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"title": "YBCA CEO Resigns After Pro-Palestinian Protest and Boycott",
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"content": "\u003cp>In the wake of \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">protests\u003c/a>, censorship accusations and \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">calls for a boycott\u003c/a> at Yerba Buena Center for the Arts (YBCA), museum interim CEO Sara Fenske Bahat has resigned, the museum’s spokesperson confirmed. [aside label='More YBCA Coverage' postid='arts_13953032,arts_13952460']\u003c/p>\n\u003cp>“As a direct result of the events of February 15th and its unending repercussions, I am offering this official notice to immediately resign my position as CEO of YBCA,” Fenske Bahat wrote in a March 3 letter to the art center’s board of directors.\u003c/p>\n\u003cp>Fenske Bahat’s resignation arrived as San Francisco County Supervisor Hillary Ronen called for a special hearing to look into the publicly funded arts institution, whose galleries have remained closed since an initial Feb. 15 protest three weeks ago.\u003c/p>\n\u003cp>During the protest, called Love Letter to Gaza, eight participating artists in YBCA’s \u003cem>Bay Area Now 9\u003c/em> exhibition modified their own works with pro-Palestinian messages. The artists organized the protest in collaboration with Jewish Voice for Peace, U.S. Palestinian Community Network and other groups.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Honestly, we are disappointed to hear that Sara Fenske Bahat has chosen to resign before meeting with us,” Paz G, an artist who co-organized the protest, told KQED. “Our hope was that YBCA, as a public institution, would take this as an opportunity to be in dialogue, learn from and be accountable to the communities that YBCA is supposed to serve. As a collective we firmly believe in transformative justice, and are really sad to hear that resigning and relinquishing all responsibilities was the CEO’s only response.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Public support of the artists has grown since the Feb. 15 protest. On Feb. 27, a group of YBCA staff published an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">open letter in support of the artists\u003c/a>, which has since been signed by nearly 600 people, including high-profile figures like Emory Douglas and San Francisco Poet Laureate Tongo Eisen-Martin.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Given [that YBCA is] supposed to be a public institution that has nonprofit status, I believe its responsibility is to allow these conversations to happen without interfering as much as they have been,” said artist My-Linh Le, a \u003ca href=\"https://www.kqed.org/arts/13895904/yerba-buena-center-for-the-arts-announces-ybca-10-program\">YBCA 10 fellow\u003c/a> who signed the letter. \u003c/span>\u003c/p>\n\u003cp>At the March 5 Board of Supervisors meeting, Ronen referred to YBCA’s actions as censorship. “Instead of making room for perspectives of these artists, YBCA, which promoted the exhibit as showcasing diverse voices, responded alarmingly by shutting down the exhibit,” Ronen said. “These actions translate into no field trips for our high school students and canceled film, dance and art performances for the public at large. It is also concerning to me that all the censored artists are people of color.”\u003c/p>\n\u003cp>Sheila Chung Hagen, Ronen’s legislative aide, told KQED that the hearing will likely take place in early April.\u003c/p>\n\u003cp>Abby Margulies, YBCA’s publicist, told KQED that an interim CEO has not been named, and it is still unknown when the museum will reopen. She said museum leadership still plans to meet with the Love Letter to Gaza artists.\u003c/p>\n\u003cp>In response to Fenske Bahat’s resignation, YBCA’s board of directors published a statement that condemned the Feb. 15 protest, and specifically the artists’ call to “remove Zionist board members and funders.”\u003c/p>\n\u003cp>“That is not art. That isn’t protest. That is simply wrong and unacceptable,” the letter reads.\u003c/p>\n\u003cp>A previous statement from YBCA leadership charged the artists with ethnic and religious discrimination, which protest organizers denied.\u003c/p>\n\u003cp>“This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” artist Paz G said in a previous interview with KQED, adding that Zionism is a political ideology and not a religion or ethnicity.\u003c/p>\n\u003cp>In her resignation letter, Fenske Bahat predicted that protesters “will claim victory over my leaving.”\u003c/p>\n\u003cp>“The vitriolic and anti-Semitic backlash directed at me personally since that night nearly three weeks ago has made being here intolerable,” she wrote. “I no longer feel safe in our own space, including due to the actions of some of our own employees.”\u003c/p>\n\u003cp>On March 14 at 5:30 p.m., the Love Letter to Gaza artists plan a public program outside of YBCA, where they will screen print protest posters. They have reached out to the museum’s board for a meeting, and are calling for YBCA to reopen the \u003cem>Bay Area Now 9\u003c/em> exhibition with the altered artworks intact.\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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">protests\u003c/a>, censorship accusations and \u003ca href=\"https://www.kqed.org/arts/13953032/ybca-pro-palestinian-artist-protest-censorship-allegations-boycott\">calls for a boycott\u003c/a> at Yerba Buena Center for the Arts (YBCA), museum interim CEO Sara Fenske Bahat has resigned, the museum’s spokesperson confirmed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As a direct result of the events of February 15th and its unending repercussions, I am offering this official notice to immediately resign my position as CEO of YBCA,” Fenske Bahat wrote in a March 3 letter to the art center’s board of directors.\u003c/p>\n\u003cp>Fenske Bahat’s resignation arrived as San Francisco County Supervisor Hillary Ronen called for a special hearing to look into the publicly funded arts institution, whose galleries have remained closed since an initial Feb. 15 protest three weeks ago.\u003c/p>\n\u003cp>During the protest, called Love Letter to Gaza, eight participating artists in YBCA’s \u003cem>Bay Area Now 9\u003c/em> exhibition modified their own works with pro-Palestinian messages. The artists organized the protest in collaboration with Jewish Voice for Peace, U.S. Palestinian Community Network and other groups.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Honestly, we are disappointed to hear that Sara Fenske Bahat has chosen to resign before meeting with us,” Paz G, an artist who co-organized the protest, told KQED. “Our hope was that YBCA, as a public institution, would take this as an opportunity to be in dialogue, learn from and be accountable to the communities that YBCA is supposed to serve. As a collective we firmly believe in transformative justice, and are really sad to hear that resigning and relinquishing all responsibilities was the CEO’s only response.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Public support of the artists has grown since the Feb. 15 protest. On Feb. 27, a group of YBCA staff published an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">open letter in support of the artists\u003c/a>, which has since been signed by nearly 600 people, including high-profile figures like Emory Douglas and San Francisco Poet Laureate Tongo Eisen-Martin.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Given [that YBCA is] supposed to be a public institution that has nonprofit status, I believe its responsibility is to allow these conversations to happen without interfering as much as they have been,” said artist My-Linh Le, a \u003ca href=\"https://www.kqed.org/arts/13895904/yerba-buena-center-for-the-arts-announces-ybca-10-program\">YBCA 10 fellow\u003c/a> who signed the letter. \u003c/span>\u003c/p>\n\u003cp>At the March 5 Board of Supervisors meeting, Ronen referred to YBCA’s actions as censorship. “Instead of making room for perspectives of these artists, YBCA, which promoted the exhibit as showcasing diverse voices, responded alarmingly by shutting down the exhibit,” Ronen said. “These actions translate into no field trips for our high school students and canceled film, dance and art performances for the public at large. It is also concerning to me that all the censored artists are people of color.”\u003c/p>\n\u003cp>Sheila Chung Hagen, Ronen’s legislative aide, told KQED that the hearing will likely take place in early April.\u003c/p>\n\u003cp>Abby Margulies, YBCA’s publicist, told KQED that an interim CEO has not been named, and it is still unknown when the museum will reopen. She said museum leadership still plans to meet with the Love Letter to Gaza artists.\u003c/p>\n\u003cp>In response to Fenske Bahat’s resignation, YBCA’s board of directors published a statement that condemned the Feb. 15 protest, and specifically the artists’ call to “remove Zionist board members and funders.”\u003c/p>\n\u003cp>“That is not art. That isn’t protest. That is simply wrong and unacceptable,” the letter reads.\u003c/p>\n\u003cp>A previous statement from YBCA leadership charged the artists with ethnic and religious discrimination, which protest organizers denied.\u003c/p>\n\u003cp>“This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” artist Paz G said in a previous interview with KQED, adding that Zionism is a political ideology and not a religion or ethnicity.\u003c/p>\n\u003cp>In her resignation letter, Fenske Bahat predicted that protesters “will claim victory over my leaving.”\u003c/p>\n\u003cp>“The vitriolic and anti-Semitic backlash directed at me personally since that night nearly three weeks ago has made being here intolerable,” she wrote. “I no longer feel safe in our own space, including due to the actions of some of our own employees.”\u003c/p>\n\u003cp>On March 14 at 5:30 p.m., the Love Letter to Gaza artists plan a public program outside of YBCA, where they will screen print protest posters. They have reached out to the museum’s board for a meeting, and are calling for YBCA to reopen the \u003cem>Bay Area Now 9\u003c/em> exhibition with the altered artworks intact.\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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship",
"headTitle": "YBCA Gallery Remains Closed; Pro-Palestinian Artists Claim Censorship | KQED",
"content": "\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. [aside label='YBCA Updates' postid='arts_13953653,arts_13952460']\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris 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>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators 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>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren 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>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>[ad floatright]\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>\n\n",
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"excerpt": "Eight artists are calling for a boycott of the San Francisco museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a Feb. 15 protest in which artists altered their own exhibited works with pro-Palestinian messages at the Yerba Buena Center for the Arts (YBCA) in San Francisco, YBCA’s galleries remain closed with no reopening date in sight.\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">eight protesting artists\u003c/a> along with \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">15 current museum employees\u003c/a> decried YBCA’s actions as censorship in two Feb. 26 open letters, and the artists have called for a boycott of the museum. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the demonstration, artists draped banners and painted over their own work in the museum’s \u003ci>Bay Area Now 9\u003c/i> (\u003ci>BAN 9\u003c/i>) exhibition. As they modified their pieces, Palestinian, Arab and Jewish community organizers gave speeches calling for a ceasefire in Gaza and accused YBCA of censoring pro-Palestinian messages.\u003c/p>\n\u003cp>“I refuse to be told that I cannot speak to the Palestinian struggle or genocide in my public programming, as I believe that Palestinian liberation means liberation for all,” said artist and protest co-organizer Paz G, in an interview on Monday. Paz G spray painted their ceramic sculpture with the words “Viva Palestina — Free Palestine” during the protest.\u003c/p>\n\u003cp>“Saying no to genocide does not feel radical to me, and it doesn’t feel problematic, and it doesn’t feel divisive,” Paz G added.\u003c/p>\n\u003cfigure id=\"attachment_13953034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-11-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Courtney Desiree Morris 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>Fellow organizer Lukaza Branfman-Verissimo, who currently has an outdoor installation on YBCA’s Third Street wall, also expressed disappointment at the museum’s decision. “So much of this action was not only to call for the museum to call for a ceasefire and to acknowledge this genocide and to end censorship, but also to demand that the museum commit to the lifelong work of standing with the Palestinian people,” Branfman-Verissimo said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 24, YBCA CEO Sara Fenske Bahat emailed the eight protesting artists to indicate that their works would be de-installed on Monday, Feb. 26, and that she would be available for “curatorial conversations” one-on-one beforehand, according to an email reviewed by KQED. The artists requested more time in order to coordinate a meeting with Fenske Bahat as a collective.\u003c/p>\n\u003cp>Though Fenske Bahat declined an interview request, she emailed KQED a statement through a spokesperson: “We are eager to meet with [the artists] to have a meaningful conversation and hear how they would like to present their works. … All of the artworks remain in the gallery as they were, as we were hoping to have a conversation with the artists before moving forward. We don’t yet have a firm date for the reopening of the galleries.”\u003c/p>\n\u003cp>On Feb. 21, YBCA published its first \u003ca href=\"https://ybca.org/statement-on-2-15-protest/\">public statement about the protest\u003c/a>, underscoring the institution’s refusal to take a public stance on Israel’s military offensive in Gaza, the death toll of which is expected to \u003ca href=\"https://www.theguardian.com/world/2024/feb/25/gaza-death-toll-set-to-pass-30000-as-israel-prepares-assault-on-rafah\">rise above 30,000 this week\u003c/a>. “If YBCA has refrained from lending its voice to any side, it has been so that our many stakeholders can hold theirs,” the statement read.\u003c/p>\n\u003cp>YBCA’s statement also referred to the artists’ protest tactics as “polarizing” and “disruptive,” and asserted that ignoring the protest would set a “dangerous precedent”: “We risk descending into a world where cooperative curation and community building is governed by chaos, and the public is left wondering if visits to view artists’ works will be marred by disruption.”\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo characterized YBCA’s statement as a distraction.\u003c/p>\n\u003cp>“It’s a tactic used for political repression to paint us as these violent, dangerous protesters and not speak to the meat of the issue, which is that there is a genocide happening in Palestine,” Paz G said.\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"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, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators 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>The \u003ci>BAN 9\u003c/i> artists’ accusations of censorship go back to an incident from December 2023, when YBCA prevented Branfman-Verissimo from including the words “Free Palestine” on its outdoor marquee. The museum had previously used that display space for protest slogans in support of movements such as Black Lives Matter and Woman Life Freedom. Fellow \u003ci>BAN 9\u003c/i> artist Jeff Cheung also accused the museum of preventing him from using the colors of the Palestinian flag in an outdoor mural, which Fenske Bahat denied.\u003c/p>\n\u003cp>Now, the protesting artists say that YBCA’s removal of the modified artworks amounts to further censorship. Fenske Bahat did not address questions from KQED about why the institution views the pro-Palestinian movement differently from other social justice movements such as \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter, which the museum endorsed\u003c/a> with an official statement on its website in 2020.\u003c/p>\n\u003cp>“They are out of touch with the community they claim to represent and serve,” Paz G said, noting that the cities of San Francisco, Oakland and Richmond have adopted resolutions calling for a ceasefire in Gaza, and that tens of thousands of Bay Area protesters have mobilized around the issue. Paz G and Branfman-Verissimo said over 2,200 people have emailed YBCA supporting the artist protest through a form that the artists set up.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren 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>During the Feb. 15 demonstration, protesters passed out flyers with demands, two of which called for YBCA to join the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI), and to “remove all Zionist funders and board members,” without naming specific people.\u003c/p>\n\u003cp>“Such language is neither productive nor tolerable,” reads the YBCA statement in response, which also refers to protest demands as amounting to a call for “illegal, identity-based discrimination.”\u003c/p>\n\u003cp>Protest organizers denied this charge, and pointed out that Zionism is a political ideology, not a religion or ethnicity. “This is a tactic that is being used against people fighting for a ceasefire and to end the genocide in Palestine. … We’re being essentially painted as anti-Semitic,” Paz G said.\u003c/p>\n\u003cp>“There have been hundreds of organizations nationwide that have stood with PACBI,” said Branfman-Verissimo, who is Jewish. Activists from Jewish Voice for Peace also joined the Feb. 15 demonstration among Palestinian groups such as the U.S. Palestinian Community Network.\u003c/p>\n\u003cp>Paz G and Branfman-Verissimo said the eight artists hope to meet with YBCA leadership this week. In addition to protest demands, they will ask YBCA to create an artist advisory board so that it can better serve public interests. Until then, they are asking the public not to support the institution.\u003c/p>\n\u003cp>“[It’s] a way for YBCA to move forward and to show the Bay area that they stand with us, that they care,” Paz G said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest",
"headTitle": "Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest | KQED",
"content": "\u003cp>Eight artists painted and draped pro-Palestinian messages over their own work during an event at the \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">Yerba Buena Center for the Arts\u003c/a> (YBCA) on Thursday evening as part of a surprise protest to demand the museum show support, publicly and institutionally, for the people of Gaza. [aside label='YBCA Updates' postid='arts_13953653,arts_13953032']\u003c/p>\n\u003cp>At the event, titled \u003ca href=\"https://ybca.org/event/love-letter-to-soma/\">A Love Letter to SOMA\u003c/a>, protesters unfurled a sign reading “Stop Funding Genocide” as several artists currently featured in the museum’s \u003ci>Bay Area Now 9\u003c/i> group show began to alter their pieces on display.\u003c/p>\n\u003cp>Ceramic artist Paz G spray painted their sculpture \u003cem>You Have a Broken Heart\u003c/em> in bright pink letters reading “Viva Palestina — Free Palestine.” Jeffrey Cheung, whose colorful, large-scale paintings of abstracted nude forms hang in the main gallery, hung a sign reading “Ceasefire Now!” over his works.\u003c/p>\n\u003cfigure id=\"attachment_13952454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg\" alt='A black ceramic sculpture in a shallow pool is covered with pink spray paint reading \"Viva Palestina - Free Palestine\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Paz G altered their work with spray paint that says ‘Viva Palestina – Free Palestine,’ calling for a ceasefire in Gaza during a 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 at YBCA comes during a week in which pro-Palestinian demonstrators \u003ca href=\"https://www.artforum.com/news/pro-palestine-demonstrators-take-message-to-museums-549239/\">disrupted programming at other high-profile arts institutions\u003c/a>. A reported 800 people flooded New York’s Museum of Modern Art with pro-Palestinian chants and flyers, causing security to shut down the galleries within 15 minutes. Other protests have occurred at the Brooklyn Museum and Jewish Museum in New York, the British Museum in London, and the Hamburger Bahnhof museum in Berlin.\u003c/p>\n\u003cp>At YBCA, the artist champoy, along with several people wearing masks and keffiyehs, turned champoy’s boat sculpture into an altar for Gazan people killed in Israeli airstrikes, with their names and ages written on notecards. Tracy Ren laid a banner on their wool rug installation that read “No more blood money — ceasefire now.”\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 scultupre 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>Other artists who modified their works included Sholeh Asgary, Courtney Desiree Morris and Leila Weefur.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, protestors from several Bay Area activist groups — including Jewish Voice for Peace, Palestinian Feminist Collective, U.S. Palestinian Communities Network and Palestinian Youth Movement — addressed the crowd through a megaphone.\u003c/p>\n\u003cp>“Art is a universal language meant to speak out against injustice. The institution of art, just like every U.S. corporation, is aligned with the state of Israel,” said Palestinian American muralist Chris Gazaleh. “As an artist, I use my art to educate about my people. Artists in general — we need to speak out against what is happening. It is our duty.”\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>“We’ve come to tell San Francisco and the people of Yerba Buena that we’re not gonna stop,” said Maisa Morrar of Palestinian Feminist Collective. “We’re gonna show up in your art exhibits, at the Academy of Sciences, at the Golden Gate Bridge, at the Bay Bridge, at the Federal Building — we’re gonna be there. This genocide is one too many lives lost.”\u003c/p>\n\u003cp>The protest took place as the death toll in Gaza, according to Gaza’s Health Ministry, climbs to upwards of 28,000, including 12,300 children and 8,400 women.\u003c/p>\n\u003cp>When approached at the museum for comment, YBCA’s head of art and public programs Amy Kisch directed inquiries to Lauren Macmadu, head of external relations, in attendance nearby.\u003c/p>\n\u003cp>“We really want to be a space where we can support the community and bring people together to have open conversations,” Macmadu said, adding that she was not prepared to discuss the specifics of the protesters’ demands.\u003c/p>\n\u003cfigure id=\"attachment_13952465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Chris Gazaleh speaks 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>During the protest, activists passed out flyers with the heading “Love Letter to Gaza” that contained a list of demands for YBCA leadership — firstly, that the museum join the Palestinian Campaign for the Academic and Cultural Boycott of Israel, which calls for international cultural institutions and universities to refrain from working with Israeli institutions. Without naming examples, the flyer also demands that YBCA “stop censoring artists’ language, work and programming that involves and centers Palestinian liberation.”\u003c/p>\n\u003cp>When reached by phone, exhibiting artist Lukaza Branfman-Verissimo — who helped coordinate the protest, but was not in attendance — told KQED that in 2023, YBCA had prevented them from including the words “Free Palestine” on the building’s orange marquee as part of their outdoor installation commissioned by the museum. YBCA has previously displayed messages on the marquee \u003ca href=\"https://www.instagram.com/ybca/p/CtkentCvY-8/\">supporting Iran’s Woman Life Freedom movement\u003c/a> and \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter\u003c/a>.\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>In a Dec. 20 email reviewed by KQED, Kisch told Branfman-Verissimo that YBCA “will not be able to include mention of Palestine on the marquee,” citing YBCA’s 501(c)(3) status, as well as its position in the SOMA neighborhood, directly across from the Contemporary Jewish Museum.\u003c/p>\n\u003cp>Asked for comment over email, YBCA CEO Sara Fenske Bahat replied that throughout the process with Branfman-Verissimo, “YBCA remained committed to exploring options to highlight their advocacy work through programming and/or on other platforms. Lukaza did not respond to our offer, but continued to collaborate on the installation of their mural.” (Branfman-Verissimo disputed this characterization in a follow-up interview.)\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren 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>Fenske Bahat also noted that YBCA did not interrupt or attempt to stop Thursday night’s protest, and reiterated the museum’s commitment to serving as a safe gathering space for people of different identities and viewpoints. She did not address a KQED inquiry about YBCA’s decision to display marquee messages for Black Lives Matter and Iran’s Woman Life Freedom Movement while refusing a message in support of Palestinians.\u003c/p>\n\u003cp>“As you might imagine, in our own curatorial and programming decisions we need to carefully weigh whether we are in fact contributing to deeper division, something we actively seek not to do, while striving to ensure different perspectives are heard,” she wrote. “To date, we are not aware of any accusations that any \u003cem>BAN9\u003c/em> artists have been mistreated by our team.”\u003c/p>\n\u003cp>For their part, the artists who altered their own exhibition work are primarily asking YBCA to make a statement of solidarity with the Palestinian people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We invite YBCA to join us in this fight for Palestinian liberation,” Branfman-Verissimo said. “And make sure that they know that the artists that they’re working with are keeping an eye on them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the event, titled \u003ca href=\"https://ybca.org/event/love-letter-to-soma/\">A Love Letter to SOMA\u003c/a>, protesters unfurled a sign reading “Stop Funding Genocide” as several artists currently featured in the museum’s \u003ci>Bay Area Now 9\u003c/i> group show began to alter their pieces on display.\u003c/p>\n\u003cp>Ceramic artist Paz G spray painted their sculpture \u003cem>You Have a Broken Heart\u003c/em> in bright pink letters reading “Viva Palestina — Free Palestine.” Jeffrey Cheung, whose colorful, large-scale paintings of abstracted nude forms hang in the main gallery, hung a sign reading “Ceasefire Now!” over his works.\u003c/p>\n\u003cfigure id=\"attachment_13952454\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg\" alt='A black ceramic sculpture in a shallow pool is covered with pink spray paint reading \"Viva Palestina - Free Palestine\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-14-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Paz G altered their work with spray paint that says ‘Viva Palestina – Free Palestine,’ calling for a ceasefire in Gaza during a 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 at YBCA comes during a week in which pro-Palestinian demonstrators \u003ca href=\"https://www.artforum.com/news/pro-palestine-demonstrators-take-message-to-museums-549239/\">disrupted programming at other high-profile arts institutions\u003c/a>. A reported 800 people flooded New York’s Museum of Modern Art with pro-Palestinian chants and flyers, causing security to shut down the galleries within 15 minutes. Other protests have occurred at the Brooklyn Museum and Jewish Museum in New York, the British Museum in London, and the Hamburger Bahnhof museum in Berlin.\u003c/p>\n\u003cp>At YBCA, the artist champoy, along with several people wearing masks and keffiyehs, turned champoy’s boat sculpture into an altar for Gazan people killed in Israeli airstrikes, with their names and ages written on notecards. Tracy Ren laid a banner on their wool rug installation that read “No more blood money — ceasefire now.”\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 scultupre 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>Other artists who modified their works included Sholeh Asgary, Courtney Desiree Morris and Leila Weefur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, protestors from several Bay Area activist groups — including Jewish Voice for Peace, Palestinian Feminist Collective, U.S. Palestinian Communities Network and Palestinian Youth Movement — addressed the crowd through a megaphone.\u003c/p>\n\u003cp>“Art is a universal language meant to speak out against injustice. The institution of art, just like every U.S. corporation, is aligned with the state of Israel,” said Palestinian American muralist Chris Gazaleh. “As an artist, I use my art to educate about my people. Artists in general — we need to speak out against what is happening. It is our duty.”\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>“We’ve come to tell San Francisco and the people of Yerba Buena that we’re not gonna stop,” said Maisa Morrar of Palestinian Feminist Collective. “We’re gonna show up in your art exhibits, at the Academy of Sciences, at the Golden Gate Bridge, at the Bay Bridge, at the Federal Building — we’re gonna be there. This genocide is one too many lives lost.”\u003c/p>\n\u003cp>The protest took place as the death toll in Gaza, according to Gaza’s Health Ministry, climbs to upwards of 28,000, including 12,300 children and 8,400 women.\u003c/p>\n\u003cp>When approached at the museum for comment, YBCA’s head of art and public programs Amy Kisch directed inquiries to Lauren Macmadu, head of external relations, in attendance nearby.\u003c/p>\n\u003cp>“We really want to be a space where we can support the community and bring people together to have open conversations,” Macmadu said, adding that she was not prepared to discuss the specifics of the protesters’ demands.\u003c/p>\n\u003cfigure id=\"attachment_13952465\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952465\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-06-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Chris Gazaleh speaks 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>During the protest, activists passed out flyers with the heading “Love Letter to Gaza” that contained a list of demands for YBCA leadership — firstly, that the museum join the Palestinian Campaign for the Academic and Cultural Boycott of Israel, which calls for international cultural institutions and universities to refrain from working with Israeli institutions. Without naming examples, the flyer also demands that YBCA “stop censoring artists’ language, work and programming that involves and centers Palestinian liberation.”\u003c/p>\n\u003cp>When reached by phone, exhibiting artist Lukaza Branfman-Verissimo — who helped coordinate the protest, but was not in attendance — told KQED that in 2023, YBCA had prevented them from including the words “Free Palestine” on the building’s orange marquee as part of their outdoor installation commissioned by the museum. YBCA has previously displayed messages on the marquee \u003ca href=\"https://www.instagram.com/ybca/p/CtkentCvY-8/\">supporting Iran’s Woman Life Freedom movement\u003c/a> and \u003ca href=\"https://ybca.org/2020-black-lives-matter/\">Black Lives Matter\u003c/a>.\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>In a Dec. 20 email reviewed by KQED, Kisch told Branfman-Verissimo that YBCA “will not be able to include mention of Palestine on the marquee,” citing YBCA’s 501(c)(3) status, as well as its position in the SOMA neighborhood, directly across from the Contemporary Jewish Museum.\u003c/p>\n\u003cp>Asked for comment over email, YBCA CEO Sara Fenske Bahat replied that throughout the process with Branfman-Verissimo, “YBCA remained committed to exploring options to highlight their advocacy work through programming and/or on other platforms. Lukaza did not respond to our offer, but continued to collaborate on the installation of their mural.” (Branfman-Verissimo disputed this characterization in a follow-up interview.)\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren 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>Fenske Bahat also noted that YBCA did not interrupt or attempt to stop Thursday night’s protest, and reiterated the museum’s commitment to serving as a safe gathering space for people of different identities and viewpoints. She did not address a KQED inquiry about YBCA’s decision to display marquee messages for Black Lives Matter and Iran’s Woman Life Freedom Movement while refusing a message in support of Palestinians.\u003c/p>\n\u003cp>“As you might imagine, in our own curatorial and programming decisions we need to carefully weigh whether we are in fact contributing to deeper division, something we actively seek not to do, while striving to ensure different perspectives are heard,” she wrote. “To date, we are not aware of any accusations that any \u003cem>BAN9\u003c/em> artists have been mistreated by our team.”\u003c/p>\n\u003cp>For their part, the artists who altered their own exhibition work are primarily asking YBCA to make a statement of solidarity with the Palestinian people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We invite YBCA to join us in this fight for Palestinian liberation,” Branfman-Verissimo said. “And make sure that they know that the artists that they’re working with are keeping an eye on them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance",
"title": "Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?",
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"headTitle": "Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance? | KQED",
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"content": "\u003cp>His hair is like a hedgehog, his feet are bare, his clothes are rags and his back is to the world always. His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>[aside postid='arts_13940282']As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>[aside postid='arts_13937170']“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>[aside postid='arts_13937219']Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His hair is like a hedgehog, his feet are bare, his clothes are rags and his back is to the world always. His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event",
"headTitle": "Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event | KQED",
"content": "\u003cp>For months, Bay Area artists have been vocal about the ongoing humanitarian crisis in Gaza. Indie folk singers have \u003ca href=\"https://www.kqed.org/arts/13940325/mixtape-for-palestine-meca-benefit-compilation\">sold mixtapes\u003c/a> to provide aid to Palestinian children, silkscreen artists have distributed \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">hand-printed protest signs\u003c/a>, and queer DJs and drag performers have \u003ca href=\"https://www.kqed.org/news/11969701/this-is-resistance-how-queer-palestinian-artists-and-activists-in-the-bay-area-are-making-themselves-heard\">organized street protests\u003c/a>. Through it all, members of the local food community and literary scene have been especially outspoken.\u003c/p>\n\u003cp>To wit, \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s\u003c/a>, the much-lauded Mission District Arab bakery, will host a Gaza fundraiser and ceasefire letter-writing event tonight with a notable literary bent: \u003ca href=\"https://www.instagram.com/p/C2kvdWhPM7W/?hl=en\">Many of the Bay Area’s most celebrated writers\u003c/a> — including, quite possibly, \u003ci>your\u003c/i> favorite writer — will be on hand to help champion the cause.\u003c/p>\n\u003cp>Among those attending are Pulitzer and National Book Award–nominated memoirist \u003ca href=\"https://www.kqed.org/forum/2010101890081/ingrid-rojas-contreras-new-memoir-explores-amnesia-family-history-and-ghosts\">Ingrid Rojas Contreras\u003c/a>; acclaimed novelists \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">Esmé Weijun Wang\u003c/a>, R.O. Kwon and Jamil Jan Kochai; anti-capitalist thinker \u003ca href=\"https://www.kqed.org/arts/13855917/in-how-to-do-nothing-a-simple-near-impossible-challenge\">Jenny Odell\u003c/a>; superstar children’s author \u003ca href=\"https://www.kqed.org/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism\">Maggie Takuda-Hall\u003c/a>; and more. It’s a rare opportunity for Bay Area book lovers to hang out in a casual setting with \u003ci>so much\u003c/i> literary talent in one room.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13940325,arts_13915986']\u003c/span>The main focus of the event will be for attendees to spend an hour or two writing letters to their state and federal representatives (on postcards provided by City Lights Bookstore), demanding that they push for a ceasefire in Gaza. As an added perk, chef Reem Assil’s team will serve pastries, mezzes and drinks to everyone who attends. (Assil’s \u003ca href=\"https://www.hospitality-for-humanity.com/\">Hospitality for Humanity\u003c/a> — a pledge signed by food and beverage workers calling for a ceasefire in Gaza — is probably the most \u003ca href=\"https://www.eater.com/23942299/hospitality-for-humanity-palestine-israel-hamas-war-interview-reem-assil\">prominent ceasefire advocacy group\u003c/a>, nationally, within the food industry.)\u003c/p>\n\u003cp>The letter-writing campaign comes as the Israeli military’s siege of Gaza rapidly approaches its fourth month, with a death toll of \u003ca href=\"https://www.npr.org/2024/01/21/1225883522/palestinian-death-toll-soars-past-25-000-in-gaza-with-no-end-to-war-in-sight\">more than 25,000 Palestinians\u003c/a> in the aftermath of Hamas’ Oct. 7 attack, which killed approximately \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-01-21-2024-02caafa092668ecc7ff122229c166807\">1,200 Israelis\u003c/a> and took another 250 hostage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets can be purchased in the form of a donation of at least $5 to a fundraiser, organized by Rojas Contreras, benefitting World Central Kitchen’s operations to \u003ca href=\"https://www.instagram.com/p/C2qdkwev4Pg/\">provide hot meals\u003c/a> to Palestinians on the ground in Gaza.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.instagram.com/p/C2kvdWhPM7W/\">letter-writing event\u003c/a> at Reem’s (2901 Mission St., San Francisco) takes place on Monday, Jan. 29, from 5–7 p.m. The entry fee is a \u003ca href=\"https://www.gofundme.com/f/ceasefire-fundraising-for-world-central-kitchen?utm_campaign=unknown&utm_content=undefined&utm_medium=referral&utm_source=linktr.ee\">donation of at least $5\u003c/a> to World Central Kitchen’s relief efforts in Gaza.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For months, Bay Area artists have been vocal about the ongoing humanitarian crisis in Gaza. Indie folk singers have \u003ca href=\"https://www.kqed.org/arts/13940325/mixtape-for-palestine-meca-benefit-compilation\">sold mixtapes\u003c/a> to provide aid to Palestinian children, silkscreen artists have distributed \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">hand-printed protest signs\u003c/a>, and queer DJs and drag performers have \u003ca href=\"https://www.kqed.org/news/11969701/this-is-resistance-how-queer-palestinian-artists-and-activists-in-the-bay-area-are-making-themselves-heard\">organized street protests\u003c/a>. Through it all, members of the local food community and literary scene have been especially outspoken.\u003c/p>\n\u003cp>To wit, \u003ca href=\"https://www.instagram.com/reemscalifornia/?hl=en\">Reem’s\u003c/a>, the much-lauded Mission District Arab bakery, will host a Gaza fundraiser and ceasefire letter-writing event tonight with a notable literary bent: \u003ca href=\"https://www.instagram.com/p/C2kvdWhPM7W/?hl=en\">Many of the Bay Area’s most celebrated writers\u003c/a> — including, quite possibly, \u003ci>your\u003c/i> favorite writer — will be on hand to help champion the cause.\u003c/p>\n\u003cp>Among those attending are Pulitzer and National Book Award–nominated memoirist \u003ca href=\"https://www.kqed.org/forum/2010101890081/ingrid-rojas-contreras-new-memoir-explores-amnesia-family-history-and-ghosts\">Ingrid Rojas Contreras\u003c/a>; acclaimed novelists \u003ca href=\"https://www.kqed.org/arts/13897684/pandemic-taiwanese-food-liangs-village\">Esmé Weijun Wang\u003c/a>, R.O. Kwon and Jamil Jan Kochai; anti-capitalist thinker \u003ca href=\"https://www.kqed.org/arts/13855917/in-how-to-do-nothing-a-simple-near-impossible-challenge\">Jenny Odell\u003c/a>; superstar children’s author \u003ca href=\"https://www.kqed.org/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism\">Maggie Takuda-Hall\u003c/a>; and more. It’s a rare opportunity for Bay Area book lovers to hang out in a casual setting with \u003ci>so much\u003c/i> literary talent in one room.\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>The main focus of the event will be for attendees to spend an hour or two writing letters to their state and federal representatives (on postcards provided by City Lights Bookstore), demanding that they push for a ceasefire in Gaza. As an added perk, chef Reem Assil’s team will serve pastries, mezzes and drinks to everyone who attends. (Assil’s \u003ca href=\"https://www.hospitality-for-humanity.com/\">Hospitality for Humanity\u003c/a> — a pledge signed by food and beverage workers calling for a ceasefire in Gaza — is probably the most \u003ca href=\"https://www.eater.com/23942299/hospitality-for-humanity-palestine-israel-hamas-war-interview-reem-assil\">prominent ceasefire advocacy group\u003c/a>, nationally, within the food industry.)\u003c/p>\n\u003cp>The letter-writing campaign comes as the Israeli military’s siege of Gaza rapidly approaches its fourth month, with a death toll of \u003ca href=\"https://www.npr.org/2024/01/21/1225883522/palestinian-death-toll-soars-past-25-000-in-gaza-with-no-end-to-war-in-sight\">more than 25,000 Palestinians\u003c/a> in the aftermath of Hamas’ Oct. 7 attack, which killed approximately \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-01-21-2024-02caafa092668ecc7ff122229c166807\">1,200 Israelis\u003c/a> and took another 250 hostage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets can be purchased in the form of a donation of at least $5 to a fundraiser, organized by Rojas Contreras, benefitting World Central Kitchen’s operations to \u003ca href=\"https://www.instagram.com/p/C2qdkwev4Pg/\">provide hot meals\u003c/a> to Palestinians on the ground in Gaza.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.instagram.com/p/C2kvdWhPM7W/\">letter-writing event\u003c/a> at Reem’s (2901 Mission St., San Francisco) takes place on Monday, Jan. 29, from 5–7 p.m. The entry fee is a \u003ca href=\"https://www.gofundme.com/f/ceasefire-fundraising-for-world-central-kitchen?utm_campaign=unknown&utm_content=undefined&utm_medium=referral&utm_source=linktr.ee\">donation of at least $5\u003c/a> to World Central Kitchen’s relief efforts in Gaza.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Artists Against Genocide’ Aims to Educate, Heal and Mobilize in SF",
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"content": "\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>[aside postid='news_11972100']But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over 400 Bay Area artists and cultural workers have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">signed a letter\u003c/a> pledging solidarity with the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), an activism effort that has been part of the Boycott, Divestment and Sanctions (BDS) movement since 2004.\u003c/p>\n\u003cp>“We recognize the genocide the Palestinian people are currently facing, and the ongoing violence they have experienced over the last century under the Zionist colonial project and establishment of Israel on Palestinian land,” the letter reads.\u003c/p>\n\u003cp>Spearheaded by poet Justin Ebrahemi and others, the letter says it comes as a response to Bay Area arts institutions’ lack of solidarity statements with Palestine. (Full disclosure: Ebrahemi served as KQED Arts & Culture’s engagement manager between 2021 and 2022.)\u003c/p>\n\u003cp>The Palestinian health ministry has reported at least 12,700 people have been killed by Israeli air and ground assaults since Oct. 7, when Hamas killed over 1,200 people in Israel and kidnapped around 240. In the midst of the Israeli offensive, it has become increasingly difficult, the \u003ca href=\"https://apnews.com/article/palestinians-israel-health-ministry-gaza-hamas-fe30cbc76479fa437d5f5a0e96c36e52\">Associated Press reports\u003c/a>, for Palestinian health officials to accurately count the dead. Today, amid the \u003ca href=\"https://www.pbs.org/newshour/world/analysis-how-bad-is-the-humanitarian-crisis-in-gaza-amid-the-israel-hamas-war\">ongoing humanitarian crisis in Gaza\u003c/a>, Israel and Hamas agreed to \u003ca href=\"https://apnews.com/article/israel-hamas-war-ceasefire-what-to-know-af1cfbc9dcaa1485ed7a9efaca7ec2b7\">a four-day ceasefire\u003c/a>.\u003c/p>\n\u003cp>The artists’ letter specifies that PACBI is not a boycott of individuals based on their national, ethnic or religious origin, but rather a call to refuse collaborations with Israeli institutions and universities. [aside postid='arts_13937219,news_11967763']\u003c/p>\n\u003cp>Among the signatures are prominent names like Unity Skateboarding’s Jeff Cheung, experimental musician and filmmaker Sofía Córdova, artist and Stanford lecturer Leila Weefur, and musician La Doña. San Francisco arts space \u003ca href=\"https://www.instagram.com/p/Cz9EqYWrJdS/\">CounterPulse\u003c/a> issued its own solidarity statement, as did the queer performing arts collective \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=2\">Rupture\u003c/a>.\u003c/p>\n\u003cp>These artists signed the letter even as prominent creatives across the country face backlash for pro-Palestinian speech. \u003ca href=\"https://www.nytimes.com/2023/11/21/business/susan-sarandon-dropped-talent-agency.html\">Academy Award-winning actor Susan Sarandon\u003c/a> was dropped by her talent agency for her comments at a recent rally, and Pulitzer Prize-winning author \u003ca href=\"https://www.nytimes.com/2023/10/21/arts/92ny-viet-thanh-nguyen-israel.html\">Viet Thanh Nguyen was uninvited\u003c/a> from a literary event last month after signing a letter criticizing Israel.\u003c/p>\n\u003cp>“We acknowledge a public boycott of Israel may jeopardize foundation and donor relationships, artist opportunities, and staff positions,” the letter concludes. “Regardless of this risk, we implore the Bay Area arts community to stand up for Palestinian life and liberation, and help reverse the course of oppression and genocide as part of the global Free Palestinian movement.” [ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 400 Bay Area artists and cultural workers have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">signed a letter\u003c/a> pledging solidarity with the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI), an activism effort that has been part of the Boycott, Divestment and Sanctions (BDS) movement since 2004.\u003c/p>\n\u003cp>“We recognize the genocide the Palestinian people are currently facing, and the ongoing violence they have experienced over the last century under the Zionist colonial project and establishment of Israel on Palestinian land,” the letter reads.\u003c/p>\n\u003cp>Spearheaded by poet Justin Ebrahemi and others, the letter says it comes as a response to Bay Area arts institutions’ lack of solidarity statements with Palestine. (Full disclosure: Ebrahemi served as KQED Arts & Culture’s engagement manager between 2021 and 2022.)\u003c/p>\n\u003cp>The Palestinian health ministry has reported at least 12,700 people have been killed by Israeli air and ground assaults since Oct. 7, when Hamas killed over 1,200 people in Israel and kidnapped around 240. In the midst of the Israeli offensive, it has become increasingly difficult, the \u003ca href=\"https://apnews.com/article/palestinians-israel-health-ministry-gaza-hamas-fe30cbc76479fa437d5f5a0e96c36e52\">Associated Press reports\u003c/a>, for Palestinian health officials to accurately count the dead. Today, amid the \u003ca href=\"https://www.pbs.org/newshour/world/analysis-how-bad-is-the-humanitarian-crisis-in-gaza-amid-the-israel-hamas-war\">ongoing humanitarian crisis in Gaza\u003c/a>, Israel and Hamas agreed to \u003ca href=\"https://apnews.com/article/israel-hamas-war-ceasefire-what-to-know-af1cfbc9dcaa1485ed7a9efaca7ec2b7\">a four-day ceasefire\u003c/a>.\u003c/p>\n\u003cp>The artists’ letter specifies that PACBI is not a boycott of individuals based on their national, ethnic or religious origin, but rather a call to refuse collaborations with Israeli institutions and universities. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the signatures are prominent names like Unity Skateboarding’s Jeff Cheung, experimental musician and filmmaker Sofía Córdova, artist and Stanford lecturer Leila Weefur, and musician La Doña. San Francisco arts space \u003ca href=\"https://www.instagram.com/p/Cz9EqYWrJdS/\">CounterPulse\u003c/a> issued its own solidarity statement, as did the queer performing arts collective \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=2\">Rupture\u003c/a>.\u003c/p>\n\u003cp>These artists signed the letter even as prominent creatives across the country face backlash for pro-Palestinian speech. \u003ca href=\"https://www.nytimes.com/2023/11/21/business/susan-sarandon-dropped-talent-agency.html\">Academy Award-winning actor Susan Sarandon\u003c/a> was dropped by her talent agency for her comments at a recent rally, and Pulitzer Prize-winning author \u003ca href=\"https://www.nytimes.com/2023/10/21/arts/92ny-viet-thanh-nguyen-israel.html\">Viet Thanh Nguyen was uninvited\u003c/a> from a literary event last month after signing a letter criticizing Israel.\u003c/p>\n\u003cp>“We acknowledge a public boycott of Israel may jeopardize foundation and donor relationships, artist opportunities, and staff positions,” the letter concludes. “Regardless of this risk, we implore the Bay Area arts community to stand up for Palestinian life and liberation, and help reverse the course of oppression and genocide as part of the global Free Palestinian movement.” \u003c/p>\u003c/div>",
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"title": "Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening",
"headTitle": "Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening | KQED",
"content": "\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Two events on Nov. 17 seek to amplify Palestinian voices and provide an entry point for people looking to get involved. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists Raise $13,000 for Palestinian Children’s Relief Fund",
"headTitle": "Bay Area Artists Raise $13,000 for Palestinian Children’s Relief Fund | KQED",
"content": "\u003cp>“All my homies throw down for Palestine,” said Palestinian-Lebanese American singer \u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/\">Camellia Boutros\u003c/a> on stage at Oakland’s Continental Club on Oct. 29. “Everyone in this audience here today, even if we don’t know each other, we’re all friends and family because we’re all here sharing space, sharing joy and love and grief and anger and in solidarity with Palestine. And it’s so meaningful.”\u003c/p>\n\u003cp>As Boutros and her band launched into an up-tempo, psych-rock version of the Palestinian folk song “Wein a Ramallah,” which the musician described as an international symbol of resistance, the multicultural audience of nearly 500 20- and 30-somethings clapped along and danced. Yet there were also tears and heartbroken embraces at the For Palestine fundraiser, which collected $13,000 for the charity \u003ca href=\"https://www.pcrf.net/\">Palestinian Children’s Relief Fund\u003c/a>, co-organizer Janan Barance told KQED.\u003c/p>\n\u003cp>[aside postid='arts_13937170']For the past three weeks, thousands of Bay Area residents have taken to the streets to protest Israel’s attacks on Gaza, which have \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-10-29-2023-de1a7d660ba2f6d80b3d7aeaae5bb0f3\">killed over 8,000 Palestinians\u003c/a> — many of them women and children. While supporters of Israel maintain it has a right to defend itself after an attack by Hamas militants on Oct. 7 that killed 1,400 Israeli civilians, with 200 more taken hostage, a U.N. expert and other observers say Israel’s response amounts to a “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">mass ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>As global calls for a ceasefire and humanitarian aid to Gaza continue to mount, Sunday’s \u003ca href=\"https://www.instagram.com/p/Cy8vG7MrTjV/\">For Palestine fundraiser\u003c/a> was Bay Area artists’ largest show in recent weeks of solidarity with Palestinians, who human rights groups like Amnesty International say have been \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2022/02/israels-system-of-apartheid/\">living under apartheid conditions\u003c/a> for decades.\u003c/p>\n\u003cp>The For Palestine fundraiser followed a long tradition in Bay Area activism of cross-cultural solidarity against colonialism. In the decades since the Black Panthers, Third World Liberation Front and other social movements of the 1960s, local artists like filmmaker Boots Riley, muralist Refa One and rapper Equipto have echoed that message. Following in their footsteps on stage at the Continental Club Sunday, a younger generation of performers connected the struggles of Palestinians, the original Ohlone inhabitants of the Bay Area and Black Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is occupied land,” said Palestinian American poet \u003ca href=\"https://www.instagram.com/yaffasutopia/\">Mx. Yaffa\u003c/a>, an organizer at the \u003ca href=\"https://www.themasgd.org/\">Muslim Alliance for Sexual and Gender Diversity\u003c/a>. “This has been Palestine for over 400 years.”\u003c/p>\n\u003cfigure id=\"attachment_13937232\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg\" alt=\"Two Palestinian drag performers wearing feminine clothing and makeup speak on stage.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mama Ganuush (left) and Mx. Yaffa speak at For Palestine, a fundraiser in support of Palestinian Children’s Relief Fund, at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The state that is capitalizing on the killing and imprisonment of Black people is capitalizing and benefiting on the killing of the Palestinian people as well,” said Oakland experimental musician \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">Aroma\u003c/a>, who organized the For Palestine fundraiser with Barance and fellow musician \u003ca href=\"https://www.instagram.com/astu.music/\">Astu\u003c/a>. “The apathy towards their death and their pain and their outcries, the gaslighting that they experience … I feel like I resonate with that as a Black person.”\u003c/p>\n\u003cp>On the screen behind performers, photos flashed of Bay Area protesters holding signs of Mexican, Ukrainian and Jewish solidarity with Palestinians. Barance, who is Palestinian American, said she’s never seen so much multicultural support for Palestinian rights until this month. “We always say people are liberal until it comes to Palestine,” she said of people’s reluctance to comment on the issue.\u003c/p>\n\u003cfigure id=\"attachment_13937234\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Aroma, Janan Barance and Astu, the organizers of the For Palestine event, pose for a portrait at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, mainstream American media has long described Israel’s blockade of Gaza and occupation of the West Bank as a \u003ca href=\"https://www.theguardian.com/world/2023/oct/11/israel-palestine-war-biden-zelenskiy\">conflict\u003c/a> with two equal sides. Human rights groups, meanwhile, have warned that Israel’s systemic displacement, segregation and restriction of voting rights of Palestinians amounts to apartheid. Human Rights Watch has called Gaza “\u003ca href=\"https://www.hrw.org/news/2022/06/14/gaza-israels-open-air-prison-15\">Israel’s open-air prison\u003c/a>” due to poor living conditions and heavy travel restrictions, and since Oct. 7, Israel has \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">blocked aid\u003c/a> and \u003ca href=\"https://www.aljazeera.com/news/2023/10/11/gaza-faces-humanitarian-catastrophe-as-sole-power-plant-runs-out-of-fuel\">cut off electricity\u003c/a> and \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">internet access\u003c/a> in Gaza.\u003c/p>\n\u003cp>After Oct. 20, when President Biden called for \u003ca href=\"https://www.cnn.com/2023/10/20/politics/us-israel-ukraine-aid-package/index.html\">$14.3 billion in aid to Israel\u003c/a>, many Americans have spoken out against U.S. support for the Israeli military. (Cumulatively, Israel has received \u003ca href=\"https://sgp.fas.org/crs/mideast/RL33222.pdf\">more U.S. assistance than any other country since World War II\u003c/a>.)\u003c/p>\n\u003cp>“The more people know, the less uncomfortable they feel about talking about it, knowing that it’s not about a political issue, but about our human rights,” Barance said.\u003c/p>\n\u003cfigure id=\"attachment_13937225\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg\" alt=\"A woman in the audience closes her eyes while listening to a concert.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Katina Castillo listens to Astu perform at the For Palestine fundraiser on Sunday, Oct. 29, 2023. Castillo said the event helped her process her emotions. ‘It’s been very difficult for me to find the space and the time to do the release that I really need to do,’ Castillo said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Continental Club, Palestinian American drag performer Mama Ganuush shared appalling details from their family history, detailing how Israeli settlers murdered their father’s siblings in the 1940s. “The Minister of Defense of Israel called Palestinians ‘\u003ca href=\"https://www.huffpost.com/entry/israel-defense-minister-human-animals-gaza-palestine_n_6524220ae4b09f4b8d412e0a\">human animals\u003c/a>’ two weeks ago,” said Mama Ganuush, imploring the audience to call their representatives and advocate for a ceasefire in Gaza. “This is what the Nazis called Jewish folks.”\u003c/p>\n\u003cp>Grief was heavy in the air at times throughout the event, but there was also hope and solidarity in the room. “The posts are great, calling Congress is great, but we have to go \u003cem>here\u003c/em>,” Astu said on stage during her performance, gesturing to her heart. “Most of us come from genocide, and we just have been brainwashed to forget.”\u003c/p>\n\u003cp>To bring the energy up, poet \u003ca href=\"https://www.instagram.com/atayqueen/\">Sarah O’Neal\u003c/a> led the audience in a chant she learned in 2014 after protesting Mike Brown’s killing in Ferguson, Missouri: “We must love each other and protect each other. We have nothing to lose but our chains. I believe that we will win.”\u003c/p>\n\u003cp>As the evening came to a close, headliner \u003ca href=\"https://empire.ffm.to/peacewithoutfreedom\">Sammy Shiblaq\u003c/a>, a Palestinian American rapper signed to EMPIRE, ended the night with a message of unity. “It’s about \u003cem>all\u003c/em> of us,” he said. “We can’t just focus on one group of Palestinians. It’s the Muslim, the Christian, the Jewish Palestinians that no one talks about. … We love the Jewish people \u003cspan style=\"font-weight: 400\">— we don’t like what’s going on. We don’t like that Zionism has taken over the name of the Jewish people.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13937259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azadeh Amani attaches a handwritten note to a table the event organizers set up for guest to “release grief” and “share hopes.” Amani heard about the event through friends and knew she needed to attend. “I came because the Palestinian struggle has always been near to my heart,” Amani said. “To just bring my body here and say that this injustice is not invisible. It doesn’t happen silently. We don’t turn away.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include a quote from Sammy Shiblaq. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The benefit concert at Continental Club built on a long history of multicultural solidarity in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“All my homies throw down for Palestine,” said Palestinian-Lebanese American singer \u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/\">Camellia Boutros\u003c/a> on stage at Oakland’s Continental Club on Oct. 29. “Everyone in this audience here today, even if we don’t know each other, we’re all friends and family because we’re all here sharing space, sharing joy and love and grief and anger and in solidarity with Palestine. And it’s so meaningful.”\u003c/p>\n\u003cp>As Boutros and her band launched into an up-tempo, psych-rock version of the Palestinian folk song “Wein a Ramallah,” which the musician described as an international symbol of resistance, the multicultural audience of nearly 500 20- and 30-somethings clapped along and danced. Yet there were also tears and heartbroken embraces at the For Palestine fundraiser, which collected $13,000 for the charity \u003ca href=\"https://www.pcrf.net/\">Palestinian Children’s Relief Fund\u003c/a>, co-organizer Janan Barance told KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the past three weeks, thousands of Bay Area residents have taken to the streets to protest Israel’s attacks on Gaza, which have \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-10-29-2023-de1a7d660ba2f6d80b3d7aeaae5bb0f3\">killed over 8,000 Palestinians\u003c/a> — many of them women and children. While supporters of Israel maintain it has a right to defend itself after an attack by Hamas militants on Oct. 7 that killed 1,400 Israeli civilians, with 200 more taken hostage, a U.N. expert and other observers say Israel’s response amounts to a “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">mass ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>As global calls for a ceasefire and humanitarian aid to Gaza continue to mount, Sunday’s \u003ca href=\"https://www.instagram.com/p/Cy8vG7MrTjV/\">For Palestine fundraiser\u003c/a> was Bay Area artists’ largest show in recent weeks of solidarity with Palestinians, who human rights groups like Amnesty International say have been \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2022/02/israels-system-of-apartheid/\">living under apartheid conditions\u003c/a> for decades.\u003c/p>\n\u003cp>The For Palestine fundraiser followed a long tradition in Bay Area activism of cross-cultural solidarity against colonialism. In the decades since the Black Panthers, Third World Liberation Front and other social movements of the 1960s, local artists like filmmaker Boots Riley, muralist Refa One and rapper Equipto have echoed that message. Following in their footsteps on stage at the Continental Club Sunday, a younger generation of performers connected the struggles of Palestinians, the original Ohlone inhabitants of the Bay Area and Black Americans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is occupied land,” said Palestinian American poet \u003ca href=\"https://www.instagram.com/yaffasutopia/\">Mx. Yaffa\u003c/a>, an organizer at the \u003ca href=\"https://www.themasgd.org/\">Muslim Alliance for Sexual and Gender Diversity\u003c/a>. “This has been Palestine for over 400 years.”\u003c/p>\n\u003cfigure id=\"attachment_13937232\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg\" alt=\"Two Palestinian drag performers wearing feminine clothing and makeup speak on stage.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mama Ganuush (left) and Mx. Yaffa speak at For Palestine, a fundraiser in support of Palestinian Children’s Relief Fund, at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The state that is capitalizing on the killing and imprisonment of Black people is capitalizing and benefiting on the killing of the Palestinian people as well,” said Oakland experimental musician \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">Aroma\u003c/a>, who organized the For Palestine fundraiser with Barance and fellow musician \u003ca href=\"https://www.instagram.com/astu.music/\">Astu\u003c/a>. “The apathy towards their death and their pain and their outcries, the gaslighting that they experience … I feel like I resonate with that as a Black person.”\u003c/p>\n\u003cp>On the screen behind performers, photos flashed of Bay Area protesters holding signs of Mexican, Ukrainian and Jewish solidarity with Palestinians. Barance, who is Palestinian American, said she’s never seen so much multicultural support for Palestinian rights until this month. “We always say people are liberal until it comes to Palestine,” she said of people’s reluctance to comment on the issue.\u003c/p>\n\u003cfigure id=\"attachment_13937234\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Aroma, Janan Barance and Astu, the organizers of the For Palestine event, pose for a portrait at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, mainstream American media has long described Israel’s blockade of Gaza and occupation of the West Bank as a \u003ca href=\"https://www.theguardian.com/world/2023/oct/11/israel-palestine-war-biden-zelenskiy\">conflict\u003c/a> with two equal sides. Human rights groups, meanwhile, have warned that Israel’s systemic displacement, segregation and restriction of voting rights of Palestinians amounts to apartheid. Human Rights Watch has called Gaza “\u003ca href=\"https://www.hrw.org/news/2022/06/14/gaza-israels-open-air-prison-15\">Israel’s open-air prison\u003c/a>” due to poor living conditions and heavy travel restrictions, and since Oct. 7, Israel has \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">blocked aid\u003c/a> and \u003ca href=\"https://www.aljazeera.com/news/2023/10/11/gaza-faces-humanitarian-catastrophe-as-sole-power-plant-runs-out-of-fuel\">cut off electricity\u003c/a> and \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">internet access\u003c/a> in Gaza.\u003c/p>\n\u003cp>After Oct. 20, when President Biden called for \u003ca href=\"https://www.cnn.com/2023/10/20/politics/us-israel-ukraine-aid-package/index.html\">$14.3 billion in aid to Israel\u003c/a>, many Americans have spoken out against U.S. support for the Israeli military. (Cumulatively, Israel has received \u003ca href=\"https://sgp.fas.org/crs/mideast/RL33222.pdf\">more U.S. assistance than any other country since World War II\u003c/a>.)\u003c/p>\n\u003cp>“The more people know, the less uncomfortable they feel about talking about it, knowing that it’s not about a political issue, but about our human rights,” Barance said.\u003c/p>\n\u003cfigure id=\"attachment_13937225\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg\" alt=\"A woman in the audience closes her eyes while listening to a concert.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Katina Castillo listens to Astu perform at the For Palestine fundraiser on Sunday, Oct. 29, 2023. Castillo said the event helped her process her emotions. ‘It’s been very difficult for me to find the space and the time to do the release that I really need to do,’ Castillo said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Continental Club, Palestinian American drag performer Mama Ganuush shared appalling details from their family history, detailing how Israeli settlers murdered their father’s siblings in the 1940s. “The Minister of Defense of Israel called Palestinians ‘\u003ca href=\"https://www.huffpost.com/entry/israel-defense-minister-human-animals-gaza-palestine_n_6524220ae4b09f4b8d412e0a\">human animals\u003c/a>’ two weeks ago,” said Mama Ganuush, imploring the audience to call their representatives and advocate for a ceasefire in Gaza. “This is what the Nazis called Jewish folks.”\u003c/p>\n\u003cp>Grief was heavy in the air at times throughout the event, but there was also hope and solidarity in the room. “The posts are great, calling Congress is great, but we have to go \u003cem>here\u003c/em>,” Astu said on stage during her performance, gesturing to her heart. “Most of us come from genocide, and we just have been brainwashed to forget.”\u003c/p>\n\u003cp>To bring the energy up, poet \u003ca href=\"https://www.instagram.com/atayqueen/\">Sarah O’Neal\u003c/a> led the audience in a chant she learned in 2014 after protesting Mike Brown’s killing in Ferguson, Missouri: “We must love each other and protect each other. We have nothing to lose but our chains. I believe that we will win.”\u003c/p>\n\u003cp>As the evening came to a close, headliner \u003ca href=\"https://empire.ffm.to/peacewithoutfreedom\">Sammy Shiblaq\u003c/a>, a Palestinian American rapper signed to EMPIRE, ended the night with a message of unity. “It’s about \u003cem>all\u003c/em> of us,” he said. “We can’t just focus on one group of Palestinians. It’s the Muslim, the Christian, the Jewish Palestinians that no one talks about. … We love the Jewish people \u003cspan style=\"font-weight: 400\">— we don’t like what’s going on. We don’t like that Zionism has taken over the name of the Jewish people.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13937259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azadeh Amani attaches a handwritten note to a table the event organizers set up for guest to “release grief” and “share hopes.” Amani heard about the event through friends and knew she needed to attend. “I came because the Palestinian struggle has always been near to my heart,” Amani said. “To just bring my body here and say that this injustice is not invisible. It doesn’t happen silently. We don’t turn away.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\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 include a quote from Sammy Shiblaq. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Art of Protest in San Francisco: 5 Messages From the Gaza Rally",
"headTitle": "The Art of Protest in San Francisco: 5 Messages From the Gaza Rally | KQED",
"content": "\u003cp>Thousands of Bay Area residents marched through San Francisco on Saturday, calling for a cease-fire in Gaza and an end to U.S. aid to the Israeli military. Over the last three weeks, Israel’s attacks have killed over \u003ca href=\"https://www.reuters.com/world/middle-east/israel-presses-ground-campaign-against-hamas-second-stage-gaza-war-2023-10-28/\">8,000 people in Gaza\u003c/a>, according to health officials, in\u003cspan style=\"font-weight: 400\"> response to the Oct. 7 cross-border attack by Hamas militants that killed at least 1,400 people, with 200 more taken hostage\u003c/span>. Israel’s actions were \u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">described as “mass ethnic cleansing”\u003c/a> by a UN human rights expert earlier this month.\u003c/p>\n\u003cp>The most recent protests in the Bay Area have focused on an internet blackout in Gaza on Oct. 28 and America’s financial backing of Israel. \u003ca href=\"https://www.npr.org/2023/10/20/1206301577/biden-ukraine-israel-congress-funding-request#:~:text=Israel%3A%20%2414.3%20billion,military%20financing%20and%20embassy%20support.\">President Biden’s $14.3 billion promise\u003c/a> to Israel following Hamas attacks this month stirred backlash from advocates for people living in Gaza as Israel \u003ca href=\"https://apnews.com/article/israel-palestinians-gaza-airstrikes-region-e41b5b12e8cdf9db62395314d9a782b6\">moves closer to an all-out invasion\u003c/a>.[pullquote size=\"medium\" align=\"right\" citation=\"Favianna Rodriguez, Bay Area artist and President of the Center for Cultural Power\"]‘Effective protest art is art that names your values and expresses how you feel. And there are many ways that people can express outrage.’[/pullquote]\u003c/p>\n\u003cp>At demonstrations throughout the Bay Area, there have been DIY posters, spontaneous spray paint and artists passing out silkscreen prints expressing rage, grief and calls for a cease-fire.\u003c/p>\n\u003cp>Saturday’s “Stop the Genocide in Gaza” rally at the Embarcadero was no exception, organized by 15 organizations, including the Palestinian Youth Movement, the Arab Resource Center and the Jewish Voice for Peace. Under clear skies and temperate weather, organizers spoke to a dense crowd of 15,000 demonstrators, according to Wassim Hage, media coordinator for the Arab Resource Center.\u003c/p>\n\u003cp>“It’s important to emphasize that this escalation in Gaza did not happen in a vacuum,” Hage said. “We know that the violence and all of the killing that we see in Palestine is as a result of 75 years of settler colonial violence, 75 years of apartheid and 16 years of siege on Gaza.” [aside postid='arts_13937219']\u003c/p>\n\u003cp>Demonstrators held hundreds of posters, flags and banners. The immense crowd then marched onto Market Street and later flooded a quarter-mile stretch of San Francisco’s Central Freeway, \u003ca href=\"https://www.nbcbayarea.com/news/local/demonstrators-block-highway-101-san-francisco/3355147/\">blocking traffic for about 90 minutes\u003c/a>.\u003c/p>\n\u003cp>Bay Area artist and President of the Center for Cultural Power Favianna Rodriguez said that during any political action, it’s important to look at the posters and art of those protesting.\u003c/p>\n\u003cp>“I think effective protest art is art that names your values and expresses how you feel,” Rodriguez said. “And there are many ways that people can express outrage.”\u003c/p>\n\u003cfigure id=\"attachment_13937174\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-1-800x533.jpg\" alt=\"A woman stands with a sign saying: '‘Stop the Genocide in a Gaza’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Pereira, 39, holds a sign at the ‘Stop the Genocide in Gaza’ rally on Saturday, Oct. 28, at the Embarcadero in San Francisco. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Gaza goes dark, we are still watching’\u003c/h3>\n\u003cp>Andrea Pereira, 39, held a homemade cardboard sign decorated with motifs from the Palestinian scarf known as the keffiyeh with the words, “Gaza Goes Dark, We Are Still Watching.” Pereira said she made the sign after the \u003ca href=\"https://www.ochaopt.org/content/hostilities-gaza-strip-and-israel-flash-update-22\">blackout of communication\u003c/a> in Gaza. Israel has \u003ca href=\"https://www.ochaopt.org/content/hostilities-gaza-strip-and-israel-flash-update-4\">targeted and destroyed\u003c/a> the main telecommunication lines in Gaza, according to the United Nations.\u003c/p>\n\u003cp>“It was really upsetting yesterday when they cut off all communication,” Pereira said. “We’ve all been able to see what’s happening there on social media, and now we can’t, but we’re still holding people accountable.”\u003c/p>\n\u003cfigure id=\"attachment_13937175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-2-800x533.jpg\" alt=\"Two people stand holding a sign that says 'ceasefire.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rawan Zakout, 28, and Francisco Serna, 29, pose with their silkscreen print sign at the ‘Stop the Genocide in Gaza’ rally on Saturday, Oct. 28, at the Embarcadero. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hand-printed silkscreen: ‘Making by hand and sharing is like a prayer’\u003c/h3>\n\u003cp>While some opted for to-the-point signage, like one protester who carried a white poster board with the words “Shame On You Biden” written plainly in black marker, others like Rawan Zakout and Francisco Serna held elaborate silkscreen prints produced on the spot by San Francisco artist David Solnit. Zakout was wiping her fingertips of loose ink as she marched down Market Street with thousands of other demonstrators.\u003c/p>\n\u003cp>“We have family in Gaza, and even if we didn’t, we would be out here because this is not humane,” Zakout said. “A lot of our tax dollars go to it, so I feel like this is a good way for me to show what side I’m on.”\u003c/p>\n\u003cp>Solnit says he printed 150 of the posters with the help of his family amidst a chanting crowd.\u003c/p>\n\u003cp>“Making by hand and sharing is like a prayer,” he said. “And people can see it was made by our hands, not a machine.”\u003c/p>\n\u003cfigure id=\"attachment_13937176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937176\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-3-800x533.jpg\" alt=\"A woman holds a watermelon-shaped cookie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marlee Belmonte, 35, passes out watermelon-shaped cookies at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Watermelon-shaped cookies\u003c/h3>\n\u003cp>One protestor’s art form abandoned pen and paper altogether and instead drew on her culinary prowess as a chef. Marlee Belmonte passed out cookies shaped like slices of watermelon, a symbol of Palestinian resistance with \u003ca href=\"https://time.com/6326312/watermelon-palestinian-symbol-solidarity/\">origins\u003c/a> in 1967 when Israel seized Gaza and the West Bank and annexed East Jerusalem. After the Israeli government criminalized the Palestinian flag, the watermelon — with its familiar red, white and green composition — took on a new meaning.\u003c/p>\n\u003cp>“Art as a form of social justice and protest is extremely important because it’s a different way to literally — in this case — digest the fact that we need to put our whole bodies into protesting,” Belmonte said. “We need to give people a bite of sweetness while we’re in this moment, even though it is incredibly painful.”\u003c/p>\n\u003cfigure id=\"attachment_13937204\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-4.jpeg\" alt=\"An orange painted sign features the motif Handela, which is an image of a boy with his back turned. Bombs fly next to the character. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A protest sign with the motif Handela at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Oliva Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Handala: A motif of resistance\u003c/h3>\n\u003cp>Another motif of Palestinian resistance known as Handala was painted on a demonstrator’s post board. The character, created in 1969 by political cartoonist Naji al-Ali, has come to serve as a representation of identity and defiance. The character is 10 years old and barefoot with his back turned and hands clasped.\u003c/p>\n\u003cp>“I presented him to the poor and named him Handala as a symbol of bitterness,” wrote al-Ali, who was \u003ca href=\"https://www.theguardian.com/uk-news/2017/aug/29/police-reinvestigate-1987-london-of-palestinian-cartoonist-naji-salim-hussain-al-ali-\">killed in London in 1987\u003c/a>. “At first, he was a Palestinian child, but his consciousness developed to have a national and then a global and human horizon.”\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-5-800x533.jpg\" alt=\"A person stands holding a sign with a SF building in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art to express deep care\u003c/h3>\n\u003cp>For Soha Leach, art is a way of expressing deep care during a time of injustice. Leach found an open-source illustration online of what she understood to be a Palestinian child backdropped by Al-Aqsa Mosque in Jerusalem with doves flying over their head and brought it to the protest.\u003c/p>\n\u003cp>“I have family in Gaza I haven’t heard from,” she said. “And I’m devastated at the entire atrocity, but I’ve been thinking of the children who are born into captivity and destroyed before they even get an opportunity to learn or to love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Demonstrators called for a cease-fire in Gaza with artful and handmade signage — and some edible expressions of protest. Here’s what they had to say.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thousands of Bay Area residents marched through San Francisco on Saturday, calling for a cease-fire in Gaza and an end to U.S. aid to the Israeli military. Over the last three weeks, Israel’s attacks have killed over \u003ca href=\"https://www.reuters.com/world/middle-east/israel-presses-ground-campaign-against-hamas-second-stage-gaza-war-2023-10-28/\">8,000 people in Gaza\u003c/a>, according to health officials, in\u003cspan style=\"font-weight: 400\"> response to the Oct. 7 cross-border attack by Hamas militants that killed at least 1,400 people, with 200 more taken hostage\u003c/span>. Israel’s actions were \u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">described as “mass ethnic cleansing”\u003c/a> by a UN human rights expert earlier this month.\u003c/p>\n\u003cp>The most recent protests in the Bay Area have focused on an internet blackout in Gaza on Oct. 28 and America’s financial backing of Israel. \u003ca href=\"https://www.npr.org/2023/10/20/1206301577/biden-ukraine-israel-congress-funding-request#:~:text=Israel%3A%20%2414.3%20billion,military%20financing%20and%20embassy%20support.\">President Biden’s $14.3 billion promise\u003c/a> to Israel following Hamas attacks this month stirred backlash from advocates for people living in Gaza as Israel \u003ca href=\"https://apnews.com/article/israel-palestinians-gaza-airstrikes-region-e41b5b12e8cdf9db62395314d9a782b6\">moves closer to an all-out invasion\u003c/a>.\u003c/p>\u003c/div>",
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"content": "‘Effective protest art is art that names your values and expresses how you feel. And there are many ways that people can express outrage.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At demonstrations throughout the Bay Area, there have been DIY posters, spontaneous spray paint and artists passing out silkscreen prints expressing rage, grief and calls for a cease-fire.\u003c/p>\n\u003cp>Saturday’s “Stop the Genocide in Gaza” rally at the Embarcadero was no exception, organized by 15 organizations, including the Palestinian Youth Movement, the Arab Resource Center and the Jewish Voice for Peace. Under clear skies and temperate weather, organizers spoke to a dense crowd of 15,000 demonstrators, according to Wassim Hage, media coordinator for the Arab Resource Center.\u003c/p>\n\u003cp>“It’s important to emphasize that this escalation in Gaza did not happen in a vacuum,” Hage said. “We know that the violence and all of the killing that we see in Palestine is as a result of 75 years of settler colonial violence, 75 years of apartheid and 16 years of siege on Gaza.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Demonstrators held hundreds of posters, flags and banners. The immense crowd then marched onto Market Street and later flooded a quarter-mile stretch of San Francisco’s Central Freeway, \u003ca href=\"https://www.nbcbayarea.com/news/local/demonstrators-block-highway-101-san-francisco/3355147/\">blocking traffic for about 90 minutes\u003c/a>.\u003c/p>\n\u003cp>Bay Area artist and President of the Center for Cultural Power Favianna Rodriguez said that during any political action, it’s important to look at the posters and art of those protesting.\u003c/p>\n\u003cp>“I think effective protest art is art that names your values and expresses how you feel,” Rodriguez said. “And there are many ways that people can express outrage.”\u003c/p>\n\u003cfigure id=\"attachment_13937174\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-1-800x533.jpg\" alt=\"A woman stands with a sign saying: '‘Stop the Genocide in a Gaza’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrea Pereira, 39, holds a sign at the ‘Stop the Genocide in Gaza’ rally on Saturday, Oct. 28, at the Embarcadero in San Francisco. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Gaza goes dark, we are still watching’\u003c/h3>\n\u003cp>Andrea Pereira, 39, held a homemade cardboard sign decorated with motifs from the Palestinian scarf known as the keffiyeh with the words, “Gaza Goes Dark, We Are Still Watching.” Pereira said she made the sign after the \u003ca href=\"https://www.ochaopt.org/content/hostilities-gaza-strip-and-israel-flash-update-22\">blackout of communication\u003c/a> in Gaza. Israel has \u003ca href=\"https://www.ochaopt.org/content/hostilities-gaza-strip-and-israel-flash-update-4\">targeted and destroyed\u003c/a> the main telecommunication lines in Gaza, according to the United Nations.\u003c/p>\n\u003cp>“It was really upsetting yesterday when they cut off all communication,” Pereira said. “We’ve all been able to see what’s happening there on social media, and now we can’t, but we’re still holding people accountable.”\u003c/p>\n\u003cfigure id=\"attachment_13937175\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-2-800x533.jpg\" alt=\"Two people stand holding a sign that says 'ceasefire.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rawan Zakout, 28, and Francisco Serna, 29, pose with their silkscreen print sign at the ‘Stop the Genocide in Gaza’ rally on Saturday, Oct. 28, at the Embarcadero. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hand-printed silkscreen: ‘Making by hand and sharing is like a prayer’\u003c/h3>\n\u003cp>While some opted for to-the-point signage, like one protester who carried a white poster board with the words “Shame On You Biden” written plainly in black marker, others like Rawan Zakout and Francisco Serna held elaborate silkscreen prints produced on the spot by San Francisco artist David Solnit. Zakout was wiping her fingertips of loose ink as she marched down Market Street with thousands of other demonstrators.\u003c/p>\n\u003cp>“We have family in Gaza, and even if we didn’t, we would be out here because this is not humane,” Zakout said. “A lot of our tax dollars go to it, so I feel like this is a good way for me to show what side I’m on.”\u003c/p>\n\u003cp>Solnit says he printed 150 of the posters with the help of his family amidst a chanting crowd.\u003c/p>\n\u003cp>“Making by hand and sharing is like a prayer,” he said. “And people can see it was made by our hands, not a machine.”\u003c/p>\n\u003cfigure id=\"attachment_13937176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937176\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-3-800x533.jpg\" alt=\"A woman holds a watermelon-shaped cookie.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marlee Belmonte, 35, passes out watermelon-shaped cookies at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Watermelon-shaped cookies\u003c/h3>\n\u003cp>One protestor’s art form abandoned pen and paper altogether and instead drew on her culinary prowess as a chef. Marlee Belmonte passed out cookies shaped like slices of watermelon, a symbol of Palestinian resistance with \u003ca href=\"https://time.com/6326312/watermelon-palestinian-symbol-solidarity/\">origins\u003c/a> in 1967 when Israel seized Gaza and the West Bank and annexed East Jerusalem. After the Israeli government criminalized the Palestinian flag, the watermelon — with its familiar red, white and green composition — took on a new meaning.\u003c/p>\n\u003cp>“Art as a form of social justice and protest is extremely important because it’s a different way to literally — in this case — digest the fact that we need to put our whole bodies into protesting,” Belmonte said. “We need to give people a bite of sweetness while we’re in this moment, even though it is incredibly painful.”\u003c/p>\n\u003cfigure id=\"attachment_13937204\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-4.jpeg\" alt=\"An orange painted sign features the motif Handela, which is an image of a boy with his back turned. Bombs fly next to the character. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-4-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A protest sign with the motif Handela at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Oliva Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Handala: A motif of resistance\u003c/h3>\n\u003cp>Another motif of Palestinian resistance known as Handala was painted on a demonstrator’s post board. The character, created in 1969 by political cartoonist Naji al-Ali, has come to serve as a representation of identity and defiance. The character is 10 years old and barefoot with his back turned and hands clasped.\u003c/p>\n\u003cp>“I presented him to the poor and named him Handala as a symbol of bitterness,” wrote al-Ali, who was \u003ca href=\"https://www.theguardian.com/uk-news/2017/aug/29/police-reinvestigate-1987-london-of-palestinian-cartoonist-naji-salim-hussain-al-ali-\">killed in London in 1987\u003c/a>. “At first, he was a Palestinian child, but his consciousness developed to have a national and then a global and human horizon.”\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937172\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Image-5-800x533.jpg\" alt=\"A person stands holding a sign with a SF building in the background.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Art to express deep care\u003c/h3>\n\u003cp>For Soha Leach, art is a way of expressing deep care during a time of injustice. Leach found an open-source illustration online of what she understood to be a Palestinian child backdropped by Al-Aqsa Mosque in Jerusalem with doves flying over their head and brought it to the protest.\u003c/p>\n\u003cp>“I have family in Gaza I haven’t heard from,” she said. “And I’m devastated at the entire atrocity, but I’ve been thinking of the children who are born into captivity and destroyed before they even get an opportunity to learn or to love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! A Palestinian State of Mind at Arab Film Festival",
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"content": "\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n",
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"excerpt": "Tour Gaza with a pair of Irish filmmakers, and see Nazareth, Paris and New York through the eyes of the drily comic cinema laureate of Palestinian malaise, Elia Suleiman.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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