art of resistance, Israeli - Palestinian conflict, Palestine

The Book To Read: Palestinian Walks, Notes On A Vanishing Landscape.

DSC08257/Wadi Rum, photo © Ivana Perić, MER/

“Take a walk” is pretty much my answer to everything life throws in front of me. Walking can heal you, change your perspective, give space to new ideas, put your mind to rest, it can connect you with nature, landscapes, buildings, other people, yourself.

It is no wonder I really liked the idea of Raja Shehadeh’s book Palestinian Walks: Notes On a Vanishing Landscape (first edition published as Palestinian Walks: Forays Into A Vanishing Landscape). I’ve had it on my to-read list for couple of years and I finally managed to get it and start reading it just this last week. I actually bought it in a bookstore at the American University of Beirut campus, where Shehadeh studied forty years ago.

Shehadeh is a Palestinian lawyer and author, and a passionate hill walker. He is also a founder of the human rights organization Al-Haq, an affiliate of the International Commission of Jurists. He has written several books on international law, human rights and the Middle East. Some of his books include Strangers In The House, Occupation Diaries and A Rift in Time: Travels With My Ottoman Uncle.

In Palestinian Walks, he captures the changes his beloved landscape endures under Israeli occupation. He started hill walking in 1970s, not aware of the fact that he was travelling through a vanishing landscape. Shehadeh writes: “As I grew up in Ramallah, the land from my city to the northern city of Nablus might, with a small stretch of the imagination, have seemed familiar to a contemporary of Christ. Those hills were, I believe, one of the natural treasures of the world.”

9781416569664_hr

But the landscape he traverses decades later is the site of a tense standoff between his fellow Palestinians and settlers newly arrived from Israel. Seven walks captured in this book span a period of twenty-seven years, in the hills around Ramallah, in the Jerusalem wilderness and through ravines by the Dead Sea. Each walk takes place at a different stage of Palestinian history.

On the changing idea of Palestine, Shehadeh writes: “Palestine has been one of the countries most visited by pilgrims and travellers over the ages. The accounts I have read do not describe a land familiar to me but rather a land of these travellers’ imaginations. Palestine has been constantly re-invented , with devastating consequences to its original inhabitants. Whether it was the cartographers preparing maps of travellers  describing the landscape in the extensive travel literature, what mattered was not the land and its inhabitants as they actually were but the confirmation of the viewer’s or reader’s religious or political beliefs.”

As decades pass, it becomes harder and harder for Shehadeh to enjoy his walks. He is often harassed by Israeli border patrols, during one walk he is horrified when his young nephew picks up an unexploded missile and on one other occasion, when accompanied by his wife, they come under prolonged gunfire.

He also describes intense legal battles he fights for Palestinian landowners, and the way it also became harder with time. It so happens that even when the client’s ownership of land is proved, it gets taken by some overarching new directive. Legal battles have worn him out, and that’s when his writing saved him from total desperation.

He feels the need to capture his experiences, to describe the land the way it used to be and how it changed, to show the effect it had on people, for there is a fear it will totally disappear and nobody will ever know, nobody will ever remember – no justice, just long and empty silence. The loss of such a simple pleasure as walking around freely is much more important than it might seem, for it exists within a much greater loss – deprivations of an entire people estranged from their land.

Take this walk with Shehadeh, it’s one of the rare chances to still walk around Palestine, to travel back in time and witness the changes of the land and its people.

• • •

Previous The Book To Read:

Night Draws Near

The Hakawati by Rabih Alameddine

Anti-Arab Racism in the USA

A Tale of Love and Darkness

Advertisements
Standard
art of resistance, Israeli - Palestinian conflict

Suad Amiry: Ramallah Diaries (excerpt).

I wrote about Suad Amiry’s Sharon and my Mother-in-Law last year, but today I decided to post this excerpt to get you excited about the book – if you haven’t read it already. The book is a result of her Ramallah diaries (from 1981 to 2004), where she described her everyday life under occupation.

Sharon-and-My-Mother-in-Law

” ‘You kick us out of Jaffa, then wonder how come we’re born elsewhere!’

These were the first words to gush out of my mouth when I opened it to answer the first in a long list of questions asked by the Israeli security officer at Lod (Tel Aviv) airport.

I was certainly not in the mood. It was 4.30 in the morning on a hot summer day in 1995. The almost five-hour flight from London had fatigued me and all I wanted to do was rush out of the airport to meet Ibrahim, who had sweetly come all the way from Ramallah to pick me up at this very early hour.

My anxiety and irritation increased as the young woman at passport control slipped a pink tag into my Palestinian passport. I, of course, have no problems either with pink, or with being Palestinian. But at that very moment, all I wanted was a white tag. As I had experienced many times before, pink automatically meant at least an extra hour with security officers at the airport. Oh, how I wanted a white tag this time! I was simply not in the mood.

‘How come you were born in Damascus?’ The officer repeated, obviously neither pleased nor satisfied with my impulsive reply. I was not in the mood to tell the security officer that in 1940 my father, who had come to Beirut from Jaffa, was overwhelmed the minute he saw my Damascene mother. She was eighteen, he was thirty-three. He had graduated from the American University of Beirut some twelve years before, while she was still a student at the British Syrian Training College. The minute he stepped inside the grandiose courtyard of her family mansion in Damascus old town, and realized how rich her merchant father was, his dream of marrying this dashingly beautiful, tall woman with greenish-grey eyes started to fade. In the end, this particular dream was fulfilled, but many others were shattered, and my father and mother lived a tormented life together.

In December 1978 my father died of a heart attack in Prague while attending a writers’ conference. The well-known Palestinian writer Emile Habibi was the last person to see my father alive and spend the evening with him. I was not in the mood to inform the Israeli security officer that every time my mother got pregnant, she went back to Damascus to give birth. In 1943, 1944 and 1949, she travelled between Jerusalem and Damascus to give birth to my sisters, Arwa (now a psychologist living in Amman) and Anan (a sociologist now living in America), and, much later, to my brother, Ayman (a diplomat). She also travelled between Amman and Damascus where I was born two years after that. I did not want to admit to this as it would only complicate matters and would certainly increase the security officer’s fears for Israel’s security, thus prolonging the interrogation.

‘Have you ever lived in Damascus?’ he asked.
‘No,’ came my brief answer.

I was not in the mood to tell the officer that until the age of eighteen, when I left Amman to study architecture at the American University of Beirut, my workaholic mother, who owned a publishing and printing firm, looked forward to getting rid of her four children every summer.

The very first week of our summer vacation, she sent us off to her parents’ house in Damascus or to her relatives in Beirut. My brother Ayman and I were more than happy to spend part of the summer vacation with our unmarried aunts, Nahida and Suad (after whom I was called), who totally spoiled us and my two teenage sisters. 

‘Do you have relatives in Syria?’
‘No.’ End of conversation.

I was not in the mood to tell the security officer at Tel Aviv airport that my mother was the youngest in a family of eleven, and that was just her nuclear family. I did not want to scare him by saying that I had four aunts and four uncles, and over twenty cousins. They and their families all lived in Damascus.

It would have been difficult for me to explain to him that I have always envied my parents, and even my grandparents, for living at a time when residing in, or travelling between, the beautiful cities of the region was not such a big deal and did not call for security checks. I was always intrigued when my father described his trips between Jaffa and Beirut, which included lunch at a seaside restaurant in Sidon. I was even more intrigued when my mother described to me how in 1926, as a child of four, she had visited her mother’s family, the Abdulhadis, in the village of ‘Arrabeh in Palestine. I have always been enchanted by their route between Damascus and ‘Arrabeh, which took them down the Yarmouk valley through the beautiful plains of Marj Ibin ‘Amer and Sahel Jenin. ‘First we went to our relatives in Nablus, and a few days later we went on horses to the village of ‘Arrabeh,’my mother would say. It was the horse ride which fascinated my mother, whereas it was the impossibility of taking such a trip between ‘Arrabeh and Damascus now which bothered me more.

The security man handed me and my passport over to a security woman sitting in a room behind a desk, then disappeared, leaving me alone with her. She flipped through my passport, and asked assertively,

‘And what were you doing in London?’

‘I went dancing,’ I answered, looking her straight in the eye, with an expressionless, tired face, and a voice even more assertive than hers.

‘Do you think you’re being funny?’ she said, her voice louder and more serious.
‘No. And do YOU have any problem with dancing?’ My voice now much lower and more sarcastic.
‘What was the purpose of your visit to London?’
‘Dancing,’ I insisted.

‘You know that failing to cooperate with us on security matters will result in your arrest?’ ‘Fine’, I replied, quickly resigned to this ridiculous verdict, ‘but I need to go out and inform poor Ibrahim, who has been waiting outside the airport for hours to pick me up.’

‘No, you are not permitted to go; and who is Ibrahim? Is he a relative?’

I was not in the mood and I did not want to tell the two security officers that Ibrahim was not exactly a relative, as none of my relatives, and neither my husband nor any of my friends from Ramallah, are allowed to come pick me up from the airport. I wondered if the officers knew that I, like many other Palestinians living in the Occupied Territories, needed many types of permits to move about: a permit to enter Jerusalem, another to go out to Jordan, a third to enter Israel, a fourth to work in Israel, an impossible one to enter Gaza, and a four-hour permit to use the airport, which gives you just enough time to get there with no flat tyres or accidents, lasamahallah (God forbid). Ibrahim is one of two or three taxi drivers in Ramallah who happen to have a car with a yellow licence plate, which allows him to pick up passengers from the airport.

I was not exactly in the mood to tell the officer that one of my dreams is simply for my husband to be able to pick me up from the airport or from Allenby Bridge when I come back from a trip. But that is a privilege no Palestinian has.”

Standard
art of resistance, Palestine

Disarming Design From Palestine.

Disarming Design from Palestine is an inclusive design label that presents functional products from Palestine, that provide an alternative narrative from what you might usually find in the high street. The collection includes objects such as hourglasses that use cement from the separation wall, a dress made out of one keffiyeh, embroidered car decorations, scarfs depicting landscapes, olive leaves as earrings and an impossible chess game with water tanks and watch towers. The growing collection of products is presented on-line and through a traveling exhibition. As a collection it aims to represent Palestinian culture in its current reality and reflect upon the function of art in situations of conflict.

The goods are developed, designed and produced by contemporary designers, artists and students in collaboration with local artisans and producers. During several ‘create-shops’ they engage in an enriching design dialogue with small emerging businesses and international colleagues. The project aims to catalyze the development of design as a discourse in Palestine.

The overall objective of the project is to contribute to sustainable cultural and economic development in Palestine, through stimulating working relationships between artists, designers and manufacturers. The label also investigates in the position contemporary designers can take in relation to conflictual situations. It makes use of art and design as powerful tools that allow us to have serious discussions within a community about our political, social and cultural realities.

4

Electricity wire cover, designer: Wafa Meri, manufacturers: Women from the Ramallah area. Inspired by the traditional Palestinian stitch sabaleh.

4 (1)

Distance to Jerusalem cups, designer: Mamon Ashreteh, manufacturers: Hebron Glass & Ceramics Factory. Inspired by  Khaled Hourani‘s project The road to Jerusalem.

1

Falafel Coin Maker, designer: Tommi Vasko, manufacturers: Ushama Boulos, Bethlehem. Falafel mold with Palestinian pound, sandblasted.

Project35f

Project35d

Project35b

Project35a

Subjective Atlas of Palestine, designer: Annelys de Vet. In cooperation with Khaled Hourani and other Palestinian artists, photographers and designers, de Vet made the atlas which maps the country through their eyes. The result is unconventional, very personal and heartwarming.

779416ffc3f49482533793757aa95ce6

Desingaged Observer Outfit, designer: Tommi Vasko & Tessel Bruhl, manufacturer: Tessel Bruhl. Made out of traditional Bedouin fabric, frequently used in tents for festivals and political meetings which makes it perfect as a camouflage for those occasions.

22

Bird Plates, designer: Maher Shaheen, manufacturers: Hebron Glass & Ceramics Factory. Plate with which the leftovers of the food can be given to the birds, with additional water in the middle part (one third of the food produced for human consumption ends up in trash).

3

Everywhere Palestine scarf, designer: Tariq Salsa, manufacturers: Print Unlimited. Panoramic photos of Palestinian cities printed on silk scarfs.

/all images © Disarming Design from Palestine/

For more information on these and other products by Disarming Design, visit their official website, and if you can (in any way you can) – support the wonderful work by Palestinian designers and manufacturers and their talented international friends.

Standard
art of resistance, Israel, Israeli - Palestinian conflict, Palestine

The Book To Read: Suad Amiry and the Absurdity of life under Occupation.

I just finished reading Suad Amiry’s Sharon and my Mother-in-Law. The book is a result of her Ramallah diaries (from 1981 to 2004), where she described her everyday life under occupation. Absurdity and agony would be the words to describe this book (the feelings it ewokes), spiced with a lot of humor. For example, there is the situation when Amiry’s husband Salim gets arrested during curfew , but not because he was breaking curfew. The reason for the arrest was  that Amiry was refusing soldier’s orders to stop staring at him. Then there is Amiry’s dog, Nura, toy Manchester terrier who enjoys more political rights than her owner (Nura was granted a coveted Jerusalemite passport by her Israeli veterinarian in a settlement nearby Ramallah). Amiry decides to laugh about it all! To stay sane – you must find a way to laugh at things, otherwise – it’s easy to fall into the circle of depression and anxiety.

suad amirySuad Amiry

Another quality of the book lies in the fact that Amiry is not focused exclusively on criticizing Israel, but opens up about the issues in the Palestinian society.  All in all, Sharon and my Mother-in-Law is not a literary masterpiece, but it’s not aiming to be one either. However, Amiry succeeded in capturing the everyday absurdity of life in the Occupied Territories, and that is a great achievement.

The book has been translated into 19 languages, the last one in Arabic (which was a bestseller in France), and was awarded  the prestigious Viareggio Prize in 2004.  Here are some of the excerpts:

„I’d definitely have to hide Nura’s passport from Samir Hulieleh, who after twenty-four years of marriage to Sawsan, Jerusalemite, had not yet succeeded in getting a Jerusalem ID. I did not want to think about adorable little Yasmin, Sawsan’s and Samir’s only child. The Israelis would not give her a Jerusalem ID because her father had a Palestinian Ramallah ID, and the Palestinian Authority would not give her a Palestinian ID because her mother had an Israeli Jerusalem ID. If Jewish and Arab traditions were respected, Yasmin should have two identity cards, one of her mother and one after her father. But she has none.

Every few days they would lift the curfew for ‘humane reasons’, so that civilians could go out to buy food and medicine. Ramallah would become an absolutely frantic town, with everyone running like crazy to do their shopping before the three hour respite was over. Every now and then, I used to refuse to leave the house in defiance of Israel’s decision: ‘Now you can come out of your houses and run like crazy as we watch you, while pointing our guns at you just in case.‘“

„’What a pity we didn’t carry the begonia pot with us that you gave me on Easter Sunday.’ This was the first thing my mother in-law said to me as I got out of bed at 7.30 to open the door for Nura. ‘It’s OK, Um Salim, our hand were full of more important things’, I answered back with half-open eyes. ‘Khsarah (What a pity), it will die,’ she mumbled. ‘People in Nablus and Jenin are dying under the rubble of their houses,’ I mumbled back quietly, so as not to depress her even more.“

Suad Amiry is an author and an architect living in Ramallah. She is engaged in many peace initiatives of Palestinian and Israeli women. She is director and founder of the Riwaq Centre for Architectural Conservation (the center was founded in 1991 and is the first of its kind to work on the rehabilitation and protection of architectural heritage in Palestine).

.

Standard