Ibrahim is a Palestinian architect based in Jerusalem.
"Each of the designs developed in the create shops are representing the situation of the people in the West Bank, Gaza or Jerusalem. They deal with the wall, the checkpoints, the violence, the closed borders and so on and at the same time they express our pride to be from Palestine. Through DDFP, we are encouraged to do more to show to the world the current atrocious situation.
It may be true that the revenue side is still under construction, but I find it more important that we create a symbolic economy. When people from all over the world are buying and using our objects, we enable them to make a comment on our case and we allow them to join the resistance. Money well invested, if you ask me.
By participating in DDFP I really challenged myself and I improved my thinking. I expanded my field of expertise and I created things that I never thought possible. To me, it was especially an imaginative development."(From Kurt Vanbelleghem interview, Can one really benefit from a social design project, or is it just another spin at the wheel?)
Our second day in Palestine, started on the first day of October. The night before, the white rabbit had lead us save and in time through its hole and nobody of us could really believe that we have had no problems with the Queen of Hearts and her guards; that we were finally here, in miraculous Ramallah.
The evening lead us into the workshop of the rabbits old friend, the crazy cobbler whose favourite time of the day had just begun, the night. Our party member Majnuna, skilled in all kinds of crafts and arts, found herself in Wonderland, tried all his machines and agreed on becoming the cobblers apprentice.
But no night shall pass without the celebration of our non-birthday, and so our glasses were filled with a white liquid called Arak, which is not Raki, nor it is Ouzo —no matter what the bottle says. The glasses where wicked too and filled themselves each time we tried to empty them. The Rabbits and Cobblers old friend, the March Hare, joined our party and the night went on with talks about pleasures and inconveniences, the Queen of hearts and her guards, about the amazing creatures of Wonderland and their ability to make so much good out of so much nothing.
Finally we were brought to our hotel by the crazy cobbler on his flying carpet. Waking up after a short sleep which had given our livers too little time to digest the «don’t-call-it-Ouzo» we hurried on to our base for the next 10 days, where this very famous guy was born about 2000 years ago; who had a long beard, many followers and could turn water into wine. There, in the city of eternal Christmas, we were introduced to our new friends, inhabitants of Wonderland, skilled craftsmen and -women of whom we were going to learn so much.
Writing this in retrospect is a matter of great difficulties. Here in Wonderland things are different than they appear. Weeks, especially the last not yet two, can feel like months or years. The ones who seem defeated can be more free than their conquerors. To reach the place across the street, only some meters away, can be a journey of years.
We learned a lot, especially to open our eyes and listen and not to rely on the knowledge we brought with us in our baggage. We smoked the Argeelah with the local caterpillars which will certainly turn into butterflies some day. We made friends in Wonderland and once we are back home we will see things a little bit with their eyes and we will wonder and tell about Wonderland.
Majal is an artist based in Gaza. She gained her BA degree in Fine Arts from Al-Aqsa University. Since 2009, she has participated in several group exhibitions, such as the “Qurban” exhibition at the Women Media Information Center and “Canaanite” exhibitions at the French Cultural Center in Gaza. She has also participated in a number of auctions; the annual Jerusalem auction in 2009 and ‘Colors of Hope’ in 2010 and 2011. Her work has been exhibited in a number of collective international exhibitions: she presented “40 Days of My Life” in Germany, and has contributed to exhibitions in Jordan, Belgium and Italy. She has had two solo exhibitions, “Salt of Memory” in 2012 and “The Effect of Light and Glass” in 2014 in Gaza.
Martin Petrelli is an Italian designer and documentarian who has spent most of her life in flux, moving from one country to another. In her travels, she has developed a keen eye for collecting, recording and archiving. In collaboration with Donna Verheijden she filmed a documentary, The House of the Eyes, in the West Bank during the fist Palestinian Art biennale which also coincided with the latest attacks in Gaza.
As a designer and researcher Rebekka Fries monitors and frames, disconnected world views produced by mass and social media. Recently graduated with a Master in Design: Visual Strategies at the Sandberg Institute in Amsterdam and currently based in Rotterdam.
Vivien Sansour is a life style writer, producer, and photographer. She has been capturing the stories of Palestinian farmers for the wider world. Trained in the field of Anthropology Vivien worked with farmers in Honduras, Uruguay, and Palestine on issues relating to agriculture and independence. In the last three years while living with Producer communities in the Northern West Bank villages she created a series of producer and village profiles published in her book, “Insisting on Life: A Community at Work” which was developed for Canaan Fair Trade. In these 36 profiles of people and communities she wrote about agricultural practices and how they relate to cultural traditions providing an ethnographic overview of rural life in Palestine. She has produced several short films and one feature film, “The People and the Olive” which received high acclaim from critics including the Boston Globe’s Loren King who called the film, “An inspirational thriller.” The People and The Olive was the official selection for several film festivals including, Chicago International Social Change film festival and the Unspoken Human Rights film festival.