I just want to drop a deep thank you to my man Jabr for sharing his thoughts and his purpose. It’s a powerful experience he’s recently had in Palestine and it’s as much an inspiration to use our art as a means of empowering and connecting. He gives us some solid questions to ask ourselves. Thanks brother, for letting us feature you in the OnBlast! section of NoPaper.
Article by Jabr abu Jordan
I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves or figments of their imagination, indeed, everything and anything except me.”
― Ralph Ellison, Invisible Man
Muhammad Abu Thahr and Nadim Nuwara were shot down on May 15th of this year. Muhammad was 15 – Nadim was 17. Snipers of the Israeli Defense Forces assassinated them for protesting the military occupation of their country. Another 15-year-old child was shot in the left lung – inches from his heart – but survived the attempt on his life. His name is Mohammad Azzeh. I know him. He and his family lived just around the corner from me in Al-Bireh. He is a member of the Palestinian Circus School at Birzeit University, and had been preparing for an upcoming tour in Germany. I would sometimes see him outside his house, and he would flash a bright smile. He expressed an interest to learn Capoeira. I ate spaghetti with yogurt and drank mint tea at his house, talked with his father about calligraphy, got lost twice with his sister and friends on the way to performances of their dance troupe El Funoun in Jenin and Beit Umar, and had a beer with his cousin at a café in Ramallah. I met another cousin of his here in Washington, DC just after being detained and deported by the Israeli’s in November of last year.
The morning of May 16th I was looking at a picture of Hamoudeh – Mohammad Azzehs’ nickname – being carried to a waiting ambulance. He was bleeding profusely, and in obvious pain. A co-worker asked about the picture, and I told her that my friend was shot the day before protesting against the Israeli occupation. He is only 15 years old, and we don’t know if he’ll live or die, I told her. Apparently blind to the wounded, bleeding 15-year-old child in the picture, she replied coolly, “Yeah, but was it a peaceful protest?”
Her response is an example of the casually, yet deeply held assumptions of most Americans regarding Palestine. Despite the grossly uneven contest between flak-jacketed, helmeted Israeli soldiers armed with an array of fully automatic weapons, small arms, tanks, armored vehicles, and sniper rifles, and the unprotected, unarmed teenaged children waving Palestinian flags and throwing stones with sling-shots, Palestinians are held guilty for any and all violence. Americans are conditioned to not see Palestinians, to not see Palestine. The only Palestine on Facebook is in Texas, the AAA will not issue an international drivers license for Palestine, and one cannot place a call to Palestine via Skype. Mention Palestine to most Americans, and they will think that you meant to say Pakistan. Palestine has been rendered invisible. How else is it possible for someone to look at that picture and not see a child in excruciating pain? How is it possible to not think about the agony that his mother, father, sisters and brothers are experiencing at that moment? How else is it possible to ask such a question with an air of cool scornfulness?
In Zora Neale Hurston’s’ novel, Their Eyes Were Watching God, Janie tells her friend Pheoby,
“… yuh got tuh go there tuh know there. Yo’ papa and yo’ mama and nobody else can’t tell yuh and show yuh. Two things everybody’s got tuh do fuh theyselves. They got tuh go tuh God and they got tuh find out about livin fuh theyselves.”
When I read that novel, I took this statement to heart. Zora Neale Hurston was telling me to not be satisfied with comfortable, received opinions. I heard the voice of my father telling me that heaven has no open door, no easy ‘Jesus-died-for-me’ way in. I wanted to go to Palestine and see for myself. I wanted to learn, and, perhaps naively, to help in some way. I applied to a London based charity to teach Capoeira in Ramallah was hired and spent 9 months teaching Capoeira in the West Bank.
I worked mainly in three refugee camps: Al Jalazone, Al Amari and Shu’fat. We also did classes and workshops all over Ramallah and Al Quds (Jerusalem in Arabic) including in the neighborhood of Sheikh Jarrah. We worked with volunteers at the Palestine Red Crescent, and I took part in rodas in the Old City of Jerusalem, Ramallah and in Haifa. Capoeira has a strong presence in Israel, Jerusalem and, sadly, in the Israeli settlements all over the West Bank. You will find Capoeira in Ramallah, Kafr ‘Aqab and Qalandya, but not many other places behind the Apartheid Wall. In Ramallah
there is the Freedom Capoeira Collective
and Bidna Capoeira, and in Kafr “Aqab and Qalandya there are some people who train with Menino Bom, and others who are training acrobatics with “Coach.”
I can tell you that there is a lot of enthusiasm, desire and talent for Capoeira in Palestine. In Jalazone, there are some fearless children who fling themselves around with such abandon, that it makes you cringe in anticipation of them breaking some part of themselves. In the girl’s class, Aseel picked up percussion so quickly, that if she left the atabaque to go play in the roda the wheels would fall off of the rhythm. I would look at her pleadingly to get back on the atabaque. Fatia and Razan in Al Amari were natural talents at anything that involved standing on their hands, Kholud just had to have all eyes on her at all times, and Arwa is a natural polyglot. Her favorite song at the time was, “Sou Angoleiro, que vem de Angola”! I never taught that song in class, but she heard me singing it at a roda and picked it up on the spot.
I was invited to a roda in Beit Hanina in Jerusalem, and the kid on pandeiro started a corrido that I didn’t know. A 9-year-old child sitting next to me recognized the confused look on my face, and passed me the corrido. He gave me the thumbs up to make sure that I got the lyrics straight, then ran to other side of the roda so he could play me in the next game. At a roda in Beit Safafa, a game I was playing with a young girl developed into ‘who can be more creative with a head spin’. After one particularly amazing headspin of hers, I looked at the girls mother with the ‘damn, did she really just do that?” face, and her mother, smiling, simply shrugged and said, “Binti hek yani.” (My little girl is just like that).
Despite the hard work of a very few dedicated people in Palestine, Capoeira there is suffering from a lack of attention. Many experienced Angoleiro’s and Regionalista’s regularly make trips to workshops and roda’s in Tel Aviv, Holon and Haifa. Some even go to teach in the settlements. But not many have ventured to East Jerusalem, and fewer still have dared to cross the Apartheid Wall. The Capoeira Freedom Collective hosted a weeklong tour of the West Bank to educate Capoeiristas about Palestine, her land, her culture and the effects of the ongoing military and economic occupation of this country that does not officially exist. Capoeiristas from Britain, France, Germany, Italy, the United States and Brazil were in attendance, and traveled to Jenin, Al-Khalil (Hebron), Jerusalem and the Dead Sea. There was a beautiful roda in Jalazone camp. One of the subjects discussed was a possible BDS style boycott of Capoeira in the settlements and Israel. Those few capoeiristas in attendance have continued to support Palestine back in their own countries, but we have yet to see the BDS movement take root in the wider Capoeira community.
Why won’t more Capoeiristas travel to Palestine? Why won’t more Capoeiristas go to East Jerusalem, to Ramallah, to Jenin? Why won’t more of us take the time to learn about the thousands of years of Palestinian history, and the 66-year-old creation of the State of Israel? Why do so many people express an interest to know “both sides” of the conflict, but never actually read anything written by a Palestinian author, let alone talk to anyone from Palestine or the Palestinian Diaspora? How can we study and take to heart the narrative of Capoeira and its resistance to slavery and colonialism, yet turn a blind eye in support of Israeli settler-colonialism? What does it mean when it is possible to go to a roda in Israel, hear an Israeli group singing “Bota fogo no canavial / quero ver o patrão de raiva se queimar”, and know that some, if not all, of those singing this song have served, are serving in, or in one way or another support an army that violates the human rights of Palestinians everyday, protects those settlers who steal the homes of Palestinians in Sheikh Jarrah, and incarcerates, tortures and kills defenseless Palestinian children?
We are facing difficult questions. We must begin asking them of ourselves, or risk complicity in the oppression of Palestine. We risk becoming that which we rail against in corrido after corrido. And the argument for being apolitical, or neutral, is not valid. There is no neutral position – not when more U.S. tax dollars are spent in support of the Israeli military than are spent on public education in this country. In one way or another, we have all been made complicit in this tragedy, either by paying our taxes, buying a coffee at Starbucks or getting that new Sodastream carbonator. And now, even our beloved art is being compromised. Que vai fazer?
Jabr abu Jordan
A student of languages, literatures and histories with an interest in displacement, diaspora, émigrés and exile. A deep fear of paralysis, with an overriding passion for movement – likely born of a family fractured in early childhood – led to an interest in music, dance and martial arts. For me, as for many, many others, Capoeira Angola is as necessary as breathing.