Graffiti in the Warpath -A summary of the art work of the Intifada

In my recent research I have stumbled across several articles on the political artworks and graffiti of the Intifada. The subject and works immediately resonated with me and I began to delve in further. What follows is a compilation of the ideas expressed within these articles, and some of the images that are available of these works.

For those who are uncertain the Intifada was, and should specify that I referring to the First Intifada, it was a violent yet unarmed coronation within the state of Israel. The violence focused on the Palestinian people attempting to be freed from Israeli occultation. The conflict consisted of more then just violence, with a majority of palestinians participating in boycotts and strikes. While there was death tolls on both sides it has been noted that 7% of all Palestinian children at the time were beaten, shot, or tear gassed. The conflict itself began in 1987 and ended either in 1991 or 1993. (Depending on the continued anger following the Madrid Conference and up until the Oslo Accords.)

So where does street art and graffiti enter into this confrontation?

The Julie Peteet article, The Writing on the Walls: The Graffiti of the Intifada, reminds us that the war was often referred to as a "war of stones". Both for weapons used, metaphors of will, and canvases for statements. Much of the graffiti that existed within this area and at this time where depicted on stones, walls, or ruined buildings. Peetet describes the scene of the area: ever-changing. Palestinian writers would be produced and interpreted by their communities. Israeli communities would read and deface them. Peteet, writes "while  they represented they also intervened" (140) about the words scrawled across walls. What graffiti was able to do in this arena was create a statement while effectively halting power. In addition graffiti represented expression in a period of heavy censorship.

What was so exceptional about this form of graffiti was that the life span was so short. Writers knew that they had less then seconds to write their message, and the image itself might not last more then a few hours. For a culture that was being suppressed this form of fast expression was a necessary support, but also a reminder of the oppression being constructed.


This work is beautiful and filled with impact, the images below are some examples.

 

All picture rights to Julie Peteet

Bibliography

Julie Peteet, 1996

The Writing on the Walls: The Graffiti of the Intifada, Wiley