“No Palestinian Is Safe”: Renowned Feminist Scholar Nadera Shalhoub-Kevorkian Arrested in Jerusalem
by Amy Goodman
DemocracyNow!
April 19, 2024
https://www.democracynow.org/2024/4/19/ ... transcript
Israeli police arrested the internationally renowned feminist Palestinian academic Nadera Shalhoub-Kevorkian at her home in Jerusalem on Thursday on charges of incitement to violence. Shalhoub-Kevorkian, who holds both Israeli and U.S. citizenship, was suspended by Hebrew University last month after saying in an interview Israel was committing genocide in Gaza, though the university later reinstated her. We speak with anthropologist Sarah Ihmoud, who describes Shalhoub-Kevorkian as a mentor and inspiration to her and many others. “We hold the Hebrew University of Jerusalem responsible for the arrest and detention because of its persistent and public repression of her academic freedom, which led directly to yesterday’s arrest,” says Ihmoud, who teaches at College of the Holy Cross and is co-founder of the Palestinian Feminist Collective. “We see this as yet another example of Israel attacking Palestinians wherever they are, whoever they are. It underscores that no Palestinian is safe under Israel’s racist apartheid rule.”
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: Amidst crackdowns on pro-Palestinian voices on campuses coast to coast in the United States, we begin today’s show in Israel, where police arrested the internationally renowned feminist Palestinian professor Nadera Shalhoub-Kevorkian at her home in Jerusalem Thursday on charges of incitement to violence. The professor holds both Israeli and U.S. citizenship. She was suspended by Hebrew University last month after saying in an interview Israel was committing genocide in Gaza. But then the university reinstated her. She spoke on Democracy Now! in March after her suspension.
NADERA SHALHOUB-KEVORKIAN: The question remains whether what is teachable, what is what should be written, what is publishable, what is what we can speak as scholars that are studying state criminality, as opposing to what is going on, as opposing to what the state is doing, is not accepted, so they throw us out of the university. And this is the same policy that the state of Israel is doing outside. So, it’s silencing. It’s preventing people from speaking. It’s threatening. It’s punishing. And it’s also done in a very degraded and undignifying manner. Calling my students a day before the end of the first semester and telling me, “You’re suspended,” is something that is beyond any expectations. But this is — and stressing it’s a Zionist institution. “You can’t abide by these rules, you’re out.”
My only concern, Amy, today is the safety of students, the safety of my students, Jewish and Palestinian, that are standing against genocide, standing against the war, refusing to see the continuous and ongoing atrocities. My really concern is the silencing of dissent all over the world, because we see it in academic institutions. The question: If we think that academic institutions should work according and by the orders from the state, I don’t know why we’re having academic institutions. Academia and research requires that we’re attentive to details, to what goes on to the life of women, men, children. And I am really concerned today. And, of course, I must clearly state that the behavior of the university is a behavior that is threatening the safety of our students, the safety of colleagues that are speaking against the genocide, and my own personal safety as a person who lives in Jerusalem, and the safety of my family.
AMY GOODMAN: That was last month. After professor Shalhoub-Kevorkian’s arrest on Thursday, over a hundred professors around the world released a statement calling for her immediate release, calling her arrest an attack, quote, “on all Palestinian scholars, students, and activists who bring to light the violent and genocidal nature of the Israeli state,” they wrote.
Today, professor Shalhoub-Kevorkian had a hearing, where a judge ordered her release. But she has not been released, as the Israeli government is reportedly appealing.
For more, we’re joined by Sarah Ihmoud, a Chicana Palestinian anthropologist, assistant professor of anthropology and peace and conflict studies at the College of the Holy Cross in Worcester, Massachusetts. She’s founder of the Palestinian Feminist Collective. Professor Nadera Shalhoub-Kevorkian is her mentor.
We welcome you to Democracy Now!, Professor Ihmoud. If you can start off by giving us the latest? We spoke to her when she was in London after being suspended by Hebrew University. They then reinstated her, she went home to Israel, and she has now been arrested. What have you heard of this hearing and why she was arrested?
SARAH IHMOUD: Thanks for having me, Amy, and thank you for bringing light to the case of professor Shalhoub-Kevorkian, who, as you noted, is an internationally renowned feminist scholar and human rights activist who has been working to bring attention to the situation of Palestinian women and children under Israeli military occupation for the past three decades.
As far as we understand, professor Shalhoub-Kevorkian was violently arrested from her home in the Armenian Quarter of Jerusalem’s Old City yesterday around 5 p.m. The police raided her home and confiscated her belongings, including her laptop, some books, from what I understand, as well as a poster of the Palestian poet Mahmoud Darwish.
Professor Shalhoub-Kevorkian, as you noted, has been subjected to violent repression and harassment by the Hebrew University for speaking out against the ongoing genocide in Gaza. And she was suspended from her teaching duties in March, though later reinstated once it became clear that there was no basis for the allegations against her. Ultimately, we hold the Hebrew University of Jerusalem responsible for her arrest and detention because of its persistent and public repression of her academic freedom, which led directly to yesterday’s arrest.
And we see this as yet another example of Israel attacking Palestinians wherever they are, whoever they are. It underscores that no Palestinian is safe under Israel’s racist apartheid rule, not even someone like Dr. Shalhoub-Kevorkian, who is both an Israeli and American citizen and a world-renowned and respected feminist scholar. And it’s important to note, as well, that Israel routinely holds Palestinians captive and imprisons them without trial, without due process and under inhumane conditions, including children, and that this is just both unjust and illegal. And this is an attack on her as both a Palestinian and a scholar who is rightfully speaking out against Israel’s well-documented human rights abuses and ongoing genocide.
So, as far as we understand, the Jerusalem court magistrate had ordered her release under the condition of a 20,000-shekel bail. However, the court, the state — the state and the police are appealing, and they have taken her to the central court, where they’re still holding her. So we are still waiting further details about whether she will be released or whether the state will continue holding her.
AMY GOODMAN: Can you talk about how you know her, Professor Sarah Ihmoud?
SARAH IHMOUD: Of course. Thank you, Amy. I have known professor Shalhoub-Kevorkian for over a decade. I first met her in occupied East Jerusalem when I was a graduate student just beginning to pursue my Ph.D. dissertation research. And she has become one of my dearest friends and mentors over the past decade. She’s someone that has really opened my eyes, and many across the world, to the intimacies of Israeli settler-colonial violence and repression in occupied East Jerusalem and across the Palestinian territory.
Her work has focused on specifically the conditions of women, how patriarchy and colonialism intersect to shape the lives of women, and what justice looks like for Palestinian women. And her work has also really taken a central imperative to understanding the conditions of Palestinian children and speaking out against the persistent human rights abuses of Palestinian children in occupied territory. She is the scholar who founded the concept of unchilding to help us further understand, as scholars across the world interested in children’s rights, how settler-colonial states typically shape the lives and limit the futures of children, Indigenous children and racialized children, across the globe. So her work has been absolutely pathbreaking and important not only in the Palestinian context, but in global contexts where populations are facing racialized and gendered repression and violence.
And she has been a beloved mentor to many, including myself. And she has always centered love in the way that she cares for her students, for scholars in her community. And she continues to center that ethics and method of love in the work that she does in the community and with her students across the Hebrew University and beyond.
AMY GOODMAN: In addition to being a professor at Hebrew University, she also taught at Queen Mary University in London. We spoke to her in London. Another professor there is Neve Gordon, the Israeli scholar, who we also recently did an interview with. He just tweeted, the judge — “Nadera Hearing: The judge to police: I can understand that you wanted the arrest to conduct searches, but so far you have not found anything that justifies the arrest and I have not received any other explanation. The pages you found are an expression of opinion,” the judge said. As we wrap up, Professor Ihmoud, the significance of this, and why you feel she’s being targeted right now?
SARAH IHMOUD: Absolutely. Thank you. I think, you know, it’s important to stress the absurdity of her portrayal by the police as dangerous. And yet this follows a history of Palestinians, generally, and Palestinian women, in particular, being portrayed as a dangerous threat to Israeli security. Obviously, we see how the entire population of Gaza has been dehumanized, and that has provided the pretext for Israel’s continued genocidal assault on the entire civilian population of the Gaza Strip. And of course Israel sees professor Shalhoub-Kevorkian as dangerous, because her work for the last several decades exposes exactly the opposite, of course — that is, the humanity of the Palestinian people in the face of the inhumanity of the Israeli state in its quest to continue to occupy, terrorize and brutalize the Palestinian people and repress our movement for liberation.
So, we are calling on international scholars, activists and people of conscience everywhere to continue maintaining pressure for her immediate release and for all of the charges against her to be dropped. We are outraged by this unlawful action, and we refuse the continuing silence and violence by the Israeli state and its institutions against the Palestinian people and for those who, like professor Shalhoub-Kevorkian, continue being a voice of light and love, standing for justice and liberation. Again, professor Shalhoub-Kevorkian has always centered her love for her people, for her students’ safety and security. And it’s important that we follow in her footsteps in the path that she has been taking herself and leading us in embodying hope and the necessity that we continue speaking out against Israel’s ongoing genocidal violence.
AMY GOODMAN: Sarah Ihmoud, we want to thank you for being with us, Chicana Palestinian anthropologist, assistant professor of anthropology and peace and conflict studies at the College of Holy Cross in Worcester, Massachusetts, where she’s speaking to us from. She’s a founder of the Palestinian Feminist Collective. Professor Nadera Shalhoub-Kevorkian was arrested Thursday in Jerusalem at her home.
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Over 100 Arrested at Columbia After Univ. President Orders NYPD to Clear Pro-Palestine Student Protest
by Amy Goodman
DemocracyNow!
April 19, 2024
https://www.democracynow.org/2024/4/19/ ... transcript
Columbia University President Nemat “Minouche” Shafik on Thursday called on New York police to forcibly clear a student occupation on the lawn of the school, which had been dubbed the Gaza Solidarity Encampment, resulting in over 100 arrests. The protesters were demanding the Ivy League school divest from firms and institutions that profit from the Israeli occupation of Palestine, but Shafik ordered the raid a day after being questioned on Capitol Hill about ongoing pro-Palestinian protests on campus. The move caused outrage among students and many faculty, who decried it as censorship and a violation of academic freedom. The renowned professor and presidential candidate Cornel West, chair of the Columbia-affiliated Union Theological Seminary, joined students Thursday in solidarity with their protest and told Democracy Now! they “represent the best … of the human spirit,” and lauded them for “fighting in the face of domination and occupation and subjugation, and doing it with tremendous determination.”
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: This is Democracy Now!, democracynow.org.
Here in New York, riot police moved in on a peaceful student protest encampment, arresting at least 108 people at Columbia. Columbia University President Minouche Shafik called the NYPD to clear the Gaza Solidarity Encampment on the campus’s South Lawn, where Columbia and Barnard students had set up one day earlier to demand university leadership divest from Israel. New York Police Chief John Chell said Shafik identified the demonstration as a “clear and present danger,” but that officers found the students to peaceful and cooperative. Shafik warned all students participating in the encampment would be suspended. At least three suspensions of Barnard students were confirmed Thursday before the arrests, including Isra Hirsi, the daughter of Congressmember Ilhan Omar.
Thursday’s showdown with the NYPD was the largest arrest on the Columbia campus since 1968, when police arrested over 700 students protesting the school’s ties to the Vietnam War and its plans to expand in Harlem by building a gymnasium there.
Following the arrests yesterday, students gathered on the campus throughout the night as large protests continued and are ongoing. Students got support from many Columbia faculty online and a visit in person from Union Theological Seminary professor Cornel West, just nearby, who is also a 2024 presidential candidate. Democracy Now! spoke to professor West after he climbed a fence to visit with the encamped protesters.
CORNEL WEST: Well, you know, in light of our stand in deep solidarity with our precious Palestinian brothers and sisters who are undergoing vicious genocide, wrestling with apartheid conditions for so long and still being ethnically cleansed, we want the world to know that their suffering does not have the last word. There is resilience, and there’s a willingness to fight.
And Columbia president ought to be shame on herself that she cannot zero in on an actual genocide taking place before our very eyes, and be concerned about a potential and possible call for genocide of Jews. Nobody here is calling for the genocide of Jews. Nobody is here calling for annihilation. We’re calling for the end of an actual genocide and the end of an actual annihilation.
How sad that Columbia University could teach so many courses on the canonical texts of Western civilization and can’t listen to Diderot or Karl Marx. They can’t listen to a Martin Luther King Jr. They can’t listen to a Muriel Rukeyser. Most importantly, they can’t listen to the cries of our precious Palestinians in Gaza and the West Bank.
So, I’m in deep solidarity with these students. They represent the best, not just of Columbia, not just of the American empire, but the human spirit, fighting in the face of domination and occupation and subjugation, and doing it with tremendous determination.
AMY GOODMAN: That’s presidential candidate and Union Theological Seminary professor Cornel West speaking to Democracy Now! at Columbia University in the midst of the protest. Special thanks to Hana Elias. President Shafik called in the New York police a day after she testified in the U.S. Congress.
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“Fear and Terror”: Gaza Photographer Ahmed Zakot on Documenting the Carnage of Israel’s Assault
by Amy Goodman
DemocracyNow!
April 19, 2024
https://www.democracynow.org/2024/4/19/ ... transcript
As Israel continues bombarding the Gaza Strip, we speak with a Palestinian photographer who recently fled the territory with his family. Ahmed Zakot has been documenting Gaza for the last 25 years, and two of his photographs were just featured in a project by the U.N. Office for the Coordination of Humanitarian Affairs and published by Rolling Stone earlier this month in a piece titled “Gaza’s Carnage Through the Eyes of Palestinian Photojournalists.” One of Zakot’s photos shows a Gaza neighborhood lit up by Israeli airstrikes at night, while the second is of thousands of Palestinians fleeing their homes with their belongings in a scene reminiscent of the 1948 Nakba that displaced some 700,000 Palestinians from their homes. “It reminds me [of] what my grandfather told me about this displacement. It’s the same [that] happened since 1948 — now we are in 2024,” Zakot says.
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: This is Democracy Now!, democracynow.org, The War and Peace Report. I’m Amy Goodman.
Israeli warplanes bombed areas in Beit Lahia in the northern Gaza Strip as well as the Jabaliya refugee camp in Gaza City over the last day, killing at least four people. Meanwhile, Al Jazeera reports the Israeli military has deployed more troops in areas adjacent to Rafah, the southernmost city of Gaza, where some 1.3 million Palestinians — more than half of Gaza’s population — are seeking shelter. Israeli airstrikes have been pounding agricultural land in the eastern parts of Rafah this morning.
The official death toll in Gaza is nearly 34,000 Palestinians killed, over 14,000 of them children. Thousands more are missing and presumed dead under the rubble. Nearly 77,000 have been wounded. That’s 100,000 Palestinians killed or wounded since October 7th.
This comes as a picture by the Gaza-based Reuters photojournalist Mohammed Salem has been chosen as the 2024 World Press Photo of the Year. It shows a Palestinian woman, Inas Abu Maamar, caressing the wrapped body of her dead niece Saly in the Nasser Hospital morgue in Khan Younis in October.
Well, today we’re joined by a Palestinian photographer who was able to leave Gaza 10 days ago with his family. Ahmed Zakot [@ahmedzakot] is a photographer who’s documented Gaza for the past 25 years. Two of his photographs are featured in a U.N. OCHA project. Ahmed Zakot joins us now from Cairo, Egypt.
Ahmed, welcome to Democracy Now! You’ve just recently left Gaza. Can you talk about the journey you took and why, as a photographer who’s documented Gaza for the last quarter of a century, you decided to leave with your family?
AHMED ZAKOT: Thank you so much, and I’m very happy to join you today.
Actually, what forced us to leave Gaza is to be safe and to keep our family lives safe. As you know, it’s a war ongoing since seven months. And it’s a very, very hard war. I’m working since 25 years. This is the first war that I faced. It’s a very, very strong war. And we don’t know how we are be patient to keep to stay alive during this seven months. Actually, this war is keeping and still ongoing on Gaza Strip. So, each month, we talk to us that this war will stop and the international community will stop this war, but, actually, no one — nothing changed, and the war is still ongoing until this moment.
AMY GOODMAN: Ahmed, you left, but you have two brothers, their wives and children. Where are they in Gaza right now? What circumstances are they living in?
AHMED ZAKOT: Yeah, of course. I left two brothers, wives and their children in Khan Younis at al-Mawasi area, that the Israeli army said it is a humanitarian area. But, actually, nowhere, no place in Gaza Strip are safe, because I was there, and we are — all of us, we lived in tents on this area. This area, it’s like desert — no water, no food, no useful food. And it’s a danger areas, because the Israeli army, by time to time, targeted tents and targeted many targets over there. So, we are seeking and we are trying to evacuate them from Gaza Strip as soon as possible to follow us here in Egypt to be safe, because, as I said, this war are still ongoing. The situation of my family and all the Palestinians’ situation are very, very catastrophic and very, very bad over there. No one can live, and no one can guarantee that he will wake up the next morning, he is alive, or he is not wounded.
AMY GOODMAN: Ahmed Zakot, so many of your photographs feature children, also ambulances. Can you talk about your focus right now as you photographed in Gaza these last six months?
AHMED ZAKOT: Yes, of course. Our coverage this war is different about many last wars in Gaza. As you know, Gaza Strip occurred four wars, at least. And I covered them, but this war was special, and because of — it’s special about me as a photojournalist for 25 years because the intensive hits, the intensive heavy attacks on the neighborhoods, the cities, the buildings, and also it hits the civilians, the innocent people, actually. So it’s different. This is the first time I felt the fear and terror of this war on me and on my brothers, my family, completely, actually.
So, I can’t explain this war, because it’s a very, very big war. We can say each area that we went and cover it, we can say it’s like an earthquake hit this area, not bombard and bombs hit this area. There are a lot of destruction buildings in each single piece and place in Gaza Strip. So, we are focusing on children, women and on the ambulances’ teams and all of the civilians that were hit on this war.
AMY GOODMAN: Ahmed Zakot, two of your photographs are featured in an OCHA project. That’s the U.N. Office for Coordination of Humanitarian Affairs. It’s a project called —
AHMED ZAKOT: Yes, of course. I’m —
AMY GOODMAN: — “Gaza’s Carnage Through the Eyes of Palestinian Photojournalists.” One of them was taken on October 9th, the other on November 10th. Can you describe these photographs that you chose for this project? In your description of the photograph from October 9th, it says, “It was as if flames were spewing from the jaws of Israeli tanks and the F-16 missiles, I took this picture from the 19th floor of a skyscraper in Gaza. In my 25-year career as a photographer, I never felt such fear and distress.”
AHMED ZAKOT: Yes, of course. This picture — yes —
AMY GOODMAN: “I felt that I was filming a cinematic movie scene, I had to remind myself that it is all too real. I don’t have the words to describe this picture, but I know the terror I felt watching the flames lighting up Gaza in a night drowned in darkness with the electricity cut-offs on Gaza.” We’re, Ahmed, looking at your picture as you talk to us about it, that picture you took in October.
AHMED ZAKOT: Yes, of course. This is the first time that I captured such this picture, because, as I said and as I explained, I thought myself that I’m shooting or capturing a cinematic scene, because this is the first time I saw a heavy of air attacks on a simple area. It was al-Rimal neighborhood. It is the beautiful neighborhood in Gaza. And this night, it was because of the heavy and the intensive attacks from the airstrikes, they are lighting the area amid of this darkness. As you know, Gaza are suffering from power cut for many years, since 2006. But this time I felt that Gaza is lighting, but not with electricity, by the lights comes from the bombs and airstrikes from the F-16 warplanes. So, this picture are still stuck on my mind until now, and will stick in my mind forever, because I felt that really I’m in a cinematic scene, not in a real war that’s hitting the areas and the buildings over there.
AMY GOODMAN: And I wanted to end —
AHMED ZAKOT: This is why this picture are still stuck and has a story with me.
AMY GOODMAN: Ahmed, I wanted to end with your other photograph, from November. It is a photograph of thousands of displaced Palestinians fleeing south. You wrote, “As I was taking this picture; I remembered my grandfather telling me about al-Nakba and how he was displaced. I started crying.”
AHMED ZAKOT: Yes.
AMY GOODMAN: Tell us about —
AHMED ZAKOT: Of course, I remember this picture. So, I was crying. I stopped my capturing pictures at that day especially, because I remembered my grandfather’s story that he told me before he passed away in 2002. He told me about al-Nakba stages, when the Israeli forces forced them to leave the original cities in Israel to the southern cities in Gaza Strip. So, he told me one word, that this scene will not get back at this time. So, when I captured this scene, I remembered this word from him that when he told me this sentence, that when he told me before he passed away, that this scene will not get back.
But now we are shooting this picture. We are shooting this situation, this displacement for this people, for those people who are suffering. As you see in the picture, they are carrying their belongings at their help and weak hands. So, they are fleeing from the northern cities of Gaza Strip to the southern cities. So, it reminds me what my grandfather told me about this displacement. It’s the same happened since 1948 — now we are in 2024, or 2023, by the way. So, this reminded me and stuck my heart. I stopped my work and keep crying, away from my friends that we are together at that day.
AMY GOODMAN: Ahmed, can you talk about how you got out of Gaza with your family? Can you talk about — what? An adult has to pay something like $7,000, $8,000. It’s $2,500 for a child. Explain the circumstances, how you get out, as the Israeli military says it is intent on now attacking Rafah, where people leave from.
AHMED ZAKOT: So, yes, we are leave Gaza — we are left Gaza by I coordinating with the Egyptian Press Syndicate, and they arranging that to me and to my family because I’m a journalist. So they helped me to do that. Really, really, I appreciated that for them and very thankful for them, because they helped me to leave Gaza here to Egypt to at least stay for maybe one or two months, until the war will stop. So, I will get back to my city, to Gaza, to the Gaza Strip, to keep working and to keep sending messages and to keep covering the suffers of my people in Gaza Strip.
AMY GOODMAN: Ahmed Zakot, I want to thank you so much for being with us, Palestinian photographer, forced to leave Gaza with his family 10 days ago.
Coming up, we will look —
AHMED ZAKOT: Thank you so much.
AMY GOODMAN: — at the U.N. project, the Gaza Collective Photo Essay project, and the work of more Palestinian photojournalists. Stay with us.
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U.N. Photo Collection Shows Gaza War Through the Lens of Palestinian Journalists
by Amy Goodman
DemocracyNow!
April 19, 2024
https://www.democracynow.org/2024/4/19/ ... transcript
The Gaza Collective Photo Essay project, organized by the United Nations Office for the Coordination of Humanitarian Affairs (OCHA), collected work from 14 Palestinian photographers who were each asked to share one image that captured the devastation of the Gaza Strip over the last six months. We speak with Charlotte Cans, head of photography at OCHA, about the project. “It’s one thing to say there’s a war and it’s horrible, and it’s another thing to see an image of a child being pulled out from the rubble. It really hits you differently,” Cans says of the motivation behind the project. “It was really important to elevate the stories coming from Palestinian photojournalists, who are the only window into what is going on in Gaza.”
Transcript
This is a rush transcript. Copy may not be in its final form.
AMY GOODMAN: This is Democracy Now!, democracynow.org, The War and Peace Report. I’m Amy Goodman.
On Thursday, I spoke with Charlotte Cans, head of photography for the United Nations Office for the Coordination of Humanitarian Affairs, OCHA, about the Gaza Collective Photo Essay project she has led. She asked 14 Palestinian photographers to share one image taken in the Gaza Strip over the last six months that they want the world never to forget. A warning to our TV audience: The interview features graphic images. She speaks from Paris, France.
CHARLOTTE CANS: Thank you very much, Amy, for having me and having us and talking about this project, which is very special indeed.
I think, you know, the first thing is that a couple of weeks into the war, the U.N. Secretary-General António Guterres said the situation in Gaza is not just a humanitarian crisis, it’s a crisis of humanity. And I think, for me, for us, this is what, you know, started it all, because the assault that we’re seeing on the population of Gaza is unprecedented in brutality, scope and intensity. And the figures speak for themselves. In six months, you had over 100,000 people killed and wounded, 70% of whom are children and women. You know, this staggering number, as well, that the number of children killed in Gaza is higher — in six months, is higher than the number of children killed in four years of all the wars combined all around the world. You have three-quarters of the population displaced. Famine is imminent. Law and order are breaking down. Humanitarian aid is actively blocked, and on and on and on. And, you know, I think these figures are so staggering that they defy comprehension. And so, for me, and for us, it was really important to try to humanize these numbers, to make them real and to make them understandable.
And I think it’s quite paradoxical, because there’s been an overflow of images and stories on Gaza, flooding our phones, flooding our screens, you know, for six months, but somehow, somehow, it is — it is not getting across. And I could see it in my direct environment, you know, talking to friends and families. I could see that people didn’t really understand what was going on in Gaza. Yes, they know there’s a war in Gaza, and they know that wars are bad and horrible. But it’s one thing to say there’s a war and it’s horrible, and it’s another thing to see an image of a child being pulled out from the rubble. It really hits you differently.
And so, I think, for us, it was really — as the U.N., as OCHA, which is the humanitarian arm of the U.N., it was really important to elevate these stories coming from Palestinian photojournalists, who are the only window into what is going on in Gaza, because, as you know, international foreign journalists have been banned of entering Gaza independently. None of them have, except from Clarissa Ward, who went in for like two hours at the end of sometime in December. So, Palestinian photojournalists are the only ones, are the only window into the suffering of people in Gaza. And so it was really important for us to go to them and to try to share and elevate again the incredible, tragic testimonies that they are reporting and covering, day in, day out, for the last six months.
AMY GOODMAN: So, Charlotte Cans, can you talk about how you reached out to Palestinian photojournalists?
CHARLOTTE CANS: Yeah, that’s a really good question, because it’s been incredibly difficult. It’s been a process that has been going on for weeks. It took us over three months to put this project together. And, you know, as you know, the communications have been really, really difficult with Gaza. I think, you know, it got better recently, but in December, January, up until February, there were like constant blackouts. So it was hard to get a hold of people. And you would get a hold of someone, and then the person would not be responding for days on end. And suddenly you had, you know, an answer, and they were like, “Yes, I’m really happy to participate. I will send you images,” and then nothing again for a couple of days. So it was this constant back-and-forth.
And I just want to say here that, you know, the way we made it happen also has been through an incredible photojournalist called Tanya Habjouqa, who’s been based in Jerusalem, Ramallah for the past 25 years. Tanya is an award-winning photojournalist. She knows the country and the region inside out. And she had an incredible networks of, you know, colleagues, Palestinian colleagues. And so, through Tanya, as well, we were really able to reach out to a number of them, bring them on board. And, you know, it was a combination of, again, her network, word of mouth. And also, Amy, to be honest, you know, they are being killed also, Palestinian photojournalists, so there are not that many of them left in Gaza, to be honest, and this is tragic.
AMY GOODMAN: So, introduce us to some of the photographs that are in this collection.
CHARLOTTE CANS: OK. So, I think — let me actually — I’m just taking it in front of me. I think, you know, there’s one photo for me that hits me really hard. It’s the photo from photographer Jehad Al Shrafii [@jehad_alshrafi]. Jehad is a 22-year-old Palestinian photographer from Gaza. And he took this image of Ibrahim, who’s a 12-year-old boy, like any other boy in the world, who had his arm amputated because of his injuries in the last six months. And we can see him, on the image, trying to brush his teeth. And he’s holding the toothbrush with his mouth and the paste, the toothpaste, in his left hand. And he’s trying to do something as simple as brushing his teeth. And you can see in this image how difficult it is and how his life has been turned upside down.
And I think, you know, with the number of children killed in Gaza and wounded — and I think, again, this is pretty unprecedented compared to other conflicts and wars around the world, you know. And when we say — I think it’s Save the Children, had this terrible statistic a few months ago, which was that 10 children per day, on average, have lost an arm or a limb in the war. And when you see that, when you see Ibrahim trying to brush his teeth, you understand what that means. It’s his life has — his life has been shattered. But it’s not just his life. It’s his family’s life, as well, because he will need a caregiver for years to come. So, again, it’s like, you know, through the war, it’s entire families who are being affected. And I think this image really hits, you know, very hard to me.
AMY GOODMAN: Charlotte, introduce us to Belal Khaled [@belalkh] and his picture.
CHARLOTTE CANS: Yeah. So, Belal is a very interesting, you know, character and person. He used to be a calligraphy artist, and he is still a kind of calligraphy artist, but he was, you know, making a living as a calligraphy artist also before the war. He’s also a photojournalist. He’s an incredible photographer. His images are stunningly tragic, very often.
There’s a couple of images of him in the project. One of them is of a little boy who is, Amy, the color of ashes. He’s sitting on a hospital bed crying, and there’s blood dripping along his face. And Belal, in the text that accompanies the photo — because that’s something very special to this project. It’s not just the images. It’s the personal texts that the photographers have shared to accompany the images, where they explain their emotions and the backstory to the image and what the story means to them. And Belal has these words with this image. He says that this child, when he got to hospital, was crying for his bicycle. And he kept saying that he wanted his bicycle, he wanted his bicycle, not having fully comprehended what had just, you know, hit him. So, this is a really strong image.
There’s another one from Belal, which is incredibly strong, as well, where you see a family. And I think this is very special, because in many images that we’ve seen on Gaza, quite often it’s one parent or the other with their dead child, but in this image you see the entire family. You see the mother, you see the father, you see the brother, and you see this dead child in their arms. And their grief and their suffering is so raw in this image. It’s incredibly strong.
AMY GOODMAN: I wanted to read the quote that Belal Khaled sent. He said, “A Palestinian child was carried to al-Nasser Hospital, pulled out from rubble. At the hospital his aunt recognized him and started screaming his name. 'This is Diya'a, this is Diya’a…’. When his siblings, mother and father arrived, their pain was unforgettable. He had left their home to get some wood for heat when he was killed in an airstrike.” The family forms a cocoon around his shrouded small body. Tell us about the photographer Jehan Kawera [@jehan_kawaree].
CHARLOTTE CANS: So, Jehan is a young female photographer. There’s a couple of them in the project. We have three female photographers represented, with Jehan, Mariam Abu Dagga [ @mariam_abu_dagga] and Samar Abu Elouf [@samarabuelouf]. So there’s three of them.
Jehan has this poignant image of a young girl who’s lying on a hospital floor. It’s a very graphic image. It’s very hard. You can see the hands of a health specialist trying to, you know, fix something, her drip, or whatever that is. But what is striking in this image is that she’s got her right hand lying on the floor, and in her right hand, there’s a piece of candy. And it’s this, you know, typical candy that kids in many different places of the world eat that is very recognizable. And seeing this young girl, this — she’s probably 6 or 7, no more, lying on the floor with a piece of candy in her hand.
And the quote, again, of Jehan is incredibly, incredibly powerful. And I have it in front of me, actually, Amy. I don’t know if I can read it to you. But she says that she could not hold herself up when she saw this little girl “gasping for breath, and the piece of candy, still stuck in her hand stained with blood.” She “will never forget when she was carried to the mortuary.” And she says here, “The candy fell at my feet on the blood-soaked ground.”
And again, I think what is so strong with this project, again, is that these images hit you because they make this suffering so relatable. These are not just random kids. When you recognize the piece of candy in her hand, you can see all the kids that you know, your own kids, your nephews, your nieces. And that makes it, again, particularly strong.
AMY GOODMAN: Can you tell us about Saher Alghorra [@saher_alghorra]?
CHARLOTTE CANS: Yes. So, Saher has an incredible image in the project where you see a dad — it’s in a white tent — screaming. And the dad is in a bit of a hallucinatory state, as he says himself in his text. And right next to him lying on the floor is the body of his dead child, covered by white cloth. And Saher has been documenting the war for the last six months for many different outlets. He’s a really strong photographer. He just won Picture of the Year, actually, for his work. And again, you know, this image is — the suffering is so raw and so eerie. Yeah, it’s just — it just hits you, you know, directly. It just stabs you in the heart, really, Amy.
AMY GOODMAN: And then there’s Mahmud Hams [@mahmudhams]. It’s similar, but different. He says, “Mohamed El-Aloul is a cameraman for Anadolu news agency. He is my friend. We spend a lot time together, and we also often cover the war together. Four of his children were killed in an airstrike. His wife was severely injured. When he heard what happened to his family, it was early morning, and we were together at the hospital. We went to the morgue at Al Alqsa. I knew his children. All I could do was to be there, with him, crying.”
CHARLOTTE CANS: Yeah, absolutely. Mahmud is a photographer for AFP, Agence France-Presse, who’s been covering 30 years of war in Gaza. And I think this image is very strong, as you say, Amy, because it talks about, you know, the fact that, again, these Palestinian photojournalists are being killed in this war. And they are not just witnesses. They are victims, as well, whether they are being killed or wounded or whether they are being displaced with their families. And this, again, makes it very, very special in, you know, what we’re seeing unfolding in Gaza right now.
AMY GOODMAN: And what you know of Mohamed El-Aloul, the cameraman who lost his children? He’s wearing — of course, he’s wearing the press vest.
CHARLOTTE CANS: Yeah, exactly. And I think in this incident where the house where he was staying in got targeted by an airstrike, he lost three of his children and his brother on the strike. So, again, we’re talking about entire families being detonated.
AMY GOODMAN: And Anadolu news agency, where is it?
CHARLOTTE CANS: So, Anadolu is a Turkish news agency. It’s one of the big news agencies, again, based, headquartered in Turkey.
AMY GOODMAN: Tell us about Mohammed Zaanoun [@m.z.gaza].
CHARLOTTE CANS: So, Mohammed Zaanoun is also one of the, you know, main photojournalists who’s been reporting on this war since the beginning. He’s working for several news agencies. He’s working — you know, he’s been working for Al Jazeera. He’s been working for Le Monde. He’s been working for several, for a couple of others.
His images are all very striking. There’s a couple in the project. There’s one of where you can only see the feet of a child, and you only see that it’s tiny feet in the photo — you don’t know who it is — completely buried under the rubble. And Mohammed has this caption, which says, “A child’s feet were all that were visible from the rubble. The little girl was killed along with three of her brothers by an Israeli air strike in Khan Yunis market. The mother, she lived, but was hopeful for hours that they would be pulled out alive by the paramedics, from the rubble where her home once stood.”
And I think this photo is incredible, Amy, as well, because, you know, it’s probably — again, when people have seen them, it’s one which really stayed with them. It’s graphic in a way, but it’s not graphic in another. But the emotion that you have when you see this image, again, you know, very strong, and it makes you understand, again, what we were talking about before: What does this war look like, day in, day out, for people and families and children in Gaza? You know, seeing a child’s feet under the rubble, you know, again, makes you understand the war quite differently than just reading about it.
AMY GOODMAN: Charlotte Cans, head of photography for OCHA, the United Nations Office for the Coordination of Humanitarian Affairs. She coordinated the Gaza Collective Photo Essay project. Charlotte said these are not just photojournalists; these are also civilians. They’re witnesses and victims to the horrible conflict that we’re seeing unfolding in front of our eyes. We particularly thank Charlotte for this interview. She was in Paris after the passing of her mother this week.