This week in Palestine June 2018 by PalGov

242

Issue June 2018

ONTENTS

In this issue

Design in Palestine 4 Fanous The Light of Ramadan 12 The Language of Design 18 Designed with Children in Mind! 22 The Imago Mundi Project 30 Architecture as Resistance 40 If Hollow Forms Could Speak 44 Keeping Heritage Alive through Embroidery 52 Creative Palestine 60 Bonds without Borders 64 The Golden Era of Palestinian Graphic Design 68 A Palestinian Pavilion at Cannes 72 Personality of the Month 76 Book of the Month 78 Exhibition of the Month

Cover design: Taisir Masrieh

80 Where to Go

Publisher: Sani P. Meo Art Director: Taisir Masrieh Graphic Designer: Tamer Hasbun Editor: Tina Basem

82 TWiP Kitchen 84 Events 85 Attractions 86 Accommodations

Printed by: Studio Alpha, Al-Ram, Jerusalem. Maps: Courtesy of PalMap - GSE

88 Restaurants 90 Cultural Centers

ESSAGE FROM THE EDITOR

This Week in Palestine would like to take this opportunity to thank the authors who make our issues shine month after month. In case you have ever considered making a contribution, let me explain the process: Potential authors keep an eye on the upcoming themes to see whether they would like to add value through contributing their opinion, experience, or expertise. The main requirement is that articles adhere to our self-imposed mandate of documenting and promoting Palestine. Preparing an issue takes at least six weeks. So ideally, prospective authors would submit a short synopsis for the June issue, for example, by the end of April. If by early May there seems to be a shortage of material, or if there is a certain aspect of the theme that TWiP would like to see covered, we may contact authors to solicit an article. During the month of May, the article would first be content edited, which entails adjusting the format and presentation to TWiP standards and perhaps providing assistance in strengthening and organizing an argument. Our language editor then ensures that the language and style of the text conform to standard English. Author approval of modifications to the text is always a critical element in the process. Then comes the task of layout, during which images (complete with captions and credits) may be submitted by authors or chosen by TWiP’s artistic director – who happens to be the personality of the month in this month’s issue themed Design in Palestine. Promotional articles that mainly highlight a certain institution or project are a main source of sustainability for TWiP. And while many articles may summarize, review, and highlight material that is available online or in print, TWiP is proud that its articles are originals. Having highlighted how much effort and dedication our authors put into their work, I would like to extend our thanks to the authors of this issue: Dr. Ali Qleibo, Maha AbuShusheh, American Near East Refugee Aid organization, Faten Nastas Mitwasi, Nadia Habash, Dima Srouji, Ibrahim Muhtadi, Ahmed ElFarra, Shirabe Yamada, Amer Amin, and Rana Anani. Our Limelight section features Taisir Masrieh and Tayseer Barakat as personality and artist of the month, Rajie Cook’s A Tribute to My Father as book of the month, and the exhibition Hand Eye by Ziad Yousef; Where to Go presents a sample of Palestinian handicraft workshops. Enjoy the featured events. From the entire team at TWiP, we wish a Happy Eid to all who are celebrating and a good and peaceful summer to all of you.

Tina Basem

93 Maps 98 The Last Word

Forthcoming Issues Telefax: +970/2 2-295 1262 info@turbo-design.com www.thisweekinpalestine.com www.facebook.com/ThisWeekInPalestine

The views presented in the articles do not necessarily reflect the views of the publisher.

This Week in Palestine would like to thank the United Nations Development Programme / Programme of Assistance to the Palestinian People for its support throughout the year 2018.

Maps herein have been prepared solely for the convenience of the reader; the designations and presentation of material do not imply any expression of opinion of This Week in Palestine, its publisher, editor, or its advisory board as to the legal status of any country, territory, city, or area, or the authorities thereof, or as to the delimitation of boundaries or national affiliation.

July 2018: Sustainable Gaza August 2018: Discover Palestine: Hiking Trails and Alternative Tours September 2018: Palestinian Performing Arts

Advisory Board Maha AbuShusheh

Majd Beltaji

Businesswoman

Programme Specialist - Gender Equality, UNESCO

Nur Arafeh

Issa Kassissieh

PhD Student at Oxford University

Ambassador to the Holy See

Majed Bamya

Najwa Najjar

Diplomat at the Mission of the State of Palestine to the UN

Filmmaker

RTICLE

Fanous

The Light of Ramadan

By Ali Qleibo

he month of Ramadan is sacred time. Between the evening ritual prayers (taraweeh), sacred music, and Ramadan social visits, Jerusalem nightlife takes a new turn. One strolls in the alleys of the Old City under brightly lit canopies of screeching blue, shrill green, discordant red, and blaring phosphorescent white lamps that stretch and zigzag throughout the city. Here and there, scintillating oversized crescents, stars, and a wide array of gaudy light fixtures sparkle and transform Jerusalem’s night into day. Magical wands and gaudy plastic lanterns and lights in various shapes and forms flicker eclectically to celebrate Ramadan.

Ramadan reinvests the common elements of everyday life with symbolic meaning. In the quest to embrace the ideal, all forms of celebration become overt ritual expressions. In its elusive transience, the elliptical lunar month exudes a mysterious appeal and its chief product – fanous Ramadan (traditional Ramadan lantern) – provides a completely traceable and transparent symbol of expression. In its transformation into hanging canopies with pendant flickering colorful lamp bulbs, the gaudy eclectic light installations buoyantly announce the death of myth and the demise of Sufism in Arabic cultures. With the fall of the Ottoman Empire after World War I, the rise of the modern national Arab state, and the influence of European culture, Sufism lost its hold. With the advent of modernity, people started to look suspiciously at Sufis, their practices started to be considered backward, irrational, their rituals strange. Without a Sufi referent, religious symbols as witnessed in Ramadan lights lose their religious mythos. Fanous Ramadan is intrinsically symbolic. The religious concepts embedded in the fanous provide a valuable resource for reevaluating the most basic categories of Muslim symbols of transcendence, in which the “religious sensibility” and the related concept of mysticism are mutually constitutive. Mysticism de rigueur uses the language of symbols, and since the mystical impulse belongs to the core of religion, religion of necessity must employ symbolic language.

Fanous Ramadan is a work of artistic craftsmanship and design. As artwork, it is traditionally shaped and designed with visible religious symbolism, according to aesthetic values. As a ceremonial symbolic icon, its color and Pythagorean algorithmic design represent a point of connection between Muslim culture and revelation on the one hand and between humanity and God on the other. In fact, fanous Ramadan is a microcosmic representation, a totalizing representative system, with analogies to a larger Muslim worldview that structures the color, texture, pattern, and elements of design that underlie the aesthetic character of Muslim culture as a whole.

though the precisely incised stars and crescents in the shiny brass is highly evocative of the Muslim vision of God as incandescent light as expressed in Suret al-Nur (24:35).

The meticulous workmanship of the traditional fanous, the dexterous manipulation of form and function to produce a religious object that is aesthetically refined, has become a memory of the past. In modernity, a variety of commercial designs have flooded the Arab markets. Canopies with pendant flickering colorful lamp bulbs decorate the windows, balconies, and streets of Jerusalem. In their brilliance, they cast their blinding glare over the once-upon-a-time demure light emanating from the opaque glass and brass fanous Ramadan.

Allah is the Light of the heavens and the earth. The example of His light is like a niche within which is a lamp, the lamp is within glass, the glass as if it were a pearly [white] star lit from [the oil of] a blessed olive tree, neither of the east nor of the west, whose oil would almost glow even if untouched by fire. Light upon light. Allah guides to His light whom He wills. And Allah presents examples for the people, and Allah is Knowing of all things.

In every religion, light is celebrated as a sign of divine presence. By analogy, “light” and “truth” are synonymous with the knowledge of God. Light symbolizes the triumph of good over evil, reason over unreason, and order over chaos. Using the metaphor of the lantern, Muslims describe Allah as light of the heavens and the earth – inspiring, motivating, and guiding people. Fanous Ramadan stands out as the quintessential art form that separates sacred time from profane time. The design, combination of forms, opaque glass, colors, textures, geometric, figurative, and calligraphic decorations encapsulate the highly elusive, transient, and mystical allure of Ramadan – the month in which the Qur’an was revealed – and by extension refract light as a metaphor for God. One can tell at a glance its socio-religious referential values that reflect the universality and continuity with other aesthetic cultural expressions that embody Muslim cosmology. The mark of craftsmanship distinguishes the quality of workmanship in the apparently functionless decoration of the lantern; the incisions to delineate the star and crescent shapes, the texture of the colored glass on the sides, and the golden gloss design. The explicit decoration is in direct proportion to the implicit symbolic religious function of the fanous.

Colors hold great significance for people around the world. Not only do colors influence emotion, but they also hold meaning in religion and various cultures. Colors have culture-specific evocative resonance. Whereas saffron yellow is associated with Buddhist monks, red and green are invariably linked to Christmas. Yet the pigment, hue, and value of the red that is typical of Christmas are different and distinct from those of the red in the Turkish flag or the red of communist China, or even the red sun disc in the Japanese flag. Similarly, the Muslim

The shiny copper fanous, which was popular in old Jerusalem, is invariably composed of two parts that encase the candle. The top case is usually formed by two equal-angle triangles plied into six equal triangles to form a hexagonal base welded to a quadrilateral rhomboid dissected into a lozenge-shaped diamond case. Whereas the shiny copper upper case bears the incisions that indicate the stars and the crescent, the lower case is lined with the translucent, thick colored glass. In fanous Ramadan legend, myth and ritual meet to reflect Muslim microcosmic order. The opaque light gleaming through the green, lapis lazuli deep blue, and tinted hues of deep amber-orange thick textured glass on the hexagonal sides of the shiny copper case further conceals the burning flame. Calligraphic Qur’anic verses or aphorisms in praise of Ramadan – either as incisions in the copper between the stars and crescents or painted in black on the glass – further enhance the solemn religious status of the colorful fanous. In fact, fanous Ramadan is replete with mystical allusions closely related to Sufi esoteric religious teachings and to gnosis. The colorful glow in conjunction with the dim light streaking 6

green is distinct from the Christmas green. Each culture has its own range, texture, and timbre of colors that have their specific values.

Symbols and the ideas they entail are supplanted in the modernist commercialization, redesign, and secularization of fanous Ramadan into eclectic, colored, brash Chinese lamps. The same lights are used as Christmas decorations, at weddings, and at high school graduations. With the death of myth, content has become the form. Light in and by itself, devoid of meaning, remains an expression of joy.

The color green is closely linked to Islam. It is believed that the color green was the color of Muhammad’s tribe, Quraysh, while others think that green was the Prophet’s favorite color, and that he always wore a green turban. The color became closely associated with the ashraf (Muslim religious nobility, plural of sharif) and the descendants of the family and companions of the Prophet; thus it became the color of the ashraf, the family of the Prophet, and of the holy men! During Ramadan and other holidays, minarets are lit with garlands of green light. Green silk drapes the

graves of Sufi saints, and Qur’ans are bound in green. The color green derives its evocative power in relation to a saying, hadith, attributed to Prophet Muhammad, “Three things of this world are acceptable: water, greenery, and a beautiful face.” In paradise, in the afterlife, the Qur’an states, “ornaments shall be given to them therein of bracelets of gold, and they shall wear green robes of fine silk and thick silk brocade interwoven with gold” (18:31), and they will be “reclining on green cushions and beautiful carpets.” (55:76) Green and gold are the colors of paradise. The shiny golden copper fanous and the green glass serve, in this sense, as reminders of paradise. The crescent and the star came to be widely associated with Islam during the Ottoman Empire. The crescent assumes paramount significance in the Muslim religious calendar, which is lunar and in which Ramadan plays a central role. The love of Allah finds its greatest expression in the Muslim passion, nostalgia, and deep yearning for the holy month of Ramadan and is reflected in the great interest in following the successive waxing and waning of the moon to measure the temporal distance towards the holy month of God. The passionate longing for Ramadan intensifies in the two lunar months preceding Ramadan in preparation for the move from profane to sacred time. Highly cherished, the names of these three months impart the most sensual forenames in the Muslim discourse of male names. As personal names, the

appellations Rajab, Sha’ban, and Ramadan evoke piety and virility, and suggest a conservative character. Similarly, the phases of the moon, in terms of which the Muslim year and holidays are calculated, supply equally suggestive forenames. Hilal and Bader are common names and are associated with the two major phases of the waxing moon. Hilal translates literally as crescent and Bader as full moon. Whereas Hilal, the thin sickle shape, marks the auspicious beginning of the lunar cycle, Bader, the full rounded moon, punctuates the completion of the waxing cycle. The crescent shape as a motif reiterates throughout Muslim cultural expressions ranging from the incisions on the fanous and the decoration on top of the domes of houses, mosques, and minarets. Katayef, the favored savory Ramadan dessert, is a crescent-shaped pastry stuffed with cheese or walnuts. Once baked, or fried, it is doused in honey and acquires a deep amber, orange-brownish tinge. The hue and saturation of this sardius color (a subtle hue of red hazel, amber, and light brown) typify the sweets and drinks associated with the Ramadan menu. The color modulates from the deep-brown of dried dates to the lighter grades of deep orange-brown as in the carob drink that is usually imbibed during Ramadan along with licorice and tamarind. The translucent, deep-amber, orange-red to brownish-red color finds its place on the Ramadan menu in the delicately aromatized ‫( قمرالدين‬amar al-deen), apricot pudding. The splendid color of the sardius gem is the Ramadan color par excellence and is one of the three colors of the opaque glass on the sides of fanous Ramadan. The deep ultramarine-blue-colored glass on the side of the fanous is a metaphoric crystal of truth that hearkens back to Sufi teachings in relation to self-knowledge, sense of dignity, and self-control. The lapis lazuli, though a semi-precious stone, assumes a special status in Muslim culture and finds its rightful place on rings and prayer beads, and was used as the background color to illuminate Qur’anic verses inscribed in gold. This hue of blue is believed to help reveal inner truth and self-awareness. It promotes the relief of things that may have been suppressed and allows for self-expression without holding back. Furthermore, lapis lazuli encourages dignity in friendship and social ability. It inspires the qualities of honesty, compassion, and uprightness when dealing with others. It provides an awareness of one’s motivations and beliefs, and gives a clearer perspective of one’s whole life – all of which pave the way to the knowledge of the truth and light the path to connect with Allah. To celebrate Ramadan, Jerusalem has cast away its wistful melancholy and has donned joyful, festive apparel. A sense of excitement pervades every aspect of life. Between the readings of the Qur’an, the long afternoons spent in reclusive meditation in Al-Haram al-Sharif, the evening taraweeh, and the suhur prayers (the time when Muslims take their last meal before sunrise and a day of fasting), the relationship with the Almighty modulates to heighten the Muslim’s consciousness of God and deepens the sense of religious feeling, casting a different light on the way in which Muslims discourse with God, themselves, and others. Dr. Ali Qleibo is an artist, author, and anthropologist. He has lectured at AlQuds University and held a fellowship at Shalom Hartman Institute; he was visiting professor at Tokyo University for Foreign Studies, Japan. As a specialist in Palestinian social history and through his work at the Jerusalem Research Center, he has developed the Palestinian Social and Muslim Tourism Itinerary. Dr. Qleibo has authored various books, including Surviving the Wall, Before the Mountains Disappear, and Jerusalem in the Heart. A renowned oil painter, he has held numerous art shows. He may be reached at aqleibo@yahoo.com. 10

E S I G N I N PA L E S T I N E

The Language of Design

Traditional Palestinian Embroidery By Maha AbuShusheh

here she sits, a young girl just shy of six years old. The girl is impatiently waiting for her mother to finish preparing supper so that they can start their embroidery lessons, just like generations of Palestinian women before her had done. Her mother will give her a leftover piece of cloth from an older embroidery project and a few threads for practice. She will learn how to embroider as if she were learning how to read and write, as embroidery for village women is a language with its own vocabulary and rules. And just like we see ingenious poets bending languages to their will and producing the most articulate literary works, there are women who have bent the needle and thread to their will and created wonderfully stitched works of art. She will find that there are women in her village who are known for their extraordinary work in cutting the dresses or for their famous embroidery techniques, and that there are others who have made a living out of creating embroidery pieces that were sold to American and European pilgrims in Ramallah and Bethlehem. She will practice until she masters the art and will later start to embroider her own dresses that she will take to her husband’s home. Each and every dress will serve a purpose; there will be ones that are decorated and lavish for special occasions, and others for housework and day-to-day life. Her special dresses will be a dark shade of dyed indigo fabric to reflect the high status of the occasion and heavily Irq al-Tuffah (apple branch) from Beit Dajan, Jaffa, inspired by Bethlehem embroidery.

An embroidered side-panel piece from western Hebron (Beit Jebrin). The design is referred to as baqlawa.

decorated with silk, as fabrics with lighter shades of indigo are less expensive and would be used to create her daily dresses instead. She will also buy colorful orange, green, red, or yellow taffeta pieces for the finishing touches. She will come to understand and appreciate the motifs, colors, and symbols that distinguish her village’s dress from the rest, even after Palestinian women started using the French Dollfus Mieg et Cie (DMC) threads. The most important color of all is red; women in Ramallah did not use the same shade of red as women in Beit Dajan, Lifta, or Dawaymeh, or as Bedouin women. She will learn the rules of embroidering her village’s motifs to create the dress that will make her outshine all the other brides from the village on her wedding day. She will consult with other fashion-savvy women and ask about the latest trends; her dress will remain true to her village’s original dress, but it will also be influenced by new trends and materials. This includes colored European fabrics that were introduced to the markets of Palestinian cities such as Jerusalem, Yaffa, Lyd, and 13

Irq al-Tuffah (apple branch) from Beit Dajan, Jaffa, inspired by Bethlehem embroidery.

Embroidery from Ramallah (Rumi) dress, with sleeves made in Bethlehem style (couching).

Detail from a dress from the area west of Hebron, featuring a cypress tree design and Hermizy silk.

Ramleh. She will grow to understand that these markets are crucial to remaining up-to-date in terms of the latest fashion trends, and also to introducing the aforementioned DMC threads that revolutionized embroidery for many, as they came with a set of catalogues and stencils that presented new symbols and motifs and helped guide women through the embroidery process. We will always be able to tell which village her dress is from, but the additions will tell a story of the time she lived in and the trends that she liked. Unfortunately, we can’t visualize the complete cycle of evolution of these dresses as the oldest dresses we’ve found only date back to the mid-nineteenth century. Her mother will explain to her that although the use of DMC threads and different fabrics affected the construction of the original dress, it still maintained its main structure and motifs which were a reflection of the owner’s social and economic status, as well as her attention to detail and her ability to coordinate colors and motifs. It’s true that new motifs were added, and new flora and fauna blossomed on the dresses with time, but unique shades of red thread were still used by each village or region. Women in Ramallah started to integrate into their dress decorated sleeves that are similar to those found in Bethlehem, for example. The motifs also evolved 14

into more complex floral combinations as a result of the European influence on traditional embroidery, but we will always find the same unique shade of red in Ramallah dresses. The same applies to the dresses of Beit Dajan and the surrounding villages; they were influenced by Bethlehem’s embroidery through Manna Hazboun in the 1930s. The women from these villages used what their teacher had taught them to create their own motifs of orange orchards and flowery meadows. She will learn how embroidery in Palestine was also affected in the 1920s by the First World War, when women had to adapt their dresses to the dire conditions of war and the horrors of losing loved ones. For example, the wedding dress that was worn by women from the central governorates in the early nineteenth century had a front slit and was heavily embroidered with old motifs that were passed on from generations. The front of the dress contained taffeta silk that was decorated with floral and bead work. Following the war, they were replaced with dresses that were heavily embroidered and completely closed in the front. With time, the old dresses changed as a result of the increased interactions with different villages as well as the introduction of embroidery and tailoring stencils. Jillaya from Ramleh area. 15

This was all prior to 1948. For the following eras in Palestinian history, we need to extensively research the evolution of the Palestinian embroidered dress. It is clear, though, that those who had lost their loved ones and their homes were no longer emotionally or financially capable of creating embroidered dresses of the same caliber. But still Palestinian women in refugee camps embroidered their simple dresses with the same colors, motifs, and shades that they had used in their villages. They also started to view embroidery as a craft that could help them secure a source of income for their families.

The embroidery of Palestinian dresses reveals not only from which region the woman who made the dress originates but also during which period she lived and what conditions she endured.

The refugee women of Asdod and Al-Majdal in Gaza, for example, continued to embroider their dresses with the same shades and fabrics that they had used before being uprooted from their homes, but not to the same standard or with the same enthusiasm as before. It is a simple dress that barely contains any embroidery at all. It lost the sacred connection with land and nature; it lost its connection with home. Maha AbuShusheh, born in 1962 in Ramallah, holds a BA in economics from Birzeit University. Her professional career has revolved around the family business Abu-Shusheh Contracting Co., a road construction company that now is the sole agency of Peugeot Automobiles in Palestine. She is involved in business and cultural organizations, a board member of Bank of Palestine, the Palestinian Business Women Forum, and Riwaq, the previous chairperson of the Palestinian Shippers Council, and a member of the boards of trustees of Al-Quds University and the Palestinian Medical Relief Association, among others. Ms. AbuShusheh was named one of Forbes Arabia’s top 50 influential Arab businesswomen for the years 2006 and 2007 – the only Palestinian woman to make the list – and also one of Forbes Arabia’s top 100 influential Arabs. She is married and has four children.

Detail from Beit Dajan, Jaffa dress, using a design called qubab, inspired by Bethlehem design.

E S I G N I N PA L E S T I N E

Designed with Children in Mind! Anera’s Preschool Education Program

By Sulieman Mleahat

nera was set up to help meet the humanitarian and development needs of the Palestinian people back in 1968, and this year marks our 50th anniversary. Over the past five decades, our work has evolved to reflect and respond to the changing needs of people in Palestine and refugee communities in Lebanon. Anera’s legacy is impressive and has included building hundreds of schools, clinics, and municipal facilities such as public libraries, markets, reservoirs, and agricultural roads. We have also provided tens of millions of dollars’ worth of medical aid and have helped thousands of students complete their education and many women become financially independent.

program aims to help all children from birth to eight. This is called the early childhood period, the stage that is considered to be the most important period in the human lifespan. What happens in these early years pretty much determines the overall outcomes of a person’s life – their health and overall status. This is when a person’s brain develops most, and the need for optimum nutrition, health, protection, and stimulation is vital. Also, we now know that for every dollar that government invests in the kindergarten years, society reaps anything between $8 and $16 in return over the lifetime of an individual. These stark facts compelled Anera to consolidate its efforts and focus on investing in the early years. Over the past eight years, Anera’s education program has focused on early childhood education, helping to renovate over 180 kindergartens – approximately 10 percent of Palestinian kindergartens – and train more than 600 teachers. To date, our program has also helped 30,000 children and 20,000 mothers. Crucially, Anera took the lead in the development of the first Palestinian preschool curriculum – an impressive effort on the part of the Ministry of Education, UNICEF, Save the Children, and many other individuals and organizations that focus on childhood. This initiative was launched by Minister of Education and Higher Education Dr. Sabri Saidam in October 2017. Despite all our efforts, Palestine’s youngest group of children remain in great need since most are poorly nourished, poorly educated, and inadequately cared for. Over 50 percent of preschool-age children do not access kindergartens, and those who do often receive poor-quality education. By and large, most kindergartens are not fit for their purpose – often housed in rooms under mosques and in old houses. Most lack adequate toilet facilities, lighting, ventilation, and essential play equipment, toys, and learning materials. Although Anera continues to identify and upgrade preschools in marginalized areas, we have recently launched a campaign to build new schools since Palestine requires approximately 1,800 kindergartens and classrooms to simply meet current needs.

Bahjat Tarazi KG, Al-Majd Village, near the town of Dura, southwest of Hebron.

In 2010, Anera kick-started its early childhood development program, and I joined at the outset. Having spent many years studying and working in the United Kingdom, I returned to Palestine to join Anera and help invest in the most important sector in education and development. Although our work focuses on the kindergarten years, ages four to six, our 18

In addition to engaging in curriculum development and teacher training, Anera is renovating and building kindergarten facilities in Palestine. Once completed, the kindergartens are handed over to the Ministry of Education to ensure sustainability.

Work in progress at Tarazi Qibya KG, May 2018.

New Tarazi KG, Qibya, Ramallah.

Our kindergarten-building program is a bold statement of intent to afford our youngest children the best start in life by offering the finest learning spaces and pedagogy. Our children deserve the best, and we work with talented local architects, designers, and trainers to create state-of-the-art learning and play spaces and facilities. Our schools are aesthetically sublime, and anywhere else in the world they would be award-winners. Using guidelines and standards developed by Anera for the sector, newly built kindergartens have ample space where children can choose to play freely with plenty of toys and quality

Rendering of new Sukhtian KG, Nassarieh, Nablus.

Rendering of new Sukhtian KG, Bazaria, Nablus. Children at Bahjat Tarazi KG, Al-Majd, Dura.

learning materials. Playgrounds are safe and stimulating environments, providing a variety of play equipment and sandboxes. Green spaces are created around the schools to give children the opportunity to plant and play all year round. Large windows are designed to let in light and provide adequate ventilation. Toilet and wash facilities are first-class as children need to learn good hygiene and healthy habits early on. The external facade of each kindergarten is designed to blend in with the surrounding environment yet stand out as a center of excellence – raising the bar for other donors and agencies as they conceptualize new schools. We also aim to make each kindergarten self-sufficient in energy by installing solar panels. We aim to connect Palestinian families in the diaspora with their homeland by investing in Palestine’s youngest children. To date, we have built four new kindergartens and are currently building another ten across Gaza and the West Bank. I am personally grateful to the Tarazi family who have built two kindergartens, one in Al-Majd Village in South Hebron and the other in Qibya Village, and to the Ghiath and Nadia Sukhtian Foundation, which has committed to establishing ten new kindergartens and a teacher-training center in Nablus this year. As I write this, more Palestinian families are coming on board to help us reach our target of 50 new kindergartens over the next five years.

Interior rendering of new Sukhtian KG, Nassarieh, Nablus.

This an invitation to all our friends and families in the diaspora to connect with us to help meet the needs of Palestine’s youngest and build a better future.

Sulieman Mleahat is Anera’s education program director. At age 10 he won a scholarship to the United Kingdom where he went on to complete his studies and work in international health and education with nonprofits such as ActionAid, MAP (UK), World University Service, Save the Children, and The Children’s Society.

and blog to know more about Anera’s several campaigns, including its 50Year campaign:

For more information, contact Anera:

https://www.anera.org/five-for-fifty/ http://anera.org/ecd anera.org/tapestry anera.org/50-photos-for-50-years anera.org/anera-then-and-now

Anera (International) +1 202.266.9700 anera@anera.org anera.org ANERA (Jerusalem) +972 2.581.9560 anera@anera-jwg.org Also, please visit the following sites 20

Article photos courtesy of Anera. Renderings courtesy of Design It Studio, Ramallah. 21

E S I G N I N PA L E S T I N E

The Imago Mundi Project

Palestine: Contemporary Art from within and beyond the Border

By Faten Nastas Mitwasi

mago Mundi is the contemporary art collection that Luciano Benetton has commissioned and collected during his travels around the world. It is composed of thousands of works and has involved – on a voluntary and nonprofit basis – established artists and emerging talents from various countries, each of which has created artwork whose sole limitation is the 10 x 12 cm format. Under the auspices of the Fondazione Benetton Studi Ricerche, Imago Mundi is a nonprofit, democratic, and global project that looks to new horizons in the name of the union and coexistence of expressive diversities. It aims to catalogue the works, poetics, and languages that diverge from the usual

Vladimir Tamari, Seen/Unseen acrylic on canvas.

Vladimir Tamari, string and nails on canvas, 2015.

Palestinian collection at the exhibition.

methods, be they museum-based, trend-led, or market-driven, with the goal of driving the promotion, research, and knowledge of artistic realities from all over the world. Furthermore, and above all, it hopes to facilitate dialogue between various cultures. To date, more than 25,000 artists from 150 countries and native communities around the world have joined the project. Each country is represented by a collection that includes between 140 and 210 artists who are selected by a local curator. For Palestine, I had the honor to be the curator of the collection. Back in June 2015, when I was invited to do the curatorial job, I was very enthusiastic; I wanted to create a holistic work that reflects the richness and diversity of Palestinian art. As I began to delve deeper into the project, however, I realized that it is not easy to define Palestinian art. “Palestinian art” is a term that is not defined by geographical space or by the citizenship of the artist. The geographical borders of Palestine have rarely been outlined and are undefined, certainly at present, because Palestine has been under occupation for

“Imago Mundi is a cultural, democratic, and global project that looks to the new frontiers of art in the name of coexistence of expressive diversity.” Luciano Benetton 23

centuries, absorbed into different empires throughout its history. Thus, Palestinians have always been and are still being displaced and granted different nationalities. Today, there are more Palestinians living in exile than in their original homeland, the homeland of their ancestors. Yet – or possibly for this very reason – Palestine, the land, the identity, and the dream, is a mystery for Palestinians –and especially for its artists. The famous Palestinian artist and art historian Kamal Boullata describes the work of young Palestinian artists: “New generations of Palestinian artists continue to emerge wherever Palestinians are found in the world

Shareef Sarhan, Letters and City, Acrylic on Canvas, 2015.

from within and beyond the undefined borders of segregated historical Palestine: those who live in the West Bank, Gaza, and the territory occupied in 1948, as well as those who live in exile, be it the neighboring Arab countries, Europe, North America, or Asia. The collection offers these artists the opportunity to think once again of their belonging and invites them to unite under that one enigmatic nation called Palestine. What we seemingly cannot materialize on the ground can be achieved through art. The Palestinian collection has the title “Palestine: Contemporary Art from within and beyond the Border.”

Laila Shawa, Handala, acrylic on canvas, 2015.

Nasrin Abu Baker, A Jerusalem Stone, stone, thread, and glue on canvas, 2015.

today. Similar to the tillandsia – the evergreen plant that needs no soil to live and flower because, tough and rootless, it grows on tree branches and rocks, and extracts its nutrients and moisture from the atmosphere – Palestinian artists may live in different places, scattered around the world today, but they all meet through their art as individual voices in a chorus, which resounds with the different modes of growing out of the Palestinian experience.”*

After defining the theme of the collection and specifying which artists to invite, the challenge was how to contact the artists and convince them to participate in the project. I approached world-famous artists, as well as emerging ones, young and old, across three generations. Regardless of their place of birth and their current place of residence, each one of the artists belongs to Palestine in his/her own way, and has a special feeling towards it that was emphatically reflected on each small canvas. Actually, convincing the artists was not a big issue since artists always

Eman Haram, Mother and Child Study, digital pigment print on Japanese gampi paper, 2016.

great difficulty, Jordan. As a result, I had to organize the work through the Internet: e-mails, Skype, Facebook, and phone calls; ironically, the same way I contacted and followed up with the artists who live in exile. For those living in exile, canvases were sent to them directly from Italy, and after completing their work, the artists sent their canvases back to Italy. For artists living in historical Palestine, I had to rely on my good friends and artists who generously assisted me by delivering the canvases to the artists who live beyond the checkpoints, past the separation wall, and under the siege of the Gaza Strip. The way the Palestinian Collection was gathered reflects the creative resistance of the Palestinians and their determination not only to exist but to excel and have an abundant and creative life.

Hosni Radwan, untitled, acrylic on canvas, 2015.

like new challenges, and painting on such a small scale, 10 x 12 cm, was an interesting proposition for most of them.

Nasser Soumi, of Purple and Indigo, pigments and mixed media on canvas, 2015.

On the other hand, reaching the artists was not easy. Being born in Bethlehem, I have a West Bank identity card issued by the Palestinian National Authority which, unfortunately, does not allow me access to the rest of historical Palestine. Being an artist myself and the curator for the Imago Mundi Project does not qualify me to get a permit from the Israeli authorities to allow me to enter Jerusalem or the lands of the rest of historical Palestine from 1948, or the Gaza Strip. My movement is limited to within the West Bank area and, with

Faced with the above-mentioned ideas, I decided that the collection should include the artwork of 140 artists 24

of Mr. Benetton’s personal passions, it is at the same time a very important global art project that introduces art as a key to the interpretation of our times; it gathers together various cultures and offers an international platform for well-established artists and young talents who succeed in overcoming geographical, political, ethnic, and psychological boundaries to achieve – both in art and in society – what the great German artist Joseph Beuys called “unity in diversity.”

Art is a creative tool for communication that can bring people closer to each other at a time when politics is fragmenting nations.

Faten Nastas Mitwasi, A Fragment, terracotta and embroidery thread on canvas, 2016.

The collected artworks confirm the diversity of the individual voices in the chorus. Artists used painting, drawing, digital print, collage, and relief to express their visions. The topics were also diverse, ranging from self-portraits to landscapes, abstract expressions, and conceptual art. Each work is special and unique, reflecting the individuality of the artist. As one looks at the collection gathered together as a whole, one appreciates and understands the beauty and authenticity of Palestinian art and culture.

the artists together with a series of introductions that were entrusted to experts. In addition, all the artworks are professionally displayed on specially made show walls and are featured on the Web platforms www. imagomundiart.com and Google Arts & Culture. Imago Mundi is an itinerant project whose themed exhibitions have already visited Venice – on the occasion of the Biennale – New York, Vienna, Dakar, Sarajevo, Rome, Palermo, and other cities. On April 4, 2018, Imago Mundi inaugurated its new home in the Gallerie delle Prigioni, the former Habsburg prison that has recently been restored by architect Tobia Scarpa and is located in the heart of Treviso, Luciano Benetton’s birthplace. It is a new exhibition space that is dedicated to contemporary art and to integration among cultures from all over the world.

Plates of the Palestinian Collection – as with all the collections of the Imago Mundi Project – were published in a dedicated trilingual (Italian, English, Arabic) catalogue that contains all the artworks, printed in real size, and includes the biographies of Taysir Batniji, Wallpaper/Drones, oil on canvas, 2015

Born in Treviso in 1935, Luciano Benetton created Benetton Group in 1965, alongside his sister and brothers. He was a senator of the Italian Republic from 1992 to 1994, and today he is the chairman of the Fondazione Benetton Studi Ricerche, created in 1987 upon the wishes of the Benetton family. A great traveller and lover of art, Luciano Benetton has firmly united these two passions in the Imago Mundi Project, the contemporary art collection with the goal of uniting the diversities of the world and passing on to future generations the widest possible mapping of human cultures at the start of the third millennium. Palestinian collection at the exhibition.

Together with another 39 collections, a total of over 6,000 artworks, the Palestinian Collection is currently displayed at the exhibition “Join the Dots – Connect the Distances” at the Salone degli Incanti, the main exhibition space in Trieste, Italy. The exhibition was inaugurated on May 29 and will run until September 2, 2018. Although the Imago Mundi Project represents the convergence of some 26

Andonia, Rafat Asad, Hamzeh Atrash, Alaâ&#x20AC;&#x2122;a Attoun, Salem Awad, Ayman Azraq, Mirna Bamieh, Tayseer Barakat, Taysir Batniji, Rana Batrawi, Fadi Batrice, Rana Bishara, Ahmad Canaan, Nihad Dabeet, Amer Dabdoub, Dina Daboub, Ismaeel Dahlan, Salam Diab, Anas Dweik, Taleb Dweik, Sameer El-Hallaq, Basel El-Maqousi, Assel ElRayes, Linda Elshami, Mark Emaya, Mohammed Emrany, Ayman Essa, Sana Farah Bishara, Ashraf Fawakhry, Fathi Ghabin, Amjad Ghannam, Samar Ghattas, Inas Halabi, Samia Halaby, Juhaina Habibi Kandalaft, Michael Halak, John Halaka, Layla Hamdieh, Eman Haram, Mohammed Harb,

Ahed Izhiman, Jerusalem, ink and acrylic on canvas, 2015.

Artists participating in the Imago Mundi Project: Varvara Abd Elrazek, Abed Abdi, Hala Abdul Baqui, Ahmed Abu AlRob, Maymona Abu Arra, Nasrin Abu Baker, Nabil Abu Ghanima, Nadia Abu Kharmah, Tasneem Abu Salah, Koloud Abu Sbeih, Mohamed Abusal, Ibrahim Abusitta, Abdel Raouf Alajouri, Tamam Al-Akhal, Remaz Al-Araj, Ismat AlAssad, Ibrahim Al-Awadi, Muhannad Al-Azzeh, Maysaa Al-Bardaweel, Mohammed Al-Dabous, Maha AlDaya, Fayez Al-Hasani, Mohammed Al-Hawajri, Diana Al-Hosary, Bashar Alhroub, Ruqaia Al-Lulu, Said Alnahry, Abdullah Alrozzi, Bashir Al-Sinwar, ,Basil Al-Zeri, Hazem Al-Zomar, Abdel Nasser Amer, Mohammed Amous, Nabil Anani, Rania Andon, Johny

Faten Nastas Mitwasi is an artist who works mainly in installation art. She was a key person in developing and establishing Dar al-Kalima University College of Arts and Culture. A scholar specialized in Palestinian art, Faten is the author of three books, among them Reflections on Palestinian Art: Art of Resistance or Aesthetics (in English, Beit Jala, 2015). She has curated several exhibitions and art projects, including the Palestinian Collection for the Imago Mundi Project. * Kamal Boullata, Palestinian Art from 1850 to the Present, Saqi Books, London, 2009, p 36.

Michael Halak, Living in a Bubble, oil on canvas, 2013.

Saâ&#x20AC;&#x2122;adeh, Issam Sabbah, Iyad Sabbah, Cecile Elise & Steve Sabella, Osama Said, Sohail Salem, Shareef Sarhan, Rufaida Sehwail, Fayez Sersawi, Majed Shala, Mohammad Shaqdih, Laila Shawa, Ali Sheikh Ahmed, Nasser Soumi, Vera Tamari, Vladimir Tamari, Mary Tuma, Firas Twemeh, Basel Uraiqat, Ahmad Yaseen, Saeed Zaidan, and Hani Zurob. Imago Mundi, Palestine cover.

Khader Fawzy Nastas, It is Coming... Unless..., threads and glue on canvas, 2015.

Khitam Heibi, Ibrahim Hijazi, Farah Homoudah, Raed Ibrahim, Raed Issa, Salwa Issa, Ahed Izhiman, Maram Jaafreh, Naser Jawabra, Ibrahim Jawabreh, Monther Jawabreh, Mohammed Joha, Ahlam Jomah, Mohammad Joulani, Hafiz Kassis, Bashar Khalaf, Mohamed Saleh Khalil, Mohammad Lubbad, Sliman Mansour, Dina Matar, Fuad Mimi, Jabra Mitwasi, Mohammed Mostafa, May Murad, Mohammed Musallam, Nissreen Najjar, Marwan Nassar, Fairouze Nastas, Khader Nastas, Fida Nastas, Fawzy Nastas, Faten Nastas Mitwasi, Majdal Nateel, Salman Nawati, Balquees Othman, Sondos Qaddomi, Zohdy Qadry, Bashir Qonqar, Hosni Radwan, Shafik Radwan, Saada Rady, Yousef Rajaby, Sanaa Rashed, Raeda

Mohammed Musallam, My ID, cover of a Palestinian Passport on canvas, 2015.

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Architecture as Resistance By Nadia Habash

alestinian architecture, an integral part of our cultural heritage and national identity, is subjected to systematic destruction by the Israeli occupation, which aims to eliminate evidence of the existence of our ancestors on this land.i Preserving our cultural and natural heritage, keeping it alive, and reflecting it in our new designs is part of our national struggle. In light of this, several institutionsii and architectural offices have worked on preserving and revitalizing historic centers and buildings in cooperation with the local governments and the Ministry of Tourism and Antiquities. The Palestinian Authority has included the preservation of cultural heritage and regeneration of historic centers in its national plans and agenda, in addition to passing Law No. 11 of 2018 (May 3, 2018), which addresses tangible cultural heritage.iii

As architects, we have a social responsibility towards our community as we should be serving them rather than serving capitalist interests. I believe that architecture serves as a catalyst for social processes, at least in the limited context of local communities, and as expressed in the early twentieth century by Hannes Meyer, director of the Bauhaus School of Architecture, who stressed that as designers, we are servants to the community. Our task is a service to the people. We should be practicing an architecture of social engagement, exploring, agitating, inspiring, motivating, and initiating social processes. We should be encouraging a participatory approach, designing with users rather than for them. Architectural projects should be bound to ethical values and goals rather than serve capitalist and donor agendas.

Architectural production in Palestine has to be assessed in light of the current political situation that struggles to combine two opposing realities: the Palestinian national struggle against Zionist colonial occupation and the building of statehood institutions.

spatially defined situations through tangible architectural means and plans, irrespective of political conditions, and resist the pervasive cultural forces of thoughtless consumption and over-branding of human life. The architecture of acupuncture, where

Such projects are not meant to improve the overall living conditions of a society, but rather serve to change

change to: Ottoman Courthouse, Ramallah. Rehabilitation by Riwaq. Photo courtesy of the author.

To achieve resilience, we should seek sustainable development based on our local treasures and resources, including our cultural and natural heritage, local building materials and construction techniques, environmental and vernacular building typologies that respect and respond to the context, and above all, local skills and manpower. The mainstream in architecture practice does not seem to consider these issues but rather is oriented towards investors, detaching architecture from its context and borrowing ready-made recipes just like the rest of the Arab countries in a phenomenon named by Dr. Yasser Elsheshtawy as â&#x20AC;&#x153;Dubaization.â&#x20AC;?iv Nonetheless, there are projects by some architects that are sustainable and tailored to their context. 30

To bring my words closer to the ground, I will present two projects that embody such positive values: the Moon Cocoon in Jericho, designed by Shams Ard Design Studio, which explores vernacular material and technique as a sustainable alternative to contemporary local building practices, and Bethlehem’s Old Market, designed by Habash Consulting Engineers, who work in cultural heritage preservation and adopt critical regionalism in their new designs. Moon Cocoon Corporate architecture singular language, Ramallah. Photo courtesy of the author.

Architecture that encourages consumerism, Ramallah. Designer: Amjad Shuaibi. Photo courtesy of the author.

small-scale but socially catalytic interventions that are tailored to the particular environment and community for which they are created and designed to solve local issues, may cause positive ripple effects in this regard and is suitable for our situation. Although we live within a complicated political situation and difficult economic conditions, where the national agenda is confused between a national struggle for liberation and the illusion of statehood, we fall into the trap of globalization and Dubaization. In the absence of a national plan that is biased towards the poor and low-income sectors of the population, urban development and expansion are driven by the investors’ agenda, prioritizing the building of luxurious suburbs, commercial malls, cafés, etc., rather than developing marginalized areas, building affordable housing, and implementing equitable economic growth projects, which are the responsibility of the government in sovereign states. Within the current social and political conditions, I believe that architects have a greater social responsibility than ever before. If the built environment is a reflection of our culture, as I believe it to be, architects and designers have an enormous impact upon the direction and focus of the population at large and therefore the formation and maintenance of “culture” through an architecture that resists the addictive and ultimately backward values of a singular global culture of capitalism. Although this requires economic policies and collaborative work, architects are in a unique position to instigate change.

The building is a quad-dome, 84 square meter private residence, built entirely of earth, using the technique of earth-filled bags. Jericho, where the Moon House is located, prides itself on being the oldest human settlement in the world. Earth construction was used and developed in Jericho over a period of 10,000 years, yet around 50 years ago, earth construction slowly began to be replaced by concrete. Today earth construction and the knowledge around it has all but disappeared. The Moon House is a rare example of a private residence that revives this knowledge. To deal with the extreme heat of summer in the lowest spot on the planet, the house uses many passive solar techniques for comfort; it incorporates a natural ventilation technique that utilizes a malqaf, also called a wind catcher, which is a tall, capped tower with openings towards the side from where the wind generally blows. The malqaf catches air, possibly passes it over water to cool it down, and leads it into the

Moon Cocoon under construction, Jericho. Designer Shams Ard Design Studio. Photo courtesy of Shams Ard.

Moon Cocoon, Jericho. Designer: Shams Ard Design Studio. Photo courtesy of Shams Ard.

The expansive nature of capitalism is leading us towards a homogenization across previously diverse cultural borders. International, corporate architecture styles consciously ignore regional idiosyncrasies in favor of a singular language. Similarly, artificially conditioned environments disconnect us from regional weather patterns, removing architecture from its place and generating a response that fails to address the sensitive considerations of region-specific design. The answer to all this is Critical Regionalism, which is not simply regionalism in the sense of vernacular architecture. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture. By focusing on a return to the local and responsive, we can allow architecture to become a built manifestation of diversity and further encourage society to move in a direction that encourages rather than prohibits variation according to region. This has significant importance in our specific case under occupation, as we should be seeking architecture that supports people’s steadfastness and resilience rather than architecture that encourages consumerism. We need to serve our communities rather than mega-corporations by facilitating their dominance of public space. We should reclaim public spaces to promote a shift in consciousness through direct and participatory engagement, and focus architecture on the act of service. 32

Bethlehem’s Old Market rehabilitation work, designed by Habash Consulting Engineers. Photo courtesy of the author. Environmental design for canopies at Bethlehem’s Old Market, designed by Habash Consulting Engineers. Illustration by HCE.

living space through low openings. The domed rooftop of the house has operable openings that allow for hot air to escape and (via suction due to lower pressure) be replaced by cool air from the malqaf; this provides a constant flow of air and ventilation. In addition, with a very high thermal mass in the form of meter-thick walls, the house is comfortable even in extreme temperatures. The building, which contains local traditional tiles and all locally made finishes, filters grey water and uses it for irrigation of the surrounding garden.

from weather conditions, inconvenient stalls, inappropriate infrastructure and pavement, undrained surface water, lack of public toilets, an open garbage dump, and inadequate accessibility for mobilityimpaired individuals. The aim of the project was to revitalize the market by creating a comfortable environment for both sellers and shoppers while maintaining its original spirit, and to create an attractive focal point in the old city of Bethlehem not only for local visitors but also for tourists. The designer set the following principles as design guidance: authenticity, reversibility, durability, flexibility, inclusivity, environmental friendliness, quick construction, locally manufactured.

Revitalization of Bethlehem’s Old Market The old market is located in the historical center of Bethlehem (ten kilometers south of Jerusalem) close to the Church of the Nativity, Bethlehem Municipality, and AlNijmeh Square (Manger Square). It suffered from various problems before rehabilitation, including unorganized access, mixed vehicle-pedestrian movement, random vendors and villagers selling their crops, inconvenient coverage of the market that failed to protect 34

The design was responsive to a complicated context and implemented with the participation of the various stakeholders, sellers, and users of the market. Environmental solutions were used not only to protect from sun and rain but also to collect the rainwater that could be used for cleaning the market and flushing toilets – important given the general water scarcity in Palestine. Locally manufactured mushroom canopies were assembled on site. Their design was inspired by the colorful existing canvases that had been used for shading, simulating, and respecting the mosaic-like urban fabric of the old city, rather than installing one big structure to cover the entire area. Selectogal transparent yet heatproof material – in the same colors as

Water collection from canopies. Illustration courtesy of Habash Consulting Engineers.

Vendors at Bethlehem’s Old Market after rehabilitation. Photo courtesy of the author.

the previous canvases – was used to make the canopies in order to allow sufficient light to enter yet prevent heat. Unfortunately, no awareness campaigns were held by the municipality during the construction period or after, which led to misuse of these canopies, as people thought that they were not heat proof. In addition, it is worth mentioning that the design was inclusive and accessible.

Architect = Servant of the Community; Starchitect = Servant of Capitalists.

These projects are manifestations of critical regionalism versus globalization of architecture and examples of the adoption of social responsibility by architects. More solutions in this vein need to be created and implemented to preserve our heritage and environment, and to strengthen Palestinian society in its struggle to assert its identity and cohesion. Nadia Habash is the chief designer and director of Habash Consulting Engineers, an award- winning practice, and an adjunct lecturer at the Department of Architecture at Birzeit University. Habash is the president of the board of directors of Bisan Center for Research and Development, and a board member of several institutions. She is a graduate of the University of Jordan and the University of Michigan, Ann Arbor, and holds a master’s degree in architecture.

Women from the surrounding villages offering vegetables at Bethlehem’s Old Market, after rehabilitation. Photo courtesy of the author.

i In 1948, in order to create the “State of Israel,” Zionist forces attacked major Palestinian cities and destroyed some 530 villages. Approximately 13,000 Palestinians were killed in 1948, with more than 750,000 expelled from their homes, becoming refugees – this registered the climax of the Zionist movement’s ethnic cleansing of Palestine. ii

They include Riwaq - Center for Architectural Conservation, Ramallah; Centre for Cultural Heritage Preservation, Bethlehem; Hebron Rehabilitation Committee; the Welfare Association Taawon, Jerusalem; and several architectural and engineering offices.

iii Nevertheless, and even though Palestine signed on the 2030 Agenda for Sustainable Development and adopted Goal 11, “Make Cities and Human Settlements Inclusive, Safe, Resilient and Sustainable,” the economic policies of the PNA are (largely inevitably) donor-oriented, following the World Bank polices, rather than endorsing sustainable development. See Ahmad El-Atrash, “The ‘Urban’ Sustainable Development Goal: Towards Sustainable Cities and Communities in Palestine,” This Week in Palestine, November 2017, issue 235, available at https:// thisweekinpalestine.com/wp-content/uploads/2017/10/The-%E2%80%9CUrban%E2%80%9D-SustainableDevelopment-Goal.pdf.

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iv Dr. Yasser Elsheshtawi, “Constructing Imaginary Dreamscape: The Dubaization of the Arab World,” a lecture presented at the symposium titled Land of Dreams to Dreamland: Dream of a State to a State of a Dream, #1 Biennale Architecture Orléans, 2018.

E S I G N I N PA L E S T I N E

If Hollow Forms Could Speak

speak, I began to explore the creation of such forms by using more handson techniques such as plaster casting and clay molding.

An exploration of the invention of glass leads us to the small Na’mein River just south of the city of Acre.i Here, according to legend, magical sands would come in on one end of the shore and come out as liquid glass on the other. Many classical writers refer to the river, known then as the Belus River, as a long-time source of silica for glassmakers along the entire eastern Mediterranean coast. The river was muddy and unwholesome to drink from, but it was regarded for centuries as holy for ritual purposes.ii

This continuing search returned with me to Palestine, where I began to collaborate with Riwaq – a center for architectural conservation, to which I am indebted for introducing me to the beauty of the villages in rural Palestine. Being exposed to this landscape for the first time triggered something inside me. While on a visit to Jaba’, a village that Riwaq is currently renovating, I met two glassblowers who have a tiny workshop on the roof of their home. To get to Marwan and Ali’s workspace, I was led through their front door. The well-decorated salon on the right was

By Dima Srouji

he magic of our landscapes and traditions is so embedded in our psyche that no matter what we make, as designers, this spirit will always somehow be manifested in our work. After 15 years of being away (I left at the age of 12), I returned to Palestine with a craving to interact with this energy that I knew existed here. By creating the Hollow Forms Project, I aimed to celebrate that spirit and use that energy to reactivate a dying industry. In architecture school, incredible mentors such as Peter Eisenman, Greg Lynn, Nate Hume, and Mark Foster Gage taught us that objects are not blank, hollow shells; rather they have an inherent power that can draw people in and alter perceptions. I was interested in finding a way to create objects that could be perceived as living, speaking creatures. As an experiment, I worked with contemporary form, initially using computer software, 3D printing techniques, and formats that translated my ideas and designs directly into physical forms. But there was something about this translation process that was too sterile, too scientific, and left the objects silent. Thus, on the quest to get the objects to 40

something comforting about the forms that have been produced for centuries in the same Hebron factories, and a part of me didn’t want to disturb it; so, I continued to work with Marwan and Ali in Jaba’. There, our collections were created. The first was for Amman Design Week, supported by Her Majesty Queen Rania. The project gained so much Western media attention, including coverage by magazines such as Dezeen, Frame, Domus, etc., that it was picked up again for a second collection with Dubai Design Week the next month. During that month, I pushed the forms further to speak. These objects started to look like spiky goats, transparent cacti, and giant millipedes. They tried not only to tell the story of where they come from but also to imagine what a future Palestine looks like. There is a sense of utopia that emanates from the forms, though this may just be my naive perception of the spirit of Palestine represented in glass. The aim, getting things to speak, was only possible by crossing boundaries, looking back to move forward. Understanding the history of glassblowing in the region, realizing that the first glass furnaces were built right here, is crucial to creating contemporary glass forms in Jaba’ today. By considering archeological

cluttered with silver-plated glass vases that held blooming plastic flowers, portraits of family members framed in gold, and three or four rugs that covered the terrazzo underneath. On the left was a storage space with hundreds of stacked dusty glass tubes, broken machines, miles of bubble wrap, and a small boy in the corner popping the bubbles. Up ahead was the concrete stairway leading up to the roof, which contained a small torch studio where all their pieces are produced. Marwan and Ali were working on a chemistry set when I first visited. It was clear to me that they have an ability to produce the strangest forms I could imagine. Each beaker was standing there like a little alien. The beakers reminded me of the 3D-printed forms that failed to speak at Yale. Here, these objects had much to say. It may have been the sound of the goats outside, the unfinished concrete folly we were sitting in as we looked out to the 3,000-year-old historic village, or the fire that was forming the item, but something was giving life to that object, and I wanted to be part of the process. This power of strange forms, I realized later, could be used to revive an ancient craft. Hebron is known for its glassblowing, but the industry has suffered in recent years. It may be due to export policies imposed on us by the Israeli government, it may be the dated forms used by the glassblowers, or it may be the dwindling numbers of tourists who come into the country. I couldn’t help but wonder what would happen if Hebron’s glassblowers were to experiment with contemporary form. Unfortunately, none of them was willing to work with me on a new collection. On the other hand, there is 42

findings in the region, I discovered that tens of Byzantine glass workshops, clustered around our side of the Mediterranean, had thrived for centuries. In the middle of Bisan, a vibrant Byzantine city at the time, a large glass workshop and furnace were excavated in 1994. This indicates the status of glass in the economy of a flourishing Byzantine city. Glass played a central role in the local industry and, to a certain extent, still does today. This continuity of tradition is fascinating, as most physical things disintegrate, and oral histories are sometimes forgotten; but a craft can last a long time. The techniques and materials may change, but the spirit of the glass itself still lingers. Perhaps these objects are trying to say, “It feels good to be back.” Dima Srouji is a Palestinian architect and artist who works in the expanded context of interdisciplinary research projects concerned with politics and place. She recently received a master of architecture from Yale University. i Yael Gorin-Rosen, The Ancient Glass Industry in Israel: Summary of the Finds and New Discoveries. (Yael Rosen has been head of the Glass Department at the Israel Antiquities Authority which has historically represented Zionist narratives. I would take this reference with caution and an awareness that the language used could be of a specific narrative.) ii

Seth C. Rasmussen, How Glass Changed the World: The History and Chemistry of Glass from Antiquity to the 13th Century, Springer, 2012.

E S I G N I N PA L E S T I N E

Keeping Heritage Alive through Embroidery Courtesy of Sulafa Embroidery Centre

NRWA has been engaged in a range of activities to improve socio-economic conditions for Palestine refugees, in particular, Palestinian refugee women. One major initiative is the Sulafa Embroidery Centre, a project established by UNRWA in 1950 in Gaza to coordinate the production of traditional and contemporary Palestinian embroidered goods for sale locally and internationally. The project is an important opportunity for Palestinian refugee women to develop their skills and earn a market-driven income at home, thereby improving livelihoods for themselves and their families, and increasing their self-confidence and recognition within the household and the community. Employing a decentralized work structure, the center responds to womenâ&#x20AC;&#x2122;s needs by providing them an opportunity to both generate an income as well as manage their family responsibilities. They also benefit from interaction with other artisans through regular social and work gatherings at community-based organizations.

Hebron cushion cover. Photo credit: Tamer Hamam, UNRWA, 2017.

Embroidery instructors distribute work to the embroiderers and monitor product quality. Most of the work is done at home, but women also have the opportunity to gather at local community-based organizations where they can interact and learn with their peers and instructors. After the embroidery work is completed, products are finished by tailors in the centerâ&#x20AC;&#x2122;s own sewing and finishing workshop. Embroidery has been used to decorate cloth and clothing for centuries as a traditional way for women to express both individual skill and a connection to their own village and peers. It is an art that takes years to perfect. As a traditional Palestinian craft, the art of embroidery has been handed down through many generations and utilizes a variety of techniques to decorate clothing with motifs Embroiderer: Fathia Anbar. Photo credit: Tamer Hamam, UNRWA, 2017.

Throughout Gaza, SulafaÂ is known for its high-quality embroidery. The center supports approximately 250 local artisans by commissioning traditional and contemporary embroidered goods. These items are 100% handmade and created by women of all ages. 44

that are integral to the lives of many Palestinian women. Traditional patterns focus on geometric shapes that are based on items that are most familiar to Palestinian women in their daily surroundings. Depending on the region in Palestine, the patterns can include cypress trees, bunches of grapes, apple trees, chickens, pigeons, rainbows, roses, and flower pots, among other objects. Behind every design is a name, and behind both there is a story. The embroidered products tell the stories of women who live in Gaza â&#x20AC;&#x201C; women who bear the increasing burden of supporting their families. Although the work is labor-intensive and time-consuming, many Gazan women are willing to embroider mountains of stitches while also juggling household responsibilities in exchange for a wage that will support their families. And whereas the ability to earn a living for Palestine refugee women and their families is essential, they also desire to show their skill in making wonderful products despite the difficult political and socio-economic conditions they find themselves in. Poverty is a part of their lives; however, Gazan embroiderers are ambitious and intend to overcome the obstacles The purchase of a Sulafa they face through product allows Gazan determination and creativity. women to support their

families, which often rely on only one source of income.

stitch and traditional color combinations, but innovation is fostered through products that are designed to utilize new color combinations, patterns, fabrics, and stitches. For example, new patterns inspired by Palestinian phrases and poems were recently created using Arabic calligraphy. In addition, Sulafa offers its customers flexibility in customizing product color combination, design, and dimension. Despite the limited business opportunities in Gaza, Sulafa seeks to actively promote its products locally and internationally through various marketing channels in order to sustain livelihood opportunities for women in Gaza and increase the sustainability of the center. A local shop in Gaza has recently been supplemented by an official website* that provides visitors with an overview of all available

Gazan embroiderers use two different stitches: the traditional cross-stitch and the Madani stitch, which is more common in the West Bank. The cross-stitch is relatively simple; however, making a large patterned item with this stitch requires a great deal of time, perseverance, consistency, and accuracy.Â Sulafa stands out in its ability to produce modern designs while staying faithful to Palestinian identity. Palestinian traditions are maintained through the use of the cross-

Lily Trees Cape. Photo credit: Tamer Hamam, UNRWA, 2017.

Through embroidery, Gazan women not only support their families but also tell about and keep alive their heritage.

products and background information about the center. Furthermore, in order to promote and sell its products, Sulafa participates annually in local and international bazaars, such as the International Folk Art Market in Santa Fe, USA, where in 2017, it was selected by the International Folk Art Alliance as one of the five finalists for an artist award in the â&#x20AC;&#x153;Excellence in Community Impactâ&#x20AC;? category. In conclusion, Sulafa is more than just a way for women to earn a living. It is also a way to preserve the traditions and culture of embroidery within Palestinian society, to pass on these essential skills from one generation to the next, and to share an element of Palestinian culture with the rest of the world. Stories that depict life in Palestinian villages and communities are conserved in dresses, scarves, pillows, and many other items that are now known well beyond Gaza, making embroidery a way to tell about and remember Palestinian heritage. Dress, Kohl Holder with Roses and Hijabs (Makhaleh bi Ward). Madani cushion cover, Small Colorful Roses design. Photo credit: Tamer Hamam, UNRWA, 2017.

CHALLENGING THE INDUSTRY

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E S I G N I N PA L E S T I N E

Clusters are geographic concentrations of interconnected businesses, suppliers, and associated institutions in a particular field. By gathering into clusters, companies increase their productivity and competitiveness.

Creative Palestine Energizing Palestinian Products, Creating Positive Impact!

A Design Hub session at the Bethlehem Chamber of Commerce & Industry in 2015. Photo credit UNIDO Palestine

By Ahmed F. ElFarra

stablishing a solid design culture is an essential strategic asset for any country that aims to foster inclusive and sustainable economic development for generations to come. Despite being often misinterpreted as a mere decorative activity whose impact doesn’t go beyond the appealing restyling of a product or a fashionable item, design has proven to be a much wider and effective leverage opportunity to stimulate growth in any type of industry, as acknowledged by worldwide academia, economists, and grassroots design initiatives. In this scenario, the kind of creativity that design instills plays a fundamental role not only in identifying new potential businesses, fostering entrepreneurial cooperation, or giving shape to a new generation of engaging goods, but also in unlocking the potential of human capital and offering a tool for development and resilience that can build ties and strengthen our communities.

“Bsat” coffee table, from Nablus Furniture Cluster’s Collection 2017, at the workshop of its producer, Rayyan Furniture Company. Open source project by Design Hub Palestine UNIDO, designer Ehab Abuhanoud. Photo credit UNIDO Palestine

Founded in 2015 in Ramallah, Creative Palestine is a network that connects designers and entrepreneurs with various institutions such as art and design foundations, universities, and art and design NGOs, forming a common creative think tank and laboratory that is open to participation and collective collaboration. Established under the impulse of United Nations Industrial Development Organization (UNIDO), Creative Palestine has been funded by the European Union together with an additional contribution from the Italian Development Cooperation Agency (AICS) under the umbrella of “Creative Mediterranean,” a regional development program that, during the course of two years, has built clusterbased networks within the local creative industries of seven MENA (Middle East North Africa) countries. In Palestine, thanks to the vision and support of the local chambers of commerce and industry in Nablus and “Zeitun armchair” from Nablus Furniture Cluster’s Collection 2017. Open source project by Design Hub Bethlehem, the traditional handicrafts Palestine UNIDO, designer Musab Mar’ee. Photo cluster in Bethlehem and the furniture credit UNIDO Palestine – Ashraf Dowani cluster in Nablus were selected – from among several industrial sectors that competed in a call for proposals launched in partnership with the Ministry of National Economy – to be the beneficiaries of the program’s focused technical assistance. Both clusters have promising assets: the Bethlehem Treasures Cluster gathers specialized producers of handicrafts, decorations, and souvenirs – most of them self-employed women – who work in the Bethlehem area, continuing the long tradition of olive wood carving and mother of pearl manufacturing, which dates back to the sixteenth century. The Nablus Furniture Cluster gathers over 25 companies that are located in the natural furniture hub of Nablus. Their bespoke solutions, specialized in woodworking and upholstery projects, merge craftmanship with the chance to scale their productivity to industrial level. 53

To set up from scratch a design-based entrepreneurial culture is not the type of assignment that can be underestimated, nor can it generate impact quickly and without efforts – neither, we should frankly admit, can it be achieved without the risk of falling apart along the way. If complexity and hurdles are inextricable components of any effort for change, establishing a new, design-based ecosystem in Palestine poses an even greater challenge. Despite the presence of talented and visionary Palestinian designers who carry out their research with commitment and, in most cases, significant results, the absence of recognized design and productdevelopment schools and supporting institutions turns into a general scarcity of available and prepared professionals. Limitations of movement due to the Israeli occupation restrict the opportunity for exposure to foreign trends and benchmarks, and suffocate the inspiration process. For the same reason, the availability and prices of raw materials can be higher than expected, while import and export operations can be slowed down by the impossibility to control Palestine’s borders. Whereas local entrepreneurs frequently look with interest to the potential that design interventions might disclose, they hesitate to invest their own financial resources to collaborate with designers or to brand their own company, preferring to work as subcontractors. And the presence of many small businesses, often micro-companies with limited financial resources, is not making this scenario evolve faster. To overcome these restraints, Creative Palestine has followed a systematic methodology that aims to contain risks and maximize the highest potentials of its beneficiaries. At the inception of the project, local and international markets were investigated by program experts who highlighted new trends and promising demands for both the handicraft and furniture sectors. Training initiatives and workshop sessions were then offered to local entrepreneurs and designers with the objective not only of reinforcing each participant’s expertise but also of creating a positive impact on the whole ecosystem through the perspective of shared, collective collaboration and empowerment.

This new format, an environment that according to Creative Palestine is the key to fostering engagement and sharing, has been called “Design Hub.” Cultural and creative Not yet a physical hub that is open industries transform every day – at least until now – it has cultural and creative inputs presented a series of design sessions into goods and services dedicated to the development of new that embody both cultural design ideas and their translation into creative products. and economic values. But how does its synergic approach concretely take place? Let’s answer with a practical example. Having benefitted from the training offered by international and local experts in a Design Hub session, a young designer can share with the other participants her/his fresh ideas and sketches, together with as-yet unexplored ways to transform them into a new product. Workshop participants are then invited to express their feedback, thus offering an important platform for questioning and refining this very initial prototype. Furthermore, an experienced craftsperson may suggest to the designer a technical solution that enhances the product’s feasibility, while a business angel can identify the correct way to introduce this new product to selected potential targets, contributing to the establishment of competitive pricing and proper communication. Within such a framework, differing energies and backgrounds are naturally funneled into effective solutions, while collaboration between partners spontaneously leads to a horizontal, open, and interdisciplinary environment. In any of Creative Palestine’s initiatives, the question of national identity remains crucial throughout the whole design process. None of the furniture or objects that were conceived within the coaching program were intended to be a cheap imitation of a foreign model. On the contrary, UNIDO’s approach has Holy Family Nativity Set and Holy Puzzle from the Bethlehem Treasures Cluster’s 2017 Collection. always insisted on developing each new Olive wood and mother of pearl. collection according to the distinctive Open source project by Design Hub Palestine idea of space and identity that defines UNIDO. Photo credit: UNIDO Palestine. Palestinian culture. Heritage, especially in the case of Palestine’s ancient and layered culture, is an incredibly rich yet often superficially exploited archive that needs to be explored, analyzed, and reinvented. The problem is first of all how to make it accessible: that’s why research has been conducted about the clusters’ “common story,” a territorial brand analysis has been done, and an image database of Palestinian landmarks, people, and artifacts has

Knafa coffee table, Nablus Furniture Cluster’s Collection 2017. Open source project by Design Hub Palestine UNIDO, designer Osai Khdair. Photo credit: UNIDO Palestine – Ashraf Dowani.

A traditional coffee shop in Nablus’ old city. Coffee Culture is one of the brand values that distinguish Nablus Furniture Cluster’s identity and Common Story. Photo credit: UNIDO Palestine – Ala Badran.

Efforts are under way to establish a physical Creative Design Hub where all design enthusiasts can join forces, innovate, and prosper. Under the motto Play Hard, Work Hard, this facility is intended not just to serve designers but to contribute to a new scale of growth for all Palestinian creative industries.

been created. In addition, discussions have been held with all the clusters’ members and engaged designers, so that they could be inspired by this amazing variety of values, shapes, and techniques. The aim, however, has never been to dwell on the past, but on the contrary, to propose new, vibrant interpretations of these old memes. Creative Palestine’s objects are neither copies nor re-propositions from a nostalgic era; rather they are meant to speak to our time and to endure. Original and authentic, they privilege the use of local, natural materials and handmade techniques, encouraging a passion for quality and a more sophisticated demand. However, the development of new designs or products is not limited to brand new collections for the consumer market but also looks at the contracting sector as A set of table and chairs from the Khan Al-Wakaleh Collection. In the background, the city of Nablus. Photo credit: UNIDO Palestine – Ashraf Dowani.

a good business opportunity that can also highlight the high craftsmanship value of Palestinian workshops. In June 2017, for example, the Nablus Furniture Cluster conceived and crafted a personalized collection of furniture for the new tourist accommodation inaugurated in the old Khan al-Wakalah caravanserai in Nablus. A coordinated set of seats, tables, and beds, together with custom-made furnishings for the common areas, the Khan al-Wakalah Collection has transformed this ancient caravanserai through an unprecedented mixture of contemporary style infused with a touch of Palestinian, minimalist flair to meet the expectations of both tourists and locals. Beyond the creative design and product-development aspects, Creative Palestine’s initiatives have enhanced the companies’ competitiveness in local markets and export potentials through the development of clusters, technical upgrading, businessdevelopment missions, and coaching on the latest product trends. In November 2016, the craftspeople from the Bethlehem Treasures Cluster had the chance to sell their handmade decorations and souvenirs in two Christmas markets in Vienna, opening up to the European market and, thanks to a parallel business mission organized by UNIDO, establishing new commercial relationships with local buyers and wholesale resellers. A study tour to Italy was then organized in 2017 to expose a delegation from the Nablus Furniture Cluster to the latest furniture productions showcased at the Salone del Mobile in Milan, the biggest international tradeshow in the furniture sector. The trip also included visits to several furniture-equipment producers, also located in Italy, in order to identify the best equipment to be integrated into the companies’ existing machinery. In April 2018, a delegation of the Nablus Furniture Cluster conducted a new business mission that included meeting several buyers and business partners in Kuwait and the United Arab Emirates with further support from 57

Palestine Market Development Program (PMDP): an important opportunity to expand the “natural” boundaries of Palestine’s major export market, Israel, and to find new opportunities for trade and expansion. In order to present themselves as a reliable partner, the clusters and the collections themselves have been branded through a bespoke visual identity and communication activities that aim to highlight the uniqueness and the competitiveness of Palestinian production in the creative sector. To establish a proper design culture and to see the benefits of its influence is not a short-term program that can be accomplished quickly. Thus, the mission of Creative Palestine has not yet ended. A craftswoman painting a ceramic plate at the Salsal workshop in Beit Sahour. Photo Sustainability is one of the most important credit: UNIDO Palestine. aspects to be kept in mind throughout the process; more initiatives are being implemented to guarantee that the development of a new, design-oriented attitude in Palestine is not restricted to the existing clusters but can expand and circulate throughout the country, generating profits for various productive sectors. Creative Palestine’s mission is currently in the process of being extended with direct support from the Italian Development Cooperation Agency (AICS) to the Footwear Cluster in Hebron, which will benefit from the design and implementation of new footwear collections, new access to market activities, together with the provision of targeted technical assistance and marketing support. Similar initiatives for the textile sectors in Jenin and in the Gaza Strip are about to be put in place, with more sectors becoming interested in the approach and keen to focus on its development at the wider national level. Given this trending growth, the presence of a physical Creative Design Hub is more and more needed to systematize the design effort and make its expertise available to multiple partners. Creative Palestine is currently working on its establishment, a key effort – we believe – to disclose the potential that Palestinian creative industries still have to express. Mr. Ahmed ElFarra has over 20 years of effective management and operational experience with international and national organizations in economic, industrial, and cluster development; trade and investment promotion; e-government; and business development in Palestine and the Middle East. As UNIDO National Program Coordinator, he has been leading the UNIDO CCI MENA Program implementation in Palestine, bringing stakeholders together to utilize innovation and creativity as instruments for differentiation and enhanced competitiveness. Mr. ElFarra is a graduate of the Craig Business School of Fresno, California, where he earned an MBA in 2003.

Balat coffee table from Khan Al-Wakaleh Collection. Traditional cement tiles from Nablus have been inserted into the table top. Photo credit: UNIDO Palestine – Ashraf Dowani.

E S I G N I N PA L E S T I N E

Bonds without Borders Connecting All of Palestine through Design

The designs utilize icons that are reminiscent of traditional geometric, organic, or calligraphic forms of the cities they represent – the ka’ek or Jerusalem sesame bread, the mustache of men from the Galilee or Golan Heights, or the diamond marble works of AlJazzar Mosque in Acre.

By Shirabe Yamada

onds without Borders is a Palestinian design brand founded by two young Jerusalemite designers: Aya Kirresh and Shireen Salman. Their stylish products – scarves, tote bags, jewelry, and stationery – feature graphic-designed icons that represent Palestinian cities. The brand concept aims to promote Palestine through the design that communicates its cultural identity, one that is bonded through history and across the geographical areas. The project was born out of the Creative Industries Workshop that Al-Hosh Art Court, a Jerusalem-based nonprofit, held in 2016. Kirresh and Salman, who were schoolmates at Schmidt’s Girls College in Jerusalem and later became colleagues at an architectural firm, became partners in this incubation program for design start-ups. They came up with a brand concept based on pattern recognition and symbols since both happened to be focusing on the study of patterns at the time: traditional Armenian tiles for Salman and contemporary concrete surfaces for Kirresh. The workshop gave birth to their first collection that was based on eight icons that represent seven cities and places: Jerusalem, Bethlehem, Nablus, Hebron, Acre, Haifa, and the Galilee and Golan Heights.

Earrings

typical touristy, religious, or political motifs. They create icons by deriving everyday images that are in the back of one’s mind and tap into subconscious imagery that represents social and cultural heritage. As a result, or rather by their clever intention, the icons prompt conversations with intrigued customers. And these interactions are an important part of the process for Kirresh and Salman, allowing them to tell the story of each city, to communicate their brand concept, and to evoke the vision of a Palestine that is bonded without borders. “Our brand is not just about the design, it is also about the service of its products,” sums up Salman. To create the designs, Kirresh and Salman use the collective process of brainstorming, sketching, studying details of cities, and making icons through eye-catching graphic design. They commission the production process to small workshops in Bethlehem, Al-Ram, and Ramallah that are chosen for the quality of their craftmanship. Bonds without Borders also designs and produces its own packaging, an important element in its trademark. The brand is a 100% Palestinian production.

At first glance, it is not obvious which places are represented by their symbols. For example, the shape of an irregular star taken from a detail of Islamic ornamentation found in the Dome of the Rock represents Jerusalem, and Bethlehem is represented by the recently discovered mosaic star of the Church of the Nativity. The two designers deliberately stay away from Foldable shopping bag.

Set of two coasters, wood and mother of pearl.

In the relatively short time since its founding, Bonds without Borders has already produced three collections: Christmas (ornaments and angels), Winter (scarves), and Summer (scarves, coasters, key chains, earrings, and bracelets), in addition to three limited-edition products (cuff links and Jerusalem ka’ek necklaces and earrings). It is a remarkable production for a sideline project by the two young professionals who often juggle multiple job assignments; Salman is a product and interior designer, and Kirresh is an architect, visual artist, and university lecturer. The project has also been financially self-sustainable. The seed money from the Creative Industries Workshop financed their first collection, and the subsequent sales revenues have covered the production costs of each new collection. Their carefully planned and controlled production is based on the season and the target audience. When asked about their knack for business, Kirresh smiles: “We are both from business families.” Kirresh and Salman enjoy designing and creating, and are driven by positive reactions to their products. They constantly look for inspiration and research new ideas as they position their brand in the global context. When asked what the future holds for them, Kirresh replies: “We want to become a cross between Gucci and Kareem Rasheed (an Egyptian-Canadian designer), a brand that represents luxury with form and function. And someday, we want to open a shop of our own in Jerusalem.” Bonds without Borders is about to unveil its new collection that will feature three new city icons. Look out for them at craft markets and bazaars across Palestine or on Facebook and Instagram @bondswithoutborders. Shirabe Yamada is the executive director of Sunbula, a fair trade organization that supports 23 craft-producer groups across Palestine in the marketing of their products and the development of their capacity. She is the general editor and producer of the upcoming Embroidery Stitches from Palestine: An Instruction Manual. Photos: Kayané Antreassian.

Pattern earring, olive wood.

E S I G N I N PA L E S T I N E

The Golden Era of Palestinian Graphic Design By Amer Amin

rom the 1960s to the 1980s, Palestine witnessed the golden era of its graphic art and design movement that accompanied the flourishing of the popular resistance movement. The rebirth of Palestinian visual identity took place even though Israel, following the Nakba, had for years attempted to decimate the Palestinian expression of culture. The establishment of the Palestinian Liberation Organization (PLO) in 1965, and the anti-imperialist movements created a fertile ground for the growth and thriving of the graphic Artwork by Marc Rudin. design movement. Designers and artists took charge of event management and marketing, and engaged in spreading and promoting liberation ideology among the general population. Thus, the war of resistance was fought not only with guns but also with posters, a creative weapon to mobilize the masses, be it in commemoration of the cause or in celebration of Palestinian culture and music. Designers highlighted calls for resistance, reminded people of the plight of Palestinian refugees, praised the sacrifices of martyrs, advertised cultural events (also considered as a tool for resistance), and commemorated the Nakba and other important 64

historical events. Palestinian design and resistance walked hand in hand and complemented each other. As former Palestinian president Yasser Arafat famously said, “The artist’s brush, when drawing for the revolution, is indeed the extension of the partisan’s rifle.”i The graphic resistance movement created aesthetic, imaginative, and iconic symbols that were frequently hand-printed, as the printing of posters had been outlawed by the occupation authorities, and they were posted on Palestinian streets in clandestine fashion. They were created by artists such as Kamal Boullata, Ismail Shammout, Shafik Radwan, Mustafa Al Hallaj, Yusuf Hammou, Tamam al-Akhal, and Laila Shawa. The PLO played a vital role in inviting and welcoming Arab and Western designers and artists to join the cause. Works produced in solidarity with Palestinians were created by artists such as Marc Rudin, who took on the name Jihad Mansour (Switzerland), Burhan Karkutli (Syria), Mohieddine Ellabbad (Egypt), Helmi Eltouni (Egypt), Pedro Laperal (Spain), Hamrouni (Tunisia), Faustino Pérez (Cuba), Emile Menhem (Lebanon), Mona Saudi (Jordan), Muaid Al Rawi (Iraq), and many others. At the PLO’s invitation, designers worked in countries such as Poland, Japan, and France. Ezzeddine Qalaq, the PLO representative in France, was assassinated in 1978 for commissioning French designers to produce posters for Palestine. Many artworks originally created with acrylic, oil, and watercolor were later translated into posters and became icons for Palestinian liberation. In addition to elements taken from Palestinian traditional culture and Artwork by Burhan Karkutli music, poster designs frequently utilized special Arabic typography, both in traditional and modern forms. Worth mentioning in this context is Kamal Boullata’s colorful, geometric Kufic script, Vladimir Tamari’s Al-Quds font, and special fonts used, for example, by Taisir Masrieh in the posters for the annual Jerusalem Festival and other concerts. There are many ways to perceive and look at graphic design, but viewers should mainly focus on the big picture that involves concepts, ideas, messages, aesthetics, and the connection that the poster makes to the audience. Without these objectives, viewers would be looking only at decoration. The poster artist heroes have indeed raised public awareness through their graphics, not only in Palestine but worldwide, which vastly increases the success of their endeavors. Palestinian design as a resistance tool has produced some of the best Arabic graphics, illustrations, and typography to date, and collections of Palestinian liberation posters are housed in the Ethnographic and Art Museum at Birzeit University; The Palestinian Museum in Birzeit; the Art Galleries and Collections of the American University of Beirut; the International Institute of Social History at the Royal Netherlands Academy of Arts and Sciences; the Center for the Study 65

Artwork by Vladimir Tamari.

range of applications. The font was used in 2017 by The Palestinian Museum for its inaugural Jerusalem Lives exhibition.

Artwork by Kamal Boullata, titled La Ana Illa Ana (There Is No ‘I’ but ‘I’), work on paper, 1983. Courtesy of Barjeel Art Foundation.

of Political Graphics in Los Angeles, California; and the Museum of Design in Zurich, Switzerland. Worth mentioning are also the Palestine Poster Project Archives, a collection curated by Dan Walsh who, in the 1970s began to collect printed versions of posters related to Palestine. Today, around 10,000 posters are available online and can be accessed by the general public free of charge.ii In 2017, The Liberation Graphics Collection of Palestine Posters was nominated to UNESCO’s International Memory of the World Register but rejected by veto over claims that the material promotes anti-Semitism. Among the many contributors to this rich body of design and heritage, three artists have been most influential for me. Palestinian painter, designer, and art historian Kamal Boullata was born in 1942 in Jerusalem. He studied at the Fine Arts Academy in Rome and at the Corcoran Gallery School of Art in Washington, D.C. Boullata’s work was a mix of the political and cultural. His colorful geometric Kufic script, which he constructed by hand using silkscreen printing, was used for both Palestinian Matters magazine and in individual exhibitions. Palestinian painter, graphic designer, physicist, illustrator, and type designer Vladimir Tamari was born in Jerusalem in 1942, and moved to Japan in the mid1970s, where unfortunately he died earlier this year in Tokyo. He designed the first version of the font named Al-Quds, which means the holy one – Jerusalem, in 1974, and which was enhanced and digitalized for public use over the years. Tamari designed a simple Arabic sans font that is guided by and based on Qur’anic scripts; the aesthetics of the simply designed letters ensure legibility in a wide 66

Designer and musician Taisir Masrieh was born in Bethlehem and lives in Italy. Among his most famous works are the posters he designed for The Popular Arts Center in the mid- to late-1990s. My personal favorite to this day, 23 years later, is the poster for the 1995 Palestine International Festival, where Masrieh colored between the lines of his illustration to add unique depth. All this distinctive hard work that we inherited from previous generations has formed a solid base to build on, and as designers and creators it is our duty to create, cherish, and build upon this our visual vocabulary. It is our hope that the next generation might enjoy and learn from these inspiring role models and that we might be able to reach such a level and be in the spotlight once again.

Taisir Masrieh, Palestine International Festival 1995 poster.

For further reading, please refer to Kamal Boullata, Palestinian Art from 1850 to the Present, London, Saqi Books, 2008. Amer Amin is a product and graphic designer who has ten years of experience in the field. He is also the founder of Qubtan Clothing, established in 2013 in Ramallah.

Shafik Radwan, The Palestinian Poster: The Struggles of the Establishment and Development (in Arabic), Damascus: PLO Department of Culture, 1992, translation by the author.

Dan Walsh, The Palestine Poster Project Archives, available at www.palestineposterproject.org, and background at http://www.palestineposterproject.org/sites/aod/files/thesis_daniel_j_walsh-1_0.pdf.

RTICLE

A Palestinian Pavilion at Cannes

On May 15, the Palestinian Pavilion at Cannes was transformed into a solidarity stand with Palestine. Palestinian Minister of Culture Dr. Ehab Bseiso and tens of filmmakers were present for the 70 seconds of silence, in addition to the Un Certain Regard Jury that included Palestinian director Anne-Marie Jacir. The sirens went off and the Palestinian flag was lowered as a sign of respect to the martyrs in Gaza. The atmosphere that was created as a result of this gesture in the middle of Cannes was magical and emotional, bringing to mind a past era of solidarity.

By Rana Anani

Seventy seconds of silence, May 2018. Photo © PFI.

ach year, the Cannes Film Festival is transformed into an international film business center. A place to meet industry professionals, make deals, share views, and see projects forge ahead. The Marché du Film is the film industry’s biggest annual get-together and a forum for over 12,000 professionals, including 3,200 producers, 1,200 sellers, 1,750 buyers, and 800 festival programmers. Over the past three decades, Palestinian cinema has emerged as a major creative force both in the Arab world and internationally. During this period, Palestinian films have achieved unprecedented recognition. More than 20 Palestinian films have been screened at the festival over the years, and a number of them have received nominations and won awards. Nevertheless, there has never been a pavilion that bore the name Palestine. In May 2018, for the very first time, a Palestinian pavilion was set up at the Cannes Film Festival. Visitors and industry professionals were able to pop by to learn more about Palestinian cinema, meet with Palestinian filmmakers and producers, and share views and collaborations on joint projects. The Palestinian Pavilion was a very special experience for the many Palestinian film professionals around the world and a milestone in the history of Palestinian cinema. It created a context in which the Palestinian story was told by Palestinian filmmakers themselves, those who believe in “stories that travel slowly,” as renowned film director Jean-Luc Goddard says. Hundreds of film professionals visited the pavilion and joined events and discussions, turning the pavilion into a buzzing space throughout the festival. 68

The Palestinian team in front of the pavilion, May 2018. Photo © PFI.

Giving an address to Palestinian cinema helped to shape a context and a structure for the international film scene to deal and interact with Palestinian producers and filmmakers; it opened doors for wider collaboration with film institutes and bodies from around the world. The pavilion not only marked the presence of Palestinian cinema on the map of international cinema but also helped and improved accessibility for Palestinian filmmakers and producers. They were given the opportunity to present their film projects in front of a wide range of international producers and distributors who could form an idea of the upcoming film projects on Palestine, which in several cases helped secure the means and resources to finalize these projects and distribute them theatrically. Behind the initiative that made this pavilion possible lie the effort and vision of a very small yet ambitious team of film professionals who conceived the idea, dreamt about it, and worked tirelessly to turn it into a reality. When just a few months ago Rashid Abdelhamid knocked on the doors of the Palestinian Ministry of Culture in Ramallah and the French Consulate in Jerusalem to rally support for this initiative, his idea seemed to be unviable and effectively impossible. This kind of participation requires considerable planning time and concerted efforts. Luckily, the proposal was received with the enthusiasm and interest it needed in order to be pulled off; when it teamed up with the producer and curator Mohanad Yaqubi, the endeavor was injected with tremendous energy and a hands-on approach that took it to an entirely new level. In February 2018, to give further institutional support and impetus to the collaborative preparations for the pavilion, the Palestine Film Institute (PFI) was established as an initiative. PFI serves as a platform that aims to support film productions from and for Palestine by providing development and consultancy, increasing accessibility for funding, and connecting film talents and experts. Rooted in the tradition of cinema history, independent film practices, and the commitment to cinema as a tool of social change, PFI enthusiastically supported the efforts to present a special pavilion at the Cannes Film Festival. The institute established connections and created networks, joining forces with Palestinian filmmakers and professionals in Palestine and beyond, to furnish the pavilion with essential information, trailers, posters, and other materials in almost no time. 70

In preparation for the festival, ten films-in-progress on Palestine and by Palestinians were chosen by a jury – formed by PFI in cooperation with the festival’s Producers Market – to participate in the festival’s Producers Network in order to promote Palestinian films and lend a hand to emerging producers towards getting ahead in terms of funding and distribution. The jury consisted of Adriek van Nieuwenhuyzen, head of the Industry Office of the International Documentary Film Festival Amsterdam; Rasha Salti, researcher and commissioning editor of La Lucarne at Arte France; Rula Nasser, film producer; Lina Bukhari, head of the cinema department at the Palestinian Ministry of Culture; and Mahmoud Abu Hashhash, director of the Culture and Arts Program at A. M. Qattan Foundation. Five fiction films and five documentaries were chosen. The fiction films are A Respectable Family by Ismahane Lahmar, Barzakh by Laila Abbas, Desert Dogs by Ihab Jadallah, In Vitro by Larissa Sansour, and Where Did I Leave My Face? by Ramzi Maqdisi. The five documentaries are Displaced in Heaven by Khaled Jarrar, Mayor by David Osit, Stateless by Mohammad Jabaly, The Devil’s Drivers by Daniel Carsenty and Mohammed Abugeth, and Unbowed by Nehad Khader. At the pavilion, the Palestinian Ministry of Culture announced that it would delegate responsibility to PFI for building and managing the Palestinian film sector for the next three years. Thus, the institute now oversees the promotion of Palestinian cinematic production abroad through identifying key national collaborators. The institute will also focus on the establishment of the Palestine Film Fund in order to promote an independent production scene with the capacity to coproduce both Palestinian stories and projects of foreign origin. In order to establish a dynamic infrastructure for the distribution of Palestinian films, the PFI will collaborate with the network of Palestine film festivals around the world. Being part of the team that worked on realizing the Palestinian Pavilion in Cannes was a fascinating experience for me. I hope that this participation will contribute meaningfully to shaping an annual setup at the festival that succeeds in promoting Palestinian cinema and talents, and at the same time encouraging Palestinian and international film professionals alike to engage in discussions and collaborate on new projects on Palestine. Rana Anani is a freelance writer and researcher of visual arts and culture. Her articles are published on several platforms in Palestine and the region. She coauthored the book Throne Villages Architecture, published by Riwaq. She was an associate curator of Sharjah Biennale 13 off-site project Shifting Grounds in Ramallah (2017) and the head of communication at The Palestinian Museum, Birzeit (2013–2016). She is currently the project manager of Qalandiya International Art Biennale, organized across Palestine. She was the coordinator of the Palestinian Pavilion at the Cannes Film Festival, May 2018. 71

ersonality of the Month

Taisir Masrieh

Upon returning to Palestine, Taisir was very active in cultural and artistic events, and left his clear mark on the scene, whether by establishing popular dance troupes or initiating and directing festivals such as Birzeit Nights Festival, The International Bethlehem Festival, the Sebastiya Festival, and the Mediterranean Festival in Gaza. In fact, Taisir is credited with establishing the culture of international festivals in Palestine. It is worth mentioning that most of the main posters of the Palestine International Festival have been designed by Taisir Masrieh. Taisir joined Turbo Design in 1987 as art director and has been in that position ever since. During the first Intifada, when the Israeli authorities refused to grant his wife Alessandra a permit to stay, the entire family moved to Italy. Alessandra wholeheartedly supported her husband till she passed away five years ago.

By Sani Meo I am writing this short piece against his will. Taisir didn’t want to be featured as Personality of the Month, but to me, not only is he personality and artist of the month, he’s also artist of the year, dare I say, artist of the three decades that we’ve worked together. During his professional career that started in the 1980s, Taisir Nicola Masrieh Hazboun has no doubt raised the bar regarding the concept of design in Palestine. Born and raised in Bethlehem, Taisir has always been drawn to art in all its nuances – from music to dance, from art to literature and languages. His early experimentation with various forms of art made him a spontaneous, self-made, and talented artist, taking him all the way to Italy to attend the prestigious Academy of Fine Arts in Florence and Cappiello Academy, where he obtained a degree in theater design and another in graphic design.

There are many things that are worth mentioning in his nearly half a century of activity, but one thing stands out above everything: his willingness to learn from and adapt to the cultures of two different countries – Italy and Palestine, and to share his art with both. Taisir can be defined as a man of two worlds, not just geographically speaking but also because of his ability to understand the changes of his time and to move from the manual era to the digital era of design. He is a true pioneer in

the field, bringing the canvas and the brush to the monitor, and being able to recreate himself and guide others, adapting his art to new technologies and new technologies to his art. Taisir’s work is an outstanding example of the intersection of innovation and tradition, art and communication – in one word, Design.

To engage in design involves versatile artistic ability – planning, envisioning, designing, and creating. The idea of design that most people have is often limited to one or two aspects of the whole. The real meaning and nature of design are found in its capacity to transform a simple project, a simple drawing, into an act of communication and, even more, into an act of inspiration. This is what my father has taught me through his own example. He has unquestionably raised the level and standard of design, not just for me, but for a whole generation in Palestine.

Taisir has not only been the company’s artistic director, he has also been a pillar and certainly the one who created its image. He has been the main artistic figure at This Week in Palestine since its inception in December 1998. His clarity and his dedication to the power of art have made it impossible for him to compromise his work for the sake of commercial purposes. In a nutshell, to work with Taisir is to work with a master. Taisir has one daughter, Sabreen, two sons, Shady and Tamer, and two grandchildren, Alexander and Leonardo. All his children have acquired the artistic traits of their father.

Tamer Hasbun

ook of the Month

A Vision for My Father

The Life and Work of Palestinian-American Artist and Designer Rajie Cook By Rajie Cook Interlink Books, 2018, hardback, 344 pages, full color, $35.00

“A powerful and poignant expression of the Palestinian narrative of exile that weaves together the aesthetic and the personal story of longing for home. Rajie Cook’s personal account is an intimate revelation of the special bond between father and son in the context of the Palestinian national identity and experience … a visual and artistic celebration of creative expression. The multifaceted narrative unravels in the context of an exile in the West – an environment that is essentially discriminatory and dismissive of the humanity of the Palestinian people, both individually and collectively.” Dr. Hanan Ashrawi

For Rajie Cook, art is an organic expression of what moves him; his art activism is his gift to the world. Much of the art he currently creates is an expression of his deeply felt concern for human rights and for the tragic conditions in Palestine. Through provocative yet truthful poster art, sculptural assemblages, and film, Rajie calls attention to the plight of the Palestinian people and the injustices they face. His work has been featured in art shows throughout the United States and internationally. In his own words, “My art will be my voice long after I have gone. It will never be silenced.”

Rajie Cook’s memoir is a tribute to his parents, Palestinian immigrants Najeeb and Jaleela Cook – who had come to the United States in search of peace and opportunity for themselves and their family – but evolves into a narrative of how their son made his mark on the international stage of graphic design. Sight is a major theme in this narrative, as Rajie aims to give sight back to his father who was blinded in the early 1930s by the ravages of cataracts. Najeeb could not share in the excitement of Rajie’s achievements and died before “seeing” his talented son shake the hand of an American president. But Najeeb’s greatest legacy to Rajie was his love for Palestine. At age 54, Rajie made his first trip to Palestine, a life-changing, spiritual journey that turned him into a peace activist.

Born in 1930, Cook is a graduate of the Pratt Institute and, in 1997, was selected as Alumnus of the Year. In 1967, he cofounded the design firm Cook and Shanosky Associates in New York City. In 1984, he and his colleagues received the Presidential Award for Design Excellence for creating the universal pictograms that guide travelers through airports, train stations, and hotels. In 2003, the Cooper Hewitt, Smithsonian Design Museum acquired the Symbols Signs project.

The father of two grown daughters, he lives in rural Bucks County, Pennsylvania, with his wife Peggy.

xhibition of the Month

Hand Eye By Ziad Yousef Haj Ali Curated by George Al-Ama Gallery One, Ramallah Until June 13, 2018

In the works shown in his first solo exhibition, titled Hand Eye, Ziad Yousef Haj Ali employs various kinds of amulets that are prevalent in Arab society. It is a popular belief that such amulets provide a defense against the harm that comes from jinn (spirits) and humans. The two most popular amulets are the palm and the eye. Ironically, the occupation has adopted both these icons and uses them – in one way or another – on checkpoint signs. Hence, the palm (al-kaf), which is supposed to ward off evil, has become

Erez Crossing Pigment printing on fine art paper 130 x 50 cm, 2018 Edition 1/1

Sager “closing” Pigment printing on fine art paper 100 x 100 cm, 2018 Edition 1/1

a sign that tells people: “Stop, there is a checkpoint that will push YOU away.” The eye (al-ain), which is supposed to watch out for and guard against malevolent people, has turned into a sort of “camera” that stares at YOU, making you a suspect. Amulets… how many do we need to protect ourselves from the harm of the occupation?!

Born in Jerusalem, Ziad Yousef obtained a BA in fine arts from the University of Jordan in Amman. Currently he lives and works in Ramallah. Since his return to Palestine in 2009, Ziad Yousef has worked in visual arts and art production. He is the production-unit supervisor at the Birzeit University Museum and has been involved in several art activities and events. A specialist in prints, in particular screen-printing, Ziad Yousef has produced a series of artworks and participated in local and international group exhibitions. Kaf Ain is his first solo exhibition. Gallery One is open every day from 10:00 am to 6:00 pm.

Al Wad Street Pigment printing on fine art paper 120 x 60 cm, 2018 Edition 1/1

Helmish Pigment printing on fine art paper 100 x 70 cm, 2018 Edition 1/1

Martyrs Road Pigment printing on fine art paper 100 x 70 cm, 2018 Edition 1/1

here to Go

Palestinian Creative Handicraft Workshops Courtesy of VisitPalestine.ps Palestine has a lot to offer to all connoisseurs of handmade items that can be bought as souvenirs, gifts, house decor, etc. Creative artisans often open the doors of their workshops to anyone who would like to see them at work or even try to learn how to make some items themselves. Here are only some examples of the multiple places that could be included in your itinerary. Embroidery Palestinian embroidery is a rich artistic tradition that has been passed down from mother to daughter throughout generations. Designs vary from village to village. The main techniques used in Palestine are the cross-stitch and couching stitch (tahriri). Women intricately embellish dresses, jackets, cushions, tablecloths, and pillows made from natural hand-dyed and woven materials. Dresses, however, have always been the most common embroidered items. Many Palestinian women want to preserve the traditional handicraft and at the same time create beautiful and useful objects to sell in order to support their families. The Arab Women’s Union of Bethlehem should definitely be on the itinerary of any visitor who would like to admire this handicraft. The variety of work on display includes multiple colorful motifs. The building also houses a small ethnographic museum. Ceramics Palestinian ceramic artists offer a wide array of items: vases, plates, bowls, or coasters that can serve as both home decoration or gifts that will impress any guest. Most of the items are bright and colorful. Artisans often take their inspiration from nature, and it is common to find beautiful pieces covered with motifs that include olives and olive branches or figs and leaves; sometimes the items themselves resemble leaves or fruits (often pomegranates). Many of these creations are covered with sophisticated Arabic calligraphy or typical Islamic or geometric patterns. It is also common to see designs that are taken from Palestinian traditional embroidery.

Probably the most famous ceramics in the area come from Jerusalem. The Balians, an Armenian family of Jerusalem, have been producing exclusive hand-painted ceramic tiles and pottery since 1922. The Armenian ceramics can be recognized by the elaborate floral motifs and dark blue rims. In Hebron, ceramics are produced on a larger scale. Skilled and experienced artisans work at the speed of light. Another place that has recently become famous for its boutique ceramic workshop is Nifs Jbail, a small town situated in the vicinity of Nablus. There, the artisans mainly base their designs on the patterns and ornaments of ancient pottery that was excavated in Palestine. They see it as a way to encourage heritage appreciation and preservation. Mosaics Jericho is home to Hisham’s Palace, the extraordinary site that contains the famous mosaic floors. This early Islamic desert palace was the inspiration for the establishment of the Jericho Mosaic Center in the year 2000. Since that time, the center has been training artisans in all aspects of mosaic production, with particular attention to ancient mosaic conservation.

Skilled craftspeople produce and sell elaborate mosaics, often depicting such ancient motifs as the Hisham Palace Tree of Life. Visitors are welcome to take part in special one-day workshops designed to introduce them to mosaic production. Participants can keep their work as a perfect souvenir from Jericho. Traditional Woven Carpets Bedouin women traditionally weave strong fabrics that they use for tents, rugs, pillows,

and other domestic items. Sheep wool from their herds is spun and used as thread. Some women dye the wool to create colorful, patterned carpets, whereas others prefer to use natural colors. Their designs and ornaments are based on local folkloric motifs. The Al-Jahalin tribe of the Sea Level Community that lives in the Jerusalem Wilderness invites visitors to come and see how the traditional rugs are produced. Felted Wool: A New Concept in Holy Land Design A unique handicraft using local raw material has recently been introduced into the Palestinian craft market. Colorful felt products made from the wool of Bethlehem sheep are brightening shopkeepers’ shelves in Bethlehem and Jerusalem. An innovative community that brings together people with and without intellectual disabilities, Ma’an lil-Hayat (L’Arche Bethlehem) creates nativity scenes, sheep, purses, pillows, wall hangings, and other felted-wool items that would add artistic flair to any home or wardrobe. Visitors are always welcome and can even help to make a sheep or two while there!

To learn more about various creative workshop spaces in Palestine, visit our website at www.visitpalestine.ps, contact the Visit Palestine Information Center in Bethlehem via info@visitpalestine.ps or (02) 277-1992, or visit us in Bethlehem. 80

TWiP

itchen

Falafel

When I was living in the United States, I realized how it is hard to get a good falafel sandwich. It became frustrating, as I adore falafel and was lucky enough to be born in the Old City of Jerusalem where I got used to eating some of the best falafel! This frustration pushed me to try to make falafel and hummus by myself, but I had no clue that it would be the start of a culinary journey. Falafel helped me to discover that my true passion is cooking. Once, when I was preparing falafel, I realized that only a genius could have invented falafel. Who would have imagined that soaking some beans, mashing them by hand, and adding some onions, garlic, and parsley would give Middle Eastern cuisine one of its most delicious famous foods? No one really knows who invented falafel, but most stories describe how the Copts in Egypt began to make falafel as a substitute for meat during Lent. The great thing about falafel is that it tastes different from place to place, and even from region to region. The recipe is simple, but some people use fava beans, and others use garbanzo beans, and some mix both. In Egypt it is made from fava beans, but in Palestine garbanzo are used, and in other places, such as Gaza − which is a Palestinian city but influenced by Egyptian culture − both beans are used.

Gazans add fresh dill or dill seeds to the mixture, which gives the falafel a strong flavor and makes it stand out. Falafel comes in various shapes as well. In Jerusalem, for example, they are usually round, but in Ramallah they are mostly finger-shaped! A variation is stuffed falafel. Originally, large falafel were stuffed with sumac and onion, but nowadays one can find cheese-stuffed falafel. During Ramadan, stuffed falafel can be found on just about every iftar table to break the fast.

When I was child, I spent many summers in Gaza − before it was blockaded! My mother’s family are refugees from Ramla who left for Gaza in 1948. My cousins and I had the duty to buy hummus and falafel every morning and to fill drinkable water gallons. Even as a child, I noticed that falafel in Jerusalem tasted different from that in Gaza. Seventeen years later, I went with a friend to one of his favorite places in Ramallah, and when I took my first bite of his falafel, I realized that it was prepared by a person from Gaza. So I went to the shop owner and asked him, and sure enough, he was from Gaza.

- Mix ingredients in a food processor and set aside for at least one hour (for better results).

Ingredients • 2 cups garbanzo beans, soaked in water for at least 12 hours • 1 medium onion, chopped • ½ bunch parsley, chopped • ½ bunch cilantro, chopped • 10 cloves of garlic, crushed • 1 tbsp. dill seeds • 1 tbsp. chili flakes • 1 tbsp. sea salt • 1 tbsp. coriander • ½ tbsp. cumin

- Before frying, add 1 tsp. baking soda and mix well. - Use a falafel mold (or tablespoon) to shape each falafel. - Heat ½ liter of cooking oil. - Make sure the oil is hot before you fry the falafel! - Fry the falafel for about 5–7 minutes, until they are golden brown.

Saahha!

Ramadan Kareem! By Izzeldin Bukhari Creator of Sacred Cuisine, a popup-kitchen concept focused on vegetarian, vegan, and local food in Palestine.

Photo courtesy of Chef Shady Hasbun.

FILM SCREENINGS Sunday 24 18:00–21:00 The War Show is a 102-min documentary about artists and activists filming their lives and events around them during the protests against president Bashar Al-Asad in Syria in March 2011. The Danish House.

VENTS

LECTURES Monday 25 16:00–18:00 Pedagogy of the Oppressed book discussion. Organized by Ruwwad for Development. Budrus Village, west of the Ramallah and Al-Bireh governorate.

Jerusalem CONCERTS Thursday 7 21:00–22:45 A musical per formance by Rassegna Company presents Mediterranean popular music with sacred, secular, traditional, and contemporary rhythms. Organized by Institut Français de Jérusalem. Edward Said National Conservatory of Music.

SPECIAL EVENTS Thursday 7 22:00 Al-Mazra’a Ash-Sharqiya Ramadan Nights Second Festival presents special Ramadan nights with a variety of performances. Organized by the Sports Club of Al-Mazra’a Ash-Sharqiya Village. Al-Mazra’a Ash-Sharqiya (north of Ramallah). Thursday 7, 21 17:00–19:00 BlaBla Language Exchange is an occasion to converse in various language subgroups. Organized by BlaBla Language Exchange Jerusalem and Ramallah. Avenue Café. Saturday 9 18:30 Swing Dance Ramallah offers a 1920s swing dance lesson followed by a par ty. Organized by Swing Dance Palestine. Fuego Restaurant.

SPECIAL EVENTS Friday 22 9:00–17:00 2nd Marathon of Our Return to the Displaced Villages. Organized by Life Makers Al-Quds. For registration and more information, please visit https://goo.gl/Yv2NEH. THEATER Monday 4 19:30–21:30 My Life Journey features actor Phil Crowley performing David Pane’s one-man play about C. S. Lewis. Christ Church Jerusalem (Armenian Orthodox Patriarchate).

Bethlehem

SYMPOSIA Monday 25 – Thursday 28 8:00–18:00 First Palestine International Water Forum 2018 presents real-world experience in Integrated Water Resource Management and offers an opportunity to discuss lessons learned and explore innovative perspectives beyond current practices. Organized by the Palestinian Water Authority. Millennium Hotel.

CONCERTS Wednesday 6, 13, 20, 27 20:00 Jam and Open Mic, hosted by Victor Kawwas, offers guests the opportunity to show off their talent and perform alongside the band, bringing together music from a spectrum of cultures. Al-Jisser, Beit Sahour. EXHIBITIONS Friday 1 – Tuesday 15 10:00–18:00 Blurred Memory is a solo exhibition by the artist Bashir Qonqar. Concentrating on human needs and behaviors, his work utilizes different mediums and techniques that range from painting and drawing to digital work and installations. The exhibition is open from Monday to Saturday. Bab idDeir Art Gallery.

International SPECIAL EVENTS Friday 1 – Saturday 2 11:00–19:00 Holy Rail is an exhibition that showcases a rare collection of photographs and archival materials that document the establishment of the Hejaz Railway. Organized by Dar El-Nimer for Arts and Culture in partnership with the Center for Arts and Humanities at the American University of Beirut. Dar El-Nimer for Arts and Culture, Beirut. Friday 1 – Wednesday 6 11:00–19:00 Sci-Fi Trilogy is an exhibition that brings together Sansour’s films A Space Exodus (2009), Nation Estate (2012), and In the Future They Ate from the Finest Porcelain (2016). The exhibition is open from Monday to Saturday. Dar El-Nimer for Arts and Culture, Beirut. Monday 25 18:00 Opening of the exhibition Rhythms of a Different Time, celebrating the journey of late Palestinian artist Toufic Abdul-Al, which will feature some of his paintings, drawings, and sculptures. Dar El-Nimer for Arts and Culture, Beirut.

Ramallah CONCERTS Sunday 3 21:00–22:00 Songs from my Homeland is a Ramadan musical night and fundraising concert that presents Palestinian singers Sanaa Moussa, Ahmad Al-Khatib, and Yousef Hbeisch, along with Swedish musicians. The Edward Said National Conservatory of Music. Wednesday 6 21:00–22:45 A musical per formance by Rassegna Company presents Mediterranean popular music with sacred, secular, traditional, and contemporary rhythms. Organized by Institut Français de Jérusalem. Khalil Sakakini Cultural Center. 84

TTRACTIONS

Fun Factory Rawabi Spacious indoor amusement park that offers fun, comfort, and happiness for all ages Q Center, Rawabi 666, Palestine Tel: 059 594 9026, https://www.facebook.com/funfactoryrawabi/

Rawabi Extreme Exciting outdoor games in the beautiful nature of Palestine WaDina, Rawabi 666, Palestine Tel: 059 420 4377, https://www.facebook.com/RawabiExtreme

Solomon’s Pools The City of Cultures and Civilizations Bethlehem +970-2-276-0376, +970-2-276-8250, Fax: +970-2-276-8251 sppd.preservation@gmail.com, solpools@solomonpools.com https://it-it.facebook.com/solomon.pools

Taybeh Brewery Proudly Brewing & Bottling Premium Palestinian Beer since 1994 Near the rotary, Taybeh Village, Ramallah District Tel: 02-289-8868, taybeh@palnet.com, www.taybehbeer.com https://www.facebook.com/taybehbeer/ Opening Hours: Monday- Saturday 8 AM-3:30 PM

Taybeh Winery

Making Boutique Palestinian Wines since 2013

Main Street, Taybeh Village, Ramallah District Tel: 02-289-9440, info@taybehwinery.com, www.taybehwinery.com https://www.facebook.com/Taybehwinery/ Opening Hours: Daily 9 AM-5 PM

Telepherique & Sultan Tourist Center Enjoy the panoramic view of Jericho Elisha's Spring, P.O.Box 12, Jericho Tel: + 972 (2) 2321590; Fax: + 972 (2) 2321598 Info@jericho-cablecar.com, www.jericho-cablecar.com JerichoCableCar

CCOMMODATIONS

ESTAURANTS

Heritage

JENIN (04)

Palestinian Heritage Center

Cinema Jenin

Telefax: 274 7945

ultural centers

EAST JERUSALEM (02)

The Edward Said National Conservatory of Music

ARTLAB

Mob. 0544 343 798, artlabjerusalem@gmail.com

Tel: 627 1711, Fax: 627 1710 info@ncm.birzeit.edu, ncm.birzeit.edu

Al-Jawal Theatre Group

The Magnificat Intstitute

Telefax: 628 0655

Al-Ma’mal Foundation for Contemporary Art Tel: 628 3457, Fax: 627 2312 info@almamalfoundation.org www.almamalfoundation.org

Tel: 626 2626, alruwahtheatre2000@yahoo.com Tel: 234 2005, Fax: 234 2004 info@urmawi.org, www.urmawi.org

Turkish Cultural Centre

The Edward Said National Conservatory of Music

Cultural Centre for Child Development

Tel: 626 1045; Fax: 626 1372 yabous@yabous.org, www.yabous.org

Telefax: 582 7218 info@ashtar-theatre.org, www.ashtar-theatre.org

BETHLEHEM (02)

British Council

Tel: 626 7111, Fax: 628 3021 information@ps.britishcouncil.org www.britishcouncil.org/ps

Al-Harah Theatre

Centre for Jerusalem Studies/Al-Quds University

Alliance Française de Bethléem

Telefax: 276 7758, alharahtheater@yahoo.com info@alharah.org, www.alharah.org Telefax: 275 0777, afbeth@p-ol.com

Tel: 628 7517, cjs@planet.edu www.jerusalem-studies.alquds.edu

Anat Palestinian Folk & Craft Center

Community Action Centre (CAC)

Telefax: 277 2024, marie_musslam@yahoo.com

Tel: 627 3352, Fax: 627 4547, www.cac.alquds.edu

Arab Educational Institute (AEI)-Open Windows

Educational Bookshop

Tel: 274 4030, www.aeicenter.org

Tel: 627 5858, Fax: 628 0814 info@educationalbookshop.com www.educationalbookshop.com

Artas Folklore Center

Mob: 0597 524 524, 0599 679 492, 0503 313 136 artasfc@hotmail.com

El-Hakawati Theatre Company

Badil Centre

Tel: 583 8836, Mobile: 0545 835 268 f.abousalem@gmail.com, www.el-hakawati.org

Tel: 277 7086

Beit Jala Community-Based Learning and Action Center

French Cultural Centre

Tel: 628 2451 / 626 2236, Fax: 628 4324 ccfjeru@consulfrance-jerusalem.org

Tel: 277 7863

Bethlehem Academy of Music/ Bethlehem Music Society

Issaf Nashashibi Center for Culture & Literature Telefax: 581 8232, isaaf@alqudsnet.com

Tel: 277 7141, Fax: 277 7142

Jerusalem Centre for Arabic Music

Tel: 627 4774, Fax: 656 2469, mkurd@yahoo.com

Bethlehem Peace Center

Tel: 276 6677, Fax: 276 4670 info@peacenter.org, www.peacenter.org

Melia Art Center

TeleFax: 628 1377, Melia@bezeqint.net www.meliaartandtrainingcenter.com

Catholic Action Cultural Center Tel: 274 3277, Fax 274 2939 info@ca-b.org, www.ca-b.org

Palestinian Art Court - Al Hoash

Telefax: 627 3501 info@alhoashgallery.org, www.alhoashgallary.org Tel: 628 0957, Fax: 627 6293, info@pnt-pal.org

Sabreen Association for Artistic Development

Sanabel Culture & Arts Theatre

International Centre of Bethlehem-Dar Annadwa

Telefax: 276 6263, www.inadtheater.com

Tel: 671 4338, Fax: 673 0993 sanabeltheatre@yahoo.com

Tel: 277 0047, Fax: 277 0048 info@diyar.ps, www.diyar.ps

The Bookshop at the American Colony Hotel Tel: 627 9731, Fax: 627 9779 bookshop.americancolony@gmail.com www. americancolony.com

Cultural Heritage Enrichment Center

The Higher Institute of Music

Tel. 237 2863, Fax. 237 8275 arafatn24@yahoo.com

Telefax: 275 2492, highiom@hotmail.com www.thehigherinstituteofmusic.ps

French Cultural Centre

Turathuna - Centre for Palestinian Heritage (B.Uni.)

Tel: 238 5914, Fax: 238 7593 ccfnaplouse@consulfrance-jerusalem.org

Tel: 274 1241, Fax: 274 4440 pdaoud@bethlehem.edu, www.bethlehem.edu

Nablus The Culture

Tel: 233 2084, Fax: 234 5325 info@nablusculture.ps, www.nablusculture.ps

HEBRON (02)

RAMALLAH AND AL-BIREH (02)

Al Sanabl Centre for Studies and Heritage Tel: 256 0280, sanabelssc@yahoo.com www.sanabl.org, www.sanabl.ps

A. M. Qattan Foundation

Beit Et Tifl Compound

Telefax: 222 4545, tdphebron@alqudsnet.com

Tel: 296 0544, Fax: 298 4886 info@qattanfoundation.org www.qattanfoundation.org

British Council- Palestine Polytechnic University

Al Kasaba Theatre and Cinematheque

Children Happiness Center

Al-Kamandjâti Association

Telefax: 229 3717, information@ps.britishcouncil.org www.britsishcouncil.org.ps

Tel: 296 5292/3, Fax: 296 5294 info@alkasaba.org, www.alkasaba.org

Telefax: 229 9545, children_hc@yahoo.com

Tel: 297 3101 info@alkamandjati.com, www.alkamandjati.com

Dura Cultural Martyrs Center

Tel: 228 3663, nader@duramun.org www.duramun.org

Al-Mada Music Therapy Center

Tel: 241 3196, Fax: 241 3197 info@al-mada.ps, www.al-mada.ps

AMIDEAST

Tel: 221 3301/2/3/4, Fax: 221 3305 Mob: 0599 097 531

Al-Rahhalah Theatre

France-Hebron Association for Cultural Exchanges

Al-Rua’a Publishing House

Telefax: 298 8091, alrahhalah@hotmail.com Tel: 296 1613, Fax: 197 1265, Mob: 0599 259 874 akel.nichola@gmail.com

Tel: 222 4811 info@hebron-france.org, wwww.hebron-france.org

Amideast

Hebron Rehabilitation Committee Telfax: 225 5640, 222 6993/4

Tel: 240 8023, Fax: 240 8017 westbank-gaza@amideast.org, www.amideast.org

Palestinian Child Arts Center (PCAC)

ArtSchool Palestine

The International Palestinian Youth League (IPYL)

Ashtar for Theatre Production

Yes Theater

Baladna Cultural Center

Environmental Education Center

Inad Centre for Theatre and Arts

Tel: 238 6290, Fax: 239 7518 nutaleb@hotmail.com, www.nutaleb.cjb.net

Telefax: 274 8726 info@ncm.birzeit.edu, www.birzeit.edu/music

Tel:222 9131, Fax: 229 0652 itv@ipyl.org, www.ipyl.org

Tel: 276 5574, eec@p-ol.com, www.eecp.org

Telefax: 237 5950 information@ps.britishcouncil.org www.britishcoumcil.org/ps

Tel: 274 3071, Fax: 276 7446 tnations@p-ol.com, www.tentofnations.org

Centre for Cultural Heritage Preservation

Tel: 532 1393, sabreen@sabreen.org www.jerusalem.usconsulate.gov www.facebook.com/USConGenJerusalem

NABLUS (09)

Tel: 275 0091, Fax: 275 0092 sabreen@sabreen.org, www.sabreen.org

Tel: 222 4813, Fax: 222 0855 pcac@hotmail.com, www.pcac.net

Tel: 276 6244, Fax: 276 6241 info@cchp.ps, www.cchp.ps

Palestinian National Theatre

Tel: 250 3345, info@thefreedomtheatre.org

British Council- Al Najah University

Yabous Cultural Center

Ashtar for Theatre Productions & Training

The Freedom Theatre/Jenin Refugee Camp

Tel: 277 7863

Tent of Nations

Tel: 626 0916, www.wujoud.org, info@wujoud.org

http://jerusalem.usconsulate.gov/americahouse2. html

Telfax: 250 4773 center@hakoura-jenin.ps, www.hakoura-jenin.ps

Hakoura Center

Theatre Day Productions

Wujoud Museum

America House

Relief International - Schools Online Bethlehem Community-Based Learning and Action Center Sabreen Association for Artistic Development

Tel: 591 0530/1, Fax: 532 3310 kudustur@netvision.net.il, www.kudusbk.com

Al-Urmawi Centre for Mashreq Music

Tel: 250 2642, 250 2455 info@cinemajenin.org, www.cinemajenin.org

Tel: 626 6609, Fax: 626 6701 magnificat@custodia.org www.magnificatinstitute.org Tel: 585 4513, Fax: 583 4233 tdp@theatreday.org, www.theatreday.org

Alruwah Theatre

Telefax: 274 2381, 274 2642 mahasaca@palestinianheritagecenter.com www.phc.ps

Tel: 295 9837, info@artschoolpalestine.com www.artschoolpalestine.com Tel: 298 0037, Fax: 296 0326 info@ashtar-theatre.org, www.ashtar-theatre.org Telfax: 295 8435

,Telefax: 229 1559 www.yestheatre.org, info@yestheatre.org

Birzeit Ethnographic and Art Museum

Tel. 298 2976, www.virtualgallery.birzeit.edu

JERICHO (02)

British Council

ITIP Center “Italian Tourist Information Point”

Jericho Community Centre

Telefax: 276 0411, itipcenter@yahoo.com

Telefax: 232 5007

Tel: 296 3293-6, Fax: 296 3297 information@ps.britishcouncil.org www.britishcouncil.org/ps

Nativity Stationery Library

Jericho Culture & Art Center Telefax: 232 1047

Carmel Cultural Foundation

Mob: 0598 950 447

Palestinian Group for the Revival of Popular

Municipality Theatre

Tel: 298 7375, Fax: 298 7374

Tel: 232 2417, Fax: 232 2604

Dar Zahran Heritage Building

tamer@palnet.com, www.tamerinst.org

Telfax: 296 3470, Mob: 0599 511 800 info@darzahran.org, www.darzahran.org

The Danish House in Palestine (DHIP)

TeleFax: 298 8457, info@dhip.ps, www.dhip.ps

El-Funoun Dance Troupe

The Edward Said National Conservatory of Music

Tel: 240 2853, Fax: 240 2851 info@el-funoun.org, www.el-funoun.org

Tel: 295 9070, Fax: 295 9071 info@ncm.birzeit.edu, www.birzeit.edu/music

Franco-German Cultural Centre Ramallah

Tel: 298 1922 / 7727, Fax: 298 1923 info@ccf-goethe.org, www.ccf-goethe-ramallah.org

The Palestinian Circus School

Tel: 281 2000, 0568 880 024 www.palcircus.ps, info@ palcircus.ps

Gallery One

Tel: 298 9181, info@galleryone.ps

The Palestinian Network of Art Centres

Greek Cultural Centre - “Macedonia”

Tel: 298 0036, 296 4348/9, Fax: 296 0326 iman_aoun@yahoo.com

Telefax: 298 1736/ 298 0546 makdonia@palnet.com

alestine Road Map

PALESTINE Road Map

Lebanon Syria

The Spanish Cultural Center

In’ash Al-Usra Society- Center for Heritage & Folklore Studies

Tel. 295 0893, chp@panoramacenter.org

Young Artist Forum

Tel: 240 1123 / 240 2876, Telefax: 240 1544 usra@palnet.com, www.inash.org

Telefax: 296 7654, yaf@palnet.com

Akko

Zawyeh Art Gallery

International Academy of Arts

Tel: 296 7601, info@artacademy.ps

Khalil Sakakini Cultural Center

Tel: 298 7374, Fax: 296 6820 sakakini@sakakini.org, www.sakakini.org

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GAZA STRIP (08)

Mahmoud Darwish Foundation and Museum

Tiberia

Mob. 0597 994 997 anani.ziad@gmail.com, www.zawyeh.net

Haifa Kilometers

Nazareth

Al-Qattan Centre for the Child

Tel: 295 2808, Fax: 295 2809 Info@darwishfoundation.org www.darwishfoundation.org

Tel: 283 9929, Fax: 283 9949 reem@qcc.qattanfoundation.org www.qattanfoundation.org/qcc

Arts & Crafts Village

Tel: 295 7937, Fax: 298 7598

Tell Ti’innik

Telefax: 284 6405 artvlg@palnet.com, www.gazavillage.org

Mazra’a Qibliyeh Heritage and Tourism Centre Telefax: 281 5825, mazraaheritage@yahoo.com /www.geocities.com/mazraaheritage

Ashtar for Culture & Arts Culture & Light Centre

Tel: 297 0190, info@nawainstitute.org

Telefax: 286 5896, ifarah@palnet.com

Palestine Writing Workshop

Dialogpunkt Deutsch Gaza (Goethe-Insitut)

Mob: 0597 651 408, www.palestineworkshop.com

Tulkarm Sabastiya

Mediterranean Sea

Nablus

Tel: 282 0203, Fax: 282 1602

Palestinian Association for Contemporary Art PACA

Fawanees Theatre Group French Cultural Centre

Tel: 286 7883, Fax: 282 8811 ccfgaza@consulfrance-jerusalem.org

Palestinian Association for Cultural Exchange (PACE) Tel: 240 7611, Telfax: 240 7610 pace@p-ol.com, www.pace.ps

Gaza Theatre

Popular Art Center

Global Production and Distribution

Salﬁt

Jaffa

Abud

Tel: 282 4860, Fax: 282 4870

Tel: 281 0476, Fax: 280 8896, mcrcg@palnet.com

Isdud

Theatre Day Productions

Windows from Gaza For Contemporary Art

Ramallah Cultural Palace

Mob. 0599 781 227 - 0599 415 045 info@artwfg.ps

Tel: 294 5555, Fax: 295 2107 rcpevents@ramallah-city.ps

RIWAQ: Centre for Architectural Conservation

Halhul Beit Hanun Jabalia Gaza

Rawabi

Tel: 240 6887, Fax: 240 6986 riwaq@palnet.com, www.riwaq.org

Itar (Public lectures, workshops and cultural activities) - Rawabi Foundation

Sandouq Elajab Theatre

Tel: 296 5638, 295 3206 sandouqelajab@yahoo.com

Mobile: 0594 204 378 foundation@rawabi.ps Cinema Hall, Q Center, Rawabi 666, Palestine

Sareyyet Ramallah - First Ramallah Group (FRG) Tel: 295 2690 - 295 2706, Fax: 298 0583 sareyyet@sareyyet.ps, www.sareyyet.ps

Hebron

Haram el-Ibrahimi

Deir el-Balah Khan Yunis Rafah

Sharek Youth Forum

Tel: 296 7741, Fax: 296 7742 info@sharek.ps, www.sharek.ps

Egypt

Shashat

Tel: 297 3336, Fax: 297 3338 info@shashat.org, www.shashat.org

Tamer Institute for Community Education Tel: 298 6121/ 2, Fax: 298 8160

Tell es-Sultan

Beit Jala Mar Saba Bethlehem Beit Sahur

Telefax: 283 6766, tdpgaza@palnet.com

Tel: 241 3002

Khirbet el-Mafjar

Tell en-Nasba

Jericho Jerusalem en-Nabi Musa

el-Jib

Holst Cultural Centre

Ramallah Center for Human Rights Studies (RCHRS)

et-Taiyba

Birzeit

Ramallah/el-Bira

Telefax: 288 4399, art.global@yahoo.com

Tel: 240 3891, Fax: 240 2851 info@popularartcentre.org www.popularartcentre.org

Tubas

Tell Balata Gerzim

Qalqiliya

Telefax: 288 4403

Tel: 296 7601, fax: 295 1849 paca@pal-paca.org, www.pal-paca.org

Bal’ama

Tell Dothan ez-Zababdeh

Telefax: 283 3565, atlas9@palnet.com

Nawa Institute

Beisan

Jenin

Umm er-Rihan

Jordan

Manar Cultural Center

Dead Sea

erusalem

ethlehem

he Last Word

Light a Candle

According to an article entitled “The long, steady decline of literary reading,” published in the Washington Post in September 2016, the percentage of adult Americans who read any work of literature – novels, poems, short stories, or plays, whether in print or online – between 1982 and 2015, had dropped from 56.0 percent to 43.1 percent. In 2015, the Guardian claimed that, according to a US study, the number of American children who say they love reading books for fun had dropped almost 10 percent in the previous four years. These statistics are from a society that is generally known to value reading. I wonder about the percentage of readers among Palestinians. To be candid, I wonder exactly how many Palestinians (living in Palestine) read This Week in Palestine. We’re also in the business of design, which to me is a topic close to aesthetics and which, in turn, is generally associated with stability, social justice, and possibly affluence; a precise description of Palestinian society, right? So are we, as a company, in the wrong business? Maybe. But then again, maybe not. Many would argue about the meaning of success, which certainly has a variety of interpretations. No doubt financial success is paramount, otherwise a business would need to fold. I’d like to believe, however, that success could also be measured by the ability to withstand pressure and work against adversity and odds. According to this interpretation, practically all Palestinian businesses would be successful. Whether you have a business that operates from the West Bank and you need to get your goods or services to Gaza, or vice versa; or you’re a manufacturing company or a farmer trying to move your products from Jenin or the Jordan Valley to Hebron; or you’re trying to sell goods to Jerusalem, it’s a logistical nightmare replete with varying degrees of transportation challenges. Are all these enterprises in the wrong business? Should they all fold? I don’t think so. What are the odds that a young musician could make a living out of his/her music career? Equally, what are the chances of talented actors or dancers living off their talent in Palestine? If every Palestinian or Palestinian business lets go of a dream because of the challenges that lie ahead, we might as well give up as a people and throw in the towel. Even given the current circumstances and conditions that Palestinians live in and under, there are many more places in the world where the conditions are far worse than here. Let’s stop complaining and move on. At the moment, we have no choice but to do so. As they say, light a candle rather than curse the darkness, and be an example to others. Mass Imperfections, by Palestinian architects Elias and Yousef Anastas, is composed of several handmade olive wood modules that are assembled into a structure that bears resemblance to a piece of Palestinian embroidery.

Sani Meo Publisher

Palestine participation in Dubai Design Week, Abwab 2016. Photo by Jose Balitian. 98

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