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Book Reference Book Sur les murs de Palestine: filmer les graffitis aux frontières de Dheisheh LEHEC, Clémence Abstract Le graffiti palestinien a une histoire et des spécificités aussi particulières que méconnues. Né dans les camps de réfugiés à la fin des années 1960, le graffiti y est encore largement répandu aujourd’hui. Il est pratiqué par des graffeurs ne se revendiquant pas tous comme artistes et mobilisant des thèmes éminemment politiques. Sur les murs de Palestine nous emmène au sein du camp de Dheisheh pour nous révéler les dessous de ce mouvement aux prises avec les multiples enjeux de la frontière, dans un espace où celle-ci est systématiquement contestée. Ce livre nous raconte également l’histoire de la création d’un film documentaire, coréalisé avec la cinéaste palestinienne Tamara Abu Laban, qui explore les rues du camp et fait entendre ses voix. Grâce à une approche inédite, cette production audiovisuelle pose les conditions mêmes de la recherche et parvient à créer les outils les plus appropriés pour penser les frontières dans leurs formes diffuses, jusqu’à l’échelle des corps qu’elles contraignent. À travers le récit et le parcours d’une chercheure au plus près de son [...] Reference LEHEC, Clémence. Sur les murs de Palestine: filmer les graffitis aux frontières de Dheisheh. Genève : Metis Presses, 2020, 224 p. Available at: http://archive-ouverte.unige.ch/unige:147754 Disclaimer: layout of this document may differ from the published version. 1 / 1 clémence lehec filmer les graffitis aux frontières de dheisheh SUR LES MURS DE PALESTINE AVERTISSEMENT AUX LECTRICES ET AUX LECTEURS Dans quasiment toutes les situations de ce livre, l’emploi du masculin n’est pas à considérer comme un emploi générique, mais comme la marque du genre masculin. Au regard du terrain, essentiellement lié à des individus masculins, l’écriture inclusive n’a pas été adoptée. ACCÈS À LA VERSION NUMÉRIQUE Connectez-vous au site internet de MētisPresses et accédez à la page de l’ouvrage. Cliquez sur le bouton « Version numérique » et vous serez redi- rigés vers le livre numérique en ligne. La version numérique enrichie donne notamment accès, en complément à l’édition imprimée, au film documentaire produit dans le cadre de cette recherche Les murs de Dheisheh, à des données méthodologiques supplé- mentaires, ainsi qu’à de nombreuses images et liens externes. Le lecteur rencontrera tout au long du présent livre le symbole A indiquant la présence, dans la version numérique, de documents complémentaires. Afin de situer plus précisement la démarche de recherche de l’auteure, le lecteur pourra se référer au chapitre «Expérimentation et border art: les graffitis sur les murs-frontières du camp de réfugiés de Dheisheh», unique- ment disponible dans la version numérique de l’ouvrage. © 2020 http ://www.metispresses.ch ISBN : 978-2-940563-79-1 Reproduction et traduction, même partielles, interdites. Tous droits réservés pour tous les pays. Table des matières Préface de Philippe Rekacewicz 9 Introduction 15 Partie 1 / CHERCHER, FILMER 31 Chapitre 1 / Être chercheure, dans l’espace israélo-palestinien 33 Chapitre 2 / Faire un film: se donner les moyen de bâtir du collectif 59 Partie 2 / GRAFFEURS ET GRAFFITIS 89 Chapitre 1 / Une histoire des graffeurs palestiniens 91 Outils de recherche / Entrer dans l’analyse d’image 119 Chapitre 2 / Les portraits des shuhada 125 Chapitre 3 / Hanthala, nouveau motif de la résistance 143 Ouvertures / Des graffitis pour qui ? 159 Partie 3 / FRONTIÈRES 169 Chapitre 1 / Typologie des frontières représentées dans les graffitis des murs de Dheisheh 171 Chapitre 2 / Frontières de Damoclès 185 Chapitre 3 / Franchir les frontières, faire face à l’occupation 193 Conclusion 203 Bibliographie 213 Remerciements 219 Crédits 223 COLONISER LES MURS ET LA FRONTIÈRE Préface de Philippe Rekacewicz « Mais ils sont complètement fous ! » Ce fut la toute première réaction du journaliste et historien Dominique Vidal, pourtant habitué aux « terrains hostiles », lorsqu’il aperçut pour la première fois le « mur en Palestine » alors que nous roulions au nord de Jérusalem vers le checkpoint de Qalandya. Nous avions vu les photos, lu les textes de référence sur ce pro- jet de séparation, mais nous n’étions pas préparés au choc de la première vision de cet « édifice » massif et brutal qui déchire la ville sans précau- tion. L’émotion dominait absolument toutes autres formes de sentiments et deux qualificatifs envahissaient nos esprits à son propos : totalitaire, mortifère. Rien de tel, à notre connaissance, n’existait ailleurs. Le mur de Berlin, qui nous était familier, c’était deux à trois mètres, alors que cette fracture de béton cachait le ciel sur une hauteur de huit à dix mètres. De quoi se fracasser le corps et l’esprit. Et ce n’était pas tout : sur certaines portions de son tracé, cette infrastruc- ture (murée seulement en milieu urbain, la barrière en zone rurale étant composée d’une série de grillages doublés et électroniquement surveillés) se scinde en un système de murs entrelacés dont on ne comprend plus la signification du tracé. Dans le secteur de Qalqilya, le mur transforme de nombreux villages en ghettos presque hermétiques et depuis le camp de réfugiés d’Aïda au sud de Bethléem, les sinuosités sont tellement com- plexes que la perspective donne l’illusion qu’il y a quatre ou cinq murs, courant presque parallèlement les uns à côté des autres… C’est justement autour de Bethléem que certaines maisons ont été lit- téralement « emmurées » sur plusieurs côtés. Claire, une Palestinienne chrétienne, qui vit désormais à l’ombre de ce mur imposé, a décrit ainsi la disparition du paysage : 10 SUR LES MURS DE PALESTINE De ma fenêtre, j’avais une vue magique, la douceur du paysage, les couleurs… le vert sombre des oliviers, l’ocre clair du sable et de la roche, la sécheresse de l’atmosphère. C’était chaud. De ma fenêtre, j’avais tout l’univers, mon univers, des milliers d’années d’histoire ! La poussière et l’herbe rase, de ma fenêtre je pouvais simplement embrasser Jérusalem. Le temps passe, le mur s’élève et nous devenons peu à peu aveugles. On finit par oublier ceux qui vivent derrière. Et eux, nous oublient-ils aussi ? Ce mur est… comment dire ? Grand. Il est aussi… sans fin, sans espoir. Il ferme le paysage, il ferme aussi nos vies. Ce mur est énorme, comment dire… incroyablement énorme, et son ombre encore plus : elle couvre les rues, nos maisons, nos jardins. Elle couvre aussi, et surtout, nos espoirs. Ce mur, il est juste… comment dire ? Incroyable, incompréhensible, inexplicable. Enfin, « eux », ils l’expliquent puisqu’ils l’ont construit. Mais, depuis, mon âme est dans l’ombre. Depuis le mur, nos magasins et nos cafés ferment un à un. Depuis, le mur fragmente nos rues, nos familles, nous coupe de nos lieux de prières, nos écoles, nos hôpitaux. Le mur brise nos vies. Mais dans la rue, pourtant, les enfants continuent de rire. C’est à la suite d’une série d’attentats au tout début des années 2000 qu’Ariel Sharon réactive le projet de « séparation physique » entre les Palestiniens et les Israéliens. Il confie au colonel Dany Tirza la construc- tion de cette « barrière de séparation » (que les autorités israéliennes nomment « barrière de sécurité »). Un peu moins de deux décennies plus tard, le mur – condamné par l’Assemblée générale des Nations unies en 2003 et déclaré illégal par la Cour Internationale de Justice (CIJ) en 2004 – est bien avancé, mais toujours en cours d’achèvement. Le mur est l’un des éléments du système matriciel israélien dans la mise en place d’une stratégie de colonisation de la Palestine. C’est « l’objet géogra- phique » par excellence, qui permet à Israël de sceller le principe de « conti- nuité territoriale » pour les populations juives vivant dans les colonies de peuplement (illégales au regard du droit international). C’était déjà pour ré- pondre à ce principe qu’avaient été pensées les « installations coloniales ». Hodi Lieberman, alors maire d’une colonie du nord de la Cisjordanie et Secrétaire général du « Conseil des colonies de Judée et Samarie », racon- tait dans un article de la Revue d’études palestiniennes, repris par le quo- tidien israélien Haaretz en 1996 : PRÉFACE 11 Notre rôle est de garantir que la population juive de Judée Samarie ne vive pas derrière des barbelés et des murs, mais dans un axe de continuité et de présence juive. Si l’on prend par exemple le territoire qui se trouve entre Jérusalem et Ofra (Nord-Est de Ramallah), il suffit d’ajouter, disons, une zone industrielle à l’entrée de la colonie d’Adam et une station essence à l’entrée de Psagot pour avoir un axe continu sous l’entier contrôle israélien… Autre exemple : si on fait passer une petite route entre la colonie de Bet El et la route de contournement de Ramallah (réservée exclusivement au trafic israélien), on casse ainsi la continuité des quatre villages arabes qui entourent Bet El. Ce n’est plus Bet El qui est encerclé, mais Bitin (le village arabe) qui se retrouve coincé entre les diverses infrastructures israéliennes. Dès lors, il n’est pas nécessaire de bâtir une maison ou une colonie sur chaque col- line, ce qui est important, c’est « où » passe la route, « où » construire un magasin ou une station d’essence, et « où » passe la conduite d’eau. En somme, une confiscation cynique des terres, la colonisation et le contrôle total de l’espace à moindres frais… Le mur, dans son gigantisme, déchirait la ville et offrait en même temps de larges surfaces vierges qui ne demandaient qu’à être recouvertes… Dès le début de son édification, les Palestiniens se sont donc « emparés » de ces surfaces vierges et des espaces adjacents pour les transformer en lieu de contestation et en espace d’expression.
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