Named after one of the Canaanite tribes which built the first city here 5,000 years ago, Yabous is a cultural centre in occupied Jerusalem that utilises art and culture as tools of resistance, to not only maintain a Palestinian identity of the Holy City but also to act as a buttress against the steady “judaisation” that was set in motion after the war of ’67.
Rania Elias, who heads the centre, is emphatic: “Al Quds [Arabic name of occupied Jerusalem] is the centre of cultural life in Palestine and we are here to develop and promote arts that enhance and assert our cultural, national and human values.”
Elias, who was born in Kuwait, and grew up and studied in Bethlehem, today lives in occupied Jerusalem with her husband, one of the founders of Yabous. “In 1995, after graduating from university, I worked for the Palestinian Ministry of Culture and staged the Bethlehem International Festival, the first-ever festival of its kind in the sister city of [occupied] Jerusalem after the Oslo Accords and the establishment of the Palestinian [National] Authority,” she says.
“In 1995, I was one of the many volunteers who accepted the challenge of staging the first Jerusalem Festival,” she continues. “Since then, I have become a permanent fixture here and we have grown as an organisation. I attribute it all to our dedicated and professional staff, friendly atmosphere but most importantly, we all, including members of our General Assembly, believe in our mission. Today, we have 11 staff and 130 volunteers, and as you can see, our atmosphere here is friendly and casual, but we always get the job done.”
The annual Jerusalem Festival has provided local talent a platform to perform and gain exposure, while simultaneously hosting performances by world-renowned artistes such as Nigel Kennedy, Ladysmith Black Mambazo, Erick Trufaz, Lufti Bushnaq, Anwar Braham, Inti Liimani, Rashid Taha, Quilapayun, Vusi Mahlasela and Sibongile Khumalo.
Elias looks ahead and muses, “We believe that the youth who participate or volunteer here will be the leaders of tomorrow, because they not only have the passion for what they are doing, they also provide hope in our ongoing struggle.”
Yabous has now rented Cinema Al Quds, in occupied East Jerusalem, which has remained closed since 1987. With renovations paid for by the King of Morocco, and local and international donors, it has been transformed into a colourful and vibrant multipurpose cultural centre, which in itself speaks volumes of what commitment and determination can help achieve.
The new centre was opened in July 2011 and at present has a small, state-of-the-art cinema where international, regional and local films are screened. It also hosts film festivals. The centre has a multipurpose hall for exhibitions, performances, meetings, trainings, etc, a fully equipped conference room and a modern coffee shop.
Plans are in place, but subject to funding, to renovate a hall that seats 420 and boasts an orchestra pit.
Once completed, it will be the venue for big events and conferences. On the drawing board is a children’s centre with activities and games, as well as a bookstore.
However, Yabous intends to keep the annual Jerusalem Festival an outdoor affair that soaks in the atmosphere of the city.
Elias points out that Yabous initially staged only the Jerusalem Festival but its activities have increased exponentially. “We now do a jazz festival, film festivals and Ramadan Nights. Our literary nights cover the spectrum — book readings, panel discussions, book launches and exhibitions. Last year we facilitated seven exhibitions, providing a space for young artists to exhibit their work. And we have special events for youth in Dabke dance, literature and cinema. In short, we are now a complete cultural centre.”
And that is not all. “In November, we inaugurated our digitally equipped cinema with the first ever film festival for children in Palestine, with a focus on marginalised children. They selected the movies, they made their own film which was screened during the festival and then two of them went to France to participate with our French partner in the festival. About 2,500 children from schools in occupied Jerusalem enjoyed this festival.”
The centre plans to screen both commercial and arty films.
Elias adds, “We also have summer camps for children with diverse artistic themes, the popular Palestinian folkloric Dabke dancing classes, to revive this Palestinian heritage, and cultural workshops, including creative writing and drama training.
“The centre continues to have workshops for its staff for capacity building, but in doing so, others not affiliated with the centre are invited to join too.”
The Jerusalem Festival, which in previous years was staged at the historical site of Tomb of the Kings, and whose renovation is overseen by the Consulate General of France, who exercises jurisdiction of the place, the festival first moved to the Hind Al Hussaini College grounds. It is now held in the garden of the National Conservatory of Music.
Elias says, “This year’s festival is scheduled from August 14-20 and it’s going to be much bigger than before. The theme is ‘Empowering Women’, and besides music and dance by women artistes, we are going to have literature nights highlighting the role of women in occupied Jerusalem, who have contributed, as well as cinema nights with women filmmakers and many other activities — all highlighting women and their cultural contribution to occupied Jerusalem.”
Elias exudes much passion and energy as she maintains a focus on three issues — to renovate the remaining halls, to keep the centre running and to continue organising events and programmes with larger audiences.
All said and done, Elias makes a passionate plea: “To keep Palestinian cultural identity alive and to preserve it, is not an easy task. Funding is a problem, as very few think culture is a priority. Gaza, house demolitions, prisons and other issues seem to have taken priority and culture has been placed on the back burner. Sometimes I ask — Is Al Quds on the agenda or have we been forgotten?”
She goes on to add, “In any country, cultural activities are supported by the state. Here it is not. Therefore we are totally dependent on international donors, the Arab world and the private sector. Culture is important to any economy but then it needs a strong economy to sustain it. Apart from the huge running costs, another big expenditure we have is the Israeli tax, but now that everyone is using the centre, it is imperative for us to keep it open.
Elias concludes, “I feel like I am riding a bicycle, and I have to continue pedalling. Should I stop, I shall fall off!”
Rafique Gangat, author of “Ye Shall Bowl on Grass”, is based in occupied Jerusalem.
