This Week in Palestine - Events
Issue no. 15  - August 1999

Events (15 August - 31 August)


Jerusalem

Ramallah & Al-Bireh

Reviews of main events
 
  • Play: The Thing
  • Palestinian National Theatre productions
    Written by: Ghassan Kanafani
    Director: Yacoub Ismail
    Music: Mustafa al Kurd
    Actors: Emad Mize’ro, Faten Khoury, Adel Tartir,
    Taher Najeeb, Ra’eda Andon
    A strange thing happens to a man who lacks everything: he is always in debt and cannot repay his debts. He loves a woman but cannot marry her, she gets pregnant and he can’t afford to pay for an abortion. Then, suddenly, the thing falls in his hands. It is strange, enticing, and valuable. He refuses all temptations to give it up, even when he sees that “thing” transformed into a hat on the heads of others, even though he feels that it comes from inside the head rather than outside it. He then realizes that this rare alien thing cannot live in a world ruled by materialism. This play is adapted from Ghassan Kanafani’s play “The Hat and the Prophet” which is an intellectual play where Kanafani reveals the estrangement of the intellectual in a materialistic world. Jerusalem 20, 21, 22 August 19:30, The Palestinian National Theatre

     
  • Exhibition: Michael Najjar
  • Michael Najjar was born in Akka in 1932, and emigrated to Beirut in 1948 where he specialized in Arabic Calligraphy. In 1983 he left to Belgium where he studied at the Arts Academy in Bruxelles. Najjar is considered one of the few artists who have transported the spirit of Arabic calligraphy to the space of the painting. He established “Arabesque” art gallery in Bruxelles, and has exhibited in cities all over the world. El-Bireh, exhibition runs until 31 August, Baladna Cultural Center

     
  • Exhibition: Khaled Hourani
  • A young Palestinian artist, Hourani experiments with colors and materials in a collage reflecting his “predicament and swinging moods facing the scene, the collage of TV images, Atlantic planes, the hunger in Somalia, Palestinian misery, the suffering of love in an Argentinean soap opera, and the distress of sex over the mobile phone.” In his work, Hourani tries to evade the determinism of colors and set images, in an attempt to hide the secrets of his inner life, at the same time exposing them in an explosion of colors and images and old notebooks. His abstract work is a rebellion against the direct political or folkloric statements that have generally characterized the work of Palestinian artists, as a result of the political struggle of which they have been a part for many decades. Ramallah, 21-31 August, Khalil Sakakini Center

     
  • Film: Tales from Arab Detroit
  • A fascinating look at Arab American life and identity perception through the visit of an Egyptian poet to perform the famous Bani Hilal epic, and the reactions it sparks within the Detroit Arab American community, the largest in the US. Ramallah, 26 August 20:00, Khalil Sakakini Center

    Play of the Week
     
    Democlesias' Sword
    Palestinian National Theatre, 1999
    Author: Nazim Hikmat (Turkey)
    Director: Mazen Ghattas
    Music: Mustafa al Kurd
    Actors: Taher Najib, Nidal Al Muhalwes, Amjad
    Ghanem, Imad Miziro, Rajai Sandouka, Husam Zuheika, Hiba Subhi, Rawda Massad
    Democlesias' Sword is a power of some sort, the power of some unknown, fearful body, hovering above our heads. It can crack at any moment and fall. Democlesias' Sword is the echo of an impending war, swaying in our presence. It is a price that we have to pay for the weakness of our spirit, the misery of the soul and our cowardice. It is a price we have to pay for choosing the wrong way and method in a dreadful and ruthless age… the age of merciless bargaining, when it is impossible to care only for time and give complete attention to what happens in a time span.
    Democlesias' Sword is a message destroying the fourth wall, penetrating our lives, arousing in us interest in its content, and in the flow of events, in order to understand and comprehend what might happen, and assume a position. On the platform of political and ideological struggles for private life and ownershiop of life, the reality of this space facilitates the process of discerning the weak from the strong, whereby all of them serve the "golden calf".
    In Democlesias' Sword, there is an attempt to search for the "White Sheep" through grabbing opportunities to escape the debris, breaking the siege, refusing obedience and subordination, craving for freedom, through believing in the possibilities of reaching an objective. However, facts change the essence and core of human ambitions, and we fall in a more profound, complex, and dangerous state of subservience.
     
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