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The Artists Professional
CREATIVE PALESTINIAN ART COMPETITION | PUBLICATION | EXHIBITION THE ART SAWA AWARDS “This initiative is a very important one. Palestinian artists in the diaspora have participated in the growth of the Middle East art scene, but that Under the patronage of H.E Sheikh Nahyan Bin Mubarak Al Nahya, Minister of Higher Education and Scientific Research, and in partnership with the opportunity has so far been denied those living in the West Bank and Gaza. By bringing together such a number of artists and by engaging them in the Welfare Association, Art Sawa presents a juried, non-for-profit competition. The exhibition showcases contemporary art from Palestine, where 45 regional scene this competition has provided them a platform. established artists and 11 emerging artists participate, in hope to win – where there will be three winners in total. The selection is diverse. You will find among the works pathos, anger, humour, hope and, most importantly, potential. I was delighted by the range and The members of the jury consist of; Zaki Nusseibeh, Advisor at the Presidential Court and interpreter for the President of the United Arab Emirates; creativity of these artists in what, for most of them, is their first international exhibition.” William Laurie, Head of Sale at Christie’s Dubai and charge of the department of Modern and Contemporary Arab & Iranian Art worldwide; Ali Khadra, founder and publisher of Canvas Omar Donia, co-founder and publisher of Contemporary Practices Journal; Massimiliano Lodi, Manager for TDIC Cultural MR WILLIAM LAURIE Department. During this past year, there has been a multitude of events for contemporary arts from Palestine and the Diaspora, proving to be one of the Head of Sale at Christie’s Dubai and Head of Modern and Contemporary Arab & Iranian Art worldwide. -
In Their Own Words: Voices of Jihad
THE ARTS This PDF document was made available from www.rand.org as CHILD POLICY a public service of the RAND Corporation. CIVIL JUSTICE EDUCATION Jump down to document ENERGY AND ENVIRONMENT 6 HEALTH AND HEALTH CARE INTERNATIONAL AFFAIRS The RAND Corporation is a nonprofit research NATIONAL SECURITY POPULATION AND AGING organization providing objective analysis and PUBLIC SAFETY effective solutions that address the challenges facing SCIENCE AND TECHNOLOGY the public and private sectors around the world. SUBSTANCE ABUSE TERRORISM AND HOMELAND SECURITY Support RAND TRANSPORTATION AND INFRASTRUCTURE Purchase this document WORKFORCE AND WORKPLACE Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Learn more about the RAND Corporation View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non-commercial use only. Unauthorized posting of RAND PDFs to a non-RAND Web site is prohibited. RAND PDFs are protected under copyright law. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents for commercial use. For information on reprint and linking permissions, please see RAND Permissions. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND monographs undergo rigorous peer review to ensure high standards for research quality and objectivity. in their own words Voices of Jihad compilation and commentary David Aaron Approved for public release; distribution unlimited C O R P O R A T I O N This book results from the RAND Corporation's continuing program of self-initiated research. -
Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González Macalester College
Macalester International Volume 23 The Israeli-Palestinian Impasse: Dialogic Article 16 Transformations Spring 2009 Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation González, Olga (2009) "Culture and Politics in the Visual Arts of the Occupied Palestinian Territories," Macalester International: Vol. 23, Article 16. Available at: http://digitalcommons.macalester.edu/macintl/vol23/iss1/16 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González What makes Palestinian art “Palestinian”? This became a central question in my attempt to understand the emphasis on national iden- tity that Palestinian visual artists put on their artwork, particularly given that what I saw at art exhibits and the studios and homes of artists during my short visit in Jerusalem, Ramallah, and Bethlehem could be basically classified under the broad category of contemporary visual art. Whether realistic, figurative, abstract, or conceptual in their styles, the five artists I interviewed presented me with a varied assort- ment of images meant to highlight the “Palestinian-ness” in the con- temporary art of the Occupied Palestinian Territories. These artists use the authoritative language of Western art, seeking to create a more forceful and distinctive art that is regarded as Palestin- ian. -
RULA HALAWANI for My Father 23 March - 30 June 2020
FOR IMMEDIATE RELEASE Untitled 10 from For My Father series, 2015, Archival Print, Edition of 5, 100 x 150 cm RULA HALAWANI For My Father 23 March - 30 June 2020 Due to the current situation and the evolving outbreak of COVID-19, to protect your health and ours, Ayyam Gallery is canceling all events. Therefore we have decided to postpone Rula Halawani’s latest exhibition For You Mother and are exhibiting her For My Father series instead alongside Safwan Dahoul’s latest body of work The Awakening. Please expect to receive a 360 viewing of our exhibition soon. The gallery is temporarily functioning on an appointment-only basis until further notice. The vernissage scheduled for the 23rd is thus canceled. To schedule a viewing please contact us at: [email protected] or +971 4 3236243 About the exhibition Widely respected for her experimental approach to documentary photography, Halawani’s For My Father series details the Israeli occupation of Palestine from the vantage point of fading recollection. Creating a photographic record in remembrance of her late father, Halawani revisits several sites throughout historic Palestine, specifically the scenery that shaped her childhood memories. In the ghostly images of the series, the rolling hills, seashore, and traditional neighborhoods of the artist’s youth are distorted through the lens of her camera as she struggles to identify what was once familiar. Invading industry now defines the horizon. Abandoned homes are shown in a gradual process of deterioration, overgrown with weeds that sprout from crumbling facades. Once popular beaches now host solitary figures whose silhouettes are fogged at the edges as though slowly disappearing with the diminishing sand and sea. -
Arts and Disability in Occupied Palestinian Territories Literature and Practice Review – Summary March 2021
Arts and Disability in Occupied Palestinian Territories Literature and Practice Review – Summary March 2021 Background The Disability Under Siege project seeks to examine what are the opportunities and barriers to promoting discussion of culture, disability, and inclusive education in Occupied Palestinian Territories (OPT). And how can such discussions be developed through collaborative partnerships between cultural partners and disability-led organisations? This review undertaken from December 2020 to February 2021 mapped and reviewed available literature and cultural practices relating to arts and disability in Occupied Palestinian Territories. This report provides a summary of available literature and practice to help the project engage the following key questions • How do contemporary cultural practices engage with disability? • How do disability organisations engage with contemporary cultural practices? • What can these models of engagement tell us about the priorities of each institution? • Are there productive ways of engaging the institutional structures of cultural practices to reflect upon the issue of inclusion and disability education? • How can discourses and social practices related to disability reflect upon political concerns about marginalisation within cultural practices, including issues around identity, ideology, the body, and social injustice? All arts practices identified as a result of this study have been mapped to a database which can be viewed here1 The full Literature and Practice Review of Arts and Disability in Lebanon, the Occupied Palestinian Territories, and Jordan can be found at https://disabilityundersiege.org/current-research/. Summary The Palestinian art and cultural scene is beset by multiple local and international concerns. The prevailing social, political, and economic volatility has created significant instability within the arts sector that impacts upon cultural production, visual representation, and cultural infrastructure alike. -
RULA HALAWANI for You Mother 23 March - 30 June 2020
FOR IMMEDIATE RELEASE Untitled 2, For You Mother series, 2020, Archival Print, Edition of 5, 120 x 150 cm RULA HALAWANI For You Mother 23 March - 30 June 2020 Ayyam Gallery is pleased to present For You Mother, a solo exhibition featuring Rula Halawani’s latest body of work. Please join us in the presence of the artist at the opening reception on 23 March from 7 - 9 pm. Artist Statement When I finished my series “For My Father” I showed it to my mother, told her that I did the series in honor of my Baba and asked her if she liked it? She replied “Yes of course darling I do like it very much!” Then she asked “Rula, are you going to make a series for me when I leave this universe?” I said; Do not mention death Mama, I will make one for you as an honor now when you are still with us. As I grew into adulthood, I could not help but repeat Mother’s words “even when we die and leave this world, our spirits will remain floating in the skies of our county, Palestine” What mother was actually referring to were the two tragedies that befell Palestine in the 1948 war- the Nakba and the June war of 1967. To her the spirits of Palestinians will stay in the skies of Palestine despite the ensuing military occupation of the land, death and expulsion Those words confused me as a child, I could not understand them then, but now when I decided to devote a project to my Mother, I made several experimentations trying to translate my mother’s words into photographs. -
Reviewing Education in Palestine
199 alestineNovember 2014 Reviewing Education in Palestine Inside the small rooms of This Week in Palestine In this issue we started to call this November issue on reviewing education a benchmark as soon as the idea hit us. It Reviewing Education is a leap in our aspirations to push the magazine’s content, look, and role in our society to a whole in Palestine new level. Palestinians have placed a lot of value and hope on this subject. Education was at one time THE 4 The Gorgeous Robe of Our King commodity to invest in for the future of Palestinian families after the loss of their houses, properties, lands, and natural habitats during 199 10 Healing from Modern Superstitions November 2014 Al-Nakba, the forced exodus. Palestine used to be a thriving place for education, which is reflected in the following pages through a new and interesting research 20 Why I Left School and Never Went alestine project conducted by Jehad Alshwaikh. Also, during the first Intifada, Palestinians Back! came up with their own flexible and practical form of education, which is the subject 28 Why Do We Pursue University of an important article we have for you by Alessandro Petti. Degrees? At present, however, education has become a topic shrouded in controversy. The 34 Rethinking Palestinian Education system has not been producing the results it promised. So we decided that it was time to take a fresh look at education in Palestine and pose a few questions. Is 40 Palestinian Cultural/Historical knowledge really the focal point of our educational system? How does Palestinian Geography education compare with educational advancements around the world? 46 Reclaiming Diversity in Education We sought out the most prolific and professional writers on education to give us Reviewing Education in Palestine their views and suggestions on how to move forward. -
The Occupation of Palestinian Art: Maps, Land, Destruction and Concealment
The Occupation of Palestinian Art: Maps, Land, Destruction and Concealment Garrett Bailey A New Middle East?: Diagrams, Diagnosis and Power June 2016 1 Abstract Violence in the Middle East has been the focal point in news media. My paper has shifted the focus to forms of non-violent resistance as it pertains to Israel- Palestine. Palestinians have used art as a means of resistance before Israel declared itself a state in 1948. By focusing on Palestinian artists, I am able to show the ways in which art can reveal and counter Israeli Zionists rhetoric. Artists tear down the fallacies of Zionist propaganda through non-violent means. Resistance art is expressed in different forms, from maps, architecture and sculpture to film and graffiti. By examining Palestinian artists' work throughout the history of the Israeli-Palestine conflict, I am able to find out more about Israel's settlement building, border technology, pro-Israel lobbies, the tactics of the Israel Defense Force, and the censorship of Palestinian art. 2 Palestinians have engaged in non-violent resistance from the beginning of Israel's military occupation. Through an examination of maps, architecture, graffiti and film, I explore Israel's military tactics and their mechanisms of control. How does art shape the perceptions and realities of Israel/Palestine? Palestinian art is a necessary tool in exposing the oppression of the Israeli government and countering Zionist rhetoric. Zionism's purpose in the early 20th century was to find a homeland for the Jewish people living in the diaspora, proving the fall of the Ottoman Empire after World War One disastrous for the Palestinians. -
Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011
Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011 By Rozina S. Gilani Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Nadia Al-Bagdadi Second Reader: Professor Tolga Esmer CEU eTD Collection Budapest, Hungary 2012 Copyright in the text of this thesis rests with the Author. Copies by any process, either in full CEU eTD Collection or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. i Abstract This project explores the relationship between art, politics and collective memory as represented in Palestinian performing arts. By looking at the historical trajectory of art movements in Palestine and identifying key moments of change in artistic style and trends, I hope to support the argument that Palestinian art is inherently political and holds political functions in its society. Furthermore, while I initially anticipated discovering artists reproducing motifs of resistance as found in the early works of painters as a means of participating in salvage ethnography, my findings actually show a growing enthusiasm for new works that reappropriate older narratives and breathe new life into older aesthetic representations. The thesis will also explore issues of identity and pinpoint ways in which the Palestinian diaspora are participating in art production and efforts to resist the occupation through cultural means. -
Sites and Senses Mapping Palestinian Territories in Mona Hatoum’S Sculpture Present Tense
Sites And Senses 11 Chapter 1 Sites and Senses Mapping Palestinian Territories in Mona Hatoum’s Sculpture Present Tense Anneke Schulenberg In April 1996, Mona Hatoum, a British artist of Palestinian origin, installed a work entitled Present Tense at the Anadiel Gallery in East Jerusalem, an area annexed by Israel in 1967 (Figs 1.1–1.2).1 On the floor of the gallery, Hatoum laid 2400 pieces of soap in a rectangular shape. The soap was Nablus soap, a tradi- tional Palestinian product made of olive oil. Hatoum pressed tiny red glass beads in curved lines into the soap (Fig. 1.2). At first sight, the lines seem to make up abstract forms, but in fact they depict part of the occupied Palestinian territories that, as determined by the 1993 Oslo Accords, Israel should have handed back to the Palestinian authorities. Hatoum came across a map of these territories on the first day of her visit to Jerusalem. In Present Tense, she omitted the outlines of the map of Israel, only drawing the Palestinian territo- ries: fragmented parcels of land, scattered across Israel, resembling an archi- pelago. Present Tense was originally a site-specific sculpture as the work was made specifically for that exhibition in Jerusalem and was an immediate response to the site. By inscribing the map of the Oslo Accords on a local traditional prod- uct, Hatoum investigated the political, social and cultural dynamics at play within the Israeli-Palestinian conflict. Drawing only the Palestinian territories in Israel on the soap, Hatoum focused on the Palestinian situation within the conflict. -
The Case of the Visual Arts in Palestine
Strategics Sectors | Culture & Society Panorama Cultural Creations in Times of Occupation: The Case of the Visual Arts in Palestine Marion Slitine Since the 1993 Oslo Accords, this colonial system PhD Candidate in Anthropology, École des Hautes has been stepped up through a policy of extreme Études en Sciences Sociales (EHESS), Paris fragmentation dividing the West Bank into three Research Associate, Institut français du zones: Zone A, under Palestinian military and civil Proche-Orient (Ifpo) Strategics Sectors | Culture & Society control (less than 10% of the territory); Zone B, under Palestinian civil but Israeli military control (30% of the territory); and Zone C (60% of the West Bank with Social sciences literature on Palestine, overabun- the Jordan Valley and most of its water resources) dant insofar as geopolitical, social and economic completely under Israeli (military and civil) control. aspects, proves quite discrete with regard to its ar- The multiplication of colonies in the West Bank and tistic and cultural dimensions. However, the art East Jerusalem continues. More than 500 check- scene in the Occupied Palestinian Territories is a points reduce Palestinian movement between towns. particularly faithful reflection of the dynamics in con- In addition there is the dividing wall, which has con- 1 330 temporary Palestinian society. Here, art is not the siderably aggravated their situation. Gaza sustains preserve of the elite, and artists, considered spokes- such major restrictions of movement – not only ap- people for the national interests of their homeland plied by the Israeli authorities but also the Egyptian (watan), fulfil a major social role. and Jordanian governments – that its 1.8 million in- habitants (one of the highest population densities in the world) are forced to live in extreme isolation. -
Volume 163 February 2012
Applied Research Institute ‐ Jerusalem (ARIJ) P.O Box 860, Caritas Street – Bethlehem, Phone: (+972) 2 2741889, Fax: (+972) 2 2776966. [email protected] | http://www.arij.org Applied Research Institute – Jerusalem Report on the Israeli Colonization Activities in the West Bank & the Gaza Strip Volume 163, February 2012 Issue http://www.arij.org Bethlehem • The Israeli Occupation Authorities issued a military order to confiscate 44 dunums of lands known asʺ Al‐Kbbaratʺ located to the west of Nahalin village west of Bethlehem city. The targeted lands are planted with almonds and other fruitful trees. The military order stated to evacuate the lands and to dismantle all what exists on them; this includes but not limited to trees, infrastructure installations, or anything else, under the pretext that the lands area classified as “State Land.” Al Ayyam (February 3, 2012). • The Israeli supreme court rejected an appeal filed by local residents of Um Al Rukba area in Al Khader village west of Bethlehem city, against the demolition of 30 Palestinian houses in the village based on military orders distributed to residents ten years ago and accordingly renewed the demolition of 2 houses (out of 30 targeted with demolition) and a water well in the village. The first house (80 square meters area) is owned by Khaled Abdel Salam Salah and houses 5 family members; while the second house which stands on an 80 square meters area, is owned by Nader Abdel Salam Salah and is still under construction. The water well is owned by Mufeed Ghneim. Wafa (February 5, 2012). • The Israeli Occupation Army handed out 2 military orders to residents in ʹEin Faris area southwest of Nahhalin village in Bethlehem Governorate.