PALESTINIAN : Fatima Hassouna, a photographer who made a difference. Martyred April 16th, 2025

My dearest friend Fatima Hassouna has been martyred.

Writing this feels unreal – as if I am waiting for her familiar voice to echo in my ear.

We had a playful way of saying “hello” to each other. And Fatima had the most magical of laughs.

She could disarm you instantly.

But the silence remains and the void caused by her absence is too vast to comprehend.

Fatima was a photographer and a filmmaker. More importantly – for me – she was an extremely warm human being.

She was strong and – in a good way – stubborn.

I knew Fatima from childhood. But life – as it often does – had pulled us apart for many years.

It wasn’t until Israel launched its genocidal war against Gaza that we became close again. This happened unexpectedly during a film project.

Fatima was behind the camera, and I was there with a pen in order to write articles.

Our reunion – despite the chaotic circumstances – rekindled something profound. Our shared grief and resilience made our friendship deeper.

Fatima was deeply committed to her craft. She never simply documented a moment. She became part of it.

She had a rare ability to earn trust quickly.

The subjects of her photography were not just faces or stories. They were people she befriended.

Fatima’s camera wasn’t a barrier. It was a bridge.

She always said that she wanted not just to carry a message but to show kindness to the people she filmed or photographed.

At Fatima’s core was a sense of purpose. She came from a place of love.

We lived just a street apart in Gaza City all our lives.

After the genocide began, we would walk everywhere together. There were no taxis around and prices were rising ever higher.

Each morning, Fatima would call.

“Wait for me,” she would say. “Let’s walk together.”

And so we did.

Those walks were more than just a means of getting from A to B. They were our little escapes.

We shared everything: sorrows, secrets, silly thoughts.

I never had to pretend to be anything I wasn’t when I was with Fatima.

There were no walls between us. Just warmth and honesty.

Tender rebellion

When Fatima got engaged recently, her happiness was contagious. Despite the hunger, and the overwhelming darkness that Israel’s genocidal war had brought, she lit up like a child planning a birthday party.

We would go to the market almost daily, hunting for clothes that she could wear as she went out with her fiancé.

I remember how excited she was, how we laughed even as we carried heavy bags for long distances.

Her joy in those days amounted to a tender rebellion, a statement that love and life still mattered in the face of devastation.

We developed a ritual with our friends.

Every week, we would gather in one of our homes. We cooked whatever food we had, brewed bitter tea – we had no sugar – and sang.

We sang until the pain dulled and the laughter returned.

Those nights were our anesthesia. They allowed us to breathe in suffocating times.

Fatima was always our anchor.

She told stories, and her laughter filled the room. We could see sorrow in her eyes, but it was mixed with hope.

An unbreakable hope.

Fatima had an enchanting voice when she sang. Like something from heaven.

When the sound of Israel’s drones became too much for me to bear, I would listen to a recording of Fatima singing. Her voice brought me peace.

It served as a reminder that something pure still existed in this world.

Friendships formed – or in this case, revived – during genocide are unlike any other. They are shaped by shared experiences of hunger, sleepless nights and the constant nearness of death.

When Fatima was killed, it was like a limb had been severed from my body. I felt incomplete.

I still do.

Every night, I continue to wait for her call. I wait for the way she would tell me – without preamble – how she was feeling that day.

She would always wish to God that she would never be deprived of me.

But now I am deprived of Fatima. And it hurts more than words can express.

Fatima and I worked as a team. During the genocide, we would go down to al-Yarmouk – the football stadium that has became a huge shelter for displaced people – she with her camera, I with my notebook.

We inspired each other.

Fatima told me that she loved how I put people’s experiences into words.

“I love your ideas,” she said. “They make me want to shoot better.”

I wish that she was still around to tell her how much I loved her eye for a good photograph or image.

How she saw not just the suffering in a person but the soul behind it.

How she brought dignity to every frame.

Last winter, we were working in al-Yarmouk stadium, where the conditions were especially dire. Seeing the suffering around her, Fatima said that we must help.

I asked her to speak with the director of the film project she was working on about distributing blankets. She did and soon we were part of a mission to not only document hardship but to relieve it.

That day, we weren’t just storytellers. We were part of the story.

And Fatima was glowing. She had done something she had always dreamed of: She had made a difference.

Fatima was only 25.

Just 25.

Yet her heart carried the weight of centuries, and her spirit was brighter than a thousand suns. She was childlike and wise, gentle and fierce, brave and vulnerable.

She was exceptional. I carry her memory with me every moment.

I see her in the morning light, in the silence of a street where we once walked, in the stories we still need to tell.

Losing her is unbearable. But remembering her – keeping her voice, her laughter, her vision alive – is my way of holding on.

She was my sister, my confidante, my light.

May the world never forget the name Fatima Hassouna.

May the stories she told outlive the genocide that took her.

And may we all learn from her to live with courage, to work with purpose, and to love – always – with everything we have.

Asmaa Abdu is an academic writer and a project coordinator at the UCAS Technology Incubator in Gaza.

source/content: electronicintifada.net (headline edited)

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Fatima Hassouna (Photo courtesy of Asmaa Abdu) 

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PALESTINIAN

PALESTINIAN : Remembering our grandmother, Nahil Bishara: The Palestinian artist and Renaissance woman who preserved her identity through creativity

In an interview with The New Arab, Nahil Bishara’s grandchildren speak about their grandmother’s artistic legacy and her role in preserving Palestinian identity.

History is full of remarkable yet forgotten women whose stories have yet to be told.

One such case is the late Palestinian artist and designer Nahil Bishara, an active and erudite woman who sought to preserve her Palestinian identity through endless creativity despite living through constant political instability in her homeland.

“Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness”

Nearly three decades after Nahil Bishara’s passing, her grandchildren are ready to share her story with the world. 

“She was always up to something artistic,” the artist’s UAE-based grandson, Assad Bishara, told The New Arab.

“She was somebody who wanted to master any kind of artistic medium she could get onto her hands. Whatever she got her hands on, she created something out of it,” Assad added.

Echoing this sentiment is his sister, Talia Bishara, a public relations specialist in culture, who fondly remembers her grandmother as a woman of taste of the Sixties era. 

“She was an elegant woman, whose hair was styled in a chignon with a million pins,” recalled Talia.

“She wanted to project an image. Her persona in society was also very important. Generally, artists at the time created art to sell, but she never created art to sell. She created art to anchor her Palestinianness.”

From Ramallah to Jerusalem 

Nahil was born in Ramallah in 1919, shortly after the end of the First World War, and spent most of her life in Jerusalem, where she nurtured her artistic talent.

In 1940, at the age of 21, the artist married Dr Assad Bishara, a renowned gynaecologist who, as Talia claimed, “a whole generation of Palestinians were born under his hands.”

According to Talia, Dr Assad was open-minded and supportive of his wife’s dreams.

As Talia puts it, “Whenever I speak about my grandmother, I have to speak about my grandfather too. He was a larger-than-life person. He wasn’t the type that restricted her to staying at home and raising a family. She did those things, but on top of that, she was exploring her artistic talent and supporting her community of Palestinian women.”

Beyond her personal achievements, Nahil also lived through important political events of the twentieth century, including the Nakba — the mass displacement of Palestinians — which led to the Israeli occupation in 1948.

‘A force and an avant-gardiste’

During this period, Nahil was offered a rare opportunity to study in England, but she refused, choosing instead to remain in her country as an act of defiance.

A woman who made history, she became the first Arab and Palestinian to study art at the Bezalel School of Arts and Crafts in Jerusalem, which had been founded as a Jewish art institution in the early 1900s.

Interestingly, at the time, Nahil was one of the few Palestinian artists to formally study art. But her education didn’t stop there.

Always striving to expand her mind and skill set, she undertook a design course by correspondence with an American university in Washington, DC. Then, in the 1960s, Nahil found herself in the Italian city of Perugia, where she studied classical painting and ceramics.

Known for always being on the move, Talia shared, “All her life, my grandmother loved art. She was a force and an avant-gardiste. She wanted to be ahead of everyone in her time.”

‘She wanted to constantly create’

To this day, Nahil is remembered as a Renaissance woman.

The educated artist spoke four languages (including Italian and French), tried her hand at stitching, woodworking, and glassblowing, hosted cultured dinners, volunteered at refugee camps, and mastered interior decoration.

Her most significant project was decorating the interior of the Young Men’s Christian Association (YMCA) building in Jerusalem, which was later converted by the Israelis into a hotel called Aelia Capitolina. Today, the hotel is known as the Legacy Hotel.

“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine”

By using locally sourced materials, Nahil designed its chandelier (made with Palestinian refugees), crafted wooden tables, and donated around 30 of her paintings to the establishment.

“I think she saw that there was power in creation, rather than focusing on destruction. She wanted to constantly create,” explained Talia.

“People were visiting Jerusalem from all over the world. I think she felt a responsibility to show the world a different image of Palestine.”

Another momentous event in Nahil’s career occurred in 1964 when she was commissioned by the Kingdom of Jordan to create a bust of Pope Paul VI in honour of his pilgrimage to Palestine. Today, the bust sits in the Vatican.

‘Capturing everything she could to preserve Palestine’ 

Exploring Nahil’s artistic legacy, she was known for creating religious landscapes, depictions of Palestinian refugees, and floral arrangements, the latter of which her husband particularly enjoyed.

“She was concerned with the preservation of identity because it was being erased” 

Her grandchildren believe that her art carries a strong message beneath the surface, with Assad sharing, “For her, it was about capturing everything she could to preserve Palestine. She was concerned with the preservation of identity because it was being erased.”

During The New Arab’s interview, Talia showed her grandmother’s artwork of female refugees, one of whom is holding a child, painted in 1948.

Talia explained that she was literally holding a piece of history in her hands, adding, “When I watch the news today, it’s like history is repeating itself,” referring to the ongoing bombardment in Gaza.

“A portion of our civil society has been cut off and turned into refugees who live in tents, and this was something that had to be captured,” commented Assad on the theme of displacement in Nahil’s art.

Celebrating a forgotten artist

In 1997, Nahil died of cancer, yet her memory remains alive in the hearts and minds of her family and friends.

Recently, the once-forgotten Nahil has slowly been re-entering the public sphere. Thanks to Talia, Nahil’s name now appears in Google searches, and some of her artworks have found homes in public cultural institutions, such as the Barjeel Art Foundation in the UAE and Dar El Nimer in Lebanon.

According to Talia, some museums have expressed interest in acquiring Nahil’s work since she became more vocal in sharing her grandmother’s story.

For Talia, this recognition has motivated her to one day publish a catalogue of Nahil’s artworks.

“My whole life I wanted to do something for her,” Talia said.

“I didn’t study art but I know its importance and can feel it. I started connecting with art people, but it wasn’t an easy journey. It fuelled me even more after the 7 October attacks,” she added. 

“Everyone should be interested in championing these names and putting them on the stage because you need the past… The past is your present. It’s our role to preserve it.”

source/content: newarab.com (headline edited)/Rawaa Talass

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Nahil Bishara being honoured for volunteering work at Inaash Al Usra Association

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PALESTINE

PALESTINIAN Samar Abu Elouf Wins World Press Photo of the Year

The award-winning image captures nine-year-old Mahmoud Ajjour, who lost both arms in an Israeli attack on Gaza, and is now learning to adapt to life in Qatar.

A photograph of nine-year-old Mahmoud Ajjour, a Palestinian child injured in an Israeli airstrike on Gaza City in March 2024, has been named World Press Photo of the Year by the World Press Photo Foundation. The image, taken by Palestinian photojournalist Samar Abu Elouf for The New York Times, offers a harrowing glimpse into the long-term impact of genocide on Palestinian children.

The photograph shows Mahmoud in a clinical setting in Doha, Qatar, where he was evacuated for medical care after losing one arm and suffering severe injuries to the other during an Israeli airstrike. The explosion struck after Mahmoud reportedly turned back to urge others to flee. Since undergoing treatment, he has begun to learn how to use his feet for basic tasks such as writing, playing games on his phone, and opening doors. He still requires support for daily activities such as eating and dressing. His aspiration, the photo caption notes, is simple: to receive prosthetic arms and live as any other child would.

The World Press Photo jury praised the image for its emotional weight and clarity, describing it as “a portrait that speaks to the long-term cost of war, the silences that perpetuate violence, and the role of journalism in exposing these realities.” The jury highlighted how the photo doesn’t flinch from documenting the physical toll of conflict while also humanising the statistics that often dominate war reporting.

The broader context of the photograph adds to its urgency. According to the United Nations Relief and Works Agency (UNRWA), by the end of 2024, Gaza had more child amputees per capita than any other place in the world. The World Health Organization (WHO) reported that by March 2025, over 7,000 injured Palestinians had been evacuated from Gaza for medical treatment, while more than 11,000 critically wounded individuals remained in the Strip, awaiting transfer. Qatar, which has developed its healthcare system in recent years, played a central role in facilitating these evacuations, alongside Egypt, Jordan, and Turkey.

The winning photo forms part of the annual World Press Photo Contest, which celebrates outstanding photojournalism and documentary photography from around the globe. Two other Arab photojournalists were recognised during the World Press Photo Contest: Palestinian photojournalist Ali Jadallah was recognized for his stark documentation of the aftermath of Israel’s invasion of Gaza, while Sudanese photographer, Mosab Abushama offers a jarring juxtaposition of violence and celebration with his photo of a groom at his wedding with a rifle in the background.

source/content: cairoscene.com (headline edited)

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PALESTINE

PALESTINE : 26 March 2025: 180,000 Palestinians pray at Jerusalem’s Al-Aqsa mosque for Laylat al-Qadr, despite Israeli restrictions

Palestinians in their thousands prayed at Jerusalem’s Al-Aqsa mosque during Laylat al-Qadr, considered the holiest night in Islam.

Some 180,000 Palestinians performed nighttime and Tarawih prayers at the sacred Al-Aqsa Mosque in occupied Jerusalem on Wednesday despite Israeli restrictions, the Jerusalem Islamic Endowments Department said.

Israeli authorities reportedly prevented scores of West Bank Palestinian worshippers from reaching the holy site, after refusing them entry at the Qalandia and Bethlehem checkpoints, the Palestinian Wafa news agency said.

The Israeli authorities claimed they did not carry valid documentation – a common pretext used to justify such restrictions.

Israeli forces were also deployed in the alleys of the Old City of Jerusalem, turning it into a “military zone,” according to the Palestinian Jerusalem Governorate local authority, obstructing Palestinians’ access to the mosque.

Several other Palestinians were banned from entry at the mosque’s gates, according to the Wadi Hilweh Information Center, a local human rights group, as cited by the Turkish Anadolu agency.

Last year, 200,000 Palestinians performed such prayers at Al-Aqsa, under similar heavy restrictions.

Earlier this month, as Muslims welcomed Ramadan, Israel announced it would only allow children under the age of 12, women above the age of 50 and men above the age of 55. Palestinians who fall under this category are obliged to carry special permits issue issued by authorities.

The prayers took place during Laylat al-Qadr – the holiest night in Islam, which falls during the last 10 days of Ramadan. The night, translated into English as ‘Night of the Power,’ marks when the holy Quran was revealed to the Prophet Muhammad by the angel Gabriel.

Muslims worldwide generally increase acts of prayer, often staying in the mosque between nighttime and dawn prayers, and exercise spiritual retreat, known as I’tikaf during this period.

Muslims also believe that acts of good deeds are multiplied manifold during the period, as the night of power is said to be “better than a thousands months,” according to the Quran .

As prayers were held across the Muslim world and communities, many imams included prayers for the people of Gaza, subject to indiscriminate Israeli attacks which have killed over 62,000 people over the last 16 months.

Journalists barred from Al-Aqsa

Israeli forces have also imposed restrictions on journalists covering events at Al-Aqsa this month. Authorities have reportedly barred at least 13 journalists from entering the Al-Aqsa compound.

Among them was Basem Zidani, who told The New Arab’s sister site, Al-Araby Al-Jadeed, that Israeli forces said that the Shin Bet security service had a secret file showing that his presence at Al-Aqsa Mosque, especially during Ramadan, would “disturb public order”.

Zidani said he was summoned to the Qishleh police station, where he was interrogated by a police officer who then told him that he would be banned from entering Al-Aqsa compound.

The journalist sought to contest this ban through local rights organisations, but to no avail.

“It is clear that I was targeted because of my journalistic work during the war on Gaza, but I do not regret it.”

source/content: newarab.com (headline edited)

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Prayers at Al-Aqsa took place in defiance of Israel’s restrictions on Palestinian worshippers [Getty/file photo]

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PALESTINE

PALESTINIAN-BRITISH : Oscar-Nominated Filmmaker Farah Nabulsi Highlights Palestinian Struggles in New Film

Oscar-nominated and BAFTA award-winning Palestinian-British filmmaker Farah Nabulsi is calling for global empathy towards Palestinians through her debut feature film, The Teacher.

In an interview, Nabulsi emphasized that her film aims to challenge audiences to reflect on the harsh realities Palestinians face under occupation. “I want people to ask themselves: Is this a reality they would accept for themselves? And if it isn’t, why have Palestinians been expected to?” she stated.

Nabulsi, whose film premiered at the Toronto Film Festival in September 2023, expressed that The Teacher offers a deeper human context to the ongoing situation in Palestine, especially as “Israel”’s actions in Gaza intensify.

Born and raised in the UK, Nabulsi’s first visit to Palestine a decade ago profoundly impacted her perspective, as she witnessed firsthand the injustice and discrimination faced by Palestinians. This experience spurred her to use storytelling as a way to process and respond to the issues she encountered.

Filming in the occupied West Bank proved emotionally and logistically challenging. Nabulsi shared that the realities of filming in such a context, alongside a cast and crew deeply affected by these experiences, created an emotional toll.

The film addresses issues such as settler violence, home demolitions, and the mistreatment of children in military courts, with Nabulsi drawing inspiration from real-life conversations and her observations. Through The Teacher, Nabulsi hopes to inspire global empathy for Palestinians and garner support for their struggle for freedom.

source/content: al24news.com (headline edited)

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BRITISH / PALESTINIAN

Palestinian American Chef Michael Rafidi Wins James Beard Culinary Award 2024 in Chicago

Palestinian chef Michael Rafidi has been honored with the James Beard Awards in Chicago, winning the title of Outstanding Chef 2024.

The culinary world is full of awards and accolades that honor talented chefs, and among them is the James Beard Awards. Often referred to as the “Oscars of the food world”, it is one of the highest honors in the industry. This year, Palestinian chef Michael Rafidi, the owner of Albi — a Michelin-starred restaurant in the capital of the United States, Washington, D.C. was titled winner under the category of Outstanding Chef.

Previously, Rafidi’s restaurant garnered a Michelin Star in 2022, an award that is only granted to restaurants that are able to present an exceptional dining experience using top-notch ingredients consistently. Rafidi’s food encapsulates the rich flavors of his Palestinian heritage, with each dish presenting remnants of his culture.

Chef Micheal Rafidi’s caption on his Instagram post, or speech as he called it included a poignant homage to his grandfather who was a chef in Washington for decades, and a big source of inspiration to delve into his restaurateur journey. “I accepted this award on the shoulders of my Palestinian ancestors, my grandparents and my mother. Through it all, they held onto their love of food, a taste of our lineage that told stories of love, resilience and hope,” stated Rafidi. He added, “As I grew in my career, I realized my Palestinian identity would become my purpose for the restaurants we would build, the menus we would create, and the food we would serve. Ending the caption with, “In case I wasn’t clear on stage. This award is dedicated to the people of Palestine.”

Regarding the win, Ayman, the Palestinian-Egyptian news anchor at MSNBC posted, “Now after last night’s James Beard Awards, Palestinian cuisine is not only recognized as part of the tapestry of America, it is celebrated among the very best cuisines in the world thanks to generations of Palestinians who are constantly pushing their food to new heights.”

source/content: en.vogue.me (headline edited)

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Photo: Getty

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AMERICAN / PALESTINIAN

PALESTINIAN activist Issa Amro wins the alternate Nobel, Swedish ‘ Right Livelihood prize 2024’ for peaceful resistance

Palestinian activist Issa Amro on Thursday accepted the Right Livelihood prize — considered by some an alternative Nobel — for his “nonviolent resistance to Israel’s illegal occupation” in the West Bank, the jury said.


Amro was born in the city of Hebron, a flashpoint West Bank city where roughly 1,000 Jewish settlers live under heavy Israeli military protection amid some 200,000 Palestinians.


He has dedicated his life to fighting against Israel’s occupation of the West Bank.
The 44-year-old founded the Youth Against Settlements group, which campaigns against the proliferation of Jewish settlements in the territory — communities widely regarded as illegal under international law.


The rights campaigner has been repeatedly detained and tortured by both the Palestinian Authority and by Israel, the foundation said. “It’s a miracle that I still exist,” said Amro.


When Palestine Polytechnic University, where he was studying, closed in 2003 during the Second Intifada, Amro successfully led a six-month civil disobedience campaign.
“I managed to reopen the university with other students,” Amro said in a statement.
“I graduated as an engineer and as an activist — it became part of my character,” he added.


The Sweden-based Right Livelihood Foundation also honored Joan Carling, a Filipino champion of indigenous rights and Anabela Lemos, a climate activist from Mozambique.


It also gave the nod to research agency Forensic Architecture for its work in uncovering human rights violations around the world.


The foundation said the four prize winners had “each made a profound impact on their communities and the global stage.”


“Their unwavering commitment to speaking out against forces of oppression and exploitation, while strictly adhering to non-violent methods, resonates far beyond their communities,” Right Livelihood said in a statement.


Carling from the Philippines was recognized for having defended the rights of indigenous communities for three decades, particularly in their fight against mining projects.


The foundation celebrated Lemos, who heads the NGO Justica Ambiental (JA!), for her role in opposing liquefied natural gas extraction projects in northern Mozambique.


Forensic Architecture, a London-based research laboratory known for 3D modelling conflict zones, won the distinction for “pioneering digital forensic methods” to ensure accountability of human rights violations around the world.


By teaming up with Ukraine’s Center for Spatial Technologies to reconstruct Mariupol’s Drama Theatre before it was destroyed in 2022, the firm highlighted Russia’s “strategies of terror” and “attempts to obscure evidence of their own crimes,” the foundation said.


Swedish-German philatelist Jakob von Uexkull sold part of his stamp collection to found the Right Livelihood award in 1980, after the foundation behind the Nobel Prizes refused to create new distinctions honoring efforts in the fields of environment and international development.

source/content: arabnews.com (headline edited)

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The rights campaigner has been repeatedly detained and tortured by both the Palestinian Authority and by Israel, the foundation said. (AFP)

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PALESTINIAN

PALESTINIAN journalist Bisan Owda and AJ+ win Emmy for Gaza war documentary

The award comes after a pro-Israel nonprofit organisation criticised the nomination of the short film documenting the initial days of Israel’s war on Gaza.

Palestinian journalist Bisan Owda and Al Jazeera’s AJ+ have won an Emmy in the Outstanding Hard News Feature Story category for their documentary, It’s Bisan From Gaza – and I’m Still Alive.

Owda has been at the forefront of reporting from Gaza since Israel launched its assault on the territory last October, bringing the stories of Palestinians to a global audience amidst 11 months of war and devastation.

“This award is a testament to young Palestinian journalists and their professionalism. Bisan’s reporting has humanised the Palestinian story after decades of mainstream media’s systematic dehumanisation of Palestinians. Winning this Emmy is a win for humanity. We feel extremely proud of this bright moment amidst ongoing genocide, and Bisan will continue reporting,” Dima Khatib, Managing Director of AJ+ Channels, said on Thursday.

The award came a month after Creative Community for Peace, a pro-Israel nonprofit organisation, issued a letter criticising the nomination of the 25-year-old’s short film documenting the initial days of Israeli bombardment and its devastating impact on everyday people in the Gaza Strip.

The letter alleged Owda was affiliated with the Popular Front for the Liberation of Palestine (PFLP), which she has denied. The PFLP is a left-wing Palestinian political movement, and is designated a “terrorist organisation” by several Western countries, including the United States.

In August, Adam Sharp, the president and chief executive of the National Academy of Television and Arts and Sciences (NATAS), defended the nomination, saying that two panels, including experienced journalists, had made the decision and that the academy had not found any evidence that Owda was affiliated with the PFLP.

He said that past nominees had “been controversial, giving a platform to voices that certain viewers may find objectionable or even abhorrent”, but they were honoured “in the service of the journalistic mission to capture every facet of the story”.

At the time, Al Jazeera issued a statement, saying it stood with Owda “in the face of efforts to silence her reporting from Gaza”.

The media group described Owda as a “renowned journalist and influencer” who “has significantly contributed to bringing news from Gaza to the world with her unique style”.

Al Jazeera said the allegations were “baseless” and “an attempt to silence Bisan and present a real threat to her safety on the ground”.

“The call for the Emmy nomination to be rescinded is nothing more than an attempt to deny an important perspective to the global audience on the war and its devastating impact on innocent civilians,” the statement read.

In the past 11 months, more than 130 journalists, including three from Al Jazeera, have been killed by Israeli forces, according to Reporters Without Borders (RSF). Other media rights groups have different numbers based on their own criteria, however, the Government Media Office in Gaza count of the number of dead journalists and media workers is 173.

“We urge the international journalistic community to support Bisan and other media professionals, ensuring they can carry out their essential work without fear of being targeted, intimidated or killed,” Al Jazeera’s statement said.

In May, Owda and AJ+ also won a Peabody Award for coverage of the devastating impact Israel’s war on Gaza has had on Palestinians in the besieged enclave.

Additionally, Al Jazeera English’s Fault Lines received the News Emmy for Outstanding Climate, Environment, and Weather Coverage for its film “Shark Fin Hunters,” which exposes wildlife trafficking that poses enormous risks for the future of the oceans.

“We are delighted and honoured to win this prestigious award,” said Issa Ali, Acting Managing Director of Al Jazeera English. “The great journalism that we do, and that done by our colleagues in other media organisations, is more important than ever in today’s world. This award is a wonderful recognition of the talent, dedication, and hard work of our teams.”

source/content: aljazeera.com (headline edited)

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source: youtube.com / ‘It’s Bisan from Gaza and I’m Still Alive’

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PALESTINE

PALESTINIAN AFP Photographer Mahmud Hams Wins Visa d’Or News Award

Palestinian AFP photojournalist Mahmud Hams was awarded the Visa d’Or News prize on Saturday for his coverage of the conflict in Gaza. The prize, one of the most prestigious in the field of photojournalism, is supported by the Visa pour l’Image Association – Perpignan.

Amidst the bombings, with death ever-present and the constant fear of being targeted, Mahmud Hams, who has worked for AFP for over two decades in the Palestinian territories, has relentlessly continued to document the war ignited by Hamas’s attack on Israel on October 7, 2023. 

“I spent my childhood in Gaza, and in 23 years of photojournalism, I have witnessed every war, every conflict there. But this war is unlike any other, without precedent from the very first day,” says Hams. “My colleagues and I have had to face incredibly difficult conditions, with no red lines and no protections for anyone. There were even attacks targeting journalists’ offices, which are supposed to be off-limits in times of war.” 

“Many journalists have been killed; others wounded. I’ve also lost friends and loved ones. We struggled to keep our families safe,” he explains. “Yet, despite the ever-present danger, I continued to cover the conflict because it is my duty, the one I chose when I embraced the profession of journalism.”

“I stayed calm, for my family, and to carry out my mission until the very last moment,” says Hams, who left Gaza with his family in February. “I hope the photos we take show the world that this war, and the suffering, must end,” he adds.

“Mahmud and his colleagues, photographers and journalists from AFP in the Gaza Strip, have carried out extraordinary work in every respect, considering the conditions in which they lived with their families and loved ones,” remarks Éric Baradat, AFP’s Deputy News Director for Photo, Graphics, Data and Archives. “It is staggering and often unimaginable. Their testimony will be recorded in history.”

After October 7, AFP relied on its Gaza bureau, staffed by nine journalists, to cover the war from within the besieged Palestinian territory. On November 2, the office building, which had been evacuated a few days earlier, was badly damaged by a strike, probably caused by Israeli tank fire, according to an investigation conducted by AFP and several international media outlets.

Having remained in Gaza for several months with no way to leave, all AFP staff and their families have since been evacuated. The Agency continues to report on the war through other Palestinian journalists, working closely with its Jerusalem office, which has been leading the coverage since the beginning of the conflict.

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Photojournalist Mahmud Hams, aged 44, holds a degree in Journalism and Information from the Islamic University of Gaza. He joined AFP in 2003 and has since covered daily news in the Gaza Strip. He has also reported from Libya and Egypt. Mahmud Hams left Rafah in February 2024 with his family and has since been working for AFP in Qatar. 

AFP’s Gaza-based Palestinian photographer Mahmud Hams. © AFP

Previous Awards:

  • First Prize in the “News Story” category for his coverage of Gaza at the 10th edition of the Istanbul Photo Awards (organised by Anadolu Agency) in April 2024;
  • First Prize in Photography at the 25th Bayeux Calvados-Normandy War Correspondents Award for his photograph of Palestinian protester Saber al-Ashkar, aged 29, throwing stones during clashes with Israeli forces (“Great March of Return”) along the Gaza Strip’s border east of Gaza City on 11th May 2018.This photo also received the Varenne International Photo Award in December 2018.

source/content: afp.com (headline edited)

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Rescuers pull a child out of the rubble of a building hit in an Israeli air strike in Khan Yunis in the southern Gaza Strip on October 24, 2023. © Mahmud Hams / AFP

Palestinians fleeing the north of Gaza City, walking past Israeli army tanks on November 24, 2023. © Mahmud Hams / AFP

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PALESTINE



PALESTINE’s First ever Olympian Majed Abu Maraheel dies in Gaza from lack of treatment due to Israel’s war

Palestine’s first ever Olympian dies in Gaza from lack of treatment due to Israel’s war.

The first Palestinian athlete to participate in the Olympic games died on Wednesday at the Nuseirat refugee camp in Gaza as a result of kidney failure due to power outages and medical shortages as a result of the ongoing Israeli war and siege of the enclave.

Majed Abu Maraheel, who passed away at the age of 61, became the first athlete to be the flag bearer and represent Palestinians at the Olympic Games in Atlanta in 1996. Being a distance runner, he competed in the 10km race.

Since his breakthrough on the world stage, more than 20 Palestinian men and women have been able to compete at Olympic competitions.

“He was a Palestinian icon, and he will remain as such,” his brother told Paltoday TV after the funeral. 

“We tried to evacuate him to Egypt but then the Rafah crossing was closed (by Israel), and his condition kept deteriorating.” 

In his preparation for the Olympics, Abu Maraheel would often be seen on his daily runs from his home in Gaza to the Erez Crossing with Israel, which Israel closed in October after imposing a full blockade on the Strip. Last month, it was reopened for the first time since then.

He would often have to pass through that crossing for his job as a day labourer in Israel.

After participating in the Olympics, Abu Maraheel went on to become a coach for other Palestinian runners hoping to replicate his presence at the international competition.

He went on to coach Nader el-Masri, another Palestinian from Gaza who competed in the 2008 Olympic games in Beijing.

Abu Maraheel’s death highlights the grim fate of many Palestinians who are facing kidney failure in Gaza.

A report from the Euro-Med Human Rights Monitor in March found that there were between 1,000 to 1,500 patients in Gaza with kidney failure, and that they are facing a “slow death” because of “a lack of medical and therapeutic services, medications and other necessities”.

Since Israel’s war on Gaza began in October, Israeli forces have launched a full siege on the enclave. In addition to killing more than 37,000 Palestinians, they have repeatedly targeted and attacked Gaza’s hospitals and healthcare infrastructure.

A report late last month by the Washington Post said that only four of Gaza’s 36 hospitals have not been damaged by munitions or been raided by Israeli forces.

However, the lack of supplies in the area because of Israel’s blockade has further exacerbated the situation.

Israel denies blocking humanitarian aid into Gaza, though aid agencies say they are not able to get aid in because of Israeli restrictions.

source/content: middleeasteye.net (headline edited)

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Majed Abu Maraheel became the first athlete to represent Palestinians at the Olympic Games in Atlanta in 1996 (X)

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PALESTINE