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By C.V. Rotondo
Among the shards of rust-colored rubble, children stand grinning, kicking soccer balls between them. A group of boys stand in an innocent line, unassuming faces level with the temporarily dormant violence of a machine gun slung across an older man’s shoulders. Men in jeans and t-shirts mill about in the shadow of the avaricious wall of gray granite looming above, behind, and before them. Life moves under the manifest darkness of impending violence and more wall. The inertia of its color and shape veil its hidden animal nature to reproduce, to expand and enclose. In no scene does it have an end, only an oppressive purpose – the zoning of humans like propertied cattle, the distinction between one portion of desert and another. The rubble, like some malicious decorative architecture, lies strewn about streets among the garbage and guns. People sit atop the rubble, in front of it, behind it, holding signs and stoic faces. Their message is clear: we defy this affluent destruction to undermine our humanity, take a photo of us before our obliterated homes and know we still stand. Looming guard towers of stone, looming guards made of flesh, armor, bullets mark the skyline of the new desert. Like the spine of a subterranean beast, metal fences punctuate the streets; checkpoints where people are daily corralled and reminded of inferiority, of the prosperity that their devaluing provides others; those who live beyond fences, towers, and walls, in what was once their land. The glossy promise of billboards invite the privileged to profit from these walls, these despoiled peoples. The promise of a modern, leisurely life within the walls can only be granted the chosen few, at the expense of the chosen many.
Neon signs and hovels, children grinning beside machine guns, and charming gardens within granite enclosures: these scenes make up “Jerusalem Dispossessed,” an exhibition of photographs from Active Stills, a photography collective dedicated to documenting social and political issues not addressed in traditional media forms and thus disseminating the information to the people through public displays of photography. Accompanied by the poetry of Mahmoud Darwish and Muna Hamzeh, this exhibit is designed to make one question the historical role of the
C.V. Rotondo - The importance of historical analysis and synthesis with the present is integral to any social movement. You hope to make connections between the current Palestinian situation and that of Native Americans in the
How do you feel that facilitating “
The photographs plainly show the injustice of the realities that Palestinians in
How do members of a seemingly distant culture, deeply rooted in a position of privilege, aid in the struggles of people on the ground in Palestine and across the Middle East?
Palestinian people’s human rights are being systematically eroded by
What is the imperative of groups like Students Educating Students about the Middle East (SESAME) now, in light of the present circumstances within the occupied territories and the continuing recalcitrance of
SESAME’s work is more important than ever in combating media misinformation campaigns. By presenting the Evergreen community with resources to facilitate understanding of the conflicts in the
C.V. Rotondo - In a speech you gave to the U.N. conference on international civil society in
Angela Godfrey-Goldstein - I think the comparison of displacement caused by Hurricane Katrina (a natural disaster) with the fate of those displaced by Plan D of the Jewish Yishuv leadership in 1947-48 (a deliberate policy of transfer and displacement or ethnic cleansing), and then by the Arab armies' attacks in May 1948 is interesting. Certainly, as little as I know about Katrina's displaced, there was an attempt by those in real estate to take their land, in a similar way that in those early days of statehood refugees were not allowed home (over 400 villages were deliberately demolished, or damaged homes in Jaffa were not allowed to be renovated so that they became easily demolished). But the Right of Return for refugees from war zones is a sacrosanct part of international law and I would not wish to see that element minimized in such comparisons. Similarly, self-determination. And, as I said before,
You also mention promoting photo exhibits among students. In light of the recent exhibit “
The exhibit "Jerusalem Dispossessed" which I subtitle "Living in Fantasy/Living in Denial" is intended, hopefully, to inform people - especially students who will be tomorrow's leaders and taxpayers of what Israeli policy really is, as established in cement and stone. Thus, as the UNOCHA recently informed Tony Blair, the Quartet Peace Envoy, in a powerpoint presentation bullet point: There is a gross discrepancy between the rhetoric and the facts on the ground. I hope that when people see the facts on the ground (preferably in person, but if not in photographic exhibitions such as this) that they will understand the real intentions of Israeli governments and how those facts on the ground are contrary to good faith peace negotiations. Because the facts on the ground are deliberately aimed to undermine the viability of a Palestinian state, especially where the sharing of
You say that civil society must rise and demand an end to the apartheid actions of
I hope that even individuals will effect change, not only mass movements. Anyone can ask his representative or local media why American foreign policy is allowing
In your experienced view, how can students, as members of civil society (albeit greatly undereducated and isolated ones) best contribute to the movement for global peace?
I think students can best work for global peace by thinking deeply about what sort of world they wish to inherit, how they will live in it, what their priorities and responsibilities must be and how they will achieve real security (and what real security implies). Global warming, poverty, militarism, receding resources (such as water) and health are all issues that will continue to escalate as crises in the future. Do we each of us bear responsibility and if so, how do we articulate that? Can we individually have an impact? How do we work together? What is the price of globalisation? What do we have in common with other cultures? What motivates us? Is consumerism sustainable? Is the Arms Race sustainable? Do nuclear weapons ultimately deter? Who are the mad men into whose hands WMD must not fall? And indeed, what did Eisenhower mean when he warned that democracy could be overthrown by the military-industrial complex? Is the War on Terror counterproductive? Is it a disguise for imperialist motives? Is the Israeli-Palestinian conflict creating conditions for Terror which threaten your society? Etc. Etc.
C.V. Rotondo - As someone who has directly experienced the situation in Palestinian refugee camps, how well do you feel that the photo exhibit, “Jerusalem Dispossessed,” grants insight for students at the Evergreen State College, so privileged and distant from the atrocities perpetrated there?
Muna Hamzeh - The photos give insight into the day-to-day life of Palestinian life under occupation: A life controlled by a separation wall and military checkpoints that restrict freedom of movement, as well as house demolitions and settlement expansion that devour Palestinian land. The photos reveal how much worse the situation has become since I left nearly seven years ago. What I found most revealing about the photos is the look of utter desolation and hopelessness you see in the faces of the Palestinian women, children and men. They have absolutely no hope that there will ever be peace.
Most Americans, including Evergreen State College students, don’t know that their tax money enables the occupation to continue. I find that very disturbing. As a journalist in the
In your experience as a writer and poet, how does art factor into the resistance to oppression such as the gross impositions of
Art is an extremely essential expression of resistance and always has been in the Palestinian struggle for independence. The problem in the United States is that even though you have actors like Sean Penn who are very commendable for being outspoken about the war in Iraq and others like Richard Gere who’ve actually visited the Occupied Palestinian Territories more than once, you don’t see joint efforts by famous American writers, poets, artists and actors to publicly speak against Israel’s occupation. I believe the pro-Israel lobby in the
In your writings, you focus upon the immense personal and humane implications of the events unfolding in the occupied territories, describing the intimate struggles of individuals. How can these resonant personal images within your poetry and the photo exhibit translate to an understanding of the
I’m not at all optimistic that there will be a better understanding. I started giving talks about the Israeli-Palestinian conflict when I was a college student at
Unfortunately, the major news networks don’t show the American public even a glimpse of what the Palestinian population has to endure under occupation and has endured since 1967. I’m afraid that the American public won’t wake up and see how disastrous our
What do you hope to see Evergreen students take away from this exhibit and what actions would you like to see follow up this experience?
I hope the students go away thinking about the great responsibility that comes along with being the world’s super power. Wars and occupation are not the solution to the world’s problems. I hope as the future leaders of our country, the students will hold the belief that non-conflict resolution is the only way to resolve disagreements. War and occupation are never the answer. I would like them to remember that for every Hitler there is a Mandela.
Jerusalem Dispossessed opens in the Evergreen State College library on Wednesday, October 17 at 7:00 pm.
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