Iran Detains Two Ship With Links to Israel

Iran’s Islamic Revolutionary Guard Corps (IRGC) Navy detained two commercial cargo ships in the Strait of Hormuz, citing unauthorized operations and alleged ties to Israel, according to a report Friday.

The IRGC identified the vessels as the “MSC-Francesca” and the “Epaminondas,” both operating under the MSC shipping line, Iran’s semi-official Mehr news agency reported.

Tehran accused the ships of breaching maritime regulations, interfering with navigation systems, and endangering other vessels in the waterway.

The report said Iranian authorities said the ships were allegedly attempting to pass through the strait undetected before being intercepted and escorted into Iranian territorial waters.

Since the war initiated by the US and Israel against Iran began Feb. 28, Tehran has maintained control of the Strait of Hormuz, followed by an American naval blockade on April 13, hitting global energy supplies, mostly across Asia. Anadolu

  • 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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    Gaza: Bringing the Dead Home From Beneath the Rubble

    GAZA — Almost three years after Israeli airstrikes brought apartment blocks and family homes crashing down across the Gaza Strip, another kind of rescue operation is taking place among the ruins.

    This time, the Civil Defense teams are not searching for survivors.They are searching for the dead.

    Day after day, crews move from one shattered house to another, lifting concrete, cutting through twisted reinforcing bars and carefully searching through layers of debris for bodies and human remains that have lain there since the earliest months of the war.

    For thousands of Palestinian families, the war has therefore never quite reached an ending. There has been no funeral, no grave to visit and, in some cases, no certainty about what happened to a husband, a wife, a parent or a child.

    The Palestinian Information Center reported on August 20 that about 8,000 Palestinian bodies were still believed to be beneath the rubble across Gaza. Earlier, in late June, Gaza Civil Defense spokesman Mahmoud Basal put the figure at approximately 8,500 bodies and remains, illustrating the difficulty of establishing a definitive number amid the scale of destruction and the thousands still officially regarded as missing.

    And the bodies are still coming out.

    On August 24, Civil Defense recovery official Mohammed Abu Dan said teams had recovered the remains of nine members of the Salmi family from their destroyed home in Gaza City’s Zeitoun neighborhood. The house had been struck on November 20, 2023. Seventeen members of the family were believed to have been inside.

    A day earlier, Abu Dan reported another operation in Zeitoun in which crews recovered four sets of remains from the Abu Shamala family home after two days of searching, before moving to another destroyed house where five more bodies were found.

    These are not isolated searches. They have become a grim routine.

    One Excavator Against a City of Rubble

    The scale of the task bears little relationship to the equipment available to carry it out.

    Civil Defense said in July that one phase of the recovery project was operating with essentially one excavator, one loader and one truck, with support from the International Committee of the Red Cross. The teams were trying to work their way through neighbourhoods containing thousands of missing people.

    PIC reported in June that a single excavator could be seen working in Gaza City while crews searched for thousands of bodies. Basal warned that, at such a pace, completing the operation could take years.

    Civil Defense says the shortage is not simply a question of damage to its own fleet. Palestinian officials repeatedly say Israel has prevented the entry of the heavy machinery, specialist equipment and replacement vehicles required to remove massive slabs of reinforced concrete safely and quickly. PIC reported again on August 20 that restrictions on bringing heavy equipment into Gaza remained one of the principal obstacles to reaching those buried beneath destroyed homes.

    So men trained for rescue frequently find themselves doing work that should require cranes, excavators and specialist recovery machinery with hand tools and limited mechanical assistance.

    The result is painfully slow progress.

    In February, the Sanad News Agency followed Civil Defense crews into Sheikh Radwan after the search resumed at the ruins of a home bombed in December 2023.

    More than 120 displaced people had reportedly been sheltering there.

    For survivor Ramzi Salem, the arrival of Civil Defense came after more than two years of appeals for machinery.

    There was still only limited equipment.

    Much of the digging had to be done manually.

    Eventually, 56 bodies were recovered from the site

    Salem described each recovery as reopening the original trauma.

    Every body that comes out, it is as if the bombing happens again,” he told Sanad.

    But there was another emotion alongside the pain: Relief that the dead could finally be buried.

    For families such as Salem’s, recovery does not reverse the loss. It gives the loss a place.

    Waiting Beside the House

    Perhaps that is why families continue returning to the rubble.

    Twelve-year-old Muhammad Riyadh Ghaboun stood beside what remained of his family’s house in the Sabra neighbourhood of Gaza City while Civil Defense teams worked nearby.

    PIC described the boy as waiting not for his home to be rebuilt, but for the remains of family members buried beneath it for months.

    What he wanted was much simpler: for them finally to have graves.

    Across Gaza, similar families have lived through a peculiar form of bereavement in which death is understood but burial remains suspended.

    Some know exactly where their relatives died. They can point towards a particular room beneath a collapsed ceiling or identify approximately where someone had been sleeping when the building was hit.

    Others do not know whether the missing person lies beneath rubble, was killed elsewhere or was detained.

    In February, Civil Defense spokesman Mahmoud Basal said that besides the thousands of bodies thought to be trapped beneath destroyed buildings, more than 3,000 people remained missing without confirmed information about their fate.

    That uncertainty changes mourning itself.

    A grave normally confirms death. In Gaza, thousands of families have been denied even that confirmation.

    Digging For His Own Family

    Few accounts reveal the psychological cost as starkly as that of Mahmoud Khalla.

    His family home was struck on December 21, 2023.

    According to his testimony to the Palestinian Safa news agency, around 39 relatives were killed: His mother and father, his wife and children, siblings, their spouses and children, as well as members of his extended family.

    Only 12 bodies could initially be buried.

    The rest remained beneath the wreckage.

    Khalla waited.

    And waited.

    Twenty-nine months passed.

    When the heavy equipment he had hoped would arrive still had not materialised, he and neighbours began digging themselves with shovels, hammers and other basic tools.

    They had to break through four collapsed ceilings.

    With every blow, Khalla said, he felt himself getting physically closer to his children and siblings while knowing that what he might eventually find would no longer resemble the people he remembered.

    The recovered remains included his uncle. Bones believed to belong to children could not immediately be identified and were recorded as unidentified remains.

    His experience exposes another agonising stage of the process.

    Finding human remains does not necessarily mean knowing whose remains they are.

    When A Body No Longer Has A Face

    After months or years beneath rubble, heat, dust and moisture, Civil Defense teams frequently recover skeletonised remains, fragmented bones or incomplete bodies.

    Identification can therefore become extraordinarily difficult.

    Mahmoud Ashour, spokesman for Gaza’s forensic evidence department, said in January that many recovered bodies had deteriorated into skeletal remains or decomposed fragments.

    The most important tool needed to resolve uncertain identities—DNA testing—is severely restricted by the absence of the necessary laboratory equipment, according to Ashour.

    This means identification may begin with whatever information survives.

    Relatives can sometimes recognise clothing.

    They may identify jewellery, a personal item or a distinctive physical feature.

    Safa reported in April that some families had managed to identify recovered relatives through physical characteristics or clothing after decomposition made ordinary visual recognition impossible.

    Where identification is possible, the remains are transferred through the appropriate medical and forensic procedures before burial.

    In one November recovery operation at the destroyed Abu Hamada family home in Maghazi refugee camp, Civil Defense reported recovering the remains of 14 people, including women and children. Relatives identified them and the remains were transferred to the forensic medicine department at Al-Aqsa Martyrs Hospital before burial.

    Where families cannot identify the remains, the process becomes more complicated.

    Forensic personnel document what they can. Earlier Gaza procedures have included photographing distinguishing characteristics, assigning identification numbers and preserving available information so relatives may eventually be able to make a match.

    But DNA testing would offer a far more reliable answer.

    Ashour has called for equipment as well as a database containing genetic information from families of missing people so recovered remains can be matched scientifically.

    Without it, some families may finally receive bones from beneath a house and still not know whether those bones belong to the person they have spent years waiting for.

    The Men Who Must Keep Looking

    There is another side to these operations that receives less attention: The Civil Defense officers themselves.

    Their work once centred on pulling people alive from collapsed buildings.

    Now they are regularly required to dismantle the physical remains of destroyed homes while recovering decomposed bodies, skeletons and fragments belonging to children, women and entire families.

    The recovery crews know that relatives are often standing only metres away.

    A piece of fabric or a bone fragment can suddenly become the answer to a question a family has been asking for two or three years.

    Civil Defense official Abdullah Al-Majdalawi described the difficulty after remains recovered from Sheikh Radwan cemetery had become mixed following destruction and bulldozing. Many of those recovered were reduced to skeletal remains and fragments.

    He summed up the human problem behind forensic identification with a stark question:

    How do names turn into numbers?

    That is, in many ways, the dilemma confronting Gaza’s recovery teams.

    They work among numbers—eight bodies here, nine there, 47 from one house, 50 collected at Al-Shifa Medical Complex.

    But every number belongs to somebody.

    In July, Civil Defense recovered 47 bodies and sets of remains from the Al-Hassaina family home in Sabra. Another 36 people were still believed to be somewhere beneath the ruined structure, and officials said the force of the explosion might even have displaced remains into neighbouring properties.

    That makes the work forensic as much as mechanical.

    Crews cannot simply drive an excavator through a pile of concrete.

    Each layer may conceal remains. Each fragment has potential meaning. Each discovery must be handled carefully enough that identification is still possible afterwards.

    Speed matters.

    But so does dignity.

    Fifty Funerals, Nearly Three Years Late

    On August 20, Palestinians gathered in Gaza City to bury the remains of 50 people recovered from beneath demolished homes in neighbourhoods including Tal Al-Hawa, Zeitoun, Sabra, Sheikh Radwan and Al-Shati.

    Some belonged to the Sawafiri, Batniji and Gharbiya families.

    Many had been beneath the debris since 2023.

    PIC reported that much of what was recovered was no longer complete bodies but bone fragments, remains and personal belongings. Civil Defense officials said many were women and children.

    For those families, the funerals came almost three years late.

    For thousands more, there is still no funeral.

    There is only the house.

    The rubble.

    And the waiting.

    Parents wait for children. Children wait for fathers and mothers. Husbands and wives live with a loss that is simultaneously certain and unfinished.

    Some return repeatedly to the place where they believe a relative lies.

    Some ask Civil Defense when their street will finally appear on the recovery schedule.

    Some search themselves.

    And Civil Defense teams continue moving through Gaza’s destroyed neighbourhoods, one house at a time.

    Their progress is measurable in bodies brought home—but against an estimated 8,000 still beneath the wreckage, each recovery also shows how immense the task remains.

    The operation is therefore no longer simply a search through rubble.

    It is a race to restore identities before time erases more of them.

    For the families standing beside Gaza’s ruins, finding the dead does not bring the people they love back.

    But after years of looking towards a collapsed house and knowing someone is still beneath it, recovery offers something that war has denied them for far too long:

    a name,

    a body,

    a funeral,

    and somewhere to mourn.

    Continue reading
    Sliman Mansour: The Artist Who Carried Palestine on His Canvas

    CROSSFIREARABIA – The old Palestinian bends forward beneath an almost impossible weight. His face is tired, his body appears exhausted and ropes cut across his shoulders. Yet what he carries is not an ordinary load.

    On his back is Jerusalem.

    For more than half a century, Palestinian artist Sliman Mansour painted variations of that same burden: A people carrying a homeland through occupation, dispossession, exile and war, yet refusing to put it down.

    Mansour, one of the towering figures of Palestinian art, died on Monday, 24 August, at the age of 79. He leaves behind hundreds of works and an artistic language so deeply woven into Palestinian identity that some of his images long ago escaped the confines of galleries and became part of popular culture.

    His best-known painting, Jamal al-Mahamel — “Camel of Hardships” or “Camel of Burdens” — became perhaps the defining image of his career.

    Created in the early 1970s, it depicts an elderly Palestinian porter struggling forward with Jerusalem strapped to his back. The Dome of the Rock rises from the city he carries.

    The image became enormously popular. It was reproduced as posters, cards and prints and appeared in Palestinian homes and refugee camps and far beyond Palestine. Its significance was immediately understandable: Palestinians might be separated from their homeland, but they continued to carry it with them.

    It was an extraordinary achievement for a painter.

    Mansour had transformed a political argument into an image.

    Painting Palestine Into Existence

    Born in Birzeit in 1947, Mansour belonged to the generation whose lives unfolded alongside the great ruptures of modern Palestinian history.

    He studied art in Jerusalem and emerged as a significant artist after the 1967 war, when questions of land, identity, occupation and displacement increasingly dominated Palestinian cultural life. From the 1970s onward, his paintings helped establish what became a recognisable visual language of Palestinian resistance and identity.

    Look closely at Mansour’s paintings and the same symbols repeatedly emerge.

    There are olive trees.

    There are orange trees.

    There are Palestinian women wearing elaborately embroidered traditional dresses.

    There are peasants, villages, stone terraces and agricultural landscapes.

    And there is Jerusalem.

    None of these elements were accidental.

    The orange tree could evoke the Palestinian lands and communities lost during the Nakba of 1948. The olive tree represented rootedness and attachment to land and became associated in Mansour’s visual vocabulary with the territories occupied in 1967. Traditional embroidery carried memory, place and identity. Palestinian women frequently appeared as almost maternal representations of Palestine itself according to the Routledge Encyclopaedia of Modernism.

    Mansour therefore rarely needed to paint politicians.

    He painted Palestine instead.

    And that was political enough.

    When Paint Itself Became Political

    Perhaps the clearest example of how completely Mansour intertwined politics and art came during the First Intifada.

    Palestinians were being encouraged to boycott Israeli products. Mansour and fellow artists Vera Tamari, Tayseer Barakat and Nabil Anani developed the artistic movement known as New Visions.

    Their response was remarkable.

    Why, they asked in effect, should Palestinian artists resisting occupation paint their resistance using materials purchased from the occupying economy?

    They began rejecting imported and Israeli art supplies and experimenting instead with materials taken from the Palestinian environment — mud, clay, coffee, henna, straw and other locally available substances.

    The politics had moved beyond the subject of the painting.

    Now it was inside the painting itself.

    Palestinian earth was no longer merely something Mansour depicted.

    Palestinian earth became the material with which he made art.

    The Palestinian Museum has described the New Visions artists as responding directly to the Intifada’s boycott campaign by using natural Palestinian materials. The movement became an important episode in the development of contemporary Palestinian art as highlighted in The Palestinian Museum⁠.

    For Mansour, this was not simply artistic experimentation. It represented an extraordinary merging of culture, economics, resistance and national identity.

    A painting made from Palestinian soil carried a meaning that imported paint could not.

    Art Under Occupation

    There was another reason Mansour understood art politically: Palestinian artists themselves encountered the mechanisms of occupation.

    Mansour recalled that exhibitions were censored, artworks confiscated and artists imprisoned. He said Israeli authorities even prohibited Palestinian artists from using the four colours associated with the Palestinian flag — red, green, black and white as per the Jerusalem Story⁠.

    That experience helped transform art into another contested Palestinian space.

    A painting could be seized.

    A poster could be forbidden.

    Colours could become political.

    An olive tree could represent resistance.

    Jerusalem could be carried on an old man’s shoulders.

    And a traditional Palestinian dress could become an assertion that a culture threatened by displacement remained alive.

    That is where Mansour’s importance extends beyond painting.

    He helped make memory itself a form of resistance.

    The Art of Sumud

    One word repeatedly associated with Mansour’s work is sumud — steadfastness.

    It is difficult to find a better description.

    His Palestinians are not usually superheroes. They are villagers, mothers, labourers and elderly people. They can appear tired, contemplative or burdened.

    But they remain.

    The olive tree remains.

    The village remains.

    The embroidered dress remains.

    Jerusalem remains.

    And even when Palestinians themselves have been displaced, Mansour’s paintings insist that their relationship with the land has not disappeared.

    That explains why Jamal al-Mahamel became so powerful.

    The elderly man is visibly exhausted. Jerusalem is almost impossibly heavy.

    Yet he does not drop it.

    The United Nations has described Mansour’s work as providing a visual translation of sumud, while his imagery became part of Palestinian collective identity and a cornerstone of the country’s visual culture as per United Nations Digital Library⁠.

    More Than One Famous Painting

    The enormous popularity of Jamal al-Mahamel sometimes obscured the breadth of Mansour’s work.

    His paintings repeatedly returned to Palestinian women, rural communities, Jerusalem, dispossession and the landscape.

    In Jerusalem in the Heart, the city is held close to the body of a Palestinian woman, with the golden Dome of the Rock forming the visual centre of the composition.

    Elsewhere, olive trees stand almost like human witnesses.

    His women wear Palestinian embroidery not merely because it is beautiful but because embroidery itself carries geography and memory. Patterns traditionally associated with particular towns and villages become declarations of origin.

    The land, meanwhile, is rarely simply background scenery.

    Terraces, hills, villages and trees demonstrate human attachment to place.

    For a population repeatedly confronted with displacement, Mansour’s landscapes effectively say:

    We were here. We worked this land. We remember it. We belong to it.

    An Artist Who Helped Build an Art Movement

    Mansour’s contribution was also institutional.

    He helped establish and develop organisations that gave Palestinian artists spaces in which to work, exhibit and teach. He was associated with the League of Palestinian Artists, later helped establish the Al-Wasiti Art Center in East Jerusalem, taught generations of younger artists and participated in the development of Palestinian artistic institutions. His work was exhibited internationally and received major Arab and international recognition.

    His importance, therefore, cannot be measured by Jamal al-Mahamel alone.

    He belonged to a generation that helped establish modern Palestinian visual culture under extraordinarily difficult political circumstances.

    There was another dimension to this achievement.

    Palestinian art was doing something that politics alone could not always accomplish.

    It could cross borders.

    A painting required no passport.

    A poster could travel where its creator could not.

    An image of an old man carrying Jerusalem could be understood in Ramallah, Amman, Beirut, Cairo, London or New York.

    Mansour helped turn Palestinian art into a vehicle through which Palestinians could tell their own story.

    Palestine Without a Speech

    Perhaps that is the secret of Sliman Mansour’s longevity.

    His paintings are unmistakably political, yet many do not resemble conventional political art.

    There are no lengthy manifestos written across his canvases.

    Instead there is an old man.

    A woman.

    A tree.

    A village.

    A dress.

    A handful of Palestinian soil.

    And Jerusalem.

    The politics comes from what these things have been forced to mean.

    When a people fear losing their land, painting an olive tree becomes political.

    When villages have disappeared, painting the old landscape becomes political.

    When displacement threatens memory, painting traditional Palestinian dress becomes political.

    And when sovereignty over Jerusalem remains at the centre of one of the world’s longest conflicts, painting an elderly Palestinian carrying the entire city upon his shoulders becomes intensely political.

    That was Mansour’s particular genius.

    He did not merely paint Palestinian politics.

    He painted the human weight of being Palestinian.

    The Palestinian Ministry of Culture, announcing his death, said Mansour’s work had become part of the Palestinian people’s visual and national memory and described his paintings as witnesses to Palestinian history and guardians of identity.

    It is difficult to imagine a more appropriate description.

    Sliman Mansour spent more than half a century painting a people determined not to disappear.

    Now Palestine says goodbye to the painter.

    But the old man in Jamal al-Mahamel continues walking.

    Bent beneath the weight, exhausted perhaps, but still carrying Jerusalem.

    And still refusing to put it down.

    Continue reading

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