Skip to main content

Home/ Media in Middle East & North Africa/ Group items tagged media

Rss Feed Group items tagged

Ed Webb

The Turbulent World of Middle East Soccer: Turning Qatar into an Island: Saudi cuts off... - 0 views

  • There’s a cutting-off-the-nose-to-spite-the face aspect to a Saudi plan to turn Qatar into an island by digging a 60-kilometre ocean channel through the two countries’ land border that would accommodate a nuclear waste heap as well as a military base.

    If implemented, the channel would signal the kingdom’s belief that relations between the world’s only two Wahhabi states will not any time soon return to the projection of Gulf brotherhood that was the dominant theme prior to the United Arab Emirates-Saudi-led imposition in June of last year of a diplomatic and economic boycott of Qatar.
  • The message that notions of Gulf brotherhood are shallow at best is one that will be heard not only in Doha, but also in other capitals in the region
  • the nuclear waste dump and military base would be on the side of the channel that touches the Qatari border and would effectively constitute a Saudi outpost on the newly created island.
  • ...7 more annotations...
  • The plan, to be funded by private Saudi and Emirati investors and executed by Egyptian firms that helped broaden the Suez Canal, also envisions the construction of five hotels, two ports and a free trade zone.
  • The $750 million project would have the dump ready for when Saudi Arabia inaugurates the first two of its 16 planned nuclear reactors in 2027. Saudi Arabia is reviewing proposals to build the reactors from US, Chinese, French, South Korean contractors and expects to award the projects in December.
  • Qatar’s more liberal Wahhabism of the sea contrasts starkly with the Wahhabism of the land that Prince Mohammed is seeking to reform. The crown prince made waves last year by lifting a ban on women’s driving, granting women the right to attend male sporting events in stadiums, and introducing modern forms of entertainment like, music, cinema and theatre – all long-standing fixtures of Qatari social life and of the ability to reform while maintaining autocratic rule.
  • A traditional Gulf state and a Wahhabi state to boot, Qatari conservatism was everything but a mirror image of Saudi Arabia’s long-standing puritan way of life. Qatar did not have a powerful religious establishment like the one in Saudi Arabia that Prince Mohammed has recently whipped into subservience, nor did it implement absolute gender segregation.

    Non-Muslims can practice their faith in their own houses of worship and were exempted from bans on alcohol and pork. Qatar became a sponsor of the arts and hosted the controversial state-owned Al Jazeera television network that revolutionized the region’s controlled media landscape and became one of the world’s foremost global English-language broadcasters.
  • Qatari conservatism is likely what Prince Mohammed would like to achieve even if that is something he is unlikely to acknowledge
  • “I consider myself a good Wahhabi and can still be modern, understanding Islam in an open way. We take into account the changes in the world,” Abdelhameed Al Ansari, the then dean of Qatar University’s College of Sharia, a leader of the paradigm shift, told The Wall Street Journal in 2002.
  • if built, the channel would suggest that geopolitical supremacy has replaced ultra-conservative, supremacist religious doctrine as a driver of the king-in-waiting’s policy
Ed Webb

Turkish authorities seize control of pro-Kurdish national daily - Committee to Protect ... - 0 views

  • the takeover today by a government-affiliated body of one of the last remaining pro-Kurdish national dailies
  • Istanbul police in the early hours broke into a building in Beyoğlu district that houses Özgürlükçü Demokrasi and its printer, Gün Printing House. Police told the daily's legal team that Saving Deposit Insurance Fund (TMSF), a government-controlled insurer and fund manager, had taken over the newspaper and its printing house, but did not provide further explanation, according to the reports.
Ed Webb

Here's Why You Probably Won't Read This Article About Syria - 0 views

  • analysis by BuzzFeed News shows the number of shares on Facebook, Twitter, and other social media sites of the most-read stories about Syria in the past two months were a 10th of what they were just over a year ago
  • “I work so hard to try and post videos, but no one cares. I don’t know what to say. They just see the article or report, and just say: ‘Oh, that’s really sad.’ And after that they turn the internet off and go and live their lives.”
  • Once the footage is online people like Ethar El-Katatney, executive producer of AJ+, pick it up, and try to work out how they can tell the next story from Syria.

    “All of the footage I am looking at today looks the same as the footage I saw a year ago and it’s the same dust, and blood, and screaming, and hospital rooms and hospital floors,” El-Katatney told BuzzFeed News. “It has become normalized.”

  • ...10 more annotations...
  • “People are feeling helpless, they are feeling [that] it is not that we don’t care — it’s that we just can’t do anything.”
  • “We have hit a ceiling in shocking people,” El-Katatney said. “From [a] pool of blood, or a dying child, and now people have come across severed limbs, decapitation. I don’t think there is anything that I can show that will shock anyone, no matter what it is.
  • In the final two months of 2016, as the four-year siege of the rebel-held city of Aleppo ended in brutal fashion, the four more-shared stories were all shared more than 300,000 times. The best performing story (about how people could help civilians trapped in Aleppo) was shared more than half a million times, almost entirely on Facebook.

    However, in January and February this year, as the Syrian regime and Russian forces bombarded the enclave of Eastern Ghouta, the most viral piece across all publishers (a BBC News article about children struggling to survive) was shared just 42,000 times.

  • human brains are incapable of coping with prolonged catastrophes, a phenomenon called “psychic numbing.”
  • the more death and destruction you see, on social media for example, the more your feelings of empathy actually decreases. “One plus one is less than two,” in this situation, he said.

    “We do numb to repeated photographs, just like we numb to increasing numbers of individuals,”

  • almost half a million people have been killed, 5 million more have fled the country, and 6 million have been displaced internally
  • Decisions made by US President Donald Trump’s administration have contributed to keeping the conflict from the international community’s attention. Despite bombing Syria, Trump’s only focus in the country has been ISIS, leaving a vacuum that has been occupied fully by Vladimir Putin’s Russian forces, who have worked together with the regime of Bashar al-Assad to bombard the remaining rebels, like those in besieged Eastern Ghouta.
  • "I think the world is frustrated by the actions of the major powers," said Salwa Aksoy, vice president of the National Coalition of Syrian Revolution and Opposition Forces. "The struggle has lasted so long, and the scale of the war crimes has reached a level where there is just too much pain for the international community to look at it,”
  • “All of our calls to protect children inside Syria have gone unheeded,” she said.

    “People are genuinely upset, if not angry or outraged, about what is happening now in Syria. For that I have no doubt about,’ she said. “There is, however, a certain element of fatigue among people about the suffering and the continuous horror stories. I think a lot of people feel helpless over what is happening and not being able to stop the bloodshed in Syria.”

  • “What kind of ways can we cover Syria that we haven’t done a thousand times before, whether it is with footage or with the scripting? And sometimes we fail. Sometimes there just really is nothing.”

    For Adam, messaging from a rooftop elsewhere in Ghouta, he could see the people not retweeting his stories, but he could also hear the shelling continue. “Today, like always bombing, airstrikes, and people killed. Like every day,” he said.

    “But no one cares.”

Ed Webb

Freelancing abroad in a world obsessed with Trump - Columbia Journalism Review - 0 views

  • “I can’t make a living reporting from the Middle East anymore,” said Sulome in mid-December. “I just can’t justify doing this to myself.” The day we spoke, she heard that Foreign Policy, one of the most reliable destinations for freelancers writing on-the-ground, deeply reported international pieces, would be closing its foreign bureaus. (CJR independently confirmed this, though it has not been publicly announced.) “They are one of the only publications that publish these kinds of stories,” she said, letting out a defeated sigh.
  • Sulome blames a news cycle dominated by Donald Trump. Newspapers, magazines, and TV news programs simply have less space for freelance international stories than before—unless, of course, they directly involve Trump.
  • Trump was the focus of 41 percent of American news coverage in his first 100 days in office. That’s three times the amount of coverage showered on previous presidents
  • ...8 more annotations...
  • Foreign news coverage has been taking a hit for decades. According to a 2014 Pew report, American newspapers even then had cut their international reporting staff by 24 percent in less than a decade. Network news coverage of stories with a foreign dateline averaged 500 minutes per year in 2016, compared to an average 1,500 minutes in 1988, according to a study by Tyndall.

    “Clearly it’s harder for international stories to end up on front pages now,” says Ben Pauker, who served as the executive editor of Foreign Policy for seven years until the end of 2017. He is now a managing editor at Vox. From his own experience, Pauker says, it’s simply an issue of editorial bandwidth. “There’s only so much content an editorial team can process.”

  • In October 2017, Sulome thought she had landed the story of her career. The US had just announced a $7 million reward for a Hezbollah operative believed to be scouting locations for terror attacks on American soil—something it had never done before. Having interviewed Hezbollah fighters for the last six years, Sulome had unique access to the upper echelons of its militants, including that specific operative’s family members. Over the course of her reporting, Hezbollah members told her they had contingency plans to strike government and military targets on US soil and that they had surface-to-air missiles, which had not been reported before. Convinced she had struck gold, she was elated when the piece was commissioned by a dream publication she’d never written for before. But days later, that publication rescinded its decision, saying that Sulome had done too much of the reporting before she was commissioned. Sulome was in shock. She went on to pitch the story to eight other publications, and no one was interested.
  • I’ll go back to the Middle East on trips if I find someone who wants a story, but I’m not going to live there and do this full-time, because it’s really taking a toll on me
  • According to Nathalie Applewhite, managing director of the Pulitzer Center on Crisis Reporting, the lack of international coverage has become a real problem for Pulitzer grant recipients. Those grants, she says, were established to address the earlier crisis in which news organizations were closing foreign bureaus and could no longer fund big foreign reporting projects. “Now we’re seeing an even bigger challenge,” she says. “We’re providing the monetary support, but the problem is finding the space for it.”

    Grant applicants, Applewhite adds, are finding it harder to get commitments from editors to publish their work upon completion of their reporting. And stories that already have commitments are sitting on the shelf much longer, as they are continuously postponed for breaking Trump news.

  • As the daughter of two former Middle East-based journalists, Sulome knows what it used to be like for people like her. “I grew up surrounded by foreign correspondents, and it was a very different time. There was a healthy foreign press, and most of them were staff. The Chicago Tribune had a Beirut bureau for example. So when people say we’re in a golden age of journalism today, I’m like, Really?
  • The divestment from foreign news coverage, she believes, has forced journalists to risk their lives to tell stories they feel are important. Now, some publications are refusing to commission stories in which the reporter already took the risk of doing the reporting on spec. Believing that this will discourage freelancers from putting their lives in danger, this policy adds to the problem more than it solves it.
  • “When people lose sight of what’s going on around the world, we allow our government to make foreign policy decisions that don’t benefit us. It makes it so much easier for them to do that when we don’t have the facts. Like if we don’t know that the crisis in Yemen is killing and starving so many people and making Yemenis more extremist, how will people know not to support a policy in which we are attacking Yemenis?”

  • “Whether it’s environmental, ethnic or religious conflict, these are issues that may seem far away, but if we ignore them they can have a very real impact on us at home. International security issues, global health scares, and environmental crises know no borders, and I think we ignore them at our own peril.”
Ed Webb

Mapping the Journeys of Syria's Artists | The New Yorker - 0 views

  • Last year, wondering what it means to be a Syrian artist when Syria in many ways no longer exists, I began to map the journeys of a hundred artists from the country. As I discovered, a large portion of the older guard of artists has ended up in Paris, thanks to visas issued by the French Embassy in Beirut. Many of the younger generation headed for the creative haven of Berlin, where rent is relatively cheap. Only a scant few remained in the Middle East, which proved expensive or unwelcoming.
  • A few artists remain loyal to the Assad regime, which has long seen itself as a great patron of the arts. Some of the artists who were still in Syria asked not to be mapped, even anonymously, for fear that the regime would perceive them as disloyal and punish their families. A few took issue with the label “Syrian artist” altogether. “I don’t want to become part of the Syrian-refugee industry,” Sulafa Hijazi, a visual artist now living in Berlin, told me
  • the Syria Cultural Index, “an alternative map connecting the Syrian artistic community around the globe and showcasing their work to the world.”
  • ...5 more annotations...
  • With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia
  • For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris
  • in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”
  • Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”
  • Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”
Ed Webb

Doha sues 'QatarExposed' for spreading false info | Qatar News | Al Jazeera - 0 views

  • Qatar's government communication office has filed a lawsuit in the United States against people who launched a social media campaign to spread false lies about the Gulf state to harm its interests.

    In its complaint before a court in the state of New York, the office said its defendants used social media accounts since October 2017 to spread fake information about Qatar and that it harbours "terrorism".

  • the adverts accusing Qatar of funding "terrorism" and mistreating foreign workers were paid for by "secretive campaign groups" - Qatar Exposed and Kick Qatar Out, neither of which own websites on the Internet.

    The two Twitter accounts were created within minutes of each other last October.

    According to analysts, the two campaigns are funded by groups linked to Saudi Arabia and the United Arab Emirates – which, along with Bahrain and Egypt, have severed diplomatic and trade ties with Qatar.

Ed Webb

UAE now Requires Licenses for 'Social Media Influencers' - 0 views

  • The United Arab Emirates says it will now require anyone conducting "commercial activities" through social media to register for a government-issued license.

  • new rules announced Tuesday target so-called "social media influencers,"
  • help ensure "that media material respects the religious, cultural and social values of the UAE,"
  • ...1 more annotation...
  • The UAE, while liberal in many regards compared to its Middle Eastern neighbors, has strict laws governing expression.

    Journalists working in the country require government-issued press cards. People also have been jailed for their comments online.

Ed Webb

'The Insult,' Lebanon's first Oscar-nominated film, examines a country's deepest wounds... - 0 views

  • The film follows Yasser, a Palestinian construction worker who becomes embroiled in conflict with Toni, a right-wing Lebanese Christian, over a leaking water pipe. When Yasser confronts Toni about his grievances, Toni hurls back an insult that strikes sharply at the heart of the Palestinian struggle. The film examines the many forms our personal truths can take, how they collide, and the consequences of words in a polarized world.
  • It could happen like that in Lebanon. You could have a very silly incident that could develop into a national case.
  • we were fought because some people thought that we’re opening old wounds, and then all the people felt that, you know, we were defaming the Palestinians. Other people said we were attacking the Christians. Anytime you make a movie that is a bit sensitive — this one is a little bit more than a bit sensitive — people go up in arms. You know, they look at the film and then they immediately start projecting themselves and projecting their prejudices against it
  • ...6 more annotations...
  • The subject came out of something I lived through, growing up in a war. Something that my co-screenwriter Joelle also lived through. It’s not like we read a book or based it on a TV interview on CNN. It’s something that we lived through, all the dynamics that you saw in the film, we are very familiar with it. You know, the Palestinian point of view, the Christian point of view. These are things that are so familiar to us. You know it’s this thing that we grew up eating and drinking and living. We were stopped at checkpoints, we hid under the bombs, we lived in shelters in Beirut in the 70s and the 80s and the 90s
  • We could have been such a lighthouse in the midst of all these other places around because we’re so interesting. Lebanon so interesting. But it’s sad that it does not fully use its potential. You know Christians, Muslims, Shiites, Sunni, liberal, it has all the potential of making a very, very interesting place
  • I had a lot of prejudice towards the Christians growing up. Like incredible. My parents were very left wing pro-Palestinian. And anybody from the Christian camp, from East Beirut, was considered a traitor, the enemy. And then you meet people from East Beirut, Christians, who were part of the Christian camp, and then you sit down and they work on your movie and and then you go have a drink and then you suddenly say, “Their story’s like mine, they suffered as much as [me].”
  • “The Insult” is about reexamining the other side. The woman who co-wrote the film with me who became my wife — we wrote four films together — she comes from the Christian camp. I come from [Muslim] West Beirut. She wrote all the scenes of the Palestinian. And I wrote the scenes of the Christians. We swapped.
  • every screening we do in the states, in Los Angeles in Telluride, in Toronto people were like so emotional about it. And then they said, “We totally identified because of what’s going on in the States today. We are living in America at a period where it feels like this entire society is tearing apart a bit.” And they look at the film and suddenly it’s speaking to them, even though that was not the intention.
  • Sometimes the country needs to go through a tear in order to heal better.
Ed Webb

K-12 Media Literacy No Panacea for Fake News, Report Argues - Digital Education - Educa... - 0 views

  • "Media literacy has long focused on personal responsibility, which can not only imbue individuals with a false sense of confidence in their skills, but also put the onus of monitoring media effects on the audience, rather than media creators, social media platforms, or regulators,"
  • the need to better understand the modern media environment, which is heavily driven by algorithm-based personalization on social-media platforms, and the need to be more systematic about evaluating the impact of various media-literacy strategies and interventions
  • In response, bills to promote media literacy in schools have been introduced or passed in more than a dozen states. A range of nonprofit, corporate, and media organizations have stepped up efforts to promote related curricula and programs.

    Such efforts should be applauded—but not viewed as a "panacea," the Data & Society researchers argue.

  • ...4 more annotations...
  • existing efforts "focus on the interpretive responsibilities of the individual,"
  • "if bad actors intentionally dump disinformation online with an aim to distract and overwhelm, is it possible to safeguard against media manipulation?"
  • A 2012 meta-analysis by academic researchers found that media literacy efforts could help boost students' critical awareness of messaging, bias, and representation in the media they consumed.

    There have been small studies suggesting that media-literacy efforts can change students' behaviors—for example, by making them less likely to seek out violent media for their own consumption.

    And more recently, a pair of researchers found that media-literacy training was more important than prior political knowledge when it comes to adopting a critical stance to partisan media content.

  • the roles of institutions, technology companies, and governments
Ed Webb

Study finds evidence that films can activate authoritarian tendencies - 0 views

  • People are more likely to endorse authoritarian values after watching the movie 300, according to new findings published in the journal American Politics Research.
  • The students who watched 300 were more likely to endorse authoritarian views, the researchers found, while the opposite was true of students who watched V for Vendetta.
  • we should always be prepared to think critically about the messages we get in media.”

    “This is particularly the case with entertainment media because we engage with these films and television shows in a relatively passive way, which is to say we do not have our normal psychological defenses up as we might with news media.”

  • ...2 more annotations...
  • we did not test for a decay effect. We do not know how long these effects last
  • “Are more entertaining films more likely to elicit these responses than films that are boring? What other latent personality dispositions can be activated by films and television programs? These are questions that we are considering for our future research on entertainment media.”
Ed Webb

An Arab world first: LGBT radio goes online in Tunisia despite threats | The Japan Times - 0 views

  • An online radio station catering for the LGBT community, believed to be the first of its kind in the Arab world, started broadcasting in Tunisia on Monday
  • homosexuality is officially illegal
  • It intends “to sensitize the people of Tunisia, ordinary citizens and political decision makers about homophobia in society and to defend individual liberties,”
  • ...1 more annotation...
  • Gay rights activists have emerged from the shadows in Tunisia since the revolution in 2011, but their position remains precarious in Tunisia’s conservative Muslim society.

    Article 230 of the penal code includes a punishment of up to three years in prison for homosexuality and young men are regularly detained and prosecuted.

Ed Webb

IRGC media producers open new front against Rouhani - 0 views

  • The Avant TV video, released on social media five days after protests erupted in Iran, which have thus far spread to dozens of cities and almost every province, carefully stitches together an emotional array of interviews of people unhappy with the economic situation and President Hassan Rouhani’s policies. With scarce public information available about Avant TV, and with the great pains its producers have taken to present it as an independent station, the video is intended to appear to be transparent, a true representation of the will of the Iranian people. Glaringly absent from the video are any criticism of the political establishment as a whole, which has been one of the main themes of the current demonstrations.

    Avant TV is in fact not independent at all. Al-Monitor has not been able to contact it, but two pro-regime media producers confirmed that it is only the latest example of a new media outlet backed by the Islamic Revolutionary Guard Corps (IRGC) seeking to reinforce the narrative of the supreme leader above the politics of Iran.

  • Avant TV stems from the media wars at the heart of political factionalism both inside and outside Iran
  • In revealing new details of his budget bill, Rouhani named, for the first time, the variety of state institutions, including cultural centers, that have received enormous funds and unconditional support from the regime. He attributed the move to a desire for transparency and an attempt to curtail corrupt use of state funds. The reaction on Iranian social media and in the local press was quick and harsh. People began attacking conservative and hard-line centers and clerics for taking so much from government coffers.

    “We couldn’t allow him to cut off our lifeline,” a producer at the regime production studios said after Rouhani revealed his new budget. “He and his supporters want to silence us by taking away our funding. But we will not be silenced. We will show him that people don’t agree with him.”

  • ...3 more annotations...
  • The tactic that producers developed was to move away from content solely made for state television — which potential audiences almost automatically consider regime propaganda — to creating small production studios that develop content not easily identifiable as pro-regime. These ad hoc production studios receive funding from the IRGC and the government's cultural budget, but they remain small and unidentifiable on purpose.
  • The protests that began on Dec. 28 in Mashhad were a response to Rouhani from hard-liners for his remarks on the budget as well as his other attempts to curtail hard-line forces. Much of the analysis on the reasons behind the sudden outpouring of protests points to its origin in hard-liners' attempts to organize anti-Rouhani rallies in the lead-up to the annual pro-regime 9 Dey rally, established by the supreme leader in 2009 to celebrate the suppression of the Green Movement. Indeed, Mashhad is notably home to two of Rouhani’s main rivals in the 2017 presidential elections, Ebrahim Raisi and Mohammad Bagher Ghalibaf. The intent was for the protests to culminate in a large 9 Dey rally, but despite the hard-liners’ intentions, once people went into the streets, they eventually began to chant slogans against the supreme leader and the regime as a whole.
  • Regime production studios have thus begun to create videos that highlight economic anxieties and attack Rouhani’s handling of the government. These slick new productions are meant to look critical, but in the end, they reinforce a belief in the virtues and the leadership of the supreme leader, Ayatollah Ali Khamenei. Avant TV is only the latest example of the ways in which factionalism within the Islamic Republic and opposition to the regime play out in the media landscape.
Ed Webb

Nabi Saleh is where I lost my Zionism | +972 Magazine - 0 views

  • the Achilles heel of the Israeli media — i.e., its willingness to report communiqués issued by the army as straight news, without any fact checking. Even though the Israeli security establishment has been caught lying on countless occasions, journalists who report for mainstream media outlets continue to accept without question the information they are given about events they neither witnessed nor verified independently
  • I’ve seen soldiers grab crying children and shoving them into military vehicles, pushing aside their screaming mothers.

    I’ve seen soldiers grab a young woman by her arms and drag her like a sack of potatoes for several meters along an asphalt road so hot that it melted the rubber soles of my running shoes, before tossing her into a military vehicle and driving away.

    I’ve had my ankles singed black when a security officer looked me straight in the eyes and threw a stun grenade at my legs.

    Israeli army sharp-shooters regularly shoot unarmed demonstrators in Nabi Saleh with both rubber-coated steel bullets and live ammunition. They break into houses and drag people out, arresting them on the claim that they allowed demonstrators to hide in their garden.

    And then I would go back to Tel Aviv and be told by my friends that I could not have seen what I saw, because “our soldiers” do not behave that way. Soon, I had to distance myself from those friends in order to keep my own emotions in check.

  • By the time I began going to Nabi Saleh, I had spent about four years reporting on what I saw in Gaza and the West Bank, and watching detachedly as my politics moved ever leftward from the liberal place in which they started, as a consequence of what I saw on the ground. But it was in Nabi Saleh that I lost the last remnants of what I would call — for lack of a word to describe my nostalgia for the idea of a state for the Jews — my Zionism.

    My radicalization was not only a consequence of witnessing brutal violence perpetrated right in front of my eyes, by soldiers of the army that was supposed to protect me. It was also a result of my seeing the Tamimi family endure that violence week after week, seeing their relatives injured, arrested and killed, and still not coming to the conclusion that the price of resistance is too high. They simply refuse to submit.

  • ...2 more annotations...
  • The Tamimis clearly understand the power of social media. But they don’t manufacture those confrontations. In fact, I have never seen a video that comes remotely close to conveying the true brutality I saw in Nabi Saleh. Maybe you need to smell the tear gas and feel the smallness of the place to see how outrageous it is for soldiers to act as they do there: to, with a sense of entitlement, enter a village and break up a gathering of unarmed demonstrators; to kick open the doors of homes and drag off to jail unarmed people who pose no threat; to break into a house at 4 a.m., to roust a teenage girl from her bed and drag her off to jail, denying her even the right to be accompanied by a guardian.
  • Is Israel, with all the money and manpower it pours into sophisticated advocacy campaigns via social media, really in a position to criticize the Tamimis for understanding how to publicize their own cause? As Jonathan Pollak says to Yaron London, the reason those Nabi Saleh videos make Israel look bad is because Israel is doing bad things.
1 - 20 of 964 Next › Last »
Showing 20 items per page