Why bomb Said al-Mishal Cultural Centre? Like many in Gaza, I remain in shock. My tongue cannot find the right words to mourn this erasure of our memories and culture, and my tears cannot take away the heaviness of my heart. It is a living nightmare I share with lots of Palestinian youth in Gaza for whom this centre was not merely a building.
Al-Mishal was one of the very few places in Gaza, one of the most densely populated areas on earth, which provided us with an escape from the suffocation we endure. Some of my most vivid memories are attached to this place. I recall my frequent gatherings with my friends and family there for a performance or a play and other cultural activities. I recall the times when I performed Dabke at its stage and jumped happily like a free bird as I saw the audience so engaged; smiling, singing along, clapping and struggling to remain seated. I remember the walks we had from there to the beach for a bite or a drink as we watched the sunset.
It was flattened to the ground. The horrific sound of this airstrike still echoes in my head and the pictures of its destruction keep me up at night.
It seized to be in a matter of pressing a button by Israeli Occupation Forces, and with this button, they took our precious memories. They stripped us of one of the very few windows of happiness and relief, which filled our hearts as we met to make culture, to celebrate our culture, to sing, dance Dabke, and laugh. Against all odds, this space existed, but apparently posed a ‘threat’ to Israel that had to be eliminated. The only reason for the destruction of such a building is to make our lives more unliveable.
Gaza’s Said al-Mishal was more than a venue to produce and celebrate Palestinian culture. It was a necessary means of survival for 75% of Gaza’s population who are children and youth; they are isolated in their enclave, one of the most densely populated areas on earth, under a miserable reality, lacking spaces for fun, for creativity, for resistance though art.
Said al-Mishal Cultural Centre is perhaps a very good representation of the Palestinian struggle; produced under extraordinary circumstances, desperate for expression, visibility and recognition but ultimately silenced.
Gaza’s familiar landscape has been undergoing a process of distortion and erasure. In 2014 attack on Gaza, whole neighbourhoods were erased. Buildings that were like landmarks for us, where we used to pass by and meet with friends, were turned to rubble in the phase of a few years.
I cannot imagine going back to the place where I spent my childhood ad early adulthood after five years of forced absence, and being unable to recognise it, thanks to the terror of mass destruction that Israel inflected on it. Can you imagine not being able to relate any more to your familiar landscapes due to a machine of destruction?
It’s traumatic. What’s more traumatic is that we know that Said al-Mishal Theatre was not the first cultural institution to be targeted and will not be the last. That said, this crime cannot be seen outside the systematic erasure and elimination of Palestinian existence, history and culture that is happening since 1948 Nakba. Since Israel’s inception, alongside the destruction of Historic Palestine and the ethnic cleansing of Palestinians, Zionist militias stole thousands of books, paintings, musical recordings, and other artefacts from Palestinian homes, libraries, and government offices. This was a deliberate Israeli colonial policy that seeks to erase Palestine from historical memory and erase all traces to the indigenous people, their history and cultural identity. It becomes easier to claim a make-believe reality where “Palestinians do not exist,” as Israeli PM Golda Meire once bluntly said in 1969, or that they are a punch of primitive tribes with no culture.
Even if they erase all our traces to Palestine, our bodies will continue to carry the traumatic evidence of these constant Zionist crimes. If they erase our physical cultural heritage, they will not manage to erase our memory. We will remain the living evidence that challenges Israel’s historical myths and angelic self-image, which Israel tries to paint of itself.