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Teoria del Writing
di Alessandro Ferri a.k.a. Dado

Brave New Alps – Dheisheh’s Common Green

Alla ricerca del verde perduto in Palestina

di Lorenzo Navone

“Dheisheh’s Common Green” non è la prima esperienza del collettivo Brave New Alps nei Territori palestinesi occupati ma, a differenza dei precedenti interventi in questo contesto (“Decode Jerusalem”, “Hotel Oush Grab”, con Decolonizing Architecture di Petti-Hilal-Weizman, ecc.), è probabilmente quello che in maniera più netta disvela uno sguardo spiccatamente antropologico.

Il contesto

La “West Bank” (o Cisgiordania, il territorio compreso tra la riva occidentale del fiume Giordano e il Muro di separazione israeliano) è un territorio estremamente frammentato, costituito da un insieme di enclave palestinesi difficilmente comunicanti tra loro a causa del complesso sistema di colonie e strade a scorrimento etnico esclusivo.[1] La coesistenza di territori di natura differente che incidono sullo stesso spazio fa sì che persone che si muovono in una superficie concentrata e dalle dimensioni ridotte procedano a differenti velocità: da una parte si trovano infatti i coloni, liberi di muoversi in uno spazio liscio definito dalle cosiddette bypass road; dall’altra si trovano i palestinesi, i quali si muovono invece in uno spazio striato e soggettivo, segnato dalla necessità di dover ricalcolare continuamente itinerari e i conseguenti tempi di spostamento a causa della frammentazione del territorio e della presenza aleatoria e imprevedibile di ostacoli, blocchi stradali, checkpoint ecc.[2] Nel caso palestinese, quindi, la cartografia classica, come la possiamo conoscere noi europei nel secondo dopoguerra, si rivela uno strumento e un sapere inutile, spesso sostituito da itinerari improvvisati in funzione degli ostacoli che di volta in volta si possono incontrare.[3]

I campi profughi, categoria cui fa parte anche Dheisheh, rappresentano la figura archetipica della condizione di espropriazione e di cronica lentezza in cui sono intrappolati i palestinesi dal 1948 e costituiscono un punto fermo, immobile, negli itinerari individuali e collettivi di questo popolo.

Common Green

Immobile ma non immutabile. Reclusione non è per forza di cose sinonimo di passività spaziale: la lotta contro l’occupazione è “lotta per lo spazio e nello spazio, conservando l’iniziativa”.[4] La cifra architettonica della collina su cui sorge il campo profughi di Dheisheh, nei pressi di Betlemme, è oggi il cemento armato, e questo vale anche per gli altri campi palestinesi sparsi in Palestina e nel Medio Oriente. Ma cemento armato che racchiude un mondo fatto di incursioni notturne dell’esercito israeliano, di cali improvvisi della tensione elettrica, di approvvigionamento idrico a singhiozzo, di alta densità abitativa, che “vuol dire cattiva salute, miseria sociale, privazione e dislocazione”.[5] È in questo contesto compresso, in cui l’unica possibile espansione viaggia in verticale, che Brave New Alps compie la propria esplorazione alla ricerca di un possibile Terzo paesaggio[6].

Attraverso un lavoro di documentazione fotografica dal carattere genealogico, che prendendo l’avvio da un presente fatto di confinamento regredisce in direzione di un passato di displacement ancora vivo e carico di significato, Brave New Alps indaga intorno ai pochi spazi verdi del campo: in un primo tempo, ne sono individuate alcune tracce all’interno degli archivi fotografici dei locali centri culturali, frammenti di immagini in bianco e nero raffiguranti un accampamento improvvisato in un panorama roccioso e desolato che difficilmente lascia trasparire, o solo immaginare, la presenza di alberi e giardini; tuttavia, ciò non significa che questi non esistessero già nelle intenzioni e nelle iniziative dei residenti del campo, come testimoniano invece le immagini scattate dai membri del collettivo durante le loro visite a Dheisheh. Qui la vegetazione, sebbene affondi le proprie radici all’interno di spazi privati, deborda dai recinti delle abitazioni per invadere gli spazi pubblici, trasformando il verde in qualcosa di comune, nella pratica e nel suo possibile utilizzo.

Dheisheh, che non a caso in arabo indica una “foresta”, a testimonianza di un passato forse solo immaginato, sembra ricomporre nella pratica di un giardinaggio esplosivo quella dicotomia tra lo spazio della rappresentazione (il campo) e la rappresentazione dello spazio (il giardino), come testimoniato dalle immagini che compongono questa ricerca. Ed è proprio nella descrizione di queste micropratiche non ovvie di cura del proprio spazio, da questi segnali di verde che emergono solo da un’osservazione diretta e ravvicinata, in prima persona, che possiamo notare uno sguardo etnografico nel lavoro di Brave New Alps.


[1] B’tselem, Forbidden roads. Israel’s Discriminatory Road Regime in the West Bank, B’tselem Information Sheet, Agosto 2004, Gerusalemme. Disponibile online: http://www.btselem.org/

[2] Alessandro Petti, 2007, Arcipelaghi e enclave. Architettura dell’ordinamento spaziale contemporaneo, Bruno Mondadori, Milano.

[3] Cédric Parizot, 2010, Spazi contigui, tempi differenti, in Palestina anno zero, “Conflitti globali” 7, Agenzia X, Milano.

[4] Henri Lefebvre, 1976, La produzione dello spazio, Moizzi, Milano, pag. 75.

[5] Edward W. Said, 2007, Il mio diritto al ritorno. Intervista con Ari Shavit, Nottetempo, Roma, pag. 42.

[6] Gilles Clément, 2005, Manifesto del terzo paesaggio, Quodlibet, Macerata.

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Dheisheh’s Common Green

di Brave New Alps

Included in the publication Commons & Commoning (www.brave-new-alps.com/commons-commoning), produced within the project Collective Dictionary1 at Campus in Camps2, Dheisheh Refugee Camp, Bethlehem – Palestine, October-November 2012

1952

One of the first and best known historical photographs of Dheisheh Refugee Camp was taken in 1952 from the eastern side of the camp looking north-westward in the direction of Jerusalem-Hebron Road. In that photograph – at the time Dheisheh was mainly constituted of tents with the first UNRWA concrete shelters appearing here and there – we cannot spot a single tree growing within or beside the already neatly defined plots into which the area designated to the camp had been divided. What was this area before the refugee camp was established? It is said that the name Dheisheh (literally the forest in Egyptian Arabic) was given to the camp because a forest originally grew there. What kind of forest? One of those pine tree groves planted during the British colonial mandate by the Jewish National Fund and which can still be found here and there in the area? Or, as some people say, were fig and other fruit trees growing there? Or was this place in reality as rocky and arid as the hill opposite the camp, which can be clearly seen in the photograph and which today hosts the “refugee city” Doha?

1948

Looking at the very first photographs of the camp taken in 1948, with the first Red Cross tents erected on a desert hill, it is hard to believe that this area was previously covered with trees.

1950s-1960s

The only evidence we could find during our research of a forest-like assemblage of trees in the area of Dheisheh is depicted in a tiny reproduction of a photograph that is part of the UNRWA photographic archive in Gaza. Probably taken in the 1950s or ‘60s, the image shows a group of pine trees growing in the eastern side of the camp, where today Al-Feneiq Cultural Centre is located.

2012

Interestingly, some neatly defined parts of this rocky landscape on the other side of Jerusalem-Hebron Road are today still in their original state and do not host any construction. Here, the landscape is composed of wind-shaped boulders with little vegetation growing between them, mostly thistles and other small spiky bushes.

2012

On the ground floor of Ibdaa Cultural Centre in Dheisheh, a small selection of historical photographs illustrates various stages of development of the camp. One of them, taken in 1959, shows us a camp that has a radically different shape than the one depicted in the 1952 photograph – almost all the tents have been replaced by concrete UNRWA shelters, tidily aligned along the northern side of the hill. Still, it is hard to spot any kind of green between the constructions. Nevertheless, the fact that we cannot recognise any developed tree in the picture does not mean that trees had not already been planted.

1959

In fact, taking a look at a third photograph, shot in 1968 from a similar position and from the very same angle, we see a slightly more built-up environment with a great number of well-developed trees rising between the buildings.

1968

This is confirmed by yet another picture taken inside Dheisheh in 1973.

1973

If trees were really growing on this land before the camp was established, these are the first images we could find documenting their return.

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Fast forward to the present

Can we see the architectural shape of Dheisheh evolving over time? The concrete shelters disappear one by one – destroyed in order to give way to much larger and complex structures, or absorbed into them. The number of floors increases and buildings grow in size, beginning to intersect with each other. The little available space – mostly in the centre of the camp, where the majority of shops, schools and other institutions are located – is exploited as rationally and efficiently as possible. The space of the street, arguably the only physical common space in the camp, is increasingly eroded as an effect of the self-negotiated expansion of the refugees’ properties.

Step by step the camp becomes greener. The spread of the vegetation almost seems to go hand in hand with the architectural evolution of the camp. Trees and bushes – many of them producing edible fruits at different times of the year (figs, prickly pears, loquat fruits, olives, lemons, oranges, walnuts, grapes, red mulberries, almonds etc.) – are now cultivated in gardens annexed to houses and predominantly enclosed by walls that hide their trunks. Bushes and branches spill out from between houses or from behind property walls, sometimes in a glorious explosion of colour and scent. Various vegetables for personal consumption are grown.

Climbing plants take over entire unfinished buildings, while potted ones are filling windowsills and wall tops. Plants of different sizes grow in big and small improvised beds built out of bricks or concrete along the streets, outside peoples’ homes. Vines grow on the shade-providing pergolas of the flat rooftops. In more than one location, the green spilling over completely covers the narrow streets, creating emerald tunnels over the pedestrians’ heads. Therefore, in many ways we might say that

Dheisheh, the forest, must be a name that was chosen to honour the future of the hill on which the camp was erected rather than its past.

Common Green

Although refugees living in the centre of Dheisheh often complain about the density of the built environment, the lack of space and the compulsion to build vertically when people need to expand their homes, a large amount of square metres is dedicated to plants of various sizes and uses. It almost seems that these plants enjoy a special status here and that nobody would ever dream of getting rid of green spaces for the purpose of extending a house.

It feels as though plants have been planning their return and conquering their ground bit by bit. Interestingly, the habit of cultivating plants is seemingly equally distributed within the camp – humble homes have gardens and green areas as much as richer and more extravagant houses do. On the part of the Dheishehians, possibly due to the fact that their ancestors were mostly farmers in their villages of origin, they show a great respect and care for their green. All the plants that can be found in the camp are kept inside private properties or are, in any case, associated to a specific house or family.

Within the camp, there is no “public green” in a conventional sense, with a central authority taking care of it. Rather, it is the Dheishehians themselves who take care of the camp’s green in general – each family contributing privately to its well-being and preservation. If the lower parts of the trunks and the root systems of trees and bushes are always located inside the borders of private properties, very often huge portions of the plants are shared with the rest of the community. This is the case not only for gardens that spill over from behind walls into the camp’s streets but also for the plots of green that are more hidden from pedestrians, yet which nevertheless enhance the lives of people living in nearby houses. Aside from visually enriching peoples’ perception of the built environment, the large amount of plants growing in the camp also plays a fundamental role in maintaining a cooler climate during the hot months. Without their presence, the camp, mainly built of reinforced concrete, would probably be much less pleasant for the greater part of the year.

Therefore, if some people complain about the fact that there are no “public green areas” in Dheisheh in the form of a public parks or gardens, we would argue that instead of one single public park in the midst of a concrete jungle, in Dheisheh there is a vast common green, homogeneously spread throughout the camp. In this regard, an interesting phenomenon is the construction of spaces to grow plants (varying greatly in size, from a few centimetres to a few meters in width) outside of peoples’ homes, predominantly next to the main entrances, technically invading the common space of the street. However, in this case it is hard to speak of erosion of the common space, but rather of an attempt to improve and diversify it, of paying homage to it.

And finally, considering the amount of food that such vegetation produces inside the refugee camp, we can begin to speculate on how less dependent from the market this green renders refugees or on the informal economies of exchange it nourishes among them.

[Il progetto di Brave New Alps è stato realizzato  ]


1 Campus in Camps is a two-year experimental educational and project-oriented program, engaging the participants from the West Bank’s refugee camps in an attempt to explore and produce new forms of representation of camps and refugees beyond the static and traditional symbols of victimization, passivity and poverty. The program aims at transgressing, without eliminating, the distinction between camp and city, refugee and citizen, centre and periphery, theory and practice, teacher and student. www.campusincamps.ps

2 Collective Dictionary is a series of publications containing definitions of concepts. The terms proposed are those considered fundamental for the understanding of the contemporary condition of Palestinian refugee camps. These words have emerged as a result of actions and active dialogues with the camp community. Written reflections on personal experiences, interviews, excursions and photographic investigations constitute the starting point for the formulation of more structured thoughts. Collective Dictionary is both the reference and conceptual framework for all Campus in Camps projects and interventions. www.campusincamps.ps/en/projects/dictionary

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