A clip on AJ+ titled, “Save the Children says Gaza has become unlivable for its one million children,” triggered a troubling anger in me. Sounds familiar? A UN report published in 2005 warned that the Gaza Strip could become “unliveable” by 2020.
As a person born and raised in Gaza’s open-air prison until just before Israel’s deadliest attack in summer 2014, this statement evokes numerous traumatic flashbacks. It makes me wonder: Has Gaza ever been liveable since Israel came to existence?
I cannot help but be furious at how the world continues to be blind to the fact that Gaza has already been unliveable for not only a year, or a decade, but for several decades. The disastrous humanitarian circumstances that this enclave has endured do not go back to when Israel officially designated Gaza as a ‘hostile entity’, legitimating the collective punishment of its population. It goes back to when Israel was created and the consequent influx of displaced Palestinians that were crammed into Gaza.
My grandparents were among those dispersed and dispossessed. Right now it just feels too painful to even think of how they coped with the experience of being uprooted from their evergreen villages. Yes, since even then, Gaza has been unliveable. Israeli missiles don’t have to be falling over civilians’ rooftops, killing innocents, for life there to ‘become’ unliveable.
It’s been almost 4 years since I left Gaza, and my memories remain very vivid, despite some memories I wish I could forget forever. I wish I didn’t have to draw examples from them.
A few months before Israel launched its most recent massacre in summer 2014, I remember being so depressed at times that I questioned whether my life was worth living. But I should have only questioned the humanity of the international community and imperial powers that endorsed our dehumanisation. Although I always compared myself with others who were in worse situations in order to be thankful for what I had, my life was unliveable. I remember being upset for missing the graduation ceremony, to which my classmates and I were looking forward, so we could celebrate surviving four years of our BA degree together. To comfort myself, I kept reminding myself of my privilege to have ‘luckily’ received a full scholarship to further my higher education, a dream that we all shared.
But this ‘privilege’ has an enormous toll on me, physically and mentally. Some of its costs accompany me still. For weeks, I persistently tried to cross the Rafah border while focused on my goals, in order to feed my hope and determination. For weeks, I woke up before anybody in the house did. My attempts to cross the border failed so often that I gave up on saying goodbye, and I couldn’t handle the sorrow in my parents’ eyes from having seen me in that situation – trapped, scared and distressed. For weeks, I shared this journey of humiliation with thousands of stranded people, including patients dying, students, children, elderly, and women, all desperately and miserably waiting for their nightmare at the Rafah border to come to an end. I eventually made it out without saying goodbye.
That was neither human nor liveable.
Numerous aspects of life there were unbearable. They still are. Whenever I talk to my family, we rarely engage in a serious conversation. We spend the little time we have – as long as there is power, thus internet – teasing each other and making jokes that usually revolve around electricity. Their humor itself is a coping mechanism that hides immense sorrow and unshed tears. However, being their daughter that knows them so well, I feel the sorrow in their eyes and voices and the topics they choose to share with me – I even feel it in their exaggerated pride of me. They believe that our separation and dispersion is a price for our success, and therefore any symbolic success is overly celebrated among the extended family and even on social media to cope with the trauma of our forced absence. I do feel a heartache when I think of them and of how they’re coping in these increasingly suffocating circumstances. I do feel a stab when I look back and count the years that I had to do without their physical presence in my life. No family should ever live with being forcefully dispersed.
None of this is liveable.
If we are enduring this brutal reality, it is because we love life. We are desperate for an ordinary life, and for that end we have coped somehow with the extraordinary and inhumane situations which surround us. For us, that is a form of resistance, as the other option was succumbing to despair. But our resistance to despair does not make our reality livable.
It’s been forever unliveable. We have expressed our pain and recounted the brutality that we endured before the eyes of the whole world. We voiced our desperation in so many ways, ranging from testimonies, to art and documentary, to armed-struggle against our occupying power, Israel, which has the mightiest military in the world. It doesn’t need an expert or the UN or Save the Children or an international body to testify that Gaza ‘has become unliveable’ or ‘might become uninhabitable by 2020’.
Gaza has been unliveable as a direct result of Israel’s existence, and the whole world has to be accountable for this ongoing dehumanizing cycle of violence that is endorsed by treating Israel as a normal state, which effectively means sentencing Palestinians to eternal misery.
International boycott of Israel is the way forward.
This article was first published on the Electronic Intifada on 13 December 2016
A motion in favor of BDS was approved by 60 percent of the student union senate at the British university last week.
The decision is a bold challenge to the university’s administrators who have developed strong links with Israel in recent years.
The Technion works in partnership with a number of Israel’s arms manufacturers and has even helped develop a remote-controlled function for the D9 bulldozers that Israel uses to demolish Palestinian homes.
The BDS motion also demands that the University of Manchester sells nearly £15 million ($19 million) worth of shares in corporations linked to Israel’s oppression of the Palestinians. These corporations include Caterpillar, maker of the D9 bulldozer.
The vote is the result of a long campaign by Palestine solidarity activists in Manchester, who insisted that their tuition fees must not be used to support institutions complicit in Israel’s crimes.
The BDS motion was approved following a poignant speech by Huda Ammori, a British-Palestinian student, who chairs the Recognise Refugee Rights society in the university. She referred to how her own father had to leave Palestine when he was just 6 years old. His family’s home in the Tulkarem area of the West Bank came under attack by Israeli forces in 1967.
“My father was forced out of his house in Palestine,” Ammori said. “The Israeli military shot at him and his siblings. He had to hide under the table, hoping to survive. They ran from the back of their house barefoot and had to hide in caves without any means of survival.
“I wish I had the privilege to say that my grandparents were in Palestine. But I don’t because they were ethnically cleansed. My great grandparents were there. My great great grandparents were there, too. But they [my grandparents] were forced out in order for the State of Israel to exist and to maintain a majority Jewish population – on the ruins of Palestinian refugees.”
“BDS is necessary to strip Israel of its impunity,” she added. “It is necessary to ensure that Palestinians regain their most fundamental human and political rights: freedom, justice, equality and return.”
The vote is particularly significant as the University of Manchester has strong historical links to the Zionist movement. Chaim Weizmann, the Zionist movement’s top lobbyist in Britain during the first half of the 20th century, worked as a scientist in the university. He went on to become Israel’s first president.
Today’s Zionist lobby is dedicating much energy to try and counter the BDS movement. The pro-Israel lobby tries to portray the BDS movement as motivated by anti-Semitism, despite how the movement explicitly condemns all forms of racial and religious bigotry.
Some opponents of the BDS motion in Manchester alleged that it made Jewish students feel unsafe. Ammori stressed, however, that growing numbers of Jews are insisting that Palestinians be granted justice and equality.
“This support is growing because they understand that it has nothing to do with Jewishness but with the Zionist oppressive colonial ideology that enables Israel’s ongoing oppression against Palestinians,” Ammori told The Electronic Intifada.
The BDS work will have to be sustained in the University of Manchester, even if demanding respect for Palestinian rights would appear to be in line with the college’s official commitment to “social responsibility.”
“It’s a great victory but this is only the beginning,” Etisha Choudhury, chair of the Action Palestine society in the university, said. “We are going to celebrate it but also work harder to be stronger and more effective in order to bring about more victories. We still have a massive journey ahead. We will continue until the university divests and cuts ties with the Technion.”
Palestine solidarity activists expect that they will encounter attempts to prevent the BDS motion from being enforced, despite how it was endorsed in a democratic vote. One fear is that the university’s administration will use the argument that cutting its links with Israel will cause “reputational damage.”
Ammori contended that the university would suffer worse damage to its reputation if it kept doing business with the Technion.
“They [the university’s administrators] claim to be socially responsible,” she said. “This is impossible given their association with the Technion, the weapons laboratory of the Israeli military.”
Ever since the emergence of the Palestinian cause, art has been the visual expression of the Palestinian struggle for liberation. Most visual production of Palestinian artists has been strongly tied with the political conditions that Zionist settler-colonialism brought in, shaping every facet of the Palestinians’ daily life. Palestinian artists are not exempt from these conditions. Palestinian art has mostly – but not only – reflected the Palestinian people’s suffering and state of loss and exile that the traumatic events of the 1948 Nakba caused.
The well-known Palestinian artist and art historian Kamal Boullata raised some questions regarding Palestinian art that I will try to offer a humble answer for through my drawings.
“How does one create art under the threat of sudden death and the unpredictability of invasion and siege? More specifically, how do Palestinian artists articulate their awareness of space when their homeland’s physical space is being diminished daily by barriers and electronic walls and when their own homes could at any moment be occupied by soldiers or even blown out of existence? In what way can an artist engage with the homeland’s landscape when ancient orange and olive groves are being systematically destroyed? When the grief of bereaved families is reduced by the mass media to an abstraction transmitted at lightning speed to a TV screen, what language can a visual artist use to express such grief? (Boullata, 2004)”
This piece will be a personal reflection on my life journey through the lens of my art that was mainly inspired from experiences instilled in my memory from my life in the Gaza Strip, Palestine.
Palestinian art as a narrative instrument of resistance:
Palestinian art, from the twentieth century up until now, has always been a visual reflection of the Palestinian struggle that aimed to depict the reality of the Palestinian people, their hopes and aspirations, their suffering, coupled with resistance. It is also a visual self-representation tool that aims to provide a counter narrative to the hegemonic Zionist misleading narrative of the Palestinian reality, to raise political awareness on the Palestinian issue and urge for mobilisation at an international level.
Speaking of narrative brings to mind the words of Edward Said, the late Palestinian exiled academic and writer, which reminds that, “no clear and simple narrative is adequate to the complexity of our experience” (After the Last Sky 1986: 6).
“To be sure, no single Palestinian can be said to feel what most other Palestinians feel: ours has been too various and scattered a fate for that sort of correspondence,” Said eloquently stated. “But there is no doubt that we do in fact form a community, if at heart a community built on suffering and exile” (After the Last Sky 1986: 5-6).
Certainly, Palestinian art has served as a narrative instrument that is used to challenge the hegemonic Zionist narrative which has been tirelessly trying to erase them. Zionism’s existence was fundamentally based on the negation of the very existence of the Palestinian people, a fact that is implicit in Israel’s fourth Prime Minister, Golda Meir’s infamous quotation that, “There was no such thing as Palestinians, they never existed” (Matar, 2011, p. 84).
Among many other forms of expression, art for many Palestinians was seen as a way to visually participate in writing their own narrative, to express their identity, to empower the Palestinians’ voices, and to move beyond the victim circle to become actors who actively, critically and creatively engage with their surrounding matters.
Over the course of the Palestinian struggle, the Palestinian people increasingly regarded every piece of art that came to reflect their living conditions in the Israeli grip as a means of resistance. Many Palestinian paintings displaying the ‘forbidden’ colors of the Palestinian flag have been confiscated, and many artists faced interrogation or even a prison sentence due their art that was perceived as ‘an act of incitement’. Let us not forget the late Palestinian influential exiled artists Ghassan Kanafani and Naji Al-Ali, whose art and literary production led to their murder.
Reflections on my artwork
The majority of Palestinians have become politicised due to their complex and intense political reality that shapes every aspect of their lives. I am no exception. Art for me was an expressive tool in which I found empowerment to my voice. It served as my humble tactic to overcome the state of siege and occupation imposed on us, to escape the feeling of helplessness that can be easily felt in such suppressive and oppressive life conditions that the Palestinian people endure which I was born within. It was also a tool that I used to engage politically and socially with the harsh surrounding. While living in Gaza, my art was an attempt to connect not only on an internal level as a part of the Palestinian community, but also internationally through online social networks that I used as a bridge that connects the international community with the Palestinian people’s struggle for liberation, which should be addressed as a central global issue.
Since my birth in Jabalia Refugee Camp in the north of the Gaza Strip, the biggest and most densely populated refugee camp in Palestine, I have never known what life is like without occupation and siege, injustice and horror. Like the child depicted in Figure 3, growing up in Jabalia refugee camp was the window to understanding the Palestinian reality under occupation. Art has been the way I naturally sought since a very early age to describe what I felt was indescribable.
In the context of Palestine under which people endure unbearable living conditions, creativity is a necessary tool for survival and a way towards less depression and better physical and mental health.
Personally, observing the Palestinian children being born in a difficult reality that subjugates them to terror and trauma at very young age was the most painful. Thus, most of my drawings are of Palestinian children whose innocent facial expressions I find most telling. Check Figure 3, 4 , 5, 6 and 7 in the slideshow below:
An ongoing Nakba:
My generation, the third-generation refugees, was already blueprinted with the traumatic events of the Nakba, which for Palestinians, is not only a tragic historical event that resides in the past, only to be commemorated once a year with events that include art exhibits and national festivals among other things. “It was never one Nakba,” my grandmother used to say asserting that it was never a one-off event that happened in 1948. The Nakba is experienced instead as the uninterrupted process of Israeli settler-colonialism and domination that was given continuity by the 1967 occupation, and which every aspect of daily Palestinian life is affected by. Growing up hearing our grandmothers recount the life they had before, the dispossessed lands that most would never see again, has formed the collective memory of the Palestinian people. My grandmother described a peaceful life in green fields of citrus and olive trees, the tastes, the sounds, the smells that remained only in her memories in our village Beit-Jirja which was violently emptied of its inhabitants and razed to the ground in 1948 like hundreds of other villages.
As Boullata described, ‘Today, memory continues to be the connective tissue through which Palestinian identity is asserted and it is the fuel that replenishes the history of their cultural resistance’ (Boullata, 2009, p. 103). Palestinian art has been always perceived as a cultural form of political resistance which often addressed issues related to collective memory, memories of the Nakba, and the lived reality of injustices and oppression endured by Palestinians under the on-going occupation with an emphasis on the people’s resistance in the face of Israel’s brutality as coupled with hope, which in itself is resistance. Art has served as a basic mobilization tool that was gradually perceived, not only by the Palestinian public, but also by the Israeli forces “as emblematic of a collective national identity and crucibles of defiant resistance to occupation” (Boullata, 2004).
Several drawings of mine, such as those featured below, were an attempt to emphasize this hope through the continuity of the struggle from one generation to another. They were my response to several Zionist leaders who assumed that time will make the Palestinian refugees forget about their right to return. The drawings come to assert that they were absolutely wrong. The old will die and the young will keep on holding the key, embracing their legitimate right to return. The key is a symbol of the undying Palestinian hope that return is inevitable. The young generation is perceived as those who will carry the burden of the cause and continue the struggle that the previous generation started until freedom, justice, equality and return to the Palestinian people. Thus, Palestinian children became the symbol through which “We nurse hope” as Mahmoud Darwish said (Darwish, 2002).
From an early age, drawing was not only a tool of expression, but also a way to convey a political message, to call for mobilisation in support of the Palestinian struggle. The power of art lays in the fact that is a universal language to communicate the unspeakable that many people in safety zones cannot fully understand. With the availability of online platforms, it became possible to reach beyond borders and checkpoints to a wider audience.
I was only nine years old when my parents noticed my drawing skills that were limited to black warplanes, pillars of smoke in the sky and crying eyes. This coincided with the eruption of the second intifada in September 2000 when I used to accompany my mother and aunt to the martyrs’ funeral tents to offer our condolences. I used to hate the green colour, as it was associated in my memory with martyrs’ funeral tents, which were disturbingly visible in Jabalia refugee camp’s landscape. The first poem I ever learned to memorize by heart was one by the Palestinian poet Mahmoud Darwish entitled, “And He Returned …In A Coffin”. As a nine-year old girl, I stood in front of everyone sitting along the benches in the marquee, looked into the people’s tearful eyes, and in a powerful but shaking voice, I recited,
They speak in our homeland
they say in sorrow
about my comrade who passed
and returned in a coffin
Do you remember his name?
Don’t mention his name!
Let him rest in our hearts.
Let’s not let the word get lost
in the air like ash.
It was moments like these, during the tumult of the second intifada that fundamentally shaped my consciousness about the land and my place in it. Since childhood, the scenes of war, the faces of martyrs, the injured and detained people, the cries and weeping of the martyrs’ relatives over the loss of their beloved, have been chasing me day and night. These scenes pushed me to seek art as a way to express my emotions, to reconcile with my wounds, to reflect on my memories and experiences that many Palestinians share.
Humanising Prisoners’ issue through art
Moreover, being a daughter of an ex-detainee means I have grown a unique attachment to the plight of the Palestinian political prisoners, not only from a political perspective but also from a personal one. My father spent a total of fifteen years in Israeli jails, a part of his original seven life sentences. The stories of resilience, suffering and oppression that I grew up hearing from him about his stolen youth in Israeli jails have made me develop a particular passion to advocate for justice for Palestinian political prisoners who endure inhumane living conditions under the Israel Prison Service which denies them their most basic rights.
However, in spite of its importance, the issue of Palestinian political prisoners and their families who suffer immensely from the pain of longing and separation and are often denied their right to family visits is not given the deserved attention in the political arena. They are not only marginalized, but also dehumanized as whenever they are mentioned in the media discourse, they are mentioned as merely statistics or numbers. Through the drawings below, I attempted to humanize the prisoners’ plight and draw attention to their daily resistance in the face of the oppressive Israeli jailers that treat them as if they are not humans. I tried to depict their determination to break their chains, their resisting spirit in Israeli jails. I also tried to express their families’ pain as they are imprisoned in time, waiting for a day when their re-union without barriers in between will be possible again.
This drawing above was an attempt to show how waiting for a reunion between the prisoners and their families is in itself a torment. My mother experienced seeing my father being violently captured in front of her eyes from the middle of their house three times when the first intifada erupted in December 1987. She was a newly married bride expecting her first child, my eldest brother Majed, when he was re-arrested and forced to serve an administrative detention order, an arbitrary procedure that Israel uses against the Palestinian people to imprison people without charge or trial, usually based on secret information that neither the detainee nor his lawyer have access to. The experience was repeated when my elder sister Majd was born, and lastly soon after my birth. My mother has always described the torturous experience of waiting for my father’s release, how she spent days and nights staring at the clock, waiting impatiently to hear some news from him while her right to family visits was denied.
The imprisonment experience repeats itself hundreds of thousands of times across Palestine, regardless of gender or age. I have many family members, friends and neighbours who experienced unbearable conditions that range from physical torture to psychological torture to even sexual torture. Palestinian political prisoners have always resisted the brutality of the Israel Prison Service. They have no weapon but hunger to protest their inhumane living conditions and call for their right to proper medical care, the right to family visits and other basic rights under international law while imprisoned. “Hunger strike until either martyrdom or freedom” is a motto that many prisoners adopted. The drawing below aimed to illustrate the spirit of this motto.
Memories of War
The turning point of my life was at the age of seventeen, after witnessing the 22-day massacre that the Israeli occupation forces committed against our people in Gaza in 2008-09. During that dismal period when we remained in darkness amidst the continuous bombing, destruction and mass killing of Palestinians in Gaza, I had a terrible sense of being isolated from the rest of the world. The trauma of seeing such levels of brutality was intense. No one was certain if they would live for another day or not.
One of the most memorable moments is that when one night, I was sitting in darkness, surrounded by my mother and siblings in one small room of our house under one blanket. No voice could be heard, just heartbeats and heavy, shaky breaths. The beating and breathing grew louder after every new explosion we felt crashing around, shaking our home and lighting up the sky. Then suddenly, the door of our house opened violently and somebody shouted, “Leave home now!” It was my dad rushing in to evacuate our house because of a bomb threat to a neighbour. I remember that my siblings and I grasped Mum and started running outside unconsciously, barefoot. For three days we stayed in a nearby house, powerless as we sat, waiting to be either killed, or wounded, or forced to watch our home destroyed.
This merciless and inhumane attack killed at least 1417 men, women and children. I wasn’t among them but what if I had been? Would I be buried like any one of them in a grave, nothing left of me but a blurry picture stuck on the wall and the memory of another teenage girl slain too young? Would I have been for the world just a number, a dead person? I refused to dwell on that thought. Many drawings of mine, such as those below, were inspired from memories attached to this traumatic event whose memories always floated back whenever an attack was repeated. Most importantly, resorting to art was a necessary means that helped me preserve my sanity and overcome harsh traumatic events that I experienced throughout my life in the suffocating blockade of the Gaza Strip.
While living under conditions of ghettoization, occupation and military assault, a continuation of the Zionist domination of the Palestinian land that was dispossessed in 1948 for the ‘Jewish state’ to be founded, Palestinian artists continue to be driven to express themselves in paint, photography, and other visual media, with having the Palestinian struggle for liberation as the central theme for their artwork. Art has offered Palestinians a platform to engage with the politicaly complex reality and express the suppressed voice of the Palestinian people in visual forms that can communicate universally. It was also a way to humanise the people’s suffering that is usually dehumanised in mainstream media and reduced to a dry coverage of abstractions that present them as numbers and statistics. Palestinian art, therefore, has been perceived as a form of political resistance, a mobilization tool, a way to assert the Palestinians’ embrace of our legitimate political and human rights, such as the right to return, the right to self-determination, and the right to live in dignity and freedom.
Edward Said once eloquently wrote,
To be sure, no single Palestinian can be said to feel what most other Palestinians feel: ours has been too various and scattered a fate for that sort of correspondence. But there is no doubt that we do in fact form a community, if at heart a community built on suffering and exile.
This shared state of suffering and exile has started since 1948 when the Zionist state of Israel waged its so-called War of Independence, which Palestinians call al-Nakba. Then, the series of Palestinian tragedies of uprootedness, dispossession and state of permanent temporality of the exile began; more than 800,000 Palestinians were ethnically cleansed from their villages and currently number more than six million Palestinians dispersed within the Occupied Territories and in exile, mostly in the neighbouring countries such as Jordan, Syria and Lebanon.
As Palestinians are commemorating the 67th of Nakba, my grandmother, whose no longer present in my life, feels more present in my thoughts and closer to my heart than any other day. As children, my grandmother brought up my siblings and me while my parents went to work. The more I became aware of the challenging life she led, the more I admired her. She was truly a fighter. The picture above was shot during the first Intifada when Jabalia Refugee Camp was under curfew and no one was allowed to enter the camp. This picture was printed on the front page of Al-Ayyam, a local magazine with a caption reading “Palestinian women arguing with an Israeli soldier at the entrance of the camp”. Armless as she stood without any fear, shouting powerfully at an armed-to-teeth Israeli soldier who ironically seem scared of her. She was filled with anger for being prohibited to enter and go to her home where my grandfather was dying. Dad saved the picture in spite of my grandmother’s rejection. She was frightened of this picture as she thought, “the Israeli occupation can do anything. A picture can make you a convict”.
My generation, the third-generation refugees, was deeply blueprinted with the traumatic events of the Nakba, which for Palestinians, is not only a tragic historical event that resides in the past, only to be commemorated once a year with events that include demonstrations, clashes with the Israeli forces, art exhibits and national festivals among other things. The memories of the old days in our green villages were our day and night stories that we were brought up hearing, our lullabies that always put us to sleep. I am no exception.
Since Nakba, my grandmother led a life of exile, which Edward Said described as, “the unbearable rift forced between a human being and a native place, between the self and its true home”. It always felt to me that she was incomplete, torn in between her physical place Jabalia Refugee Camp, and the place that she was dispossessed and exiled from Beit-Jerja. Nevertheless, my grandmother embraced the dream to return to Beit-Jerja until the last day of her life. She made sure her grandchildren memorize the stories she always repeated of the old days without any boredom as if stressing, “Never forget!”
“It was never one Nakba,” my grandmother used to say asserting that it was never a one-off event that happened in 1948. The Nakba is experienced instead as the uninterrupted process of Israeli settler-colonialism and domination that was given continuity by the 1967 occupation, and which every aspect of daily Palestinian life is affected by. Growing up hearing our grandmothers recount the life they had before, the dispossessed lands that most would never see again, has formed the collective memory of the Palestinian people. My grandmother described a peaceful life in green fields of citrus and olive trees, the tastes, the sounds, the smells that remained only in her memories in our village Beit-Jirja which was violently emptied of its inhabitants and razed to the ground in 1948 like hundreds of other villages. My grandmother, then, was a pregnant mother with a 2-year-old boy when she lived the trauma of the Nakba, a fact that made her deliver her second child before time as she was in panic making her way to northern Gaza.
At the beginning, she thought it would be a matter of few weeks and in no time, she would return and harvest the crops of olives, grapes and citrus fruits that they left behind. But they never did, or – to keep the hope alive – let’s say they didn’t return yet. Though illiterate, she understood the aim behind the United Nations’ ‘humanitarian’ work, which, she argued, wasn’t to ‘solve’ the problem of the displaced people back them, but to sentence them to a life-long refugee status. She could foresee that the aids that the UN provided were part of a systematic process aimed at making Palestinian refugees forget about their political rights and strip them from their past, a deliberate process that seeks to get them locked in the moment waiting to receive some help or charity to survive.
Similarly, the Palestinian intellectual Jabra I. Jabra, who was born in the same year as my grandmother in 1920, reflected on his memories of Nakba and in a very bitter language he wrote, “the dislodged population was to be deliberately called ‘refugees’” and that “the horrific political and human issue would be twisted that the maximum response it might elicit from a then weary world would be some act of charity, if at all”, and “we would be lumped together with them (the Second World War refugees), at worst another demographic case for the United Nations”, and the systematic destruction and ethnic cleansing of Palestine would be “soon to be hailed by hack novelists and propagandists in America and Europe as a heroic ‘return’”. Then the victims, who paid a devastating price for a crime committed in Europe, will be told: “You’re refugees, don’t make a nuisance of yourselves: we’ll do something about it. Refugee aid after a few months will trickle in: you’ll be numbered and housed in tattered tents and tin shacks. And try and forget, please. Hang on to your rocks wherever you are, and try to forget”.
Zionism has been clearly concerned about the Palestinian refugees whose negation is the most consistent thread running through Zionism. It has desperately attempted to erase them from the dominant narrative that reduced the settler-colonial Zionist project to a ‘heroic return’ and a mere ‘re-claiming’ of a land originally promised to them by God. Israel’s fourth prime minister, Golda Meir who notoriously once said, “There was no such thing as Palestinians, they never existed”, assumed that time will make the Palestinian refugees forget about their right to return: ‘The old will die and the young will forget’. Similarly, Ben-Gurion once bluntly said, “We must do everything to ensure that they never do return!” However, Palestinians, generation after generation, have demonstrated that forgetting was deemed just impossible and unthinkable. Thus, it is no wonder that the issues of the Palestinian refugees, as well as the Palestinian citizens of ‘Israel’ are the ones that electrify Israel the most.
As Jabra I. Jabra once stressed, “The Palestinian may still be an exile and a wanderer, but his voice is raised in anger, not in lamentation”. Currently, Palestinians, including intellectuals, artists, journalists and activists, are dispersed everywhere, doing every thing possible to make the issue of Palestine reclaim its centrality in the world’s political arena. The Palestinian struggle for liberation has become a global struggle thanks to the collective efforts of justice believers around the world. This anger shall keep resonating as long as Palestinians keep enduring the injustices that were brought to them due to the existence of the Zionist state of Israel, regardless of their geographic location. Countless examples of Palestinians have constantly demonstrated that even if the elderly die without returning, the young will keep on holding the key, embracing their legitimate right to return.
This video, which this blog post aims to publicize as much as possible, has been produced as a part of a campaign to encourage SOAS (London’s School of Oriental and African Studies) to break its ties with Israeli academic institutions.
Next week, 23-27 February, there will be a school-wide referendum in which students, academics and other staff members will vote on whether to boycott Israeli academic institutions and put pressure on SOAS to follow the BDS guidelines.
For weeks we have been campaigning for a yes vote, organizing events, distributing flyers and posters to raise awareness about the complicity of Israeli academic institutions in the ongoing oppression and human rights violations of the Palestinian people.
In this video we as the student and academic body of the BDS campaign aim to expose SOAS’s collaboration with Israeli academic institutions, such as Hebrew University, which are deeply tied to the Israeli military. We should not, as students and academics, let SOAS maintain these links in our name.
My journey to SOAS
In September, I made it to SOAS after a long and hard journey that really exhausted me. However, every day I feel happier that I was so determined to make my dream of becoming a student in SOAS come true.
Shortly after my graduation from Al-Azhar University, Gaza, with a degree in English literature, I had to start applying for scholarships to fund my postgraduate studies abroad, a dream that I always sought to realize. Fortunately, I won two scholarships: one to Britain and another to Turkey. It sounds like I had the luxury to just pick any country in which to pursue my studies. However, it was the Rafah crossing that chose for me to seek Turkey as a bridge, a secure exit onto my final destination of England were I could finally join SOAS.
On 1 October 2013, I made it to Turkey after almost a month worth of daily attempt to cross the gate of the Rafah border crossing. Rafah crossing was, and continues to be, a gate of humiliation and dehumanization, a gate that stands as an obstacle for many people in reaching out for their ambitions, a gate that puts a population of 1.8 million Palestinians living in the Gaza Strip under a slow-death sentence.
A bird being set free is the feeling I had when I finally crossed the border. Nevertheless, this sense of freedom was always hijacked and violated any time I was obliged to show my Palestinian Authority passport — a common story for millions of Palestinians!
I lived in Istanbul for a period of ten months. I struggled with a sense of fragmentation that I never had before. I had been shattered between two places, physically being in Turkey but mentally and emotionally being in Palestine. This feeling reached the highest point when on 8 July 2014, the Israeli occupation forces launched one of their most barbaric and genocidal wars against the Gaza Strip.
This 51-day attack was the first I saw from outside, an experience that I found more devastating than the many wars I witnessed while being around family, shaking as we heard missiles landing around us day and night, threatening everyone’s lives. I was locked in my safe zone in Istanbul while suffering a psychological war that felt as if it would drive me insane.
I had to deal with a serious challenge to keep my sanity while enduring an exhausting fear that I could lose any person dear to me any moment. This fear haunted me more and more, especially after I learned about the murder of my uncle from mum’s side, Mohammed Louz, and two neighbors with whom I grew up in the same house, Ahmad and Hazem Murad.
Vote “Yes” on BDS
Reflecting on that period is quite difficult to put in words. Every experience endured at the hands of the Zionist state of Israel feeds into my anger. My experiences empower my determination to move on and continue fighting the bubble of impunity that Israel is protected by, given a green light from the “international community.”
On 8 September 2014, twelve days after the announcement of the ceasefire, I officially became a masters student at SOAS, studying Media and the Middle East. I was a bit scared starting this new chapter of my life in which everything was new. But nothing could be more healing, inspiring or rewarding to me.
Every day lived here at SOAS makes me feel more like being at home. The secret behind this feeling has been the amazing and inspiring people I have met, especially thePalestine Society which embraced me, and I equally embraced. What brought us together was a shared conviction in the Palestinian people’s just cause, a shared commitment to the fight for freedom, justice and equality.
We, as students and academics who believe that academia is not neutral, and is actually political, believe that the campus is our battlefield to fight for what is right and push for a political stand that should be sided with the oppressed and against the oppressor, a stand against racism, oppression and occupation and in favor of justice.
Boycott, divestment, and sanctions (BDS) is a tactic that we believe is an effective way for the international community to translate their solidarity with the Palestinian people into actions that can push the struggle for justice for the Palestinian people forward. We believe that BDS is a way to end Israel’s impunity and make them realize they cannot get away with their crimes against humanity, and that any crime they commit will cost them. The way to do it is to get the Israeli community out of their comfort zone, to encourage them to critically think of their state’s inhumane, racist and brutal policies and actions and to rebel against them.
At the moment, I feel more proud than ever to be a part of this community. We are now leading a campaign that is the first of its kind, not only in the UK, but also in Euro-American campuses.
Please dedicate five minutes to watch this video. It includes many SOAS academics and students who make the case for the academic boycott in a very eloquent and powerful way. Share the powerful message behind this video so others can be inspired to move beyond solidarity onto serious actions that can make a change for the Palestinian people.
Join the battle for justice, freedom and equality!