Who is Rama Duwaji? What is Zohran Mamdani's wife

Published: 06 November 2025. The English Chronicle Desk. The English Chronicle Online.

When Zohran Mamdani made history by becoming New York City’s first Muslim and South Asian mayor, his victory speech carried a heartfelt moment that resonated far beyond politics. “To my incredible wife, Rama, hayati,” he said, using the Arabic term for “my life.” “There is no one I would rather have by my side in this moment, and in every moment.”

Those few words captured a partnership that has quietly but powerfully shaped the couple’s journey. While Mamdani’s political rise has been closely documented, less has been known about his wife, Rama Duwaji — an artist, illustrator, and outspoken creative voice on issues of identity, displacement, and justice.

Born in Houston, Texas, in 1997 to Syrian-American parents, Duwaji’s early life was marked by cultural transitions. Her family moved to Dubai when she was nine, where she spent much of her formative years before returning to the United States for her studies. She graduated with a Bachelor’s degree in Communications in 2019, then earned a Master of Fine Arts in Illustration as a Visual Essay from the School of Visual Arts in New York City.

It was in New York, in 2021, that her life intersected with Mamdani’s. The two reportedly met on a dating app, and what started as a casual connection turned into a meaningful partnership. They got engaged in 2024 and married in February 2025 at the Manhattan Marriage Bureau, later holding a second ceremony in Uganda, Mamdani’s birthplace.

Since then, Duwaji has built a career that stands entirely on her own merit. Her artwork — rich in symbolism and layered in meaning — has appeared in major publications such as The New Yorker, The Washington Post, and Vogue. She has collaborated with global brands, including Apple and Spotify, and has exhibited her digital and ceramic works in both the U.S. and abroad. Her style combines digital illustration with traditional craftsmanship, often touching on themes of migration, womanhood, and the politics of belonging.

Despite being married to one of America’s most high-profile progressive politicians, Duwaji has consciously kept a low public profile. She rarely appears at political events and has avoided making campaign speeches. This quiet presence, however, has not shielded her from online scrutiny. During the mayoral campaign, critics questioned her silence, accusing her of distancing herself from Mamdani’s political activities.

Mamdani swiftly defended her on social media, saying, “If you take a look at politics today, you know how vicious it can be. I can take the criticism, but it’s different when it’s about someone you love. Rama isn’t just my wife; she’s an incredible artist who deserves to be known on her own terms.”

Those “terms” are deeply political. Through her art, Duwaji often explores themes of identity, injustice, and resistance. She has described art as “inherently political — in how it’s made, funded, and shared.” Her pieces frequently center on the experiences of displaced people and the humanitarian crises they face.

Earlier this year, Duwaji posted a digital animation that gained widespread attention online. It depicted a young Palestinian girl holding an empty pot, with the phrase “Not a hunger crisis” appearing across the screen. The image then transformed to show several figures holding similar empty pots, overlaid with the words “It is deliberate starvation.” The animation was widely interpreted as a statement on the situation in Gaza and the use of food scarcity as a weapon of war.

Her advocacy extends beyond the Middle East. Duwaji has also expressed criticism of U.S. immigration enforcement, particularly the actions of ICE (Immigration and Customs Enforcement). Through a series of illustrations and essays, she has explored the trauma faced by immigrant families and the bureaucratic machinery that perpetuates their suffering. Rather than direct activism, her method has always been through visual storytelling — allowing art to evoke empathy and awareness where words might fail.

Colleagues describe Duwaji as thoughtful and deeply engaged with global issues, but also intensely private. She prefers to let her art speak for her beliefs, rarely offering public commentary beyond the pieces she publishes. In interviews before her marriage, she emphasized her belief that “artists carry a moral responsibility to reflect the times they live in.”

Now, as New York’s new First Lady, observers are curious about what kind of public role Duwaji will embrace. Her marriage to Mamdani places her in the spotlight, but all indications suggest she will continue to prioritise her creative work over political appearances. Those close to her say she intends to remain focused on projects that amplify marginalised voices and explore the intersections between culture, migration, and human rights.

Her life story already reflects those themes. A Syrian-American who grew up in the Gulf, educated in the United States, and now residing in one of the world’s most diverse cities — Duwaji embodies the global complexity of identity that defines her art. Her illustrations often feature faceless figures in motion, symbolising people caught between borders, or portraits that mix traditional Middle Eastern patterns with contemporary imagery.

Critics and admirers alike see her as part of a new generation of politically conscious artists — individuals who blend personal expression with activism. In that sense, her creative path complements her husband’s political one. Both appear driven by a shared vision of equity and empathy, though they express it through very different mediums: Mamdani through policy and advocacy; Duwaji through lines, colors, and motion.

As New York City prepares to usher in Mamdani’s administration, Duwaji’s presence adds an intriguing dimension to the story. While some First Ladies of major cities take on ceremonial duties or public service causes, others reshape the role entirely. If her past work is any indication, Rama Duwaji may quietly redefine what it means to be a First Lady in a multicultural, politically charged city like New York — using art, rather than speeches, to spark conversation and reflection.

For now, she remains true to herself: an artist whose work refuses to look away from suffering and a partner whose quiet strength continues to support one of the most dynamic new figures in American politics.