The use of archaeological research with all but predetermined findings to ideationally solidify particular territorial claims plays into this logic.
In a zerosum understanding of Jerusalem, when a place is holy for one side, so it must be for the other in order to contest claims of ownership. Religious significance has become linked to territorial hegemony. Nothing is left uncontested in this prime real estate of salvation.Ĭontestation and projection of history reach a pinnacle in Jerusalem. Many Israeli companies in this sector are industry leaders, born out of a need for legitimate protection but also in order to fortify control of the eastern part of the city (and the Occupied Territories) in contravention of international law - using hyper-advanced tools for the realization of an idea thousands of years old. When clashes take place in Palestinian neighborhoods, one can see surveillance blimps flying above the city. Those who visit the Old City of Jerusalem as pilgrims or tourists may be too preoccupied with the sights to notice the ubiquity of surveillance mechanisms. Likewise, generic office buildings, malls and apartment blocks are not just unimaginative investments, but rather claims to monopolized possession of truth. This instrument of modern transportation cements a fundamentalism of ownership, of creating facts on the ground in contravention of international law. A gleaming light rail train connects West Jerusalem to the Old City and the northwestern settlements. Today, we are seeing Jerusalem develop as a strange concoction of ossified faith and cutting-edge technology, instrumentalized for a return to the past. 1 Jerusalem leaves no one untouched, despite the banalities of its overzealous souvenir hawkers, crawling traffic, overwhelming noise and overpriced hotels. Even with the distant gaze of a secular humanist, I cannot help but feel connected to the connection, as it were, connected with the human search for meaning so spatially tied to the city. It is fascinating, not just for its religious symbolism but also for the intense emotions people feel in encountering it. Few who have visited it could escape its pull. The name is synonymous with salvation and destruction, the beginning and the end of time. Views of his current or previous employerįew cities evoke feelings as immediate, visceral and primal as Jerusalem. In this article are his own and do not necessarily reflect the He wishes to thank Susan Rockwell, Ingrid Ross and Officer for the Palestinian Territories and Israel at the Germanįederal Ministry for Economic Cooperation and Development Stiftung (FES) in East Jerusalem and was previously Desk With over seven million followers on the platform to date, there has to be something serendipitous about proving her doubters wrong.Jakob Rieken is Program Manager at the Friedrich-Ebert. It seems for her, music has always been the only option.Īfter moving cities and facing criticism for posting TikToks in a closeminded community, Jessie pushed forward, ignoring the noise and staying adamant in trusting her process. Coming from a musical family in Alabama, Jessie has been penning tracks and playing multiple instruments since she was a child. However, her love affair with music goes back long before she signed her name on a contract. As a young woman in the industry, Jessie already possesses an air of gravity when it comes to which direction she envisages taking her sound. Touching on everything from heartbreak, her own struggles with mental health to her strained relationship with family, Jessie’s uniquely powerful vocals deliver an emotion that suggests a life lived beyond her seventeen years.Īlthough she was signed at only sixteen, Jessie is far from naïve. Courageous in her ability to tap into viscerally raw emotions for her art, Jessie’s lyrical matter is unflinching in its vulnerability and honesty.
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