18/05/2017

Call for a Palestinian state


Sharing this point of view from The Economist.
It is never too late to bring justice and balance.

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The legacy of the six-day war Why Israel needs a Palestinian state

More than ever, land for peace also means land for democracy

THE victory of Israel over the Arab armies that encircled it in 1967 was so swift and absolute that, many Jews thought, the divine hand must have tipped the scales. Before the six-day war Israel had feared another Holocaust; thereafter it became an empire of sorts. Awestruck, the Jews took the holy sites of Jerusalem and the places of their biblical stories. But the land came with many Palestinians whom Israel could neither expel nor absorb. Was Providence smiling on Israel, or testing it?

For the past 50 years, Israel has tried to have it both ways: taking the land by planting Jewish settlements on it; and keeping the Palestinians unenfranchised under military occupation, denied either their own state or political equality within Israel (see our special report in this issue). Palestinians have damaged their cause through decades of indiscriminate violence. Yet their dispossession is a reproach to Israel, which is by far the stronger party and claims to be a model democracy.

Israel’s “temporary” occupation has endured for half a century. The peace process that created “interim” Palestinian autonomy, due to last just five years before a final deal, has dragged on for more than 20. A Palestinian state is long overdue. Rather than resist it, Israel should be the foremost champion of the future Palestine that will be its neighbour. This is not because the intractable conflict is the worst in the Middle East or, as many once thought, the central cause of regional instability: the carnage of the civil wars in Syria, Iraq and elsewhere disproves such notions. The reason Israel must let the Palestinian people go is to preserve its own democracy.

The Trump card

Unexpectedly, there may be a new opportunity to make peace: Donald Trump wants to secure “the ultimate deal” and is due to visit the Holy Land on May 22nd, during his first foreign trip. The Israeli prime minister, Binyamin Netanyahu, appears as nervous as the Palestinian president, Mahmoud Abbas, seems upbeat. Mr Trump has, rightly, urged Israel to curb settlement-building. Israel wants him to keep his promise to move the American embassy to Jerusalem. He should hold off until he is ready to go really big: recognise Palestine at the same time and open a second embassy in Jerusalem to talk to it.

The outlines of peace are well known. Palestinians would accept the Jewish state born from the war of 1947-48 (made up of about three-quarters of the British mandate of Palestine). In return, Israel would allow the creation of a Palestinian state in the remaining lands it occupied in 1967 (about one-quarter). Parcels could be swapped to take in the main settlements, and Jerusalem would have to be shared. Palestinian refugees would return mostly to their new state, not Israel.
The fact that such a deal is familiar does not make it likely. Mr Netanyahu and Mr Abbas will probably string out the process—and try to ensure the other gets blamed for failure. Distracted by scandals, Mr Trump may lose interest; Mr Netanyahu may lose power (he faces several police investigations); and Mr Abbas may die (he is 82 and a smoker). The limbo of semi-war and semi-peace is, sadly, a tolerable option for both.

Nevertheless, the creation of a Palestinian state is the second half of the world’s promise, still unredeemed, to split British-era Palestine into a Jewish and an Arab state. Since the six-day war,
Israel has been willing to swap land for peace, notably when it returned Sinai to Egypt in 1982. But the conquests of East Jerusalem, the West Bank and the Gaza Strip were different. They lie at the heart of Israelis’ and Palestinians’ rival histories, and add the intransigence of religion to a nationalist conflict. Early Zionist leaders accepted partition grudgingly; Arab ones tragically rejected it outright. In 1988 the Palestine Liberation Organisation accepted a state on part of the land, but Israeli leaders resisted the idea until 2000. Mr Netanyahu himself spoke of a (limited) Palestinian state only in 2009.

Another reason for the failure to get two states is violence. Extremists on both sides set out to destroy the Oslo accords of 1993, the first step to a deal. The Palestinian uprising in 2000-05 was searing. Wars after Israel’s unilateral withdrawal from Lebanon in 2000 and Gaza in 2005 made everything worse. As blood flowed, the vital ingredient of peace—trust—died.

Most Israelis are in no rush to try offering land for peace again. Their security has improved, the economy is booming and Arab states are courting Israel for intelligence on terrorists and an alliance against Iran. The Palestinians are weak and divided, and might not be able to make a deal. Mr Abbas, though moderate, is unpopular; and he lost Gaza to his Islamist rivals, Hamas. What if Hamas also takes over the West Bank?

All this makes for a dangerous complacency: that, although the conflict cannot be solved, it can be managed indefinitely. Yet the never-ending subjugation of Palestinians will erode Israel’s standing abroad and damage its democracy at home. Its politics are turning towards ethno-religious chauvinism, seeking to marginalise Arabs and Jewish leftists, including human-rights groups. The government objected even to a novel about a Jewish-Arab love affair. As Israel grows wealthier, the immiseration of Palestinians becomes more disturbing. Its predicament grows more acute as the number of Palestinians between the Jordan river and the Mediterranean catches up with that of Jews. Israel cannot hold on to all of the “Land of Israel”, keep its predominantly Jewish identity and remain a proper democracy. To save democracy, and prevent a slide to racism or even apartheid, it has to give up the occupied lands.

Co-operation, not collaboration

Thus, if Mr Abbas’s Palestinian Authority (PA) is weak, then Israel needs to build it up, not undermine it. Without progress to a state, the PA cannot maintain security co-operation with Israel for ever; nor can it regain its credibility. Israel should let Palestinians move more freely and remove all barriers to their goods (a freer market would make Israel richer, too). It should let the PA expand beyond its ink-spots. Israel should voluntarily halt all settlements, at least beyond its security barrier.
Israel is too strong for a Palestinian state to threaten its existence. In fact, such a state is vital to its future. Only when Palestine is born will Israel complete the victory of 1967.

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Article published in this week edition.
Link to the online version:
http://www.economist.com/news/leaders/21722162-more-ever-land-peace-also-means-land-democracy-why-israel-needs-palestinian-state?cid1=cust/ednew/n/bl/n/20170518n/owned/n/n/nwl/n/n/eu/31867/n


Pour l'amour du cinéma africain


Petit article pour Toute La Culture sur la promotion du cinéma africain :

CINEWAX MET EN VALEUR LE CINÉMA AFRICAIN

18 mai 2017 Par
Melissa Chemam
Ce mois de mai, l’association Cinewax organise deux événements majeurs pour mettre en valeur le cinéma africain en France, avant de préparer un événement festif et multiplateforme pour la rentrée.


Créé en novembre 2014 par un Franco-Sénégalais passionné de cinéma. L’association développe des projets en France et au Sénégal pour promouvoir le cinéma comme lien social et favoriser un pont culturel entre deux continents par le biais du septième art. « Wax », en wolof signifie en effet « dire, parler ».
Au Sénégal, il n’existe aujourd’hui plus de salles de cinémas alors que le pays en comptait près de 90 dans les années 1970. Seuls l’Institut Français et le Goethe Institute offre donc des films au public sénégalais. Cinewax ambitionne donc de créer un réseau de salles de quartiers solidaires et innovantes au Sénégal, comprenant également des lieux de restauration, bibliothèques, une salle de spectacles et concerts, un espace d’exposition ou encore un cybercafé.
En France, grand pays du cinéma et terre d’accueil pour des films venant du monde entier, moins d’1% des films montrés en salle de cinéma sont des films africains, constate l’association. Cinewax crée donc des cinéclubs originaux comme Clap Afrique, Baatou Africa, Univerciné et des événements uniques dont bientôt un nouveau Cinewax Outdoors.
Prochains événements sur Paris et sa région :
Baatou Africa #4 : mardi 23 mai, avec projection du film L’arbre sans fruit de Kady Aïcha Mack au Reflet Médicis, suivie d’un débat en présence du réalisateur, sur le hème: le tabou de l’infertilité féminine au Niger.
Avant première: mardi 30 mai, projection de Wùlu de Daouda Coulibaly (primé au FESPACO 2017) au cinéma Louxor, avec présence de l’équipe du film.
A la rentrée, un Cinewax Outdoors aura lieu le dimanche 3 septembre, pour une journée de festivités rassemblant de nombreuses activités culturelles et ludiques, s’inspirant de diverses cultures africaines, au parc de Choisy. La journée se terminera par la projection d’un film.
Toute les infos sur le site : http://www.cinewax.org
Evénements Facebook ici et là
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Lien vers le site de Toute la Culture :


'Out of the Comfort Zone': Out of Bristol came... Massive Attack


More in English on my book on Massive Attack & Bristol...

Named En dehors de la zone de confort, in French, this book, released last year, retells the story behind a very rare sort of band, diverse, creative, independent, extremely open and gathering a wide array of collaboration... But also uniquely politically aware.

From their early years as the Wild Bunch collective and even more since their first album, Blue Lines, released in 1991, Massive Attack produced a revolutionary sound and always managed to bring a form of consciousness in their discourse and visual.



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This book was inspired by the journey the band took to Lebanon in August 2014... 

While covering international news for the French national radio, France Culture, I realized when reading their interviews ho much power music and art could have on political issues, human rights and social change.

The first chapter starts with Massive Attack's first album, the remarkable and inimitable Blue Lines, analysing its impact in its context, in a year of radical changes, in the United Kingdom and worldwide, 1991.

It then goes back to their first influences. This includes their very own hometown, Bristol, a port city that has been enriched by the colonies in America, the sugar and the slave trade in the eighteenth century. That very history also provoked a counter reaction and a sense of rebellion in its inhabitants, who fought against slavery a few decades later and rioted against unfair political decisions, inequalities, big corporations, etc.

This sense of rebellion materialized in the city's culture from the 1960s and mainly the 1970s, when the Caribbean population imported their very onw reggae music in the city's homes and clubs just before Bristol gave birth to its own punk and post-punk movement.

Then started Bristol's homegrown sound with the unforgettable post-punk band The Pop Group - and friends like Nick Sheppard and his band, The Cortinas, Maximum Joy, the Glaxo Babies, etc. Meanwhile, a properly genuine reggae scene also came to life in Bristol's Jamaican neighbourhood, St Pauls...




From then started a new movement

A few years later, hip hop and electronic music started to pour into Bristol's records shops and nightclubs, and a new generation of DJs started to bloom. From that trend came to life the now legendary Wild Bunch, a collective that changed the game and gave to Bristol its gateway into the history of music. The Wild Bunch was originally an informal posse composed of the joined efforts of two young Black DJs, Miles Johnson, known as DJ Milo, and Grantley Marshall, nicknamed Daddy G. They were quickly joined by Nellee Hooper, a massive fan of punk music, who acted as a sort of producer / manager.




The Wild Bunch was quickly enriched in 1983 by a couple of MCs and by the first blooming and generally admired graffiti artist in the city, nicknamed 3D, aka in real life Robert Del Naja, an 18 year-old music junkie.



After years of adventures that this book retells, 3D and a young DJ nicknamed Mushroom formed Massive Attack in 1988, quickly joined by Daddy G. And their talent soon outburst everywhere else in the UK when they released their first album.



In their path came to form a large number of other bands, producers and DJs, including the well-known Tricky and Portishead. A few years later, the graffiti movement 3D invigorated and deepened also took off in a wider scale.

From 1994 and their second album, Protection, Massive Attack never stopped transforming themselves, revolutionising their sound and stage shows up until the critically acclaim and popular success Mezzanine and they brilliant followers, 100th Window and Heligoland.

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I specifically wanted to write about Massive Attack's relationship with their city, Bristol, to show the roots of their greatness & mention their predecessors. To demonstrate how the city's history had a major influence on these self-taught and conscious, rebellious artists.

I then realized it would also be fascinating to retell the band's links with the artists and musicians who followed them, with their many brilliant collaborators and with those they inspired, from UNKLE to Gorillaz.

The book also follows Massive Attack's journey in the UK and further away around the world, via their tours and collaborations, in America and in the Middle East notably.

Therefore, the book becomes a form of parallel history of British culture, from an underground and unorthodox point of view. Bristol epitomizes another side of England, less known and much more humorous and rebellious!






Over two years, I spent months coming to Bristol, interviewing about 30 musicians, artists and other local actors. 


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The book also mentions today's music scene in Bristol, from the return of the Pop Group and the birth of new musical trends to the recent E.P. produced by Massive Attack in 2016.

French speakers: Profitez de la version française! Unique et probablement limitée... 





(The book cover is a creation by Robert Del Naja, originally designed in 2009 for the E.P. named 'Atlas Air').

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16/05/2017

About Jeremy Corbyn


I talked to my friends from different locations in England, and some of them thinks this man cannot lead their country... I would so love to have Jeremy Corbyn as our Prime Minister in France!

Here is a profile by Channel 4:


Jeremy Corbyn: Who is he? (Profile + Interview)



Published on 15 May 2017

The UK's Labour party leader Jeremy Corbyn was a 200/1 outsider in the Labour leadership contest two years ago. He defied those odds to win and now he is in the race to be next Prime Minister in the UK's general election. And many say the odds are stacked against him again.

According to his devoted supporters, his idealism is exactly what the country needs. But to his detractors, he’s made Labour simply unelectable. So who is he, what motivates him and what’s the future of the Corbyn project?

And we also spoke to him about his foreign policy - asking him: When in the last half century has British-backed military action been necessary?

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And I'm not alone! Noam Chomsky agrees with me!


Noam Chomsky: I would vote for Jeremy Corbyn (EXTENDED INTERVIEW) - BBC Newsnight


Published on 10 May 2017

Noam Chomsky is not just one of the world's most famous academics, he is also one of the world's most famous supporters of the political left. Evan Davis talked to him about Donald Trump, populism in Europe and Julian Assange.

Newsnight is the BBC's flagship news and current affairs TV programme - with analysis, debate, exclusives, and robust interviews. 

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Feel free to comment.


13/05/2017

"... a book known to him by heart"...



"Each has his past shut in him like the leaves

 of a book known to him by heart and his 

friends can only read the title".


  - Virginia Woolf



'Puzzle Palace'



3D
Puzzle Palace 2 2016




Edition details

Artist 3D
Title Puzzle Palace 2
Type Print
Edition 10
Year 2016
Dimensions 122. 5 cm x 76.5 cm
Medium Hand-finished one-colour screen print with spray paint and glitter on Somerset Tub Sized 410gsm paper
Comments 
signed and numbered by the artist

'Splitting the Atom'



3D
Splitting the Atom White 2016






Edition details

Artist 3D
Title Splitting the Atom White
Type Print
Edition 6
Year 2016
Dimensions 84 cm x 119 cm
Medium One-colour screenprint on Somerset Tub Sized 410gsm paper
Comments 
signed and numbered by the artist

12/05/2017

Banksy et le Brexit


Mon article du jour...

APRÈS CALAIS ET BETHLÉEM, LE BREXIT : BANKSY DE RETOUR EN ANGLETERRE  


12 mai 2017 Par
Melissa Chemam
Il ne s’était pas ouvertement inspiré du Brexit jusqu’à présent… Le street artiste le plus connu du monde, après avoir ouvert un Hôtel en plein territoire palestinien cet hiver, à Bethléem, face au Mur de Séparation, a finalement créé une œuvre pour faire résonner les inquiétudes euro-britanniques sur la décision du pays de se retirer de l’Union européenne, prise par référendum le 23 juin 2016.



C’est à Douvres, port anglais le plus proche des côtés françaises, que Banksy a laissé sa marque en imposant un immense mural représentant un ouvrier en train d’extraire une des douze étoiles dorées du drapeau bleu de l’Union… Haut de plusieurs mètres, le graff figure en trompe l’œil l’homme au travail au sommet d’une échelle, « armé » d’un marteau et d’un burin. Placé stratégiquement sur un mur encore totalement vierge de graffiti, situé près du port accueillant le terminal des ferries pour l’Europe continentale, l’œuvre est visible à plusieurs dizaines de mètre à la ronde. 
Apparu le week-end dernier, Banksy en a confirmé l’authenticité via le réseau Instagram, avant de l’ajouter sur son site, en constante évolution. L’œuvre gigantesque va pourtant probablement rapidement être déplacée… En effet, l’immeuble sur lequel elle est apposée appartient à la famille Godden et va probablement être vendu puis démoli du fait d’un projet de réhabilitation du quartier. Une galerie londonienne est intéressée. Sa vente pourrait rapporter jusqu’à un million de livres sterling, et la famille promet de reverser une partie de la somme à des organisations de charité…
L’œuvre de Banksy est apparue alors que les négociations de sortie du Royaume-Uni de l’Europe sont à un point de tension maximale. La procédure de déclenchement du « Brexit » a été engagée le 29 mars par la Premier Ministre, Theresa May, et depuis, ses rencontres avec les dirigeants des principales institutions européennes ont été des échecs patents. Les tentions à l’intérieur du Royaume-Uni sont également élevées, si bien que contre toute attente Theresa May a convoqué une élection législative anticipée pour le 8 juin prochain.

Originaire de Bristol, dans le sud-ouest de l’Angleterre, Bansky – dont l’identité reste secrète – s’était fait discret dans son pays depuis l’ouverture de son parc d’attraction ironique, Dismaland, dans la station balnéaire de Weston-Super-Mare, près de sa ville natale, en août 2015. Il a largement surpris le monde de l’art en ouvrant un lieu permanent en Palestine en février dernier. Le Walled Off Hotel (l’hôtel emmuré, littéralement, un jeu de mot avec le fameux Waldorf Hotel) a ouvert ses portes fin mars et comprend des œuvres de Banksy dans plusieurs chambres, dans le hall et dans le fameux piano bar accueillant les visiteurs dans une ambiance néocoloniale volontairement de très mauvais goût.

Le piano mécanique y diffuse de la musique spécialement recomposée pour l’hôtel de Banksy par des géants de la musique dont Trent Reznor de Nine Inch Nails et 3D de Massive Attack, également originaire de Bristol et lui-même artiste. Ce dernier fut d’ailleurs l’inspiration première de Banksy dès la fin des années 1980. 3D aurait également conçu le piano mécanique du Walled Off Hotel, selon une rumeur qui court à Bristol… La composition inédite de Trent Reznor a quant à elle été partagé le 8 mai dernier, le jour de la finalisation du mur de Banksy à Douvres.
Banksy avait entre temps frappé à Calais même et sur les murs de l’Ambassade de France à Londres avec deux œuvres au pochoir critiquant l’accueil misérable réservé aux réfugiés syriens par la France et le Royaume-Uni.


The new sound of Banksy



Trent Reznor & Atticus Ross - 'Green Lines'



Published on 8 May 2017

Trent Reznor & Atticus Ross are ‘performing’ nightly at Banksy’s Walled Off Hotel in Bethlehem for the next several weeks. ‘Green Lines’ is a new song written specifically for the player piano in the hotel. If you’re staying there or in the neighborhood, stop by for a drink. http://walledoffhotel.com


11/05/2017

From Kingston to Bristol!


Ahead of my talk on Sunday about the influences of Caribbean musics in England, here is a little taste in sounds!

I'll be in the bookstore in the cultural centre of the north east of Paris named Le Centquatre (or 104) - where Tricky was in residence for two years!

My guest: Marjorie Hache, music journalist and radio producer for Ouï FM (Paris rock radio), and Jeremie Kroubo Dagnigni, University researcher specialised on the musics from Jamaica.

Now, let's listen to an introduction...

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'Man Next Door'


From Kingston...

Horace Andy - Man Next Door (Quiet Place)



... to Bristol!

Massive Attack - 'Man Next Door' - featuring Horace Andy



Some callout a "cover". I would describe it as a complete reinvention!

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Even more particular transformation is the use of part of these lyrics from :


Horace Andy - 'You're My Angel'



On this song:

Massive Attack - 'Angel'



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Just adding one more unforgettable song:


Massive Attack - 'One Love'


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See you on Sunday!