{"id":18573,"date":"2026-03-17T18:33:54","date_gmt":"2026-03-17T17:33:54","guid":{"rendered":"https:\/\/editorialconcreta.org\/?post_type=sight-projects&#038;p=18573"},"modified":"2026-04-09T12:13:33","modified_gmt":"2026-04-09T10:13:33","slug":"a-drone-among-the-flowers-jumana-manna-foragers-2022","status":"publish","type":"sight-projects","link":"https:\/\/editorialconcreta.org\/en\/projects\/jumana-manna-foragers-2022\/","title":{"rendered":"Jumana Manna, Foragers, 2022"},"content":{"rendered":"\n<div class=\"wp-block-columns are-vertically-aligned-top cnvs-block-core-columns-1710496536925 is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:70%\">\n<div class=\"cs-entry__post-meta \">\n<div class=\"cs-meta-category\">\n<ul class=\"post-categories\">\n\t<li><a href=\"https:\/\/editorialconcreta.org\/en\/online\/\" rel=\"category tag\">ONLINE<\/a><\/li>\n\t<li>SCREENS<\/li><\/ul><\/div><\/div>\n\n\n\n<h1 class=\"wp-block-heading\" style=\"font-size:2.4rem;line-height:1.2\"><span>Jumana Manna, Foragers, 2022<\/span><\/h1>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-top share-linea cnvs-block-core-column-1710496536916 is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div class=\"cnvs-block-share-buttons cnvs-block-share-buttons-1710420992173 cnvs-block-share-buttons-layout-simple is-style-pk-share-buttons-simple-light\" >\t\t<div class=\"pk-share-buttons-wrap pk-share-buttons-layout-simple pk-share-buttons-scheme-gutenberg-block pk-share-buttons-mode-php pk-share-buttons-mode-rest\" data-post-id=\"18573\" data-share-url=\"https:\/\/editorialconcreta.org\/en\/projects\/jumana-manna-foragers-2022\/\" >\n\n\t\t\t\n\t\t\t<div class=\"pk-share-buttons-items\">\n\n\t\t\t\t\t\t\t\t\t\t<div class=\"pk-share-buttons-item pk-share-buttons-twitter pk-share-buttons-no-count\" data-id=\"twitter\">\n\n\t\t\t\t\t\t\t<a href=\"https:\/\/x.com\/share?&#038;text=Jumana%20Manna%2C%20Foragers%2C%202022&#038;via=EdConcreta\/&#038;url=https:\/\/editorialconcreta.org\/en\/projects\/jumana-manna-foragers-2022\/\" class=\"pk-share-buttons-link\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<i class=\"pk-share-buttons-icon pk-icon pk-icon-twitter\"><\/i>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-share-buttons-item pk-share-buttons-facebook pk-share-buttons-no-count\" data-id=\"facebook\">\n\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.facebook.com\/sharer.php?u=https:\/\/editorialconcreta.org\/en\/projects\/jumana-manna-foragers-2022\/\" class=\"pk-share-buttons-link\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<i class=\"pk-share-buttons-icon pk-icon pk-icon-facebook\"><\/i>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-share-buttons-item pk-share-buttons-linkedin pk-share-buttons-no-count\" data-id=\"linkedin\">\n\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&#038;url=https:\/\/editorialconcreta.org\/en\/projects\/jumana-manna-foragers-2022\/\" class=\"pk-share-buttons-link\" target=\"_blank\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<i class=\"pk-share-buttons-icon pk-icon pk-icon-linkedin\"><\/i>\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div><\/div>\n<\/div>\n\n\n<div class=\"cnvs-block-contributors cnvs-block-contributors-1710415239167\" >\t\t<div class=\"widget-body\">\n\t\t\t\t\t\t\t<div class=\"pk-widget-contributors\">\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-item\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-avatar\">\n\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/author\/jumana-manna\/\" rel=\"author\">\n\t\t\t\t\t\t\t\t\t\t\t<img alt='' src='https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_J.jpg' srcset='https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_J.jpg 2x' class='avatar avatar-80 photo avatar-default' height='80' width='80' \/>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-data\">\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<h6 class=\"author-name\">\n\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/author\/jumana-manna\/\" rel=\"author\">\n\t\t\t\t\t\t\t\t\t\t\tJumana Manna\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/h6>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"author-description pk-color-secondary\">\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"elementToProof\">Artista visual y cineasta. Su obra explora&hellip;\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t<\/div>\n\n<div class=\"cnvs-block-contributors cnvs-block-contributors-1773766925359\" >\t\t<div class=\"widget-body\">\n\t\t\t\t\t\t\t<div class=\"pk-widget-contributors\">\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-item\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-avatar\">\n\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/author\/andrea-franco\/\" rel=\"author\">\n\t\t\t\t\t\t\t\t\t\t\t<img alt='' src='https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_A.jpg' srcset='https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_A.jpg 2x' class='avatar avatar-80 photo avatar-default' height='80' width='80' \/>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"pk-author-data\">\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t<h6 class=\"author-name\">\n\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/editorialconcreta.org\/en\/author\/andrea-franco\/\" rel=\"author\">\n\t\t\t\t\t\t\t\t\t\t\tAndrea Franco\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/h6>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"author-description pk-color-secondary\">\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"elementToProof\">Comisaria de cine y artes visuales. Colabora&hellip;\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t<\/div>\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"720\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1.jpg\" alt=\"\" class=\"wp-image-18468\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1.jpg 1280w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-1248x702.jpg 1248w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-768x432.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-380x214.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-800x450.jpg 800w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-1160x653.jpg 1160w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Foragers-2-1-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column intro_column_enlinea is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:1300px\">\n<p>The Online section of <em>Concreta<\/em>\u2019s website is structured around three spaces: Relator\u00edas, Conservatorios, and Pantallas, the latter dedicated to the presentation of audiovisual works accompanied by critical essays. In 2026, curator Andrea Franco has conceived for Pantallas a programme of four films that will unfold throughout the year.<\/p>\n\n\n\n<p><em>The selection of these films was guided very intuitively by the premise that each one would be released with the arrival of a new season. Some are steeped in luminosity, others in a crepuscular atmosphere. In each narrative, something belongs more properly to spring (such as gathering flowering plants), to summer (a time of year conducive to periods of idleness), to autumn (through the idea of a change of cycle, of transformation), and to winter (a time of retreat, deep reflection, and solitude).<\/em><\/p>\n\n\n\n<p><em>At the same time, and in keeping with Concreta\u2019s project, these titles engage with some of the social, political, and cultural questions that have appeared in the journal in recent years: reflections on identity and belonging to a place; exile and migration; the problems of communication through language; tensions between groups of different backgrounds; and the spaces of respite that are created when a community takes shape. Always poised between fiction and documentary, they inhabit the natural hybridity that defines much of contemporary cinema, where the image stands as a faithful reflection of an uncertain and changing time.<\/em><\/p>\n\n\n\n<p>The first in Andrea\u2019s curated selection is <em>Foragers<\/em> (2022), by Palestinian artist and filmmaker Jumana Manna, a film that, moving between documentary and fiction, examines the political and cultural tensions surrounding the gathering of wild plants in Palestine. The text that follows, written by Andrea Franco, accompanies this first instalment of the programme.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Title:<\/strong> Foragers<br><strong>Author:<\/strong> Jumana Manna<br><strong>Year: <\/strong>2022<br><strong>Lenght: <\/strong>65 minutos<br><strong>Credit:<\/strong> Film and stills courtesy of the artist<\/p>\n\n\n\n<p><strong>*The video will be available to watch from 18 March to 19 April.<\/strong><\/p>\n\n\n\n\n\n<p><\/p>\n\n\n\n<p><strong>A Drone Among the Flowers<br>By Andrea Franco<\/strong><\/p>\n\n\n\n<p class=\"test\">From a bird\u2019s\u2011eye view, a drone closely observes the movements of a man gathering wild plants in the Golan Heights. A melody of unhuman, metallic sounds accompanies the shot\u2014a propeller cutting through the wind, distant bells, a rhythmic flute, like a respirator. Image and sound immediately evoke one of the familiar visions of war: the pointer of a military drone spotting a human target.  <\/p>\n\n\n\n<p>Without yet imagining, in the year it was made, the terrible turn of events in Palestine and the West Bank, <em>Foragers<\/em> places us in one of the many scenes of tension in which Arabs and Jews have been living for almost eighty years in the face of the expansion of settler colonies and under the laws of the Israeli army. In a mountainous region teeming with certain wild plants, another kind of battle is being waged. <\/p>\n\n\n\n<p><em>Akkoub<\/em> (a thistle with medicinal properties) and <em>za&#8217;atar<\/em> (a mixture of thyme, sumac, hyssop, and marjoram, essential in the cuisine of countries such as Lebanon, Syria, Turkey, and Palestine) grow abundantly in the valleys and hills where Palestinian communities have harvested these plants for generations for personal consumption.<\/p>\n\n\n\n<p>In the seventies, Israel designated <em>za\u2019atar<\/em> a protected species, and since 2011 it has prohibited Arabs from harvesting <em>za\u2019atar <\/em>and <em>akkoub<\/em> under penalty of fines and punishment, forcing them to buy those grown in the kibbutzim.<\/p>\n\n\n\n<p>With an evocative hybridization of fiction and documentary, alternating small scenes from everyday life with slightly dramatized situations, Jumana Manna reveals the beauty and resilience of this traditional practice and its criminalization in the courts.<\/p>\n\n\n\n<p class=\"test\">The film follows several gatherers (including the director\u2019s own parents) and captures their free, light movements at ground level. In a mysterious sequence, the camera seems to become the conscience of nature, like a spirit wandering among the plants or running along the bark of trees; and as such, as a conscience, it is quickly crushed by the sound of machinery leveling the ground in the distance. <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"841\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24.jpg\" alt=\"\" class=\"wp-image-18576\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24.jpg 1500w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-1248x700.jpg 1248w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-768x431.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-380x213.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-800x449.jpg 800w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-1160x650.jpg 1160w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.13.24-1200x673.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><figcaption class=\"wp-element-caption\">Jumana Manna, <em>Foragers <\/em>(still), 2022.<\/figcaption><\/figure>\n\n\n\n<p class=\"test\">In contrast to these mobile and fragile shots, the court hearings that Palestinians must attend when they are caught foraging are filmed in rigid, fixed frames. These scenes, based on real situations and co\u2011written with law scholar Rabea Eghbariah, reveal the harassment and intimidation exercised by Israeli authorities in the occupied territories. Prohibiting the gathering of wild plants is just one of the many forms of occupation, and Israel\u2019s intervention in a territory it claims to control reproduces practices typical of the long history of colonialism and slavery\u2014social domination and cultural appropriation.  <\/p>\n\n\n\n<p>Very occasionally, someone like Samir refuses to pay the fines or stop collecting, but only in the realm of fiction. Through her artistic practice, Manna allows her neighbors to confront this real and frequent fear and even challenge it, turning the set into a place of liberation and subversion. <\/p>\n\n\n\n<p class=\"test\">Jumana Manna\u2019s artistic work has developed with remarkable consistency from her first sculptures to her films. It is easy to see in an early installation such as <em>Menace of Origins<\/em> (2014) the forms, objects, and ideas that take shape in shots from <em>Foragers<\/em>: archaeology, ruins, dispossession. As a visual artist, she has conceptualized the different forms of violence perpetrated against Palestine and other colonized societies, while as a filmmaker she has focused on questioning the real meaning behind the different <em>forms of preservation<\/em> devised by power structures: the preservation of folk music in <em>A Magical Substance Flows into Me<\/em> (2016); the preservation of seeds in gene banks in <em><em>Wild Relatives<\/em><\/em> (2018); the preservation of protected species in <em>Foragers<\/em>. Behind each of these decisions lies a perverse hegemony. <\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"984\" height=\"732\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014-984x732.jpg\" alt=\"\" class=\"wp-image-18470\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014-984x732.jpg 984w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014-768x571.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014-380x283.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014-800x595.jpg 800w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/02\/Menace-of-Origins-2014.jpg 1000w\" sizes=\"auto, (max-width: 984px) 100vw, 984px\" \/><figcaption class=\"wp-element-caption\">Jumana Manna, <em>Menace of Origins<\/em>, 2014. <\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"test\">In the film, a new drone view now flies over the remains of Akbara, a village whose inhabitants were expelled in 1948. \u201cMy parents lived here,\u201d \u201cThat was the courtyard where we played,\u201d say two women walking among the ruins. Only Zeidan Hajib lives here now with his dogs, among these traces of the Nakba.  <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"838\" src=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13.jpg\" alt=\"\" class=\"wp-image-18579\" srcset=\"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13.jpg 1500w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-1248x697.jpg 1248w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-768x429.jpg 768w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-380x212.jpg 380w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-800x447.jpg 800w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-1160x648.jpg 1160w, https:\/\/editorialconcreta.org\/wp-content\/uploads\/2026\/03\/Screenshot-2026-03-18-at-11.10.13-1200x670.jpg 1200w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\" \/><figcaption class=\"wp-element-caption\">Jumana Manna, <em>Foragers <\/em>(still), 2022.<\/figcaption><\/figure>\n\n\n\n<p>The director has mentioned the writings of Ann Laura Stoler and her concept of <em><em>ruination<\/em><\/em><a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a>. \u201cIn contrast to the romantic view of ruins, <em>ruination<\/em> refers to their active state, both as a force of destruction and as something that suffers perpetual violence.\u201d<a href=\"#_ftn2\" id=\"_ftnref2\">[2]<\/a> However, despite everything, it is also \u201csomething from which life can spring,\u201d<a href=\"#_ftn3\" id=\"_ftnref3\">[3]<\/a> and searching for food among the ruins is its most eloquent result.<\/p>\n\n\n\n<p>Lush greenery continues to envelop everything<a href=\"#_ftn4\" id=\"_ftnref4\">[4]<\/a>. <em>Akkoub<\/em> and <em>za\u2019atar,<\/em> whose seeds are scattered by the wind, are metaphors for Palestinian resistance; they will never die. Nature belongs to no one\u2014if anything, to all the non\u2011human species that inhabit it with lustful devotion, without walls or barbed wire. At night, when the patrols sleep, they are the absolute masters of the fields. <br>   <\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Notes:<\/strong><\/p>\n\n\n\n[1] STOLER, ANN LAURA: I<em><a href=\"#_ftnref1\" id=\"_ftn1\">mperial Debris: On Ruins and Ruination<\/a><\/em>, Duke University Press, Durham, 2013.<\/p>\n\n\n\n<p><a href=\"#_ftnref2\" id=\"_ftn2\">[2]<\/a> <a href=\"https:\/\/www.youtube.com\/watch?v=l3d5aFcRZrQ\">An evening with Jumana Manna, Columbia University &amp; Center for Palestine Studies<\/a>.<\/p>\n\n\n\n<p><a href=\"#_ftnref3\" id=\"_ftn3\">[3]<\/a> <em>\u00cdbidem.<\/em><\/p>\n\n\n\n<p><a href=\"#_ftnref4\" id=\"_ftn4\">[4]<\/a> Regarding the unusual image of nature we see in the film, Manna explains: \u00abThese scenes, which somewhat share the space of poetry and fiction, attempt to foreground the agency of nature, the plants and lands that all this historical drama centres around. I\u2019ve gotten several comments from audiences on how they&#8217;ve never seen the Palestinian landscape like this. This may in part be related to the misconstruction of Palestine as a desert. But perhaps more importantly, it is true that due to the immensity of the human tragedy in Palestine, nature is rarely treated as the foreground or central protagonist\u00bb. <a href=\"https:\/\/cmagazine.com\/articles\/perpetual-scofflaws\">Perpetual Scofflaws: Jumana Manna Interviewed by ma ma, c mag, April 2023. <\/a> <br> <\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer esp_enlinea_inn\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer esp_bottom_enlinea\"><\/div>\n","protected":false},"excerpt":{"rendered":"The Online section of Concreta\u2019s website is structured around three spaces: Relator\u00edas, Conservatorios, and Pantallas, the latter dedicated to the presentation of audiovisual works accompanied by critical essays. In 2026, curator Andrea Franco has conceived for Pantallas a programme of four films that will unfold throughout the year. The first in this selection is Foragers (2022), by Palestinian artist and filmmaker Jumana Manna, a film that, moving between documentary and fiction&#8230;  \n","protected":false},"author":826,"featured_media":18466,"menu_order":0,"template":"","meta":{"sight_post_video_url":"","sight_post_video_bg_start_time":0,"sight_post_video_bg_end_time":0},"sight-categories":[128,31],"ppma_author":[712,711],"class_list":{"0":"post-18573","1":"sight-projects","2":"type-sight-projects","3":"status-publish","4":"has-post-thumbnail","6":"cs-entry","7":"cs-video-wrap"},"_links":{"self":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/sight-projects\/18573","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/sight-projects"}],"about":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/types\/sight-projects"}],"author":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/users\/826"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media\/18466"}],"wp:attachment":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media?parent=18573"}],"wp:term":[{"taxonomy":"sight-categories","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/sight-categories?post=18573"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/ppma_author?post=18573"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}