Pilgrims, Protest Tourists, and Palestinians: Abu Dis, Bethlehem, Dheisheh Camp

The central idea of this essay is that nonindigenous vernacular image-making by protest tourists on the Palestinian side of the Israeli separation barrier and elsewhere holds little meaning for the permanent residents beyond a relatively minor revenue stream. Prior to making this argument, I provide a short historical background about the use of vernacular messages in the occupied Palestinian territory known as the West Bank. I then focus on images of martyrs or shaheed and then on separation barrier images by protest tourists mostly in Bethlehem. The final sections are about two artists from the Dheisheh Palestinian Refugee Camp and the images they create within the camp. A coda of sorts discusses a mural within the camp that is venerated by the residents as opposed to the overpainting and defacement that takes place on the separation barrier. Within this final section and elsewhere within this essay, the meaning of sumood is explicated. As a note, protest tourists are defined here not as anti-tourism protesters but rather as tourists whose intent is protest Israeli policies regarding Palestinians.