Archive for the ‘Arts and Culture’ Category

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The Blog Tour: My Writing Process

August 23, 2014

NOTE: This website is currently under reconstruction, so like a first draft, it’s a little disorganized.

In 2005, I went to the Squaw Writers Conference in what I only partially realized was an attempt to escape the LA screenwriting world and discovered the sweeter side of writing–novel writing. It may pay less and probably fewer people will read your work than see your work, but there are so many fewer human beings to suck up to in the process–and they are overall nicer human beings. Like Patricia Dunn (http://www.patriciadunnauthor.com/2014/08/) and Myfanwy Collins (http://myfanwycollins.com/blog/), who I met at Squaw Valley and who are both the reason I am taking part in this blog tour. Both have great YA novels coming out this year. So proud and honored to have them as friends and writers.   

Patricia and Myfanwy are outstanding editors, as well as writers—and I think that is in large part because they are big readers. Their feedback on the first draft of The Night Counter was so vital. And Pat has been my guru on so much in my life, including helping me shepherd my middle grade novel into the world, along with her best friend and fellow writer Alexandra Soiseth (http://soisethwriter.wordpress.com/2014/08/22/my-writing-process-blog-tour/)

Squaw Valley is also where I met Alma Katsu, the incredibly prolific fantasy writer of the Taker Trilogy. Alma’s just plain sharp, and it could be all those years working for a mysterious organization. She’ll be answering these questions next week, along with one the funniest writers I know, Amy Bridges, whose Texas/Alaska upbringing is as entertaining as her hijinks in LA today. (See more about them below)

1) What are you working on?  

I wish someone would tell me how respond to this one today. The best answer is somewhere between nothing and too much. I am either cursed or blessed–or somewhere in between—for loving to consume and write television, films, fiction and magazine articles. I even like the orderly, mechanical process of writing academic articles and recipes, but that is my escape

paperbackfrom the stress and chaos creative writing causes. Luckily for the world, I don’t do music lyrics.  

Today I’m reworking from first to third person a middle grade novel about a girl trying to have the perfect Christmas in the small town in Minnesota where she lives with her immigrant Arab parents. It only gets worse when a vision of the Virgin Mary is spotted on their driveway. I’m also drafting my next novel, which involves Abu Dhabi but doesn’t have any camels or oil wells in it so far. I’m also going to spend a lot of time logging footage from The Golden Harvest, a documentary that is a multi-country project that has always bound my family together—olive oil. Any of the above could be a screenplay, too…in the meantime, they’re just tearing at my heart and soul, demanding I focus.

2) How does your work differ from others of its genre?

We are all as individuals our own genre, made up of all the things that have happened to us, that we hope will happen to us, and that our own individual brains juxtapose together. Sometimes for me that juxtaposition comes out as fiction or non-fiction, written or filmed.

3) Why do you write what you do?

Because it comes out of me—it tells me at some point, “Please write about me” and I try to respect the request. I have also written purely for money but that stuff isn’t worth discussing.

4) How does your writing process work?

I move a lot so getting a process down is hard for me, as time zones and cultural clashes and day jobs dictate making adjustments to the different worlds. But I can speak to what have been the elements of my ideal situation, which I am really trying to capture now as I start this new novel.

  • Wake up when it is still dark outside and neither my head or the road is rattled yet. And then I write for a fixed amount of time without stopping even for chocolate, say two hours. Or until I write a thousand words. This early morning joy has been hard for me to capture in the Middle East, where social life often begins at 9 pm, making going to bed early not so easy.
  • I reserve afternoons for re-reading or editing. And for reading the millions of things in this world that I want read.
  • I tell myself I can go to yoga as soon as I am done writing.
  • I tell myself I can watch my latest TV obsession when I am done writing
  • I tell myself a lot of things to stay put at the desk.
  • When all of the above fails to happen, I clean my house. I have a very clean house.

 

Look for these blogs next week:

Alma Katsu’s debut, The Taker, has been compared to the early work of Anne Rice, Elizabeth Kostova’s The Historian and Diana Gabaldon’s Outlander for combining the historical, supernatural and fantasy in one story. The novel was named a Top Ten Debut Novel of 2011 by the American Library Association and rights have sold been in 16 languages. The Reckoning, the second book in the trilogy, was published in June 2012, and the third and final book, The Descent, published in January 2014. The Taker Trilogy is published by Gallery Books/Simon and Schuster and Century/Random House UK.   alma

Ms. Katsu lives outside of Washington, DC with her husband, musician Bruce Katsu. In addition to her novels, Ms. Katsu has been a signature reviewer for Publishers Weekly and an occasional contributor to The Huffington Post. She is a graduate of the Master’s writing program at the Johns Hopkins University and received her bachelor’s degree from Brandeis University, where she studied with John Irving. 

Prior to publication of her first novel, Ms. Katsu had a long career as a senior intelligence analyst for several US agencies and is currently a senior analyst for a think tank. http://www.almakatsu.com/

Amy Bridges is a Los Angeles based writer and blogger at www.jurassicmom.com.  Amy’s work has appeared on TLC, HGTV, and Discovery Health. She is a Hedgebrook alumnus, and the recipient of the First Prize Fiction Award at the San Francisco Writers Conference. Her play, Women ofthe Holocaust, was published by The Kennedy Center and The Northwest TheatreJournal. Her play, The Day Maggie Blew Off Her Head, received first prize inthe Edward Albee Prince William Sound Playwriting Lab, presented by EdwardAlbee. Her work has been nominated for The American Theatre Critics Association’s New Play Award as well as The Osborne Award for an Emerging Playwright.  Her creative nonfiction has appeared on The Nervous Breakdownand has received publication by New Lit Salon Press.  Currently, she isworking on a collection of essays. And of course, living in Hollywood, it is required for her to always be working on a screenplay. Follow her on Twitter @rattleprincess and Facebook at amy.bridges.12@facebook.com.

 

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How Dubai Stollen Christmas

December 21, 2013

Bloodshed, flooding, people fleeing persecution, the fodder of biblical stories from the Holy Land.  Only sadly they’re not ancient stories trotted out for the Christmas season. They are present day Christmastime in the birthplace of Christmas.  But Noel in its current incarnation is supposed to be about fun.  And really, why shouldn’t it be? A virgin birth isn’t a downer, after all.  But this season’s headlines from Palestine, Israel, Lebanon, Syria, and Egypt, those places that fill up religious texts, are hardly the stuff that make you want to decorate cookies and write a letter to Santa Claus asking for a new Xbox One.  You can understand why Christmas-celebrating people around the world choose to tune out the modern day Holy Land stories.  They are not fun.

Stollen Day

Stollen Day

But there is a part of the Middle East that didn’t make it into the holy books, where not only is it peaceful enough for one celebrate the holiday season, one is encouraged to do so.  By shopping.  I love Christmastime in Dubai. The weather is the usual sunny stuff but the heat is pleasantly mild, and the humidity is usually on holiday somewhere else.

If you’re more hardcore about needing a Christmas TV special atmosphere, there are the heavily air conditioned malls, which year round feel like a blizzard is just around the corner.  Plus, the malls are festooned with some of the best Christmas decorations south of the North Pole, including the finest fake snow and ice on earth. Certainly enough that Santa Claus feels at home at Dubai’s Christmas parties.  And if you insist on real manmade snow, there is the indoor ski slope, transformed into an Alpine Christmas village. (Normally, it’s just an Alpine village where the snow never melts.)   Forget Moses crossing the desert—in Dubai, he’d do it in style and without breaking a sweat.

Best of all, not far from the ski slope, there is stollen day at the Mall of the Emirates, when tables as far as the eye can see from Harvey Nichols down past Tiffany’s and beyond, are lined with stollen. People in elf hats even offer us free stollen samples, this sweet roll that is the greatest invention of Germany after cars and gummy bears.  Dubai Christmas follows the city’s principle of do it big or don’t do it at all.  It can’t be a little fun.  It should be a lot of fun.  It can’t be 100 stollen but rather hundreds.  Dubai does birthday parties big, no matter whose  birthday we’ve decided to celebrate.

The religious has been deleted from Christmas—there is no devout imagery, no crèches, no wise men.  Just wise shoppers.  And some reckless ones, too.  No pretense of anything else but keeping Christmas commercially honest. Competition between the blinding number of sales signs and billboards and the Christmas decorations is friendly and beneficial to both.

This isn’t to say that Christmas doesn’t bring out the best in Dubai.  Profits from the stollens are for charity.  And the festive season builds some multicultural community fun for everyone, including for those who can’t afford most of the items the malls, which in reality is the majority of the population.  Including the workers who built the malls and the team making the stollens, who are Filipinos not Germans.  No one talks about the floods in the Philippines or other troubles in the rest of the world and we all get along.  Indeed, in this country where 100% of the native population is Muslim but every religion invented has people living here, the absence of religious depictions works out great.  Without the religious icons on display, everyone joins in the true spirit of fun and oblivion without feeling left out on faith grounds.

Stollen Charity

Stollen Charity

I heard a story once that the shape of a stollen represents the hump on the camel caravans that carried presents to Jesus when he was born. The dried fruit and raisins represent the jewels and gifts.  Who knows if there is any truth to that stollen story, but if you need a gift, there are plenty of places to get one here. And if you’re looking for a camel, better to exit the mall and go to the Al Dhafra Camel Festival, which at this time is gearing up for the camel beauty pageant.  And for a while you can forget about camels and people elsewhere who 2,000 years later still need a caravan to bring them good news. Now that’s a holiday season everyone can hope for.

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Rooftops

November 24, 2013

An Algerian film by celebrated Algerian director Merzak Allouache called Rooftops was probably my favorite film at the Abu Dhabi Film Festival this year.  Of the films I saw, it’s the only one that kept my full attention.  Just like rooftops get my full attention in real life, especially in the Mediterranean areas of the once Arab/Moor empire.  Rooftops is about life as lived and viewed from the rooftops of Algiers.  People live, eat, sleep, fall in love, and kill themselves and others on rooftops.  That’s the Arab flair/flaw for melodrama in art and life.  Or if I were to do an ad campaign for them, I’d have a peppy announcer say rooftops are fun and informative places to get to know your neighborhood, with a little Flamenco music playing in the background as we watched a lady get confused while she watched a gay couple fighting three rooftops away as she hung up laundry.  In real life, I was the one watching the lady watching the couple.  I was watering plants.  Laundry, watering plants and carpet beating are the great “no excuse required” reasons for being on rooftops.    Palace

Granada's most famous rooftop

Granada’s most famous rooftop

In the past month, I’ve been to places with great rooftop viewing—Granada, Tangier, and Amman. From these rooftops, we know where life is more organized, what people eat, what they wear at home, who they hang out with.  We know where life is more regulated by what is openly allowed on rooftops, more “modern” if you will, and especially more aware of where TV is still king by the number of satellite dishes obstructing our views of each other.

I used to think as a kid in Beirut the best part of being a maid—maybe the only good part—would be hanging the laundry.  That’s when she could be on the rooftop or its poorer sister, the balcony –in fresh air—mixing with the othcloseup

Carpet Cleaning in Tangier

Carpet Cleaning in Tangier

er people inhabiting the neighboring rooftops.  I know this because I used to watch the maid across the way hang laundry while I hung laundry for my mom.  We both had our own music on our portable radios, but I still could see there were specific people she kept track of, including a guy always fixing a broken bike.  So I started to keep track of what she was keep track of.  I knew she was in love with the bike guy.  But rooftops don’t tell everything.  I never k

jordanroof

Waiting for Bus in Amman

new if she got to see him other than when she was hanging laundry. The rooftop w

as also where we had to drag my aerospace obsessed brother away from perfect views of air raids.

lookingatSpain

Morocco Looking at Spain

Windows are not the same. Take Alfred Hitchcock’s brilliant Rear Window.  Jimmy Stewart was a voyeur looking into people’s apartments,

olive

Olive Groves from the Roof

being nosey.  But on a rooftop, you’re doing your life’s business, so you have a natural cover story.  Your voyeurism is legitimized.  They are the best observation points—not just for the military reasons of the great forts of Andalusia, but for observing everyone else’s business while doing your business.  I like that clothes dryers are still not the norm in this region because it gives us a chances to be on rooftops.

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BEING THE LUXURY ITEM OF A BRAND

November 5, 2013

I once asked the editor of the liberal newspaper where I was doing my undergraduate internship in Minneapolis to write a letter of recommendation for me.  The recommendation was sealed and it was a couple of years later before I would come across it in my file at work.

I had assumed the reference letter would be spectacularly glowing.  And it was, but not in the way that I had expected.  At 20-years old, I had come in as an intern but ended up  doing investigative pieces that landed more than once on the cover.  This was because soon after arriving, I was quickly asked to field the story leads that were intended for the paper’s star reporter, who had gone into rehab for longer than his usual time.  The other star reporter had quit because she wanted to have a life.  The rest of the staff specialized in arts coverage.  That just left the eager-to-prove-herself intern.  I dug deep and developed stories on a family crushed by mental illness,

One Brand Fits All

One Brand Fits All

Haitian drug dealers stuck in Minnesota prisons, and I interviewed the patients of the first heart and lung transplants in the world, who shared their stories publically for the first time with me.

None of that was mentioned in the letter of recommendation.  Instead, the editor wrote three moving paragraphs about how impressed she was with me–not with my stories but with my ability to do the stories at all– being as I was Muslim female.  I do not believe I ever once talked to her about religion nor do I remember anyone asking me about my religion.  Obviously, my Arab ethnicity came up always with the inevitable question, “What an interesting name.  Where did it come from?”  But there were never questions about my religion.  At least not in front of me.  And I wore no physical manifestations of my religion, and religion, mine or anyone else’s, wasn’t a subject I found remotely engaging at the time.  This was also years before 9-11, when you rarely even heard the word “Muslim.”

Yet I had been branded: a Muslim female, i.e. the most pitied female brand.  The editor wrote of how she had so much admiration for how I, a young Muslim female, could talk to just about anyone, even the strippers and hookers I befriended for a story.  Perhaps I was slightly shy around men but that was understood, implicit in my religion’s shunning of women—at least that’s what the subtext pretty clearly said.

So there was purity implied in my Muslimness—that explained why I wouldn’t be exposed to strippers and hookers as a Muslim, and I would get flustered around men.  If anyone had asked me, I could have told her Christians don’t have the domain on prostitution.  There are Muslim hookers out there.  But I wouldn’t have mixed with them either under normal circumstances.  Because I had grown up in middle class neighborhood that weren’t the chosen milieu for hookers, at least not publically, whatever their religion.  My face turned red talking to handsome men because I was a chubby girl with low self-esteem from years of fat jokes—Muslims make those, too.  I was glad, though, the editor appreciated how I dressed professionally, because somehow, I read between the lines, I had some fashion sense that didn’t involve a black cloak.

She admired me—I was an exclusive, limited edition designer brand of Muslim female, the token one who wasn’t afraid to break away from my oppression and work as a journalist who talked to non-Muslims.  I was brave, yes.  But so would any shy young woman who did those stories.  But it was my defiance of my religion, which I didn’t even know I was defying, that made me brave in her eyes. Proof that it is possible for one black cloth not to fit all.

I leaned more at that newspaper than in any of my classes that year, including the lessons from the abused women in homeless shelters whose stories I told.  (I never mentioned the religion of those women in those articles.  They were not Muslims, though.)  But I taught no one anything.  Because I didn’t know I was a poster girl for Muslim Women We Admire, and that we (the deprived sisterhood of Muslim women that I didn’t even know existed, let alone was a member of) are all viewed as an inferior brand and in need of saving and rebranding, unlike other types of women.

I hadn’t thought about this in years.   Until I saw this article by Lila Abu Lughod http://ideas.time.com/2013/11/01/do-muslim-women-need-saving/

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Ya Tair al-Tayer (Oh Bird in Flight)

October 20, 2013

It’s plane…No, it’s a bird…No, it’s a bird on a plane…

At the Amman airport yesterday, I ran into an old childhood friend and her family. Coincidence as neither one of us lives in Amman.  Then we all ran into Arab Idol winner Mohammad Assaf and posed for a photo with him.

My Fellow Passenger

My Fellow Passenger

Small world that got smaller when I realized 14 of the passengers on my return flight to Abu Dhabi had also been on my flight to Amman.  Eleven of them were sitting in business class when I boarded.  There was no mistaking them. Handsome dudes, I thought.  But I was about to learn they weren’t dudes when three of them got bumped down to coach.

It was a full flight, and I had thought I was lucky having the only empty middle seat, which lay bare between me and the Islamic fundamentalist on the other side, each of us sizing up who would claim the seat as his or her storage space.

But then one of the three bumped down from business flapped its wings as it crawled over me with its trainer and claimed the seat with a spray of pee (bird not trainer).  I didn’t scream or demand to be bumped up like the lady in the emergency row in front of me when the other two downgraded falcons joined her.  After all, the rearranging of these falcons had already delayed the flight almost an hour and their poop, which sparkled down the aisle, was beginning to stink.

Normally I respect that the person sitting next to me on the airplane probably doesn’t want to talk with me.  But with the trainer carefully petting the falcon on his arm, so that we could take off without any hysteria, I couldn’t resist.

Just as I had heard Mohammad Assaf, also in business class, far from his home in Gaza, ask his friend how it is that falcons travel business class, I asked the trainer what they had been doing in Jordan.  Unlike Assaf, I have lived in the Gulf long enough to know how venerated the falcon is—symbol of the UAE and the falcon hospital is one of the top medical facilities in the country.  The trainer, who was dressed like an Emirati but was actually Bangladeshi, said they had been hunting in Jordan.  But sometimes they hunt in Saudi, Pakistan, many places.  Syria used to be good but now too much hunting of people.  Their favorite hunting spot is Morocco.  Our conversation proceeded with a mix of pigeon Arabic and English.  I can’t resist using the word pigeon because that was what the falcon had for breakfast, one pigeon a day.

Movie Time

Movie Time

Baggage Claim

Baggage Claim

We were joined in our conversation by the Muslim fundamentalist, who wasn’t really a fundamentalist but a charming, bright science professor.  The falcon didn’t say much, just pooped on the floor and on the trainer’s dishdash from time to time and turned HER head very now and then as if that might help HER see through HER leather blinders.

Indeed one of the first things we learned from the trainer was that female falcons are the real hunters.  Bigger and more focused than the male falcons.  (This reminds of a turtle I met in South Africa, but that is a different story.)  The trainer told us his falcon was one of the top ones in the group.  She was eight months old.  He had been taking care of her since she was born, and I don’t think he could love his own child more. This falcon wouldn’t be having any babies until she was three or four and she would probably live to be around 10-years old, the age he was when he began learning the falcon training trade.  She was worth $50,000, and maybe one day would be worth as much as $280,000, like falcon that a friend of his boss had.

Waiting to Board

Waiting to Board

We also learned that the bird has full medical check up once a week.  This was his indignant response to both the professor and I declining lunch service.  I was thinking about the falcon pooping digested pigeon and remembering avian flu, but the falcon apparently was getting better health care than we were.  We still didn’t eat, though.

The falcon is a majestic, beautiful thing, like the adorable babies that you sometimes find yourself next to on flights.  But when take off and landing freaks them out and you can’t get the smell of their poop off of you, then some of the majestic charm is gone.   I don’t remember too many of the babies I’ve sat next to—but I’ll always remember my two trips with this lady and her personal trainer.  I wondered if Mohammad Assaf was humming his hit Ya Tair al-Tayer (Oh Bird in Flight) for the other eight ladies still in business class.

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Saudi Sombreros

August 6, 2013
AsirWomen

Bargaining

And the lady in the big hat is….?

Having a bargaining competition at the souq over the

CuttingVeggies

Herbs of the Day

Selling hats and ghee

Selling hats and ghee

price of a heavy Yemeni clay pot with a woman covered in black,

including her face and hands, is not easy—you can’t hear what she’s saying through her niqab so well and you’re not sure what she’s thinking about your price offer because her only visible body part, her eyes, are already squinting from the sun.

And when she’s wearing a sombrero on top of all that….she wins.  Your whole Middle East fashion sense is turned upside down and the price of the clay pot is less important than asking her where did she—and all the other ladies at the souq—get that hat because the black scarf on your head is sucking up all the sun and you wish you had that glorious large hat to shield you from its menace.

Perhaps the more accurate question would be, “When did you get that abaya and niqab?”  (The Arabic words for the black robe and face cover).  Because in ‘Asir, in southeastern Saudi Arabia, the straw hat i

HoneySelller

Yemeni Honey Seller

s traditional, not the abaya and niqab.

Clothes are politics, and in Asir, a fertile, mountainous beautiful part of the world, the abaya and niqab only started to be worn by women in the 1970s when ‘Asir’s rulers were asked to come closer to following the dictates of the national government in order to receive funding for modernization.  Modernization ironically enough included covering up their women.  The covering up was only a physical manifestation of an increase in the embrace of the Saudi government’s definition of Islam that exists here today in combination with its more liberal past.

Retired School Teacher

Retired School Teacher

Asir Souq

Asir Souq

Ibrahim

This is home to a vibrant artist colony, the only one in Saudi Arabia, a place where a young painter looked at me fiddling to get my hijab to stay in place and said, “Just take it off.  You’re making a mess of it.”  On the other hand, this is also a center of militant Islam.  “When I was in Afghanistan…” a Saudi farmer casually started in response to a question related to the article I was working on.  He also pointed to my headscarf to let me know a piece of hair was sticking out—not okay.  Had I asked why he had been in Afghanistan, the answer wouldn’t have been to paint the mountain vistas.  Plenty of those at home in ‘Asir.

But in the honey scented souq of the capital city of Abha, business is business—and the price of vendor’s prized goods—spices, dates, clay pots, goat–is negotiable, and you win if you’re the one confident in what you’re wearing.  I am not very confident in an abaya and hijab.  Still, I was able to capture some of these faces and lack there of, in this most beautiful and fascinating of places.

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Go Ahead and Film Me—Nothing Changes

July 22, 2013

“So what are you here to film?” he asked from his battered bamboo chair, as he exhaled from the stub of the cigarette in his hand, the smoke blending in with the dust sweeping through the camp.  He was about 40, and had been sitting in that dark alley his entire life.   One of my students took his picture.  He looked at her, Shatila“You should ask me to smile,” he said and smiled, revealing crooked and broken teeth.  She got flustered.  He shrugged, “Film whatever you want.  People have been filming me since I was three-years old.  Me, my dead relatives nothing changes.  You make your film, you show everyone the sad poor people and I’m still sitting here in this chair.  Nothing changes.”

Almost anywhere else in the world, you would tell him, “Get a job, any job, have some pride,” but there are few legal jobs for people in the Shatila Refugee Camp.  They can work odd construction gigs under the table in Beirut, which many of them do, or they can operate a small business in the camp, such as a grocery store, where they can sell cheap food to people who can barely afford to pay for it. Or their parents in rare cases can somehow find the money so that they can go to a college outside the camp, and come back to work in a hospital or as a teacher in the declining education system.  Or they can just sit on a bamboo chair.  Nothing changes.  Unless perhaps they get immigration papers to go to Europe or America.   (For statics on life in the camps, check out Franklin Lamb’s article in Counterpunch:  http://www.counterpunch.org/2013/05/13/can-richard-falk-achieve-civil-rights-for-palestinians-in-lebanon/)

The father of the family we were going to film scavenges through junk piles in Beirut, bartering and trading junk to furnish their dim and dank cramped room/house.  His wife, Sabah, keeps the room meticulous, and we’re asked to take off our shoes as they are covered with dust from outside.  Sabah explains proudly how she decorated with her eldest daughter, Reem, 15, who dreams of being a designer but will not live long enough to realize her dreams would not have been attainable because she would never have had the opportunity or training required.

It’s the women in the camps that hang on to hope, despite being betrayed by either the stupidity or insincerity of the Palestinian leaders of their parents’ generation, who engaged in the Lebanese Civil War for no logical reason and sending them into further isolation and devastation, despite being the keepers of the rusty keys of their family homes in Palestine that their grandparents took with them during their expulsion from what is now is Israel.  They are the third generation born in these camps, and while the hope of a return home is almost beyond their grasp of those old keys, the hope that at least one of their children will find a way out allows them to live.

In Ain Al Helweh Camp, the women sew Palestinian embroidered pillows for sale abroad during the two hours the camp gets electricity.  The bright spring sun barely makes it through the clusters of blocks on top of blocks and even with the electricity, the women squint to see their stitches.  They are undisturbed by the two seven-year old boys outside beating each other up as an affordable form of entertainment.  They are not fazed when the camp goes into lockdown because the Lebanese army suspects a renegade group of having smuggled arms into the camp the night before.  As our Lebanese taxi driver warned us on the way, Ain Al Helweh is where the “criminals of the world” go to hide because there is no law here.  ShatillaCamp

In Bourj Al Barjneh Camp, when a Syrian man came into the crumbling hospital carrying his six-year old wounded son, the female nurses didn’t ask him who shot the boy.  They just did their best to prep him for surgery and calm the father down.  The women of the camps are born and then marry, feed their children and hope.

We were there that week because we were filming patients of the Palestinian Children’s Relief Fun, a US organization that sends volunteer medical teams to operate on some of the sickest kids in the camps.  That week the team was two orthopedic surgeons and an anesthesiologist, all from Chile.

You can see the doctors in  “Dreams in Their Eyes” in Los Angeles.  I’m proud of what my students had the courage to explore with this film.  But I will leave you to this blurb.  Otherwise, it is hard to talk about because I always hear the man in the battered bamboo chair.

 The award-winning documentary (UAE/Lebanon)“Dreams in Their Eyes,” will play at the Evolution International Film Festival on Saturday, July 27, at 1.30.   The film portrays the stories of three children in different refugee camps around Lebanon suffering from diseases too costly to treat if not for the help of the US-based Palestine Children’s Relief Fund.  With unprecedented access to operating rooms and family homes, the film was shot over a week when a volunteer team of doctors from Chile came to treat Lebanese, Syrian and Palestinian children brought to the Bourj Al Barjneh Camp.  Three young Emirati women directed the film, the first Emiratis to film in the camps, and the film won “Best Emirati Film” at the 2012 Abu Dhabi Film Festival, in addition to having screened at festivals in the UK, India and Spain.

This year over 300 movies out of 26 countries, in 22 different languages were submitted to festival. The final selection includes 24 films in 10 different languages, many with a Middle East theme.

Saturday July 27th, 2013

1.30 to 3.30 pm 

Los Angeles Film School
6363 W Sunset Blvd
Los Angeles, CA 90028

For more information: 

http://www.evolutionfilmfestival.com/