Dreams Amidst Destruction: Belal Khaled’s Artistic Resilience in the Aftermath of Tragedy

In the shadow of rubble, the hopes and dreams of 13 innocent children were tragically silenced by the thunderous echoes of American-Israeli missiles in Rafah, Gaza. The aftermath of this devastating event marked a turning point for Belal Khaled, a Palestinian artist and journalist, whose lens had been capturing the harsh realities of life in Gaza for 139 days.

Haunted by the profound loss of young lives, Belal decided to take a short break from his journalistic endeavors, seeking solace and a chance to rekindle what remained of his artistic passion. Little did he know that this hiatus would lead him down a path of resilience and creativity in the face of unimaginable sorrow.

The Arabic calligraphy, prominently displayed in Belal’s work, translates to “Dreams” in English. This poignant addition serves as a powerful reminder of the dreams that were abruptly extinguished beneath the rubble – dreams that Belal is determined to resurrect through his art.

Stripped of his home, studio, and conventional artistic tools, Belal faced a unique challenge. Undeterred, he made a bold decision – to transform destruction into a canvas on which he would inscribe the lost dreams of those 13 children. In the absence of traditional materials, the remnants of destruction became a medium for conveying a powerful message of resilience and hope.

What makes Belal’s work truly remarkable is the collaboration with the children who survived the massacre. These young souls, who had witnessed the harsh realities of conflict, actively participated in the artistic process, sharing their dreams and aspirations that had been shattered by the violence that unfolded in their neighborhood.

The dreams revealed by these children were simple yet profound – a cease-fire, a return to their homes, and the restoration of a sense of safety. In a world that often forgets the voices of the most vulnerable, Belal’s art becomes a vehicle for these children to be heard, their dreams acknowledged, and their resilience celebrated.

The striking photographs capturing these moments are credited to the talented Abed Zagout. Each image tells a story of pain, resilience, and the unwavering spirit of those determined to rise from the ashes of tragedy.

In the hands of Belal Khaled, destruction becomes a canvas of defiance, a platform for reclaiming dreams, and an instrument for amplifying the voices of those whose stories are often overlooked. Through his art, Belal invites the world to witness the strength that emerges from adversity and to recognize the enduring power of dreams amidst the ruins.

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The post Dreams Amidst Destruction: Belal Khaled’s Artistic Resilience in the Aftermath of Tragedy first appeared on street art united states.
by Sami Wakim via street art united states

Dreams Amidst Destruction: Belal Khaled’s Artistic Resilience in the Aftermath of Tragedy

In the shadow of rubble, the hopes and dreams of 13 innocent children were tragically silenced by the thunderous echoes of American-Israeli missiles in Rafah, Gaza. The aftermath of this devastating event marked a turning point for Belal Khaled, a Palestinian artist and journalist, whose lens had been capturing the harsh realities of life in Gaza for 139 days.

Haunted by the profound loss of young lives, Belal decided to take a short break from his journalistic endeavors, seeking solace and a chance to rekindle what remained of his artistic passion. Little did he know that this hiatus would lead him down a path of resilience and creativity in the face of unimaginable sorrow.

The Arabic calligraphy, prominently displayed in Belal’s work, translates to “Dreams” in English. This poignant addition serves as a powerful reminder of the dreams that were abruptly extinguished beneath the rubble – dreams that Belal is determined to resurrect through his art.

Stripped of his home, studio, and conventional artistic tools, Belal faced a unique challenge. Undeterred, he made a bold decision – to transform destruction into a canvas on which he would inscribe the lost dreams of those 13 children. In the absence of traditional materials, the remnants of destruction became a medium for conveying a powerful message of resilience and hope.

What makes Belal’s work truly remarkable is the collaboration with the children who survived the massacre. These young souls, who had witnessed the harsh realities of conflict, actively participated in the artistic process, sharing their dreams and aspirations that had been shattered by the violence that unfolded in their neighborhood.

The dreams revealed by these children were simple yet profound – a cease-fire, a return to their homes, and the restoration of a sense of safety. In a world that often forgets the voices of the most vulnerable, Belal’s art becomes a vehicle for these children to be heard, their dreams acknowledged, and their resilience celebrated.

The striking photographs capturing these moments are credited to the talented Abed Zagout. Each image tells a story of pain, resilience, and the unwavering spirit of those determined to rise from the ashes of tragedy.

In the hands of Belal Khaled, destruction becomes a canvas of defiance, a platform for reclaiming dreams, and an instrument for amplifying the voices of those whose stories are often overlooked. Through his art, Belal invites the world to witness the strength that emerges from adversity and to recognize the enduring power of dreams amidst the ruins.

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The post Dreams Amidst Destruction: Belal Khaled’s Artistic Resilience in the Aftermath of Tragedy first appeared on street art united states.
by Sami Wakim via street art united states

Communion: Celebrating Unity and Diversity through Art in Coimbatore, India

In the vibrant city of Coimbatore, India, a mural titled “Communion” has emerged, serving as a visual representation of the profound connection that can exist among individuals, transcending barriers of division and embracing unity. Created by the talented Spanish artist Jofre Oliveras in collaboration with the organization St+Art India, this mural captures the essence of sharing intimate thoughts and feelings, particularly in a spiritual or emotional context.

The heart of “Communion” lies in its exploration of unity, even in the face of apparent division. The mural ingeniously portrays a group of women clothed in identical fabric, immersed in water – a metaphor for shared purification within a communal space. This poignant scene serves as a reminder of the interconnectedness that binds us all, irrespective of external differences.

Oliveras’ artwork sends a powerful message about the significance of recognizing and celebrating individual differences as indispensable components of a thriving and diverse community. In a world where minority voices often experience marginalization and isolation, “Communion” urges viewers to embrace and support diversity rather than succumb to divisiveness.

The choice of Coimbatore as the mural’s canvas adds depth to its message. India, with its rich tapestry of cultures, religions, and traditions, becomes an ideal backdrop for an artwork that champions unity in diversity. Coimbatore, a city known for its inclusivity and cultural amalgamation, provides the perfect setting for this mural to resonate with locals and visitors alike.

The collaboration with @startindia, an organization presumably dedicated to fostering creative initiatives, further amplifies the mural’s impact. By joining forces with a local entity, Oliveras ensures that “Communion” becomes more than just a piece of art; it becomes a communal experience, a shared celebration of diversity that extends beyond the confines of the mural itself.

“Communion” arrives at a crucial juncture in our global narrative, where conversations surrounding inclusivity and acceptance are more pertinent than ever. The mural invites onlookers to reflect on the beauty that arises when individuals, despite their unique differences, come together in a spirit of mutual understanding and respect.

As the colors of “Communion” grace the walls of Coimbatore, they serve as a visual testament to the power of art in fostering connections and inspiring change. Jofre Oliveras, through this masterpiece, encourages us to break down walls – both metaphorical and physical – and build bridges that unite us in our shared humanity. In doing so, “Communion” stands as a beacon of hope and a call to action for societies around the world to embrace diversity, celebrate individuality, and forge connections that transcend superficial boundaries.

This project was supported by Asian Paints, in collaboration with Coimbatore City Municipal Corporation.

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The post Communion: Celebrating Unity and Diversity through Art in Coimbatore, India first appeared on street art united states.
by Sami Wakim via street art united states

Communion: Celebrating Unity and Diversity through Art in Coimbatore, India

In the vibrant city of Coimbatore, India, a mural titled “Communion” has emerged, serving as a visual representation of the profound connection that can exist among individuals, transcending barriers of division and embracing unity. Created by the talented Spanish artist Jofre Oliveras in collaboration with the organization St+Art India, this mural captures the essence of sharing intimate thoughts and feelings, particularly in a spiritual or emotional context.

The heart of “Communion” lies in its exploration of unity, even in the face of apparent division. The mural ingeniously portrays a group of women clothed in identical fabric, immersed in water – a metaphor for shared purification within a communal space. This poignant scene serves as a reminder of the interconnectedness that binds us all, irrespective of external differences.

Oliveras’ artwork sends a powerful message about the significance of recognizing and celebrating individual differences as indispensable components of a thriving and diverse community. In a world where minority voices often experience marginalization and isolation, “Communion” urges viewers to embrace and support diversity rather than succumb to divisiveness.

The choice of Coimbatore as the mural’s canvas adds depth to its message. India, with its rich tapestry of cultures, religions, and traditions, becomes an ideal backdrop for an artwork that champions unity in diversity. Coimbatore, a city known for its inclusivity and cultural amalgamation, provides the perfect setting for this mural to resonate with locals and visitors alike.

The collaboration with @startindia, an organization presumably dedicated to fostering creative initiatives, further amplifies the mural’s impact. By joining forces with a local entity, Oliveras ensures that “Communion” becomes more than just a piece of art; it becomes a communal experience, a shared celebration of diversity that extends beyond the confines of the mural itself.

“Communion” arrives at a crucial juncture in our global narrative, where conversations surrounding inclusivity and acceptance are more pertinent than ever. The mural invites onlookers to reflect on the beauty that arises when individuals, despite their unique differences, come together in a spirit of mutual understanding and respect.

As the colors of “Communion” grace the walls of Coimbatore, they serve as a visual testament to the power of art in fostering connections and inspiring change. Jofre Oliveras, through this masterpiece, encourages us to break down walls – both metaphorical and physical – and build bridges that unite us in our shared humanity. In doing so, “Communion” stands as a beacon of hope and a call to action for societies around the world to embrace diversity, celebrate individuality, and forge connections that transcend superficial boundaries.

This project was supported by Asian Paints, in collaboration with Coimbatore City Municipal Corporation.

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The post Communion: Celebrating Unity and Diversity through Art in Coimbatore, India first appeared on street art united states.
by Sami Wakim via street art united states

INTERCESSION: Illuminating Perspectives Through African American Photography

Newton, MA – A compelling exhibition, INTERCESSION, showcasing the diverse talents of Boston-area African American photographers, is gracing the New Art Corridor Gallery at 245 Walnut Street. Opened on MLK Day, Monday, January 15, and continuing through March 3, 2024, the exhibit promises an exploration of light as a medium to connect, provoke, and disrupt.

Philip C. Keith, Rahimah Rahim, 2021.

Born out of contemplation on individual and collective empowerment, “INTERCESSION” originated as a reaction to the ongoing conflict in Gaza. The exhibition delves into inquiries about navigating uncertainties in our understanding of self and surroundings. It raises pivotal questions such as, ‘How can we communicate when both speaking and remaining silent pose equal volatility?’ The photographic expressions of Alonso Nichols, Philip C. Keith, Sam Williams, and Lauren Miller, showcased at the New Art Center’s Corridor at Trio Gallery in Newton, Massachusetts, explore these inquiries through three distinct forms of artistic practice: documenting, projecting personhood, and capturing the essence of spatial memory.

The Artists talks on Thursday, February 15, from 6:00 – 8:00 PM, will provide an opportunity to delve into the artists’ interpretations and insights.

Reggie Woolery, Director of Education at New Art and curator of the exhibition, chose the theme of “intercession” deliberately. “I wanted an expansive theme that could speak to the times but also allow space for the ways artists engage the tension between forms, between people, and within the self,” Woolery explains. The works on display aim to act or interpose on behalf of the viewer, bridging gaps and mediating conversations.

Alonso Nichols – Digital Collage. 2022

Lauren Miller – Indigenous People’s Day – Boston 2022

Beyond contemporary photography, the exhibition will feature historical images capturing the lives of prominent African Americans in Newton, MA, during the 1800s. This inclusion adds a valuable layer to the narrative, grounding the exhibit in both the present and the past.

Sam Williams

INTERCESSION is part of the New Art Center’s BIPOC Curatorial Program, a platform empowering Black, Indigenous, and People of Color to curate exhibitions that spark dialogue and share their unique perspectives. Previous exhibitions in the series, such as “Guess Who I Saw Today” and “ASWAT : أصوات,” have successfully showcased the richness and diversity of voices within marginalized communities.

The New Art Corridor Gallery receives support from Mass Cultural Council, Village Bank, and Mark Development. The BIPOC Curatorial Program is backed by Newton Cultural Council, Village Bank, and Harmony Foundation, emphasizing a commitment to fostering inclusivity in the arts.

For more information on the BIPOC Curatorial Program or other New Art Center exhibition programs, visit the website at newartcenter.org/exhibitions or contact Lennon Hernandez Wolcott, Exhibitions Coordinator, at (617) 964-3424 or via email at lennon@newartcenter.org. Don’t miss the opportunity to engage with the transformative power of African American photography at INTERCESSION – an exhibition that transcends boundaries and illuminates untold stories.

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The post INTERCESSION: Illuminating Perspectives Through African American Photography first appeared on street art united states.
by Sami Wakim via street art united states

INTERCESSION: Illuminating Perspectives Through African American Photography

Newton, MA – A compelling exhibition, INTERCESSION, showcasing the diverse talents of Boston-area African American photographers, is gracing the New Art Corridor Gallery at 245 Walnut Street. Opened on MLK Day, Monday, January 15, and continuing through March 3, 2024, the exhibit promises an exploration of light as a medium to connect, provoke, and disrupt.

Philip C. Keith, Rahimah Rahim, 2021.

Born out of contemplation on individual and collective empowerment, “INTERCESSION” originated as a reaction to the ongoing conflict in Gaza. The exhibition delves into inquiries about navigating uncertainties in our understanding of self and surroundings. It raises pivotal questions such as, ‘How can we communicate when both speaking and remaining silent pose equal volatility?’ The photographic expressions of Alonso Nichols, Philip C. Keith, Sam Williams, and Lauren Miller, showcased at the New Art Center’s Corridor at Trio Gallery in Newton, Massachusetts, explore these inquiries through three distinct forms of artistic practice: documenting, projecting personhood, and capturing the essence of spatial memory.

The Artists talks on Thursday, February 15, from 6:00 – 8:00 PM, will provide an opportunity to delve into the artists’ interpretations and insights.

Reggie Woolery, Director of Education at New Art and curator of the exhibition, chose the theme of “intercession” deliberately. “I wanted an expansive theme that could speak to the times but also allow space for the ways artists engage the tension between forms, between people, and within the self,” Woolery explains. The works on display aim to act or interpose on behalf of the viewer, bridging gaps and mediating conversations.

Alonso Nichols – Digital Collage. 2022

Lauren Miller – Indigenous People’s Day – Boston 2022

Beyond contemporary photography, the exhibition will feature historical images capturing the lives of prominent African Americans in Newton, MA, during the 1800s. This inclusion adds a valuable layer to the narrative, grounding the exhibit in both the present and the past.

Sam Williams

INTERCESSION is part of the New Art Center’s BIPOC Curatorial Program, a platform empowering Black, Indigenous, and People of Color to curate exhibitions that spark dialogue and share their unique perspectives. Previous exhibitions in the series, such as “Guess Who I Saw Today” and “ASWAT : أصوات,” have successfully showcased the richness and diversity of voices within marginalized communities.

The New Art Corridor Gallery receives support from Mass Cultural Council, Village Bank, and Mark Development. The BIPOC Curatorial Program is backed by Newton Cultural Council, Village Bank, and Harmony Foundation, emphasizing a commitment to fostering inclusivity in the arts.

For more information on the BIPOC Curatorial Program or other New Art Center exhibition programs, visit the website at newartcenter.org/exhibitions or contact Lennon Hernandez Wolcott, Exhibitions Coordinator, at (617) 964-3424 or via email at lennon@newartcenter.org. Don’t miss the opportunity to engage with the transformative power of African American photography at INTERCESSION – an exhibition that transcends boundaries and illuminates untold stories.

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The post INTERCESSION: Illuminating Perspectives Through African American Photography first appeared on street art united states.
by Sami Wakim via street art united states

Don’t Hate. Liberate! – Muraleslian’s Powerful Tribute to Queer Youth Advocacy in New England

Last September, the streets of New England witnessed the birth of a monumental masterpiece, as the renowned artist muraleslian unveiled “Don’t Hate. Liberate!” – the largest Pride mural in the region, if not beyond. This vibrant and impactful artwork stands as a testament to the tireless efforts of the members of Out Now, a youth-led, adult-advised queer organization dedicated to fostering connection, solidarity, and advocacy for queer youth and their allies.

The visionary behind this mural, muraleslian, sheds light on the mural’s core message, stating, “The focus of this mural is the members of Out Now, and their work to create connection, solidarity, and advocacy for queer youth & allies.” Through vivid colors and powerful imagery, the mural encapsulates the essence of Out Now’s mission, celebrating the diverse voices and stories of queer youth advocates in Springfield, Massachusetts.

The inspiration for “Don’t Hate. Liberate!” stems from a captivating photograph taken by Isabella Dellolio, a Western Massachusetts photographer, featuring six queer youth advocates from Springfield. The mural not only immortalizes these individuals but also serves as a visual narrative, echoing the stories of resilience, strength, and community building within the LGBTQ+ spectrum.

Photo credit @idellolio

Photo credit @idellolio

Muraleslian brings a wealth of experience to this project, boasting a career as a public artist spanning over two decades in Europe. Her mural, “Rederas,” located in the Basque region of Northern Spain, garnered international acclaim, being voted the third-best mural in the world in 2022. Now, with “Don’t Hate. Liberate!” she continues to leave an indelible mark on the global mural art scene.

Photo credit @idellolio

Out Now, the driving force behind this initiative, operates as a youth-led organization with adult guidance, working tirelessly to promote harm reduction, self-determination, and community building through anti-oppression organizing. This mural marks the third collaboration between Out Now and Common Wealth Murals (CWM), a mural management nonprofit dedicated to partnering with professional muralists and communities to create public art that reflects the hopes, histories, and heroes of their neighborhoods.

The significance of “Don’t Hate. Liberate!” extends beyond its physical presence on the walls of New England. It serves as a beacon of hope, a symbol of acceptance, and a call to action for a more inclusive and understanding society. As the colors of the mural dance against the backdrop of Springfield, it not only celebrates the strides made by Out Now but also invites everyone to join in the ongoing journey towards equality and liberation for all.

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The post Don’t Hate. Liberate! – Muraleslian’s Powerful Tribute to Queer Youth Advocacy in New England first appeared on street art united states.
by Sami Wakim via street art united states

Don’t Hate. Liberate! – Muraleslian’s Powerful Tribute to Queer Youth Advocacy in New England

Last September, the streets of New England witnessed the birth of a monumental masterpiece, as the renowned artist muraleslian unveiled “Don’t Hate. Liberate!” – the largest Pride mural in the region, if not beyond. This vibrant and impactful artwork stands as a testament to the tireless efforts of the members of Out Now, a youth-led, adult-advised queer organization dedicated to fostering connection, solidarity, and advocacy for queer youth and their allies.

The visionary behind this mural, muraleslian, sheds light on the mural’s core message, stating, “The focus of this mural is the members of Out Now, and their work to create connection, solidarity, and advocacy for queer youth & allies.” Through vivid colors and powerful imagery, the mural encapsulates the essence of Out Now’s mission, celebrating the diverse voices and stories of queer youth advocates in Springfield, Massachusetts.

The inspiration for “Don’t Hate. Liberate!” stems from a captivating photograph taken by Isabella Dellolio, a Western Massachusetts photographer, featuring six queer youth advocates from Springfield. The mural not only immortalizes these individuals but also serves as a visual narrative, echoing the stories of resilience, strength, and community building within the LGBTQ+ spectrum.

Photo credit @idellolio

Photo credit @idellolio

Muraleslian brings a wealth of experience to this project, boasting a career as a public artist spanning over two decades in Europe. Her mural, “Rederas,” located in the Basque region of Northern Spain, garnered international acclaim, being voted the third-best mural in the world in 2022. Now, with “Don’t Hate. Liberate!” she continues to leave an indelible mark on the global mural art scene.

Photo credit @idellolio

Out Now, the driving force behind this initiative, operates as a youth-led organization with adult guidance, working tirelessly to promote harm reduction, self-determination, and community building through anti-oppression organizing. This mural marks the third collaboration between Out Now and Common Wealth Murals (CWM), a mural management nonprofit dedicated to partnering with professional muralists and communities to create public art that reflects the hopes, histories, and heroes of their neighborhoods.

The significance of “Don’t Hate. Liberate!” extends beyond its physical presence on the walls of New England. It serves as a beacon of hope, a symbol of acceptance, and a call to action for a more inclusive and understanding society. As the colors of the mural dance against the backdrop of Springfield, it not only celebrates the strides made by Out Now but also invites everyone to join in the ongoing journey towards equality and liberation for all.

---

 

The post Don’t Hate. Liberate! – Muraleslian’s Powerful Tribute to Queer Youth Advocacy in New England first appeared on street art united states.
by Sami Wakim via street art united states

Activists Use Children’s Clothing Display to Highlight the Toll of the Palestinian Kids Killed

In a deeply unsettling manifestation of the human cost of the war on Gaza, UK activists have taken a poignant approach to draw attention to the tragic loss of innocent lives. Since October 7th, the war has claimed over 11,500 Palestinian children in Gaza and the West Bank, a devastating toll that is difficult to comprehend. In response, activists led by the group “Led By Donkeys” have organized a symbolic display on Bournemouth Beach (UK), laying out 11,500 sets of children’s clothing to represent each young life lost.

On a beach stretching 5 kilometers (over 3 miles), the clothing serves as a stark visual representation of the magnitude of the tragedy. The sheer volume of children’s garments laid out on the sand is a chilling reminder of the profound impact that war has on the most vulnerable members of society. The number 11,500 is more than a statistic; it represents the shattered dreams, lost potential, and unimaginable grief experienced by Palestinian families. To visualize the scale of this human tragedy is to confront the harsh reality that behind each piece of clothing lies a story of a life cut short, a family devastated, and a community in mourning.

The message conveyed by the activists goes beyond the visual impact of the display; it challenges the role of governments, particularly the UK and the US, in the perpetuation of the conflict. The assertion that over 99.6% of the children’s deaths are attributed to the Israeli military underscores the urgency for a reassessment of international policies.

The call for action is clear – governments worldwide must prioritize the protection of children and reconsider their support for entities implicated in the loss of innocent lives. The activists argue that supplying arms to the Israeli military, responsible for the majority of child casualties, is incompatible with the principles of safeguarding human rights and ensuring the well-being of children in conflict zones.

The Israel-Palestine conflict is a complex geopolitical issue with deep-rooted historical tensions. However, the international community cannot turn a blind eye to the human suffering, especially when it involves the most vulnerable members of society. Global leaders must work towards diplomatic solutions and take concrete steps to protect children from the devastating consequences of armed conflicts.

The clothing display on Bournemouth Beach serves as a powerful and somber reminder that behind every casualty figure in a war, there is a human tragedy. It is a plea to the world to acknowledge the plight of innocent children caught in the crossfire and a call for governments to reassess their roles in perpetuating the cycle of violence. As the garments flutter in the wind along the coastline, they symbolize the collective responsibility to protect the future generations from the horrors of war.

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The post Activists Use Children’s Clothing Display to Highlight the Toll of the Palestinian Kids Killed first appeared on street art united states.
by Sami Wakim via street art united states

Activists Use Children’s Clothing Display to Highlight the Toll of the Palestinian Kids Killed

In a deeply unsettling manifestation of the human cost of the war on Gaza, UK activists have taken a poignant approach to draw attention to the tragic loss of innocent lives. Since October 7th, the war has claimed over 11,500 Palestinian children in Gaza and the West Bank, a devastating toll that is difficult to comprehend. In response, activists led by the group “Led By Donkeys” have organized a symbolic display on Bournemouth Beach (UK), laying out 11,500 sets of children’s clothing to represent each young life lost.

On a beach stretching 5 kilometers (over 3 miles), the clothing serves as a stark visual representation of the magnitude of the tragedy. The sheer volume of children’s garments laid out on the sand is a chilling reminder of the profound impact that war has on the most vulnerable members of society. The number 11,500 is more than a statistic; it represents the shattered dreams, lost potential, and unimaginable grief experienced by Palestinian families. To visualize the scale of this human tragedy is to confront the harsh reality that behind each piece of clothing lies a story of a life cut short, a family devastated, and a community in mourning.

The message conveyed by the activists goes beyond the visual impact of the display; it challenges the role of governments, particularly the UK and the US, in the perpetuation of the conflict. The assertion that over 99.6% of the children’s deaths are attributed to the Israeli military underscores the urgency for a reassessment of international policies.

The call for action is clear – governments worldwide must prioritize the protection of children and reconsider their support for entities implicated in the loss of innocent lives. The activists argue that supplying arms to the Israeli military, responsible for the majority of child casualties, is incompatible with the principles of safeguarding human rights and ensuring the well-being of children in conflict zones.

The Israel-Palestine conflict is a complex geopolitical issue with deep-rooted historical tensions. However, the international community cannot turn a blind eye to the human suffering, especially when it involves the most vulnerable members of society. Global leaders must work towards diplomatic solutions and take concrete steps to protect children from the devastating consequences of armed conflicts.

The clothing display on Bournemouth Beach serves as a powerful and somber reminder that behind every casualty figure in a war, there is a human tragedy. It is a plea to the world to acknowledge the plight of innocent children caught in the crossfire and a call for governments to reassess their roles in perpetuating the cycle of violence. As the garments flutter in the wind along the coastline, they symbolize the collective responsibility to protect the future generations from the horrors of war.

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The post Activists Use Children’s Clothing Display to Highlight the Toll of the Palestinian Kids Killed first appeared on street art united states.
by Sami Wakim via street art united states

From Lebanon to America: The Chronicles of the ‘Not-So-White’ Wanderer

Once upon a time in the land of hummus and history, also known as Lebanon, I believed that we were all part of a mystical, monochromatic tribe called “white.” Little did I know, my journey from the Middle East to West Africa and finally to the land of cheeseburgers and “freedom” would be a rollercoaster of mistaken identities and label confusions.

Picture this: a bewildered kid from Lebanon, blissfully unaware of the complexities of the global Crayola box, where skin tones are more diverse than a buffet at a food festival. Fasten your seatbelts; this is the comical tale of my adventure through identity crises.

First stop, West Africa! As soon as I set foot on the vibrant continent, people started pointing fingers, labeling me as a Middle Easterner. I couldn’t help but chuckle – because, hello, the Middle East is a region, not a race. It’s like calling someone European and expecting them to respond with a specific dance move.

But wait, the plot thickens as I hop on a plane to “the land of the free, the home of the brave – America!” Here, my fellow countrymen decided to label me as “non-white.” Cue the confused facial expressions. It seems that in the magical land of the melting pot, folks were just as puzzled by my identity as I was by their fascination with pumpkin spice everything.

Now, fast forward to the present, where I find myself chuckling heartily at the irony of it all. Turns out, I’m kind of relieved not to be associated with the race that’s apparently waging wars all over the world. I mean, who needs that kind of responsibility? I can barely decide what to have for breakfast without causing a national crisis in my kitchen.

Being the ‘Not-So-White’ wanderer has its perks – no pressure to join any global warmongering clubs, no secret handshakes, and definitely no exclusive invitations to world domination strategy meetings. I’ve successfully evaded the drama associated with being part of a race that, according to popular opinion, seems to have a penchant for geopolitical shenanigans.

In conclusion, my journey from Lebanon to America has been like a comedy sketch with a twist of mistaken identities. Who knew that being “non-white” could be so liberating? So here’s to embracing the humor in our diverse identities, relishing the absurdity of labels, and realizing that in the grand scheme of things, we’re all just passengers on this cosmic rollercoaster, desperately trying not to spill our metaphorical popcorn. Cheers to being proudly ‘Not-So-White’ and blissfully ignorant about world-domination plots!

---

 

The post From Lebanon to America: The Chronicles of the ‘Not-So-White’ Wanderer first appeared on street art united states.
by Sami Wakim via street art united states

From Lebanon to America: The Chronicles of the ‘Not-So-White’ Wanderer

Once upon a time in the land of hummus and history, also known as Lebanon, I believed that we were all part of a mystical, monochromatic tribe called “white.” Little did I know, my journey from the Middle East to West Africa and finally to the land of cheeseburgers and “freedom” would be a rollercoaster of mistaken identities and label confusions.

Picture this: a bewildered kid from Lebanon, blissfully unaware of the complexities of the global Crayola box, where skin tones are more diverse than a buffet at a food festival. Fasten your seatbelts; this is the comical tale of my adventure through identity crises.

First stop, West Africa! As soon as I set foot on the vibrant continent, people started pointing fingers, labeling me as a Middle Easterner. I couldn’t help but chuckle – because, hello, the Middle East is a region, not a race. It’s like calling someone European and expecting them to respond with a specific dance move.

But wait, the plot thickens as I hop on a plane to “the land of the free, the home of the brave – America!” Here, my fellow countrymen decided to label me as “non-white.” Cue the confused facial expressions. It seems that in the magical land of the melting pot, folks were just as puzzled by my identity as I was by their fascination with pumpkin spice everything.

Now, fast forward to the present, where I find myself chuckling heartily at the irony of it all. Turns out, I’m kind of relieved not to be associated with the race that’s apparently waging wars all over the world. I mean, who needs that kind of responsibility? I can barely decide what to have for breakfast without causing a national crisis in my kitchen.

Being the ‘Not-So-White’ wanderer has its perks – no pressure to join any global warmongering clubs, no secret handshakes, and definitely no exclusive invitations to world domination strategy meetings. I’ve successfully evaded the drama associated with being part of a race that, according to popular opinion, seems to have a penchant for geopolitical shenanigans.

In conclusion, my journey from Lebanon to America has been like a comedy sketch with a twist of mistaken identities. Who knew that being “non-white” could be so liberating? So here’s to embracing the humor in our diverse identities, relishing the absurdity of labels, and realizing that in the grand scheme of things, we’re all just passengers on this cosmic rollercoaster, desperately trying not to spill our metaphorical popcorn. Cheers to being proudly ‘Not-So-White’ and blissfully ignorant about world-domination plots!

---

 

The post From Lebanon to America: The Chronicles of the ‘Not-So-White’ Wanderer first appeared on street art united states.
by Sami Wakim via street art united states