{"id":3515,"date":"2021-08-15T15:03:00","date_gmt":"2021-08-15T15:03:00","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/2021\/08\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\/"},"modified":"2021-08-15T15:03:00","modified_gmt":"2021-08-15T15:03:00","slug":"libyas-exiled-satirist-hasan-alsatoor-dhaimish","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\/","title":{"rendered":"Libya\u2019s Exiled Satirist, Hasan \u201cAlsatoor\u201d Dhaimish"},"content":{"rendered":"
\"Hasan
Hasan \u201cAlsatoor\u201d Dhaimish at his drawing desk in Burnley, circa 1980 (courtesy Sherif Dhaimish).<\/figcaption><\/figure>\n

The authors are co-curators of the exhibition Resistance, Rebellion & Revolution<\/a>, which runs from 19 to 29 August, 2021 at the Hoxton 253, an art project space, 253 Hoxton Street, Whitmore Estate, London N1 5LG. Click here<\/a> for exhibition hours.<\/p>\n

Sherif and Hanna Dhaimish<\/h4>\n
\"Exhibition
Exhibition poster for the show at Hoxton 253<\/a>.<\/figcaption><\/figure>\n

Our father Hasan Mahmoud Dhaimish was born in the al-Shabi district of Benghazi, Libya, in 1955. He spent the first 20 years of his life in the east of Libya, and then gave into his desire to travel and explore the world. He arrived in England in 1975 and in the late \u201870s, he arrived in Burnley, Lancashire.<\/p>\n

It wasn\u2019t long until Hasan created Alsatoor \u2014 the pseudonym under which he began publishing anti-Gaddafi satire. This persona followed him through the decades. Along the way, he became a husband, a father and a teacher.<\/p>\n

Four years prior to his birth, Libya had become an autonomous kingdom following hundreds of years of colonization.<\/p>\n

Libya\u2019s east where Hasan grew up, often referred to as Cyrenaica after the ancient Greek city of Cyrene, has often been on the receiving end of injustice and the birthplace of rebellious movements, including The Lion of the Desert himself, Omar Mukhtar, a Libyan icon of resistance and national hero to many, who fought against the Italians until his capture and execution in 1931.<\/p>\n

When Hasan was born, King Idris was on the throne. He had shifted Libya\u2019s central power from today\u2019s capital Tripoli, to the eastern city of Tobruk, which sits on the Mediterranean coast, 100 miles from the Egyptian border. Hasan\u2019s father, Sheikh Mahmoud Dhaimish was appointed as the religious adviser and imam of the King, so he moved the family to Tobruk for two years.<\/p>\n

\u201cI was politically aware at an early age, thanks to my father. He played a fundamental role in forming my ideas. I inherited the spirit of rebellion and not to be afraid to speak the truth and stand with the weak from him.\u201d<\/em><\/p>\n

As a young child, Hasan would watch his father draw pigeons on the roof tiles of their home where the family kept the birds. He would draw a single pigeon on each tile, while explaining his technique.<\/p>\n

Sheikh Mahmoud also introduced Hasan to the famous Libyan artist, Mohammed al-Zawawi. They would study his style and discuss his satire, often bursting into fits of laughter. Noticing an eagerness to learn about art, his father was keen to share anything related to painting and politics, laying the foundations for Hasan\u2019s life ahead. He soon started drawing caricatures.<\/p>\n

\u201cI remember my sister, who was also my best mate, getting engaged. I was angry about it, so I started drawing cartoons of her on the walls of our home. I never got in trouble, though. I think my dad saw I had talent. After that, I started drawing pictures of Gaddafi in my room. Soon afterwards, my brother-in-law found them and took them to local security forces. \u2018Are you out of your goddamn mind?\u2019 I asked him. I was furious, but he said they had a good laugh at them, too, so there was nothing to worry about<\/em>.\u201d<\/p>\n

Art meant something to Hasan from a young age. It was a way to channel both his rebellious nature and curiosity.<\/p>\n

\u201cAt that time, I didn\u2019t realize that art chooses you, not the other way round.\u201d<\/em><\/p>\n

He wandered the streets and souqs like al-Jarida and al-Zalam, where he would smell the scents emanating from the stores and admire the colorful fabrics being sold around him,\u00a0<\/strong>all of which would play a role in his art later in life.<\/p>\n

\u201cI\u00a0 used to spend time playing on the beach of al-Shabi. I would watch the ships while they disappeared beyond the horizon. I always wondered, where did they go? I was eager to know what existed beyond the sea. I used\u00a0 to imagine foreign cities and their people. The idea of travelling was stuck in my mind since childhood. I imagined myself building a boat and sailing away. Living on the edge was a part of me because of the sea.\u201d<\/em><\/p>\n

Like all young Libyan men in the early 1970s, he had to do national military service. He completed his stint under an invisible cloak, receiving little attention from generals and corporals. \u201cDhaimish, eh? Where\u2019ve you been hiding?\u201d<\/em> one commented whilst he was being discharged. That same cloak would come in handy over the next few decades. Hasan was about to leave Libya behind forever, and turn his paintbrush into the ultimate weapon of social and political dissidence.<\/p>\n

From Benghazi to Burnley<\/strong><\/p>\n

In 1975 at the age of 19, Hasan arrived in London with no intention of staying. Like many who left Libya in the \u201870s, he believed Gaddafi would soon be deposed and that he would return to the warmth of North Africa. Stepping into cold England wasn\u2019t exactly what Hasan had envisioned \u2014 but the country soon became his playground.<\/p>\n

He\u2019d run wild at reggae festivals, discos and psychedelic parties, enjoying life without so much as a pittance in his pocket, while dodging all calls to return to Libya like bullets. His deportation was inevitable, but in the meantime, he drifted to Bradford, Yorkshire, and then made an impromptu journey to Burnley, Lancashire.<\/p>\n

\u201cI was in a cafe with some Libyan friends, and was introduced to a guy called Sa\u2019ad. I asked him where he lived, and he replied, \u2018Burnley.\u2019 I\u2019d never heard of the place, but after he assured me there was a college I could enroll in, I put my record player and rucksack in his Morris Minor and took off. Next thing I knew I had been in Burnley for 35 years.\u201d<\/em><\/p>\n

He\u2019d gone from Benghazi to Burnley via Yorkshire. It was a case of life being stranger than fiction.<\/p>\n

\"Hasan
Hasan and his wife Karen, 1979.<\/figcaption><\/figure>\n

It was here where he met Karen, whom he married in 1979. Karen was born and raised in Brierfield, a small town next to Burnley. At the time she worked as a graphic artist.<\/p>\n

\u201cHe was going to be deported on the Monday because they wouldn\u2019t grant him political asylum \u2014 the government sent a letter stating the time he had to be at Manchester Airport,\u201d Karen explained. \u201cSo we got married on the Saturday just before. God knows what would\u2019ve happened to him if he had been forced to return.\u201d<\/em><\/p>\n

Hasan was living like most 20-somethings do \u2014 young, wild and free. But he lacked stability until he met Karen. He once said:<\/p>\n

\u201cShe\u2019s been my rock since day one. I wouldn\u2019t have made anything of myself if it weren\u2019t for her. She stuck by me through all the turbulence.\u201d<\/em><\/p>\n

And turbulence there was. Hasan was monitored closely by authorities due to the circumstances, but he now had a partner in crime. Karen helped Hasan pick up English, something he did quickly. He would buy the Guardian daily and read it cover to cover, quizzing his wife on words he did not know, then practiced working them into sentences.<\/p>\n

They were a couple of young creatives whose love and friendship for each other formed a bond that would last a lifetime.<\/p>\n

The Birth of Alsatoor<\/strong><\/p>\n

On a trip to London in 1980 with Karen, Hasan spotted an Arabic newsstand outside Earl\u2019s Court tube station.<\/p>\n

\u201cAn orange magazine called\u00a0<\/em>Al-Jihad\u00a0caught my eye from afar, so I went over, picked it up, and realized it was for the Libyan opposition. It was about four pages with no contact information. I wanted to get involved with my cartoons. Luckily, the bright blue magazine next to it called Al-Sharq Al-Jadid had exactly the same articles inside, along with contact information. I bought both, took them back to Burnley with me and wrote to them. The only contact number I had belonged to my in-laws, Jack and Enid.\u201d<\/em><\/p>\n

A couple of weeks later, Enid arrived at the couple\u2019s flat. \u201cA Frenchman called for you and left his number.\u201d\u00a0<\/em>Of course, the man wasn\u2019t French at all \u2014 he was Libyan, and it was Dr Mahmoud al-Maghrabi, the first prime minister of Libya after Gaddafi\u2019s 1969 coup.<\/p>\n

Hasan joined the opposition without any hesitation and began sending them caricatures of Gaddafi and his associates, which were received with adulation from readers and fellow members.<\/p>\n

\u201cDr. Mahmoud al-Maghrabi was like a teacher to me. He taught me patience \u2026 Another inspiring person was Fadel al-Masoudi\u00a0<\/em>[Libyan journalist and dissident],\u00a0who taught me a lot about journalism and satire \u2026 there are more, but these two figures left a mark on me.\u201d<\/em><\/p>\n

Between 1980 and 1985, he produced cartoons for\u00a0Al-Jihad\u00a0<\/em>and\u00a0Al-Sharq Al-Jadid\u00a0<\/em>and also began attending rallies including the infamous event where PC Yvonne Fletcher was shot dead outside the Libyan embassy on St James\u2019s Square, London, in April 1984.<\/p>\n

As the only Libyan for miles around in Burnley, Alsatoor was able to operate covertly and blend into his new hometown as best a foreigner could. He was well aware of the dangers his work posed for him and his family back in Libya, but also for his family in the UK.<\/p>\n

Between 1980 and 1987, Amnesty International reported 25 assassinations of \u201cstray dogs\u201d by the dictator\u2032s international death squads. \u201cIt is the Libyan people\u2032s responsibility to liquidate the scum who are distorting Libya\u2032s image abroad<\/em>,\u201d Gaddafi warned dissidents. As his work began to grow in popularity, Alsatoor remained an anonymous enigma within and outside Libyan borders; a mysterious persona that was the product of a slick pseudonym and a keen awareness of the risks.<\/p>\n

\"Arab<\/a>

Arab leaders reuniting in hell discuss how they were killed.<\/p><\/div><\/div><\/div>

\"FeaturedGo out into the world and if any Libyan crosses you, kill them.<\/p>\"\/><\/a>

Featured in Jihad, April 1981, Gaddafi to Thug University graduates:

Go out into the world and if any Libyan crosses you, kill them.<\/p><\/p><\/div><\/div><\/div>

\"Alsatoor<\/a>

Alsatoor believed education was the key to progress in Libya.<\/p><\/div><\/div><\/div>

\"Child<\/a>

Child killers Tony Blair and Mouammar Qaddafi<\/p><\/div><\/div><\/div>

\"MayThe US and Libya were in the process of improving relations at that time.<\/p>\"\/><\/a>

May 2007 - President Bush using Qaddafi as a rug.

The US and Libya were in the process of improving relations at that time.<\/p><\/p><\/div><\/div><\/div>

\"25thAnwar Sadat- \u2018A bullet?\u2019 Yasser Arafat - \u2018Poison?\u2019 Saddam Hussein - \u2018Choked?\u2019 Gaddafi - \u2018Misrata!\u2019<\/p>\"\/><\/a>

25th October 2011

Anwar Sadat- \u2018A bullet?\u2019 Yasser Arafat - \u2018Poison?\u2019 Saddam Hussein - \u2018Choked?\u2019 Gaddafi - \u2018Misrata!\u2019<\/p><\/p><\/div><\/div><\/div>

\"NovemberGaddafi's wife Safia catching him heading to the nurse\u2019s room during the night.<\/p>\"\/><\/a>

November 2010 - 'And where are you going?'

Gaddafi's wife Safia catching him heading to the nurse\u2019s room during the night.<\/p><\/p><\/div><\/div><\/div>

\"29thGaddafi was never one to fight fair.<\/p>\"\/><\/a>

29th July 2011 (arm wrestle)

Gaddafi was never one to fight fair.<\/p><\/p><\/div><\/div><\/div>

\"OctoberGaddafi the ghoul is dead at last.<\/p>\"\/><\/a>

October 2011

Gaddafi the ghoul is dead at last.<\/p><\/p><\/div><\/div><\/div><\/div>

\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span>\"\"<\/span><\/div><\/div>\n

 <\/p>\n


\nExile in the \u201880s
\n<\/strong><\/p>\n

Six months after the shooting at the embassy in 1984, Hasan became a father to his first daughter, Zahra. He was working at Carlo\u2019s Italian restaurant in Colne at the time. Hasan had embraced family life in northwest England, as the distance between himself and Libya continued to grow.<\/p>\n

He didn\u2019t join any other anti-regime movements, as he was convinced that they were unable to change or effect serious change in Libya. Instead, he had established Alsatoor as an independent voice. As the Libyan opposition entered a phase of stagnation, Alsatoor began publishing his own work criticizing Gaddafi and opposition parties.<\/p>\n

\u201cI knew then that cartoons were a powerful tool and had a stronger impact than I had ever imagined.\u201d<\/em><\/p>\n

Burnley and Pendle, Lancashire, once stood at the heart of the cotton production and engineering industries. In the 1980s, parts of northern England had become an industrial graveyard under Thatcher. Pakistani immigrants who came to reboot the textile industry during the 1970s and \u201880s were living in the area, but there was a general lack of integration, an issue that still exists today. Mix all of this together, and you have one of Britain\u2019s most deprived areas, albeit surrounded by beautiful countryside.<\/p>\n

Hasan was never victim to race attacks, but he often spoke of the systemic racism that existed at the time. Intimidating immigration officers would often pay him random visits, even after he was married. Before that, he was treated with hostility by authorities despite the obvious danger of returning to Libya. But, it never phased him, and life continued.<\/p>\n


\nEducation, Education & Artistic Exploration
\n<\/strong><\/p>\n

<\/p>\n

In 1991, Hasan passed his driving test, which opened a world of possibilities and gave him the confidence to return to studies. He enrolled on a computer course at Nelson and Colne College.<\/p>\n

\u201cI was in a classroom in front of an Amiga computer. Everyone was typing while I just stared at the screen not understanding what I was required to do. I found a program with a brush and colours, so I started to draw.\u201d<\/em><\/p>\n

This is how Hasan kept himself occupied for the first few classes. Will Barton, who worked at the college, told him he should enroll as an art student. Hasan was confused, he thought he\u2019d be kicked out of class for not following the task. But instead, Will offered Hasan a letter of acceptance to the college, and as a result he received a grant from Lancashire County Council to help him through his studies.<\/p>\n

\u201cI was scared at first \u2014 I didn\u2019t know what would be required of me. I could draw simple caricatures, but studying fine art is something else.\u201d<\/em><\/p>\n

But he pushed on and became more motivated than ever. He finished his A-Levels and then went on to Bradford University to study for a BA in illustration.<\/p>\n

After the birth of his and Karen\u2019s third child, Hanna in 1993 \u2014 sister to Zahra and Sherif (born in 1988), he was close to graduation after cramming six years\u2019 worth of studies into just four. His time at college and university was spent around other creatives, which influenced his own artistic style. And then in 1996, he began his teaching career at Nelson and Colne College.<\/p>\n

In the evening, he\u2019d paint to the sounds of Miles Davis, Thelonious Monk, and Dexter Gordon, or Blind Wille Johnson and Skip James, bringing jazz and the blues to life through his artwork.<\/p>\n

\u201cI moved away from satire and switched to painting, using music of Black Americans and their social history as inspiration. I loved jazz because of its melody and the conditions from which it appeared. I identified with the history of Black people in America, based on my own suffering and persecution.\u201d<\/em><\/p>\n

In 2002, he joined the social site Deviant Art under the username \u2018Alsature\u2019. His work was far removed from the satire he was producing elsewhere. It was a space to experiment and create art for a different audience. It was a breathing space away from the political sphere full of funk and color.<\/p>\n

In\u00a0the early 2000s Hasan found the aforementioned\u00a0The Story of the Blues\u00a0<\/em>by Paul Oliver in a skip near his Brierfield home. This book changed his life. Oliver\u2019s pictorial history of the 20th\u00a0century\u2019s most influential musical form introduced him to artists such as Blind Willie Johnson, Blind Willie Pep, Skip James and many more who pioneered the Mississippi Delta sound. Hasan had gone back in time; his haphazard genre-hopping matched his unorthodox approach to almost everything.<\/p>\n

England had become his home away from home. But there was always the feeling of being in transit, belonging to neither here nor there. Music helped bridge the gap between head and heart.<\/p>\n

Digital Age<\/strong><\/p>\n

At the turn of the millennium came the rise of the internet \u2014 a pivotal change that would make Alsatoor\u2019s work globally accessible. He was doing some illustrations for a software and web development company based in Pendle called Subnet, and that\u2019s where he got his first email address. At the time, around 2000, he didn\u2019t have access to the internet at home.<\/p>\n

\u201cSomeone called me from Subnet, and told me I\u2019d received my first email after they had created a website for my paintings. It was from Dr Ibrahim Ighneiwa, who asked me for permission to add my site to libyawatanona.com, which I accepted.\u201d<\/em><\/p>\n

Hasan then got the internet at home and soon realized the real potential of Alsatoor. He spent hours alone listening to jazz and classical music. They were his companions on the long British winter nights spent in front on the screen.<\/p>\n

Hasan\u2019s studying didn\u2019t stop. He would read up on artists, taking a particular interest in Henri de Toulouse-Lautrec, Pablo Picasso, Jean-Michel Basquiat and Keith Haring, all of whom influenced his own work.<\/p>\n

After the teaching day was finished, Hasan became Alsatoor. He would glue himself to his desk, observing Arabic news stations that were picked up from an array of sketchy satellite dishes on the side of the house.<\/p>\n

Illegal access to Libyan news channels revolutionized Alsatoor\u2019s work, as he could now rip sound and video straight from the TV and manipulate them. He would watch the Libyan national Al-Jamahiriya <\/em>channel with access to Gaddafi\u2019s rambled speeches.<\/p>\n

\u201cIt was an effective method in my fight against him. I would get complaints from Libyan authorities on my YouTube channel later on, but it didn\u2019t stop me. I was constantly being targeted, as I never set myself limits. People would complain that Alsatoor had exceeded the limits of morality, and they demanded I deleted my insulting cartoons of Gaddafi and his family, but they were to no avail.\u201d<\/em><\/p>\n

During the 2000s, Hasan\u2019s family members were harassed online via Facebook and email hackings, and threats were sent directly to his children. But none of this dissuaded nor frightened Alsatoor; if anything it spurred him on.<\/p>\n

In 2003, Libya Al Mostakbal was launched \u2014 a pro-democracy Libya news site run by Hasan Al-Amin. This provided another platform for Alsatoor, with Libyans all over the world becoming followers of his work.<\/p>\n

In the years building up to the Libyan revolution, Hasan published his work online through his own blog: alsature.wordpress.com<\/a>. Just like when he started publishing works independently in print in the 1980s, it was here that he had full editorial control. This, however, was on a global scale. His work was often so offensive and relentless that other outlets like Libya Al Mostakbal<\/em> refused to place them on the site.<\/p>\n

It was a tough time for Hasan. He battled with depression and the loss of his father in 2009 drew him into a dark place. He had been away from Libya, his home, his family, for 34 years and there was no sign of change anytime soon due to the path he had set out on, and the real dangers that existed for dissidents stepping foot in Gaddafi\u2019s Libya.<\/p>\n

But despite everything, Hasan was prolific with his paintbrush, both as Alsatoor and on the canvas.<\/p>\n


\nRevolution <\/strong><\/p>\n

In January 2011, the Arab Spring began to sweep across North Africa and the Middle East. People were demanding change in countries that had autocratic rulers for decades. Libya broke out into civil war in February, altering the country\u2019s future forever.<\/p>\n

Alsatoor was working at his home in Brierfield from the moment he returned from teaching at his new workplace, Craven College, Skipton, until he went to bed in the early hours. He would sketch whilst on the phone, watching TV and researching online. His blog was overloaded with posts, photos and information people were sharing with him. He was doing his best to operate as a pro-revolution news outlet, and it worked, as shortly afterwards the newly-established Libya Al-Ahrar TV asked him to join them in Doha, Qatar, and work for them.<\/p>\n

Alsatoor, hesitant to leave his job and wife behind, knew this was his calling \u2014 his chance to join like-minded Libyans and have his work broadcast. Like many others involved in the channel, he worked around the clock to deliver news to the masses around the world who were following Libya\u2019s fight for freedom.<\/p>\n

In October 2011, Gaddafi was captured and killed in Sirte and the whole world watched. The man he had observed from a distance, the dictator who had been the subject of his work, the source of his woes, the reason he left his family behind in Libya, and the reason he left his family behind in the UK, too, was now dead.<\/p>\n

The work didn\u2019t stop there for Alsatoor; if anything, the new state of chaos in Libya was far more demanding due to the political complexities. He began churning out cartoons, criticizing political players from all angles. The form of his work had changed, but his message had not \u2014 no one escaped Alsatoor.<\/p>\n

Even though Hasan had pledged to stop drawing Gaddafi once his regime fell, his daily publications continued to criticize Libya\u2019s debilitated political landscape, and those who chose to enter it. From those in parliament, Western diplomats and politicians, to religious figures and journalists. As sociopolitical issues flared up across the country, Alsatoor watched on like a hawk.<\/p>\n

Subsequent years saw a string of events rip Benghazi apart \u2014 the attack on the US consulate, and a long string of assassinations of civil rights activists and army officers. Alsatoor would always honor the fallen through his art published online, expressing solidarity with people whose lives were lost in the fight for freedom.<\/p>\n

Doha sucked the creative spark from Hasan; he tried painting in his hotel room where he lived, but he claimed that Qatar provided him with little inspiration. He wanted to return to the UK, but he gave into the demand for Alsatoor, and in reality the money was too good to turn down.<\/p>\n

During his final years, his artistic flair was subsumed by Libya\u2019s poisonous political landscape.\u00a0But this could also be considered Alsatoor\u2019s golden era \u2014 Libyans could freely discuss politics and air views across social media, making his work live, interactive, relevant. He corresponded with people online, and surrounded himself with those he respected and trusted.<\/p>\n

One of those was Omar El Keddi, a Libyan writer who many initially believed to be Alsatoor.<\/p>\n

\u201cHe was a wonderful, talented man. I started giving him ideas for his cartoons, and he often put my name under Alsatoor. Many people started thinking\u00a0<\/em>I\u00a0<\/em><\/strong>was him! I remember when I published my own name after the revolution, and Alsatoor\u2019s response was, \u2018OK great, they\u2019ll kill you, not me.\u2019 I miss him so much.\u201d<\/em><\/p>\n

In 2014, Hasan left Doha after three years and returned to the UK. Libya Al Ahrar TV had become a mouthpiece for Qatar and Alsatoor didn\u2019t suit the outlet. He continued producing work, but was in limbo as to whether he should return to teaching or focus on Alsatoor. The latter seemed like the most sensible option as the momentum was already there.<\/p>\n

A year later he went to Amman, Jordan, to work for the newly-founded news station, 218TV. He didn\u2019t want to leave his family behind for a second time and return to the Middle East, although Amman seemed like a place that offered more to Hasan than Doha ever could. Sadly, he fell ill while working there and had to return to the UK in the following days.<\/p>\n

Back in 2012, asked about his return to Libya, Hasan had told the Huffington Post, \u201cI wont go back at the moment. I want perfection. I want democracy.\u201d He fought for a free Libya until he passed on the 12th of August, 2016 aged 60. Alsatoor never got the opportunity to return to Libya after leaving over 40 years earlier.<\/p>\n

\n

Sherif Dhaimish is a publisher and curator, and Hanna is a curator and agent in the fashion industry. They were born and raised in Pendle, East Lancashire, and are now based in London.<\/p>\n","protected":false},"excerpt":{"rendered":"

During the long Gaddafi years, Libya produced many exiles, among them the satirical cartoonist and illustrator Hasan \u201cAlsatoor\u201d Dhaimish.<\/p>\n","protected":false},"author":12,"featured_media":3516,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[24,61],"tags":[328,710,1039,1375,1516],"coauthors":[2165],"class_list":["post-3515","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-review","category-tmr-12-comix","tag-benghazi","tag-gaddafi","tag-libya","tag-political","tag-satirical-cartoons","entry"],"acf":[],"yoast_head":"\nLibya\u2019s Exiled Satirist, Hasan \u201cAlsatoor\u201d Dhaimish - The Markaz Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/themarkaz.org\/oldsite\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Libya\u2019s Exiled Satirist, Hasan \u201cAlsatoor\u201d Dhaimish\" \/>\n<meta property=\"og:description\" content=\"During the long Gaddafi years, Libya produced many exiles, among them the satirical cartoonist and illustrator Hasan \u201cAlsatoor\u201d Dhaimish.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/themarkaz.org\/oldsite\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\/\" \/>\n<meta property=\"og:site_name\" content=\"The Markaz Review\" \/>\n<meta property=\"article:published_time\" content=\"2021-08-15T15:03:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2021\/08\/hasanalasatordhaimishresistanceandrebellionposter.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1078\" \/>\n\t<meta property=\"og:image:height\" content=\"1528\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"TMR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/\"},\"author\":{\"name\":\"\",\"@id\":\"\"},\"headline\":\"Libya\u2019s Exiled Satirist, Hasan \u201cAlsatoor\u201d Dhaimish\",\"datePublished\":\"2021-08-15T15:03:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/\"},\"wordCount\":3802,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2021\\\/08\\\/hasanalasatordhaimishresistanceandrebellionposter.jpg\",\"keywords\":[\"Benghazi\",\"Gaddafi\",\"Libya\",\"political\",\"satirical cartoons\"],\"articleSection\":[\"Latest Reviews\",\"TMR 12 \u2022 COMIX\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/libyas-exiled-satirist-hasan-alsatoor-dhaimish\\\/\",\"name\":\"Libya\u2019s Exiled Satirist, Hasan \u201cAlsatoor\u201d Dhaimish - 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