27 June, 2009
Australian Prime Minister Deputy visit to Aida Camp
قامت نائبة رئيس الوزراء الاسترالي بزيارة مخيم عايدة يوم 26 حزيران 2009، حيث بدأت الزيارة بمدرسة ذكور عايدة الاساسية بمرافقة المفوض العام لوكالة الغوث الدولية)الاونروا) كارين ابوزيد. وقد استقبلها وفد من اللجنة الشعبية في مخيم عايدة عدنان عجارمة وسمير عودة، ورئيس مركز الرواد د. عبدالفتاح ابوسرور
وقد زارت ايضا منزلا لعائلة ذات وضع مأساوي في المخيم
The Australian Prime Minister Deputy has visited Aida camp on June 26th, 2009. She started the visit in Aida boys basic school, accomapnied by the High UNRWA Commissioner in Palestine, madam Karin AbuZayd. She was also received in the camp by the Popular Committee Members Adnan Ajarma and Samir Odah, as well as by ALrowwad Culturla and Theatre SOciety, Dr. Abdelfattah Abusrour. The delegation has visited a social hardship case in the camp as well.
Alrowwad Theatre Tour in the USA
AlRowwad Tour Schedule - Summer 2009
(Friday, July 3 - arrival Dr. Abusrour and 2 children Hala A. S. Ramadan and Kanan Abdel Fattah a. Abusrour
Sunday July 5- July 17 – Circus Smirkus Camp for 2 youth
Wednesday, July 8th – workshop led by Dr. AbusRour and evening talk at Lesley University)
Thursday, July 9-Saturday July 18th – Boston/Cambridge
Thursday, July 9– troupe and chaperone arrival Boston Air France from Jordan (1:45 AM #AF 587 –ARR 3:05 PM)
Gathering place with welcome from Cambridge Mayor Denise Simmons )–
Pick up by host families in Cambridge, Brookline, Boston areas.
Friday – Orientation
Red Sox game?
Saturday night, July 11 – Dinner and Evening Performance - Palestine Cultural Center , Allston (Omar Baddar)
Sunday, July 12 – 11:30-12:30 First Church Harvard Square (Gay Harter)
Monday- Thursday July 13-16
Daily Workshop with Underground Railway Theater (URT) (1-6 each day)
Tuesday, July 14th –
AM – Duck tour or Charles River Tour – Marjorie Decker (or Monday)
6-8 PM – Dinner, short performance and discussion with Workmen’s Circle Shule – (Stan Habib)
Wednesday , July 15th –
9:30 AM – Cambridge City Council breakfast/reception- Marjorie Decker
7-9:30 –performance with youth groups in Boston area- Blackstone School - Critical Breakdown (Eric Wissa)
Thursday, July 16th – evening B-B-Q with host families ?
Additional meetings, venues, receptions
Friday 17th –
Museum of Natural History?
day preparation for performance
Area 4 Youth exchange
5:30 and 8 PM – Full Performances– Central Sq. Theater
REMINDER THAT FROM THE 17TH ON , THE GROUP WILL BE 16 PEOPLE PLUS ANY OF US .
Saturday, July 18th - Monday, July 20th – Canaan, Connecticut (driver Rick) 2 hours 3/4
Saturday, July 18th morning - leave Boston for Canaan , CT
Sunday, July 19th - afternoon performance in Lyme
Monday- Thursday 23rd – Wellfleet, Cape Cod
Monday, July 20th
-leave CT for Cape Cod (Catherine – driver) 4 ½ hours
4-6 PM Wellfleet Library – sponsored by library and WILPF
Tuesday 5 PM – full performance at Payomet Theater
Wednesday – possible evening pot-luck
Thursday – July 23rd –Sunday July 26th Bread and Puppet Theater, Glover, VT
Thursday AM –leave Cape and drive to Glover (driver Rick?) 5 ½ hours
Friday , July 24th – see Bread and Puppet performance
Saturday 25th – Evening performance by Al-Rowwad
Sunday 26th – early departure to Boston (driver- Rick) 3 ½ hours
Sunday July 26th –Wednesday 29th – NYC , New York
Sunday 26th afternoon to NYC public bus
Monday, July 27th – Evening performance at the Atlantic Theatre
exchanges and meetings with other theaters. Tony Kushner. Visit city
Wednesday July 29th morning return to Boston public bus
Fly out evening of July 29th – Air France to Jordan #321 10:50 PM)
Opening of Mobile Beautiful Resistance
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ندعوكم لأفتتاح فعاليات برنامجنا "المقاومة الجميلة الجوالة" بالشراكة مع مبادرة الشيخ جواهر بنت محمد القاسمي "سلام يا صغار"
آمل ان نراكم بيننا في مركز الفنيق - مخيم الدهيشة بتاريخ 30 حزيران 2009الساعة العاشرة صباحا
مع تحيات فريق المقاومة الجميلة.
We invite you to the opening of our program "Mobile Beautiful Resistance", in partnership with Shiekha Jawaher Bint Mohammad Alqasimi initiative "Salam Ya Seghar", at Alfeniq center in Dehiesha camp, on June 30th, 2009 at 10 a.m., under the patronage of The Governor of Bethlehem Mr. Abdelfattah Hamayel
24 March, 2009
How Palestine Became Israel - Deir Yassin Day 2006
With but a wave of his hand…
How Palestine Became Israel - Deir Yassin Day 2006
Bloomsbury Theatre – Sunday April 9th /Monday April 10th
By Paul Eisen
How Palestine Became Israel, part of the Deir Yassin Day 2006 commemorations, was performed at the Bloomsbury Theatre in London’s West End on 9-10 April, and directed by British-Palestinian playwright/director Razanne Carmey and Dan Coleman.
Carmey traveled to Palestine to meet theatre groups from towns, cities and refugee camps, and to run a playwrights’ competition, the winner’s work to be showcased at DYD 2006.
How Palestine Became Israel was a compilation of four pieces: In Our Own Little World and Friday Morning by Carmey, The Water Urn by Issa Abu Srour, and Far Away from a Nearby Village by Abdel Fattah Abu Srour, who won the playwrights competition.
The production opened to a packed house with Ahmad Masoud and the al-Zaytouna Dabke Group but then, somewhat primed for a nostalgic evening of song and dance, we heard a little more than we had bargained for:
Ladies and Gentlemen, the members of the Al-Zaytouna Dance Group are from Brouj, Majdal, Deir Snaind and Jaffa but they have never been there. They were born and raised in refugee camps in the Gaza Strip. The reason for this is that their country no longer exists. This is what happened.”
With a call to prayer this story begins. So much of this piece takes place in that hour before dawn. In that hour, members of the family from the Palestinian village of Sindyana reflect on their lives and loves – the joys and sorrows of family life whilst at that same hour, on the other side of the stage the Zionist leadership plans and plots to steal the land. Zionists pore over maps of Palestine and, focussing on the Haifa district, they discuss the village of Sindyana – its past, present and its future and they fix on a name more suitable for that future. Sindyana, they discover, means ‘tall oak tree’ which in Hebrew is alon, so why not call the new village Alona?
Meanwhile, at the other end of the stage, Maleeha, a Palestinian mother writes to her son, oblivious of the tragedy about to overtake her. And not once does either side look at the other – not even a glance as the Jews, seemingly oblivious of the horror they are about to do and the Palestinians, equally oblivious of the horror about to be done, both go about their business. Thus was Palestine lost.
All this is given hard-edged backing as maps and plans on the one side (we see on the map that ominous transformation of the name Sandyana into Alona) and family snapshots and letters on the other are, by projected images, shared with the audience.
“Don’t talk to me about your father” writes Maleeha and soon her no-good, lute-playing husband appears played by Palestinian composer and lutist Nizar Issa who, with singer/songwriter Shadia Mansour charts this narrative with music and song woven intricately into the storyline. The songs are a treat: Assmar el Lone (For She is Dark and Comely) Rosana-(a love song), another song of the ubiquitous cactus of Palestine which, even when cut, will always return, the songs Jaffra and Dalouna, and finally the oft-repeated Wain A Ramallah. But it is with the entrance of David Ben-Gurion that this production first goes up a notch.
Immaculately played as an irascible and hyperactive trades union official who, having abandoned his Jewish god and now worshipping a new deity – a god of Socialism, collectivism and Zionism, Ben-Gurion is a man who ‘knows’. He ‘knows’ what is best for the workers of the world, he ‘knows’ what is best for the Jews of Europe and he certainly ‘knows’ what is best for the Palestinians of Palestine.
Nor need there be any moral obstacles to the Zionist takeover.
Zionism must and will not impinge upon one degree of legitimate Arab rights.
… We do not recognise absolute ownership of any country. The only right by which a people can claim to possess a land is the right conferred by willingness to work. Palestine is still undeveloped… Since the Jewish labourer is more intelligent and more diligent than the Arab, then the land is ours.
How convenient, because in this beautifully drawn character of Ben-Gurion we see the whole semi-conscious, self-delusional morality of the entire Zionist enterprise … and its inevitable moral collapse.
Act one closes and the darkness looms. A young wife bewails her miscarriages whilst Ben-Gurion and his comrades bemoan that, after nearly sixty years of building the Jewish state, the Jews are simply not coming.
Where are the Jews? Where are the Jews? Why don’t they come? We’re creating a Utopia here! Where are the Jews?
The hard truth is that in order to secure the necessary two-thirds Jewish majority they need to lose one million Palestinians, but how?
Don’t be coy. We all know what must be done… We need a few massacres – highly publicised, newspapers with stories of death, rape and burning. As soon as you shoot a few in the village square – that’s how you empty a village.
Perfect. And, best of all, no-one’s morality need be compromised.
No-one needs to give the order. When the soldiers are hot enough there is no need to give an order.
So now massacre is the order of the day. Friday Morning, scripted by Razanne was first performed five years ago at Deir Yassin Day 2001. Set in the village of Deir Yassin itself, a father is led outside his home to be shot whilst his wife and child sing Wain A Ramallah to drown out the sounds of his execution.
Shocked, we prepare for the climax: an animated image of the march of ethnic cleansing across the map of Palestine. As the map steadily turns pink, Arab Palestine transforms itself into Jewish Israel, accompanied all the time by flashing pinpoints of light – each of the seventy known massacres making its own special contribution to turning Palestine into Israel. And for a soundtrack, jazz musicians Gilad Atzmon and Yaron Stavi step onstage to improvise an agonised Wain A Ramallah – that happy-clappy song used first at a family party, then to drown out the sounds of an execution and finally now to accompany the Palestinian people in their long journey into exile.
Now all that is left are bedraggled refugees moving across stage recounting their tales of horror on their road to exile. A mother from Beit Natteef has lost her two sons, an old man takes a sprig of fig tree to remind him of the smell of home, and a young woman carries her dead baby girl in her arms insisting she’s still alive:
My daughter cannot die now to be buried on the road of exile. She cannot be put in a grave on a nameless road? How can I come and visit her tomorrow?
And, for the last time, Nizar and Shadia sing. I don’t know any Arabic but even I know what biladi means. I also know what Deir Yassin means and I know that I heard that name in the extra verse added to his composition by Nizar especially for the occasion.
That night I thought back on all that I had seen. One scene kept coming back to me - a dramatization of an incident from the memoirs of Yitzhak Rabin. Some Haganah commanders go to see Ben-Gurion in his office. They’ve captured some villages in the Galilee and they don’t know what to do next. “Prime Minister,” they ask, “What is to be done with these people?
Without a word Ben-Gurion stands and, with a sweep of his hand he gives them their answer and their orders.
Sitting in that audience and watching Ben-Gurion consign an entire people into exile reminded me of an old Jewish story: A man goes to his rabbi. “Rabbi, how can I believe in the Holy Books? After all, they tell us things like Moses raised his hand and the waters of a mighty sea parted. Who can believe such nonsense?” “Listen”, says the rabbi. “Just one week ago the Czar with his pen signed a decree clearing out the inhabitants of some Jewish villages to make way for a new railway. Perhaps in days to come people will say ‘With one drop of ink, the Russian Czar drowned a thousand villages.’”
So will Palestinians perhaps one day, when telling their children of the Nakba say how, with but a wave of his hand, a Jewish captain drove one million Palestinians from Palestine? Who knows? But one thing is for sure: the Jewish narrative has, for years, been used and abused in the service of Zionism and of Israel. It has long been the role of Deir Yassin Remembered, now joined by Deir Yassin Day, to piece together and tell a truthful and meaningful Palestinian narrative. Deir Yassin Day 2006 and the performance of this remarkable play How Palestine Became Israel did just that.
Paul Eisen is a director of Deir Yassin Remembered
http://altahrir.blogspot.com/2006/05/with-but-wave-of-his-hand.html
How Palestine Became Israel - Deir Yassin Day 2006
Bloomsbury Theatre – Sunday April 9th /Monday April 10th
By Paul Eisen
How Palestine Became Israel, part of the Deir Yassin Day 2006 commemorations, was performed at the Bloomsbury Theatre in London’s West End on 9-10 April, and directed by British-Palestinian playwright/director Razanne Carmey and Dan Coleman.
Carmey traveled to Palestine to meet theatre groups from towns, cities and refugee camps, and to run a playwrights’ competition, the winner’s work to be showcased at DYD 2006.
How Palestine Became Israel was a compilation of four pieces: In Our Own Little World and Friday Morning by Carmey, The Water Urn by Issa Abu Srour, and Far Away from a Nearby Village by Abdel Fattah Abu Srour, who won the playwrights competition.
The production opened to a packed house with Ahmad Masoud and the al-Zaytouna Dabke Group but then, somewhat primed for a nostalgic evening of song and dance, we heard a little more than we had bargained for:
Ladies and Gentlemen, the members of the Al-Zaytouna Dance Group are from Brouj, Majdal, Deir Snaind and Jaffa but they have never been there. They were born and raised in refugee camps in the Gaza Strip. The reason for this is that their country no longer exists. This is what happened.”
With a call to prayer this story begins. So much of this piece takes place in that hour before dawn. In that hour, members of the family from the Palestinian village of Sindyana reflect on their lives and loves – the joys and sorrows of family life whilst at that same hour, on the other side of the stage the Zionist leadership plans and plots to steal the land. Zionists pore over maps of Palestine and, focussing on the Haifa district, they discuss the village of Sindyana – its past, present and its future and they fix on a name more suitable for that future. Sindyana, they discover, means ‘tall oak tree’ which in Hebrew is alon, so why not call the new village Alona?
Meanwhile, at the other end of the stage, Maleeha, a Palestinian mother writes to her son, oblivious of the tragedy about to overtake her. And not once does either side look at the other – not even a glance as the Jews, seemingly oblivious of the horror they are about to do and the Palestinians, equally oblivious of the horror about to be done, both go about their business. Thus was Palestine lost.
All this is given hard-edged backing as maps and plans on the one side (we see on the map that ominous transformation of the name Sandyana into Alona) and family snapshots and letters on the other are, by projected images, shared with the audience.
“Don’t talk to me about your father” writes Maleeha and soon her no-good, lute-playing husband appears played by Palestinian composer and lutist Nizar Issa who, with singer/songwriter Shadia Mansour charts this narrative with music and song woven intricately into the storyline. The songs are a treat: Assmar el Lone (For She is Dark and Comely) Rosana-(a love song), another song of the ubiquitous cactus of Palestine which, even when cut, will always return, the songs Jaffra and Dalouna, and finally the oft-repeated Wain A Ramallah. But it is with the entrance of David Ben-Gurion that this production first goes up a notch.
Immaculately played as an irascible and hyperactive trades union official who, having abandoned his Jewish god and now worshipping a new deity – a god of Socialism, collectivism and Zionism, Ben-Gurion is a man who ‘knows’. He ‘knows’ what is best for the workers of the world, he ‘knows’ what is best for the Jews of Europe and he certainly ‘knows’ what is best for the Palestinians of Palestine.
Nor need there be any moral obstacles to the Zionist takeover.
Zionism must and will not impinge upon one degree of legitimate Arab rights.
… We do not recognise absolute ownership of any country. The only right by which a people can claim to possess a land is the right conferred by willingness to work. Palestine is still undeveloped… Since the Jewish labourer is more intelligent and more diligent than the Arab, then the land is ours.
How convenient, because in this beautifully drawn character of Ben-Gurion we see the whole semi-conscious, self-delusional morality of the entire Zionist enterprise … and its inevitable moral collapse.
Act one closes and the darkness looms. A young wife bewails her miscarriages whilst Ben-Gurion and his comrades bemoan that, after nearly sixty years of building the Jewish state, the Jews are simply not coming.
Where are the Jews? Where are the Jews? Why don’t they come? We’re creating a Utopia here! Where are the Jews?
The hard truth is that in order to secure the necessary two-thirds Jewish majority they need to lose one million Palestinians, but how?
Don’t be coy. We all know what must be done… We need a few massacres – highly publicised, newspapers with stories of death, rape and burning. As soon as you shoot a few in the village square – that’s how you empty a village.
Perfect. And, best of all, no-one’s morality need be compromised.
No-one needs to give the order. When the soldiers are hot enough there is no need to give an order.
So now massacre is the order of the day. Friday Morning, scripted by Razanne was first performed five years ago at Deir Yassin Day 2001. Set in the village of Deir Yassin itself, a father is led outside his home to be shot whilst his wife and child sing Wain A Ramallah to drown out the sounds of his execution.
Shocked, we prepare for the climax: an animated image of the march of ethnic cleansing across the map of Palestine. As the map steadily turns pink, Arab Palestine transforms itself into Jewish Israel, accompanied all the time by flashing pinpoints of light – each of the seventy known massacres making its own special contribution to turning Palestine into Israel. And for a soundtrack, jazz musicians Gilad Atzmon and Yaron Stavi step onstage to improvise an agonised Wain A Ramallah – that happy-clappy song used first at a family party, then to drown out the sounds of an execution and finally now to accompany the Palestinian people in their long journey into exile.
Now all that is left are bedraggled refugees moving across stage recounting their tales of horror on their road to exile. A mother from Beit Natteef has lost her two sons, an old man takes a sprig of fig tree to remind him of the smell of home, and a young woman carries her dead baby girl in her arms insisting she’s still alive:
My daughter cannot die now to be buried on the road of exile. She cannot be put in a grave on a nameless road? How can I come and visit her tomorrow?
And, for the last time, Nizar and Shadia sing. I don’t know any Arabic but even I know what biladi means. I also know what Deir Yassin means and I know that I heard that name in the extra verse added to his composition by Nizar especially for the occasion.
That night I thought back on all that I had seen. One scene kept coming back to me - a dramatization of an incident from the memoirs of Yitzhak Rabin. Some Haganah commanders go to see Ben-Gurion in his office. They’ve captured some villages in the Galilee and they don’t know what to do next. “Prime Minister,” they ask, “What is to be done with these people?
Without a word Ben-Gurion stands and, with a sweep of his hand he gives them their answer and their orders.
Sitting in that audience and watching Ben-Gurion consign an entire people into exile reminded me of an old Jewish story: A man goes to his rabbi. “Rabbi, how can I believe in the Holy Books? After all, they tell us things like Moses raised his hand and the waters of a mighty sea parted. Who can believe such nonsense?” “Listen”, says the rabbi. “Just one week ago the Czar with his pen signed a decree clearing out the inhabitants of some Jewish villages to make way for a new railway. Perhaps in days to come people will say ‘With one drop of ink, the Russian Czar drowned a thousand villages.’”
So will Palestinians perhaps one day, when telling their children of the Nakba say how, with but a wave of his hand, a Jewish captain drove one million Palestinians from Palestine? Who knows? But one thing is for sure: the Jewish narrative has, for years, been used and abused in the service of Zionism and of Israel. It has long been the role of Deir Yassin Remembered, now joined by Deir Yassin Day, to piece together and tell a truthful and meaningful Palestinian narrative. Deir Yassin Day 2006 and the performance of this remarkable play How Palestine Became Israel did just that.
Paul Eisen is a director of Deir Yassin Remembered
http://altahrir.blogspot.com/2006/05/with-but-wave-of-his-hand.html
24 February, 2009
رابطة المسرحيين الفلسطينيين
عقدت الهيئة الادارية المنتخبة لرابطة المسرحيين الفلسطينيين يوم أمس جلستها الأولى في مقر مسرح صندوق العجب برام الله وذلك بكامل هيئتها وناقشت مجموعة من المواضيع التي تهم الحركة المسرحية الفلسطينية وخطة عمل الرابطة لرفع وتطوير الحركة.
وقد أقرت الهيئة الادارية توزيع المناصب الادارية وذلك على النحو التالي:-
1. د.عبد الفتاح أبو سرور: رئيسا
2. عماد متولي : أمينا للسر
3. ايهاب زاهدة : أمينا للصندوق
4. أحمد أبو سلعوم : ناطقا رسميا وأمين الثقافة والاعلام
5. عامر خليل : دائرة العلاقات الدولية
6. فالنتينا أبو عقصة دائرة العلاقات الداخلية
7. نضال الخطيب دائرة العلاقات الاجتماعية
8. حسام ابو عيشة : دائرة العلاقات الفنية والمهرجانات
9. اسامة ملحس : دائرة المنشورات والثقافة
وأقرت الهيئة الادارية تشكيل لجنة مكتب تنفيذي من الفنانين: عبد الفتاح ابو سرور، أحمد أبو سلعوم، عماد متولي، نضال الخطيب، عامر خليل.
وثمنت الهيئة الادارية التزام اعضاء الهيئة العامة في جلسة الانتخابات وشكرت لهم الصورة الحضارية التي تمت بها الانتخابات ووعدت بالعمل الجاد لما فيه مصلحة المسرح الفلسطيني وفنانيه.
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