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The Cultural Intifada

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The Cultural Intifada CriticalActs The Cultural Intifada Palestinian Theatre in the West Bank Erin B. Mee Scholar Graham Usher lists the most popular Theatre scholar Hala Khamis Nassar notes, games among Palestinian children during the “Palestinian theatre artists constantly ques- first intifada (1987–1993)1: “‘soldiers and sha- tion the role of their work. They do so, how- bab,’ where confrontations are staged and sticks ever, not on the basis of whether it is original and Coca-Cola cans are magically transformed or authentic, but rather in terms of what is into guns and tear-gas canisters. Or ‘funeral,’ effective in countering the cultural annihila- where girls are carried wreathed in black plas- tion under the present Occupation” (2006:16). tic bags on the back of their peers” (1991:10). While there are other theatres in the West The Occupation of the West Bank not only Bank (including El Hakawati, Al-Kasaba, affects every aspect of children’s daily lives, ShiberHur, Yes Theatre, and Al Harah but of their imaginations as well. And children Theater3), The Freedom Theatre, Alrowwad, under 18 make up roughly half the population and ASHtaR devote themselves specifically of the occupied Palestinian territories.2 Given to what The Freedom Theatre calls a “cul- these realities, it is not surprising that three tural intifada,” and Alrowwad calls “beauti- of the most important theatres in the West ful resistance.” All three theatres address a Bank — The Freedom Theatre in the Jenin ref- wide range of current political issues within ugee camp (outside the city of Jenin), Alrowwad Palestinian society, and provide a safe haven in the Aida refugee camp (outside Bethlehem), for children to “play” and learn. They attempt and ASHtaR in Ramallah — create theatre by to give children a sense of normalcy without and for children and young adults as well as normalizing the Occupation, and they foster adult audiences. critical and creative thinking among chil- dren and young adults, preparing them for a post-Occupation society. 1. “Intifada” means uprising. The first intifada lasted from 1987–1993 and the second intifada lasted roughly from 2000 to 2005. 2. In the West Bank, 39.4% of the population is under the age of 14 (Palestinian Central Bureau of Statistics, in PASSIA 2011:367), and 7.9% of children suffer from chronic malnutrition (PASSIA 2011:367). Children living in refugee camps such as those in Jenin and Aida make up 37.2% of all children in the West Bank (PASSIA 2011:367). In the Jenin refugee camp, 58% of the population is under the age of 18 (Mer Khamis 2011b); in the Aida refugee camp, roughly 66% of the population is under the age of 18, and about 45% are under the age of 15 (Abusrour 2011). 3. See the following websites for more information: www.pnt-pal.org, www.alkasaba.org, www.shiberhur.org, www .alharah.org, www.yestheatre.org. Erin B. Mee is author of The Theatre of Roots: Redirecting the Modern Indian Stage (Seagull, 2009), and coeditor of Antigone on the Contemporary World Stage (Oxford University Press, 2011). Her articles have appeared in TDR, Theater Journal, Performing Arts Journal, and several edited books. Critical Acts She has directed at numerous theatres including New York Theatre Workshop, The Public Theatre, the Magic Theatre, and in India with Kavalam Narayana Panikkar’s company Sopanam. erinmee1@ gmail.com 167 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00194 by guest on 27 September 2021 the population is unemployed (Mer Khamis 2011b). During the 2002 Battle of Jenin,6 1,400 homes were destroyed or partially demolished, 1 out of 3 people were rendered homeless (again), curfews were imposed, and homes were invaded by Israeli soldiers. Poverty, lack of secure housing, high unemploy- ment, and rampant malnutrition are the conditions under which Juliano Mer Khamis and his colleagues Jonatan Stanczak and Zakaria Zubeidi opened The Freedom Theatre in 2006.7 “The Freedom Theatre,” declared Mer Khamis, who ran the theatre until he was assassinated on 4 April 2011, “is a venue to join the Palestinian peo- ple in their struggle for liberation with poetry, music, theatre, cameras. The Israelis succeeded to destroy our identity [and] our social struc- tures, [both] political [and] econom- ical. Our duty as artists is to rebuild Figure 1. Students of Alrowwad Cultural and Theatre Society or reconstruct this destruction. perform The Doll, directed by Issa Abusrour. (Courtesy of Who we are, why we are, where Alrowwad Cultural and Theatre Society) we are going, who we want to be” (TFT 2010). “We believe that the third intifada, the coming intifada, The Freedom Theatre should be cultural, with poetry, music, theatre, cameras, and magazines,” said Mer Khamis. His The Jenin Refugee Camp has a population of goal was for The Freedom Theatre to create an 16,000 people who were expelled from their artistic movement dedicated to eradicating dis- homes in and around Haifa during the 1948 crimination and violence (TFT 2010). To this Nakba4 (in Arabic, “catastrophe”) and in 1967 end, The Freedom Theatre teaches courses in after the Six-Day War.5 In the camp, 70% of film, photography, creative writing, and theatre. 4. The Nakba (al-Nakba, the catastrophe) refers to the displacement of an estimated 700,000 Palestinians who were forced from their homes or fled in the 1948 Palestine War as 540 villages were depopulated and destroyed. These Palestinians and their descendents are now divided between Jordan, Gaza, the West Bank, Syria, Lebanon, Israel, and numerous other countries around the world. Israel has barred these refugees from returning to their homes or reclaiming their property. 5. The Six-Day War refers to the war begun by Israel on 5 June 1967 in which Israel took control of the Gaza Strip and the Sinai Peninsula (which had belonged to Egypt), the West Bank and East Jerusalem (which had belonged to Jordan), and the Golan Heights (which had belonged to Syria). The war ended on 10 June with thousands of casualties. 6. The Battle of Jenin, part of Operation Defensive Shield, began on 1 April 2002 when the Israeli Defense Forces (IDF) invaded Jenin with tanks, infantry, commando forces, and assault helicopters to wipe out “terrorists” who had been operating from within the camp. It officially ended on 11 April, although troops did not begin to withdraw until 18 April. The death toll is disputed, because bodies were removed from the camp by both Israelis and Palestinians; many bodies were buried in mass graves. 7. [For more on The Freedom Theatre and the murder of Mer Khamis, see Mee 2011 — Ed.] Critical Acts 168 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00194 by guest on 27 September 2021 At the same time, Mer Khamis was deter- dren and teenagers, and they provide a much mined to empower the youth of Jenin. more nuanced portrayal of Palestinians than Captured: Photography by Young Girls in Jenin, a the image projected in international media. published collection of photographs by 15–18 They are a means for young adults in Jenin to year olds who studied photography under tell — and therefore control — their stories. Mustafa Staiti at The Freedom Theatre, opens TFT has a three-year training program in with a statement by 16-year-old Dina Arqawi theatre, and has performed adaptations of the about the political power of the camera: famous Palestinian writer Ghassan Khanafani’s 8 As we passed by a military checkpoint Men in the Sun (2010), George Orwell’s [on a photojournalism trip to Bil‘in] I Animal Farm (2009), and Lewis Carroll’s Alice was playing with my camera and the flash in Wonderland (2011), which I saw on 17 March 9 went off at a soldier. He thought that I 2011. TFT’s production of Alice frames Lewis was taking a photograph of him and the rest of the soldiers. He panicked, opened the window and grabbed the camera from me. [...] He ordered me to get down from the bus and started to ask me questions. He was very angry. He asked who the cam- era belonged to and lots of other questions. I told him I hadn’t photographed him; I’d just been testing out the camera and tak- ing pictures of my friends. He wasn’t convinced until he had searched the camera and found there was no photograph of him in it. At that moment I understood how powerful the camera is, and Figure 2. Mad Hatter’s tea party with the White Rabbit. (Courtesy of The how much Israeli soldiers fear it! Freedom Theatre) I had thought that soldiers were the most powerful people in the world because of their weapons. But now Carroll’s familiar figures within the story of an I realize that they are also scared of me arranged marriage: Alice’s father insists that she and my camera. (TFT 2011a:3) marry Ahmad, and when she protests, he slaps Like the Captured photo anthology, [refuge] — her. Left alone, Alice tries on bright red lip- a 2007 collection of short stories and photo stick at her dressing table and dances around essays by children who took writing and fantasizing about love. Her dream-time comes photography workshops at The Freedom to an abrupt end when her mother violently Theatre — reflects the strength and endur- yanks Alice’s hair into a tight ponytail for the ance of people in the refugee camp. These engagement party, demonstrating that women books are a published record of life in Palestine can be and often are part of enforcing tradi- as seen through the eyes of Palestinian chil- tions that subjugate them and their daughters.
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