art of resistance, Yemen

Yemen | How To Help.

Mideast Yemen/Photo: CodePink.org/

The crisis in Yemen continues. Near famine conditions developed in many parts of the country. Just this month, UNICEF’s Middle East director, Geert Cappelaere said that 11 million Yemeni children are now in desperate need of humanitarian aid.

How can we help, how can we get involved constructively? Here’s a little list of what we can do, put togehter on PRI + some of Middle East Revised‘s additional inputs.

MonaRelief

Fatik al-Rodaini has been called a hero by Yemenis. He collects funds, buys food from local vendors, and creates batches of food (the term of art is “baskets”) for families who his group has identified as needy. These days there is no shortage of need.

Yemen Hope and Relief

Ahmad Algohbary helps children suffering from severe malnutrition. Families request his help, and he uses donated funds to transport and house them for weeks while their children are treated at nutrition clinics in major Yemeni cities.

Yemen Aid 

This group, founded by a Yemeni American, provides assistance and resources to Yemeni people, regardless of their race, political affiliation, ancestry or religion, in order to positively change, and ultimately save, lives.

Yemen Our Home

The United Nations Development Project set up Yemen Our Home to help people outside Yemen, especially the Yemeni diaspora, support in-country projects.

Médecins Sans Frontières (Doctors Without Borders)

MSF has nearly 1,600 staff members across Yemen, including 82 staff members from abroad, working in 13 hospitals and supporting 18 more. MSF medical workers have shored up Yemen’s failed public health system and has been instrumental in combating the cholera epidemic that swept the country this year.

INTERSOS

Since the spring of 2015, this Rome-based organization has provided humanitarian aid to thousands of displaced persons and refugees fleeing ongoing clashes and bombings. Some of the work they’ve done has been to provide medical and food assistance, support and organize school and professional classes for children and teenagers, and provide psychological care and protection for the most vulnerable women and children and for the victims of abuse and violence.

Mwatana Organization for Human Rights

This group is headquartered in the Yemeni capital Sana’a. Mwatana programs defend and protect human rights. Its researchers conduct field investigations to detect and stop human rights violations. The organization also attempts to provide support and justice for victims, to hold accountable those in violation of human rights, and to help craft legislation and policies that prevent such violations.

Yemen Peace Project

The US-based advocacy group Yemen Peace Project is dedicated to supporting Yemeni individuals and organizations working to create positive change; advancing peaceful, constructive US policies toward Yemen; defending the rights of Yemenis in the diaspora; and increasing understanding of Yemen in the wider world.

Yemen News Today

A Facebook page which brings daily news from Yemen in English. Started by Judith Brown, activist and aid worker from United Kingdom. Brown worked with refugees in Yemen from 1998 until 2001 and has visited the country every year from 2001 until 2014. (You can read Middle East Revised’s interview with Brown here).

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art of resistance, Lebanon

Yazan Halwani | Immeuble Noueiri.

halwani

Yazan Halwani’s new mural is painted on a building previously destroyed by the Civil War located on Beirut’s Greenline – the former frontline of the Civil War splitting Beirut into the Christian East and the Muslim West.

Part of Beirut’s public cultural memory, the mural depicts Tarek Noueiri (Muslim boy) and May (Christian girl, whose family took refuge in West Beirut) sharing cotton candy; from Ziad Doueiri’s classic West Beirut movie.

The mural is a reminder of Lebanon’s post-war settlement: a political system built on sectarianism and business interest that blocks true national cohesion.

The persistence of the current political class in fueling sectarian grievances and obstructing the rule of law reflects in the ever-growing government debt, absence of basic services and limited civil rights.

Case in point, 27 years after the end of the Civil War, with the absence of civil marriage Tarek and May would not be able to get married if their story had continued (…in the way I imagine).

//For more info & inspiration, see Halwani’s Facebook//

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art of resistance, Palestine

The Humanism Of Edward Said.

edward_said_jeremy_pollard_copy76925/photo: Jeremy Pollard/

The end of September marked fourteen years without Edward Said, literary theorist and an intellectual of a wide range. To commemorate Said and recall the magnitude of his works, we are in conversation with Judith Butler, Laleh Khalili, Avi Shlaim and Illan Pappé, asking them what they find most relevant and important in/about Edward Said’s work in this day and age.

Judith Butler, philosopher and gender theorist, professor at Department of Comparative Literature and the Program of Critical Theory, University of California: Said unerstood the work of imagination

“Said was able to imagine a world in which the legacy of colonialism could come to an end and a relation of equality in difference could take its place on the lands of Palestine. He understood the work of the imagination to be central to politics, for without an ‘unrealistic’ vision of the future, no movement could be made in the direction of peace based on a just and lasting solution.

He lived in the midst of conflict, and used the powers of art and literature, of the archive, testimony, and public appeal, to ask the world to imagine a future in which equality, justice, and freedom finally triumph over subordination, dispossession, and violence. Sometimes I think he was perhaps too good for this world, but that incommensurability between what he could imagine and what actually exists accounts in part for the power of his writing and his presence in the world.”

Laleh Khalili, researcher and professor of Middle East politics,  SOAS, London: The tender cadences and prophetic brilliance of Said’s prose

“Said’s Orientalism seems never to lose its relevance, even decades after its publication. In fact, the transformations (and failures in transformation) that have happened in the Middle East since the 2011 Arab Uprisings seem to give orientalist policy-makers and pundits another excuse to trot out the same old cliches.

But as I get older, I also become profoundly appreciative of Said’s insights into literature and the arts. His work on beginnings – and endings – his close and extravagantly generous reading of novels and stories, the insights he imparts about the social and political from the slightest sentences or paragraphs in the classics of English or French literature, make him ever more relevant. And as one reads more and more turgid academic and non-academic writings, one becomes ever more appreciative about the tender cadences and prophetic brilliance of his prose.”

Illan Pappé, historian and professor with the College of Social Sciences and International Studies, University of Exeter: Orientalism and Culture and Imperialism still relevant today

“I think Said’s two major contributions to knowledge are still relevant today as they were during his life time. His seminal works, Orientalism and Culture and Imperialism, which exposed the racist, reductionist and harmful Western discourse on the Orient, is still a crucial part of life. It is still the best analytical took we have for understanding how both the aggression of the West in the Middle East (the occupation of Iraq and Afghanistan) and the reactions to it are still sustained as acceptable and legitimate through the power of this discourse.

Similarly, Said’s message in the various books and articles on Palestine is still valid today. In these works he exposed the level of fabrication and ignorance about a suffering of a people for more than a century and warned that this state of affairs will affect the Middle East and beyond. Both contributions are about power and knowledge and his legacy is still with us, give power to truth and you may be able to use knowledge for peace and reconciliation; leave at the hands of cynical stakeholders and conflict would continue to rage on.”

Avi Shlaim, historian and emeritus professor of International Relations, University of Oxford: Intellectual who never gave up hope on coexistence and peace

“Edward Said was an extraordinarily versatile and prolific scholar. His book Orientalism exposed the ideological biases behind Western perceptions of ‘the Orient’ and helped create a distinctive sub-field of what came to be called post-colonial studies. In addition to these literary pursuits, Said was a pianist of concert-playing standard and a leading music critic. Last but not least, he was a politically engaged intellectual and the most eloquent spokesman on behalf of the dispossessed Palestinian people.

Although Said’s calls for accommodation and peaceful co-existence earned him the displeasure of Arab radicals and few adherents on the Israeli side, he never abandoned the struggle. On the contrary, he continued to articulate his inclusive vision at every conceivable opportunity.  The world must see, he wrote, that ‘the Palestinian idea is an idea of living together, of respect for others, of mutual recognition between Palestinian and Israeli.’ This one sentence encapsulates the essence of Edward Said’s thinking. It is the most consistent theme in his voluminous writing on the subject, from The Question of Palestine to the last article.

He spent the last few years of his life trying to develop an entirely new strategy of peace, a new approach based on equality, reconciliation, and justice. ‘I …see no other way than to begin now to speak about sharing the land that has thrust us together, and sharing it in a truly democratic way, with equal rights for each citizen,’ Said wrote in a 1999. He was an intellectual who spent a lifetime grappling with the complexities and contradictions of the Arab-Israeli conflict and yet never gave up hope on coexistence and peace.”

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This text was first published on H-Alter, in English and in Croatian.

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art of resistance, Lebanon

Playlist: La Bel Haki By Adonis.

tania al kayyali/Art by Tania Al Kayyali/

Adonis is a great poet, but it is also a name of a great (not so) little Lebanese band. Like it is captured by Now Lebanon, “the five boys from Adonis produce songs that are, at times, achingly gorgeous, charming, whimsical and enchantingly Lebanese.”

Time Out Beirut suggests: “If the rambling back alleys, low-slung electricity cables and small, dusty, bustling neighborhoods of Beirut had a soundtrack, this would be it.”

You can listen to one of their new songs, beautiful La Bel Haki, on You Tube.

Previous Playlist:

Suhaiymah Manzoor Khan

PJ Harvey & Ramy Essam

Basel Rajoub

Crystalline (Omar Souleyman Remix)

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art of resistance, Syria

Paintings By Boutros Al-Maari.

boutros//all images © Boutros Al-Maari//

Boutros Al-Maari was born in Damascus in 1968. He has held several solo exhibitions in Paris and Damascus, and participated in a large number of group exhibitions in Damascus, Beirut, Alexandria, Hanover and Paris. Al-Maari currently lives and works in Hamburg, Germany.

Through his paintings he transmits a feeling of the contemporary and the traditional, all on the same canvas. In a way, his paintings are an exaggerated drawings of the typical characters from the Syrian daily life, with a twist of magic in them.

boutros3

boutros5

boutros4

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For more on Al-Maari and his work, and many other great Syrian artists – follow the page Syria.Art on Facebook.

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art of resistance

Call For Papers: Towards An Arab Left Reader.

borovoy-169hero-5mffnanowrimo-istock//illustration: iStock.com/Marvid//

Why is there as yet no reader or anthology of Arab leftist thought in English translation? If that question is of interest to you, read on.

The workshop will take place at the University of Cambridge, from 12- 14 April 2018. It will bring together an international group of scholars and translators from a wide range of disciplines to identify, discuss and translate a selection of documents that have played a pivotal role in the formation of socialist, anti-colonial and democratic thought in the Arab world.

The ultimate outcome of this gathering will be the publication of the first English-language Arab left reader, in which translated documents will be accompanied by essays that locate them within a larger historical, political and translational context. The collection aims to bring Arab leftist traditions into conversation with other non-Western and international political texts now available in English, as well as to function as a pedagogical tool and a resource for those interested in political thought in the Arab world.

The workshop will be comprised of six panels on the following themes:

1) Political Mobilization & Muslim Societies

2) Turath: Heritage and Cultural Decolonization

3) Literary Aesthetics and Politics

4) Nation, State and Liberation

5) Feminism and Gender Equality

6) Political Economy

Call for papers:

Proposals for texts on one of the above panel subjects (including party or anonymous tracts, collectively authored documents, etc) are invited for inclusion in the reader. After the workshop, participants who will contribute to the reader should be prepared to translate the entirety of their proposed text, and offer a short summation of its location in broader Arab leftist thought and political practice.

You should submit the following by October 15, 2017:

  • 400 word abstract with the following: description of the text and its author, including bibliographic information (date of production, length, publisher (if any), etc; and political location of text (i.e. when and why was it written, intended audience, distribution method), as well as the relevance of the text to the topic of your chosen panel (please state clearly on which panel you wish to present)
  • 1-2 paragraphs of proposed text in original Arabic and English translation.

Send the proposals to arableftreader@gmail.com.

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art of resistance, Palestine

(Interview) Jehan Bseiso: This Is Not A Border.

JB by Ahmed Fouda/Photo by Ahmed Fouda/

Jehan Bseiso is a Palestinian poet, researcher and aid worker. Her poetry has been published inWarscapesThe FunambulistThe Electronic Intifada, and Mada Masr among others. Her book I Remember My Name (2016) is the creative category winner of the Palestine Book Awards. Bseiso is co-editing Making Mirrors a new anthology by, for and about refugees. Her work also appears in an anthology marking a decade of the Palestine Festival of Literature titled This is Not a Border (published by Bloomsbury Press, 2017).

She is currently working on a collection of poems: Conversations Continued, a compilation of real, misheard, and misremembered conversations. Bseiso has also been working with Médecins sans Frontières /Doctors Without Borders since 2008.

To me, Jehan’s work embodies the pride, dignity, love, defiance, resistance and bravery expressed in one sentence/thought/sentiment – This is not a border (also the title of an anthology of PalFest). In that spirit, This is not a border entails a vision of a different landscapes of today and tomorrow, a desire and determination to write one’s own narrative and own who you are, it means challenging power and staus quo, and finally – it’s an expression of love. With that in mind, Jehan and I meet again.

Our meeting is not in cafés on Hamra in Beirut, where we hugged for the first time, nor watching the blue horizon stretching all around tiny Croatian islands, which we both keep under our eyelids – but typing e-mails, thousands of kilometres apart – the same way we started talking four years ago, when I contacted her for the first time, intrigued by her poetry. We discuss borders, wars, diaspora, homeland, love…

Just last month, a new Israeli construction plan to cut off Ramallah from East Jerusalem was presented. The project would add 1,100 housing units to the settlement of Geva Binyamin. In his book Palestinian walks: Notes on a Vanishing Landscape, Raja Shehadeh captures the changing landscape of (the idea of) Palestine. How do you personally deal with that landscape?

Before I visited Palestine for the first time in 2012, its landscape was emotional and imaginary, both known and unknowable. Now if I close my eyes I can see the occupation’s determination to violate and violence the land. Only couple of days ago, settlers set farmland on fire near Nablus and Palestinians were prevented even from putting it out, they were forced to watch it burn.

I actually had the good fortune of walking the hills of Ramallah with Raja Shehadeh in May 2016 and 2017 as part of the Palestine Festival of Literature activities. With a group of international writers and artists from all over the world, we walked the hills of Ramallah, reflecting on the way the occupation marks and transforms the lands.

In her poem Gaza Hala Alyan writes: This is diaspora… This is dont change the channel/the least you can do is watch. In your poem Gaza, From the Diaspora Part Two, you write: Dear Diaspora, Boycott. Could we talk about the diaspora experience – its mixture of guilt, loss, misremembering, responsibility, fatal loving –how can one unravel that web?

I think of that beautiful poem by Hala as an alarm bell and a prayer for the diaspora.
The first time I heard the word diaspora, I was in a classroom and the teacher wanted someone to explain it in English and translate it into Arabic. No one could, she singled me out that day and said you should know what it means, you’re Palestinian – Al Shatat. Since then I’ve felt a strange affinity with the word. For me diaspora is a layer of citizenship you can choose to opt out of; when you are physically so far away, you can decide to switch off mentally and emotionally.

There is apathy dust that can settle on the diaspora that I like to challenge; which is why I call on them in some of my poems, asking them to engage, read, listen, ask questions. The thing is, even those who are on the move willingly, for education, for work, for a better future with better prospects are also leaving home and homeland behind. The Palestinian diaspora cannot go back, that’s what the right of return is all about.

In connection to the previous question, I will ask you a question asked by Ghassan Kanafani in Returning to Haifa – what is a homeland, after all?

For refugees forced to flee, homeland is a ball of fire they’re running fast as possible away from. For others, born and raised in refugee camps, homeland is a place beyond the sun, accessible only in dreams.

For me, Home is not a physical place, it’s a warm feeling radiating through all the little details that make our lives worth living. A perfect cup of coffee in the morning, made with exactly the right amount of milk, hearing my mother’s laugh, holding the hands of the man I love as the plane takes off. The truth is that I feel at home everywhere I go because after a certain point you carry all those details with you.

Homeland on the other hand is a very specific shape on the map, often misnamed and misrepresented. As a Palestinian born, raised, and living outside Palestine, homeland is on the other side of the border. It’s in the questions of the private security company contractors hired by the Israeli government at Allenby bridge, it’s the look on my grandmother’s face when she talks about orange fields and blue Gaza waters. Homeland is every time I say “occupied Palestine” when someone says Israel, in the little narrow streets of the old city in Jerusalem.

I often wonder how my children will understand or experience homeland, it’s not like I was indoctrinated by my parents, I was never told or forced to feel anything. I gravitated to homeland in my writing, my sense of grave injustice took me there, my heart travelled first and then my body followed. 

You are one of the authors featured in the anthology I Remember My Name, together with Ramzy Baroud and Samah Sabawi. The book was the creative category winner of the Palestine Book Awards. How did you get involved in this project and how important is it for you to have your work published in collaboration with other poets?

I Remember My Name is the quintessential diaspora project; all of us come from Gaza but Ramzy lives in the US, Samah lives in Australia and I was in Cairo when we started talking about the anthology. Editor Vacy Vlazna and artist David Borrington put their heart into it and when it finally came together we were all so proud.

Until today, I’ve only met David – we went to London together to receive the award on behalf of Ramzy, Samah and Vacy. Having my work in such good company is very important to me, and most recently two of my pieces appear in an anthology marking a decade of the Palestine Festival of Literature titled This is Not a Border (first published by Bloomsbury Press in the UK).

You’ve been working for Médecins Sans Frontièrefor almost nine years. Was it hard to keep it going parallel with  your writing, which is, I assume, taking more of your time and energy? You once beautifully said there’s work in your poetry, and poetry in your work – is that the key?

Yes! That’s my new motto: poetry in work, and work in poetry.
As a literature graduate I was told I have two choices, write or teach. I would love to write or teach full time at some point, but for now I made a different choice by joining Médecins Sans Frontières with whom I’ve been working in places near home like Iraq and Libya but also further away like Afghanistan, Pakistan and Somali region of Ethiopia.

When I joined MSF I actually hid the fact that I was a poet from everyone because I wanted to be taken seriously as a humanitarian worker. However, despite all my efforts to choose between poetry and MSF I have so far failed miserably. My poems are about love and war, heartbreak and refugees dying at sea in their attempt to run away from poverty and conflict. Poetry is now a site of intersection that displays the explosive choices i’ve been making as an aid worker and a writer.

How did working for Médecins Sans Frontières change you? Is there a specific MSF moment you will remember – a trip somewhere, or meeting someone?

I met two lovers in detention two years ago, they were criminalized even just for trying to escape war and poverty. They attempted to leave by boat to Europe more than once, they were arrested several times, but they still had so much determination and hope it was amazing. They finally succeeded to get on a boat, and it sank, leaving one of them alive and the other dead. When I think of love, I think of the way they looked at each other in detention, the way he was worried about her when we took her to the hospital because she was ill. Somehow that was one of the most moving encounters I’ve had.

A colleague once told me that the more he travels and works with MSF, the more he realizes how much we all have in common, despite our insistence on all the details that make us different. We all want the same things; love, success, community, a better future, dignity in life and death. 

Nowhere refuge, only refugees, you write. How important is it for you to respond to the burning issues of our time through your poetry – one of them being the crisis of European refugee policy?

The media is reporting about refugee fatigue and compassion fatigue. I find the notion that compassion can be finite truly terrifying. I spend a lot of time looking at facts and figures, and reading “human stories”; I prefer just saying “stories”, because humanity is obvious, once we start having to state that the refugees are “also human-look at them!” we are catering to anti-refugee propaganda even with the best of intentions.

Like many people I can say that i’m haunted by the refugee crisis, and it’s a global one. I’m haunted at my work, by the images of bodies clinging to orange life vests, and i’m haunted at night when I think of how random it is, that it’s not me, not my family.

People must realize as you mention that it’s not a European refugee crisis, but one that is being exacerbated by European refugee policy. It is also a global refugee crisis. For example, hundreds of thousands of people are fleeing conflict and famine in South Sudan and seeking safety in Uganda. Few people are aware that Uganda is now hosting more than 1.3 million people, more than any country in Europe at the height of the “European refugee crisis”.

I currently live in Lebanon, a country where one in four is a Syrian refugee, and at least 400,000 Palestinian refugees have been living in camps for more than 50 years – it’s impossible to ignore the refugee crisis, and its political and economic drivers.

You are co-editing Making Mirrors, a new anthology by, for and about refugees. The anthology is challenging the objectified, passive refugee narrative. Can you tell us more about it?

The plan is to offer a volume of poetry by, about, and for refugees, that seeks to connect artistic voices of those fleeing violence from Afghanistan, Syria, Palestine, Somalia, Iraq, and other war torn countries. I am editing this anthology with US poet and scholar Becky Thompson, and our hope is that Making Mirrors will provide a multilingual interactive, collaborative volume of poems that will be published as a book and also a website.

Among those whose work is set to be included in the collection are prominent poets Naomi Shihab NyeZeina Hashim BeckZeina Azzam, and Hala Alyan. We have received incredibly powerful poetry from first-time writers, in different languages, and we are currently working on holding writing workshops to generate more poetry from within refugee communities. 

In one of our previous talks, you said how women from the MENA region are portrayed either as victims or superheroes, and that is too much of a burden. Just last month, Mashrou Leila put out a new video, for the song Roman. The video aims to “celebrate and champion a coalition of Arab and Muslim women, styled to over-articulate their ethnic background, in a manner more typically employed by Western media to victimise them”. Do you feel the victim/superhero narrative is being more challenged nowadays, with efforts such as this one?

I think a lot more needs to be done in order to dislodge Western media’s obssession with the victim/superhero narrative in the portrayal of both men and women from the MENA region; and now you can also add terrorist to that oppressive framework so it’s victim/terrorist/superhero.

I am a big fan of Mashrou Leila; I find their music and lyrics original, subversive and full of heart and mind. That video is like a good poem, it recalls and disrupts images, ideas and narratives from a perspective of expansion; you always end up with more at the end. This is precisely what I love about poetry; freedom of interpretation and play.

You are performing your poetry all over the world and working on a collection of poems, Conversations Continued, which is a compilation of real, misheard, and misremembered conversations. What has that process been like so far?

I have divided the poems in Conversations Continued into three main chapters; Conversations Homeland is mostly about Palestine and the search for home inside and outside, Conversations Habeebi is about love, its necessity and impossibility sometimes. In Conversations ThawraI write about hope and despair in the wake of the so-called “Arab Spring”. Many of the pieces started as incomplete letters, facebook posts, interrupted conversations all distilled into poems.

I am always listening to people talking around me, because I am fascinated by what we call “ordinary” use of language in conversation – I find it actually quite extraordinary.

Finally, what are you reading at the moment, can you share some words/thoughts that have inspired you lately?

In a world that continuously divides and conquers our concentration, lately I have become a reader with commitment and attention span issues. This is why I read more than one thing at a time. Currently I am in awe of Look by Solmaz Sharif; her writing perches at that intersection between politics and poetry, art and life – it’s an important collection of poems, one that needs to be studied not only read. I am also going in and out of Hisham Matar’s The Return and rereading a collection of dark and somber short stories by the inimitable Ghassan Kanafani.

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This interview was also published in Croatian, on H-Alter.

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