⁽¹⁾ Maghrebi

Derived from the Maghreb (المغرب العربي al-Maġrib al-ʿArabī; also rendered Maghrib, or sometimes—though rarely—Moghreb) is a collection of countries (Morocco, Algeria, Tunisia) within what is commonly termed Northern Africa, along the Mediterranean Sea and the Atlantic Ocean.


⁽²⁾ Sedition

Abdellatif Laâbi was imprisoned, tortured and sentenced to ten years in prison for "crimes of opinion" (for his political beliefs and his writings that were doomed as speech inciting people to rebel against the authority of the monarch) and served a sentence from 1972 to 1980. He was, in 1985, forced into exile in France. The political beliefs that were judged criminal are reflected in the following comment, for example: "Everything which the Arab reality offers that is generous, open and creative is crushed by regimes whose only anxiety is to perpetuate their own power and self-serving interest. And what is often worse is to see that the West remains insensitive to the daily tragedy while at the same time accommodating, not to say supporting, the ruling classes who strangle the free will and aspirations of their people."


⁽³⁾ Arab Spring

The Arab Spring or the First Arab Spring was a series of anti-government protests, uprisings and armed rebellions that spread across much of the Arab world in the early 2010s. It began in Tunisia in response to corruption and economic stagnation.


⁽⁴⁾ The Ten-Point Program

The Ten-Point Program is a set of guidelines to the Black Panther Party that states their ideals and ways of operation, a "combination of the Bill of Rights and the Declaration of Independence." The document was created in 1966 by the founders of the Black Panther Party, Huey P. Newton and Bobby Seale, whose political thoughts lay within the realm of Marxism and Black Nationalism. Each one of the statements were put in place for all of the Black Panther Party members to live by and actively practice every day. The Ten-Point program was released on May 15, 1967, in the second issue of the party's weekly newspaper, The Black Panther.


⁽⁵⁾ Third Cinema

In Spanish, Tercer Cine, a Latin American film movement that started in the 1960s–70s which decries neocolonialism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money.


⁽⁶⁾ June 1967

The Six-Day War (Hebrew: מִלְחֶמֶת שֵׁשֶׁת הַיָּמִים, Milḥemet Šešet HaYamim; Arabic: النكسة, an-Naksah, lit. 'The Setback' or حرب 1967, Ḥarb 1967, 'War of 1967') or June War, also known as the 1967 Arab–Israeli War or Third Arab–Israeli War, was fought between Israel and a coalition of Arab states (primarily Egypt, Syria, and Jordan) from 5 to 10 June 1967. Six days that entrenched imperialism in the Middle East and led to misery for Palestinians in the Occupied Territories.


⁽⁷⁾ May 1968

Beginning in May 1968, a period of civil unrest occurred throughout France, lasting seven weeks and punctuated by demonstrations, general strikes, and the occupation of universities and factories. At the height of events, which have since become known as May 68, the economy of France came to a halt due to what is now known as the biggest protest in the history of the country.




In the context of Morocco, Palestine was a springboard for “cultural decolonization,” reactivating global anticolonial discourses in order to articulate a relational, cross-colonial Maghrebi⁽¹⁾ identity focusing on discussions of language, poetic form, and cultural autonomy.


https://www.degruyter.com/document/doi/10.1515/9780804796859-004/html?lang=en


Image

Stamp issued by Morocco in 1982 in solidarity with Palestine.


The Moroccan cultural journal Souffles-Anfas ran between 1966 and 1971, when it was banned by the Moroccan government and its founder Abdellatif Laâbi was arrested, imprisoned, and tortured for sedition⁽²⁾. The journal was published quarterly (with some double-issues) and ran 22 issues over its brief history. Modestly priced at 3 Moroccan Dirhams, distribution averaged 3-5,000 copies an issue. Initially published as Souffles in French, the journal expanded to publish bilingual and Arabic issues titled Anfas in its final years. Souffles-Anfas was primarily distributed in Morocco, but reached subscribers in the Middle East, Africa, Europe, and Latin America.


In the journal’s earliest issues, Laâbi vehemently rejected the cultural stagnation brought about by colonial acculturation and the subordination of Moroccan arts and culture to the whims of imperial French tastes. Laâbi believed ardently that “political and cultural struggles go hand in hand,” and, as such, saw the reassertion of Moroccan culture as the opening salvo in a political fight against colonialism and its legacies. He called upon the country’s young writers to confront the social and political issues facing their newly independent country and produce a critically grounded Moroccan national culture.


Laâbi, in an interview explaining the beginnings of Souffles, says: “I discovered that there was a group of young poets in Casablanca publishing some small reviews called Poésie toute and Eaux vives. And they also published in the automobile magazine of Casablanca. That gives you an idea of the limited options at the time when it came to literary reviews. When we met — or rather — I was curious enough to seek them out, and at the same time we met a group of painters in Casablanca: Mohamed Melehi, Mohamed Chebaa, and Farid Belkahia.


https://dafbeirut.org/en/articles/The-Making-of-the-Moroccan-National-Culture


“I think it’s very important to note that Souffles began with a group of poets and artists/painters, which is something that gave it a completely original character, perhaps unique in the history of Moroccan literary reviews up to that time. There were not just new texts compared with the literature of the time, but also a plastic and graphic conception that was unprecedented."


https://www.lawrieshabibi.com/viewing-room/23-mohamed-melehi-and-the-casablanca-arts-school/


The ideas and grievances articulated within the pages of Souffles-Anfas foreshadow contemporary progressive movements, from the Arab Spring's⁽³⁾ pro-democracy uprisings to the ongoing struggles for racial equity in Western societies. The journal played a pivotal role in fostering dialogue among writers, artists, and activists from Africa, Asia, and the Americas. It featured groundbreaking works by tricontinental figures such as René Depestre from Haiti, the Syrian poet Adonis, and Amilcar Cabral, a key leader in Guinea-Bissau's fight for independence from Portugal. Additionally, it showcased pivotal revolutionary and postcolonial texts like the Black Panthers' Ten-Point Program⁽⁴⁾ and the Argentine manifesto advocating for a Third Cinema.⁽⁵⁾


Image

Graphic design by Saâd Benseffaj, For A Palestinian Revolution, Souffles 15, 1969.

As the most visible and enduring symbol of colonial rule and military occupation in the twenty-first century, Palestine has played an important role in popular protests against authoritarian postcolonial regimes, revealing a much longer history of transnational mobilization for Palestine across the region, one that implicates corrupt postcolonial and military regimes in the oppression of nominally sovereign subjects.

The late Palestinian American intellectual Edward Said was the first to speculate on the global significance of Palestine in his seminal essay "The Question of Palestine", presenting Palestine as exemplary of political subjection in the modern era, particularly the kind practiced by postcolonial regimes.


For Said, there is an awareness in the non-white world that the tendency of modern politics to rule over masses of people as transferable, silent, and politically neutral populations has a specific illustration in what has happened to Palestinians—and what in different ways is happening to citizens of newly independent, formerly colonial territories ruled over by antidemocratic army regimes.


Image

Poster for Palestine, Fateh, National Liberation Movement 1979. Painting by Mohammed Chabâa.


I am the Arab man in history set in motion built anew by the vanguard of Palestinian guerrilla fighters
Arab   Arabs   Arab
a name to be remembered
great voices
         of my seismic deserts
a people marches on through
8,000 kilometers raises tents
command bases
how many are we
yes how many gentlemen statisticians of pain
advance a number
and the prophetic masses retort
with infallible equations
today
WE
   ARE
      ALL
         PALESTINIAN
                            REFUGEES
tomorrow
we will create
  TWO...  THREE...  FIFTEEN
PALESTINES



Abdellatif Laâbi’s “Nous sommes tous des réfugiés palestiniens” (We are all Palestinian refugees) intertextually inscribes Morocco and Palestine in a transnational history of popular protest and anticolonial struggle, culminating in a call to pan-Arab revolution. In this sense it constitutes a textbook example of the anticolonial fervor that swept across the Arab world after June 1967⁽⁶⁾. It also perfectly captures the transnational character of what has come to be known as May 1968⁽⁷⁾, and the centrality of anticolonial and Third Worldist thought to this event.


The poem appropriates “we are all German Jews,” the famous French slogan of May ’68, for Palestine, while the final tribute to Ernesto Che Guevara’s call to “create two, three . . . many Vietnams” places Palestine at the vanguard of world struggles for social and political justice.