenery sprouting in tubs and pipes on top of his apartment building.

He is part of a United Nations agency project to introduce cutting-edge urban agriculture to Gaza City, teaching Palestinians to farm without soil in the space available to them in one of the world’s most densely populated places.

Most of his rooftop is given over to an aquaponic system, which produces food by linking fish tanks of tilapia with gravel-filled planters.

The integrated system feeds the water from the fish tanks into the plant beds, where Abu Ahmed’s crops — lettuce, peppers, broccoli, celery and herbs — are fertilised by waste produced by the tilapia.

As the water trickles through the gravel, the plants absorb nutrients from the fish waste, cleaning the water, which then replenishes the tanks.

“The idea really was to help the poorest people in Gaza be able to grow some of their own food, and healthy food, grown without pesticides,” explains Mohammed El Shatali, the project’s deputy manager.

For Abu Ahmed, the project has been a major success.

Not only is he using the integrated aquaponic system, he had also set up his own subsidiary hydroponic system, growing additional crops in plastic pipes that are fed by the same water that runs through the aquaponic system.

“I had a bit of experience with agriculture and farming before, but nothing like this,” he says, examining the leaves of a celery plant.

Thanks to the project, the 51-year-old has been able to feed his 13-member family fresh vegetables and fish throughout the summer.

“The fish taste great, although I’m trying not to eat too many of them because I’m breeding new ones so I won’t have to buy more.”

There have also been other benefits from the system, he says, explaining that it cools the apartments below by providing shade.

“It’s great for the children. Nowadays they don’t see farming, they barely see trees or plants. It’s great for them to see this because it gets them interested in growing and planting things.”

Gaza’s 1.6 million residents live on just 360 square kilometres (140 square miles) of land, and much of that is off limits because Israel maintains a 300-metre (yard) deep exclusion zone along the length of the border fence.

Power cuts threaten fish

In Gaza’s main towns and cities, empty land is being eaten up by the construction of multi-storey apartment buildings, leaving little space for agriculture.

The challenges prompted the UN’s Food and Agriculture Organisation (FAO) to look for new ways to maximise crop production in tiny spaces.

In Gaza City’s Zeitun neighbourhood, 34-year-old Eman Nofal tends crops in a small yard next to her apartment. Peppers have been her biggest success this year, and both sweet and spicy red peppers dot the greenery in her planters.

Nofal’s husband was killed in fighting between rival Palestinian groups Fatah and Hamas in 2006, leaving her the sole provider for their four children.

When she heard about the project, she thought it could ease the cost of feeding her family.

“It’s been great. It’s really easy, the children even help me maintain the plants,” she says, acknowledging that the concept was somewhat alien at first.

“All our lives, we learnt that farming meant growing things in the ground, in soil, so it was strange to hear it was possible to grow in water and gravel, but I love the idea.”

Nofal says the project also gives her pleasure.

“Just the way it looks is really nice. Sometimes I come out here just to enjoy the greenery and to watch the fish play with each other. It relaxes me.”

The project has faced setbacks, including the Gaza-specific challenge of power cuts of up to 12 hours a day, which shut down the pumps that transfer water between the fish tanks and plant beds.

“Electricity has been one of the most difficult challenges,” says Chris Somerville, an urban agriculture consultant with the FAO.

“At 30 degrees centigrade (86 Fahrenheit), the capacity of the water to hold oxygen reduces, and during the summer many of the beneficiaries had fish die.”

New participants will receive a battery-powered pump to tide them over during power cuts, and the FAO is experimenting with fibres that could be used in hydroponic systems to retain moisture when power cuts stop the water flow.

Initially, the project also had to overcome a certain level of scepticism, Somerville says.

“To tell agrarian societies that you’re going to grow plants without soil can sometimes be a bit of a jump,” he laughs.

But the project has been so successful that the next cycle will expand from 15 aquaponic participants to around 80, with another 80 homes operating hydroponic systems.

It will be the first time the FAO has implemented aquaponics on this scale, and the agency is now looking at implementing the project elsewhere in the world.

“To be able to take this Gaza model and bring it to other countries would really be a massive achievement,” Somerville says.

This article appeared in http://www.mysinchew.com/node/79207?tid=10

Palestinian Film Festival Australia

Cultural Media is proud to present the 4th Palestinian Film Festival. This year’s theme is simple yet heartfelt: Visit Palestine.

Many of us have a connection to Palestine. For some, it may be historical, ancestral or spiritual. For others, it may be political, humanitarian or educational.

Whatever your interest may be, join us on a cinematic journey of unforgettable imagery and creative, thought-provoking storytelling.

For information and tickets go to http://www.palestinianfilmfestival.com.au/tickets

 

A circus comes to Gaza _ minus lions and ladies

By DIAA HADID, Associated Press – 7 hours ago

GAZA CITY, Gaza Strip (AP) — The circus came to Gaza on Friday, accompanied by blaring music, juggling clowns and fire blowers — but getting it there required its own high-wire act.

No women performers were included for fear of offending conservative Palestinians and the Gaza Strip’s militant Hamas rulers, and the circus’ lone lion and tiger were left behind because of the high cost of transporting them legally into Gaza.

The Egyptian National Circus put on its first show of a month-long visit to the impoverished coastal territory on Friday, a sign of warmer relations between Hamas and post-revolution Egypt, which is governed by the Islamic group’s ideological parent, the Muslim Brotherhood.

Although it’s not state-sponsored, the Egyptian circus could only come because the country’s government loosened restrictions on the flow of passengers in and out of Gaza. More foreigners now enter Gaza, including the ruler of the resource-rich Gulf state Qatar earlier this week.

Once in Gaza, the Egyptians’ faced an unusual situation — most Palestinians here don’t know what a circus is.

“I think it’s going to be really surprising for most people,” said Riwa Awwad, 19, ahead of the opening night.

“Gazans are famous for not liking anything and I think they’ll do the impossible to entertain us,” said Awwad, who came with her extended family to the fairground on Friday.

In an ironic twist, the cheery circus with its flashing lights was held on the grounds of a notorious security prison that was destroyed during an Israeli offensive four years ago.

For the Gazans fortunate enough to see the opening show, it was a welcome relief from conflict and despair. The fairgrounds were packed with excited children in new cloths, women in glittery headscarves, others in black face veils, and men in suits and freshly pressed shirts. Families snacked on pumpkin seeds.

They hollered and cheered as a tight-rope walker wiggled his hips and belly-danced on a thread suspended above the ground. A performer hurled silver knives around volunteers. A red-clad fire blower shot whooshing, yellow licks of flame out of his mouth. Two clowns dressed in yellow-and-blue bumbled and fumbled as they tried to juggle, delighting children.

It took months to arrange the visit to the impoverished territory, where 1.6 million people live in a 25 mile-long sliver wedged between Israel and Egypt and face a punishing blockade imposed after Hamas seized control in 2007.

Aside from a circus’ brief visit in the 1990s, there’s never been anything like it since Israel captured the strip from Egypt in 1967. Israeli forces and settlers withdrew in 2005.

Businessman Mohammed Faris said he remembered seeing the circus under Egyptian rule in the 1950s, when Gaza was still a liberal place with casinos and bars. He said he recalled as a child seeing men walking on nails and female acrobats flying across stage.

“It was men and women – pretty women,” he said.

Not this time around.

Organizer Mohammed Silmi said female performers had to stay behind because the circus was worried that leaping ladies in tights would offend Gazans.

He said Hamas didn’t explicitly ban women but he was asked to abide by Gaza’s “traditions” when he petitioned to get the circus to come.

In practice, the circus wiggled a little around the no-women rule. At one point a man in drag, sporting a brown wig and red dress, sang and danced with Bunduk the clown.

After Hamas seized control of Gaza in 2007, Israel and Egypt imposed a blockade that aimed to weaken the militants who seek Israel’s destruction.

Under international pressure, it was loosened after Israel raided a blockade-defying boat and killing nine Turkish activists aboard in 2009. Key restrictions still remain on exports and importing raw materials.

All the circus equipment came through the Rafah border crossing, but expensive fees and cumbersome paperwork kept the circus from bringing lions, tigers and horses across the border.

Gaza’s makeshift zoos and other merchants often bypass that problem by hauling animals through smuggling tunnels linking the territory to Egypt. In one famous scene captured on film, Gazans used a crane to lift a camel over the border fence as the animal twitched in the air in agony.

Animal welfare aside, Gaza’s main zoo recently turned to improvised taxidermy to keep its deceased animals on exhibit.

The area also continues to be violent. As circus technicians were setting up their tent earlier this week, Palestinian militants were fighting Israeli forces in tit-for-tat rounds of rocket fire and retaliatory airstrikes.

Egyptian technician Khalil Gomaa, 55, jolted upon every crashing boom. He told his children he was in Jordan so they wouldn’t be worried. “But I’m worried,” he said.

But the circus’ biggest challenge may be packing the 1,000-seater tent for the month-long visit.

A series of Palestinians interviewed didn’t know what a circus was, and the tickets — ranging from $5-$10 seats — are too expensive for most of Gaza’s traditionally large families.

Some 40 percent of Gazans live on less than $2 a day, a third are unemployed and most need U.N. donated food.

They include the mother of eight, Sabrine Baoud, and her unemployed husband. After the circus was explained to her, Baoud, 35, said she was glad her children didn’t know anything about it.

They’d never be able to afford to go.

Getting ready for Eid: Palestinians smuggle sheep to Gaza through tunnel

Palestinians smuggled sheep to Gaza in a tunnel under Egypt’s border for the Muslim celebration of Eid Al-Adha, where goats, sheep and camels are slaughtered commemorating Abraham’s willingness to sacrifice his son Ismail on God’s command.  For more incredible pics go to http://www.demotix.com/news/1544458/palestinians-smuggle-sheep-gaza-through-tunnel-under-egypt-border/all-media

 

 

‘Unto the Breach’: Palestinian dance adaptation of Shakespeare’s play

UK-based Palestinian dabke theatre group Al Zaytouna will present its new production entitled Unto the Breach in London in November 2012.
Interview by Mamoon Alabbasi – LONDON
Article Published: 2012-10-22 Middle East Online

Henry V set in modern-day Palestine

The UK-based Palestinian dabke theatre group Al Zaytouna will present its new production entitled Unto the Breach, an adaptation of Shakespeare’s Henry V set in modern-day Palestine. The show, directed by Ahmed Masoud and co-directed by HadjerNacer, will be performed in London in November 2012. Al Zaytouna board member Souraya Ali gave the following interview ahead of the full production’s debut.

Q– Could you give a brief introduction to the show?

Al Zaytouna Dance Theatre’s new show Unto the Breach is a dance adaptation of Shakespeare’s history play Henry V, set in modern-day Palestine. Paralleling Shakespeare’s account of the young English monarch, King Henry V leading his people in battle against the mighty French army, Unto the Breach tells the story of the Chairman, a Palestinian leader who, moved by his people’s suffering, leads them in a revolution against a more powerful force to free them from oppression.

As in Shakespeare’s original play, a Chorus leads the audience through the show, but here she urges them to imagine “the vast olive groves of Palestine” and “the very gates of Jerusalem” rather than the 15th century battlefields of France, and the scenes she narrates are brought to life not through Shakespearian dialogue, but through traditional Palestinian dabke and contemporary dance against a backdrop of digital media.

Q– Some have interpreted Shakespeare’s Henry V as a play that celebrates patriotism while others have viewed it as exposing the Machiavellian characteristics of a king – shedding light on the horrors of war. How do you understand the original play? And how does your show relate to that?

We don’t see Shakespeare’s play as a straightforwardly patriotic account of King Henry V’s French battles. Whilst the play does depict an extraordinary victory against all odds, it also shows that the motives behind this victory were not all virtuous, and that the means of achieving it were not all noble. For example the two clergymen who put the case for war to the King at the beginning of the play are driven by financial motives, as are various unsavoury characters who join the king’s army because of prospects of plunder. King Henry himself also shows a darker side to his character with a controversial decision to execute defenceless French prisoners during the battle of Agincourt.

Unto the Breach captures something of this ambivalence towards war. On the one hand, it celebrates Palestinians’ efforts to change their circumstances and shape their future through revolution, but on the other it recognises that these efforts have not yet succeeded. Palestinians still live under occupation and are far from achieving the freedom and sovereignty that they have been fighting for. The show also highlights the internal power struggles that have undermined Palestinians’ campaign for freedom, and depicts some of the darker outcomes of such struggles, such as in a scene where the Chairman executes two of his own people to quash a rebellion.

In the original play, the Chorus repeatedly draws the audience’s attention to the inability of the theatre and actors to accurately convey all aspects of the historical tale. Instead, the Chorus resorts to hyperbole and appeals to the audience’s imagination, indicating just how much our understanding of past events is constructed – and embellished – by those who recount them. Shakespeare thus highlights the power of rhetoric and political myth in re-telling military history. Unto the Breach reflects this idea with a scene where the world’s press attend the signing of a peace agreement, and then the journalists file their reports, constructing people’s understanding of this historical event.

Q– You noted that the launch of the show would coincide with the anniversary of Yasser Arafat’s death. In light of recent reports suggesting that the late Palestinian leader may have been assassinated via the radioactive element polonium-210, is there a reference to that incident in your show, since the theme of assassination is present in the original play where Shakespeare’s Henry V survives an attempt on his life (albeit by friends not foes)?

This incident is not addressed in our show.

Q– Although King Henry V, at one point in the original play, comes to the humble realisation that he is but a man; he is nevertheless the person responsible for rallying his men to victory. How does that reconcile with your show, given that: a- Yasser Arafat, who in the director’s words is “the great figurehead of the Palestinian struggle”, has died before managing to lead his people to liberty; and b- The Arab Spring, which you cite as among the inspirations for the show, had been sparked without any outstanding movement leaders?

Whilst the launch of Unto the Breach coincides with the anniversary of Yasser Arafat’s death, and there are parallels between our depiction of the Chairman and that of the late Palestinian leader, the show is not a historical account of his life. It does, however reflect on the value of a figurehead such as Arafat, in uniting people behind a common cause, enabling them to stand up for their rights and to stake their claim for sovereignty on a world stage. The show recognises this value but also acknowledges that the Palestinians have not yet achieved their objectives, and so the Chairman in our production dies without securing the liberty that he craved for his people. The achievement of victory is thus far less clear-cut in Unto the Breach than it is in Shakespeare’s Henry V.

In the show, the Chairman’s death leaves the Palestinians without a leader, and so the onus is on them to once again rise up and claim their rights. The idea that this is possible – that people can bring about change if they unite and call for it with a common voice – flowed strongly from the Arab Spring, and inspired us to create the show. Although we recognise that any such struggle is fraught with difficulties, it is this idea of hope that continues to drive us forwards.

Q– In the original play, future unity between the British and French kingdoms is suggested following the marriage between Henry and the daughter of the French king, Catherine. Monarchies aside, do you see the One-State solution as some sort of a modern day parallel to that?

Whilst Shakespeare’s play ends with King Henry V’s marriage and the expected union of England and France, the historical reality is that Henry V never succeeded to the French throne. He died two years after his marriage and two months before the King of France, and his French conquests were lost over the ensuing years under the reign of his son King Henry VI. Unto the Breach reflects this more sombre reality. In the production the Chairman also dies, and much of what he has fought for is dissipated as conflict and the grip of occupation continue, and his successors are debilitated by internal power struggles. The show has a deliberately ambiguous ending, leaving open the question of how the Palestinian question is to be resolved, and what the nature of the solution might be.

Q-Following a very impressive performance of your show Between the Fleeting Words in 2010, do you expect to outshine such success with Unto the Breach this year? Also, has there been any change in the way you do things or in the group members?

Since Between the Fleeting Words debuted in London in 2010, Al Zaytouna has continued to develop as a troupe. Thanks to the phenomenal support that we received for the last show, we toured it in the UK, Slovenia, Switzerland, and Germany. This experience helped us to hone many performance and production skills, which we believe will make Unto the Breach even better and stronger.

Al Zaytouna has also continued to grow, with new dancers joining us, and many of our members pursuing new artistic endeavours. These have included our artistic director Ahmed Masoud writing a radio play for BBC Radio 4, entitled Escape from Gaza, in collaboration with Justin Butcher, and winning the Muslim Writers Award 2011 in the Unpublished Novel category for his book Gaza Days. Several of our dancers have developed their own dance theatre work, such as Lorraine Smith’s Pictures of Life and new work Disco Babies, whilst others have taken on new performance roles, such as UmutUysal who drummed in the opening ceremony of the London Olympics. All of these experiences have enriched the group bringing new expertise and fresh ideas.

We were also fortunate to secure a grant from the BBC Performing Arts Fund to support the development of Unto the Breach, which given us the support and profile to take this show to the next level. We have been able to invest more in the show’s development and to reach out to new partners and collaborators. We are, for example, very happy to have professional actress Clare Quinn performing with us in this show, and we have been able to secure a really wonderful performance space at the artsdepot. All of these factors make us confident that Unto the Breach will be even more successful than Between the Fleeting Words.

Q– Again with regards to Between the Fleeting Words, the 2010 show featured a beautiful blend of music genres, projecting a mix that crosses cultural and generational divides. It also included the notable presence of the talented Palestinian artist Nizar Al-Issa. What music variety should we anticipate with Unto the Breach?

Unto the Breach builds on Al Zaytouna’s tradition of working with leading musicians, and features a collaboration with David Randall. David is a guitarist, composer and producer who has contributed to multi-million selling albums by Grammy-winning artist Dido, toured extensively with UK dance act Faithless, and released his own critically acclaimed albums as Slovo. He also wrote and produced the One World single Freedom for Palestine, and has published articles on the role of music in political campaigns and on Palestinian Hip Hop. He is a highly talented musician who is passionately committed to the Palestinian cause and his contribution to this production has been invaluable. David has composed and recorded a number of tracks especially for Unto the Breach, which are woven together with traditional Palestinian songs to create a powerful and moving sound track.

For information on booking, visit: http://www.alzaytouna.org/productions/unto-the-breach

This article appeared in Middle East Online http://www.middle-east-online.com/english/?id=55048

A compelling article: From manifesto to reality ‘Gaza Youth Breaks Out’

“My story is marked by violence, persecution, arrests, abuse and resistance,” writes Matte

It has been almost two years now since we wrote our manifesto. We called it a manifesto, but in reality, I’m not sure what it was.

Was it a manifesto, or was it a cry for help? Perhaps, an accusation, or even perhaps a demand to the world and to ourselves; a demand for change from the outside and from within.

It was before the uprisings began around us, and they have been roaring the last two years in Tunisia, Egypt, Libya, Syria and Bahrain. But we had felt like shouting in the dark, and while this raging had brought light into the darkness of the dictatorships around us, the night around us has not thinned even a bit. No, if anything, it has only become darker.

We had come out from under the rubble in 2009, when Israel had embarked on what they liked to call a “war” – which in actuality had been a massacre – leaving 1,385 people dead, among them 318 children. They left Gaza in ruins.

We had built up Gaza again with our bare hands, even though cement was blockaded; we had buried our loved ones and tried to cover the holes in our hearts which they left. A year later, we regained the strength to shout out our unbearable situation to the world, and to unite for a fight against the hell we were – and are – living in.

We too organised large demonstrations, even though they were overshadowed by the revolutions taking place in the surrounding countries. Our demonstrations in the West Bank and Gaza Strip began on March 15, 2011, bringing out a large part of the population onto the streets. We wanted to achieve the unity of our parties and leaders – Hamas and Fatah – who in the quest to have seize power and wealth have betrayed our land of Palestine and the dreams and demands of our youth.

For this we demonstrated, for this we put in weeks of work to bring the people of Gaza to the streets, for this we were knocked down by thugs on the streets, for this we have been arrested and abused.

And for this goal, we achieved what first had seemed promising: Discussions, negotiations and unity efforts by our leaders. And still, all of that ended up in empty promises.

Manifesto? That sounds too fierce, like a struggle that might produce victory. But we are tired, two years later. Tired of the empty promises surrounding us. There is a peace process, but one that is an insult to the word “peace”, and that makes one wonder for whom such a farce is still seriously maintained.

Under siege

Since 2006, the ongoing siege punishes us daily – we could mention all the UN conventions it violates, as if that wasn’t mentioned enough already. Collective punishment for all of us, for having elected the wrong party, for having held one Israeli soldier who is now free, while thousands of our prisoners languish in Israeli jails. Collective punishments for being Palestinians, for being born in Gaza.

And that siege means that our hospitals regularly declare a state of emergency because they don’t have enough medicine or medical equipment. This siege means that we are literally sitting in the dark most of the time – without connection to the internet and thus without any connection to the outside world – because there is no electricity.

It also means that the discourse in the media is about whether there is enough food coming in, whether the siege has lifted a bit and if now there are enough sorts of Israeli chips packets in our supermarkets. Like we are animals in a zoo and the question is whether we are fed enough. We are, I can tell you. We don’t need your aid packages, we don’t need your chips, nor your bread.

We had well-functioning factories, which were bombed away. We had rich land that could produce not only enough food for us, but enough to export it to the whole world. If that land wasn’t raped daily by Israeli bulldozers, and if we weren’t forbidden to enter by military declarations. There is still an ongoing siege, keeping us needy like beggars – and we get bread instead of rights.

There are talks about unity and re-elections, consisting of words which are so empty that it is not even worth listening to them.

And then there are the new Arab governments. The new Egypt, which wants to open the Rafah border crossing in order to no longer be complicit in imprisoning us in our 5 by 20 km hell. But even with so many visits by Hamas to Cairo, it’s still just words. When will this happen? When will there be open borders instead of just assurances? When will our children no longer be born into a world where there is no freedom, no adequate medical care, no work, no future, nothing but violence and falling bombs?

We are still young enough to fight for our own future, not only for that of our children, and yet old enough to be tired. Tired of the daily struggle for survival, which distracts us from our dreams. Tired of our own government, which meets our hopes with violence.

Story of resistanceWe are still young enough to fight for our own future, not only for that of our children, and yet old enough to be tired. Tired of the daily struggle for survival, which distracts us from our dreams. Tired of our own government, which meets our hopes with violence.

I still regularly keep in touch with people in Gaza. The talk is usually about the lack of electricity, bombs in the night, graduates with no job opportunities, the tight grip of the Hamas government, and walls that are nearly impossible to scale. Yes, mainly they talk about leaving. Leaving Gaza, leaving this prison and dumpster of the world. Many of my friends left like I did, and many more want to.

We wrote this manifesto because we wanted to live. Not because we wanted to be tortured, arrested and sacrificed. No, we are young enough to demand a future for ourselves, and we don’t see a future for us in Gaza right now.

My friends and I were forced to leave by a Gaza that has been made unbearable by violence and arrests through Hamas. A future in Gaza has been robbed from us by a siege that leaves us no jobs or opportunities. Nevertheless, even though we might be leagues apart and spread throughout the world, we will never cease to see a future for Gaza. Palestine, Gaza, that is our land, that is where we belong.

There’s an olive tree in my garden, and I have always dreamed of seeing my children playing under it. Wherever I might be now, one day my children will be playing under this olive tree, in a free Palestine, without fear for their lives, and that is what I will keep fighting for.

Yes, we are weary. But still, my story – and the stories of all the other amazing youth of Gaza – is and always will be a story of resistance, of resilience. Of always coming back to the land we belong to. We carry the hope of a free Gaza, a free Palestine and a future there for us in our hearts, and in our hands, in our daily work.

We struggle every day against our obstacles and for our dreams, and you can see that in all the amazing creativity coming out of Gaza, in our art, poems, writing, videos and songs, you can hear it and meet us in the talks we give all over the world.

Yes, we wrote a manifesto, and maybe that was just the bright and loud outcry of the beginning of a journey, whose path is hard and tiring, thorny and also often very quiet and dark. But it is always there.

So two years later, we say: We will be free. We will live. We will have peace. And we are always out there, fighting our daily struggle, full of the resistance we inherited from a long struggle for Palestine. We live and write and say and sing silent or load manifestos every day. Just listen to us.

Mohammed Matter ‘Abu Yazan’, from Gaza, is a political activist, writer and a member of Gaza Youth Breaks Out movement. He is currently in Germany, about to resume his studies.

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

Source:  Al Jazeera  http://www.aljazeera.com/indepth/opinion/2012/10/201210159115846939.html

Life behind barbed wire in Gaza

  • Date 19.10.2012
  • Author Tania Krämer / sms
  • Editor Ben Knight

Though local elections are slated for the West Bank, Palestinians in Gaza won’t be casting ballots. Hamas, which controls Gaza, has boycotted the elections, leaving the 1.6 million people there in a difficult position.

Between piles of used spare parts and a container of motor oil, Munzer Al Dayya is working on a generator. The mechanic is a popular man in Gaza City, where power can go out for as long as eight hours a day, and he said he’s earning a decent living thanks to the blackouts.

“Every day that we get through is good, but no one knows what’s coming,” he said. “The only thing that’s clear is that the next day will be worse than the previous day. Why, how, and for what? Who knows? No one can explain what’s going on here.”

Al Dayya said getting an explanation for what’s happening in Gaza City depends on who you ask. But one thing is clear – Hamas controls the Gaza Strip and has expanded its control since taking power five years ago. Neither an Israeli blockade nor the US and European isolation policy has been able to change this.

Hamas, labeled a terrorist group by the West, has developed its own bureaucratic structures, ranging from an administration to an all-round security service. Various observers have noted that the political separation between Gaza and the West Bank has been widened by the separate governing structures in the two regions.

No local elections in Gaza

Local elections scheduled to take place in the West Bank on Saturday are expected to widen the gap. Hamas is not taking part in the poll, leaving voters there to choose between the Fatah party and some independent candidates.

“The elections cannot be transparent and fair,” said Hamas spokesperson Fawzi Barhoum. “Many of our Hamas leaders and members are in prisons run by the Palestinian Authority. These are Fatah elections – not Palestinian elections.”

Read more http://www.dw.de/life-behind-barbed-wire-in-gaza/a-16318900

After Zionism at the World Matters Literary Festival 20 October

Saturday 20 October

Session 4

3 .15 pm – 4.15 pm: After Zionism Making Peace with Palestine

The Israel/Palestine ‘peace process’ has failed and the occupation has never been more pervasive. The prospect of a two-state solution, a position advocated by all Western countries, is increasingly criticised as being at odds with the realities of the conflict. Antony Loewenstein and Ahmed Moor have  co-edited a new collection of essays which present the world’s leading writers on ways to achieve the only democratic outcome in the Middle East, a one-state solution. Samah Sabawi, co author of Journey to Peace in Palestine, playwright and advisor to Palestinian policy network, Al Shabaka, will contribute to the conversation. According to Samah , “peace is not just the absence of violence but the presence of justice.”

Chair: Hilary McPhee

For more information visit http://worldmatters.weebly.com/after-zionism-making-peace.html

 

Gaza deaf restaurant a chance to change perceptions

Sydney Morning Herald

October 19, 2012 – 10:16AM

The stylish Atfaluna restaurant near Gaza port stands out in a city with few facilities for the disabled. Waiters and cooks use sign language, guests point to selections from the menu and what ensues is a spontaneous form of communication that organizers hope will break down bias and barriers.

“Deaf people have determination and there are no worries except when it comes to communication, the language problem. At first we may get translators to help us with the speaking clients,” supervisor Ayat Imtair said in sign language.

After six months of training with her staff, she was confident the service would go smoothly.

“This is a call on the community, and a working chance for the deaf to help them engage with the community,” she signed.

Twenty years ago Palestinian attitudes to deaf people were negative, said Naeem Kabaja, director of Atfaluna Society for Deaf Children in Gaza, which runs the restaurant.

“It was perceived by many as a mental disability. But we’ve been able to change that and it has since improved, through our work, the spread of sign language, activities by the deaf and raising public awareness about this disability,” he said.

Still, Kabaja said, many of the deaf themselves tend to shy away from engagement with broader society, afraid of communications obstacles and expecting little understanding.

The staff of 12 were enthusiastic on opening day.

“We’re excited. There might be some difficulty at the start but we will overcome it. We’re all trained in lip-reading and that will help us take orders,” said cook Niveen, preparing a dish of spicy chicken balls.

The restaurant was established with help from the Drosos Foundation of Switzerland to promote income generation by the deaf in Gaza, where the unemployment rate is over 25 per cent.

About 1 percent of Gaza’s 1.6 million people suffer from total or near-total deafness. They can attend school up to ninth grade but have no opportunity to go on to a university education in the territory, said Sharhabeel Al-Zaeem of Atfaluna.

“Unfortunately they have to leave Gaza for that,” Al-Zaeem said. “We are doing out utmost to make special classes for the deaf in universities. We are liaising with different universities to see if there is a chance for the deaf to get places.

Reuters   http://www.smh.com.au/small-business/startup/gaza-deaf-restaurant-a-chance-to-change-perceptions-20121019-27v4e.html#ixzz29hx0sGS5