Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space

Walls and graffiti in Palestine’s refugee camps tell a border story. As people in camps continue to consider themselves refugees from the 1948 Nakba, and as long as their freedom of movement is either denied or at the least controlled by Israel, the border is embodied by each inhabitant of the camp,...

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Main Author: Clémence Lehec
Format: Article
Language:English
Published: Journal of Urban Research 2018-05-01
Series:Articulo: Journal of Urban Research
Subjects:
Online Access:http://journals.openedition.org/articulo/3399
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author Clémence Lehec
author_facet Clémence Lehec
author_sort Clémence Lehec
collection DOAJ
description Walls and graffiti in Palestine’s refugee camps tell a border story. As people in camps continue to consider themselves refugees from the 1948 Nakba, and as long as their freedom of movement is either denied or at the least controlled by Israel, the border is embodied by each inhabitant of the camp, who is transborderized (Iglesias-Prieto, 2012). The graffiti movement was born in the camps as part of the resistance during the first Intifada, both as a means of expression for the community, and as a way to build the community through public space. This paper aims to explore the relationship between the particular urban structure of a refugee camp (focusing on Dheisheh and Aïda in Bethlehem) and graffiti. Through an examination of visual elements on the walls of refugee camps today, I propose an understanding of the relationship to public space as one where politics is at play, outside of any institutional structures.
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spelling doaj.art-b9ab6d7780624078858ca6308a20db382022-12-21T23:02:05ZengJournal of Urban ResearchArticulo: Journal of Urban Research1661-49412018-05-011510.4000/articulo.3399Graffiti in Palestinian Refugee Camps: from palimpsest walls to public spaceClémence LehecWalls and graffiti in Palestine’s refugee camps tell a border story. As people in camps continue to consider themselves refugees from the 1948 Nakba, and as long as their freedom of movement is either denied or at the least controlled by Israel, the border is embodied by each inhabitant of the camp, who is transborderized (Iglesias-Prieto, 2012). The graffiti movement was born in the camps as part of the resistance during the first Intifada, both as a means of expression for the community, and as a way to build the community through public space. This paper aims to explore the relationship between the particular urban structure of a refugee camp (focusing on Dheisheh and Aïda in Bethlehem) and graffiti. Through an examination of visual elements on the walls of refugee camps today, I propose an understanding of the relationship to public space as one where politics is at play, outside of any institutional structures.http://journals.openedition.org/articulo/3399graffitirefugee campspublic spaceborderscommons
spellingShingle Clémence Lehec
Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
Articulo: Journal of Urban Research
graffiti
refugee camps
public space
borders
commons
title Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
title_full Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
title_fullStr Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
title_full_unstemmed Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
title_short Graffiti in Palestinian Refugee Camps: from palimpsest walls to public space
title_sort graffiti in palestinian refugee camps from palimpsest walls to public space
topic graffiti
refugee camps
public space
borders
commons
url http://journals.openedition.org/articulo/3399
work_keys_str_mv AT clemencelehec graffitiinpalestinianrefugeecampsfrompalimpsestwallstopublicspace