Architecture
Education
Art
Poem |
Art |
|
Art in Palestine
By: Ismail Shammout 1989
Palestinian Artists Under
Israeli Rule
Following the occupation of the West Bank and Gaza Strip by
Israel, a number of resident Palestinian artists became active.
Their initial activities production of art-work, holding of
exhibitions, etc. - were neither easy nor safe . The path was
strewn with numerous hindrances and risks ranging from closure
of exhibition halls and confiscation of paintings to outright
detention and/or imprisonment of artists.
Artists so harassed included Kamel Mughanni, a graduate of
Alexandria Arts College and an art teacher at Al-Najah College
in Nablus - West Bank. He was imprisoned for two years and his
house was dynamited on trumped-up charges of affiliation with
the Palestinian resistance movement. Sulaiman Mansour (a
graduate of "Bezalel" arts Institute in Jerusalem) was summoned
for questioning by Israeli military occupation authorities, put
under house arrest and had some paintings confiscated. Fathi
Al-Ghabin, a self-taught artist from Gaza, was imprisoned for
seven months for his systematic use of the four colours of the
Palestinian flag, his exhibition closed and some works of his
confiscated. "Gallery 79", at Ramallah, the only specialized
exhibition hall in the West Bank was also closed for display of
"instigatory" works of art.
Palestinian artists who remained in Israel of 1948 fared little
better. Some talents were able to reassert themselves and make
their presence felt. Prominent among those was Abed Abidi and
Dhahir Zaidani who studied art in the German Democratic
Republic, Marwan Abu Al-Haija, Hanna Mismar, Abdulla Al-Karaa,
Khalil Rayyan and Ibrahim Hijazi, who, along with other artist
colleagues were quite active in their locales, mainly in cities
and towns of the Galilee in northern Palestine.
After l967,and the opening of the borders between occupied West
Bank and Gaza Strip, Palestinian artists in both areas were
finally able to communicate with each other. Joint exhibitions
and seminars were held all over Palestine. There were even some
exhibitions and other functions such as seminars, lectures and
demonstrations, which were co-organized and joined by Arab and
Israeli artists and intellectuals, in total disregard - and
defiance - of any curtailing measures that the Israeli
authorities might impose.
Works of artists in the occupied territories are distinguished
by their symbolism and surrealism. This is only natural for
those living under occupation. They cannot express their
patriotic feelings through the bold use of` the realistic or
expressionist realistic style. Symbolism and surrealism, as
indirect means of expression, offer a handy substitute.
The popular uprising "Intifada" in the occupied territories has
created additional hardships for artists. Many of them reverted
to the use of natural local materials such as sand, clay, local
dyes, leather, wood, brass and straw, etc. One reason is the
artists determination to boycott Israeli manufactured or
supplied materials. Another reason lies in the artists' quest
for "originality".
All Palestinian artists, whether living in Israel, or residing
in the occupied territories, or taking refuge in Arab and
foreign countries, have one common denominator - sentiment and
goal. Most paintings belonging to Palestinian artists
demonstrate a Palestinian "content " from one angle or another.
The style in one way or another - is figurative. Nevertheless,
there remain some Palestinian artists who chose to explore
matters pertaining to form and experiment with colourific and
abstract styles.
The use by Palestinian artists of "Western" styles, such as
realism, expressionism, surrealism, dadaism or even
abstractionism, cannot be viewed as literal or blind imitation.
On the contrary, their application of these styles was effected
in a special manner such as to render them almost
"Palestinianized."
Roots and Heritage
One should not overlook the fact that the Palestinian artist
has, in the preceding two decades, become aware of his rich arts
heritage, dating back to the days of the "Canaanites", the first
inhabitants of Palestine. This heritage also has roots in
Byzantine arts, as well as in Arab Islamic arts and Palestinian
folk art. It is true that he has been distanced from his
heritage, but he is striving to bridge the gap; to interlink
with his heritage or with part of it. This new concern is in
fact an Arab concern. Further, it is the concern of all
developing countries. It can be achieved but not without
difficulty, given the encroachment of modern communications on
the "privacy" of local cultures and the overpowering impact of
the "Western" culture, universally - and efficiently -
propagated by such means of communication.
The Palestinian artist's affinity with his folk art will always
endure. Palestinian embroidery, which adorned the Palestinian
women's dress over the ages, has great artistic value. Its
exquisitely rich colours and captivating design have caught the
eye of many a Palestinian artist, and must have been embedded in
his memory, to be later retrieved and reflected in his works.
Finally, notwithstanding the delayed emergence of the
contemporary Palestinian art movement, as compared with its Arab
sister movements, Palestinian art, barely forty years old, has
achieved considerable status and presence. It stands on equal
footing with primary Arab and non-Arab arts movements.
Nevertheless, it has a long way to go, for creativeness and
excellence are limitless.
|
|