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IEMed. Mediterranean Yearbook 2016 330 Strategics Sectors | Culture & Society Panorama 2 1 tively prohibited from leaving their micro-territory. collec are who Gazans, the mind never , the of inhabitants to all applies mobility of restriction same the army; Israeli by the issued a permit without enter cannot Jerusalem of residents not are who Those territory. own their in of ment move free all preventing checkpoints and curfews wall, adividing roadblocks, arrests, phenomena: various in manifest is occupation the Jerusalem, East and Gaza power.West Bank, the pying In occu an is of State the Conventions, Geneva 1949 the of terms to the according , In Confinement aDaily Palestine: Occupied ( homeland their of interests national the for people spokes considered artists, and elite, the of preserve the not is art Here, society. Palestinian temporary con in dynamics the of reflection faithful particularly a is Territories Palestinian Occupied the in scene However, art the dimensions. cultural and tistic ar to its regard with discrete quite proves aspects, economic and social geopolitical, as insofar dant literature sciences Social on overabun Palestine, Proche-Orient (Ifpo) Research Associate, Institutfrançaisdu Études enSciencesSociales(EHESS), PhD Candidatein Anthropology, ÉcoledesHautes Marion Slitine Palestinein Occupation: The Case of the Cultural Creations in Times of Strategics Sectors |Culture &Society destruction of nearly 600 communities and the vast majority of Palestinian political, economic and social life following the creation of the State State the of creation the following life social and of Israel. economic political, Palestinian of majority vast the and communities 600 nearly of destruction watan

To Palestinians, To Palestinians, . with border the on another building 2015, in began and Sinai the with border the on awall 2011, in built that Israel likewise Note ), fulfil a major social role. role. social amajor ), fulfil means “catastrophe” or “cataclysm,” designating the expulsion of 750,000 Palestinians from their homeland, the the homeland, their from Palestinians 750,000 of expulsion the designating “cataclysm,” or “catastrophe” means ------Exile, Exile, Occupation… against aTool as Resistance for Art From isolation. extreme to in live forced are world) the habitants (one of the population highest in densities governments Jordanian and Egyptian the also but authorities Israeli by the plied of and revolutionary the slogans struggle against and a conventional symbolic vocabulary, depiction metric compositions approaching socialist realism to geo recourse history, Palestinian of events major to the references rhetoric: nationalist well-codified a adopted period this of (1993). creation Artistic Oslo before art revolutionary Palestine’s in topics predominant the are “motherland” the of images such major restrictions of movement – movement of restrictions major such siderably aggravatedsiderably their situation. con has which wall, dividing the is there addition In points reduce Palestinian movement between towns. check 500 than More continues. Jerusalem East and West Bank the in colonies of multiplication The completely and civil) (military under Israeli control. water resources) its of most Valley and Jordan the with West Bank the of C(60% Zone and territory); the of (30% control military Israeli but civil Palestinian under B, 10% Zone territory); than the of (less control andzones: civil under military Palestinian Zone A, into three West Bank the dividing fragmentation extreme of a policy through up stepped been has system colonial this 1993 the Accords, Oslo Since nakba, 2 the right of return, the resistance and and resistance the return, of right the million in 1.8 its – that million 1 Gaza sustains sustains Gaza not only ap only not 3 - - - - -

09/09/2016 12:24:13 05_PANORAMA_Geographical_Anuari_2016_EN.indd 331 the Diversity of Cultural Expression for Development for Expression Cultural of Diversity the in cultural activities. in cultural participate youth of 6% only plan, national Palestinian to the low: according is population the among Receptiveness reside). Palestinians of 20% (where Israel in nor Jerusalem, East or Gaza in operate not can Authority Territories, Palestinian the Palestinian 7 6 5 4 3 – cludes the galleries first in two commercial art in market art new This decades. two last over the Gulf the in market art Arab the of emergence by the marketchanges. An art is being established, aided made has sector power, cultural the financial and political limited Authority’s Palestinian the Given tremely low. ex is culture for allocation Authority’s Palestinian the abound: obstacles case, any In one. tural cul the also but capital economic and political the only not became which Ramallah, in based Authority, of thePalestinian establishment the with sphere cultural the of areconfiguration was there scene: art to the life new infused process 1990s peace The Society Civil on Based Sphere Cultural aThriving to ... which completely administered the cultural sector. PLO, the and parties political of service at the cause and identity Palestinian the of promotion the for tool a as viewed then was production artistic of majority The art! in banned is flag Palestinian the of grouping colour Even the archives… burned and works of banning ofrests, exhibits, vandalization or destruction ar frequent prison, experienced has artists of eration gen This athreat. activity artistic considered which by through censorship pressed the occupying power, re strongly were artists these of all period, this In Ismael Shammout, Nabil Anani and Fathi Ghaben. Mansour, Sliman of figurative and ist symbol narrative, the in seen be can as occupation, aspx?ATT_ID=4789 No Report, Country 2013).vember Palestine Relations,’ External EU’s the in ‘Culture Action (2013-2014 budget Preparatory overall the of Authority’s 0.003% at Palestinian culture for earmarked amount the estimated Eisheh, Abu Anwar Culture, of Minister 2013, the In budget. national the of 0.9%

https://.stats.oecd.org 2011-2013, Plan 2010, 37, p. . August in Strategic National Culture, of Ministry Authority, National Palestinian National Palestinian Plan 2011-2013 in Plan,” Strategic Sector “Cultural to 0.2 represented Culture of 2011, in Ministry though the limited, extremely is budget Authority’s Palestinian the in Egypt. in others allocation culture Russia, The in art studied artists these of many Palestine, in education art contemporary no was there when atime At 4 Gallery One and Zawyeh Gallery, for in for Gallery, Zawyeh and One Gallery “Legally” responsible for responsible culture in “Legally” the

RE|Shaping Cultural Policies: A Decade Promoting Promoting ADecade Policies: Cultural RE|Shaping Convention), 2015 2005 the (on Report Global UNESCO and 5 . ------tries receiving the most cultural aid from . coun ten the among is Palestine fact, In aid. tional they follow more and international economic agen agendas (above all ), today to political conformed artists before, Whereas projects and not infrastructures fund of the donors the majority since issues, sustainability which raises progressively being established, Arelation of is dependence art. and logic of globalized contemporary ofinvolved the circuits part are in art of funding, and those the artists toDue the international nature the sphere of culture Today, organizations are civil working society 300 in Ramallah in Gallery Al-Mahatta the and Art of Academy International the Foundation, Qattan the Center, Cultural Sakakini Khalil the and Jerusalem, in Court Art Hoash Al the and Centre Cultural Yabous the Art, Contemporary for Foundation Maamal Al the as such afew others quite preceding pioneers, the of examples are Gallery Anadiel the and Jerusalem East in Centre Art Wasiti Al arts: ual vis the to promoting dedicated are that ganizations) consulates, foundations(NGOs, or international or funding foreign or investment private on based es spac exhibit are late 1990s, there the Since stance. of the donors fund projects and not infrastructures. infrastructures. not and projects fund donors the of the since majority issues, sustainability raises which dependence is progressively being established, of relation A art. contemporary globalized of logic and circuits the of part are art in involved those and artists the funding, of nature international to the Due : www.lacs.ps/documentsShow. Palestine Culture, of , Ministry 6 and on often depend interna 7

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IEMed. Mediterranean Yearbook 2016 331 Strategics Sectors | Culture & Society Panorama 05_PANORAMA_Geographical_Anuari_2016_EN.indd 332

IEMed. Mediterranean Yearbook 2016 332 Strategics Sectors | Culture & Society Panorama Mona HatoumMona being one of the pioneers; degree), with to alesser performance (and stallation in as such developed, have been art contemporary to international specific media new to form, regard In propaganda. with associated to be art Palestinian heavy yoke – the from themselves freeing were artists the if as developing, began expression artistic of forms new Thus, be. should identity and art mentum while enriching debate on what Palestinian mo new Territories the in scene cultural Palestinian the lent process” “peace 1990s, the the After Life Everyday and Individuality on Based Art Nationalist APost- Expression: in Artistic Renewal audience. a Western of expectations the anticipating tination,” an abstract one, where the elements of occupation occupation of elements the where one, abstract an to adopt style figurative symbolic, his left has Mansour strugglingety to circumvent the Sliman checkpoints. soci civil aPalestinian of portrait the draws artist the 2012 Jarrar’s Infiltrators (al-Mutasalilun)Khaled film, in instance, for Thus, life. everyday Palestinians’ on consequences its to is show artists of eration gen post-Oslo the for intent the creation, artistic of the symbols of occupation remain in the background though But generation. new the of artists of works the – soldiers Israeli points, Representations of the occupation: the wall, check organizeularly highly anticipated group exhibits. Art), reg for (Windows and Shababik Contemporary Eltiqa galleries, two the where Gaza, in particularly important, very remains of medium the less, criticize “a 11 10 9 8 das. In this “Palestine of donors” of “Palestine this In das. en, democracy, etc. wom rights, human “development,” “peace,” values: “universal” so-called on focused now is sector tural cul the in society civil of action the Accords, Oslo that was raging in and caused her exile. her caused and war civil Lebanon in the evoked raging was Hatoum that Mona where experience strenuous ahighly mud: liquid with filled cube atransparent in nude hours seven spent Dissertation in Sociology, Versailles-Saint-Quentin-en-Yvelines University, 2014. S

Ibid www.karamafestival.org/en/pages/82/Karama-Gaza-Human-Rights-Film-Festi She is the first female to Palestinian artist gain international recognition, namely through in her 1982, performance Under Siege beih . : entre pression des bailleurs de fonds et logique d’engagement.” Doctoral Doctoral d’engagement.” logique et fonds de bailleurs des pression : entre Palestine en ONG » des « Professionnalisation “La Sbeih, – of political ideology that has often led led often has that ideology political – of

culture for designed an international des 9 Many Palestinians, moreover, Palestinians, Many these are recurrent motifs in in motifs recurrent are these 8 generated by the by the generated at times too too at times 10 nonethe ------, live, we want to we breathe.” want live, to want “we was lemma whose and Gaza on sive 2014 offen in Muzayen Israeli the tor Khalil following direc by film launched Edition, Carpet -Red Festival Film Rights Human Gaza Karama the festival, film Gaza latest the with case the is as rights, human for wards universalism as a and struggle considers art to tends that to one art nationalist apurely from ing mov is scene The repertoire. political conventional the with arupture mark helps technologies new and art contemporary of codes the of use context, this In Accords. Oslo the of failure the since sclerosis society, and political neo-liberalism caught between of Palestinian self-criticism expresses oftion artists genera new the involvement, collective and cause al nation to the approach individualized me.” amore In of us” “art to of an “art an from moving gressively pro is scene art the aesthetic: their of heart at the is In these contemporary artistic creations, individuality power. media and tion 2014, of execu summer of the in ease to its due Gaza against offensive Israeli the during popular very was war), of times in Facebook on them posting and ers for (which instance of consists creating digital post Warpostering artworks. of coverage media cerning symbolically the skirting in barriers, particular con ment and new technologies, which provide means of develop by digital assisted been has renewal of non phenome This Gaza. in life daily of precariousness the recount to it ironically revisiting environment, his of his installations and photographs, elements distorts apparatus;colonial and finally, in Abusal, Mohamed the amid son own his depicts Zurob Hani paintings, figurative his in situation; everyday this in vulnerability Palestinians’ the to show wall separation the before Six Israelis & Palestinian One Settlement, series, photography his in , on lives;individuals’the consequences personal lance associated with the occupation to emphasize surveil of elements injecting but Mansour, der, Sliman el his of paintings the up takes Khalaf Bashar young manner; suggestive amore in displayed implicitly are

11

, portrays himself nude , where she she , where ------, 09/09/2016 12:24:13 05_PANORAMA_Geographical_Anuari_2016_EN.indd 333 Palestine after the Oslo Accords, characterized by a characterized Accords, Oslo the after Palestine in observed be can scene art the of reconfiguration a occupation, of acontext in constraints the Despite Bonding Social of Mechanism the or Crisis, of Context in the Art protest. ists art these that aid) international and (Israel, 13 12 Bureau, Statistics to thePalestinian cording 2010, In training. ac and to culture access same the have not does one residence, of place on pending de distributed: unequally is offer cultural the And restrictions. permit exit or entry and to visa due ries territo different the in actors cultural among greater linkscial grows among Thedisconnection them. so creates that (Facebook) network virtual the often most is it and into networks, organize seldom artists city, a single Even in even competitive. differentiated, highly town are each of identities cultural The tion. ized by its structural and identity-related fragmenta character is world art Palestinian the Territories, the Echoing fragmentation the in geopolitical occurring Pressure and under Fragmented Scenes Art Spring of February 2011, February of Spring Palestinian timid the of protests the in ticipated par Revolutions, Arab the of wake the in that, ments move youth of demands the Echoing levels. multiple feel theyincreasingly are the object of occupation on Young it. artists to criticize attempting artists sors power, in cen it been has Hamas since Moreover, groups. 1980s the in by Salafist closed all were mas for thenal occupation.” ten instance, cine Gaza, In “inter an of speak artists certain though society, ian occupation, but also to within Palestin conservatism to the linked only not is by artists felt pressure The Gaza. in one only with West Bank, 14 and West the Bank in 15 were the of theatres the in all were 121 museums six the Bank, Gaza; in West the in located were 471 of out centres cultural tional actors. Fuck Hamas, , the International Community […].” Community International the Fatah, Hamas, Fuck interna and actors. tional Palestinian Israeli, of ensemble the with up “fed were they that expressing sites, networking 2011 social 11on through February

www.pcbs.gov.ps (many of whom are artists, and above all musicians) called people to demonstrate demonstrate to people called musicians) all above and artists, are whom of (many Out Breaks Youth Gaza group the in people young The

13 it is a “triple occupation” occupation” a“triple is it 12 350 350 ------­ Bibliography State?Palestinian tan ( homeland their of conceptions new devise and itself to reimagine society afragmented allow ples, peo its and anation of idea the of a reconfiguration (2012), biennial offer International which Qalandiya the Palestinian Museum as such creations cultural Palestinian recent Will market. art by an allowed flows cultural new the in up caught have been other, artists the the on and dueconfinement to occupation, Israeli increasing growing of grip the in quartered have been art of worlds the hand, one the on duality: schizophrenic B T S N M F a arhat litine oullata a akhoul w s )…? A preliminary step towards the creation of a of )…? creation the towards step Apreliminary (ECF), 2010,(ECF), 150-51. pp. Foundation Cultural and European Thaqafy) Al Mawred (Al Resource Culture manstudies, tiste de l’année’ (Palestine),” de tiste in al-Farabi, Bayreuth, 2012 Bayreuth, Arabic). (in al-Farabi, Culture Palestinian tion of Contemporary Tunisia: Introduction An and Palestine, Morocco, Lebanon, dan, (ed.), 2004), 70-84. pp. Palestine Studies erpool, 2013.erpool, Art Palestinian politiques et cultures Yémen. au Loisirs, Maroc du arabes Tauris, 2011. Tauris, Arab Cultural Studies: Mapping the Field B estinian Cultural Studies,” in in Studies,” Cultural estinian il he -S urgat f Marion, “L’art Marion, sous occupation. jeune ‘Le ar Fatin, “Palestine,” in Ineke The Architecture of Loss: of Ques The Architecture Esmail, The ouri Bashir and H and Bashir Journal of of Journal in Siege,” the “Art under Kamal, Cultural Policies in Algeria, Egypt, Jor Egypt, Algeria, in Policies Cultural François and and François Helga, “The Necessary Politics of Pal of Politics Necessary “The Helga, , La Découverte, Paris, 2013. Paris, Découverte, , La , Liverpool University Liv Press, , Vol. 33, No. 4 (Summer 4 (Summer No. , Vol. 33, on

C (2016) or the transnational atu The Origins of of Origins The Gordon, ss , Amsterdam: Boek e Jeunesses Jeunesses Myriam, B S von onne abri

H f Tarik (ed.), oy a m Laurent, Laurent, er svel , Dar , Dar , I.B. , I.B. wa d ------

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IEMed. Mediterranean Yearbook 2016 333 Strategics Sectors | Culture & Society Panorama