On Sunday, January 5, the Palestinian Museum launched the book Resurgent Nahda: The Arab Exhibitions in Mandate Jerusalem by Dr. Nadi Abusaada. The book documents the Arab exhibitions held in Jerusalem during the British Mandate, specifically between 1933 and 1934, as pivotal milestones in the history of modern Arab culture.
The launch took place during a symposium organized by the Palestinian Museum in Birzeit, featuring Dr. Salim Tamari, Nadi Abusaada, and George Alama. The event included a presentation of artworks and crafts by pioneering Palestinian artists and craftsmen who had participated in those exhibitions.
The book highlights Jerusalem’s status as a center for cultural, economic, and artistic exchange, and its vital role in fostering a regional Arab renaissance following the geopolitical transformations that followed World War I. It further explores the cultural ties that linked Jerusalem to cities such as Baghdad, Cairo, Damascus, and Beirut, tracing the trajectories of artists, craftsmen, architects, and journalists to reveal a pivotal chapter in the modern Arab history of Palestine and the region—one that contributed to shaping its cultural identity and enhancing intellectual exchange.
The discussion opened with a talk by Dr. Salim Tamari, who addressed the book’s contribution to exploring public space and recovering the manifestations of cultural renaissance during the first half of the twentieth century. He pointed to the intersections of religious and social rituals and the transformations that touched daily life, including dress and public taste.
For his part, Dr. Nadi Abusaada noted that the book is the product of seven years of intensive research, building on his 2019 article published in Jerusalem Quarterly (Institute for Palestine Studies), as well as two exhibitions he curated at the Khalil Sakakini Cultural Center in Ramallah (2022–2023) and Darat al Funun in Amman (2024). He added that the book contains six essays, one dialogue, and a rich collection of archival documents and artworks gathered from archives and art collections worldwide. It is divided into two parts: the first offers critical readings and scholarly reflections on the exhibitions, while the second brings together original archival materials uncovered during the course of the research.
In conclusion, George Alama spoke about his contribution to the book as a researcher and collector, emphasizing that collecting, for him, has never been separate from research and knowledge. He affirmed that collaborating with Nadi Abusaada allowed his personal archive to be read in a broader context, transforming his collection from dispersed items into part of a cultural narrative documenting a pivotal moment in the history of Palestine and the region.
The accompanying exhibition offers a glimpse into the artworks and crafts discussed in the book, showcasing the works of pioneering Palestinian artists and craftsmen who took part in those exhibitions, alongside a selection of archival documents. It provides visitors with an opportunity to engage with this cultural and creative legacy and serves as a window into the crucial role Jerusalem played in shaping the Arab artistic and cultural movement during this defining chapter of its rich history.
The Palestinian Museum is an independent, non-governmental cultural institution dedicated to fostering an open and dynamic Palestinian culture on both local and international levels. It contributes to the production and presentation of new narratives about Palestinian history, culture, and society. The museum also provides a space for creative projects, educational programs, and innovative research, making it one of Palestine’s most significant contemporary cultural initiatives.