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Al-Hawiyya Issue 3

SPECIAL ISSUE

images of our exile


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MISSION STATEMENT Al-Hawiyya team Al-Hawiyya offers current perspectives on the history, culture, and conscience of Palestine and the Diaspora, documenting through student voice the past and present struggle for Palestine and our imagined trajectories of return.

PEOPLE EDITOR IN CHIEF Yara Nagi Nadia Younes CONTRIBUTING AUTHORS Samer Bu Jawdeh Aliya Kalla Lama El Choufani Maha Haider Yara Nagi Nour Shtayyeh Zayd Warah Thurayya Zreik LAYOUT Lotfi Al Salah Maha Haider Nour Shtayyeh

CONTACT US Interested in contributing to writing, editing, photography, drawing, layout, or your suggested field? Anything to tell us about Al-Hawiyya? Please drop us a line at pcc.alhawiyya@gmail.com Al-Hawiyya is a publication by the Palestinian Cultural Club at the American University of Beirut (PCC AUB), supported by Unite Lebanese Youth Project (ULYP) and Assafir.


INTRODUCTION

Yara Nagi This special issue of Al-Hawiyya is dedicated to the art of Palestine because the power of it is sometimes over looked. Our art is not only our cultural resistance, but also the first-hand witness of our exile. It allows us to link images to our history. Through these visuals, we know that our cause will never die. This graphic issue takes a look into everything from featured works of 1948 and archived posters to student art and the graffiti on the walls of the camp today. “…His name is Handala and he has promised the people that he will remain true to himself. I drew him as a child who is not beautiful…He is barefooted like the refugee camp children, and he is an icon that protects me from making mistakes. Even though he is rough, he smells of amber. His hands are clasped behind his back as a sign of rejection at a time when solutions are presented to us the American way.” -Naji Al-Ali


“We shall continue dealing with this subject because it is a way people can know about the suffering, sadness, and dreams of our country. All these works are a gift to our people...” -Ismail Shammout “How illegal is it to vandalize a wall if the wall itself has been deemed unlawful by the International Court of Justice? The Israeli government is building a wall surrounding the occupied Palestinian territories…It essentially turns Palestine into the world’s largest open-air prison.” -Banksy “The artwork I make for Palestinians, Egyptians and other causes is not professional; it’s an exercise of solidarity. I need for these cartoons reach a large audience because they have a message to deliver that is different from those you see in the mainstream media.” -Carlos Latuff “After being denied the right to live in my city of birth, anywhere in the world could serve as my base as long as my work continues to be my only veritable home.” -Kamal Boullata


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INSPIRATION BEHIND ART

Ismail Shammout’s Personal Motivation behind his Art: An Interview with Bilal Shammout Yara Nagi ‫ذ‬He brought us scenes of the Palestinian struggle from his memory and experience. Shammout’s characteristic touch of telling a story through a mere facial expression is not only where his talent lies; his worthiness stems from his life-long dedication to revolutionary action in the name of the Palestinian people. Al-Hawiyya writer Yara Nagi interviewed Ismail Shammout’s son, Bilal Shammout, to get more of an understanding on the artist’s personal stimulus and dreams for his significant work. Yara Nagi (YN): Ismail Shammout was one of the many people who recalled the day he was forced to leave Palestine in 1948 very clearly. He told that story to all of us through his art work. Did he relay anything distinctive to you about the day he was exiled from his home in Lydda that was not depicted in his paintings?

the incidents that related to his generation in his paintings. But yes, there were a few other memories that were specific to him that he did not document in any of his paintings. For example he recalled that in the rush and panic of leaving his home, he made sure to take 3 things with him, his Palestinian Passport, a few Palestinian Pounds with some coins that he had saved and an Album of photographs. It has always baffled him why he chose these 3 items specifically. He could never explain it. But at moments of distress and panic people occasionally act irrationally, I guess that was one of those moments. He also recalled that during the long and torturous walk from Lydda to Ramallah, the Israeli soldiers on the outskirts of Lydda where forcing the Palestinians to give them whatever little possessions they had. When it got to his turn, at gunpoint Ismail had to give up the little money he had. But when the soldier wanted to take the Album, Ismail fought and resisted. Eventually, the soldier let him go and he managed to keep the Album. YN: Your mother, Tamam Al-Akhal, is also known to be a very talented artist. How did your father and her work together when it came to their art?

Bilal Shammout (BS): He documented the event of the uprooting (as he always BS: They were truly partners in this liked to refer to it) in many of his paintings, so I guess he mainly documented Right: Jaffa: Bride of the Sea by Tamam Al Akhal


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area. There are a handful of paintings that they worked on jointly. For the most part, they each respected the other’s style and intervened only when asked. They shared the same studio, but each had their own space, literally and figuratively. They both had great respect and admiration to the other as an artist. YN: The work of your father that portrays scenes of the Palestinian people ranges from seeming hopeful and joyous to angry or dismal. When he would retell his feelings about the Nakba, in what way did it seem to still affect him? Did his feelings toward that day change with time? BS: No doubt the uprooting left a profound impression on him. Many times throughout his career he tried very hard to close this chapter of his life and move on only to find himself back at painting about the uprooting and other contemporary Palestinian issues. I would not say that his feelings or memories had ever faded or dwindled with the passage of time; however, his visit back to Palestine in 1997 had certainly awakened many memories of certain details and emotions that he thought he had lost but were actually just trapped deep within him. YN: As you mentioned, in 1997 Ismail Shammout had the opportunity

to enter Palestine and visit his city of Lydda, which is now controlled by Israel. How did that experience seem to affect him and did you see a change in the style of his art work? BS: I would characterize the 1997 trip as the second major turning point in Ismail’s life; the first of course being the uprooting. After 49 years, he was able to go back and visit his childhood home, the school he attended, the bank where he got his first job, his father’s shop, the bus station from where they used to take busses to Jaffa, etc. He saw the town square where the citizens of Lydda were forced to gather before the Israeli soldiers forced them to leave town. These were all memories that he thought he had lost, but they came as a flood. This reawakening of these memories and emotions coupled with his artistic genius propelled him and his artist wife, Tamam Al-Akhal, to spend the following 4 years of their lives documenting them. The result was a series of 19 murals, 11 for Ismail and 8 for Tamam known as the “The Exodus and the Odyssey” series. In it they each documented their memories about their lives and their personal experiences from before, during and after the uprooting all the way to the dreams and ambitions of the Palestinian people as a whole. It was not necessarily a change in his style of artwork, but rather a major contribution


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to the world of Art and to the Palestinian people.

like taking a piece from him. As far as I know, he loved us all equally.

YN: Your father has said that his art is a gift to the Palestinian people that will be one day held in a Palestinian Museum. Has he ever mentioned more about that dream of a museum?

YN: Has your father ever told you about his experience as Director of Arts and National Culture in the PLO? Was his work ever regulated in any way?

BS: Of course, he has always dreamt and hoped that one day the Palestinian people will have a museum of their own and his works would contribute to the assets of such a museum. However, it was not because he wanted his works to be shown in the museum. It was because he always believed that having such institutions encourages young and aspiring artists to focus on making great Art and not as much on making a living. In his life, he struggled to balance between being fully dedicated to his artwork and providing for his family. He did not want other artists to have to go through the same struggle and he believed that institutions like museums are one of the ways that artists can achieve this balance.

BS: I was young in that period of his life, but I was aware of what he did and I valued that he was contributing to the Palestinian cause. There were always challenges, whether political (internally and externally), budgetary, man power related, or resource challenges, as in any organization. But I do not recall that there were any systematic policies to regulate the work that Ismail and Tamam were trying to accomplish in the PLO.

YN: Did your father ever have a personal favorite piece from his work and why that piece in particular? BS: If he did he certainly did not show it. He always said that each of his paintings is like one of his children. And that every time he sold one of them, it was

YN: Palestinian art has definitely changed in style over these past years. In what direction would you prefer Palestinian art to take? BS: I am not an artist myself so I may not be the right person to answer such a question. But personally, I noticed that Palestinian art has moved towards a wide variety that is intermixed with lots of styles and cultures. It is still primarily driven by current circumstance of the Palestinian people worldwide, but I would prefer to see more originality building on the great heritage we have


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as a people and less emphasis on copying other styles. Yes intermixing styles enriches our own, but too much intermixing dilutes the character of our art. Bilal Shammout has set up a website that brings back to life the magnificent art of Tamam Al-Akhal and Ismail Shammout. It is also the home of the original Exodus and the Odyssey collection. To learn more, visit www.fununarts.com

THE IMAGE OF EXILE

Aliya Kalla

In 1948, Ismail Shammout and his family left their city of Lydda to a mukhayyam in Gaza, to become refugees in their own country. Shammout was eighteen at the time of the expulsion and was already a self-proclaimed artist. The significance of this lies in that the Nakba scene portrayed by Ismail Shammout, when contrasted to later generations’ depictions of the same scene, possesses a degree of authority and relative exactitude as being representative of an experienced

event rather than one based on oral-history and imagination. In this short essay I will contrast Nakba scenes painted by Ismail Shammout with one from the collection of John Halaka, a contemporary Palestinian artist who lives and works in California. A barren landscape is the setting of the event taking place. In the foreground of the image, a weak father grabs the arm of his child who looks up at him in question. There is despair in the fathers face; its anguish is only partly matched with the desolation of the landscape. Another child sits on his shoulder seemingly weeping, or sleeping, uncomfortable either way. The father holds on to a walking stick that the viewer can imagine he uses to pull himself forward exhaustingly. Another child walks behind his father, partly concealed. His scrunching face looks down as though he is in that quiet moment of a child’s cry just before he begins to wail. The emotions of the children and the father are similar. The father seems as lost and helpless as the children, or the children have the worry of a grown man in their faces. After some time spent studying the image, the absence of the mother becomes daunting. It is as though she has just been lost, or has died- somewhere in this tragedy she has not survived and it is evident in the panic, yet somberness of the expressions.


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Ismail Shammout, Where to? 1953


Ismail Shammout, Beginning of the Tragedy, 1953 The questions that the viewer asks himself about the circumstance and the expressions of these characters is answered only in the question of the title Where to? Beyond the Nakba- the catastrophe, and the misery that it has brought to them, they must face the uncertainty of the moment. The future presents a question as well, but this family is uncertain where to go now. What difference does it make in this desert if they walked forward as they are now, or walked in a different direction-- If they walked to Syria, or to Jordan? In the context of 1948, it did not matter where the families went; they went to where there was shelter.

Shammout’s Beginning of the Tragedy depicts crowds of people pushed up into our foreground, yet walking past us, on the way out of Palestine or out of their cities, fleeing to safety. A heightened sense of emergency is marked by the swifter or less-defined brushwork relative to the prior image of Where to? A central grandmother figure with black robes and a strand of white hair, holding a large brown sack on her back rushes a child who holds a baby. A man lies in profile against a boulder. We do not know if he is exhausted or has died; a child stands behind him supporting him and calling out. An Imam, religious cleric with the traditional white and red top


John Halaka, Stripped of Their Identity and Driven From Their Land, 1993-2003 hat, is seen in the procession. A small child standing in the opposite direction of the crowd in overalls holds a basket, and waits, as though he is waiting for the members of his family to catch up with him. Other figures wearing the traditional Palestinian white and black headpieces appear. The landscape is dry and hot, although not much of it

shows, the procession is long and it fills the space. The sky is crammed into the upper quarter of the horizon; it provides no hope or solace. In monumental scale, and against a somber gray acrylic background, Halaka used thousands of rubber stampings of the word Survivors in black ink


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repeatedly to create an exile scene in a non-landscape, large and empty space. Muscular forms of men, women and children fill the void in groups. Groups that help each other, carry each other, lean on one another. Some of the figures are alone, some seem determined while others seem weak. The composition is haunting. The life-size figures come towards the viewer but not directly at us. It is as though the people will turn slightly once they reach the viewer, ignoring our presence. It is a slow moving procession unlike Shammouts, it is a somber and quiet one, and it is filled with solitude because of the spaces between the figures despite their numbers. The detail of the stamped words of survivors is not immediately apparent until some time is spent visually absorbing the scene as a whole. This is a contemporary replacement of the exile scene. It is portrayed by a refugee, made a refugee three generations earlier. Having never experienced the expulsion, or for many, the refugee camps, or the fear of that month and week and day of exile, Palestinian artists today can never recapture that journey in a Realist manner. Other artists still live in the refugee camps today, but can never recreate that moment in history that makes them miserable until now, in the way that Ismail Shammout and the earlier generation did. Their

choice to depict it, however, stems from the identity crisis that was born on that day. The manner in which they depict it is influenced by what they have heard or read about the event. For instance in his book The Land of Sad Oranges Ghassan Kanafani’s character describes his emotions during the exile saying:”I no longer doubted [at that moment] that the God we knew in Palestine, he too had left it. And that he had become a refugee in a place I know not where.” Such are the emotions, relayed to the younger generations by their families, that appear in today’s exile images and not a representation of it as it occurred. This is not to say that today’s representations of the Exile are invalid; it is not necessary for third and fourth and fifth generation Palestinians, to carry an identification document that clearly categorizes them as Palestinian people. Rather, legitimacy as Palestinians is derived specifically from non-tangible and informal sources, the memory and history of their families. This is indeed the essence of their refugee status. Thus, they have, as a collective refugee body residing and existing in all countries of the world, signified the existence of land lost through symbols and signs and by doing so have laid claim and insisted on their belonging to a place where they do not in fact reside. Generations of Palestinians have been inheriting not an iden-


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tification card but a cause and a crisis together. In a letter to his child, Ghassan Kanafani describes the moment his son asks his mother and discovers that he is Palestinian as being “as if a blessed scalpel was cutting up your chest and putting there the heart that belongs to you. […] I knew that a distant homeland was being born again: hills, plains, olive groves, dead people, torn banners and folded ones, all cutting their way into a future of flesh and blood and being born in the heart of another child.” So then, an identity along with a cause is inherited by Palestinian youth: and where art was once fueled by the act of remembering experiences, or in the words of Homi Bhabha “a painful re-membering, a putting together of the dismembered past to make sense of the trauma of the present”, the art of later generations is a dis-membering of stories told in order to make sense of the past and present and of one’s identity. The signifiers of this attachment are symbols that mostly have to do with two concepts: Return and of Resistance. Symbols are not created in a void; the images of the key, dove, olive branch, the map, the female body as the land, the kufiyye, the flag, al-aqsa, Leila Khaled’s iconic image, Naji al-Ali’s Hanthala and many others were born from the need to invent signifiers for these non-tangible concepts. On the other

hand, they unite the dispersed population. The Palestinian population that lives outside (and inside) Palestine is varied. Some, such as the refugees of Lebanon, must deal with debilitating issues in their host country that serve to remind them every day of their refugee status. Palestinian bodies in the West, however, recover their Palestinian identity precisely and only from history and memory. Yet what the symbols and images of this generation of Palestinians do is unite the upward of five million exiled Palestinians on the issues that matter; Resistance and Return.

Photo credit: www.ismailshammout. com and www.johnhalaka.com


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WALL ART FROM CHATILA AND BURJ AL BARAJNEH Maha Haider and Nour Shtayyeh


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DRAWING OUR CONCERNS BOTTOM Thurayya Zreik Resistance is not just physical; it also consists of an intangible strength that gives you the power to reject anything that is trespassing your freedom. PREVIOUS PAGE Zayd Warah The Water Crisis in Aida Camp, Palestine


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GRAPHIC NOVELS Lama Choufani

I’ve always found the graphic novel a great medium for telling a political story. Every once in a while I go hunting for good ones online. I recently came across Amer Shomali’s *Zan el Aan* and it sent me back to my bookshelf to flip through Joe Sacco’s *Palestine*. Both graphic novels address an issue that haunts many of us: the disturbing plight of Palestinian prisoners in Israeli prisons. Sacco gives voice to prisoner resistance and organizing as he follows the stories of a generation imprisoned repeatedly in an attempt to squash the first intifada. Shomali focuses on prisoner Saad Omar, imprisoned after the second intifada. Through minimalist graphics he addresses our insecurities as detached observers. Do we deserve the sacrifices these prisoners are making as we sit silently watching? The following is a collage of *Zan al Aan* and *Palestine* comic segments. Together they provide two perspectives on the struggle of those resisting oppression from behind Israeli bars.

Zan al Aan (‫ )زان اآلن‬is a collection of comic strips narrating the every-day of employees at the Ramallah based ZAN Studio. Artist/writer Amer Shomali uses his characters – their casual conversations, reflections and arguments – to make strong statements about the confusion and oppression of daily life in occupied Palestine. The popular Palestine by journalist Joe Sacco is rich with stories collected during his visit to the West Bank and Gaza in 1991-92. With a critical eye and cynical voice he recounts the stories of refugee camps, prisoners, activists and regular people struggling to make sense of it all.


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PALESTINIAN POSTERS THROUGHOUT HISTORY (1974-1981)

1974

Courtesy of Samer Bu Jawdeh


1975


1976


1977


1980


1981


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‫الْ َجنى‬

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‫حاجة املجتمعات امله َّمشة يف لبنان سبباً لظهور عدة‬ ‫سات وجمع َّي ٍ‬ ‫مؤس ٍ‬ ‫جل اهتاممها‬ ‫ات أهل َّية والتي كان ُّ‬ ‫َّ‬ ‫عالء كيَّايل‬ ‫ٍ‬ ‫األطفال والشباب لبناء جيلٍ‬ ‫مثقف يعي رضورة‬ ‫االنخراط باملجتمع‪ .‬لك َّن القليل منه َّن يف تلك الفرتة‬ ‫من َر ْحم األملْ دامئاً ما يولد اإلبدا ْع ومن شذى املقاومة ه َّن اللوايت ع ِملْن عىل مواضيع الرتبية والفن واملوسيقى‬ ‫عبق طريقٍ وأمناطها‪ .‬تلك األمناط التي تح ِّو ُل ُحلُ َم العودة ف َّناً يَحف ُظ‬ ‫دامئاً ما‬ ‫بق‪ُ ,‬‬ ‫نستنشق عبقاً ليس كمثله َع ْ‬ ‫ُ‬ ‫ِ‬ ‫ِ‬ ‫الحق ح َّق ُه ولو طال ال َّزمان بلوحة أو غنية‪.‬‬ ‫لصاحب‬ ‫عبق‬ ‫‪,‬‬ ‫ف‬ ‫ع‬ ‫مل‬ ‫وا‬ ‫بالليمون‬ ‫والزيتون‪،‬‬ ‫بالياسمني‬ ‫ميل ٍء‬ ‫ِّ‬ ‫ُ‬ ‫ضْ َ‬ ‫ِ‬ ‫صاحب الطَّريق إىل ُحريَّة هي‬ ‫لة‬ ‫بوص‬ ‫ه‬ ‫ج‬ ‫يو‬ ‫ِ‬ ‫طريقٍ ِّ‬ ‫ُ‬ ‫أعامل املركز‪:‬‬ ‫امل َسعى وامل ُ ْرتجى‪.‬‬ ‫عمل املركز عىل األطفال والشباب وصوالً إىل كبار‬ ‫يرتكَّز ُ‬ ‫تنبثق من ٍ‬ ‫َ‬ ‫أرض محتلَّ ٍة شجر ُة زيتونٍ‬ ‫لتقول لصاحبها «ال السن‪ .‬أما محاور النشاطات فهي‪:‬‬ ‫ُ‬ ‫تحزن فلك م ِّني بُندق َّيتُ َك وخذ من أرضك ِستِّني ألف‬ ‫َ‬ ‫إرش ُاك املجتمع املحليِّ يف دراسة خرباته وإبداعاته‬‫ألطفالك‪ ،‬وقاوم»‬ ‫حجر ٍة‬ ‫وتوثيقها يف مواد ونقلها للناشئة‪.‬‬ ‫ألجل فلسطني وألجل ُحلُم الخالص ترتس ُم ألف لوحة‬ ‫ٍ‬ ‫بأبحاث عن القضايا‬ ‫تحفيز األطفال والشباب عىل القيام‬‫فن َّية ويتفج ُر ألف يُنبو ٍع طاهر‪.‬‬ ‫التي ته ُّمهم مع إمكان َّية التعبري اإلبداعي عنها عرب‬ ‫َّ‬ ‫نستدل برنامج «املصورون والصحفيون والسينامئيون الصغار»‬ ‫شئت أن ننهل من خريها وأن‬ ‫فمن الينابيع التي ُ‬ ‫مبشا ً‬ ‫ً‬ ‫ا‬ ‫مرسع‬ ‫م‬ ‫االس‬ ‫يأتيك‬ ‫الجنى‪.‬‬ ‫عىل طريقها هي مركز‬ ‫رِّ‬ ‫ُ‬ ‫أن ََّك ستحصد ولو بعد حني مازرعت أرضك تيناً وليموناً ‪-‬التنشيط وإنتاج املوارد يف مجال التعلم من خالل‬ ‫إقامة ٍ‬ ‫ورش للناشئة يف مجال التعبري اإلبداعي عرب‬ ‫تنضج العقول‪.‬‬ ‫وأنَّك ستجني مثار العقو ِل حينام ُ‬ ‫اما‬ ‫ر‬ ‫والد‬ ‫ة‬ ‫ي‬ ‫التشكيل‬ ‫الفنون‬ ‫وس ِد القصص ومسرْ ِح الدُّمى‬ ‫رَ ْ‬ ‫َّ‬ ‫مبقابلة أجريتها مع منسق املشاريع يف مركز الجنى والتصوير واألفالم املتحركة والسينام‪.‬‬ ‫األستاذ «هشام كايد» تحدثنا عن املركز الذي يعمل يف‬ ‫املخ َّيامت الفلسطين َّية والتج ُّمعات امله َّمشة يف لبنان‪ .‬دا َر ‪-‬تطوير مكتبات األطفال وتشجيع التعلم واإلبداع‪.‬‬ ‫النقاش حول نشأت الجمع َّية وأعاملها وأهدافها‪ .‬ف ُيتبع‬ ‫كايد قائالً‪:‬‬ ‫تعزيز التواصل وتشارك املوارد بني األشخاص‬‫واملجموعات املعنية بالعمل االجتامعي والتعليمي‪.‬‬ ‫نشأة الجمعية‪:‬‬ ‫بعدها يعدِّ د كايد نشاطات املركز مص ِّنفاً إ َّياها عىل‬ ‫كان للجمع َّية أن نشأت مببادر ٍة من األستاذ «معتز اختالف أهدافها‪:‬‬ ‫الدجاين» مع مجموعة من األكادميني والرتبويني‪ ،‬لتكون‬ ‫ُ‬ ‫والدة مركز الجنى عام ‪.1990‬‬ ‫التعصب واحرتا ُم التعدُّدية والرأي‬ ‫ذ‬ ‫َب‬ ‫ن‬ ‫و‬ ‫شط‬ ‫ن‬ ‫ال‬ ‫التعلم‬‫َّ‬ ‫ُّ‬ ‫اآلخر باإلضافة إىل ال َّنشاطات اإلعالم َّية‪ .‬يدو ُر يف فلك‬ ‫هي حاج ُة ال ُّربان ليك يو ِّجه ال َّدفَّة إىل مينا ٍء فيه مافيه هذه الكواكب عد ٌد من املهرجانات السنوية فمنها‪:‬‬ ‫من الزا ِد والعتاد‪ ،‬ل ُي ِت َّم بعدها يف بُحوره املشوار‪ .‬كانت‬


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‫يقولون أ َّن بطن األ ِّم بستانٌ‪ ،‬فلها أن تلد الشَّ قاء ولك ْن‬ ‫ُمحتَّ ٌم عليها أن تل َد األمل ولها أن تلد الشَّ تاتَ الفلسطيني‬ ‫ولك ْن ُمحتَّ ٌّم عليها أن ت َُرسم طريق العودة ولها أن تل َد‬ ‫ري وامل َْس ِ‬ ‫جد‬ ‫ولو بعد حني صال ًة يل ول ُك ْم يف الجا ِمعِ ال ُع َم ِّ‬ ‫األَقْىص‪.‬‬

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‫‪AL-HAWIYYA | ISSUE 3 | alhawiyya.wordpress.com‬‬

‫مهرجان «ربيع جنانا» والذي أُقيم ألول مرة منذ اثنتي‬‫عرشة سنة مع استمرارية العمل به سنوياً‪ .‬هو مهرجا ٌن‬ ‫مو َّج ٌه إىل األطفال وفيه زوايا ثقافية وتربوية ويقوم‬ ‫األطفال بتقديم نتاج املهرجان عىل خشبة املرسح‪.‬‬ ‫وامللتقى الصيفي والذي يستقبل ما يقارب خمس‬‫عرشة ورشة عمل‪ .‬يشارك به من مئة إىل مئة وعرشين‬ ‫متخص ٌص بكيفية العمل مع األطفال‬ ‫شخص‪ .‬هو ملتقًى‬ ‫ِّ‬ ‫املتخصصني يف‬ ‫من‬ ‫مجموعة‬ ‫امللتقى‬ ‫يستضيف‬ ‫والشباب‪.‬‬ ‫ِّ‬ ‫استخدام الفنون مع األطفال والشباب‪ ،‬لتنمية مهاراتهم‬ ‫ٍ‬ ‫مجاالت تعليمية وثقافية وفنية مختلفة‪.‬‬ ‫وقدراتهم يف‬ ‫كام ويتو َّج ُه امللتقى إىل العاملني يف الجمعيات واملراكز‬ ‫الرتبوية ومكتبات األطفال يف لبنان والعامل العريب‪ .‬كام أ َّن‬ ‫امللتقى هو فسح ٌة للمدربني ليخرجوا من ضغط العمل‪.‬‬ ‫وعروض أفالمٍ بالساحات العامة «السينام املتنقلة» فرتكز‬ ‫ُ‬ ‫الص ُع ِد الثقافية‬ ‫عىل أفالمٍ تحايك القضية الفلسطينية عىل ُّ‬ ‫عرض أفالمٍ تحايك األطفال‬ ‫والفنية والوطنية‪ .‬ويت ُّم ُ‬ ‫ٍ‬ ‫بجتمعات‬ ‫والشباب ألن املجتمعات امله َّمشة ليست‬ ‫فنحتاج ألن نندمج باملجتمعات‬ ‫منعزلة عماَّ يحي ُط بها‪،‬‬ ‫ُ‬ ‫ُعرض يت ُّم عربها إيصال رسائل‬ ‫ت‬ ‫األخرى‪ .‬فاألفالم التي‬ ‫ُ‬ ‫هادفة فرتبوية وترفيهية ووطنية‪.‬‬

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‫مهرجا ُن «فلسطني يف السينام الجديدة» والذي يحايك‬‫واقع املجتمع الفلسطيني بجوانبه املختلفة‪ ،‬إن كان من‬ ‫الناحية السياس َّية أو االجتامعية أو الثقافية‪ .‬فكام نعلم‬ ‫تحتل اليوم مكان ًة متقدِّم ًة يف‬ ‫أ َّن السينام الفلسطينية ُّ‬ ‫العامل لتنافس الفنون العاملية‪ .‬فلم يعد لها لو ٌن واح ٌد‬ ‫وقد تح َّررت من رشكات اإلنتاج الكبرية‪.‬‬ ‫مرسح جنى الجوال والذي يستضيف فرقاً فن َّي ًة عامل َّية‪.‬‬‫إنتاج أفالمٍ تركز عىل مواضيع الشباب واملرأة باإلضافة‬‫إىل األطفال‪.‬‬ ‫يت ُّم األن وبالتعاون مع مؤسسة عصام فارس بالجامع ِة‬ ‫األمريك َّية إعادة تنظيم وأرشفة املادة املس َّجلة الخاصة‬ ‫بالذاكرة امللهمة إليداعها يف مكتبة الجامعة يك يستفيد‬ ‫منها التالميذ والباحثون‪.‬‬ ‫كام أ َّن من أه ِّم األمور يف عمل املركز هو الرتكيز عىل‬ ‫اإلنتاج‪ .‬فمن النتاجات التي يركز عليها املركز الكتب‬ ‫واألفالم والسيديهات والقصص املصورة والقصرية‪.‬‬

‫ماذا عن الدعم املادي للمركز‪:‬‬ ‫واملرسح التفاعيل والذي يدور حول قضايا ته ُّم املجتمع التمويل للنشاطات الثقافية والرتبوية والفنية التي‬‫املؤسسات العربية‬ ‫َّ‬ ‫وخاص ًة األطفال والشباب‪ .‬شارك به عدد من الفنانني ينظمها مركز الجنى يت ُّم عرب عد ٍد من َّ‬ ‫كمؤسسة التعاون ومؤسسة عبد املحسن‬ ‫والدولية‬ ‫كعايدة ��ربة ونعمة نعمة ورشيف عبد النور‪.‬‬ ‫َّ‬ ‫ال َقطَّان ومنظمة اليونيسيف واالتحاد األوريب ورسكايت‬ ‫الذاكرة امللهمة‪ :‬كانت انطالقتها بعد سنوات من وغريها‪.‬‬‫السن‪ ،‬يقوم عىل تجميع‬ ‫انطالقة املركز‪ .‬هو مرشو ٌع لكبار ِّ‬ ‫السري الذاتية للجيل ماذا عن التغطية اإلعالمية لنشاطات املركز‪:‬‬ ‫وتسجيل‬ ‫الحكايات واألغاين الشَّ عب َّية‬ ‫ِّ‬ ‫األ َّول الذي اقتُلع من فلسطني‪ .‬أ َمالً بأن نحف َظ ذاكرة هناك تغطية إعالمية لجميع نشاطات املركز من‬ ‫وتراث فلسطين ِّيي الشتات حتى تعود األرض ألصحابها‪ .‬قبل وسائل اإلعالم عىل اختالفها فاملرئ َّية واملسموعة‬ ‫حيث َوصل نتاج الربنامج إىل ما يقارب الثاممنئة ُمقابلَ ٍة واملقروءة‪ .‬كام أ َّن للمركز مكتبة عامة ومتنقلة‪ ،‬تستفيد‬ ‫املؤسسات والجمعيات األهل َّية‪ ،‬تلك التي ال متتلك‬ ‫مس َّجلة‪.‬‬ ‫منها َّ‬ ‫متخصصة‬ ‫بكتب‬ ‫مكتباتها‬ ‫ز‬ ‫ز‬ ‫تع‬ ‫أن‬ ‫تريد‬ ‫أو‬ ‫مكتبة‬ ‫ٍ‬ ‫َ‬ ‫ِّ‬ ‫ِّ‬ ‫مهرجا ُن جنى الدويل لسينام األطفال وهو املهرجان مبواضي َع مع َّينة‪.‬‬‫عرض أفالماً من نتاج األطفال والشباب‪.‬‬ ‫الوحيد الذي يَ ُ‬



Issue Three - March 2013