[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"art-ensayo-non-fiction-perfect-victims-and-the-politics-of-appeal-por-by-mohammed-el-kurd-eng-esp":3,"latest-art":18},{"id":4,"videoUrl":5,"subtitle":5,"content":6,"slug":7,"timestamp":8,"type":13,"imageUrl":14,"user":15,"title":16,"link":17},"m6t58oh2rtptzj7joyp","","\u003Cp>\u003Cstrong>ENGLISH\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>\u003Cstrong> The Right to Speak for Ourselves  For far too long, Palestinians have been denied the freedom to tell our own story.\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Faas.princeton.edu\u002Fevents\u002F2023\u002Fperfect-victims-and-politics-appeal\">Palestinians dead a\u003C\u002Fa>nd alive have been increasingly visible in Anglophone media—but not everyone can get the mic. For them to make noise, dead Palestinians need to have been ethnocentrically “exceptional” or have had to endure an exceptionally violent death. And those who are alive need to fi t the “perfect victim” prerequisite: docile, defanged, and preferably with an American accent. In this lecture, Mohammed El-Kurd investigates this phenomenon, asking a question once posed by Edward Said: who has the permission to narrate? And, more importantly, why should Palestinians seek such permissions in the fi rst place?\u003C\u002Fp>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.thenation.com\u002Farticle\u002Fworld\u002Fpalestinians-claim-the-right-to-narrate\u002F\">\"Today, I’m going to be talking \u003C\u002Fa>to you about perfect victims and the politics of appeal. The Palestinian people, on television screens or more largely in the public sphere, exist in a false dichotomy: We are either victims or terrorists.  Those of us who are terrorists—or articulated to be terrorists—never get the opportunity to be commentators on those screens. They are almost mythical creatures, the stuff of scary stories: big bad wolves with furrowed eyebrows, sharp fangs, and terrifying political incorrectness. They roam the streets mumbling in aggressive Arabic, sometimes reading the Quran, wanting to loot and shoot everything in sight. They’re coming after you. Hide your wives, hide your planes, hide your human shields. Many in the audience have a mental image of who I’m talking about\"\u003C\u002Fp>\n\u003Cp>\u003Cstrong>ESPAÑOL\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>\u003Cstrong> El derecho a hablar por nosotros mismos Durante demasiado tiempo, a los palestinos se nos ha negado la libertad de contar nuestra propia historia.\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Faas.princeton.edu\u002Fevents\u002F2023\u002Fperfect-victims-and-politics-appeal\">Los palestinos muertos y vivos \u003C\u002Fa>son cada vez más visibles en los medios de comunicación anglófonos, pero no todos pueden coger el micrófono. Para que hagan ruido, los palestinos muertos tienen que haber sido etnocéntricamente «excepcionales» o haber tenido que soportar una muerte excepcionalmente violenta. Y los que están vivos tienen que cumplir el requisito previo de la «víctima perfecta»: dóciles, desfigurados y, preferiblemente, con acento estadounidense. En esta conferencia, Mohammed El-Kurd investiga este fenómeno, planteando una pregunta que en su día formuló Edward Said: ¿quién tiene permiso para narrar? Y, lo que es más importante, ¿por qué deberían los palestinos pedir esos permisos en primer lugar?\u003C\u002Fp>\n\u003Cp>\u003Ca href=\"https:\u002F\u002Fwww.thenation.com\u002Farticle\u002Fworld\u002Fpalestinians-claim-the-right-to-narrate\u002F\">«Hoy voy a hablarles\u003C\u002Fa> de las víctimas perfectas y de la política de la apelación. El pueblo palestino, en las pantallas de televisión o más ampliamente en la esfera pública, existe en una falsa dicotomía: O somos víctimas o somos terroristas.  Los que somos terroristas -o nos articulamos para serlo- nunca tenemos la oportunidad de ser comentaristas en esas pantallas. Son criaturas casi míticas, material de cuentos de miedo: grandes lobos malos con cejas fruncidas, colmillos afilados y una aterradora incorrección política. Deambulan por las calles murmurando en un árabe agresivo, a veces leyendo el Corán, con ganas de saquear y disparar a todo lo que encuentran a su paso. Vienen a por ti. Esconde a tus esposas, esconde tus aviones, esconde tus escudos humanos. Muchos en el público tienen una imagen mental de a quién me refiero»\u003C\u002Fp>\n\u003Cp> \u003C\u002Fp>","ensayo-non-fiction-perfect-victims-and-the-politics-of-appeal-por-by-mohammed-el-kurd-eng-esp",["FirebaseTimestamp",9],{"type":10,"seconds":11,"nanoseconds":12},"firestore\u002Ftimestamp\u002F1.0",1738835368,703000000,"art","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1738835361\u002Fdcg4o8j4knkojdxbifoy.png","jjgervas@gmail.com","Ensayo. Non-fiction. \"Perfect Victims And The Politics Of Appeal\" Por By Mohammed El-Kurd ENG\u002FESP","https:\u002F\u002Fwww.thenation.com\u002Farticle\u002Fworld\u002Fpalestinians-claim-the-right-to-narrate\u002F",[19,38,51,63,74,83,93,103],{"id":20,"slug":21,"type":13,"title":22,"titleEn":23,"subtitle":5,"subtitleEn":5,"imageUrl":24,"timestamp":25,"tags":26,"tagsEn":31,"excerpt":36,"hasEnglish":37,"hasEnglishPage":37},"mvar0gfx0tla7wz9x3xe","gaza-arte-exposicion-en-londres-gaza-art-exhibition-in-london-espanol-english","Gaza. Arte. Exposición en Londres. Gaza. Art. Exhibition in London. ESPAÑOL ENGLISH","Gaza. Art. Exhibition in London.","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1792142590\u002Febyyg1bgmybjhhxs9wok.png",1792142568187,[27,28,29,30],"Vídeo","Escultura","Fotos","Instalaciones",[32,33,34,35],"Video","Sculpture","Photo","Installations","Una exposición en Londres arroja luz sobre la tragedia de Gaza. \"An Exhibition as Record\" [\"Una exposición como testimonio\"] Los comisarios de la muestra en la galería Tramps yuxtaponen imágenes de la crisis con instalaciones, fotografías y esculturas. Gareth Harris 15 de octubre de 2026 Una de las ",true,{"id":39,"slug":40,"type":13,"title":41,"titleEn":42,"subtitle":5,"subtitleEn":5,"imageUrl":43,"timestamp":44,"tags":45,"tagsEn":48,"excerpt":49,"hasEnglish":50,"hasEnglishPage":50},"mv9ldm2ni0cqufm9h3i","shatha-safi-artista-visual","Shatha Safi, artista visual. ","Shatha Safi is a Palestinian visual artist","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1792072373\u002Fuabkxlbqmhw0cdqntonm.png",1792072287434,[46,47],"Shatha Safi","artista visual",[],"Shatha Safi es una artista visual y activista social palestina residente en el campo de refugiados de Dheisheh, Belén, con raíces ancestrales en la aldea de Jarash, cerca de Jerusalén. Su trayectoria artística comenzó a través del aprendizaje autodidacta, profundamente inspirada por la herencia pale",false,{"id":52,"slug":53,"type":13,"title":54,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":55,"timestamp":56,"tags":57,"tagsEn":-1,"excerpt":62,"hasEnglish":37,"hasEnglishPage":50},"muh88rxahpolkx8ncqd","al-ard-the-land-palestinian-folklore-group-al-ard-the-land-la-tierra-grupo-de-folklore-palestino","Al Ard — “The Land” — Palestinian folklore group. Al Ard - The Land- La Tierra. Grupo de folklore palestino","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1790357518\u002Fe9qjtjmfa45kkb3dypbd.png",1790357764754,[58,59,60,61],"Al Ard","The Land","La Tierra","Folklore","ENGLISH Al Ard — “The Land” — was one of the Palestinian folklore groups that treated culture not as decoration, but as something to be defended. First established in Beirut in the 1970s and later re-formed in Yarmouk refugee camp in Damascus in 1984, Al Ard preserved Palestinian identity through so",{"id":64,"slug":65,"type":13,"title":66,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":67,"timestamp":68,"tags":69,"tagsEn":-1,"excerpt":73,"hasEnglish":50,"hasEnglishPage":50},"muh7kt5een63gar16gh","preparativos-canciones-de-boda-palestina-un-documental-relato-de-patrimonio-perdurable","تغاريد عرس فلسطيني.. حكاية تراث لا يموت  Preparativos, canciones de boda palestina: Un documental\u002Frelato de patrimonio perdurable","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1790356182\u002Fp2rpgu3rvvvizuwvexeb.png",1790356160565,[70,71,72],"Canciones","Bodas","Cocina","يوثق الفيلم تفاصيل التحضير للعرس الفلسطيني، ويستعرض ما يرافقه من عادات وتقاليد متوارثة تعكس هوية المجتمع الفلسطيني وثراء موروثه الثقافي. فمن طقوس التجهيز والزينة، إلى الأغاني الشعبية والدبكة واحتفالات الأهل والجيران، يرصد الفيلم كيف يتحول العرس إلى مناسبة اجتماعية تجمع أفراد المجتمع وتُجسد قيم التكا",{"id":75,"slug":76,"type":13,"title":77,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":78,"timestamp":79,"tags":80,"tagsEn":-1,"excerpt":82,"hasEnglish":50,"hasEnglishPage":50},"mufmyogcdeykxtae3rv","Citizen-Osama-Gaza-sin-filtros","Citizen Osama. Documental","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1790260950\u002Fg6luu0skkarpz0jp7x9l.png",1790260994436,[81],"Citizen Osama","Citizen Osama: Gaza sin filtros desde la mirada de un periodista y padre primerizo Javier Cortés 13 septiembre 2026 Presentado en la Mostra de Venecia, «Citizen Osama» de Ahmed Hassouna ofrece un retrato íntimo y sobrio de la vida cotidiana bajo bombardeos en el norte de Gaza, filmado en secreto par",{"id":84,"slug":85,"type":13,"title":86,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":87,"timestamp":88,"tags":89,"tagsEn":-1,"excerpt":92,"hasEnglish":37,"hasEnglishPage":50},"mu70b0apfuz2simqvui","gaza-no-words-exhibition-venice-gaza-sin-palabras-exposicion-venecia-eng-esp","\"Gaza. No words\" Exhibition Venice. Gaza, sin palabras. Exposición Venecia. ENG ESP","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1789739482\u002Fqgpuz4zetsqsdiz2sdxf.png",1789739883203,[90,91],"Venice","Venecia","ENGLISH ‘Gaza – No Words See Exhibit’: Memory and Resistance at the Venice Biennale May 8, 2026 Palestinian women in Gaza have for generations produced refined tatreez embroidery. (Photos: Faisal Saleh, supplied) By Tawfiq Al-Ghussein & Rania Hammad ‘Gaza – No Words – See Exhibit’ is not an exhibiti",{"id":94,"slug":95,"type":13,"title":96,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":97,"timestamp":98,"tags":99,"tagsEn":-1,"excerpt":102,"hasEnglish":37,"hasEnglishPage":50},"mu2yohnpn6al16l0hxi","moving-towards-home-june-jordan-44-years-since-the-sabra-and-sathila-massacres-camino-al-hogar-44-anos-desde-la-masacre-de-sabra-y-sathila-eng-esp","\"Moving towards home\". June Jordan. 44 years since the Sabra and Sathila massacres. \"Camino al hogar\"- 44 años desde la masacre de Sabra y Sathila. ENG ESP","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1789495891\u002Fddz4osgk6idye7sipohf.png",1789496055853,[100,101],"June Jordan","Sabra and Sathila","ENGLISH 15-18 Sep 1982. Sabra and Shatila massacres This week marks forty-four years since the Sabra and Shatila massacres in 1982. Shatila is one of the first Palestinian refugee camps established in Lebanon, and was populated predominantly by refugees of the 1948 Nakba. Sabra is a poor neighborhoo",{"id":104,"slug":105,"type":13,"title":106,"titleEn":-1,"subtitle":5,"subtitleEn":-1,"imageUrl":107,"timestamp":108,"tags":109,"tagsEn":-1,"excerpt":113,"hasEnglish":37,"hasEnglishPage":50},"mtx1e6foi59ueyn02i","palestine-war-of-memory-palestina-memoria-de-guerra","Palestine, war of memory. Palestina, memoria de guerra.","https:\u002F\u002Fres.cloudinary.com\u002Fdohlie6or\u002Fimage\u002Fupload\u002Fv1789137630\u002Fphdfzxbrrq7auaytzbvf.webp",1789137706035,[110,111,112],"Memory","Christian Zionism","Sionismo cristiano","ENGLISH The world is finally watching Palestine. But who gets to narrate its story?Nour A Munawar, James Symonds, and Ihab Saloul6 September 2026 Photo: A woman holds a mobile phone during a film screening and entertainment event in Gaza’s al-Shati refugee camp, on 23 November 2025 (Omar al-Qattaa\u002FA"]