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Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González Macalester College
Macalester International Volume 23 The Israeli-Palestinian Impasse: Dialogic Article 16 Transformations Spring 2009 Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation González, Olga (2009) "Culture and Politics in the Visual Arts of the Occupied Palestinian Territories," Macalester International: Vol. 23, Article 16. Available at: http://digitalcommons.macalester.edu/macintl/vol23/iss1/16 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Culture and Politics in the Visual Arts of the Occupied Palestinian Territories Olga González What makes Palestinian art “Palestinian”? This became a central question in my attempt to understand the emphasis on national iden- tity that Palestinian visual artists put on their artwork, particularly given that what I saw at art exhibits and the studios and homes of artists during my short visit in Jerusalem, Ramallah, and Bethlehem could be basically classified under the broad category of contemporary visual art. Whether realistic, figurative, abstract, or conceptual in their styles, the five artists I interviewed presented me with a varied assort- ment of images meant to highlight the “Palestinian-ness” in the con- temporary art of the Occupied Palestinian Territories. These artists use the authoritative language of Western art, seeking to create a more forceful and distinctive art that is regarded as Palestin- ian. -
Arts and Disability in Occupied Palestinian Territories Literature and Practice Review – Summary March 2021
Arts and Disability in Occupied Palestinian Territories Literature and Practice Review – Summary March 2021 Background The Disability Under Siege project seeks to examine what are the opportunities and barriers to promoting discussion of culture, disability, and inclusive education in Occupied Palestinian Territories (OPT). And how can such discussions be developed through collaborative partnerships between cultural partners and disability-led organisations? This review undertaken from December 2020 to February 2021 mapped and reviewed available literature and cultural practices relating to arts and disability in Occupied Palestinian Territories. This report provides a summary of available literature and practice to help the project engage the following key questions • How do contemporary cultural practices engage with disability? • How do disability organisations engage with contemporary cultural practices? • What can these models of engagement tell us about the priorities of each institution? • Are there productive ways of engaging the institutional structures of cultural practices to reflect upon the issue of inclusion and disability education? • How can discourses and social practices related to disability reflect upon political concerns about marginalisation within cultural practices, including issues around identity, ideology, the body, and social injustice? All arts practices identified as a result of this study have been mapped to a database which can be viewed here1 The full Literature and Practice Review of Arts and Disability in Lebanon, the Occupied Palestinian Territories, and Jordan can be found at https://disabilityundersiege.org/current-research/. Summary The Palestinian art and cultural scene is beset by multiple local and international concerns. The prevailing social, political, and economic volatility has created significant instability within the arts sector that impacts upon cultural production, visual representation, and cultural infrastructure alike. -
Diyar Board of Directors
DiyarConsortium DiyarConsortium DiyarProductions Content Diyar Board of Directors Foreword 2 Bishop Dr. Munib Younan (Chair) Dar al-Kalima University College of Arts and Culture 6 Dr. Ghada Asfour-Najjar (Vice Chair) International Conferences 16 Mr. Jalal Odeh (Treasurer) The Model Adult Education Center 20 Dr. Versen Aghabekian (Secretary) Religion & State III 22 Mr. Albert Aghazarian The Civic Engagement Program 26 Mr. Ghassan Kasabreh Ajyal Elderly Care Program 30 Azwaj Program 32 Mr. Zahi Khouri Celebrate Recovery Project 34 Mr. Issa Kassis Diyar Academy for Children and Youth 35 Dr. Bernard Sabella Culture Program 41 Rev. Dr. Mitri Raheb (Founder & Authentic Tourism Program 44 President, ex officio) Gift Shop Sales for 2015 46 Diyar Publisher 48 Media Coverage 50 Construction Projects 53 1 In all of the construction projects, Diyar emphasized alternative itineraries into their schedules. When we aesthetics, cultural heritage, and green buildings. started in 1995, there were only 60 Palestinian tour FOREWORD Thanks to utilizing solar energy, Diyar was able in 2015 guides (out of a total of 4000 guides); all of them were to generate 40% of its energy consumption through over 60 years old and had received their license from solar. By 2020, we hope to reach zero-energy goal. the Jordanian government prior to 1967. Thanks to Dar Dear Friends, al-Kalima University College of Arts and Culture, today In all these years Diyar programs were highlighted in there are over 500 trained and accredited Palestinian ANNUAL REPORT 2015 ANNUALREPORT Salaam from Bethlehem. The year 2015 marked Diyar’s 20th anniversary. It was on many media outlets including the BBC, CNN, ABC, tour guides, who became Palestine’s ambassadors, September 28, 1995 that we inaugurated Dar Annadwa in the newly renovated CBS, HBO, ARD, ZDF, ORF, BR, al-Jazeera, Ma’an News sharing the Palestinian narrative with international crypt of Christmas Lutheran Church, as a place for worldwide encounter. -
Reviewing Education in Palestine
199 alestineNovember 2014 Reviewing Education in Palestine Inside the small rooms of This Week in Palestine In this issue we started to call this November issue on reviewing education a benchmark as soon as the idea hit us. It Reviewing Education is a leap in our aspirations to push the magazine’s content, look, and role in our society to a whole in Palestine new level. Palestinians have placed a lot of value and hope on this subject. Education was at one time THE 4 The Gorgeous Robe of Our King commodity to invest in for the future of Palestinian families after the loss of their houses, properties, lands, and natural habitats during 199 10 Healing from Modern Superstitions November 2014 Al-Nakba, the forced exodus. Palestine used to be a thriving place for education, which is reflected in the following pages through a new and interesting research 20 Why I Left School and Never Went alestine project conducted by Jehad Alshwaikh. Also, during the first Intifada, Palestinians Back! came up with their own flexible and practical form of education, which is the subject 28 Why Do We Pursue University of an important article we have for you by Alessandro Petti. Degrees? At present, however, education has become a topic shrouded in controversy. The 34 Rethinking Palestinian Education system has not been producing the results it promised. So we decided that it was time to take a fresh look at education in Palestine and pose a few questions. Is 40 Palestinian Cultural/Historical knowledge really the focal point of our educational system? How does Palestinian Geography education compare with educational advancements around the world? 46 Reclaiming Diversity in Education We sought out the most prolific and professional writers on education to give us Reviewing Education in Palestine their views and suggestions on how to move forward. -
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Eye on the News [email protected] Truthful, Factual and Unbiased Vol:X Issue No:121 Price: Afs.15 www.afghanistantimes.af www.facebook.com/ afghanistantimeswww.twitter.com/ afghanistantimes SUNDAY . NOVEMBER 29 . 2015 -Qaus 08, 1394 HS Yo ur Yo ur ad ad he re he re AT News Report KABUL: A driver was killed and two others wounded in a suicide attack in Kart-e-Naw area of Kab- AT News Report ul city on Saturday morning. KABUL: Ex-President Hamid Ministry of Interior (MoI) Karzai said that Afghans are unit- Public Affairs Department Dep- facing many problems ed, will remain united and none can after closure of the bor- uty Najeeb Danish confirmed the divide them. He added that Afghans blast. He said the suicide attacker and the Pashtuns living on the oth- der. According to the was on foot and detonated his er side of the Durand Line were residents of Badakhs- suicide vest in Shahrak-e-Telaie AT Monitoring Desk han they cross the border to shop th being trampled by world powers area of 8 police district in Kart- for their evil goals. Talking at a ref- quicker while saving time. The e-Naw at around 9:00 am. He told erence in the memory of late Pash- KABUL: Tajikistan has closed her provincial capital Faizabad can Afghanistan Times that a driver tun nationalist leader Afzal Khan border for Badakhshan residents take nearly 18 hours to travel. was killed and two others, includ- Lala on Saturday, Hamid Karzai living near the border. This came Meanwhile, the chief of Maimay ing a woman and a child, injured said: “Under a well orchestrated after insecurity increased in north- district Dawlat Mohammad said in the bomb blast. -
The Occupation of Palestinian Art: Maps, Land, Destruction and Concealment
The Occupation of Palestinian Art: Maps, Land, Destruction and Concealment Garrett Bailey A New Middle East?: Diagrams, Diagnosis and Power June 2016 1 Abstract Violence in the Middle East has been the focal point in news media. My paper has shifted the focus to forms of non-violent resistance as it pertains to Israel- Palestine. Palestinians have used art as a means of resistance before Israel declared itself a state in 1948. By focusing on Palestinian artists, I am able to show the ways in which art can reveal and counter Israeli Zionists rhetoric. Artists tear down the fallacies of Zionist propaganda through non-violent means. Resistance art is expressed in different forms, from maps, architecture and sculpture to film and graffiti. By examining Palestinian artists' work throughout the history of the Israeli-Palestine conflict, I am able to find out more about Israel's settlement building, border technology, pro-Israel lobbies, the tactics of the Israel Defense Force, and the censorship of Palestinian art. 2 Palestinians have engaged in non-violent resistance from the beginning of Israel's military occupation. Through an examination of maps, architecture, graffiti and film, I explore Israel's military tactics and their mechanisms of control. How does art shape the perceptions and realities of Israel/Palestine? Palestinian art is a necessary tool in exposing the oppression of the Israeli government and countering Zionist rhetoric. Zionism's purpose in the early 20th century was to find a homeland for the Jewish people living in the diaspora, proving the fall of the Ottoman Empire after World War One disastrous for the Palestinians. -
Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011
Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011 By Rozina S. Gilani Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Nadia Al-Bagdadi Second Reader: Professor Tolga Esmer CEU eTD Collection Budapest, Hungary 2012 Copyright in the text of this thesis rests with the Author. Copies by any process, either in full CEU eTD Collection or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. i Abstract This project explores the relationship between art, politics and collective memory as represented in Palestinian performing arts. By looking at the historical trajectory of art movements in Palestine and identifying key moments of change in artistic style and trends, I hope to support the argument that Palestinian art is inherently political and holds political functions in its society. Furthermore, while I initially anticipated discovering artists reproducing motifs of resistance as found in the early works of painters as a means of participating in salvage ethnography, my findings actually show a growing enthusiasm for new works that reappropriate older narratives and breathe new life into older aesthetic representations. The thesis will also explore issues of identity and pinpoint ways in which the Palestinian diaspora are participating in art production and efforts to resist the occupation through cultural means. -
Sites and Senses Mapping Palestinian Territories in Mona Hatoum’S Sculpture Present Tense
Sites And Senses 11 Chapter 1 Sites and Senses Mapping Palestinian Territories in Mona Hatoum’s Sculpture Present Tense Anneke Schulenberg In April 1996, Mona Hatoum, a British artist of Palestinian origin, installed a work entitled Present Tense at the Anadiel Gallery in East Jerusalem, an area annexed by Israel in 1967 (Figs 1.1–1.2).1 On the floor of the gallery, Hatoum laid 2400 pieces of soap in a rectangular shape. The soap was Nablus soap, a tradi- tional Palestinian product made of olive oil. Hatoum pressed tiny red glass beads in curved lines into the soap (Fig. 1.2). At first sight, the lines seem to make up abstract forms, but in fact they depict part of the occupied Palestinian territories that, as determined by the 1993 Oslo Accords, Israel should have handed back to the Palestinian authorities. Hatoum came across a map of these territories on the first day of her visit to Jerusalem. In Present Tense, she omitted the outlines of the map of Israel, only drawing the Palestinian territo- ries: fragmented parcels of land, scattered across Israel, resembling an archi- pelago. Present Tense was originally a site-specific sculpture as the work was made specifically for that exhibition in Jerusalem and was an immediate response to the site. By inscribing the map of the Oslo Accords on a local traditional prod- uct, Hatoum investigated the political, social and cultural dynamics at play within the Israeli-Palestinian conflict. Drawing only the Palestinian territories in Israel on the soap, Hatoum focused on the Palestinian situation within the conflict. -
The Case of the Visual Arts in Palestine
Strategics Sectors | Culture & Society Panorama Cultural Creations in Times of Occupation: The Case of the Visual Arts in Palestine Marion Slitine Since the 1993 Oslo Accords, this colonial system PhD Candidate in Anthropology, École des Hautes has been stepped up through a policy of extreme Études en Sciences Sociales (EHESS), Paris fragmentation dividing the West Bank into three Research Associate, Institut français du zones: Zone A, under Palestinian military and civil Proche-Orient (Ifpo) Strategics Sectors | Culture & Society control (less than 10% of the territory); Zone B, under Palestinian civil but Israeli military control (30% of the territory); and Zone C (60% of the West Bank with Social sciences literature on Palestine, overabun- the Jordan Valley and most of its water resources) dant insofar as geopolitical, social and economic completely under Israeli (military and civil) control. aspects, proves quite discrete with regard to its ar- The multiplication of colonies in the West Bank and tistic and cultural dimensions. However, the art East Jerusalem continues. More than 500 check- scene in the Occupied Palestinian Territories is a points reduce Palestinian movement between towns. particularly faithful reflection of the dynamics in con- In addition there is the dividing wall, which has con- 1 330 temporary Palestinian society. Here, art is not the siderably aggravated their situation. Gaza sustains preserve of the elite, and artists, considered spokes- such major restrictions of movement – not only ap- people for the national interests of their homeland plied by the Israeli authorities but also the Egyptian (watan), fulfil a major social role. and Jordanian governments – that its 1.8 million in- habitants (one of the highest population densities in the world) are forced to live in extreme isolation. -
Full Concept (PDF)
WHAT THE TORTOISE MURMURS TO ACHILLES On Laziness, Economy of Time, and Productivity March 18 – May 8 2016 Opening: March 17, 6pm SAVVY Contemporary Plantagenstraße 31, 13347 Berlin Artists: Salwa Aleryani, Nidaa Badwan, Atef Berredjem, Raphael Cuomo & Maria Iorio (+Videobase), Cevdet Erek, Abrie Fourie, Katia Kameli, Brandon Labelle, Abraham Onoriode Oghobase, Junebum Park, Gerda Steiner & Jörg Lenzlinger Curators: Elena Agudio, Saskia Köbschall, Bonaventure Soh Bejeng Ndikung In Lewis Carroll’s 1895 What the Tortoise Said to quences of our ubiquitously consumerist lives. The Achilles1, a fictitious dialogue between the two prota market sets the pace of our quotidian. It pushes us gonists of Zeno’s Paradox, the slow and clever tor toise into overactivity, eroding forms of community and presents Achilles with a syllogism that brings him into a damaging the fabric of everyday life. In our current logical trap and leads him into an infinite regression. tremendous condition of nontime in the reign of 24/7 capitalism, Alexei Penzin, whose work focus The exhibition project What the Tortoise murmurs to es on sleep in the age of capitalism, writes: “Our Achilles. On Laziness, Economy of Time and Produc- 24hourssociety with its incessant production, com tivity is a bid to investigate alternative understandings munication and consumption activities makes sleep and perceptions of time from a pluricultural and deco a problematic, uncertain element of everyday life, lonial perspective by digging into the politics of time just wasted time or inertia in a mobile and pragmatic and of its negotiations in geopolitical power relations. neoliberal society obsessed with the idea of the full This project cannot afford the luxury to stand as a employment of finite human existence.”3 simple praise of idleness or a superficial claim on the right to be lazy; rather, the exhibition will be a concep tual and physical space for reflections on chronopoli tics and on the power mechanisms that frame certain Radical Co-presence and the Subversiveness rhetorics of time economy. -
« Des Artistes Et Des Territoires : Palestine Et Palestinité »
« Des artistes et des territoires : Palestine et palestinité » Adrien SCANGA Séminaire de « La Fabrique Culturelle » Mémoire sous la direction de Mme Claire TOUPIN-GUYOT 2014-2015 Remerciements Mes remerciements vont tout d'abord à madame Claire Toupin-Guyot pour son accompagnement et sa bienveillance tout au long de la constitution de ce mémoire. Je tiens à remercier tout particulièrement Amina Hamshari pour son amabilité et sa bienveillance, pour m'avoir accordé deux entretiens qui ont été essentiels à ma réflexion, pour avoir eu la patience et la disponibilité de répondre à mes questions. Je tiens à remercier monsieur Anthony Bruno pour sa bienveillance, pour sa disponibilité et pour m'avoir aiguillé dans mes recherches. Mes remerciements vont aussi spécialement à Marion Slitine pour m'avoir accordé de son temps lors d'un rapide passage à Rennes, pour m'avoir fourni des informations nécessaire à l'orientation de mes recherches et pour m'avoir présenté Arab Nasser. Je souhaite adresser un chaleureux "shukran" à Arab Nasser pour l'agréable discussion que nous avons pu avoir à Rennes avec Marion Slitine et pour la bière qu'il m'a offerte et dont je lui suis redevable. Je souhaite exprimer ma gratitude envers Frank Barat et Hamid Moulay avec lesquels j'ai beaucoup discuté et qui sans le savoir ont contribué à mon investissement dans la rédaction de ce mémoire. Je tiens à remercier également mes très chères Barbara, Lucia et Adèle qui m'ont encouragé et qui ont relu ce mémoire. Je souhaite également exprimer ma gratitude aussi envers Enora, Pauline et Alexandre pour leurs encouragements et leur intérêt pour ce mémoire et les services qu'ils m'ont rendu, ainsi que pour les programmes télévisés pertinents qu'ils m'ont suggérés. -
Palestinian Art on the Web
Palestinian Art Have you ever visited the Dome of the Rock? Who is Sliman Mansour? What gallery on the Web shows have recently graced Palestine? What do you know about Khalil Sakakini Cultural Vera Tamari and Centre? Which residencies or art grants are Tina Sherwell introduce currently available? Where is the Mona Lisa housed? These simple art-related questions, the new Virtual Gallery when posed to university students in at Birzeit University Palestine, are too often met by a blank stare. This, despite Palestine’s active art milieu, the regular emergence of new artists, and significant achievements made by Palestinian artists on the international scene. Many factors lie behind the paucity of information about art and culture in Palestine. For one, the Palestinian school system has for decades put the teaching of art at the bottom of its list of priorities - art was, and still is, considered a luxury. This situation has been intensified by the unstable political environment and the ongoing Helen Zughaib, “Prayer Rug for America”, 2001, as featured in In/Visible Tour at the Virtual imposed isolation of Palestinian towns and Gallery (physically shown at the Arab-American villages most recently enforced by Israel’s National Museum, Dearborn, Michigan, May 2005). placing of kilometers of concrete wall, Jerusalem Quarterly 24 [ 77 ] JQ_24.indd 77 22/09/1426, 09:18:07 Õ barbed wire fencing, patrol roads and guard towers around Palestinian communities. As a result, the usual ebb and flow of culture and information-sharing is interrupted by the more pressing concerns of daily life. In addition, people living outside Palestine have little opportunity to familiarize themselves with the Palestinian art arena, its new exhibitions, gallery openings or the work of Palestinian artists.