base.php
About &
Contact
Shop
المحل
Disarming Design
from Palestine
تصاميم مجرّدة من فلسطين
DDFP
Stories
حكايات
  • 0
Disarming Design from Palestine
تصاميم مجرّدة من فلسطين
  • Shop
    المحل
  • Stories
    حكايات
  • About
  • Contact
    Thought-provoking designs
    تصاميم لتحفيز الفكر
  • theblacksac

    الحقيبة السوداء
    €199,00
  • Heirloom seeds

    بذور بلديّة
    €7,50
  • Nabulsi soap

    صابون نابلسي
    €6,00
  • Awakening Goggles

    Awakening goggles

    قناع الصحوة
    €25,00
  • State of Palestine

    دولة فلسطين
    €12,00
  • Gaza earrings ‘Love for life’

    أقراط غزة "نُحِبُّ الحياة"
    €175,00
  • ‘I am an Arab’ t-shirt

    قميص "سجِّل أنا عربي"
    €17,00 – €19,00
  • Cactus fruit candle

    شمعة الصبّار
    €8,50
  • Gaza Birdhouse

    Gaza birdhouse

    بيت العصفور الغزّاوي
    €12,50
  • Beyond First Impressions

    Beyond first impressions

    ما بعد الإنطباع الأوّل
    €25,00
  • Measuring inequality

    قياس عدم المساواة
    €35,00
  • Bird plate

    صحن الطّيور
    €30,00
  • Distance to Gaza

    المسافة إلى غزة
    €20,00
  • Coloured Keffiyeh

    Coloured keffiyeh

    الكوفية الملوّنة
    €25,00
  • Tears

    دموع
    €5,00
  • Qastina apron

    مريلة قسطينة
    €30,00
  • Watermelon flag

    علم البطّيخ
    €17,00 – €39,00
  • Face Mask

    Identity = health

    الهوية = الصحة
    €13,00
  • Christmas baubles from Bethlehem

    كرات عيد الميلاد من بيت لحم
    €7,00 – €9,00
  • Unveiled souls

    أرواح مكشوفة
    €17,50
  • Reworlding Ramallah

    Reworlding Ramallah

    إعادة قولبة العالم : رام الله
    €12,50
  • Subjective atlas of Palestine

    أطلس فلسطين الذاتي
    €24,50
  • Freedom shoes

    أحذية الحرّية
    €145,00
  • Black Keffiyeh

    Black on black keffiyeh

    أسود على كوفية سوداء
    €25,00
  • Hasakah

    الحسكة
    €40,00
  • ‘Everywhere’ fisherman’s box

    صندوق صيّاد السمك "من كلّ مكان"
    €50,00
  • Yellow cab toy

    لعبة السيرفيس الأصفر
    €35,00
  • Watchtowers and water tanks game

    لعبة أبراج المراقبة وخزّانات المياه
    €195,00
  • Checkpoint brush

    فرشاة الحاجز
    €17,50
  • Under construction

    صحن "قيد الإنشاء"
    €20,00
  • Poetic nights

    ليالٍ شعريّة
    €20,00
  • Stress ball

    كرة التّوتر
    €7,50
  • Proudly Made in Palestine

    صنع في فلسطين، بفخر
    €25,00
  • Everywhere Palestine

    فلسطين في كلّ مكان
    €60,00
  • Gaza scarf

    وشاح غزة
    €95,00
  • Disengaged observer outfit

    زيّ المراقب الدّولي
    €75,00
  • Barcelona or Madrid? No, Palestine!

    برشلونة او مدريد؟ لا، فلسطين!
    €0,50
  • Blanco

    القميص الأبيض
    €75,00
Stories
حكايات
From Checkpoint bag to Blacksac
من شنطة الحاجز إلى البلاك ساك Al Quds, 2015 – Al Khalil, 2022
  • Highlight
2021, a year in retrospect
٢٠٢١ سنة مفصليّة January 2022
  • Highlight
Call for solidarity
نداء للتضامن Until liberation
  • Highlight
Masters programme Disarming design
ماجستير معهد ساندبرج Sandberg Instituut Amsterdam, 2020 — 2022
  • Learning
Design for Disarming times
التصميم لأوقاتنا المجرِّدة Onomatopee publishers, 2020
  • Writing
Life of the Palestinian rug
ورشة البساط الفلسطيني Birzeit, September - October 2020
  • Learning
Facemask from Gaza
قناع الوجه من غزة August 2020
  • Highlight
Hosh Jalsa
حوش جلسة Birzeit, 2018 – 2020
  • Events
  • Learning
Marketing workshop
ورشة التسويق Birzeit, January – February 2020
  • Learning
Bags Prince Claus Awards
حقائب صندوق الأمير كلوز Amsterdam, 4 December 2019
  • Highlight
Crossing Boundaries lecture
محاضرة "اجتياز الحدود" VCUQatar, Doha, 19-22 November 2019
  • Learning
  • Speaking
Intimate terrains
إقتراب الآفاق Birzeit, 21–29 august 2019
  • Create-shop
  • Learning
The real and the absent
جسور من الماضي Birzeit, June – September 2019
  • Learning
Young artisans market
سوق الحرفيّين الشّباب Birzeit, 2019
  • Events
Reworlding Ramallah
إعادة قولبة العالم : رام الله Birzeit, January – April 2019
  • Highlight
  • Learning
  • Writing
Thought-provoking December gifts
هدايا محفّزة للفكر في فترة الأعياد Droog, Amsterdam, 6 December 2018 – 6 January 2019
  • Exhibiting
Collective thinking
تفكير جماعي Hosh Jalsa, Birzeit, November – December 2018
  • Learning
My house is your house
البيت بيتك Design Museum Ghent, 16 February – 15 April 2018
  • Exhibiting
Nieuwe Instituut
معرض نيوي انستتوت Het Nieuwe Instituut, Rotterdam, november 2017
  • Exhibiting
Amman Design Week
أسبوع عمان للتصميم Darat al Funun, Amman, October 2017
  • Exhibiting
  • Speaking
Dream versus reality
الحلم مقابل الواقع Amman, September 2017
  • Create-shop
Dream Defenders
مجموعة "دريم ديفندرز" Ramallah, 17 August 2017
  • Learning
Design Museum Cologne
متحف التصميم، كولونيا Cologne, 14 May 2017
  • Exhibiting
  • Speaking
Henry Van De Velde Awards
جائزة هنري فان دي فيلد Bozar, Brussels, January – February 2017
  • Events
  • Exhibiting
Welcome home
الدار دارك Ramallah, 8 – 30 October 2016
  • Exhibiting
  • Speaking
Hosh Qandah, create-shop 2016
حوش قندح، ورشة التصميم ٢٠١٥ Ramallah, August – September 2016
  • Create-shop
Gaza & Jerusalem, create-shop 2015
ورشة التصميم من غزة للقدس Gaza & Jerusalem, 26 August – 8 September 2015
  • Create-shop
Qalandiya international
قلنديا الدولي IAAP, Ramallah, 27 October – 15 November 2014
  • Exhibiting
Ramallah, Create-shop 2014
ورشة التصميم ٢٠١٤ Ramallah, Bethlehem, 21 October – 7 November 2014
  • Create-shop
Eye on Palestine
العين على فلسطين KVS, Brussels, 24 March – 5 April 2014
  • Exhibiting
Conflict & design
التصميم و الصراع C-Mine, Genk, 15 December 2013 – 9 March 2014
  • Exhibiting
Bethlehem, create-shop 2013
ورشة التصميم ٢٠١٣ Bethlehem, 30 Sep – 12 Oct 2013
  • Create-shop
Ramallah, create-shop 2012
ورشة التصميم ٢٠١٢ Ramallah, Bethlehem, Hebron, Nablus, 1 – 15 September 2012
  • Create-shop
Subjective atlas of Palestine
أطلس فلسطين الذاتي Ramallah, 2007
  • Highlight
  • Writing
Stories
حكايات

Bethlehem, create-shop 2013
ورشة التصميم ٢٠١٣

    Tags:
  • Create-shop
Nadya Hazbunova and tailor exchanging idea's on fashion, Bethlehem. Photo: Jaroslav Toussaint

Create-shop 2013
Bethlehem, 30 Sep – 12 Oct 2013
During this create shop several artists and designers have collaborated with workshops, artisans and businesses in Ramallah, Bethlehem and Hebron. They have developed contemporary useful products, that were presented and developed further in the framework of the design label ‘Disarming Design from Palestine’. The results included clothes by Nadya Hazbunova, Jaroslav Toussaint and Diala Isid; a watch-tower and water-tank game by Mark Jan van Tellingen; a miniature Mohammad Assaf by Khaled Hourani; a falafel-coin-maker by Tommi Vasko; a new musical instrument by Asma Ghanem; embroidered car decoration by Ali Aldeek; olive wood shoes by Amer Abu Matar; hourglasses by Majd Abdel Hamid and more. In addition some participants have written about their experiences.

Photo report of workshop by Jaroslav Toussaint

 

Disarming Design from Palestine is an inclusive design label incorporating products designed and developed by local and international artists, designers, artisans and students. The label includes a diverse collection of functional products and items providing an alternative Palestinian narrative that challenges the stereotypical production of the souvenir. The project provides a self-sustainable space of production and creation for both young and established artists and designers, and aims to catalyze the development of design as a discourse in Palestine.

During several ‘create-shops’ students, artists and designers from Palestine and abroad engage in an enriching design discourse with artisans, small emerging businesses and international colleagues. Participants experiment and develop ideas collectively, engage in discussions and are introduced to different Palestinian craft workshops. There are presentations, screenings and field trips.

The overall objective of the project is to contribute to sustainable cultural and economic development in Palestine, through constructing working relationships between artists, designers, craftsmen and women. Our goal is to reinterpret cultural heritage through collaborative and inclusive creation-production mechanisms, and providing market exposure nationally and internationally.

Narrative report Create-shop

Follow the full programme, read the briefing, the process, see all developed designs and engage with the reflections by the participants in this detailed narrative report.

 

Please wait while flipbook is loading. For more related info, FAQs and issues please refer to DearFlip WordPress Flipbook Plugin Help documentation.

 

 

Great revolution

Nadya Hazbunova

As a half Palestinian half Czech designer, I always saw my point of view in design of taking the traditional Palestinian heritage and presenting it in a new “European” way. My aesthetic has always driven me to plunge into designs incorporating symbols typical of Palestine or calligraphy. When I was invited to take part on this project I had no idea what I was going to do, and I enjoyed brainstorming and hanging out with the various designers; seeing my native city Bethlehem through their eyes. My biggest realization was that as much as I looked through my European part upon my Palestinian heritage and surrounding I would never be able to see what they saw —despite the fact that I lived abroad for more than 10 years. This realization drove me to design what I call the “identity collection” or series, which start from a finger print telling the story of each Palestinian carrying a hawwyieh (Palestinian ID card) having to pass the checkpoint, to olive wood heel platform sandals decorated with the Palestinian kuffiyeh, and beautiful colorful happy mosaic and clay map of Palestine rings. All in referral to how this journey helped me realize that I will always see Palestine, and always refer to it in my work, through my Palestinian eyes, because that is who I am, that is my identity.

I am very grateful for all the people whom I met throughout this journey, many have been so helpful and patient with me and taught me new things, which helped my ideas and work come to life. Some of the artisans were a revelation to me, as I stumbled upon them like upon a treasure chest in a desert. I was so inspired by the many personalities and stories I have encountered in those short two weeks, and I loved every bit of it. The workshop has inspired me to do so much more and work with new materials, as well as taken me to far away cities in Palestine like Qalqilya and Tulkarem —which are hard for me to reach otherwise.

I hope this project will bring a lot of opportunities to the local artisans we worked with, as they work hard every day and are undervalued. I am stunned at their craftsmanship and modesty and hope that this is only the beginning of a great revolution on the local handmade goods market!

Majnuna in wonderland

Jaroslav Toussaint

Our second day in Palestine, started on the first day of October. The night before, the white rabbit had lead us save and in time through its hole and nobody of us could really believe that we have had no problems with the Queen of Hearts and her guards; that we were finally here, in miraculous Ramallah.

The evening lead us into the workshop of the rabbits old friend, the crazy cobbler whose favourite time of the day had just begun, the night. Our party member Majnuna, skilled in all kinds of crafts and arts, found herself in Wonderland, tried all his machines and agreed on becoming the cobblers apprentice.

But no night shall pass without the celebration of our non-birthday, and so our glasses were filled with a white liquid called Arak, which is not Raki, nor it is Ouzo —no matter what the bottle says. The glasses where wicked too and filled themselves each time we tried to empty them. The Rabbits and Cobblers old friend, the March Hare, joined our party and the night went on with talks about pleasures and inconveniences, the Queen of hearts and her guards, about the amazing creatures of Wonderland and their ability to make so much good out of so much nothing.

Finally we were brought to our hotel by the crazy cobbler on his flying carpet. Waking up after a short sleep which had given our livers too little time to digest the don’t-call-it-Ouzo we hurried on to our base for the next 10 days, where this very famous guy was born about 2000 years ago; who had a long beard, many followers and could turn water into wine. There, in the city of eternal Christmas, we were introduced to our new friends, inhabitants of Wonderland, skilled craftsmen and -women of whom we were going to learn so much.

Writing this in retrospect is a matter of great difficulties. Here in Wonderland things are different than they appear. Weeks, especially the last not yet two, can feel like months or years. The ones who seem defeated can be more free than their conquerors. To reach the place across the street, only some meters away, can be a journey of years.

We learned a lot, especially to open our eyes and listen and not to rely on the knowledge we brought with us in our baggage. We smoked the Argeelah with the local caterpillars which will certainly turn into butterflies some day. We made friends in Wonderland and once we are back home we will see things a little bit with their eyes and we will wonder and tell about Wonderland.

Rumbling machines

Mark Jan van Tellingen

Rumbling machines, steady hands, and hospitality would summarize todays Wonderland. After half an hour drive we arrived in Hebron were we would spend most of our day. When entering the city a warning sign welcomed us ‘No entry for Israelis, entry illegal by israeli law’, as if it was Area 51. In Hebron, the biggest city in Palestine considering the 170.000 inhabitants of H1 and H2, our first stop would be the ceramic and glass workshop. After a quick tour we wandered around the place, admiring the craftsmen that were blowing glass and gracefully decorating pottery. The ease with which they made their glass products was fascinating to see. With the options in mind some of us started painting or collecting ideas for possible products. Several tourists and interested people entered the workshop on and off and were shown around, for a while making it look like an artisan showroom. Our next stop was the Hirbawi keffiyeh factory, “Raise your keffiyeh, Raise it” as Arab Idol winner Mohammed Assaf sings in “Ali Keffiyeh”. The rumbling sounds of weaving machines slowly came towards us when entering the factory. In the entrance hall a big bedouin tent was implemented as a business meeting point. Two man were keeping a close eye on the keffiyeh during the manufacturing process, removing the threads that were superfluous. The factory, operational since 1961, annually produced 150.000 scarfs until the early 1990s. “Today, due to the signing of the 1993 Oslo Accords and the opening of trade with the outside world, only four machines remain in operation producing a mere 10,000 scarves a year. Not one of these scarves are exported, as overseas suppliers produce mass quantities at a fraction of the price, and the shrinking Palestinian economy and Israeli checkpoints and roadblocks create further hindrances to production and trade for small businesses like Mr. Hirbawi’s. In Mr. Hirbawi’s own words: My machines are in good shape. They can start working tomorrow. I just need a market.”

In the office factory several keffiyehs were bought either for personal use or for artistic purposes. After we filled our bags with the Palestinian symbol of all symbols, Maher Shaheen —one of the participants— invited us to his house for a tea and a sweet arabic coffee. It was a perfect closure of the day being invited into the intimacy of a Palestinian family.

Authenticity

Tommi Vasko

When a European design student wants to experience authentic night out in Ramallah or in Bethlehem, there are two basic options: one can ask a local to recommend a Palestinian restaurant, order hummus, falafels, shawarma, turkish salad and other local dishes and drink freshly squeezed juice or local Taybeh beer. Or, one can go to one of the restaurants serving non-Palestinian food, drink a Carlsberg or a Coke while a mix of local and western pop-music is playing in the background.

While the former option might offer an opportunity to taste the traditional cuisine, it doesn’t mean that the latter would be anyhow less genuine or ‘real’. Nor that one or the other would authentic for all for the same reasons. Or that authenticity would be anyhow objective. So, to be able to conscious about what’s behind this decision, I believe it’s important —at least for me— to examine and open up the notion of authenticity a little bit.

On Saturday morning, while one part of the group went to Northern parts of Palestine to see the Qalandiya zoo, I decided to spend the morning walking in the old part of Bethlehem. I came across this arabic market not far from the main square; just a narrow alley and stairs left from the main/oldest street of the city. Narrow alleys with tarps hanging above to provide a bit of shade were crowded already in the morning. Fruit and vegetable stalls, spices, first- and second hand clothing, household stuff, electronics and plastic, basically everything is sold here. Already from far away you could see that most of the things were made in China. The fruits and vegetables however, without labels, rather ripe and imperfect, were certainly cultivated not too far away from here.

If one thinks authenticity as something geographical, something related to soil and the place, the fruits and vegetables in this market had a stronger aura of authenticity than the almost universal made-in-China stuff (it’s more authentic to eat hummus in the middle east than it is in Europe). But at the same time it’s at least as authentic to see Chinese products in the Middle East as it is in Europe.

Later in Ramallah, when the European design student decides to go for a drink to a clean and trendy Mexican restaurant or to hyped Octoberfest in newly opened five star Mövenpick Hotel (or both!), the authenticity is rather cultural. And cultures change. It’s an experience about a moment, people and the global cultural environment. And floating in the Dead sea in lotus position the day after, the experience is again all about the exceptional environment: full-body mud masks and the sea and western pop-music and Nestle ice cream.

Hosting institute:
International Academy of Arts, Palestine
Partner:
Bethlehem Fairtrade Artisans

Organisational team:
IAAP (Khaled Hourani, Majd Abdel Hamid), BFTA (Suzan Sahori, Hanna Musleh), Moniek Driesse, Annelys de Vet
Participating artists, designers and artisans:
Majed Abu Farha, Mamon Ashreteh, Mark-Jan van Tellingen, Martina Petrelli, Nadya Hazbunova, Nizar Elatem, Osama Boulos, Samer J. Hanna, Leali Rishmawi, Sawsan Rishmawi, Shameer Nyland, Ali Aldeek, Tariq Salsa, Tessel Bruhl, Tommi Vasko, Samer J. Hanni, Diala Isid, Eyad Sway, Faraj Kasbary, Hani awwad, Jack Nassarallah, Jaroslav Toussaint, Maher Shaheen, Abu Ahmeed, Abu Jack Nassarallah, Amer Abu Matar, Angelica Falkeling, Asma Ghanem, Baha Samra,
.

 

Products in our collection rooted in this create-shop

Awakening goggles

€25,00

Blanco

€75,00

Stress ball

€7,50

Everywhere Palestine

€60,00

Disengaged observer outfit

€75,00

Distance to Gaza

€20,00

Hide and see travel pouch

€60,00

‘I am an Arab’ t-shirt

€17,00 – €19,00

Leaf behind earrings

€45,00

Leaf behind ring

€45,00

Made in Palestine

€90,00

Watchtowers and water tanks game

€195,00

Identity = health
was added to your cart
View basket Continue shopping
Thought-provoking designs
تصاميم لتحفيذ الفكر

Identity = health
الهوية = الصحة

Keffiyeh mask to protect both health and identity

Half a decade before the Covid-19 pandemic، Gaza-born artist Mohammed Musallam created a face mask based on the traditional keffiyeh textile. The conceptual artwork could be seen both as an expression of Palestinian identity and as a means of protection; caring for identity is as important as protecting health itself. It was first used in Gazan hospitals under the Israeli occupation’s siege. Impossible at that time to foresee the impact of Covid-19; this face mask shows the power of artistic imagination. The artwork did not lose any of its meaning; just the contrary.

Gaza’s potentially disastrous combination of widespread impoverishment, densely-packed refugee camps and extremely limited hospital capacity make us even more aware of the catastrophic impact of the Israeli occupation and how fragile life can be. Caring for each other is more important than ever.

Under Musallam’s supervision, the new masks were produced in Gaza City by tailor Abu Alaa Ghaben; to be worn for your safety and as an act of solidarity.

Read review in The Art Newspaper, June 2020

 

Design
  • Mohammed Musallam (PS)

    Mohammed Musallam was born in Gaza in 1974 after his family had been dislocated from the historic Palestine as a consequent of the 1948 war. He holds a PhD in philosophy of Fine Arts, Painting Department, Fine Arts College, Minia University, Egypt. He currently resides in Gaza and works there as a lecturer of “Painting and the History of Palestinian Arts” at the College of Arts, Al Aqsa University. From his first steps as a university student he became greatly influenced by the abstract art processes and approaches. In his Art, he focuses on portraying a range of humanistic issues, which go beyond the limitations imposed by any prevailing time-related matters, which may be oppressive and persistent simultaneously. At the same time, he concentrates on conveying the notion of the preservation of our humaneness amid the harshness of our environment as one of the most important reasons for our existence.

    www.mohammedmusallam.com

Production
  • Abu Alaa Ghaben (Gaza, PS)

    Carpenter living in Gaza City.

  • 2020

    Multi layered face-mask (front side keffiyeh textile, backside white cotton) with elastic straps, washable & reusable

    19 x 9 cm

€13,00

Clear
facebook
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
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?
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?
×