Juliano Mer Khamis

[Juliano Mer Khamis. Image by Alex Rozkovsky/AP] [Juliano Mer Khamis. Image by Alex Rozkovsky/AP]

Juliano Mer Khamis

By : Anthony Alessandrini

Jadaliyya is tremendously saddened to report the murder of Juliano Mer Khamis earlier today. Juliano, 52, who was the Artistic Director of The Jenin Freedom Theater and the co-director of the award-winning documentary Arna’s Children, was shot by unknown assailants in Jenin as he was leaving the theater. We offer our deepest condolences to his family, his friends, and all who worked with him and loved him.

Juliano was born in Nazareth in 1958. He was the son of Saliba Khamis, a Palestinian citizen of Israel who was at one time the secretary of the Israeli Communist Party, and Arna Mer Khamis, a Jewish Israeli who spent her youth in the Palmach but became an anti-Zionist activist and a fearless fighter for peace, justice, and human rights. In interviews, Juliano would tell a story that marked the “racial lunacy” into which he was born: his mother went into labor while taking part in a protest against the imposition of martial law on Palestinian villages in Israel. She was rushed to the hospital, "but the doctors refused to stitch her and she nearly bled to death," he said. "They knew she was married to an Arab."

Growing up, Juliano for a time adopted his Jewish maternal name and joined an elite fighting unit of the IDF. "For a whole year my father wouldn`t talk to me. He simply kept silent," he told an interviewer. But in 1978, while stationed in Jenin, he refused an order to forcibly remove an elderly Palestinian man from a car and ended up in a fight with his commanding officer. He was imprisoned for a few weeks and then left the army. Ultimately, he came to identify himself, as he put it in 2009, by stating: "I am 100 percent Palestinian and 100 percent Jewish."

He worked extensively as an actor in film, television, and stage, beginning in the 1980s; during this time, he also began to work with his mother on the original Freedom Theater project in Jenin. Funded in part by the prize money that Arna Mer Khamis was awarded when she won the Alternative Nobel Prize, the theater was part of a larger project, “Care and Learning,” set up by Arna and a number of volunteers in the Jenin Refugee Camp. She was the vision behind the project until her death in 1994.

In 2003, Juliano collaborated with Daniel Daniel to produce and direct the documentary Arna’s Children. The film lovingly documented the work of The Freedom Theater, and the lives of the children from Jenin who participated in the plays and theater workshops. The film is also a document of the horrific destruction visited upon the Jenin Refugee Camp when it was invaded by Israeli forces in April 2002, and an account of the Battle of Jenin fought against this invasion. Following the lives and deaths of the young people who participated in The Freedom Theater, as well as the destruction of the theater itself in the Israeli invasion, the film was regarded by many as a masterpiece, and was awarded the Best Documentary Feature prize at the 2004 Tribeca Film Festival. In the words of one reviewer, the film is “a work of art, because it was made with a trembling hand, with the stammer of someone who does not know whom to mourn most: his mother, the boys from the Jenin camp or the trampled hopes of people yearning to be free."

It is also a film made with tremendous courage and honesty, two virtures that were the trademark of Juliano’s art. Elias Khoury wrote of Arna’s Children: “It was not an ordinary film. I do not know from where Juliano drew the courage and bravery to create this masterpiece, which appeared before my eyes as a testimony stronger than both life and death together.”

The reaction to Arna’s Children helped lead to the possibility of rebuilding and expanding The Freedom Theater in Jenin. In 2006, the theater opened its doors, and since then, it has offered a wide variety of workshops and other opportunities to young people in the camp, along with training in filmmaking, and the first Acting School in Palestine was opened at The Freedom Theater in 2008. The theater has also produced a number of plays, including Men in the Sun and Animal Farm. The theater’s most recent production, Alice in Wonderland, co-directed by Juliano, opened in January to standing-room-only crowds  and rave reviews. All this constitutes a rare legacy, achieved through a tremendous collective effort, and Juliano was the visionary behind it all.

Juliano Mer Khamis was a fearless artist, and a fearless human being. Arna’s Children and The Freedom Theater are only the two most visible parts of his legacy, a legacy that bespeaks the role artistic creation can play even amidst the most horrible depths of injustice and suffering. The Freedom Theatre will provide the children of the camp a tranquil environment to express themselves and create,” he wrote, describing the vision of the theater in 2006. To imagine the possibility of opening up a space of tranquility, of expression, and thus of possibility, in Jenin Refugee Camp, whose name has become synonymous with the most vicious and destructive brutality of the occupation, might be seen as madness. Its very existence is a testament to the power of the artistic tradition that Juliano embodied with such beauty and power.

In Arna’s Children, Juliano documented, tenderly and fearlessly, the many ways that martyrdom comes to the young artists of Jenin camp. He showed us that every life lost in Jenin needed to be seen and understood as an unspeakable tragedy worthy of our remembrance. As Khoury wrote, so movingly, on the establishment of The Freedom Theater in Jenin: “It stands on ground laid down by the child martyrs, who found that the meaning they learned in Arna’s theatre led them in their early youth to create the epic of Jenin Refugee Camp, through its heroic resistance in 2002. These are the children who we watched in the film Arna’s Children, dying and their blood covering their dream of becoming actors and artists. They are the true owners of The Freedom Theatre in Jenin Refugee Camp.” Juliano has joined them. The loss of his voice is an irreplaceable one.

Arna’s Children can be purchased on DVD here, with all proceeds donated to The Freedom Theater in Jenin. For other ways to support The Freedom Theater, see here.

Juliano`s family has issued a very moving statement that is a testament to his life and work: it can be found here.

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Past is Present: Settler Colonialism Matters!

On 5-6 March 2011, the Palestine Society at the School of Oriental and African Studies (SOAS) in London will hold its seventh annual conference, "Past is Present: Settler Colonialism in Palestine." This year`s conference aims to understand Zionism as a settler colonial project which has, for more than a century, subjected Palestine and Palestinians to a structural and violent form of destruction, dispossession, land appropriation and erasure in the pursuit of a new Jewish Israeli society. By organizing this conference, we hope to reclaim and revive the settler colonial paradigm and to outline its potential to inform and guide political strategy and mobilization.

The Israeli-Palestinian conflict is often described as unique and exceptional with little resemblance to other historical or ongoing colonial conflicts. Yet, for Zionism, like other settler colonial projects such as the British colonization of Ireland or European settlement of North America, South Africa or Australia, the imperative is to control the land and its resources -- and to displace the original inhabitants. Indeed, as conference keynote speaker Patrick Wolfe, one of the foremost scholars on settler colonialism and professor at La Trobe University in Victoria, Australia, argues, "the logic of this project, a sustained institutional tendency to eliminate the Indigenous population, informs a range of historical practices that might otherwise appear distinct--invasion is a structure not an event."[i]

Therefore, the classification of the Zionist movement as a settler colonial project, and the Israeli state as its manifestation, is not merely intended as a statement on the historical origins of Israel, nor as a rhetorical or polemical device. Rather, the aim is to highlight Zionism`s structural continuities and the ideology which informs Israeli policies and practices in Palestine and toward Palestinians everywhere. Thus, the Nakba -- whether viewed as a spontaneous, violent episode in war, or the implementation of a preconceived master plan -- should be understood as both the precondition for the creation of Israel and the logical outcome of Zionist settlement in Palestine.

Moreover, it is this same logic that sustains the continuation of the Nakba today. As remarked by Benny Morris, “had he [David Ben Gurion] carried out full expulsion--rather than partial--he would have stabilised the State of Israel for generations.”[ii] Yet, plagued by an “instability”--defined by the very existence of the Palestinian nation--Israel continues its daily state practices in its quest to fulfill Zionism’s logic to maximize the amount of land under its control with the minimum number of Palestinians on it. These practices take a painful array of manifestations: aerial and maritime bombardment, massacre and invasion, house demolitions, land theft, identity card confiscation, racist laws and loyalty tests, the wall, the siege on Gaza, cultural appropriation, and the dependence on willing (or unwilling) native collaboration and security arrangements, all with the continued support and backing of imperial power. 

Despite these enduring practices however, the settler colonial paradigm has largely fallen into disuse. As a paradigm, it once served as a primary ideological and political framework for all Palestinian political factions and trends, and informed the intellectual work of committed academics and revolutionary scholars, both Palestinians and Jews.

The conference thus asks where and why the settler colonial paradigm was lost, both in scholarship on Palestine and in politics; how do current analyses and theoretical trends that have arisen in its place address present and historical realities? While acknowledging the creativity of these new interpretations, we must nonetheless ask: when exactly did Palestinian natives find themselves in a "post-colonial" condition? When did the ongoing struggle over land become a "post-conflict" situation? When did Israel become a "post-Zionist" society? And when did the fortification of Palestinian ghettos and reservations become "state-building"?

In outlining settler colonialism as a central paradigm from which to understand Palestine, this conference re-invigorates it as a tool by which to analyze the present situation. In doing so, it contests solutions which accommodate Zionism, and more significantly, builds settler colonialism as a political analysis that can embolden and inform a strategy of active, mutual, and principled Palestinian alignment with the Arab struggle for self-determination, and indigenous struggles in the US, Latin America, Oceania, and elsewhere.

Such an alignment would expand the tools available to Palestinians and their solidarity movement, and reconnect the struggle to its own history of anti-colonial internationalism. At its core, this internationalism asserts that the Palestinian struggle against Zionist settler colonialism can only be won when it is embedded within, and empowered by, the broader Arab movement for emancipation and the indigenous, anti-racist and anti-colonial movement--from Arizona to Auckland.

SOAS Palestine Society invites everyone to join us at what promises to be a significant intervention in Palestine activism and scholarship.

For over 30 years, SOAS Palestine Society has heightened awareness and understanding of the Palestinian people, their rights, culture, and struggle for self-determination, amongst students, faculty, staff, and the broader public. SOAS Palestine society aims to continuously push the frontiers of discourse in an effort to make provocative arguments and to stimulate debate and organizing for justice in Palestine through relevant conferences, and events ranging from the intellectual and political impact of Edward Said`s life and work (2004), international law and the Palestine question (2005), the economy of Palestine and its occupation (2006), the one state (2007), 60 Years of Nakba, 60 Years of Resistance (2009), and most recently, the Left in Palestine (2010).

For more information on the SOAS Palestine Society 7th annual conference, Past is Present: Settler Colonialism in Palestine: www.soaspalsoc.org

SOAS Palestine Society Organizing Collective is a group of committed students that has undertaken to organize annual academic conferences on Palestine since 2003.

 


[i] Patrick Wolfe, Settler Colonialism and the Transformation of Anthropology: The Politics and Poetics of an Ethnographic Event, Cassell, London, p. 163

[ii] Interview with Benny Morris, Survival of the Fittest, Haaretz, 9. January 2004, http://cosmos.ucc.ie/cs1064/jabowen/IPSC/php/art.php?aid=5412