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Place Attachment to the Palestinian Landscape: an Art-Based Visual Discourse Analysis

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Place Attachment to the Palestinian Landscape: an Art-Based Visual Discourse Analysis Place Attachment to the Palestinian Landscape: An Art-based Visual Discourse Analysis by Sima Kuhail A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Landscape Architecture Guelph, Ontario, Canada © Sima Kuhail, May, 2020 ABSTRACT PLACE ATTACHMENT TO THE PALESTINIAN LANDSCAPE: AN ART-BASED VISUAL DISCOURSE ANALYSIS Sima Kuhail Advisor: University of Guelph, 2020 Larry Harder Place attachment is a significant affective, cognitive and emotional bond between people and places of significance. Displaced populations draw on their attachment to a place of origin to help them develop attachment to their new places. Currently eight million Palestinians are living in diaspora as they continue to be displaced. Art-based research is an emerging method in place attachment studies. This research aims to construct a visual art-based place attachment narrative of the Palestinian landscape to inform future landscape design interventions for Palestinian communities. A visual discourse analysis method is applied on the content of the “Intimate Terrains” Exhibition in Birzeit, Palestine (2019) to interpret place attachment to the Palestinian landscape as portrayed by Palestinian artists. This research, while specific to Palestine, can be generalized and can be utilized by landscape architects who intend to better understand the communities they design for and who intend to create meaningful places. Key words: Palestinian visual arts, art-based research, visual discourse analysis, landscape narrative, memory, home, belonging, identity. iii DEDICATION To my family iv ACKNOWLEGMENTS To my advisor Larry Harder, thank you for your guidance and mentorship throughout my journey in this degree. I have enjoyed our conversation throughout the past three years. Thank you for the insightful conversations, comments, and directions throughout my time in the Landscape Architecture programme and the process of this thesis. To my committee members Martin Holland and Tina Sherwell, thank you for your insightful conversations and constructive comments. To Martin Holland thank you for your academic guidance and emotional support throughout the MLA journey. To Tina Sherwell, thank you for the resources and knowledge you provided. Special thanks to Karen Landman who chaired my examination committee. Thank you for your guidance and support throughout my journey in this degree. Thank you to the amazing faculty members. It was only possible for me, as a mother of two, to be where I am today with your continuous support and accommodation. Special thanks to Karen Landman, Brendan Stewart, Robert Corry, Sean Kelly and Nate Perkins for all the opportunities you have provided me. Special thanks Diana Foolen, our programme assistant: you really do amazing work. Thank you for all your efforts and support, and always keeping us up to date. I am grateful for the financial support provided to me during my degree. My gratitude goes towards the Ontario Association of Landscape Architects, Durante Kreuk Ltd, the SEDRD awards selection committee, the Graduate Committee, and the Ontario Agricultural College (OAC). I would like to thank the International Honor Society of Landscape Architecture for their recognition as well. Thank you to my amazing classmates, this journey was special alongside you all. I have learned a lot from you guys. Each one of you had something to offer; you are the best! I will always cherish our memories and special moments: the gatherings, the trips, and the late nights in studio. I’m deeply grateful to my husband Mohammad. This journey would have been impossible without you by my side. Thanks for being there throughout my ups and downs, for always being there for me, and for your sense of humour. To my kids Sabri and Sama, you are the greatest kids ever. You have been amazingly understanding and helpful through out this journey. I love you. To my parents Hisham and Samar, sisters Sarah and Mays, and brother Mahmoud, I wouldn’t be here without you. Thank you for all the deep conversations and brainstorming sessions Sarah. The shared master’s experience was enjoyable. Mom, special thanks to you for always pushing me out of my boundaries. You have always been my inspiration. v TABLE OF CONTENTS ABSTRACT .................................................................................................................................. II DEDICATION............................................................................................................................. III ACKNOWLEGMENTS ............................................................................................................. IV LIST OF FIGURES .................................................................................................................. VII MY PALESTINE ........................................................................................................................ XI CHAPTER 1: INTRODUCTION ................................................................................................ 1 THE PALESTINIAN CONTEXT ................................................................................................................................... 4 Historical Background ......................................................................................................................................... 5 The Palestinian Landscape .................................................................................................................................. 9 Palestinian Landscape and Visual art ............................................................................................................... 13 GOALS AND OBJECTIVES ........................................................................................................................................ 15 THESIS ORGANIZATION .......................................................................................................................................... 16 CHAPTER 2: LITERATURE REVIEW.................................................................................. 17 LANDSCAPE AND PLACE ATTACHMENT ................................................................................................................ 17 PLACE AND PLACE ATTACHMENT ......................................................................................................................... 19 TYPOLOGY OF PLACE ATTACHMENT .................................................................................................................... 20 PLACE ATTACHMENT INDICATORS ....................................................................................................................... 22 Memory ............................................................................................................................................................... 22 Nostalgia ............................................................................................................................................................. 25 Identity ................................................................................................................................................................ 26 Belonging and Sense of Home .......................................................................................................................... 28 Detachment ........................................................................................................................................................ 30 HISTORY OF PALESTINIAN VISUAL ART ................................................................................................................ 32 Pre-1948: Pre-Nakba ......................................................................................................................................... 33 1948-1967: Nakba .............................................................................................................................................. 34 1967-1987: Naksa .............................................................................................................................................. 36 1987-1993: First Intifada ................................................................................................................................... 37 1993-2000: Prospects of a Palestinian State ..................................................................................................... 38 2000- Present: The Second Intifada and The Following Years ....................................................................... 39 SYMBOLISM IN PALESTINIAN LANDSCAPE ART .................................................................................................... 40 Native Plants ...................................................................................................................................................... 41 The Palestinian Village ...................................................................................................................................... 43 Motherland and Homeland ............................................................................................................................... 43 Key of Return and Keffiyeh ............................................................................................................................... 44 CHAPTER 3: RESEARCH DESIGN & METHODS ............................................................. 45 ART-BASED RESEARCH AND
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