Bethlehem / PNN/ On the walls of refugee homes and across the towering concrete barrier that cuts Aida Camp off from Jerusalem, vibrant murals tell stories of siege, exile, and hope. Some depict the longing to return to ancestral villages, others the suffering of prisoners’ families — while many carry messages of resilience and a demand that the world recognize Palestinian hardship.For Palestinian artist Abdullah Hammad, who was born and raised in Aida Camp, art is more than aesthetics; it is a tool of survival, memory and political expression.“Every mural carries its own story, every wall has a different voice,” Hammad said, describing how his work draws heavily on Palestinian heritage, collective memory, and national symbols. “Through art, I try to preserve identity and to project the voice of the camp beyond its walls.”From house walls to the separation barrierHammad’s journey began with simple drawings sketched with friends on the walls of his own home and neighboring houses. His early works often referenced the right of return and his family’s original village, ‘Allar, from which his grandparents were expelled in 1948.When Israel built the separation barrier along the edge of the camp, Hammad found a vast new canvas. The wall, visited daily by thousands of residents, international activists and foreign tourists, became a permanent open-air gallery for his murals.“It is impossible for visitors to pass without seeing our reality,” Hammad said. “These paintings are one of the ways to deliver the Palestinian message.”Community support and international linksLocal organizations in the camp, including the Popular Committee for Services, have embraced Hammad’s work, commissioning him to create murals for French cities that share twinning ties with Aida. The Aida Youth Center has also partnered with him to produce national-themed artwork reflecting the struggles of Palestinian refugees and the plight of prisoners’ families.Art as a tool for the next generationHammad insists that art should not remain confined to galleries. “Art must live on the streets, among people, close to them,” he said. He incorporates elements such as black wheat, a traditional Palestinian crop now largely forgotten, into his work, hoping to reconnect young people with overlooked aspects of their cultural heritage.He frequently runs informal workshops to teach children and teenagers in the camp basic painting techniques. “I want them to taste art, to learn that it can be their own tool for expression,” he said.Struggles and persistenceLike many artists in refugee camps, Hammad faces obstacles ranging from a lack of materials and space to occasional resistance from residents unaccustomed to new forms of expression. But he persists.“Art is not a luxury,” he said. “It is a means of survival, of telling our story.”This story was produced as part of the Qarib program, implemented by the French media development agency CFI with support from the French Development Agency (AFD).