In a quaint corner of Hebron's historic old town, located in the southern West Bank, resides a skilled artisan who has dedicated himself to the art of colored sand painting. Mohammad Al-Awawdeh, the custodian of this unique craft, represents a heritage that stretches back over 150 years. He stands as a testament to the enduring legacy of a profession that, over time, had teetered on the edge of extinction.
Al-Awawdeh's journey into this captivating craft commenced in 1983, in Jordan. Hailing from a Palestinian lineage, this art form boasts a rich heritage, with its origins dating back to the ancient city of Jerusalem, where it thrived for centuries. The craft was born from the simple act of tourists and visitors taking a piece of the sacred Palestinian soil as a memento. However, an Armenian innovator had a different idea – he decided to market this soil, infusing it with vibrant colors, and, much to his surprise, it found eager buyers. With the passage of time, this practice evolved, introducing intricate designs, such as the iconic camel.
Al-Awawdeh embarked on his artistic odyssey in Jordan after completing his general education. He pursued specialized training in sand painting, obtaining a two-year diploma from an Arabic college. This comprehensive education equipped him with the fundamental principles and techniques of drawing, ultimately elevating him to a level of mastery. He also honed his craft during an extended period of work abroad.
Al-Awawdeh reminisced, "To pass the practical examination for this craft, we were tasked with creating 100 camels within a one-liter bottle. It was no simple feat, considering the meticulous attention to detail, time management, and quality required. This examination marked the threshold between certification and a repeated course."
For nearly thirteen years now, Al-Awawdeh has established his workshop in the heart of Hebron. Visitors from diverse corners of the world pilgrimage to his enchanting space, adorned with kaleidoscopic wonders. Many beseech him to immortalize their names within the confines of a glass bottle or to incorporate their personalized additions to the designs they hold dear.
The sands that breathe life into his creations are meticulously sourced, primarily from the shores and deserts. Al-Awawdeh selects fine sands, often referred to as "Shalakatna," and undertakes the task of sifting and coloring them to perfection.
He elucidated, "In nature, the full spectrum of colors is not at our disposal. We are able to procure seven natural hues, while the rest is drawn from dyed sands that I import from Jordan, renowned for their superior quality and diverse range."
When it comes to the prevalent motifs in colored sand painting, Al-Awawdeh pointed out that patrons frequently request depictions of the quintessential desert scene that characterizes the Levant region. This encompasses imagery of camels, rugged mountains, expansive deserts, traditional tents, and graceful palm trees. Additionally, he crafts national symbols like the keffiyeh, intricate henna patterns, the Palestinian flag, and more, each art piece narrating the storied history of their homeland.
The time invested in crafting these intricate designs varies significantly, ranging from a mere three minutes to an arduous three days, contingent upon the intricacy and nature of the composition. "For instance," he elucidated, "a finely detailed human face requires a painstaking three-day process, with six hours of work daily. In stark contrast, a camel drawing, for example, can be completed in under a minute. It all hinges on the complexity of the design and whether it falls on the spectrum of ease or intricacy."
Concluding his discourse, Al-Awawdeh shared insight into the tools that form the backbone of his craft. Tweezers and wire emerge as the primary implements of choice, complemented by specialized adhesive materials tailored for glasswork.
It is noteworthy that Hebron's traders, craftsmen, and business proprietors have faced formidable challenges, including closures and economic sieges, imposed by Israeli authorities. These constraints have had a pronounced impact on the number of tourists and visitors arriving in the city, consequently leading to a considerable decline in commercial activity and financial returns.
