IL CONTROLLO EBRAICO DELL'ARABIA SAUDITA

 Haim Weizman (a sinistra) ed il principe Feisal, 1918

Secondo quanto riferito, i monarchi sauditi e la loro religione wahabita hanno origini ebraiche. Wayne Madsen ha scritto sulle connessioni ebraiche all'Arabia Saudita. 

(Mi pare di capire, e desidero continuare - i 'DONMEH' (i CRYPTO ebrei): Le connessioni della casa Reale Saudita )

Secondo Madsen: 

l'Impero turco ottomano, che comprendeva parti chiave dell'Arabia Saudita, aveva un sacco di cripto-ebrei (ebrei che fingevano di essere musulmani) questi cripto-ebrei (chiamati anche Donmeh) hanno collegamenti con la famiglia reale saudita e la religione Saudita. I Sauditi seguono la forma wahhabita dell'Islam.

Secondo quanto riferito, il fondatore della setta wahhabita Saudita dell'Islam, Muhammad ibn Abdul Wahhab, era un cripto-ebreo. Una relazione dell' intelligence irachena, datata 2002 e pubblicata nel 2008 dalla US Defense Intelligence Agency, punta sulle radici ebraiche dei Wahhabis.

Il rapporto utilizza le memorie di un tal sig. Hempher , una spia britannica che sosteneva di essere un azzero. Nella metà del XVIII secolo, Hempher prese contatto con Wahhab al fine di istituire la setta wahabita. Secondo quanto riferito, lo scopo della setta wahabita era di portare su una grande rivolta araba contro gli Ottomani e spianare la strada per uno stato ebraico in Palestina.

Le memorie di Hempher sono raccontate dallo scrittore ottomano Ayyub Sabri Pasha nella sua ricerca storica del 1888, "Inizio e Diffusione del Wahhabismo". Nel suo libro, 'Gli ebrei Dunmeh ', d. Mustafa Turan scrive che il nonno di quel Wahhab, Tjen Sulayman, era in realtà Tjen Shulman, un membro della comunità ebraica di Bassora, in Iraq. Nel suo libro, "Gli ebrei Dunmeh e l'origine del Wahhabismo in Arabia Saudita", Rifat Salim Kabar rivela che Shulman si stabilì in quella che oggi è l'Arabia Saudita, dove  suo nipote, Muhammad Wahhab, fondò la setta wahabita dell'Islam.

Ali, Kid in Najran - Arabia Saudita, di Eric Lafforgue

Il rapporto dell'intelligence irachena dichiara che Shulman era stato bandito da Damasco, dal Cairo e dalla Mecca per sua ciarlataneria. 

Il libro di Abdul Wahhab Ibrahim al-Shammari, "Il Movimento Wahhabita: La Verità e le Radici", stabilisce che Re Abdul Aziz Ibn Saud, il primo monarca saudito, discendeva da Mordechai bin Ibrahim bin Moishe, un mercante ebreo di Bassora. 

Secondo il libro, Moishe cambiò il suo nome e  accasò facendolo sposare suo figlio con una donna da una tribù Saudita. Il rapporto dell'intelligence irachena rivela che il ricercatore Mohammad Sakher è stato oggetto di un omicidio mirato saudita che lo ha eliminato per il suo esame sulle radici ebraiche dei Sauds.

Nel libro di Nasir ha detto, 'La storia della famiglia Saud', si è sostenuto che nel 1943, l'ambasciatore Saudita in Egitto, Abdullah bin Ibrahim al Muffadal, pagò Muhammad al Tamami per forgiare un albero genealogico, mostrando che i Sauds ed i Wahhabs erano una famiglia che discende direttamente dal profeta Maometto. All'inizio della prima guerra mondiale, un ufficiale britannico ebraico, David Shakespeare, si incontrò con Ibn Saud, che divenne il primo monarca saudita.

Sauditi di Eric Lafforgue

Shakespeare più tardi fu al comando di un esercito saudita che sconfisse una tribù che si opponeva a Ibn Saud. Nel 1915, Ibn Saud incontrò l'inviato britannico nella regione del Golfo, Bracey Cocas.

Cocas fece la seguente offerta al Ibn Saud: "Credo che questa sia una garanzia per la vostra resistenza al potere, così come è nell'interesse della Gran Bretagna che gli ebrei abbiano una patria ed un esistenza, e gli interessi della Gran Bretagna sono, in tutti i sensi, nel vostro interesse".

Ibn Saud rispose: "Sì, se il mio riconoscimento significa tanto per voi, riconoscono mille volte la concessione di una patria per gli ebrei in Palestina o diversa dalla Palestina."

Due anni più tardi, il Segretario degli Esteri Inglese Lord Balfour, in una lettera al barone Walter Rothschild, un leader dei sionisti britannici, dichiarò: "Il governo di sua Maestà vede con favore la costituzione in Palestina di una sede nazionale per il popolo ebraico..."

La trattativa di istituire Israele ha avuto l'appoggio del leader turco Kemal Ataturk, che è stato riferito anche lui come un cripto-ebreo.

Nel 1932, i britannici misero Ibn Saud al potere come re dell'Arabia Saudita.

I Sauds fecero del wahhabismo la religione di stato dell'Arabia Saudita.

L'Impero Ottomano Turco, che 

gradualmente si è ridotto nelle dimensioni.

La Turchia ha il suo "stato sommerso", in un governo nascosto che ha svolto atti di terrorismo sotto falsa bandiera (Ergenekon).

 ("Lo Stato Sommerso" della Turchia dice di aver lavorato con il Mossad e la CIA e avere aiutato nell'assolvere l'attacco del 9 11)

Un funzionario di alto rango politica estera turca ha detto che ci sono «stati sommersi» in Egitto, Arabia Saudita, Giordania e Siria.

Questi «stati sommersi» sembrerebbe coinvolgere cripto-ebrei. Nel nuovo governo della Libia, i Wahhabis hanno molta influenza.

~ ~ Fonte: http://aangirfan.blogspot.it/2011/11/jewish-control-of-saudi-arabia.html

Strategic Culture Foundation on-line journal

Per altri articoli correlati su sabbatanesimo andare a:

http://editorseye.com/WordPress/category/sabbateans/

aangirfan: IS TURKEY PART OF THE NEW WORLD ORDER?

aangirfan: THE NEW WORLD ORDER AND TURKEY

aangirfan: CALVINIST ISLAM

aangirfan: ISRAEL NOT WORRIED BY TURKS OR SAUDIS

Turchia - Elemento del Nuovo Ordine Mondiale

Aggiungo un documento che per caso mi è venuto in mano:

~ "Io sono il sultano Abdel - Aziz Ben Abdel - Rahman AlSaud". Riconosco e ringrazio mille volte Sir Percy Cox, il rappresentante della Gran Bretagna, per quanto mi concerne dico che desidero dare Palestina ai poveri ebrei o ad altri tra cui la Gran Bretagna, ai quali io non voglio disobbedire fino alla fine dei tempi, come si vede dall'allegato atto di accettazione." ~

Questo è il documento con il quale la casa di Saud ha venduto la Palestina sionisti. Senza bisogno di commenti! 

aggiunge il mio amico Afaf Kouri

-Saeed-Al Nasser, uno storico saudita ucciso dai Wahhabiti, ha detto che il nonno di Al-Saud è (Mordekhai Ben Ibrahim Ben Moshe), uno degli ebrei di Al Qaynuqa che erano stati sfollate a belad al chame e poi in Turchia e divennero nel 16mo secolo gli ebrei di Eldonma , e che nel XVIII secolo, Ibrahim Moshe Ben si trasferì a Hijaz per iniziare la serie pianificata di conquiste con l'aiuto degli inglesi e gli ebrei Eldonma.

Da sinistra a destra Ibn fulan, Ibn Saud, il Principe Faysal, Ibn Abdlwahhab e Sir Percy Cox

Perché difendere Assad significa difendere la Palestina

di Amal Saad-Ghorayeb

A tutti i pro-oppositori che usano la Palestina come strumento per legittimare l'Alleanza (destinata o no) con Israele e l'imperialismo sulla questione della Siria: l'opposizione e molti intellettuali "terza via (di Centro)" sembrano sviluppare un acuto caso di amnesia per quanto riguarda la posizione salda degli al-Asad (soprattutto Bashar) sui diritti della Palestina e degli arabi. Essi ci rimandano ai tardi anni 70 e 80, sotto la guida di Hafez ed estrapolano da quel periodo l'attuale posizione strategica del regime ed il valore dalle alleanze (nel senso collaborativo) della resistenza.

Guardano alla manovra diplomatica che Assad ha fatto affrontando l'Occidente ed la interpretano male come se fosse un un segno della sua apparente disponibilità a trattare , stabilito il giusto prezzo; essi piagnucolano sull'inerzia militare dell'esercito siriano a proposito del Golan mentre dimenticando quante truppe la Siria ha perso in Libano durante l'invasione israeliana del 1982 e si sorvolano su come le forze armate convenzionali della Siria competano pari forze con Israele.

È interessante notare, queste stesse persone non si rendono conto che i vincoli imposti dalla realtà politica e geo-strategica hanno neutralizzata l'attività della resistenza di Hezbullah dal 2006, anche se il territorio libanese rimane occupato. E come alla Siria, Hezbollah ha anche impedito ad altri gruppi canaglia di attaccare Israele per privarla di un pretesto per invadere di nuovo ( il Libano ). Hamas e la Jihad islamica hanno fatto lo stesso in Palestina. Questo fa di loro forse tutti dei traditori? Questo tipo semplicistico ragionamento viene utilizzato come una sorta di copertura morale per gli oppositori che francamente non privilegiano la Palestina assolutamente o meglio non hanno mai fatto niente per cominciare ad interessarsene.

Per quanto riguarda i tipi di "terza via (di Centro)", questo argomento è privo di ogni pensiero strategico e della considerazione, (analisi critica) delle realtà sul terreno. Se Assad era un tal affarista perché sarebbe stato sotto pressione costante, attraverso sanzioni e isolamento per oltre un decennio? Come Seyyid [capo di Hezbollah, Nasrallah] ci ha suggerito, bisogna guardare l'immagine grande ( in senso ampio ) per le risposte: l'assistenza politica e militare del regime ai movimenti di resistenza (così come la sua alleanza con l'Iran) è la risposta. Abbiamo bisogno solo di gettare un occhio, sui regimi repressivi e religiosamente bigotti della moderazione araba per trovare la prova di come sia in realtà la vera sottomissione agli Stati Uniti e Israele e di come questa stessa ripaghi in senso di stabilità del regime. Almeno fino ad adesso comunque...

"Perché lo stato siriano non è stato Pro-Palestina? Perché Assad non è entrato in guerra con Israele per le alture del Golan?? Perché è come per Cuba, che rischierebbe la sua rivoluzione se andasse in guerra contro gli Stati Uniti per la baia di Guantanamo. Siate realisti ."- Salvatore Giametta -

source: http://lizzie-phelan.blogspot.com/2012/03/why-defending-assad-is-de...

Ascoltare il nostro connazionale Salah Hamouri ci spinge al massimo rispetto.

Noi, francesi, possono essere orgogliosi del nostro connazionale Salah Hamouri quando lo si ascolta  parlare: la morigeratezza e la calma di quest'uomo che ha subito e subito ancora la più totale ingiustizia ci forza al massimo rispetto.  Questa intervista ci fornisce anche  informazioni sulle condizioni di non-vita nelle prigioni del razzista dello stato di Israele.  Non posso non  fare una nota sul fatto che Salah parla francese con l'accento di lì, a differenza di soldato dell'esercito israeliano razzista e impostore che intendeva imporsi su di noi come connazionale senza essere in grado di articolare neanche una parola nella nostra lingua .  Non posso che provare vergogna per le istituzioni francesi  (ed i grandi partiti UMP e PS) acquistati da Israele e che difendono criminali israeliani piuttosto che dei francesi attaccati e imprigionati da Israele (Salah, ma anche diversi giornalisti francesi e diversi attivisti francesi che sono stati arrestati, imprigionati o feriti dai soldati israeliani senza che le corrotte autorità intervenissero minimamente).


source: Ecouter notre compatriote Salah Hamouri force le respect


Ecco l'intervista tradotta di Salah e sotto-titolata in italiano

Vittorio: Quatrième audience du procès

Aujourd'hui la Court Militaire de Gaza City a mis au jour au 3 Novembre le procès aux responsables de la mort de Vittorio Arrigoni. L'audience concernait principalement  les éléments présentés par le Procureur et retrouvés sur la scène de l'assassinat.

article de 
Marta Fortunato

Bethléem 20 Octobre 2011 Nena News- S'est passé ce matin dans la Court Militaire de al Mashtal à Gaza City la quatrième audience du procès pour l' enlèvement et l'assassinat de Vittorio Arrigoni. Établie au début le dernier 17 Octobre, l'audience a été ajournée selon la demande du procureur militaire a présentés aujourd'hui dans la salle d'audience des nouveaux éléments qui ont été trouvés sur les lieux du crime devant la maison des accusés: un téléphone mobile Jawwal contenant la reprise de l'enlèvement de Vittorio, qui a été utilisé pour demander le rachat, et un ordinateur avec un hard disk externe dans lequel ont été trouvés nombreuses photos de l'assassinat de Vittorio, qui a eu lieu le 15 avril dernier. Un rapide audition, 20 minutes seulement, qui sera mis à jour le 3 Novembre prochain. Tous les objets trouvés et considérée comme preuves par le Procureur Tamer Hasasnah appartiennent à l'un des quatre jeunes Palestiniens, membres d'une présumée cellule salafiste de Gaza, accusés du meurtre de l'activiste italien. Tamer a reconnu que les objets trouvés sont de sa propriété, mais il a dit de ne pas êtrel'auteur de la vidéo et les photos qu'ils contiennent. Avec lui, sont accusés dans l' assassinat de Vittorio Mahmoud Salfiti, Khader Jram et Amer Abou Ghoula. Selon l'accusation, trois d'entre eux avaient prémédité l'assassinat avec le leader du groupe, Abdel Rahman Breizat, tandis que selon la version de la défense, ils n'étaient pas au courant des véritables intentions de leur chef. En outre des objects électroniques, le Procureur a présenté comme des éléments contre les accusés la découverte de deux motocyclettes, utilisés pour l' assassinat de l'activiste italienne: l'une a été utilisée par Hasasnah mais est appartenant à Mahmoud Salafiti, tandis que La deuxième est détenue par un des deux leaders du groupe salafiste qui ont été tués après l'enlèvement de Vittorio dans un conflit avec les forces de sécurité du Hamas. L'avocat de la défense s'est opposé à la preuve présentée par le Procureur en déclarant qu'il ne le savait pas et n'avait pas reçu ce matériel documentaire et a contesté l'endroit et le moment de la découverte de ces objets. Toutefois, la Cour n'a pas accepté de l'opposition de la défense et a pris aux actes ce que a été présenté par le Procureur. La troisième audience, du 3 Octobre dernièr, avait fermé avec la décision de libérer Abu Amer Ghoula, accusé «seulement» d'avoir offert un refuge à deux leaders salafistes, et al-Omari Breizat, qui ont été tués dans la nuit du 15 avril. Amer, bien que libre, est encore chargé d'avoir assassiné l'activiste militant italien qui tous les jours, à travers des journaux et des sites internet, racontait la souffrance de la population de Gaza et qui accompagnait les agriculteurs et les bergers palestiniens menacés par le feu de l'armée israélienne. 

Source : Nena News

ISRAËL A PEUR DES DESSINS D’ENFANTS PALESTINIENS

Les mêmes qui crient au scandale quand on appelle au boycott d’Israël, ou qui vont raconter qu’il n’y a pas de rapport entre l’art et la politique, viennent de faire interdire une exposition de dessins d’enfants palestiniens dans un musée californien.

L’Oakland Museum of Children Arts annule l’exposition des œuvres d’enfants Palestiniens

Communiqué de presse

Berkeley, Californie – le Museum of Children’s Art d’Oakland (MOCHA) a décidé d’annuler une exposition artistique d’enfants Palestiniens de la bande de Gaza. La Middle East Children Alliance (MECA) qui était partenaire du musée pour présenter l’exposition a été informée jeudi 8 septembre 2011 de la décision par le directeur du musée. MECA et le musée travaillaient ensemble sur cette exposition baptisée « Un regard d’enfant de Gaza ».




MECA a appris que des organisations pro israéliennes de la région de San Francisco ont conjugué leurs efforts pour faire revenir le musée sur sa décision d’exposer des créations artistiques d’enfants de Gaza. Barbara Lubin, directrice exécutive de MECA, a exprimé sa consternation devant la décision du musée de censurer l’exposition en contradiction avec sa mission “de faire en sorte que les arts soient quelque chose d’essentiel dans la vie de tous les enfants. »

“Nous ne comprenons que trop bien la pression énorme qui s’est exercée sur le musée. Mais qui sort gagnant ? Le musée n’est pas gagnant. MECA n’est pas gagnante. Les habitants de la région de San Francisco ne sont pas gagnants. C’est notre liberté d’expression fondamentale garantie par la Constitution qui est perdante. Les enfants de Gaza sont perdants, » a-t-elle déclaré. « Les seuls gagnants sont ceux qui dépensent des millions de dollars pour censurer toute critique d’Israël et faire taire les voix des enfants qui vivent au quotidien sous un siège militaire et l’occupation ».





“Malheureusement, cet incident troublant n’est qu’un exemple parmi beaucoup d’autres dans tout le pays qui voit certaines organisations réussir à réduire au silence le point de vue palestinien, qui comprend l’expression artistique. En fait, certaines organisations ont même provisionné des fonds spécialement à cet effet. L’an dernier, la Fédération Juive d’Amérique du Nord et le Jewish Council for Public Affairs ont malheureusement lancé une initiative d’un montant de 6 millions de dollars pour réduire efficacement au silence les voix palestiniennes même dans les “institutions culturelles.”

L’exposition gratuite, co-parrainée par près d’une vingtaine d’organisations locales, devait ouvrir ses portes le 24 septembre, et prévoyait des activités spécifiques pour les enfants et les familles, dont un atelier de dessin et des lectures de poésie.

La bande de Gaza avec sa population de 1,6 million d’habitants est assiégée depuis qu’Israël lui a imposé un blocus en 2006. Les Nations Unies et de nombreuses organisations des droits de l’homme dans le monde ont condamné le blocus en tant que forme inhumaine et cruelle de châtiment collectif.

“Bien que les enfants de Gaza vivent en subissant des politiques israéliennes qui les privent de tout ce qui est basique, ils réussissent à travers l’art à exprimer leurs réalités et leurs espoirs. C’est vraiment très triste qu’il se trouve des gens aux Etats-Unis pour les faire taire et démolir leurs rêves,” explique Ziad Abbas, directeur associé de MECA. MECA est déçue de la décision du musée de refuser aux habitants de la région de San Francisco la possibilité de voir des productions artistiques d’enfants Palestiniens, et elle s’engage à trouver un autre lieu d’exposition. 
“Nous avons fait la promesse aux enfants que leurs œuvres seraient montrées et nous allons tenir cette promesse,” a affirmé Lubin."

Source : http://mounadil.wordpress.com/2011/...

CAPJPO-EuroPalestine

autres articles:

Nora Barrows-Friedman étudie les forces derrière l'annulation d'une exposition de dessins d'enfants de Gaza dans la baie de San Francisco

Gaza children’s images of war censored under pressure from US Israel lobby

http://electronicintifada.net/content/gaza-childrens-images-war-censored-under-pressure-us-israel-lobby/10373

Pro-Israel organizations pressured an Oakland children’s museum to cancel an upcoming exhibition of drawings made by Palestinian children in the Gaza Strip. Community leaders say the shutting down of the exhibition is the result of a disturbing — and well-funded — campaign to silence Palestinian voices across the US.
On 8 September, just two weeks before the exhibition was set to open to the public, the board of directors of the Museum of Children’s Art (MOCHA) announced that they had canceled “A Child’s View of Gaza.” The board shut down the show due to pressure from “constituents,” according to a statement made by Randolph Bell, the board’s chairman, in the San Francisco Chronicle (“Oakland museum cancels Palestinian kids’ war art,” 9 September 2011).
The show was curated in partnership with the Berkeley-based non-profit group Middle East Children’s Alliance (MECA), which has been working for 23 years to advocate for Palestinian, Iraqi and Lebanese children’s rights. Barbara Lubin,MECA’s executive director, told The Electronic Intifada that it was “upsetting and infuriating” that the show was canceled, but she wasn’t surprised.
“Anybody who knows this issue knows that the Jewish Federations of North America and the Jewish Council for Public Affairs have launched a multi-million dollar project to combat what they call the ‘delegitmization’ of Israel,” Lubin said. “They try and suffocate the boycott, divestment and sanctions movement and censor Palestinian cultural initiatives. What they’re doing is financing the work of silencing and shutting down anyone who wants to talk about what’s really happening to Palestinians.”
The Chronicle also reported that the board of directors at MOCHA vaguely cited the “inappropriate nature” of the content of the children’s drawings in their decision to shut down the exhibit. Some of the Palestinian children’s illustrations show tanks, guns and explosions, but the board’s assertion that these images are “inappropriate” enough to censor is clearly selective.
In years past, MOCHA had successfully exhibited strikingly similar artwork by children in Iraq who drew from their personal experiences of war following the 2003 US-led invasion and subsequent occupation. Another exhibition several years ago showed artwork by children made during the Second World War that “featured images of Hitler, burning airplanes, sinking battleships, empty houses and a sad girl next to a Star of David,” the Chronicle added.
Lubin said that the difference in this context is simple: “The pro-Israel groups are afraid that people will start understanding what’s really going on with Israeli policy through seeing exhibits like the one we put together. They don’t want people to know that Palestinian children are suffering. They’re afraid of us hearing that other side. For 63 years we’ve heard one side in this country and around the world, and it’s time for the other side to be heard.”

Stretching Israel’s siege from Gaza to Oakland

The censored drawings were created through local children’s mental health initiatives in Gaza immediately following Israel’s attacks in the winter of 2008-09, during which approximately 1,400 Palestinians, including more than 300 children, were killed.
Ziad Abbas, associate director of MECA, told The Electronic Intifada that several art-based organizations in the Gaza Strip began working with traumatized children in an effort to help them channel their fears, anger and trauma through artistic expression. Those drawings resulted in the collection of artwork that was to be showcased at the children’s museum.
“The art projects were born out of a necessity to try to reduce the impact and effects of the attacks which killed hundreds of children in Gaza. These drawings came from that kind of therapy to express their feelings,” he said.
Abbas added that the child artists were thrilled that their work had “brokenIsrael’s siege on Gaza” when the drawings made their way to a museum halfway across the world.
“It was important for these children to know that their voices were going to be heard in Oakland. However, they didn’t expect the siege to stretch all the way from Gaza to California, which is essentially what happened when MOCHAcanceled the exhibit due to pressure from these groups,” Abbas said.


Major donors: “Funding was not jeopardized”

Upon investigation, it emerged that those “constituents” who got the ear ofMOCHA’s board chair included pro-Israel public relations institutions with extraordinarily large budgets and organized community outreach programs. In the Bay Area, these organizations include the Jewish Community Relations Council (JCRC), a subsidiary branch of the Jewish Council for Public Affairs (JCPA); and the local chapter of the Jewish Community Federation (JCF), which operates under the umbrella of the Jewish Federations of North America (JFNA).
The JCRC and the JCF both receive substantial funding from the Walter & Elise Haas Fund, which has also funded MOCHA.
The fund, based in San Francisco, is a major donor to arts, science, social justice and Jewish organizations around the Bay Area across the political and cultural spectrum. MOCHA received $30,000 in grants from the Haas fund in 2011 (Recent grantmaking: The Arts,” Walter & Elise Haas Fund website, accessed 9 September 2011).
However, a program coordinator with the Walter & Elise Haas Fund told The Electronic Intifada that their staff had talked to the museum about possible public concern with the exhibit, but that the art show “was their decision and their funding was not in any way jeopardized with their doing it.”
Pam David, the executive director of the Haas Fund, declined to comment for this article.
John Patchner, communications director for the East Bay Community Foundation — which has awarded tens of thousands of dollars in grants to MOCHA over the years — told The Electronic Intifada that they had “not been contacted by anyone in connection with the cancellation of the exhibit and we’re currently seeking additional information from the Museum of Children’s Art.”
But there are many other foundations that support MOCHA. And in August at least one pro-Israel online campaign encouraged the general public to directly contact MOCHA funders, and published a list of various foundations, in a bid to cancel the children’s art exhibition.

Pro-Israel groups to “pressure civic leaders” in new $6M initiative


The timing of Kahn’s determination to pressure the MOCHA board is significant. Just eleven months ago, the JFNA pledged to invest $6 million in a new, three-year initiative they call the “Israel Action Network.”
Working alongside the JCPA — of which the JCRC, Kahn’s organization, is a subsidiary — the Israel Action Network “is expected to serve as a rapid-response team charged with countering the growing campaign to isolate Israel as a rogue state akin to apartheid-era South Africa — a campaign that the Israeli government and Jewish groups see as an existential threat to the Jewish state … The network will monitor the delegitimization movement worldwide and create a strategic plan to counter it wherever it crops up” (“Federations, JCPA teaming to fight delegitimization of Israel,” Jewish Telegraphic Agency, 25 October 2010).
The JFNA stated that this new campaign would seek to influence “civic leaders,” and said that it would be fully staffed and “up and running” by 1 January 2011.
According to their recent tax forms, the JFNA’s investment of $6 million in this new campaign should not be a financial burden — they listed more than $197 million in total assets between June 2009 and June 2010 (Return of organization exempt from income tax, 2009, 2009-2010 [PDF]).
The fact that these enormous, well-funded Israeli advocacy organizations have turned their attention to a singular, modest children’s art exhibition in Oakland highlights the Israeli lobbies’ tireless efforts to silence Palestinian expression. Deborah Agre of MECA agreed, saying that “no fight is too small” for these groups.
MECA’s Barbara Lubin added that the attack on this children’s art show is just one in a long line of such campaigns.
“But this is particularly saddening to me because these are voices of children,” Lubin said. “And as I said to the head of the board of directors at the museum,MECA loses, MOCHA loses, but more importantly, the children from Gaza lose the most. They’ve always been the ones to lose the most. Not only do they have to live through these bombings and the siege, but then when they try to express their experiences through art, they’re shut down.”
“There’s only one winner in all of this,” Lubin added, “And that is the Zionist lobby who intimidate, harass and do everything they can to make it impossible for people to have these kinds of exhibits.”

MOCHA’s board of directors: supporting all children, or just some?


According to its tax documents, accessed from public records, it is clear thatMOCHA is a grassroots organization highly dependent on funding from outside grants and foundations. MOCHA listed just over $700,000 in contributions and grants in 2009 — whereas salaries and employee benefits accounted for approximately double that amount. Their fee-based children’s art programs bring in additional revenue of just under $1 million for that year.
If pro-Israel lobbyists indeed placed threatening calls to foundations that supportMOCHA, it is understandable that they could feel frightened by the potential loss of money for the next fiscal year and would therefore bend to pressure by these outside groups. But MOCHA may have violated its own mission statement in doing so. On its tax forms, MOCHA states its mission is “to ensure that the arts are a fundamental part of the lives of all children.”
Ziad Abbas said that it’s wrong for the board of directors to put conditions on that support. “Do they really support all children, or just certain ones? Certainly, in this situation, the Palestinian children who made this artwork are not being supported at all,” he remarked.
The Electronic Intifada asked whether the children in Gaza had been informed that their exhibition was shut down, and what their reaction was to the news. Abbas explained that he had just received a call from one of the young artists in Gaza who saw MECA’s press release on the Internet that explained that the show was canceled.
“He was extremely disappointed, and the other children were obviously shocked and sad as well,” Abbas replied. “It’s upsetting to them to hear that a children’s art museum across the world decided that their personal [narratives] are offensive, and then silenced their voices and artwork. When you hear about an art museum that has violated its own mission to censor children’s artwork and children’s artistic expression, it’s extremely disappointing.”


Community support is out in force


Following Thursday’s announcement by the MOCHA board of directors, MECA has been flooded with phone calls and emails from supporters not only just across the Bay Area but worldwide who are appalled at the shutting down of the children’s art show. And Lubin said that while outrage at the museum is understandable, the institution is not the enemy.
“MOCHA is very dear to our hearts,” Lubin emphasized. “We love this organization and respect the work they do. It’s an essential institution in the Bay Area. Our anger is not at the people who work at MOCHA; rather, our anger is at the board who do not have the courage to stand up to this kind of intimidation from the pro-Israel groups. We’re asking people to direct their anger at the board and at the Zionist organizations who do this kind of muzzling. But certainly not at the organization itself.”
MECA has started an email action campaign in an effort to counter-pressure the board of directors with support and gratitude for hosting the Palestinian children’s artwork. They are also asking people to come to the gallery on 24 September, on the planned opening day of the exhibition, in a show of support for the show even if it remains canceled.
Meanwhile, Lubin and the MECA staff are busy figuring out alternative venues for the exhibition.
“We’re not sure where the show will be yet, but we’ll continue to work on seeing that these voices are heard and that these pictures are shown. People want to do something, and have been offering space in their homes, shops and even in schools,” Abbas said. “They won’t shut down these children’s voices.”


Nora Barrows-Friedman is an award-winning independent journalist, and is a staff writer and editor for The Electronic Intifada. She also writes for Inter Press Service, Al Jazeera, Truthout and other outlets, and regularly reports from Palestine.
Related LinksMiddle East Children’s Alliance



Please Act Now! Pro-Israel Groups Censor Palestinian Children’s Art





Art museum’s censorship destroys its integrity SEPTEMBER 16, 2011 BY OCCUPIEDPALESTINE

by Dr. Michael Siegel on September 15, 2011 | Mondoweiss

Oakland’s Museum of Children’s Art (MOCHA) recently announced that it is canceling a planned exhibit of artwork created by Palestinian children living in Gaza because art about the Palestinian-Israeli conflict is “not appropriate for an open gallery accessible by all children.” The museum had scheduled the exhibit to begin on September 24 and had promoted it on its web site. The sudden cancellation of the event apparently followed complaints by “pro-Israel” organizations in the Bay Area.

The exhibit, entitled “A Child’s View of Gaza,” features artwork by Palestinian children ages 6-14, most of which was created as part of a psychosocial support program that uses art to help these children heal from the violence they have witnessed and trauma they have experienced. The program is sponsored by the Middle East Children’s Alliance, a Berkeley-based nonprofit humanitarian aid organization that provides food, medicine, clothing, and community and individual support and resources to children in Gaza. The project in question, entitled “Let the Children Heal and Play,” is designed to address the psychosocial needs of children by allowing them to express themselves through art in an effort to help them heal and to avert long-term adverse outcomes, such as “a lifetime of depression, anxiety, and rage.”

The censorship of this exhibit would only be justified if it were a political ploy, such as a collection of artwork obtained by a political organization that was using the children for ulterior motives. However, the evidence is quite clear that this is a truly humanitarian program designed to help these children heal through art therapy. The art represents the original and sincere expressions of these children, and the individual and organization that curated the artwork aim primarily to give the artistic expression of these children an outlet in what is certainly an appropriate venue: a children’s museum.

Ironically, by censoring the exhibit, the Oakland Museum of Children’s Art has itself committed a political ploy, leaving the realm of cultural exhibition and entering the area of politics and cultural repression. By canceling the exhibit, MOCHA is actually the group making a political statement.

This is not the first time art by Palestinian children has been censored. Several years ago, Brandeis University removed from a university art exhibit paintings by Palestinian teenagers that were curated by a Brandeis student as a project for a class entitled “The Arts of Building Peace.” School officials censored the paintings because they were too “one-sided.”

The thinly-veiled arguments that artwork by Palestinian children, curated appropriately by individuals or organizations who are sincerely interested in showcasing artistic expression, is inappropriate because the Palestinian-Israeli conflict is off-limits or the artwork is one-sided disguise an underlying censorship of not only artwork, but of the truth. In fact, that is the real reason for this censorship in the first place: the unwillingness to depict, in any way, the truth about the severe psychological damage done to children who have suffered as a result of Israel’s incursion into Gaza and its blockade.

As a physician who has treated victims of violence and trauma, and as a public health practitioner, I can testify to the enormous public health impact that conflicts like that in the Middle East have on populations and especially on children. This is truly a public health issue. Censoring the effects of violence on children is essentially no different than hiding from the public the fact that a swine flu epidemic is spreading throughout Mexico. Would we censor information about swine flu occurrences in Mexico because we are afraid that providing this information is too political or controversial?

Whether “justified” because of terrorist attacks in Israel or not, the damage done to Palestinians is not a matter of opinion, but of readily verifiable facts. Censoring “A Child’s View of Gaza” creates the exact opposite of what the censors are trying to avoid: providing a platform for a political statement. In essence, MOCHA is using these Palestinian children as pawns in a political maneuver that delivers a clear message about what the public is or is not to believe. MOCHA is essentially contributing toward the suppression of the truth about the effects of the Israeli incursion into, and blockade of Gaza.

Henry Steel Commager wrote: “The fact is that censorship always defeats its own purpose, for it creates, in the end, the kind of society that is incapable of exercising real discretion.”

The Museum of Children’s Art has demonstrated that it has lost its ability to exercise real discretion about the appropriateness of exhibits that it chooses to sponsor. Political objectives, rather than the authenticity and value of the artistic expression inherent in the works, are now the primary criterion for its decisions.

Dr. Michael Siegel is a professor of community health sciences at the Boston University School of Public Health. He conducts research in a variety of public health issues, focuses on tobacco and alcohol use, and maintains a blog on tobacco control policy issues called The Rest of the Story.

Source

S'il vous plaît envoyez une mail aujourd'hui aule Musée d'art des enfants à Oakland pour les inciter à reconsidérer ses positions et à soutenir votre droit de voir et d'entendre le message des enfants de Gaza. 

http://freepalestinemovement.org/mocha.html

https://www.facebook.com/pages/mocha-museum-of-childrens-art/353137473222
http://twitter.com/MOCHAorg
http://mocha.org/visit/contact-ushttp://freepalestinemovement.org/mocha.html
Write @MOCHAorg to Save @MECAForPeace Gaza Children's Art Exhibit.

La présidence de l'AG en Septembre appartient au Qatar!

La demande des Palestiniens sur le vote pour l'Etat de Palestine lors de la session de l'Assemblée générale de Septembre ne sera pas L'ORDRE DU JOUR DE L'ASSEMBLÉE et donc il n'y aura pas aucune votation! 


A annoncé mardi la présidence de l'Assemblée générale de l'ONU! La présidence de l'AG en Septembre appartient au Qatar!

Les Etats-Unis avaient averti que "si la question vient au Conseil de sécurité va utiliser son veto pour la bloquer." 


La question pourrait se retrouver dans le CS si il venait approuvée par trois quarts de l'Assemblée Generale. Selon des sources palestiniennes , car les chiffres il y sont parce que 150 pays sont favorables , mais ensuite ils ont trouvé un moyen de le bloquer en avance !

Source: La Pillola Rossa

https://www.facebook.com/photo.php?fbid=10150295920602762&set=a.168862297761.120619.167928952761&type=1&theater

Israël au Qatar, mais où est passé Al Jazeera pour les images?

Peretz a été invité par le petit Etat du Qatar américaine, et de l'image a été prise au cours de sa tournée au Qatar mini-Etat-Unis et la question est ; qu'est ce que ce chef d etat faisait dans cette chaîne Al-Jazira, cette photographie a été prise apparemment de manière confidentielle.Ils ont tant dit sur Kadhafi : Al-Jazira a incité les libyens à prendre les armes créer une guerre civile et apprécier à regarder se verser le sang des musulmans

Trois photos montrant Shimon Peres avec les représentants du Qatar courant février 2011.
Imaginez si ces photos avaient été prises en Irak – ce qu’auraient été les réactions des Arabes, et en particulier celle du cheikh Youssef Al-Qaradhawi!

L'EMIR DU QATAR EN ISRAEL (une visite secrete)

Filmé par une télévision israelienne. Vous ne risquez pas de voir cette émission sur el Jazeera lol

source: http://www.lislamiste.com/2011/09/14/israel-au-quatar-mais-ou-est-passe-al-jazeera-pour-les-images/



La chaîne qatarie prépare au Maroc une mise en scène d’émeutes en Algérie qu’elle s’apprête à diffuser le 17 septembre, Le cinéma d’Al jazeera

13 septembre 2011 | Auteur: Jo ^^

Depuis la révolution du Jasmin en Tunisie, à la guerre en Libye, au mouvements de contestation toujours d’actualité en Syrie passant par la chute de Moubarek en Égypte dans le conflit israélo-palestinien, la chaîne d’information continue qatarie Al Jazeera pratique un journalisme ouvertement mensongé.
Quelles sont ses méthodes, quelles sont ses limites ? La chaîne choisit-elle politiquement ses guerres ? Faitelle le journalisme en son nom propre ? Tant d’interrogations qui restent sans aucun élément de réponse. L’Algérie, pour sa part n’a jamais été épargnée, voire souvent ciblée. Notre pays a été souvent un sujet de longs débats au sein de cette même chaîne. À l’heure actuelle, à l’approche de ce 17 septembre, dont on ne cesse de dire beaucoup de choses, Al Jazeera est en train, selon des sources bien informées, à mettre de grands moyens pour un tournage digne des films hollywoodiens.
Selon nos sources, la chaine qatarie «tient vraiment à réussir son scoop d’informer en temps réel » sur ce qui se passera, selon ses envoyés spéciaux, en ce 17 en Algérie. Pour ce faire, une équipe technique, des réalisateurs et bien sûr des « acteurs» ont été dépêchés à Oujda dans le royaume marocain. Le choix d’une telle ville n’est pas fortuit sachant la proximité du langage et du teint entre les Marocains et les Algériens des frontières de l’Ouest. De véritables mises en scènes et simulations de manifestations sont au menu des génies d’Al Jazeera. Ils veulent coûte que coûte montrer que l’Algérie et sur un brasier en diffusant des images d’émeutes généralisées.
Il n’y a pas de fumée sans feu. Assurément les Qataris ne sont pas les seuls dans le coup. L’on imagine bien évidemment la générosité des services secrets de sa majesté le roi qui, au lieu de prendre une position ferme quant à toutes les questions internationales, font dans les coups bas comme à leurs habitudes. Il est connu du grand public, et les spécialistes des médias n’hésitent pas parfois à le dire, Al Jazeera est loin d’être neutre dans son traitement de l’information rapportée. Et que souvent, cette chaîne semble même se départir de la neutralité qui doit être la sienne. Envers l’Algérie, cette chaîne n’est pas à sa première bavure. En janvier 2011, durant les émeutes liées à la vie chère, elle a essayé d’attiser le feu par des méthodes peu orthodoxes, à l’image de Ali Belhadj qui se croyait revenir à 1988 en tentant de récupérer la révolte des jeunes.
Récemment, une présentatrice d’un journal télévisé, parlant des pays limitrophes avec l’Algérie a omis de mentionner le nom du plus grands pays de l’Afrique qui n’était pas mentionné sur la carte géographique des pays de l’Afrique du Nord. D’autre part, Al Jazeera, n’a par contre jamais été intéressée lorsqu’il s’agit de la répression au Bahrein. Elle ne fait nulle mention de la révolte des femmes saoudiennes ni des problèmes au Koweit encore moins aux Emirats- Arabes-Unis. Faudrait-t-il également rappeler que cette même chaîne a toujours servi de tribune pour les islamistes dont l’Aqmi. S’agissant des massacres commis au quotidien par ses « amis » du Maroc au Sahara Occidental, la chaîne semble manquer de sources. Le 8 novembre 2010, à Gdeim Izeik, l’histoire témoignera que ce jour-là, les Marocains ont tenté un génocide. Curieuse coïncidence : un mois auparavant, les activités du bureau d’Al Jazeera à Rabat ont été suspendues et les accréditations du personnel de la chaîne qatarie retirées, vendredi 29 octobre, par les autorités marocaines. Une décision justifiée par le ministère de la Communication du royaume chérifien «suite à de multiples manquements aux règles du journalisme sérieux et responsable». La chaîne qatarie est en train de se racheter auprès du Maroc…

H. F
SOURCE
Merci Kahina!

Bon! au moins on est avertie. Pas surprenant avec le film qu’ils nous ont offert avec la Libye. Qu’on se le tienne pour dit, tout les autres médias de masse vont évidemment embarquer dans cette supercherie et diffuser en boucle ces images.

Jo ^^