At the end, you’re a different person. But both elements are part of the deal.
There are plenty of journeys that are stress-free. They take you where you expect, with little in the way of surprise or disappointment. You can call that a commute or even a familiar TV show in reruns.
And there’s plenty of stress that’s journey-free. What a waste.
We can grow beyond that, achieve more than that and contribute along the way. But to do so, we might need to welcome the stress and the journey too.
Notes and tidbits posted on FB and Twitter. Part 105
Note 1: I take notes of books I read and comment on events and edit sentences that fit my style. The page is long and growing like crazy, and the sections I post contains months-old events that are worth refreshing your memory.
Toutes ces dettes sovereignes faramiteuses que les pays coloniaux ne repayeront jamais, sont faites sur le dos des pays sous-developes. L’armement de pointe est pour dissuader ces pays “sauvages” de reclamer leurs dettes
L’ argent fait la dette, et la dette c’est une meule sur l’amitie’? Et pourtant, la dette qu’ on assume totalement et a echeance a le pouvoir de renforcer les amities. La confience augmente.
Si les interets des dettes des pays sous-developes etaient au meme niveau des pays coloniaux, il n’y aurait plus de guerre. Ce n’est pas ce que veulent les coloniaux.
A la longue, on paie chere la fierte’ d’ antan de porter seul le mouton de la fete.
Il est toujours possible d’ eviter les coups d’ un homme fort a qui on a fait mal, et la raison dit de ne pas se mettre a sa portee. Surtout pas confesser sa sale conscience.
Les gens souffrent plus d’eux-meme qu’ils sont en colere contre autrui: La reconnaitre est necessaire, mais jamis suffisante. Un brin de compassion peut remedier a tant de calamites
Le font est bon: cette jeuness n’est rebelle qu’ a elle-meme. Si on savait s’y prendre avec cette jeunesse! Une compassion retrouvee’?
Quand la fete est finie, il ne reste que du linge sale. Si on lavait le linge soi-meme, personne ne jalouserait ta largesse.
On ne reve mieux de grandeur que lorsequ’on se sent au bord du gouffre, et pas esperer quiconque de venir vous relever
Il ne pouvait s’en passer de la nuit, la fraicheur, la profondeur, les abimes d’ ombres et d’etoiles, la lucidite’, la force d’oser le tenebre, et la recompence d’immense reveries pas accorder aux gens raisonables qui finissent par dormir
L’ equipe du Bus Karama de Kafranbel (Province of Idlib) en 2014 projetait des films pour les familles refugies dans les ecoles. Les jeune fille de 2 a 13 ans etaient enthousiastes. Les garcons faisant le jeu de “ce n’es tpas notre place, on est deja des hommes”
La catastrophe humaine: Les jeunes garsons fuguaient pour rejoindre les factions extrmists et insultaient leurs parents d’ impies.
Si les manisfestations pacifistes de 2011-12 en Syrie avaient refuse’ d’ insulter la familles Assad, est-ce-que cela aurait change’ le cour de la guerre civil?
A 64-year old US man from Mesquite machine-gunned from his Hotel balcony and killed 50 and injured 200 (so far) on a crowd in Las Vegas attending an open door concert. People thought the fire cracks were part of the show.
It doesn’t work this way: Changing oneself consciously hardly works, and you die before managing any slight success. You change around you and you are changed.
Equity is a notion that reasonable communities must find a resolution for members outside their “club”: mainly the clinically mental handicaps and retarded by default for ignorant communities.
You cannot reconstruct the history of perpetrated massive crimes without considering the position of the Silent majority, through merely the acknowledgement of the engaged and active minority and State institution personnel in the civil war and State atrocities.
High activities on my blog adonis49@wordpress.com. In last 3 days, over 1,500 views each day. Half of them are interested in checking my archive. If only 1% send comments, I’m in trouble.
Le foulard (veil) de la mere a glisse’ en liberant son fils arrete’. La colere grandit pour repondre a cette insulte a l’ honneur. And the Islamist insurgents claimed to liberate Syria with this mentality.
The traditional stage is familiar from thousands of primary school Christmas celebrations. Mary kneeling by a manger, angels with haloes on sticks, a diminutive king with an outsized crown.
But behind the actors and audience loom the menacing concrete slabs of a vast barrier wall, (Wall of Shame, making Palestinians invisible to Israelis) and the spotlights of the stage are augmented by searchlights from a watchtower housing snipers and machine guns.
The sketch, published exclusively in the Observer, is part of the latest Palestinian territories project by Banksy, the anonymous but ubiquitous street artist who has spent more than a decade travelling to both the West Bank and Gaza to make art and occasionally stir up controversy.
This Christmas, he teamed up with the Oscar-winning director Danny Boyle ( Slumdog Millionaire director) and Palestinian Riham Isaac to stage a nativity play in the shadow of Bethlehem’s barrier wall, the type of playful but highly political art that has become his trademark.
The one-off performance of an “alternativity”, with angels who send their tidings of joy through text message rather than personal visitations, was watched mostly by local families and journalists.
But a documentary about the project will run on BBC2 on Sunday evening, bringing a much larger audience for the play and the questions it raises about what the Christmas message of peace means in a region mired in conflict.
Banksy rarely talks about the motivation behind his work but the sketch of the stage and a series of other images shown here for the first time give some clues to his inspiration and the evolution of his artistic plans.
One set shows how he planned a prominent new artwork for the wall. The first is just jottings on a photograph, showing his first thoughts on location and shape; then a pencil sketch on tracing paper gives a better sense of the design, two cherubs trying to prise apart concrete panels with a crowbar.
In the final piece, one angel hides its face behind a bandana, and the other wears a beanie.
They floated just over the mock security gate that the audience had to pass through for the evening’s show, after the Palestinian co-director asked for Banksy to replace a looming Trump mural.
In another black-and-white sketch, a shepherd stands outside his modest hut, gazing at a sprawling maze and the looming barrier wall that hides his destination, a small mosque. It is perhaps a nod to the many daily frustrations and humiliations of life in the Palestinian territories, where the wall is just the most obvious physical manifestation of the restrictions the residents face, which Boyle explores in the film.
In a third drawing, tourists stream out of buses into the nearby Church of the Nativity, turning their backs on the wall – and the Walled Off hotel Banksy opened beside it. A final map shows borders of Gaza and the West Bank replaced by barrier walls.
Banksy convinced Boyle to fly out to Bethlehem to direct the play, probably one of the smallest productions theSlumdog Millionaire director has worked on in decades.
The Bristol-born artist presumably hoped that the combination of his name, Boyle’s reputation and the unusual nativity show itself would attract the kind of viewers who would not normally settle down to an hour-long programme about the Israel-Palestine conflict on a Sunday evening.
Whatever his reasons for taking part, Boyle was an inspired choice. Engaging and honest about how little he knows about the region, he takes the viewer with him on an exploration of the restrictions and indignities of life in Bethlehem and other parts of the West Bank.
The documentary is also honest about Palestinian ambivalence towards Banksy, his hotel and his latest project, which stops it from feeling like part of the vast publicity machine that has turned the artist into a virtual industry.
At the start of their collaboration, Isaac warns Boyle that they may struggle to find actors, or even an audience, for the play.
Palestinians find the barrier menacing and try to stay away, and parents worry about spending an evening near a wall whose very existence some have tried to hide from their younger children.
Just before the performance, Banksy left another Christmas message on a doorway nearby. “Peace on Earth”, with a Christmas star beside it, noting that “terms and conditions apply”.
The sketch, published exclusively in the Observer, is part of the latest Palestinian territories project by Banksy, the anonymous but ubiquitous street artist who has spent more than a decade travelling to both the West Bank and Gaza to make art and occasionally stir up controversy.
This Christmas, he teamed up with the Oscar-winning director Danny Boyle and Palestinian Riham Isaac to stage a nativity play in the shadow of Bethlehem’s barrier wall, the type of playful but highly political art that has become his trademark. The one-off performance of an “alternativity”, with angels who send their tidings of joy through text message rather than personal visitations, was watched mostly by local families and journalists.#AndiVincent
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