Clowns are a rare sight at the refugee camp in Jenin. This week, they were there to celebrate with the camp’s children the opening of al-Huria Theatre, established by Juliano Mer-Khamis in honour of his mother, Arna. Zakaria Zubeidi, number one on Israel’s most wanted list and one of Arna’s pupils, took part in the opening
Merav Yudilovitch, Jenin
In the middle of the refugee camp in Jenin, the al-Huria Theatre opened its doors this week. There is something surrealistic about a theatre that bears the name “freedom” while trapped in a civilian camp, sealed and surrounded. On the other hand, there is nothing better than art, imagination, and some would even say religion, to serve as a liberating refuge that allows the soul to overcome the intolerable existence in Jenin.
At the entrance to the city of Jenin, faces of assassinated leaders such as Sheikh Yassin and Abdel Aziz al-Rantissi stare at you from every wall, next to others “martyred” by will or by force.
There are a few posters and murals of martyrdom, featuring almond trees are seen in white bloom and women are seen walking along riverbanks, dressed in galabya and hijab. But these are the only drops of paint in the place.
A few minutes away, in the refugee camp, stands the theatre’s temporary home, inspired by the children’s homes in Jenin, founded by Arna Mar-Khamis in an attempt to respond the collapse of the official education system.
“There is no freedom without knowledge. There is no peace without freedom. Peace and freedom are inseparable,” said Arna, who succumbed to cancer in 1995. The educational system she created served dozens of children who attended English, mathematics, music, painting and theater classes.
Her activities earned her an alternative Nobel Prize from the Swedish parliament. Following her death and the subsequent escalation in the region due to the intifada, the centers halted their activities, leaving a gaping void in their place.
Back to Jenin
In 2002, after a round of fighting in Jenin and following an IDF blockade of the camp, Arna’s son, actor Juliano Mer-Khamis, returned to the camp for the first time since his mother’s death, on a quest to trace the fate of the children.
He found the scars of the intifada: Yussef and Nidal committed a suicide attack at a commercial centre in Hadera, Ashraf was killed by Israeli military fire during operation Defensive Shield, and Alaa, who became one of the leaders of the al-Aqsa Martyrs’ Brigades, found his death in battle.
Zakaria Zubeidi , whose childhood rooftop housed Arna’s first theatre, became the commander of the al-Aqsa Martyrs’ Brigades, a hero in camp, and the top name on Israel’s most-wanted list.
The renewed meeting was documented in the award-winning movie “Arna’s Children.” It also piqued the curiosity of artist Dror Feiler and Swedish peace activist Jonatan Stanczak. The two, activists with the “Jews for Israeli-Palestinian Peace” organization, presented Mar-Khamis with a renewed version of the theatre and the children’s homes, and raised funds for the project.
Only a little bit of money has been raised to date, partly from the earnings of the film “Arna’s Children.” But in Jenin even a little bit is plenty.
Hope Theater
Two hours before the opening event, dozens of curious children gathered at the entrance to the theater. Mar-Khamis runs around from one place to the other, making sure for the hundredth time that all the chairs are in place, the sound and lighting systems work and the ceiling fans are on.
He shakes the hands of officials, including the governor of the district of Jenin, the chairman of the camp’s council and head of the social services that congratulate him, and he is quickly back to give orders.
He also finds time to chat with Professor Avi Oz, member of the theatre’s board of trustees, and gets an update on Tali Fahima’s well-being. Fahima, whose pictures are up on the theatre’s walls next to Arna’s pictures, is present by her absence.
“She is in a small prison, and we are here in a big prison,” say local representatives of a foreign news agency that covers the event.
“This is an equal partnership between Muslims, Arabs, Christians and Jews, so it is not surprising that Tali’s posters are up on the walls,” says Mar-Khamis. “This is not about philanthropy or social work, but about a joint creative process of partners in an agenda that includes education, culture and a struggle for freedom.”
Foreign intervention
Setting up the theater instigated quite a bit of dissent among the camp’s residents. “There are groups that oppose cooperating with foreigners,” says Mar-Khamis. “Questions arose regarding the content and the nature of the shows. But eventually the camp hugs us and it is pretty revolutionary.
“All the movements and organizations that operate on the ground, from the Popular Front through to the Islamic Jihad and the Hamas, came to congratulate us, and it is very encouraging.
“I have to admit that I, too, fell victim to Western-Israeli-American propaganda that Hamas would eliminate all vestiges of western civilization here,” he says. But I am happy to say that it is not so.
“My sense is that today, with the opening of the theatre, we managed to open a little crack in the wall. I believe that even a small crack can break down a wall.”
Childhood lost
Zakaria Zubeidi looks from the side at the commotion taking place at the theatre’s entrance. When he is in uniform, strapped with a gun and surrounded by security personnel, it’s somewhat difficult to imagine Zubeidi, one of the most wanted men in the West Bank, during one of Arna’s creative workshops.
But he does not forget the moments of grace during his lost childhood. “I look at the children that showed up today at the theatre, and I remember how I was, back then, on stage, protected with a roof on top of my head. The theatre gave me hope,” he says.
Mar Khamis admits that without Zubeidi’s support, setting up the theatre would have been impossible.
“The guerrilla organizations cut themselves off from the theatre, because of the consequences,” he says.
Zubeidi explains: “We have no intention of giving the occupying military an excuse to destroy the theatre, so we keep an eye on it from afar and don’t tie ourselves to it. Beyond this, I say very clearly that anyone Jul brings here will be safe, regardless of the person’s religion, race or sex.
“People should see how the Palestinian people live, and we accept anyone who is a partner in the struggle for freedom. Our problem is not with the Jewish religion but with the occupation.”
Zubeidi also says the joyful day also brings up memories of tougher times.
“You know, of all the people that were in our house and ate off my plate, Jul was the only person that picked up the phone and asked how I was doing during the fighting. He is also the only one who put himself in danger when everything was burning here.
“Men of peace are exposed during a war. Anyone who comes at a time of peace, bears no significance. Jul, in my view, is one of the camp’s sons,” he says.
A clown for the first time
At the entrance leading to the hall, children gather around three clowns, from the organization “Clowns without Borders”, who will perform shortly on stage. Their eyes are wide open and they look with amazement at the colourful rags they wear.
“Look at his nose,” 10-year-old Rania Hamdan drags me over, standing at a safe distance. It is the first time she has ever seen a clown.
We enter the hall. Officials line the front row, followed by the lucky ones who managed to squeeze in and finally dozens of kids. Rania sits on my lap and watches the spectacle with curiosity. The noise and the excitement is immense; for most of those sitting in the hall, this is a first encounter with a theatrical performance in many years.
Qadura Moussa, governor of Jenin, delivered the opening remarks and says the theatre follows in the footsteps of Arna Mar-Khamis.
“I hope that the lives of our children after Jenin will be wholesome and good, and that they will return to their homes. The city of Jenin sees itself as a full partner in the founding of the theater that symbolizes love.”
Chairman of the camp’s council, Abdel Razak Abu-Alhija added, “The art of the theater, music, and culture are an important part of a child’s life. Arna was liberated from enslavement to racism, she helped our children develop, and saved what was left of their childhood.
“She saved them from being pushed to the sidelines of life and existence, and turned them from stone kids to dominant leaders that want to change their condition. Our children have learned from Arna that a man’s life should be free and respectable. Some paid the price of the struggle. To return the work of the theatre to Jenin is to return to life, to develop the mind, happiness and sell-fulfilment,” he said.
Short satire
After a short clown act with the crowd’s participation, actor Amar Hlehel presented the monodrama “Diab”, by his brother, journalist and playwright Ala Hlehel . The satirical play, which features folk heroes from western, classical Arab literature, is notable for its poetic language and lyrical rhythm.
The story takes place in a prison cell of a man dreaming about reviving of the age of Arab magnificence. It speaks against the subservience of Arab leaders to the West and the American dollar, criticizes the emirs and weeps for the state of Palestine.
Juliano seems worried. “The audience does not respond,” he whispers to himself, and glances at audience members moving uncomfortably in their chairs. At the end of the play, applause shakes the hall, and within a few minutes the crowd rushes to the street. Upon exiting the hall I hear a familiar tune of an ice-cream truck, and I look around but cannot find it. A closer look uncovers the source of the tunes in the open back end of a beat-up car, on which sits a huge pot with candy gram on a stick.
Night in Jenin
Night falls on Jenin, and the only light that can be seen in the darkness emanates from the lamps of the mosques. I say goodbye to Rania, promise to return and hope to make good on the promise.
Our van crosses alleyways, and drives up to an area with spacious buildings, stopping in front of a local restaurant. Around the dinner table, Professor Oz summarized the day.
“Being present at this opening was like witnessing a revival of the phoenix. I hope this will mark a return to a long and good life. The Israeli government is talking about an economic siege, but I say that cultural cooperation can break any wall, barrier or siege.”
Upon returning home, Professor Oz says he plans to contact friends on the theatre’s board of trustees, including poet Mahmood Darwish, author Elias Khoury, professor Noam Chomsky and Nobel laureate Harold Pinter.
Should the al-Huria Theatre initiative succeed, it will become an important link for the camp’s residents with the outside world. Actor Mohammad Bakri, the play “The Optimist” by Emil Habibi and several children’s shows are already scheduled to play, and this is just the beginning.
“There are endless requests from Palestinians from Haifa, Nazareth and the Galill artists and this response is very exciting,” says Mar-Khamis. “If we could liberate together the residents of Jenin, and mostly the children, from the scars of the occupation and oppression, and build for them a safe space, then we have completed our mission.”
(03.01.06, 14:50)Published with the consent of Ynet
by: Merav Yudilovitch: Ynet News in English
by: Merav Yudilovitch: Ynet News in Hebrew