DISARMING DESIGN from reportREPORT workshopWORKSHOP

International Academy of Arts Palestine, SANDBERG INSTITUUT AMSTERDAM, ICCO, Devet 2 DISARMING DESIGN DISARMING DESIGN

International Academy of Arts Palestine, SANDBERG INSTITUUT AMSTERDAM, ICCO, devet report workshop 4 DISARMING DESIGN TABLE OF CONTENTS 5 INTRODUCTION 7 You have to love what you do, and not do what you love 7 a new generation 9 DEVISION LINES 11 gemstones 13 LIVING THE OCCUPATION 15 FAIRY LIKE INDUSTRIES 21 safer then ever 23 THE LAND OF MILK AND HONEY 24 old news from palestine 25 BACK AND FORTH 29 final presentation prototypes 34 security madam, security 35 processing 35 Palestinian-Dutch “Disarming Design” project inspired by artwork in captivity 39 credits 39 BACKGROUND 5 FROM PALESTINE TABLE OF CONTENTS 5 INTRODUCTION 7 You have to love what you do, and not do what you love 7 a new generation 9 DEVISION LINES 11 gemstones 13 LIVING THE OCCUPATION 15 FAIRY LIKE INDUSTRIES 21 safer then ever 23 THE LAND OF MILK AND HONEY 24 old news from palestine 25 BACK AND FORTH 29 final presentation prototypes 34 security madam, security 35 processing 35 Palestinian-Dutch “Disarming Design” project inspired by artwork in captivity 39 credits 39 BACKGROUND 6 DISARMING DESIGN 7 FROM PALESTINE INTRODUCTION

The project ‘Disarming design’ develops a collection of useful objects that reflect upon the Palestinian reality. Artists and designers are therefore invited to collaborate with local craftsmen to make contemporary products out of existing production processes. The products will be represented and distributed by the new design-label ‘Disarming Design’, through a mobile design store and a web shop. The project is set up by ICCO, the International Academy of Arts Pales- tine, Khaled Hourani and myself. It is generously supported by ICCO and UNESCO.

September 2012 a workshop has been organized by the International Acad- emy of Arts Palestine and the Sandberg Instituut Amsterdam. Approxi- mately 25 Palestinian designers, artists, students and three Design master students from Amsterdam worked in Ramallah to develop prototypes for the new collection of products. It resulted in two vibrant, unpredictable and very fruitfull weeks. With this booklet we’d like to tell you about the project and share our experiences and impressions of those days.

Annelys de Vet 8 DISARMING DESIGN Mahmoud Almasri, owner of “Masri Shoes” in his shop. [AdV] 9 FROM PALESTINE You have to love what you do,

* and not do what you love Qalandiya Interna- SUNDAY 2nd SEPTEMBER tional (QI) is a biennial event that takes place The passport control employee at the Ben Gurion (IL) airport asks us across Palestinian cities, towns, and vil- where we’re planning to go. The answer ‘Ramallah’ causes us a long delay lages. It focuses on with questions and baggage checks. The Palestinian taxi-driver is patient, exhibiting contem- waits two hours for us and finally brings us to Ramallah where we receive porary Palestinian and international art, a very warm welcome. highlighting valuable architectural sites, and Artist and great host Majd Abdel Hamid is doing the research and pro- includes talks, walks and performances. duction of the project, and today he shows us around. Together with the QI, in its first take, Sandberg master students Hannes Bernard, Martina Petrelli and Donna is a collaboration Verheijden we walk pass a remarkable shoe-shop and stop when Hannes between the Jerusalem Show and the Riwaq gets excited about the typography of the facade. Biennale, as well as Masri – which means ‘Egyptian’ in Arab – is a shoe shop that hasn’t other Palestinian changed since it was established in the sixties. The owner speaks Arab, cultural institutions, in an attempt to pool English, Spanish and French and used to have a shoe factory with at least resources and work 25 employees. But he can’t find people anymore who love to make shoes. collectively towards As a comment to his next generation he states: “But you have to love what showcasing and pro- moting contemporary you do, and not do what you love.” culture in Palestine, locally and internation- ally. It is an attempt to engage the local public in programs that are a new generation not straitjacketed by rd realpolitik, and to al- MONDAY 3 SEPTEMBER low them to look at art in a more imaginative All the participants of the workshop gather at the international Acade- and open manner. It my of Arts. There are bachelor students from the art school, as well as is an attempt to join forces and resources many professional artists and designers. The director Khaled Hourani, and form links across a artist Majd Abdel Hamid and myself give a presentation about the aims of fragmented geography; the project. We explain how we want to develop products in collaboration a take on unity. The QI program with different craftsmen. We want to use as much existing production encompasses a processes and Palestinian resources as possible to develop new (or slightly diversity of newly com- adjusted) objects. We underline that each product should somehow reflect missioned projects and presentations as vari- upon the current situation so that each design will tell a story. We also ous as the institutions challenge the participants to come up with alternative titles for the project, involved, it is inclusive since there are different opinions about the impact of the current one. rather than exclusive, interdisciplinary, The aim of the workshop is to develop several prototypes that will be and open allowing exhibited in November during the Qalandia International Art Biennial*. engagement, and even After this we will research which products can be taken into production to implication. 10 DISARMING DESIGN Prototype for a plate with daily moments of Palestinian life, at & Ceramics Factory. This one is based on a photo by Hosni Radwan with a falafel maker. [AdV] 11 FROM PALESTINE sell the coming years through a mobile design store and an on-line shop. Khaled stresses that even though the project has a focus on crafts, local manufactors and businesses, the essence of this experience is artistic, in- novative and creative. It aims to evoke new ideas and designs, which will strengthen the relationships between artists, craftsmen and businesses, introducing a new generation in the world of Palestinian artistic culture. DEVISION LINES TUESDAY 4th SEPTEMBER

Driving from Ramallah to Hebron would normally take one hour, but since in the are not allowed to drive through Jeru- salem we have to make a long detour which takes at least two hours. When we arrive at the Hebron Glass & Ceramics Factory we are invited to work with the craftsmen. We blow our own glass experiments, develop designs for cups and plates, including one with drawings of everyday mo- ments. Brainstorming possibilities for a keffiyeh. [AdV a keffiyeh. for possibilities Brainstorming We follow our tour to the Hirbawi Textile Factory, the only factory in Palestine making keffiyehs – the iconic patterned scarf. Although the factory was closed a few years ago, due to the competitive cheap Chinese low quality copies that dominated the market – now the production is rising again and they make around 100 scarves a day. Compared to the 600 they were making on a daily base it’s not so much, but at least the factory with

its employees is doing reasonable [AdV] Hebron. in shops Closed business.

In the afternoon we visit the of Hebron. We walk through what used to be a very lively souk. The centre once had around 23 000 Arab inhabitants, but since the early eighties Israeli settlers have (ille- gally) moved in. Currently there are 400 settlers living here who are ‘protected’ by approximately 2 000 Israeli soldiers. We see several of these soldiers walking around hold- 12 DISARMING DESIGN Weaver Abid Keraki next to the machines that are specially made for keffiyehs, and can only be used for this process. [AdV] Khaled Fakhori from the Oriental Handmade Pottery Factory demonstrates how to make vases. [AdV] 13 FROM PALESTINE ing huge firearms in front of them. Today no more than 3 000 Arabs have managed to stay living in their houses, unprotected by any authority. The majority of the shops are closed because it has been made impossible for the owners to maintain their businesses. The Palestinian police are not allowed to enter the old city, if they try they are arrested and put into jail by the Israeli military authori- ties. Many of the streets in the old city are covered with wired textiles, in order to protect the people from stones thrown down from above by fanatic settlers. In the old city we pass an humiliating checkpoint to visit two Palestin- ian potteries that are still located on the road that has become a division line. Officially citizens of the West Bank are not allowed to visit them, unless the Palestinian owner can tell the soldier at the checkpoint that he knows the visitors. We can cross the division to receive a very warm welcome in the Oriental Handmade Pottery Factory. The owner Khaled Fakhori shows us how he makes vases and allows the participants to try their hand – which is of course more complicated then expected. We also discuss Maher Shaheen’s idea to develop ceramics with – possibly annoy- ing – division lines in it. These ceramics would reflect the situation in Hebron by being divided in two sections – for instance a coffee cup with a little wall inside. Khaled is exited about the idea and will experiment with it the coming days. gemstones WEDNESDAY 5th SEPTEMBER

In the morning the Sandberg students give small presentations with as- signments to the bachelor students of the Academy. Hannes Bernard presents his thoughts on ‘post liberated graphic design’ – images that haven’t been made by someone educated as a designer, but that become landmarks of a colloquial visual language. He asks the students to collect more of these examples and tell him why they think it’s good or bad de- sign. Donna Verheijden invites the students to make one-minute videos about a place of which they have a strong memory. Martina Petrelli wants to collect stories for imaginary films that have to be represented by one image as a film-still. Next Wednesday the results will be presented. Together we discuss the different ideas of the participants. Wafa, an en- gineer participating in the workshop, will investigate making hand blown for beer and wine. Those can become beautiful tableware that also reveal the importance of the Palestinian beer and wine industry. Another participant presents the idea of making a shower curtain with an image of the wall on it, the others speculate whether this work would celebrate the wall or not. An international Danish art student says that for her it, once in her home, it would be a strong anti-wall symbol. A long discussion 14 DISARMING DESIGN arises when one person explains how he has been thinking about Pales- tinian products to finally realize that he, as a current Palestinian citizen is the real product. He feels that he is being used as an object both by the occupation and by the Palestinian real estate investors who demolish the old houses to change them into multi-storey buildings. I get a penetrating insight of how different people ‘live the occupation’.

We then visit the jewelry shop Tashakil. The owners, Salma and Hiam show us their pieces. Hiam explains how she uses old Palestinian em- broidery to make modern jewelry. She also talks about her mother and about the type of embroidery she makes. By making jewelry this way she reflects upon the Palestinian heritage. We try to find out what other mate- rials for the necklaces are local, but since gemstones or corals don’t exist in the West Bank, the stones she uses are imported. An Arab conversation follows, which Majd translates later on explaining that the most precious stones in Palestine are actually the ones that prisoners smuggle from the jails and take home. Often they are beautifully decorated or crafted into a little toy as presents for their family. Salma says that she is willing to design and make a necklace with such a stone, if we are able to find one. When we leave Majd sees friends on the street and walks to them. When he comes back he says exited that he found a stone: his friend is willing to give his. Some of the designs from Tashakil, based on the re-use of existing embroidery. [AdV] 15 FROM PALESTINE Tailor Kamel Salous in his workshop Stars Fashion . [AdV] Fashion Stars workshop his in Salous Kamel Tailor Majd adds advices how to fold the keffiyeh. [AdV] keffiyeh. the fold to how advices adds Majd We pass by tailor Kamel Salous from Stars Fashion and check with him if he can make a simple, but elegant dress out of the keffiyeh we brought with us from the Hirbawi Textile Factory. The tailor is willing to do it. Majd adds advices how to fold the scarf in order to keep the keffiyeh “intact”. LIVING THE OCCUPATION THURSDAY 6th SEPTEMBER

At 9.30am we are gathering at the academy to travel to Nablus for a visit to a soap factory and a tile industry. Unfortunately there are difficulties since the road from Ramallah to Nablus is closed because of demonstra- tions. There are strikes against the raising food and gas prices. I learn how the Palestinian economy is locked to the Israeli economy; when they raise their taxes, Palestine has to follow since all import and export goes 16 DISARMING DESIGN Imad from the Rahala shoe shop in his workshop, working on shoes designed by himself. [AdV] 17 FROM PALESTINE through Israel, including the taxes. But the Palestinian authority is broke, prices have been rising over the last two years to an unsustainable level, taxes have been doubled and the income of the citizens has only decreased. We can’t leave the city so we stay in Ramallah for the day. Together with Hannes I visit the warm and friendly shoemaker Imad from the Rahala shoe shop – which means ‘traveler’ in Arab. In his workshop we explain our project and Hannes has an idea about one of the Rahala shoe designs in which he would like to include special embroidery and a stitched label. The shoemaker calls a lady who makes embroidery and she will come to the workshop this Monday. We [AdV] Square. at Manara Demonstrators move to his shoe shop where we get a delicious Arab coffee and Imad promises us that he will make the samples next week. Walking back to the academy I pass Manara square and observe the demonstrators. There are not too many, they are not violent, but they are able to stop all the cars and occu- py the square. The traffic is a chaos, cars and taxis toot their horns, the police seems very kind and passers- by are smiling. But chaos it is. Arriving at the academy Majd tells that it’s not even certain if we will be able to reach Bethlehem on Saturday and Nablus on Sunday, since the demonstrations are increasing and the demonstrators are persuading all the shops and workshops to close down in solidarity. Over lunch we get an insight in how Majd is living the occupation and what he needs to deal with on a daily basis. We’re left in silence. Majd also lightens his story with humour, which allows us to carry on and we work on our sketches and make appointments for the next days. FAIRY LIKE INDUSTRIES SATURDAY 8th SEPTEMBER

Unlike the last couple of days, there are no strikes planned or demonstra- tions, so we can get to Nablus by mini-bus. We drive north of Ramallah through gorgeous landscapes with more vegetation than we saw on the south side last week. Palestinian villages are built mostly in valleys, from stone from the Hebron area. The architecture fits the landscape, as if they gently embrace each other. This is in strong contrast with the gated Israeli settlements located on the top of the hills, where the houses seem to be ordered from an international catalogue. 18 DISARMING DESIGN Majd Abdel Hamid holding the just purchased tiles. [Rudy Luijters] Group photo with the owner of Jalal Aslan in the middle. [Martina Petrelli] 19 FROM PALESTINE In Nablus we visit the flagstone factory Jalal Aslan. It’s one of few tradi- tional tile factories still active in the region. Many of the designs are fixed to the walls of the buildings, a great example of how the interior reflects on the exterior. All concrete tiles are made by hand in the same way, piece by piece. The owner, whose grandfa- Delicious Khafeh. ther founded the factory almost 90 years ago, invites us into a separate room where one of the work men brings us fresh Khafeh, a famous cheese pastry from Nablus soaked [AdV] in sweet syrup. I am thrilled at how delicious it is. Entering the workshop we are all amazed by the craftsmen. For many of us it’s the first time that we understand how these tiles , that we have seen so often, are actually made. A copper cliché with differ- ent compartments is put in a frame. Into each shape a colored concrete substance is added. The more detailed the pattern, the more effort this takes. The cliché is then taken out and a layer of thinly crushed stone is put on top with a sieve, followed by a layer of cement. A stone is put on top of the mixture, which is then compressed by a 15 tons pressure. The tile becomes one single piece, made up of com- pressed pigments, sand and concrete. After 24 hours of drying it’s ready to be used, forever. We make a test tile and the owner entertains us by writing Majd’s name. Instead of a cliché now the colored concrete is used as ‘drip paint’, which results in sensitive and expressive line work. Workshop participants are invited to come back to the factory in the next days to experiment with their own designs and ideas. The owner suggests we take a group photo and we gather around him. He then walks the whole group to the soap factory that we want to visit. We have to hurry because they’re closed in the afternoon. Nablus is a morning city. All workshops close early, probably because of the heat – that today reaches approximately 35°C. Nablus used to have over 30 soap factories a century ago, providing soap for all of Palestine. Now only two factories are left. We visit the Toukan Soap Factory, which is the cleanest and most fairy-like industry I have ever seen. That’s not just because of the lightness and fragrance of the soap, but because of the scarce use of tools, the precise use of resources and the incredible skills of the workers. Spreading the soap mixture, stamping each soap, cutting, drying and finally packaging them in paper; all is done by hand. It’s highly skilled manual labour, which we almost can’t follow with our eyes. Magic. 20 DISARMING DESIGN Piles of soap, drying out to be packed. [Rudy Luijters] 21 FROM PALESTINE 22 DISARMING DESIGN After the soap has been spread and dried on the ground, each piece is stamped and then cut by hand. [AdV] Workman packing soaps with magic speed. [Rudy Luijters] 23 FROM PALESTINE Entrance of Toukan soap factory. [AdV] factory. soap Toukan of Entrance In the afternoon we take a walk through the old city of Nablus. Majd warns us that if we don’t have a guide we will get lost. And this is exactly what happened. We ask a passer-by to guide us and imme- diately we are shown path through an almost illusionistic labyrinth of houses, streets, people, small shops and oriental smells. We encounter many work places of carpenters, smiths, builders, tailors and more. Each one of them is a treasure with- in their small scale and personal traces. These kind of shops have disappeared in the West. Either to be- come bankrupt or commercialised, move to industrial zones or disappear to low income countries. Here in Nablus it’s enlightening to see so many of them embedded in daily life. They offer a close relationship with the making of things, a relation to the material and production processes. safer then ever SUNDAY 9th SEPTEMBER

Sunday is apparently not a good day to visit Bethlehem as it will be crowd- ed with tourists and the Christian workmen have a day off. So for us it will be a working day, and everybody develops their ideas and prototypes. Together with Dutch artist Rudy Luijters, I visit the just opened Mahmoud Darwish museum, the most well known Palestinian poet and author. His grave is at the center point of the site, and says in Arab and English: “From Palestine.. to Mahmoud Darwish”. The word Palestine is

laid out in a remarkable way, as if the [AdV] Darwish. Mahmoud of grave the on typography ‘Moving’ letters are trapped in a melancholic dance. Or maybe it’s a reflection on the logics of the Arab alphabet to the Roman typeface On our way back to the city we meet a salesman on the street with a car of covered fresh bread. He smiles and asks us how we are do- ing. Then he tells in perfect Eng- lish that he actually has a degree in business and engineering, but that there is no work in this country. And that’s why he’s selling bread. 24 DISARMING DESIGN Salesman on the street with a car of covered fresh bread. [AdV]

Over lunch we talk with the Sandberg students Martina and Donna about the products that they’re developing and their experiences so far with being in Palestine for the first time. They are having an incredible time and are deeply moved by the different encounters they have had — although they often feel helpless and frustrated not to be able to do any- thing to change the situation. On the other side they have never felt so safe compared to anywhere else in the world and are very intrigued about the nightlife in Ramallah.

I also talk with recently graduated psychologist Layaly about her proposal to make a CD of the sounds of Ramallah. She has recorded several and we listen to them. Layaly’s Russian-born mother joins us and suggests that the sounds of the weddings in Ramallah should definitely be included, because there are so many of them. Layaly agrees and tells us that she of - ten ends up on at a wedding where she hardly knows the bride and groom, last Friday her father even found himself at the wrong wedding entirely. In the evening Rudy and I visited the designer and engineer Wafa Meri. His studio is like a magical box where he conjures up for us a series of beautiful prototypes that he has developed for a previous project. Hand- woven carpets, handblown lamps with glass from Hebron, braided bas- kets made out of the young branches of the olive tree and more. The idea arises of making a bedroom collection for the Disarming-Design-project 25 FROM PALESTINE with among other things a pillow-case with embroidered edges, a bedside light and a carpet. In addition Wafa proposes to design a set of handblown glasses for Palestinian alcoholic drinks like Taybeh-beer, wine and araq (a traditional spirit made with aniseed). THE LAND OF MILK AND HONEY MONDAY 10th SEPTEMBER

Wafa has introduced us to the re- [AdV] nursery. his in Dagher Saad and Luijters Rudy markable beekeeper Saad Dagher, who we visit at his nursery and plant shop next to the center of Ramal- lah. Saad tells us the story of profes- sional beekeeping in Palestine and how he has managed to maintain his hives through the years. During the most roads were blocked and he wasn’t able to visit his hives for more then six months and as a result the majority of his colonies didn’t survive. Since then

Saad has only 4 to 5 colonies left. [AdV] honey. Palestinian with pot of Prototype Beekeepers in Palestine used to move their colonies (transhumance) at least three times a year; from the lower Valley in early spring where the first flowers would blos- som, later to the hillside and finally to the Ramallah region for summer. In that way the bees would collect nectar throughout the seasons and each hive would provide 20 to 25 ki- los of honey per year. Today the oc- cupation and the checkpoints make it impossible for beekeepers to move around with their colonies, so they stay in one place. For Saad the best harvest now is approximately 5 kilos of honey per hive per year. Saad introduced us to his son Montaser Saad, who is in charge of the hives now and will continue the family’s beekeeping. Rudy, who is also a beekeeper, offers them a pot 26 DISARMING DESIGN of his own honey whose flavour is very much appreciated. In return, the next day we receive a pot of their delicious honey. We would like to include it in the Disarming-design-collection as ‘Honey from the land of milk and honey’.

The streets are remarkably empty since there is a full day of strikes involv- ing taxi-drivers and public transport. Seeing an opportunity, Majd set up an action to clean the streets from the burned tires, starting with the Al Quds street. He invites all his friends and friends of friends through Face- book. Many of them join to help and traces of black coal remain on Majd’ feet and fingers the next days. old news from palestine TUESDAY 11th SEPTEMBER

There have been demonstrations and fights in Hebron and Nablus. We are advised not to travel to the workshops there today. So we settle at the Academy and have individual talks with the participants. Taqi Aldeen is working on kites from used material and Palestinian newspapers. As a child he used to make many of them, like most of the local children that were meant to be sold. This was his way to save money to buy a bicycle. Maher is working on a set of dice from a variety of colored stones from different regions of Palestine. Another proposal is to make a child-size version of the colored mobile cars that street vendors use, called Arabia. Artist Ahmed Nassar has made a set of coffee tables and bowls from old newspapers and he brings the prototypes at the Academy. They are beautiful and are literally made from old news from Palestine. A simi- lar title for these objects seems nice. We’re visiting the shoemaker and designer Abu Ameed from Rahala shoes again. He’s working overtime making the shoes that Hannes has proposed with a special designed embroidery. In addition we’ve ordered some additional pairs to bring home. These shoes are really too special to Boles made with old newspapers by Ahmed Nassar. [AdV] 27 FROM PALESTINE [AdV] Arabia. called use, vendors street that cars mobile colored the of Some

be true and are actually made by hand on my feet. From the shoes Abu is wearing we order an extra pair for a friend, a museum director in London. BACK AND FORTH WEDNESDAY 12th SEPTEMBER

A strike for buses and taxis is announced at 2pm, which means that this morning is our last chance to visit the workshops outside Ramallah. Don- na, Rudy and Majd go to Nablus to experiment with some new ideas for tile designs. Donna collected patterns of different facades of buildings to translate into new tile designs, Rudy makes a test for a dotted tile and Majd creates a drawing of a television by dripping the colored concrete onto the surface of the tile. I take an early taxi to go to the Bethlehem Fair Trade Artisans to talk further about our collaboration. With the director of BFTA, Suzan Sahori I drive to visit the very talented woodcutter Eyad in a village nearby Beth- lehem. The small workshop is located at the ground floor of the house and a man and his two sons are working there. One of their current projects is a very detailed and highly crafted door for a church in Bethlehem with a relief of Jesus opening a door. This door stands in the workshop as an on- 28 DISARMING DESIGN Majd Abdel Hamid working on a tile with an image of a television, at the flagstone factoryJalal Aslan. [AdV] 29 FROM PALESTINE [AdV] wood, olive of out a camel making workshop, his in Eyad [AdV] brother, his and father his Eyad, by progress in animals the of Some 30 DISARMING DESIGN Demonstrators passing Isral Street, Ramallah. [AdV] 31 FROM PALESTINE going work. In general their objects are small wooden * The Qaualqilya Zoo carried ten days later. was the brainchild of In 2002, three zebras animals for the many souvenir shops, who don’t pay the former mayor of died after inhaling tear them reasonable prices for their work. But they have Qalqilya. Israeli Zoo’s gas used to break up few opportunities for their products. helped to stock it and a demonstration at a it was designed as a high school adjacent We talk about developing wooden yellow-cab toys and symbol of Arab-Israeli to the ZOO. Khader a collection of animals that are currently living in the cooperation. When it used his knowledge of Qualqilya Zoo*. They like the idea and all they need are opened in 1986, the taxidermy, to preserve Zoo was consid- some of the animals, photos of the animals. I promise to organize it, so that ered a “jewel in the including the giraffe, they will be able to make the animals in the upcoming crown of Palestinian the unborn calf, the weeks. national institutions.” zebras, a monkey, It became a popular at- wildcats and snakes. Unfortunately because of the announced strikes, we traction and was later Three lions, three have to hurry up to get back before 2pm in Ramallah. expanded to accom- ibex desert goats Usually driving from Bethlehem to Ramallah would modate the increasing and two zebras were flow of visitors,[which donated by the Ramat take maximum 30 minutes, but since the citizens of the included both Arabs Gan Safari park in West Bank may not travel through Jerusalem we have to and Israelis. September 2004. The make a detour of more then an hour. After the outbreak lions were meant to be of the Intifada, visitors transferred to Qalqilya from outside Qalqilya in 2000, but the A big demonstration is planned at 5pm at Manara were barred entry. outbreak of the Second Square in the city center. Donna and Martina want to The Zoo’s survival has Intifada delayed the been attributed to the delivery.Saeed Daoud, film and document it and are invited to join Majd at hard work and dedica- director of the Qalqilya a friend’s place on a balcony at the square. They start tion of its resident ZOO, dubbed the interviewing Majd and his friends, and the discussion veterinarian, Dr Sami three lions, who were Khadr and his staff. named Jafer, Jaras and develops into a much wider reflection about Palestine’s During the intifada, Naboko, “the kings of goals and European parallels. I stay at the hotel and fol- a giraffe from South peace.” According to low the demonstration as it passes outside, back and , frightened by Khadr, the Ramat Gan the sound of gunfire, ZOO also sent him forth. was killed when it ran monkeys, an ostrich, into a pole. Ruti, his and raccoons. pregnant partner, mis- Source: wikipedia.com final presentation prototypes THURSDAY 13th SEPTEMBER

This afternoon we have the final presentation of the prototypes devel- oped during the workshop. Everything is displayed at the academy and each participant explains their ideas and proposals. Art academy director Khaled Hourani is excited about all the different ideas and provides the participants with constructive feedback. Sam Bahour is a managing part- ner of AIM (Applied Information Management) and develops Palestinian businesses. He is invited as an external guest to give his feedback on the project. He says that he is amazed, even “shocked” by the high quality of the works. He emphasises that it is the very first time that there will be a collection of contemporary products from Palestine. Of course some prod- 32 DISARMING DESIGN ucts already exist, but they have never been presented in a context in the way we have done. For example, our design label will include a kitchen, bedroom, garden and interior collection, and even toys! Presenting the products this way provides a very strong and meaningful narrative about Palestinian culture and economy. Discussing the results of the workshop with on the Khaled photo’s Hourani, Sam Bahour, Rudy J. Luijters, Mahmoon, Hannes Bernard, Wafa Meri, Bayan Shbib, Maher Shaheen, Aldeen, Taqi Ayed Arafah. [AdV] 33 FROM PALESTINE [AdV] Verheijden. Donna and Petrelli Martina by keffiyehs, from dresses Two prototype [Martina Petrelli] [Martina Bernard. Hannes by adjusted and selected Shoes, Rahala by Shoe 34 DISARMING DESIGN Wooden ‘Palestinian Yellow cabs’ by Mahmoon, Majd Abdel Hamid and Annelys de Vet.[Mahmoon] Prototype of kite Aldeen. by Taqi [AdV] 35 FROM PALESTINE [Martina Petrelli] [Martina Vet. de Annelys and Eyad by zoo’ Qalqily from ‘animals for Prototype [Martina Petrelli] [Martina Shaheen. Maher by dices’ ‘Palestinian for Prototype 36 DISARMING DESIGN security madam, security FRIDAY 14th SEPTEMBER

Even though Friday is normally a holiday, Abu Ameed from Rahallah Shoes is working hard in his workshop. Hannes ordered an extra copy of shoes and the one pair for our friend is not finished yet. Tonight we’re leav- ing and the shoes need to be ready by then. I visit Abu and he asks what time we will leave exactly. He is relieved when we confirm that we’ll leave just after midnight. Around 11 pm he calls me to say that the shoes are ready and that his son will pick us up from the hotel to bring us to the bar Beit Anisa where Abu is. He has a remarkable son with a delightful warm character, who drives very well even though he is only 17 and has not yet got his drivers license. At Beit Anisa we receive the shoes that are truly extraordinary. We order araq to share, and Hannes joins us, excited about his unique pair of shoes. We toast to Ramallah and its heart warming people. Abu’s son offers us a lift back to our hotel, where we arrive just in time for the taxi which is going to bring us to Ben Gurion airport.

At the airport we meet several moody airport employees. As the initiator of this trip I’m asked all kinds of questions by one of them. When I mention that we’ve been in Ramallah this woman glances at me sharply and asks “What did you do there?” I explain our workshop at the Academy of Arts and she wants to know why we would organize such a thing ‘there’, avoid- ing the word Palestine. I reply, “Because it’s a very good academy and there are many craftsmen in the area.” She looks as if she can’t believe it. “Yes,” I continue, “there are fabulous pottery makers, glass blowers, tile manu- facturers, carpenters, tailors, embroiderers, carpet makers, shoemakers, designers and many more very talented people.” The uniformed employee raises her eyebrows in disbelief and attaches suspicious stickers on all our passports. We continue the security check and from each of us our suitcase needs to be opened and checked in detail. In my suitcase they find a pot of honey that they consider suspicious. Gruffly they demand that I explain what the pot is and where I got it from. I explain that I bought it in Ramallah and they ask firmly if I am really confident it is honey. “And are you sure no- body has given this to you?” asks a guard, loudly emphasising each word. I ask why she wants to know all this. “Prevention of terrorism.” The lady double checks the pot with a colleague and finally I am allowed to take it with us. Her face remains distrustful. Another suitcase contains many books which are considered suspicious. The customs employee lights up when she finds the guide ‘Palestine and the Palestinians’ — as if she found a gun. “What is this?” she snarls. “A guide about Palestinian culture,” we respond. “Culture???” she says in 37 FROM PALESTINE disgust and continues browsing through the book. All kinds of personal questions follow about our relationship, how we know each other, who we know in Ramallah, how we got to know them and many more unpleasant inquiries. We try to find out why they need to know this. The answer never changes: “Security madam, security.” After two weeks of enlightening hospitality, warm hearted people and mutual respect, we couldn’t have imagined a more schizophrenic depar- ture. PROCESSing SEPTEMBER / OCTOBER

We’ve received a request from Electronic Intifada “the independent on- * line news publication and educational resource focusing on Palestine, its Adri Nieuwhof is a people, politics, culture and place in the world”. Their correspondent Adri consultant and human rights advocate based Nieuwhof* found out about our project and suggests to interview Majd in Switzerland. and myself. We both have skype-interviews and in october her article gets Disclosure: The published**. Electronic Intifada has received grants from The second half of september and october all participants will work out ICCO. their designs and proposals as far as possible. In addition the Academy of Arts approaches artists and designers with existing designs that fit in the ** See: http://electron- collection. A meaningfull selection will be made and presented during the icintifada.net/content/ first exhibition of ‘Disarming Design’ during the Qalandia International’s palestinian-dutch- ‘milestone contemporary art event’ from 1 to 15 November. disarming-design-pro- ject-inspired-artwork- captivity/11760

Article by Adri Nieuwhof for Electronic Intifada, 12th october 2012 october 12th Intifada, Electronic for Nieuwhof Adri by Article Palestinian-Dutch “Disarming Design” project inspired by artwork in captivity Adri Nieuwhof, The Electronic Intifada 12 October 2012

Jewelry is intimately connected to resistance project, which aims to bring to market collec- in Palestine. On a recent trip to the West tions of Palestinian design products for the Bank, the designer Annelys de Vet learned of bedroom, kitchen, living room, garden and how prisoners smuggle little gifts out of jail. even a collection of toys. The most prized possessions among Palestin- Prototypes of the products have been de- ians include beautifully hand-decorated jew- veloped at a workshop hosted by the Interna- els that prisoners make for their children. tional Academy of Arts Palestine in Ramallah. De Vet is a curator of the Disarming Design Disarming Design is supported by UNESCO, 38 DISARMING DESIGN the UN’s Educational, Scientific and Cultural of language. I like the name. I know what it Organization, and the Dutch anti-poverty or- means. But the problem is that “disarming” ganization ICCO. always takes you to an idea that something De Vet is head of the design department of is armed and this proved to be a little contro - the Amsterdam-based Sandberg Institute and versial when I was talking to and inviting art- runs a design studio in Brussels. The project’s ists. We are still thinking about the title, how coordinator, Majd Abdel Hamid, studied art to maneuver around it, play with the name in Ramallah, as well as in Malmö in Sweden. without creating some kind of controversy of Hamid and de Vet spoke to The Electronic talking about Palestinian design as armed de- Intifada contributor Adri Nieuwhof about the sign. Disarming Design is a working title. project. AN: What are your impressions of the Pales- Adri Nieuwhof: How did the project Disarm- tinian artists and craftspeople you have met? ing Design come about and does the name AV: Both the craftsmen and the artists re - express the meaning of the project? sponded very enthusiastically to our project, Annelys de Vet: Mieke Zagt from ICCO and especially to the opportunity to experi- approached me with the question if I could ment. It’s not a common thing for artists to think of strategies to make Palestinian prod- think about collaborating with craftsmen. In ucts more attractive for a contemporary in- general they are separated groups. Just by vis- ternational market. She explained how many iting the workshops, the artists and designers beautiful products she sees in Palestine, but got many new ideas. There were already some never finds them in Dutch warehouses [de- brilliant ideas and projects, that can get a new partment stores]. I came up with the idea of platform through our design collection. In developing a collection of Palestinian prod- western societies most small workshops and ucts by contemporary artists, designers and [associated] skills have unfortunately disap- local craftsmen, creating new possibilities peared. And with them the knowledge and re- out of the existing resources and production spect for resources and processes of making methods. also vanished. Craftsmen have knowledge in The project has a slightly provocative title: their hands and express that through the ma- “Disarming Design from Palestine.” It is an terial. It was enriching to meet many highly artistic project with strong conceptual think- skilled and committed craftsmen in Pales- ing [behind it]. In that way it shows the quality tine. of the Palestinian people without portraying them as [only] victims. AN: Does the Israeli occupation or the Pales- At the same time, it [the project] does not tinian nation play a role in the design? ignore the situation but reflects upon the MA: Of course, occupation plays a role even situation. The products can unveil parts of in how you perceive things, I mean visually the Palestinian reality, tell a different story speaking. My generation, we have a distorted to an international audience. I approached perception of space. It is distorted in how you Khaled Hourani, the director of the Interna- see, how you look at things. You have many af- tional Academy of Arts Palestine, to develop filiations, you have the wall, you have all these this project with him and the academy. He boundaries on movement. You talk about the responded more than enthusiastically. last ten years where people were mostly living Majd Abdel Hamid: About the name Dis- in one city, they don’t really move around the arming Design, there is a cultural aspect West Bank. They are just living with one com- 39 FROM PALESTINE munity. So the occupation has a lot of influ- background and someone from here, it is very ence [on the design], but it is indirect. You can different. Then we have this negotiation and see it visually, in the language, in the develop- this is interesting, to see how it works. ment of the work. You can find traces of this. But at the same time it should not be literal, AN: What did the cooperation bring the Pales- it should not be like one layer, as “an occupa- tinian craftsmen, students and artists? tion” or “against occupation.” It is not about MA: I have been dealing with craftsmen the just cause of Palestinians, or a political and I think they are really excited about this debate. It is about a beautiful product and the project. They feel really marginalized, which history of it and the people who are doing it. is true. They have this threat of China that is AV: Yes, very much. For instance, only some ruining all these small shops, all the produc- resources are easy to get and for most it is dif- tion of the craftsmen. Everyone is import- ficult, impossible or too expensive. That plays ing cheap products from China which have a role in the project. But also in the meaning overtaken the market. There is this aspect of of all the products themselves the occupa- showing the craftsmen that we care they are tions plays a role, because they reflect on the there, by working with them. I really appreci- situation. What I see with Palestinian artists ate the personal contact with these craftsmen, is that it is impossible to deny the reality out- to see them interested in the work and trying side the [studio]. You can’t “just make art.” to find solutions for the problems that come You have to take a position in what it means to up with the product. make art in a situation of occupation, in this The other part is that the artists themselves, political impossible reality. That clearly influ- when you think about what it means to create ences the art and design works. a fork or a table spoon from olive wood from AN: Did the cooperation between the art- Bethlehem. This brings a lot of questions. It ists, students and craftspeople from Palestine helps people to grow, to have a fresh perspec- and the Dutch Sandberg Institute bring new tive on the esthetics of this country and the energy? products, and on us as cultural practition- MA: It is very interesting to see the relation- ers what are we producing. It influences the ship. For instance, we had three students from discourse of art as a culture itself. I am really the Netherlands who were staying with me [in optimistic about this project, because it is a Palestine]. I was telling them that I know that continuation, it is not just two months and this experience is intense. It does not mat- then you stop. Hopefully, we can introduce a ter if this is the first time or fifth time you design program at the art school [in Ramal- are in Palestine. It is a charged atmosphere. lah]. No one is studying design. We have tech- Politically, the situation is now unstable, and nicians who know how to use software, but with all these demonstrations. There is this the concept of design as an art as philosophy collaboration but it takes a little bit of time to does not exist. develop knowledge about what you can do, how we can work, to actually see the coun- AN: Can you give an example of an idea for try, understand the layers. I think they bring a product that came up during the workshop something really important and they also get which stands out or made you feel enthusias- something very important. The collaboration tic? brings out a very interesting dynamic, a kind AV: Palestinian designer Wafa Meri created of visual debate between two very different a contemporary interior for a hotel in Nablus visual languages. Someone with a western in cooperation with Rashid Abdel Hamid, 40 DISARMING DESIGN traditional manufacturers and female em- investors. But for this in particular we are col- broiderers. From this project Wafa will make laborating Sam Bahour from AIM [Applied a special “bedroom collection,” consisting of Information Management]. He is a business a pillowcase and a duvet cover with embroi- investor and joined the final presentation of dered borders, a hand-woven bed-runner, a the results of the workshop. He said that he carpet in similar colors and a bed lamp made was shocked by the quality of the presented of olive tree branches. They all use production prototypes and ideas. He said that it is the processes embedded in the cultural heritage. first time that there is a collection of contem - MH: I am enthusiastic about the product I porary design products from Palestine. Of am working on. We were working with a jew- course contemporary products exist, but they elry designer and were talking about jewelry, are never presented in a collection like [this]. rocks and precious stones. And then someone Our design label will have a kitchen collec- told about this small stone [jewel] he had made tion, bedroom collection, a garden and inte- in jail. We developed the idea to use instead of rior collection and even toys. Presenting the precious stones or diamonds, we would use a products in this context is a strong marketing rock that someone had sent out from prison, tool, because of the bigger story it tells. and make a very elegant, well-made necklace from it. It is playing on the idea of precious AN: Do you think it is possible to market the stones this personal relationship with a stone products outside Palestine? that is “worthless” but then we have the per- AV: Yes, that’s the aim of the project. For sonal relationship. Then you can wear it. I am the distribution of the products we collabo- critical also of the commercial aspect of it, rate with Alhoush [House of Arab Art and of selling this. At the same time, it is a state- Design] in Amman [Jordan], who have experi- ment. It is negotiation, it is not like it is good ence with international distribution. We work or bad. with the Bethlehem Fair Trade Artisans who I am also trying to develop a sand-clock, an already have a lot of international orders. But hour glass made from crushed cement from first we will exhibit the collection of proto- the wall. It is completely Palestinian-made. types during the international Art Biannual So you have five minutes of the virtual life of Qalandiya International in November. Qa- the wall, but at the same time it is infinite be- landiya International is an ambitious contem- cause you can keep turning it. porary art event taking place in several Pal- estinian cities and villages. Seven prominent AN: Do you think Palestinian investors will Palestinian cultural institutions that are fo- show interest in the products? cused on contemporary art and the Palestine MA: I don’t see why not. With all the move- cultural landscape collaborate to organize the ment around the costs of living, there is this event. The prototypes that we have developed aspect of being part of the community and for the Disarming Design collection will be giving back, basically. It is not just about talk- presented by the International Academy of ing and demonstrating. It is about daily life, Arts. From there on we will investigate in to work with the people, as many as possible, taking products into production and develop to actively create some help, so that people can a mobile and online design shop. Summer still live, not suffocate or just emigrate out of 2013 we expect to present this temporary the country. It is very important to invest in shop in outstanding international museums this. and cultural platforms. And on the Internet, AV: Yes, although it’s not an easy time for of course. 41 FROM PALESTINE

CREDITS BACKGROUND

Workshop Layaly Hamayel In 2007 ICCO (Dutch The Collection manufacturer; the label ‘Disarming Design Majd Abdel Hamid inter-church organiza- The collection contains is allowed to distribute from Palestine’ Martina Petrelli tion for development contemporary useful and promote the prod- 1—14 September 2012 Nadeem cooperation), the products. They are ucts. Pr Jensen International Academy specially designed (or Once the products are Hosted and Rudy Luijters of Arts Palestine and adjusted) for the label produced they will be organized by: Taqi Aldeen designer Annelys de Vet and they are produced in presented and distrib- International Academy Wafa Meri organized a workshop to Palestine. Each product uted via a web-site, a of Arts, Palestine and others develop the ‘Subjective will tell a story related to printed catalogue and Atlas of Palestine’. This the Palestinian reality in regular shops like Concept: Visited workshops: publication has been and its representation. warehouses, design- and Khaled Hourani Masri Shoes, Ramallah very meaningful and it The products use humor, museum-stores. The Annelys de Vet Hebron Glass & caused vibrant debates wittiness, style and Amman based ‘House Mieke Zagt Ceramics Factory, and visual dialogues charm to trigger the pos- of Arab Art & Design’ Hebron on Palestinian identity. sibilities of an impossible Al-Housh will join forces Production: Hirbawi Textile This year the partners situation. They will be for the distribution Majd Abdel Hamid Factory, Hebron are collaborating on a tasteful, appealing and channels. The label will Bayan Shbib Oriental Handmade new artistic project, a unconventional. present the products and Pottery Factory, design label with the gain attention through Guidance: Hebron working title: ‘Disarm- The process and a mobile design-shop Khaled Hourani Tashikil jewelery, ing Design from Pales- distribution that travels pass several Majd Abdel Hamid Ramallah tine’. The partners will During several work- museums and cultural Rudy Luijters Stars Fashion, coordinate with both the shops the goods will be places around the world. Annelys de Vet Ramallah Palestinian Ministry of designed and developed. Flagstone factory Jalal Tourism and Ministry These courses are hosted International Academy Generously Aslan, Nablus of Culture to assist and by the International of Arts Palestine is co- supported by: Toukan Soap Factory, facilitate the logistics of Academy of Arts Pal- organizing “Qalandia ICCO (Dutch inter- Nablus the project. estine and organized International” with church organization Nursery of Saad in collaboration with several local partners: Al for development Dagher, Ramallah The Label the Sandberg Instituut Hoash, Qattan Foun- cooperation) Rahala Shoes, ‘Disarming Design Amsterdam. Students, dation, Al Maamal, UNESCO Ramallah from Palestine’ is a new artists and designers Riwaq and Al Sakakiny Sandberg Instituut Bethlehem Fairtrade design label that creates from Palestine and Centre. Qalandia Amsterdam Artisans, Bethlehem and distributes Palestin- abroad will engage in International will take Eyad and his family, ian usefull products. an enriching design place from the 1st until Acknowledgements: near Bethlehem The collection as a discourse with crafts- the 15thof November. Sam Bahour whole aims to represent men, small emerging The International Art Chris Dercon This Palestinian culture in businesses and interna- Academy contribution publication: its current reality and tional colleagues. With to “Qalandia Interna- Particpanting artists, stimulate the local joined forces they will tional” is presenting a designers and students Text & Design: economy. The goods will create new products out showcase room or shop of the workshop: Annelys de Vet be developed, designed of traditional and con- of the products from Abu Ameed and produced by design- temporary (available) the Project “Disarming Ahmad Nassar Proof reading: ers and artists from production processes. Design which will serve Amer Kate McMahon Palestine and abroad in All produce will be as the first exhibition of Awatef Ruiyah collaboration with local developed through fair the products. Ayed Arafah Photography: craftsmen and business- trade conditions. Dima Annelys de Vet, es. As a whole the label In addition existing The motives Donna Verheijden Rudy Luijters, shows frankness and contemporary products Palestinian crafts have Hannes Bernard Martina Petrelli, strength, and underlines will be collected to always represented Hasan Draghmeh Mahmoon the creative, poetic and become part of the col- Palestine’s social, politi- Hosni Radwan intellectual potential lection. cal and cultural identity Jamara Fraq of Palestinian artists, The intellectual own- locally and internation- Joseph Audeh designers, entrepreneurs ership of the products ally. Various products Khaled hourani and craftsmen. is by the designer and like the Palestinian 42 DISARMING DESIGN Kouffeyeh, embroidery support nation building market. 1 and ceramics stand out through economic de- 3) An outdated art and The ‘Picasso in Palestine’ as strong symbols. Pro- velopment. Emancipate craft market that cannot project’ undertaken by partners Khaled Hourani moting and developing craftsmanship with the serve today’s modern and PACA in 2010/2011 International Academy design and handcrafts support of local design audiences with contem- illustrates the excessive of Arts Palestine can therefore be impor- in exchange with Dutch porary products. On the political and burocratic tant; not only from the designers and with contrary, an examina- obstacles that had to be perspective of cultural the support of local tion of the traditional overcome during a period identity but also from a entrepreneurs, with this arts and crafts market of two years to just get a business and marketing project ICCO aims to reveals a stale, medium famous painting exhibited point of view. create new markets for to poor quality souvenir in Ramallah. Investigating in the traditional Palestinian product that has been 2 ICCO creative potential of its produce. exhausted due to limited Part of a research study (Dutch inter-church people, the label aims or old designs unlike conducted for UNESCO organization for to create dialogue, net- Dissemination of the brisk pace of design was the “Assessment study development works, relationships and culture product development of the Handicrafts Sector cooperation) empower new models Although Palestine has found in the West. To in the Jericho Area”; of artistic practices and a vibrant art scene, there aggravate the situation Palestine Economic Policy handcrafts. The inter- are several constraints worse, products are com- Research Institute (MAS), for UNESCO disciplinairy approach that inhibit the dissemi- ing from the Far East can feed new ideas nation of culture and replacing the genuine for crafts production, further development of and hard to find Pales- avoiding the traditional this art scene including: tinian skills and talent repetitive – and often 1) Inadequate awareness that can produce superb UNESCO conventional – represen- and exposure of the local cultural products and tations of handcrafts. public to their own cul- designs. Furthermore, When this development ture with issues related Palestinian made prod- of traditional craftman- to cultural identity due ucts especially made by ship can progress to to a limited exposure to women are underpriced new markets outside it as a result of a only and underappreciated the beaten tracks, it will few dissemination pos- for the talent that goes Sandberg Instituut export a cultural pride sibilities.1 Furthermore, into them. There is lim- Amsterdam which tells the Palestin- Palestinian artists lack ited cultural awareness ian story differently and the opportunities to and identity expressed to new audiences. freely enter a regional in the crafts on offer and international and crafts(wo)men have Studio Devet Development market as the Israeli also limited possibilities cooperation military occupation of for the dissemination of The horizons of devel- the OPT hinders free- cultural identity. opment change and dom of movement, not especially critical think- only of people but even of New generation ing about development art objects.1 Although ‘Disarming in Palestine changes, 2) Restricted Palestin- design from Palestine’ so must development ian art scene outreach at has a focus on crafts and cooperations like ICCO. the local, regional and local manufactors and Traditional developmen- international level: the businesses, the essence tal cooperation is loosing economic and political of this experience is support, which urges situation has ensured artistic, innovative and ICCO to research new the absence of contem- creative. It aims to evoke models. The traditional porary art museums, new ideas and designs, role in funding partners public art collections, which will strengthen will change into a art residencies, and the relationships partnering role in which significant international between artists, crafts- ICCO will broker, lobby artists’ visits. This all men and businesses, or connect. contributes to a dif- introducing a new On Palestine, one of ficulty in developing a generation in the world ICCO’s objectives within consistent artistic frame of Palestinian artistic its policy on conflict of reference, which is culture. transformation (besides essential in accessing accountability) is to the international art 43 FROM PALESTINE