Palestinian posters
As a result of a broader trend of globalization, French and British companies sought to profit off of travel to the Mediterranean, financing marketing campaigns that advertised tourism in the Holy Land.
The earliest known Palestine poster was published in France and depicts a landscape adorned with olive branches (presently regarded as one of the principal symbols of Palestinian identity).
[2]: 28 At the turn of the 20th century, the poster emerged anew as a style of Palestinian art largely informed by global solidarity movements, particularly in the wake of the violent aftermath of the 1967 Six-Day War (referred to in Arabic as the Naksa).
Due to their ease of replication, posters were universalized and rapidly became a primary medium for resistance and artistic expression, as well as a tool of interface between those inside Palestine and those exiled outside of it.
Yossi Lemel Sliman Mansour Fawzy El Emrany Gallery Group of the Contemporary Art Museum Colorado State University; Fort Collins, Colorado (1997)[11] Commissariat Général aux Relations Internationales International Relations Ministry in the French Community Al Ma'mal Foundation for Contemporary Art; Jerusalem (2013) The Palestine Poster Project Archives (PPPA) was established by Arab studies scholar and curator Daniel Walsh as a means of accessibly preserving the history of Palestinian posters.
In 1983, curated posters from Walsh’s collection were exhibited in the UN General Assembly Building and were intended for display at the International Conference on Palestine in Geneva.
Major political groups in Palestine use posters to commemorate their leaders and members who have been killed in active struggle against Israeli forces,[20][6] as well as Palestinian national figures.
[7] Resistance has been represented in Palestinian posters in a variety of ways, such as "Anti Armor Hunters",[22] "Graveyard for Invaders" [23] and "Al Karameh - The Symbol".
[24] These posters depict the Battle of Karameh fought between the Palestine Liberation Organization (PLO) and Israel Defense Forces in 1968.
[2]: 37-38 The late 1970s to early 1980s saw an increase of women in poster art, including Mona Saudi and Jumana El Husseini.
Julien Bousac’s L’archipel de Palestine orientale sees the artistic exploration of the Oslo Accords and how they manifest geographically.
[2]: 28 The original goal of the Palestinian cause sought tourism as the forefront, before the expansion into military resistance and later, symbols of peace and hope.
[28][29] Posters of individual victims of the occupation are also incredibly common, often mythologizing the subject as a martyr (Shahid, Arabic: شهيد).
[30] In Palestinian culture and society, a martyr can be anybody directly or indirectly killed by the Israeli occupation, regardless of whether or not they had been participating in active resistance or a member of a militant group.
[21][30] In public, posters are often placed on walls, in shops and restaurants, on light poles, and can be shown on TV, turning their subjects into well known figures and heroic symbols of Palestinian nationalism and resistance.
