Mohammed el-Kurd
Mohammed el-Kurd nyaéta penulis jeung penyair asal Palestina anu kasohor ku karyana ngagambarkeun kahirupan urang Paléstina dina kaayaan okupasi Israél di Yérusalém wétan, Tepi Barat. Anjeunna dipikawanoh ogé kalayan peranna jadi salah sahiji pangwangun gerakan #SaveSheikhJarrah.
Dina taun 2025, anjeunna ngarilis buku Perfect Victims and the Politics of Appeal.
Cutatan
[édit]- Our massacres are only interrupted by commercial breaks. Judges legalize them. Correspondents kill us with passive voice. If we are lucky, diplomats say that our death concerns them, but they never mention the culprit, let alone condemn the culprit. Politicians, inert, inept, or complicit, fund our demise, then feign sympathy, if any. Academics stand idle. That is, until the dust settles, then they will write books about what should have been.
- Pembantéyan urang téh ngan kaganggu ku eureun iklan komérsi. Hakim-hakim téh ngalégalkeun éta. Koréspondén-korésponden ngabunuh urang nganggo sora pasip. Upami urang téh milik, diplomat-diplomat nyarios yén maotna urang téh ngahariwangkeun anjeunna, tapi anjeunna teu pernah nyebutkeun saha nu jahatna, komo deui ngutuk penjahatna. Politisi, mangkrep, teu becus, atawa kalibet, ngadanaan maotna urang, teras api-api simpati, lamun aya. Akademisi-akademisi saukur cicing wé. Éta, nepi ka kaayannana rineh deui, teras anjeunna bakal nulis buku-buku ngeunaan anu kuduna kumaha.
- And do their words matter when their policies speak for themselves?
- Teras ari kekecap anjeunna téh naha aya hartina nalika kawijakan anjeunna nyarios pikeun anjeunna sorangan?
- There is a thin line between representation, particularly liberal reductions around representation, and the reproduction of the Palestinian as a fetish or a token, thus as a dehumanized subject once more.
- Aya garis ipis antara réprésentasi, utamana réduksi liberal sakulibet réprésentasi, sareng réproduksi urang-urang Paléstina minangka fétis atawa simbol, anu ku kituna jadi subyék anu henteu manusiwai sakali deui.
- Western knowledge producers or those using Western voices in their knowledge production should ask themselves a few questions: Where do Palestinians fit in this work? Do they have any agency, or are they a tool to drive the point across? Are my filmmaking practices extractive? How can I practice responsible authorship? Have I instilled in my project enough cues to incentivize my audience to consume it critically, or am I patting myself on the back? Am I doing the challenging chore of speaking to my bigoted, acrimonious community, accosting my Zionist aunt at the dinner table, or am I preaching—pandering, really—to the choir? Did I really have to go and “see for myself,” or did I ignore a century of Palestinian literature? Am I cognizant of how that refusal to engage local and grassroots knowledge production continues to undermine its value on the world stage, undermining also the value and authority of Palestinian narration? Do I have a class analysis in my work? Do I acknowledge that I get awards for saying similar things to what the student movement has been criminalized, suspended, and censured for saying? Do I name my institutional backing? What are the material and monetary conditions of those whose voices I amplify? Am I only referencing dead guys? What does my works cited page look like?
- Pancipta pangaweruh Barat atawa anu ngagunakeun sora-sora Barat dina panciptaan pangaweruhna kudu nanya ka dirina sorangan sababaraha patanyaan: Dimana urang-urang Paléstina téh cekap dina karya ieu? Naha ari anjeunna gaduh daya laku, atawa anjeunna téh ngan alat pikeun nyetirkeun éta poin? Naha ari prakték perpileman sim kuring téh ékstraktip? Kumaha bisa sim kuring latihan kapanulisan anu tanggungjawab? Naha ari sim kuring téh parantos masihan patunjuk dina karya-karya sim kuring pikeun audiéns sim kuring téh narima éta sacara kritis, atawa sim kuring ngan mupuas manéh? Naha ari sim kuring téh nuju ngalakonan tugas anu nangtang pikeun nyarios ka komuntas sim kuring anu panatik tur pinuh ku kangéwa, ngageunggeureuhkeun bibi sim kuring anu Zionis dina méja makan, atawa sim kuring ngan hotbah—atawa leuwih benerna, milari pameunteun—ti jalma-jalma nu tos sapaham? Naha ari sim kuring téh kudu indit jeung "ningali jang diri kuring sorangan," atawa sim kuring téh teu ngawaro ratusan taun literatur Paléstina? Naha ari sim kuring téh sadar kumaha panolakan pikeun ngalibetkeun lokal jeung akar rumput dina panciptaan pangaweruh téh tuluy ngarusak niléyna di panggung dunya, sarta ngarusak niléy ogé otoritas narasi Paléstina? Naha ari sim kuring téh miboga analisis kelas dina karya sim kuring? Naha ari sim kuring téh apal yén sim kuring meunang pangajén pikeun nyarios hal nu sarua jeung gerakan mahasiswa anu kungsi dikriminalisasi, diskors, jeung dikecam pikeun nyarios? Naha ari sim kuring téh nyebutkeun institusi pangrojong sim kuring? Kumaha kondisi matéri jeung monétér ti pihak anu sorana ku sim kuring digaungkeun? Naha ari sim kuring ngan ngarujuk ka jalma-jalma nu tos pupus? Kumaha katingalina kaca sitasi sim kuring téh?
Tutumbu luar
[édit]Cutatan tina buku Perfect Victims and the Politics of Appeal karya Mohammed el-Kurd.