Love what we do?
Become a member for unlimited access to EIP digital and print issues, attend Slow Factory’s Open Edu, and support us in continuing to create and publish.
Join us today.
You’re logged in, but don’t have an active membership.
Join Us
All memberships give full digital access, online and in-person events, and support climate justice, human rights, and freedom of expression.
Annual memberships available too!
$20
Member —
All digital access (suggested amount)
$40
Benefactor —
Receive a monthly(ish) printed journal
$100
Movement Builder —
Become an ambassador
Question? Ask us anything!
Quannah ChasingHorse on Joyful Resistance

Quannah’s joyful resistance embodies the beauty of being the revolution. She embodies strength, beauty, power and we are here for it. Quannah ChasingHorse (she/her) is a Han Gwich’in and Sicangu/Oglala Lakota land protector, climate justice activist, and fashion model from Eagle Village, Alaska, and South Dakota tribes. Born on the Navajo Nation, she grew up in various locations and raised in a subsistence lifestyle with her family, Quannah’s connection to her homelands and people guides her activism. Quannah is a model who uses her platform to promote Indigenous representation and sustainability. She has worked with top fashion houses and appeared on the covers of Vogue Mexico, Vogue China, and has received numerous accolades, including Teen Vogue’s Top 21 under 21, Forbes 30 under 30, and USA Today’s Women of the Year. In June 2022, she premiered “Walking Two Worlds” at the TriBeCa Film Festival, a documentary about her family’s fight to protect their sacred lands and Indigenous representation.
Quannah was in conversation with her Auntie, Princess Daazhraii Johnson, an Emmy-nominated writer/producer of Gwich’in and Ashkenazi descent, who lives on the traditional territory of lower Tanana Dene lands in Alaska. A co-founder of Deenaadàį’ Productions, Princess is dedicated to narrative sovereignty for Alaska Native filmmakers. She serves on the boards of Native Movement and NDN Collective, is a 2023 Grist 50 Climate Leader, and has been deeply involved in protecting Native Ways of Life. With a background as a Sundance Film Alum, SAG-AFTRA and Television Academy member, and credits including the Peabody Award-winning PBS Kids series “Molly of Denali” and HBO’s “True Detective: Night Country”, she is currently developing her first feature film, an adaptation of “Two Old Women,” which she will direct.

Quannah
I really appreciate this platform because it gives us an opportunity to reach out to people, especially within the Native community. Just yesterday, a Native guy got upset with me and Dallas Goldtooth for speaking out about Palestine, the Congo, Sudan, and other places where people need voices right now. He told us we should focus on our own people, saying those others don’t do anything for us. This is what it looks like—connecting, building bridges, and recognizing the similarities in our struggles.
Princess
You’re diving right into the question of what collective liberation really is. I think you’re highlighting a crucial aspect: creating a shared understanding. Given how our histories have been so intentionally suppressed, introducing people to the true histories is essential for reaching that shared understanding and for us to see ourselves in each other. So, I’m curious, what else does collective liberation look like to you?
Quannah
To me, collective liberation looks like what many of us are already doing—looking beyond our immediate experiences and making connections with what’s happening elsewhere. We recognize that if the same events were unfolding in our communities, as they have throughout history, we have a responsibility not just to uplift those voices but to show the world that we stand in solidarity.
Collective liberation means not just standing together but also utilizing tools like social media to access and share information. It’s alarming to see not only uninformed individuals but also political figures spreading misinformation and perpetuating harm, often through internalized racism. Collective liberation is about showing up and doing your part, whatever that looks like. It’s important for people to understand that there’s no one way to show up.

Princess
As you were talking, I was reflecting on a recent trip I took to Arctic Village and Circle, where I had an incredible interview with our elder, First Traditional Chief Trimble Gilbert. We were at a Gwich’in gathering, and I interviewed him about our traditional dances, like the fiddle dances and the rope dance, where everyone ends up holding hands. He talked about how we’ve made these dances our own—how the way we play the fiddle is uniquely Gwich’in, and those dances are uniquely ours. It’s a metaphor for how, in our community, coming from a background of survival, we had to work together and unify.
As someone who is both Gwich’in and Ashkenazi Jewish, and born in the West Bank, I think a lot about borders—physical fences and walls, and how people and animals around the world have been displaced.
Collective liberation is also about our animal relatives, our waterways. If we could take away nationalism, weapons, bombs, and all the things that cause destruction, I think we’d see more clearly that we are in a climate crisis.
Quannah
Exactly. Growing up, I learned not just through words, but by example, that we see ourselves as part of nature—not above or below it, but as nature itself. When we protect nature, we’re protecting ourselves, our bloodlines, and our animal relatives. That teaching is deeply ingrained in me, and it’s hard to comprehend that others don’t see the world that way.
As you mentioned, we need to rematriate society—how we move and show up in this world. The world could truly benefit from our teachings, which are rooted in love. But that’s what’s missing today—humanity and love.
You don’t have to post every five minutes or put your life on the line, but many have, and that’s the strength of our people—we’ll put our lives on the line for what we believe in, for our community’s right to clean water, clean air, and control over our lands.
Being raised in a matriarchy, I was taught to amplify women’s voices and to stand behind strong, knowledgeable women who represent us well. Everything we do is fueled by love. I see that love in you, in my mom, my aunties, and that’s how I navigate the world—with love for my people, my community, our animals, our waters, and other Indigenous communities that need to be heard.
Princess
Yes, everything truly does happen for a reason, and it’s essential to acknowledge that we’re riding the wave of thousands of years of Indigenous knowledge and wisdom. I see our lands, our animals, our mountains—everything we hold sacred. You carry all of this with such care and power, and that’s absolutely vital.
Listening is something we both value deeply, and in a world full of noise, we’ve been blessed to find quiet moments on the land, on the Yukon River, listening to the river’s song, receiving messages from the Creator. These moments ground us and remind us of our responsibility to educate others, to help them see that our liberation is interconnected with the liberation of all beings.
I agree that our Gwich’in worldview brings a unique blend of emotional and spiritual intelligence. This is where our humanity comes in. Each of us has a role, and sometimes it’s not about finding the perfect words but about making connections through storytelling, poetry, or images that resonate with others.
Collective liberation means having the freedom to love as we choose, to love who we want in the way we want. This is especially significant for Indigenous women, given our history—forced sterilization, the removal of our children. To be comfortable and aligned with our power as Indigenous women, to make choices for ourselves, is a profound political statement.
Your words are powerful, and they articulate the deep connections we have to each other, our lands, and our responsibilities.

Quannah
Absolutely. The ongoing crisis of Missing and Murdered Indigenous Women and People (MMIW/P) starkly illustrates how our very existence as Indigenous people is deeply political. The fact that thousands of Native women have gone missing or been murdered, with so many cases unresolved, highlights a systemic disregard for our lives.
This is why you see Native people advocating so fiercely for our communities. We are the ones who carry the weight of these issues, not just because they affect us, but because we have a responsibility to our ancestors, our communities, and future generations. We’ve all witnessed the effects of the climate crisis and that we are truly dependent upon one another. We’ve seen how politics has infiltrated every aspect of our lives, where even the fight for clean air and water, which should be a fundamental right, has become a political battleground. When we feel liberated, when we reclaim our power, we challenge the very foundations of that system.We are still here, and we are more than our struggles.
We are a people of strength, wisdom, and love, and that’s something no system can take away from us.
Princess
It’s mind-blowing to witness the devastation in Palestine, especially in Gaza, where the destruction has created an environmental and climate disaster affecting all living beings in the region.
You mentioned MMIW, and it struck me because violence against the land is intertwined with violence against women—it’s all connected. I think about the extractive resource industry and how deeply it ties into the dehumanization we’ve faced in the media, going back to dime novels and cartoons that depicted Indigenous and Muslim people as less than human.
I want to draw a parallel for our Indigenous brothers and sisters: what has been happening to the Palestinian people for generations mirrors what’s happened to us on Turtle Island. It’s maddening, especially knowing our tax dollars fund this genocide.
In these moments, we have to channel our rage and frustration, stay committed to our love, and hold onto the vision of collective liberation. Even if progress seems incremental, we must keep pushing in that direction.
Quannah
Mic drop.
I think about environmental racism a lot—how it’s playing out in every Indigenous community through extreme forms of extraction. It’s heartbreaking to see the direct impact on our communities and to realize how it’s spreading across the world. You start by thinking about how it affects your people, but then you realize, if we don’t stop this, it will spread like wildfire, and that’s exactly what’s been happening everywhere.
People are missing this crucial point, like with what’s happening in Gaza. Do you really think they’ll stop? They’ve destroyed everything, and yet they continue. “
Princess
I heard a quote from an older man who said, “It’s just a matter of time before we’re all Palestinians.” We have the opportunity to say no, to refuse to allow genocide to happen. The United States could have intervened by not arming Israel, but they didn’t. Now, it’s up to us, the people, to keep pressuring political leaders. Mother Earth can’t sustain much more of this destruction and bombing.

Quannah
Mother Earth can’t sustain much more. Just the other day, on the second of this month, we officially over-consumed to the point where Earth can’t regenerate. It’s terrifying to think about how we keep taking without giving back or fulfilling our responsibilities as a community of humans. Yes, Indigenous people are doing the work—80% of the world’s biodiversity is protected by Indigenous communities. The teaching of considering the next seven generations guides everything I do. Our identities and how we walk in this world are political.”
Princess
There’s also the element of threat—how simply existing can be seen as a threat, especially when you remind others of the deep ties we have to our lands. This is particularly true when standing against big oil or, as I often compare, the Palestinian people. Their very existence is a reminder of the ongoing Nakba, a symbol of resistance against the occupation and extraction of their lands.
I want to uplift the voices of those on the ground working toward peace, even though it’s hard. Peace cannot come without justice. I follow both Palestinian and Israeli individuals who are striving to have these difficult conversations, despite not being popular. It’s essential to try and reach a place where we see each other as full human beings because right now, that’s what’s missing—recognizing each other’s humanity.
Quannah
Social media is a powerful tool, but it can also expose you to hate, especially when you have influence.
It’s vital to support one another, especially when facing such hatred. When we heal ourselves, we contribute to healing our communities. I try to communicate this to our Native men, who may struggle with seeking help. Getting help doesn’t just benefit the individual—it strengthens the community because, as we heal, we naturally give back.
Often, those who express hate are themselves deeply hurt, raised in environments that foster hatred and ignorance. While it’s not our responsibility to help them unlearn their racism, I believe it’s important to approach them with love. I’ve had conversations with people raised in very right-wing, racist households, and by giving them grace and educating them, I’ve seen them change.
Princess
Exactly. What you’re saying is crucial. It’s disturbing how many people, even within our circles, have remained silent on what’s happening in Palestine and Gaza. When we reflect on historical atrocities like the Holocaust, people often say, “How could that have happened? I wouldn’t have acted that way.” But the truth is, many of us are complicit through our silence. We need to examine our relationship with capitalism, money, and the ways in which fear governs us.
Fear is powerful—whether it’s fear of not being able to feed our families, fear of being doxxed, or fear of the consequences of speaking out. But it takes a deep, spiritual perspective to push past that fear and say, “Despite my fear, I need to speak up.”
Quannah
As you’ve highlighted, Indigenous teachings and values are crucial in understanding the broader context of our struggles. Speaking as a Two Spirit, Indigenous person inherently intertwines with these issues, and it’s a powerful testament to our resilience and dedication.
Reconnecting with the land and our ancestors is indeed a profound way to ground oneself and find clarity in advocating for what’s right. Your strength and commitment are evident, and it’s this dedication that drives meaningful change.
Princess
That’s so beautiful, Quannah. I hope that one day we can all come together to help the Palestinian people rebuild and heal. We’ve discussed many intense issues and brought our ancestors into the conversation. Let’s take 20 seconds of silence to honor all those lives that are transitioning.
Moment of silence…

In Conversation:
Photography by:
Topics:
Filed under:
Location:
{
"article":
{
"title" : "Quannah ChasingHorse on Joyful Resistance",
"author" : "Quannah ChasingHorse, Princess Daazhraii Johnson",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/quannah-chasinghorse-joyful-resistance",
"date" : "2024-09-20 00:00:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Thumb-QuannahRose_EIP_FILM_087.jpg",
"excerpt" : "",
"content" : "Quannah’s joyful resistance embodies the beauty of being the revolution. She embodies strength, beauty, power and we are here for it. Quannah ChasingHorse (she/her) is a Han Gwich’in and Sicangu/Oglala Lakota land protector, climate justice activist, and fashion model from Eagle Village, Alaska, and South Dakota tribes. Born on the Navajo Nation, she grew up in various locations and raised in a subsistence lifestyle with her family, Quannah’s connection to her homelands and people guides her activism. Quannah is a model who uses her platform to promote Indigenous representation and sustainability. She has worked with top fashion houses and appeared on the covers of Vogue Mexico, Vogue China, and has received numerous accolades, including Teen Vogue’s Top 21 under 21, Forbes 30 under 30, and USA Today’s Women of the Year. In June 2022, she premiered “Walking Two Worlds” at the TriBeCa Film Festival, a documentary about her family’s fight to protect their sacred lands and Indigenous representation.Quannah was in conversation with her Auntie, Princess Daazhraii Johnson, an Emmy-nominated writer/producer of Gwich’in and Ashkenazi descent, who lives on the traditional territory of lower Tanana Dene lands in Alaska. A co-founder of Deenaadàį’ Productions, Princess is dedicated to narrative sovereignty for Alaska Native filmmakers. She serves on the boards of Native Movement and NDN Collective, is a 2023 Grist 50 Climate Leader, and has been deeply involved in protecting Native Ways of Life. With a background as a Sundance Film Alum, SAG-AFTRA and Television Academy member, and credits including the Peabody Award-winning PBS Kids series “Molly of Denali” and HBO’s “True Detective: Night Country”, she is currently developing her first feature film, an adaptation of “Two Old Women,” which she will direct.QuannahI really appreciate this platform because it gives us an opportunity to reach out to people, especially within the Native community. Just yesterday, a Native guy got upset with me and Dallas Goldtooth for speaking out about Palestine, the Congo, Sudan, and other places where people need voices right now. He told us we should focus on our own people, saying those others don’t do anything for us. This is what it looks like—connecting, building bridges, and recognizing the similarities in our struggles.PrincessYou’re diving right into the question of what collective liberation really is. I think you’re highlighting a crucial aspect: creating a shared understanding. Given how our histories have been so intentionally suppressed, introducing people to the true histories is essential for reaching that shared understanding and for us to see ourselves in each other. So, I’m curious, what else does collective liberation look like to you?QuannahTo me, collective liberation looks like what many of us are already doing—looking beyond our immediate experiences and making connections with what’s happening elsewhere. We recognize that if the same events were unfolding in our communities, as they have throughout history, we have a responsibility not just to uplift those voices but to show the world that we stand in solidarity.Collective liberation means not just standing together but also utilizing tools like social media to access and share information. It’s alarming to see not only uninformed individuals but also political figures spreading misinformation and perpetuating harm, often through internalized racism. Collective liberation is about showing up and doing your part, whatever that looks like. It’s important for people to understand that there’s no one way to show up.PrincessAs you were talking, I was reflecting on a recent trip I took to Arctic Village and Circle, where I had an incredible interview with our elder, First Traditional Chief Trimble Gilbert. We were at a Gwich’in gathering, and I interviewed him about our traditional dances, like the fiddle dances and the rope dance, where everyone ends up holding hands. He talked about how we’ve made these dances our own—how the way we play the fiddle is uniquely Gwich’in, and those dances are uniquely ours. It’s a metaphor for how, in our community, coming from a background of survival, we had to work together and unify.As someone who is both Gwich’in and Ashkenazi Jewish, and born in the West Bank, I think a lot about borders—physical fences and walls, and how people and animals around the world have been displaced.Collective liberation is also about our animal relatives, our waterways. If we could take away nationalism, weapons, bombs, and all the things that cause destruction, I think we’d see more clearly that we are in a climate crisis.QuannahExactly. Growing up, I learned not just through words, but by example, that we see ourselves as part of nature—not above or below it, but as nature itself. When we protect nature, we’re protecting ourselves, our bloodlines, and our animal relatives. That teaching is deeply ingrained in me, and it’s hard to comprehend that others don’t see the world that way.As you mentioned, we need to rematriate society—how we move and show up in this world. The world could truly benefit from our teachings, which are rooted in love. But that’s what’s missing today—humanity and love.You don’t have to post every five minutes or put your life on the line, but many have, and that’s the strength of our people—we’ll put our lives on the line for what we believe in, for our community’s right to clean water, clean air, and control over our lands.Being raised in a matriarchy, I was taught to amplify women’s voices and to stand behind strong, knowledgeable women who represent us well. Everything we do is fueled by love. I see that love in you, in my mom, my aunties, and that’s how I navigate the world—with love for my people, my community, our animals, our waters, and other Indigenous communities that need to be heard.PrincessYes, everything truly does happen for a reason, and it’s essential to acknowledge that we’re riding the wave of thousands of years of Indigenous knowledge and wisdom. I see our lands, our animals, our mountains—everything we hold sacred. You carry all of this with such care and power, and that’s absolutely vital.Listening is something we both value deeply, and in a world full of noise, we’ve been blessed to find quiet moments on the land, on the Yukon River, listening to the river’s song, receiving messages from the Creator. These moments ground us and remind us of our responsibility to educate others, to help them see that our liberation is interconnected with the liberation of all beings.I agree that our Gwich’in worldview brings a unique blend of emotional and spiritual intelligence. This is where our humanity comes in. Each of us has a role, and sometimes it’s not about finding the perfect words but about making connections through storytelling, poetry, or images that resonate with others.Collective liberation means having the freedom to love as we choose, to love who we want in the way we want. This is especially significant for Indigenous women, given our history—forced sterilization, the removal of our children. To be comfortable and aligned with our power as Indigenous women, to make choices for ourselves, is a profound political statement.Your words are powerful, and they articulate the deep connections we have to each other, our lands, and our responsibilities.Quannah Absolutely. The ongoing crisis of Missing and Murdered Indigenous Women and People (MMIW/P) starkly illustrates how our very existence as Indigenous people is deeply political. The fact that thousands of Native women have gone missing or been murdered, with so many cases unresolved, highlights a systemic disregard for our lives.This is why you see Native people advocating so fiercely for our communities. We are the ones who carry the weight of these issues, not just because they affect us, but because we have a responsibility to our ancestors, our communities, and future generations. We’ve all witnessed the effects of the climate crisis and that we are truly dependent upon one another. We’ve seen how politics has infiltrated every aspect of our lives, where even the fight for clean air and water, which should be a fundamental right, has become a political battleground. When we feel liberated, when we reclaim our power, we challenge the very foundations of that system.We are still here, and we are more than our struggles.We are a people of strength, wisdom, and love, and that’s something no system can take away from us.PrincessIt’s mind-blowing to witness the devastation in Palestine, especially in Gaza, where the destruction has created an environmental and climate disaster affecting all living beings in the region.You mentioned MMIW, and it struck me because violence against the land is intertwined with violence against women—it’s all connected. I think about the extractive resource industry and how deeply it ties into the dehumanization we’ve faced in the media, going back to dime novels and cartoons that depicted Indigenous and Muslim people as less than human. I want to draw a parallel for our Indigenous brothers and sisters: what has been happening to the Palestinian people for generations mirrors what’s happened to us on Turtle Island. It’s maddening, especially knowing our tax dollars fund this genocide.In these moments, we have to channel our rage and frustration, stay committed to our love, and hold onto the vision of collective liberation. Even if progress seems incremental, we must keep pushing in that direction.QuannahMic drop.I think about environmental racism a lot—how it’s playing out in every Indigenous community through extreme forms of extraction. It’s heartbreaking to see the direct impact on our communities and to realize how it’s spreading across the world. You start by thinking about how it affects your people, but then you realize, if we don’t stop this, it will spread like wildfire, and that’s exactly what’s been happening everywhere.People are missing this crucial point, like with what’s happening in Gaza. Do you really think they’ll stop? They’ve destroyed everything, and yet they continue. “PrincessI heard a quote from an older man who said, “It’s just a matter of time before we’re all Palestinians.” We have the opportunity to say no, to refuse to allow genocide to happen. The United States could have intervened by not arming Israel, but they didn’t. Now, it’s up to us, the people, to keep pressuring political leaders. Mother Earth can’t sustain much more of this destruction and bombing.QuannahMother Earth can’t sustain much more. Just the other day, on the second of this month, we officially over-consumed to the point where Earth can’t regenerate. It’s terrifying to think about how we keep taking without giving back or fulfilling our responsibilities as a community of humans. Yes, Indigenous people are doing the work—80% of the world’s biodiversity is protected by Indigenous communities. The teaching of considering the next seven generations guides everything I do. Our identities and how we walk in this world are political.”PrincessThere’s also the element of threat—how simply existing can be seen as a threat, especially when you remind others of the deep ties we have to our lands. This is particularly true when standing against big oil or, as I often compare, the Palestinian people. Their very existence is a reminder of the ongoing Nakba, a symbol of resistance against the occupation and extraction of their lands.I want to uplift the voices of those on the ground working toward peace, even though it’s hard. Peace cannot come without justice. I follow both Palestinian and Israeli individuals who are striving to have these difficult conversations, despite not being popular. It’s essential to try and reach a place where we see each other as full human beings because right now, that’s what’s missing—recognizing each other’s humanity.QuannahSocial media is a powerful tool, but it can also expose you to hate, especially when you have influence.It’s vital to support one another, especially when facing such hatred. When we heal ourselves, we contribute to healing our communities. I try to communicate this to our Native men, who may struggle with seeking help. Getting help doesn’t just benefit the individual—it strengthens the community because, as we heal, we naturally give back.Often, those who express hate are themselves deeply hurt, raised in environments that foster hatred and ignorance. While it’s not our responsibility to help them unlearn their racism, I believe it’s important to approach them with love. I’ve had conversations with people raised in very right-wing, racist households, and by giving them grace and educating them, I’ve seen them change.PrincessExactly. What you’re saying is crucial. It’s disturbing how many people, even within our circles, have remained silent on what’s happening in Palestine and Gaza. When we reflect on historical atrocities like the Holocaust, people often say, “How could that have happened? I wouldn’t have acted that way.” But the truth is, many of us are complicit through our silence. We need to examine our relationship with capitalism, money, and the ways in which fear governs us.Fear is powerful—whether it’s fear of not being able to feed our families, fear of being doxxed, or fear of the consequences of speaking out. But it takes a deep, spiritual perspective to push past that fear and say, “Despite my fear, I need to speak up.”QuannahAs you’ve highlighted, Indigenous teachings and values are crucial in understanding the broader context of our struggles. Speaking as a Two Spirit, Indigenous person inherently intertwines with these issues, and it’s a powerful testament to our resilience and dedication.Reconnecting with the land and our ancestors is indeed a profound way to ground oneself and find clarity in advocating for what’s right. Your strength and commitment are evident, and it’s this dedication that drives meaningful change.PrincessThat’s so beautiful, Quannah. I hope that one day we can all come together to help the Palestinian people rebuild and heal. We’ve discussed many intense issues and brought our ancestors into the conversation. Let’s take 20 seconds of silence to honor all those lives that are transitioning.Moment of silence…"
}
,
"relatedposts": [
{
"title" : "Legalized Occupation: Dissecting Israel’s Plan to Seize Gaza",
"author" : "EIP Editors",
"category" : "",
"url" : "https://everythingispolitical.com/readings/legalized-occupation-dissecting-israels-plan-to-seize-gaza",
"date" : "2025-08-09 10:13:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover-Legalized_Occupation.jpg",
"excerpt" : "Israel’s newly approved plan to “take control” of Gaza City and other key areas of the enclave is being presented to the world as a security imperative. In reality, it is an extension of a long-standing settler-colonial project—another chapter in the ongoing dispossession of the Palestinian people.",
"content" : "Israel’s newly approved plan to “take control” of Gaza City and other key areas of the enclave is being presented to the world as a security imperative. In reality, it is an extension of a long-standing settler-colonial project—another chapter in the ongoing dispossession of the Palestinian people.The language of “control,” “buffer zones,” and “security perimeters” is not neutral. It is a calculated rhetorical strategy designed to obscure the material realities of occupation, annexation, and ethnic cleansing. This is not a temporary maneuver aimed at stability. It is the consolidation of power through the seizure of land, the dismantling of Palestinian civil society, and the deepening of Gaza’s humanitarian catastrophe—all in violation of international law.The Political Calculus Behind the OperationTo understand the decision, we must first acknowledge its political function for Prime Minister Benjamin Netanyahu. Facing mounting domestic discontent, the collapse of public trust, and arrest warrants from the International Criminal Court for war crimes, Netanyahu is cornered. His far-right coalition partners demand an uncompromising expansionist agenda, and his own political survival depends on delivering it.Occupation has always been a cornerstone of this political project. By launching a military campaign to seize Gaza’s largest urban center, Netanyahu signals strength to his base while sidestepping accountability for the escalating humanitarian disaster. That disaster is not collateral damage—it is a form of collective punishment meant to force submission. It is also a bargaining chip: an occupied, starved, and displaced population is easier to control and harder to resist.A Continuation of the NakbaThis plan is not an anomaly; it is the latest manifestation of a decades-long pattern. Since the Nakba of 1948, the forced displacement of Palestinians and the destruction of their communities have been central tools of state policy. In Gaza today, we see the same logic: empty the land of its people, destroy the infrastructure of life, and claim it under the guise of security.International law is explicit: annexation through military force is illegal. The Fourth Geneva Convention prohibits collective punishment and the transfer of an occupying power’s civilian population into occupied territory. Yet, as with the occupation of the West Bank and East Jerusalem, Israel has consistently acted with impunity—shielded by the political, financial, and military backing of powerful allies.The Humanitarian FrontGaza has already been described by UN officials as a “graveyard for children.” The enclave’s population has endured a near-total blockade for 18 years, compounded by repeated bombardments that have destroyed hospitals, schools, and basic infrastructure. According to the UN Office for the Coordination of Humanitarian Affairs (OCHA), the majority of Gaza’s 2.3 million residents have been displaced since the start of this latest escalation. Food insecurity is at catastrophic levels; medical supplies are almost nonexistent.Israel’s seizure of Gaza City—home to hundreds of thousands—will further collapse what remains of civilian life. Humanitarian organizations warn that the move will trigger mass displacement, deepen famine, and cut off the few remaining supply routes. These are not accidental outcomes. They are part of a strategy that weaponizes deprivation as a means of political control.Narrative as a BattlefieldThe battle over Gaza is not only military—it is discursive. The words chosen by political leaders and media outlets shape how the world understands, or misunderstands, what is unfolding. In Netanyahu’s framing, Israel is not occupying Gaza; it is “liberating” it from Hamas. In this telling, Palestinian civilians become invisible, reduced to collateral casualties in a counterterrorism campaign.This is why reframing is crucial. We must reject the sanitized vocabulary of “security zones” and “temporary control” and speak plainly: this is occupation, annexation, and the forcible seizure of Palestinian land. It is not liberation, it is domination. And it is not about peace, it is about power.Global ConnectionsIsrael’s actions in Gaza are not isolated from broader global struggles. From the forced removal of Indigenous peoples in North America to the apartheid regime in South Africa, the tactics of dispossession, militarization, and narrative control follow a familiar pattern. This is why solidarity movements around the world—led by Indigenous, Black, and other colonized peoples—see their own struggles reflected in Palestine’s.The link is not merely symbolic. Israel’s military technology, surveillance systems, and counterinsurgency tactics are exported globally, often marketed as “field-tested” in Gaza and the West Bank. These technologies underpin policing, border control, and repression from Ferguson to Kashmir. In this way, Gaza is both a site of profound local suffering and a laboratory for global authoritarianism.Discrediting the PlanIf the goal is to discredit this plan in the eyes of the international public, the strategy must be twofold: expose contradictions and center Palestinian agency.Expose contradictionsNetanyahu insists Israel does not seek to govern Gaza permanently, yet the seizure of land, establishment of military perimeters, and destruction of civilian infrastructure point toward long-term control.Israel claims to act in self-defense, yet the scale and method of its campaign far exceed any proportional response under international law.Center Palestinian agencyElevate Palestinian voices—journalists, doctors, teachers—who are documenting life under siege.Highlight grassroots forms of resilience and resistance that defy the portrayal of Palestinians as passive victims or inevitable threats.Name the enablersIdentify the governments, corporations, and financial institutions providing material or diplomatic cover for the occupation.Show how this complicity undermines their stated commitments to human rights and international law.Connect to global strugglesFrame Gaza as part of a worldwide resistance to settler colonialism, authoritarianism, and militarized capitalism.Build coalitions across movements to break the isolation that occupation depends upon.Everything Is PoliticalFrom a political-analyst perspective, the key insight is that this is not simply a geopolitical crisis—it is a crisis of narrative. If we accept the occupying power’s framing, we have already conceded the first battle. That is why the work of reframing—naming what is happening, connecting it to historical patterns, and centering the perspectives of the colonized—is not ancillary to the struggle; it is the struggle.In the end, Israel’s plan to seize Gaza is not about security—it is about sovereignty. Not Palestinian sovereignty, but the sovereignty of a state built on the denial of another people’s right to exist on their land. That is the truth the world must see clearly, and that is the truth we must continue to tell, relentlessly, until occupation becomes not a political fact but a historical memory."
}
,
{
"title" : "Ziad Rahbani and the Art of Creative Rebellion",
"author" : "Céline Semaan",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/ziad-rahbani-creative-rebellion",
"date" : "2025-07-28 07:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2025_7_for-EIP-ziad-rahbani.jpg",
"excerpt" : "When I turned fourteen in Beirut, I came across Ziad Rahbani’s groundbreaking work. I immediately felt connected to him, his words, his perspective and his unflinching commitment to liberation for our people and for Palestine. My first love introduced me to his revolutionary plays, his unique contributions to Arab music and very soon I had listened to all of his plays and expanded my understanding of our own culture and history.",
"content" : "When I turned fourteen in Beirut, I came across Ziad Rahbani’s groundbreaking work. I immediately felt connected to him, his words, his perspective and his unflinching commitment to liberation for our people and for Palestine. My first love introduced me to his revolutionary plays, his unique contributions to Arab music and very soon I had listened to all of his plays and expanded my understanding of our own culture and history.Ziad Rahbani’s passing marks more than the end of a brilliant life—it marks the closing of a chapter in the cultural history of our region. His funeral wasn’t just a ceremony, it was a collective reckoning; crowds following his exit from the hospital to the cemetery. The streets knew what many governments tried to forget: that he gave voice to the people’s truths, to our frustrations, our absurdities, our grief, and our undying hope for justice. Yet he died as an unsung hero.Born into a family that shaped the musical soul of Lebanon, Ziad could have taken the easy path of replication. Instead, he shattered the mold. From his early plays like Sahriyye and Nazl el-Surour, he upended the elitism of classical Arabic theatre by placing the working class, the absurdity of war, and the contradictions of society at the center of his work. He spoke like the people spoke. He made art in the language of the taxi driver, the student, the mother waiting for news of her son.In his film work Film Ameriki Tawil, Ziad used satire not only as critique, but as rebellion. He exposed the rot of sectarian politics in Lebanon with surgical precision, never sparing anyone, including the leftist circles he moved in. He saw clearly: that political purity was a myth, and liberation required uncomfortable truths. His work, deeply rooted in class consciousness, refused to glorify any side of a war that tore his country apart.And yet, Ziad Rahbani never lost his clarity on Palestine. While others wavered, diluted their positions, or folded into diplomacy, Ziad remained steadfast. His support for the Palestinian struggle was not an aesthetic position—it was a political and ethical commitment. And he did so not as an outsider or savior, but as someone who understood that our futures are intertwined. That the liberation of Palestine is integral to the liberation of Lebanon. That anti-sectarianism and anti-Zionism are not contradictions, but extensions of each other.He brought jazz into Arabic music not as a novelty, but as a defiant act of cultural fusion—proof that our identities are not fixed, but fluid, diasporic, ever-evolving. He blurred the lines between Western musical forms and Arabic lyricism with intention, not mimicry. His collaborations with his mother, the legendary Fairuz, carried the weight of generational dialogue, but his own voice always broke through—wry, melancholic, grounded in the everyday.Ziad taught us that being a revolutionary doesn’t require a uniform or a slogan. It requires listening. It requires holding complexity, laughing in the face of despair, and making room for joy even when the world is on fire. He reminded us that culture is the deepest infrastructure of any resistance movement. He refused to be sanitized, censored, or simplified.As we mourn him, we also inherit his clarity. For artists, for organizers, for thinkers: Ziad Rahbani gave us a blueprint. Create without permission. Tell the truth. Fight for Palestine without compromising your own roots. And never forget that the people will always hear what is real.He was, and will always be, a compass for creative rebellion."
}
,
{
"title" : "Saul Williams: Nothing is Just a Song",
"author" : "Saul Williams, Collis Browne",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/saul-williams-interview",
"date" : "2025-07-21 21:35:46 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_SaulWilliams_Shot_7_0218.jpg",
"excerpt" : "Saul Williams: Many artists would like to believe that there is some sort of sublime neutrality that art can deliver, that it is beyond or above the idea of politics. However, art is sometimes used as a tool of Empire, and if we are not careful, then our art is used as propaganda, and thus, it becomes essential for us to arm our art with our viewpoints, with our perspective, so that it cannot be misused. I have always operated from the position that all my work carries politics in it, that there are politics embedded in it. And I’ve never really understood, if you are aiming to be an artist, why you wouldn’t aim to speak directly to the times. Addressing the political doesn’t have to take away from the personal intimacy of your work.",
"content" : "Collis Browne: Is all music and art really political?Saul Williams: Many artists would like to believe that there is some sort of sublime neutrality that art can deliver, that it is beyond or above the idea of politics. However, art is sometimes used as a tool of Empire, and if we are not careful, then our art is used as propaganda, and thus, it becomes essential for us to arm our art with our viewpoints, with our perspective, so that it cannot be misused. I have always operated from the position that all my work carries politics in it, that there are politics embedded in it. And I’ve never really understood, if you are aiming to be an artist, why you wouldn’t aim to speak directly to the times. Addressing the political doesn’t have to take away from the personal intimacy of your work.Even now, we are reading the writings of Palestinian poets in Gaza and the West Bank, not to mention those who are part of the diaspora, who are charting their feelings and intimate experiences while living through a genocide. These works of art are all politically charged because they are charged with a reality that is fully suppressed by oppressive networks and powers that control them.Shakespeare’s work was always political. He found a way to speak about power to the face of power, knowing they would be in the audience. But also found a way to play with and talk to the “groundlings,” the common people who were in the audience as well.Collis Browne: Was there a moment when you realized that your music could be used as a tool of resistance?Saul Williams: Yeah, I was in third grade, about eight or nine years old. I had been cast in a play in my elementary school. I loved the process of not only performing, but of sitting around the table and breaking down what the language meant and what the objective and the psychology of the character was, and what that meant during the time it was written. I came home and told my parents that I wanted to be an actor when I grew up. My father had the typical response: “I’ll support you as an actor if you get a law degree.” My mother responded by saying, “You should do your next school report on Paul Robeson, he was an actor and a lawyer.”So I did my next school report on Paul Robeson. And what I discovered was that here was an African American man, born in 1898, who had come to an early realization as an actor that the messages of the films he was being cast in—and he was a huge star—went against his own beliefs, his own anti-colonial and anti-imperial beliefs. In the 1930s, he started talking about why we needed to invest in independent cinema. In 1949, during the McCarthy era, he had his passport taken from him so he could no longer travel outside of the US, because he refused to acknowledge that the enemies of the US were his enemies as well. He felt there was no reason Black people should be signing up to fight for the US Empire when they were going home and getting lynched.In 1951, he presented a mandate to the UN called “We Charge Genocide.” In it he charged the US Government with the genocide of African Americans because of the white mobs who were lynching Black Americans on a regular basis. [Editor’s note: the petition charges the US Government with genocide through the endorsement of both racism and “monopoly capitalism,” without which “the persistent, constant, widespread, institutionalized commission of the crime of genocide would be impossible.”] When Robeson met with President Truman, Truman said, “I’d like to respond, but there’s an election coming up, so I have to be careful.”Paul Robeson sang songs of working-class people, songs that trade unionists sang, songs that miners sang, songs that all types of workers sang across the world. He identified with the workers and with the working class, regardless of his fame. He was ridiculed by the American Government and even had his passport revoked for his activism. At that early age, I learned that you could sing songs that could get you labeled as an enemy of the state.I grew up in Newburgh, New York, which is about an hour upstate from New York City. One of my neighbors would often come sing at my father’s church. At the time, I did not understand why my dad would allow this white guy with his guitar or banjo to come sing at our church when we had an amazing gospel choir. I couldn’t understand why we were singing these school songs with this dude. When I finally asked my parents, they said, “You have to understand that Pete—they were talking about Pete Seeger—is responsible for popularizing some of the songs you sing in school.” He wrote songs like “If I Had a Hammer,” and he too was blacklisted by the US government because of the songs he chose to sing and the people he chose to sing them for, and the people he chose to sing them with. I learned at a very early age that music and art were full of politics. Enough politics to get you labeled as the enemy of the state. Enough politics to get your passport taken, or to be imprisoned.I was also learning about my parents’ peers, artists whom they loved and adored. Artists like Sonia Sanchez, Amiri Baraka, and Nikki Giovanni, all from the Black Arts Movement. Larry Neal and Amiri Baraka made a statement when they started the Black Arts Repertory Theatre School in Harlem that said essentially that all art should serve a function, and that function should be to liberate Black minds.It is from that movement that hip-hop was born. I was lucky enough to witness the birth of hip-hop. At first, it was playful, it was fun, but by the mid to late 1980s, it began finding its voice with groups like Public Enemy, KRS-One, Queen Latifa, Rakim, and the Jungle Brothers. These are groups that started using and expressing Black Liberation politics in the music, which uplifted it, made it sound better, and made it hit harder. The first gangster rap was that… when it was gangster, when it was directly challenging the country it was being born in.As a teenager, I identified as a rapper and an actor. I would argue with school kids who insisted, “It’s not even music. They’re just talking.” I would have to defend hip-hop as music, sometimes even to my parents, who found the language crass. But when I played artists like KRS-One and Public Enemy for my parents, they said, “Oh, I see what they’re doing here.”When Public Enemy rapped, “Elvis was a hero to most, But he never meant shit to me you see, Straight up racist that sucker was, Simple and plain, Motherfuck him and John Wayne, ‘Cause I’m Black and I’m proud, I’m ready and hyped plus I’m amped, Most of my heroes don’t appear on no stamps,” my parents were like Amen. They understood. They understood why I needed to blast that music in my room 24/7. They understood.When the music spoke to me in that way, suddenly I could pull off moves on the dance floor like doing a flip that I couldn’t do before. That’s the power of music. That’s power embedded in music. That’s why Fela Kuti said that music is the weapon of the future. And, of course, there’s Nina Simone and Billie Holiday. What’s Billie Holiday’s most memorable song? “Strange Fruit.” That voice connected, was speaking directly to the times she was living in. It transcended the times, where to this day, when you hear this song and you understand that the “strange fruit” hanging from Southern trees are Black people who have been lynched, you understand how the power of the voice, when you connect it to something that is charged with the reality of the times, takes on a greater shape.Collis Browne: Public Enemy broke open so much. I grew up in Toronto, in a mostly white community, but I was into some of the bigger American hip-hop acts who were coming out. Public Enemy rose to a new level. Before them, we were only connecting with punk and hardcore music as the music of rebellion.Saul Williams: Public Enemy laid down the groundwork for what hip-hop is: “the voice of the voiceless.” It was only after Public Enemy that you saw the emergence of huge groups in France, Germany, Bulgaria, Egypt, and across the world. There were big acts before them. Run DMC, for instance, but when Public Enemy came out, marginalized groups heard their music and said, “That’s for us. Yes, that’s for us.” It was immediately understood as music of resistance.Collis Browne: What have you seen or listened to out in the world that has a clear political goal, but has been appropriated and watered down?Saul Williams: We can stay on Public Enemy for that. Under Secretary Blinken, Chuck D became a US Global Music Ambassador during the genocide in Gaza. There are photos of him standing beside Secretary Blinken, accepting that role, while understanding that the US has always used music as a cultural propaganda tool to express soft power. I remember learning about how the US uses this “soft power” when I was working in the mid-2000s with a Swiss composer, who has now passed, named Thomas Kessler. He wrote a symphony based on one of my books, Said the Shotgun to the Head, and we were performing it with the Cologne, Germany symphony orchestra, when I heard from the head of the orchestra that, in fact, their main financier was the US Government through the CIA.During the Cold War, it was crucial for the American Government to put money into the arts throughout Western Europe to try to express this idea of “freedom,” as opposed to what was happening in the Eastern (Communist) Bloc. So it was a long time between when the US Government started enlisting musicians and other artists in their propaganda campaigns and when I encountered this information.There’s a documentary called Soundtrack to a Coup d’État, which talks about how the US Government used (uses) music and musicians to co-opt movements and propagate the idea of American freedom and democracy outside the US in the hope of winning over the citizens of other countries without them even realizing that so much of that art is there to question the system itself, not to celebrate it. Unfortunately, there are situations in which an artist’s work is co-opted to be used as propaganda, and the artist buys into it. They become indoctrinated, and you realize that we’re all susceptible to the possibility of taking that bait."
}
]
}