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	<title>STAND &#187; art</title>
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		<title>Perspectives on Syria: Exploring the Historical Trend of Artist Oppression</title>
		<link>https://standnow.org/2014/11/26/perspectives-on-syria-exploring-the-historical-trend-of-artist-oppression/</link>
		<comments>https://standnow.org/2014/11/26/perspectives-on-syria-exploring-the-historical-trend-of-artist-oppression/#comments</comments>
		<pubDate>Wed, 26 Nov 2014 18:57:02 +0000</pubDate>
		<dc:creator><![CDATA[Zach Ackerman]]></dc:creator>
				<category><![CDATA[Regions]]></category>
		<category><![CDATA[Syria]]></category>
		<category><![CDATA[#syriasly]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[artistic oppression]]></category>
		<category><![CDATA[political cartoons]]></category>
		<category><![CDATA[syria]]></category>

		<guid isPermaLink="false">http://standnow.org/?p=5835</guid>
		<description><![CDATA[In August of 2011, the civilian death toll in Syria had just surpassed 2,000. Today, that toll is reaching 200,000 and the conflict is being pushed further and further into...<a class="moretag" href="https://standnow.org/2014/11/26/perspectives-on-syria-exploring-the-historical-trend-of-artist-oppression/"> Read more…</a>]]></description>
				<content:encoded><![CDATA[<p>In August of 2011, the civilian death toll in Syria had just surpassed 2,000. Today, that toll is reaching 200,000 and the conflict is being pushed further and further into the periphery of media attention. It makes sense then that one victim, one news item may have gotten lost since August of 2011. One of those victims still stays with me: Ali Farzat.</p>
<p dir="ltr">Farzat, now living in exile, had been Syria’s most influential political cartoonist for years before revolution broke out in the streets of Damascus. However, it was only when revolution did break out that Farzat depicted his president, Bashar al-Assad, for the first time in <a href="http://www.elpais.com/recorte/20110827elpepiint_4/XXLCO/Ies/Vineta_Ali_Ferzat.jpg">this cartoon</a>. The response was swift and clear: members of the Syrian Army seized Farzat and broke both his hands.</p>
<p dir="ltr"><img alt="" src="http://www.standnow.org/files/Ferzat%20Cartoon%202.jpg" width="373" height="250" align="middle" hspace="5" vspace="5" /></p>
<p dir="ltr">Since the dawn of despotism, oppressive leaders have used this tactic to cement power. To silence an artist is to reconstruct the image of the human condition &#8212; a condition that in all reality would be better served free. In terms of sheer numbers, perhaps the most prolific regime of artistic suppression occurred in Russia, spanning from Tsar Nicholas I through his successors, imperial and Communist. Similarly prolific authors, like Fyodor Dostoyevsky, were swept away to labor camps, with the hope that they would never be read again. While the Tsar succeeded in &#8220;reforming&#8221; Dostoyevsky, he failed to kill the author&#8217;s movement &#8212; in fact, it was a similar movement that would end up killing the Tsar&#8217;s son a generation later. While the generation that followed had its own serious issues and its own streak of despots, the hope remains that lessons learned can lead to a moderate a fair transition of power elsewhere.</p>
<p dir="ltr">Assad attempts to save face by silencing critics while he stands on the bodies of 191,000 Syrians and the rubbled homes of another 9.5 million. There is an irony in that. There is an irony in that the only way he could have ever saved his name from the spite of history would have been to save those lives, save those homes.</p>
<p dir="ltr">However, perhaps the true irony is that in a tyrant&#8217;s attempt to silence dissent through art, he only spurs it on; if not by the artist he beats than by the next generation, if not in the land that he rules than by those who live in exile. The true irony is that there is only one despot, but thousands of artists ready to take up the cause.</p>
<p dir="ltr"><a href="https://fbcdn-sphotos-h-a.akamaihd.net/hphotos-ak-xpf1/v/t1.0-9/1513899_901522486554995_6285631674640530193_n.jpg?oh=3f60391290ca83f504a97807cd2fe4c3&amp;oe=54D457BD&amp;__gda__=1426614396_28a9081cd8553f9423fc8337962383bc">Here</a> is a cartoon Farzat published just 8 hours ago.</p>
<p dir="ltr"><img alt="" src="http://www.standnow.org/files/Farzat%20Cartoon%201.jpg" width="335" height="250" align="middle" hspace="5" vspace="5" /></p>
<p dir="ltr"><i>This post was written by Zach Ackerman, STAND’s National Outreach Coordinator.</i></p>
<p>Read the whole Perspectives on Syria series here!</p>
<p><a href="http://standnow.org/2014/11/19/perspectives-on-syria-counting-the-dead/"><b>Counting the Dead</b></a></p>
<p><a href="http://standnow.org/2014/11/26/perspectives-on-syria-exploring-the-historical-trend-of-artist-oppression/"><b>Exploring the Historical Trend of Artist Oppression</b></a></p>
<p><a href="http://standnow.org/2014/12/05/perspectives-on-syria-refugee-crisis/"><b>Refugee Crisis</b></a></p>
<p><a href="http://standnow.org/2014/12/22/perspectives-on-syria-no-one-can-thrive-on-just825/"><b>No One Can Thrive On #Just825</b></a></p>
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		<title>Culture of War</title>
		<link>https://standnow.org/2014/03/06/culture-of-war/</link>
		<comments>https://standnow.org/2014/03/06/culture-of-war/#comments</comments>
		<pubDate>Thu, 06 Mar 2014 19:56:35 +0000</pubDate>
		<dc:creator><![CDATA[Nadine Fattaleh]]></dc:creator>
				<category><![CDATA[Regions]]></category>
		<category><![CDATA[Syria]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[syria]]></category>

		<guid isPermaLink="false">http://standnow.org/?p=6046</guid>
		<description><![CDATA[Nadine Fattaleh is STAND&#8217;s Syria Conflict Coordinator and a student at Columbia University. Looking through a newsfeed for the crisis in Syria would show photos of destruction: the destruction of...<a class="moretag" href="https://standnow.org/2014/03/06/culture-of-war/"> Read more…</a>]]></description>
				<content:encoded><![CDATA[<p><i>Nadine Fattaleh is STAND&#8217;s Syria Conflict Coordinator and a student at Columbia University.</i></p>
<p>Looking through a newsfeed for the crisis in Syria would show photos of destruction: the destruction of buildings, infrastructure, relationships, families and lives. But photos of the conflict capture one moment; they show the indescribable cost of war to the people who live in its reality. However, in capturing a single moment, photos take away from the historical context of the war and its broader implications.</p>
<div>For example, when seeing a <a href="http://www.telegraph.co.uk/news/picturegalleries/worldnews/9397835/Scenes-of-destruction-and-rebellion-in-Syria.html?frame=2275982">photo of shattered buildings</a> in Damascus, one would seldom stop to contemplate the destruction of a historical oasis of Arab heritage. Under the Ottoman Empire, <a href="http://www.aljazeera.com/focus/arabunity/2008/01/2008525172619958297.html">Damascus</a> attracted flocks of people to the capital of the Levant region to study at its renowned schools, worship in its many sanctuaries and embrace its beautiful architecture. Post-World War I, Damascus remained the birthplace of many renowned artists, writers and musicians. The images of the destructive civil war in Syria show human losses, but not the cost of losing one of the greatest cultural landmarks in the Middle East.</div>
<div></div>
<div>As aspects of culture, visual arts, music, and theatre vanish in the outbreak of crisis, a new expression of culture arises in the form of war art. One of the artists that expresses his anguish over the current state of Syria is Tammam Azzam, whose series entitled “<a href="http://www.huffingtonpost.com/2013/02/05/syrian-artist-tamma-azzam-gustav-klimt-the-kiss_n_2616685.html">Freedom Graffiti</a>,” went viral on social media platforms.</div>
<div><a href="http://standnow.org/wp-content/uploads/2014/03/Tammam-Azzam.jpeg"><img class="size-medium wp-image-6049 aligncenter" alt="Tammam Azzam" src="http://standnow.org/wp-content/uploads/2014/03/Tammam-Azzam-300x300.jpeg" width="300" height="300" /></a></div>
<div></div>
<div style="text-align: center;">Azzam, Tammam. Freedom Graffiti. 2013. Ayyam Gallery Collection. Web.</div>
<div></div>
<div>In the most famous piece in the series, Azzam juxtaposes an iconic masterpiece of western art, Gustav Klimt’s ‘<a href="http://en.wikipedia.org/wiki/The_Kiss_(Klimt)">The Kiss</a>.’ with the image of a devastated building in downtown Damascus. The blending of the artwork’s pattern with the destruction of the building makes the viewer feel uncomfortable. The series illustrates the dichotomy between the capacity for human innovation and the capacity for destructive action. Azzam’s intention is to make art about the worsening situation in his country and to get people to contemplate the effects of the war, not just its political implications. To me, this is what sets his work apart from many other Syrian artists who have used art as a medium to communicate their ideas.</div>
<div></div>
<div>They say a picture is worth a thousand words, but even the pictures of destruction in Syria, particularly in Damascus, don’t suffice to describe the great cultural loss inflicted by the war. Azzam’s work, in an ironic way, reminds the viewer that in addition to the quantifiable losses of human life in war, there are deeper, unquantifiable losses in the devastation of a regional cultural stronghold.</div>
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