One of Israel’s favorite selling points, in its campaign to rebrand itself and divert attention from its ongoing theft of Palestinian land by means of ethnic cleansing, military control and apartheid policies, is its claim to world leadership in medicine. The problem with this line of apartheid PR is, of course, the failure to mention the control the state of Israel has over the Palestinian healthcare system.
Captive Economy, a new report by Who Profits investigates the involvement of Israeli and multinational pharmaceutical industries in the occupation of Palestinian land.
(This article first appeared in The Economic Times, May 19, 2007, while the Palestinian poet, Mahmoud Darwish, was still alive. Darwish was born exactly seventy-one years ago in the Western Galilee village of al-Birwa on March 13, 1941.)
Mahmoud Darwish (13 March 1941 – 9 August 2008)
In his 2004 film Notre Musique [Our Music], a journalese-philosophical meditation on war and reconciliation, Jean-Luc Godard gave pride of place to Palestinian poet Mahmoud Darwish. In the film, repeating what he had once told an Israeli journalist, Darwish inverts the relationship with the ‘other’: “Do you know why we Palestinians are famous? Because you are our enemy. The interest is in you, not in me…” By saying that he was important because Israel is important Darwish wasn’t just referring to the erasure of identity and history the Palestinians have had to struggle against, but perhaps more to the continuum of suffering, of that erasure, that has been passed down, as it were, to the Palestinians by the Jews. Not that Darwish now needs to affirm his self as an inversion of his ‘enemy’, or that he needed a Godard to affirm his being. In fact, it is quite the other way round, he was in the film because one cannot make a film on reconciliation without him, and his is a poetry of love, loss, of memory and exile that is more a challenge to the occupier than slogans and bombs ever can be.
I had the privilege of starting out last year witnessing, firsthand, the unfolding of the Egyptian revolution in Tahrir Square. I saw people who had been muzzled their entire lives, especially women, suddenly discovering their collective voice. Singing, chanting, demanding, creating. And that became the hallmark of entire year–people the world over becoming empowered and emboldened simply by watching each other. Courage, we learned in 2011, is contagious!
1. The Arab Spring protests were so astounding that even Time magazine recognized “The Protester” as Person of the Year. Sparked by Tunisian vendor Mohamed Bouazizi‘sself-immolation to cry out against police corruption in December 2010, the protests swept across the Middle East and North Africa—including Egypt,Libya, Bahrain, Syria, Yemen, Algeria, Iraq, and Jordan. So far, uprisings have toppled Tunesian President Ben Ali, Egyptian President Hosni Mubarak, and Libyan leader Muammar Gaddafi–with more shake-ups sure to come. And women have been on the front lines of these protests, highlighted recently by the incredibly brave, unprecedented demo of 10,000 Egyptian women protesting military abuse.
Out of the 23 activists, many were physically assaulted while handcuffed behind their backs, as Mohammed Khatib, one of the leaders of the Bil’in popular committee, describes in his own testimony. Mustafa Tamimi’s sister, Ola, who was prevented from being with her brother as he took his last breaths, was pepper sprayed in the eyes, from a few centimeters away. And another handcuffed woman was slapped with the back of the hand of a passing male settler, when she expressed objection to him assaulting Khatib and taking pictures. These are just a few of the testimonies that were published and taped, we still don’t have a complete story of this particular demonstration, and many other stories will be lost in the clouds of gas.
The new Syrian TV drama “In the Presence of Absence,” about the life of the poet Mahmoud Darwish, is giving some Palestinians an ulcer this Ramadan season. The series is being broadcast on several Arab satellite channels, including the Palestinian one. Some objected to the series before it was made because they thought those who were undertaking the project are doing it for profit and are not being faithful to the memory of Palestine’s national poet. Their effort to stop it didn’t pan out and now they are watching in horror as they see their beloved poet miscast, misrepresented, and twisted out of shape. The actor-criminal is one Firas Ibrahim that everyone seems to love to hate. Believe me, voodoo dolls of him will sell like hot qatayef in Rmallah.
They are lamenting that this great poet is being sacrificed on the altar of egos and art-for-profit. They are in a panic that the legacy of Darwish is in danger and that he is being mutilated for an audience that does not know much about him. Some of those objecting to this drama knew Darwish personally: they are friends, disciples, and colleagues. Some are readers who love the man for the poetry he wrote. I feel their pain!
But instead of using the occasion of a bad TV drama to celebrate the Darwish they love, to educate people about his poetry, to write articles that critique the drama they don’t approve of, I’m sad to report that two thousand Palestinian intellectuals are demanding taking the offensive drama off the air. They have even demonstrated in front of Palestine TV to that effect. In other words, they are calling for censorship. Their love for Darwish seems to have obscured their vision.*
Al Jazeera’s excellent Fault Lines on the US role in the Gulf, particularly its deliberate support for the repressive Bahraini monarchy.
Fault Lines’ Seb Walker travels to the Gulf to look at US policy in the region, and to explore why the United States has taken an interventionist policy in Libya, but not in Bahrain, where there has been a brutal crackdown on protesters. Why does the White House strongly back democracy in one Arab country, but not another?
The turmoil that has beleaguered the Middle East for decades has been described many ways. On the 5th of June, however, the terminology turned vulgar. This enduring conflict was publically characterised as a ‘war between the civilized man and the savage’. Boldly announced with a plea to ‘support Israel/defeat Jihad’, the full page advertisement ran in the New York Post’s special section covering the city’s ‘Celebrate Israel’ parade.
Declaring the Muslim people ‘savage’ is, of course, just a school-yard taunt from Islamaphobe Pamela Geller, who gleefully takes credit for the advertisement. Had her rant been limited to her own blog, we might easily dismiss it. The problem lies in its acceptance into mainstream discourse. The Post may be tabloid journalism, but its paper edition remains the seventh most popular paper in America. And this sort of crude advertisement for a political cause panders to a public comfortable with the mind-set of ‘don’t bore me with the details’.
But the details are critical if we are to consider a conflict that has taken thousands of lives. How can we, for instance, reconcile the concept of ‘civilized’ with the reality of shooting unarmed protesters? The advertisement asks us to accept Israel as ‘civilized’; yet as these very words were first read, Israeli soldiers were shooting into a crowd of Syrian-Palestinians, killing 24 and injuring another 350.
“The people want the fall of the regime” is the shared slogan of the Arab uprisings. In this episode an array of characters from across the region explain what they want and what they expect for the future.
As revolution shakes the Arab world, a series of films explore the roots of the uprisings and ask ‘what next’? Those in a position to know reveal the ‘tricks of the trade’ of Arab dictatorship.
In the following audio, Jeff Blankfort interviews Prof. Geoffrey Wawro, author of Quicksand: America’s Pursuit of Power in the Middle East, (Penguin, 2010) with a focus on US support for Israel, the pro-Israel lobby and whether Israel is a strategic asset or liability.