This is the third song in a series I’ve composed for Palestine. It’s called Chapter 3: Palestine. A blend of piano and voice, it tells the story of the Palestinian people and their land in a poetic, narrative form. It reflects their strength and resilience, carrying a message of hope

This song is a personal and political reckoning — a lyrical journey between Zurich and Palestine, between comfort and catastrophe. Written from the perspective of a Swiss artist who has lived and worked in the West Bank, it confronts the dissonance of privilege: snow falls in Zurich while bombs drop in Gaza.

The lyrics reflect on settler colonialism, Western complicity, and the hollow safety of European passports. It challenges feel-good politics and calls for solidarity that moves beyond hashtags. At its core, the song is a tribute to Palestinian resilience, a refusal to forget, and a demand to see — through the window, into the heart of ongoing injustice.

Al-Aqsa was released as part of my 3-track-EP “Sumud” in August 2024. The project is dedicated to my friends from Youth of Sumud in Masafer Yatta, a true embodiment of Palestinian resilience and resistance.

”Befria Palestina” is a call for the unequivocal ending to Israel’s occupation on Palestinian land. It’s also an unapologetic criticism of the Swedish government’s support of Israel and it’s lack of condemnation of the apartheid state and its genocide against Gaza’s population.

It is July 25, 2024. He enters the stage. Applause and cheers. The audience is lyrical. The guest says that we are facing a crossroads in history. That the struggle is between civilization and barbarism. Applause and cheers again…

Seeing what happened in the US Congress last year is surreal. It is absurd and horrible at the same time. The country that claims to be “leader of the free world” welcomed and praised a prime minister who was at the same time committing genocide in Gaza. And the members of Congress almost competed to show their support for the war criminal.

This gave rise to the song Darkness by Proletarian Poetry. The lyrics take their starting point from Netanyahu’s words about ending the darkness, terror and violence and creating a brighter future. He never said though that this future is built on the ruins of bombed hospitals and homes and the mass murder of 40,000 people – actions that would have been impossible to carry out if Israel had not had support from the US and other countries.

The lyrics are performed to electronic music with roots in synthpop and the harder, tougher synth style EBM (Electronic Body Music).

Parts of the music came about even before Netanyahu’s visit to the US. But it was only at the end of last year, when the lyrics came into place, that the right feeling came to complete the song that appears in Falastinvision 2025.

My song is about resistance. Short and simple.

About how it’s not as portrayed in western media, where more or less every act that goes against American interests, is labeled as ”terrorism”. Resisting against your oppressors isn’t ”terrorism”, it’s normal, it’s human, it is in fact survival.

I chose to start my song with a quote from martyred resistance leader Yahya Sinwar, since i think that his quote from the last interview he participated in sums it up fairly well. ”Does the world expect us to be well-behaved victims?”. That paints a very accurate portrait of how western liberal, self-proclaimed ”pro-Palestine” actors sometimes talk. Where they say to support Palestine but still condemn the resistance. In practice they lend their so-called support but only on their own terms.

 

”You must do everything according to my personal taste, or you are a terrorist”. This is no way to talk about humans who for over 76 years have suffered systematic oppression in all of its forms. My song is very much aimed at this problem, if you ever catch yourself thinking like that, how about you put yourself in their shoes.

What would you have done? Would you have just laid down and died so some random ”liberal” on the other side of the world wouldn’t call you a terrorist? Or would you resist?

Israel’s occupation of the Palestinian land and Israel’s successive and
intermittent wars against the resistance and perseverance of the
Palestinian people to have their own land and freedom to be able to have
their own identity, may serve as a subject for reflection:
How would a person want to judge between the occupier and the
occupied and what choice would he/she have?

For me, as a human being and a poet, it is of course a moral and human
obligation to stand on the side of a people who are now landless,
displaced, war-torn, and who with the nightmare of death and the number
of their dead, are reduced to nothing in a most unequal war!

Of course for us, the creators of this work ”Human, where are you?”,
these pitiful tragedies are heartbreaking
and as a human tragedy, they can NOT be ignored.

Our work is focused precisely on these tragedies and catastrophes; to urge
people to respond to the crimes.

Long live the resistance!
Long live the solidarity!

– Shahryar Dadvar, Stockholm

Israel’s occupation of the Palestinian land and Israel’s successive and
intermittent wars against the resistance and perseverance of the
Palestinian people to have their own land and freedom to be able to have
their own identity, may serve as a subject for reflection:
How would a person want to judge between the occupier and the
occupied and what choice would he/she have?

For me, as a human being and a poet, it is of course a moral and human
obligation to stand on the side of a people who are now landless,
displaced, war-torn, and who with the nightmare of death and the number
of their dead, are reduced to nothing in a most unequal war!

Of course for us, the creators of this work ”Human, where are you?”,
these pitiful tragedies are heartbreaking
and as a human tragedy, they can NOT be ignored.

Our work is focused precisely on these tragedies and catastrophes; to urge
people to respond to the crimes.

Long live the resistance!
Long live the solidarity!

– Shahryar Dadvar, Stockholm

Israel’s occupation of the Palestinian land and Israel’s successive and
intermittent wars against the resistance and perseverance of the
Palestinian people to have their own land and freedom to be able to have
their own identity, may serve as a subject for reflection:
How would a person want to judge between the occupier and the
occupied and what choice would he/she have?

For me, as a human being and a poet, it is of course a moral and human
obligation to stand on the side of a people who are now landless,
displaced, war-torn, and who with the nightmare of death and the number
of their dead, are reduced to nothing in a most unequal war!

Of course for us, the creators of this work ”Human, where are you?”,
these pitiful tragedies are heartbreaking
and as a human tragedy, they can NOT be ignored.

Our work is focused precisely on these tragedies and catastrophes; to urge
people to respond to the crimes.

Long live the resistance!
Long live the solidarity!

– Shahryar Dadvar, Stockholm

 The song Let’s Make a Better World by New Nobility is a call to action encouraging listeners to work together for a better world.  As a music artist who was also a victim of war in besiged Sarajevo I stand in solidarity with the people of Palestine.       Thanks Comrades,           GAZA IS THE CENTRE OF THE UNIVERSE 

The song ”Let me burn” inspired a music video of bombed buildings in Gaza that I reversed. 

Feeling helpless and understanding the ones we thought were meant to protect us have become the ones hurting us. Palestine is a crisis of humanity. and the damage can’t be undone. But we have only one option and that is to let is unite us. The oppressed against the oppressors. Our liberation is interconnected. 

Dianne is about the everyday ravages of life under imperialism. It recounts an encounter I had with a 70-year-old American woman I met on a train ride from Oakland, California to Los Angeles. I share parts of her story—having chosen to join the US Army and be deployed to the Vietnam War, Dianne seemed to never have recovered from the trauma she experienced there. Returning home to PTSD, chronic pain, an addiction to pain pills, and abandonment by the very state she naively, as an 18 year old girl, chose to ‘serve.’ Her body and life retell the horrors of the American war machine and paint one portrait of the infinite human suffering it takes to maintain and reproduce an empire. This recording is a demo I made on my phone from a friend’s couch in Copenhagen in March 2024. This version of the song is a bit slow and exceeds the three and a half minute length. If Dianne advances to the finale, I’ll re-record a faster version that fits! : )

I participate because I want to encourage everyone to actively show their support for Palestine. My song is called “Mom, what did you do for Gaza” and I want the people to take some time and think about if they in the future will be able to look themselves in the mirror or look their kids in the eyes and tell them that they did what they could

for Palestine.

WHAT HAS MOTIVATED US TO PARTICIPATE AGAIN THIS YEAR, IS THAT THE SITUATION IN GAZA AND THE WEST BANK HAS NOT CHANGED, INSTEAD IT HAS WORSENED, ADDED TO THAT IS THE TERRIBLE INDIFFERENCE OF THE HEADS OF STATE TO END THIS CRUEL GENOCIDE, THE INFINITE PAIN OF FAMILIES WHO HAVE LOST THEIR CHILDREN, MOTHERS, FATHERS AND GRANDPARENTS TO THE CRUELTY OF THE INVADERS, THROUGH ALL OF THIS, WE HAVE RAISED AN INCREDIBLE SOLIDARITY WITH THE HEROIC PALESTINIAN PEOPLE, WHO CONTINUES TO RESIST, WITH THIS THEME WE WANT TO SEND A MESSAGE OF HOPE THROUGH OUR SONG, SAYING THAT THEY ARE NOT ALONE, THAT THE CONSCIOUS WORLD IS WITH THOSE BRAVE PEOPLE WHO RESIST AND FIGHT FOR THEIR FREEDOM.

 

DET SOM HAR MOTIVERAT OSS ATT DELTA I ÅR IGEN, ÄR ATT SITUATIONEN I GAZA OCH VÄSTBANKEN INTE HAR FÖRÄNDRATS, I STÄLLET HAR DEN FÖRVÄRRATS OCH DEN FRUKTANSVÄRDA LIKGILTIGHETEN HOS VÄRLDENS LEDARE I ATT FÅ STOPP PÅ DET HÄR FRUKTANSVÄRDA FOLKMORDET. DEN OÄNDLIGA SMÄRTAN AV FAMILJER SOM HAR FÖRLORAT SINA BARN, MÖDRAR, FÄDER OCH FAR OCH MORFÖRÄLDRAR TILL INKRÄNKARNAS GRYMHET, GENOM ALLT DETTA, HAR VI FÖRT EN OTROLIG SOLIDARISK KAMP MED DET HEROISKA PALESTINISKA FOLKET SOM FORTSÄTTER ATT MOTSTÅ. MED DETTA TEMA VILL VI SÄNDA ETT MEDDELANDE OM HOPP GENOM VÅRAN SÅNG, OM ATT DE INTE ÄR ENSAMMA UTAN ATT DEN MEDVETNA OMVÄRLDEN ÄR MED DE MODIGA KÄMPAR SOM SLÅSS FÖR SIN FRIHET OCH FRED.

The struggle for human rights and self-determination stands as a cornerstone of our shared humanity. Every person deserves to live with dignity, freedom, and equal rights regardless of nationality, ethnicity, or faith. Throughout history, movements that remind us of the equal value of all lives have shaped our understanding of justice – a concept that cannot be selective or applied unequally.

The Palestinian cause represents one of today’s most enduring struggles for recognition and basic human rights. It serves as a powerful reminder that lasting peace can only be built on foundations of justice and equality for all peoples. This ongoing situation compels us to examine our collective responsibility toward supporting those whose voices have been marginalized in their pursuit of fundamental freedoms.

My song ”Palestine I Love” emerged from a profound emotional connection to this struggle, attempting to capture the resilience of a people who have maintained their cultural identity through decades of hardship. The composition intentionally features contemporary, trend-forward production elements designed to appeal to modern audiences and maximize its reach. By creating a track with current sonic sensibilities, I aim to bring awareness of this crucial cause to listeners who might not otherwise engage with political content, using the universal appeal of popular music as a vehicle for meaningful messaging. Through this strategic musical approach, I hope to amplify the call for universal human rights and lasting peace built on respect for all while reaching the widest possible audience.

“Plastic Love” ties into the idea of a free Palestine by weaving themes of identity, resilience, and transformation into its synthetic, glowing imagery. The lyrics—describing a self that’s melted, stretched, and shaped yet still pulses with life—mirror the Palestinian experience of enduring external control while preserving an unbreakable spirit. The “diamond-coded” brightness and “neon light” reflect a defiance against erasure, symbolizing a people who shine despite being bent and pressed, yearning for freedom and self-determination.

The song’s glitchy, futuristic vibe, especially in the bridge with “holographic self-esteem” and “what is real,” hints at the distorted realities imposed on Palestine, where narratives are manipulated, yet hope persists. “Plastic Love” subtly protests these constraints, using its glossy surface to underscore the human cost of oppression and the dream of a liberated Palestine, where identity can finally be authentic and free.

Survival

 

This artist is missing from FalastinVision.
Due to the silencing and threats on outspoken voices of artistic and cultural resistance this artist was forced to withdraw. This time it was an artist from occupied Palestine and the disappearance of their content is just one example of the systematic silencing of artists and activist all around the world.

FalastinVision is a platform and a voice for the struggle. By supporting FalastinVision you are one of us. This page is a tribute to all artists in the struggle, together we vow to never be quiet.

 

‘SERVING PALESTINE’ is a musical manifesto of solidarity created to express the resilience of the Palestinian people and the global struggle for freedom. The song combines rhythmic energy with a common call for justice, inspiring listeners to become part of the movement for equality and self-determination. It reflects the principles of FalastinVision, namely belief in the power of unity, courage in the face of oppression, and an unquenchable hope for a future where the dignity and freedom of every person matters. It is not just a song, but a sound bridge between cultures, reminding us that the Palestinian struggle is a struggle for a world free of colonialism and oppression.

About a year ago, my boyfriend’s mum Sana showed me a video of children in Gaza using broken electricity cables as a swing. Everything around them is completely destroyed, but in the midst of it all are these four children, laughing and playing while you hear the drones in the background. The Palestinian spirit is unbreakable. Sana told me about the word “Sumud” (Steadfastness/steadfast perseverance), and its cultural value in Palestine which inspired me to write this song. I long for the day when the News reports on Palestine are about the restoration of their country, the blooming of their olive trees, and the celebration of their culture. Palestinian existence is resistance, Palestinian joy is resistance, Palestinian pride is resistance, and it deserves to be celebrated. 

”The Liveless Life” – A Song of Love, Loss, and Resistance  

 

My song, ‘The Liveless Life’  is not just a melody—it is a scream of the soul, a bleeding wound turned into art. It is the story of my beloved, a radiant soul who once walked the sunbaked streets of Palestine, her laughter a fleeting rebellion against the shadows of occupation. She was love in its purest form — a dreamer, a fighter, a woman whose heart beat in rhythm with the land she called home.  

But then her life was stolen.  

Murdered by the very forces the world refuses to name — the same forces that have turned Palestine into an open grave. This song is not just about death; it is about existence under siege. It is about breathing when the air is thick with smoke, about loving when your heart is wrapped in barbed wire, about surviving when every day is a war against despair.  

She was more than my girlfriend— she was my light in a world determined to drown us in darkness. And now, she is a ghost in my verses, a fire in my throat when I sing. This song is my grief, my rage, my defiance. It is the truth that governments try to bury, but I will scream it until the walls of silence crumble.  

I am LGBTQIA+ — a identity that marks me as both a target and a warrior. I know what it means to be hated for who you love, to be hunted for daring to exist. And so, I will fight — for her, for Palestine, for every child staring at the sky waiting for bombs to fall, for every woman whose body has become a battleground.  

This is not just a song. It is a demand. Recognize our pain. See the blood on the world’s hands. Boycott, protest, scream it loud – Free Palestine! 🇵🇸  

Because until Palestine is free, none of us are.

I’m an artivist: someone who communicates primarily through singing/dancing/acting/writing with a constant need to at least try to do something worthwhile with everything I do. Always felt the Palestinian cause as mine (for whatever is unfair in this world must be fought against by every one of us) and Eurovision as a symbol of what I thought the world should be like (a place where people come together to share what unites them, celebrating diversity in peace). My support for the first has grown proportionally to my disbelief in the second.

I was privileged enough to interview a Palestinian young man in detention for being in an irregular situation in my home country, Portugal. His story resembled the ones of thousands of other Palestinians, subjected to oppression, violence and unfair treatment in their own land and anywhere they may go. His experience touched me so much, it ended up flowing through me as a poem I knew from the beginning was meant to be a song.

 An initial riff was playing in my soul for years before I found the complete melody for it, and when I finally did, a so-called “refugee crisis” was starting to frighten fortress Europe. The two interconnected realities ended up blending into one song, which I started writing in English but finished in my native Portuguese. My intention was to take it to Eurovision, but not only was that never made possible, right now it just doesn’t make any sense for me to keep on trying to do it in a show that has been consistently used to promote the vision of oppressors that get away with anything.

“Vento” (Wind) refers to the forces that carry away the cries for help of those risking their lives at sea or wherever else, running from the homes and lives stolen from them. Humans whose pain and struggles are tendentially disregarded by a society we dare to call “civilized” …

 The wind that silences their voices is no other than our own choice to turn our backs on some, a choice that harms the lives of those in need of our respect as much as it shatters our own dignity. The word in Arabic that follows the title is not a translation though, it means Hope, for that is what Palestinians keep on sharing with the world amidst all the pain endured and all the many “winds” trying to silence them/us. أمل

Palestine will only be free if those fighting for the cause can spread the message and convince more people that the Zionist project must end, and that we need a clear stance against Israel and the U.S. No music contest should ever allow Israel to participate while it massacres children.

For many Western citizens and consumers, thinking critically in a world shaped by Zionist media narratives and committing to boycotts isn’t always easy. Yet, the horror of this genocide is unbearable, and the outrage is spreading. We often forget historical events, but we never forget how they made us feel. I hope we never erase these atrocities from memory, but we will certainly never forget how horrifying they felt. Taking action by boycotting brands, raising our voices, and minimizing our complicity is both necessary and possible.

The song is energetic and resilient as the Palestinian people and it is manifesting victory for Palestine and how we all will feel the way we’ll be able to finally say ”We Won!”.

The song encourages people to continue fighting for our beautiful Palestine.

Hi everyone my Name is JC BIGFOOT And my entry for this year’s FalastinVision is called Your Silence Is Complicity.

As artists we have a duty to call out injustices around the world and we must call out the genocide being committed by Israel on the Palestinians.

 

I have written this song to call out the celebrities, politicians and everyone else who is still silent after over 18 months of genocide in Gaza. 

After all the atrocities that we have witnessed, all the war crimes, cutting off aid to the people of Gaza, the killing of mostly woman and children and more bombs dropped there than in the whole of World War 2 and despite all the heinous actions of Israel, many people are still silent.

 

It’s really simple: you need to pick a side. You either stand with the oppressor or the oppressed. So be on the right side of history.

If everyone globally spoke out against Israel’s genocide on the Palestinians and took part in regular BDS actions, 

cumulatively it would all add up and we could play our part in helping bring about Palestine’s liberation sooner.