Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza
Mamas for a Free Palestine: Safety Doesn't Come From Bombs
‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders
Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest
Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?
Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event
Singing for Children on the Other Side of the World
Persimmons for Palestine: The Berkeley Pop-Up Turning a Japanese Tradition Into Activism
A Home Cook's Porch Parties Are Helping Fuel the East Bay's Artistic Community
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Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>[aside postID='arts_13939726']“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>[aside postID='arts_13940325']One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Artists Rising: Oakland to Palestine' offers prints, zines and protest photography to benefit the Middle East Children’s Alliance.\r\n","status":"publish","parent":0,"modified":1712272862,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":376},"headData":{"title":"‘Oakland to Palestine:’ Indigenous Artists Sell Work to Benefit Assistance Efforts in Gaza | KQED","description":"'Artists Rising: Oakland to Palestine' offers prints, zines and protest photography to benefit the Middle East Children’s Alliance.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Oakland to Palestine:’ Indigenous Artists Sell Work to Benefit Assistance Efforts in Gaza %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Indigenous Artists Sell Work to Benefit Emergency Assistance Efforts in Gaza","datePublished":"2024-04-04T22:32:44.000Z","dateModified":"2024-04-04T23:21:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955463/indigenous-artists-oakland-to-palestine","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Printmakers, protest photographers and jewelry makers will sell work this Sunday at an art show with proceeds going to the Middle East Children’s Alliance.\u003c/p>\n\u003cp>Oakland photographer Ashley Salaz and artist Nicole Gervacio say that the show, \u003cem>\u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Artists Rising: Oakland to Palestine\u003c/a>\u003c/em>, is grounded in Indigenous artistry and solidarity with Palestine. Salaz, who is of the Coharie Tribe in North Carolina and works for local Indigenous-led organization Sogorea Te’, says there are overwhelming commonalities in the experiences of Native folks and the Palestinian people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939726","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Palestinians have been in solidarity with us — the Native people of Turtle Island — for a very long time,” she said. “Israel cutting off food sources and cutting down the olive trees — the same was done to our ancestors here, with the mass slaughtering of buffalo and other resources that our people needed to survive.”\u003c/p>\n\u003cp>In the past few months, Salaz has photographed local demonstrations and sold her own beadwork to raise awareness and money for pro-Palestinian organizations.\u003c/p>\n\u003cp>“I do think that artists are the driving force sometimes behind getting people involved and getting people to care, especially nowadays with social media,” Salaz said. “I think art is revolutionary.”\u003c/p>\n\u003cfigure id=\"attachment_13955482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg\" alt=\"\" width=\"1920\" height=\"1556\" class=\"size-full wp-image-13955482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-800x648.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1020x827.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/saman_qadir3-1536x1245.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Photos by Saman Qadir, like the one above, will be on display in Oakland on April 7. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those selling their work on Sunday is Saman Qadir, an East Bay photojournalist who has photographed an estimated 35 protests, from the Bay Area to Washington D.C. and Texas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since October 7, I’ve been going to every single action in the Bay Area to document the movement,” Qadir said. “It’s the first time in my life that I’ve seen this many people from all different backgrounds together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940325","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>One four of the photos Qadir is selling on Sunday is an image of women — Palestinian and Ohlone — embracing at a demonstration at an Ohlone shellmound in January. \u003c/p>\n\u003cp>“It was incredibly heartening and so potent,” she said.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists Rising: Oakland to Palestine’ takes place on Sunday, April 7, at 510 Firehouse (815 Alice St., Oakland). \u003ca href=\"https://www.instagram.com/p/C5HTmhvvJt2/?hl=en\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955463/indigenous-artists-oakland-to-palestine","authors":["11872"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_8838","arts_21682","arts_5375","arts_585"],"featImg":"arts_13955485","label":"arts_140"},"arts_13954260":{"type":"posts","id":"arts_13954260","meta":{"index":"posts_1591205157","site":"arts","id":"13954260","score":null,"sort":[1710437845000]},"guestAuthors":[],"slug":"editing-mamas-for-a-free-palestine-safety-doesnt-come-from-bombs","title":"Mamas for a Free Palestine: Safety Doesn't Come From Bombs","publishDate":1710437845,"format":"audio","headTitle":"Mamas for a Free Palestine: Safety Doesn’t Come From Bombs | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hello dear reader, thanks for lending me your attention. These last six months, our world has borne witness to the ongoing violence in Gaza, where Israel has been accused of “engaging in genocidal acts against the Palestinian people in Gaza,” according to a\u003c/span>\u003ca href=\"https://www.icj-cij.org/sites/default/files/case-related/192/192-20231228-app-01-00-en.pdf\"> \u003cspan style=\"font-weight: 400\">case\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filed by South Africa in the UN’s International Court of Justice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My colleagues have reported on this siege and the ways it is impacting our communities here in the Bay Area (\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and\u003c/span>\u003ca href=\"https://www.kqed.org/news/11976415/gaza-is-a-queer-issue-for-bay-area-lgbtq-artists\"> \u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to name a few). So as not to belabor their work, I want to direct your attention to a collective of \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/san-francisco/gaza-cease-fire-protest-sf/3459082/\">\u003cspan style=\"font-weight: 400\">dissenters \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">who haven’t been covered much in the media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This collective, Mamas for a Free Palestine, is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953768 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg\" alt='Nine people face the camera, hold signs with the words \"genocide\" and \"cease fire\" and look at a person holding a microphone. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters at Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In December 2023 and February 2024, Mamas for a Free Palestine organized alongside\u003c/span>\u003ca href=\"https://www.instagram.com/eastbay4ceasefirenow/\"> \u003cspan style=\"font-weight: 400\">Eastbay for Ceasefire Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to rally rank and file workers across various unions and social justice organizations like\u003c/span>\u003ca href=\"https://www.araborganizing.org/\"> \u003cspan style=\"font-weight: 400\">Arab Resource & Organizing Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AROC), \u003c/span>\u003ca href=\"https://www.jewishvoiceforpeace.org/\">\u003cspan style=\"font-weight: 400\">Jewish Voice for Peace \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">(JVP)\u003c/span>\u003cspan style=\"font-weight: 400\">, and\u003c/span>\u003ca href=\"https://podersf.org/\"> \u003cspan style=\"font-weight: 400\">People Organizing to Demand Environmental and Economic Rights\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (PODER)\u003c/span>\u003cspan style=\"font-weight: 400\"> to demand that elected officials declare a permanent ceasefire in Gaza and end usage of U.S. dollars for Israel’s military.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953767 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg\" alt=\"Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla's office in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They say they want elected officials to support humanitarian aid for Gaza immediately and fund community needs like healthcare and affordable housing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve stayed this long, I hope you will stay longer to listen to our episode and hear the voices of mamas calling for a future that centers caring, not bombing.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This episode has been edited in accordance with KQED’s editorial guidelines and Code of Ethics.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7438431403\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">As of this recording, we are about five months into the bombardment of Gaza, including the targeting of hospitals, schools and libraries. The world has seen the results: Massive displacement, death, and starvation. And nearly 100 journalists killed. That being said, I don’t want to use this precious time that I have your attention, to spotlight human-made calamities, that I’m sure you are aware of. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Instead, I want to direct your attention to a collective of people who are using their voices\u003c/span> \u003cspan style=\"font-weight: 400\">to bring attention to what’s happening in Gaza, and to bear witness to the humanity of the Palestinian people whose homes and bodies are under siege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On this episode of Rightnowish, we’ll visit a local protest organized by a group of Bay Area mothers and learn why this wasn’t your average protest.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd singing] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Marisol Medina-Cadena. Stay with us.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in December of 2023, I heard about a collective called “Mamas for a Free Palestine”. They don’t have an online presence so I decided to go to one of their actions in San Francisco’s Financial District to learn more\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings a call and response song: “Not in our name/ Not in our name/ Stop the genocide/ Stop the genocide…” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Walking up Montgomery Street I followed chanting to 333 Bush Street— the SF office of Senator Alex Padilla. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the action, Mamas for a Free Palestine along with a larger coalition called East Bay For Ceasefire Now sent a letter to Senator Padilla expressing their grief over the loss of life and urging him to call for an immediate ceasefire.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings,“We breathe together, Stop the occupation” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Since they say they weren’t given a chance to dialogue with the senator, they staged an action at his office both inside the lobby and on the outdoor public steps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside, I saw religious leaders of Jewish, Catholic, and Muslim faith wearing their clerical attire. They stood behind the rest of the protesters who were either sitting in wheelchairs or sitting directly on the floor. The lobby staff looked nervous but respectful of the protest. Individuals who worked inside the building awkwardly moseyed in trying not to step on protestors while getting to the elevator. Some looked empathetic, concerned, curious. Others looked aggravated. I saw someone push a protestor as they walked by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After 40 minutes of speeches, singing, and call and response chants, the organizers informed everyone that the inside action would end and folks should join the outside rally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I followed them out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> I now want to introduce our healer in our community, Angela Angel, who will share the grief ritual that we are about to… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Outside, the energy shifted from indignation to sobering reverence. A grief ritual was now unfolding \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">And so today we do this to honor all of these families. We do this to mourn with them. We know that with our fight also comes with tenderness and honoring the sacred.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Three people dressed in all black carefully dipped their palms into buckets of red paint and pressed their handprints on the sidewalk altar, for all to see. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, the speaker read from a list of names of the thousands of Palestinian children killed so far in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yasmine Ramez Abdel Razzaq El Masry, a newborn, Aisha Jihad Jalal Shaheen, a newborn… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">According to a recent UNICEF report, the death toll is now over 11,000 children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To the left of me, a woman and her young son were holding flowers, waiting in line to lay them down on the sidewalk altar. The mom started to cry and her child looked up at her with a look I recognized in my younger self… It’s a look of shock and fear that the adults in your life are capable of suffering. I surmised that because as a young kid, my parents took me to rallies and vigils. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This made me reflect on how some kids of color aren’t spared the harshness of this country. Our parents tell us about colonialism, police violence, and deportations because they have no choice. They’re trying to protect us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">We also want to pray for protection, not only for ourselves right now, as we do this work and dissent, we also want to pray for the protection, continued protection of Palestine. And so put those in your prayers right now and stay close to the earth, let the earth source you for this fight. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Another organizer reads more names of martyred children. The crowd responds in spanish by saying “presente,” meaning “here.”] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> As the long list of dead children’s names comes to a close, different organizers get on the mic to make their call to action heard. I then notice some folks gathering over a table of warm empanadas and hot chai. I make my way over and learn that it’s the People’s Kitchen Collective who are providing this free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point, I’m still itching to speak with an organizer one on one. I found someone with ‘East Bay for Ceasefire Now’ which is the larger coalition behind all this. Here’s Isa Flores-Jones explaining her message to Senator Padilla:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re out here to say not in our names, not with our tax dollars. We don’t consent to that. We want our senators, our California senators to stand with their constituents and say, not one dime more\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. [car horn honks in support]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones:\u003c/b>\u003cspan style=\"font-weight: 400\"> Everybody is just out here as rank and file workers, as baristas, as housekeepers, as the folks who who are working in the city and across the East Bay to just call on Senator Padilla to please stop funding this genocide, to put an end to the U.S. tax dollars that are flowing to to these deaths instead of to critical services that we need so badly in the Bay and across California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We feel as if our concerns are just not not being heard and that the senator just doesn’t doesn’t fully understand the extent to which his constituents are impacted seeing every single day the thousands and thousands of men, women and children who are being killed in Gaza and that we stand against it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> From the stage, I hear one of the Mamas speak to the crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mamas for a Free Palestine Organizer, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Palestinian people of his constituency here in the state are devastated \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[car horn honking in support] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the loss and destruction \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[supporters honking car horns] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in their homeland. And with the overwhelming majority of people around the globe who know that this continued attacks and atrocities will not make the world safe. They will not make the world safer. They may, for a brief moment, make someone more comfortable thinking that safety comes like this. But it does never come from bombs. It never comes in this way. And so we are here to say spend that money on life. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Spend that money on the Palestinian people in reclaiming their land! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> The olive trees. The birds! The rivers! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Isa then introduces me to another organizer who can speak to more of my questions. Gayla King is part of Mamas for a Free Palestine, and I asked her if there was a precedent for moms, at least in the Bay Area or California, protesting around militarism abroad:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, absolutely. I think I’m definitely here following a lineage of mamas, of women, of feminine energy and power that have been leading these movements throughout time, throughout um, throughout the globe. There’s been a huge um anti militarization movement led by women that has been connecting different struggles across, across the continent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, I am a daughter of an immigrant from the Philippines. But my mother was actually born in the Philippines during the time of World War II, when the U.S. was bombing her hometown, aimed at Japanese occupation but harming community, harming people, harming her family. And many of us have this lineage, right, of how a U.S. war machine impacts the homelands of our ancestors, of our people, bringing us here in very much the same way as what’s happening in Palestine, with Israel being backed by the United States and harming the people, killing the people, dropping the bombs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s the mothers. It’s the mothers that are resisting. It’s the mothers that are holding the grief, that are trying to protect their children, that are trying to protect their community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Mamas for a Free Palestine, while we’re a relatively new kind of collective of coming together post-October 7th but many of us have been involved in many movements for decades. And so I think we really just wanted to have a space where we could show up as mamas in our full holistic self to be able to grieve together, to heal together, to feed each other and to really be fierce in our resistance and in our deep solidarity for Palestine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What kind of questions is your kid asking you about this moment?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have two young boys, 11 and 14, and they’re trying to understand. We have family, friends who are Palestinian that they’ve spent time with, and they know. They’ve heard the stories of what it’s been like for our friends growing up in the West Bank and so they’re really struggling with understanding how this can happen. Like, you know, why, why are we supporting this? Why is the U.S. government supporting this? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they also have really, you know, close friends that are of Jewish faith and that they’re trying to grapple with this issue and understanding how the state of Israel, you know, is claiming to be a space for Jewish people but the Jewish friends they know and love don’t believe in bombs and don’t believe in what’s happening. So they’re asking a lot of questions and they’re grieving, too, because they are hearing and seeing of what’s happening.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Have they said anything like if their teachers are holding space for them or for their emotions? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King: \u003c/b>\u003cspan style=\"font-weight: 400\">It doesn’t sound like it’s being held in the space that my 11 year old is in, at least not by the teachers. My 14 year old, who is in high school, he’s had a few teachers that have both done a teach-in on Palestine and that he’s also seen at some of the actions. So that’s been really important to him to see other adults who care about this issue taking a stand and bringing it into the school. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> There are such beautiful spaces that we’re creating together that our children can very much be a part of because our children can hold so much with us. They can hold the grief. And they can, we’re singing together. We’re eating together. We’re taking care of each other. And that’s what we also know is important for this movement to survive and to be sustained is that it has to be done centering our children and our families so that we can be in it for the long haul, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Gayla told me the Mamas plan to keep organizing till a permanent ceasefire is reached. So, on Presidents Day, they and other groups showed up again. This time at the plaza outside of Senator Laphonza Butler’s SF office to ask her to call for a ceasefire and the divestment of the 14 billion aid package Congress approved for Israel’s military. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And beyond banners and signs, the organizers brought a banquet table and set up chairs around it, essentially saying, ‘since you won’t invite us to the table to discuss, we brought our own table to host you.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that night, Senator Butler was moderating a book talk at the Commonwealth Club in San Francisco. The talk was on the politics of adoption and reproductive justice. So, the mama’s showed up there too, to call attention to what they see as the hypocrisy of the Democratic establishment championing the right to choose yet staying quiet when it comes to safety for pregnant women and kids in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fifty of the mamas bought tickets to the event and attended. Halfway through the program they staged what they call a “rolling interruption” whereby a group of them stood up and sang a song adapted from a Palestinian poem. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then one by one staggering their interruptions, the mamas declared why they felt as mothers obligated to speak up and demand Senator Butler to call for a ceasefire as well as an end to U.S. military aid to Israel.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After each mama made their verbal provocation, they were escorted out the venue. From the stage, Senator Butler acknowledged that protest is a part of democracy and that there’s room for expression and differing opinions, but she did not call for a ceasefire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> My name is Hedieh Matinrad. It’s spelled… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two weeks after the action, I spoke on the phone with one of the Mamas to get her reflections on the evening that Senator Butler spoke.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> And certainly ya know, she said that her heart goes out too, for all lives lost. And that is great and not enough. We were being so clear that the first step is to stop the bombs from dropping, for a ceasefire to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> There could be a lot of emotions, a lot of adrenaline, a lot of… I don’t know. I’m wondering, like, what was running in your head, like, moments, seconds, minutes before you raised your voice? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been going on, this massacre in Gaza for many months. My baby was born a month before the offense began, and now he’s six months old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my work as a palliative care doctor where I care for people with serious illness, like cancer a lot of times, is to help alleviate their suffering. And I think it really shakes me to my core, the unnecessary manufactured suffering that Palestinians in Gaza of all ages, everybody is being forced to live through. And I just, I see it as part of my mission in life, to be speaking out against this unnecessary suffering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because Palestinian children deserve to live. Just like my child deserves to live. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Caring for the collective good of children and families is what brought these mothers together. Their protests are intended to disrupt business as usual by reminding everyone not to get comfortable with the devastation happening… because they say, their love knows no borders.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big big thank you to the organizers who trusted me and spoke to me for this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced and hosted by me, Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Patiently edited by Chris Hambrick and Jen Chien.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Expertly engineered by Christopher Beale and Brendan Willard.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lovingly supported by Rightnowish team members Sheree Bishop and Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support provided by Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve been listening to Rightnowish, a KQED Production.\u003c/span>\u003c/p>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Mamas for a Free Palestine collective is joining in the call for a permanent ceasefire in Gaza.","status":"publish","parent":0,"modified":1711577036,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":82,"wordCount":3207},"headData":{"title":"Mamas for a Free Palestine: Safety Doesn't Come From Bombs | KQED","description":"The Mamas for a Free Palestine collective is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing. With their children in tow, they are joining with other social justice organizations to demand that elected officials declare a permanent ceasefire in Gaza, as well as end the use of U.S. public funds for Israel's military.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"The Mamas for a Free Palestine collective is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing. With their children in tow, they are joining with other social justice organizations to demand that elected officials declare a permanent ceasefire in Gaza, as well as end the use of U.S. public funds for Israel's military.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mamas for a Free Palestine: Safety Doesn't Come From Bombs","datePublished":"2024-03-14T17:37:25.000Z","dateModified":"2024-03-27T22:03:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC7438431403.mp3?updated=1711157763","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13954260/editing-mamas-for-a-free-palestine-safety-doesnt-come-from-bombs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hello dear reader, thanks for lending me your attention. These last six months, our world has borne witness to the ongoing violence in Gaza, where Israel has been accused of “engaging in genocidal acts against the Palestinian people in Gaza,” according to a\u003c/span>\u003ca href=\"https://www.icj-cij.org/sites/default/files/case-related/192/192-20231228-app-01-00-en.pdf\"> \u003cspan style=\"font-weight: 400\">case\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filed by South Africa in the UN’s International Court of Justice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My colleagues have reported on this siege and the ways it is impacting our communities here in the Bay Area (\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and\u003c/span>\u003ca href=\"https://www.kqed.org/news/11976415/gaza-is-a-queer-issue-for-bay-area-lgbtq-artists\"> \u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to name a few). So as not to belabor their work, I want to direct your attention to a collective of \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/news/local/san-francisco/gaza-cease-fire-protest-sf/3459082/\">\u003cspan style=\"font-weight: 400\">dissenters \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">who haven’t been covered much in the media. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This collective, Mamas for a Free Palestine, is made up of mothers across the Bay Area who say they are fed up with business as usual. While they are a relatively new group, these mothers are not new to activism and political organizing.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953768 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg\" alt='Nine people face the camera, hold signs with the words \"genocide\" and \"cease fire\" and look at a person holding a microphone. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-093-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters at Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In December 2023 and February 2024, Mamas for a Free Palestine organized alongside\u003c/span>\u003ca href=\"https://www.instagram.com/eastbay4ceasefirenow/\"> \u003cspan style=\"font-weight: 400\">Eastbay for Ceasefire Now\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to rally rank and file workers across various unions and social justice organizations like\u003c/span>\u003ca href=\"https://www.araborganizing.org/\"> \u003cspan style=\"font-weight: 400\">Arab Resource & Organizing Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AROC), \u003c/span>\u003ca href=\"https://www.jewishvoiceforpeace.org/\">\u003cspan style=\"font-weight: 400\">Jewish Voice for Peace \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">(JVP)\u003c/span>\u003cspan style=\"font-weight: 400\">, and\u003c/span>\u003ca href=\"https://podersf.org/\"> \u003cspan style=\"font-weight: 400\">People Organizing to Demand Environmental and Economic Rights\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (PODER)\u003c/span>\u003cspan style=\"font-weight: 400\"> to demand that elected officials declare a permanent ceasefire in Gaza and end usage of U.S. dollars for Israel’s military.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953767 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg\" alt=\"Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla's office in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Padilla-Ceasefire-sit-in-12_12_23-073-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters with names and photographs of children killed in Gaza sit on the steps outside of Senator Padilla’s office in San Francisco, CA \u003ccite>(Photo courtesy of Jen Rocha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They say they want elected officials to support humanitarian aid for Gaza immediately and fund community needs like healthcare and affordable housing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve stayed this long, I hope you will stay longer to listen to our episode and hear the voices of mamas calling for a future that centers caring, not bombing.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Editor’s note: This episode has been edited in accordance with KQED’s editorial guidelines and Code of Ethics.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7438431403\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">As of this recording, we are about five months into the bombardment of Gaza, including the targeting of hospitals, schools and libraries. The world has seen the results: Massive displacement, death, and starvation. And nearly 100 journalists killed. That being said, I don’t want to use this precious time that I have your attention, to spotlight human-made calamities, that I’m sure you are aware of. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Instead, I want to direct your attention to a collective of people who are using their voices\u003c/span> \u003cspan style=\"font-weight: 400\">to bring attention to what’s happening in Gaza, and to bear witness to the humanity of the Palestinian people whose homes and bodies are under siege. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On this episode of Rightnowish, we’ll visit a local protest organized by a group of Bay Area mothers and learn why this wasn’t your average protest.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd singing] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Marisol Medina-Cadena. Stay with us.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Back in December of 2023, I heard about a collective called “Mamas for a Free Palestine”. They don’t have an online presence so I decided to go to one of their actions in San Francisco’s Financial District to learn more\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings a call and response song: “Not in our name/ Not in our name/ Stop the genocide/ Stop the genocide…” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Walking up Montgomery Street I followed chanting to 333 Bush Street— the SF office of Senator Alex Padilla. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to the action, Mamas for a Free Palestine along with a larger coalition called East Bay For Ceasefire Now sent a letter to Senator Padilla expressing their grief over the loss of life and urging him to call for an immediate ceasefire.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Crowd sings,“We breathe together, Stop the occupation” ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Since they say they weren’t given a chance to dialogue with the senator, they staged an action at his office both inside the lobby and on the outdoor public steps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Inside, I saw religious leaders of Jewish, Catholic, and Muslim faith wearing their clerical attire. They stood behind the rest of the protesters who were either sitting in wheelchairs or sitting directly on the floor. The lobby staff looked nervous but respectful of the protest. Individuals who worked inside the building awkwardly moseyed in trying not to step on protestors while getting to the elevator. Some looked empathetic, concerned, curious. Others looked aggravated. I saw someone push a protestor as they walked by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After 40 minutes of speeches, singing, and call and response chants, the organizers informed everyone that the inside action would end and folks should join the outside rally. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I followed them out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> I now want to introduce our healer in our community, Angela Angel, who will share the grief ritual that we are about to… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Outside, the energy shifted from indignation to sobering reverence. A grief ritual was now unfolding \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">And so today we do this to honor all of these families. We do this to mourn with them. We know that with our fight also comes with tenderness and honoring the sacred.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Three people dressed in all black carefully dipped their palms into buckets of red paint and pressed their handprints on the sidewalk altar, for all to see. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meanwhile, the speaker read from a list of names of the thousands of Palestinian children killed so far in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">Yasmine Ramez Abdel Razzaq El Masry, a newborn, Aisha Jihad Jalal Shaheen, a newborn… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">According to a recent UNICEF report, the death toll is now over 11,000 children.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To the left of me, a woman and her young son were holding flowers, waiting in line to lay them down on the sidewalk altar. The mom started to cry and her child looked up at her with a look I recognized in my younger self… It’s a look of shock and fear that the adults in your life are capable of suffering. I surmised that because as a young kid, my parents took me to rallies and vigils. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This made me reflect on how some kids of color aren’t spared the harshness of this country. Our parents tell us about colonialism, police violence, and deportations because they have no choice. They’re trying to protect us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Angela Angel, speaking to the crowd: \u003c/b>\u003cspan style=\"font-weight: 400\">We also want to pray for protection, not only for ourselves right now, as we do this work and dissent, we also want to pray for the protection, continued protection of Palestine. And so put those in your prayers right now and stay close to the earth, let the earth source you for this fight. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Another organizer reads more names of martyred children. The crowd responds in spanish by saying “presente,” meaning “here.”] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> As the long list of dead children’s names comes to a close, different organizers get on the mic to make their call to action heard. I then notice some folks gathering over a table of warm empanadas and hot chai. I make my way over and learn that it’s the People’s Kitchen Collective who are providing this free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point, I’m still itching to speak with an organizer one on one. I found someone with ‘East Bay for Ceasefire Now’ which is the larger coalition behind all this. Here’s Isa Flores-Jones explaining her message to Senator Padilla:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re out here to say not in our names, not with our tax dollars. We don’t consent to that. We want our senators, our California senators to stand with their constituents and say, not one dime more\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. [car horn honks in support]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Isa Flores Jones:\u003c/b>\u003cspan style=\"font-weight: 400\"> Everybody is just out here as rank and file workers, as baristas, as housekeepers, as the folks who who are working in the city and across the East Bay to just call on Senator Padilla to please stop funding this genocide, to put an end to the U.S. tax dollars that are flowing to to these deaths instead of to critical services that we need so badly in the Bay and across California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We feel as if our concerns are just not not being heard and that the senator just doesn’t doesn’t fully understand the extent to which his constituents are impacted seeing every single day the thousands and thousands of men, women and children who are being killed in Gaza and that we stand against it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> From the stage, I hear one of the Mamas speak to the crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Mamas for a Free Palestine Organizer, speaking to the crowd:\u003c/b>\u003cspan style=\"font-weight: 400\"> The Palestinian people of his constituency here in the state are devastated \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[car horn honking in support] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by the loss and destruction \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[supporters honking car horns] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in their homeland. And with the overwhelming majority of people around the globe who know that this continued attacks and atrocities will not make the world safe. They will not make the world safer. They may, for a brief moment, make someone more comfortable thinking that safety comes like this. But it does never come from bombs. It never comes in this way. And so we are here to say spend that money on life. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Spend that money on the Palestinian people in reclaiming their land! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> The olive trees. The birds! The rivers! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[crowd cheers]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Isa then introduces me to another organizer who can speak to more of my questions. Gayla King is part of Mamas for a Free Palestine, and I asked her if there was a precedent for moms, at least in the Bay Area or California, protesting around militarism abroad:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, absolutely. I think I’m definitely here following a lineage of mamas, of women, of feminine energy and power that have been leading these movements throughout time, throughout um, throughout the globe. There’s been a huge um anti militarization movement led by women that has been connecting different struggles across, across the continent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, I am a daughter of an immigrant from the Philippines. But my mother was actually born in the Philippines during the time of World War II, when the U.S. was bombing her hometown, aimed at Japanese occupation but harming community, harming people, harming her family. And many of us have this lineage, right, of how a U.S. war machine impacts the homelands of our ancestors, of our people, bringing us here in very much the same way as what’s happening in Palestine, with Israel being backed by the United States and harming the people, killing the people, dropping the bombs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s the mothers. It’s the mothers that are resisting. It’s the mothers that are holding the grief, that are trying to protect their children, that are trying to protect their community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Mamas for a Free Palestine, while we’re a relatively new kind of collective of coming together post-October 7th but many of us have been involved in many movements for decades. And so I think we really just wanted to have a space where we could show up as mamas in our full holistic self to be able to grieve together, to heal together, to feed each other and to really be fierce in our resistance and in our deep solidarity for Palestine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What kind of questions is your kid asking you about this moment?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have two young boys, 11 and 14, and they’re trying to understand. We have family, friends who are Palestinian that they’ve spent time with, and they know. They’ve heard the stories of what it’s been like for our friends growing up in the West Bank and so they’re really struggling with understanding how this can happen. Like, you know, why, why are we supporting this? Why is the U.S. government supporting this? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And they also have really, you know, close friends that are of Jewish faith and that they’re trying to grapple with this issue and understanding how the state of Israel, you know, is claiming to be a space for Jewish people but the Jewish friends they know and love don’t believe in bombs and don’t believe in what’s happening. So they’re asking a lot of questions and they’re grieving, too, because they are hearing and seeing of what’s happening.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Have they said anything like if their teachers are holding space for them or for their emotions? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Gayla King: \u003c/b>\u003cspan style=\"font-weight: 400\">It doesn’t sound like it’s being held in the space that my 11 year old is in, at least not by the teachers. My 14 year old, who is in high school, he’s had a few teachers that have both done a teach-in on Palestine and that he’s also seen at some of the actions. So that’s been really important to him to see other adults who care about this issue taking a stand and bringing it into the school. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Gayla King:\u003c/b>\u003cspan style=\"font-weight: 400\"> There are such beautiful spaces that we’re creating together that our children can very much be a part of because our children can hold so much with us. They can hold the grief. And they can, we’re singing together. We’re eating together. We’re taking care of each other. And that’s what we also know is important for this movement to survive and to be sustained is that it has to be done centering our children and our families so that we can be in it for the long haul, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Gayla told me the Mamas plan to keep organizing till a permanent ceasefire is reached. So, on Presidents Day, they and other groups showed up again. This time at the plaza outside of Senator Laphonza Butler’s SF office to ask her to call for a ceasefire and the divestment of the 14 billion aid package Congress approved for Israel’s military. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And beyond banners and signs, the organizers brought a banquet table and set up chairs around it, essentially saying, ‘since you won’t invite us to the table to discuss, we brought our own table to host you.’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later that night, Senator Butler was moderating a book talk at the Commonwealth Club in San Francisco. The talk was on the politics of adoption and reproductive justice. So, the mama’s showed up there too, to call attention to what they see as the hypocrisy of the Democratic establishment championing the right to choose yet staying quiet when it comes to safety for pregnant women and kids in Gaza. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fifty of the mamas bought tickets to the event and attended. Halfway through the program they staged what they call a “rolling interruption” whereby a group of them stood up and sang a song adapted from a Palestinian poem. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then one by one staggering their interruptions, the mamas declared why they felt as mothers obligated to speak up and demand Senator Butler to call for a ceasefire as well as an end to U.S. military aid to Israel.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After each mama made their verbal provocation, they were escorted out the venue. From the stage, Senator Butler acknowledged that protest is a part of democracy and that there’s room for expression and differing opinions, but she did not call for a ceasefire. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> My name is Hedieh Matinrad. It’s spelled… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Two weeks after the action, I spoke on the phone with one of the Mamas to get her reflections on the evening that Senator Butler spoke.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad:\u003c/b>\u003cspan style=\"font-weight: 400\"> And certainly ya know, she said that her heart goes out too, for all lives lost. And that is great and not enough. We were being so clear that the first step is to stop the bombs from dropping, for a ceasefire to happen. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> There could be a lot of emotions, a lot of adrenaline, a lot of… I don’t know. I’m wondering, like, what was running in your head, like, moments, seconds, minutes before you raised your voice? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Hedieh Matinrad: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been going on, this massacre in Gaza for many months. My baby was born a month before the offense began, and now he’s six months old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my work as a palliative care doctor where I care for people with serious illness, like cancer a lot of times, is to help alleviate their suffering. And I think it really shakes me to my core, the unnecessary manufactured suffering that Palestinians in Gaza of all ages, everybody is being forced to live through. And I just, I see it as part of my mission in life, to be speaking out against this unnecessary suffering. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because Palestinian children deserve to live. Just like my child deserves to live. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Caring for the collective good of children and families is what brought these mothers together. Their protests are intended to disrupt business as usual by reminding everyone not to get comfortable with the devastation happening… because they say, their love knows no borders.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big big thank you to the organizers who trusted me and spoke to me for this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced and hosted by me, Marisol Medina-Cadena. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Patiently edited by Chris Hambrick and Jen Chien.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Expertly engineered by Christopher Beale and Brendan Willard.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lovingly supported by Rightnowish team members Sheree Bishop and Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additional support provided by Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve been listening to Rightnowish, a KQED Production.\u003c/span>\u003c/p>\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954260/editing-mamas-for-a-free-palestine-safety-doesnt-come-from-bombs","authors":["11528"],"programs":["arts_8720"],"categories":["arts_1","arts_835"],"tags":["arts_8838","arts_22001","arts_21682","arts_5264","arts_1756"],"featImg":"arts_13953765","label":"arts_8720"},"arts_13953524":{"type":"posts","id":"arts_13953524","meta":{"index":"posts_1591205157","site":"arts","id":"13953524","score":null,"sort":[1709843347000]},"guestAuthors":[],"slug":"bye-bye-tiberias-weaves-stories-of-mothers-daughters-and-the-israel-palestine-border","title":"‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders","publishDate":1709843347,"format":"standard","headTitle":"‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.[aside postID='arts_13952306']\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\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>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new documentary about actress Hiam Abbass explores displacement, exile-by-choice and the price of leaving home. ","status":"publish","parent":0,"modified":1709845050,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":998},"headData":{"title":"‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders | KQED","description":"A new documentary about actress Hiam Abbass explores displacement, exile-by-choice and the price of leaving home. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Bye Bye Tiberias’ Weaves Stories of Mothers, Daughters and Palestine’s Borders","datePublished":"2024-03-07T20:29:07.000Z","dateModified":"2024-03-07T20:57:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953524/bye-bye-tiberias-weaves-stories-of-mothers-daughters-and-the-israel-palestine-border","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exile, the poets say, is a state of mind as much as a fact of geography. It’s no less true if the leave-taking is by choice rather than by force.\u003c/p>\n\u003cp>Lina Soualem’s compelling documentary, \u003cem>Bye Bye Tiberias\u003c/em>, seeks to convey her mother’s experience of living her entire adult life a continent away from her birthplace and family. A parable of freedom, pain and beauty, \u003cem>Bye Bye Tiberias\u003c/em> (playing Friday, March 8–Sunday, March 10 at the Roxie) traverses four generations to tell a universal story of defying parental expectations.\u003c/p>\n\u003cp>The film’s central subject, Soualem’s mother, is the renowned Palestinian actress Hiam Abbass (who will appear in conversation with Israeli-Palestinian actress Clara Khoury after the Saturday show). Best known these days as Marcia Roy in HBO’s \u003cem>Succession\u003c/em>, the France-based Abbass became an international star with the politically charged Middle Eastern dramas \u003cem>Paradise Now\u003c/em> and \u003cem>Lemon Tree\u003c/em>, and the Hollywood epics \u003cem>Munich\u003c/em> and \u003cem>Blade Runner 2049\u003c/em>.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952306","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Abass’s story, as told in this film, really starts a dozen years before she was born, when her parents fled their home in Tiberias for the Lebanon border during the Arab-Israeli War of 1948. One of their daughters had already crossed into Syria, and they planned to follow her. But then the father, a farmer, couldn’t bring himself to leave Palestine. He and Abbass’s mother went back to the Galilee region, settling in the village of Deir Hanna, in what was now (and what remains) northern Israel.\u003c/p>\n\u003cp>Hiam Abbass and most of her other siblings were born in Deir Hanna, and the family appears to have gone on to live relatively stable, highly educated lives there. (They also eventually reunited, many years later, with their daughter who fled, after she made a surreptitious and risky trip from Syria.) But the trauma of being uprooted from their original home led to the father’s premature demise, according to family lore. Disoriented, he would stand by the road asking passers-by if they’d seen his cows. The events of 1948 are clearly woven throughout both the family’s narrative and the film’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise, \u003cem>Bye Bye Tiberias\u003c/em> jumps back and forth in time, beginning with home movies that Hiam Abbass shot in 1992 when she returned to Deir Hanna to present her toddler, Lina, to the family. These opening scenes establish and explain the presence of Lina, the filmmaker, as the narrator, and as her mother’s interviewer in contemporary footage shot in 2018.\u003c/p>\n\u003cp>They also plant the expectation that \u003cem>Bye Bye Tiberias\u003c/em> will be a personal excavation of family and political history for Lina, who was born and raised in Europe. But she stays in the background, for better or worse, rarely onscreen. The filmmaker seems content to let Mom hold the emotional center, along with her grandmother, Um Ali, a direct link to the exile evoked through black-and-white archival footage of the Nakba (which translates to “Catastrophe,” as Palestinians describe their eviction and displacement during and after the 1948 war).\u003c/p>\n\u003cfigure id=\"attachment_13953649\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953649\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg\" alt=\"a portrait of an older mother and adult daughter, both fair skinned with dark hair and wearing red lipstick, against a black background\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2001172747-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Palestinian actress and film director Hiam Abbass (L) and her daughter, French-Palestinian-Algerian filmmaker and actress Lina Soualem, pose during a photo session in Paris on Febr. 13, 2024. \u003ccite>(Joel Saget/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiam was born in Deir Hanna, the fifth of eight daughters (and 10 children overall), where some of her siblings still reside. Abbass wrote poetry throughout her adolescence and studied photography in college before moving to Jerusalem to pursue acting — in secret. “Everything suffocated me,” she recalls. “Even the people I loved suffocated me.”\u003c/p>\n\u003cp>Most modern viewers will applaud Abbass’s artistic ambitions, and see her need to go and grow beyond her traditional family as not just natural but admirable. But at the time, it took a lot of guts, even if she extricated herself from her family and country through a time-honored method: marriage. (Abbass fell in love with an Englishman, she notes. She wasn’t being strategic or calculating, though the relationship had the desired result.)\u003c/p>\n\u003cp>Abbass’s decision to pursue an acting career abroad was undoubtedly the right one — “I was the child who had to escape,” she says — but it was accompanied by a raft of emotions. Palestine’s entry for the International Feature Film Oscar, \u003cem>Bye Bye Tiberias\u003c/em> lets us imagine how it felt to be “the one who left” when Abbass came home for visits, and gives just a fleeting hint of any jealousy and resentment her sisters obliquely expressed.\u003c/p>\n\u003cp>Her most palpable regret, or greatest twinge of guilt, involves her mother. FaceTime may be the next best thing to being there, but it isn’t the same thing. (And it didn’t exist until 2010.)\u003c/p>\n\u003cp>“I think we know how to become mothers,” Hiam tells Lina. “But we never know how to separate from a mother.”\u003c/p>\n\u003cp>Some moviegoers may be inclined to approach \u003cem>Bye Bye Tiberias\u003c/em> through a political lens given the terrible present moment of war, suffering and displacement. But the interactions between Hiam and Um Ali ground us in a primary, universal relationship. We get Hiam’s residual sorrow, not for the road not taken but for the price of being true to one’s soul (artistic or otherwise).\u003c/p>\n\u003cp>Abbass’s self-exile, precipitated by neither political events nor military force, is fraught with layers. Lina Soualem, uninterested in confrontational confessions or celebrity travelogue, has crafted an open-ended and often-moving portrait of the family ties that bind, and the cost of chasing one’s dreams.\u003c/p>\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>\n\u003cp>\u003cem>‘Bye Bye Tiberias’ runs March 8–10 at the Roxie Theatre (3117 16th St.) in San Francisco. \u003ca href=\"https://roxie.com/film/bye-bye-tiberias/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953524/bye-bye-tiberias-weaves-stories-of-mothers-daughters-and-the-israel-palestine-border","authors":["22"],"categories":["arts_1","arts_74"],"tags":["arts_21790","arts_21682","arts_3163"],"featImg":"arts_13953638","label":"arts"},"arts_13952460":{"type":"posts","id":"arts_13952460","meta":{"index":"posts_1591205157","site":"arts","id":"13952460","score":null,"sort":[1708105168000]},"guestAuthors":[],"slug":"artists-deface-work-ybca-pro-palestine-protest","title":"Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest","publishDate":1708105168,"format":"standard","headTitle":"Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest | KQED","labelTerm":{"site":"arts"},"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","blocks":[],"excerpt":"Eight artists and dozens of protestors accused the museum of censorship and called attention to Israel's ongoing attacks on Gaza. ","status":"publish","parent":0,"modified":1711747574,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1292},"headData":{"title":"Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest | KQED","description":"Eight artists and dozens of protestors accused the museum of censorship and called attention to Israel's ongoing attacks on Gaza. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artists Alter Their Own Work at YBCA in Pro-Palestinian Protest","datePublished":"2024-02-16T17:39:28.000Z","dateModified":"2024-03-29T21:26:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952460/artists-deface-work-ybca-pro-palestine-protest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"YBCA Updates ","postid":"arts_13953653,arts_13953032"},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952460/artists-deface-work-ybca-pro-palestine-protest","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10342","arts_10278","arts_8838","arts_21682","arts_1756","arts_1040"],"featImg":"arts_13952458","label":"arts"},"arts_13951631":{"type":"posts","id":"arts_13951631","meta":{"index":"posts_1591205157","site":"arts","id":"13951631","score":null,"sort":[1707238453000]},"guestAuthors":[],"slug":"who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance","title":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","publishDate":1707238453,"format":"standard","headTitle":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance? | KQED","labelTerm":{"term":137,"site":"arts"},"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","blocks":[],"excerpt":"Created by cartoonist Naji al-Ali in 1969, Handala is a 10-year-old Palestinian refugee with his back to the world.","status":"publish","parent":0,"modified":1707238453,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":899},"headData":{"title":"Handala, the Palestinian Cartoon by Naji al-Ali, Lives on in Protest | KQED","description":"Created by cartoonist Naji al-Ali in 1969, Handala is a 10-year-old Palestinian refugee with his back to the world.","ogTitle":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","ogDescription":"","ogImgId":"","twTitle":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","twDescription":"","twImgId":"","socialTitle":"Handala, the Palestinian Cartoon by Naji al-Ali, Lives on in Protest %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","datePublished":"2024-02-06T16:54:13.000Z","dateModified":"2024-02-06T16:54:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Zain Jaafar","nprByline":"Hadeel Al-Shalchi","nprImageAgency":"AFP via Getty Images","nprStoryId":"1228097975","nprApiLink":"http://api.npr.org/query?id=1228097975&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/06/1228097975/handala-naji-al-ali-cartoon-palestinian-symbol?ft=nprml&f=1228097975","nprRetrievedStory":"1","nprPubDate":"Tue, 06 Feb 2024 05:00:00 -0500","nprStoryDate":"Tue, 06 Feb 2024 05:00:46 -0500","nprLastModifiedDate":"Tue, 06 Feb 2024 05:00:46 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951631/who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940282","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937170","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937219","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951631/who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance","authors":["byline_arts_13951631"],"categories":["arts_1","arts_835"],"tags":["arts_8838","arts_903","arts_21682","arts_1756","arts_5375"],"affiliates":["arts_137"],"featImg":"arts_13951633","label":"arts_137"},"arts_13951174":{"type":"posts","id":"arts_13951174","meta":{"index":"posts_1591205157","site":"arts","id":"13951174","score":null,"sort":[1706570308000]},"guestAuthors":[],"slug":"reems-ceasefire-bay-area-authors-ceasefire-fundraiser-gaza-palestine","title":"Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event","publishDate":1706570308,"format":"standard","headTitle":"Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event | KQED","labelTerm":{},"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","blocks":[],"excerpt":"The Mission District Palestinian restaurant is raising money for World Central Kitchen’s Gaza food relief efforts.","status":"publish","parent":0,"modified":1706571046,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":419},"headData":{"title":"Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event | KQED","description":"The Mission District Palestinian restaurant is raising money for World Central Kitchen’s Gaza food relief efforts.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hang Out With Your Favorite Bay Area Authors at Reem’s Gaza Ceasefire Event","datePublished":"2024-01-29T23:18:28.000Z","dateModified":"2024-01-29T23:30:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951174/reems-ceasefire-bay-area-authors-ceasefire-fundraiser-gaza-palestine","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940325,arts_13915986","label":""},"numeric":[]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951174/reems-ceasefire-bay-area-authors-ceasefire-fundraiser-gaza-palestine","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_1297","arts_8838","arts_19864","arts_21682","arts_12480","arts_585"],"featImg":"arts_13887180","label":"source_arts_13951174"},"arts_13940325":{"type":"posts","id":"arts_13940325","meta":{"index":"posts_1591205157","site":"arts","id":"13940325","score":null,"sort":[1705007647000]},"guestAuthors":[],"slug":"mixtape-for-palestine-meca-benefit-compilation","title":"Singing for Children on the Other Side of the World","publishDate":1705007647,"format":"standard","headTitle":"Singing for Children on the Other Side of the World | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you hang around San Francisco’s indie folk scene, it will not take you long to run into singer and promoter \u003ca href=\"https://www.sfweekly.com/music/music-heroes-jessie-woletz/article_bfe961b1-70a1-5154-9113-cd00d5024e65.html\">Jessie Woletz\u003c/a>. As an individual, she’s warm and soft-spoken, having worked as a nanny for over a decade. But as \u003ca href=\"https://www.instagram.com/seaweedsway/?hl=en\">Seaweed Sway\u003c/a>, the moniker for her DIY music and event-production project that’s hosted shows around the Bay Area since 2007, she’s a veritable force of nature. She gets things done. And she knows \u003cem>a lot\u003c/em> of people.\u003c/p>\n\u003cp>[aside postID='arts_13940282']Both of these attributes came in handy last month, when Woletz — feeling helpless while taking in images of the devastation in Gaza — decided to contact artists she knew with a simple request: “Do you want to donate a song to support relief in Palestine?”\u003c/p>\n\u003cp>The result is a compilation, clocking in at 87 songs and counting, that has already raised more than $5000 for the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a> since its release on Jan. 1. \u003cem>\u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">Mixtape for Palestine\u003c/a>, \u003c/em>available for download via Bandcamp with a donation to MECA, is a sprawling patchwork of songs — some originals, some previously released, some covers — by artists across a wide variety of genres.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3952569100/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Emerging local artists appear alongside names with wider recognition, including Jolie Holland, Little Wings, field medic, C.J. Boyd (with a song featuring Bonnie “Prince” Billy), Ayla Nereo, Meklit and more. Veteran Bay Area musicians turned out in droves, including \u003ca href=\"https://www.kqed.org/arts/13855177/doctor-musician-and-activist-rupa-marya-offers-a-healing-balm-on-new-april-fishes-album\">Rupa & the April Fishes\u003c/a>, Brian Belknap, \u003ca href=\"https://www.youtube.com/watch?v=HHR_n_o0f20\">Diana Gameros\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry\">Sean Hayes\u003c/a>, Kelly McFarling, Chelsea Coleman, Whiskerman, \u003ca href=\"https://www.kqed.org/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother\">Megan Keely\u003c/a>, Ezra Lipp and \u003ca href=\"https://www.kqed.org/arts/13894398/amina-shareef-ali-comes-back-to-life\">Amina Shareef Ali\u003c/a>.\u003c/p>\n\u003cp>A handful of the tracks directly address the current death toll in Palestine, like Maia “MJoy” Wiitala’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/watermelon-nights\">Watermelon Nights\u003c/a>,” and B. Hamilton’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/that-god-damn-paul-mccartney-christmas-song\">That God Damn Paul McCartney Christmas Song\u003c/a>.” (While the very first track, Nora Roman and the Border Busters’ “\u003ca href=\"https://seaweedsway.bandcamp.com/track/song-for-palestine\">Song For Palestine\u003c/a>,” could have been written last week, the group actually released it in 2011.) Others are protest songs originally inspired by other causes or oppressed communities; still others speak more generally on themes of heartbreak and grief. Woletz welcomed them all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1737183087/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I wasn’t sure anyone would want to do it,” she says of her initial trepidation. “I know different artists have different views [on the war] … but my hope was, ‘OK, let’s find where we align.’ I think we can have different views and still come together to support people who are not getting resources.”\u003c/p>\n\u003cp>[aside postID='arts_13939726']Quickly, she says, it became obvious that many artists agreed. It took some dialogue about the exact language that would be released with the compilation, and where and how funds would be distributed, says Woletz. But she was moved by the sheer number of musicians who ultimately wanted to get involved.\u003c/p>\n\u003cp>“It’s a risky thing for some of them, there’s a risk of losing fans,” she says. “But people are choosing to speak out anyway, putting themselves out there, and that feels really powerful.”\u003c/p>\n\u003cp>The compilation’s cover image, \u003ca href=\"https://www.instagram.com/p/C1H_xqiOB0K/?hl=en\">donated by artist Donovan Brutus\u003c/a>, was inspired by Palestinian embroidery, with traditional motifs like chickpeas, raisins, roosters and the Moon of Bethlehem embedded throughout the design.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2648187703/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Brutus is just one of many artists involved with the project whom Woletz originally met at Amnesia, the tiny, beloved Mission District music venue where she hosted shows for years, and \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">which closed in 2020\u003c/a>.\u003c/p>\n\u003cp>For those who frequented the club in its heyday, the compilation also feels a bit like a family reunion, full of now far-flung artists who once called the Bay home: Kacey Johansing and Lapel, now both in Los Angeles; Kendra McKinley and Sonya Cotton, in New York and New Jersey; Misisipi Mike Wolf, now in Duluth, Minnesota. Mariee Siou, now based in Portland, is one of several artist-activists who was instrumental in helping Woletz learn about Palestine, and in spurring her to take action.\u003c/p>\n\u003cp>“So many artists have left over the last few years, especially during the pandemic, and I think we all have grief about that,” says Woletz. “This is hopefully a way to build a sort of shared reality, to bring together different communities at a time when so many of us are feeling helpless, and put our energy in the same place.”\u003c/p>\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>\u003cem>‘Mixtape for Palestine’ is \u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">available on Bandcamp\u003c/a> for a donation of at least $25 to MECA. To bypass Bandcamp’s fees so the organization receives 100% of your donation, visit \u003ca href=\"http://bit.ly/MECAmixtape\">bit.ly/MECAmixtape\u003c/a> and include your email address to receive a download link.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘Mixtape for Palestine’ features Jolie Holland, Little Wings and a slew of Bay Area indie staples to raise funds for MECA.","status":"publish","parent":0,"modified":1705017836,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3952569100/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1737183087/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2648187703/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":798},"headData":{"title":"‘Mixtape for Palestine’ Raises Funds for MECA Through Music | KQED","description":"Jolie Holland, Little Wings and a slew of Bay Area indie musicians have contributed songs to a new benefit compilation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Mixtape for Palestine’ Raises Funds for MECA Through Music %%page%% %%sep%% KQED","socialDescription":"Jolie Holland, Little Wings and a slew of Bay Area indie musicians have contributed songs to a new benefit compilation.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Singing for Children on the Other Side of the World","datePublished":"2024-01-11T21:14:07.000Z","dateModified":"2024-01-12T00:03:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"singing-for-children-on-the-other-side-of-the-world","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940325/mixtape-for-palestine-meca-benefit-compilation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you hang around San Francisco’s indie folk scene, it will not take you long to run into singer and promoter \u003ca href=\"https://www.sfweekly.com/music/music-heroes-jessie-woletz/article_bfe961b1-70a1-5154-9113-cd00d5024e65.html\">Jessie Woletz\u003c/a>. As an individual, she’s warm and soft-spoken, having worked as a nanny for over a decade. But as \u003ca href=\"https://www.instagram.com/seaweedsway/?hl=en\">Seaweed Sway\u003c/a>, the moniker for her DIY music and event-production project that’s hosted shows around the Bay Area since 2007, she’s a veritable force of nature. She gets things done. And she knows \u003cem>a lot\u003c/em> of people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940282","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Both of these attributes came in handy last month, when Woletz — feeling helpless while taking in images of the devastation in Gaza — decided to contact artists she knew with a simple request: “Do you want to donate a song to support relief in Palestine?”\u003c/p>\n\u003cp>The result is a compilation, clocking in at 87 songs and counting, that has already raised more than $5000 for the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a> since its release on Jan. 1. \u003cem>\u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">Mixtape for Palestine\u003c/a>, \u003c/em>available for download via Bandcamp with a donation to MECA, is a sprawling patchwork of songs — some originals, some previously released, some covers — by artists across a wide variety of genres.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3952569100/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Emerging local artists appear alongside names with wider recognition, including Jolie Holland, Little Wings, field medic, C.J. Boyd (with a song featuring Bonnie “Prince” Billy), Ayla Nereo, Meklit and more. Veteran Bay Area musicians turned out in droves, including \u003ca href=\"https://www.kqed.org/arts/13855177/doctor-musician-and-activist-rupa-marya-offers-a-healing-balm-on-new-april-fishes-album\">Rupa & the April Fishes\u003c/a>, Brian Belknap, \u003ca href=\"https://www.youtube.com/watch?v=HHR_n_o0f20\">Diana Gameros\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry\">Sean Hayes\u003c/a>, Kelly McFarling, Chelsea Coleman, Whiskerman, \u003ca href=\"https://www.kqed.org/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother\">Megan Keely\u003c/a>, Ezra Lipp and \u003ca href=\"https://www.kqed.org/arts/13894398/amina-shareef-ali-comes-back-to-life\">Amina Shareef Ali\u003c/a>.\u003c/p>\n\u003cp>A handful of the tracks directly address the current death toll in Palestine, like Maia “MJoy” Wiitala’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/watermelon-nights\">Watermelon Nights\u003c/a>,” and B. Hamilton’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/that-god-damn-paul-mccartney-christmas-song\">That God Damn Paul McCartney Christmas Song\u003c/a>.” (While the very first track, Nora Roman and the Border Busters’ “\u003ca href=\"https://seaweedsway.bandcamp.com/track/song-for-palestine\">Song For Palestine\u003c/a>,” could have been written last week, the group actually released it in 2011.) Others are protest songs originally inspired by other causes or oppressed communities; still others speak more generally on themes of heartbreak and grief. Woletz welcomed them all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1737183087/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I wasn’t sure anyone would want to do it,” she says of her initial trepidation. “I know different artists have different views [on the war] … but my hope was, ‘OK, let’s find where we align.’ I think we can have different views and still come together to support people who are not getting resources.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939726","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Quickly, she says, it became obvious that many artists agreed. It took some dialogue about the exact language that would be released with the compilation, and where and how funds would be distributed, says Woletz. But she was moved by the sheer number of musicians who ultimately wanted to get involved.\u003c/p>\n\u003cp>“It’s a risky thing for some of them, there’s a risk of losing fans,” she says. “But people are choosing to speak out anyway, putting themselves out there, and that feels really powerful.”\u003c/p>\n\u003cp>The compilation’s cover image, \u003ca href=\"https://www.instagram.com/p/C1H_xqiOB0K/?hl=en\">donated by artist Donovan Brutus\u003c/a>, was inspired by Palestinian embroidery, with traditional motifs like chickpeas, raisins, roosters and the Moon of Bethlehem embedded throughout the design.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2648187703/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Brutus is just one of many artists involved with the project whom Woletz originally met at Amnesia, the tiny, beloved Mission District music venue where she hosted shows for years, and \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">which closed in 2020\u003c/a>.\u003c/p>\n\u003cp>For those who frequented the club in its heyday, the compilation also feels a bit like a family reunion, full of now far-flung artists who once called the Bay home: Kacey Johansing and Lapel, now both in Los Angeles; Kendra McKinley and Sonya Cotton, in New York and New Jersey; Misisipi Mike Wolf, now in Duluth, Minnesota. Mariee Siou, now based in Portland, is one of several artist-activists who was instrumental in helping Woletz learn about Palestine, and in spurring her to take action.\u003c/p>\n\u003cp>“So many artists have left over the last few years, especially during the pandemic, and I think we all have grief about that,” says Woletz. “This is hopefully a way to build a sort of shared reality, to bring together different communities at a time when so many of us are feeling helpless, and put our energy in the same place.”\u003c/p>\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>\u003cem>‘Mixtape for Palestine’ is \u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">available on Bandcamp\u003c/a> for a donation of at least $25 to MECA. To bypass Bandcamp’s fees so the organization receives 100% of your donation, visit \u003ca href=\"http://bit.ly/MECAmixtape\">bit.ly/MECAmixtape\u003c/a> and include your email address to receive a download link.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940325/mixtape-for-palestine-meca-benefit-compilation","authors":["7237"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1720","arts_21682","arts_1146","arts_585"],"featImg":"arts_13940442","label":"arts_140"},"arts_13939726":{"type":"posts","id":"arts_13939726","meta":{"index":"posts_1591205157","site":"arts","id":"13939726","score":null,"sort":[1703107580000]},"guestAuthors":[],"slug":"persimmons-for-palestine-the-berkeley-pop-up-turning-a-japanese-tradition-into-activism","title":"Persimmons for Palestine: The Berkeley Pop-Up Turning a Japanese Tradition Into Activism","publishDate":1703107580,"format":"standard","headTitle":"Persimmons for Palestine: The Berkeley Pop-Up Turning a Japanese Tradition Into Activism | KQED","labelTerm":{},"content":"\u003cp>Mari Jacobson’s eyes fill with tears when she talks about the wind.\u003c/p>\n\u003cp>[aside postID='news_11969701']Decades before Jacobson was born, her great-grandmother used to perform miracles with the cold dry winds that flooded the valley in her mountainous prefecture in central Japan. They were her accomplice as she strung peeled persimmons from the eaves of her green-tiled roof. Together, she and the wind bloomed the natural sugars of the persimmons from the inside out until the fruits had preserved themselves in their own sweetness.\u003c/p>\n\u003cp>“It’s really nice to think that someone else in my lineage was sitting there, peeling persimmons,” Jacobson says, some 60 years later. “I think it takes a very specific kind of patience to engage in this practice.”\u003c/p>\n\u003cp>On a damp December morning in Berkeley, the 31-year-old is carrying on the centuries-old technique for drying persimmons, something she first began doing last winter. But now, she’s doing it for a purpose much larger than herself.\u003c/p>\n\u003cfigure id=\"attachment_13939721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939721 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg\" alt=\"a close-up of hands touching dried persimmons\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson massages Hachiya persimmons in her home in Berkeley. The process of drying persimmons is called hoshigaki, a centuries-old Japanese practice during the fall season. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early November, Jacobson announced through her pop-up \u003ca href=\"https://www.instagram.com/setsunai_snack/?hl=en\">Setsunai Snack\u003c/a> that she would be selling dried persimmons for $10 to $20 each, and sending 100% of the proceeds to the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>, a nonprofit that serves young Palestinians and Syrian refugees. She received $1,050 in orders over the course of 12 hours, for a total of 60 persimmons that would need to travel as far as Pennsylvania, she says.\u003c/p>\n\u003cp>“I’ve been deeply affected by all the news of the genocide in Palestine as a human, but also as someone who grew up in the Jewish community,” says Jacobson, whose dad is Jewish and whose mom is Japanese. “I wanted to mobilize my very negative feelings towards a small action and the creation of something that I consider very beautiful.”[aside postID='arts_13938450']But after the rain set in, Jacobson worried over the persimmons, strung up by their T-shaped stems from clothes hangers in her kitchen. Weeks after she’d spiraled the peels off the first batch with a knife — leaving the persimmons disrobed and vulnerable — a few dropped off their stems in moldy defeat and were stolen away by Jacobson’s cats.\u003c/p>\n\u003cp>Anyone who’s tried \u003ca href=\"https://www.npr.org/sections/thesalt/2019/01/09/682936866/ancient-japanese-food-craft-brings-persimmons-to-american-palates\">hoshigaki\u003c/a> will tell you it’s a delicate and complicated process. It’s nothing like dumping citrus peels into a pot of bubbling sugar, or sun-drying grapes — unless you’re individually massaging each grape for over a month.\u003c/p>\n\u003cp>Hachiya persimmons need certain conditions to become sweet: frequent massages, lots of time and a cold, dry place to do their thing.\u003c/p>\n\u003cp>“It feels like taking care of a living creature,” Jacobson says.\u003c/p>\n\u003cfigure id=\"attachment_13939722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939722 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg\" alt=\"a woman with bleach blonde hair and red lipstick cares for drying persimmons hanging from clothes hangers\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson massages Hachiya persimmons in her home in Berkeley. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Persimmons are a fall and winter fruit, and the Bay Area is generally a nurturing place for young persimmons as they come of age on the branch. But with a winter climate that’s been flip-flopping between weirdly warm days and rainy ones, this season hasn’t provided what hachiya persimmons need to transcend to caramelly excellence.\u003c/p>\n\u003cp>“Battling the rain, I had to buy this net enclosure for the persimmons, and then I had to move them inside,” Jacobson says. Instead of dry gusts rushing through an ancient valley, she had a large box fan plugged into her kitchen wall, angled towards clothing racks dangling with fruit.\u003c/p>\n\u003cp>But seven weeks out from when she peeled the very first batch, the surviving fruit had miraculously surrendered its moisture and crinkled inward, just as they were supposed to, around their now crystallized hearts.\u003c/p>\n\u003cp>Jacobson’s constant attention — and weeks of worry — had paid off, even if she’d lost a few in the process.\u003c/p>\n\u003cp>“They’re all I think about,” she says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13939723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939723 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg\" alt=\"dried persimmons hanging from clothes hangers\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hachiya persimmons hang from twine to dry in Mari Jacobson’s home. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On her kitchen countertop, Jacobson slices one of last year’s dried persimmons, a shriveled nugget of its former self, and offers a taste. A persimmon’s equivalent of powdered sugar dusts the surface of the sliver, and tastes just as sweet but more nuanced than the stuff you’d find in boxes at the store. The innermost layer is its own world of brown sugary goodness, and only gets deeper in flavor with each chew.\u003c/p>\n\u003cp>It’s sublime — and even better with some tea, bread and a soft cheese, Jacobson says.\u003c/p>\n\u003ch2>Food and freedom\u003c/h2>\n\u003cp>As Jacobson attends to each fruit this December morning, she handles them according to where each one is on their journey. Some get a firm squeeze, others the delicate pressure of hugging a great-grandparent.\u003c/p>\n\u003cp>“The fruit takes on a life of its own,” she says, softly pinching a persimmon between her thumb and forefinger.\u003c/p>\n\u003cfigure id=\"attachment_13939725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939725 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg\" alt=\"a close-up of a woman's neck, wearing a white sweater and a gold chain with small persimmon baubles\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson wears a necklace showing the different stages of hoshigaki. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, Jacobson has been thinking about how food — and lack thereof — can be a tool of oppression. According to the NGO Human Rights Watch, \u003ca href=\"https://www.hrw.org/news/2023/12/18/israel-starvation-used-weapon-war-gaza\">the Israeli government is using starvation\u003c/a> as a method of warfare, blocking the delivery of food, fuel and water to Palestinian civilians — a war crime, under international humanitarian law.\u003c/p>\n\u003cp>The connection between food and culture is precious, she says. It isn’t lost on her that hoshigaki brought Jacobson and her great-grandmother into harmony with their ecosystem; she sees the Israeli government’s actions as an attempt to sever that bond between Palestinians and their land.\u003c/p>\n\u003cp>“It’s very heavy to think about food sovereignty right now,” she said. “To think about how much Palestine is struggling with starvation right now and how violating it can be to not have access to important cultural foods that provide vibrancy to your life.”\u003c/p>\n\u003cp>Soon, Jacobson will be packaging the candied fruits to be shipped out all over the U.S. She hopes that people who encounter her effort will use their own gifts to express their solidarity with Palestinians.\u003c/p>\n\u003cp>“There’s always going to be some way that you can take a localized action to support a cause,” she said. “Even if it’s geographically very far.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Mari Jacobson is selling sweet hoshigaki, just like her great-grandmother made, to benefit kids in the Middle East.","status":"publish","parent":0,"modified":1705002951,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1110},"headData":{"title":"Persimmons for Palestine: The Berkeley Pop-Up Turning a Japanese Tradition Into Activism | KQED","description":"Mari Jacobson is selling sweet hoshigaki, just like her great-grandmother made, to benefit kids in the Middle East.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Persimmons for Palestine: The Berkeley Pop-Up Turning a Japanese Tradition Into Activism","datePublished":"2023-12-20T21:26:20.000Z","dateModified":"2024-01-11T19:55:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13939726/persimmons-for-palestine-the-berkeley-pop-up-turning-a-japanese-tradition-into-activism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mari Jacobson’s eyes fill with tears when she talks about the wind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11969701","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Decades before Jacobson was born, her great-grandmother used to perform miracles with the cold dry winds that flooded the valley in her mountainous prefecture in central Japan. They were her accomplice as she strung peeled persimmons from the eaves of her green-tiled roof. Together, she and the wind bloomed the natural sugars of the persimmons from the inside out until the fruits had preserved themselves in their own sweetness.\u003c/p>\n\u003cp>“It’s really nice to think that someone else in my lineage was sitting there, peeling persimmons,” Jacobson says, some 60 years later. “I think it takes a very specific kind of patience to engage in this practice.”\u003c/p>\n\u003cp>On a damp December morning in Berkeley, the 31-year-old is carrying on the centuries-old technique for drying persimmons, something she first began doing last winter. But now, she’s doing it for a purpose much larger than herself.\u003c/p>\n\u003cfigure id=\"attachment_13939721\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939721 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg\" alt=\"a close-up of hands touching dried persimmons\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-007-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson massages Hachiya persimmons in her home in Berkeley. The process of drying persimmons is called hoshigaki, a centuries-old Japanese practice during the fall season. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early November, Jacobson announced through her pop-up \u003ca href=\"https://www.instagram.com/setsunai_snack/?hl=en\">Setsunai Snack\u003c/a> that she would be selling dried persimmons for $10 to $20 each, and sending 100% of the proceeds to the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a>, a nonprofit that serves young Palestinians and Syrian refugees. She received $1,050 in orders over the course of 12 hours, for a total of 60 persimmons that would need to travel as far as Pennsylvania, she says.\u003c/p>\n\u003cp>“I’ve been deeply affected by all the news of the genocide in Palestine as a human, but also as someone who grew up in the Jewish community,” says Jacobson, whose dad is Jewish and whose mom is Japanese. “I wanted to mobilize my very negative feelings towards a small action and the creation of something that I consider very beautiful.”\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938450","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But after the rain set in, Jacobson worried over the persimmons, strung up by their T-shaped stems from clothes hangers in her kitchen. Weeks after she’d spiraled the peels off the first batch with a knife — leaving the persimmons disrobed and vulnerable — a few dropped off their stems in moldy defeat and were stolen away by Jacobson’s cats.\u003c/p>\n\u003cp>Anyone who’s tried \u003ca href=\"https://www.npr.org/sections/thesalt/2019/01/09/682936866/ancient-japanese-food-craft-brings-persimmons-to-american-palates\">hoshigaki\u003c/a> will tell you it’s a delicate and complicated process. It’s nothing like dumping citrus peels into a pot of bubbling sugar, or sun-drying grapes — unless you’re individually massaging each grape for over a month.\u003c/p>\n\u003cp>Hachiya persimmons need certain conditions to become sweet: frequent massages, lots of time and a cold, dry place to do their thing.\u003c/p>\n\u003cp>“It feels like taking care of a living creature,” Jacobson says.\u003c/p>\n\u003cfigure id=\"attachment_13939722\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939722 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg\" alt=\"a woman with bleach blonde hair and red lipstick cares for drying persimmons hanging from clothes hangers\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-009-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson massages Hachiya persimmons in her home in Berkeley. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Persimmons are a fall and winter fruit, and the Bay Area is generally a nurturing place for young persimmons as they come of age on the branch. But with a winter climate that’s been flip-flopping between weirdly warm days and rainy ones, this season hasn’t provided what hachiya persimmons need to transcend to caramelly excellence.\u003c/p>\n\u003cp>“Battling the rain, I had to buy this net enclosure for the persimmons, and then I had to move them inside,” Jacobson says. Instead of dry gusts rushing through an ancient valley, she had a large box fan plugged into her kitchen wall, angled towards clothing racks dangling with fruit.\u003c/p>\n\u003cp>But seven weeks out from when she peeled the very first batch, the surviving fruit had miraculously surrendered its moisture and crinkled inward, just as they were supposed to, around their now crystallized hearts.\u003c/p>\n\u003cp>Jacobson’s constant attention — and weeks of worry — had paid off, even if she’d lost a few in the process.\u003c/p>\n\u003cp>“They’re all I think about,” she says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13939723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939723 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg\" alt=\"dried persimmons hanging from clothes hangers\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-020-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hachiya persimmons hang from twine to dry in Mari Jacobson’s home. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On her kitchen countertop, Jacobson slices one of last year’s dried persimmons, a shriveled nugget of its former self, and offers a taste. A persimmon’s equivalent of powdered sugar dusts the surface of the sliver, and tastes just as sweet but more nuanced than the stuff you’d find in boxes at the store. The innermost layer is its own world of brown sugary goodness, and only gets deeper in flavor with each chew.\u003c/p>\n\u003cp>It’s sublime — and even better with some tea, bread and a soft cheese, Jacobson says.\u003c/p>\n\u003ch2>Food and freedom\u003c/h2>\n\u003cp>As Jacobson attends to each fruit this December morning, she handles them according to where each one is on their journey. Some get a firm squeeze, others the delicate pressure of hugging a great-grandparent.\u003c/p>\n\u003cp>“The fruit takes on a life of its own,” she says, softly pinching a persimmon between her thumb and forefinger.\u003c/p>\n\u003cfigure id=\"attachment_13939725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939725 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg\" alt=\"a close-up of a woman's neck, wearing a white sweater and a gold chain with small persimmon baubles\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231219-HOSHIGAKI-031-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mari Jacobson wears a necklace showing the different stages of hoshigaki. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lately, Jacobson has been thinking about how food — and lack thereof — can be a tool of oppression. According to the NGO Human Rights Watch, \u003ca href=\"https://www.hrw.org/news/2023/12/18/israel-starvation-used-weapon-war-gaza\">the Israeli government is using starvation\u003c/a> as a method of warfare, blocking the delivery of food, fuel and water to Palestinian civilians — a war crime, under international humanitarian law.\u003c/p>\n\u003cp>The connection between food and culture is precious, she says. It isn’t lost on her that hoshigaki brought Jacobson and her great-grandmother into harmony with their ecosystem; she sees the Israeli government’s actions as an attempt to sever that bond between Palestinians and their land.\u003c/p>\n\u003cp>“It’s very heavy to think about food sovereignty right now,” she said. “To think about how much Palestine is struggling with starvation right now and how violating it can be to not have access to important cultural foods that provide vibrancy to your life.”\u003c/p>\n\u003cp>Soon, Jacobson will be packaging the candied fruits to be shipped out all over the U.S. She hopes that people who encounter her effort will use their own gifts to express their solidarity with Palestinians.\u003c/p>\n\u003cp>“There’s always going to be some way that you can take a localized action to support a cause,” she said. “Even if it’s geographically very far.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939726/persimmons-for-palestine-the-berkeley-pop-up-turning-a-japanese-tradition-into-activism","authors":["11872"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_10278","arts_21682","arts_21813"],"featImg":"arts_13939724","label":"source_arts_13939726"},"arts_13938619":{"type":"posts","id":"arts_13938619","meta":{"index":"posts_1591205157","site":"arts","id":"13938619","score":null,"sort":[1701292122000]},"guestAuthors":[],"slug":"porch-party-oakland-pop-up-art-activism-community","title":"A Home Cook's Porch Parties Are Helping Fuel the East Bay's Artistic Community","publishDate":1701292122,"format":"standard","headTitle":"A Home Cook’s Porch Parties Are Helping Fuel the East Bay’s Artistic Community | KQED","labelTerm":{},"content":"\u003cp>[dropcap]A[/dropcap]ri Louie throws porch parties. The schedule varies, but usually on Sundays, they’ll post a handwritten menu on \u003ca href=\"https://www.instagram.com/_porchparty_/\">Instagram\u003c/a>. And then on Tuesday, people from all over the East Bay flock to their porch in West Oakland to share a home-cooked meal, finding community in helpings of hot food and scratch-made buttermilk biscuits. For Louie, the informal “Porch Party” pop-ups are yet another step in their long journey of feeding people.\u003c/p>\n\u003cp>In layman’s terms, they say, “I am just your neighbor cooking for you in my kitchen.”\u003c/p>\n\u003cp>After tasting the fruits of the chef’s labor at several art events in Oakland, I began to recognize Louie as an East Bay staple. Our first chance meeting was at a celebration of queer art at \u003ca href=\"https://www.instagram.com/helvella.art/?hl=en\">Helvella Art\u003c/a>, where Louie plated up crispy pork belly with the perfect level of chewy crunch, and jasmine oat lattes that sang with floral notes and grounded nuttiness. The second was a West Oakland Farmers Market art sale, where they sold “chips ‘n’ fixin’s,” a hearty plate of tortilla chips topped with slow-stewed beans, fresh cotija cheese and a tangy-sweet yogurt slaw to tickle the tastebuds.\u003c/p>\n\u003cp>For each of these events, Louie’s three-dimensional flavor pairings paid homage to the many different food traditions that allow the Bay Area’s diasporic landscape to thrive. And their presence at art-focused events piqued my interest in how necessary the culinary arts are to feeding our inner artists — and how even mundane tasks can be a vehicle for creative expression.\u003c/p>\n\u003cp>At home in their kitchen on a recent Tuesday evening, Louie carefully moved pre-prepped ingredients into stir-fries, mixing in oyster sauces, vinegars and salts while a pot of jook simmered nearby. They worked quickly, cutting with precision and trimming scallions into perfect diagonals.\u003c/p>\n\u003cfigure id=\"attachment_13938627\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-scaled.jpg\" alt=\"A bowl of jook (rice porridge) topped with scallions and stir-fried vegetables.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A bowl of Louie’s homemade jook — a labor of love. The chopsticks are from Louie’s grandmother’s Chinese restaurant. \u003ccite>(Courtesy of Celadon Loo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Louie has been cooking for as long as they can remember. Their grandmother owned a classic 1950s Chinese restaurant in the Southern California suburbs. Through that lineage, Louie immersed themselves in a world of restaurant tools, kitchen efficiency and the age-old habit of tasting as you go. Growing up in the San Gabriel Valley, Louie learned that community was something that thrived in the comfort of a home kitchen — and with the guidance of their father, who was also a talented home cook, they soon became the resident chef for the family’s big parties and annual gatherings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Louie, these early years weren’t particularly conventional. They left high school and graduated late, choosing to work as a campaigner for Hillary Clinton’s presidential bid in 2016. In the days following election night, they and their coworkers found themselves bereft. To break out of their funk, Louie leaned into their Jewish upbringing and cooked weekly Shabbat meals for campaigners in the Los Angeles Area. The process of breaking bread became a way for the group to bond, and together, they began to use those Friday night meals as a time to gather for community actions.\u003c/p>\n\u003cp>Eventually, Louie left L.A. to attend UC Berkeley and began working as a head cook at the Berkeley Student Co-ops. There, Louie and a team of five assistant cooks would serve 140 people (and any guests they brought) a four-course meal every week. The food — like beans hydrated in an overnight marinade or elaborate bowls of fresh noodles — quickly developed a reputation for its flavor and execution.\u003c/p>\n\u003cp>When the pandemic struck and massive protests over police violence erupted all around the country, Louie moved back home to L.A. and decided to raise money for Black Lives Matter by hosting a neighborhood bake sale — unbeknownst to their family. Louie’s mother, father and brothers came home to find flour on the floor, baking pans stacked in the sink, and a frantic baker. Thus, Louie’s subsequent attempts at activism came with a single caveat: They had to allow their family to help.\u003c/p>\n\u003cp>So began an entire operation. Louie’s father helped source ingredients. Their brother developed software to manage ordering. And Louie and their mother baked. Over the course of Louie’s year at home, they raised $34,000 for the movement.\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]‘Here, neighbors can have meaningful dialogue about community actions, their personal well-being \u003cem>and\u003c/em> the food at hand.’[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Through that experience, Louie found their passion. Food was a way that communities could gather and celebrate. And Louie had witnessed firsthand the joy of creating both the space and opportunity for their neighbors to engage in community action. Initially, Louie’s idea was to enter the restaurant business to create physical spaces where people could share meals and conversation. But after several stints at high-end restaurants in Los Angeles and the Bay, Louie realized that they found their greatest joy in cooking meals for neighbors — at home. Thus, Porch Party was born. Louie hosted the first iteration in August of 2022.\u003c/p>\n\u003cp>Porch Party, in Louie’s words, is “here to serve and support and bring joy to artists, activists, creatives, and community-builders as we all do our part to destroy the racist capitalist imperialist heteropatriarchy.” Each week’s iteration has a new menu. Sometimes the pop-up takes the form of home deliveries or pickups. And, most importantly, sometimes there are actual, \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/?img_index=1\">in-person porch parties\u003c/a>.\u003c/p>\n\u003cp>During these pop-ups, Louie’s house serves as a place where “things can get pretty intense,” meaning community members from all around the East Bay wind up engaging in large-group conversations that go beyond a simple “how are you.” While knowing your neighbor feels rarer than ever, Louie strives to create a space where guests can feed their body, their social calendar and their mind. Here, neighbors can have meaningful dialogue about community actions, their personal well-being \u003cem>and\u003c/em> the food at hand — all while fueling good causes.\u003c/p>\n\u003cfigure id=\"attachment_13938628\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-scaled.jpg\" alt=\"A woman stirs a large pot of jook with a soup spoon.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Louie checks on the jook, which had a wonderful, pillowy texture. \u003ccite>(Courtesy of Celadon Loo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently, Louie’s Porch Party menus went viral because they were donating proceeds to the Palestinian Children’s Relief Fund, raising $1,600 in one week alone — and a total of \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/\">about $6,600\u003c/a> over the course of a few pop-ups. The most recent pop-up split its proceeds between the Palestinian humanitarian aid nonprofit and the \u003ca href=\"https://sogoreate-landtrust.org/\">Sogorea Te’ Land Trust\u003c/a>, an indigenous land rematriation project whose work breathes life into more home kitchens in the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929177,arts_13938506,arts_13928345']\u003c/span>\u003c/strong>\u003c/b>When Louie offered me a sneak peek at that last Porch Party menu, I jumped at the chance. Louie had made a homemade chicken broth with ginger and chicken bones, and then used that stock to make a heavenly jook. The rice had softened to a pillowy texture, perfectly emulsifying within the salty broth and treasures of egg ribbons. They also served a heaping pile of stir-fried mushrooms, broccoli, shallots and purple cabbage, all tossed in chili oil and a slightly sweet, umami-filled sauce — a combination so delicious that I drizzled it onto my jook as well. Every bite was grounded in a surprising new dimension of flavor.\u003c/span>\u003c/p>\n\u003cp>Louie’s community work boasts the same characteristics as their culinary practices, letting the flavors of diverse lives mix and mingle to create a masterpiece. The chef’s big-picture dreams have evolved over the years — from becoming a rhetoric professor to a TV show host showcasing home cooks. Now, their biggest dream is to create art about what food means to our society. While serving piping hot meals, they want to gather folks around their literal and metaphoric table to engage in oral history, movement building and elevating stories of marginalized communities whose foods we eat every day.\u003c/p>\n\u003cp>After all, the story of food, to Louie, is a story about the people who make it happen. And, as the mind behind Porch Party, Louie wants to do both — the making and the telling.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next Porch Party pop-up will be an \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/?img_index=1\">in-person brunch event\u003c/a> in West Oakland on Sunday, Dec. 3, from 11 a.m.–3 p.m. RSVP by \u003ca href=\"https://www.luckyporchparty.com/\">preordering online\u003c/a> by 1 p.m. on Friday, Dec. 1 (or whenever all of the food sells out). \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Art, activism and home-cooked jook come together at this beloved West Oakland pop-up.","status":"publish","parent":0,"modified":1705003046,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1457},"headData":{"title":"West Oakland's 'Porch Party' Pop-Up Fuels Artists and Activists | KQED","description":"Art, activism and home-cooked jook come together at this beloved West Oakland pop-up.","ogTitle":"A Home Cook's Porch Parties Are Helping Fuel the East Bay's Artistic Community","ogDescription":"","ogImgId":"","twTitle":"A Home Cook's Porch Parties Are Helping Fuel the East Bay's Artistic Community","twDescription":"","twImgId":"","socialTitle":"West Oakland's 'Porch Party' Pop-Up Fuels Artists and Activists %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Home Cook's Porch Parties Are Helping Fuel the East Bay's Artistic Community","datePublished":"2023-11-29T21:08:42.000Z","dateModified":"2024-01-11T19:57:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Giovanna Lomanto","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938619/porch-party-oakland-pop-up-art-activism-community","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ri Louie throws porch parties. The schedule varies, but usually on Sundays, they’ll post a handwritten menu on \u003ca href=\"https://www.instagram.com/_porchparty_/\">Instagram\u003c/a>. And then on Tuesday, people from all over the East Bay flock to their porch in West Oakland to share a home-cooked meal, finding community in helpings of hot food and scratch-made buttermilk biscuits. For Louie, the informal “Porch Party” pop-ups are yet another step in their long journey of feeding people.\u003c/p>\n\u003cp>In layman’s terms, they say, “I am just your neighbor cooking for you in my kitchen.”\u003c/p>\n\u003cp>After tasting the fruits of the chef’s labor at several art events in Oakland, I began to recognize Louie as an East Bay staple. Our first chance meeting was at a celebration of queer art at \u003ca href=\"https://www.instagram.com/helvella.art/?hl=en\">Helvella Art\u003c/a>, where Louie plated up crispy pork belly with the perfect level of chewy crunch, and jasmine oat lattes that sang with floral notes and grounded nuttiness. The second was a West Oakland Farmers Market art sale, where they sold “chips ‘n’ fixin’s,” a hearty plate of tortilla chips topped with slow-stewed beans, fresh cotija cheese and a tangy-sweet yogurt slaw to tickle the tastebuds.\u003c/p>\n\u003cp>For each of these events, Louie’s three-dimensional flavor pairings paid homage to the many different food traditions that allow the Bay Area’s diasporic landscape to thrive. And their presence at art-focused events piqued my interest in how necessary the culinary arts are to feeding our inner artists — and how even mundane tasks can be a vehicle for creative expression.\u003c/p>\n\u003cp>At home in their kitchen on a recent Tuesday evening, Louie carefully moved pre-prepped ingredients into stir-fries, mixing in oyster sauces, vinegars and salts while a pot of jook simmered nearby. They worked quickly, cutting with precision and trimming scallions into perfect diagonals.\u003c/p>\n\u003cfigure id=\"attachment_13938627\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-scaled.jpg\" alt=\"A bowl of jook (rice porridge) topped with scallions and stir-fried vegetables.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-jook_celadon-loo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A bowl of Louie’s homemade jook — a labor of love. The chopsticks are from Louie’s grandmother’s Chinese restaurant. \u003ccite>(Courtesy of Celadon Loo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Louie has been cooking for as long as they can remember. Their grandmother owned a classic 1950s Chinese restaurant in the Southern California suburbs. Through that lineage, Louie immersed themselves in a world of restaurant tools, kitchen efficiency and the age-old habit of tasting as you go. Growing up in the San Gabriel Valley, Louie learned that community was something that thrived in the comfort of a home kitchen — and with the guidance of their father, who was also a talented home cook, they soon became the resident chef for the family’s big parties and annual gatherings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Louie, these early years weren’t particularly conventional. They left high school and graduated late, choosing to work as a campaigner for Hillary Clinton’s presidential bid in 2016. In the days following election night, they and their coworkers found themselves bereft. To break out of their funk, Louie leaned into their Jewish upbringing and cooked weekly Shabbat meals for campaigners in the Los Angeles Area. The process of breaking bread became a way for the group to bond, and together, they began to use those Friday night meals as a time to gather for community actions.\u003c/p>\n\u003cp>Eventually, Louie left L.A. to attend UC Berkeley and began working as a head cook at the Berkeley Student Co-ops. There, Louie and a team of five assistant cooks would serve 140 people (and any guests they brought) a four-course meal every week. The food — like beans hydrated in an overnight marinade or elaborate bowls of fresh noodles — quickly developed a reputation for its flavor and execution.\u003c/p>\n\u003cp>When the pandemic struck and massive protests over police violence erupted all around the country, Louie moved back home to L.A. and decided to raise money for Black Lives Matter by hosting a neighborhood bake sale — unbeknownst to their family. Louie’s mother, father and brothers came home to find flour on the floor, baking pans stacked in the sink, and a frantic baker. Thus, Louie’s subsequent attempts at activism came with a single caveat: They had to allow their family to help.\u003c/p>\n\u003cp>So began an entire operation. Louie’s father helped source ingredients. Their brother developed software to manage ordering. And Louie and their mother baked. Over the course of Louie’s year at home, they raised $34,000 for the movement.\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Here, neighbors can have meaningful dialogue about community actions, their personal well-being \u003cem>and\u003c/em> the food at hand.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Through that experience, Louie found their passion. Food was a way that communities could gather and celebrate. And Louie had witnessed firsthand the joy of creating both the space and opportunity for their neighbors to engage in community action. Initially, Louie’s idea was to enter the restaurant business to create physical spaces where people could share meals and conversation. But after several stints at high-end restaurants in Los Angeles and the Bay, Louie realized that they found their greatest joy in cooking meals for neighbors — at home. Thus, Porch Party was born. Louie hosted the first iteration in August of 2022.\u003c/p>\n\u003cp>Porch Party, in Louie’s words, is “here to serve and support and bring joy to artists, activists, creatives, and community-builders as we all do our part to destroy the racist capitalist imperialist heteropatriarchy.” Each week’s iteration has a new menu. Sometimes the pop-up takes the form of home deliveries or pickups. And, most importantly, sometimes there are actual, \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/?img_index=1\">in-person porch parties\u003c/a>.\u003c/p>\n\u003cp>During these pop-ups, Louie’s house serves as a place where “things can get pretty intense,” meaning community members from all around the East Bay wind up engaging in large-group conversations that go beyond a simple “how are you.” While knowing your neighbor feels rarer than ever, Louie strives to create a space where guests can feed their body, their social calendar and their mind. Here, neighbors can have meaningful dialogue about community actions, their personal well-being \u003cem>and\u003c/em> the food at hand — all while fueling good causes.\u003c/p>\n\u003cfigure id=\"attachment_13938628\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-scaled.jpg\" alt=\"A woman stirs a large pot of jook with a soup spoon.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/porch-party-ari-in-profile_celadon-loo-1365x2048.jpg 1365w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Louie checks on the jook, which had a wonderful, pillowy texture. \u003ccite>(Courtesy of Celadon Loo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently, Louie’s Porch Party menus went viral because they were donating proceeds to the Palestinian Children’s Relief Fund, raising $1,600 in one week alone — and a total of \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/\">about $6,600\u003c/a> over the course of a few pop-ups. The most recent pop-up split its proceeds between the Palestinian humanitarian aid nonprofit and the \u003ca href=\"https://sogoreate-landtrust.org/\">Sogorea Te’ Land Trust\u003c/a>, an indigenous land rematriation project whose work breathes life into more home kitchens in the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929177,arts_13938506,arts_13928345","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>When Louie offered me a sneak peek at that last Porch Party menu, I jumped at the chance. Louie had made a homemade chicken broth with ginger and chicken bones, and then used that stock to make a heavenly jook. The rice had softened to a pillowy texture, perfectly emulsifying within the salty broth and treasures of egg ribbons. They also served a heaping pile of stir-fried mushrooms, broccoli, shallots and purple cabbage, all tossed in chili oil and a slightly sweet, umami-filled sauce — a combination so delicious that I drizzled it onto my jook as well. Every bite was grounded in a surprising new dimension of flavor.\u003c/span>\u003c/p>\n\u003cp>Louie’s community work boasts the same characteristics as their culinary practices, letting the flavors of diverse lives mix and mingle to create a masterpiece. The chef’s big-picture dreams have evolved over the years — from becoming a rhetoric professor to a TV show host showcasing home cooks. Now, their biggest dream is to create art about what food means to our society. While serving piping hot meals, they want to gather folks around their literal and metaphoric table to engage in oral history, movement building and elevating stories of marginalized communities whose foods we eat every day.\u003c/p>\n\u003cp>After all, the story of food, to Louie, is a story about the people who make it happen. And, as the mind behind Porch Party, Louie wants to do both — the making and the telling.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next Porch Party pop-up will be an \u003ca href=\"https://www.instagram.com/p/C0M37b3OnIX/?img_index=1\">in-person brunch event\u003c/a> in West Oakland on Sunday, Dec. 3, from 11 a.m.–3 p.m. RSVP by \u003ca href=\"https://www.luckyporchparty.com/\">preordering online\u003c/a> by 1 p.m. on Friday, Dec. 1 (or whenever all of the food sells out). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938619/porch-party-oakland-pop-up-art-activism-community","authors":["byline_arts_13938619"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_4459","arts_21727","arts_5569","arts_10278","arts_1297","arts_1143","arts_21682","arts_14089","arts_585","arts_2533"],"featImg":"arts_13938624","label":"source_arts_13938619"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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