Journal articles: 'Palestinian art'

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Bushnaq, Inea. "Palestinian Art." Journal of Palestine Studies 20, no. 3 (1991): 121–23. http://dx.doi.org/10.2307/2537555.

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Zoghi, Neda, Mohd Roslan Mohd Nor, and Ahmad Faisal Abdul Hamid. "Art Under The Gun: The Role of Symbols Especially the Key in Contemporary Palestinian Art." Al-Muqaddimah: Online journal of Islamic History and Civilization 6, no. 1 (June 25, 2018): 15–27. http://dx.doi.org/10.22452/muqaddimah.vol6no1.2.

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The art of Palestine, especially painting, has focused in recent decades on symbolism with value concepts, although it has experienced indirect effects of Western modernism. Palestinian painting symbols, which include a wide range of elements and phenomena, are, in some cases, consistent with common themes and sometimes are for Palestinian artists due to specific circumstances, as well as political and religious conditions. Meanwhile, some motifs have a special expressive capacity. Researches on the art of Palestine show that since the birth of Israel, some of the motifs have exerted a role and even beyond a painting as a symbol and dynamic expression of Palestinian art, and the Palestinians found them a model of national ownership expropriation and confiscation of their property. The specific conditions of Palestine have led to the emergence of resistance culture and art; and in the present paper, it is attempted to refer to the contemporary Palestinian painting to examine the element of resistance and its symbols, especially the key symbol in the contemporary Palestine art.

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El-Sheikh, Tammer S. "What Does Art History Have to Say About a Lebanese Sasquatch? The Body of Decolonial Struggle in Amanda Boulos's Art." ARTMargins 12, no. 2 (June 1, 2023): 58–68. http://dx.doi.org/10.1162/artm_a_00349.

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Abstract This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos's work, I propose a shift in the discourse on global contemporary art, from postcolonial figures of the oriental, the subaltern and the hybrid to strategies of representation such as transformation, ambiguity and queering – a shift intended to foster alliances amongst members of BIPOC communities, against the divisive politics of settler colonialism in Palestine, Canada and elsewhere. To this end, the artworks are set in two interrelated contexts: one art historical and one more strictly political. Boulos's work is read in relation to that of contemporary artists dealing with postcolonial conflict zones, and Modern and contemporary Palestinian artists both in Palestine and its diaspora. Relevant political contexts for her work include Palestinian LGBTQ activism after the Second Intifada and the 2014 Israeli War on Gaza called Operation Protective Edge.

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Zahoor Hussain, Samiullah Khan, and Muhammad Ajmal. "A Corpus Stylistic Analysis of Abulhawa's the Blue between Sky and Water." Research Journal of Social Sciences and Economics Review (RJSSER) 1, no. 4 (December 26, 2020): 83–93. http://dx.doi.org/10.36902/rjsser-vol1-iss4-2020(83-93).

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Palestinian literature received significance after Nakba (1948 Palestine-Israel war) and Naksa (1967 Arab-Israel war) and it laid an impact on Palestinian writers and there emerged a new form of literature called Palestinian American literature which got recognition in the 1990s internationally. After Nakba and Naksa many Palestinian families migrated to America. These Palestinians wrote literature in English that is called Palestinian-American literature. The aim of the stylistic analysis of Abulhawa's work to trace out how the writer constructs reality through lexical categories. This thesis also analyzes the work of Palestinian-American writer Abulhawa's novel, The Blue between Sky and Water, and focuses specifically on how the writer achieves her aims. At the same time, this stylistic analysis of The Blue between Sky and Water shed light on the use of Arabic words in English fiction which represent the culture and identity of the Palestinian nation. It explores the dilemma of Palestine that they become a foreigner in their native land. The researcher employed a mixed-method approach to conduct the present study. The researcher used Corpus stylistics tools to analyze the novel. The researcher traced around 6288 concrete nouns and 1634 abstract nouns from the sample respectively. The extensive use of concrete nouns showed that the main purpose of the writer was to get homeland and this piece of writing was not only art for art sake rather art for life's sake. The researcher traced out around 1400 adjectives from the sample of study.

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Bushnaq, Inea. "Palestinian Art: Palestinian Costume. . Shelagh Weir. ; Palestinian Costume. . Jehan Rajab." Journal of Palestine Studies 20, no. 3 (April 1991): 121–23. http://dx.doi.org/10.1525/jps.1991.20.3.00p0252l.

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BOULLATA, KAMAL. "Art under the Siege." Journal of Palestine Studies 33, no. 4 (2004): 70–84. http://dx.doi.org/10.1525/jps.2004.33.4.070.

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While living under conditions of ghettoization and military assault, Palestinian artists continue to be driven to express themselves in paint, photography, and other visual media. This article examines the work of six of the ten finalists in the September 2002 biennial competition for the Ramallah-based A. M. Qattan Foundation's Young Artists of the Year Award. After briefly surveying the conditions that have marked post-1948 Palestinian art, the author finds the will to create under extreme conditions to be an illustration of Palestinian self-assertion and faith in life.

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Priyadarshini, Arya, and Suman Sigroha. "Recovering the Palestinian History of Dispossession through Graphics in Leila Abdelrazaq’s Baddawi." Eikon / Imago 9 (July 3, 2020): 395–418. http://dx.doi.org/10.5209/eiko.73329.

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Documentation is a significant mechanism to prove one’s identity. Palestinians, being robbed of this privilege to document their history, have taken upon other creative means to prove their existence. Being instruments of resistance, graphics and comics have a historical prominence in the Palestinian community. Building on this rich history of resistance through art, the paper contends that the modern graphic novel is used as a tool by the author to reclaim the Palestinian identity by drawing their rootedness in the region, thus resisting their effacement from public memory.

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Cory, Erin. "Making home in exile: Everyday practices and belongings in Palestinian refugee camps." Crossings: Journal of Migration & Culture 11, no. 2 (October 1, 2020): 119–36. http://dx.doi.org/10.1386/cjmc_00020_1.

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Palestinians share a history of exile oriented towards the loss and reclamation of a homeland, often expressed through a shared visual lexicon and mythos. In the context of refugee camps, however, local visual culture and everyday practices demonstrate how Palestinian lives are also grounded in local stories and experiences. How do Palestinian refugees deploy everyday practices to create their home spaces? What can these practices reveal about refugees’ myriad belongings? And, in thinking about these practices, what can be said about how a feeling of home can be articulated in exile, which is at its heart the forced removal/dislocation from home? This article uses a comparative ethnographic analysis of two Palestinian camps in Lebanon to challenge overarching narratives of ‘Palestinianness’ by calling attention to the rich multiplicity of Palestinian refugee identities. In focusing the analysis on everyday practices – specifically street art and walking – by which residents make and experience home in the camps, the article grapples with the seeming contradictions between ‘home’ and ‘exile’ that colour the experiences of not only Palestinians, but also refugees and asylum seekers in other circumstances of protracted uncertainty, as they attempt to migrate and make home in new countries.

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Close, Ronnie. "The origins of Palestinian art." Visual Studies 30, no. 2 (September 10, 2014): 222–23. http://dx.doi.org/10.1080/1472586x.2014.941590.

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Lionis, Chrisoula. "Peasant, Revolutionary, Celebrity." Middle East Journal of Culture and Communication 8, no. 1 (2015): 69–84. http://dx.doi.org/10.1163/18739865-00801005.

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In the last decade, the international profile of Palestinian art has grown at an unprecedented rate. In the context of international exhibitions, the work of contemporary Palestinian artists is consistently framed as inherently political and is almost always discussed in terms of the conflict with Israel. This article examines the ways that a new generation of Palestinian artists have used their work to problematize the iconography of Palestinian nationalism developed by previous generations and the international framing of their work as inherently political. It considers the role of art in the development and dissemination of Palestinian nationalist iconography and maps the history of popular iconography to show the Nakba, the battle of Karameh and the Oslo Accords as events that each transformed Palestinian popular iconography. Examining the work of artists Khaled Hourani, Emily Jacir, Larissa Sansour and Monther Jawabreh, in this article I argue that contemporary art plays a significant role in subverting the trend of reducing the Palestinian experience to one of victimhood and loss.

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Gould, Rebecca. "Sumud: The Palestinian Art of Existence." World Policy Journal 31, no. 3 (2014): 99–106. http://dx.doi.org/10.1177/0740277514552979.

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Darweish, Marwan, and Craig Robertson. "Palestinian Poet-Singers: Celebration Under Israel’s Military Rule 1948–1966." Alternatives: Global, Local, Political 46, no. 2 (May 2021): 27–46. http://dx.doi.org/10.1177/03043754211028368.

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Research about Palestinians in Israel during the period of military rule from 1948 to 1966 describes them as acquiescent and primarily focuses on the mechanisms of control imposed by Israel. This article examines the role played by improvised sung poetry in Palestinian weddings and social gatherings during this period, and it assesses the contribution that this situated art form made to asserting this community’s agency. Ḥaddā’ (male) and Badāaʿa (female) poet-singers are considered as agents of cultural resilience, songs as tools and weddings as sites of resilience and resistance for Palestinians who lived under Israeli military rule. Folk poetry performed by Ḥaddā’ and Badāaʿa is identified as a form of cultural resilience and resistance rooted in Palestinians’ cultural heritage. The data signal the persistence of resilience, dignity and rootedness in the land and identity, as well as demonstrating the risks of such resilience and of resistance actions.

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Chabaa, Mohammed. "Revolutionary Painting and the Palestinian Revolution." ARTMargins 12, no. 3 (October 1, 2023): 113–15. http://dx.doi.org/10.1162/artm_a_00367.

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Abstract In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.

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Amin, Alessandra. "Introduction to “Revolutionary Painting and the Palestinian Revolution,” by Mohammed Chabâa, and “Palestinian Artists and the Biennial,” from Toni Maraini's “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts” (Both 1974)." ARTMargins 12, no. 3 (October 1, 2023): 102–12. http://dx.doi.org/10.1162/artm_a_00366.

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Abstract In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.

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Maraini, Toni. "Palestinian Artists and the Biennial, from “Baghdad 1974: A Summary of the First Arab Biennial of Fine Arts”." ARTMargins 12, no. 3 (October 1, 2023): 116–18. http://dx.doi.org/10.1162/artm_a_00368.

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Abstract In 1974, Moroccan cultural journal Intégral published a special edition on the first Arab biennial of visual arts, which had just taken place in Baghdad. The two documents translated here come from this special edition, and both of them deal with the Palestinian presence at the landmark exhibition. Moroccan artist Mohamad Chebaa and Italian-Moroccan art historian Toni Maraini each consider Palestine an ideal arena for the development of decolonial “combat art,” but express disappointment with its pavilion's emphasis on folk idioms over images of armed struggle. The introduction to these documents situates them in relation to Moroccan and Palestinian discourses surrounding heritage and colonialism, arguing that the Palestinian context erodes the distinction between “folk” and “combat” art in ways foreign to the Casablanca-based intellectuals.

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Fisher, Jean. "Palestinian Art: From 1850 to the Present." Third Text 24, no. 4 (July 2010): 481–89. http://dx.doi.org/10.1080/09528822.2010.491381.

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Makhoul, Bashir. "Kamal Boullata (1942–2019): Squaring the Circle." Journal of Palestine Studies 49, no. 2 (2020): 87–89. http://dx.doi.org/10.1525/jps.2020.49.2.87.

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This remembrance commemorates the life of Kamal Boullata, an influential Palestinian artist and art historian from Jerusalem. In it, the artist Bashir Makhoul discusses Boullata's influence on his own art's connection to Palestinian history and identity.

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Ball, Anna. "Communing with Darwish’s Ghosts." Middle East Journal of Culture and Communication 7, no. 2 (2014): 135–51. http://dx.doi.org/10.1163/18739865-00702003.

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In his prose poem Absent Presence (published in English translation in 2010), the revered Palestinian poet Mahmoud Darwish identified a source of tension that resonates through much Palestinian creative expression: a tension not between Arab and Jew, nor between Israeli and Palestinian but between presence and absence. Drawing on the many motifs of presence and absence, and by extension, of visibility and invisibility, spectrality and haunting that surface in Absent Presence, this article seeks to translate Darwish’s poetic meditations into a visual context by placing his work in dialogue with two pieces of Palestinian video art, Sharif Waked’s To Be Continued … (2009) and Wafaa Yasin’s The Imaginary Houses of Palestine (2010), which share Darwish’s preoccupation with ideas of the spectral, and of present-day Palestine’s complex relationship with its past. Mobilizing a range of critical concepts including Abu-Lughod’s theorizations of ‘postmemory’ and Derrida’s notion of ‘the spectral’, this article explores the ways in which various forms of absence arising from Palestine’s fraught national history haunt contemporary Palestinian video art, and argues that the presence of the ‘spectral’ within such works also reveals a vibrant creative present in motion.

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Fitria Utami, Shinta. "CHALLENGING CULTURAL APPROPRIATION: PALESTINIAN CULTURAL IDENTITY IN RADHWĀ ‘ĀSYŪR’S NOVEL ATH-THANTHŪRIYYAH." Leksema: Jurnal Bahasa dan Sastra 8, no. 2 (August 8, 2023): 119–32. http://dx.doi.org/10.22515/ljbs.v8i2.6287.

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This article aims to describe the cultural elements of Palestinian people in Radhwā ‘Āsyūr's novel, ath-Thanthūriyyah, which depicts Palestinian refugees' misery, Palestinian culture, and the struggle to defend Palestinian national identity as experienced by its main character, Ruqayyah. This study uses a literary anthropology perspective through the seven cultural elements defined by Koentjaraningrat. It employs a descriptive-qualitative approach with the data collected in the from words, phrases, sentences, and dialogues in the novel. According to the findings, there are seven elements of Palestinian culture, namely language, knowledge system, technology system, art, religious system, social organization, and livelihood system These cultural elements are presented as a form of resistance to cultural appropriation that happens because of the Israeli occupation.

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Quiquivix, Linda. "Art of War, Art of Resistance: Palestinian Counter-Cartography on Google Earth." Annals of the Association of American Geographers 104, no. 3 (April 29, 2014): 444–59. http://dx.doi.org/10.1080/00045608.2014.892328.

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Ben-Ami, Naama. "Preservation of the Heritage." American Journal of Islam and Society 26, no. 1 (January 1, 2009): 86–94. http://dx.doi.org/10.35632/ajis.v26i1.1412.

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Books Reviewed: Kamal Boullata and Kathy Engel, eds. We Begin Here:Poems for Palestine and Lebanon. Northampton, Massachusetts: Interlink,2007; Nadia G. Yaqub. Pens, Swords, and the Springs of Art: The OralPoetry Dueling of Palestinian Weddings in the Galilee. Leiden and Boston:Brill, 2007; Laleh Khalili. Heroes and Martyrs of Palestine: The Politics ofNational Commemoration. New York: Cambridge University Press, 2007.The Israeli-Palestinian conflict, which hasmade headlines for decades, showsno sign of abating, for each side is convinced that it is in the right anddemands to live upon its ancestral land. The Palestinian “problem,” whichhas produced a plethora of books, goes back to Israel’s 1948war of independenceand remains unresolved. In this essay, I shall review two books that dealdirectly with the Palestinian problem and their overall situation (especially ofthe Palestinian refugees in Lebanon) and one on oral poetic duels amongPalestinians in Israel. This latter book provides some between-the-linesinsights about how Israeli Arabs cope with the Palestinian problem ...

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Cable, Umayyah. "An Uprising at The Perfect Moment." GLQ: A Journal of Lesbian and Gay Studies 26, no. 2 (April 1, 2020): 243–72. http://dx.doi.org/10.1215/10642684-8141830.

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This article examines two overlapping controversies at the Institute of Contemporary Art in Boston, Massachusetts, in the early 1990s over the attempted censorship of both Robert Mapplethorpe’s show The Perfect Moment and Elia Sulieman’s Palestinian film and video art exhibition Uprising. By analyzing the print news discourse on these controversies, namely, regarding the representations of children in The Perfect Moment and in two of the Uprising films (Children of Fire by Mai Masri and Intifada: Introduction to the End of an Argument by Suleiman and Jayce Salloum), the author articulates how Palestinian cultural politics were constructed as “politically queer” during the 1990s culture wars, which thereby contributed to the rise of homonormativity, increased visibility of leftist LGBTQ-Palestinian solidarity politics, and the development of Israeli pinkwashing as a political strategy. Through this analysis, the article advances a theory of “compulsory Zionism” as a concept through which to analyze the confluence of racial, ethnic, and sexual politics that haunt and animate Palestine solidarity politics in the United States.

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Mirzoeff, Nicholas. "To See in the Dark." Social Text 41, no. 3 (September 1, 2023): 59–75. http://dx.doi.org/10.1215/01642472-10613773.

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Abstract Seeing with Palestine was a constitutive possibility in the anticolonial way of seeing from the moment of the Nakba, meaning “catastrophe,” the destruction of Palestinian society in 1948. This article traces this way of seeing in the genealogy of visual culture that emerged in Britain in dialogue with Black British cultural studies and art practice, based on the practices of Stuart Hall, George Lamming, John Berger, and Jean Mohr. It then discusses Palestinian artist Randa Maddah, whose work Berger described as “landswept.” The conclusion speculates on how to “see in the dark” via the Palestinian artists Basel Abbas and Ruanne Abou Rahme.

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Petersen, Leena A. "Heartquake and Suburbia Hallucination. On Israeli Palestinian Art Collaboration." International Journal of the Arts in Society: Annual Review 4, no. 4 (2009): 197–202. http://dx.doi.org/10.18848/1833-1866/cgp/v04i04/35675.

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ABU-LUGHOD, LILA. "The Adjacent Art of Documentary: A Palestinian Film Festival." American Anthropologist 106, no. 1 (March 2004): 150–51. http://dx.doi.org/10.1525/aa.2004.106.1.150.

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Nemer, Nassar Ali. "The Collective Memory of the Motherland in Palestinian and Israeli Cinema." Observatory of Culture 18, no. 6 (December 21, 2021): 662–68. http://dx.doi.org/10.25281/2072-3156-2021-18-6-662-668.

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The author examines the differences in the interpretation of historical events in the cinematography of the two opposing sides — Palestine and Israel, and the ways of forming a particular point of view by means of dramaturgy. This subject is relevant in the light of the growing information confrontation between different states, as well as political and social movements. The article analyzes the event context of the creation of Israel as a state in the view of Israeli and Palestinian filmmakers. The author considers samples of Israeli and Palestinian film production — feature films and documentaries, television series that reflect the transfer of Palestinian territory to the Israelis in 1948. The day of the Arabs’ exodus from Palestine in 1948 is considered tragic for the Palestinians and is known among them as “Nakba” (catastrophe, cataclysm), but at the same time it is the Independence Day for the Jews of Israel.The article demonstrates what plot devices and narrative techniques are used by directors to emphasize aspects of historical events that are beneficial to them, using cinematography as an instrument of ideological confrontation between the two peoples who have claims to the same land. Trying to have an impartial take, without siding with either of the conflicting parties, the author focuses exclusively on studying the means used by the creators of the films considered. This article can be useful for art historians, culturologists and sociologists dealing with issues of the Middle East, as well as for humanitarians whose research interests include theoretical understanding of ideology and propaganda without reference to specific epochs and regions (territories).

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Kędziora, Ewa. "Archaeology of the present. Israeli art after the Al-Aqsa Intifada." Ikonotheka, no. 30 (May 28, 2021): 173–89. http://dx.doi.org/10.31338/2657-6015ik.30.9.

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The Al-Aqsa Intifada was the second Palestinian uprising that took place in 2000–2005. The dramatic record of the Intifada expressing itself in waves of recurring terror attacks and the construction of the separation wall on the border between Israel and Palestine overturned the Israeli-Palestinian relationship and triggered international public opinion. The article aims to determine how those events influenced the art scene. The study performs an overview of activities and artistic phenomena which occurred from 2000 through 2015 and problematized the events of the Second Intifada in various ways. The author focuses on individual works of art by both Israeli and international artists as well as art events and exhibitions of the leading kind. The analysis shows the extensive impacts of the Intifada on the artistic environment of that time and leads the author to the conclusion of the Intifada’s prevailing role in shaping politically engaged Israeli art at the beginning of 21 century. The dramatic events came up in creating a new aesthetic of the conflict, resulted in expanding a cultural boycott of Israel as well as challenged the position of politically engaged artists of Israel.

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Docker, John. "Reclaiming History from the Settler Coloniser: A Meditation on Nur Masalha's Palestine across Millennia: A History of Literacy, Learning and Educational Revolutions." Journal of Holy Land and Palestine Studies 22, no. 1 (April 2023): 111–28. http://dx.doi.org/10.3366/hlps.2023.0307.

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In this wonderful book, Nur Masalha challenges and transforms world history, as did his earlier Palestine: A Four Thousand Year History (2018). In this meditation I recount some of Nur Masalha's argument — not all, given the extraordinary richness of the material he has uncovered, described, and analysed — but also offer my own reflections prompted by his book. As Masalha relates in his introduction, the work is a passionate response to Zionism's historical claim that Palestinians possess no history of literacy, education, and literary culture. He shows the falsity of such a claim through multiple examples. Masalha explores, for example, the multifaceted history of education in Byzantine Palestine (Third to Early Seventh Century), based on a philosophy of ‘civil society’. Palestine as a cosmopolitan and transnational world inhered in what Masalha refers to as Cities of Learning. There were famous intellectuals, such as in antiquity Josephus (AD 37-c.100) and Origen (AD 185–253). In modernity he highlights Khalil Sakakini (1878–1953), whose remarkable educational reforms, emphasizing a ‘philosophy of joy’, emerged at a similar time to A.S. Neill's Summerhill School in the UK. Women's education is featured, from the time of the Palestinian Madrasas under the Ayyubids and Mamluks (1187–1517) onwards, a powerful tradition which continues into the modern era. When press censorship was relaxed following the Ottoman Young Turk Revolution of 1908, there was a huge growth of newspapers, photography, and photojournalism, a remarkable figure here being the Palestinian photographer Karima ‘Abboud (1893–1940). Masalha draws attention to the importance of translation in Palestinian history, especially in the important figure of Khalil Ibrahim Beidas, a relative of Edward Said, who was interested in the works of Pushkin, Gogol, Dostoevsky, Tolstoy and Gorky. There is a fascinating chapter on the interactions of Palestinian scholars and the Crusaders, with free passages of ideas, goods and technologies; arabesque became a mainstream European decorative art. The result of these multiple explorations is a major transformation in how we think about the world.

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Abu-Lughod, Lila. "Art, Activism, and the Presence of Memory in Palestine." Comparative Studies of South Asia, Africa and the Middle East 41, no. 1 (May 1, 2021): 122–45. http://dx.doi.org/10.1215/1089201x-8916967.

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Abstract In this interview conducted by Lila Abu-Lughod on October 17, 2020, Palestinian artist Rana Bishara discusses the three artworks that appear on the covers of volume 41 of Comparative Studies of South Asia, Africa and the Middle East, as well as numerous other multidisciplinary and multimedia artworks she has made and exhibited from the 1990s to the present, focusing specifically on art as a form of political activism.

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Al-Abbas, Mohammed Baker Mohammed, Monther Sameh Al-Atoum, Mowafaq Ali Alsaggar, and Rawan M. Abu-Hammad. "Aesthetics and Semiotics of Communication in Visual Language: A Multimodal Criticism on the Short Film of Ismail." Theory and Practice in Language Studies 14, no. 2 (February 1, 2024): 570–77. http://dx.doi.org/10.17507/tpls.1402.30.

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This conceptual paper aims to present a multimodal critique of the visual language in the short film Ismail. It analyses the social semiotics represented in the film's composition of image and language, which portrays a day story from the Palestinian visual artist Ismail Shammout (1930-2006) in the diaspora. From an aesthetic perspective, the research focuses on the social construction of an artist's identity through visual language. Such film transforms the artist's narrative into a communicational oeuvre in Arabic to represent an individual description of the Palestinian diaspora, which constructed one of the prominent grand narratives in the modern history of Arab Art. The main character in the film is Ismail, a Palestinian painter who performs his daily job as a candy seller in the streets. The argumentation in this critique depends on the aesthetic manifestations of the social semiotics of Arab Art in the film. Throughout the film's visual language, Ismail keeps representing his thoughts about the characteristics of Arab Art. He is a travelling aesthetician who walks through the desert and sells candy to strangers while talking to a younger kid escorting him through the film. The research's problem corresponds to the need for more investigation into language study, which this research advances to render. The methodology dedicated the aesthetic critique to produce aesthetic research on the film's visual language. Introducing an aesthetic review of visual language and connecting it with sociopolitical semiotics is significant. This research raises awareness of the importance of visual language knowledge in education systems.

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Alshaer, Atef. "Identity in Mahmoud Darwish's Poem 'The dice player'." Middle East Journal of Culture and Communication 4, no. 1 (2011): 90–110. http://dx.doi.org/10.1163/187398611x553670.

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AbstractThis article focuses on Mahmoud Darwish's long and creative journey in the world of poetry in the context of the Palestinian struggle as represented in his great poem 'The dice player'. The Darwishian world as he portrays it in the 'The dice player' is populated with images of existence, resistance and creativity. Darwish's role in modern Arab poetry and culture is widely acknowledged and celebrated. His voice was unique, authentic and in tune with the music of many souls in Palestine, the Arab world and even worldwide. Indeed, Darwish contributed definitively to the construction of Palestinian identity, and the Palestinian people informed and featured prominently in Darwish's poetry. Darwish's 'dice player' is highly praised in Arabic poetry becaues it embodies emblems of intellectual maturity and identity that are personal and plural, worldly and local. It is crafted with an aesthetic balance that ripples with consciousness, art and humanity.

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Laïïdi-Hanieh, Adila. "In the Mirror of the Occupier: Palestinian Art through Israeli Eyes." Journal of Palestine Studies 36, no. 4 (January 1, 2007): 65–72. http://dx.doi.org/10.1525/jps.2007.36.4.65.

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Sarıkaya, Hasan. "Sanatını Filistin’in Özgürlüğüne Teksif Eden Edebiyatçı: Gassân Kenefânî." International Journal of Social Sciences 8, no. 34 (May 6, 2024): 90–112. http://dx.doi.org/10.52096/usbd.8.34.06.

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Novels and stories, which are types of prose in literature, deal with the social, individual and psychological events experienced by individuals and society from different aspects. Thus, a topic or event is conveyed in a more exciting, emotional, dramatic and literary way by making the heroes talk and is presented to the appreciation of the readers. As it is known, the most dramatic social event of the 20th century was the massacre of Palestinians, their exile from their homeland and their becoming refugees. To this day, the oppression and persecution of a small number of people who have not left their homeland has continued, and the killing of a few Palestinians every week has become an ordinary event. The few Palestinians living in difficult conditions in their homeland have been brutally murdered in front of the world since October 7, 2023. One of the Arab writers of the 20th century who saw and experienced these troubles before and devoted his art to the Palestinian cause is Ghassan Kenefani. He wrote works in the field of novels, stories and theater and expressed in a literary way the troubles, pain, despair he experienced during the occupation of his homeland and the exile of his people, the sadness of living away from the homeland, and the ways of returning there again. He is one of the rare literary figures who concentrated his art in this field. Again, he encouraged his people with his works and ideas and tried to motivate them to defend the homeland and return to his country. The author chose most of the subjects he discussed in his works from real life. In the study, first of all, attention will be drawn to the life, works and literary aspects of Gassân Kenefânî. At this point, some topics and events that Kenefânî deals with will be touched upon, and the general characteristics of some of the characters in his novels, the subject of time and place, and narrative techniques will be included. Then, his language and literary style will be examined, especially based on some of the novels and stories he wrote. While doing this, some of the similes, descriptions and symbols he used in his novels and stories, as well as some sentences with literary characteristics, will be presented to the attention of the scientific and literary world. In the last part of the study, some criticisms directed at Kenefânî and his novels will also be included. Key Words: Arabic Language and Rhetoric, Ghassan Kenefani, Palestinian Literature, Novel, Style, Homeland

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Almahallawi, Wesam, and Hasmah Zanuddin. "50 days of war on innocent civilian: Ma’an news agency coverage of Israeli and Palestinian conflict." International Journal of Engineering & Technology 7, no. 4.9 (October 2, 2018): 145. http://dx.doi.org/10.14419/ijet.v7i4.9.20635.

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Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.

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Almahallawi, Wesam, and Hasmah Zanuddin. "50 Days of War on Innocent Civilian: Ma’an News Agency Coverage of Israeli and Palestinian Conflict." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 420. http://dx.doi.org/10.14419/ijet.v7i3.21.17204.

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Since the TV broadcasting was established in Arab countries until the 1990s, broadcasting during this specific time was based on a government control model, which derived from the view of broadcasting as an instrument of state advance that must be under the control from government. This kind of TVs, limits the broadcasting to highlight the government issue (1). In these kind of TVs, they focus with the leader’s opinion more than the Palestinian problem. By the way, the theme in Arab media determined to highlight the leader’s opinion who claims the right to speak on behalf of Palestinians. In September 1991, the first private TV in the Arab world was established when MBC went on the air from London. More private TVs followed after that like: Orbit in 1994 and ART in 1995, both based in Italy owned by Saudi businessmen, Future Television and LBC, both Lebanese based in Beirut, in 1995, and Al-Jazeera based in Qatar in 1996. In 2002 the number of the Arab TV stations was expanded to more than 150 TVS as government or privately owned, with capability of reaching the Arab people in any place in the world. This paper focuses on the media coverage of the conflict between two parties Palestine and Israel. The preview studies show that, in a conflict the media has an influential role and has responsibility for increasing violence or contributing to the resolution of conflict and mitigation of violence (2). This study examined 61 news coverage and framing of the Israel and Palestine conflict, known as the 50 days’ war from 8 July – 26 August 2014 by Ma’an News Agency, which delivers news to Ma’an TV (Palestinian satellite television station). A quantitative content analysis was employed to examine the news published during the war using five generic frames developed by (3). Holsti Inter-coder reliability and validity test value is 0.988 or 98% agreement. The results showed that conflict and human-interest frames were significantly visible compared to other frames in Ma’an news coverage. Portrayal of images of civilian killing, children and women killed in their homes and suffrage news coverage, in this war. Responsibility frame stressed on hospitals bombing and embargo of medications which reduced chances for Palestinian of immediate medical help. The economic frame highlighted the economic and financial losses of Palestinians as consequences of 50 days’ war. Most of them lost their income, businesses, agriculture land and homes and became refugees.

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Strohm, Kiven. "Review: The Origins of Palestinian Art by Bashir Makhoul and Gordon Hon." Journal of Palestine Studies 45, no. 1 (2015): 107–9. http://dx.doi.org/10.1525/jps.2015.45.1.107.

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Shuayb, M. "The Art of Inclusive Exclusions: Educating the Palestinian Refugee Students in Lebanon." Refugee Survey Quarterly 33, no. 2 (March 21, 2014): 20–37. http://dx.doi.org/10.1093/rsq/hdu002.

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Gandolfo, K. L. "Representations of Conflict: Images of War, Resistance, and Identity in Palestinian Art." Radical History Review 2010, no. 106 (December 14, 2009): 47–69. http://dx.doi.org/10.1215/01636545-2009-020.

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Scholz, Norbert. "BIBLIOGRAPHY OF PERIODICAL LITERATURE." Journal of Palestine Studies 33, no. 3 (2004): 206–17. http://dx.doi.org/10.1525/jps.2004.33.3.206.

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This section lists articles and reviews of books relevant to Palestine and the Arab-Israeli conflict. Entries are classified under the following headings: Reference and General; History (to 1948) and Geography; Palestinian Politics and Society; Jerusalem; Israeli Politics, Society, and Zionism; Arab and Middle Eastern Politics; International Relations; Law; Military; Economy, Society, and Education; Literature and Art; Book Reviews; and Reports Received.

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Scholz, Norbert. "BIBLIOGRAPHY OF PERIODICAL LITERATURE." Journal of Palestine Studies 34, no. 1 (2004): 195–207. http://dx.doi.org/10.1525/jps.2004.34.1.195.

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This section lists articles and reviews of books relevant to Palestine and the Arab-Israeli conflict. Entries are classified under the following headings: Reference and General; History (to 1948) and Geography; Palestinian Politics and Society; Jerusalem; Israeli Politics, Society, and Zionism; Arab and Middle Eastern Politics; International Relations; Law; Military; Economy, Society, and Education; Literature and Art; Book Reviews; and Reports Received.

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Ophir, Hodel. "Dancing to Transgress: Palestinian Dancer Sahar Damoni's Politics of Pleasure." Dance Research Journal 53, no. 3 (December 2021): 25–45. http://dx.doi.org/10.1017/s0149767721000401.

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AbstractAs a woman Palestinian dancer and choreographer in Israel, Sahar Damoni performs within multiple contexts of cultural, gendered, and political oppression, employing her bodily art to challenge these structures, most poignantly through dances that express and evoke pleasure and sensual joy. Offering a detailed ethnography of three of Damoni's performances within one year in Israel/Palestine, I argue that an examination of her artistry provides unique insight into the intricate workings—and transgressions—of gender, ethnic, and national boundaries through the movement of the body in dance.

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Boullata, Kamal. "To Measure Jerusalem: Explorations of the Square." Journal of Palestine Studies 28, no. 3 (1999): 83–91. http://dx.doi.org/10.2307/2538309.

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A Palestinian artist, in discussing his work, cuts back and forth between his past and the present, retracing his itinerary from Jerusalem to the United States, from Morocco and Andalusia to France, linking each place to stages in his artistic explorations. In so doing, he sheds light on the ancient roots of his art and says as much about the condition of exile as about painting.

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Gal, Nissim. "Defying Ornaments." Arts 11, no. 6 (December 19, 2022): 130. http://dx.doi.org/10.3390/arts11060130.

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The article will discuss works of art produced by Palestinian artists, in which the ornament functions as an intermediary for conveying signs, symbols, messages, and identities. In Muslim tradition, the ornament represented, and visually participated in, establishing the social order, and was also a signifier of a distinct theological, social, dogmatic, and gendered identity. The works at the heart of this article present the ornament as part of an aesthetic and ethical inquiry, a means of reenacting individual and collective history as well as preserving and deconstructing conventions, a method that is both poisonous and a remedy for social hierarchies, fixed identities, and oppressive power relations. I argue that the ornament represented in contemporary Palestinian artworks reflects a destructive or constructive urge, which Mark Wigley describes as an: “elaborate mechanism for concealing and preserving, if not constructing, identity.”

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Ben-Shaul, Daphna. "The Performative Return: Israeli and Palestinian Site-Specific Re-enactments." New Theatre Quarterly 32, no. 1 (January 7, 2016): 31–48. http://dx.doi.org/10.1017/s0266464x15000846.

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In this article Daphna Ben-Shaul explores politically engaged Israeli and Palestinian site-specific re-enactments that pursue what she terms a ‘performative return’. This includes performed aesthetic and political re-enactments of real-life events, which bring about a re-conceptualization of reality. Three contemporary cases of return are discussed with regard to the historical precedent of Evreinov’s 1920 The Storming of the Winter Palace. The first is an activist, unauthorized return to the village of Iqrit in northern Israel by a group of young Palestinians, whose families were required to leave their homes temporarily in the 1948 war, and have since not been allowed to return. The second is Kibbutz, a project by the Empty House Group, which involved an unauthorized temporary settlement on an abandoned site in Jerusalem. The third is Civil Fast, a twenty-four-hour action by Public Movement, which was hosted mainly on a central public square in Jerusalem, integrated into the urban flow. The article draws attention to the fine line these actions straddle between political activism and aesthetic order, and explores their critical and performative effectiveness. Daphna Ben-Shaul is Senior Lecturer in the Department of Theatre Arts, Tel Aviv University. Her current research on site-specific performance in Israel is funded by a grant from the Israeli Science Foundation. She is the editor of a book on the Israeli art and performance group Zik (Keter, 2005), and has published articles in major journals.

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Humidan, Suhad Hamdan, and Mastika bin Lamat. "The Poster Artwork in the Art of the Palestinian Artist Marwan Al-Allan." Asian Research Journal of Arts & Social Sciences 8, no. 1 (January 29, 2019): 1–9. http://dx.doi.org/10.9734/arjass/2019/45648.

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Delso, Rodrigo. "Concrete punishment: Time, architecture and art as weapons in the Israeli-Palestinian conflict." Political Geography 66 (September 2018): 57–66. http://dx.doi.org/10.1016/j.polgeo.2018.08.012.

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Lee, Bo-ram. "Resisting Memory and Construction of Landscape in Mid-to-Late 20th Century Palestinian Art : Focusing on Artists Working in Historic Palestinian Territories." Jounal of Cultural Exchange 13, no. 3 (May 31, 2024): 423–47. http://dx.doi.org/10.30974/kaice.2024.13.3.18.

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Foresti, Margherita. "All Is Not Well: Contemporary Israeli Artistic Practices de-Assembling Dominant Narratives of Warfare and Water." Arts 12, no. 4 (July 11, 2023): 150. http://dx.doi.org/10.3390/arts12040150.

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Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inherent in narrative formation and erasure in the context of the Palestinian–Israeli conflict. Noga Or Yam also examined space and water in an earlier work, Black Soldier, White Soldier (2018): with the background sound of water drilling in southern Israel, urban photographic landscapes of Palestinian rooftops covered with water tanks are projected onto the walls. Water, either concealed or lacking, emerges in both works as a vehicle for unearthing a historical narrative that counters the official one. This research article reflects on contemporary art’s engagement with the formation of history, and how such engagement shapes the identity of present-day art in postcolonial realities.

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Atshan, Sa’ed, and Katharina Galor. "Curating Conflict." Conflict and Society 6, no. 1 (June 1, 2020): 1–17. http://dx.doi.org/10.3167/arcs.2020.060101.

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This article compares four Jerusalem exhibits in different geographical and political contexts: at the Tower of David Museum in Jerusalem, the Palestinian Museum in Birzeit, the Metropolitan Museum of Art in New York, and the Jewish Museum Berlin. It examines the role of heritage narrative, focusing specifically on the question of the Israeli-Palestinian conflict, which is either openly engaged or alternatively avoided. In this regard, we specifically highlight the asymmetric power dynamics as a result of Israel’s occupation of East Jerusalem, and how this political reality is addressed or avoided in the respective exhibits. Finally, we explore the agency of curators in shaping knowledge and perspective and study the role of the visitors community. We argue that the differences in approaches to exhibiting the city’s cultural heritage reveals how museums are central sites for the politics of the human gaze, where significant decisions are made regarding inclusion and exclusion of conflict.

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Carmon Popper, Irit. "Art-Heritage-Environment: Common Views Art Collective Engagement with Bedouin Minority in Israeli Desert Region (2019–2021)." Arts 11, no. 6 (December 19, 2022): 128. http://dx.doi.org/10.3390/arts11060128.

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The Bedouin and Jewish inhabitants of the southern Israeli desert region share a common desert vista. However, they are diverse, multicultural communities who suffer inequity in access to valuable resources such as water. Between 2019 and 2021, Common Views art collective initiated a socially engaged durational art project with Bedouin and Jewish inhabitants entitled Common Views. The art collective seeks to enact sustainable practices of water preservation as a mutually fertile ground for collaboration between the conflicted communities, by reawakening and revitalizing rainwater harvesting, as part of traditional local desert life. Their interventions promote new concepts of Environmental Reconciliation, aiming to confront social-ecological issues, the commons, and resource equity, grounded in interpersonal collaborative relationships with stratified local communities. Their site-specific art actions seek to drive a public discourse on environmental and sustainable resources, while reflecting on the distribution of social and spatial imbalance. They take part in contemporary art discourse relative to socially engaged practices, yet their uniqueness lies in conflictual sites such as the discord arising from the Israeli-Palestinian conflict, and their proposed model for resolution linking politics with environment. It utilizes renegotiation with histories and heritage, as a vehicle to evoke enhanced awareness of mutual environmental concerns in an attempt at reconciliation on political grounds.

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Journal articles on the topic 'Palestinian art'

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