Larissa Sansour: Palestine, Sci-Fi and Superheroes

An image from Larissa Sansour's Nation Estate project (2012)

An image from Larissa Sansour’s Nation Estate project (2012)

Jerusalem-born Larissa Sansour is one of the most well-known Palestinian artists working today, and her films and images have been exhibited around the world.

In this interview with the Institute for Palestine Studies blog, Sansour discusses food, archaeology and myth, and how science fiction can help us to think through Palestinian politics.

One of the works she discusses is her project Nation Estate (2012), an image from which is pictured here. Sansour envisions a dystopian architectural solution to the problem of creating a Palestinian state in an ever-shrinking Palestinian space:

With Israeli settlement activity confiscating more and more Palestinian land, it struck me that for a Palestinian state ever to materialize, one would have to think vertically. This thought was the starting point for the Nation Estate project. In Nation Estate, Palestinians finally have their state in the shape of a single skyscraper housing the entire population. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth, Bethlehem on the fifth, and so on. Aiming for a sense of belonging, the lobby areas of each floor reenacts central squares and landmarks, the elevator doors on the Jerusalem floor opening up onto a full-scale version of the Dome of the Rock.

Sansour’s high-rise solution recalls Israeli architect Eyal Weizman’s ‘politics of verticality’ (Hollow Land, 2007), of which he describes Jerusalem as an ‘intense case study’.

While Sansour imagines Jerusalem as one floor in a tower block, Weizman discusses a proposal made by Bill Clinton at Camp David for vertically-divided ownership of the Dome of the Rock, where the area would be partitioned imaginatively into Palestinian, Israeli, and United Nations-run segments.

Sansour’s work confronts her audiences with the question of whether her science fictional scenarios are necessarily more absurd than the Palestinian reality.

Jerusalem Interrupted: Modernity and Colonial Transformation, 1917-Present

A new collection, Jerusalem Interrupted: Modernity and Colonial Transformation, 1917-present, edited by Lena Jayyusi and published by Interlink, examines the Arab history of the city.

The volume includes contributions from scholars Issam Nassar, Sandy Sufian, and Nadia Abu El-Haj, among others, and covers a wide range of topics, such as broadcasting, music, and colonial medicine.From Jayyusi in the Introduction:

The history of colonization is always the history of suppression of various texts and voices, as well as ways of being, and the reinscription into discourse and narrative of an alternate set of histories that are predicated on that suppression. ‘Absence’ is not merely docile, it is a produced deficit in knowledge, a kind of negative symbolic capital, a weight and value accruing to that which colonizes empty space. The silenced past needs to speak. The silenced past needs also to be reconnected with the vocal present, in order to speak fully and to play a critical role in subverting the silences planned in the present and the further transformations these silences would enable.

It looks like a fascinating book and there are certainly a few chapters I’ve bookmarked as ‘to read’.

Jerusalem Interrupted forms part of a small but growing field of studies on the city focusing on Arab culture and society in the Ottoman and Mandate periods, often relying on archives such as Islamic court documents, municipal council records, and family papers to reconstruct the details of everyday life.

This new collection sits alongside works by writers including Salim Tamari and most recently, Menachem Klein (whose book was reviewed here by British-Palestinian novelist Selma Dabbagh), as well as the work of Imagining Jerusalem network members Roberto Mazza and Jacob Norris.

Thanks to Roberto Mazza for drawing our attention to this book on Twitter.

Hannah Boast

‘there’s a third party at the negotiations on the city, and that’s Jerusalem herself’

I’ve been writing recently about the Israeli novelist Meir Shalev, particularly his 1988 novel The Blue Mountain, a magical realist account of the lives of Jewish pioneers in an early twentieth century agricultural settlement. Shalev is also well-known in Israel as a journalist, and has a weekly column for the newspaper Yedioth Ahronoth. In searching the literature for reviews, I came across the following comments on Jerusalem from one of Shalev’s columns, published in September 2000, which reminded me of discussions we’ve had at events and on the blog about personifying Jerusalem, prompted recently by a post by Laura Sangha. Shalev criticises the deadly mythology of ‘sacred Jerusalem’, at the same time as producing his own version of the city which is perhaps equally as romanticised:

Everyone talks of the Palestinians and the Israelis and forgets that there’s a third party at the negotiations on the city, and that’s Jerusalem herself. Although she’s called ‘the eternal city of peace,’ the city has not stopped being the reason for and the arena of wars. Notwithstanding the wonderful words Jeremiah, Isaiah and Jesus spoke there, she has always preferred generals, kings, builders and destroyers over prophets and simple citizens. She has an interesting symbioses with them. Jerusalem demands that they come up to her, pray to her, destroy and build her. In return, she offers them perpetuity on the pages of history. No one would remember Herod and Nehemia had they not built Jerusalem. Titus would have been forgotten if he hadn’t destroyed her. Saladin would not be known in Europe if he hadn’t fought for her. Princess Helena would have vanished a long time ago if she hadn’t, with a fatuous wave of her hand, designated the holy places for which the coming generations’ blood would be spilt. Barak and Arafat are no different from their ancient predecessors. They also throb with a poignant yearning to go down in history. They can go down as the first leaders to tell this city: ‘thus far!’ They can tell her that people will no longer die for the sanctity of her stones and tombs. But neither seems to be made of this stuff. Barak prattles about ‘defending Israel’s holy places’ and Arafat recites ‘Terra Santa’ in fluent Crusader language. And we – – mere Jews and Arabs — will still be placed on the altar of this Moloch called sacred Jerusalem.

Hannah Boast, Network Coordinator

Aspiring to a New Jerusalem: how to reform a society, Part II

Hannah Boast:

Wonderful follow-up post by Dr Laura Sangha, on aspirations for a New Jerusalem during the Reformation. I’ve really enjoyed reading these posts, which have given me much to think about.

I was interested in the highly suggestive quote from the minister Mr Sharp, who warns: ‘consider your near relation to Jerusalem, she is the mother of us all’.

To take this on a contemporary tangent, the quote resonates with twentieth and twenty-first century gendered (and often very heterosexist) depictions of Israel/Palestine in literature and political discourse. In these comparisons, the land is represented variously as a nurturing mother, vulnerable woman, or lost lover, to the extent that Raja Shehadeh has discussed this objectification as a kind of ‘land pornography’.

For instance: in Harun Hasheen Rashid’s ‘Poem to Jerusalem’, Jerusalem is personified as a ‘weeping’ victim of rape (for which read: colonisation), who must be protected by Palestinian men, while in Yehuda Amichai’s ‘If I Forget Thee, Jerusalem’, the status of the city as personified mother/lover is ambiguous (one line states that ‘If I forget thee Jerusalem […] I shall forget my mother’, while another adds that ‘my love will remember’). Many of Amichai’s poems are addressed to Jerusalem, a theme I’m sure others have examined at greater length, while Anna Ball (2012) has discussed gendered tropes in Palestinian literature and film.

Thinking about Amichai reminds me of a quote from another of his poems on Jerusalem, ‘Love of Jerusalem’, which, even if it doesn’t escape the framework of heteronormative male desire which structures so many of these poems, seems a lighter note on which to end this brief post:

‘But he who loves Jerusalem
By the tourist book or the prayer book
is like one who loves a women
By a manual of sex positions.’

Originally posted on the many-headed monster:

Laura Sangha

Once you start looking, it is surprising how many politicians, poets and pioneers have found the answer to the question ‘what kind of society do you want?’ in Scripture, taking as their model the New Jerusalem described by John of Patmos in Revelation. John’s ecstatic vision predicts that following Judgement Day, New Jerusalem will be the earthly location where all true believers will spend eternity with God. This heavenly society became the model that people would evoke for centuries to come. Why was it so enduring?

Another aspirational model - Thomas More's Utopia. Another aspirational model – Thomas More’s Utopia.

Ideal Aspirations for All

As we saw in the previous post, the concept of a New Jerusalem is not static, it is a flexible idea that is taken up and defined according to the historical context it is used in, and in line with the intentions and aims of the person evoking it. It…

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Aspiring to a New Jerusalem: how to reform a society, Part I

Hannah Boast:

A fascinating post by Dr Laura Sangha on some of the many ways in which the concept of a ‘New Jerusalem’ has been invoked in calls for political and social reform.

Originally posted on the many-headed monster:

Laura Sangha

James II James II: funny, entertaining, shocking

Since September last year, I have spent four hours a week discussing, with sixteen University of Exeter students, what it meant to be a Protestant in England from the Reformation right through to the early eighteenth century (thus partly explaining why I have had so little to say on the monster recently). Those 168 hours have been intellectually exciting (Calvinist consensus, avant-garde conformity, objects as sources), sometimes funny (‘performing’ sermons, ballad recordings, James II), hopefully entertaining (puritans vs the alehouse, museum visits, James II), perhaps dull (Ralph Thoresby’s sermon notes, burial patterns as excel spreadsheets), often shocking (king killing, Diggers, James II) and always immensely rewarding. Two central ideas have underpinned our exploration of English religious cultures of the time, encapsulated in the unwieldy module title:

‘A New Jerusalem: Being Protestant in post-Reformation England’.

Half inspired by Alec Ryrie’s excellent study of the…

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Teaching Jerusalem: an interview with Dr Loren Lerner, Concordia University

Dr Loren Lerner, beside a work created for the course by student Anna Campbell, titled ‘Design for an Ideal Starlight’.

Imagining Jerusalem network member Dr Loren Lerner is professor of Art History at Concordia University, Montreal, where she teaches a course called ‘The City of Jerusalem: Ideas and Images’. Loren kindly agreed to be interviewed about the course for this blog, and our conversation is below.

Hannah: What are your aims for the course? Can you give us an idea of its scope, structure, and the primary materials that you use?

Loren: The syllabus outlines the topics covered, learning activities, expected outcomes and the bibliography of readings. I have culled the readings from many disciplines. This is because I found few books and journal articles devoted to the art history of Jerusalem. As well, I want the students to be acquainted with writings on the art and architecture of Jerusalem from the fields of archaeology, history, religion, anthropology and sociology and by scholars from different backgrounds and environments. Below, is the course description.

ARTH 369/2A The City of Jerusalem: Ideas and Images

Over the centuries, Jerusalem has been called Shalem, Yerushalayim, City of Melchizedek, City of the Great King or City of David, Aelia Capitolina, Prototype of the Heavenly Jerusalem, Bayt al-Maqdis or al-Quds, and City of Peace. This course considers these different attachments to Jerusalem through visual perceptions and artistic representations at the religious, social and political levels. With a focus on the art and architecture of ancient times, we will examine Jerusalem’s multifaceted religious narratives, allegiances, and ideas, including the “heavenly” Jerusalem that has existed in the minds of believers and artists since the Hebrew Bible. Beginning with the Bronze Age and the First Temple and Second Temple periods, this attention to Jerusalem’s ancient era will be a persistent theme in an extensive study of the city’s history that covers the Roman period, Byzantine Jerusalem, the Arab, Crusader and Mamluk periods, the years under Ottoman rule (1517-1917), the British Mandate (1917-1948), Jerusalem’s division and reunification (1948-1967), and Israel today.

Hannah: Were there preconceptions about Jerusalem that you were trying to tackle when devising the course?

Loren: I have not had a problem in this regard because the students, so far, have few preconceived notions about Jerusalem or opinions based on biases or prejudices. The multicultural character of the city of Montreal and Concordia University’s diverse student population are factors that have contributed to the open-minded reception of this course.

These are some of reasons why I developed this course on Jerusalem:

  • to examine forms of artistic expression including architecture, sculpture, painting and other media from across a variety of cultural identities so as to encourage respect for the art of these different communities
  • to demonstrate how an expanse of history depends mainly on how one reads the evidence
  • to encourage an understanding of human experiences from the viewpoint of others who interpret the world in significantly dissimilar ways
  • to integrate a large historical perspective that reveals the changes in the art of particular eras, as well as the continuities of religious, ethical and social values
  • to explore artistic productions and cultural practices that construct identity, influence public discourse and act as catalysts for social and political changes

Hannah: Has there been anything in student responses that you didn’t expect, or anything that they found particularly surprising when learning about Jerusalem?

Loren: I was pleasantly surprised by the students’ enthusiasm for Jerusalem. Since a good many of the students in this class are artists in Concordia’s studio arts programs, they could, for their major assignment, create a work of art, reflecting a visual response to this ancient city as a site of major world religions. The work of art had to be accompanied by an exploratory text. Below are six works and short descriptions excerpted from the student essays. (For the complete texts see the first issue of the Jerusalem Art History Journal: An Undergraduate eJournal/Histoire de l’art à Jérusalem : cyberrevue étudiante de premier cycle).

(Click the images to enlarge)

Three Religions, Three Sacred Sights
Eduardo Mazzonna

mazzonna

In this print, Three Religions, Three Sacred Sights, Eduardo decided to include the Church of the Holy Sepulchre, the Dome of the Rock and the Western Wall. He reveals how light, in association with colour, shape, and decorative elements plays a significant symbolic role in these structures.

martelJerusalem Belongs to No One and Everyone
Patrick Martel

Patrick’s painting, Who’d win in a wrestling match…. (Lemmy or God), is titled after an iconic scene from the cult movie Airheads in which Lemmy Killmeister of heavy metaldom is often referred to by his nickname “God.” Patrick asks if all three religions worship the same god, and all three have their own version of the end of days, and all three believe this event will lead to the annihilation of the non-believers, would this event not ultimately result in the annihilation of everyone? How, Patrick asks, can Judaism, Christianity, and Islam pretend to have primacy over each other?

cossarImmaculate Mary: A Reflection on the Assumption of the Blessed Virgin Mary and the Tomb of the Virgin in the Kidron Valley, Jerusalem
Elsbeth Cossar

Elsbeth’s artwork titled Immaculate Mary is based on an in-depth exploration of the theological debates concerning the Virgin Mary’s Assumption. With symbols taken from the Book of Revelation she presents the moment of the Assumption of Mary who is brought into a golden, heavenly realm through the parting clouds surrounded by a crown of twelve stars with the crescent moon at her feet. In this work the door of the tomb is wide-open, leading down into a dark area and there are two iconic rooftops (the Dome of the Rock and the Church of the Holy Sepulchre). This is to emphasize that the tomb depicted is the one in Jerusalem, as there is controversy over the true location of the tomb, either Jerusalem or Ephesus.

Histoire d’Esme: An Imagined Story of a Ten-year Old Pilgrim to Jerusalem in the Twelfth Century
Faith Wiley

wiley1 wiley2 wiley3

When Faith first saw the manuscript illuminations of the Crusades the images reminded her of contemporary graphic novels and children’s books. Her awareness that the depictions commonly focused on the heroic stories of men led her to create a graphic novel in a style reminiscent of crusader illuminations. This story features a girl of ten, who would have lived in the twelfth century and travelled to Jerusalem as a pilgrim.

A Study of Islamic Geometric Tile Design
Stephanie Raudsepp

raudsepp1

raudsepp2

Stephanie sought to construct tile designs to showcase the steps involved in the creation of Islamic tiles designs. The series includes fourteen tiles, in a progression that grows increasingly more complex with every additional circle and line, culminating in one tile inspired by the Dome of the Rock, which houses the foundation stone. The use of geometry comes from the Islamic belief that measurement and non-figurative decorative compositions spiritually transcend a pictorial presentation of the physical world.

Jerusalem Syndrome: A Photo Essay
Sara Graorac

graorac graorac2

The Jerusalem Syndrome is a group of mental phenomena involving the presence of either religiously themed obsessive ideas, delusions or other psychosis-like experiences that are triggered by a visit to the city of Jerusalem. In these photos Sara encounters a powerful surge to turn into Mary Magdalene, completely overwhelmed by the religious history and energy in the Holy City.

Hannah: How do you deal with the inevitable questions of balance that come up when dealing with a city that has and continues, very visibly, to be the object of such contention?

Loren: I structured the course to offer different points of view and histories, in this way counteracting perceptions of partiality on my part. This is hopefully apparent from the titles of the lectures:

  • Introduction to the City of Jerusalem: History and Approaches
  • Jewish Yerushalayim
  • Christian Hagiapolis Ierousalem/Hierosolyma
  • Muslim Al Quds
  • Jerusalem and the Crusader Period (1095-1291)
  • Islamization of Space and Society in Mamluk Jerusalem (1260-1517)
  • Ottoman Jerusalem and Modernization (1516-1917)
  • Pilgrimages to Jerusalem, the Way of the Souls; New Jerusalem, Heavenly Jerusalem
  • Jerusalem under the British Mandate (1916-1948)
  • Israeli-Jewish artists and Zion
  • Palestinian Artists, Nationalism and Self-Determination
  • Jerusalem To-day: Architecture, Urban Space and Contested Identities

I emphasize that the discussion of the readings, minor and major assignments and the final exam are devoted to the art history of Jerusalem. This means developing the ability to interpret images and texts, use historical sources, and engage in scholarly debates. Here are some examples of the exam questions I pose to encourage visual analysis and brief excerpts from the student responses.

Explore the figure of the exile and refugee in contemporary Israeli and Palestinian art.

This response will consider a series of Israeli and Palestinian artists specifically concerned with the notion of military action and the state of exile undergone by both Israelis and Palestinians as a consequence…Contemporary Israeli and Palestinian artists concerned with the notion of exile have challenged fears and stereotypes by avoiding accusatory representations of each other. Instead, these artists express the need for social change by 1) representing their own experiences and allowing them to be abstracted, 2) introducing notions of the absurd and 3) bridging the two cultures over common ground.

Discuss photographic depictions of Jerusalem during the nineteenth and early twentieth period in comparison with recent works by artist-photographers.

By examining photographs from the nineteenth century European model and those from contemporary Israeli or Palestinian sources, it becomes evident that the two had different artistic intentions. Both, however, attempt to speak to and delineate space, whether because of a romanticized biblical interest or due to long standing socio-politic tensions.

Consider Jewish representations of Jerusalem in relation to religious ideas and historical events.

The art works examined demonstrate the conscious shift from the formation of identity surrounding ideological, natural, and linguistic unification of Eretz-Israel to creative representations of collective memory and consciousness of traumatic events and the shared history that are relived in the present among Jewish Israelis. Contemporary Jewish-Israeli art brings to the fore historical events and movements while offering critical insight into their current implications and associations.

Explore the interrelationship between the historical-earthly Jerusalem, and the symbolic-heavenly one.

The distinction between a historical, earthly Jerusalem, and a symbolic, heavenly Jerusalem, is not an easy one to make, especially in the case of a Christian perspective….The key to understanding Jerusalem from a Christian viewpoint is the abandonment of the modern notion of a universal history…. Jerusalem as a city was, therefore, a real, physical, historical place, but one where this very tangible existence was taken as a symbol of its eternal significance.

Examine the religious and narrative associations with Jerusalem in works of art, maps, buildings, and, or spaces, not physically located in the city of Jerusalem.

The act of creation has allowed artists to conceive of their own notions of Jerusalem, fulfilling sacred and secular ideologies and functioning as a representational stand-in for particular beliefs. Christian imagery in particular boasts an array of varied approaches to rendering the city which depart from the actual place. As monastic practices urge a contemplative meditation gleaned from an interior visualization of space, the experience of Jerusalem through second-hand accounts or via first-hand remembrance by faithful Christians often yielded personal narratives.

Museum on the Seam “is a unique museum in Israel, displaying contemporary art that deals with different aspects of the socio-political reality.” Present an exhibition concept for this museum on a particular theme and discuss the artists and works you will include in this exhibition.

Inspired by a previous exhibition titled Equal Less Equal, I have chosen the topic of women in the socio-political sphere to be viewed in relation to notions of inequality, injustice, subjection, and human rights. The title of the exhibition will be Women; this is inspired by the name of the art project series Women are Heroes, by Parisian artist JR…. As the exhibition Women is a tribute to females and their various roles and presences in society there will be art works from the artists JR, Paul Guiragossian, Ghassan Kanafani, and Nabil Anani. All of these artists are known for their representations of women in the context of nationalism, or nurture, as well as leadership, rebellion, or beauty.

Visitors to Jerusalem are tired of the tours being offered by the guides because the itinerary is either a visit to Christian, Jewish or Muslim sites, but seldom all three religions combined. Devise a new tour of Jerusalem on a particular theme and argue why you have selected these buildings and places.

Having been employed as a tour guide for this company for several years, it has come to my attention that visitors are growing increasingly disinterested in our tours as they feel they are too specific to a single religion and are ‘missing the big picture’ of Jerusalem. The theme “walls” was chosen because it is versatile and applicable to both the ideological and physical boundaries undergone by Jerusalem throughout its history…

On day one, visitors would meet at Gihon Spring and the tour would take them through the Siloan tunnel below King Hezekiah’s wall. Symbolically, this action represents the birth of Jerusalem; beginning with the spring that enabled life in the region and passing through the threshold of the walls built to defend the people and ideals of the city……

Having given the visitor an understanding of the religious and historical foundations of Jerusalem, the second day of the tour would begin at the Damascus Gate and continue along the wall through the Zion Gate and back to the Western Wall. These gates are part of the gated wall erected by Suleiman the Magnificent. As such they represent an important portion of Jerusalem’s architectural history during the Ottoman empire which lasted four hundred years. Moreover, the walls of Jerusalem demonstrate the cultural overlaps undergone by the city; the Damascus Gate stands above old Roman foundations of similar gates further emphasizing the scope of the city’s history. One may also mention the role of architect Charles Robert Ashbee who, during the British Mandate, suggested the development of gardens around the walls. In this way, visitors may become better acquainted with the role of the British in the development of architecture in Jerusalem….

The final day of the tour would take visitors to the current separation wall where graffiti is a common occurrence. This would place Jerusalem within the territorial Israeli-Palestinian dispute. The separation wall acts as support for many contemporary Israeli and Palestinian artist such as Bansky, Suleiman Mansour, and Yoav Weiss. These artists are important in defining the current climate of the conflict and would complete the visitor’s hopefully more global reading of Jerusalem.

Hannah: How long have you taught the course, and is there anything you’ve changed, or would change?

Loren: I’ve taught the course for two years. I continue to augment and refine the content. The Imagining Jerusalem blog is very helpful, the people, postings, events, publications, etc. Every time I am in Jerusalem I discover more possibilities for course content.

Two weeks ago I visited the Good Samaritan Museum which opened in 2009. Located at a site that served as a hostel along the road from Jericho to Jerusalem the museum focuses on Byzantine mosaic floors of Jewish and Samaritan synagogues and Christian churches, collected from excavations across the West Bank and Gaza. Upon seeing the array of geometric patterns, inscriptions, images, symbols and motifs I realized that I need to devote more attention to the material remains of sites in the vicinity of Jerusalem.

I also intend to explore more closely the buildings and spaces with Jerusalem associations in the city of Montreal. This includes the Chapel of St. John of Jerusalem in Christ Church Cathedral, Fraternités Monastiques de Jérusalem, and the Masonic Memorial Temple. Francine Bernier’s The Templars’ Legacy in Montreal: The New Jerusalem (2003) is an excellent starting point. In a well documented text Bernier explores evidence from 17th century Montreal that reveals the origins of the city as the New Jerusalem of New France.

Hannah: Thank you Loren for sharing these fascinating and thoughtful reflections with us!

Thank you to M. Lynx Qualey of the blog Arabic Literature (in English) for providing the inspiration for this blog post in her interview with Washington University in St. Louis professor Anne-Marie McManus on teaching Syrian narratives.

Hannah Boast, Network Coordinator

Dr Anna Bernard, ‘Resources for International Solidarity’, University of York, 25 February

Our very own co-investigator Dr Anna Bernard will be speaking at the University of York on Wednesday 25th February, on the topic of ‘Resources for International Solidarity: Palestine and South Africa on Camera’.

Anna is now based at King’s College London, but was previously a member of York’s Department of English and Related Literature, and we’re very pleased to welcome her back.

The talk is being hosted by York’s ‘Resistant Resources’ research strand, which developed from the Postcolonial Studies Association Postgraduate Conference held at York in July 2014.

Anna’s talk takes place in the Bowland Auditorium at 6pm. Attendance is free and all are welcome.

Her abstract is below:

Resources for International Solidarity: Palestine and South Africa on Camera

This paper compares the consciousness-raising strategies of anti-apartheid and Palestine solidarity documentaries released in the late 1970s and early ‘80s, including Some of the Palestinians (1976), You Have Struck a Rock! (1981), Occupied Palestine (1981), Who Are the Palestinians? (1983), and Witness to Apartheid (1986). These films emerge at a crucial juncture in the general shift, from the 1970s onward, from third-worldist and liberationist ideas of solidarity to civil society and humanitarian approaches. I argue that these films respond to the organizational needs of their particular moment by negotiating between these conflicting notions of what it means to be in solidarity, a strategy that remains in evidence in contemporary forms of international solidarity activism. They thus have important resonances with, and lessons for, cultural activism in our present moment.

If you’re unable to travel to York, Anna will be speaking on related themes at the University of Edinburgh Department of Islamic and Middle East Studies on Monday 2nd March, as part of their Lectures on Palestine 2015. The abstract for that talk can be found here.

Thanks to our network member Sarah Irving, who is part of a team curating the lectures, for this info.