Art and Resistance: The Cambridge Encampment for Palestine
For the encampment, creativity fuelled solidarity and persistence in the fight for divestment.
Asemic banner at the Cambridge Encampment for Palestine, May 2024
The Cambridge Encampment for Palestine began on the 6th of May and throughout the encampment, a number of activities were scheduled within the daily timetable, whether it be educational and learning about how antisemitism has been weaponized or creative kite making sessions. The encampment has been an emblem for the fact that resistance comes in many forms and art has been an integral part of demanding the university divest.
“The encampment has been an emblem for the fact that resistance comes in many forms and art has been an integral part of demanding the university divest.”
On day 3 a Tatreez workshop took place, tatreez is a traditional form of embroidery that originated in Palestine over 3000 years ago. Although originally practised in more rural areas of Palestine, it is now being practised by diaspora communities. It was quiet work, with smatterings of conversation about how tricky it is to thread the needle or questions about whether we were doing it correctly. As each thread passed through the fabric a sense of quiet determination was almost tangible, interrupted by a passerby looking to agitate the camp, the embroidery continued quiet, focused and determined. Focus and determination have been principles upheld by each and every member of the encampment, from the stewards to the campers. It was practised in the very act of camping on Kings College regardless of weather, working with one another to ensure banners are made for protest and making sure people are aware of the upcoming rallies.
Palestinian Headscarf, via Wikimedia Commons
On day 31 to celebrate and reflect upon a month of the encampment persisting, tatreez-making took place all day. Alongside this, a zine workshop also took place, a significant element of the art being made at the encampment has been memory. Everything that was made at the workshop was encouraged to be archived and preserved, at the beginning of the workshop there was a reflection on just how much of the efforts to preserve Palestinian memories by different groups such as ‘Librarians and Archivists with Palestine’ had been swept away by Israeli forces. A reflection that only encouraged more enthusiasm to make meaningful zines depicting solidarity. Materials included images of the stickers that have been given out to those walking by, letters sent to the encampment in support and drafts of the speeches given at Senate house for negotiations. It was an activity that again required a lot of concentration but also creativity to commit the Palestinian genocide to wider Cambridge memory.
Reading the poetry of Palestinian poets also became an important part of the open mic nights held at the encampment, honouring and communicating the words and convictions of those who are surviving. It may appear simple, but voicing the poems of those who the university is failing to recognise, at the heart of the institution, leaves a resounding commitment which cannot be swept away. Whilst colleges such as Newnham imposed bans on flags, and ultimately the right to represent one's beliefs and communities, the echoes of these poets will remain within the stone, the soil and most importantly the hearts of the people who made up the encampment. Singing was also an integral part of this art making, with protest songs taking part at the end of some rallies including at the one month rally. Syllables made up a confident and desperate urge to ‘Free Palestine’ filled Kings Parade in a chorus, the wind carrying the message throughout Cambridge.
However, art has not always been a vehicle for resistance, beyond the encampment it has been mindless and obstructing vital information from being accessible. Following the Israeli air strike which decimated Rafah on the 27th of May, ‘All Eyes on Rafah’, an ai image went viral with over 47 million sharing the post on their Instagram. On the surface it seems as if it is another act of solidarity, however, what lies beneath is something far more sinister. Why use ai generated images when Palestinians are bravely recording the destruction around them to raise awareness? Palatability cannot be the priority, and the AI image was so widely shared that posts which were discussing how to donate or provide important figures were lost and less widely seen. Art has an immense power to illuminate and remember, but it can be manipulated to conceal.
Palestinian flags flying in front of Trinity College, Cambridge - Ami Khwaja
The encampment was a living, breathing form of art. Art tells of the beauty of community, the solidarity that can be found in resistance, and the resilience that we are all capable of occupying. Art making has only been one facet of a bigger project in achieving divestment which has also involved detailed, heavy negotiations and logistics but it has been an important one nevertheless.