Iran’s Gen. Soleimani killed in airstrike at Baghdad airport

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Updated 03 January 2020
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Iran’s Gen. Soleimani killed in airstrike at Baghdad airport

  • The strike also killed Abu Mahdi Al-Muhandis, deputy commander of Iran-backed militias in Iraq known as the Popular Mobilization Forces
  • The Pentagon said the strike on Soleimani “was aimed at deterring future Iranian attack plans”

BAGHDAD: The United States killed Iran’s top general and the architect of Tehran’s proxy wars in the Middle East in an airstrike at Baghdad’s international airport Friday, an attack that threatens to dramatically ratchet up tensions in the region.
The targeted killing of Gen. Qassem Soleimani, the head of Iran’s elite Quds Force, could draw forceful Iranian retaliation against American interests in the region and spiral into a far larger conflict between the US and Iran, endangering US troops in Iraq, Syria and beyond.
The Defense Department said it killed Soleimani because he “was actively developing plans to attack American diplomats and service members in Iraq and throughout the region.” It also accused Soleimani of approving the attacks on the US Embassy in Baghdad earlier this week.
An adviser to Iran’s President Hassan Rouhani quickly warned US President Donald Trump of retaliation from Tehran.
“Trump through his gamble has dragged the US into the most dangerous situation in the region,” Hessameddin Ashena wrote on the social media app Telegram. “Whoever put his foot beyond the red line should be ready to face its consequences.”
The airport strike also killed Abu Mahdi Al-Muhandis, deputy commander of Iran-backed militias in Iraq known as the Popular Mobilization Forces, and five others, including the PMF’s airport protocol officer, Mohammed Reda, Iraqi officials said.
Trump was vacationing on his estate in Palm Beach, Florida, but sent out a tweet of an American flag.

The dramatic attack comes at the start of a year in which Trump faces both a Senate trial following his impeachment by the US House and a re-election campaign. It marks a potential turning point in the Middle East and represents a drastic change for American policy toward Iran after months of tensions.
Tehran shot down a US military surveillance drone and seized oil tankers. The US also blames Iran for a series of attacks targeting tankers, as well as a September assault on Saudi Arabia’s oil industry that temporarily halved its production.
The tensions take root in Trump’s decision in May 2018 to withdraw the US from Iran’s nuclear deal with world powers, struck under his predecessor, Barack Obama.
Soleimani was the target of Friday’s US attack, which was conducted by an armed American drone, according to a US official. His vehicle was struck on an access road near the Baghdad airport.
A senior Iraqi security official said the airstrike took place near the cargo area after Soleimani left his plane to be greeted by Al-Muhandis and others. The official said the plane had arrived from either Lebanon or Syria.
Two officials from the PMF said Suleimani’s body was torn to pieces in the attack, while they did not find the body of Al-Muhandis. A senior politician said Soleimani’s body was identified by the ring he wore.
The officials spoke on condition of anonymity because of the sensitivity of the subject and because they were not authorized to give official statements.
It’s unclear what legal authority the US relied on to carry out the attack. American presidents claim broad authority to act without congressional approval when US personnel or interests are facing an imminent threat. The Pentagon did not provide evidence to back up its assertion that Soleimani was planning new attacks against Americans.
Democratic Connecticut Sen. Richard Blumenthal said Trump owes a full explanation to Congress and the American people. “The present authorizations for use of military force in no way cover starting a possible new war. This step could bring the most consequential military confrontation in decades,” Blumenthal said.
But Trump allies were quick to praise the action. “To the Iranian government: if you want more, you will get more,” tweeted South Carolina Sen. Lindsey Graham.

For Iran, the killing represents more than just the loss of a battlefield commander, but also a cultural icon who represented national pride and resilience while facing US sanctions. While careful to avoid involving himself in politics, Soleimani’s profile rose sharply as US and Israeli officials blamed him for Iranian proxy attacks abroad.
While Iran’s conventional military has suffered under 40 years of American sanctions, the Guard has built up a ballistic missile program. It also can strike asymmetrically in the region through forces like Lebanon’s Hezbollah and Yemen’s Houthi rebels. The US long has blamed Iran for car bombings and kidnappings it never claimed.
As the head of the Quds, or Jersualem, Force of Iran’s paramilitary Revolutionary Guard, Soleimani led all of its expeditionary forces and frequently shuttled between Iraq, Lebanon and Syria. Quds Force members have deployed into Syria’s long war to support President Bashar Assad, as well as into Iraq in the wake of the 2003 US invasion that toppled dictator Saddam Hussein, a longtime foe of Tehran.
Soleimani rose to prominence by advising forces fighting the Daesh group in Iraq and in Syria on behalf of the embattled Assad.
US officials say the Guard under Soleimani taught Iraqi militants how to manufacture and use especially deadly roadside bombs against US troops after the invasion of Iraq. Iran has denied that. Soleimani himself remains popular among many Iranians, who see him as a selfless hero fighting Iran’s enemies abroad.
Soleimani had been rumored dead several times, including in a 2006 airplane crash that killed other military officials in northwestern Iran and following a 2012 bombing in Damascus that killed top aides of Assad. Rumors circulated in November 2015 that Soleimani was killed or seriously wounded leading forces loyal to Assad as they fought around Syria’s Aleppo.
Soleimani’s killing follows the New Year’s Eve attack by Iran-backed militias on the US Embassy in Baghdad. The two-day embassy attack, which ended Wednesday, prompted Trump to order about 750 US soldiers deployed to the Middle East.
It also prompted Secretary of State Mike Pompeo to postpone his trip to Ukraine and four other countries “to continue monitoring the ongoing situation in Iraq and ensure the safety and security of Americans in the Middle East,” State Department spokeswoman Morgan Ortagus said Wednesday.
The breach at the embassy followed US airstrikes Sunday that killed 25 fighters of the Iran-backed militia in Iraq, the Kataeb Hezbollah. The US military said the strikes were in retaliation for last week’s killing of an American contractor in a rocket attack on an Iraqi military base that the US blamed on the militia.
US officials have suggested they were prepared to engage in further retaliatory attacks in Iraq.
“The game has changed,” Defense Secretary Mark Esper said Thursday, telling reporters that violent acts by Iran-backed Shiite militias in Iraq — including the Dec. 27 rocket attack that killed one American — will be met with US military force.


How the Palestinian Circus sustains hope and resistance under Israeli occupation

Updated 41 min 24 sec ago
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How the Palestinian Circus sustains hope and resistance under Israeli occupation

  • Under mounting Israeli raids and restrictions, a West Bank circus troupe turns art into political expression
  • For displaced and traumatized Palestinian youth, joy, balance and teamwork help build mental resilience

DUBAI: On any given morning in the village of Birzeit, just 10 kilometers north of the West Bank city of Ramallah, the sound of juggling balls hitting the floor mixes with laughter, music, and the occasional gasp.

Inside a modest rehearsal space, young performers rehearse feats of balance and acrobatics at the Palestinian Circus, which has become a small outlet for resistance and joy among young people across the occupied West Bank.

However, the circus is under more pressure than ever. Mohamad Rabah, its executive director, told Arab News that Israeli raids had seen one of their colleagues detained and the troupe’s activities become more difficult to sustain.

“The military forces were in Birzeit one month ago. They were here in front of our building. But we are not a special case,” Rabah said.

“We are the same as any Palestinian suffering from this occupation, and we try to find ways to resist, to stay resilient and to find creative ways to work.”

Some Palestinian Circus productions confront politics head on. (Reuters/File)

Founded in 2006 in the aftermath of the Second Intifada, the Palestinian Circus was born from an urgency to reestablish hope and provide creative outlets for young Palestinians.

The circus offers children and young adults the chance to train in a range of arts and take part in professional productions around the world.

Given the physical demands and collective discipline required, Rabah says circus skills have become a language through which children and young people can express fear, anger, hope and resistance.

The group’s first production, launched amid intense Israeli restrictions, was bluntly political.

“The first show was called Circus Behind the Wall, and it was using circus disciplines to connect with acts like juggling over the wall,” Rabah said.

“The wall, built by Israel around major Palestinian cities, had cut families, friends and livelihoods apart. The circus answered symbolically.”

The show toured locally and internationally for several years. By 2008, those early performers had become teachers.

A Palestinian woman takes part in a circus session in Gaza City. (Reuters/File)

“The same young people who gained the skill at that time as circus performers started to teach other youth and kids,” Rabah said.

Since those early days, its programs have expanded into refugee camps in Hebron, Nablus, Jenin, Farah, Ramallah, and Jerusalem — areas where trauma was not abstract but a daily reality.

Nearly two decades later, the organization has grown into a prominent cultural institution. This year alone, Rabah said, the circus completed 90 performances — 55 in Palestine and 35 abroad.

It has appeared at festivals in France, Italy, Ireland and Belgium and even at the UK’s Glastonbury.

The occupied West Bank faces its gravest crisis in years, with escalating Israeli military raids, record settler attacks and accelerating displacement.

Raids in areas like Jenin and Nablus have killed hundreds and damaged vital infrastructure, while settler violence and demolitions have pushed many rural and herding communities off their land.

Children stand next to a Palestinian flag on the rubble of a house demolished by Israeli authorities in the Palestinian village of Bazzaryah, in the Israeli-occupied West Bank. (AFP/File)

Settlement expansion continues, aimed at entrenching permanent control and foreclosing Palestinian statehood.

The Palestinian Authority is weakened by fiscal collapse, sanctions and loss of legitimacy, undermining services and governance, while humanitarian agencies warn of worsening protection risks and de facto forcible transfer.

Some Palestinian Circus productions confront politics head on, like “Sarah,” created in 2017, which tells the story of displacement. “It’s a performance … about the journey and the suffering of refugees,” Rabah said.

“We also have happy and uplifting performances … like Wonderland, which is like a children and family show inspired by the Alice in Wonderland theme.”

In a society saturated with loss, Rabah says joy itself becomes an act of resistance. However, performance is only one part of the work. The larger mission lies in training and psychosocial support.

The circus offers children and young adults the chance to train in a range of arts and take part in professional productions around the world. (Supllied) 

“This year, we worked with 4,000 children, women and people with disabilities — 2,000 in Gaza and 2,000 in the West Bank and Jerusalem,” Rabah said.

“There are 16 disciplines in circus, so we use the term ‘circus for all,’ and with circus for all that’s inclusivity. Everyone can find their space under the circus.”

Unlike theater, Rabah says there are no singular stars in circus, which makes the whole endeavor a lesson in team building, with young people learning to rely on each other for balance during daring acrobatics.

That reliance has become more urgent as violence has escalated across the West Bank and Gaza. With mobility increasingly restricted, Rabah says freedom has been incrementally squeezed out of Palestinian life, especially for young people.

Relying on each other’s support is the only way to survive.

“From one city to another… it requires a lot of work to meet another young person,” Rabah said. “What the Israeli occupation is trying to do is to take from us every meaning of living.”

Still, the show goes on. This year, despite visa obstacles and excessive costs, the circus managed to send more than 40 children abroad for cultural exchanges — an achievement that Rabah admits came at a high price.

“This year, we worked with 4,000 children, women and people with disabilities — 2,000 in Gaza and 2,000 in the West Bank and Jerusalem,” Rabah said. (Supplied)

“This year alone, we spent more than half a million shekels ($157,350) … on flight tickets,” he said. “Looking at the demand, you wish to do more. It’s a drop in the ocean.”

In Gaza, the stakes are even higher. Rabah visited the enclave in 2022 to meet with circus artists, many of whom continued training amid the devastation wrought by the conflict that began in October 2023.

“They are inspiring,” he said. “They worked during the genocide with nothing, starving. Their schools were destroyed, but they continued to perform and to train. There are, I think, four to five artists who were lost, killed by the Israeli bombing.”

Rabah himself joined the organization in 2018, after the founding artists moved to Europe. He was not a performer but could see the social impact that the project could have. He said art was essential in a society where political participation is constrained.

“I didn’t have any circus background. My background is community and youth work and management,” he said.

“There are limited ways in which young people can express their voice … so art becomes not only a way of entertainment… it’s a way that you participate in the community.”

Palestinian Majed Kalluob walks with stilts as he performs on a street in the northern Gaza Strip. (Reuters/File)

The circus does not impose any narrative, with most of the shows being produced by the performers themselves without a given script. “Most of our shows, the ideas come from the artists,” Rabah said. “They do it with their bodies and their circus tricks.”

As the organization approaches its 20th anniversary, it plans to expand with a mobile circus tent, bringing performances to the most isolated communities. This is something Rabah says will require further sponsorship, which he hopes will continue regardless of the political situation.

“Put yourself in the shoes of a 15-year-old Palestinian living in a refugee camp in Gaza … it’s a struggle for identity and existence,” he said.

“We need every bit of support to allow us to exist and keep existing with our identity and culture and every meaning of life.”