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SUNDAYS ARE FOR CULTURE

This Gaza-Based Designer Is Creating Suiting With a Personal History (VOGUE)

Liana Satenstein writes:

"In an apartment in Gaza, a model with a septum piercing wears Meera Adnan’s ’80s-style looks: an oversized jacket with puffy sleeves and extreme high-waist trousers with shell buttons. The Gaza-based designer typically favors easy suiting pieces that come in voluminous silhouettes with a playful retro vibe, usually mixing in modern styling effects, such as a Fendi bag and a Prada bucket hat."

"In Gaza, Adnan, who is considered a refugee under United Nations law, met people also from displaced backgrounds with their own diverse histories. Like her, they weren’t originally from Gaza but had come from various parts of Palestine after they had been displaced."

“There are small differences you can find between different people in Gaza coming from different backgrounds,” she says. “Everyone has their personal traditions when it comes to small things, like food, social life, all these things.”
VIDEO Rim Banna: The voice of Palestine (Al Jazeera)

"This is the story of a much-loved Palestinian singer-songwriter whose life encompasses creativity, artistic success, political activism and personal tragedy."

"Rim Banna was born into a creative family in Nazareth in 1966. Her mother was the Palestinian poet Zouhaira Sabbagh and she was raised listening to famous artists like Fairuz. At 16, she was deeply affected by the 1982 Sabra and Shatila massacres, something that would later heavily influence her music. She studied at a conservatory in Moscow and her own compositions often put Palestinian poems, including her mother’s, to music."

"She was a genuine artistic talent, but her life was tragically cut short. In 2009, Banna was diagnosed with breast cancer. After a nine-year battle with a terminal illness, she died on March 24, 2018. Thousands attended her funeral in Nazareth where she was born 51 years before."
Falastin, Sami Tamimi’s “Palestinian Modern” (The Markaz Review)

N.A. Mansour reviews Sami Tamimi's Falastin, A Cookbook:

"Like Laila El-Haddad’s work on Gaza and Gazan cuisines, Falastin understands that there is no Palestinian cuisine without politics. Ottolenghi wrote the foreword; a strategic move to have an Israeli say the word “occupation” first."

"The index is full of terms and history that extend beyond the culinary, acting as framing devices. There is Nabulsi cheese, as well as mashwi—the term used for barbeque in Arabic—but also “nakba” and “BDS,” terms that are known to those in the know but perhaps not to the average uninitiated reader."

"So I enjoy my food best with a side of memory. Each recipe in Falastin includes a short anecdote, sometimes about recipe development, but most of the time, they’re about Tamimi’s own relationship to the food. There’s another pang, when my mother notes how these vignettes resemble our own pasts as much as they represent Tamimi’s story: his father eats boiled eggs with za’tar."

Israel to Prevent Artist Mohammed Assaf from Visiting Palestine (Palestine Chronicle)

"Israeli daily Maariv on Thursday quoted Avi Dichter, a member of the Israeli Knesset and former Minister of Internal Security, as saying that the Israeli authorities have decided to prevent Palestinian singer and Arab Idol star Mohammed Assaf from visiting the occupied Palestinian territories."

"Dichter was also quoted as saying that his country was examining the possibility of calling for the cancelation of all of Assaf’s events in the United Arab Emirates, where he lives with his wife."

"Palestinian Minister of Culture Atef Abu Seif condemned today the Israeli incitement campaign against the young well-known singer, describing it as an episode in its war against Palestinian arts and culture."
Forging a New Existence The Positive Impact of Diaspora Palestinians on Their Host Countries (This Week in Palestine)

Hyatt Omar writes "There is a general but perhaps insufficient recognition of the fact that Palestinians invest heavily in their own and their children’s education, knowing full well that this capital cannot be stolen or denied, and its returns are handsome and fruitful."

"Palestinians are not only citizens in other countries but also entrepreneurs, doctors, engineers, professors, and more. Palestine is a donor country because its nationals are accumulating material aspects and human resources."

"In Pelotas, Brazil, the town of around 300,000 inhabitants where I was born, the leadership of the commercial activities is concentrated in the hands of three families that came from Jelejlia in Palestine and moved to Brazil in the early 1970s. They were teenagers and had not yet completed high school. But they worked hard as employees for others upon their arrival and gathered some capital to invest and create their own small businesses."

GO DEEPER

From Palestine to the World, the Militant Film of the PLO (The New York Review)

Kaleem Hawa writes "The Palestinian militant film project emerged in the aftermath of the 1967 Arab–Israeli War, hoping to win international sympathy and solidarity by showing Palestine as one dialect in a global language of anti-colonial struggle."

"The Palestine Film Unit (PFU) emerged from this milieu. Founded in Jordan in 1968 by Mustafa Abu Ali, Hani Jawharieh, and Sulafa Jadallah—considered by some to be the first Arab camerawoman—the PFU produced many 16mm documentaries over the next fourteen years, which were among the earliest examples of a militant Palestinian cinema."

EVENT

London Palestine Film Festival 2020 (The Barbican)

"The annual London Palestine Film Festival returns with a programme of films and discussions to encourage crucial dialogue about Palestinian cinema and culture."

"This year offers a programme of cinema screenings and online streams of the latest works exploring Palestine. This selection brings an array of feature dramas, documentaries and artist moving image."

"It is a strong year for UK premieres from Palestine’s most dynamic filmmakers. These include Najwa Najjar’s latest romantic drama about divorce, and Kamal Aljafari’s unprecedented use of the surveillance camera as documentary cinema. These sit alongside intricate investigative works by artists Emily Jacir and Forensic Architecture."

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