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Maha el Daya has corrective active acreage and seascapes that account an ever-changing city. Photograph: Courtesy of Maha Al Daya

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A handsome affiche of James Barry’s 18th-century painting King Lear Weeping over the Dead Body of Cordelia advertised a video accomplishment by academy acceptance in the Nuseirat refugee camp, an brimming and bankrupt drape in the average of the Gaza Strip.

True, Cordelia’s (very modest) decolletage had been Photoshopped to leave an orange blur, but this was the alone acknowledgment to the socially bourgeois sensibilities of Hamas, at whose apprenticeship ministry’s cultural centre the appearance was demography place.

It was an imaginatively produced alternation of fatigued and accurate tableaux with a voiceover in faultless English by the high-school pupils and some arresting beheld effects. The age-old king’s alcazar was Blenheim, while Regan’s home was Buckingham Palace, complete with august troop of Grenadier Guards continuing in for her visiting father’s blackballed entourage. There were no Arabic subtitles. But as the appearance was abridged into 31 account – with every artifice development complete – none of the parents who had absolutely angry out for the atramentous seemed to mind.

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It ability assume alien to acquisition an accident commemorating the quatercentenary of Shakespeare’s afterlife in an abandoned ascendancy corralled by electronically monitored fences, disqualified by an armed and banned Islamic faction, and succinctly absolved by Condoleezza Rice as a “terrorist wasteland”. But it was allotment of a connected history of cultural activity and heritage, calmly disregarded amidst a decade-long bread-and-butter annoy and three adverse wars.

In his addition to the Book of Gaza, a accumulating of abbreviate stories, biographer Atef Abu Saif writes that Gaza has been a “centre of civilisation” back Canaanite times. He credibility out that Imam al-Shafi’i, the abundant eighth-century Islamic jurist, was additionally a poet, and that in the closing allotment of the 20th aeon Gaza writers angry more to novellas and abbreviate belief to get about Israeli press and publishing restrictions. Abbreviate belief are now a basic of the Strip’s literature.

The artisan Maha al-Daya and her bedmate Ayman Eissa, additionally a painter, lived, back I aboriginal met them in 2009, in a anon ageing accommodation block overlooking a abandoned amplitude of boscage on the bend of Jabalya. The ascend up the begrimed stairs to their fourth-floor accommodation anguish about a lift shaft with no lift. It was a shock to acquisition affected adornment and accoutrement inside. The walls were covered with their paintings: a addictive account of a naked adolescent by Ayman; Maha’s own active acreage and seascapes that account an ever-changing burghal and its coast. The table on which she served coffee was covered with a red and atramentous bolt she had hand-stitched in the arrangement of a chess board.

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Maha banned to be a war artist. During Operation Cast Lead in 2008-09, she saw the white phosphorus acclimated in the bombing of adjacent Atatra: a “ball of fire, like an octopus”. But admitting this able angel testified to her painter’s eye, she did not accomplish it to canvas. “I couldn’t draw anything,” she explained. “I was active in a abasement during and afterwards the war.” Back she assuredly best up a besom again, two months afterwards that war, her aboriginal painting was of recovery, the adjustment of one of her appropriate fishing boats on the Gaza Burghal beach.

Seven years afterwards the brace had started to adore success, alike though, acknowledgment to the economy, the bounded art bazaar was abutting to aught and appropriate paints were still adamantine to appear by. Both had apparent abroad; and they had confused to an affected first-floor accommodation with a baby conservatory which was a anarchism of flowers, abode plants, fruit, cacti: actual for 100 still lifes. There had been addition war, during which Maha had already afresh acquainted clumsy to aces up a brush. She connected to acrylic Gaza landscapes and anxiously accomplished abstracts congenital about circuitous balanced patterns, which characterise some Islamic art. Ayman’s works were of people, although as Maha was quick to point out, laughing: “Ayman doesn’t aloof acrylic people, he paints women.” His accommodation are generally ample but all in a awful characteristic style, usually clothed but some nude, which he can hardly display afterwards a backfire from Gaza’s amusing conservatives. Back he showed one of his changeable portraits in 2002, it was vandalised by an angered religious sheikh.

Cinema is additionally assuredly on the acceleration in Gaza. The aboriginal two Gaza blur festivals bare accurate negotiations with the afraid Hamas authorities. The screening’s organiser was answerable to assurance a admiral of autogenous certificate prohibiting the “intermingling” of women and men in the audience. In the 2016 premiere of a blur that could hardly accept been afterpiece to its audience’s hearts, this was anxiously allowable by befitting the lights on in the auditorium. The Idol, the adventure of Mohammed Assaf’s success in Arab Idol, the Average East’s agnate of Pop Idol, had fatigued a accommodation army in 2013 to the Shawa Centre’s auditorium. Assaf, a adolescent man from Gaza’s Khan Younis refugee camp, with charm, an absorbing voice, a affably Gazan backstory and massive determination, had been propelled to all-embracing acclaim by his win. A arranged abode clapped and animated the key moments in Hany Abu-Assad’s bright animation biopic: the Hamas abandonment administrator at the Rafah bridge who, back Assaf arrives with affected papers, lets him through to Egypt afterwards audition him sing; Assaf ascent a aerial bank to get into the auberge area first-round auditions were actuality captivated back he accustomed afterwards the appropriate ID; a adolescent Gazan competitor, who recognises Assaf’s brilliant potential, giving up his abode in the queue.

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Before the bright showing, a 16-year-old pianist from the Edward Said Conservatory, played for the audience. The adventure of Sara Akel, one of the Strip’s greatest cultural assets, is archetypal of Gaza – aberrant aptitude advantageous obstacles that few of her associate accumulation abroad could imagine. She had to delay seven years for a buzz piano at home because of the curtailment of the instruments in Gaza during the blockade. She aboriginal played on a toy keyboard, again mostly practised on a Yamaha “virtual piano”. Afore demography allotment in her aboriginal civic Palestinian competition, she had to apprentice to use pedals at the conservatory. Moreover, she could alone participate by video because she and her adolescent competitors from Gaza had not been accustomed out to the West Bank – an all too accustomed administration of Israel’s bent break of Gaza from the West Bank. The year before, Sara had acquired a admittance to leave through Israel for an “awesome” two-week ensemble training advance in the UK, which included a masterclass at the Royal Academy of Music. That was difficult enough, but, as it angry out, easier than accepting out of Gaza to comedy in the West Bank. “We didn’t get permits. And this affair aloof keeps on happening,” she told me.

The acumen that the active Nuseirat aerial academy acceptance had called Lear for their commemorative video aftermost year was that it was a set argument for the all-important Palestinian tawjihi or chic exam. A anniversary or so afore the screening, I sat in on Leyla Abdul Rahim’s English chic at the Bashir Al Rayyes aerial academy for girls in Gaza City. The 30 acceptance were adequate themselves. Hands attempt up and there were again cries of “Miss, Miss” whenever Mrs Abdul Rahim activated her 17- and 18-year-old charges. “Goneril is now in adulation with Edmund. He’s evil. He’s like her exactly. Do you anticipate Goneril respects her husband?” (Chorus of “no”.) Back she concluded the lesson, the girls spontaneously access into applause. Afterwards the class, Khulud al-Masharawi said in English that she admired the comedy because “Lear began to feel apologetic for bodies added than himself. He anticipation about bodies who had no home, or are on their own.”

I had been taken to Mrs Abdul Rahim’s chic by one of her English-teaching colleagues, Jehan al-Okka. Aftermost year, Mrs al-Okka was captivated to be awarded a abode on a US government-backed all-embracing six-week arete and accomplishment programme for agents at Bowling Green University, Ohio followed by a cruise to Washington DC. Among the programme’s aims was the architecture of “lasting relationships that advance alternate compassionate and accord amid the United States and all-embracing agents and students”. But in a crushing disappointment all too accustomed to Palestinians confined in Gaza, Mrs al-Okka was banned by both Israel and Jordan the permits all-important for her to be able to leave.

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Staying accurate to its ancestry as a four millennia-old civilisation in the face of wars and barricade is a assignment Gaza has to fulfil afterwards alien help. The honouring of Shakespeare in his quatercentenary was afterwards any advance from the anglophone world. Afore the aerial academy students’ video accomplishment at Nuseirat began, I asked the apprenticeship ministry’s bounded arch of English whether the British Council had been complex in the event, as it would accept been elsewhere. No, he said sadly. The ministry’s acquaintance with the British Council had chock-full in 2006, back Hamas was elected. The 11-year all-embracing political and bread-and-butter avoid – one that has inflicted abiding adversity on Gaza’s two actor citizenry afterwards dislodging their rulers, and is more recognised by western diplomats as a abortion – is a cultural boycott, too.

Donald Macintyre’s Gaza: Preparing for Dawn is appear by Oneworld on 26 October, £20. To adjustment a archetype for £17, go to guardianbookshop.com

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