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"content": "\u003cfigure id=\"attachment_13966773\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg\" alt=\"Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.\" width=\"819\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-768x960.jpg 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">On his album ‘The Project of Liberation,’ Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians’ struggle for dignity and freedom. \u003ccite>(Zofia Beck Anchondo (@zofotography))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, a trip to the West Bank changed \u003ca href=\"https://www.instagram.com/sammyshiblaq/?hl=en\">Sammy Shiblaq\u003c/a> forever.\u003c/p>\n\u003cp>The Palestinian American rapper visited his grandparents’ homeland for the first time that year. Despite living under Israeli military occupation, the people he met were generous and surprisingly happy. Thousands of smiles lit up in the crowd during his show in Ramallah, and strangers welcomed his family into their home for dinner.\u003c/p>\n\u003cp>“Every city I went to, they didn’t want your money. … They just wanted you to visit them,” says the artist, whose grandparents were displaced from their hometown of Haifa during the Nakba of 1948. “I mean, it sounds crazy. They want the suffering and the occupation to stop, of course. But for the tourist who supports them, all they ask you to do is go visit them, go support them, go be with them. They’re a happy people. They enjoy life even in their conditions. It changed me.” [aside postid='arts_13966738']\u003c/p>\n\u003cp>Shiblaq returned home with a clear sense of purpose: to use his music to uplift everyday Palestinian people who simply want dignity and freedom. The Detroit-raised, San José-based artist recently released \u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">\u003ci>The Project of Liberation\u003c/i>\u003c/a>, a 16-track album of drill-rap protest anthems, poetic meditations and pleas for an end to Israel’s bombardment of Gaza.\u003c/p>\n\u003cp>“I think that’s one of my duties in the movement, to make music that isn’t just listened to by the Palestinians, isn’t just listened to by Arabs,” he says. “It needs to be listened to by the greater community. N.W.A. Dropped ‘F tha Police’ and it became an anthem against police brutality and the injustices in the system. But it wasn’t just in the Black community. It transcended boundaries.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/oFZQ_IQSMcY?si=0NEezlNAsXR_ynDx\u003c/p>\n\u003cp>Shiblaq, who is signed to the San Francisco label EMPIRE, began recording \u003ci>The Project of Liberation\u003c/i> in October 2023. Before getting in the booth, he watched social media footage of Israel’s U.S.-made bombs dropping on hospitals and schools, of children dying in the rubble; he stayed in constant touch with his cousins in Gaza while fearing for their lives. As the music took shape, he decided to use proceeds from the album, which has topped a million streams, for his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">relief fund to evacuate his family\u003c/a> from Gaza to Egypt. [aside postid='arts_13966207']\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\u003c/p>\n\u003cp>https://youtu.be/d2fzY27hj3g?si=PJ9ytfTn57GDlTlu\u003c/p>\n\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\u003c/p>\n\u003cp>https://youtu.be/Bg2jA9j7qzI?si=OYhzMfgjf7TROhJ2\u003c/p>\n\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\n\u003cp>https://youtu.be/R1jyTGONngI?si=apFMd0LOjvinZ2Z4\u003c/p>\n\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d2fzY27hj3g'\n title='//www.youtube.com/embed/d2fzY27hj3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bg2jA9j7qzI'\n title='//www.youtube.com/embed/Bg2jA9j7qzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1jyTGONngI'\n title='//www.youtube.com/embed/R1jyTGONngI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. [aside postid='arts_13966207']\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” [aside postid='arts_13966184']\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. [aside postid='news_12007959,arts_13966184']\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966189\" class=\"wp-caption aligncenter\" style=\"max-width: 825px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg\" alt=\"A black-andw-white self-portrait where the artist holds an olive branch while wearing a keffiyeh. \" width=\"825\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW.jpg 825w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-800x977.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-160x195.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Olive-Tree-BW-768x938.jpg 768w\" sizes=\"(max-width: 825px) 100vw, 825px\">\u003cfigcaption class=\"wp-caption-text\">A self-portrait by Najib Joe Hakim exploring conflicting symbols of “Palestinian-ness.” \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ancient drum beats of Palestinian folk music blared at the California Academy of Sciences in San Francisco on a recent Thursday evening. Against a backdrop of a T-Rex skeleton, a hall of joyful people danced the dabke, and Najib Joe Hakim experienced a hint of hopefulness for the first time since October last year.\u003c/p>\n\u003cp>Hakim is an award-winning Palestinian American documentary photographer, artist and activist based in San Francisco. His work primarily focuses on social justice. But on special occasions, he takes on fun assignments like documenting Cal Academy’s \u003ca href=\"https://48hills.org/2024/09/nightlife-palestine-event-at-cal-academy-draws-large-excited-crowd/\">\u003cem>Nightlife: Falastin\u003c/em>\u003c/a>, an event celebrating Palestinian culture last month.\u003c/p>\n\u003cfigure id=\"attachment_13966192\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Dabke-Dancing-Acad-of-Sciences-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dabke dancers at a celebration of Palestinian culture at the California Academy of Sciences in San Francisco on Sept. 19, 2024. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was there, I felt right. I felt happy. I felt the energy of life again,” Hakim says. “People would be joyful and appreciative of being together despite the elephant in the room.”\u003c/p>\n\u003cp>That elephant is Israel’s military campaign in Gaza, which according to its health officials has killed over 41,800 people, mostly civilians, since Oct. 7, 2023. On that day, Hamas’ attack on Israel left about 1,200 people dead, according to the Israeli government. (The medical journal \u003ca href=\"https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)01169-3/fulltext\">\u003cem>The Lancet\u003c/em>\u003c/a> estimates that there could be as many as 186,000 deaths in Gaza because of famine, communicable diseases and other consequences of the bombardment.)\u003c/p>\n\u003cp>The war has taken the lives of fellow artists Hakim knows and loves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know one artist who’s been killed with her two sons, and two others whose homes and studios have been destroyed,” Hakim says. “So, it’s personal.”\u003c/p>\n\u003cp>Hakim was born in Beirut, Lebanon to Palestinian parents who fled during the \u003ca href=\"https://www.un.org/unispal/about-the-nakba/\">1948 Nakba\u003c/a>, the mass displacement of Palestinians during the establishment of Israel. He and his parents moved to the U.S. when he was just a toddler. Hakim was raised in New York City and then Washington, D.C. He arrived in the Bay Area in 1987, when he was in his early 30s, and has been here ever since.\u003c/p>\n\u003cp>One of Hakim’s award-winning projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Home-Away-from-Home-Little-Palestine-by-the-Bay\">\u003cem>Home Away From Home: Little Palestine by the Bay\u003c/em>\u003c/a>, was something he dreamt of doing since he was young. The 2014 multimedia project features photographs and audio stories of 26 Palestinians across the Bay Area. “The goal of the project was to give Palestinians a voice to tell their own stories in their own words, and to humanize their experiences,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13966190\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg\" alt=\"\" width=\"2000\" height=\"1583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1536x1216.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1920x1520.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Najib Joe Hakim’s portrait of Oakland-born Palestinian American Lubna Morrar. She holds earrings with Palestinian coins from 1942, before the creation of the state of Israel. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Israel’s war in Gaza started last October, Hakim said he went through a period of self-isolation. “For the first two months after Oct. 7, I didn’t even leave my apartment except to get food,” he reflects. “Part of the reason for that is I think most of the people out there are living in Disneyland. They don’t seem to feel what’s going on in Gaza in the same way I do.”\u003c/p>\n\u003cp>Over the past year, Hakim has felt angry and frustrated. “People are on the streets. People are demanding a ceasefire,” he says. “But the U.S. government doesn’t represent us. The government does not represent the interests of humanity,” he said. “I’ve always known that free speech didn’t include speech about Palestine.” [aside postid='arts_13966207,news_12007959']\u003c/p>\n\u003cp>Yet Bay Area residents’ solidarity with Palestinians through protests, education and activism has felt heartening, he says.\u003c/p>\n\u003cp>“I think those people realize that this isn’t just about Palestine,” he says. “We are all connected. We are all somehow victims and the result of the imperial world.”\u003c/p>\n\u003cp>In another one of Hakim’s projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Palestine-Diary\">\u003cem>Palestine Diary\u003c/em>\u003c/a>, he shares photos and stories from his visit to Gaza, Jerusalem and the West Bank in the late ’70s, when he was in his early 20s. “I rediscovered them recently and I thought, ‘Wow, these are my pictures,’” he says.\u003c/p>\n\u003cp>The captions accompanying the photos are excerpts from a journal he kept at the time. “When I read the journal recently, it felt like letters that I had written to my future self were just delivered,” he wrote on his website.\u003c/p>\n\u003cfigure id=\"attachment_13966191\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg\" alt=\"\" width=\"2000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-800x282.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1020x360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-768x271.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1536x542.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1920x678.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Najib Joe Hakim of the sun setting behind the Dome of the Rock and Al-Aqsa Mosque in the Old City of Jerusalem, with a keffiyeh overlaid on the sky. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one entry in \u003cem>Palestine Diary\u003c/em>, he shares an excerpt from his journal. “I never felt so at home anywhere as I do here,” it reads. “Every breath feels like a charge of energy. Life here for me is as natural as waking up in the morning. I walk to the Old City and get some warm knafeh and freshly squeezed carrot juice as if I’ve done it my whole life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When thinking about his role as a Palestinian American artist as the war rages on, he hopes he can continue to make art that shares the joy of his people. “I’m trying to spread the beauty,” he says, “of Palestinian culture and people.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know one artist who’s been killed with her two sons, and two others whose homes and studios have been destroyed,” Hakim says. “So, it’s personal.”\u003c/p>\n\u003cp>Hakim was born in Beirut, Lebanon to Palestinian parents who fled during the \u003ca href=\"https://www.un.org/unispal/about-the-nakba/\">1948 Nakba\u003c/a>, the mass displacement of Palestinians during the establishment of Israel. He and his parents moved to the U.S. when he was just a toddler. Hakim was raised in New York City and then Washington, D.C. He arrived in the Bay Area in 1987, when he was in his early 30s, and has been here ever since.\u003c/p>\n\u003cp>One of Hakim’s award-winning projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Home-Away-from-Home-Little-Palestine-by-the-Bay\">\u003cem>Home Away From Home: Little Palestine by the Bay\u003c/em>\u003c/a>, was something he dreamt of doing since he was young. The 2014 multimedia project features photographs and audio stories of 26 Palestinians across the Bay Area. “The goal of the project was to give Palestinians a voice to tell their own stories in their own words, and to humanize their experiences,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13966190\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966190\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg\" alt=\"\" width=\"2000\" height=\"1583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1020x807.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1536x1216.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Lubna-Morrar-Earrings-1920x1520.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Najib Joe Hakim’s portrait of Oakland-born Palestinian American Lubna Morrar. She holds earrings with Palestinian coins from 1942, before the creation of the state of Israel. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Israel’s war in Gaza started last October, Hakim said he went through a period of self-isolation. “For the first two months after Oct. 7, I didn’t even leave my apartment except to get food,” he reflects. “Part of the reason for that is I think most of the people out there are living in Disneyland. They don’t seem to feel what’s going on in Gaza in the same way I do.”\u003c/p>\n\u003cp>Over the past year, Hakim has felt angry and frustrated. “People are on the streets. People are demanding a ceasefire,” he says. “But the U.S. government doesn’t represent us. The government does not represent the interests of humanity,” he said. “I’ve always known that free speech didn’t include speech about Palestine.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet Bay Area residents’ solidarity with Palestinians through protests, education and activism has felt heartening, he says.\u003c/p>\n\u003cp>“I think those people realize that this isn’t just about Palestine,” he says. “We are all connected. We are all somehow victims and the result of the imperial world.”\u003c/p>\n\u003cp>In another one of Hakim’s projects, \u003ca href=\"https://www.jaffaorangephoto.com/Projects/Palestine-Diary\">\u003cem>Palestine Diary\u003c/em>\u003c/a>, he shares photos and stories from his visit to Gaza, Jerusalem and the West Bank in the late ’70s, when he was in his early 20s. “I rediscovered them recently and I thought, ‘Wow, these are my pictures,’” he says.\u003c/p>\n\u003cp>The captions accompanying the photos are excerpts from a journal he kept at the time. “When I read the journal recently, it felt like letters that I had written to my future self were just delivered,” he wrote on his website.\u003c/p>\n\u003cfigure id=\"attachment_13966191\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg\" alt=\"\" width=\"2000\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-800x282.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1020x360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-160x56.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-768x271.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1536x542.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/NJHakim-Jerusalem-Old-City-Dome-of-the-Rock-Sunset-w_Kaffiyeh-1920x678.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Najib Joe Hakim of the sun setting behind the Dome of the Rock and Al-Aqsa Mosque in the Old City of Jerusalem, with a keffiyeh overlaid on the sky. \u003ccite>(Najib Joe Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one entry in \u003cem>Palestine Diary\u003c/em>, he shares an excerpt from his journal. “I never felt so at home anywhere as I do here,” it reads. “Every breath feels like a charge of energy. Life here for me is as natural as waking up in the morning. I walk to the Old City and get some warm knafeh and freshly squeezed carrot juice as if I’ve done it my whole life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When thinking about his role as a Palestinian American artist as the war rages on, he hopes he can continue to make art that shares the joy of his people. “I’m trying to spread the beauty,” he says, “of Palestinian culture and people.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even while she dreamed of numbers at her job in corporate tech, Nadia Elgan would fawn over elegant hand-poured ceramics. On her honeymoon in Cuba, she made her husband take her to all the local pottery studios they passed. And after her daughter was born, something in her succumbed to that desire to make something with her hands. Her first time at the wheel while on a ceramics studio date night sealed the deal: It was love at first touch.\u003c/p>\n\u003cfigure id=\"attachment_13962376\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg\" alt=\"A ceramicist in a pink jumpsuit poses for a portrait while looking down at a large pink bowl.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Palestinian Filipina ceramicist Nadia Elgan left a career in corporate tech to start her own ceramics studio. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now throwing at her own studio, \u003ca href=\"https://habibiceramics.com/\">Habibi Ceramics\u003c/a>, the Campbell-based Palestinian Filipina ceramicist — “Pali-Pina” as she describes herself — has designed cups and plates for popular Bay Area restaurants and cafes like \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a> and \u003ca href=\"https://www.thecaffeoak.com/\">the Caffè by Mr. Espresso\u003c/a>.\u003c/p>\n\u003cp>Lately, Elgan’s art has turned toward Gaza.\u003c/p>\n\u003cp>In June, she released her \u003ca href=\"https://www.instagram.com/p/C78ongDuU6o/\">Falastin series\u003c/a> at West Coast Craft’s summer crafts market. The \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">cups\u003c/a> and plates are polka-dotted in a black-and-white pattern reminiscent of a keffiyeh scarf, one of the most visible displays of Palestinian resistance. In an era dominated by mass production, she throws each piece by hand, imbuing it with a sense of place and purpose.\u003c/p>\n\u003cp>The keffiyeh-inspired Falastin collection is now available for purchase via \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">Habibi Ceramics’ website\u003c/a> and at superstar chef Reem Assil’s \u003ca href=\"https://www.reemscalifornia.com/\">two San Francisco restaurants\u003c/a>, on Mission Street and in the Ferry Building, with proceeds going toward the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>’s Gaza relief fund. In addition, Elgan will soon kick off a new series of Palestine-focused collaborations with Arab American chefs and artists, who will sell those pieces exclusively through their own storefronts. The initial set of cups for Assil, for instance, will display a \u003ca href=\"https://www.metmuseum.org/perspectives/articles/2024/07/tatreez-in-time\">Tatreez pattern\u003c/a>, a kind of Palestinian embroidery. That collection will be available later this fall at both Reem’s outposts. It will also include plates and a mezze bowl for zeit and zataar — a smaller version of a prior Habibi dish that \u003ca href=\"https://nymag.com/strategist/article/reem-assil-favorite-things.html\">caught Assil’s eye\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elgan’s fall collection — which she’s calling the Habibi Passion Drops — will be co-curated by Antonio Diaz, the editor of \u003ca href=\"https://lifeandthyme.com/\">Life & Thyme magazine\u003c/a>, who helped connect the ceramicist with interested chefs. She’s also planning to include collaborations with coffee wizard \u003ca href=\"https://www.kqed.org/forum/2010101863628/dave-eggers-explores-the-american-dream-through-the-intricacies-of-coffee\">Mokhtar Alkhanshali\u003c/a> (of \u003ca href=\"https://www.instagram.com/portofmokha/?hl=en\">Port of Mokha\u003c/a>) and chef Fadi Kattan, who wrote \u003ci>Bethlehem: A Celebration of Palestinian Food\u003c/i>.\u003c/p>\n\u003cp>Since its June 8 release, the Falastin collection has already \u003ca href=\"https://www.instagram.com/p/C9gfnUfpJTb/?hl=en&img_index=1\">raised $29,000\u003c/a>, via the fundraising platform \u003ca href=\"https://www.instagram.com/_stillwerise/?hl=en\">Still We Rise\u003c/a>, to benefit organizations directly helping families in Palestine. Beyond that, Elgan’s biggest hope is for the Palestinian-inspired ceramics to inspire solidarity in joy, resistance in color, and celebration. “That’s really the heart of the collection,” she says. “To celebrate those traditions and create those connections.”\u003c/p>\n\u003cfigure id=\"attachment_13962379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg\" alt=\"Coffee cups with a black-and-white checked pattern, placed on top of a keffiyeh scarf with a similar design.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elgan drew inspiration from the keffiyeh scarf, a visible symbol of Palestinian resistance. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timing of these releases is not lost on anyone who has watched the ongoing crisis in Palestine unfold. As the Israeli military offensive in the region continues, spreading into Lebanon and Jordan, the Palestinian death toll has reached nearly 40,000 with at least 15,000 children dead, according to \u003ca href=\"https://www.aljazeera.com/news/longform/2023/10/9/israel-hamas-war-in-maps-and-charts-live-tracker\">Gazan health officials\u003c/a>. That impact has been felt hard by the Bay’s diasporic Arabic communities.\u003c/p>\n\u003cp>Elgan herself grew up in Amman, Jordan; her family is from Jenin, in the West Bank. For her, these ceramics have been the way she’s found to express her sense of solidarity — and to share a side of Palestinian culture that’s too often overlooked.\u003c/p>\n\u003cp>“My art is my highest form of expression,” Elgan says. “I really want to highlight the joy Palestinians have when they host family and friends and connect around food.”\u003c/p>\n\u003cp>She understands that joy and has built a life around sharing it. Born in Southern California, she moved back to Los Angeles from Jordan when she was 13 years old. Eventually, she got a degree in international development from UC Berkeley before working at nonprofits and tech companies. In 2018, she took that first ceramics class and, shortly after, made a deal with Los Gatos’s \u003ca href=\"https://blossomhillcrafts.com/index.html#/\">Blossom Hill Crafts\u003c/a> to do side work in exchange for free studio time. It would be two or three in the morning when she’d finally leave the ceramics studio each night, losing track of time as she learned about glazing, throwing and the intricacies of wabi-sabi — the Japanese philosophy celebrating the beauty of imperfections.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13931303,arts_13954260,arts_13952460']\u003c/span>Then, during the pandemic, her restaurant collabs went major. The team at Campbell’s upscale \u003ca href=\"https://www.orchardcitykitchen.com/\">Orchard City Kitchen\u003c/a> had gorgeous cocktails that inspired Elgan; she pitched the team on cups that would represent the cocktails themselves. Their love of her designs gave her a surge of energy and inspiration. She’s since placed work at Berkeley’s \u003ca href=\"https://www.elaichico.com/\">Elaichi Co.\u003c/a>, Oaxaca’s \u003ca href=\"https://www.instagram.com/el_parian_atelier/\">El Parian Atelier\u003c/a> and many more, with North Beach’s \u003ca href=\"https://www.cassavasf.com/\">Cassava\u003c/a> soon to join the ranks. Even Madewell and Anthropologie are customers.\u003c/p>\n\u003cp>Mokhtar’s Alkhanshali says there’s no one like Elgan in the scene. “Nadia’s work not only honors the past but also pushes the boundaries of traditional pottery, making her a standout in her field,” he says.\u003c/p>\n\u003cp>The ongoing hardships for her community haven’t daunted Elgan’s success, nor her optimism. When she was growing up in Jordan, her sitti (grandmother) would look out the window and call for her home in Palestine. This vivid memory of her family looking so happy, so at peace, continues to guide her work.\u003c/p>\n\u003cp>“To be Palestinian means to be in a constant state of grief,” Elgan says. “It’s not just about property and land. Palestine is a part of our soul. The events since October 7 have been shattering. There’s a responsibility to preserve our culture and share our story.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Customers can order pieces from the Falastin collection \u003c/i>\u003ci>directly through the\u003c/i> \u003ci>Habibi\u003c/i>\u003ci> Ceramics \u003ca href=\"https://habibiceramics.com/\">website\u003c/a> or at participating restaurants.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even while she dreamed of numbers at her job in corporate tech, Nadia Elgan would fawn over elegant hand-poured ceramics. On her honeymoon in Cuba, she made her husband take her to all the local pottery studios they passed. And after her daughter was born, something in her succumbed to that desire to make something with her hands. Her first time at the wheel while on a ceramics studio date night sealed the deal: It was love at first touch.\u003c/p>\n\u003cfigure id=\"attachment_13962376\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg\" alt=\"A ceramicist in a pink jumpsuit poses for a portrait while looking down at a large pink bowl.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/nadia-elgan-portrait-scaled.jpg 1707w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Palestinian Filipina ceramicist Nadia Elgan left a career in corporate tech to start her own ceramics studio. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now throwing at her own studio, \u003ca href=\"https://habibiceramics.com/\">Habibi Ceramics\u003c/a>, the Campbell-based Palestinian Filipina ceramicist — “Pali-Pina” as she describes herself — has designed cups and plates for popular Bay Area restaurants and cafes like \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a> and \u003ca href=\"https://www.thecaffeoak.com/\">the Caffè by Mr. Espresso\u003c/a>.\u003c/p>\n\u003cp>Lately, Elgan’s art has turned toward Gaza.\u003c/p>\n\u003cp>In June, she released her \u003ca href=\"https://www.instagram.com/p/C78ongDuU6o/\">Falastin series\u003c/a> at West Coast Craft’s summer crafts market. The \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">cups\u003c/a> and plates are polka-dotted in a black-and-white pattern reminiscent of a keffiyeh scarf, one of the most visible displays of Palestinian resistance. In an era dominated by mass production, she throws each piece by hand, imbuing it with a sense of place and purpose.\u003c/p>\n\u003cp>The keffiyeh-inspired Falastin collection is now available for purchase via \u003ca href=\"https://habibiceramics.com/products/keffiyeh-cup\">Habibi Ceramics’ website\u003c/a> and at superstar chef Reem Assil’s \u003ca href=\"https://www.reemscalifornia.com/\">two San Francisco restaurants\u003c/a>, on Mission Street and in the Ferry Building, with proceeds going toward the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>’s Gaza relief fund. In addition, Elgan will soon kick off a new series of Palestine-focused collaborations with Arab American chefs and artists, who will sell those pieces exclusively through their own storefronts. The initial set of cups for Assil, for instance, will display a \u003ca href=\"https://www.metmuseum.org/perspectives/articles/2024/07/tatreez-in-time\">Tatreez pattern\u003c/a>, a kind of Palestinian embroidery. That collection will be available later this fall at both Reem’s outposts. It will also include plates and a mezze bowl for zeit and zataar — a smaller version of a prior Habibi dish that \u003ca href=\"https://nymag.com/strategist/article/reem-assil-favorite-things.html\">caught Assil’s eye\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elgan’s fall collection — which she’s calling the Habibi Passion Drops — will be co-curated by Antonio Diaz, the editor of \u003ca href=\"https://lifeandthyme.com/\">Life & Thyme magazine\u003c/a>, who helped connect the ceramicist with interested chefs. She’s also planning to include collaborations with coffee wizard \u003ca href=\"https://www.kqed.org/forum/2010101863628/dave-eggers-explores-the-american-dream-through-the-intricacies-of-coffee\">Mokhtar Alkhanshali\u003c/a> (of \u003ca href=\"https://www.instagram.com/portofmokha/?hl=en\">Port of Mokha\u003c/a>) and chef Fadi Kattan, who wrote \u003ci>Bethlehem: A Celebration of Palestinian Food\u003c/i>.\u003c/p>\n\u003cp>Since its June 8 release, the Falastin collection has already \u003ca href=\"https://www.instagram.com/p/C9gfnUfpJTb/?hl=en&img_index=1\">raised $29,000\u003c/a>, via the fundraising platform \u003ca href=\"https://www.instagram.com/_stillwerise/?hl=en\">Still We Rise\u003c/a>, to benefit organizations directly helping families in Palestine. Beyond that, Elgan’s biggest hope is for the Palestinian-inspired ceramics to inspire solidarity in joy, resistance in color, and celebration. “That’s really the heart of the collection,” she says. “To celebrate those traditions and create those connections.”\u003c/p>\n\u003cfigure id=\"attachment_13962379\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13962379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg\" alt=\"Coffee cups with a black-and-white checked pattern, placed on top of a keffiyeh scarf with a similar design.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/keffiyeh-cups.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Elgan drew inspiration from the keffiyeh scarf, a visible symbol of Palestinian resistance. \u003ccite>(Céline Steen, courtesy of Habibi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timing of these releases is not lost on anyone who has watched the ongoing crisis in Palestine unfold. As the Israeli military offensive in the region continues, spreading into Lebanon and Jordan, the Palestinian death toll has reached nearly 40,000 with at least 15,000 children dead, according to \u003ca href=\"https://www.aljazeera.com/news/longform/2023/10/9/israel-hamas-war-in-maps-and-charts-live-tracker\">Gazan health officials\u003c/a>. That impact has been felt hard by the Bay’s diasporic Arabic communities.\u003c/p>\n\u003cp>Elgan herself grew up in Amman, Jordan; her family is from Jenin, in the West Bank. For her, these ceramics have been the way she’s found to express her sense of solidarity — and to share a side of Palestinian culture that’s too often overlooked.\u003c/p>\n\u003cp>“My art is my highest form of expression,” Elgan says. “I really want to highlight the joy Palestinians have when they host family and friends and connect around food.”\u003c/p>\n\u003cp>She understands that joy and has built a life around sharing it. Born in Southern California, she moved back to Los Angeles from Jordan when she was 13 years old. Eventually, she got a degree in international development from UC Berkeley before working at nonprofits and tech companies. In 2018, she took that first ceramics class and, shortly after, made a deal with Los Gatos’s \u003ca href=\"https://blossomhillcrafts.com/index.html#/\">Blossom Hill Crafts\u003c/a> to do side work in exchange for free studio time. It would be two or three in the morning when she’d finally leave the ceramics studio each night, losing track of time as she learned about glazing, throwing and the intricacies of wabi-sabi — the Japanese philosophy celebrating the beauty of imperfections.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Then, during the pandemic, her restaurant collabs went major. The team at Campbell’s upscale \u003ca href=\"https://www.orchardcitykitchen.com/\">Orchard City Kitchen\u003c/a> had gorgeous cocktails that inspired Elgan; she pitched the team on cups that would represent the cocktails themselves. Their love of her designs gave her a surge of energy and inspiration. She’s since placed work at Berkeley’s \u003ca href=\"https://www.elaichico.com/\">Elaichi Co.\u003c/a>, Oaxaca’s \u003ca href=\"https://www.instagram.com/el_parian_atelier/\">El Parian Atelier\u003c/a> and many more, with North Beach’s \u003ca href=\"https://www.cassavasf.com/\">Cassava\u003c/a> soon to join the ranks. Even Madewell and Anthropologie are customers.\u003c/p>\n\u003cp>Mokhtar’s Alkhanshali says there’s no one like Elgan in the scene. “Nadia’s work not only honors the past but also pushes the boundaries of traditional pottery, making her a standout in her field,” he says.\u003c/p>\n\u003cp>The ongoing hardships for her community haven’t daunted Elgan’s success, nor her optimism. When she was growing up in Jordan, her sitti (grandmother) would look out the window and call for her home in Palestine. This vivid memory of her family looking so happy, so at peace, continues to guide her work.\u003c/p>\n\u003cp>“To be Palestinian means to be in a constant state of grief,” Elgan says. “It’s not just about property and land. Palestine is a part of our soul. The events since October 7 have been shattering. There’s a responsibility to preserve our culture and share our story.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Customers can order pieces from the Falastin collection \u003c/i>\u003ci>directly through the\u003c/i> \u003ci>Habibi\u003c/i>\u003ci> Ceramics \u003ca href=\"https://habibiceramics.com/\">website\u003c/a> or at participating restaurants.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Equipto to Headline an SF Fundraiser for Humanitarian Aid in Gaza",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. [aside postid='news_11996920,news_11997141,news_11988170']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Artists from Family Not a Group will also perform at the July 28 benefit concert at Hey Neighbor Cafe. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/everybodylovezmike/\">\u003cspan style=\"font-weight: 400\">Mike Evans Jr.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — a local comedian, actor and member of the San Francisco artist collective \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">\u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — was first introduced to Palestinian culture as an 11-year-old growing up in Vallejo. His neighbors, a Palestinian American family, would often invite him over to parties, and that’s where he began to appreciate their traditions and history.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many Bay Area youth, that kind of exposure to diverse experiences can instill a certain openness towards others in the world: a sense of interconnected struggle which, as Evans Jr. puts it, often results in a “we’re not all free until we’re all free” ethos. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With \u003c/span>\u003ca href=\"https://abcnews.go.com/International/wireStory/latest-israeli-strikes-southern-gaza-palestinian-death-toll-112159613\">\u003cspan style=\"font-weight: 400\">a reported death toll of over 39,000 Palestinians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Gaza, Evans Jr. — along with many other \u003c/span>\u003ca href=\"https://www.kqed.org/news/11984203/pro-palestinian-protests-sweep-california-college-campuses-amid-israel-hamas-war\">\u003cspan style=\"font-weight: 400\">Bay Area artists, activists and students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — has found ways to continue his advocacy.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Sunday, July 28, Mike and his longtime friend Maya Y. will be co-hosting a group of local rappers, DJs, comedians, poets and community members for a Free Palestine Fundraiser at \u003c/span>\u003ca href=\"https://www.instagram.com/heyneighborcafe/?hl=en\">\u003cspan style=\"font-weight: 400\">Hey Neighbor Cafe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All proceeds from the event will go directly to Human Concern International, which provides food, resources, aid and education to families in Gaza. Performances will include poetry from \u003c/span>\u003ca href=\"https://www.instagram.com/atayqueen/\">\u003cspan style=\"font-weight: 400\">Sarah O’ Neal\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and music by Afterthought, \u003c/span>\u003ca href=\"https://www.instagram.com/_friscobaby/?hl=en\">\u003cspan style=\"font-weight: 400\">Frisco Baby\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">Palestinian American MC \u003c/span>\u003ca href=\"https://www.instagram.com/ishaq.ie/?hl=en\">\u003cspan style=\"font-weight: 400\">Ishaq\u003c/span>\u003c/a> and \u003cspan style=\"font-weight: 400\">DJs Jenset and Baghead\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most notably, \u003c/span>\u003ca href=\"https://www.instagram.com/equipto_415/?hl=en\">\u003cspan style=\"font-weight: 400\">Equipto\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">will headline the grassroots event. The Japanese Colombian San Francisco lyricist is known for \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\">his political activism: In 2016, he was as a member of the Frisco 5\u003c/a>, which organized a 17-day hunger strike to protest the police killings of Alex Nieto, Mario Woods and other community members.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13950872\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png\" alt=\"Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015.\" width=\"576\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720.png 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/img_6475_720-160x200.png 160w\" sizes=\"(max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and political activist Equipto sits in front of a mural dedicated to Mario Woods, who was killed by SFPD in 2015. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950855/underground-rap-playa-sht-political-joints-equipto-has-bars\">\u003cspan style=\"font-weight: 400\">Equipto’s legacy in Bay Area music and activism runs deep\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Evans Jr. credits the veteran MC with supporting him early in his comedic career, dating back to 2015. Like Equipto, Evans Jr. — whose political consciousness expanded at San Francisco State University — is cognizant of how art and media should offer more than simply entertainment. It should be impactful, and it should provoke discourse.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Until there’s not a genocide going on, people need to see it and hear about it. Business as usual is dangerous,” says Evans Jr.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. and Afterthought in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event has been months in the making. Last November, after releasing the web series and album \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13937068/rent-check-mike-evans-jr-family-not-group-san-francisco\">\u003ci>\u003cspan style=\"font-weight: 400\">Rent Check\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Evans Jr. was approached by Maya Y., whose family is from Lebanon near the Gaza border, to co-facilitate the artist-centered fundraiser for Palestinians. Evans Jr., who grew up in both Vallejo and SF, enthusiastically agreed and tapped into the vast panoply of artists and activists he has cultivated over a lifetime.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In true Bay Area fashion, the artists are all donating their time, and Hey Neighbor Cafe is donating its space. \u003c/span>\u003cspan style=\"font-weight: 400\">“The artist community in the Bay Area throws down for Palestine,” Evans Jr. says. “Richmond was the first city [in the country] to pass a resolution on the side of Palestine. I know a lot of Oakland people who are down, too. The Bay is a small pocket, but we’re very strong in the fight.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Free Palestine Fundraiser will take place July 28, 5\u003cspan style=\"font-weight: 400\">–\u003c/span>9 p.m., at Hey Neighbor Cafe (\u003cspan style=\"font-weight: 400\">2 Burrows St., San Francisco). \u003ca href=\"https://posh.vip/e/free-palestine-fundraiser-show\">Tickets available here\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"https://www.thecjm.org/\">Contemporary Jewish Museum\u003c/a> (CJM) promises to be well attended on Thursday night. During the museum’s free June 6 opening reception of the group show \u003ca href=\"https://www.thecjm.org/programs/1354\">\u003ci>California Jewish Open\u003c/i>\u003c/a>, activists from \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeOWWGnFBIJXA3fxzPTQF37Z4UiZ_zLn1AD2D9EHBqMy_scOw/viewform?fbclid=PAZXh0bgNhZW0CMTEAAabyFGLy6wMPDWZS96NC18Ebm1z98u1v0aTc-oRtiG1KCRfFd6LsMH4o4Qc_aem_AXYWPGw-BlJ4J8Yh-wfiJvZR-WJi-j8qvnp3ROR33hRwt6swvv-7O3X8a5bl0Sa5LEpzJF0E-KpC-6UWWeaCO_YB\">California Jewish Artists for Palestine\u003c/a> and \u003ca href=\"https://www.jewishvoiceforpeace.org/\">Jewish Voice for Peace\u003c/a> will hold a demonstration outside, drawing attention to Israel’s ongoing bombardment of Gaza.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C7m40XvyYc9/?hl=en\">protest\u003c/a> includes live music, performances, poster-making and speakers from Bay Area Artists Against Genocide, who were at the center of a \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">recent boycott of Yerba Buena Center for the Arts\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi\">Pro-Palestinian workers from the San Francisco Museum of Modern Art\u003c/a> will also participate.\u003c/p>\n\u003cp>[aside postid='arts_13955613']“This family-friendly action led by local Jewish artists has been organized to pressure the Contemporary Jewish Museum to disclose funding sources, divest from Israeli apartheid and focus attention on the genocide of Palestinians,” reads a statement from California Jewish Artists for Palestine.\u003c/p>\n\u003cp>“No one will be blocked from entering the museum or the exhibition, nor are any of the artists in the exhibition being targeted,” the artists added.\u003c/p>\n\u003cp>The \u003ci>California Jewish Open\u003c/i> is a juried exhibition of nearly 50 artists centered around the theme of connection, the result of an open call for submissions from Jewish artists across the state. The works chosen for \u003cem>California Jewish Open\u003c/em> by guest curator Elissa Strauss reflect a variety of artistic approaches and political viewpoints, some of which are sympathetic to Israel. From members of California Jewish Artists for Palestine, Strauss selected five works which had pro-Palestinian, anti-war themes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April, however, California Jewish Artists for Palestine \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">withdrew their work from the show\u003c/a> in an act of protest. (Another artist, Liat Berdugo, withdrew her piece — which is also critical of Israel — out of concern for how her work would be contextualized.)\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A piece artist Kate Laster withdrew from the ‘California Jewish Open’ at the Contemporary Jewish Museum. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition of artists sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, the artists asked the museum to join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI). PACBI calls for international institutions to refrain from collaborating with Israeli institutions until the country ends its siege and occupation of Gaza and the West Bank.\u003c/p>\n\u003cp>[aside postid='arts_13956575']Museum leaders told artists that they couldn’t meet this demand, nor give artists full control over the wall text that would be displayed next to their works. In a \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">previous interview with KQED\u003c/a>, Senior Curator Heidi Rabben said she respects the artists’ decision to pull out of the show, but denied that the CJM had censored anyone.\u003c/p>\n\u003cp>The museum decided to leave blank spaces for each withdrawn work in \u003ci>California Jewish Open\u003c/i> to symbolize the artists’ missing perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The California Jewish Artists for Palestine logo by Kate Laster. 8″ x 8″, papercut and spray paint on paper, 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, in their \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeOWWGnFBIJXA3fxzPTQF37Z4UiZ_zLn1AD2D9EHBqMy_scOw/viewform?fbclid=PAZXh0bgNhZW0CMTEAAabyFGLy6wMPDWZS96NC18Ebm1z98u1v0aTc-oRtiG1KCRfFd6LsMH4o4Qc_aem_AXYWPGw-BlJ4J8Yh-wfiJvZR-WJi-j8qvnp3ROR33hRwt6swvv-7O3X8a5bl0Sa5LEpzJF0E-KpC-6UWWeaCO_YB\">May 10 open letter\u003c/a>, California Jewish Artists for Palestine urged the public to refocus on Palestinians in Gaza, over \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">36,000 of whom\u003c/a> have been killed by Israeli forces since Oct. 7, according to the health ministry in Gaza. Eighty-five percent of Gaza’s population has been displaced, and the United Nations has warned that 1.1 million people are facing catastrophic levels of hunger.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine and Jewish Voice for Peace will begin their \u003ca href=\"https://www.instagram.com/p/C7m40XvyYc9/?hl=en\">protest outside the Contemporary Jewish Museum\u003c/a> at 5:30 p.m. on June 6.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Contemporary Jewish Museum’s \u003ca href=\"https://www.thecjm.org/programs/1354\">opening for ‘California Jewish Open’\u003c/a> takes place June 6, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"https://www.thecjm.org/\">Contemporary Jewish Museum\u003c/a> (CJM) promises to be well attended on Thursday night. During the museum’s free June 6 opening reception of the group show \u003ca href=\"https://www.thecjm.org/programs/1354\">\u003ci>California Jewish Open\u003c/i>\u003c/a>, activists from \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeOWWGnFBIJXA3fxzPTQF37Z4UiZ_zLn1AD2D9EHBqMy_scOw/viewform?fbclid=PAZXh0bgNhZW0CMTEAAabyFGLy6wMPDWZS96NC18Ebm1z98u1v0aTc-oRtiG1KCRfFd6LsMH4o4Qc_aem_AXYWPGw-BlJ4J8Yh-wfiJvZR-WJi-j8qvnp3ROR33hRwt6swvv-7O3X8a5bl0Sa5LEpzJF0E-KpC-6UWWeaCO_YB\">California Jewish Artists for Palestine\u003c/a> and \u003ca href=\"https://www.jewishvoiceforpeace.org/\">Jewish Voice for Peace\u003c/a> will hold a demonstration outside, drawing attention to Israel’s ongoing bombardment of Gaza.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C7m40XvyYc9/?hl=en\">protest\u003c/a> includes live music, performances, poster-making and speakers from Bay Area Artists Against Genocide, who were at the center of a \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">recent boycott of Yerba Buena Center for the Arts\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi\">Pro-Palestinian workers from the San Francisco Museum of Modern Art\u003c/a> will also participate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This family-friendly action led by local Jewish artists has been organized to pressure the Contemporary Jewish Museum to disclose funding sources, divest from Israeli apartheid and focus attention on the genocide of Palestinians,” reads a statement from California Jewish Artists for Palestine.\u003c/p>\n\u003cp>“No one will be blocked from entering the museum or the exhibition, nor are any of the artists in the exhibition being targeted,” the artists added.\u003c/p>\n\u003cp>The \u003ci>California Jewish Open\u003c/i> is a juried exhibition of nearly 50 artists centered around the theme of connection, the result of an open call for submissions from Jewish artists across the state. The works chosen for \u003cem>California Jewish Open\u003c/em> by guest curator Elissa Strauss reflect a variety of artistic approaches and political viewpoints, some of which are sympathetic to Israel. From members of California Jewish Artists for Palestine, Strauss selected five works which had pro-Palestinian, anti-war themes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April, however, California Jewish Artists for Palestine \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">withdrew their work from the show\u003c/a> in an act of protest. (Another artist, Liat Berdugo, withdrew her piece — which is also critical of Israel — out of concern for how her work would be contextualized.)\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A piece artist Kate Laster withdrew from the ‘California Jewish Open’ at the Contemporary Jewish Museum. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition of artists sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, the artists asked the museum to join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI). PACBI calls for international institutions to refrain from collaborating with Israeli institutions until the country ends its siege and occupation of Gaza and the West Bank.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Museum leaders told artists that they couldn’t meet this demand, nor give artists full control over the wall text that would be displayed next to their works. In a \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">previous interview with KQED\u003c/a>, Senior Curator Heidi Rabben said she respects the artists’ decision to pull out of the show, but denied that the CJM had censored anyone.\u003c/p>\n\u003cp>The museum decided to leave blank spaces for each withdrawn work in \u003ci>California Jewish Open\u003c/i> to symbolize the artists’ missing perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The California Jewish Artists for Palestine logo by Kate Laster. 8″ x 8″, papercut and spray paint on paper, 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, in their \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeOWWGnFBIJXA3fxzPTQF37Z4UiZ_zLn1AD2D9EHBqMy_scOw/viewform?fbclid=PAZXh0bgNhZW0CMTEAAabyFGLy6wMPDWZS96NC18Ebm1z98u1v0aTc-oRtiG1KCRfFd6LsMH4o4Qc_aem_AXYWPGw-BlJ4J8Yh-wfiJvZR-WJi-j8qvnp3ROR33hRwt6swvv-7O3X8a5bl0Sa5LEpzJF0E-KpC-6UWWeaCO_YB\">May 10 open letter\u003c/a>, California Jewish Artists for Palestine urged the public to refocus on Palestinians in Gaza, over \u003ca href=\"https://www.npr.org/2024/05/28/g-s1-1361/rafah-gaza-israel\">36,000 of whom\u003c/a> have been killed by Israeli forces since Oct. 7, according to the health ministry in Gaza. Eighty-five percent of Gaza’s population has been displaced, and the United Nations has warned that 1.1 million people are facing catastrophic levels of hunger.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine and Jewish Voice for Peace will begin their \u003ca href=\"https://www.instagram.com/p/C7m40XvyYc9/?hl=en\">protest outside the Contemporary Jewish Museum\u003c/a> at 5:30 p.m. on June 6.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Contemporary Jewish Museum’s \u003ca href=\"https://www.thecjm.org/programs/1354\">opening for ‘California Jewish Open’\u003c/a> takes place June 6, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Oakland Potluck and Group Show for Humanitarian Efforts in Gaza",
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"content": "\u003cp>Artists and food industry figures, including chef Reem Assil, artist Jeffrey Cheung and local eatery Tacos Oscar, will come together this Saturday at Clay Clubhouse in Oakland’s Dimond District to raise money for Palestinian humanitarian efforts.\u003c/p>\n\u003cp>“We want to make sure Palestine is recognized for all the beauty and art it brings to the world, even as people are trying to erase it,” said co-organizer Sam Sundos.\u003c/p>\n\u003cp>[aside postID='arts_13928345']As the number of people killed in Gaza in the ongoing Israeli military offensive reaches over 35,0000, fundraiser organizers \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">Michelle Nazzal\u003c/a>, an Oakland chef, and \u003ca href=\"https://www.instagram.com/sabri/?hl=en\">Sundos\u003c/a>, a Brooklyn artist, say they wanted to bring together other chefs and artists who’ve been vocal about it. To honor those folks, they’ve named the event “Aswat,” which means “voices” in Arabic.\u003c/p>\n\u003cp>“Seeing people really educating themselves about what’s happening in Palestine and speaking up — it really means a lot,” Nazzal said. “And we really wanted to keep the focus on Palestinians, who are trying to figure out how to leave or stay there and build a life.”\u003c/p>\n\u003cp>The fundraiser takes the form of a group show and a community potluck. All proceeds from art sales will go to \u003ca href=\"https://docs.google.com/document/u/0/d/19BVbPh9eNmzfqJGM2qeG2UhNLyPIHtLURZnZSA7vkR0/mobilebasic\">Gaza Mutual Aid Solidarity\u003c/a>, a volunteer mutual aid group which helps families in Gaza to meet basic needs, says Sundos. Nazzal and Sundos have framed the event as a “micro-fundraiser,” and hope to inspire others in the community to follow suit.\u003c/p>\n\u003cfigure id=\"attachment_13957901\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg\" alt=\"\" width=\"481\" height=\"622\" class=\"size-full wp-image-13957901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720-160x207.jpg 160w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">San Sundos, one of the organizers of ‘Aswat.’ \u003ccite>(Farah Alimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mutual aid fund we’re contributing to is working directly with people in Gaza,” Nazzal said. “A micro-fundraiser means it’s more grassroots — it means the community coming together to raise whatever money they can.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an effort to make supporting Palestine more accessible, the duo asked the artists to price their work between $100 and $300.\u003c/p>\n\u003cp>“I think it lowers the barrier of entry,” Sundos said. “We’re opening the doors for anyone who wants to come in.”\u003c/p>\n\u003cp>[aside postID='arts_13956017']Sundos, who’s traveling from New York to the Bay for the event, will lead a workshop on traditional Palestinian embroidery called tatreez for Saturday’s event, and is selling one of his embroidery pieces in the show. Nazzal, who runs the Palestinian food pop-up in Oakland Mishmish, will give a talk about food sovereignty and will make stuffed grape leaves, hummus and labna made from cashews for the potluck.\u003c/p>\n\u003cp>Nazzal and Sundos both have deep family history in the Palestinian region. Pro-Israeli forces expelled Sundos’ family from Palestine in 1948, alongside \u003ca href=\"https://www.pbs.org/newshour/world/palestinians-mark-the-nakba-the-original-catastrophe-of-mass-expulsion\">700,000 other Palestinians\u003c/a>, he says. Rallying their community around their shared culture and shedding light on the ongoing atrocities are the central themes of “Aswat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The connections I’ve made through fundraising actions for families in Gaza have been super heartwarming, especially with artists and chefs who already have a hard time scraping by,” Sundos said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the number of people killed in Gaza in the ongoing Israeli military offensive reaches over 35,0000, fundraiser organizers \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">Michelle Nazzal\u003c/a>, an Oakland chef, and \u003ca href=\"https://www.instagram.com/sabri/?hl=en\">Sundos\u003c/a>, a Brooklyn artist, say they wanted to bring together other chefs and artists who’ve been vocal about it. To honor those folks, they’ve named the event “Aswat,” which means “voices” in Arabic.\u003c/p>\n\u003cp>“Seeing people really educating themselves about what’s happening in Palestine and speaking up — it really means a lot,” Nazzal said. “And we really wanted to keep the focus on Palestinians, who are trying to figure out how to leave or stay there and build a life.”\u003c/p>\n\u003cp>The fundraiser takes the form of a group show and a community potluck. All proceeds from art sales will go to \u003ca href=\"https://docs.google.com/document/u/0/d/19BVbPh9eNmzfqJGM2qeG2UhNLyPIHtLURZnZSA7vkR0/mobilebasic\">Gaza Mutual Aid Solidarity\u003c/a>, a volunteer mutual aid group which helps families in Gaza to meet basic needs, says Sundos. Nazzal and Sundos have framed the event as a “micro-fundraiser,” and hope to inspire others in the community to follow suit.\u003c/p>\n\u003cfigure id=\"attachment_13957901\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg\" alt=\"\" width=\"481\" height=\"622\" class=\"size-full wp-image-13957901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720.jpg 481w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/000379840017_720-160x207.jpg 160w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">San Sundos, one of the organizers of ‘Aswat.’ \u003ccite>(Farah Alimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The mutual aid fund we’re contributing to is working directly with people in Gaza,” Nazzal said. “A micro-fundraiser means it’s more grassroots — it means the community coming together to raise whatever money they can.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sundos, who’s traveling from New York to the Bay for the event, will lead a workshop on traditional Palestinian embroidery called tatreez for Saturday’s event, and is selling one of his embroidery pieces in the show. Nazzal, who runs the Palestinian food pop-up in Oakland Mishmish, will give a talk about food sovereignty and will make stuffed grape leaves, hummus and labna made from cashews for the potluck.\u003c/p>\n\u003cp>Nazzal and Sundos both have deep family history in the Palestinian region. Pro-Israeli forces expelled Sundos’ family from Palestine in 1948, alongside \u003ca href=\"https://www.pbs.org/newshour/world/palestinians-mark-the-nakba-the-original-catastrophe-of-mass-expulsion\">700,000 other Palestinians\u003c/a>, he says. Rallying their community around their shared culture and shedding light on the ongoing atrocities are the central themes of “Aswat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The connections I’ve made through fundraising actions for families in Gaza have been super heartwarming, especially with artists and chefs who already have a hard time scraping by,” Sundos said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter",
"headTitle": "SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED",
"content": "\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. [aside postid='arts_13952460,arts_13954119']\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza",
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"content": "\u003cp>Printmakers, protest photographers and jewelry makers will sell work this Sunday at an art show with proceeds going to the Middle East Children’s Alliance.\u003c/p>\n\u003cp>Oakland photographer Ashley Salaz and artist Nicole Gervacio say that the show, \u003cem>\u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Artists Rising: Oakland to Palestine\u003c/a>\u003c/em>, is grounded in Indigenous artistry and solidarity with Palestine. Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>[aside postID='arts_13939726']“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>[aside postID='arts_13940325']One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation",
"headTitle": "An Embattled YBCA to Reopen Amid Censorship Accusations, CEO’s Resignation | KQED",
"content": "\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. [aside label='More YBCA Coverage' postid='arts_13953653,arts_13953032,arts_13952460']\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "YBCA's galleries have been closed for a month following a pro-Palestinian protest by exhibiting artists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">closing its galleries\u003c/a> for a month, following a Feb. 15 protest where artists modified their own artworks with pro-Palestinian messages, \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts (YBCA)\u003c/a> made the \u003ca href=\"https://ybca.org/ban9-exhibition-reopening-announcement/\">unexpected announcement\u003c/a> Wednesday night that it will reopen its \u003ci>Bay Area Now 9\u003c/i> exhibition with the altered artworks intact — accompanied by disclaimers that they represent the artists’ views, not YBCA’s — starting Friday, March 15. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite members of our community to join us in engaging with the exhibition, considering the significance of the alterations and participating in thoughtful reflection and discourse,” reads the statement from the embattled art center’s board of directors.\u003c/p>\n\u003cp>YBCA, which receives city funding, has faced accusations of censorship from artists, \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">its own staff\u003c/a> and San Francisco Supervisor Hillary Ronen, who last week called for an April hearing about the prolonged closure.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">Interim CEO Sarah Fenske Bahat resigned\u003c/a> on March 3 as a result of the fallout, citing “antisemitic backlash” in a letter to the board of directors. The board has not yet hired a new chief executive. (Bahat and Board Chair Renuka Kher did not accept KQED’s request for an interview.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">At the Feb. 15 protest\u003c/a>, activists unfurled a Palestinian flag from a balcony overlooking the main gallery and made speeches while eight artists modified their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit, painting and draping signs with messages like “Ceasefire Now!” and “Viva Palestina.”\u003c/p>\n\u003cfigure id=\"attachment_13952457\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg\" alt=\"an overhead view of a museum gallery full of artworks, with a Palestinian flag hanging to the right\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-17-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators calling for a ceasefire in Gaza alter art during protest at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The protest occurred in response to YBCA preventing artist Lukaza Branfman-Verissimo from including the phrase “Free Palestine” in a museum marquee above Branfman-Verissimo’s outdoor mural; YBCA also rejected Jeff Cheung’s design for an outdoor piece that exclusively used the colors of the Palestinian flag (in the final work, a small grouping of red, green and black figures appear in a rainbow-colored display).\u003c/p>\n\u003cp>The eight protesting artists — who now call themselves \u003ca href=\"https://www.instagram.com/b.a.a.a.g/\">Bay Area Artists Against Genocide, or B.A.A.A.G.\u003c/a> — have presented a list of demands for YBCA. It includes a call to join the \u003ca href=\"https://bdsmovement.net/pacbi/cultural-boycott-guidelines\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), which aims to prevent international institutions from collaborating with Israeli institutions as part of the Boycott, Divestment, Sanctions (BDS) movement.\u003c/p>\n\u003cp>The artists also called for a removal of “Zionist board members and funders.” In several subsequent statements, Fenske Bahat and YBCA’s board called the artists’ demands hateful and divisive — a charge the artists have denied.\u003c/p>\n\u003cp>“We’re fighting for the right to speak against genocide because we believe in love,” said artist Paz G. “That’s what this is about.”\u003c/p>\n\u003cfigure id=\"attachment_13952453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg\" alt=\"A sculpture of a boat is covered in a drape of white and red, with notecards surrounding on the wooden floor below\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-05-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Art by champoy is altered during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YBCA’s reopening announcement drew mixed emotions from B.A.A.A.G. artists, who want YBCA’s board to create an advisory committee of artists so that the institution’s policies can better reflect the community. B.A.A.A.G. artists also say they were in talks about meeting with Fenske Bahat before she resigned, and that they have not yet met with the board.\u003c/p>\n\u003cp>“While we are excited, in a way, for the community to see the show … we are also wanting to make sure that we continue to pressure and hold YBCA accountable for the other demands that we have on our list,” said Branfman-Verissimo.\u003c/p>\n\u003cp>Artist Sholeh Asgary took issue with YBCA’s reopening statement, which refers to “the Israel–Hamas war.” Asgary and other artists and activists refer to Israel’s military offensive in Gaza — which has killed over 30,000 Palestinians and displaced 2.2 million more, many of whom are women and children, according to Gaza’s Ministry of Health — not as a war, but as a genocide. “Our cultural narrative is very important right now and always has been,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstrators chant during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before YBCA resumes its regular Wednesday–Sunday hours starting March 15, B.A.A.A.G. artists have invited the public to a March 14 event outside of YBCA from 5:30–8:30 p.m. Artists will screen print event-goers’ tote bags and T-shirts with designs by Cheung and Branfman-Verissimo, and project short films by Palestinian filmmakers onto the building in a program curated by Asgary and Dena Al-Adeeb. Films include Mona Hatoum’s \u003ci>So Much I Want to Say\u003c/i> and Jackie Reem Salloum’s \u003ci>Planet of the Arabs\u003c/i>.\u003c/p>\n\u003cp>“We’re taking back the outside of YBCA in an attempt to create a space for connection and care,” Paz G said. “We’re providing something that YBCA can’t do.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\u003c/div>",
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"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
