Al Rawiya

Al Rawiya Stories, perspectives, and insights from the Levant and its diaspora

On Macklemore, artistic refusal, and what solidarity looks like when there is something to lose.
16/09/2026

On Macklemore, artistic refusal, and what solidarity looks like when there is something to lose.

For Issue IX, Al Rawiya sat down with natural and nomadic winemaker Rami El-Sabban ( El-Sabban Wines ) to talk about win...
14/09/2026

For Issue IX, Al Rawiya sat down with natural and nomadic winemaker Rami El-Sabban ( El-Sabban Wines ) to talk about wine, land, heritage, and sovereignty.

From working with indigenous grape varieties and regenerative agriculture to tracing winemaking back to its ancient roots in Bilad al-Sham, Rami sees his practice as one that goes beyond producing wine alone. It is a way of reclaiming identity, preserving heritage, and building a relationship with the land grounded in collaboration rather than scarcity.

Read Politics of the Vine: Fermenting Freedom with Rami El-Sabban via the link in bio. You can also purchase the issue, either in English or Arabic, either through our website or at designated bookstores in Lebanon and abroad. في العدد التاسع، جلست «الراوية» مع صانع النبيذ الطبيعي والمتنقّل رامي الصبّان للحديث عن النبيذ والأرض والإرث والسيادة.

من العمل مع أصناف العنب المحلية والزراعة المتجددة، إلى تتبّع الجذور العريقة لصناعة النبيذ في بلاد الشام، يرى رامي في ممارسته ما يتجاوز صناعة النبيذ بحد ذاتها. فهي بالنسبة إليه وسيلة لاستعادة الهوية، والحفاظ على الإرث، وبناء علاقة مع الأرض تقوم على التعاون بدلاً من الندرة.

اقرأوا «سياسة الكرمة: تخمير الحرية مع رامي الصبّان» عبر الرابط في البايو.

يمكنكم أيضاً شراء العدد التاسع، بالإنجليزية أو العربية، عبر موقعنا الإلكتروني أو من المكتبات ونقاط البيع المعتمدة في لبنان والخارج.

On September 10, the occupation detonated 1,100 tonnes of explosives at Ali al-Taher, registering a magnitude 4.1 seismi...
11/09/2026

On September 10, the occupation detonated 1,100 tonnes of explosives at Ali al-Taher, registering a magnitude 4.1 seismic event, shaking the ground across South Lebanon.

From the destruction of entire villages to the detonation of 750 tonnes of explosives near Shqif Castle, the occupation’s bombardment is leaving its destructive marks on Lebanon’s communities and its land.

In conversation with Michelle Eid (Michelle Eid ) Palestinian Jordanian documentary photographer and visual artist Baha ...
09/09/2026

In conversation with Michelle Eid (Michelle Eid ) Palestinian Jordanian documentary photographer and visual artist Baha Suleiman (Baha Suleiman ) speaks about growing up in Amman, documenting a city he has a complicated relationship with, and the role photography has played in understanding his own identity.
From building the Alternative Amman Photo Archive to thinking about water as both something inherited and something inaccessible, Baha’s work explores what it means to belong to a place, and what happens when that belonging is shaped by borders, displacement, memory, and distance.

Now based in Cape Town, Baha reflects on what leaving Amman has revealed about his photography, finding community through Darkroom Amman, and a new project attempting to rebuild memories of Palestine through the stories and fragments passed down through his family.

Read the full article via the link in bio.

Beach day in GazaVia Ahmed Zaqout Zakot
08/09/2026

Beach day in Gaza
Via Ahmed Zaqout Zakot

Fifteen years after leaving Syria as a child, Amjaad (AMJAAD ) returned to a country he had come to know largely through...
31/08/2026

Fifteen years after leaving Syria as a child, Amjaad (AMJAAD ) returned to a country he had come to know largely through his parents’ memories and the world’s headlines.

What he found was something neither could fully contain: family reunions, forgotten Arabic words, late nights over tea, familiar streets, and the ordinary rhythms of a place he had spent years belonging to from a distance.

Amjaad reflects on returning home, diaspora identity, and finally making memories of Syria that are entirely his own.
Read the piece via the link in bio.

26/08/2026

Pack your order with me 🌸

Issue IX is available for purchase on our website or if you’re in Beirut via DM.

In her piece for Al Rawiya, Sana Basim reflects on the Phoenicians, museums, and the invisible networks of exchange that...
25/08/2026

In her piece for Al Rawiya, Sana Basim reflects on the Phoenicians, museums, and the invisible networks of exchange that have connected civilizations for thousands of years.

Moving through the National Museum of Lebanon, she looks beyond artifacts as isolated remnants of the past and considers what they reveal about the movement of people, ideas, techniques, beliefs, and stories across borders and generations.
From the Phoenician cities of Tyre, Sidon, and Byblos to ancient Egypt, Mesopotamia, and as far as the Indus Valley, the objects left behind tell a story not only of distinct civilizations, but of worlds constantly encountering and shaping one another.

Read the piece via the link in bio.

Today, Palestine and the Arab world mourn the loss of Sliman Mansour, one of the most important figures in Palestinian a...
24/08/2026

Today, Palestine and the Arab world mourn the loss of Sliman Mansour, one of the most important figures in Palestinian art, who has passed away at the age of 79.

For more than five decades, Mansour created a visual language unlike any other, depicting Palestine in raw and emotional forms. The olive tree, the village, the embroidered dress, the Palestinian woman, the land itself—his work helped shape a collective visual vocabulary of Palestinian identity, dispossession, resistance, and sumud.

His 1973 work Jamal Al Mahamel (The Camel/Carrier of Hardships), depicting an elderly Palestinian man carrying Jerusalem on his back, became one of the most enduring images of the Palestinian struggle. Mansour helped shape the Palestinian artistic movement itself.

He leaves behind an extraordinary visual archive of Palestine;its land and people, its grief and beauty, its memory and steadfastness.

Rest in power, Sliman Mansour.

اليوم، تودّع فلسطين والعالم العربي سليمان منصور، أحد أبرز رموز الفن الفلسطيني، الذي رحل عن عمر ناهز 79 عامًا.

على مدى أكثر من خمسة عقود، ابتكر منصور لغة بصرية متفرّدة، صوّر من خلالها فلسطين بصور صادقة ومشحونة بالعاطفة. شجرة الزيتون، القرية، الثوب الفلسطيني المطرّز، المرأة الفلسطينية، والأرض نفسها؛ عناصر ساهمت أعماله من خلالها في تشكيل ذاكرة بصرية جمعية للهوية الفلسطينية والاقتلاع والمقاومة والصمود.

أصبح عمله «جمل المحامل» (1973)، الذي يصوّر رجلًا فلسطينيًا مسنًا يحمل القدس على ظهره، واحدًا من أكثر الصور رسوخًا في الذاكرة البصرية للنضال الفلسطيني. كما لعب منصور دورًا أساسيًا في تشكيل الحركة الفنية الفلسطينية نفسها.

يترك سليمان منصور وراءه أرشيفًا بصريًا استثنائيًا لفلسطين؛ لأرضها وأهلها، لحزنها وجمالها، لذاكرتها وصمودها.

In her piece for Issue IX, Palestinian-Mexican writer and historian N.A. Mansour begins with a seemingly simple question...
21/08/2026

In her piece for Issue IX, Palestinian-Mexican writer and historian N.A. Mansour begins with a seemingly simple question: why do Palestinians eat the cactus fruit, but not the paddles themselves?
From there, the cactus becomes a way of thinking through occupation, land, memory, food, and the countless moments Palestinians have been denied with one another and with their land. It is also a meditation on what it means to resist that theft: to give each other time, to preserve knowledge, to imagine, experiment, and remain curious even as time itself is continuously taken away.

The cactus, here, becomes a way of moving through Palestinian past, present, and possibility—and of asking what could exist if Palestinians were simply given the time to find out.
Read the full article via the link in bio.

You can also purchase Issue IX via our website or at a list of dedicated bookstores in Lebanon, Jordan, Paris, UAE, and more.

في مقالها ضمن العدد التاسع، تنطلق الكاتبة والمؤرخة الفلسطينية-المكسيكية ن. أ. منصور من سؤال يبدو بسيطًا: لماذا يأكل الفلسطينيون ثمار الصبّار، لكنهم لا يأكلون ألواحه؟

من هنا، يصبح الصبّار مدخلًا للتأمل في الاحتلال، والأرض، والذاكرة، والطعام، وفي اللحظات التي لا تُحصى والتي حُرم منها الفلسطينيون مع بعضهم البعض وعلى أرضهم. كما يتأمل المقال في معنى مقاومة هذا السلب: أن نمنح بعضنا البعض الوقت، وأن نحفظ المعرفة، ونتخيّل، ونجرّب، ونبقى فضوليين، حتى فيما يُنتزع الوقت نفسه منا باستمرار.
يصبح الصبّار هنا وسيلة للتنقّل بين ماضي فلسطين وحاضرها وإمكاناتها، ولطرح سؤال عمّا كان يمكن أن يكون لو مُنح الفلسطينيون ببساطة الوقت الكافي لاكتشافه

اقرأوا المقال كاملًا عبر الرابط في البايو.
يمكنكم أيضًا شراء العدد التاسع عبر موقعنا الإلكتروني، أو من مجموعة من المكتبات ونقاط البيع المختارة في لبنان، والأردن، وفرنسا، والإمارات، وغيرها.

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