Thursday, August 6, 2020

Art as a tool of Palestinian Resistance

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Vanshita Banuana

Article Title

Art as a tool of Palestinian Resistance

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Global Views 360

Publication Date

August 6, 2020

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Graffiti of former PFLP militant, Leila Khaled

Graffiti of former PFLP militant, Leila Khaled | Source: Edgardo W. Olivera via Flickr

The Israel-Palestine conflict is one that has been fraught with violence and displacement, more so for the Palestinians. This is a complicated history of war and disagreement over the possible solutions. However in recent years, the actions of Israel’s right-wing coalition government under Prime Minister Benjamin Netanyahu are making the path to peace even more difficult.

Many artists, especially those of Palestinian origin, across the creative mediums, have turned to art as a medium of expression against the Israeli government’s repressive policies and to show the suffering of the Palestinian people.

Graffiti of  Marouane Barghouti, imprisoned Palestinian activist | Source: thierry ehrmann via Flickr

The heroes of Palestinian resistance against the Israeli occupation are a popular subject of resistance art by Palestinian artists. It is mainly expressed in the form of murals, graffities, and posters.

Another important theme in Palestinian art surrounds the Nakba, which refers to the exodus of a large number of Palestinians after the formation of the state of Israel.

Palestinian refugees leaving the Galilee in October–November 1948 | Source:  Fred Csasznik via Wikimedia

A popular street artist Banksy has left his unique mark in support of Palestinian resistance, and not just in the form of street art which lines the Israeli West Bank barrier and other areas of the West Bank.

Street Art by Banksy | Source: Dan Meyers via Unsplash

Banksy also opened the Walled Off Hotel in 2014 where all the rooms overlook the barrier or apartheid wall, as it is known in Palestine, and each contains various artworks depicting life under occupation.

The most recent contribution from Banksy in this regard has been a small art piece that was displayed inside the hotel last Christmas, called ‘The Scar of Bethlehem.’ It depicts a nativity scene (the birth of Jesus) set to the backdrop of the concrete barrier, with a bullet hole in it resembling a star and has garnered praise from many western news outlets as a symbol of solidarity with Palestinian suffering.

Posters, and innovative methods of distributing the same, are another form of artistic protest. These range from the posters by various artists published in a leftist French newspaper, meant to be cut out and pasted on walls by the public; to the Turkish graphic design professors using public walkways to exhibit posters in solidarity with Gaza.

A card marking the tenth anniversary of the launching of the Palestinian revolution in 1965 | Source: Nawal Abboud via The Palestinian Poster Archives

Posters have also sprung up in various places across the world, including Israel, calling for active demonstrations against Israel’s plans to annex the West Bank. All of the mentioned posters continue to be collected in the digital archives of the Palestine Poster Project.

Another popular collection dates back to 1970s Australia, circulated by Ali Kazak, a Palestinian ambassador, called “landscape posters” for their focus on Palestinian land. Many posters utilised symbols such as traditional Palestinian dresses, fruits such as olives and oranges, and keys, which refer to the refugees.

Some of the older art from around the 1970s focused on pre-war Palestinian life and culture, while the newer art takes a multi-media form through photographs, science fiction and films. Similarly, many murals can be found surrounding Land Day, which serves as a reminder of a massacre in 1976 in response to a protest.

Artistic symbolism also often uses the concept of Sumud, which means resilience in Arabic, and is used to refer to a “sense of rootedness” to Palestinian land.

Music also found its voice as a form of self-expression and resistance. In 2018, music platform Boiler Room hosted Boiler Room Palestine for the first time. The show featured a diversity of Palestinian artists from Palestinian and Israeli territories. The crew for the show had to enter Palestine through Israel, giving them a small taste of the limitation of movement for Palestinians.

Palestinian art continues to grow as a form of self-expression, as a form of resistance to Israeli policies, and as forms of cultural history in an endeavour to keep Palestinian spirits and identity alive as their lives get shrunk into smaller and smaller pieces of land.

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February 4, 2021 5:08 PM

Symbols of the racist past still prevalent in the United States

George Floyd’s recent death while in Police custody has sparked protests across the entire United States. While it did expose the way Black Americans are policed, it also initiated a much deeper conversation about the prevalent racism faced by Black Americans in almost all aspects of modern life.

Many symbols of the racist past still exist across the US, more so in the Southern states. The recent trigger of protests and the BLM movement has initiated a discussion about these symbols once again. While some argue that it is important to preserve these symbols owing to the American culture, the majority of the people seem to be agreeing that these are symbols of oppression and injustice.

Thomas D. Rice is pictured while performing his blackface role — Jim Crow | Source: Edward Williams Clay via Wikimedia

In the mid to late 19th century, white actors quite commonly employed the use of black grease paint to depict slaves and free blacks on stage. The technique commonly known as blackface was more than just facial makeup. Rather, it was used as a symbol for mocking the African-Americans as inferiors in every aspect of life.

Blackface seemed to have disappeared in the 1960s thanks to the Civil Rights Movement. It however reappeared in the 1980s on college campuses in the wake of steps taken to bring more African Americans to campus. An old yearbook picture from Langley School resurfaced recently revealing the then-principal and vice-principal dressed as whiteface and blackface for Halloween. The current leadership of the school have issued apologies stating that the incident should not have happened.

Despite a racist history surrounding blackface, a recent survey by Pew Research Centre revealed that nearly one-third of Americans surveyed did not find anything offensive in blackface being used at Halloween.

Newspaper ad for Aunt Jemima Buckwheat pancake mix, 1923 | Source: Chronicling America: Historic American Newspapers. Lib. of Congress

Aunt Jemima, a 130-year-old syrup and pancake mix brand owned by Quaker Oats depicts a black woman named Aunt Jemima who was originally dressed as a minstrel character. The company has earlier made tweaks to the picture of the black woman in response to the criticism it received for propagating a racial stereotype. In June 2020, Quaker Oats announced that the brand would be rejuvenated to feature a new name and image.

Image of Andrew Jackson, the seventh president of the United States | Source: Wikimedia

Andrew Jackson, the seventh US president and his family employed hundreds of enslaved people in building their wealth. However, to date, Jackson still haunts Black Americans with his presence on the twenty-dollar bills in the wallets of these Americans. The Trump administration’s decision to not replace the bill featuring Jackson with one that would feature abolitionist Harriet Tubman as proposed earlier does not help the nation’s troubled history with Racism.

Similar symbols of the US racist past exist across the entire country, starting from streets named after Confederate officers to congested highways specifically designed to ensure isolation of Black neighborhoods. Football and baseball games in the country still feature the national anthem penned by Francis Scott Key, a person who used his power as district attorney to prosecute Black men.

George Floyd’s death was the perfect trigger for all the anger and frustration against the systematic injustice that has been meted out to Black people. However, it also served well to initiate debates over the omnipresence of these racial symbols across the country that serve as memorials to slavery and white supremacy.

As many as 800 Confederate statues and monuments have been removed ever since the BLM protests erupted in the country. A few of these racial symbols in the US suffered the brunt of BLM protesters who defaced homages and toppled statues of founding fathers who had profited from slavery.

Those against the removal of these symbols argue that these men merely failed in morality due to the socio-political environment they inhabited. Alvita Akiboh, an assistant professor of history at the University of Michigan, however, disagrees with the notion. “Just because slavery was accepted among white elites or even the broader white population at the time does not mean it was accepted by everybody, because everybody includes Black people who were enslaved, indigenous people who were pushed off their lands in order to expand plantation slavery,” said Akiboh.

Others, including US President Donald Trump, have employed the notion of removing these symbols as the equivalent of “ripping American history and culture apart”. To this Akiboh voices her opinion saying that the majority of these symbols were erected decades after the civil-war conflict ended. She argues that they are merely “a reminder for Black and brown people to remember their place”.

As the BLM protests gain momentum and support globally the scrutiny of the racist symbols in the US shall increase manifold. With the government not willing to push for major reforms and removal of these racist symbols and an adamant public demanding an end to the systematic discrimination based on race, the road ahead for the recial relation in the US is a difficult and complicated one.

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