In a creative bid to boost Bethlehem's sagging economy, Banksy has brought his seasonal "Santa's Ghetto" exhibition to this Palestinian town that has seen few tourists in recent years.

The infamous stencil artist joined several others in creating over a dozen works on the concrete wall surrounding the town, turning a hated symbol of Israeli occupation into an massive open air art gallery. Another dozen or so works are on display in a former chicken shop in Manger Square.

In more peaceful years more than 100,000 tourists would pour into Bethlehem during the holidays. Last year the town saw a mere tenth of the traffic. Having visited Bethlehem in December a few years back I can personally attest to the recent drought of visitors. With over 70 percent of the workforce depending on tourism, signs of a wounded economy are everywhere.

“You wouldn’t worry about Christmas becoming too commercial in Bethlehem – they couldn’t afford it. There’s more festive lights in the window of your local Woolworths than you’ll find in this entire town,” Banksy told The London Times. “It would do good if more people came to see the situation here for themselves. If it is safe enough for a bunch of sissy artists then it’s safe enough for anyone.”

More info can be found at the Santa's Ghetto website, and the BBC has an image gallery featuring the works.

Political and cultural iconic design often starts from a place of solidarity and union, but then gets co-opted by mainstream pop culture. This is no surprise, revolution needs symbols, and these symbols need to be noticed.

But is there a gain and/or loss to a cause when these symbols become an fashion accessory? Look at Ché. And, ask any wide-eyed kid with a button who Ernesto Guevara de la Serna is and you are likely to be met with a blank stare.

Now take a look at the next urbanite wearing a kuffiyeh. Has the traditional head scarf worn by Yasser Arafat and others fighting in support of Palestinian freedom from occupation become reduced to a trendy fashion statement rather than a political one? Or does appropriation and imitation symbolize public solidarity with Palestinian resistance?

I would hope for the latter, that acceptance and solidarity are behind the trend, but would not be surprised if the Ché syndrome spreads onto kuffiyeh wearers.

Afterall, they hit Urban Outfitters according to KABOBfest, and not without Zionist protest. But, is this a victory, or just an unbelievable deal for just $20? Attractive yes, but my sceptical self wonders how long cultural and political identity survives on a sale rack.

Contemporary art is rarely the first thing that comes to mind when one thinks about Palestine. Artschool Palestine wants to change all that. ASP is a collaborative project started two years ago to nurture, support and promote Palestinian contemporary art practice and place it within the international contemporary art scene. Recently, ASP supported a new solo exhibition at Brunei Gallery (London) by Palestinian artist Khalil Rabah as part of the artist’s on-going project, The Palestinian Museum of Natural History and Humankind. In 2005, ASP supported the entry of eight filmmakers into the Kerry International Film Festival in Ireland.

ASP also offers an artist-in-residence program and provides a wide range of services such as festival submission listings, artist-in-residencies and international internship opportunities, travel awards, funding opportunities, articles and essays about Palestinian art practice, and an extensive listing of Palestinian cultural organizations.

For more information, check out the ASP website.