#shatila

[whatevergreen]

Dia al-Azzawi (Iraq, born 1939) - We Are Not Seen, But Corpses: The Massacre of Sabra and Shatila (1982, art 1983)

"After the Palestinian fighters left Lebanon, the Phalangists had their opportunity to take revenge on old people, women and children. I have a lot of Palestinian friends, some artists and writers, and I knew those camps. Within two days, up to 3,500 people were killed. So, this work had a moral side: to defend unarmed people with no voice." - Dia Al-Azzawi

[rebel-girl-queen-of-my-world]

Repost from @letstalkpalestine

•

Today marks 44 years since the start of the Sabra and Shatila massacre. What was once one of the bloodiest episodes of Palestinian history has now been eclipsed by the Gaza genocide. The story is always the same: the Israeli state requires the annihilation of the Palestinian people.

The Nakba continues. When it will end is up to us.

In memory of those we lost and who are still being taken from us 🤍🇵🇸

[drsonnet]

Moving towards Home

June Jordan

“Where is Abu Fadi,” she wailed. “Who will bring me my loved one?”       The New York Times, 9/20/82

I do not wish to speak about the bulldozer and the red dirt not quite covering all of the arms and legs Nor do I wish to speak about the nightlong screams that reached the observation posts where soldiers lounged about Nor do I wish to speak about the woman who shoved her baby into the stranger’s hands before she was led away Nor do I wish to speak about the father whose sons were shot through the head while they slit his own throat before the eyes of his wife Nor do I wish to speak about the army that lit continuous flares into the darkness so that others could see the backs of their victims lined against the wall Nor do I wish to speak about the piled up bodies and the stench that will not float Nor do I wish to speak about the nurse again and again raped before they murdered her on the hospital floor Nor do I wish to speak about the rattling bullets that did not halt on that keening trajectory Nor do I wish to speak about the pounding on the doors and the breaking of windows and the hauling of families into the world of the dead I do not wish to speak about the bulldozer and the red dirt not quite covering all of the arms and legs because I do not wish to speak about unspeakable events that must follow from those who dare “to purify” a people those who dare “to exterminate” a people

those who dare to describe human beings as “beasts with two legs” those who dare “to mop up” “to tighten the noose” “to step up the military pressure” “to ring around” civilian streets with tanks those who dare to close the universities to abolish the press to kill the elected representatives of the people who refuse to be purified those are the ones from whom we must redeem the words of our beginning

because I need to speak about home I need to speak about living room where the land is not bullied and beaten into a tombstone I need to speak about living room where the talk will take place in my language I need to speak about living room where my children will grow without horror I need to speak about living room where the men of my family between the ages of six and sixty-five are not marched into a roundup that leads to the grave I need to talk about living room where I can sit without grief without wailing aloud for my loved ones where I must not ask where is Abu Fadi because he will be there beside me I need to talk about living room because I need to talk about home

I was born a Black woman and now I am become a Palestinian against the relentless laughter of evil there is less and less living room and where are my loved ones?

It is time to make our way home.

June Jordan, “Moving Toward Home,” in Living Room: New Poems by June Jordan (New York: Thunder's  Mouth Press, 1993) and reprinted in Directed by Desire: The Collected Poems of June Jordan (Port Townsend, WA: Copper Canyon Press, 2007)

June Jordan wrote poem in 1982, after #Sabra and #Shatila. https://massreview.org/node/12147

[marionto]

You can also read it here:

"Sitting in the living room listening to Suhaila narrate her war memories was a friend of her youngest son, who was in his mid-20s. Afterwards, downstairs in the alleyway in front of the building, he lowered his head, pressing his long bushy beard against chest, and said in a low, almost inaudible tone, as if Suhaila could hear him from her sixth-floor apartment: “The old people keep talking about the history of the war. Fine, they suffered, but what is happening now in the camp is worse than any war. Young men are dying from drugs. A whole generation is wasting their lives because of the drugs and the poverty.” He was thin and slightly built with tired eyes. He said he spent his days shuffling three menial jobs, and still could not make ends meet."

[irhabiya]

anyone remember when a zionist on twitter recounted an incident that they claimed had happened on october 7th but turned out they were lying through their teeth, and even worse, the reported incident was actually from the sabra and shatila massacre? anyone keeping count of how many times zionist pigs rehash the vile, cruel things they've done to palestinians only substituting themselves in as the victims of the story? isn't it remarkable that any evidence of examples of the incomprehensible evil and violence that they swear by to justify everything they've done since october always turns out to be distinctly absent from reports of october 7th, and always present in reports of daily palestinian life for decades now?

[phobic-human]

The Uprising

Arabic translation: The stone (icon of the intifada or uprising) avenges Palestinian blood (reference to the victims of the Sabra and Shatila massacres)

Artist: Mark Rudin/Jihad Mansour (1945-2023)

Circa 1989

[whatevergreen]

The stars and stripes converted into a hungry death mask - artist Ghazi Inaim’s statement on the Sabra and Shatila massacre, PLO 1982

[problemism]

Welcome to the Echoes of 1948.

This is the first mixtape in a (hopefully short) series of musical documentaries. I want to let the voices of Palestine be heard. First things first, history. Right now I am working on testimonies, news broadcasts, interviews, activist speeches and I won’t stop working on these, until Palestine and her people are free. This should not just affect me, it should affect all of us, for being a bystander or not picking sides, shows just as much a lack of humanity as pressing the button yourself. Share this or send me more to work with and together we might show the world that Palestinian lives are at least as worthy as ours.

Stay tuned for more.

(Deli-Honest)

[filmsoftheflesh]

Children of Shatila opens with 1982 archive footage of Israeli war planes over Beirut, flames rising from the city, tanks moving inexorably towards Shatila, long panning shots over heaps of dead bodies of people, and a downed white horse, lines of heartbroken grieving women, men in face masks digging burial preparations. That was the history the children in the film never saw for themselves, but know in great detail from family and community lore. One boy talks with complete composure of how the bulldozers in the neighbourhood scooped up bodies of Palestinians and Lebanese together in death as they had been in life, and then, how his own aunt died, “Her head was cut off.” Mai’s technique is very rarely to use interviews, but rather to keep the camera running as ordinary life goes on with people talking, especially children, who have just got used to her being a part of it. Scenes in a classroom, in a family dinner, running through the alleys, jokes and games unfold so naturally that the viewer is in Shatila, not watching from the outside. There is truth conveyed in this seemingly effortless work method (which is in fact the fruit of a great investment of time and of listening skills) that could never be achieved in a traditional interview with all its opportunities for reflection before and cutting afterwards making for a confected product.

Children of Shatila shows a crowd of children watching boys’ and girls’ groups dancing the traditional dabka with everyone clapping along. Mai brought them a new game. She is glimpsed giving a small digital camera to one of the children, and the film begins to show the images and footage of one child after another as they turn the camera on the scene, on each other, even on her, and watch the images on the small screen with absolute wonder.

Children interview each other on film and tell each other their dreams of being grown up, how they will be doctors, engineers, spacemen, and how they will get their houses in Palestine back. Again, their own footage is shown as part of the film. They move through the camp as a group and one girl asks a very old neighbour sitting in the dusty alley outside his home what it had been like leaving Palestine, and what would he do first if he went back. “We were a wretched lot – barefoot,” he tells them of his family’s flight to Lebanon in 1948, before going on to say he would first rebuild his house on returning, then look after the land and the olive trees. He leans forward to speak intently into their camera as he tells the children to promise him that even if it takes 100 years or more they will never forget Palestine. This is the history that all of them know as well as if they have lived it themselves and which we see reflected in all the painting, poetry and dreams that fill the children’s lives.

Text by Victoria Brittain, author of Love and Resistance in the Films of Mai Masri. Published by Palgrave Macmillan 2020

(x, x, x)

[elizabethskipp]

1982, 06, 06: Israel invades Lebanon with the intention of eliminating the PLO

Israel launched a massive invasion of Lebanon. It had been long planned by Israeli Defense Minister Ariel Sharon, who wanted to destroy or severely diminish the Palestine Liberation Organization, which was based in Lebanon at the time. Sharon also planned to install a puppet government headed by Israel’s right-wing Lebanese Christian Maronite allies, the Phalangist Party. Israeli forces advanced…

[edwordsmyth]

"A warring sun in Beirut thunderous April cool breeze on the ships yellow sun on a pole an eye in the gun's hole a dead from Palestine A purple sun in my friend's pocket meanderings in PARIS a bird on a dead Palestinian's toe a fly at the butchery Beirut-sulphuric-acid STOP the Quarantina is torching its inmates STOP Beirut a sun on the finger a sun in the gut a sun climbing an elephant cannibal anthropophagus sun wart on the cargoes ! ! ! ! ! a yellow sun on the face cancer on the Palestinian cruelty of the palm tree I led a ship under the sea to the living and the dead yes yes yes a black sun 45 black corpses for a single coffin black eye listening I saw a hawk eat a child’s brain in the dumps of Dekouaneh

A dead sun was a toy in Sabra I cut the sky in two

a sun rotten and eaten by worms floats over Beirut silence is sold by the pound

Bedouins covered by sarcophagi know that a tattooed moon floods you with dynamite!

the sun blown-up a child blown-up a fish blown-up the street blown-up eat and vomit the sun eat and vomit the war hear an angel explode" -Etel Adnan

[phobic-human]

Never Stop The Struggle

Arabic translation: 2nd Anniversary of Sabra-Shatila: Massacres will never stop the struggle of Palestinians!

Artist: Marc Rudin/Jihad Mansour (1945-2023)

Circa. 1984

[cuba-redh]

Sabra y Chatila - Gaza Palestina - ... Por Ramón Pedregal Casanova

16 de septiembre de 1982 – 16 de septiembre de 2024. Aquel de 1982 miles de niños y niñas, mujeres y hombres fueron asesinados por la Falange Libanesa, escuadrón de la muerte al servicio del régimen colonial, entonces representado por Ariel Sharon. La historia que cuentan los encargados de encubrir a los responsables sionazis se compone de lo de siempre: los Palestinos refugiados, expulsados de…

[tropicalmark]

What was the Sabra and Shatila massacre? | Al Jazeera Newsfeed.

https://youtu.be/10nFMcZrToc