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Thursday, August 6, 2020

Art as a tool of Palestinian Resistance

This article is by
Vanshita Banuana
Vanshita Banuana
MENA

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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 4:52 PM

Persecution of Uighur Muslims in China and the silence of Muslim Countries

Uighur are natives of  Xinjiang province of China who are Muslims and regard themselves as culturally and ethnically close to Central Asian nations. Xinjiang province has been under the control of China since it was annexed in 1949 and many Uighurs still identify their homeland by its previous name, East Turkestan. There are around 11 million Uighurs in Xinjiang and China claims that Uighurs hold extremist views that are a threat to national security.

In 2017, the Xinjiang government passed a law prohibiting men from growing long beards and women from wearing veils and dozens of mosques were also demolished.

As per the report of UN Committee on the Elimination of Racial Descrimination, the Chinese government has detained at least one million Uighurs in the detention camps in Xinjiang, China. After denying the existence of the camps for a long time, when the photos of the camps emerged, the Chinese government called them “re-education centres'' for Uighurs though the former detainees said they were detained, interrogated and beaten because of their religion, and not “re-educated.”

In July 2019 to the U.N. Human Right Council, 22 countries, mainly European countries, responded to “disturbing reports of large scale arbitrary detentions of Uighurs” and condemned the Chinese leadership.

Four days later, 37 countries, defended China’s “remarkable achievements in the field of human rights” by protecting the country from “terrorism, separatism and religious extremism.” The list of the 37 countries also included Muslim-majority countries like Saudi Arabia, Pakistan, Egypt, Qatar etc.

At the end of October 2019, 23 countries including France, the United Kingdom, United States denounced the repression of the Uighurs at the UN Committee on Social, Humanitarian and Cultural Affairs. Nevertheless, Beijing won the support of 54 countries, who praised the Communist Party’s management of Xinjiang.

In February 2019, Saudi Arabia showed their “respect” for Xi Jinping, the Chinese leader before they signed major commercial contracts with China. Egypt wants Beijing to finance its infrastructure and hence allowed the Chinese police to interrogate Uighur exiles on its soil in 2017. Pakistan, who has talked about the mistreatment of Rohingyas, has been silent on Uighurs since the Chinese Belt and Road Initiative is going on in the country.

Even Iran, who issues occasional criticism wants support from China and hence keeps the criticism coded. “There is a lot of sympathy for the Uighurs in Turkey, but the reality is that Erdogan needs China as an ally for economic reasons and to counteract the West’s diplomatic pressure on issues like Syria,” said Rémi Castets, a political scientist.

In 2017, the Organisation of Islamic Cooperation responded very differently to the Rohingya Crisis (Myanmar’s military crackdown on the country’s Rohingyas), where countries like Saudi Arabia, Iran and Turkey defended the rights of the Muslim minority group in Myanmar and actively condemned the treatment of Rohingyas in the UN Human Rights Council in Geneva.  

The question here arises is that contrary to the sentiments of their citizens, why do Muslim states stay silent over China’s abuse of the Uighurs?

Sophie Richardson, the director of China at Human Rights Watch, has a short and simple answer — there is less solidarity for Uighur than Rohingyas or Palestinians because China has managed to win these countries’ support due to its economic might.

Only time will tell how long these countries will continue to give preference to the economic interests over the anti-China sentiments of the citizens.

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