Author: ArabianRecords.org
SYRIA : From age 12 to world champion: Mohamed Safwamar’s rise in powerlifting
Mohamed Safwamar began powerlifting at the age of 12. Seven years later, the Syrian athlete has built a career spanning national, Arab and regional titles, capped by four gold medals at the World Championships in South Africa.
The 19-year-old’s rise has been marked by steady progress through successive competitions, with each event providing an opportunity to improve his performance and lifting totals.
“I started powerlifting when I was 12 and have worked over the past several years to improve my performance and establish a strong presence in competitions,” Safwamar told SANA.
His early success came at home, where he won the Syrian championship and claimed the Syrian Champion of Champions title in the men’s category three times.
Safwamar then moved onto the regional stage, winning the Arab Championship, the West Asian Championship and the West Asian Champion of Champions title.
His career reached a new milestone at the World Championships in South Africa, where he competed in the over-120 kg category and swept four gold medals in the squat, bench press, deadlift and overall total.
“It is an achievement I am proud of, and it gives me additional motivation to continue training and improving my performance,” he said.
Safwamar has been ranked Syria’s top powerlifter by the Syrian Arab Powerlifting Federation and was crowned a world champion in 2026.
Despite his growing medal collection, Safwamar is already looking to the next stage of his career. He aims to break world records and win the world championship title in the men’s category, goals he says will require sustained training as well as greater support and sponsorship.
The Syrian Powerlifting Federation is looking to Safwamar as one of its leading prospects for further success on the international stage.
source/content: sana.sy (headline edited)
______________
__________
SYRIA
SYRIA : Photographer Imad Alaeddin Frames the Celestial Domes of UAE’s Mosques
Through his lens, the Syrian photographer reveals the intricate artistry and harmony of mosque ceilings across the UAE.
An image may capture a moment, but for Syrian photojournalist Imadeddin Alaeddin, it is a portal to something deeper. His latest work, ‘Mosques of the UAE: A Harmony of Art and Spirituality’, showcased at Xposure 2025 International Photography Festival in Sharjah, explores the often-overlooked beauty of mosque domes.
“Attending the Xposure Photography Exhibition last year sparked an idea for a project that goes beyond simply capturing images. I wanted to document the beauty of mosques from a fresh perspective, and in the domes of UAE mosques, I found a unique harmony of art and spirituality,” Alaeddin tells SceneHome.
Over a journey spanning 30 mosques across the UAE, Alaeddin’s lens turned skyward, revealing the intricate floral motifs, Quranic inscriptions, and stained glass illuminations that often go unnoticed. His images frame these ceilings as celestial compositions, where geometry and craftsmanship converge in quiet reverence.
Roaming from Dubai to Sharjah, he uncovered the forgotten details of Islamic architecture. “I sought to present a different vision of Islamic architecture, where artistic details blend with spiritual depth, making the exhibition an opportunity for visitors to discover a new perspective on these sacred spaces,” he reflects.
Photographing these domes came with challenges. Restricted prayer times meant limited access, while fluctuating lighting conditions required adaptability. “Some mosques rely on programmed lighting systems that activate only at specific times, so I had to make the most of natural light,” Alaeddin explains. “I considered using laser devices to fine-tune angles, but out of respect for the sanctity of the space, I chose to rely solely on my eye and experience.”
His photographs capture a world of colour and light, where crimson and deep blue hues pulse against pale cream backdrops, creating a mesmerising interplay of contrast. Each dome tells a story—its patterns, calligraphy, and muqarnas whispering the legacy of those who built them…
The dome of Al Muherabah Mosque in Dubai
Adorned with gilded Arabic calligraphy, its inscriptions encircling the space in a rhythmic embrace. Soft blue hues filter through the stained-glass windows, casting a tranquil glow of natural light.
Sheikh Mohammed bin Rashid Al Maktoum Mosque in Dubai
An ocean of geometric carvings unfolds within a meticulously structured composition, where the pendentive, drum, and dome align in perfect harmony. Hanging pendants appear to defy gravity—as if suspended mid-fall—yet, when captured upside down, they create an uncanny sensation of descent, pulling the viewer into the depths of the celestial expanse above.
AlRushd Mosque in Al Dhaid, Sharjah
Here, sections of the columns supporting the dome appear to lean toward a singular perspective, drawing the eye inward. The overall cream palette exudes serenity, while deep crimson calligraphic bands introduce a striking contrast—infusing the space with a quiet intensity and a sense of warmth.
Al Dhaid Mosque in Al Dhaid, Sharjah
A luminous green band of gilded calligraphy encircles the dome, its vibrancy heightened by the delicate interplay of light and shadow. Yet, the true marvel lies in the muqarnas bridging the drum and the dome—cascading like snow-capped peaks dissolving into the pale eggshell palette. Against this serene backdrop, the bold green creates a striking contrast. Suspended at the heart of it all, a traditional metal chandelier descends, its dark tones amplifying the depth of the dome, framing it in mesmerizing concentric circles.
Sheikha bint Saeed Al Maktoum Mosque in Dubai
An octagonal drum dome reveals a harmonious transition from the square base to the triangular squinches, followed by the octagon and finally the dome. This visual layering unfolds like a cascading symphony, where geometry orchestrates a delicate balance of structure and ornamentation. The spotlights arranged around may have altered how it appears in the photograph, yet they still shine like constellations in perfect alignment.
Al Farooq Omar bin Al Khattab Mosque in Dubai
Four half-domes converge seamlessly into the central dome, creating a harmonious architectural crescendo. The vivid color palette transforms the sacred into something unexpectedly jubilant—bright mustard yellow and deep red infuse the space with an electrifying contrast, where surprise and awe intertwine. Together, the domes form a floral-like composition, culminating in the central dome, where stained glass windows encircle the drum, casting ethereal light across the space.
Al Noor Mosque in Sharjah
A whisper of timeless Ottoman mosques lingers here, yet within, golden carvings elegantly drape the ceiling before unveiling the dome’s radiant white expanse. Four half-domes converge seamlessly into the central dome, their pristine grandeur exuding a profound sense of calm and serenity. Artificial lights, arranged in concentric circles, intensify this feeling of infinity, drawing you into a luminous reverie.
Sharjah Grand Mosque in Sharjah
Gazing upward, the dome reveals a masterpiece where art and spirituality intertwine. Thuluth calligraphy flows across its surface, framing Quranic verses with the Names of Allah, creating a sense of divine rhythm. Gilded floral and geometric patterns echo Ottoman elegance, while striped arches introduce a striking contrast. A grand chandelier hangs at the center, casting a warm glow that enhances the mosque’s tranquil beauty.
Mary the Mother of Jesus Mosque in Abu Dhabi
What sets this mosque apart is not just its architectural splendor but its profound message of tolerance and coexistence, after the mosque’s name was changed from Mohammed Bin Zayed Mosque in 2017. Graceful calligraphy and intricate blue patterns weave across the dome, where light filters through geometric windows, casting a tranquil glow.
Sheikh Rashid bin Mohammed bin Rashid Al Maktoum Mosque in Dubai
The dome’s intricate floral geometry stretches endlessly, its layers unfolding like a lotus in bloom. Seen from beneath, it feels infinite—a vanishing point so profound, it’s like gazing at the horizon itself, only framed by sacred symmetry.
Khor Kalba Mosque in Sharjah
Beige and blue unfold beneath the dome, evoking a sense of serenity and transcendence—like the sky meeting the clouds in a seamless embrace. A band of calligraphy frames the base, grounding the composition. Yet, it is in the quiet interplay of these hues, in the restraint of ornamentation, that the true opulence reveals itself—where absence speaks as powerfully as presence.
Amina bint Ahmed Al Ghurair Mosque in Ajman
A masterpiece of harmony, this dome weaves intricate geometry with the richness of golden Kufic calligraphy, encircling the space with a quiet grandeur. Light filters through, casting shifting shadows that bring the patterns to life, creating an atmosphere where structure and ornamentation merge into a seamless expression of devotion.
Photography Credit: Imad Al-Din Alaa Al-Din
source/content: cairoscene.com (headline edited)
____________
Originally published on March 30th, 2025
__________
SYRIA
KUWAIT : Meet the English club founded by Kuwaitis: Birmingham Albion FC
English club — founded by Kuwaitis Faisal Al-Serbel and Fahad Obaid in 2025 — has secured a spot in the 12th tier of English football.
The West Midlands Regional League Division 1 — situated in the 12th tier of the English football pyramid — has just welcomed its latest addition. Birmingham Albion FC, incorporated in 2025, have officially secured their status as one of English football’s newest clubs.
Unusually, this is a side founded by two Kuwaitis with a passion for the game — Faisal Al-Serbel and Fahad Obaid.
The two businessmen have taken an unusual path. While investment from the Middle East into English clubs is no longer a novel concept, the idea of starting a football club from scratch is rare.
“The idea gained a lot of attention from the media because of how unusual it is,” Al-Serbel told Arab News. “You rarely find Arabs founding a club from scratch.
“We are more associated with acquiring, or buying an existing club — which is an idea we considered — but ultimately, we chose the path of starting a new club,” he added.
This is the first time a Kuwaiti has founded a new club in England, but not the first time a club has been owned by a Kuwaiti. Nottingham Forest were owned by the Al-Hasawi family between 2012 and 2017, while Ebbsfleet United were owned by Dr. Abdullah Al-Humaidi’s KEH Sports between 2013 and 2026.
Andover Town — also in the 12th tier of English football, but in the Hampshire Premier League Division 1 — was recently acquired by Mohammed Al-Kanderi. Higher up the pyramid, Salisbury FC (6th tier) is owned by Ali Al-Hamad, Bristol Rovers (4th tier) by Hussain Al-Saeed and MK Dons (3rd tier) by the Al-Ghanim family.
Birmingham Albion FC have hit the ground running in recent months, securing a ground-share agreement with Coton Green Football Club for the use of facilities at the Dave Henderson Memorial Ground for the 2026/27 season, alongside bringing in Approach as the club’s official shirt sponsor, with jerseys available on their official app.
Approach is a multi-service marketplace app based in Kuwait — illustrating how the club intends to bridge its community focus in Birmingham with ties back to Kuwait.
“Starting a club from scratch back in the Middle East is considered an unusual decision,” Al-Serbal said, “but if you acquire a big club, the decision would be applauded.”
Football in the Arab world often struggles to see clubs outside the traditional big sides break into the upper echelons without significant financial support. Notable recent examples include Al-Qadsiah in Saudi Arabia and Al-Hussein in Jordan, both of whom have begun to upset the status quo.
“What is special about clubs in the lower leagues is that everyone in the community cares about them — it truly feels like their club,” Al-Serbel explained.
“As soon as we started the club we had a lot of volunteers willing to join us, but of course, there were some negative voices surrounding our background and why we were not English.
“But, we are focused on bringing something good to the community in Birmingham, whether through programs, academies or cultural events.”
Recent social media reports suggested that Birmingham Albion FC were aiming to sign Kuwaiti players.
“We did suggest to players in the Kuwaiti League that they join us for a sort of live-in period during the international breaks,” Al-Serbel said, “but there are rules here — you cannot play in the division if you are not a full-time resident or citizen. That means we cannot sign players from the Kuwaiti League.
“However, we still want them to come to the club and train in England from time to time and see how football works, even at the lower rungs of the pyramid.”
That lower rung of the pyramid is an interesting challenge for the avid “Football Manager” player, who would salivate at the idea of taking a club from the 12th tier to European glory. But Al-Serbel outlined the team’s five-year targets — and none of them were that ambitious.
“Our five-year goal is to be promoted across two divisions at most, and one division at minimum,” he said. “Aiming for four divisions as a maximum and two divisions as a minimum — that is not realistic in football.
“We also have a plan to have our own stadium by 2027, and God willing, we will achieve it.”
Birmingham Albion FC may not make the same fireworks as other Arab-acquired clubs like Paris Saint-Germain and Newcastle United in the near future. They may never even make it out of non-league football. And yet, this is where the story becomes even more compelling.
For too long, the lack of development at grassroots and community level has represented a missing piece in the growth of football as an industry in the Arab world. Certain individual clubs have found great success, but never the whole ecosystem.
The success of a club like Birmingham Albion FC — not necessarily in terms of results — could be a game-changer for the Arab world.
It could show people back home that football clubs are not just what they have become in the modern era: entities driven purely by financial goals. A success story like this can spark a mindset shift toward the idea that football clubs exist for the community before anything else.
source/content: arabnews.com (headline edited)
________________
____________
KUWAIT
31 a
IRAQ : The first word: Iraqis find hope in Sumerian symbols
In a country where youth creativity increasingly thrives in the digital marketplace, a growing number of Iraqis are turning their gaze far back — to the dawn of civilization itself. Amid handmade crafts, digital art, and jewelry design, many are drawing inspiration from the symbols and stories of Sumer, the world’s first known civilization, which emerged more than 5,000 years ago in the fertile plains of southern Mesopotamia — the land that is today Iraq.
For these young Iraqis, the fascination extends beyond aesthetics. It reflects a concerted effort to reconnect with a heritage that laid humanity’s earliest foundations of urban life, law, and writing.
From Uruk and Ur to Eridu and Lagash, the influence of the Sumerian past still resonates across Iraq’s soil and memory. Now, those echoes are finding new expression — not in clay tablets, but in metal, leather, and digital design.
Future Wears History
Among those spearheading this revival is Mustafa al-Rudaini, an artist and archaeologist from Baghdad who blends ancient language with contemporary craftsmanship. He converts cuneiform inscriptions — the wedge-shaped characters of Sumerian — into bracelets, pendants, and artworks that merge history with modern design.
“The idea came to me while studying archaeology,” Rudaini explained to Shafaq News. “I realized how disconnected many Iraqis have become from their own ancient identity. Through art, I wanted to rebuild that connection.” His designs are meticulously researched, each symbol reflecting historical and linguistic accuracy.
Al-Rudaini’s work offers a window into the rebirth of a language once thought lost forever. The Sumerian language, spoken by the inhabitants of southern Mesopotamia around 3100 BCE, was the world’s first written tongue — etched into wet clay with reed styluses.
Although it disappeared as a spoken language by 2000 BCE, scholars preserved it through Akkadian translations, and in the 19th century, it was deciphered from cuneiform tablets unearthed in Iraq. Today, Sumerian attracts archaeologists, philologists, and increasingly, Iraqis seeking a renewed link to their ancient roots.
Al-Rudaini’s revival aligns with this growing curiosity. Online, Iraqis share posts about learning Sumerian symbols, while universities report rising interest in Mesopotamian studies. “There’s a sense of cultural reawakening,” al-Rudaini observed. “We’re rediscovering who we are — not just as Iraqis, but as heirs of civilization itself.”
His handcrafted pieces, featuring inscriptions such as “freedom,” “love,” “life,” and “strength” in cuneiform, resonate deeply with Iraq’s youth.
“Every piece carries a message,” he noted, emphasizing that it’s not merely jewelry — it is identity in tangible form.
Heritage Sells
Al-Rudaini’s creations quickly attracted attention on social media, drawing buyers from Iraq and abroad. “Orders came from students, archaeologists, and even tourists,” he mentioned. “People want to feel connected to something that embodies pride — a history that began here.”
Beyond individual artistry, the revival reflects a broader cultural movement — an embrace of Iraq’s layered heritage beneath modern complexities. The Sumerian aesthetic has permeated décor, tattoo art, and fashion. “Sumerian symbols are not just historical artifacts,” al-Rudaini highlighted. “They have become a form of expression — a way of saying: We remember.”
Dr. Munahel al-Saleh, a sociologist at the University of Baghdad, interprets this fascination as both emotional and psychological. “After decades of conflict and fragmentation, Iraqis are reclaiming continuity,” she observed, noting that by reaching back to Sumerian roots, they find stability and meaning that transcend modern divisions.
She further emphasized that Sumerian imagery — once confined to museum walls — has become an accessible language of pride. “These cultural revivals are not nostalgia. They are acts of resilience. The youth are using art and language to signal: We existed long before destruction, and we will exist long after it,” she added.
Oldest Word Rings
This rediscovery extends beyond scholars and artists. Across Iraq, young people increasingly explore cuneiform symbols and integrate them into daily life.
Tiba Hassan, a university student from Najaf, wears a necklace engraved with the Sumerian sign for “hope.” “It reminds me that my ancestors once wrote this same word in clay thousands of years ago,” she reflected. “It’s a bridge between me and them.”
Similarly, Raad Mahmoud, a craftsman from al-Nasiriyah — near the site of ancient Ur — described how visitors to his shop frequently request Sumerian-themed souvenirs. “They view it as a mark of authenticity,” he remarked, emphasizing that it is distinctly Iraqi, not imported or imitated.
For Dalia Qasim, a graphic designer in Mosul, cuneiform patterns have become an integral part of her digital creations, from posters to logos. By weaving these ancient symbols into modern design, she creates a bridge between past and present, allowing Iraq’s earliest expressions of language to resonate within contemporary visuals.
These individual accounts point to a larger truth: the revival of Sumerian symbols mirrors the revival of memory. The world’s oldest written language — once buried beneath millennia of dust — now speaks again through the hands of Iraq’s new generation.
source/content: shafaq.com/en (headline edited)
________________
_________
IRAQ
ALGERIA : 2026 Mediterranean Games: Algeria Secures Three More Bronze Medals and Strong Boxing Advances
Algeria boosted its medal tally on Tuesday with three additional bronze medals at the ongoing Mediterranean Games in Taranto, Italy.
In freestyle wrestling, Chaïma Chebila claimed the bronze medal in the Under 53 kg category after a dominant 6-1 victory over Morocco’s Zineb Ech-Chabki.
Earlier on Tuesday, another Algerian wrestler, Ibtissem Doudou, secured the bronze medal in the Under 50 kg category by overcoming Egypt’s Malak Ahmed Hassan Mohamed with a tight 3-2 score.
These two bronze medals raise the Algerian wrestling team’s overall tally to seven medals (one gold, one silver, and five bronzes).
Meanwhile, Nour El Houda Maïdi earned a bronze medal in the “Raffa” (Boules) competition. Maïdi successfully edged past San Marino’s Stella Paoletti with a narrow 7-6 victory.
Boxing: A Trio Advances to the Semi-Finals
In boxing, three Algerian fighters punched their tickets to the semi-finals, officially guaranteeing at least three more bronze medals for the national delegation. The advancing boxers are:
- Mustapha Abdou (80 kg), who defeated Tunisia’s Youssef Rafrafi via unanimous decision (5-0).
- Ismaïl Bekhsis (66 kg), who secured a flawless 5-0 victory over his Turkish opponent, Kanli.
- Amine Zanaz (55 kg), who edged past Morocco’s Ismail Bin Siyar with a 3-2 split decision.
These three boxers join their compatriot, Djoher Bennan (65 kg), who had booked her spot in the women’s semi-finals earlier in the tournament.
Following the fifth day of the 20th Mediterranean Games which are set to run until Thursday, September 3, Algeria’s overall medal count has climbed to ten, comprising one gold, one silver, and eight bronzes.
source/content: news.radioalgerie.dz
__________________
_____________
ALGERIA
EGYPT : World-renowned harpist Manal Mohei Eldin pulls at heartstrings for three nights at Ithra
Egyptian harpist Manal Mohei Eldin captivated audiences at the King Abdulaziz Center for World Culture, or Ithra, with three nights of performances blending classical harp techniques with traditional Arabic rhythms and melodies. The final show will be on Friday.
Known as one of the most prominent musicians in the Arab world, she is celebrated for calibrating the harp strings to speak “fluent Arabic” by incorporating traditional Oriental rhythms and melodies with classic techniques.
Arab News spoke exclusively to Mohei Eldin on Thursday night.
“As an Egyptian harpist, it is such an honor to receive this important invitation to showcase my work and my art in the Kingdom of Saudi Arabia,” she said.
“It is not my first time here (at Ithra) — I’ve had the pleasure of working with the great Omar Khairat two years ago, but it is my absolute honor to say that this is my debut as a soloist playing my Arabic, oriental rhythms with my ensemble in the Kingdom.”
Indeed, while she was on stage previously at Ithra in 2024 as a key orchestra member supporting the legendary Egyptian composer and pianist, Khairat, this is her first show as a soloist, with her ensemble.
The Oriental Strokes Ensemble, who joined her on stage, consists of Shady Abdel Salam on violin I, Hossam Ezzat on violin II, Emad Morsy on the viola, Alaa Abdallah on cello. Also, Karim Wassef on bass guitar, Beshoy Rezkalla on accordion, Mahmoud Kamal on nay, Hesham Kamal on percussion, and Doha El-Guerzawi on percussion.
“It pleases me greatly that our first presence in the Kingdom is at Ithra specifically, where we are performing three nights,” Mohei Eldin added.
“The audience at Ithra is very involved and passionate. To be honest, I expected the majority of the seats to be occupied by Egyptians, but to my surprise, most turned out to be Saudis.”
On Thursday night, in between songs, someone from the audience shouted out a request for the musicians to play “Nassam Alayna El Hawa” by Lebanese songstress Nouhad Wadie Haddad, better known by her stage name, Fairouz.
“I don’t know him (the person who shouted out the request), but I played it even though it was not in the original program. It is clear to me that he knew my work and knew I had played that before. It makes me very happy that the Saudi audience loves music and they really know music,” she added.
The program consisted of such crowd favorites as “Zourouni Kol Sana Marra,” composed by Sayed Darwish; “Asmahan Medley,” composed by Farid Al-Atrash, Mohammed El-Qasabgi and Medhat Assem; and “Aziza Dance,” composed by Mohamed Abdul Wahab.
Images of the classic Egyptian stars who inspired the sounds were shown on the large screen as a backdrop.
A professor at the Cairo Conservatoire, Mohei Eldin began her musical journey in her native Egypt and has since performed on some of the world’s greatest stages.
She became a pioneer when she enrolled at 10 years old to pursue learning the harp at the Cairo Conservatoire, where she graduated with honors in 1987.
Upon receiving the coveted German Academic Exchange Service scholarship, she continued her journey with the instrument in Germany with Prof. Buss Lorberth at the Hochschule fur Musik und Darstellende Kunst in Frankfurt and training with Giselle Herbert at the Hoch Conservatory Musik Hochschule in Wurzburg.
Since then, she became the first Egyptian solo harpist at the Cairo Symphony Orchestra, and she famously performed at the opening of the Egyptian Pavilion at the Louvre Museum in Paris and the Ancient Treasures Exhibition at the National Museum of Women in the Arts in Washington, D.C.
“The vast majority of Arabs love to sing along to words, and the fact that they came to listen to only musical instruments, and on an instrument (the harp) that isn’t very familiar to many in the region, honestly made me very, very happy,” she concluded.
source/content: arabnews.com (headline edited)
_______________
Known as one of the most prominent musicians in the Arab world, Manal Mohei Eldin is celebrated for calibrating the harp strings to speak “fluent Arabic” by incorporating traditional Oriental rhythms and melodies with classic techniques. (Supplied)
__________
EGYPT
OMAN : Made-in-Oman board game wins international award
A board game designed and developed in Oman has earned international recognition after Abu Dhabi-based agribusiness group Al Dahra Holding won the Training Initiative of the Year award at the ICA Compliance Awards APAC & MENA 2026 for its ethics and compliance training programme built around the board game Fish Tycoon.
Developed by Muscat-based Arab Board Games, Fish Tycoon is a story-driven tabletop game that places participants in realistic workplace ethics and compliance dilemmas. Players vote, debate and make difficult decisions, with every choice shaping the outcome of their characters’ stories and encouraging meaningful discussions around ethical conduct.
Hasan Al Lawati, Founder of Arab Board Games, said the international recognition reflects the growing potential of Omani innovation in corporate learning.
“This award is a testament to the quality of Omani game design and our belief that training should be engaging, immersive and memorable. We have transformed learning from passive presentations into interactive experiences where participants become part of the story, making every decision count.”
Over the past three years, Arab Board Games has developed a range of customised training games covering ethics and compliance, organisational values, codes of conduct, health and safety, leadership, communication, alliance building and soft skills. The company has delivered its game-based learning experiences to organisations across Oman and the wider region, demonstrating how a product designed in Oman can compete successfully on the international stage.
source/content: timesofoman.com (headline edited)
___________
__________
OMAN
PALESTINE: Renowned Palestinian artist Sliman Mansour dies aged 79
Renowned Palestinian artist Sliman Mansour died on Monday, 24 August, at Al-Makassed Hospital in East Jerusalem, where he had been receiving treatment. He was 79.
His death was announced by his family in an Instagram Story posted on his official account, two hours after they said he was in “critical condition.”
Mansour was a leading figure in Palestinian art, with a body of work closely associated with Palestinian identity, memory and resistance.
Born in Birzeit in 1947, Mansour was accepted to study at the Art Institute of Chicago, but abandoned the plan after the 1967 war, fearing he would not be able to return to Jerusalem. He instead studied fine arts at the Bezalel Academy of Arts and Design in Jerusalem, graduating in 1970.
Three years later, he co-founded the League of Palestinian Artists, which he led from 1986 to 1990. Its exhibitions were the first collective showcases of Palestinian art on Palestinian soil.
Mansour is best known for his paintings, which often explored Palestinian identity, displacement and resistance. In 1973, he produced one of his most prominent paintings, Jabal El-Mahamel (Camel of Hardships), depicting a tired, elderly Palestinian man in traditional clothing carrying the city of Jerusalem on his back.
Alongside political imagery, his paintings repeatedly drew on cultural symbols of Palestine, helping to develop a visual vocabulary of his homeland.
An Orthodox Christian, his work also drew on religious iconography, often recasting the Holy Family as a Palestinian family, with traditional dress and symbols such as the keffiyeh linking biblical imagery to Palestinian identity and resilience.
Mansour also faced censorship from Israeli authorities, who often confiscated his works and restricted Palestinian exhibitions.
Mansour’s mud sculptures were designed to crack and change with time, reflecting themes of endurance, fragility and loss. This notion of endurance became central to his work, which came to embody sumud, the Palestinian concept of steadfastness.
Beyond painting, Mansour supported the development of artistic infrastructure in Palestine, co-founding the Al-Wasiti Art Centre in East Jerusalem in 1994 to preserve and document Palestinian art and connect artists living in Palestine with those in exile.
He taught at Al-Quds University from 2000 to 2014 and contributed cartoons and illustrations to the English-language Palestinian newspaper Al-Fajr and Al-Awda magazine between 1981 and 1993.
Mansour received numerous honors during his career, including the UNESCO-Sharjah Prize for Arab Culture and the Nile Award for Arab Creators.
source/content: english.ahram.org.eg (headline edited)
_____________
______________
PALESTINE