Borders and fences, amnesty and enforcement, earned legalization and guest workers—such is the shorthand in debating immigration today.

Yet, we talk little about refugees.

It may be because refugees comprise only about 10 percent of annual immigration to America. It may also be because their entry to the United States is rarely debated. Accommodating refugees represents the best ideals of this nation.

Fleeing war, famine, religious or ethnic persecution, and, in some cases, former American foreign-policy engagement, refugees are the epitome of Emma Lazarus' words, engraved on the Statue of Liberty, of the "tired, poor, and huddled masses yearning to be free."

A replica of said statue is set to be returned to its place on the beach at Alki this spring. And it's appropriate, as the Puget Sound region increasingly accommodates many fleeing the worst life has to offer.

From 1983 to 2004, the Seattle region ranked No. 5 nationally in the resettlement of refugees, behind the big immigrant gateways of New York, Los Angeles and Orange County in California, and Chicago. However, Seattle's total foreign-born ranking is only 23rd, as refugees there comprise much more of the immigrant population than most other places around the country.

The region's refugee population is probably more important to the growth of the region than in other places. And it has been growing over the past 20 years.

Of the some 50,000 refugees resettled in Seattle over that period, fully one-third are from Southeast Asia—including Vietnam, Cambodia and Laos—and 42 percent come from the remnants of the USSR.

Other sizable populations come from the former Yugoslavia, Somalia and Ethiopia.

Metropolitan Seattle—along with Minneapolis-St. Paul, Atlanta, Sacramento and Portland—has progressively resettled more refugees over time.

Now, one in five U.S. refugees is initially placed in one of these metropolitan areas, up from only 9 percent in the 1980s and 13 percent in the 1990s.

And these refugees are different than in the past.

Because of changes in the conflicts beleaguering our planet, refugees admitted to the United States in recent years increasingly hail from African countries confronting civil conflict.

Like earlier waves, these newest refugees are determined to pursue, but unprepared for, life and work in the United States and need assistance as they settle into new communities and become active members of local schools, workplaces and neighborhoods.

Like other foreign-born migrants, Seattle's refugees have been quickly plugging into the economic life of the region, from the bustling International District downtown to the polyglot scene that is the Crossroads Mall in Bellevue.

Seattle's healthy local labor market has helped foster their adjustment as many refugees have found foothold jobs in hotels, restaurants, shops, health services, food production and preparation. Perhaps not long term, but these jobs are key steps on the road to economic independence and upward mobility. In any event, they are a far cry from the situations refugees left behind.

Local service agencies and assistance organizations, religious and ethnically based, play a strong role in the resettlement process.

These groups do the local work of connecting refugees to employers, housing, health care and language training and otherwise aid their progress toward self-sufficiency. And they are careful to do it in a linguistically and culturally appropriate way.

And other partners exist.

The Seattle Police Department reaches out to refugee and immigrant communities to deal with the potential downfalls of being a stranger in a strange land, specifically addressing gang and drug problems and launching efforts to prevent violence against refugees and immigrants.

The state Office of the Superintendent of Public Instruction has a multiyear program to target schools with large numbers of immigrant and refugee families that aims to improve schooling outcomes for high-school students and increase graduation rates. Involving parents is key to that success, as is the specialized training that tutors receive.

Programs like these—involving few tax dollars but reaping considerable economic rewards for all the region—are in the best interest of Seattle's residents, whether they are refugee newcomers or families that have lived in the region for generations.

Though Seattle fights about highways and stadiums, transit and buses, the entire Puget Sound should proclaim itself in the vanguard on this issue, a beacon, like the statue, of what is right.

“We are not buildings artists; we are buildings leaders in society.” 

These stirring words of Juliano Mer Khamis, the charismatic founder of The Freedom Theatre (TFT) in Jenin refugee camp in Palestine, are coming true, despite his assassination five years ago. 

Against all odds, The Freedom Theatre, a beacon of creativity, discipline, and vision located in the heart of Jenin refugee camp, recently celebrated its tenth anniversary. Known for its fierce fighters and its conservatism, Jenin refugee camp, where over 16,000 live on one square kilometer, increasingly is known as well for its art. 

Juliano Mer Khamis returned to Jenin during the second Intifada to find his mother’s Stone Theatre (Arna’s Children tells her story) reduced - like so much of the camp—to rubble by Israeli tanks, and many of his mother’s student actors killed. In 2005 he joined forces with Jonatan Stanczak, currently Managing Director of TFT and Zakaria Zbeidi, a “Stone Theatre child” turned head of the Al-Aqsa brigades in Jenin, who later renounced militancy for cultural resistance. Together they rebuilt a theater in the camp, which evolved into The Freedom Theatre. 

Mer Khamis urged his acting students to wage a cultural intifada, warning that the occupation of the mind was more dangerous than the occupation of the body. Unlike many charismatic leaders, Mer Khamis developed an institution, not a cult of personality (even though he was adored). Following Juliano’s untimely and unsolved murder in 2011 — he was shot sitting in his car just outside the theater, with his infant son in his lap - the devastated theater soldiered on, a living testament to the powerful impact of his teaching and vision.

“When Juliano died he gave us the strength to continue and he showed us the strength we had in ourselves, so we kept going,”

Ahmad Matahen, age 24, a typical “child of The Freedom Theatre”, explained to me. Matahen joined in 2006; first as an actor, then as Juliano encouraged him to discover and exploit his individual talents, he moved into technology, engineering and stage design. He now studies stage design in Bethlehem, with the support of TFT, where he hopes eventually to work.

What a different future than Matahen might have had, if Mer Khamis had not invited in this street youth who had mocked the theater, and expressed his anger and frustration by throwing rocks at Israeli tanks. Matahen described the common attitude in Jenin:

“When you go to the camp and ask people what they want, they say they want to die. They have no jobs, no hope.”

When asked what he missed most after Juliano’s death, Matahen said “hugs”, something no one besides Juliano gave him. As a teenager, Ahmad, like so many of his contemporaries, saw his friends killed by the invading/occupying Israelis. Considered against the backdrop of trauma that pervades the camp, hugs are no small thing. They form the foundation for the self-confidence and sense of purpose that Matahen has gained from The Freedom Theatre.

High school dropout Ameer Abu Alrob defied his family and left his village to live and work at The Freedom Theatre. He traveled to India last year with a TFT group that also included two female acting students, for a ground-breaking, three-month Palestinian-Indian collaboration and tour with Janam Theater. Ameer and half of the other Palestinian student actors had never previously traveled outside Palestine, much less flown in a plane.

Through his experiences Ameer is not only broadening the horizons of his family and village, but, importantly, also introducing them to their own history through The Freedom Theatre productions such as The Siege. (One of the reasons Ameer dropped out was that school taught him nothing about his own environment and history).

Performed to date in Palestine and Great Britain, The Siege brings to life on stage the incident in 2002 during the second Intifada when armed Palestinian fighters along with some two hundred Palestinian civilians escaped the onslaught of Israeli gunfire and tanks by taking refuge in Bethlehem’s renowned Church of the Nativity. The trapped Palestinians - without food, water, or medical supplies - struggled to remain “steadfast”. After thirty-nine days, they surrendered, responding to the plea of a young mother whose baby’s life was at risk because the siege prevented her taking the infant to the hospital.

This decision, which reflected the fighters’ firm belief that the goal of their struggle was to help the Palestinian people, cost the insurgents dearly. In a European-brokered deal, they were exiled immediately upon exiting the Church — some to Europe and some to Gaza — with no hope of return (even though the European exile was supposed to last one year).

Nabil Al-Raee, The Freedom Theatre’s artistic director, explained that he wanted to re-open this important incident to present the Palestinian side, absent in the media. “This is the first time that we speak about these freedom fighters and tell their stories.” One and a half years of research, with travel to Europe and skype conversations with Gaza to interview those in exile, including personal friends of Al-Raee’s, were distilled into a visually stunning and dramatically taut production.

“The lesson of The Siege was putting weapons down,” 

according to one of the actors, Faisal Abu Alhayjaa, referring to the essential humanity of the Palestinian fighters, who would not harm a sick child for the sake of their cause.

This powerful message apparently was lost on New York’s acclaimed Public Theater which cancelled the production scheduled for this May. This alarming trend of performances cancelled/censored (take your pick) for political reasons will be examined at a conference at Georgetown University this June, where Al-Raee will speak.

Undeterred, The Freedom Theatre and its resolute supporters currently are seeking other American venues for The Siege. While some may see Palestinians on stage with machine guns, others, including sold-out audiences during The Siege‘s recent British tour, see, in the words of the Guardian review, “an unexpectedly compelling theatrical experience with a rough and ready energy, and in the very act of its telling, speaks for the voiceless and forgotten”.

In the tinderbox that is Israel-Palestine, The Freedom Theatre defies its seemingly hopeless environment, and is making a tangible difference in Jenin camp and beyond. Another child of the Theatre, an actor in The Siege and in the forthcoming feature film The Idol, Ahmed Al Rokh, described the change.

“We can feel the difference in the camp. Our audience is growing because the kids who first came now have families, and bring them. Now they understand that the theatre works for us and with us.”

In contrast to the situation in the developed world, where art is often considered discretionary, Faisal Abu Alhayjaa described art and culture in Palestine as “essential like water and bread”. Inspiring as it is, The Freedom Theatre’s story is not unique. The Palestinian Performing Arts Network (PPAN) includes many ensembles and organizations striving for dignity and agency through art.

Abu Alhayjaa sees the education and empowerment that comes through working in the arts generally, and The Freedom Theatre specifically, as vital to Palestine’s future.

“If there will be a liberation for Palestine, it will come with a generation that knows what they want, and that knows to think critically.”

That generation is being trained at The Freedom Theatre.

This piece was originally published by The Huffington Post.

Introduction

The post-World War II era has witnessed the nearly exclusive building of low density suburbia, here termed “drivable sub-urban” development, as the American metropolitan built environment. However, over the past 15 years, there has been a gradual shift in how Americans have created their built environment (defined as the real estate, which is generally privately owned, and the infrastructure that supports real estate, majority publicly owned), as demonstrated by the success of the many downtown revitalizations, new urbanism, and transit-oriented development. This has been the result of the re-introduction and expansion of higher density “walkable urban” places. This new trend is the focus of the recently published book, The Option of Urbanism: Investing in a New American Dream (Island Press, November 2007).

This field survey attempts to identify the number and location of “regional-serving” walkable urban places in the 30 largest metropolitan areas in the U.S., where 138 million, or 46 percent, of the U.S. population lives. This field survey determines where these walkable urban places are most prevalent on a per capita basis, where they are generally located within the metro area, and the extent to which rail transit service is associated with walkable urban development.

The first section defines the key concepts used in the survey, providing relevant background information for those who have not read The Option of Urbanism. The second section outlines the methodology. The third section, which is the heart of the report, outlines the findings and conclusions of the survey.

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