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style="font-family:lato,helvetica neue,helvetica,arial,sans-serif">Art
Is a Dream in Which We
Imagine Our Future: The
Twentieth Newsletter
(2022)</span></span></span></strong>
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<p style="margin: 10px
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<p style="margin: 10px
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<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Dear
friends,</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Greetings
from the desk of <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=1fd4987d5f&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">Tricontinental:
Institute for Social
Research</a>.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">On
11 May 2022, an Israeli
sniper <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=0413e5f3ef&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">fired</a>
at the head of the veteran
Palestinian journalist
Shireen Abu Aqleh as she
reported on an Israeli
military raid on a refugee
settlement in Jenin (part of
the Occupied Palestine
Territories). The snipers
continued to fire at the
journalists who were with
her, preventing them from
aiding her. When she finally
arrived at Ibn Sina
Hospital, she was pronounced
dead.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">After
Abu Aqleh’s death, the
Israeli military raided her
home in occupied East
Jerusalem, where they
confiscated Palestinian
flags and attempted to
prevent mourners from
playing Palestinian songs.
At her funeral on 13 May,
the Israel Defence Forces <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=f3d3dc4db5&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">attacked</a>
the massive turnout of
family and supporters –
including her pallbearers –
and grabbed Palestinian
flags held by the crowd. The
murder of Abu Aqleh, who had
been a highly respected
journalist for Al Jazeera
since 1997, and the violence
by the Israeli forces at her
funeral reinforce the <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=dbd8e9178b&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">apartheid</a>
nature of Israel’s
occupation of Palestine.
Palestinian leader Dr Hanan
Ashrawi <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=b8db70aeff&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">tweeted</a>
that the attack on
Palestinian flags, posters,
and slogans exposes ‘the
insecurity of the
oppressor’. The assault on
these cultural icons,
Ashwari went on to explain,
shows Israelis’ ‘fear of our
symbols, fear of our grief
& anger, fear of our
existence’.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">The
raid that Abu Aqleh was
covering when she was killed
took place in Jenin, the
home of Palestine’s
remarkable <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=4e87c9cea0&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">Freedom
Theatre</a>. On 4 April
2011, Juliano Mer-Khamis,
one of the theatre’s
founders, was shot dead not
far from where Abu Aqleh was
killed. ‘Israel is
destroying the neurological
system of [Palestinian]
society’, Mer-Khamis <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=df3bd3490a&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">said</a>,
and this neurological system
‘is culture, identity,
communication … We have to
stand up again on our feet’,
he said. ‘We are now living
on our knees’.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
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bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0">
<p
id="caption-attachment-59595"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;"><b>Front:</b>
Actors of a Beijing
opera troupe perform. <b>Back:</b>
Drama students of the Lu
Xun Academy of Arts
rehearse a play in a
structure they built
themselves. </span><br>
<span style="color:
#ba2025;">Credit: Yan’an
Red Cloud Platform
[延安红云平台]</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Eight
decades ago, in the heart of
China, hundreds of Chinese
intellectuals and artists
from cities such as Shanghai
gathered in Yan’an, which
had become a red base for
the Communist Party of China
(CPC). In 1942, in and
around the caves of this
city, a serious discussion
took place about the
paralysis of Chinese culture
in the face of three serious
challenges: the sclerotic
nature of the Chinese feudal
system, the viciousness of
Western-led imperialism, and
the harshness of the
Japanese fascist occupation.
Cultural workers had to
confront these facts of
history as well as the
historical tasks that they
presented. In Yan’an, the
debate circled around the
confounding assertion that
artists could work without
confronting the major
historical processes of our
time. Imagine, for example,
a Palestinian artist who
works today without being
gripped by the force of
Israeli apartheid.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">The
CPC’s head of the propaganda
department, Kai Feng,
invited artists to gather in
the central Party office for
three weeks to debate the
state of art and culture
during the revolutionary
war. Mao Zedong, a leader of
the CPC, listened to the
interventions, made his own
commentary, and the
following year published <i>Talks
at the Yan’an Forum on
Literature and Art</i>.
Our <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=3e6d640883&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">dossier
no. 52</a> (May 2022), <i>Go
to Yan’an: Culture and
National Liberation</i>,
is an assessment of the
Yan’an debate and its
implication for our times.
The dossier, illustrated by
Tricontinental: Institute
for Social Research’s art
department, looks back at
the debates in Yan’an in
order to illuminate our
conjuncture and insist on
the centrality of cultural
work for our movements
today.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_59636"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-59636"
loading="lazy"
class="wp-image-59636
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_4.jpg"
alt=""
srcset="https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_4.jpg
651w,
https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_4-206x300.jpg
206w" sizes="(max-width:
651px) 100vw, 651px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="651" border="0">
<p
id="caption-attachment-59636"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;"><b>Top</b>:
A singing troupe
performs the <i>Yangge</i>
opera, <i>Brother and
Sister Reclaiming the
Wasteland</i>. <b>Bottom</b>:
Fine arts students take
sketching lessons.</span><br>
<span style="color:
#ba2025;">Credit: Yan’an
Literature and Art
Memorial Hall [延安文艺纪念馆]
and Yan’an Red Cloud
Platform [延安红云平台]</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Artists
root their imagination in
their lived experiences. The
Freedom Theatre in Jenin
does not perform plays that
are a mirror of café life in
Tel Aviv or New York; their
plays go deep into the
imagination of occupied
Palestine. In Yan’an, our
dossier explains, ‘urban
intellectuals … had to go
through their own
transformation in order to
close the gap between
themselves and the peasant
masses. This transformation
was at the heart of the
Yan’an Forum … together,
they could turn into an
effective political force’.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">On
23 May 1942, Mao took the
floor at the Yan’an Forum to
offer his concluding remarks
to the artists and
intellectuals that had left
cities such as Shanghai and
made their way into the
interior. Here, Mao said,
new forms of life were being
created, a new buoyancy that
straightened the spines of
the people and produced new
forms of social life. ‘To
arrive in a base area’, Mao
said, ‘is to arrive in a
period of rule unprecedented
in the several thousand
years of Chinese history,
one where workers, peasants,
and soldiers, and the
popular masses hold power …
the eras of the past are
gone forever and will never
return’. He meant that the
imagination must be
stretched to tell stories of
and for the newly upright
Chinese people. The purpose
of art, the intellectuals at
Yan’an argued, is to be
relevant to these major
historical events.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><img
loading="lazy"
class="aligncenter
wp-image-59821 size-full
img-responsive mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/05/20210910_Lu-Xun_IG_EN_JPG.jpg"
alt=""
srcset="https://thetricontinental.org/wp-content/uploads/2022/05/20210910_Lu-Xun_IG_EN_JPG.jpg
950w,
https://thetricontinental.org/wp-content/uploads/2022/05/20210910_Lu-Xun_IG_EN_JPG-300x300.jpg
300w,
https://thetricontinental.org/wp-content/uploads/2022/05/20210910_Lu-Xun_IG_EN_JPG-150x150.jpg
150w,
https://thetricontinental.org/wp-content/uploads/2022/05/20210910_Lu-Xun_IG_EN_JPG-768x768.jpg
768w" sizes="(max-width:
950px) 100vw, 950px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="950" border="0"></p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">To
make his point, Mao quoted
the writer Lu Xun
(1881–1936), who understood
these changes and reflected
on them in his poetry:</p>
<p style="padding-left:
40px;margin: 10px 0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Fierce-browed,
I coolly defy a thousand
pointing fingers,<br>
Head-bowed, like a willing
ox I serve the children.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Mao
described the enemy, these
‘thousand pointing fingers’,
as the vampirish
imperialists and cadaverous
feudal landlords. The
‘children’ were the working
classes, the peasantry, and
the popular masses. Lu Xun’s
words show that the artist –
the ‘willing ox’ – must
never submit to the old
granite block of oppression,
Mao explained; he or she
must be willing to accompany
the people in their struggle
for freedom.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">It
is the struggle that enabled
the popular masses to stand
upright, to refuse to bow
down to the centuries of
humiliation of seeing their
labour subordinated to the
accumulation of wealth by
the elites. Artistic
practice and intellectual
activity must reflect these
broad changes which are
present today in China’s
mass <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=8edb0582e4&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">campaign</a>
to abolish absolute poverty,
in Indian farmers’ <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=2f52e3863b&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">refusal</a>
to submit to the Uberisation
of their livelihoods, in
South African shack
dwellers’ <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=2e74a088d5&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">bravery</a>
to stand firm against <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=f053da96f0&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">political
killings</a>, and in the
massive mobilisation of
Palestinians at the funeral
of Shireen Abu Aqleh.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_59666"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-59666"
loading="lazy"
class="wp-image-59666
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_7.jpg"
alt=""
srcset="https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_7.jpg
651w,
https://thetricontinental.org/wp-content/uploads/2022/05/20220511_D52_Images_7-206x300.jpg
206w" sizes="(max-width:
651px) 100vw, 651px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="651" border="0">
<p
id="caption-attachment-59666"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;"><i>Yangge</i>
singing troupes perform
for the people at the
1943 Spring Festival
celebration. </span><br>
<span style="color:
#ba2025;">Credit: Yan’an
Red Cloud Platform
[延安红云平台] and China Youth
Daily [中国青年报]</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">The
debates at Yan’an cleared
the way for artists and
writers to germinate intense
cultural activity, to
disseminate new ideas into
the cultural domain, to lift
the conversation from the
day-to-day to new horizons,
and to create new political
spaces and epochs. This
cultural work called upon
intellectuals and artists to
focus on the future, no
longer merely concerned with
their own temperament (‘art
for art’s sake’), to work
for a new horizon, and to
inaugurate a new humanity.
There was no obligation to
collapse their work solely
into a political project,
since that would reduce
their capacity to go beyond
the dilemmas posed by the
present. Artists and
intellectuals needed to
support movements, but also
to retain the space to
create a passionate fervour
in society that could fuel a
new culture.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Mao’s
interventions at Yan’an made
it clear that intellectual
and artistic activity would
not by themselves change the
world. Artists and
intellectuals allude to
reality, draw attention to
certain problems, and
provide an understanding of
them. But art alone cannot
remedy all problems. For
that, it is necessary to
turn to the organisations
and movements that churn
society into something new.
If art forms must carry the
enormous burden of political
theory and praxis, they are
often diminished. Art must
breathe in the sensibilities
of the working class and the
peasantry and breathe out
new cultural propositions.
Alongside the tide of
humanity that refuses to
submit to oppression, this
leads us into new
possibilities.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<div id="attachment_59831"
class="wp-caption
aligncenter"><img
aria-describedby="caption-attachment-59831"
loading="lazy"
class="wp-image-59831
size-full img-responsive
mcRssImage"
src="https://thetricontinental.org/wp-content/uploads/2022/05/Malak-Mattar-Palestine-Last-scene-before-flying-with-the-dove-2019.1.jpg"
alt=""
srcset="https://thetricontinental.org/wp-content/uploads/2022/05/Malak-Mattar-Palestine-Last-scene-before-flying-with-the-dove-2019.1.jpg
720w,
https://thetricontinental.org/wp-content/uploads/2022/05/Malak-Mattar-Palestine-Last-scene-before-flying-with-the-dove-2019.1-223x300.jpg
223w" sizes="(max-width:
720px) 100vw, 720px"
style="max-width:
100%;width:
100%;padding-bottom:
0;display:
inline;vertical-align:
bottom;border: 0;height:
auto;outline:
none;text-decoration:
none;-ms-interpolation-mode:
bicubic;"
moz-do-not-send="true"
width="720" border="0">
<p
id="caption-attachment-59831"
class="wp-caption-text"
style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"><span
style="color: #ba2025;">Malak
Mattar (Palestine), <i>Last
Scene Before Flying
with the Dove to
Paradise</i>, 2019.</span></p>
</div>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;"> </p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Asma
Naghnaghiye, a young girl
who participated in a
Freedom Theatre camp, <a
href="https://thetricontinental.us11.list-manage.com/track/click?u=6a79324d3b4acfde1e7e546c6&id=d326a7f9a9&e=d206d0a40d"
style="mso-line-height-rule: exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust:
100%;color:
#007C89;font-weight:
normal;text-decoration:
underline;"
moz-do-not-send="true">spoke</a>
of the beauty of cultural
work ‘In one of the
exercises in the theatre I
imitated a bird who flies
above my neighbourhood and
then above Jenin and then
above the sea. It was a like
a dream’. That dream of the
future converts the present
into a place of struggle.</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Warmly,</p>
<p style="margin: 10px
0;padding:
0;mso-line-height-rule:
exactly;-ms-text-size-adjust:
100%;-webkit-text-size-adjust: 100%;color: #202020;font-family:
Helvetica;font-size:
16px;line-height:
150%;text-align: left;">Vijay</p>
</span> </td>
</tr>
</tbody>
</table>
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center;background-size: cover;border-top:
0;border-bottom: 0;padding-top:
9px;padding-bottom: 9px;" valign="top">
<table class="mcnFollowBlock" style="min-width:
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