History of the Palestine Poster
Contextualizing the “Poster”
Posters, often labeled as "propaganda" due to their perceived manipulative nature, wield significant influence in mass persuasion, yet they also serve as potent instruments of resistance and activism. Despite the negative connotations associated with the term, posters serve to publicize political positions and messages across various contexts. In the Palestinian cause, they offer a tangible and visual representation of Palestinian history, encapsulating figures, significant dates, international solidarity, and political factions integral to the resistance movement. Composed through recognizable symbols, imagery, and stylization, posters convey messages effectively. While their monetary value may not rival that of fine art paintings, their serial nature and bold dissemination methods enhance their impact. Political posters have the power to provoke change in public opinion, often eliciting strong reactions from authorities, property owners, and individuals who oppose the message. The act of tearing down posters proves their effectiveness as a form of resistance. The enduring presence of political posters in Palestinian history underscores their significance, serving as a continuous beacon of resistance and a powerful tool for advancing the message of liberation in the ongoing struggle for the Palestinian cause.
5 Part Definition of a “Palestine poster” according to PPPA
The five-part definition used by the Palestine Poster Project Archives to define a Palestine poster is any poster:
With the word “Palestine” in it, in any language, from any source or time period
Created or published by any artist or agency claiming Palestinian nationality or Palestinian participation
Published in the geographical territory of historic Palestine, at any point in history, including contemporary Israel
Published by any source which relates directly to the social, cultural, political, military, economic or iconographic history of Palestine or Palestinian nationalism
Related to Zionism or anti-Zionism in any language, from any source, published after August 31, 1897
citations: https://www.palestineposterproject.org/faq
History of Palestinian Political Posters
1897: First Zionist Conference
Palestinian political posters date back to the first zionist conference on August 31, 1897, where zionist propaganda materials were crafted to implement the principles of the Basel program and its foundational ideologies of territorial claim of Palestinian lands: "Zionism aims at establishing for the Jewish people a publicly and legally assured home in Palestine.” In response to this decree, August 31, 1897, marks the true genesis of the examination of the Palestinian resistance through posters in response to Zionist imperialism and colonialism.
The Posters of the PLO
Following the Six-Day War, during which Israel occupied the Egyptian Sinai, Syrian Golan Heights, Gaza Strip, and the West Bank, Palestinian resistance movements experienced a significant rise. The struggle for liberation found expression through political posters, notably spearheaded by the PLO's Unified Information Office. This office encompassed fine arts departments that produced a range of media, including political posters, stamps, films, and exhibitions, all centered around the theme of Palestinian liberation. Operating from Beirut, Lebanon, the PLO's media office garnered local support from the Lebanese population, including political parties, artists, intellectuals, and youth movements. Additionally, various Palestinian organizations, civil movements, and independent artists contributed to the production of posters. Arab artists from Palestine and neighboring countries were also actively engaged, advocating for the Palestinian cause and highlighting themes of Arab nationalism, class struggle, and opposition to Zionist occupation. These posters proved to be effective, lightweight, and low-cost means of visual and iconographic communication. They played a crucial role in raising awareness about Palestinian identity and the struggle for liberation, mobilizing international solidarity, and inspiring youth to join the resistance. Originating as simple images on walls, these posters aimed to shift public opinion towards institutional support through avenues such as international competitions, exhibitions, and publications.
During the 1970s and 1980s, amidst the Palestinian Revolution and the relocation of the PLO headquarters from Jordan to Beirut, political posters emerged as a powerful medium for expressing the aspirations of the Palestinian people. These posters focused on portraying the essence of the Palestinian revolution, depicting refugees—both men and women—as they rose from the dire conditions of tents, embracing education and guerrilla warfare skills. They also depicted Palestinian farmers, workers, teachers, and poets, symbolizing the diverse cultural fabric of Palestine. Moreover, posters served as a poignant response to the traumatic dispersal of Palestinians, preserving the memory of lost homes and sustaining the connection to their homeland through artistic representations. These posters sought to popularize national landmarks and symbols, such as the Dome of the Rock, the Church of Nativity, the olive tree, the key of return, and the traditional embroidery patterns of folk dress. Some posters even visually interpreted verses from poems, such as Mahmoud Darwish's "Palestinian Wedding," immortalizing the sacrifice of the fida'i (freedom fighter) in the struggle for liberation.
1960-1982: The Golden Age
Posters of the late 1960s and 70s were denounced as mere tools of propaganda, but they were not produced by an established state, but rather by various organizations and individuals. A year after the establishment of the Palestinian Liberation Organization (PLO) in 1964, the PLO issued a set of four iconic posters to make its presence known as a political body emerging from the masses and representative of the Palestinian people. Ismail Shammout, a leading poster artist for the PLO designed the posters with the caption “We All Are the Sons of Palestine,” and symbols of armed resistance, struggle, the flags of other Arab countries to highlight Arab solidarity, the map, and Palestinians as the pillar of the organization. Notably so, Shammout included the PLO’s logo, which was then a technique used by the other factions of the Palestinian resistance and their own posters.