Une soirée de films palestiniens pour commémorer 60 ans d’occupation et célébrer la voix palestinienne.

Le 29 novembre 1947, l’assemblée générale de l’ONU vote la résolution 181 qui ‘’recommande’’ le partage de la Palestine en 2 Etats, l’un juif, l’autre arabe. Cette solution est en opposition avec le principe d’auto-détermination des peuples et Particulièrement inégale puisque refusée par le peuple arabe autochtone qui n’en négociera pas le tracé, très favorable à la partie juive. Le partage impliquait une injustice qui aboutira inévitablement à la guerre de 1948 et à la Naqba : l’expulsion d’environ 800 000 Palestiniens et l’occupation de leurs terres par le nouvel État colonial israélien.

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Dimanche, 11 Novembre, 20h.
La Sala Rossa, 4848 St. Laurent
Entrée: 10$ ou payez ce que vous pouvez
Montreal, Quebec

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Turning the pages of De Niro’s Game, one is transported to the war-torn streets of Beirut in the midst of Lebanon’s 15-year civil war, a tragic reality of flying bombs and bullets. A debut literary work from Montreal author Rawi Hage, who conveys this era of Lebanon’s turbulent history through the experiences of a pair of youths from Beirut, childhood best friends growing to adulthood in the political quagmire of civil war.

“De Niro’s Game started as a short-story,” Hage explains at a café in Montreal’s Côte-des-Neiges district. “Initially I wanted to write a piece about an incident that I remember of some kids who started playing Russian roulette after watching The Deer Hunter, which screened in Beirut at the beginning of the war in the 1970s. Guns were available everywhere in Beirut so kids starting playing.”

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BEIRUT: The opening scene is shot from a camera shouldered on a running body. An image of a dirt road jolts in the frame with each step. From somewhere off screen comes the sound of someone shouting gruffly for an ambulance. A smashed car drifts into view. The driver’s side door is open. Slumped in the front seat is a man, his chest and gut covered in blood, clearly dead. Then comes the deafening sound of an explosion. The camera jerks around to the left, searching. The place and time are set – South Lebanon in the summer of 2006.

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Justice for the Victims of War Crimes! No Reconciliation Without Accountability.

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Exposition à Montréal du photojournaliste Stefan Christoff au Sablo Kafé

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MONTREAL: Plus d’une centaine de personnes ce sont réunies au Mile End Cultural Center le Mardi 20 Mars pour la projection d’un film et pour une discussion publique sous le titre de “Liban: Résistance et Hezbollah”, organisées par Tadamon! Montréal.

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BEIRUT: “We have the bombs,” jokes hip-hop MC and occasional graffiti artist RGB, aka Rajab Abdul Rahman (RGB refers to the root letters of his first name). He shakes the plastic bag he is holding in his hands so the spray cans inside clang and echo hollowly in an otherwise empty parking lot. RGB and his colleagues – 6K, Fish and Rat – empty the contents of the bag on the ground, distribute the cans, pull their scarves up to mask their faces and begin. Bands of silver and black paint spread across a bullet-scarred wall. Hours later, they step back to survey the night’s labor. Boldly emblazoned across the wall are graffiti letters taller than their creators, proclaiming in capital letters: “Beirut Never Dies.”

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Samir Kassir’s ‘Being Arab’ – last testament of an engaged intellectual

BEIRUT: Before he was assassinated in June 2005, columnist and academic Samir Kassir completed a slim book in French called “Considérations sur le malheur arabe” He promised an Arabic edition and in late 2006 “Being Arab,” an English-language version of his work, appeared.

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Photos from Tadamon! Montreal.

In recent weeks and months Lebanon has faced major political upheaval, marked by massive street demonstrations, international political intervention and a national general strike. Supporters of the Lebanese opposition gather in central Beirut during the first week of the ongoing sit-in central Beirut in December 2006.

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