JERUSALEM – A quiet and generally unreported war is unfolding across the fabled stone walls of Jerusalem. It follows a clash of religion and cultures, literally outlining them in black, red or white.
Street art and graffiti are relatively new to this part of the world but are now a common sight in the capitol and elsewhere in Israel. Like everything here they are often related to either politics or religion, especially in Arab areas. The art may not enlist weapons, but it is highly political and may help to either incite or avoid violence and war.
Politics is almost the only subject in Palestinian street art. It seems unlikely all Arab artists are obsessed solely with immediate political goals of Hamas, but maybe it’s just a remarkable coincidence. Odds are it’s much safer for them to follow the party lines with the spray can.
Bethlehem’s security or separation wall is densely covered with art and messages, especially near checkpoints where they will get a large audience.
“Here is a wall at which to weep” and other laments dot the walls.
Opposing this are strident jihadist overtures: “The martyr’s stronghold,” and, “Happy birthday, Israel, you genocidal maniac!”
Arafat’s mug is prominent, as he seems to still be considered a heroic figure across the area. In Gaza a portrait commemorates convicted killer and terrorist leader Marwan Barghouti, who was sentenced to five life sentences as a leader of both Intifadas.
A text in Arabic accompanies one huge likeness: “They have turned our land into a prison, and Marwan is in chains.”
Israel as a state and general entity is mocked, berated and scolded for its existence. Missing from security walls is any pro-Israeli (make that pro-Jewish) sentiment. There are a few overtures to peace in general, but they are vague and demand no action. The militant, jihadi-tinted pieces, on the other hand, are bold and decisive. These are likely to be more polished in appearance, with some made by professionals.
The Israeli side of the security walls hosts more than local color. Artists from across the world have dropped by to leave their messages, which are almost invariably left wing and sum up to, “Screw Israel.”
Obviously Israel doesn’t fear art or artists. The nation does little to censor political messages on the carefully patrolled cement canvas that wends across portions of the nation.
Hamas, however, isn’t nearly so liberal in artistic expression. The terrorists Palestinians voted to represent them have turned on them more than once. In 2007 Hamas confiscated posters and materials honoring Arafat on the anniversary of his death.
Yet Arafat is still the most common Palestinian leader depicted on Gaza’s concrete walls, according to Mia Gröndahl, author of “Gaza Grafitti: Messages of Love and Grafitti,” and the year 2007 witnessed a surge in portraits of the veteran leader as a backlash to Hamas allegedly confiscating posters and materials that were to be used for the marking of the three-year anniversary of his death.
U.K.’s “Banksy,” the most celebrated and wealthiest street artist on earth, left his opinions widely scattered across Palestinian territory security walls since at least 2005. His “Girl Frisking the Soldier” is a street-art icon and may resonate with many who deal with aggressive police states anywhere. Whether it is fair to place it here or not is another thing.
Viewers in Gaza understand the “policeman” is the bad Israeli Defense Force guy. In reality, however, Israel’s soldiers are drafted and forced to serve as deterrent to multitudes of weapons and assaults birthed from Palestinian areas. The wall, begin in 2002 to protect Israel, is a response to civilian deaths and many suicide bombings.
Half of the IDF soldiers are women anyway. Groups of pony-tailed teens stand guard across Israel looking more like Banksy’s little girl than the big, creepy soldier man.
Political art must always simplify, and graffiti is usually more like a slogan. If a picture is worth a thousand words, it would take millions of them to illustrate Israel’s socially, politically and religiously complex and manifold state.
Banksy’s work and others from the West constitute a veritable soap opera of empathy solely in service of the Palestinian people and criticism of the Jewish population. In their oversimplified, knee-jerk bias, the painted narratives are just as fictional as a screenplay – “As the World Burns?” or perhaps, “All My Virgins?”
A small percentage of Palestinians, however, are Christians. Stenciled at one point a quote from the Sermon on the Mount appears: “Love your enemies, do good to those who hate you. Bless those who curse you.”
A woman running ministries in Arab areas told me that street art is a powerful force there.
“These people don’t watch television all night,” she explained. “They sit outdoors with each other, and the art on the walls is one of the things they discuss.”
Graffiti in greater Israel often has a different tone and flavor. Only occasionally political, Israeli graffiti is often whimsical and more often art for its own sake or amusement. There is less of it on a grand scale, probably because of the antiquity and historic importance of the place.
Light-hearted stenciled motifs appear, such as one on Bezalel Street in Jerusalem announcing, “It’s best to buy elephants in February.”
Stickmen and cigarette smoking are common, as well as pure design pieces. “Peace doves” from different artists often flutter about the walls and barriers everywhere.
In Jerusalem it’s common to come across work by artist “Jack,” who leaves his morphed humanoid creatures, worked in a realistic, fantasy style. In his paintings Jack refers to iconic places and themes in Jerusalem. You see the Old City walls and pained faces, but the overall mood isn’t terribly solemn.
Artists of all persuasions seem to abide by an unspoken rule that the temples, synagogues, mosques and ancient places are left alone. Recently there has been some politically motivated vandalism the press calls “graffiti” on places of worship. It is manifestly not done by artists, by the looks of it.
Walls across Tel Aviv, known for its art scene and relative liberalism, host famed graffiti artists. The street-art scene there is evident everywhere and often very high quality. Tel Aviv invites and commissions graffiti artists and hosts world class street-art shows.
Since it is unlikely in this world that Israel’s conflict of cultures will resolve anytime soon, we can expect warring factions to continue illustrating the streets. Pray that “Peace doves” will prevail in every place and principality.
SOURCES: Fatcap.com; “Gaza Graffiti: Messages of Love and Politics,” Mia Gröndahl; Demotix.com.
