I read a chapter from Charles Tripp, The Power and the People, titled Symbolic Forms of Resistance: Art and Power (p256-320). Reading this chapter, I am considering how to structure my podcasts so that it focuses on several major themes. I am now thinking about how art is used for various purposes, and how I can structure my series of podcasts around these, to better understand the role of art in resistance in a manner that helps us appreciate its impact on societal transformation. I am thinking of matching an artist to each “theme” below, that was highlighted in the chapter, in order to have a focus for the podcast. Also by reading this chapter I decided to focus on visual art rather than the written word or performance art:

Art as symbolic resistance: I am intrigued by art serving a purpose of resistance for the oppressed as a form of inspiration for them (Tamari striking a chord with Palestinians who passed by and wandered around the wrecked cars).

Art for community building: Art can foster a sense of community and solidarity among oppressed groups. The chapter looks at art creating new collective “understandings of histories, rights and identities.” In addition, by art being put forward in the public sphere, it demands a voice as part of the “community”.

Art using common local objects: Some art, either by being present on material objects such as the separating wall (Laila Shawa’s art on the Walls of Gaza), or by integrating embroidery or the Palestinian checkered Kaffiyeh, builds upon the local in a very interesting way that I would love to explore more.

Art as a form of communication with the oppressor: The metamorphosis caused by the Israeli tanks destroying Tamari’s work is one example of art (physically) engaging supporters and critics. Another from Turkey was Halil Altindere with the “Dances with Taboos” exhibit which led to a lawsuit (included a giant banknote for a million Turkish lira with the iconic portrait of Ataturk). Art sending a message to try to confront and change someone’s mind is fascinating.

Art as a tool to communicate with the world: By challenging the status-quo, art can be “intended to bring about a shift in the way the world is viewed, through the development of a new, possibly radical aesthetic.” Graffiti (even Banksy) on the apartheid wall is one example. Examples from the Islamic Republic of Iran focusing on women and gender is another instance. A third is a photograph by Dutch photographer, Johannes Abeling, of English graffiti from Gaza.

Art as a form of nonviolent protest: Using it as a catalyst for change in a peaceful manner is also a wonderful theme. SImply producing a visual trigger that can start a conversation would be a nice theme to look at.

Art despite suppression: State and dominant powers frequently attempt to suppress or co-opt resistant art. Despite suppression, resistant art continues to inspire and mobilize people globally. The censorship apparatus used as a result of “governments’ obsession about the public expression of dissonant and subversive messages and their fear of the power of art” would be another interesting aspect.

Fine art and street art: Juxtaposing the differences between these two forms, considering artists who paint; and including those who graffiti on the street, or create posters. Maybe I can even discover some on social media, or document street art within Amman itself and interview community members as an alternative podcast form for their reactions.

I also read two articles, one from New Arab, Wall as a Weapon: Graffiti, Gaza and Spray Paint Solidarity, by Youssra el-Sharkawy, and the other from Harvard International Review, From Piece-Making to Peacemaking: The Influence of West Bank Barrier Graffiti Art, by Dara Adamolekun.

I had not initially thought about graffiti and street art when I was considering artists in conflicts. This angle, however, has really piqued my interest. Graffiti comes from the Italian word “graffio” which means to scratch, as its original form was scratching onto a wall. The concept of using the public domain for art to spark conversations really appeals to me. I think from the articles these themes through art interested me the most:

Public and Free: I was thinking about how important the accessibility of art was especially when considering “artists in conflict” and how street art and graffiti give an angle that is very inclusive towards who can experience the art, as well as a massive platform to promote the message.

Symbols: The graffiti, due to its simplicity, creates certain symbols that are memorable and become icons (such as Handallah), or simple slogans. I had not given a lot of thought to the active role art plays in furthering “resistance” movements, and helping build advocacy platforms.

Edgy: More than art in galleries, the street art and the graffiti have stronger and edgier messages that do not know the boundaries of the much politer art exhibits. Street art often pushes boundaries that are considered red-lines.

Conversations and Values: Due to the very public nature of the graffiti and the street art, it often sparks conversations, in a manner that forces passer-bys to consider their own values and stand as it relates to issues of freedom and social justice.

Wider Solidarity Movements: Street artists are part of wider communities that enjoy cross-border connections at times. The celebration of their work internationally links them to much wider networks that address and bring light to local issues of conflict.

Intertwined with the Tangible Physical History: Street art and graffiti are drawn on physical objects (walls, buildings, etc.) and so it helps highlights both the tangible environment and the art itself, and so draws attention to both.

Controversy of Beauty: I was surprised to read in the Harvard article how some people found the physical objects atrocious and so did not appreciate the art beautifying them. I am planning to go take photographs of some of the street art in Amman as well, to include, and to investigate some of the artists.

I watched a video produced by AlJazeera, “How Palestinians are using art as a form of resistance against Israel” focusing on three artists:

Laila Ajjawi: A Palestinian refugee who lives in a refugee camp in Irbid, Jordan. She is a street artist who uses graffiti as a tool to convey her political message.
Jenin Yaseen: Is an artist based in Dearborn, Michigan. She finds it her responsibility to ensure that her art tells a story, she gave up a career in finance to pursue her dream of becoming an artist. She faced censorship from certain museums when exhibiting her work.
Maen Hammad: Is an artist who uses skateboarding as a mechanism to draw people into public spaces.

I read an article by Kyle Craig, “The Challenges of Palestinian Solidarity in Amman’s Street Art Scene.” With the uprising of protests due to the Gaza crisis, street artists in Amman found a new purpose.

Spatialized Aesthetics: Historically, artists in Amman have used the defacement of public and private property (garbage cans, electricity boxes, public walls) to provide a “canvas” for their art promoting a simple political message.

Competing State Agendas and Inconsistent Censorship: Street art has not been properly regulated. It is used as a platform for mobilizing communities toward a political agenda that might not be aligned with the government’s vision.

Co-optation and its Discontents: Artists try to work within the boundaries of the system. However, this comes with risk of powerful institutions, or the government co-opting their aspirations and practices. The more work within the boundaries set by the government, the easier it is for art to be used for promoting the state’s public image, disguising their actual restrictive behavior.

Deepening Entanglements: There are certain strategies and cultural policies that artists, states and their allied institutions are adopting but certain challenges still remain.