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Karena blog dari sumber yang sama mestinya saling dukung mendukung tentang kampanye damai pemilu indonesia 2009 untuk blog versiedan

Why would Israel bomb a university?
Dr. Akram Habeeb writing from the occupied Gaza Strip, Live from Palestine, 29 December 2008

http://electronicintifada.net/v2/article10069.shtml

As a Fulbright scholar and professor of American literature at the Islamic University of Gaza (IUG), I have always preferred to keep silent about the Israeli-Palestinian conflict. I always felt that it was my mission to preach love and peaceful coexistence. However, Israel's massive offensive against the Gaza Strip has spurred me to speak out.

Last night, during the second night of Israel's unprecedented attack on Gaza, I was awakened by the deafening sound of intensive bombardment. When I learned that Israel had bombed my university with American-made F-16s, I realized that its "target bank" had gone bankrupt. Of course Israeli politicians and generals would claim that IUG is a Hamas stronghold and that it preaches terrorism

Read From GazaToday.blogspot.com

Escalation goes on, more Israeli air raids kill more civilians



Gaza Strip, 30 Dec, 2008-MMN Israeli air force still launching the heaviest bombardments in Gaza ever. The fourth day of Israeli military operation started with heavy bombings took place west of Gaza City in addition to killing 2 children and around 10 in various places in Gaza to raise death toll to 390 while wounded people up to 1 thousand and 700 most of them civilians.
The Israeli announced decapitation strategy of targeting Hamas movement and avoiding civilians clearly unveiled. The F16s targeted a group of governmental building using tons of explosion resulting in killing at least 4 Palestinians. The bombings lasted for 30 minutes echoed across Gaza City causing great trauma and panic for civilians. Total damage stormed the buildings while partially destroyed some neighboring populated buildings.

Read More From GazaToday.Blogspot.com

For some people, watching Kantata Takwa may evoke a nostalgic feeling. But for our 21st century generation, Kantata Takwa could be more than that: it's a spirit reawakening.

For some technical or political reasons, Kantata Takwa may be one of the most time-consuming films in the making process. Its raw celluloid lies idly for almost 18 years since its production took place in 1990. Watching it now, one could never imagine that a film like this could be shown to public, due to its political content.

Even when it could, the impact would be so different, and the film itself may have been tampered with unmercifully. Now it is being shown to 2008 audiences, a generation so amnesiac it can't (or won't) remember its own history. Are the filmmakers trying to impose their memory on us? Are they becoming so old that they have to go to their days gone by? What do they expect anyway?

Kantata Takwa recorded a history stroked down by the rebelling legendary music group with the same name, manned by the rebellious musicians of its times, such the legendary Iwan Fals. Together they collaborated with poet W.S. Rendra to make a semi-documentary film. The film is also a musical, and frankly, cannot be easily categorized. It was not documenting the backstage processes; it was not trying to visualize a concept-album like Pink Floyd did with their The Wall (Alan Parker, 1982). Rather, Kantata Takwa may be wilder in its own fashion.

It's an effort to capture the artists' inner thoughts, reflections and struggles. It's a theatrical performance; it's a poetry reading; it's a political statement and it's a concert. There is almost no recognizable plot here, neither a story with a defining structure. What we can instantly feel is its consistent mood and aura: a thick atmosphere of people who dare to say 'NO'.

Thankfully, Kantata Takwa is truly more than sum of its parts. Rendra delivered his oration-poems, his theatre pack performed surreally, the musicians created high-energy songs, and of course, the filmmakers managed to capture the energy in its peak. That alone would justify the film's sometimes 'too theatrical' moments.

True, Rendra and the musicians were a pack of eccentric artists with hard-to-find meanings. But they resonated with Indonesians' inner frustration and anger. The time was the 90s, the backdrop was a dictatorial regime, and the director was a king-like president, unwilling to be denied by any means. The Indonesians were mainly fed, but social injustices were virtually everywhere and, while it was blatantly there, would not be acknowledged. So anger and inner resentment were the only driving force for resistance. And Kantata Takwa was one of the few who shouted.

Some of the most moving scenes were documentary parts from their actual concert in Senayan National Stadium at June 23 rd, 1990. It was a triggering moment to the point of cultural movement when they sang:

Sabar sabar sabar dan tunggu
Itu jawaban yang kami terima
Ternyata kita harus ke jalan
Robohkan setan yang berdiri mengangkang

Oh oh ya oh ya oh ya bongkar!
Oh oh ya oh ya oh ya bongkar!

(Be patient and wait

That's the response we always get

We must take it to the streets

To topple down that towering Devil ahead

Oh yes, oh yes, tear it down!

Oh yes, oh yes, tear it down!)

readmore : rumahfilm.org