FIRST PEEK: "In the Spirit: Contemporary Northwest Native Arts" at the Washington State History Museum

By Christian Carvajal
June 15, 2011 at 11:31am

ORIGINAL PEOPLES; ORIGINAL ART >>>

For the sixth year in a row, the Washington State History Museum has selected a juried exhibit of contemporary Native American art for display in one of its featured galleries. This year's exhibit is called In the Spirit: Contemporary Northwest Native Arts. I was allowed to browse the exhibit two days before its June 16 opening, on a walkthrough guided by curator Lynette Miller. "How diverse it is," Miller remarks, admiring the collection. These artists "are doing all kinds of things. Some people have gone to art school; they've done years of study. Some people are more self-taught and intuitive." As for the content, Miller describes it as, "very traditional, very non-traditional."

She's right. An almost iconic image of a bird of prey ("Night Hawk," by Jennifer Johns) hangs side by side with a Kaila Farrell-Smith triptych as hip as anything in MoMA.

Despite variation in training levels, the work is impressive and evocative throughout. Indeed, it was vetted by critical eyes. "(The artists) submit (to) a jury of three people," Miller says. "We at the Historical Society are partners with the Longhouse Educational and Cultural Center at Evergreen State College for this event. There's a juror that represents the Historical Society, and another who represents Longhouse...Then there's a third juror, and the last few years, we had the person who won the Best in Show prize the year before be that juror."

It seems a daunting job. "We get a big mix of things every year," she agrees, having been one of those jurors herself in past years. "The jurors also select those artists who will win the awards, which are cash prizes." There are six prizes in total, plus a People's Choice award. Visitors to the exhibit "vote all during the run of the show."

As we stroll past two- and three-dimensional pieces, Miller notes, "There's some with a fair amount of political content, that deals with Native issues." As one might expect, two of those issues are ecology and resistance to assimilation. Miller indicates an Erin Genia clock sculpture called Blood Quantum Countdown. "To be officially an American Indian," Miller says, "you have to have a certain level of ‘blood quantum' from your parents...You can be registered in a tribe if you have some levels, but less than 1/32nd usually isn't enough." Such quantification became politically loaded as the Federal government decided the best thing for indigenous culture was to "help" it to be more European.

"There's this discussion of whether (blood quantum) establishes credentials," Miller says. We're looking at the piece shown above, Peeling the Apple by Charles Bloomfield, in which the feet and hands of a white mannequin have been dipped in red paint. It's thought-provoking work; to the untrained eye, it seems one of several likely prize contenders. "There is a jury winner," Miller says, but declines to reveal that winner. "It'll be announced on opening night."

The show includes a festival Aug. 6, from 10 a.m. to 7 p.m., with performances by Native American singers and dance troupes. It's a welcome opportunity to view our region through its original cultural window.

[Washington State History Museum, In the Spirit, June 16 through August 28, free to members, $6-$8 otherwise, 1911 Pacific Ave., Tacoma, 253.798.5925]

The Weekly Volcano

In the Spirit: Contemporary Northwest Native Arts Exhibit

"Blood Quantum Countdown"
by Erin Genia, Sisseton Wahpeton Oyate
24" x 24"
Mixed media: Ceramic, acrylic on canvas, plaster, silver, clock parts.

June 16 through August 28, 2011
at the

Washington State History Museum

This juried art exhibit showcases the work of contemporary Native American artists. Guests will see how today’s Native art connects traditional artistic heritage and contemporary forms of expression. The featured artwork was selected by a jury comprised of local experts in Native American art. The jury included Lynette Miller, Head of Collections for the Washington State Historical Society; Kayeri Akweks, Washington State Board for Community & Technical Colleges; and Jerry Laktonen, Native artist and winner of the 2010 Best in Show award.

In the Spirit: Northwest Native Arts Market & Festival

August 6, 2011 10 AM-7 PM

at the Washington State History Museum

2011 Award Winners

• Best in Show - Chholing Taha, Lightening Walker
• Honoring the Northwest - Justin Youso, Coast Salish Woman
• Honoring the Ancestors - Jennifer Johns, Night Hawk
• Honoring Innovation - Ramon Murillo, Preservation of Light

Other awards to be announced at the festival on August 6 are:

• Purchase Prize
• Legacy Gallery LTD Award
• Pendleton Award
• People's Choice

* * * * *

This is a truly amazing show, and I hope you have the opportunity to take it in. I am very honored to be a part of it! I'm also very thankful for the work that the people at the Evergreen Longhouse Education and Cultural Center do, and for their commitment to contemporary Indigenous artists.

Here is my artist's statement for "Blood Quantum Countdown" :

Using two different varieties of ceramic clay and a working clock, I explore the Western-imposed concept of blood quantum upon indigenous identity. Like the Western construct of time which was imposed through colonization, blood quantum has imprinted itself upon our collective psyche. Using the image of lightning, which instantly attracts the attention of all who see it flash, I seek to draw attention to the dangers of basing our identity upon racist instruments.

Blood quantum originated during a historical period of the U.S. when Native Americans were viewed as a vanishing race. Today, it enjoys widespread use by tribal and federal governments as a legitimate method of determining whether a person can be considered an American Indian. This piece warns that continuing its use inevitably leads to a countdown to our extinction.

Faces are depicted as pie charts to show the nonsensical nature of using this race-based method for quantifying Nativeness. Nobody looks like a pie chart. Our survival as a people is based upon a whole spectrum of qualifying factors, from lineal descent to connection to our tribal communities, to protecting, preserving and revitalizing our tribal cultures. It’s time to reassess the viability of the blood quantum system.

CONTACT INFORMATION
General Information
Lynette Miller
Email: lmiller@wshs.wa.gov
(253) 798-5925 Phone
(253) 272-9518 FAX
Washington State Historical Society
Washington State History Museum
1911 Pacific Avenue
Tacoma, WA 98402
Juried Art Exhibition and Vendor Information
Laura Grabhorn
Email: grabhorl@evergreen.edu
(360) 867-6413 Phone
(360) 867-6699 FAX
Tina Kuckkahn
Email: kuckkaht@evergreen.edu
(360) 867-5344 Phone
Longhouse Education and Cultural Center at The Evergreen State College
2700 Evergreen Parkway NW
Olympia, WA 98505

Check it out!

Just Us: Engendering Justice

Visual and Performing Arts Festival
for Sexual Assault Awareness Month
presented by
Office of Sexual Assault Prevention at the Evergreen State College

FRIDAY, APRIL 1ST
4-6pm: Gender Shadow Workshop
with Evan Hastings
http://gendershadow.blogspot.com/
... in SEM 2 A2109

6-8pm: Spoken Word & Film Screenings in Lecture Hall 2
featuring work by:

Kanako Wynkoop
Molly Fischer
Alexia Crousnillon
Alicia Clifford
Marty Berroteran
Corinne Hughes
Fabiola Romero
Bleu

4-8pm: Visual Art Gallery Open in SEM II E4115

SATURDAY, APRIL 2ND
4-6pm: Visual Art Gallery Event in SEM II E4115
featuring work by:
Meesh Rheault Miller
Molly Fischer
Megan Treasure
Rachel Hartman
Erin Genia
Connie Simpson
Yuko Igarashi
Diana Valenzuela

7-9pm: Oleanna, a play in three acts by David Mamet
directed by Craig Canario in Library 1412

SUNDAY, APRIL 3RD
10am-4pm: Visual Art Gallery Open in SEM II E4115

6-8pm: Killing Us Softly Film and Discussion in Lecture Hall 2

Water is Sacred: A Message from a First Nations Grandmother

Saturday,
April 9th, 2011
6:00 pm
The Evergreen State College
“House of Welcome”
Longhouse Education and Cultural Center
Olympia, WA
FMI: kuckkaht@evergreen.edu; (360) 867-5344
Free, public event

Anishinaabe Grandmother Josepine Mandamin
will discuss her efforts to preserve the Earth’s
clean water supply through annual “Mother Earth
Water Walks”. The Water Walks started during
the Spring of 2003 when Grandmother Mandamin
and her sister led a group of walkers around
Lake Superior. The fi rst walk was followed by the
walk around the upper portion of Lake Michigan
in 2004, Lake Huron in 2005, Lake Ontario in
2006, Lake Erie in 2007, the lower portion of Lake
Michigan in 2008, and along the St. Lawrence
River in 2009.

In 2011, groups of walkers from each of the four
directions, originating on the East and West
coasts, Hudson Bay in the North and the Gulf
of Mexico from the South, will meet at Lake
Superior in June of 2011 for a Water Ceremony
that will combine the waters from each of the four
directions. Learn more about what you can do to
protect the Earth’s clean water supply.

Co-sponsored by: First Peoples Advising, the President’s Diversity Fund, the Native Student Alliance, the Provost’s Offi ce, the Academic Deans, the Longhouse Education and Cultural Center and the following academic programs: “Ceremony: Relating Hospitably to the Land”, “Reading Between the Lines: US Women of Color in the 20th Century”, “Business Foundations”; Master in Public Administration/Tribal Governance program

Native Student Alliance Official Statement on the Pacific Northwest Medicine Wheel Ceremony

The Native Student Alliance serves Native students at the Evergreen State College through various cultural activities that respect and honor the diversity of our student body. We share a responsibility to the land, the people, and the cultures of this region and all of Turtle Island to protect our communities from racism and oppression. NSA is also committed to serving the wider community by building cross-cultural awareness and solidarity with Indigenous peoples.

Most people know that while Native Americans have had many victories in resisting colonial oppression, they have also endured much sorrow and loss. Such losses not only resonate in our modern lives, but the process of colonialism continues to this day. The Native American struggle is alive though it has shifted in nature. A similar sense of entitlement held by the dominant society drives the usurpation of cultural property, as did the violent conquest of Turtle Island.

True cultural exchange occurs when both parties are on equal ground; however, western culture continues to dominate Indigenous peoples. The U.S. has subjected every tribe to generations of assimilative policies that have weakened the social and cultural foundations of tribes. Only 32 years ago, the American Indian Religious Freedom Act granted tribal peoples the basic human right to practice their religious ceremonies without fear of persecution. Such an unequal power dynamic has not only left a painful history, but has put tribes at a disadvantage in economic development. Financial hardship and injured self-respect may spur some Native people to commodify and sell their culture to non-Native people.

Why shouldn't I be able to access whatever spiritual practice I want? For some, this mentality stems from a misplaced sense of entitlement in which Native peoples do not have the right to withhold their sacred ceremonies and traditions. For others, Native Americans are regarded as a vanishing or already extinct group. In an act of preserving the novelty of Native spirituality, they assume it is ok to appropriate. This approach is neither respectful, nor considerate; it is arrogant and patronizing.

Cultural appropriation is predicated on a fundamental disrespect for Native people—at best it is a silly misconception of what it is to be Native, and at worst it is an ultimate threat to our cultural survival. Native cultures are not only a set of cosmologies, but they are principled ways of being. Culture generates social supports, which are the strongest tool in facing dire circumstances within Native communities, such as epidemic youth suicide, substance abuse, and domestic violence. Meanwhile, non-Natives continue to justify taking ceremonies out of context and away from places where they are most needed.

We recognize that we are the descendants of survivors, the legatees of generational trauma and the children of struggle. We have a responsibility to our ancestors and future generations to defend our culture and empower our people. This means building solidarity with non-Native allies and educating our communities about Native cultural issues and concerns.

Our organization has been forced to address an alarming set of circumstances on Evergreen’s campus and in the Olympia community. We have experienced and witnessed:

Racist flyers for the “Pacific Northwest Medicine Wheel” promotional event: The images on the flyer blurred valued cultural distinctions by depicting stereotypical homogenized Native American figures that bear no resemblance to the actual people they are supposed to depict. The two Natives placed together (supposedly Sacagawea and Chief Sealth) never met and have no connections to one another. They are also depicted with their hands up in a stereotypical “How” gesture that so many non-Natives think is “Indian” for hello. Furthermore, there is an inaccurate placement of the buffalo and the mention of the “Medicine Wheel,” both of which are highly sacred to the Plains Indian cultures, but not representative of the Coast Salish Indian cultures.

Desecration of the Longhouse: During the promotional event hosted and sponsored by an Evergreen student group known as Ancestral Wisdom, NSA took particular interest in the words of one speaker, Bennie “Blue Thunder” LeBeau, who claims to be a spiritual leader of the Eastern Shoshone Nation. During the event LeBeau expressed that the sacred and spiritual beliefs and practices of Native Americans should be freely known and used by all people. He claimed our valued cultural distinctions are the products of “bad energy” and promoted his vision of the dissolution of tribal identity. He articulated multiple instances of historical revisionism. For instance, he utterly mischaracterized the history and nature of the Sundance and the Ghost Dance. He stated that Native Americans need to get over the genocide and ensuing colonialism.

Disrespectful behavior by students: In another instance, NSA witnessed LeBeau leading a “ceremony” on the Evergreen campus, in which students were seen acting out stereotypical Native American vocalizations and dances.

Invitation of a suspected fraud onto campus: LeBeau has been given free reign to mislead our learning community and disrespect the Native American students by claiming his new age practices are rooted in Native spirituality. By combining religious activities of many different cultures and traditions with crystals, numerology and romanticized ideas of Native American practices, he makes a mockery of actual Native religions.

Lack of proper protocol and respect the the First Peoples of this land: To all things we are called upon as witnesses. Disregard for the People of this Place (all places) is an offense to the Spirits, to the Ancestors, causing suffering to First People. The protocol of inter-tribal relationships is that First People are the primary concern in all that is done. Speaking our intention and seeking permission is the beginning place of true respect. This homeland is theirs and we "others" are the visitors. Every grain of sand, every tree, every wave that washes upon the shores carries the cultural appropriateness or spirit of this place.

The primary instrument of genocide and assimilation has been the use of exclusiveness in the decision making process. We can never right a wrong but we can change behaviors. What invaded and settled upon this land was economic and spiritual dominance, what we have come to know as Colonization. And injury persists through the process of Colonization (of the mind) stripping away consciousness: we have no rights except that which First Nations grant. And furthermore, legitimate behaviors are blessed by the Elders of Indigenous Peoples. We petition the wisdom and blessings of the Elders so not to offend the spirits and create situations that may be furthering and aiding cultural misappropriation of First Nations/Indigenous Peoples. The organizers have not adhered to protocol in forging ahead with this event.

Lack of good faith in reconciliation attempts: Organizers of the Pacific Northwest Medicine Wheel have projected a façade of good will and intent while paying lip service to necessary protocols that include seeking counsel from respected elders and other Native community members. The result has restricted cross-cultural communication and understanding, ruled out the support and respect of actual indigenous communities, and complicated possibilities for reconciliation. This leads us to believe that the organizers have no intention to alter and cease the event if advised to do so, and have set the stage for on-going offenses.

We challenge the student organization, Ancestral Wisdom, to listen, rethink their notions of peace and harmony, and act in solidarity with actual Native communities.

We call on Student Activities, the Evergreen Administration, and all faculty and staff members to take measures to disassociate our school from Bennie LeBeau, aka “Blue Thunder” and The Pacific Northwest Medicine Wheel ceremony.

We call on the wider community to learn more about this ceremony’s legitimacy before choosing to participate.

We call on our allies to educate other people in our community, who may not be aware of the insidious nature of this event.

In the context of this discussion, we feel we have been subject to racist and anti-Indian aggression, and are responding as such. Moreover, we view the defense of our cultures and traditions as the defense of our survival as Native people in the face of physical, cultural and spiritual genocide. The Native Student Alliance stands in unanimous and staunch opposition to the PNW Medicine Wheel Event. We also reject the anti-indigenous discourse and conduct from its leaders and supporters. We condemn the actions, not the individuals or spirits; we are ready to enter into a reconciliation process. We challenge the supporters of the event to heed our call, rethink and to move towards allyship. Furthermore, we send a message of profound gratitude to those allies who have heard our call and supported us with their words and actions.

Evergreen Native Student Alliance Speaks on Cultural Appropriation

Evergreen Native Student Alliance Speaks on Cultural Appropriatio from Erin Genia on Vimeo.

This is a recording of a delegation from Evergreen's Native Student Alliance speaking about cultural appropriation that is going on in the community, specifically about the Pacific Northwest Medicine Wheel. This interview took place on March 6th, 2011, on "View from the Shore," a long-running show on 89.3 FM KAOS that focuses on Native issues. Many Thanks to Gary Galbraith for conducting the discussion.

Tim DeChristopher's Speech After Verdict in Historic Case is Reached

As Bidder 70, Tim DeChristopher exposed the sham of what passes as "legal" in the sell-off and destruction of America's precious public lands and environment.

Hundreds of thousands of acres of pristine public lands in Utah were hurriedly opened up for business in Bush’s last days in power—with none of the required reviews of the environmental consequences. Tim showed that the leasing process was a sham, the auction process was a sham, and the pricing process was a sham.

With this verdict, Tim’s case shows that the justice system is a sham. He was prosecuted for—and found guilty of—the nonviolent crime of disrupting a federal auction of oil and gas leases on lands near Utah’s Arches and Canyonlands national parks. One that was later found to be illegitimate and rescinded.

Where are the prosecutions of the corrupt officials in the oilogarchy who illegally granted the leases in the first place (not to mention all the other lawbreakers in our society who happen to be politically powerful: the Wall Street criminals who wrecked the world’s economy, the BP/Halliburton/Transocean despoilers of the Gulf of Mexico, the approvers of war and torture, and on and on and on)?

Justice for all. It’s a quaint notion, isn’t it?

By Carolyn Shea

NSA Speaks on Promotion of The Pacific Northwest Medicine Wheel Ceremony

February 24, 2011

Re: The Pacific Northwest Medicine Wheel Ceremony

The images used to promote the event that Common Bread and Ancestral Wisdom is hosting Friday at the Longhouse are concerning to those of us in Native Student Alliance (NSA). Native Americans are not part of a mono-culture; we value the uniqueness of each of our peoples and their different ways of knowing and being. By blurring these valued distinctions in public handouts and flyers, inaccuracies and misconceptions are allowed to spread. The following are just a few specific concerns regarding these images.

In this image, the depiction of Chief Seattle and Sacajawea appear to be homogenous. Since her image wasn’t recorded and is merely speculation, we feel that it is incongruous to depict her image as nearly identical to that of the Indian male beside her, identified as Chief Seattle. I have included a link of Chief Seattle’s image here. As you can see, he bears no resemblance to the depiction of the Chief Seattle on the event flyer:

http://img.listal.com/image/154762/600full-chief-seattle.jpg

We also find it odd that Sacajawea (Shoshone) and Chief Seattle (Duwamish) are pictured together. Lewis and Clark’s expedition did not take them anywhere near Chief Seattle’s Duwamish territory. However, if we are incorrect, we would like to know when such a historical meeting took place and if there are records of it that are accessible to us in Native Student Alliance. Also, both figures are depicted with their hands up, in the stereotypical “How!” gesture that so many non-Natives think is “Indian” for hello. This is neither an appropriate nor an actual greeting in Shoshone and Duwamish cultures.

Also inaccurate is the placement of the buffalo and the mention of the “Medicine Wheel”, both of which are highly sacred to the Plains Indian culture. Olympia and the surrounding Washington area is known as Coast Salish territory. Medicine wheels and buffalo are not a part of Coast Salish tradition, thus misrepresenting the original inhabitants of the land.

In total, we feel that the imagery used to promote an event that “was inspired by dreams & visions from sacred ancestors who asked all of us to come together to heal the web of life” does exactly the opposite. Cultural appropriation is racism. The members of Native Student Alliance represent many diverse First Nations people from across the country, and we are unanimous in our agreement that the imagery used on the flyer is offensive and inaccurate.

We have a more serious concern regarding the featured speaker, Bennie LeBeau (aka BlueThunder). We noticed on his website that there is a page devoted to “sponsorship”, which is cause for skepticism. Charging money for spiritual services is considered a sacrilege to Native sensibilities. It gives us cause for concern that he is not a legitimate representative of Native spiritual ways.

http://tetonrainbows.com/Sponsorship.htm

http://www.newagefraud.org/

A few of our members attended an Ancestral Wisdom meeting and witnessed the use of

tuning forks, chanting, and wild gyrating around a formation of crystals in the ground...this was done alongside the presence of hand drums and burning sage. We are concerned that the Pacific Northwest Medicine Wheel will be an expression of this cultural mixing, and for this reason we do not support it. Misuse of Native spirituality is not only disrespectful, but it can also be dangerous: http://indiancountrytodaymedianetwork.com/ict_sbc/selling-the-sacred/

“First they came to take our land and water, then our fish and game…Now they want our religions as well. All of a sudden, we have a lot of unscrupulous idiots running around saying they’re medicine people. And they’ll sell you a sweat lodge ceremony for fifty bucks. It’s not only wrong, it’s obscene. Indians don’t sell their spirituality to anybody, for any price. This is just another in a very long series of thefts from Indian people and in some ways, this is the worst one yet.” - Janet McCloud, Tulalip elder and fishing rights activist.

“We urge all our Indian brother and sisters to act decisively and boldly in our present campaign to end the destruction of our sacred traditions, keeping in mind our highest duty as Indian people: to preserve the purity of our precious traditions for future generations, so that our children and our children’s children will survive and prosper in the sacred manner intended for each of our respective peoples by our Creator.”

– taken from “Declaration of War Against Exploiters of Lakota Spirituality”, June 1993.

As American Indian students on the Evergreen campus, we want to believe that the folks in Ancestral Wisdom and Common Bread have the best of intentions. However, we also have a responsibility to educate those who are misguided. We appreciate your consideration and understanding in this matter. Incidentally, we have invited the members of Ancestral Wisdom to attend our meetings on several occasions, but have yet to receive a visit from any of them.

Sincerely,

Native Student Alliance (NSA)

In the Spirit: Contemporary Northwest Native Arts Exhibit

The annual exhibition, "In the Spirit: Contemporary Northwest Native Arts Exhibit," showcases phenomenal works by Native artists, and is a partnership between the Longhouse Education and Cultural Center and the Washington State Historical Society.

Come see my work, "Self Decolonization: On the Dakota Uprising," at the Washington State History Museum in downtown Tacoma, Washington. The work is up now, and you can see it until September 19, 2010. Read my artist's statement about the piece below, which is made of cedar, ceramic, acrylic, plaster and maps, and measures about 24"x 22".

The piece, and all the wonderfully crafted and created works are to be experienced in person, since photographs do not do them justice and do not convey the power of the exhibit in its entirely!

Artist's Statement:
Self-Decolonization: On the Dakota Uprising, 2010
By Erin Genia (Sisseton-Wahpeton Oyate)
This piece is a symbolic attack on an icon of imperialism—Abraham Lincoln, who presided over the largest mass execution in United States history—of 38 Dakota men who took part in the 1862 Dakota Uprising. It is a window into the past that revisits a hidden history of how this country came to be what it is and revises landscapes to reflect the presence of our ever-present ancestors. I am a descendant of survivors of genocide, ethnic cleansing, expulsion, relocation, and internment. My ancestors have asked me to revisit this painful past because there is healing that needs to be done and restitution that needs to be made to the Dakota people for the diaspora that was created when we were expelled from our place of origin and forbidden to return. Here, I explore the concept of blood money and subvert the ideals of American mythology while asking myself, “Who are my heroes?” This work is part of a series called Self-Decolonization. The act of creating works for this series is a potent vehicle for decolonizing my own mind and bringing me sanity to my life. In learning the truth about my history and trying to make sense of my world, I seek to shed values that have been imposed on me and reclaim those that are my birthright.

Rep. Kucinich on Afghanistan War: "We're Acting Like a Latter Day Version of the Roman Empire"

Rep. Kucinich on Afghanistan War: "We're Acting Like a Latter Day Version of the Roman Empire"

Abeer’s Baby

by Jen Marlowe

Abeer was excited when I called her today.

"It's my time, Jen!" she told me breathlessly. "The baby might come today or tomorrow-any moment now!"

Last time I saw Abeer, a year ago, she had shown me pictures of her fiancé, a teacher, and last time we spoke, months ago, she told me she was pregnant. But I had no idea how far along she was and that she was about to give birth now.

Now, of all times.

Abeer lives in the Gaza Strip. She has been waiting for her water to break the last four days as missiles rained down, killing over 380 Palestinians.

I wanted to express whole-hearted joy. This will be Abeer's first child, her parents' first grandchild. But I felt panic at the news. Gaza is enduring the bloodiest, most vicious attack in the over forty years of Israeli occupation. I couldn't imagine Abeer, whom I've known since she was fifteen years old and visited many times in her cramped home in Khan Younes refugee camp, giving birth to the sound of explosions in the background.

Abeer expressed some trepidation herself. "I'm frightened," she told me. "The situation in Gaza is really terrible. And bringing a child into the world is such a huge responsibility. How can I guarantee my baby's safety?"

I was also concerned about Abeer's safety. What if air-strikes came as her contractions increased and it was time for her to go to the hospital? And, even if she could make it to the hospital safely, would they have room for her? There are 1500 hospital beds in Gaza public hospitals and perhaps another 500 in private clinics, but the bombings of the last four days alone have left over 1,900 Palestinians injured on top of those already admitted. Assuming there is space for Abeer, what kind of medical care will she receive? Doctors today are forced to operate without surgical gloves, anesthetics, even gauze. Even before the bombardments began on Saturday, the medical system in Gaza was devastated by the sixteen month ever-strengthening siege of the strip's 1.4 million inhabitants. Now, according to Physicians for Human Rights in Israel, it is on the verge of final and total collapse.

I was reluctant to mention my fears to Abeer. If she wasn't already worried herself, what good could it possibly do for me to raise them? A thin and wiry 24 year old woman with dark, smoldering eyes, a warm voice, fierce laugh and a tight hug, Abeer is, above all else, extremely strong. This wouldn't be the first baby in the world born with bomb blasts in the background. It certainly wouldn't be the first baby born with no guarantee of medical care for baby or mother during or after delivery. Chances are, Abeer will give birth to a healthy baby and be fine herself.

The reality Abeer knows she's bringing her child into-that's the truly terrifying thought. The potentially life-threatening shortages of food, electricity, water, cooking gas, car fuel-and on top of it all, relentless, inescapable, pointless violence. Abeer is right. She cannot guarantee her baby's safety. No place in Gaza is safe.

Another friend's sister, Nirmeen Elsarraj, is a mother of three children. Nour is fourteen, Adam is nine and Ali is three. Today Nirmeen wrote from Gaza City,

"My children cannot sleep and I cannot help them. The feelings of helplessness and guilt (which always accompanies your inability to protect or at least comfort your children) are stronger than those of fear and horror. Adam is asthmatic and he uses a ventilator. Due to the stress and the pollution resulting from rubble, he is getting more frequent asthma attacks and there is no electricity for his ventilator. Each time he has an attack, we have to put the generator on for him and then put it off. There is not enough fuel to keep the generator on and we have no idea till when this is going to continue. Ali has no idea what this is all about. All he does is scream in fear whenever there is a bombing and when it is over, he uses his imagination to tell stories about 'qasef - bombing'. We spend our days and our nights in one room with my sister in law and her daughter. You feel the stress and fear. You can see it on everyone's face."

It was difficult to end my conversation with Abeer. I didn't know what words to leave her with. "Stay strong," or "I'll be thinking of you," felt horribly inadequate.

"You're going to be such a great mother, Abeer," I finally said. "This baby will be surrounded by so much love."

Abeer laughed quietly. "I hope so, Jen."

I told Abeer I would call her in a few days and asked her to try to get me word if she delivered before then.

As the grim news from Gaza continues to pour in, I keep thinking about Abeer and her unborn child. My closing comment was honest: Abeer will be a wonderful mother. Her strength, her warmth, her fierce intensity will all be harnessed in the service of caring for and protecting her infant. In the midst of the terror that is Gaza, there will be the joy of a new, precious life.

I find a measure of comfort in knowing how much Abeer's baby will be treasured, and yet, this is not enough. It doesn't compensate for what Abeer's child, for what all children in Gaza lack. Beyond the humanitarian disaster that is Gaza Srip, beyond the rubble-strewn streets and the constant fear of new assaults, there is this horrific reality: no matter how precious Gaza's children are to their mothers, they are the helpless pawns of all those who execute, support and benefit from the continuing violence.


© 2009 Jen Marlowe

Jen Marlowe, a documentary filmmaker and human rights activist, is the author of Darfur Diaries: Stories of Survival (Nation Books). She is now directing and editing her next film, Rebuilding Hope, about South Sudan, and writing a book about Palestine and Israel. Her most recent film was Darfur Diaries: Message from Home. She serves on the board of directors of the Friends of the Jenin Freedom Theatre and is a founding member of the Rachel's Words initiative. Her email address is: jenmarlowe@hotmail.com

Source: http://www.commondreams.org/view/2009/01/01-0

http://www.youtube.com/watch?v=xevGz8_MBKk

Laurence Ebersole, a Seattle-based poet and devoted human rights activist, has written a newly published collection of thoughtful, compassionate, and, at times whimsical poetry, "Mural Poems: Human Rights and Antiwar Poems." His poems are written in a style that is both complex and effortless -- they are funny, touching, sometimes sad, sometimes angry, but always emphasize the individual, human dimension of politics and the way that everyone is united in the basic human struggle. Local Olympia-based artist, Erin Genia has rendered a work entitled "Child's Death Mask -- Collateral Damage," for the cover of this inspiring volume. Notably, historian Howard Zinn stated that "Laurence Ebersole's poems are eloquent outcries against war and injustice. Their lyricism is undiminished by their political power, and they boldly proclaim that poetry must be reckoned with in the struggle for a better world."

You can purchase it for $5 here:
http://www.plateausigmapress.com/mural.html

Abstraction

Noun: abstraction ab'strakshun

1. A concept or idea not associated with any specific instance
2. The act of withdrawing or removing something
3. The process of formulating general concepts by abstracting common properties of instances
4. An abstract painting
5. Preoccupation with something to the exclusion of all else
6. A general concept formed by extracting common features from specific examples