EP 1 by The Red Clinic

There is no post-traumatic stress in Gaza; it is a chronic state. As Palestinian psychiatrist Dr Samah Jabr puts it, ‘trauma in Palestine is collective and continuous.‘

The Red Clinic, in association with the Ajyal Foundation, is laying the groundwork to attend to traumas as they continue to occur in real time and provide politically aligned care that understands that structures of oppression cause psychic harm, even before they take root. Specialist interventions will be provided by clinicians from the region, supported by an international team of volunteer mental health workers.

To support this work we are proud to release the first Red Clinic EP, a radical musical compilation that brings together Palestinian and international artists in an act of solidarity and resistance. The EP embodies a collective response to human crisis, where music becomes a tool of healing, defiance, and transformation.

Why Your Support Matters:

"The Red Clinic’s support groups have been absolutely crucial to me. The Clinic has been the only consistent source of supervision for my work with highly traumatised Palestinian children. The group process and our reliable connection with The Red Clinic supervisor have been liberating. It’s an essential resource for my work and personal well-being."
– Palestinian Educational Psychologist, East Jerusalem

Tracklist

1.	Ed Dowie \| Refaat Alareer ft. Maraea Rakuraku, Selma Dabbagh, Tomás Ó Loingsigh, Weaver - Under the Waves	5:14

2.	Martha Skye Murphy & Maxwell Sterling ft. Razzan - Land Is The Body, Body Is The Land	6:34

3.	Lara Sheehi x tobha x Catene - Sumud	4:59

4.	Kaiju Dojo x Razzan - Ishadu Ya A’lam اشهدوا يا عالم	5:36

Credits

released October 2, 2024

With heartfelt thanks to all volunteers and participating artists.

Mastered by Andrew Weathers
IG: @the_land_ethic.wav

'Self-portrait: Among the Exiled' original cover by Safa
Hand-stitched Palestinian tatreez and selfie photo collage on canvas, 2024

"This piece is about a lot of things… but I mostly wanted to focus on the millions of Palestinians in exile. I plucked the flowers from a bunch of traditional patterns and hacked them up carelessly. The flowers are violently dispossessed from their origins, similar to the generations-long exile of Palestinians. This piece is not geometric or neat, because our dispossession has been utterly senseless. The Gaza pattern eclipses the rest, as it should right now. Some flowers are more together and others seem apart and isolated. I made the colors clash and chaotic to illustrate how we in exile do our best to hold on to our recipes, traditions, language, art, history, stories… but we have been forever changed by our diaspora environments, whether we like it or not.

I felt utterly useless when I started this piece as I watched the tragedy in Gaza unfold in real time on social media. That's why the picture I took of myself is a mixture of rage, exhaustion, and sadness. While making this piece, I also thought about my distrust for people who look at us and our traditions in an Orientalist way; those who stand with us only when we are performing for the European gaze; people who set conditions make for the worst company. Lean on true allies and communities of support—they are out there."

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