Disarming Design – report workhop

DISARMING DESIGN from palestine REPORT report WORKSHOP workshop International Academy of Arts Palestine, SANDBERG INSTITUUT AMSTERDAM, ICCO, Devet

2 DISARMING DESIGN

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

report workshop

4 DISARMING DESIGN

TABLE OF CONTENTS

5 FROM PALESTINE

5 INTRODUCTION 7 You have to love what you do, and not do what you love 7 a new generation 9 DEVISION LINES 11 gemstones 13 LIVING THE OCCUPATION 15 FAIRY LIKE INDUSTRIES 21 safer then ever 23 THE LAND OF MILK AND HONEY 24 old news from palestine 25 BACK AND FORTH 29 final presentation prototypes 34 security madam, security 35 processing 35 Palestinian-Dutch “Disarming Design” project inspired by artwork in captivity 39 credits 39 BACKGROUND

6 DISARMING DESIGN

INTRODUCTION The project ‘Disarming design’ develops a collection of useful objects that reflect upon the Palestinian reality. Artists and designers are therefore invited to collaborate with local craftsmen to make contemporary products out of existing production processes. The products will be represented and distributed by the new design-label ‘Disarming Design’, through a mobile design store and a web shop.

The project is set up by ICCO, the International Academy of Arts Palestine, Khaled Hourani and myself. It is generously supported by ICCO and UNESCO.

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

Annelys de Vet

7 FROM PALESTINE

Mahmoud Almasri, owner of “Masri Shoes” in his shop. [AdV] 8 DISARMING DESIGN

You have to love what you do, and not do what you love SUNDAY 2nd SEPTEMBER

The passport control employee at the Ben Gurion (IL) airport asks us where we’re planning to go. The answer ‘Ramallah’ causes us a long delay with questions and baggage checks. The Palestinian taxi-driver is patient, waits two hours for us and finally brings us to Ramallah where we receive a very warm welcome.

Artist and great host Majd Abdel Hamid is doing the research and production of the project, and today he shows us around. Together with the Sandberg master students Hannes Bernard, Martina Petrelli and Donna Verheijden we walk pass a remarkable shoe-shop and stop when Hannes gets excited about the typography of the facade.

Masri – which means ‘Egyptian’ in Arab – is a shoe shop that hasn’t changed since it was established in the sixties. The owner speaks Arab, English, Spanish and French and used to have a shoe factory with at least 25 employees. But he can’t find people anymore who love to make shoes.

As a comment to his next generation he states: “But you have to love what you do, and not do what you love.”

a new generation MONDAY 3rd SEPTEMBER

All the participants of the workshop gather at the international Academy of Arts. There are bachelor students from the art school, as well as many professional artists and designers. The director Khaled Hourani, artist Majd Abdel Hamid and myself give a presentation about the aims of the project. We explain how we want to develop products in collaboration with different craftsmen. We want to use as much existing production processes and Palestinian resources as possible to develop new (or slightly adjusted) objects. We underline that each product should somehow reflect upon the current situation so that each design will tell a story. We also challenge the participants to come up with alternative titles for the project, since there are different opinions about the impact of the current one.

The aim of the workshop is to develop several prototypes that will be exhibited in November during the Qalandia International Art Biennial*.

After this we will research which products can be taken into production to

9 FROM PALESTINE

* Qalandiya International (QI) is a biennial event that takes place across Palestinian cities, towns, and villages. It focuses on exhibiting contemporary Palestinian and international art, highlighting valuable architectural sites, and includes talks, walks and performances.

QI, in its first take, is a collaboration between the Jerusalem Show and the Riwaq Biennale, as well as other Palestinian cultural institutions, in an attempt to pool resources and work collectively towards showcasing and promoting contemporary culture in Palestine, locally and internationally. It is an attempt to engage the local public in programs that are not straitjacketed by realpolitik, and to allow them to look at art in a more imaginative and open manner. It is an attempt to join forces and resources and form links across a fragmented geography; a take on unity.

The QI program encompasses a diversity of newly commissioned projects and presentations as various as the institutions involved, it is inclusive rather than exclusive, interdisciplinary, and open allowing engagement, and even implication.

Prototype for a plate with daily moments of Palestinian life, at Hebron Glass & Ceramics Factory. This one is based on a photo by Hosni Radwan with a falafel maker. [AdV] 10 DISARMING DESIGN

11 FROM PALESTINE

sell the coming years through a mobile design store and an on-line shop.

Khaled stresses that even though the project has a focus on crafts, local manufactors and businesses, the essence of this experience is artistic, innovative and creative. It aims to evoke new ideas and designs, which will strengthen the relationships between artists, craftsmen and businesses, introducing a new generation in the world of Palestinian artistic culture.

DEVISION LINES TUESDAY 4th SEPTEMBER

Brainstorming possibilities for a keffiyeh. [AdV Closed shops in Hebron. [AdV]

Driving from Ramallah to Hebron would normally take one hour, but since Palestinians in the West Bank are not allowed to drive through Jerusalem we have to make a long detour which takes at least two hours.

When we arrive at the Hebron Glass & Ceramics Factory we are invited to work with the craftsmen. We blow our own glass experiments, develop designs for cups and plates, including one with drawings of everyday moments.

We follow our tour to the Hirbawi Textile Factory, the only factory in Palestine making keffiyehs – the iconic patterned scarf. Although the factory was closed a few years ago, due to the competitive cheap Chinese low quality copies that dominated the market – now the production is rising again and they make around 100 scarves a day.

Compared to the 600 they were making on a daily base it’s not so much, but at least the factory with its employees is doing reasonable business.

In the afternoon we visit the old city of Hebron. We walk through what used to be a very lively souk.

The centre once had around 23 000 Arab inhabitants, but since the early eighties Israeli settlers have (illegally) moved in. Currently there are 400 settlers living here who are ‘protected’ by approximately 2 000 Israeli soldiers. We see several of these soldiers walking around hold-

Khaled Fakhori from the Oriental Handmade Pottery Factory demonstrates how to make vases. [AdV]

Weaver Abid Keraki next to the machines that are specially made for keffiyehs, and can only be used for this process. [AdV] 12 DISARMING DESIGN

13 FROM PALESTINE

ing huge firearms in front of them.

Today no more than 3 000 Arabs have managed to stay living in their houses, unprotected by any authority. The majority of the shops are closed because it has been made impossible for the owners to maintain their businesses. The Palestinian police are not allowed to enter the old city, if they try they are arrested and put into jail by the Israeli military authorities. Many of the streets in the old city are covered with wired textiles, in order to protect the people from stones thrown down from above by fanatic settlers.

In the old city we pass an humiliating checkpoint to visit two Palestinian potteries that are still located on the road that has become a division line. Officially citizens of the West Bank are not allowed to visit them, unless the Palestinian owner can tell the soldier at the checkpoint that he knows the visitors. We can cross the division to receive a very warm welcome in the Oriental Handmade Pottery Factory. The owner Khaled Fakhori shows us how he makes vases and allows the participants to try their hand – which is of course more complicated then expected. We also discuss Maher Shaheen’s idea to develop ceramics with – possibly annoying – division lines in it. These ceramics would reflect the situation in Hebron by being divided in two sections – for instance a coffee cup with a little wall inside. Khaled is exited about the idea and will experiment with it the coming days.

gemstones

WEDNESDAY 5th SEPTEMBER In the morning the Sandberg students give small presentations with assignments to the bachelor students of the Academy. Hannes Bernard presents his thoughts on ‘post liberated graphic design’ – images that haven’t been made by someone educated as a designer, but that become landmarks of a colloquial visual language. He asks the students to collect more of these examples and tell him why they think it’s good or bad design. Donna Verheijden invites the students to make one-minute videos about a place of which they have a strong memory. Martina Petrelli wants to collect stories for imaginary films that have to be represented by one image as a film-still. Next Wednesday the results will be presented.

Together we discuss the different ideas of the participants. Wafa, an engineer participating in the workshop, will investigate making hand blown glasses for beer and wine. Those can become beautiful tableware that also reveal the importance of the Palestinian beer and wine industry. Another participant presents the idea of making a shower curtain with an image of the wall on it, the others speculate whether this work would celebrate the wall or not. An international Danish art student says that for her it, once in her home, it would be a strong anti-wall symbol. A long discussion

14 DISARMING DESIGN

arises when one person explains how he has been thinking about Palestinian products to finally realize that he, as a current Palestinian citizen is the real product. He feels that he is being used as an object both by the occupation and by the Palestinian real estate investors who demolish the old houses to change them into multi-storey buildings. I get a penetrating insight of how different people ‘live the occupation’.

Some of the designs from Tashakil, based on the re-use of existing embroidery. [AdV]

We then visit the jewelry shop Tashakil. The owners, Salma and Hiam show us their pieces. Hiam explains how she uses old Palestinian embroidery to make modern jewelry. She also talks about her mother and about the type of embroidery she makes. By making jewelry this way she reflects upon the Palestinian heritage. We try to find out what other materials for the necklaces are local, but since gemstones or corals don’t exist in the West Bank, the stones she uses are imported. An Arab conversation follows, which Majd translates later on explaining that the most precious stones in Palestine are actually the ones that prisoners smuggle from the jails and take home. Often they are beautifully decorated or crafted into a little toy as presents for their family. Salma says that she is willing to design and make a necklace with such a stone, if we are able to find one.

When we leave Majd sees friends on the street and walks to them. When he comes back he says exited that he found a stone: his friend is willing to give his.

15 FROM PALESTINE Tailor Kamel Salous in his workshop Stars Fashion . [AdV]

LIVING THE OCCUPATION

THURSDAY 6th SEPTEMBER

At 9.30am we are gathering at the academy to travel to Nablus for a visit to a soap factory and a tile industry. Unfortunately there are difficulties since the road from Ramallah to Nablus is closed because of demonstrations. There are strikes against the raising food and gas prices. I learn how the Palestinian economy is locked to the Israeli economy; when they raise their taxes, Palestine has to follow since all import and export goes

Majd adds advices how to fold the keffiyeh. [AdV]

We pass by tailor Kamel Salous from Stars Fashion and check with him if he can make a simple, but elegant dress out of the keffiyeh we brought with us from the Hirbawi Textile Factory. The tailor is willing to do it. Majd adds advices how to fold the scarf in order to keep the keffiyeh “intact�.

Imad from the Rahala shoe shop in his workshop, working on shoes designed by himself. [AdV] 16 DISARMING DESIGN

17 FROM PALESTINE

FAIRY LIKE INDUSTRIES SATURDAY 8th SEPTEMBER

Unlike the last couple of days, there are no strikes planned or demonstrations, so we can get to Nablus by mini-bus. We drive north of Ramallah through gorgeous landscapes with more vegetation than we saw on the south side last week. Palestinian villages are built mostly in valleys, from stone from the Hebron area. The architecture fits the landscape, as if they gently embrace each other. This is in strong contrast with the gated Israeli settlements located on the top of the hills, where the houses seem to be ordered from an international catalogue.

Demonstrators at Manara Square. [AdV]

through Israel, including the taxes. But the Palestinian authority is broke, prices have been rising over the last two years to an unsustainable level, taxes have been doubled and the income of the citizens has only decreased.

We can’t leave the city so we stay in Ramallah for the day. Together with Hannes I visit the warm and friendly shoemaker Imad from the Rahala shoe shop – which means ‘traveler’ in Arab. In his workshop we explain our project and Hannes has an idea about one of the Rahala shoe designs in which he would like to include special embroidery and a stitched label.

The shoemaker calls a lady who makes embroidery and she will come to the workshop this Monday. We move to his shoe shop where we get a delicious Arab coffee and Imad promises us that he will make the samples next week.

Walking back to the academy I pass Manara square and observe the demonstrators. There are not too many, they are not violent, but they are able to stop all the cars and occupy the square. The traffic is a chaos, cars and taxis toot their horns, the police seems very kind and passersby are smiling. But chaos it is.

Arriving at the academy Majd tells that it’s not even certain if we will be able to reach Bethlehem on Saturday and Nablus on Sunday, since the demonstrations are increasing and the demonstrators are persuading all the shops and workshops to close down in solidarity.

Over lunch we get an insight in how Majd is living the occupation and what he needs to deal with on a daily basis. We’re left in silence. Majd also lightens his story with humour, which allows us to carry on and we work on our sketches and make appointments for the next days.

Group photo with the owner of Jalal Aslan in the middle. [Martina Petrelli]

Majd Abdel Hamid holding the just purchased tiles. [Rudy Luijters] 18 DISARMING DESIGN

19 FROM PALESTINE

Delicious Khafeh. [AdV]

In Nablus we visit the flagstone factory Jalal Aslan. It’s one of few traditional tile factories still active in the region. Many of the designs are fixed to the walls of the buildings, a great example of how the interior reflects on the exterior. All concrete tiles are made by hand in the same way, piece by piece. The owner, whose grandfather founded the factory almost 90 years ago, invites us into a separate room where one of the work men brings us fresh Khafeh, a famous cheese pastry from Nablus soaked in sweet syrup. I am thrilled at how delicious it is.

Entering the workshop we are all amazed by the craftsmen. For many of us it’s the first time that we understand how these tiles , that we have seen so often, are actually made. A copper cliché with different compartments is put in a frame.

Into each shape a colored concrete substance is added. The more detailed the pattern, the more effort this takes. The cliché is then taken out and a layer of thinly crushed stone is put on top with a sieve, followed by a layer of cement. A stone is put on top of the mixture, which is then compressed by a 15 tons pressure. The tile becomes one single piece, made up of compressed pigments, sand and concrete. After 24 hours of drying it’s ready to be used, forever.

We make a test tile and the owner entertains us by writing Majd’s name.

Instead of a cliché now the colored concrete is used as ‘drip paint’, which results in sensitive and expressive line work. Workshop participants are invited to come back to the factory in the next days to experiment with their own designs and ideas.

The owner suggests we take a group photo and we gather around him.

He then walks the whole group to the soap factory that we want to visit. We have to hurry because they’re closed in the afternoon. Nablus is a morning city. All workshops close early, probably because of the heat – that today reaches approximately 35°C. Nablus used to have over 30 soap factories a century ago, providing soap for all of Palestine. Now only two factories are left. We visit the Toukan Soap Factory, which is the cleanest and most fairy-like industry I have ever seen. That’s not just because of the lightness and fragrance of the soap, but because of the scarce use of tools, the precise use of resources and the incredible skills of the workers. Spreading the soap mixture, stamping each soap, cutting, drying and finally packaging them in paper; all is done by hand. It’s highly skilled manual labour, which we almost can’t follow with our eyes. Magic.

Piles of soap, drying out to be packed. [Rudy Luijters] 20 DISARMING DESIGN

21 FROM PALESTINE

Workman packing soaps with magic speed. [Rudy Luijters]

After the soap has been spread and dried on the ground, each piece is stamped and then cut by hand. [AdV] 22 DISARMING DESIGN

23 FROM PALESTINE Entrance of Toukan soap factory. [AdV]

In the afternoon we take a walk through the old city of Nablus.

Majd warns us that if we don’t have a guide we will get lost. And this is exactly what happened. We ask a passer-by to guide us and immediately we are shown path through an almost illusionistic labyrinth of houses, streets, people, small shops and oriental smells. We encounter many work places of carpenters, smiths, builders, tailors and more.

Each one of them is a treasure within their small scale and personal traces. These kind of shops have disappeared in the West. Either to become bankrupt or commercialised, move to industrial zones or disappear to low income countries. Here in Nablus it’s enlightening to see so many of them embedded in daily life. They offer a close relationship with the making of things, a relation to the material and production processes.

safer then ever SUNDAY 9th SEPTEMBER

‘Moving’ typography on the grave of Mahmoud Darwish. [AdV]

Sunday is apparently not a good day to visit Bethlehem as it will be crowded with tourists and the Christian workmen have a day off. So for us it will be a working day, and everybody develops their ideas and prototypes.

Together with Dutch artist Rudy Luijters, I visit the just opened Mahmoud Darwish museum, the most well known Palestinian poet and author. His grave is at the center point of the site, and says in Arab and English: “From Palestine.. to Mahmoud Darwish”. The word Palestine is laid out in a remarkable way, as if the letters are trapped in a melancholic dance. Or maybe it’s a reflection on the logics of the Arab alphabet to the Roman typeface On our way back to the city we meet a salesman on the street with a car of covered fresh bread. He smiles and asks us how we are doing. Then he tells in perfect English that he actually has a degree in business and engineering, but that there is no work in this country. And that’s why he’s selling bread.

Salesman on the street with a car of covered fresh bread. [AdV]

24 DISARMING DESIGN

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

I also talk with recently graduated psychologist Layaly about her proposal to make a CD of the sounds of Ramallah. She has recorded several and we listen to them. Layaly’s Russian-born mother joins us and suggests that the sounds of the weddings in Ramallah should definitely be included, because there are so many of them. Layaly agrees and tells us that she often ends up on at a wedding where she hardly knows the bride and groom, last Friday her father even found himself at the wrong wedding entirely.

In the evening Rudy and I visited the designer and engineer Wafa Meri.

His studio is like a magical box where he conjures up for us a series of beautiful prototypes that he has developed for a previous project. Handwoven carpets, handblown lamps with glass from Hebron, braided baskets made out of the young branches of the olive tree and more. The idea arises of making a bedroom collection for the Disarming-Design-project

25 FROM PALESTINE

with among other things a pillow-case with embroidered edges, a bedside light and a carpet. In addition Wafa proposes to design a set of handblown glasses for Palestinian alcoholic drinks like Taybeh-beer, wine and araq (a traditional spirit made with aniseed).

THE LAND OF MILK AND HONEY MONDAY 10th SEPTEMBER

Rudy Luijters and Saad Dagher in his nursery. [AdV] Prototype of pot with Palestinian honey. [AdV]

Wafa has introduced us to the remarkable beekeeper Saad Dagher, who we visit at his nursery and plant shop next to the center of Ramallah. Saad tells us the story of professional beekeeping in Palestine and how he has managed to maintain his hives through the years. During the second Intifada most roads were blocked and he wasn’t able to visit his hives for more then six months and as a result the majority of his colonies didn’t survive. Since then Saad has only 4 to 5 colonies left.

Beekeepers in Palestine used to move their colonies (transhumance) at least three times a year; from the lower Jordan Valley in early spring where the first flowers would blossom, later to the hillside and finally to the Ramallah region for summer.

In that way the bees would collect nectar throughout the seasons and each hive would provide 20 to 25 kilos of honey per year. Today the occupation and the checkpoints make it impossible for beekeepers to move around with their colonies, so they stay in one place. For Saad the best harvest now is approximately 5 kilos of honey per hive per year.

Saad introduced us to his son Montaser Saad, who is in charge of the hives now and will continue the family’s beekeeping. Rudy, who is also a beekeeper, offers them a pot

26 DISARMING DESIGN

of his own honey whose flavour is very much appreciated. In return, the next day we receive a pot of their delicious honey. We would like to include it in the Disarming-design-collection as ‘Honey from the land of milk and honey’.

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

old news from palestine TUESDAY 11th SEPTEMBER

Boles made with old newspapers

by Ahmed Nassar. [AdV]

There have been demonstrations and fights in Hebron and Nablus. We are advised not to travel to the workshops there today. So we settle at the Academy and have individual talks with the participants.

Taqi Aldeen is working on kites from used material and Palestinian newspapers. As a child he used to make many of them, like most of the local children that were meant to be sold. This was his way to save money to buy a bicycle. Maher is working on a set of dice from a variety of colored stones from different regions of Palestine. Another proposal is to make a child-size version of the colored mobile cars that street vendors use, called Arabia. Artist Ahmed Nassar has made a set of coffee tables and bowls from old newspapers and he brings the prototypes at the Academy. They are beautiful and are literally made from old news from Palestine. A similar title for these objects seems nice.

We’re visiting the shoemaker and designer Abu Ameed from Rahala shoes again. He’s working overtime making the shoes that Hannes has proposed with a special designed embroidery. In addition we’ve ordered some additional pairs to bring home. These shoes are really too special to

27 FROM PALESTINE Some of the colored mobile cars that street vendors use, called Arabia. [AdV]

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

BACK AND FORTH WEDNESDAY 12th SEPTEMBER

A strike for buses and taxis is announced at 2pm, which means that this morning is our last chance to visit the workshops outside Ramallah. Donna, Rudy and Majd go to Nablus to experiment with some new ideas for tile designs. Donna collected patterns of different facades of buildings to translate into new tile designs, Rudy makes a test for a dotted tile and Majd creates a drawing of a television by dripping the colored concrete onto the surface of the tile.

I take an early taxi to go to the Bethlehem Fair Trade Artisans to talk further about our collaboration. With the director of BFTA, Suzan Sahori I drive to visit the very talented woodcutter Eyad in a village nearby Bethlehem.

The small workshop is located at the ground floor of the house and a man and his two sons are working there. One of their current projects is a very detailed and highly crafted door for a church in Bethlehem with a relief of Jesus opening a door. This door stands in the workshop as an on-

Majd Abdel Hamid working on a tile with an image of a television, at the flagstone factory Jalal Aslan. [AdV] 28 DISARMING DESIGN

29 FROM PALESTINE

Eyad in his workshop, making a camel out of olive wood, [AdV]

Some of the animals in progress by Eyad, his father and his brother, [AdV]

Demonstrators passing Isral Street, Ramallah. [AdV] 30 DISARMING DESIGN

31 FROM PALESTINE

going work. In general their objects are small wooden animals for the many souvenir shops, who don’t pay them reasonable prices for their work. But they have few opportunities for their products.

We talk about developing wooden yellow-cab toys and a collection of animals that are currently living in the Qualqilya Zoo*. They like the idea and all they need are photos of the animals. I promise to organize it, so that they will be able to make the animals in the upcoming weeks.

Unfortunately because of the announced strikes, we have to hurry up to get back before 2pm in Ramallah.

Usually driving from Bethlehem to Ramallah would take maximum 30 minutes, but since the citizens of the West Bank may not travel through Jerusalem we have to make a detour of more then an hour.

A big demonstration is planned at 5pm at Manara Square in the city center. Donna and Martina want to film and document it and are invited to join Majd at a friend’s place on a balcony at the square. They start interviewing Majd and his friends, and the discussion develops into a much wider reflection about Palestine’s goals and European parallels. I stay at the hotel and follow the demonstration as it passes outside, back and forth.

* The Qaualqilya Zoo was the brainchild of the former mayor of Qalqilya. Israeli Zoo’s helped to stock it and it was designed as a symbol of Arab-Israeli cooperation. When it opened in 1986, the Zoo was considered a “jewel in the crown of Palestinian national institutions.”

It became a popular attraction and was later expanded to accommodate the increasing flow of visitors,[which included both Arabs and Israelis.

After the outbreak of the Intifada, visitors from outside Qalqilya were barred entry.

The Zoo’s survival has been attributed to the hard work and dedication of its resident veterinarian, Dr Sami Khadr and his staff.

During the intifada, a giraffe from South Africa, frightened by the sound of gunfire, was killed when it ran into a pole. Ruti, his pregnant partner, mis-

final presentation prototypes THURSDAY 13th SEPTEMBER

This afternoon we have the final presentation of the prototypes developed during the workshop. Everything is displayed at the academy and each participant explains their ideas and proposals. Art academy director Khaled Hourani is excited about all the different ideas and provides the participants with constructive feedback. Sam Bahour is a managing partner of AIM (Applied Information Management) and develops Palestinian businesses. He is invited as an external guest to give his feedback on the project. He says that he is amazed, even “shocked” by the high quality of the works. He emphasises that it is the very first time that there will be a collection of contemporary products from Palestine. Of course some prod-

carried ten days later.

In 2002, three zebras died after inhaling tear gas used to break up a demonstration at a high school adjacent to the ZOO. Khader used his knowledge of taxidermy, to preserve some of the animals, including the giraffe, the unborn calf, the zebras, a monkey, wildcats and snakes.

Three lions, three ibex desert goats and two zebras were donated by the Ramat Gan Safari park in September 2004. The lions were meant to be transferred to Qalqilya in 2000, but the outbreak of the Second Intifada delayed the delivery.Saeed Daoud, director of the Qalqilya ZOO, dubbed the three lions, who were named Jafer, Jaras and Naboko, “the kings of peace.” According to Khadr, the Ramat Gan ZOO also sent him monkeys, an ostrich, and raccoons.

Source: wikipedia.com

32 DISARMING DESIGN

Discussing the results of the workshop with on the photo’s Khaled Hourani, Sam Bahour, Rudy J. Luijters, Mahmoon, Hannes Bernard, Wafa Meri, Bayan Shbib, Maher Shaheen, Taqi Aldeen, Ayed Arafah. [AdV]

ucts already exist, but they have never been presented in a context in the way we have done. For example, our design label will include a kitchen, bedroom, garden and interior collection, and even toys! Presenting the products this way provides a very strong and meaningful narrative about Palestinian culture and economy.

33 FROM PALESTINE

Two prototype dresses from keffiyehs, by Martina Petrelli and Donna Verheijden. [AdV]

Shoe by Rahala Shoes, selected and adjusted by Hannes Bernard. [Martina Petrelli]

Prototype of kite by Taqi Aldeen. [AdV]

Wooden ‘Palestinian Yellow cabs’ by Mahmoon, Majd Abdel Hamid and Annelys de Vet. [Mahmoon] 34 DISARMING DESIGN

35 FROM PALESTINE

Prototype for ‘animals from Qalqily zoo’ by Eyad and Annelys de Vet. [Martina Petrelli]

Prototype for ‘Palestinian dices’ by Maher Shaheen. [Martina Petrelli]

36 DISARMING DESIGN

security madam, security FRIDAY 14th SEPTEMBER

Even though Friday is normally a holiday, Abu Ameed from Rahallah Shoes is working hard in his workshop. Hannes ordered an extra copy of shoes and the one pair for our friend is not finished yet. Tonight we’re leaving and the shoes need to be ready by then. I visit Abu and he asks what time we will leave exactly. He is relieved when we confirm that we’ll leave just after midnight. Around 11 pm he calls me to say that the shoes are ready and that his son will pick us up from the hotel to bring us to the bar Beit Anisa where Abu is. He has a remarkable son with a delightful warm character, who drives very well even though he is only 17 and has not yet got his drivers license.

At Beit Anisa we receive the shoes that are truly extraordinary. We order araq to share, and Hannes joins us, excited about his unique pair of shoes.

We toast to Ramallah and its heart warming people. Abu’s son offers us a lift back to our hotel, where we arrive just in time for the taxi which is going to bring us to Ben Gurion airport.

At the airport we meet several moody airport employees. As the initiator of this trip I’m asked all kinds of questions by one of them. When I mention that we’ve been in Ramallah this woman glances at me sharply and asks “What did you do there?” I explain our workshop at the Academy of Arts and she wants to know why we would organize such a thing ‘there’, avoiding the word Palestine. I reply, “Because it’s a very good academy and there are many craftsmen in the area.” She looks as if she can’t believe it. “Yes,” I continue, “there are fabulous pottery makers, glass blowers, tile manufacturers, carpenters, tailors, embroiderers, carpet makers, shoemakers, designers and many more very talented people.” The uniformed employee raises her eyebrows in disbelief and attaches suspicious stickers on all our passports.

We continue the security check and from each of us our suitcase needs to be opened and checked in detail. In my suitcase they find a pot of honey that they consider suspicious. Gruffly they demand that I explain what the pot is and where I got it from. I explain that I bought it in Ramallah and they ask firmly if I am really confident it is honey. “And are you sure nobody has given this to you?” asks a guard, loudly emphasising each word.

I ask why she wants to know all this. “Prevention of terrorism.” The lady double checks the pot with a colleague and finally I am allowed to take it with us. Her face remains distrustful.

Another suitcase contains many books which are considered suspicious.

The customs employee lights up when she finds the guide ‘Palestine and the Palestinians’ — as if she found a gun. “What is this?” she snarls. “A guide about Palestinian culture,” we respond. “Culture???” she says in

37 FROM PALESTINE

disgust and continues browsing through the book. All kinds of personal questions follow about our relationship, how we know each other, who we know in Ramallah, how we got to know them and many more unpleasant inquiries. We try to find out why they need to know this. The answer never changes: “Security madam, security.”

After two weeks of enlightening hospitality, warm hearted people and mutual respect, we couldn’t have imagined a more schizophrenic departure.

PROCESSing SEPTEMBER / OCTOBER

We’ve received a request from Electronic Intifada “the independent online news publication and educational resource focusing on Palestine, its people, politics, culture and place in the world”. Their correspondent Adri Nieuwhof* found out about our project and suggests to interview Majd and myself. We both have skype-interviews and in october her article gets published**.

The second half of september and october all participants will work out their designs and proposals as far as possible. In addition the Academy of Arts approaches artists and designers with existing designs that fit in the collection. A meaningfull selection will be made and presented during the first exhibition of ‘Disarming Design’ during the Qalandia International’s ‘milestone contemporary art event’ from 1 to 15 November.

* Adri Nieuwhof is a consultant and human rights advocate based in Switzerland.

Disclosure: The Electronic Intifada has received grants from ICCO.

** See: http://electronicintifada.net/content/ palestinian-dutchdisarming-design-project-inspired-artworkcaptivity/11760

Adri Nieuwhof, The Electronic Intifada 12 October 2012

Jewelry is intimately connected to resistance in Palestine. On a recent trip to the West Bank, the designer Annelys de Vet learned of how prisoners smuggle little gifts out of jail.

The most prized possessions among Palestinians include beautifully hand-decorated jewels that prisoners make for their children.

De Vet is a curator of the Disarming Design

project, which aims to bring to market collections of Palestinian design products for the bedroom, kitchen, living room, garden and even a collection of toys.

Prototypes of the products have been developed at a workshop hosted by the International Academy of Arts Palestine in Ramallah.

Disarming Design is supported by UNESCO,

Article by Adri Nieuwhof for Electronic Intifada, 12th october 2012

Palestinian-Dutch “Disarming Design” project inspired by artwork in captivity

38 DISARMING DESIGN

the UN’s Educational, Scientific and Cultural Organization, and the Dutch anti-poverty organization ICCO. De Vet is head of the design department of the Amsterdam-based Sandberg Institute and runs a design studio in Brussels. The project’s coordinator, Majd Abdel Hamid, studied art in Ramallah, as well as in Malmö in Sweden.

Hamid and de Vet spoke to The Electronic Intifada contributor Adri Nieuwhof about the project.

Adri Nieuwhof: How did the project Disarming Design come about and does the name express the meaning of the project?

Annelys de Vet: Mieke Zagt from ICCO approached me with the question if I could think of strategies to make Palestinian products more attractive for a contemporary international market. She explained how many beautiful products she sees in Palestine, but never finds them in Dutch warehouses [department stores]. I came up with the idea of developing a collection of Palestinian products by contemporary artists, designers and local craftsmen, creating new possibilities out of the existing resources and production methods.

The project has a slightly provocative title: “Disarming Design from Palestine.” It is an artistic project with strong conceptual thinking [behind it]. In that way it shows the quality of the Palestinian people without portraying them as [only] victims.

At the same time, it [the project] does not ignore the situation but reflects upon the situation. The products can unveil parts of the Palestinian reality, tell a different story to an international audience. I approached Khaled Hourani, the director of the International Academy of Arts Palestine, to develop this project with him and the academy. He responded more than enthusiastically.

Majd Abdel Hamid: About the name Disarming Design, there is a cultural aspect

of language. I like the name. I know what it means. But the problem is that “disarming” always takes you to an idea that something is armed and this proved to be a little controversial when I was talking to and inviting artists. We are still thinking about the title, how to maneuver around it, play with the name without creating some kind of controversy of talking about Palestinian design as armed design. Disarming Design is a working title.

AN: What are your impressions of the Palestinian artists and craftspeople you have met?

AV: Both the craftsmen and the artists responded very enthusiastically to our project, and especially to the opportunity to experiment. It’s not a common thing for artists to think about collaborating with craftsmen. In general they are separated groups. Just by visiting the workshops, the artists and designers got many new ideas. There were already some brilliant ideas and projects, that can get a new platform through our design collection. In western societies most small workshops and [associated] skills have unfortunately disappeared. And with them the knowledge and respect for resources and processes of making also vanished. Craftsmen have knowledge in their hands and express that through the material. It was enriching to meet many highly skilled and committed craftsmen in Palestine.

AN: Does the Israeli occupation or the Palestinian nation play a role in the design?

MA: Of course, occupation plays a role even in how you perceive things, I mean visually speaking. My generation, we have a distorted perception of space. It is distorted in how you see, how you look at things. You have many affiliations, you have the wall, you have all these boundaries on movement. You talk about the last ten years where people were mostly living in one city, they don’t really move around the West Bank. They are just living with one com-

39 FROM PALESTINE

munity. So the occupation has a lot of influence [on the design], but it is indirect. You can see it visually, in the language, in the development of the work. You can find traces of this.

But at the same time it should not be literal, it should not be like one layer, as “an occupation” or “against occupation.” It is not about the just cause of Palestinians, or a political debate. It is about a beautiful product and the history of it and the people who are doing it.

AV: Yes, very much. For instance, only some resources are easy to get and for most it is difficult, impossible or too expensive. That plays a role in the project. But also in the meaning of all the products themselves the occupations plays a role, because they reflect on the situation. What I see with Palestinian artists is that it is impossible to deny the reality outside the [studio]. You can’t “just make art.”

You have to take a position in what it means to make art in a situation of occupation, in this political impossible reality. That clearly influences the art and design works.

AN: Did the cooperation between the artists, students and craftspeople from Palestine and the Dutch Sandberg Institute bring new energy?

MA: It is very interesting to see the relationship. For instance, we had three students from the Netherlands who were staying with me [in Palestine]. I was telling them that I know that this experience is intense. It does not matter if this is the first time or fifth time you are in Palestine. It is a charged atmosphere.

Politically, the situation is now unstable, and with all these demonstrations. There is this collaboration but it takes a little bit of time to develop knowledge about what you can do, how we can work, to actually see the country, understand the layers. I think they bring something really important and they also get something very important. The collaboration brings out a very interesting dynamic, a kind of visual debate between two very different visual languages. Someone with a western

background and someone from here, it is very different. Then we have this negotiation and this is interesting, to see how it works.

AN: What did the cooperation bring the Palestinian craftsmen, students and artists?

MA: I have been dealing with craftsmen and I think they are really excited about this project. They feel really marginalized, which is true. They have this threat of China that is ruining all these small shops, all the production of the craftsmen. Everyone is importing cheap products from China which have overtaken the market. There is this aspect of showing the craftsmen that we care they are there, by working with them. I really appreciate the personal contact with these craftsmen, to see them interested in the work and trying to find solutions for the problems that come up with the product.

The other part is that the artists themselves, when you think about what it means to create a fork or a table spoon from olive wood from Bethlehem. This brings a lot of questions. It helps people to grow, to have a fresh perspective on the esthetics of this country and the products, and on us as cultural practitioners what are we producing. It influences the discourse of art as a culture itself. I am really optimistic about this project, because it is a continuation, it is not just two months and then you stop. Hopefully, we can introduce a design program at the art school [in Ramallah]. No one is studying design. We have technicians who know how to use software, but the concept of design as an art as philosophy does not exist.

AN: Can you give an example of an idea for a product that came up during the workshop which stands out or made you feel enthusiastic?

AV: Palestinian designer Wafa Meri created a contemporary interior for a hotel in Nablus in cooperation with Rashid Abdel Hamid,

40 DISARMING DESIGN

traditional manufacturers and female embroiderers. From this project Wafa will make a special “bedroom collection,” consisting of a pillowcase and a duvet cover with embroidered borders, a hand-woven bed-runner, a carpet in similar colors and a bed lamp made of olive tree branches. They all use production processes embedded in the cultural heritage.

MH: I am enthusiastic about the product I am working on. We were working with a jewelry designer and were talking about jewelry, rocks and precious stones. And then someone told about this small stone [jewel] he had made in jail. We developed the idea to use instead of precious stones or diamonds, we would use a rock that someone had sent out from prison, and make a very elegant, well-made necklace from it. It is playing on the idea of precious stones this personal relationship with a stone that is “worthless” but then we have the personal relationship. Then you can wear it. I am critical also of the commercial aspect of it, of selling this. At the same time, it is a statement. It is negotiation, it is not like it is good or bad.

I am also trying to develop a sand-clock, an hour glass made from crushed cement from the wall. It is completely Palestinian-made.

So you have five minutes of the virtual life of the wall, but at the same time it is infinite because you can keep turning it.

AN: Do you think Palestinian investors will show interest in the products?

MA: I don’t see why not. With all the movement around the costs of living, there is this aspect of being part of the community and giving back, basically. It is not just about talking and demonstrating. It is about daily life, to work with the people, as many as possible, to actively create some help, so that people can still live, not suffocate or just emigrate out of the country. It is very important to invest in this.

AV: Yes, although it’s not an easy time for

investors. But for this in particular we are collaborating Sam Bahour from AIM [Applied Information Management]. He is a business investor and joined the final presentation of the results of the workshop. He said that he was shocked by the quality of the presented prototypes and ideas. He said that it is the first time that there is a collection of contemporary design products from Palestine. Of course contemporary products exist, but they are never presented in a collection like [this].

Our design label will have a kitchen collection, bedroom collection, a garden and interior collection and even toys. Presenting the products in this context is a strong marketing tool, because of the bigger story it tells.

AN: Do you think it is possible to market the products outside Palestine?

AV: Yes, that’s the aim of the project. For the distribution of the products we collaborate with Alhoush [House of Arab Art and Design] in Amman [Jordan], who have experience with international distribution. We work with the Bethlehem Fair Trade Artisans who already have a lot of international orders. But first we will exhibit the collection of prototypes during the international Art Biannual Qalandiya International in November. Qalandiya International is an ambitious contemporary art event taking place in several Palestinian cities and villages. Seven prominent Palestinian cultural institutions that are focused on contemporary art and the Palestine cultural landscape collaborate to organize the event. The prototypes that we have developed for the Disarming Design collection will be presented by the International Academy of Arts. From there on we will investigate in taking products into production and develop a mobile and online design shop. Summer 2013 we expect to present this temporary shop in outstanding international museums and cultural platforms. And on the Internet, of course.

CREDITS Workshop ‘Disarming Design from Palestine’ 1—14 September 2012

Layaly Hamayel Majd Abdel Hamid Martina Petrelli Nadeem Pr Jensen Hosted and Rudy Luijters organized by: Taqi Aldeen International Academy Wafa Meri of Arts, Palestine and others

41 FROM PALESTINE

BACKGROUND

In 2007 ICCO (Dutch inter-church organization for development cooperation), the International Academy of Arts Palestine and designer Annelys de Vet organized a workshop to develop the ‘Subjective Atlas of Palestine’. This Concept: Visited workshops: publication has been Khaled Hourani Masri Shoes, Ramallah very meaningful and it Annelys de Vet Hebron Glass & caused vibrant debates Mieke Zagt Ceramics Factory, and visual dialogues Hebron on Palestinian identity.

Production: Hirbawi Textile This year the partners Majd Abdel Hamid Factory, Hebron are collaborating on a Bayan Shbib Oriental Handmade new artistic project, a Pottery Factory, design label with the Guidance: Hebron working title: ‘DisarmKhaled Hourani Tashikil jewelery, ing Design from PalesMajd Abdel Hamid Ramallah tine’. The partners will Rudy Luijters Stars Fashion, coordinate with both the Annelys de Vet Ramallah Palestinian Ministry of Flagstone factory Jalal Tourism and Ministry Generously Aslan, Nablus of Culture to assist and supported by: Toukan Soap Factory, facilitate the logistics of ICCO (Dutch interNablus the project. church organization Nursery of Saad for development Dagher, Ramallah The Label cooperation) Rahala Shoes, ‘Disarming Design UNESCO Ramallah from Palestine’ is a new Sandberg Instituut Bethlehem Fairtrade design label that creates Amsterdam Artisans, Bethlehem and distributes PalestinEyad and his family, ian usefull products.

Acknowledgements: near Bethlehem The collection as a Sam Bahour whole aims to represent Chris Dercon This Palestinian culture in publication: its current reality and Particpanting artists, stimulate the local designers and students Text & Design: economy. The goods will of the workshop: Annelys de Vet be developed, designed Abu Ameed and produced by designAhmad Nassar Proof reading: ers and artists from Amer Kate McMahon Palestine and abroad in Awatef Ruiyah collaboration with local Ayed Arafah Photography: craftsmen and businessDima Annelys de Vet, es. As a whole the label Donna Verheijden Rudy Luijters, shows frankness and Hannes Bernard Martina Petrelli, strength, and underlines Hasan Draghmeh Mahmoon the creative, poetic and Hosni Radwan intellectual potential Jamara Fraq of Palestinian artists, Joseph Audeh designers, entrepreneurs Khaled hourani and craftsmen.

The Collection The collection contains contemporary useful products. They are specially designed (or adjusted) for the label and they are produced in Palestine. Each product will tell a story related to the Palestinian reality and its representation.

The products use humor, wittiness, style and charm to trigger the possibilities of an impossible situation. They will be tasteful, appealing and unconventional.

The process and distribution During several workshops the goods will be designed and developed.

These courses are hosted by the International Academy of Arts Palestine and organized in collaboration with the Sandberg Instituut Amsterdam. Students, artists and designers from Palestine and abroad will engage in an enriching design discourse with craftsmen, small emerging businesses and international colleagues. With joined forces they will create new products out of traditional and contemporary (available) production processes.

All produce will be developed through fair trade conditions.

In addition existing contemporary products will be collected to become part of the collection.

The intellectual ownership of the products is by the designer and

manufacturer; the label is allowed to distribute and promote the products.

Once the products are produced they will be presented and distributed via a web-site, a printed catalogue and in regular shops like warehouses, design- and museum-stores. The Amman based ‘House of Arab Art & Design’ Al-Housh will join forces for the distribution channels. The label will present the products and gain attention through a mobile design-shop that travels pass several museums and cultural places around the world.

International Academy of Arts Palestine is coorganizing “Qalandia International” with several local partners: Al Hoash, Qattan Foundation, Al Maamal, Riwaq and Al Sakakiny Centre. Qalandia International will take place from the 1st until the 15thof November.

The International Art Academy contribution to “Qalandia International” is presenting a showcase room or shop of the products from the Project “Disarming Design which will serve as the first exhibition of the products.

The motives Palestinian crafts have always represented Palestine’s social, political and cultural identity locally and internationally. Various products like the Palestinian

42 DISARMING DESIGN

Kouffeyeh, embroidery and ceramics stand out as strong symbols. Promoting and developing design and handcrafts can therefore be important; not only from the perspective of cultural identity but also from a business and marketing point of view.

Investigating in the creative potential of its people, the label aims to create dialogue, networks, relationships and empower new models of artistic practices and handcrafts. The interdisciplinairy approach can feed new ideas for crafts production, avoiding the traditional repetitive – and often conventional – representations of handcrafts.

When this development of traditional craftmanship can progress to new markets outside the beaten tracks, it will export a cultural pride which tells the Palestinian story differently and to new audiences.

Development cooperation The horizons of development change and especially critical thinking about development in Palestine changes, so must development cooperations like ICCO. Traditional developmental cooperation is loosing support, which urges ICCO to research new models. The traditional role in funding partners will change into a partnering role in which ICCO will broker, lobby or connect.

On Palestine, one of ICCO’s objectives within its policy on conflict transformation (besides accountability) is to

support nation building through economic development. Emancipate craftsmanship with the support of local design in exchange with Dutch designers and with the support of local entrepreneurs, with this project ICCO aims to create new markets for traditional Palestinian produce.

Dissemination of culture Although Palestine has a vibrant art scene, there are several constraints that inhibit the dissemination of culture and further development of this art scene including: 1) Inadequate awareness and exposure of the local public to their own culture with issues related to cultural identity due to a limited exposure to it as a result of a only few dissemination possibilities.1 Furthermore, Palestinian artists lack the opportunities to freely enter a regional and international market as the Israeli military occupation of the OPT hinders freedom of movement, not only of people but even of art objects.1 2) Restricted Palestinian art scene outreach at the local, regional and international level: the economic and political situation has ensured the absence of contemporary art museums, public art collections, art residencies, and significant international artists’ visits. This all contributes to a difficulty in developing a consistent artistic frame of reference, which is essential in accessing the international art

market.

3) An outdated art and craft market that cannot serve today’s modern audiences with contemporary products. On the contrary, an examination of the traditional arts and crafts market reveals a stale, medium to poor quality souvenir product that has been exhausted due to limited or old designs unlike the brisk pace of design product development found in the West. To aggravate the situation worse, products are coming from the Far East replacing the genuine and hard to find Palestinian skills and talent that can produce superb cultural products and designs. Furthermore, Palestinian made products especially made by women are underpriced and underappreciated for the talent that goes into them. There is limited cultural awareness and identity expressed in the crafts on offer and crafts(wo)men have also limited possibilities for the dissemination of cultural identity.

New generation Although ‘Disarming design from Palestine’ has a focus on crafts and local manufactors and businesses, the essence of this experience is artistic, innovative and creative. It aims to evoke new ideas and designs, which will strengthen the relationships between artists, craftsmen and businesses, introducing a new generation in the world of Palestinian artistic culture.

1 The ‘Picasso in Palestine’ project’ undertaken by partners Khaled Hourani and PACA in 2010/2011 illustrates the excessive political and burocratic obstacles that had to be overcome during a period of two years to just get a famous painting exhibited in Ramallah.

2 Part of a research study conducted for UNESCO was the “Assessment study of the Handicrafts Sector in the Jericho Area”; Palestine Economic Policy Research Institute (MAS), for UNESCO

International Academy of Arts Palestine

ICCO

(Dutch inter-church organization for development cooperation)

UNESCO

Sandberg Instituut Amsterdam

Studio Devet

43 FROM PALESTINE