http://www.youtube.com/watch?v=ME5GGfU-iPE&feature=player_embedded
This obsequiousness and adulation, if not idolation, is unbelievable and stomach curdling. David Held SHOULD be sent to tripoli immediately: Saif Al Islam has more degrees than even him!?
"The LSE, which has played such a critical role in my intellectual development..."
Thursday, April 7, 2011
Juliano, in his own words
You can dispense with reading anything else today and just watch this clip:
"The spirit is here. its already seeded and its only gonna grow and i dont believe that someone or anyone can stop it."
http://www.youtube.com/watch?v=pQGqmLyunm0
Please take a moment to watch Juliano, in his own words, as he talks about his vision for Palestine and how the Freedom Theatre is an integral part of that vision.
---------- Forwarded message ----------
Date: Mon, Apr 4, 2011 at 7:05 PM
Subject: Juliano, in his own words
Dear friends,
Many of you may have already heard about the murder of Juliano Mer-Khamis. The co-founder and director of the Freedom Theatre in Jenin Refugee Camp, he was gunned down (five bullets to the head) this afternoon outside the theatre by an unknown assailant.
I first met Juliano in 2006, when I began working with a group of activists in New York to support the Freedom Theatre. I have visited the Freedom Theatre multiple times over the years, watching Juliano teach and direct young acting students. Most recently, I watched Juliano as he coached acting students three months ago, preparing for the much-acclaimed production of "Alice in Wonderland."
I have no words at this moment to describe Juliano, the work of the Freedom Theatre and the scope and scale of this horrific event, both for his family (Juliano leaves behind two children, one still a baby, and a pregnant wi fe), for the theatre, for the community in Jenin Refugee Camp and for Palestine as a whole.
I can only offer this video, which I made in collaboration with my colleagues in 'Friends of the Jenin Freedom Theatre'.
Please take a moment to watch Juliano, in his own words, as he talks about his vision for Palestine and how the Freedom Theatre is an integral part of that vision.
And please take a moment to share this video, to post it, to spread it.
Juliano was killed. But he has not been silenced.
With deep sadness,
Jen Marlowe
"The spirit is here. its already seeded and its only gonna grow and i dont believe that someone or anyone can stop it."
http://www.youtube.com/watch?v=pQGqmLyunm0
Please take a moment to watch Juliano, in his own words, as he talks about his vision for Palestine and how the Freedom Theatre is an integral part of that vision.
---------- Forwarded message ----------
Date: Mon, Apr 4, 2011 at 7:05 PM
Subject: Juliano, in his own words
Dear friends,
Many of you may have already heard about the murder of Juliano Mer-Khamis. The co-founder and director of the Freedom Theatre in Jenin Refugee Camp, he was gunned down (five bullets to the head) this afternoon outside the theatre by an unknown assailant.
I first met Juliano in 2006, when I began working with a group of activists in New York to support the Freedom Theatre. I have visited the Freedom Theatre multiple times over the years, watching Juliano teach and direct young acting students. Most recently, I watched Juliano as he coached acting students three months ago, preparing for the much-acclaimed production of "Alice in Wonderland."
I have no words at this moment to describe Juliano, the work of the Freedom Theatre and the scope and scale of this horrific event, both for his family (Juliano leaves behind two children, one still a baby, and a pregnant wi fe), for the theatre, for the community in Jenin Refugee Camp and for Palestine as a whole.
I can only offer this video, which I made in collaboration with my colleagues in 'Friends of the Jenin Freedom Theatre'.
Please take a moment to watch Juliano, in his own words, as he talks about his vision for Palestine and how the Freedom Theatre is an integral part of that vision.
And please take a moment to share this video, to post it, to spread it.
Juliano was killed. But he has not been silenced.
With deep sadness,
Jen Marlowe
Mer-Khamis and binational resistance movement : Amira Hass
Through his life and his body, Juliano Mer-Khamis embodied the possibility of a binational resistance movement.
Those who knew Juliano Mer-Khamis, the Nazareth-born actor and director who was shot in Jenin on Monday, will have to be the ones to write about him; all that the rest of us can do is write about the milestones in his life.
Juliano was lucky. He was born Palestinian and Jewish, Jewish and Palestinian. This angry man was beset by conflicting yet complementary identities. He was the long shadow of an imagined binational community from the 1950s. Like a Peter Pan who refuses to grow up, Juliano embodied the potential of a shared life (ta'ayush in Arabic ) while striving for equality. The son of a Jewish mother and a Palestinian father, he was born to two cultures, and chose to live in both. He saw no need to explain.
Juliano Mer-Khamis was angry. But the Palestinians must conquer their anger, like rage against the Jewish enclave in the middle of the Silwan neighborhood of East Jerusalem.
My guess is that Juliano wasn't entertaining illusions; sustaining blows from all sides, the potential of ta'ayush shrank. Ta'ayush is the sane vision, but the chance that it will be realized is increasingly slim. There are some who fantasize about the days of the Messiah to avoid thinking about the days before the next disaster strikes. Juliano's was the offspring of a fantasy of ta'ayush. His birth was the outcome of a fantasy of ta'ayush, and his death is a disaster.
Juliano was angry. His rage was the kind that only a Jew like him, who was born on the left and craved equality until the end, can allow himself to express as a way of life. Palestinians must conquer the anger, mellow it; they must tame it, repress it, sublimate it. That's the only way to stay both alive and sane (without getting arrested, wounded or killed ) under the conditions of physical and non-physical violence dictated by Israel.
Oy, this coarse violence, which reeks of rationalism and supremacy and pretends to be enlightened. It is found in every detail of life, moment by moment, from cradle to grave. It is found from a expropriation order and an accompanying map to the firing hole of a watchtower; from the Interior Ministry expelling Palestinian Jerusalemites from their home town to the blocking of return to the Galilee village of Bir'im; from the racist responses of Jewish youth in opinion polls to the drone that homed in on children playing on the roof in Gaza. The violence is always there, from the Jerusalem municipal taxes despite the ruined roads and uncollected garbage to the security cameras in the Jewish neighborhood/Crusader shtetl in Silwan; from the lush green of a settlement to the Palestinian cistern destroyed by an Israeli bulldozer; from the permits granted to individual ranches in the Negev to the incrimination of Bedouin as "infiltrators." In short, from the Jewish to the democratic.
This violence has so many different angles that it can drive you mad. Juliano was lucky to be an artist, and madness was one of his paintbrushes. Through the theater he founded in Jenin, Juliano allowed himself to criticize repressive aspects of Palestinian society. One would guess he did so as a left-winger, as an actor committed to the artist's oath of truthfulness, and as a Palestinian. Let's hope that the killer will be found, and then we'll know if a Palestinian artist was killed because of his courage to live in a way that disrupts the order, or if a Jewish artist was killed because he gave himself permission to overtly criticize a society that is not his, according to some, or if a left-winger was killed because he was disrupting the norm. Or perhaps all three together. Even if he was killed for some other reason, Juliano was still an artist and a Palestinian, a left-winger and a Jew.
Now that the prospect of the sane vision of ta'ayush is small, what is left? The path. This is the option of a binational resistance movement, which wants to topple the Gadhafi-like, Mubarak-like, Assad-like rule of one people over another.
There are some who insist on fantasizing about a binational movement as a historic necessity, as a logical antithesis to the ideology of the demographic separation that has become the bible of the Oslo process. The truth must be said: In the meantime, most of those who harbor such a fantasy are Jewish. Thus do we soften the contradiction between love for the people and the place on the one hand and the abhorrence of the enlightened violence on the other.
Through his life and his body, Juliano Mer-Khamis embodied the possibility of a binational resistance movement. The killer, whatever his motive, was aiming for the body. In his death, Juliano has bequeathed us the possible.
Those who knew Juliano Mer-Khamis, the Nazareth-born actor and director who was shot in Jenin on Monday, will have to be the ones to write about him; all that the rest of us can do is write about the milestones in his life.
Juliano was lucky. He was born Palestinian and Jewish, Jewish and Palestinian. This angry man was beset by conflicting yet complementary identities. He was the long shadow of an imagined binational community from the 1950s. Like a Peter Pan who refuses to grow up, Juliano embodied the potential of a shared life (ta'ayush in Arabic ) while striving for equality. The son of a Jewish mother and a Palestinian father, he was born to two cultures, and chose to live in both. He saw no need to explain.
Juliano Mer-Khamis was angry. But the Palestinians must conquer their anger, like rage against the Jewish enclave in the middle of the Silwan neighborhood of East Jerusalem.
My guess is that Juliano wasn't entertaining illusions; sustaining blows from all sides, the potential of ta'ayush shrank. Ta'ayush is the sane vision, but the chance that it will be realized is increasingly slim. There are some who fantasize about the days of the Messiah to avoid thinking about the days before the next disaster strikes. Juliano's was the offspring of a fantasy of ta'ayush. His birth was the outcome of a fantasy of ta'ayush, and his death is a disaster.
Juliano was angry. His rage was the kind that only a Jew like him, who was born on the left and craved equality until the end, can allow himself to express as a way of life. Palestinians must conquer the anger, mellow it; they must tame it, repress it, sublimate it. That's the only way to stay both alive and sane (without getting arrested, wounded or killed ) under the conditions of physical and non-physical violence dictated by Israel.
Oy, this coarse violence, which reeks of rationalism and supremacy and pretends to be enlightened. It is found in every detail of life, moment by moment, from cradle to grave. It is found from a expropriation order and an accompanying map to the firing hole of a watchtower; from the Interior Ministry expelling Palestinian Jerusalemites from their home town to the blocking of return to the Galilee village of Bir'im; from the racist responses of Jewish youth in opinion polls to the drone that homed in on children playing on the roof in Gaza. The violence is always there, from the Jerusalem municipal taxes despite the ruined roads and uncollected garbage to the security cameras in the Jewish neighborhood/Crusader shtetl in Silwan; from the lush green of a settlement to the Palestinian cistern destroyed by an Israeli bulldozer; from the permits granted to individual ranches in the Negev to the incrimination of Bedouin as "infiltrators." In short, from the Jewish to the democratic.
This violence has so many different angles that it can drive you mad. Juliano was lucky to be an artist, and madness was one of his paintbrushes. Through the theater he founded in Jenin, Juliano allowed himself to criticize repressive aspects of Palestinian society. One would guess he did so as a left-winger, as an actor committed to the artist's oath of truthfulness, and as a Palestinian. Let's hope that the killer will be found, and then we'll know if a Palestinian artist was killed because of his courage to live in a way that disrupts the order, or if a Jewish artist was killed because he gave himself permission to overtly criticize a society that is not his, according to some, or if a left-winger was killed because he was disrupting the norm. Or perhaps all three together. Even if he was killed for some other reason, Juliano was still an artist and a Palestinian, a left-winger and a Jew.
Now that the prospect of the sane vision of ta'ayush is small, what is left? The path. This is the option of a binational resistance movement, which wants to topple the Gadhafi-like, Mubarak-like, Assad-like rule of one people over another.
There are some who insist on fantasizing about a binational movement as a historic necessity, as a logical antithesis to the ideology of the demographic separation that has become the bible of the Oslo process. The truth must be said: In the meantime, most of those who harbor such a fantasy are Jewish. Thus do we soften the contradiction between love for the people and the place on the one hand and the abhorrence of the enlightened violence on the other.
Through his life and his body, Juliano Mer-Khamis embodied the possibility of a binational resistance movement. The killer, whatever his motive, was aiming for the body. In his death, Juliano has bequeathed us the possible.
Hommage à Juliano Mer Khamis mercredi 6 avril 2011
Les amis parisiens de l’acteur, homme de théâtre et militant de la liberté Juliano Mer-Khamis, assassiné le 4 avril 2011 dans le camp de réfugiés de Jenine, lui rendront hommage lundi 11 Avril à partir de 19h, aux Ateliers Varan , 6 Impasse Mont-Louis , 75011 Paris (M° Philippe Auguste). Ils pourront à cette occasion voir ou revoir son film exceptionnel "LES ENFANTS D’ARNA", dont voici le début :
http://www.europalestine.com/spip.php?article6050
http://www.europalestine.com/spip.php?article6050
Pourquoi ont-ils tué Juliano Mer-Khamis ?
L’émotion est grande, aussi bien en Palestine que dans les milieux de gauche israéliens, où la mort de l’acteur Juliano Mer-Khamis est une tragique métaphore du pourrissement et de l’étouffement de la société palestinienne. Assassiné (peut-être) par des extrémistes palestiniens, le directeur du Théâtre de la Liberté de Jénine avait réalisé en 2003 un documentaire inoubliable, “Arna et les enfants de Jénine”, en hommage au travail théâtral militant de sa mère.
Juif et palestinien : il revendiquait ses deux origines, et sa vie était inscrite sur cette ligne de crête. Ligne de fracture. La mort du directeur du Théâtre de la Liberté, l’acteur Juliano Mer-Khamis, assassiné lundi à Jénine par plusieurs hommes masqués, est la métaphore tragique d’une société palestinienne au bout de l’enfermement, rongée de l’intérieur, s’autodétruisant, et qui anéantit jusqu’à ses propres fils et ses meilleurs soutiens. Né d’une mère juive et d’un père arabe israélien, ancien dirigeant du Parti communiste d’Israël, Juliano Mer-Khamis symbolisait à lui seul toute la complexité et la richesse de cette terre.
Tous ceux qui ont vu sur Arte Arna et les enfants de Jénine, l’extraordinaire documentaire produit et réalisé en 2003 par Juliano Mer-Khamis (avec Danniel Danniel) se souviennent de l’histoire poignante de sa famille. Ce film âpre et sans concession était d’abord un hommage à sa mère, Arna Mer, juive militante propalestinienne, une femme exceptionnelle qui avait reçu le prix Nobel alternatif, en Suède, pour son action associative. Dans le camp de réfugiés de Jénine, elle avait crée le Théâtre des Pierres, à la fin des années 80, pendant la première Intifada. Ce théâtre, qui avait été détruit par les Israéliens lors de leur attaque du camp en 2002, accueillait les enfants dans un espace de liberté, mais jamais vraiment hors du temps : Arna et les enfants de Jénine – dont on espère la reprogrammation prochaine sur Arte – racontait ce qu’étaient devenus, quinze ans après, certains des enfants acteurs de la maman de Juliano Mer-Khamis : Youssef, l’un des piliers de la troupe, avait abandonné son sourire pour mourir en kamikaze dans un attentat-suicide. Ala, fauché le fusil à la main lors de la bataille de Jénine de 2002, était mort sous les balles de l’armée israélienne…
Juif et palestinien : il revendiquait ses deux origines, et sa vie était inscrite sur cette ligne de crête. Ligne de fracture. La mort du directeur du Théâtre de la Liberté, l’acteur Juliano Mer-Khamis, assassiné lundi à Jénine par plusieurs hommes masqués, est la métaphore tragique d’une société palestinienne au bout de l’enfermement, rongée de l’intérieur, s’autodétruisant, et qui anéantit jusqu’à ses propres fils et ses meilleurs soutiens. Né d’une mère juive et d’un père arabe israélien, ancien dirigeant du Parti communiste d’Israël, Juliano Mer-Khamis symbolisait à lui seul toute la complexité et la richesse de cette terre.
Tous ceux qui ont vu sur Arte Arna et les enfants de Jénine, l’extraordinaire documentaire produit et réalisé en 2003 par Juliano Mer-Khamis (avec Danniel Danniel) se souviennent de l’histoire poignante de sa famille. Ce film âpre et sans concession était d’abord un hommage à sa mère, Arna Mer, juive militante propalestinienne, une femme exceptionnelle qui avait reçu le prix Nobel alternatif, en Suède, pour son action associative. Dans le camp de réfugiés de Jénine, elle avait crée le Théâtre des Pierres, à la fin des années 80, pendant la première Intifada. Ce théâtre, qui avait été détruit par les Israéliens lors de leur attaque du camp en 2002, accueillait les enfants dans un espace de liberté, mais jamais vraiment hors du temps : Arna et les enfants de Jénine – dont on espère la reprogrammation prochaine sur Arte – racontait ce qu’étaient devenus, quinze ans après, certains des enfants acteurs de la maman de Juliano Mer-Khamis : Youssef, l’un des piliers de la troupe, avait abandonné son sourire pour mourir en kamikaze dans un attentat-suicide. Ala, fauché le fusil à la main lors de la bataille de Jénine de 2002, était mort sous les balles de l’armée israélienne…
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