‘I am Mahasen from Gaza and I am trying to stay alive’

Words that didn’t last for long because of the pounding Israeli warplanes that seeks to end anything called Gaza, Palestine and Palestinians.

The young woman always tried to stay cheery and alive. But her death was always to be expected as she was killed by an Israeli missile that pulverized her home.

She finally become a martyr with her family in indiscriminate Israeli military strikes on the Jabalia Camp, northern Gaza on 18 October, 2024. The camp has been under constant bombardment for the last two week. This is the third time the Israelis tried to enter the camp in a year-long onslaught.

Artist and painter Mahasen Al Khatib life was cut too short by a merciless, blinded Israeli war on defenseless civilians while world leaders look on with hands tied behind their backs.

Today she stands as the owner of the “famous chicken” videoclip in which she documented the happiness of her brother when they managed to get a chicken after months of eating leaves on a starvation diet.

She watches her brother playing with the dead naked, meat, laughs and asks:

“How are we going to cook it…?”

“Magloba…[Arabic dish with rice and vegetables,” comes the reply.

“How about roasting yet,” she interjects.

“Yes, that would be great too.”

Oh, I know, how about boiling it,” she wounders as if this is a great festive occasion.

“Yes, that too would be nice,” with the eyes of her little brother lighting up.  

‘Or, what about cutting it, or even stuffing it?”

She made the videoclip on 9 August, 2024. Little did she know would be at the end of an Israeli two months later.

Mahsen drew with her pencils the heinous  conditions of the people of Gaza that have been unrelenting in an Israeli genocide of death and destruction.

Her last post was on Facebook of a youth being burnt alive. His name was Shabaan Al Dalo.

He was burnt alive in a tent outside the Al Aqsa Martyrs Hospital on 14 October, 2024.

“How do feel when you see any person burned alive,” she wryly commented a few days later.

Mahasen Al Khatib established Rawasi Palestine Foundation for Culture, Art and Media.

Palestine and Gaza lost a creative personality. She sought to communicate the merciless, ungodly heartache of the people whose lives have long been turned upside down. She wanted to send a message to the world in a clever way about the tragedies of Gazans through her artistic works.

Mahasen left us with a creative, national heritage that sought to fight ethnic cleansing and presented us with immense digital works that expressed our wounds, devastation and hopes for an end to the massacres and killing.

The artist was firm against people leaving their homes. She and her family stood against displacement and fought it tirelessly through her works that depicted the harsh realities in a caricaturist, funny manner which she published on her social media accounts.

“God sends us a chicken after long months…thanks be to God, she says….It was a chicken for eight people and I ate a part of it,” she emphasized.

The social media became alert when news of her martyrdom was announced.

Mohammad Saeed wrote: “The martyr Mahasen Al Khatib documented for us the moment the flour arrived at their home after months of hunger and eating tree leaves. She also documented the arrival of the first chicken for her entire family after many months of absence. She stood firm in Jabalia and didn’t move. Mahasen was martyred tonight in a violent shelling in Jabalia camp. Remember her in your prayers…”

In another post that included a video of the fire, Mahasen wrote, “We saw people burning, we saw people with no one helping, we saw people dying in front of our eyes… May God have mercy on us.”

From Joy to Martyrdom

Over the past years, Mahasen Al-Khatib has spread joy through her artwork. Even in the darkest moments, she would draw a smile by publishing her family’s daily life under the bombing and harsh conditions of war. However, the last thing the Palestinian artist published before her martyrdom carried a lot of pain, which she described as “difficult nights,” according to Al Jazeera.

CrossFireArabia

CrossFireArabia

Dr. Marwan Asmar holds a PhD from Leeds University and is a freelance writer specializing on the Middle East. He has worked as a journalist since the early 1990s in Jordan and the Gulf countries, and been widely published, including at Albawaba, Gulf News, Al Ghad, World Press Review and others.

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Paris Exhibit Itches Out GAZA

As Israel’s continues its devastating war and relentless humanitarian blockade, the ancient Gaza Strip – once a radiant Mediterranean hub of commerce, culture, and religious coexistence – now faces a deeper erasure: not just from maps, but from the world’s collective memory.

A new exhibition at the Institut du Monde Arabe in Paris, titled ‘Gaza’s Saved Treasures: 5,000 Years of History,’ seeks to resist that disappearance. Running from April to November this year, the show presents around 100 archaeological masterpieces that illuminate Gaza’s extraordinary legacy as a crossroads of civilizations – from the Bronze Age to modern times.

The exhibition is both a celebration and a lament: a tribute to Gaza’s millennia-old cultural wealth, and a sober reckoning with what has been lost to Israel’s deadly occupation.

Gaza’s strategic location has always made it a coveted prize for empires – Egyptian, Persian, Roman, and Ottoman – but it was also a channel for connection, where cultures and religions converged.

The exhibit – with amphorae, oil lamps, coins, statuettes, and mosaics on display – tells the story of Gaza as a vital Mediterranean port and cultural meeting point.

Its history – shaped by Canaanite, Egyptian, Philistine, Neo-Assyrian, Babylonian, Persian, Greek, Roman, Byzantine, Islamic, and Crusader influences – reveals a city that flourished at the heart of ancient trade and intellectual exchange.

Among the most striking items is a dazzling Byzantine mosaic from Jabaliya, part of an ecclesiastical complex reflecting Gaza’s early Christian heritage.

Nearby, amphorae once used in the wine trade testify to the city’s crucial role in Mediterranean commerce, while figurines blend Egyptian motifs with Hellenistic gods, echoing a world of syncretism and porous cultural boundaries.

Race against oblivion

Since the start of Israel’s war on Gaza in October 2023, the territory’s cultural heritage has suffered catastrophic damage.

According to UNESCO, nearly 70 cultural sites have been destroyed or severely damaged, including the historic Greek Orthodox Church of Saint Porphyry – one of the oldest active churches in the world.

Where once stood mosaics, temples, and centuries-old tombs, there are now craters and rubble due to Israel’s ongoing bombardment. In this context, the exhibition in Paris becomes something urgent and defiant: a safeguard for memory, a museum in exile.

Much of the exhibition’s content is drawn from a trove of over 500 artifacts housed since 2007 at Geneva’s Museum of Art and History, entrusted to Switzerland by the Palestinian National Authority for safekeeping.

Many of the works stem from Franco-Palestinian excavations launched in 1995, supplemented by pieces from private collections – some of which are being shown publicly for the first time.

The curators have taken care not to separate Gaza’s ancient grandeur from the present-day suffering inflicted by Israel.

One dedicated section of the exhibition uses satellite imagery and field reports to map the devastation inflicted on cultural heritage since 2023.

French, Swiss, and Palestinian scholars have contributed rare documentation – including early 20th-century photographs of Gaza – that provide a visual archive of what once was and what may never return.

The exhibition makes no attempt to hide the political context. It explicitly refers to the destruction as part of “Israel’s brutal genocide,” anchoring the cultural annihilation in a broader system of occupation, blockade, and war.

By doing so, the Paris exhibition challenges the silence often surrounding cultural loss in war zones, raising questions about the responsibilities of international institutions and the politics of preservation as reported in Anadolu.

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‘Not A Single Mosque Remains Standing’

Not a single historic mosque in Gaza remains untouched following months of relentless Israeli bombardment, according to British archaeologist Claudine Dauphin.

“Every historic mosque in Gaza has been either partially or completely destroyed,” said Dauphin, who is affiliated with several archaeological missions in the region.

Among the most significant losses are the Omari Mosque and the KatibWilaya Mosque, both located in the Zaytun quarter of Gaza’s Old City. The KatibWilaya Mosque was originally constructed with funding from Ahmad Bey, the province’s chief secretary (katibwilaya) in 1586 during the Ottoman period. 

Its minaret once stood beside the bell tower of the Church of St. Procopius, symbolizing centuries of Muslim-Christian coexistence in Gaza—a connection also evident in the mosaic floors of the nearby Jabaliya Church.

“In the Shuja’iyya quarter, the Mamluk-era Zafardamri Mosque, built in 1360, was deliberately leveled in an airstrike,” Dauphin added. “The Mahkama Mosque, also Mamluk in origin, was similarly destroyed during the 2014 assault and again in the current offensive.”

The destruction extended beyond Mamluk and Ottoman heritage. The Othman Bin Qashqar Mosque was struck during an air raid in December 2023, and the Sayyid Hashim Mosque, built in Ottoman style and covering 2,400 square meters, was razed in the Daraj quarter.

Shrines, too, have been systematically targeted. The shrine of the Prophet Yusuf near Jabaliya, destroyed in 2014, was followed by widespread losses since October 2023. 

Among the shrines destroyed are the Al Husseini, Abu Al Azim, Ali Abu Al Kass, and Ali ibn Marwan shrines in Gaza City, as well as the Sheikh ‘Ali Al Mintar and Shaykh Radwan shrines on Tel Al-Mintar. Numerous other maqamat (shrines) in Al Shaykh ‘Ajlun were also obliterated.

Of special cultural and interfaith significance was the shrine of Al Khidr in Rafah, which held particular meaning for Christians who believed it housed the tomb of St. Hilarion, founder of Palestinian monasticism.

Modern mosques, built after the Ottoman period, were not spared. According to a January 2024 report by the Palestinian Ministry of Awqaf and Religious Affairs, at least 1,000 of the 1,200 modern mosques in the Gaza Strip have been partially or entirely destroyed.

“Among the losses in Gaza City are the Ali Ibn Marwan, Shaikh Zakaria, Al Mughrabi, and Sett Ruqayya mosques,” Dauphin noted.

Cultural and educational institutions were also hit. The Al Kamiliya Madrasa, built in 1237 by Ayyubid Sultan Al Kamil and featuring a central courtyard and two floors, was the last historic madrasa still standing in Gaza before it was destroyed. It had served both as a Quranic school and a shelter for poor students and travelers until 1930.

Cemeteries have not been spared either. At least 16 Muslim cemeteries across the Gaza Strip have been damaged or destroyed since October 2023. Among them is the Beit Hanoun Cemetery near Khan Yunis, which was reportedly excavated by Israeli forces. 

The Israeli military claimed they were searching for a Hamas tunnel or hostages, but provided no evidence, and independent verification of the alleged tunnel has not been possible.

“These sacred spaces, mosques, shrines, schools, and cemeteries, are not only part of Gaza’s cultural fabric,” Dauphin said. “Their destruction represents a profound loss of historical heritage, not just for Palestinians but for humanity.”

This report was written by Saeb Al Rawashdeh for The Jordan Times

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