 Okay, hi, welcome to all of you that are joining us on this live stream today we are going to be in discussion with the freedom theater between the freedom theater and New York City artists. This talk is called art as a weapon youth against invasion. And we will be talking with students from the freedom theater about cultural resistance and creating in times of crisis. And we want to start off with some intros, maybe your names, what you do. And we can go around Chantal if you'd like to start. Hi, my name is Chantal, I'm a student. Hi, everyone. I am Maria, and I'm a student at the freedom theater school. Hi, everyone. I am some more. I'm student in the freedom theater school. Hello, everyone. My name is Yasmin and I'm an actress and I'm the head of acting school in the freedom theater. Hello, my name is Manatsu. I use date and pronouns. I am originally from Japan, but I am a New York City based dancer, actor, and artist. Hi, I'm Lea Bukhar. I am one of the co-founders of Alimita Collective along with Monica Hunkin, and I am an artist and an activist. Hi all, my name is Monica and I go by she or they. We're here in Brooklyn, New York. And yeah, as Lea said, I'm one of the co-founders, co-artistic director of Alimita Collective. I'm very excited to be with you all today. So a little bit of a breakdown of how we got here and how we arrived to this talk. A little bit of history is that Monica and I as Alimita Collective went to Janine last September 2023 to be part of the Feminist Theater Festival at the Freedom Theater. We brought a show there called Signals that talked about women's struggles all around the world and all the movements of women. And we worked together with Chantal and Aya and Naka and Mariam who isn't on this call, but we say hi. We worked together for a full week to talk about feminism, what it means, different stories of feminism around the world and what feminism looks like at that time in Janine as well. And Chantal and Aya and Naka and Mariam ended up creating a scene for the show regarding feminism in Palestine at that time. While we were there during the festival, we experienced a very interesting moment together where we watched a Palestinian actress do a show and in the middle of that show there was an invasion. In the middle of that show, the actress and the audience together agreed to continue and we stayed together until the end of the show. We stayed in the theater together until the lights came back on, until everything was safe and we were able to go home. The next day, we all collectively made the decision to put on the show signals and we ended up finishing the theater festival together the next night. That's how we arrived to meeting them being at the Freedom Theater and also our work in Janine. Thanks Lea. And so then when we returned back to New York, and of course October 7th happened and we came back to New York just the day before and after that. And then on December 13th, as Yasmin and the girls might speak about more, the Freedom Theater was attacked again and there have continued to be attacks of the Freedom Theater of artists and cultural workers in Palestine for decades. And so December 13th, the artistic director, the producing director, and a former student and poet of the company were all brutalized and detained. And we along with many theater artists in New York City and of course around the world responded to this in solidarity. And so we began to organize rallies, to organize artistic actions, to organize a march, and we've continued to demand the release. Mustafa Sheta, the producing director is still being held now to this day, and the theater has continued to experience attacks, even though, as you'll hear soon, they continue to keep performing and doing workshops and keeping the theater alive. So we are so inspired by that building and that creation and that movement building. And so we have done everything that we can hear from afar to do that solidarity work by bringing the works of the Freedom Theater, The Freedom Theater's promise, the Youth Against Invasion texts coming from these performers right here. And at our protest, a big march that we did January 13th, we went into Times Square into the entertainment theater district in New York City, and we shut down the streets and we had performances all along this route. And Manatsu was one of the performers there who actually spoke some of the text of Youth Against Invasion there. So we are now bringing everyone all together in one space on the web to talk about this, about how do we continue to create, how do performers create while living under occupation and during an invasion, and how do artists amplify and support that work from abroad as well. So that is what we're here to do today and I will pass it off to Yasmin. Thank you, Monica. And thank you, Leah, for all the, yeah, the very, the summarization of our relationship. I mean, it has been great to be with you and to witness all the work that you've been doing, you know, as activists and, you know, also for Palestine, it's been astonishing. So thank you for that. So just a quick summary about the Freedom Theater work and how it all started. It started as we know it now, as the Freedom Theater in 2006, when Juliano Merhamis and Zacharias Bédico founded it and Jeanine referred to camp. It was also, before that it was also a theater that was created by Arna Merhamis, who is the mother of Juliano, actually. And then she passed due to cancer, and then Juliano took it from there and he continued and they, him and Zacharias established both the Freedom Theater as we know it now. And since then we've been working on so many different levels and our main approach is artistic resistance. So basically, this is how we started and of course, since then, we started the acting school. And, yeah, today we have about nine students in the acting school and we do classes, we do different approaches and the theories and theater. But all of our work is focused and centered around resistance and cultural resistance. So, yeah. Now, of course, as you mentioned and said before, we've been facing for years now. It's nothing new. Jeanine was never a calm spot in Palestine. Palestine was never a calm spot in general, but also Jeanine especially, it was always the face of a lot of things and a lot of, you know, invasions and destruction and all of that resilience is very, very straightforward there also. So, yeah, it's, we're not very foreign about what is happening. But since like now three years, it's been harsher and harsher getting worse and worse. And of course, before the 7th of October, for months, we've been facing invasions every day, almost every night. Maybe Naka and the girls also can add in our conversation more about it because Naka, for instance, she stays in the refugee camp so she knows, she lives there, she knows pretty much how the situation is really. So, all of what is happening now, it is, of course, like an act of resilience and an act of vocalizing what is what is happening to us since the 7th of October but it's not since only the 7th of October, it goes way back since, you know, 48 let's say since the occupation started. And yeah, we're very happy that our work now has been, you know, shown in various places, of course, not only the acting school, but also the theater itself. We have so many productions that are being prepared now, despite all the invasions and everything. We try, of course, to stay as safe as possible, but we keep going and we think that it is important to keep going and working and doing all the work that we do because it is a tool of a very important tool for resistance. So now we have Metru Ghazi that will be touring around, of course, all the, and here I am also is touring around the students are writing and, you know, writing testimonies and writing a lot of new things that will be released doing a lot of theater work on the ground that hopefully we can perform also in Palestine. And it will be done soon when the things and the situation allows us to. So, yeah, basically that is what we do in the freedom theater and I'm very happy that also now I'm meeting one of the people that also was involved in youth against invasion on the ground took the initiative also to read one of the texts that project meant to nice to meet you. And yeah, it's a pleasure to meet you. Thank you. Thank you. Yeah. I also as a theater person, I've been really checking although via social media, I've been really checking and holding the freedom theater very close to my heart. And, yeah, I've been really keeping, you know, keeping an eye out of like what y'all are doing and the posts that you that y'all post on social media to let us know what's actually happening. And the Japanese refugee camp and what's happening on freedom theater. So today I'm very honored that I get to although on the internet I really get to see y'all's faces and get to hear more have a conversation with all of you so I'm very honored and I'm very grateful. And I have so many questions so shall we just jump in. Great. Okay, so my very first question that I have is stats and this is open to anyone but what was your first experience with the freedom theater. Me, I search again. Actually, my first performance in the freedom theater was in, in Tillett in case 74. I consider theater a part of me at the old times, because actually I always searching for the truth, like theater, you know. So, yes, maybe theater, I think theater it's me. So, yes, I can say anything. For me, I stumbled upon the freedom theater while reading books, actually. There's two books. The first one was Morning in Junene. The second one was Junene 2002. So I, it caught my interest. And the more I read about it, the more I wanted to learn and to be a part of it, actually. The first time I had the opportunity with the freedom theater was in the university. There were workshops in the university that I participate in. So, this was my first experience. Well, what about you, Aya? For me, I had also a workshop before joining the theater. I had a workshop in the university. Then there was that chance to join the freedom theater. So, I have joined the theater and I am still happy about that, because I always heard about the theater, but never imagined that I will be part of it one day. So, yeah. Amazing, yeah. I really got that freedom theater means a big part of each of your hearts. What does the freedom theater mean to you? Does anyone want to? Yeah. Yeah, I will answer this. Actually, the freedom theater means a lot to me because it's like a safe space where I can express myself through art, standing up for what I believe in. And it shows how strong and determined people are when they use theater to speak out against the unfairness and give a voice to those who are often ignored. The theater gives hope and shows that even in tough times, we can fight for what's right. It's a space where creativity is encouraged, where people come together and where we can all support each other in our journey for freedom and respect, I think. In simple terms, the freedom theater shows how art can change the word and how important it is to keep fighting for what's fair. That's one. Thank you. Thank you for that. Yeah. So, the freedom theater is in DJ and refugee camp, right? So, I know that on social media and accounts, there are accounts and journalists who have been using their platforms to send out what's actually happening in Gaza and Palestine and Janine and Yaffa and the West Bank. But because now that we're in a conversation, I'm wondering, what do you want people to know about Janine? I want people to know that Janine follows life. It's for beautiful things. I love Janine. It's like any other place in Palestine, there are a lot of dreams, a lot of stories. And as I said in my text, any evaluation of any of its features, it's a direct distortion to my ambitions and dreams and the personality I'm forming. So, yeah. Right. Thank you. Naka, do you want to add on to that? People in Janine, it is very simple and beautiful. It's really people, Palestinian, really. In Janine, it is a practical because they are terrorist resistors. They wake up in the morning to repeat the grift since and difficult roads and continue their life apart. So, people in Janine is very strong. Not because I'm in Janine, I'm from Janine, no. But really, people in Janine, it's very simple and beautiful. Palestinian people, really. That's very beautiful. Thank you. Shantel, do you want to add anything to it? Yeah? Yeah, I would like to answer. I want people to know about Janine that it's more than just a place associated with conflict, actually, and hardship. It's a vibrant community with a rich of heritage and resilient people and a strong sense of identity. Despite the change they face, the people in Janine are creative, resourceful and determined to build a better future to themselves and their families. It's important for others to understand the complexity of Janine and to recognize the humanity and dignity of its residents beyond the headlines and stereotypes. Right. You asked me, do you want to add anything? Yes, actually. They really summed up everything I would love to say about Janine because Janine is such an... Look, there is something really... I don't know, Lea, Monica, did you experience this? There is something that gets you addicted to the city. It's unbelievable. I live in Kufr al-Aqab in Jerusalem and I'm originally from Hebrew and my mother is originally from Nablus, so I'm from all over the place. So I've been a lot of places. I've worked in so many different places in Palestine, internationally, all of that. But there is something about Janine and it's very rich, as Chantal said, it's a very rich country with a very distinguished identity to it. And I think also that's why we see a very, very strong line of resistance there. And because it is also, it has always been a center of all of the heated things that happens from the occupation and aggressions and all of that. And they do have a special, very special way of resisting. But what I find very astonishing also about Janine is that it is very rich culturally and also I find it to be very alive and vibrant all the time. That despite everything that is happening, yes, we are in the midst of, as you said, we're in the midst of a performance and there is an invasion that we stay there and we continue and we go on with the performance. And everyone wants to stay together because this is how it is, and this is how really it is. So it's hard to be in Janine and not to relate to it and the sense of how human and colorful and peaceful it is, to be honest. So yeah. Thank you, thank you for all of it. Monica, Lea, did you have something you want to set on? Well, I think obviously, you know, Janine is site of conflict as they say, but when things are sites of conflict, there's so much happening there. So that means that there's an attention there, there's an energy there, there is a movement there. It's not just conflict, it's sort of maybe the media's way of saying, you know, summing it up. But in reality, when you peel it apart, one of the best things about Janine that I love is I laugh so much when I'm in Janine. There is a humor there that is so resilient, so deep, so funny, that that's part of this familial feeling when you're walking around, people saying hi to each other, people creating together. The doors are always open at the Freedom Theater too, so you come and go. And there's always somebody making sure you're okay, you know, that is such a beautiful quality. Are you okay? Do you need to eat? Do you want to ride? Whatever it is. And that makes the stay like you forget about the conflict. And then all of a sudden something appears and you continue to work through that. And by the time you're on the other side of that, you feel this power inside of you, like we are living life truly at its core. You know, in the best way possible with the most colors, the most drama of the world, everything that you can put together, the most love, the most beauty. And that is the true essence of creation. And we still talk about it even here in New York City. I mean, if we could take a train to Janine, I think the subway there, we'd go. So that's, yeah, it is a very special place. Yeah, I don't have too much to add on that, but I mean, even in our first rehearsal that we had with the girls there, there was like a, a bunch of shooting that happened while we're, and we're just like kept dancing and moving, kept talking. And so like, even amidst that, there's this like big juxtaposition, right? To all of that, the violence and fear, but the strength of the opposition of that is so warm and so inviting and welcoming. And like that kind of strength, like we work with actors here that don't even like, you know, show up on time to rehearsals and things and like people there like coming through war to get to do a workshop and do a rehearsal and like that, that intensity and need to create and to build something together is so powerful. And I feel really, really grateful that we got to be part of that with you all. So yeah, thanks Minatsu for asking that. Wow. I mean, I know we're only just like 20 minutes for this conversation. And, you know, when I go to protest, a lot of the speakers talk about like that the Palestinians are showing the world resistance, the Palestinians are showing the world resilience. And, and then through this conversation, when I was hearing y'all, when you're on talk about Jeanine, I think I really understood that on a deeper level. It's that like, that how like folks in Palestine are strong and resilient and showing resistance to the world, not only because like they are, you know, they have the resilience that they're going through this horrible atrocity, but still yet to. Use your platforms and send show the world what's actually happening now, but it's because that the people like you all have like this depth of love as human beings and the depth of humanity that you all have is what is literally what's behind like how you are all showing the world resistance and resilience. And I can't put that into words very clearly just yet, but I think just hearing of how you all described Jeanine like I think I received another deeper layer of understanding of what that means. So thank you so much for sharing all of that. And yeah, like Monica mentioned, that's the resilient like, you know, in New York City, like there's a lot of actors that don't even show up on rehearsal on time and now know because the subway or because there was a traffic. However, but like in Jeanine this urge this strong thing that you just need to keep creating even through conflicts even through the war. But it's also very hard, hard because like I do also read a lot and see a lot of how the censorship tours cultural workers and artists in Palestine are experiencing. And I also this question is something that I do remember seeing it from the reading group that revolutions promise has released but and this question has like really stuck with me for a long time but why do you think cultural workers and artists in Palestine are under attack. And I do want to hear from the other girls. Yeah. So, yeah, very good question. Actually, I think, see, this is my belief that, you know, resistance in general in Palestine is in everything. I personally believe also in the freedom theater we believe that everything you do you do for the purpose, the sole purpose of freedom and for, you know, being able to do whatever you want and to be free from occupation be free from anything. So, and I think culture really, especially for instance, in the theater, we really focus on telling what is happening, narrating and taking the initiative of our own story to tell our own stories and to expose everything that is happening. And that is not something that an occupation would like to hear at all this in a very simple way I'm saying that they really don't want their actions against us to be exposed. And us as people who work in the cultural field we have a lot of, we have a lot of relationships and connections with internationals and people who work in cultural fields all over the world and we have a lot of, you know, people who look at what we are doing. So it is a very powerful tool to really spread the word all around. And we know that when we when we share something other like other people would share it and this will expose even more and more so culture actually and art really works on narrating of what is what is happening to you as a human being. And also this also works on the mindset and on the ideas of the people that you are approaching and talking to about or doing an art piece about it or writing an article about it. So it really speaks to the minds of people. And then of course it really speaks to the emotions of people and that's what they really don't want, you know, they don't, they don't, they really don't want to be exposed at all. And also in culture and in arts when you build a generation, a new generation that can express themselves through art and through a different way and an approach for resistance. It's dangerous for them because you are building a new generation of people who can also think and feel and express and advocate for you for your case as Palestine, you know. So of course it's dangerous for them. Anyone who is resisting is dangerous for the occupation. This is how they view us. Right, right. You want other girls? I want to say something. I agree with what Yasmin said. I believe that intellectual, that the intellectual occupation is the most dangerous type of the occupation we suffer from. Art take birth in making a change in the society and intellectual and cultural change. It could revolutionize awareness. So this would expose the artist to being at that. So yes, it's because the fear of the change that reveals the truth. Right, right. 100%. Thank you. I agree with Yasmin and Aya and I want to add that for me art has the power to amplify voices and change dominant narratives and raise the awareness about human rights, violation and Palestinian struggle for freedom and self determination. As a result, cultural workers and artists who use their platform to speak out against the occupation, discrimination and violence become targeted for repression by oppressive oppressive regimes or occupying forces by targeting the cultural workers and artists. These forces aim to silence dissent, suppress the freedom of expression and maintain the control over the narrative. Additionally, attacks on cultural institutions and artists are often part of broader efforts to undermine Palestinian identity, culture and heritage. Despite these challenges, many Palestinian artists continue to use their creativity and talent to resist oppression and advocate for justice and equality. Right. Thank you. Akad, do you want to add or are you good? No, this could be what she said, Yasmin, Aya and Shanta. Right, right. Thank you. Yeah. Despite all of these risks and censorship that anyone in Palestine who are cultural workers and artists might have to shoulder on, but yet y'all all have such a strong urge and this strong will to keep on creating, keep on rehearsing, keep on doing, keep on using your platforms, right? And it's like this word is way too light to say it, but like it's very inspirational and encouraging to see and I mean that by like with my whole heart, with my whole soul. And I do also want to ask that now that like I see a post that like around the theater, the roads have been destroyed so that's hard to access into cultural institutions. I do see in those in the May Day posts as well, but yet you keep you all keep coming back to the theater for workshops. And, but with the potentiality that could be very dangerous to access it, right? So what is that strong thing that burning thing that's in y'all that makes you keep coming back to the theater? Personally, I keep coming back to the theater because it's my passion and source of inspiration and purpose in my life. Despite the dangerous or the dangerous and risks involved, the theater is where I feel most alive, creative and connected to others. It's a space where I can express myself freely, explore complex emotions and contribute to something larger than myself. And additionally, the theater has the power to bring people together, foster empathy and provoke through discussion. While accessing the theater, those risks, but the fulfillment and joy I experience from pursuing my patient makes me forget the risks. Right. Thank you. Anyone wants to add on to that? I actually want to say something. And despite of everything that is happening and I want to really point out the courage of the students, you know, they have a lot of courage. Because really sometimes in a lot of days, we're in the middle of the rehearsal or going to rehearsal and then an invasion erupts and special forces are in the camp around the theater. And sometimes there are invasions into the building of the theater. But I think mostly we always try to come back. And I think that's that's for the reason that for me, I really feel that there is a sense of community and a sense of safe place that you can go express and be. Despite everything that is happening and you can create. And I feel that this feeling of creating makes you feel that you are still alive. And you are still in control and you can still. Narrate your own story, despite the occupation, trying to suppress or oppress. Your thoughts, your words, your everything. So it feels like that despite all of that. Yeah, we're still there and we're still doing it, and we will keep on doing it. Yeah, of course, and there's the belief that it is important. What we're doing is really important and it is really affecting. We want to do it as much as we can and we want to grow it as much as possible to keep being. Actually, I believe and I believe that this place is the place most one day of resistance. Because. In interest into thoughts and the debate of people and the last of. Patrimonious and all that is in us are feeling and. Cinematons, therefore I do not consider myself resistant except in the place. It is true that it may be dangerous, but for me, they're really. Danger is a cylinder and not trying. I am not really afraid to come to the theater on the country I feel strong. Just really, really I feel strong to come in theater. Wow. Just. Thank you. Thank you for sharing all of that. It really feels like as a theater person myself. Yeah. All of the words that you just shared right now of why you keep coming back to the theater, it will serve like an anchor in my heart. Yeah, thank you so much. As like I've been like really keeping my eye out on the freedom theater. I also came across to see a couple of youth against invasion monologues that was posted on Instagram and I also got to read. I read a couple of monologues from the youth against invasion and I read a couple other of monologues as well. And yes, even with just this conversation, I already have been receiving a lot of the strength that you all have that I also got to receive it while reading through the youth against invasion monologues, but how exactly did the youth against invasion series begin? Like what was the process of the work? Where did it start? I would like to hear more in depth about staff projects. Well, it really started after one of the biggest invasions that happened to the freedom theater, you know, in Geneva and the refugee camp. Also, after the arrest of Mustafa Shitta, also that he is still arrested and detained now. Also there was Ahmad Tubasi, the artistic director and Jemma Labjaas also with both of them released. Only Mustafa is still detained with no charge also, but anyways. So it really started for, you know, the feeling of need that we need to let the students talk about what is really happening in their word with their own words. And I remember that Zoe contacted me and she told me that she would like to start this series of testimonies for the students to write and so we can publish it on social media. And, you know, it started to be a bigger and a bigger project from there on. It was not a very smooth process. It took a lot of work from the students, of course they wrote their monologues, then we had to translate them and then we had to do some, you know, make them in a way. They worked on it to be more smoother on, you know, for writing and to also we had to really mind the, because there's a lot of monitoring and each one of the students and are from a different area so I don't know. For instance, Shantal is from the 48. So the amount of things she could say is completely different than someone who is like Naka, who's from Jeanneen living in the West Bank or Aya, for instance. So it was a lot of work of really finding the right way to say exactly what we want in a way that we don't really be in danger. So that was the biggest challenge of it, but it really started as simple as that. We thought that there is a need for the students to really say what they have been going through. And how did they see the invasion and how did it affect them also, not to forget Ghazi and what is happening in Ghazi because it really affected us very, very much. So yeah, it was really needed and then we started publishing it on social media and we started to get reviews and more reviews and shares and comments and things and then it really developed to be this project that really is spreading all over and hopefully we can grow it even bigger and bigger. So this idea originally existing, yes, I agree with what's just been said, I wanted to say something. This idea originally existing between the director and the actors, Kiryu in the theater, but our entry as a team for this year as acting students was by change. Practiced in at even reading what the occupation is doing in front of my house as I live behind the freedom theater. And then Zoe, the journalist of publishing spoke to me and told me about an idea she had by writing text about what is happening or what we want to communicate to the world. And I actually started doing this and created a group with my team and we started and publish it all our text. We continue to do this as we struggle to be Palestine resistance artists against the Israeli occupation. So I want to say hi to Zoe, leader of this idea. Yes, she is definitely the leader of this idea and it was really, you know, was her idea to start all of this and yeah it's been going bigger and bigger. And as Naka said, it was really the effort of like even, you know, Naka was responsible also for communicating with all of the students. They would come back to me, you know, texting me oh Yasmin, could you please do this and this and that. And also, you know, she was she was in contact, you know, the spokesperson person between Zoe and and the students and I tried to just watch it from outside facilitated as much as possible. And actually it was joy to do it and to see it because they did so much effort. And yeah, I'm so proud of them. And a big hello and yes for Zoe. Wow. I mean, yeah, 100% on the all the your words that you all have put in Youth Against Invasion has been definitely delivering a message to the world and anyone who reads English. I hope it gets translated into more languages so that it does become a really delivered throughout the whole world with via so many more languages. Yeah, through that ads now that's the Youth Against Invasion and the revolutions promise have became kind of like a roof that's through theater through monologues through art, like you can definitely deliver a message that's different from speeches. That's different from documentation. What is it? How does it make you feel to see other people performing your words and the works of the freedom theater around the world in support and also in different languages. That's make me feel here and seen. So I'm proud of all the ones that bring out our words to the world. And I really appreciate all the ones who insist to know that truth and call for justice because when Zoe suggested the idea to make Youth Against Invasion. Everyone of us has a lot of things to say. Everyone has a lot of feelings, a lot of things that going on our life. So almost everything has changed. So we needed to write or to say something at that time. This is very touching for me and makes me cry with joy. Manchou, as I understood you did ISX, didn't you? Yes, I did. How did it start? How did you get involved in solidarity with Palestine and also how did you get into the Youth Against Invasion project? How did you know about it? Right. So in terms of solidarity work with Palestine, and it comes with the, as much as I am very ashamed to say this, I admit it with accountability of it that I'm also one of the millions of people who are too late to wake up and speak up for Palestine and actually know what's going on in Palestine. But, and then yes, rounds in November, I was definitely one of the artists where I was like kind of like, I don't know what to do, like what is my role as an artist. But then I soon realized that like, no, like this is an atrocity that's happening on humanity, on humans, done by humans. Like, even before talking about like how can I do solidarity work, solidarity work with Palestine. I have to engage with this very present as a human being first, not as an artist, not as a dancer. I am human being before a dancer, before an artist, before an actor. So after where I made the commitment to accountability and responsibility that comes with engaging with the present as a human being first, it was after that, finally, where my perspective really spread out. And finally, I got to have the to expand my capacity to be like, okay, as a human being who has been doing theater work, who has creative tools, who has, who has the capacity to read words, not just like reading words, but like, with a message with intentionality. That's where I was, I really got to see and analyze what can I do within my own hands as a human being, but also as an artist as a human being with creative tools. And that's where I got to, in contact with a limited collective where I was, I was doing small autonomous projects, art actions, art direct actions. Like, long story short, I did an art action that's called tears for Palestine, which is where we draw with tears on a canvas in the honor of the martyrs. That was in partnership with Palestine, Palestinians for Japan, that is the Tokyo organization so I did a partnership with them. And through that, a limited collective was also a sponsor of it. But even before I got to know how the way I got to know a limited was because a limited has been doing so much work for solidarity work, solidarity work with Palestine through their platforms. And that's how I got to finally find that. Yes, there is an art collective in New York City that is doing solidarity work with Palestine and the reason why I said it like that because like, truly, now that things are slowly mobilizing but definitely like, for the past couple months, a lot of the contemporary dancers, the artists, the art field, the dance field, the theater field has been a little bit quiet as an organization. There are individuals who are working doing great solidarity work, but when it comes to a bigger role, a bigger purpose, a lot of the organizations, institutions tends to be a little bit quiet. And so I was really suffering with that dissonance, like as an independent artist I want to use my platforms now I want my field the community that I am part of also speak up for humanity for Palestine and use the platforms that we have to to spend or platforms to for solidarity, but a limited has been doing great work and that's how I got connected with them. And fast forward, because we did the tears for Palestine project. Leah has kindly invited me to be a part of the cultural resistance march where they asked me to, if I can be one of the readers for the youth against invasion, which is IS monologue. Yeah, so yeah. Wow, that's, that's a really. Can I ask something, when did when did you first learn about Palestine. The very first time I learned about Palestine. And I'll be completely honest was back when I was in junior high when I was in Japan, and world history class that we learned that there is a conflict going on. But as it was world history class, and I don't know what the United States world history class and how like the Japan world history class teaches differently probably date to unfortunately. But what I learned in that class was that the, the state of Israel and the state of Palestine have been in conflict since 48. That was the deepest that we got. And we didn't touch much base on it. But that's where I first learned about Palestine. Yeah. Wow. But I mean, but I, it's hard. I wouldn't say that like, because you know was in world history class. It's, I will say that like it's been very recent that I really got to listen and educate myself and do the research. It's about how beautiful of a country, but beautiful of a land, a beautiful of a place, the beautiful of the people of Palestinians are. And then Palestine is, and as much as allies, we do bear witness of what's really happening in the West Bank in Gaza. At the same time, I do love, I love seeing reels and videos that showcases how beautiful the West Bank is how beautiful Gaza is the beaches, the seas, the the sunset and the music, the culture, the Kaffia, the history of Kaffia, and all of it. So, yes, like the first time I heard the name Palestine was in junior high school but I wouldn't say that like it's been I would say that like it's been only very recent. That I have actually came to even close that I can say that like, yes, I know where Palestine is, I know what the culture Palestine has the music that I recently learned that get to so yeah. Yes, yes. So yeah, I got very excited. Yeah. Sorry. Really. Someone asked how did it feel to perform my words and in front of that a huge crowd in the street with the counter protester hit link behind you. Tell us. You're right. I will be very honest. At the moment, I did not know that there were counter protesters behind me, I only learned that there were counter protesters behind us when we're performing after I saw the footage. I, yeah. So, but I knew that they're like someone was yelling, and someone was making noise, but we were at a protest we were at the March and it's New York City. Someone's always yelling something. And I, I don't know, but also just the experience of reading your words, your words, and the words that came straight from Janine and freedom theater camp. It's definitely, I felt the weight of your words. I 100% felt the weight of the intention and the messages that you put into those words. And I remember right before reading your words in front of the crowd of people. I never get like nervous or shaky, but that moment I do remember my legs were shaking, but it was different from being nervous. And after reading it, I was thinking why was my leg shaking. And I think it was because I've never, even as a theater person, I am ashamed, but I admit it. I don't think I've ever committed to such a way to words to deliver the whole weight of the messages and the intentions via words through my body through the voice that I have. I don't think I've ever committed to burying and delivering that much weight through my words and I think that's why my legs were shaking because like it was the first time to bear such weights and my body was like, Oh, wow, this is the weight. This is the capacity that you really need to be, if you do call yourself an artist, if you do call yourself a creative person, this is the capacity, this is the depth that you need to have to commit to, because that's how much weight those words have. And by delivering them, it is, it comes with great understanding of the purpose of those words, it comes with great understanding of the responsibility and accountability of it. And that was what I really, really felt when I got to read your words. And that's, and I'm really honored and grateful that I got to read it. Yeah. Yeah, we were so thankful that Manatsu was able to continue that because that was the moment that the counter protesters joined us before that it was very smooth. We'd taken the streets the performances were happening. And then they stayed with us yelling the whole time with big megaphones throughout the rest of the March. And as you all said so eloquently, that's because they know how powerful we are, and that how powerful cultural this is. And I think that that also showed that sometimes in the performance, like right after Manatsu spoke, we had a singer sing a version of a Bob Dylan song right in front of the commercial Bob Dylan musical there. And her voice was was so bell clear and so powerful and beautiful that it silenced the protests for that time. And, and all of these hundreds of there were like 500 people with us. They were all quiet for that moment in the street in Times Square, one of the noisiest places in New York City in the world. And so there was something very different like we've gone on lots of marches and protests, and there's something very different about when you bring art and you bring theater and you bring music in into protest it shifts it completely. It shifts how people can can enter that space and it connects them, as, as you all said to their emotionality to their spirit to their heart to their imaginations. And I think that that's something that can help sustain this fight for longer. When your imagination is engaged that's something that's like endless possibilities right. That's so worn down and so burnt out from just protesting, but art creates this foundation for us so I thought that that was really powerful and we felt so good to have your voices there with us. Yeah, just to talk about that to a little bit more is on that same route of the March. Another artist Natalia de Campos, an activist also read Chantal's words towards the end of the March. And, again, as Monica was saying these counter protest I mean the noise there wasn't even really any eloquent words coming out of their mouth there wasn't anything to hold on to is just a lot of screaming to try to shut us up. And I think the, the pushing forward of knowing that we had a responsibility to the words that we were going to say and knowing that we were connected, all the way to the world to other people pushed us forward. And so the words on the page are not just the words on the page there's an energy there's a power that are is instilled. We're almost all sharing each other's moment together in that in that way and we're able to rise above anything that's coming to attack. And so it really ended up being something very powerful for us where we realized to like, listen, these people are just screaming they're not even saying anything intelligent they're not saying anything of note. And what that shows us that like Monica said with art, we're actually creating a new version of the world and new ideas, new thoughts, new ways of being new ways of being with each other, new ways of spreading information. And here are other people that they really almost don't have any say in the matter. If not, if so they would be doing their own marches their own protests their own projects to do, you know, to talk about what they're going through but instead what they do is they attack, when people are talking about Palestine or expressing solidarity and that's how we know that we are doing something that makes other people wake up. So even while if we're being attacked, we know other people are listening to what we're doing and so those words just push through everything, and each action keeps pushing through and what this is doing for everybody around the world is waking us all up but together, and realizing that we are no different in many ways it's not that there's somebody across the world and we don't understand that could be us the same situation could be us soon. And we all need each other to be in solidarity that way, because we also face issues of censorship and and our government and there's different levels of it, but we are also in solidarity with the fact that, you know, at any moment that could happen here, and that we need to open our eyes and be able to talk about it and talk about it with the world. So, thank you for putting out that kind of work because that is how people understand who is your community who can you lean on, even if I don't know you I haven't seen you in person I know you because I'm reading your words I'm reading them. And that alone carries a lot of weight as Manatsu was saying it's heavy but in in a powerful way not in a negative way. 100%. 100%. Thank you. Thank you so much for putting your words, the messages out there. And yeah, art does really do connect people. It has the power of art, and it comes with really believing and respecting the power of arts, so that we can build connections through art, but also ask me I actually have a question for you. How do you build. What do you think like, how do you build connections with other artists in other countries during these times like via art, but also we have social media as well. What do you think about it. Yeah, we of course we use art as as a way to have more connections with as you just just said, both you and Monica, it is a very powerful tool to use arts to find connection between you and another another human being, even just a word, you know, is is is really effective. This is what we believe. Of course it is hard nowadays. Since another day we were just we were we were kidding I was saying I think we are we are you know Palestine is trending. And there are a lot of people have a lot of opinions about it and everything is it is hard. But mostly we really are finding a lot of connections nowadays with people who are searching for ways to to be in solidarity with Palestine who are researching more to know about Palestine and about what is happening in Gaza and what is happening in the West Bank and all of it. This is how we really truly are connecting with people through very it's a very human to find a connection with someone on a very I don't know I really can't find the word how to express it, but it is how to find a way or you found a way to connect with someone on a human level on something that is really inhuman, you know, talking about something really is very brutal and very hard and harsh. But yeah, art, art, we are talking to people through arts. This is how we're connecting with people more or less. Right. Of course, of course. Yeah. I think that the relationship are easy to from because we have many acquaintances that in theater and also the activities that we do and the writing makes us get to know people more and from a relationship. Every year, for example, we hold a woman's festival with the Monica and Leah, you know, and many male and female artists from different parts of the world come to it. And this is good for forming many actors, relationship. So for me, it is easy. It is easy. Okay, cool. Thank you. Yeah. I think. Yeah, another question I actually do want to hear also partially for me, but also for the world. What are pieces of advice as artists creating under occupation you would give to other young theater artists? I would say to them, keep living your emotions and feelings as they are. Because for us, we process process a lot of feelings. And sometimes it's hard to express that feelings and emotions. They accumulate, accumulate and a bit more. So we find ourselves stuck in the image of heroes. So that is a stripping away of humanity. It's okay to feel weak or helpless fight the obstacles and keep going. Because art and theater is not is a need, not a luxury. So we can make a change by our work. Right. Yeah. I can say a sentence, you will not truly understand what we are going through as an actress process, unless you are Palestinian. And study theater in practical in the middle of the Genine camp. The experience here, the situation and everything around is only enough to explain and provide all the advice and how we are truly living this difficult but beautiful experience for me. Right. Great. Thank you. And one final question. I have so many other questions I want to ask, but one final question. What are your hopes for the future of the freedom theater? I mean, I think to keep growing and to keep being existing in such circumstance that refuses you as a whole occupation. But also I really hope that all of these students that are now students will be the leaders of the freedom theater and will be taking the word from all the generations that passed through the, you know, through the years. And, yeah, to grow, to grow. I mean, of course, we would like to have as much possible, we would love to have more freedom of speech, we would love to have a free Palestine also. We hope for a lot, you know, we hope a lot of things. And of course, we will keep on fighting as the freedom theater to go there and to be free, of course, for liberation in all aspects of life. Guys, guys, what do you think? What would you, what do you hope for the future of the, you are the future of the freedom theater. What do you hope? Wow. I think I hope to feel safer. That's it. Simple hope. Simple dream. The same as Chantal, because the way to the theater is full of obstacles and we don't know what is going to happen. So, yes, I hope things get better and to become more safe because now we can't consider any place as a safer place. We want freedom. Freedom, freedom, freedom. And freedom experience. Definitely. Yes. Yeah, what do you hope for the freedom theater? You're part of the family. Yeah, we hope that you're safe. We hope that it gets built even bigger, multiple stages there and access it. That Mustafa gets free soon and safe and all freedom theater members are protected and safe and that we can come work with you again and that it really gets to flourish as this amazing cultural space that it is. It's a historic incredible space that people around the world love and know and everybody knows the name of the freedom theater now, you know, so that you're able to continue doing this great work towards liberation for yourselves and for others because we become more free by you being free there. We hope you win the Nobel Peace Prize. But even if that happens or if it doesn't happen that, yes, that this, the name of the freedom theater is part of every conversation that people have. It becomes something that people talk about, refer to, learn about, go visit, come back with stories and really create a real connection so when people think about Palestine they don't just also think like, oh, it's something I saw on the news. It's a place you can go, you can work, you can introduce yourself, whatever you want to do and you'll take home with you something always, you know, and you bring but you'll always take back with you something. And so that's my biggest hope, especially for the freedom theater because it really is like this oasis in the middle of all of all these stories of conflict and it's like, it's not just conflict, it's power, it's resistance, it's beauty, it's art, and that is what we hope to keep up lifting. It's already done such a good job of that and all of us now are here to help just keep spreading that word for many generations to come after we're long gone as well, you know. Wow, thank you, that was really, that was really nice. Thank you. I mean, you know, having, you know, growing the family of the freedom theater is really very empowering for us and always the support and all the things that you are doing. And not only for the freedom theater but also for Palestine in general is very appreciated. Always I'm asked how can we support what can we do, how can we get more involved. And I think there are so many ways, of course, you know, before it was possible to come to Palestine and be and soon it will be again possible for people to come to be in the freedom theater in Palestine and in the acting school and in the on the stage of the freedom theater to volunteer to work to do anything you would like to do. And also I would like to say that we see everything that you are doing and we also try as much as possible to stay connected with people and to stay open and inviting people to come over. Reading the text, the revolution promise and youth against invasion always is very appreciated. So, yeah, I mean, you can always support you can always give solidarity and be in solidarity. You can go to our website, read more about the projects that we're doing, look at the schedule for the performances that we are doing currently around the world, maybe you could come and see and meet us in person as people who work in the freedom theater. You know, you can reach out, you know, go to the website and check also everything that we are doing because we are always trying to keep people up to date on whatever is happening in Palestine and in the freedom theater so thank you very much everyone that was really really nice. And yeah, I mean, that was very heartwarming. And maybe next time we can do it bigger and do it with more people. And maybe next time we would be just like Monika and Lee us sitting next to each other with us. All of us would be like in the freedom theater in Palestine. Yes. Yes, yes. Yes. Thank you. Thank you, Manatsu for facilitating. Yes, thank you. I want to take a picture. Yes. We have to. We got to. The live stream now first but thank you for joining us online as well and that will continue to watch this please amplify and help get the word out about the freedom theater. Thank you how around. Thank you how around.