Paul-Gordon Chandler takes the listener on a fascinating journey through the all-embracing spirituality of Kahlil Gibran, the early 20th century Lebanese-American poet artist and mystic, author of the bestselling book The Prophet. He explores how Kahlil Gibran, a supreme East-West figure, can be a much-needed guide for our time, related to peace, harmony and building bridges between the creeds of the Middle East and West.
This memoir offers uncommon and thought provoking cross-cultural observations on segregation, the “American Dream”, race, identity, science, sexuality, love, academia, religion, tradition, personal freedom, social status, and class from the perspective of Dr. Ashraf El-Bayoumi, who was living in America for the first time in 1950s, pursuing his post-graduate studies in chemistry in Florida.
A screening of three short films from The Freedom Theater is presented by Felice Gelman and followed by the Skyped in presence of Mohamed Haj Ibrahim. Journey of a Freedom Fighter is the story of one armed fighter who chose resistance through art. Maybe presents a young woman film student who fights for her right to pursue her dream and finds her inspiration in another who breaks with convention in a different field. The Racer tells the story of a Palestinian stock car racer who wins against the odds of occupation.
Members of the multimedia program at The Freedom Theatre of Jenin discuss the role of creative work as a means of resisting the Israeli occupation, and their work with the Theatre in introducing young Palestinians to a variety of artistic forms, including music, photography, filmmaking, and writing. They view these forms as necessary creative outlets in an environment that is often violent and oppressive.
In the art of Bedouin artist, Eid Hadaleen, the instruments of the occupation are reconstructed by the occupied. The originals of the miniatures are Hadaleen’s everyday fare: bulldozer, helicopter, digger, tractor, truck. These modes of transportation and construction are wielded against the Palestinian people with the intended effect of immobilizing them. Yet, through the use of wood, iron, rubber, plastic, glass, parts of furniture and accessories, Hadaleen performs a miniature imitation that suggests on one hand mockery and on another the power of creative responses to the occupation.
This feature-length documentary explores the concept of Palestinian cinema produced by an effectively stateless people. Cinema Palestine combines in-depth interviews with directors including Hany Abu-Assad, Azza el-Hassan, Sobhi Zobaidi, Mai Masri, Tawfik Abu Wael, Annemarie Jacir, and many more, along with excerpts from their films.
Composed entirely of footage from Israeli and American fiction features shot in Jaffa from the 1960s to the 1990s, Aljafari removes the Israeli actors to give the stage to people who appear by chance in the background, including both Palestinians and Iraqi Jews who were settled in the city. In so doing, he performs what he calls “cinematic justice” to the people who were made to appear as extras.
Set in a women’s hair salon in Gaza during a confrontation between the police and a local gangster, effectively trapping the women inside, Degrade blends caricature and reality to emphasize the complexity of life in Gaza where people are afflicted by multiple nodes of pressure and the social space of women is increasingly circumscribed by these pressures.
The film follows an elderly couple, Yousef and Amna, in their final stand-off with Israeli authorities to keep their rustic home, a shack in the Roshmia valley in Haifa. A friend encourages them to leave and works to secure municipal compensation for the couple, but tensions grow between Yousef, who refuses to leave his home, and Amna, who seeks to move on.