Time: 1:30 pm- 3:30 pm
Contributors: Ardea Vinuegopd, Mhomad, Julio Delgado, Raed Almouhtsb, Razd, Dina, Asil, Jubril, Alaa Obeid, Hassain Al Kaissa, Aea Dwak, Ibrahim Sandlouka, Katia Birs Kefa, Mohammaed Hawash, Hane, Aaleh Arejibi
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The Damascus Gate of the Old City in Jerusalem is better known as the bustling East Jerusalem entrance to the city, and is typically highly populated by Arabs. The primary-color-washed canvas was set up on the lowest platform leading outward from the gate. Though it was a hot day, those of us female facilitators wore long sleeve t-shirts in order to show respect to potential religious painting participants.
The flow of interest was consistent and controlled as the first hour of painting proceeded. We had a diverse gathering of participants ranging from South American to Indian, along with locals. There was a noticeably larger amount of men than women who were willing to paint, and by the second hour there was a sizable crowd of young boys (along with a handful of daring girls), surrounding the canvas.
As more people gathered around and the kids realized it would take longer for them to have a chance, the group began to crowd the painting so that there was barely any space between the canvas and the front row's noses. An older man who also wanted the chance to have a chance, turned his walking stick horizontal and pushed the line back. I continued to ask the group to take three steps backward until I made my best efforts to do the American thing and line up by number. After I numbered the group off, everyone insisted that they were in fact number one.
Soon enough the kids had abandoned the line and were grabbing brushes and paints, sloshing the colors around on the canvas as they pleased. While I appreciate the process of this painting and perhaps its portrayal of these young boys and their culture, I knew that it was time to pack up.
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