ABSTRACT
This chapter aims to highlight individuated trajectories of artistic experience, agency and negotiations of the sociopolitical complexities encountered by specific artists in a highly charged political and cultural climate. Ultimately, the campaign resulted in two artists cancelling their scheduled performances: the Greek singer Martha Frintzilla and the Palestinian citizen Hosam Hayek, who intended to present his aptly titled new album Gharib fi Watani. In chronicling Jowan's artistic trajectory during his Be'er Sheva years the author aims to highlight how the life and art of a Palestinian citizen of universalist identifications became increasingly challenged by a changing sociopolitical landscape, and the process of personal and artistic transformations that occurred in tandem. History and myth become resources for the ethical and aesthetic reconstruction, as well as the deconstruction, of Palestinianness.
