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Contents
editorial
IMRAAN COOVADIA
Living with sorcerers
ZEINAB SHAATH
The Urgent Call of Palestine
ALLAN BOESAK
“HOW LONG FOR PALESTINE?”
MAKHOSINI MGITYWA
The Crux of the Matter
MALAIKA MAHLATSI
On the genocide in Palestine and the death of academic freedom and democracy in Western universities
BRANKO MARCETIC
Israel’s Gaza War Is One of History’s Worst Crimes Ever
CHRIS HEDGES
American Sadism
ARYAN KAGANOF
On Power and Powerlessness: Genocide in Gaza Through the Lens of Afropessimism and Decay Studies
MICHAEL SFARD
We Israelis Are Part of a Mafia Crime Family. It's Our Job to Fight Against It From Within
Theme Gaza
ZEENAT ADAM
Gaza and the Graveyard of Excuses
MAHMOUD AL SHABRAWI
Writing Between Fear and Survival
GOODENOUGH MASHEGO
Why I can’t condemn October 7
GARTH ERASMUS
Lamentations for GAZA
SALIM VALLY and ROSHAN DADOO
Africa’s strong bonds to Palestine
ZUKISWA WANNER
A Common Humanity
MUHAMMAD OMARUDDIN (DON MATTERA)
A Song for Palestine
TSHEPO MADLINGOZI
Ilizwe Lifile/Nakba: Le-fatshe & Crises of Constitution in (Neo)Settler Colonies
SINDRE BANGSTAD
Palestine, Israel and academic freedom in South Africa
GWEN ANSELL
Resistance music – a mirror reflecting truth; a hammer forging solidarity
FMFP (FREE MUSIC FREE PALESTINE)
Listening as an anti-colonial way of engaging
ATIYYAH KHAN
A movement against silencing: What the genocide in Palestine has taught us about journalism
ASHRAF HENDRICKS
Visual Memoirs of Solidarity with Palestine in Cape Town
ATIYYAH KHAN
GAZA: Where wearing a PRESS vest is a death sentence
VISUAL INTIFADA
NARRATIVE REPAIR
SHARI MALULEKE
A Prayer to the Olive Tree
THANDI GAMEDZE
Jesus of Occupied Palestine
NATHI NGUBANE
MALCOLM X IN GAZA
MARIAM JOOMA ÇARIKCI
The dark side of the rainbow: How Apartheid South Africa and Zionism found comfort in post-94 rhetoric
CRAIG MOKHIBER
The ICJ finds that BDS is not merely a right, but an obligation
ROSHAN DADOO
South African coal fuels a genocide: BOYCOTT GLENCORE NOW
IMĀN ZANELE OMAR
From the ground
DEAN HUTTON
Who would you be under Apartheid?
galleri
SÍONA O’CONNELL
Keys to Nowhere
SAMAR HUSSAINI
The Palette of Tradition and other, earlier works
SLOVO MAMPHAGA
Chronology of the Now
DEON MAAS
The Resistance
OLU OGUIBE
A Brief Statement on Art and Genocide
CANDICE BREITZ
8 may 2025 Berlin
ADLI YACUBI
A Moment Is On Its Way
TRACEY ROSE
If Hitler Was A Girl Who Went To Art School (2024-2025)
borborygmus
CHARLES LEONARD
Zeinab Shaath : the famous Teta
THE ALDANO COLLECTIVE
Withold
DIMA ORSHO
Excerpts from Half Moon, a film by Frank Scheffer
GARTH ERASMUS
Where is God?
LOWKEY FEATURING MAI KHALIL
Palestine Will Never Die
CHRIS THURMAN
Intertexts for Gaza (or, Thirteen ways of looking past a genocide)
KEENAN AHRENDS
The Wandering Dancer
NATHAN TRANTRAAL
‘D’ is vi destruction
INSURRECTIONS ENSEMBLE
Let Me Lie To You
RODRIGO KARMY BOLTON
Palestine’s Lessons for the Left: Theses for a Poetics of the Earth
MARYAM ABBASI
Drums, Incense, and the Unseen
frictions
HIBA ABU NADA
Not Just Passing
NICHOLAS MIRZOEFF
The Visible and the Unspeakable (For Mahmoud Khalil)
MPHUTLANE WA BOFELO
Before You Kill Them
ABIGAIL GEORGE
4 Struggle Songs for Palestine
MIKE VAN GRAAN
4 Poems for Gaza
EUGENE SKEEF
To The Demise of War Mongers (a suite for the people of GAZA).
ALLAN KOLSKI HORWITZ
Gaza: two poems
MALIKA LUEEN NDLOVU
At the end of a thread, holding my breath, beading
NGOMA HILL
From the River to the Sea
JESÚS SEPÚLVEDA
Gaza 2024
ARYAN KAGANOF
GAZA (body double)
VONANI BILA
Under Rubble
JACKSON MAC LOWE
Social Significance
FRANK MEINTJIES
5 poems from A Place to night in
DIANA FERRUS
Burdened man
claque
FINN DANIELS-YEOMANS
‘If Cannes did not want to go to Gaza, Gaza had to go to Cannes’: Institutional Censorship at Film Festivals post-October 7.
FRANK MEINTJIES
Abigail George’s SONGS FOR PALESTINE - "struggle poems" in an age of livestreamed genocicde
PHILLIPPA YAA DE VILLIERS
ukuphelezela and Nida Younis’ Two Bodies/Zwei Korper
RUTH MARGALIT
Writing the Nakba in Hebrew
NATHAN TRANTRAAL
Ons is gevangenes van dit wat ons liefhet: Magmoed Darwiesj gedigte in Afrikaans
HEIN WILLEMSE
Frank Meintjies: a mature poet, intellectually astute with a refined social, political and ecological consciousness
M. SOGA MLANDU
'Tell Them I Am Dead’: Sithembele Isaac Xhegwana’s Dark Lines of History
NIKLAS ZIMMER
Détourning the cut
ekaya
LYNTHIA JULIUS
I believe the children for the future
JENNIFER KESTIS FERGUSON
Nikita
CHERYL DAMON
No Ordinary Rage
SKHUMBUZO PHAKATHI
Don’t forget Phila Ndwandwe
INGRID ORIT HURWITZ
SHATTERED
STEVEN ROBINS
The blindspots of Zionist history and the ‘ancient scripts’ of primordial Jewish victimhood
LIESL JOBSON
Sorrowful Mysteries
herri
Towards a Preliminary Archaeology of herri
off the record
STEPHEN CLINGMAN
The Voices in My Head: Reflections on South Africa, Israel, Palestine, Gaza
ANNI KANAFANI
Ghassan Kanafani
FILMS
by Palestinian Women
STEVEN ROBINS
Re-reading Jabotinsky’s The Iron Wall in the time of genocide in Gaza.
JANNIKE BERGH in conversation with HAIDAR EID
Even Ghosts Weep in Gaza
ASHRAF KAGEE
Three friends in Gaza
AMIRA HASS
"Resist the Normalization of Evil": On Palestine and Journalism
GEORGE KING
Fields, Forests and Fakery: ‘Green Colonialism’ in Palestine
HEIDI GRUNEBAUM
The Village Under the Forest
MEIR KAHANE
Jewish Terror: A JEWISH STATE VERSUS WESTERN DEMOCRACY
FRANK ARMSTRONG
Ireland and Palestine: A Crucial Vote Awaits
NIKHIL SINGH
The Siege of Gaza 332 BC
feedback
DENIS EKPO
1 April 2025
DEON-SIMPHIWE SKADE
23 March 2025
LIZ SAVAGE
10 January 2025
CEDRIK FERMONT
10 August 2024
AZSACRA ZARATHUSTRA
6 August 2024
FACEBOOK FEEDBACK
Facebook
PhD
COLE MEINTJIES
Power in Relation to Life and Death: Israel's genocide in Gaza
the selektah
CHRISTINA HAZBOUN
Palestinian Women’s Voices in Music and Song – 2025 version
ATIYYAH KHAN
IQRA!
hotlynx
shopping
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contributors
the back page
MICHAEL TAUSSIG
Two Weeks In Palestine
GEORGE STEINER
This is called History
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SAMAR HUSSAINI

The Palette of Tradition and other, earlier works

Samar Hussaini is an award winning internationally accomplished Palestinian American fine artist whose work is deeply rooted in her heritage and culture. Through abstract layers and imagery in her body of work, including painting and sculpture, her multidisciplinary approach speaks to the resilience of identity and the power of cultural heritage.

The Palette of Tradition

The Garden She Wore
Palestine Remembered
Blossoms of Our Land
Threads of Prestige

From thread to monument, silence grew loud,
A tapestry rising, unbowed and proud.
Each stitch remembers what time won’t erase—
We are here, held in color, form, and grace.

During her residency and solo exhibit titled The Palette of Tradition at Project 14C, artist Samar Hussaini found the space—both physical and creative—to think bigger. What began as intimate studies layered with paint and embroidery evolved into large-scale canvases and sculptural dresses. The shift in scale wasn’t just formal—it was a declaration of presence.

“Starting small gave me a way to listen to the work,” Hussaini says. “But once I had the room, I wanted it to speak louder—to take up space with everything it carries: memory, resilience, beauty, resistance.”

Using a deeply symbolic colour palette, each painted series becomes a dialogue between past and present, between canvas and thread. Rooted in specific tatreez motifs—The Moon and Stars, the Cypress Tree, and Pasha’s Tent—these studies carry the weight of regional identity, resilience, and lived history, reimagined through layered paint and embroidery.

Woven throughout are traditional tatreez motifs, reimagined in thread and image transfers. Hussaini’s work becomes a layered conversation between past and present—a testament to endurance, identity, and the quiet strength of memory passed down, stitch by stitch.

Past Work

Boundless Determination
Breathing Moment
Form of Language
Links To Homeland
Mother’s Enduring Love
Reminds Me of You
Ties That Bind

The use of abstraction references a layered history and vibrant culture that aims to tell a positive Palestinian narrative while exploring Arab feminine identity in society. The conflicting tension through overlapping layers of acrylic paint, charcoal, ink, collage, gold leaf, traditional elements, and language creates visual harmony drawing the viewer closer.

Abstract Echoes

A Mother’s Love
Freedom of Expression
Shine When It’s Your Time
Unyielding Hope
Vision of Hope

Torn and stitched, identities reclaimed,
Resilience sewn in each vibrant frame.
Through women’s self-expression, culture unfolds,
The power of heritage, a work that consoles.

Hussaini reinterprets Palestinian identity through contemporary Tatreez, a traditional cross-stitch embroidery, and the keffiyeh, which is a traditional headscarf. Her freehand stitched designs, created with a sewing machine on water-soluble fabric, blend with multimedia layers on canvas or paper. This intertwining reflects women’s self-expression and the diasporic identity. The torn and stitched layers symbolize the resilience of identity, demonstrating the complex interplay of cultural heritage and socio-political awareness in the face of diaspora.

At The Heart of It – The enduring strength of a people

Between Earth And Sky
From Olive Groves to Mountain Height
Soulful Reflections
Unyielding Dreams

In each piece lies a heartbeat profound,
of home remembered, love unbound.
Here strength and hope rise from the ground,
where memory and beauty are forever found.

Delve into the core of Palestinian identity, with artworks that capture the enduring spirit and love for Palestinian land. At the Heart of It emphasizes the emotional and cultural ties binding Palestinian people to their heritage and homeland. Palestinians share a profound historical bond with their land, cultivating traditions for centuries. The land is not just a means of survival but a cornerstone of Palestinian identity, heritage, and community. Forced displacement aims to disrupt lives, traditions, and the essence of identity, but these deep-rooted connections endure, remaining unbroken. Through a diverse array of paintings, the series highlights the themes of resilience, strength, and hope that resonate deeply.

Each piece reflects the heartbeat of a people, sharing their journey and showcasing the beauty that arises from stories, traditions, and collective memory.

Sculptural Dresses

Breathing Moment sculptured dress
Her Endurance Prevailed
Resilient Legacy
She Refuses To Be Held Back

Each sculpted dress represents an identity and the story of scattered refugees whose culture and way of life have been fragmented; a diaspora, and a collective future standing resilient. It embodies families experiencing the tragedy of losing their homes, land, and way of life passed down from generation to generation. Conviction and strength reveal a drive that no amount of injustice can stop, the drive for self-determination, and the pursuit of hope for a better future despite hardship, adversity, and discrimination. My work is meant to inspire cultural and socio-political awareness and create a dialogue about living under occupation and those who are living in exile. To encourage the viewer to look beyond the media to learn more about the many challenges that are faced by a nation of scattered people who remain united by their culture, traditions, and love of their homeland.

Samar Hussaini’s website is here: https://www.samardesigns.com/

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SÍONA O’CONNELL
SLOVO MAMPHAGA
© 2025
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