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Disarming Design from Palestine
تصاميم مجرّدة من فلسطين
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    Thought-provoking designs
    تصاميم لتحفيز الفكر
  • Silver Solidarity

    Silver Solidarity

    التضامن الفضي
    €225,00
  • Anti Colonializm

    Anti Colonializm

    انتي كولونيالية
    €19,50
  • Bird plate

    Bird plate

    صحن الطّيور
    €32,50
  • Distance to Gaza

    Distance to Gaza

    المسافة إلى غزة
    €24,50
  • Keffiyeh bandage

    Keffiyeh bandage

    ضمّادة الكوفيّة
    €7,50
  • Beyond First Impressions

    Beyond first impressions

    ما بعد الإنطباع الأوّل
    €25,00
  • Watermelon flag

    Watermelon flag

    علم البطّيخ
    €19,50 – €79,50
  • ‘I am an Arab’ t-shirt

    ‘I am an Arab’ t-shirt

    قميص "سجِّل أنا عربي"
    €17,00 – €19,00
  • Classic keffiyeh

    Classic keffiyeh

    أسود على كوفية سوداء
    €29,50
  • Reworlding Ramallah

    Reworlding Ramallah

    إعادة قولبة العالم : رام الله
    €12,50
  • Gaza earrings 'Love for life'

    Gaza earrings ‘Love for life’

    أقراط غزة "نُحِبُّ الحياة"
    €165,00
  • State of Palestine

    State of Palestine

    دولة فلسطين
    €10,00
  • White on white keffiyeh

    White on white keffiyeh

    أبيض على كوفيّة بيضاء
    €29,50
  • Tears

    Tears

    دموع
    €7,50
  • Leaf Behind Earring

    Leaf behind earrings

    أقراط الأذن "أترُك خلفَك"
    €59,50
  • Palestime

    Palestime

    فلستايم
    €159,00
  • Qastina apron

    Qastina apron

    مريلة قسطينة
    €37,50
  • Basta

    Basta

    بسطة
    €39,50
  • Poetic nights

    Poetic nights

    ليالٍ شعريّة
    €20,00
  • Black Keffiyeh

    Black on black keffiyeh

    أسود على كوفية سوداء
    €29,50
  • Subjective atlas of Palestine

    Subjective atlas of Palestine

    أطلس فلسطين الذاتي
    €24,50
  • Leaf Behind Ring

    Leaf behind ring

    خاتم "أترُك خَلفك"
    €59,50
  • Christmas baubles from Bethlehem

    Christmas baubles from Bethlehem

    كرات عيد الميلاد من بيت لحم
    €7,50 – €9,50
  • Yellow cab toy

    Yellow cab toy

    لعبة السيرفيس الأصفر
    €35,00
  • theblacksac

    theblacksac

    الحقيبة السوداء
    €199,00
  • Measuring inequality

    Measuring inequality

    قياس عدم المساواة
    €47,50
  • Coloured Keffiyeh

    Coloured keffiyeh

    الكوفية الملوّنة
    €29,50
  • Unveiled souls

    Unveiled souls

    أرواح مكشوفة
    €19,50
  • Maisa

    Maisa

    ميساء
    €35,00
  • Lullaby

    Lullaby

    تهويدة
    €60,00
  • Nabulsi soap

    Nabulsi soap

    صابون نابلسي
    €6,50
  • Everywhere Palestine

    Everywhere Palestine

    فلسطين في كلّ مكان
    €60,00
  • Memory belt

    Memory belt

    حزام الذاكرة
    €45,00
  • Freedom shoes

    Freedom shoes

    أحذية الحرّية
    €145,00
  • Gaza scarf

    Gaza scarf

    وشاح غزة
    €95,00
  • Heirloom seeds

    Heirloom seeds

    بذور بلديّة
    €7,50
  • Awakening Goggles

    Awakening goggles

    قناع الصحوة
    €25,00
  • Hasakah

    Hasakah

    الحسكة
    €150,00
  • ‘Everywhere’ fisherman’s box

    ‘Everywhere’ fisherman’s box

    صندوق صيّاد السمك "من كلّ مكان"
    €60,00
  • Gaza Birdhouse

    Gaza birdhouse

    بيت العصفور الغزّاوي
    €12,50
  • Cactus fruit candle

    Cactus fruit candle

    شمعة الصبّار
    €8,50
  • Face Mask

    Identity = health

    الهوية = الصحة
  • Watermelon wallet

    Watermelon wallet

    محفظة البطيخ
    €19,50
  • Barcelona or Madrid? No, Palestine!

    Barcelona or Madrid? No, Palestine!

    برشلونة او مدريد؟ لا، فلسطين!
    €0,50
  • Proudly Made in Palestine

    Proudly Made in Palestine

    صنع في فلسطين، بفخر
    €25,00
  • Watchtowers and water tanks game

    Watchtowers and water tanks game

    لعبة أبراج المراقبة وخزّانات المياه
    €245,00
  • Checkpoint brush

    Checkpoint brush

    فرشاة الحاجز
    €25,00
  • Gaza box

    Gaza box

    صندوق غزة
    €60,00
  • Vicious circles

    Vicious circles

    حلقات مفرغة
    €14,50
  • Under the olive tree

    Under the olive tree

    تحت الزّيتونة
    €25,00
  • Under construction

    Under construction

    صحن "قيد الإنشاء"
    €20,00
  • Stress ball

    Stress ball

    كرة التّوتر
    €9,95
  • Straway

    Straway

    طريق المصّاصة
    €27,50
  • Spiced landscape

    Spiced landscape

    مشهد من التوابل
    €12,50
  • Soccer keffiyeh

    Soccer keffiyeh

    كوفية كرة القدم
    €40,00
  • Old news from Palestine

    Old news from Palestine

    أخبار قديمة من فلسطين
    €35,00
  • Relax (hardly) pillow

    Relax (hardly) pillow

    وسادة الإسترخاء بصعوبة
    €17,50
  • Blanco

    Blanco

    القميص الأبيض
    €75,00
  • Made in Palestine

    Made in Palestine

    صنع في فلسطين
    €90,00
  • In-between

    In-between

    بين
    €35,00
  • Jerusalem spell

    Jerusalem spell

    سحر القدس
    €15,00
  • Hide and see travel pouch

    Hide and see travel pouch

    محفظة السّفر "إخفاء وإظهار"
    €60,00
  • Gaza hero medal

    Gaza hero medal

    ميداليّة بطل غزة
    €10,00
  • Disengaged observer outfit

    Disengaged observer outfit

    زيّ المراقب الدّولي
    €75,00
  • Daftar

    Daftar

    دفتر
    €9,95
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Stories
حكايات

Design for Disarming times
التصميم لأوقاتنا المجرِّدة

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Participants create-shop 2019 admiring embroidery and tailoring at Stars & Fashion, Ramallah

Design for Disarming times
التصميم لأوقاتنا المجرِّدة
Onomatopee publishers, 2020
Article by Annelys de Vet, published in ‘Design for Conservative times’ (Joanette van der Veer, ed.) Onomatopee 179, 2020

In this text, the perspective of conservatism is drawn to something of ‘inherent’ value, and explores notions of cultural heritage, indigenous knowledges and the current political conditions they exist within. All through the perspective of design. This interest arose from my experience of setting up create shops in Palestine for the design platform ‘Disarming design from Palestine’. During our yearly workshops, local and international designers worked with Palestinian craft practices and developed useful objects that underscored connections between tradition, innovation and the political narratives they exist within. By deeply engaging with the field of crafts and design in Palestine, l witnessed what colonial occupation is, and what it can do to people, identity and land. Urging us to question the role of design in the processes of emancipation and expression of marginalized identities.

How can design help counteract unjust realities and con- tribute to social transformation? Listening to the stories of artisans and designers profoundly changed me as a global (and local) citizen and as an engaged practitioner. It taught me about life through the medium of craft, materiality, resources, land, collaboration, solidarity, as well as the political implications they each can have. This is a story about what can be learned from designers and artisans in Palestine. How can we use processes of design as a tool to learn from our worlds?

Carpenter Birzeit and designer Ghadeer Dajani, summer 2019

 

Craftsmanship & materiality

Last summer, with the create-shop, we visited a wood work- shop near Ramallah in the occupied West bank, where the carpenter proudly showed us examples of the complicated and admirable woodwork he used to make for his clients. He explained that customers hardly ask for this skilled work of his anymore as they either find it too expensive or fail to understand the urgency of it – neither do they see the quality. And so, the demand for this competent labour is reducing, with orders becoming less specific, questions more generic, making it harder (and less joyful) for artisans to compete with machines and mass production.

The artisan explained how economically fragile his position was and admitted he didn’t know how long he would be able to keep his workshop open in this manner. Leading him to question how much longer his specific knowledge will be kept alive; acknowledge that is passed down through different generations, and entangled in social structures. Are there new generations that will follow on? If his clients could better understand the relationship between local productions and the knowledge and social structures itempowers, would that change their orders?

These are the indigenous knowledges embodied by craftsmanship, and not something that can be learnt from a book or a YouTube video. lt is the knowledge of generations that goes through the body and is best transmitted in the workshop itself; with the materials, tools, their possibilities and limitations, and with human encounters. In the Netherlands (where I grew up) and in Belgium (where I live) I hardly see artisans at work in cities — those at work often serve a more exclusive market.

Workshops for wood, metal and leather for instance, are mostly upscaled or have been moved to more industrial areas, or the production is outsourced to low-income-countries. Our dependence on the global market of production has become even more clear during the corona crisis, which fueled a call for local small-scale production. While in the center of cities such as Ramallah, Nablus and Jerusalem one can still (although notably less and less) find several small workshops as part of everyday life; molding metal, making shoes or glazing pottery. To me, this was eye opening; to be aware of these production processes and experience them while passing by or entering the shops introduced me to a rich cultural heritage and made me better understand the social structures that surrounded them, how families are connected, how complicated it can be to transport resources or machines in and products out of the country, how so many artisans have faced military raids in their workspaces and more harsh realities. Alongside this it taught me the effects of colonial occupation and how it oppresses every part of daily life, movement, material, law, economy; everything. This was a fundamental experience. To learn about the occupation through materiality allowed me to deeply see the impact of the disrupted socio-politicalsituation.

To many, the lsrael-Palestine ‘confict’ emerged mainly from religious or nationalistic issues, while the reality is different because“the occupation is much more related to economic motives within a capitalist ‘game’”, as is explained by Palestinian permaculture designer Mohammad Saleh. The lsraeli economy is directly fed by military technology and security systems, and the private sector plays an explicit role in the Israeli settle- ment enterprise and in the economic exploitation of Palestinian and Syrian land, labour and resources1. As an act of resistance Mohammad Saleh believes it is important to focus on the pro- duction of local designs, especially as a way of acting rather than reacting. “With more local production models, we practice crucial steps of self-sovereignty. It will help artisans to sustain their businesses, families and inherited craftsmanship. This empowers a local economy. The design comes from within and relates to local needs and points of view. This is a socially conscious action, rather than a re-action to the behaviours of others.”

With the create shops that Disarming Design from Palestine organizes, we start the design processes with visiting workshops, meeting artisans and listening to their stories, seeing them at work and trying to understand their mechanisms. Most oftheir knowledge is picked up in practice, in daily life, and not through formal education. As Palestinian designer Qusai Saify explains: „What we learned through working with artisans is to be awake all the time and to be sensitive to each detail you are working on, either how you behave or how you are going to develop the design itself. We live in our heads when we think of a design, but when you really work with the artisans you discover lots of layers. As a designer one can pay attention to the details the artisans are living in and from that you get your feedback to the design itself. If you are aware of this feedback you will learn a lot, if you want to ignore that feedback, or if you are not that sensitive maybe you learn a lot less. Each time something is not working, you need to deal with the situation in a creative way. And with this kind of creativity you don’t have the answer yourself, but you have to find answers together to develop ideas with the artisan. This is a moment when you are reshaping yourself; I felt I was redesigning myself through the designs I was working on.”

Design is a practice of thought and often holds you in a hypothetical individual space behind the computer. When you are working digitally your body often stays more or less in the same position, but when you are making things together your physical movements become part of the energy of the process. Meeting the artisan brings a complete other dimension. Bodies start to interact, you relate to one another, look one another in the eyes, see one’s hands, and feel the materials. This is a relational design process where the body acts in the design development and becomes an important instrument; a tool to make. There is a physical counterforce of the materials and a social interaction between people with very different skill-sets whonormally wouldn’t interact. Often there is a class difference between artisans with lived knowledge and designers from a more formally educated background. They have economic differences, sometimes cultural or racial differences and possibly a language barrier. Visiting the artisan in their working environ- ment places them in the position of strength of knowledge; it puts the skill of crafts and making central to the conversation and allows a mutual space to develop ideas. There is an almost magical exchange taking place in the encounters of testing and making things together; an access to a deeper knowledge, materialized in the acts of making. In doing so, it feels that themoment we better understand how things are made, we achieve a more humane material existence. Making together infuences relationships between people and gives space to mediate initial inequalities, therefore allowing for an emancipatory potential.

These are precognitive processes that go beyond language, beyond a refective attitude and offer participation in different ways. Often in design education the focus is more on aspects of the conceptual, aesthetic or technical, rather than on the role of the body, the sensorial and the design processes that come with it. While this is an important element, even more so when we talk about participative practices and when working with people from different backgrounds. Bodies matter and infuence a sense of trust, connectivity and creativity. It’s something we should take into account, question and sensitize while working together in thesame space.

Hiking in the Battir region with the participants of the create-shop, summer 2015

 

Land & resources

Some of my most impactful experiences in Palestine were the hikes I made over the green and yellow hills that boasted century old olive trees, empty riverbeds, rocky landscapes with a vibratory panorama, or walks far below sea level near the Dead Sea. Hiking alone in the West bank is not recommended due to the unpredictable danger of the military occupation. There- fore I joined different groups of people who hike on a weekly basis, to escape the daily tensions and find protection in being together. Each time l walked the landscape it left a deep impression and I was overwhelmed by its scale and history, as well as being witness to the loss of land, the brutal destruction and the theft of water. Along the way I exchanged thoughts with people I hadnever met before about absolutely anything that had triggered us from what we saw, tasted or smelled. These conversations helped me to relate to the place I was in and to understand the deeply lived relation the people have with it. Many family stories were shared about picking wild herbs, especially ‘za’tar’, the Palestinian thyme, but also sage and mint – or whatever we could find around to make fresh tea for the shared picknick. I was introduced to new tastes with the carob bean, that looks like dark brow dried pea pod, but has an almost fresh liquorish kind of taste (delicious, especially while hiking). I was bewildered about the sometimes centuries old olive trees that were taken care of continuously, from generation to generation. And I admired the innumerable terraces dotted everywhere around on the hills that looked like geological layers, and realised that each single terrace is human made, over centuries of mov- ing stones, making the soil fertile. But also the barbarous scale of the illegal settlements was visible, as well as the mortal pace with which the water level of the dead sea is falling and I was left in disbelief when my interlocutors were telling me about the new Israeli law that forbids Palestinians to pick wild herbs and plants.

The energy of being outside and walking together is an important condition for relating to each other, and our directenvironment. Mohammad Saleh places this partly in the healing capacity of nature: „when negativity started taking over me, I lookedinside myself and asked: what am I passionate about?

And the answer was nature. And this was the starting point for acting upon my own choices: I created gardens, green spots in the places where l lived. You could think that this is not related to politics, society and psychology, but it is. When a person finds a green nice spot, this heals him, and in Palestine we are all wounded, so we are all in need of healing. In doing so, I am not reacting to the negative circumstances, which are dictated by others, but still have a crucial impact on them.” What does nature do and how to start as a designer from that perspective? For Qusai Saify social rituals like harvesting, olive picking and hiking are meaningful for new ideas and fundamental insights. He wants to design in a way that supports a basic lifestyle. In the context ofPalestine, with its limited access to resources and disrupted import, it is utterly relevant to question how to design with limited as wellas local materials.

In a reality where land is so disputed, where grounds are stolen and where history is violently erased, the relation to the place is of existential importance. The land provides existence, identification, and allows one to take root in a place. lt can contribute to both healing and self-sovereignty. Therefore, the role of nature, the relation to a place and the understanding of natural cycles is an indispensable aspect in decolonial design learning.

Create-shop brainstorm at Al Ma’mal foundation for contemporary art, Jerusalem, summer 2015 (Photo: Mohammed Saleh)

 

Storytelling & identity

How can you speak outside of the questions that are imposed on you, how to make the truth about colonial occupation visible, how to show the human aspect of life in Palestine and how to give just enough information that it doesn’t become exploitable in anystructure of oppression? During the symposium ‘Out of Sight’ at the Qattan Foundation in Ramallah in the autumn of 2018, Palestinian filmmaker Kamal Jafari mentioned how several of his friends say that their families hardly ever explained to them what had happened to other family members during the Nakba in 1948. Like his friends, Kamal asked his grandmother several times about what happened to her back then. She was never able to tell him. But then, when she was very old, Kamal decided to film her. This turned out to be the first time that she was able to speak to him: in 1948 she escaped by boat from Haifa towards Lebanon, but there was a big storm so her boat went back to the shore. That is how she survived within the 1948 borders, and not, for instance, end up in a refugee camp in Lebanon. For Kamal this was an important story to contextualize his own identity. He stressed how important it is as a filmmaker to share and express how people experience some- thing,and what such a situation means on a human level.

Storytelling can be seen as a form of resilience and resistance, because it also allows space for the expression of identity, which is both problematic and vital if these identities are marginalized. Interior designer Ghadeer Dajani says that the stories don’t need to always be about Palestine, “because sometimes we become prisoners in this circle of expectation that if you are a Palestinian then all your work has to be about Palestine. This can be too much, too intensive. Sometimes you need to detach yourself from the political situation, from occupation, from colonization, and design something just for the sake of designing.” Areej Ashab mentions how she experienced this as a Palestinian student in an Israeli institution in Jerusalem: “Sometimes we are seen more as Palestinians than as design students and we are pushed to deal with issues related to the political situation and how it affects our lives. As we become subjects of exoticism, sometimes it is more interesting for them [Israeli teachers] to hear us talking about what we go through rather than listening to what Israelis do. This perception puts us in uncomfortable situations having toalways confront and expose the conficted reality we live in. They see it from a very orien- talist point of view, and through ourrefection in their eyes we fear we also adopt this point of view. This issue is very sensitive and it‘s important to think about it in relation to design education; how can we remove ourselves from this identity and try to be just designers, just ourselves?”

During her participation in the interdisciplinary create shops, together with foreign participants Areej valued the ex-change. “It was interesting to see how international designers translated the reality they see here, compared to those of us who had always lived here and who often take for granted how we live. Together this resulted in interesting products and lifechanging experiences.” For instance, when the international participants of the create shop passed the checkpoint in Qalandia, they were deeply shocked about the system, the way people are treated like animals and the inhumane confrontation with security. Together with Areej, they kept on talking about this experience and it led to the design of the ‘Checkpoint bag‘; a leather backpack that reflects on the heavy layers of the checkpoint-crossing with a hidden message that is only visible under the X-ray; a silhouette of some old keys as a symbol for the right to return for refugees.

Although many of the cultural exchanges in our create shops have been considered positive, there have also been problematic moments. In some occasions the question of ‘the outsider’ was perceived as violent or disruptive to the safe atmos- phere of the shared space. It can be a burden to teach others and to detail your own oppression, or experience of racism.

One’s stories can become just a recording for others who are not part of your reality, especially in a context in which “the westerner” is always the privileged party. Therefore, we talked a lot about how we can secure an equal space for learning and commitment with a group of people with very different lived realities, traumas, privileges and education. How we transfer a real understanding of a situation; how you can help in imagining it, feeling it, emerging through it. And how design can tell stories, fundamental stories of what it means to be in an oppressed position and how a political situation affects people’s lives.

Designer Ayat Bader at Jaba Glass Factory developing the “straway”, summer 2015

 

Solidarity & resistance

Palestine has a very different context to Europe; geographically, politically, economically, historically and colonially. It is a reality where systems of oppression, exclusion and violence play distinct roles. Settler colonialism has resulted in the cultural, so- cial, and physical displacement of indigenous peoples. In order to rationalize this violence, settler colonialism relies on narratives of hierarchical power that inevitably positions the settler state and its stakeholders at the top. It is a complicated and often difficult geo-political situation thatmakes Palestine a unique case; it is colonialism, but it is also not. It is post colonialism, but it is also not. From the outside it’s hard to understand what it means to grow up on the inside. But if one begins to understand thecolonial and military situation in Palestine, then many other patterns of oppression, class, and colonial or postcolonial structures become tragically visible. This allows for a deeper understanding that can inform a more conscious design practice dislodging dominant and oppressive colonial narratives, one that can imagine and also enact the world differently.

The experiences and encounters in Palestine have changed me, as a person and profoundly as a designer. It made me realize how my aims for quality were rooted in a modernist ideology and were far from inclusive. By working so closely with designers and artisans in Palestine, beyond the aesthetic and conceptual facets, I learned to value the relational and participatory potential of design, and how meaning and narratives are shaped through contexts and connections. Things are their relations; nothing exists by itself; everything is interconnected.

It often confronted me with my own privileged, and sometimes ignorant, position as a white European in a racially and violently occupied reality. When I visit Palestine with a group of “Western” designers, it is important to think of how to avoid reproducing colonialstructures, instrumentalization or disruptive power relations. I became aware of pedagogical tools for engaged design practices where students come to realize their social and political position and the power structures they function within, giving space to other knowledges through a design process. lt allowed us to move beyond existing definitions of both design and the political, and focus on stimulating international collaborations of solidarity. However, simply learning serving with their work. If we all do so, we might counteract the conservative neo-liberal systems that dominate the markets and that feed into subsequent systems of exploitation and suppression.

Acknowledgments to Areej Ashab, Ghadeer Dajani, Pascal Gielen, Yazan Khalili, Rudy Luijters, Mohammed Saleh and Petra Van Brabandt for their generous and inspirational input. This article is part of the PhD research ‘Disarming Design from Palestine’, supported by ARIA, a practice-led doctoral study at Sint Lucas School of Arts and University, Antwerp.

— Get a copy of the book ‘Design for Conservative times’ at Onomatopee Publishers

Heirloom seeds
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Thought-provoking designs
تصاميم لتحفيذ الفكر

Heirloom seeds
بذور بلديّة

Seeds from the Palestine Heirloom seed library

Available seeds at Disarming Design from Palestine:
— Abu Samara (wheat)
— Bamyeh / Okra (ladies’ fingers)
— Molokhia (Jute Mallow)
— Sabanikh (spinach)
— Yakteen (gourd)
— Zinnia Sabella (flower, edible petals)
—
Bitinjan (Eggplant)
—
Kusa

On top of the political violence, Palestinian farmers also face the dangers of agribusiness with its corporate seed production and land dominance. But many of these farmers are the heroes who have been safeguarding the precious seeds, and the knowledge that these carry. Palestinian Heirloom seed varieties are under threat; many have gone extinct. These seeds have been passed down to us over the centuries, and carry in their genes the stories and the spirits of Palestinian indigenous ancestors. Aside from their cultural significance, these seeds carry options for our future survival as we face climate change and the erosion of agro-biodiversity worldwide. As such, it is urgent that we save heirloom seeds, and propagate them.

Founded by Vivien Sansour, the Palestinian Heirloom Seed Library project seeks to preserve and promote heritage and threatened seed varieties, traditional Palestinian farming practices, and the cultural stories and identities associated with them. Based in the Village of Battir, a UNESCO World Heritage Site outside Bethlehem, the library also serves as space for collaborations with artists, poets, writers, journalists, and other members to showcase and promote their talents and work. Working closely with farmers, the Library has identified key seed varieties and crops threatened with extinction, and provides opportunities to inspire local farmers and community members to actively preserve their bio-culture and recuperate their local landscape.

The library has also launched a global platform for conversations about bio-cultural heritage. Its Traveling Kitchen is a mobile venue for social engagement in different communities, promoting cultural preservation through food choices.

Established 2014, Bethlehem, Palestine

Learn more about the Palestinian Heirloom Seed Library and the work of Vivien Sansour on this website.

For more on Abu Samara, listen to this song dedicated to the wheat by Zaid Hilal: Abu Samra أبو سمرة حبة القمح .

 

Design
  • Vivien Sansour (PS)

    Vivien Sansour (Palestine) is a believer in the magic of the simple things in life. This magic represented in her work where seeds and soil are brought to life through her practice as a conservationist and writer. Vivien feels at home in the fields where farmers plant their seeds and share their stories. In her practice, Vivien combines the work of conservation with the sensory world of image and sound. She works with farmers around the world to find and reintroduce threatened crop varieties, and collects stories to assert the ownership of seeds by communities and not companies.

    Vivien was born in Palestine and grew up in Bethlehem. She does not live in one particular place as her work takes her to different communities around the world – from Palestine, California, Central America and the Caribbean. She is the founder of The Palestine Heirloom Seed Library and the Traveling Kitchen project, both initiatives aim to bring seed heritage back to the dinner table so we can, “eat our history rather than store it away as a relic of the past”.

  • Daleen Saah (PS)
Production
  • 100% Palestinian heritage seeds

    harvest 2020, packed in 2021

    10 x 15cm (size of package, including seeding information inside)

€7,50

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How can design help counteract unjust realities Rug industry was an essential part of their lifestyle Define what is needed to enhance social, political and emancipatory impact Disarming is an approach that positions design as a cultural tool to oppose oppression Storytelling can be seen as a form of resilience and resistance Giving space to other knowledges through a design process Collective memories highlight relationships that allow a crossing and intermingling between differences. Exploring how design can be a vehicle for political resistance and solidarity Investing in conditions for a learning experience that focuses on economic, political and artistic independence How to present work online and reach the right audience? Extraordinary people working in areas where cultural expression faces challenges The effect of occupation on local design and how it restricts craft and product development What does it mean to be Palestinian today, and how to express that through locally made designs? Overviewing methods and exercises on oral tradition A place for knowledge exchange and community building in relation to contemporary design How can we reflect, integrate and interact with oral tradition? “The only thing that gets me going is sharing stories.” What roles do listening, remembering and going public play in the performance of oral history? Ticking needles, curious questions, whispering experiments, rhythmic embroideries and a ping pong of ideas Supporting students and designers on reviving their industries of handicrafts and innovative production Can we think of freedom beyond a logic of progress? Learning together while doing Creating space for artists to link their designs with local histories. A collaborative process with high emphasis on creativity, collaboration, making and quality We felt powerless and were struggling how to relate to this uncomfortable truth Crafts are a social act that relates to the sense of a place, how a community is built How can we envision a political horizon beyond the realities around us? "Today in Birzeit." What is ‘home’? When and where are we at home? How can we change our surroundings and how can design contribute to the quality of life? Collaboratively developing a series of thought provoking products Showing the disarming reverse side of the black-and-white image
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The design is an invitation to the world to look closely Catalyse a broader view and prevent people from covering Reminding us to bear a greater responsibility towards life The false accusation may have ended, but the occupation has not Caring for identity is as important as protecting health itself Aside from their cultural significance, these seeds carry options for our future survival Catalysing a more open view and preventing people from covering over their own eyes when it comes to Palestine The more time we spend together, and listen, the more stories are unveiled A rapidly growing but comparatively small niche of Palestinian science fiction Sublime landscapes, tranquil urban scenes, frolicking children; who would associate these images with Palestine? “Record! I am an Arab, and my identity card is number 50 000” The Hirbawi factory is one of the only remaining factories to manufacture keffiyeh locally Wearing this unique piece on becomes both a political statement This apron shows what is the one and only recipe for its artist Our roots hold strong and silently in the earth Our trees are like our children The shared taxi is part of the West Bank urban landscape There are no possibilities of movement, since all the squares on the board are occupied Erasing the Israeli checkpoints from the landscape and envisioning a Palestine free from the occupation “We love life whenever we can” An illegal apartheid wall, on a scale impossible to imagine A flourishing craft industry established during the time of Roman rule in Palestine The artist decided to declare the existence of a non-existent state Only two soap factories survive today The occupation also takes part of the body and mind Living under occupation is an attack on people’s mental strength Most importantly they had the “Made in Palestine” tag on them The pattern of this keffiyeh is found and copied in Palestine Shoes have a long tradition as symbols of opposition and defiance You begin to realise that you have become yet another victim of the spell “I felt confused, between humiliation and joy" The birds’ freedom of flight and movement is in sharp contrast Behind each of these numbers there is a personal story The plates connect different locations in the world to Gaza The embroidery on this scarf is based on a traditional scarf in Gaza Travelling with a Palestinian Authority passport is still subject to many limitations Is it even possible to be neutral in situations of oppression? Why do we too rarely address the contemporary reality of this city and region Talking about Palestinian football is rare, although there is a national team This tailor-made garment is fragile Why can’t we be as generous as nature itself?
About Contact
facebook
The design is an invitation to the world to look closely Catalyse a broader view and prevent people from covering Reminding us to bear a greater responsibility towards life The false accusation may have ended, but the occupation has not Caring for identity is as important as protecting health itself Aside from their cultural significance, these seeds carry options for our future survival Catalysing a more open view and preventing people from covering over their own eyes when it comes to Palestine The more time we spend together, and listen, the more stories are unveiled A rapidly growing but comparatively small niche of Palestinian science fiction Sublime landscapes, tranquil urban scenes, frolicking children; who would associate these images with Palestine? “Record! I am an Arab, and my identity card is number 50 000” The Hirbawi factory is one of the only remaining factories to manufacture keffiyeh locally Wearing this unique piece on becomes both a political statement This apron shows what is the one and only recipe for its artist Our roots hold strong and silently in the earth Our trees are like our children The shared taxi is part of the West Bank urban landscape There are no possibilities of movement, since all the squares on the board are occupied Erasing the Israeli checkpoints from the landscape and envisioning a Palestine free from the occupation “We love life whenever we can” An illegal apartheid wall, on a scale impossible to imagine A flourishing craft industry established during the time of Roman rule in Palestine The artist decided to declare the existence of a non-existent state Only two soap factories survive today The occupation also takes part of the body and mind Living under occupation is an attack on people’s mental strength Most importantly they had the “Made in Palestine” tag on them The pattern of this keffiyeh is found and copied in Palestine Shoes have a long tradition as symbols of opposition and defiance You begin to realise that you have become yet another victim of the spell “I felt confused, between humiliation and joy" The birds’ freedom of flight and movement is in sharp contrast Behind each of these numbers there is a personal story The plates connect different locations in the world to Gaza The embroidery on this scarf is based on a traditional scarf in Gaza Travelling with a Palestinian Authority passport is still subject to many limitations Is it even possible to be neutral in situations of oppression? Why do we too rarely address the contemporary reality of this city and region Talking about Palestinian football is rare, although there is a national team This tailor-made garment is fragile Why can’t we be as generous as nature itself?
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