ABSTRACT

This article examines artistic production in the formerly Syrian land of the Jawlan (Golan Heights) as a way of tracing Indigenous politics of decolonization. Through consideration of the Jawlanis’ longstanding refusal to integrate into the Israeli state, the article demonstrates how Yasser Khanger’s poetry and the music of the band Toot Ard are practices of artistic fugitivity that flee colonial captivity. It argues that these cases offer two different modes of metaphoric and actual fugitive mobility. Khanger’s is a mental movement toward disengagement from the settler-colonial state while physically staying in place. It evades subjugation by redefining confinement as a tool for staging poetic insurgency. The second mode is based on physical nomadic movement in international space while embracing a stateless condition. Fugitivity here becomes a movement that forces the Indigenous stateless self into the outside world, to realise the possibility of decolonisation by transgressing nation-state borders.

摘要

本文考察了前叙利亚贾夫兰土地（戈兰高地）的艺术创作，以此作为追溯非殖民化土著政治的一种方式。通过考虑 Jawlanis 长期以来拒绝融入以色列国家，文章展示了 Yasser Khanger 的诗歌和 Toot Ard 乐队的音乐如何成为逃离殖民囚禁的艺术逃亡实践。它认为这些案例提供了隐喻和实际逃犯流动的两种不同模式。Khanger's 是一种心理运动，旨在脱离定居者殖民状态，同时身体保持在原地。它通过将禁闭重新定义为进行诗意叛乱的工具来逃避征服。第二种模式是基于国际空间的物理游牧运动，同时拥抱无国籍状态。