Palestine Film Festival Review: It’s Not a Gun

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Violinist Ramzi Aburedwan walks through a Palestinian refugee camp. His music association, Al Kamandjati, introduces Palestinian children to the art of live music. What does it mean for people to have music while living under military occupation? (Photo courtesy of CPFF)

“It’s Not a Gun” chronicles the establishment of a music association for the children of Palestine.

In August 2003 Palestinian violinist Ramzi Aburedwan, who grew up in Al Amary Refugee Camp, and a group of international musician colleagues established Al Kamandjati (the violinist) Association. Every summer they travel to refugees camps in the West Bank, East Jerusalem and Gaza to perform for boys and girls. During their visits they have music workshops where they sing songs and introduce the children to different musical instruments.

The goal of the organization is to build music schools for the children – a space where they can express themselves artistically and divert their attention from the occupation, even for a while.

Some people may think: “Why don’t the children’s parents provide musical education for the children?”

Basically, life under Israeli military occupation prevents Palestinians from earning a decent living. According to the Palestinian Unity Government’s Finance Minister Salam Fayyad, “Today, almost two-thirds of the Palestinian population lives in poverty, with per-capita income at 60 percent of its level in 1999” (The Daily Star, April 7, 2007). Therefore parents have a hard time putting food on the table.

Checkpoint Waiting

The musicians had the full experience of life under occupation. On their way to teach a music workshop to 200 children at the Naplause French Cultural Center in Askar Refugee Camp, the musicians had to pass four checkpoints. However, Israeli soldiers would not let the group pass. At one checkpoint the group waited for hours. Eventually the children left. All of the musical joy that could have been shared with the children was left at the checkpoint waiting.

Before the musicians leave, an Israeli soldier asked to take photos with them.

The scene of checkpoint waiting is an illustration of what Palestinians endure daily.

Jessie, the female singer of the group expresses how she feels: “They are stressed it’s total chaos here…I recognize I am totally overwhelmed and powerless.”

Palestinian Cultural Landscape and Israel’s Concrete Wall

Yet it is musicians like Jessie who encourage Palestinian boys and girls to express themselves through song, such as Oday. In their first visit to Al Fuwwar Refugee Camp Oday sings: “I accept my fate despite my tears / My heart is full of sorrow / My heart is broken / Each step makes me more patient.” The following year, Ramzi asks Oday’s parents if he can bring their son to Paris to record a CD and perform in concerts.

During the course of three years Directors Hélèna Cotinier and Pierre-Nicolas Durand chart the association’s progress with the children and their goal to build a music school. The musicians maintain the music revival by touring the camps and playing for the children. They are determined musicians who make a difference to children who need their support.

Whenever the musicians enter a Palestinian camp or city the directors give viewers a glimpse into everyday Palestinian refugee life. People see the wall and the manned watchtowers; they see the demolished homes; and they feel the over crowdedness within the camps as they walk down narrow streets. When they gather a group of children for a concert, armed Israeli soldiers sit on the rooftops to watch the event. Despite their heavy gear and the guns they carry, they are interested in the music.

Will the Palestinians and the Israelis ever lead normal lives? After 40 years of living under occupation, what has been its impact on the people?

During an indoor concert inside a school, an extremist barges in and says: “Stop it it’s forbidden. You’re Muslim children. Shameless!”

Hence there is a wall of culture the musicians challenge in the camp.

The children scatter and the musicians pack up their belongings into a van. One musician explains that people like this man have taken refuge from the occupation inside religion. Ramzi says the people are associating the situation with the Israeli-Palestinian conflict.

One of the many effective techniques in the film was the use of live music performed by the musicians during scenes of Palestinians in their daily lives. For example, the French guitarist performed music by Brassens, and then the scene moves to Palestinians at the checkpoint turn styles. While many people in the world are engaged in normal activities, occupation is a part of Palestinian daily life.

The film appeals to a wide range of audiences. Anyone who loves music, live musicians, and children will like this film. People who want to know more about refugee camps and the effects of military occupation will have a front row seat.

The directors capture a group of well-rounded musicians and their contributions to the Palestinian cultural landscape despite Israeli occupation and its concrete landscape.

At this geopolitical crossroads their amazing determination and the directors who document their support of the people illustrates the meaning of life with music and humanity.

This film is playing at the Gene Siskel Film Center for the 6th Annual Chicago Palestine Film Festival.

Directed by: Hélèna Cotinier and Pierre-Nicolas Durand
Country: France
Year: 2006
Duration: 67 minutes
In Arabic and French with English subtitles (and options for several languages).

-U.S. journalist and film critic Sonia Nettnin writes about social, political, economic, and cultural issues. Her focus is the Middle East.

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