At a time when Palestine activism and free expression at U.S. universities are under attack, Steven Salaita’s new memoir disabuses us of the notion that these universities are anything other than hedge funds with a campus.
When a Palestinian is brought onto Western media to talk about what’s happening in Palestine, it’s never in good faith.
German-owned publishing multinationals are implicated in Israel’s genocide against 2.3 million Palestinians in Gaza.
Saree Makdisi’s “Tolerance Is a Wasteland: Palestine and the Culture of Denial” shows just what a sham Israeli liberalism always was and continues to be.
The Palestinian Artists Consortium is more than a venue for seeing and purchasing art, it is a window into Palestine.
On the 76th anniversary of the Nakba, “Returning to Zarnouqa” tells a story of generational displacement, genocide, and the inevitability of Return.
Maya Wind’s new book meticulously demonstrates how Israeli academic institutions were created to serve the Zionist colonization of Palestine. They continue to do so to this day while fueling Israel’s university-military-industrial complex.
Solidarity through music. That is what the new song “Palestinian-South African Ballad of Love” is all about.
Mustafa al-Kurd left an indelible mark on Palestine’s genre of “committed singing,” contributing to the music of the First Intifada through his “Give Me the Plow and Sickle,” among other classics.
The Palestinian people practice resistance through “sumud” and steadfastness in every aspect of their lives, including in music. After October 7, Palestinian music can serve as the moral compass pointing toward decolonization.