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

YEMENI DUTCH : ‘Storytelling isn’t just about the narrative’: Yemeni photographer Thana Faroq on nurturing migratory grief

The New Arab sat down with Yemeni documentary photographer and storyteller Thana Faroq to discuss intentional photography, craft, and nurturing intimate narratives of displacement and resilience.

Thana Faroq is a Yemeni photographer and educator based in the Netherlands. Her photography projects, which have been supported by the Arab Documentary Fund and the Magnum Foundation among others, blend text, physicality, emotional density, and visual storytelling, to explore immigrant lives and the complexities of belonging and trauma.

The New Arab interviewed Thana Faroq on the occasion of her new book, How Shall We Greet the Sun, which follows a group of displaced young women including Faroq herself, as they negotiate their multilayered presence in the Netherlands.

“My work is mainly driven by current events and broader themes, such as intergenerational trauma and memory resilience in relation to migration and refugees”

The New Arab: You’ve completed several series and projects, including your new photo book, How Shall We Greet The Sun. How do your various projects communicate with one another? 

Thana Faroq: At the core of all my work, including How Shall We Greet The Sun, lies an exploration of women’s resilience, adaptability, and the quest for belonging. These themes are the threads weaving my projects together, creating a continuous dialogue.

A consistent focus in my projects has been on the aftermath of pivotal events, particularly in migration. I’m drawn to understanding and portraying the lingering effects, the changes, and the adaptations that individuals and communities undergo in their post-disaster homes.

My projects often converse with each other, providing different facets of a broader narrative about migration, displacement, and the aftermath of these transformative events.

It is essential to explore these events not only in terms of their immediate impact but also in the ripples they create over time. How does our survival, resilience, loss, and search for identity and belonging look like? While my earlier works might have explored the immediacy of events, more recent ones, like How Shall We Greet The Sun, dive deeper into the lasting, often nuanced, emotions and memories that remain. 

Do you feel that your work has evolved in terms of craft, technique, and vision? I saw that you have incorporated more poetry and written text recently.  

Certainly. I spent my formative years in Yemen and from the age of seventeen, my educational journey took me across the globe, in Canada, the US, and the UK, which significantly broadened my perspectives.

It’s also crucial to acknowledge the life-altering events I’ve encountered: the war in Yemen, the subsequent move from my homeland, and the pursuit of asylum in the Netherlands. These profound experiences have shaped my life and continue to influence my understanding of the world.

This, in turn, has expanded my artistic vision. I’ve become more intentional about the themes I choose to explore and the stories I wish to tell.

Over the years, I’ve continually sought to refine my craft, exploring new techniques, tools, and mediums, especially sound and moving images. I love writing and it has become part of my creative journey and output.

I can’t label my written explorations as ‘poetry’ in the traditional sense, but I do have a deep affinity for playing with words, treating them as visual elements in their own right. I don’t view them merely as ‘texts’ but as visual companions to my images.

When paired with my visuals, these words offer an additional narrative layer, adding complexity and depth to the story I’m telling.

How do you approach storytelling in your work? Stories have a beginning, a middle, and an end, but using real-life subjects means that this linear, theoretical approach might prove restrictive.

I agree with you and I don’t personally stick to the classical structure of storytelling. All my stories are rooted in real-life experiences which means I will have to challenge this conventional approach of storytelling.

I ask myself very often: does a linear progression truly capture the essence of this experience, or is a non-linear narrative more authentic? And so my starting point might differ, I might start in the middle of a story with an emotional state that sets the tone for the narrative. My approach focuses on deep research and understanding. I immerse myself in the subject matter.

This helps me understand the nuances, the emotions, and the various perspectives that exist. Though all my projects exist in a final outlet (for example, a book) the creative process is never linear. I have a lot of responsibility to stay true to the essence of my subject’s experiences and sometimes this means breaking away from traditional structures or inventing new ones.

Also, storytelling isn’t just about the narrative; it extends beyond the mere sequence of events or plot points that make up a story. It’s about conveying experiences, emotions, and messages. For me, it’s about the use of texts, imagery, and symbolism to evoke feelings and provoke thought.

Though photography is my main medium, I include sensory elements, such as sounds and texts which can elevate the story and make it more immersive, especially in installation settings. This multilayer experience is powerful. I’m deeply intentional in my approach.

Before capturing or selecting an image, I reflect on its purpose: ‘What story am I conveying? How does this differentiate from the masses? What emotions or messages am I trying to evoke? This reflection ensures that my work carries depth and isn’t merely a fleeting visual in an endless scroll.

Are you looking for that person’s specific story in your photos or rather how they symbolise something bigger, larger than their own selves?  

My work is mainly driven by current events and broader themes, such as intergenerationl trauma and memory resilience in relation to migration and refugees.

Every individual is a microcosm of the larger society they inhabit, and their stories, while personal, often resonate with universal themes. I work to make my images evoke shared experiences or emotions for a wider audience and, to a certain extent, the individual here becomes a symbol of something larger while ensuring that the individual’s story doesn’t get lost in symbolism.

Narratives that illustrate their character, resilience, culture, family ties, and personal history can help dismantle stereotypes and build a deeper understanding. This also means providing contextual cues within the composition. I write a lot during the process and these texts allow the viewers to draw connections between the personal and the universal.

“Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback. This often paves the way for deeper intimacy”

How do you nurture trust and intimacy with your subjects? Is there a story you chose not to tell?

My personal background plays a crucial role. As a woman refugee myself who has experienced the impacts of war and trauma first-hand, I share a common ground.

When I interact with my subjects, I approach them not just as a photographer, but as someone who has walked a mile in similar shoes. I don’t shy away from sharing my personal journey when appropriate, as I find that this openness can lead to mutual trust and safety.

Photography, as I see it, is a shared endeavour from the research phase to execution. I prefer to refer to those I photograph as ‘collaborators’ involved every step of the way, valuing their insights and feedback.

This often paves the way for deeper intimacy. Open communication and transparency are also pivotal. I make it a priority to be clear about how the photographs will be utilised, whether as an exhibition, a book, or any other medium, which helps bolster trust and comfort.

I approach each shoot with sensitivity, recognising and respecting the emotions and vulnerabilities of my collaborators. This journey of empathy, trust, and intimacy is complex and requires time, honesty, and sincerity.

There have been instances where I’ve chosen not to share certain stories out of respect for the privacy of those photographed.

For instance, in my recent book How Shall We Greet the Sun, there are many emotional transitions that migrant women undergo as they settle in a new place. Discussing these transitions isn’t always easy. I only choose to reveal such narratives when my collaborators are ready and confident to share them with the world.

For the young generation of aspiring artists in Yemen and elsewhere, could you share what helped launch your career and any advice you may have for others who can’t rely on institutional support and backing?

In my journey as an artist and photographer, I’ve come to understand a few key truths that I believe have been instrumental in shaping my career, especially in places like Yemen where institutional support might be sparse.

While talent is a gift, discipline and hard work are choices. Talent might get you started, but discipline will carry you through. It’s crucial to stay true to your artistic vision.

Instead of creating what you think others might want to see, focus on what you passionately believe needs to exist in the world. Also, the art world and photography, like any other field, constantly evolve.

Stay open-minded and eager to learn from others, peers, mentors, friends, and family… every interaction can offer a fresh perspective that can enrich your work.

Farah Abdessamad is a New York City-based essayist/critic, from France and Tunisia / Follow her on Twitter: @farashstlouis

source/content: newarab.com (headline edited)

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NETHERLANDS / YEMEN