Lifestyle

Art Under Occupation: Palestinian-Canadian artist Hanny Khoury talks art, identity, and belonging

Published

4 years ago

August 6, 2021

Palestinian-Canadian artist Hanny Khoury has spent years thoughtfully exploring his identity, trying to establish his understanding of what it means to be Palestinian.Art has always been his lifeline, an outlet where he channels frustrations and emotions, seeking a means of representing his past in a way that empathizes with an international audience. From Palestine to Canada, his journey has been difficult and encouraging, a true redemption arc that’s far from over.

Khoury grew up in a small village in historical Palestine-one of six children-under the Israeli occupation. As far back as he can remember, his identity, and the identities of his family and neighbors, were conflated with the information being spread by the occupation. “You are a Palestinian, a minority living under occupation. The environment is weird, nothing is clear.You can’t identify yourself and you don’t grow up with a clear identity that’s solid,” says Khoury.“From school to the media, the occupation is basically programming your brain, to make you forget your identity.”

Art was the one thing that could ground Khoury to something tangible. It was a means of coping with the instability of his daily life and allowed him to express his confusion. As he describes, it was a means of creating an entirely new world: “It’s like I was creating my own environment, my own life, the way I wanted it to be. With time, art became a healing process for me. It became the one thing through which I rebuild the relationship with everything around me and make peace with it. Heal it. That’s how art spoke to me. Art became like food for me, or water.”Even when his parents struggled to afford necessities, his mother would use soil and flowers to make natural pigments he could paint with. Walls, doors, broken pieces of wood-anything could serve as a canvas in Khoury’s eyes.

Eventually, after years of tension, both internally and with his environment, he made his way to Canada. This fresh start opened his mind, and he finally found the space and time to focus on his practice. It was during this period that he began to consider the parameters of being a Palestinian artist in a contemporary context. As a child, Khoury’s sources of artistic inspiration were limited to what was acceptable under the occupation. Names from Western art history, like Salvador Dali and Pablo Picasso, were tolerable, but examples of Palestinian art were scarce. “Back then, I didn’t have anything that made me a Palestinian artist. I got this sense of belonging later in life, through my own research. I developedan awareness about our existence as Palestinians and then my art started to belong to the history and the story of Palestine. Before that, I didn’t have the opportunity to learn that information,” says Khoury.

Through his studies and careful research, Khoury began to form his own idea about the critical difference between being a Palestinian artist and producing Palestine art. “I think the Palestinian story of identity loss, it had its own time,” he explains.“Silman Mansour, Nabil Anani, Ismail Shammout-those artists had to do it because they had to construct their identity and the identity of the Palestinian people. For us, as the young generation in or from Palestine, we must do something different. We have to work with an international language, while still belonging to the Palestinian identity.” Khoury’s search for identity is also a search for expression, finding a way to leverage Palestinian form to resonate on an international, even universal, level.

Currently represented by Mark Hachem Gallery, Khoury’s work is set to make an impression on audiences around the world. He has already made great strides with his ability to translate his own experiences into a visual, emotionallanguage that anyone can connect with. “What I have suffered in my life, the experiences, the journey I had in Palestine-this is what developed my international language of art. This is where it came from. The figures, the colors, the balance. Everything that makes up my work is Palestinian, but the figures themselves aren’t necessarily Palestinian,” he explains. “Art is translating the time period that we live in, visually.The modern world of art is not translating specific moments, it’s translating specific emotions. We talk about our conflicts, our difficulties, our pain, the system. That’s what we talk about as artists. So, when we look at art, it should deliver emotion. It doesn’t necessarily have to do with belonging to the physical world. It can be connected to the emotional world, or faith.” Confident and passionate, Khoury is forging ahead with a new vision of what Palestinian art could be, offering the next generation of young artists what he was denied growing up: an inspirational figure.

Lifestyle

Confronting Propaganda: Street Smart Documents Honest Reactions to Gaza Indoctrination Footage

Published

3 days ago

November 6, 2025

Michelle Langton

Photo Courtesy of: Street Smart

Byline: Michelle Langton

In a recent project, the Street Smart team gathered 20 strangers and presented them with propaganda footage from Gaza that has circulated widely online but remains largely unfamiliar to many audiences. The aim wasn’t to provoke outrage or test media literacy in a classroom setting. It was to capture raw, unfiltered emotional reactions to material that reveals how narratives are formed at the source. The resulting video offers a candid look at how people process shocking content and how their perceptions shift when they see what is rarely shown on mainstream platforms.

The Structure of the Experiment

The format was simple. Participants were seated and shown a series of clips from Gaza, including children’s programming and broadcasts containing intense ideological messaging. No background information was provided, and viewers were not instructed on how to interpret what they were seeing. After watching, they were asked for immediate reactions.

The footage elicited a wide range of emotions. Some viewers were stunned by the content, admitting they had never seen anything like it before. Others expressed disbelief, questioning why this kind of material isn’t more widely discussed. A few were visibly shaken, saying the experience fundamentally altered their understanding of the situation.

By presenting the footage without narration or added commentary, Street Smart allowed participants’ genuine responses to emerge. The experiment revealed how propaganda can affect an entire generation. It can shock, unsettle, and force people to reconsider their assumptions.

Why This Project Matters

Sage Fox and Dorani aligned the purpose of this experiment with Street Smart’s broader mission of challenging prevailing narratives and encouraging critical thought among younger audiences. In an environment where footage spreads rapidly across digital platforms, propaganda can shape public opinion long before context catches up.

By showing the Gaza Indoctrination footage in a controlled setting and recording uncoached responses, the team aimed to expose the emotional and cognitive impact of this type of content.

“The first reaction is often the most revealing, because it shows how powerful images can be without context.”

The Range of Reactions

While each participant brought their own perspective, several themes emerged. Some expressed sympathy with the imagery itself, saying it was emotionally powerful.

One participant said, “It makes me question what I see online every day. How much of it is shaped this way?”

Their comments highlight how propaganda resonates differently depending on prior knowledge and exposure. Many viewers have simply never encountered such footage directly.

Street Smart’s Approach

This project continues a pattern established by Sage Fox & Dorani’s earlier videos. Rather than relying on experts or lengthy analysis, Street Smart focuses on real people and their honest reactions. The approach is simple but effective. Present potent material, listen to what people say, and share those moments with a wider audience.

The Gaza Indoctrination footage experiment fits this model. It doesn’t attempt to draw final conclusions or offer political commentary. Instead, it documents how people respond when they’re exposed to narratives that are usually filtered through intermediaries.

Implications for Media Literacy

Beyond its viral potential, the video raises broader questions about how people interact with powerful imagery online. Propaganda operates on emotional reflexes. As this experiment shows, those reflexes are often unexamined until they’re brought to the surface.

Sage Fox & Dorani hope that projects like this push audiences to think more critically about what they see and share.

“The purpose is not to tell people what to believe. It is to remind them that every image comes from somewhere, and that source matters,” they said.

Next Steps for Street Smart

As Street Smart’s platform grows, Sage Fox & Dorani plan to conduct similar experiments in different contexts. They intend to use their direct, street-level approach to highlight how people react when presented with challenging material.

The Gaza footage project is one piece of a larger mission. The team uses simple methods to shed light on complex issues. By focusing on authentic reactions, they continue to build a unique space in online media that blends cultural investigation with raw human response.

A Window into Unfiltered Thought

“We showed 20 strangers real propaganda footage from Gaza — and filmed their unfiltered reactions” is not a dramatic exposé or academic study. It is a clear, unmediated record of how individuals respond when confronted with material designed to persuade. In that restraint lies its strength.

By documenting these moments, Street Smart shows how awareness can begin with a pause. A brief space between seeing and believing.