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Ibrahim Ghannam (1930-1984), was born in Yajur near Haifa. In 1948 his family fled Yajur and settled in Tel-Zaatar refugee camp in Beirut.Ibrahim_Ghannam He started to paint since he was 17 years old until his death. He is considered one of the founders of the Palestinian plastic art movement. His work focused on the daily life of the Palestinian people and Palestine before the Nakba. He painted vivid scenes of rural Palestine with bright colours using as composition festive panoramic views of harvest and olive-picking scenes, wedding and circumcision ceremonies.

His paintings showed Palestine as an idealized Paradise lost. He became with the years an emblem of resistance. The three main themes he presented in his artwork were: the road to exile, the armed struggle and the nostalgic images of the lost homeland.

He was a founding member of the General Union of Palestinian artists foundation, and the General Federation of Arab Artists foundation.

During the invasion of Lebanon in 1982, the Israeli army seized some of his paintings from one of the exhibits of Beirut. Other paintings of his were also lost in Kuwait during the Iraqi invasion.

He is the subject of Adnan Mdanat’s 1977 documentary film Palestinian Visions.

 Ibrahim Ghannam

 

Ibrahim Ghannam´s Work

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Ibrahim Ghannam3

 

Ibrahim Ghannam2

 

 

Source:

– From the book Palestinian Art by Gannit Ankori

http://www.palestineposterproject.org

 

Further readings:

– Review: Gannit Ankori’s “Palestinian Art”

http://electronicintifada.net/content/review-gannit-ankoris-palestinian-art/3556

Ismail Shammout (1930-2006) a famous Palestinian artist born in Lydda. In 1948 he and his family were forced to leave their home andIsmail Shammout live in a refugee camp in Khan-Younes, Gaza Strip. In 1950 he enrolled in the College of Fine Arts in Cairo. In 1953, he set up his first exhibition in Gaza and in 1954 his major exhibition was opened in Cairo and was sponsored and inaugurated by Egyptian President Jamal Abdul-Nasser. In the same year he moved to Italy and joined the Academy of Fine Arts in Rome.

In 1959 he married Tamam Al Akhal, his artist colleague. Their work has been exhibited in many countries around the world.

Shammout became a part of the Palestine Liberation Organization (PLO) as the Director of Arts and National Culture in 1965. He also held the position of Secretary General of the Union of Palestinian Artists. He became Secretary General of the Union of Arab artists in 1969. In 1992 he and his wife, al Akhal, moved to Germany due to the Gulf War. After Germany, they settled in Jordan.

He was among thousands of Palestinians that witnesse the tragedy of being forces out of their homes and towns by Jewish soldiers in order to créate the ilegal state o Israel. This experience was reflected in many of his paintings and it influenced his entire career. He kept his dreams to return one day to his beloved Palestine.

In his artwork he express his fears, hopes, dreams, and emotions.His style was unique and he empoyed symbols of Palestinian traditions and culture visible in his compositions where female figures dressed in traditional Palestinian embroidered dresses.

His work has served not only to document the experiences of Palestinians before and after al Nakba, but also to support a sense of cultural and national pride among a people facing daily persecution and socioeconomic hardship in both occupied Palestine and in neighboring Arab countries. Throughout his artistic career, Shammout never wavered from his dedication to the Palestinian struggle.

 

Ismail Shammout has the following publications:

  • The Young Artist, Beirut (1957), Arabic.
  • Palestine, Illustrated Political History, Beirut (1972), various languages.
  • Palestinian National Art, Beirut (1978), various languages.
  • Palestine in Perspective, Beirut (1978), Arabic & English.
  • Art in Palestine, Kuwait (1989), Arabic & English.

 

Ismail shammout 

 

 

Ismail shammout´s Work

Ismail Shammout 1

Ismail Shammout 2

 Ismail_Shammout3

 

Sources:

http://ismail-shammout.com/

http://www.jadaliyya.com

 

Further readings:

In remembrance: Ismail Shammout, 1931-2006

http://electronicintifada.net/content/remembrance-ismail-shammout-1931-2006/6067

 

Honour Ismail Shammout 1930-2006:Beloved Artist of Palestinian self-determination

http://www.imemc.org/article/20297

Tamam Al Akhal was born in Jaffa in 1935. In 1948 she was forced to leave her birthplace andTamam Al Akhal take refugee in Beirut, Lebanon.

In 1953 she enrolled at the Fine Arts College in Cairo. She is one of the first Palestinian women to be formally trained in the arts. In 1954 she took part in the exhibition of her colleague Ismail Shammout who she married in 1959.

She has exhibited widely with her husband in Cairo and various countries. Al-Akhal’s work deals mainly with the plight of the Palestinians, especially with themes concerning the Nakba. In visual form, her work uses a method similar to that used by the Mexican muralists, where scenes and symbols are combined to creative a narrative. Al-Akhal uses mainly oil paints, and her most famous works are those picturing the house she had to abandon In Jaffa in 1948. She is a member of the General Union of Palestinian Artists and of the General Union of Arab Artists.

 When art speaks – tribute to Tamam Al Akhal

 

Tamam Al Akhal´s work

Tamam Al Akhal1

 

Tamam Al Akhal3

 

Tamam Al Akhal2

 

Sources:

– tamamalakhal.com

-http://sakakini.org

 

Further readings:

– Jordanian exhibition honours pioneering women artists

http://al-shorfa.com/en_GB/articles/meii/features/entertainment/2010/03/25/feature-03

 

Samia Taktak Zaru is a contemporary multi-media artist, designer, painter and sculptor renowned throughout the Arab world.Samia Zaru She was born in Nablus in 1938. She studied Fine Arts at the American University of Beirut. Afterwards the artist moved to Washington where she did her post-graduate studies in the Corcoran School of Art and the American University 1961.

Samia studied under sculptor Basbous and attended Art Education Specialist UNESCO/ UNRWA Seminars in Beirut, Lebanon.

Samia became the first woman to experiment in mixed media creations as a welder/sculptor, whether scrap metals, stone, wood, yarn or paint; she would always see beyond the simple image and transform it into a masterpiece of creativity that would leave the viewer with a sobering thought.

She likes to search for identity by trying materials that relate to human beings and life such as: wood, dyes, ropes and the remnants of Palestinian embroidery, as an expression of the beauty of her culture and land.

What distinguishes this artist is that she blends the abstract art with handy crafts. In her art work we can see that she uses various art materials like: acrylic, oil and water color, and wooden blocks. She molds her metallic sculptures and embroiders her own embroidery, which she uses in her art.

The artist uses bold colors and strong lines to communicate the tension in her work. She also integrates Palestinian embroidery and printed fabrics into her paintings, to help bring out a celebratory tone.

Among her most prominent pieces are the metal sculpture of the Haya Center (1964) and the AlHusain Gardens Seven sculptures (2000). She has participated in International and Arab Exhibitions, winning medals and awards in Iraq, Egypt and Kuwait. She has held one-woman shows in Europe, Asia, USA and the Arab world and has participated in many group exhibitions. Presently she works in an open studio-workshop and displays her work in Amman, Jordan.

Zaru’s works are included in the collection of the Jordan Royal Court, The Jordan National Gallery, The Museum of Women in the Arts DC, the President Reagan and President Carter Library Museums, the Vatican Museum, the Iraqi Museum of Modern Art, the Rockefeller Art Collection and The Russian Modern Art Museum in Moscow as well as in private collections in Jordan.

Zaru is a founding member of the Jordan National Gallery and the Artists Association and a pioneer of Installation Art in the Arab World since 1986. She had the first installation in 1988 in Amman on an area of 1000 square meters. She also works on the revival and development of traditional design in the Arab and Islamic World in her capacity as a consultant and speaker at seminars on Art and identity in design development in arts and crafts (Ircica).

A lecturer and an expert on art curricula tailored to Arab culture in schools and universities, Zaru is one of seven International experts with UNESCO to set the policy for the enhancement of arts in education.

She yearns for a future where art is the international language that will make long lasting bridges of understanding and tolerance amongst nations and hopes Arab art will spread around the world.

Samia Zaru´s art work

Samia Zaru-1

samia zaru-4

samia zaru-3

 

samia zaru-2

 

Source:

www.zaragallery.org

http://artweekamman.me/speakers/

 

Further reading:

Samia Zaru

http://www.mei.edu/content/samia-zaru

Mohammad Nasrallah is a painter who was born in 1963 in the Wihdat Palestinian refugee camp in Amman, Jordan. Mohammad NasrallahHe developed an interest in painting since his early childhood, affected by his surroundings. He graduated from the Academy of Fine Arts in Amman, Jordan.

Since the very beginning, he started to search for a different expression and after all these years it became evident in his art work. The most significant aspect that marks his artistic experience is the objective and visual diversity which are uniquely conveyed at every exhibition he holds. In his exhibitions we can see the way he engages in dialogue and interlocution with poetry, presenting an artistic accomplishment that simply adds to his experience and enriches it.

He is a member of the Jordanian Plastic Artists’ Association. Throughout his career Nasrallah has held 6 solo exhibitions since 1989 in Amman. Between 1988 and 2001 he participated in over 60 group shows in Jordan and the region including Egypt, Iraq, Oman, Palestine, Syria, Tunisia and United Arab Emirates. This is in addition to other exhibitions abroad including Austria, Bangladesh, England, France and Japan.

As an artist Nasrallah is involved in other activities. He has designed a number of posters for Amnesty International and other posters for the Intifada. Many of his paintings have been acquired by individuals and institutions in Jordan and abroad.

He lives and works in Amman.

Video

Mohammad Nasrallah Own Unique Style

Mohammad Nasrallah´s artwork

Mohammad Nasrallah1

 

 

Mohammad Nasrallah3

 

Mohammad Nasrallah4

 

Sources:

http://www.ihdeeny.com/

http://www.occupiedspace.org.uk

Kamal Boullata is a Palestinian artist, writer and art historian. Boullata was born to a Christian Palestinian family in Jerusalem, mandatory Palestine in 1942.Kamal Boullata Growing up in Jerusalem, Boullata studied with the artist of Orthodox Christian icons, Khalil Halaby (1889–1964). He was fascinated by Arabic script, particularly the square, geometric style of lettering known as Kufic. Boullata recalled spending hours growing up in Jerusalem, sketching the calligraphy he saw on the Dome of the Rock shrine. He graduated from the Accademia di Belle Arte in Rome in 1965 and attended the Corcoran Academy for the Fine Arts in Washington, D.C., from 1968 to 1971. Boullata stayed in Washington thereafter, teaching at Georgetown University and producing his art. In 1990 he published Faithful Witnesses: Palestinian Children Recreate Their World and in 1993 he received a Fulbright Senior Scholar Fellowship to research Islamic art in Morocco, with the result that in the 1990s, he lived in both Morocco and France.

In 2001 he received the Ford Foundation grant to pursue research on the influence of post-Byzantine art on Palestinian painting.

His works are primarily done in acrylic and abstract in style focusing on the ideas of division in Palestinian identity, separation from homeland through utilization geometric forms as well as integration of Arabic words and calligraphy.

His compositions are based on the angular Kufi script, which he uses as a representational form of art.

Boullata published studies on contemporary Arab art, the structural affinities between Arabic grammar and the arabesque and the cultural perception of color through its linguistic expression. His pioneering studies on Palestinian art appeared in books and academic journals. He is the author of Recovery of Place: A Study of Contemporary Palestinian Art (in Arabic) and the editor ofBelonging and Globalisation: Critical Essays on Contemporary Art and Culture (Saqi Books).

His work is well regarded around the world, and Boullata is considered one of Palestine’s great modernist artists. His work has been shown in the United States, France, and the Middle East, including at the Musée du Palais Carnoles and the Galerie d’art Contemporain Palais de l’Europe, Menton, the Musée du Chateau Dufresne, Montreal, and Galerie Claude Lemand, Paris.

Boullata is still active, but surely will be remembered as a foremost Palestinian modernist artist, as well as a scholar of the history of Palestinian art.

 Boullata´s work

Boullata-1

Boullata-3

Boullata-2

Video

 

Exhibitions

2009

Palestine – La création dans tous ses états, Institut du Monde Arabe, Paris; National Museum of Bahrain, Manama

2008

Modernité plurielle : Art arabe contemporain, Institut du Monde Arabe, Paris

2006

Word Into Art: The Contemporary Middle East, British Museum, London; Dubai International Financial Centre, Dubai (2008)

2005

L’œuvre en cours, Musée du Palais Carnoles, Menton

2002

Musée du Château Dufresne, Montreal (solo)

2002

Bibliothèque Centrale, Grenoble (solo)

2002

Modern Arab Art, Jordan National Gallery of Fine Arts, Amman

2001

L’Art du livre, Bibliothèque Nationale, Paris

2001

Fifth International Art Biennal of Sharjah, Sharjah

2001

Ateliers Arabes, Agial Gallery, Beirut; Galerie Atassi, Damascus

2001

Galerie d’art contemporain, Palais de l’Europe, Menton (solo)

2000

Adonis:Un poète dans le monde d’aujourd’hui, Institut du Monde Arabe, Paris

2000

50 Ans d’ art sur la Côte d’Azur, Galerie d’art contemporain, Palais de l’Europe, Menton

1999

Galerie Claude Lemand, Paris (solo)

1998

Palacio de Carlos V, Alhambra, Granada (solo)

1998

Darat al Funun, Amman (solo)

1997

Artistes palestiniens contemporains : Institut du Monde Arabe, Paris

Further readings:

An Interview with Kamal Boullata

 

Sources:

http://www.artnet.com/artists/kamal-boullata/biography

http://www.meemartgallery.com/art_resources.php?id=35

http://www.droppingknowledge.org/bin/user/profile/6208.page

http://encyclopedia.jrank.org/articles/pages/5618/Boullata-Kamal-1942.html

Sliman Mansour born in Birzeit, Palestine in 1947. He is an important figure among contemporary Palestinian artists. Mansour spent his childhood at boarding schools on Bethlehem.sliman mansourHe studied fine art at Bezalel Academy of Art in Jerusalem from 1967 to 1970, and has been involved in the Palestinian art scene since the 1970’s.

Mansour is considered an artist of the Intifada whose work gave visual expression to the cultural concept of sumud 1. He is a co-founder of the League of Palestinian Artists and the artist group ‘New Visions’ which was established during the first Intifada in 1987. This group particularly tied notions of land to political suppression through artist’s materials such as henna, clay and natural pigments, advocating a continuous claim to land through these. The group was formed by four prominent Palestinian artists: Tayseer Barakat, Vera Tamari, Nabil Anani and Sliman Mansour.

Since the seventies, he has contributed to the development of an iconography of the Palestinian struggle through his works on paper. Uniting Mansour’s body of work is the depiction of the orange tree (considered to symbolize the 1948 Nakba), the olive tree (considered to symbolize the 1967 war), traditional Palestinian embroidery, village life, and the figure of the Palestinian woman as the mother figure of Palestine, giving birth to and protecting the Palestinian people. One of Mansour’s most recognized works is the 1974 painting, Camel of Hardship. In this image, the figure of the porter bends under the weight of his satchel, which is significantly shaped like an eye and holds the city of Jerusalem as identified by the Dome of the Rock. Personifying Palestine through the figure of an old, weary, and isolated man, Mansour captures the concept of sumud, or steadfastness, and the continuing endurance of the struggle despite hardship. Before its international acclaim, the piece resonated locally as it was printed as posters in 1975 and displayed in homes and public venues throughout the West Bank and Gaza.

In 1988 he made a series of four painting on destroyed Palestinian villages, the four villages being Yibna, Yalo, Imwas and Bayt Dajan.

For Mansour, art aids the continuation and revival of Palestinian identity, particularly as it captures images of the land and people working in the land. By keeping roots in the ancestral homeland, Mansour enables Palestinians to continue to lay claim to it.

Mansour – also a cartoonist, art instructor and author –has contributed greatly to art education and promotion in the West Bank. He is now regarded as a pivotal cultural leader in Palestine. Co-founder of the Wasiti Art Center in Jerusalem, Mansour’s work has been exhibited in Palestine Israel, the United States, Japan, Korea and across the Arab world and Europe. He is a co-author of Both Sides of Peace: Israeli and Palestinian Political Poster Art.

Mansour has exhibited in group and solo exhibitions throughout the Arab world, United States, Europe, and Asia. Notably, he participated in the 1997 French Palestinian spring exhibition at the Institut du Monde Arabe in Paris. In 1989, he received the “Nile Award,” at the 1998 Cairo Biennial for the series, I am Ismail and the Palestinian Prize for Visual Arts.

Awards and Honors

​1998     Palestine Prize for the Visual Arts

​1998     Grand Nile Prize, Seventh Cairo Biennial

Sliman Mansour´s work

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 sliman2

sliman3

 

Further reading:

An Interview with Palestinian Artist Suleiman Mansour

https://aaron.resist.ca/cracked-and-shrinking-maps-an-interview-with-palestinian-artist-suleiman-mansour

– The return of “Jamal Al Mahamel”

http://www.economist.com/blogs/prospero/2014/03/palestinian-art

 

Source:

http://www.barjeelartfoundation.org

http://www.cca-glasgow.com/programme

http://www.encyclopedia.mathaf.org

 

Reference

1 Sumud means “steadfastness” or “steadfast perseverance” is an ideological theme and political strategy that first emerged among the Palestinian people through oppression and resistance in the wake of the 1967 Six-Day W

Samia Halaby was born in Jerusalem in 1936. She is an abstract painter and an influential scholar of Palestinian art.Samia_A_Halaby Halaby and her family were expelled from their home in Jaffa in 1948 with the creation of the illegal Israeli state. They fled to Lebanon where they stayed until 1951 and they traveled to the United States.

In 1959, she received her Bachelor of Science in Design from the University of Cincinnati and graduated from Indiana University with a Masters in Fine Art in 1963. Shortly after she went on to hold her first academic teaching position at the Kansas City Art Institute in Missouri. In 1966, she returned to the Arab world for the first time since being exiled for a long tour of Palestine, Syria, Egypt, and Turkey, where she researched Islamic architecture and geometric abstraction as part of a Faculty Development grant from the Kansas City Art Institute. Since that time, she has worked hard and her visits have resulted in a number of developments in her work: paintings, drawings and a special documentary entitled “The Kafr Qasem Drawings”.

Recognised as a pioneer of contemporary abstraction in the Arab world, although based in the United States since 1951, she has exhibited throughout the region and abroad and is widely collected by international institutions.

Based in New York since the 1970s, she has long been active in the city’s art scene, mainly through independent and non-profit art spaces and artist-run initiatives, in addition to participating in leftist political organizing for various causes. She has long been an advocate of pro-Palestinian struggles.

Halaby primarily works in abstraction but has also designed dozens of political posters and banners for various anti-war causes. Her work differs from figurative and direct images relating to Palestine. Some of her Paintings, varied with colorful features of abstract images of flowers ad landscapes, resonate with her Palestinian roots.

Her approach to abstraction has ranged from works exploring the visual properties of the geometric still life to free-form paintings in the form of collaged pieces of canvas that are joined to create larger abstractions that are free from the stretch. As of 2012, her oeuvre contained over 3,000 works, including paintings, three-dimensional hanging sculptures, artist books, drawings, and limited edition artist prints.

Due to her recognition in both the contemporary Arab art scene and in the US-based activist community, Halaby has been the subject of a number of art works by other artists. The 2008 film “Samia” by Syrian filmmaker and conceptual artist Ammar Al Beik was created around a taped interview of the artist that was commissioned by Ayyam Gallery, Dubai. In the film, Al Beik includes Halaby’s own footage of a trip to the West Bank in which she narrates her stay there and later documents a trip to her grandmother’s apartment in Jerusalem.

She has contributed to the documentation of Palestinian art of the twentieth century through such texts as her 2001 book, “Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century” (H.T.T.B. Publications.

In the early 2000s, she was instrumental in the landmark exhibition “Made in Palestine,” which was organized by the Station Museum of Contemporary Art in Houston.

The 2004 exhibition “The Subject of Palestine,” which Halaby curated for the DePaul Art Museum.

Samia Halaby´s work

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samia3

samia2

 

Veteran Palestinian artist Samia Halaby speaks to MEMO on Palestinian art and activism

On “Liberation Art” and Revolutionary Aesthetics: An Interview with Samia Halaby

Q&A: Samia Halaby on Painting and Palestine

 

Sources:

http://www.ayyamgallery.com

http://electronicintifada.net

http://www.art.net

 

More than 400 Palestinian villages were destroyed –in its entirety or partially– by Zionist gangs as part of a programmed plan of destroyed villagesuprooting native Palestinians from their homeland, Palestine, and breaking new ground for a bizarre colonial project called Israel, which the days of its first stage were closing in on that awful year of 1948.

Few researchers, and historians, Palestinians and Israelis, have attempted to document this tragic chapter of al-Nakba (catastrophe). Among Palestinians were Aref El-Aref who prepared shortly in the aftermath of 1948 war a list of villages occupied and its Arab citizens were forced to leave in the course of battles. He published few years later a six-part volume about 1948 war under the title al-Nakba (1956-1960). The historian Mustafa Dabbagh published an eleven-part volume titled “Our Land Palestine” (1972-1986). A thorough description of the destroyed villages or otherwise was included in the book.

Other writers followed suit including the late Palestinian geographer Bashir Najm who coauthored with Engineer Bsharah Muammer comprehensive tables of statistics covering the people and the land.

On 1987, Abdul Jawad Saleh and Walid Mustafa published a booklet concerning the mass destruction of the Palestinian villages.

At last the Israeli historian Benny Morris published on 1989 his important book “ The Birth of the Palestinian Refugee Problem 1947-1949”.

All in all, 418 villages were destroyed, depopulated or simply taken over by Zionists for various purposes. Others were utilized as sites for building Zionist settlements.

In 1992 , the distinguished Palestinian historian, Walid Khalidi, author and editor of many valuable publications, books and researches, narrating the untold story and history of the Palestinians before and after their Nakba (catastrophe), a paramount referential research work titled “ All that Remains: The Palestinian Villages Occupied and Depopulated by Israel in 1948”. Its Arabic version appeared on November 1997.

In addition to these major works, a group of researchers prepared a list of names for destroyed villages — among them was Israel Shahak, president of Israeli Human Rights group who published on 1973 somehow modified text of Aref Al-Aref list.

Shahak based his work on Al-Aref list of 399 occupied villages, omitting from it the undestroyed villages—reducing the figure to 383 villages.

The Palestinian geographer Kamal Abdul Fattah classified on 1986 another list in preparation for the forthcoming list of Ber Zeit University.

But Christoph Uehlinger from the Swiss “Association for the reconstruction of Emmuas” village prepared a list based on Al-Aref-Shahak list, and to the preliminary list of Kamal Abdul Fattah (1983)—adapting it to the Israeli maps.

Although the Israeli authorities failed to issue a list of the destroyed villages, it republished on 1950s topographic maps –originally prepared by British Mandate –giving Hebrew names to the places printing over the destroyed villages the Hebrew word “Hrous” – meaning: destroyed.

Barring Dabbagh’s book (Our Land Palestine) and the Palestinian Encyclopedia, none of these works has referred to the destroyed village with more than a name and few statistics—merely as a single element amid general sight of destruction.

General Moshe Dayan stated in 1962:

We came to this country, which was already populated by Arabs, and we are  establishing a Hebrew, that is, a Jewish State, here. Jewish villages were built in the place of Arab villages. You do not even know the names of these Arab villages, and I do not blame you, because those geography books no longer exist. Not only do the books, not  exist, the Arab villages are not there either. Nahal arose in the place of Mahalul; Gevat in the place of Jibta; Sarid in the place of Tell Shaman. There is not one place built in this country that did not have a former Arab population.
Bibliography:

-All that Remains: The Palestinian Villages Occupied and Depopulated by Israel in 1948 by Walid Khalidi

-The Catastrophe and the Lost Paradise by Aref al-Aref

pal_nablusAl-Nakba was marked by the destruction of Palestinian villages and the exodus of over 750,000 Palestinians. Historical records confirm that in 1947 Palestine comprised more than 900 Palestinian villages. More than 400 villages were destroyed by Israeli forces as well as their houses and buildings.

The Israelis wiped off all these destroyed villages of the map. Mayor urban centers exclusive for Palestinians such as Nazareth, Baysan, Beersheba, Acre, Ramla, Jaffa, Jerusalem, Haifa and many others were depopulated and in their places Israeli settlements were built.

Israeli and international historians confirm the number of these destroyed villages to be at least 418 and possibly up to 472.

Here we have a list of the destroyed villages within the pre-1967 borders of Israel, which were destroyed and depopulated in 1948.

The District of Acre (26 villages)

Amqa, Arab Al-Samniyya, Al-Bassa, Al-Birwa, Al-Damun, Dayr Al-Qasi, Al-Gabisiyya, Iqrit, Irbbin Khirbat, Jiddin Khirbat, Al-Kabri, Kafr Inan, Kuwaykat, Al-Manshiyya, Al-Mansura, Miar, Al-Nabi Rubin, Al-Nahr, Al-Ruways, Suhmata, Al-Sumayriyya, Suruh, Al-Tall, Tarbikha, Umm  Al-Faraj, Al-Zib.

The District of Baysan (29 villages)

Arab al-‘Arida, Arab al-Bawati, Arab al-Safa, al-Ashrafiyya, al-Birra, Danna, Farwana, al-Fatur, al-Ghazzawiyya, al-Hamidiyya, al-Hamra, abbul Kafra, Kawkab al-Hawa, al-Khunayzir, Masil al-Jizl, al-Murassa, Qumya, al-Sakhina, al-Samiriyya, Sirin, Tall al-Shawk, al-Taqa, Khirbat, al-Tira,  Umm ‘Ajra, Umm Sabuna, Khirbat, Yubla, Zab’a, al-Zawiya, Khirbat.

The District of Beersheba (3 villages)

Al-‘Imara, al-Jammama, al-Khalasa.

The District of Gaza (45 villages)

Arab Suqrir, Barbara, Barqa, al-Batani, al-Gharbi, al-Batani, al-Sharqi, Bayt ‘Affa, Bayt Daras, Bayt Jirja, Bayt Tima, Bi’lin, Burayr, Dayr Sunayd, Dimra, al-Faluja, Hamama, Hatta, Hiribya, Huj, Hulayqat, ‘Ibdis, ‘Iraq al-Manshiyya, Iraq Suwaydan, Isdud, al-Jaladiyya, al-Jiyya, Julis, al-Jura, Jusayr, Karatiyya, Kawfakha, Kawkaba, al-Khisas, al-Masmiyya al-Kabira, al-Masmiyya al-Saghira, al-Muharraqa, Najd, Ni’ilya, Qastina, al-Sawafir al-Gharbiyya, al Sawafir al-Shamaliyya, al-Sawafir al-Sharqiyya, Summil, Tallal al-Turmus, Yasur.

The District of Haifa (51 villages)

Abu Shusha, Abu Zurayq, Arab al-Fuqara’, Arab al-Nufay’at, Arab Zahrat al-Dumayri, Atlit, Ayn Ghazal, Ayn Hawd, Balad al-Shaykh, Barrat Qisarya, Burayka, al-Burj, Khirbat, al-Butaymat, Daliyat  al-Rawha’, al-Damun Khirbat, al-Ghubayya al-Fawqa, al-Ghubayya al-Tahta, Hawsha, Ijzim, Jaba’, al-Jalma, Kabara, al-Kafrayn, Kafr Lam, al-Kasayir Khirbat, Khubbayza, Lid khirbat, al-Manara Khirbat, al-Mansi, al-Mansura Khirbat, al-Mazar, al-Naghnaghiyya, Qannir, Qira, Qisarya, Qumbaza, al-Rihaniyya, Sabbarin,al-Sarafand, al-Sarkas Khirbat, Sa’sa’ Khirbat, al-Sawamir, al-Shuna Khirbat, al-Sindiyana, al-Tantura, al- Tira, Umm al-Shawf, Umm al-Zinat, Wa’arat al-Sarris, Wadi Ara, Yajur.

The District of Hebron (16 villages)

‘Ajjur, Barqusya, Bayt Jibrin, Bayt Nattif, al-Dawayima, Dayr al-Dubban, Dayr Nakhkhas,  Kudna, Mughallis, al-Qubayba, Ra’na, Tall al-Safi, Umm Burj Khirbat, Zakariyya, Zayta, Zikrin, Al-Nabi Rubin.

The District of Jaffa (23 villages)

al- ‘Abbasiyya, Abu Kishk, Bayt Dajan, Biyar ‘Adas, Fajja, al- Haram, Ijlil al-Qibliyya, Ijlil al-Shamaliyya, al-Jammasin al-Gharbi, al-Jammasin al-Sharqi, Jarisha, Kafr ‘Ana, al-Khayriyya, al-Mas’udiyya, al-Mirr, al-Muwaylih, Rantiya, al-Safiriyya, Salama, Saqiya, al-Sawalima, al-Shaykh Muwannis, Yazur.

The District of Jerusalem (38 villages)

‘Allar, ‘Aqqur, ‘Artuf, ‘Ayn Karim, Bayt ‘Itab, Bayt Mahsir, Bayt Naqquba, Bayt Thul, Bayt Umm al-Mays, al-Burayi, Dayr Aban, Dayr ‘Amr, Dayr al-Hawa, Dayr Rafat, Dayr al-Shaykh, Dayr Yasin, Ishwa’, Islin Ism Allah, Khirbat, Jarash, al-jura, Kasla, al-Lawz Khirbat, Lifta, al-Maliha, Nitaf, al-Qabu, Qalunya, al-Qastal, Ras Abu ‘Ammar, Sar’a, Saris, Sataf, Suba, Sufla, al-Tannur Khirbat, al-‘Umur Khirbat, al-Walaja.

The District of Jinin (6 villages)

Ayn al-Mansi, al-Jawfa Khirbat, al-Lajjun, al-Mazar, Nuris, Zir’in.

The District of Nazareth (4 villages)

Indur, Ma’lul, al-Mujaydil, Saffuriyya.

The District of Ramla (58 villages)

Abu al-Fadl, Abu Shusha, ‘Ajanjul, ‘Aqir, Barfiliya, al-Barriyya, Bashshit, Bayt Far Khirbat, Bayt Jiz, Bayt Nabala, Bayt Shanna, Bayt Susin, Bir Ma’in, Bir Salim, al-Burj, al-Buwayra Khirbat, Daniyal, Dayr Abu Salama, Dayr Ayyub, Dayr Muhaysin, Dayr Tarif, al-Duhayriyya Khirbat, al-Haditha, Idnibba, ‘Innaba, Jilya, Jimzu, Kharruba, al-Khayma, Khulda, al-Kunayyisa, al-Latrun, al-Maghar, Majdal Yaba, al-Mansura, al-Mukhayzin, al-Muzayri’a, al-Na’ani, al-Nabi Rubin, Qatra, Qazaza, al-Qubab, Qubayba, Qula, Sajad, Salbit, Sarafand al-‘Amar, Sarafand al-Kharab, Saydun, Shahma, Shilta, Al-Tina, Al-Tira,  Umm Kalkha, Wadi Hunayn, Yibna, Zakariyya Khirbat, Zarnuqa.

The District of Safad (77 villages)

Abil al-Qamh, al-‘Abisiyya, Akbara, Alma, Ammuqa, ‘Arab al-Shamalina, Arab al-Zubayd, ‘Ayn al-Zaytun, Baysamun, Biriyya, al-Butayha, al-Buwayziyya, Dallata, al-Dawwara, Dayshum, al-Dirbashiyya, al-Dirdara, Fara, al-Farradiyya, Fir’im, Ghabbatiyya, Ghuraba, al-Hamra’, Harrawi, Hunin, al-Husayniyya, Jahula, al-Ja’una, Jubb Yusuf, Kafr Bir’im, al-Khalisa, Khan al-Duwayr, Karraza Khirbat, al-Khisas, Khiyam al-Walid, Kirad al-Baqqara, Kirad al-Ghannama, Lazzaza, Madahil , al-Malikiyya, Mallaha, al-Manshiyya, al-Mansura, Mansurat Al-Khayt, Marus, Mirun, al-Muftakhira, Mughr al-Khayt, al-Muntar, Khirbat, al-Nabi Yusha’, al-Na’ima, Qabba’a, Qadas, Qaddita, Qaytiyya, al-Qudayriyya, al-Ras al-Ahmar, Sabalan, Safsaf, Saliha, al-Salihiyya, al -Sammu’i, al-Sanbariyya, Sa’sa’, al-Shawka al-Tahta, al-Shuna, Taytaba, Tulayl, al-‘Ulmaniyya, al-‘Urayfiyya, al-Wayziyya, Yarda, al-Zahiriiyya al-Tahta, al-Zanghariyya,al-Zawiya, al-Zuq al-Fawqani, al-Zuq al-Tahtani.

The District of Tiberias (25 villages)

‘Awlam, al-Dalhamiyya, Ghuwayr Abu Shusha, Hadatha, al-Hamma, Hittin, Kafr Sabt, Lubya, Ma’dhar, al-Majdal, al-Manara, al-Manshiyya, al-Mansura, Nasir al-Din, Nimrin, al-Nuqayb, Samakh, al-Samakiyya, al-Samra, al-Shajara, al-Tabigha, al-‘Ubaydiyya, Wadi al-Hamam, al-Wa’ra al-Swawda’, Khirbat, Yaquq.

The District of Tulkarm (17 villages)

Bayt Lid Khirbat, Bayyarat Hannun, Fardisya, Ghabat Kafrr Sur, al-Jalama, Kafr Saba, al-Majdal, Khirbat, al-Manshiyya, Miska, Qaqun, Raml Zayta, Tabsur, Umm Khalid, Wadi al-Hawarith, Wadi Qabbani, al-Zababida Khirbat, Zalafa Khirbat.

Bibliography:

-All That Remains: The Palestinian Villages Occupied and Depopulated by Israel in 1948 by Walid Khalidi.

-For more detailed information you can visit http://www.palestineremembered.com/

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