Gaza uncovered

A cinematic celebration of the lives of ordinary Palestinians.

Despite the general tenor and tension of such challenging times, it's not often these days that the arts seem to return to first principles, to questioning their own purpose and shaping of meaning, and the ways they operate within the world and its structures of power. And yet, in a climate of seemingly permanent cuts, it's often at that primary level - where we most profoundly shape and reflect the complexities of the collective and the personal - that cultural practice can make the best case for its own continued existence and relevance.

Which is why the premiere viewing of a new documentary, The Gaza Breathing Space Film, to a capacity crowd recently at the Horse Hospital in London, was so striking. Documenting a November 2011 visit to Palestine by British-based Az Theatre director Jonathan Chadwick, it's one of the most affecting - and effective - works of committed cultural encounter to emerge for a long time.

On one level a simple video diary of a 10 day immersion in all aspects of besieged Gazan life, it's also the latest instalment in what will be a 10-year collaboration (begun in early 2009 after the Israeli assault on the strip) between Az Theatre and Gaza's Theatre for Everybody. The latter, working within extreme constraints with children traumatised by what they've faced, are finding remarkable ways to empower communities, to enhance experience and to address the great psychological pressures that generation face.

Such work within committed theatre practice isn't new of course (from Brecht to Boal and on to the Tricyle Theatre's great testimony stagings), but rarely has it been more necessary. And what's so important about both the film and the performances (made with Chadwick's long-term collaborator, Iraqi film-maker Maysoon Pachachi) is not simply that they work with quiet polemical advocacy and a subtly metaphoric eye, but that they reveal so empathetically the diverse daily registers of being in Gaza; its streets and buildings, shores and squares. Almost completely unseen beyond rapid-fire news items, the territory, with its profoundly unemployed - and predominantly young - population of 1.6 million crowded onto land no larger than the Isle of Wight, is restored to a fuller sight.

Whether it's watching children amazed that there are over 800 smuggling tunnels; learning that, in what has been described as an "open prison", there is a widespread fear of the sea; or meeting workers at Deir Al Balah Rehabilitation Centre, the viewer is gifted a glimpse, in the strongest tradition of documentary practice, of a world both recognisable and startlingly different.

In one telling voiceover comment, Chadwick worries that his carrying of a camera brands him as the "other", building an inevitable distance. However, what it does for us, of course, is to bring the moving and potent reality of Gaza that much closer, revealing the "long anger" at decades of injustice, but telling it in the enduring register of love.

"The Gaza Breathing Space Film" will be shown at SOAS, London WC1 at 7pm on 23 February www.aztheatre.org.uk

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.