It is well known that some French companies (Thales, Airbus, Dassault) have long been helping Israel complete its military equipment. According to a survey by the Disclose Association, the French Government has supplied electronic components to Israel, in order to use drones to kill civilians in Gaza. And, if it were not enough, in recent days, on the basis of a government report that is yet to be published, Mediapart has denounced that France sold in 2023 military material worth EUR 30 million and handed it over to Israel, among other artifacts, torpedoes, rockets and missiles. However, France signed a treaty on the arms trade, which prohibits the sale of arms by the stalks, if it can be presumed that they will be used to commit war crimes or murder civilians. The French Government says that these weapons have a defensive objective, and does not want to specify whether the treatment that has been given in Gaza last year with the genocide that began last year.

No wonder, damn it. We have known for at least six centuries that the ally has no heart, that the cottage cheese has no bones, that the big booties are liars in any political regime. In an interview in Le courrier de l’Atlas magazine, the great Palestinian clarinest Mohamed Najem says: “Music is honest, unlike politics.” In fact, this year Najem published his second album, Jaffa Blossom (“Jaffaren loratzea”), in tribute to his grandfather. Aitatxi was expelled from Jaffa in 1948 and throughout his life he was very sad to think of his homeland and in his childhood. His granddaughter, for her part, is in the desert of France and tries to make known the Palestinian wounds through music. His music, however, is not heartbreaking: despite some melancholic accents, it is airous and humorous. In 2016 he came to Baigorri: Floor no. He touched the pieces of the first album 4 and there he caught us in his rich world.

Because the truth is that we learn from Palestinian creators: above sound and wines, we have come to us, however, musicians, photographers, painters, tallists, poets. Last year, in March 2023, before the invasion of Gaza, the Organization of the Arab World in Paris launched a very juicy collective work, in the editorial Seuil: Let the Palestine hold au monde (“What Palestine brings to the world”). In the book entry, says C. Ayad, “When Palestine seems abandoned by all”: “Palestine speaks to us of a world that goes wrong. Palestine already lives in an alienated, caring, caged, savage, neo-liberalized world.” To continue this fascinating book, the institution prepared a rich program of acts with the same title, and then put it online, leaving space for Palestinian artists.

In addition, we have the Maiatz magazine and the Susa Spider area thanks to the I. Bordak, J. Sarrionandia, K. Izagirre, Sabaian Ke and X. Boveda translate some poems from Mahmud Darwish as well as I. Aiestaran Uriz has also drawn Ashraf Fayadh on the ARGIA blog. We still have A in our hands. Lukuren Falestina Theatre (Garazin antzerki 3, Maiatz).

There we have the teachers (teachers who force us to be “manners” like the French government), a wide range of supports to work in class, to work with the students “in search of the new sense of truth” (Birds die in Galilee, Darwish, I. (Translation of Borda).