RE-VOLT MAGAZINE ISSUE 4 by RE-VOLT MAGAZINE

ISSUE 04 • FEBRUARY 2014

YOUR MONTHLY SOURCE OF REAL HIP-HOP CULTURE

re-volt magazine is a new platform under the same roof as re-volt blog, which initially started as a space where views on mainstream music can be openly discussed, where the music industry is put on the stand and criticized, and lastly, where underground, talented unrepresented artists are given a chance to stand out. Our main focus is to expose hip hop as a positive genre and detach it from the corrupted mainstream hip hop. Starting up an online magazine will benefit this message, as re-volt magazine will reach more readers worldwide and will enlighten people on the power of the word and the role of hip hop in the Arab region. Aside from the well-known elements of hip hop - which are MC, BBoy, Beatbox, Graffiti, DJ and Knowledge re-volt magazine also focuses a great deal on any other forms of expression/art that concretize the richness of our Arab culture. The list includes films, documentaries, initiatives, events, companies, charity organization, etc... A mic, a choreography, a vocal percussion, spraypaint, a vinyl record, a book or a movie... We choose all the above. The power of the pen to inform, to represent and to stay real! EDITOR HASSANE DENNAOUI ASSOCIATE EDITOR | GRAPHIC DESIGNER Hanane FATHALLAH CONTRIBUTORS If youâ&#x20AC;&#x2122;re interested in writting for re-volt magazine, email us revoltmag1@gmail.com

Cover Artwork | Many thanks to Graphic Designer & Conceptual Art Director HAZAR BOGARY www.hazarbogary.com Check out LOCAL FLAVA’ Interview with Hazar BOGARY to get to know the artist behind this amazing cover!

F E A T U R E

THE FIRST LADY OF HIPHOP

F E A T U R E

Describe to us how is it being a female MC and Activist? It’s stressfull, empowering, risky, liberating, rewarding, elevating, exhausting, honourable... I believe every woman subconsciously is an MC/Activist, we are just diverse in expression. You’re truly passionate about Palestine, despite the fact that you live abroad. How did you manage to stay connected and true to Palestine? I stay connected emotionally, physically, mentally and intellectually. Palestine does not only feel like a place anymore, it is me. It’s a feeling, a vision, a certain smell, it’s a familiar word or a phrase, it is a sound or a song that takes me to that place I call Palestine. I believe I’m a reflection of my homeland and its people. Why did you choose Hip Hop as the means to communicate your feelings? And what keeps you inspired? I always listened better and soaked in information through music. Hip Hop does not just come from the mouth, it comes from the soul, it has to, otherwise you are seperating your words from the truth. And we, as individuals are the truths of our being. And what keeps me inspired is LIFE. I believe Hip Hop is a bridging tool. Do you agree with that and why? I believe hiphop is the worlds stage. Once you step onto it, everybody is forced to listen. You have toured the US. How was the feedback from the people? I have toured the US quite a few times, and if I’m honest, it is humbling to see how much people are paying attention to what we are doing. I have always stressed on and off stage how important it is for our own people - Arabs - in the West to support us and I can proudly say their numbers have increased at these events. Some Arabs believe that music is prohibited. How do you defend that? Every human is entitled to live their life as they wish and think as they wish, as long as they are not imposing their own prohibitions onto another human being. That’s all I have to say on that.

One of the tracks I admire for you is “El Kofeyye Arabeyya” ft. M1 from the legendary Hip Hop group Dead Prez. Take us through the lyrical process and why did you come up with the track? It is actually an old concept. When I first noticed its transition from a symbol of identity to a fashionable trend I was honestly happy about it. I was happy to see all types of people wearing the kufeyyeh, especially if it meant it was so fashionable that people who actually knew and hated what it politically and traditionally symbolises had to see it everywhere ‘THEY’ went. changed the mood of the song after I discovered some time after that a tasteless company had launched what they call “The Israeli Remix” of (in their words) the “Keffiyeh”, with the star of David clearly marked all over it. The company passionately stated in a statement that they believe the scarf is universal and anyone is entitled to wear it, true, so why would you isolate the rest of the human race by drenching it with religious logos? It is an element of our culture and national identity. If your going to remix something, atleast give its origin some credit and respect. Apart from having the upmost respect for M1 as a brother and as a sincere knowledgeable activist and organizer, I felt that he could bring some common ground for the non-Arab speakers and give his own moral perspective of how significant symbolic identity is. You can listen to this legendary track right here www.youtube.com/watch?v=Grj1GWjPDFc You’re one of the pioneers of the Arabic Hip Hop Movement. Where does it stand today? Call it what you want. Arabic Hip Hop is a musical Intifada. It can only get stronger, bigger and more influencial. Your thoughts on FM stations in Arabia that don’t play Arabic Hip Hop? Who needs FM’s when we have re-volt radio? :D A word from you to the Arab World. Stand with the people not profit!

[FOLLOW SHADIA MANSOUR]

Omar Offendum - Photo Credit | Laith MAJALI

Photo credit @big_hass

R E V O LT / R E P O R T

eL SEED | Engaging Jeddah community with ‘Calligraffiti’ Under the scorching sun of the bride of the Red Sea, Tunisian calligraffiti artist eL Seed summons his concentration and passion, lets the spray paint flow along one of Al-Balad’s old building walls while guided by a well-thought sketch of curves, arabic heritage, colors and culture. At least nine stories high up in the air, he contentedly envisions the final aspect of the mural, and presents it as a respectful offering to the community. eL Seed believes that his art belongs to the people, once it is finished and indefinitely part of the wall or interface he tackles. Inspired by Arabic poets, he incorporates arabic calligraphy and graffiti, bringing a certain romance to street art. Derived from Ancient Greek, calligraphy means ‘beauty of writing’. eL Seed’s style is cultivated by both characteristics and is made unique by his undeniable passion for his work. Looking at his masterpices is as closely described as an instant escape to a kaleidoscope of curves, colors and inspirational words. It comes as no surprise that the artist behind this vibrant perfected artwork is a humble person driven by passion for calligraffiti and for arabic culture. Re-volt magazine had the pleasure and privilege of meeting eL Seed, during his breaks, his chains of concentration and his work flow. The formal meet and greet faded away as I joined eL Seed on the crane, and got - way above the ground up close & personal with his style, his drawing techniques and his vision. Perfection is achieved upon completion of that initial and much anticipated vision of the mural.

The sound of the spray can, the smell of fresh paint, the sights from above, the echoes of complete dedication and passion. Between humor and seriousness, eL Seed left a majestic imprint on Jeddah, a reason to appreciate and think about art and he evidently left the shadows of a persevering artist - where young calligraffiti and graffiti artists will find inspiration...

[FOLLOW EL SEED] Twitter @elseedart Instagram @elseed

Photo credit @big_hass

R E V O LT / R E P O R T

GEORGE GREEN | FROM FAME TO FAITH How did the faith of Islam rejuvenate your life and career path? Growing up in a Christian household faith had been instilled at an early age. My faith direction had been displaced and left as a cliff hanger with many unanswered questions and no discipline. After accepting Islam, I developed structure, discipline and clarity of my direction of faith. Islam rejuvenated my career path in allowing me to understand the purpose of working and career not only to survive but most importantly make efforts to contribute in the uplifting of humanity. How do you contribute to helping the process of bridging cultures? I feel my contribution in bridging cultures is leading by example with remaining a product of my own culture. I make efforts to remain strong in my culture without offending other culture or being judgemental. Why is the music industry pushing wrong messages through hip hop to the masses? Hip Hop is a platform of expression, culture and art which creates a voice for many. Growing up in America where this art form we call Hip Hop was founded by the youth used this tool as a outlet to tell their of everyday struggles of his/ her community to the masses. Documented Hip Hop started as a positive outlet that was healthy and competitive. Now, the early 1980’s have arrived introducing crack cocaine which plagued communities with murder, crime and misfortune. Not only are the struggles in the communities plagued by the crack cocaine era but the gangs have now arrived and joined forces distributing the poison in all communities creating fear. This combination

now creates a daily struggle amongst the youth generation after generation and now Hip Hip is the only voice of expression from these communities. I strongly feel society realized sex, drugs, violence and money was an enormous cash cow with grand payouts so promoted this in movies, television, music etc. Society has a great responsibility in promoting violence through music. Artist now discovered the financial rewards in telling their stories of struggle, pain and misfortune through music because society now glorifies being from the hood and struggle as cool. What’s your personal mission statement? My personal mission statement is to contribute in global efforts as a humanitarian leaving a legacy behind as a man of character, vision, Muslim, peaceful and a freedom fighter. I pray that throughout my worldly travels I’m able to influence non Muslims to embrace Islam based on my character and Issuing a Quran in every persons household to embrace around the world. I also wish to participate in efforts to guide the Ummah globally through my story of embracing Islam. 5. What emotions shine out from unique experience of praying in Jerusalem at Al Aqsa? Praying at Al Aqsa was magical. Words cannot begin to describe the feeling of my first day in Aqsa. Standing inside the mosque itself brought tears to my eyes and was a humbling reminder of Allah’s mercy. This was also a reminder of the challenges our prophets pbuthem went through and of how humbling this experience was to pray where they prayed.

Alleyway, Al-Balad, Jeddah (Saudi Arabia) - Photo Credit | Hassane DENNAOUI

RECOMMENDED ALBUM • Omar Offendum | SyrianamericanA

F E A T U R E

[FOLLOW KHARTOON] twitter.com/khalidalbaih instagram.com/khalidalbaih facebook.com/KhalidAlbaih flickr.com/photos/khalidalbaih Khartoon.tumblr.com

Q&A KHARTOON!

Artist Khalid AlBaih is a self-proclaimed artist, a political cartoonist, illustrator, designer and a dislecsic writer. From the two countries of The Sudan. Khartoon! is his social and political commentary on the Sudan, the region and the world. Khartoon! is a clever play on words and so catchy! How did you come up with it? One of my closest friends came up with it while I was writing a cover letter to include with my work to a newspaper editor; he refused my work by the way. What sparked your interest in art and design? I guess it’s a natural, ever since I remember I loved to draw and to read comics. How has it impacted your life? Art and design did not impact my life, it is my life. It’s in everything that I do and everything that I want to continue doing. ”‫“إن اهلل جميل يحب اجلمال‬ .‫ وإمنا هي حديث شريف‬،‫ليست مجرد مقولة‬ What was your first ever caricature? Explain it briefly. My first ‘political’ cartoon was in university during the student union election. The president didn’t like it but the students did, so I guess I was on the right track. Your caricature style is simple yet very powerful. In your artwork, the word is silenced and the cartoon speaks for itself. What is the role of visuals and graphics in our world today? And how efficient and imposing are your cartoons in picking people’s brains? Visuals are what roles now online. However, on the internet, there is a lot of junk and people from all over the world see it. That’s why I try to make the images very striking so you take a minute and think about it before you scroll up. Cartoons are efficient because they reach the unreachable people who don’t read. Notice how people who are not in to politics always go to the last page for the cartoon and sports page?

What is the most memorable feedback or reaction someone ever gave you on one of your cartoons in person? I piss a lot of people off so I get crazy reactions all the time. But, what hurt me most was not the death threats; it was someone asking me how much did the Americans and Israelis are paying me. That really made me angry! What are your most esteemed accomplishments? One of my cartoons graffitied in Tahrir prior to Mubarak’s fall and a Yamani activist group making a graphic I did their logo. Does your Sudanese heritage always ignite your inspiration? I’m still learning about the Sudanese rich history and heritage and it’s one of my goals to reflect that to the world and to the Sudanese youth themselves. Has the western influences completed your creative approach to your illustrations? I’m child of the internet age so the internet influenced not the west or the east. But in terms of style, I was always inspired by Palestinian cartoonist Naji Al Ali. Is there a community of artists in Sudan? Huge! But none the less not really looked after or supported by the government. We have a few big international well-known artists like Ibrahim Alsalahi who is the only Arab/African artist to have a solo show in the Tate Modern in London; there is also Rahshid Diab and Hassan Mussa. Any plans to help start up or revive the creative and artistic side of Sudan, especially for the youth? There are always plans...

MARCH 2014 | Issue 05 Exclusive Interview with CARLOS LATUFF

KHARTOON! | depicted by Political cartoonist CARLOS LATUFF Twitter @LatuffCartoons

F E A T U R E

[FOLLOW SANDHILL]

SANDHILL | The Spear of Arabic Hip Hop Music Production Tell us a little bit about you, where you are from and what got you into music production. I was born in Abu-Dhabi in 1981 to Iraqi parents, grew up in Montreal and am currently based in London, UK. I started writing rhymes and rapping with my childhood friend Narcy and late brother Nofy in the 90s. It was around that same time while in high school that a friend introduced me to the world of vinyl, particularly 12” singles, which normally included instrumental versions. This developed my fascination with sample-based beats. As I began collecting records, producing mixtapes and later djing my own radio show in college, audio production software became available for the first time. Seeing that i was raised in a household where classical Arabic music was always in

the background and grew up with two elder siblings who were into hip-hop and pop, it was only natural for me to explore the incorporation of these two worlds almost immediately after getting access to beat-making programs. That said, I started making beats in 1999 and co-founded Euphrates in 2000. “Euphrates Collection” is a ground-breaking record about Arab Identity in the West, fostered by Euphrates. You held the reins of music production on this album. Take us through the process of making these soulful beats? The production was handled by myself and brother Nofy, and the process would normally start with a sample, which is how i still work. I’m very selective with my sample

choices and as a result spend a lot of time looking for a particular mood or melody, on various formats, such as vinyl, CD... even digital, depending on quality. I also place a lot of importance on finding samples, regardless of genre, which haven’t been used before. After building a rough sketch around the chosen sample, i then decide if i want to flesh it out and fully produce it into a progressive, multi-layered instrumental song with a beginning, middle and end. I like collaborating with live musicians sometimes for bass, guitar and keys to get a more natural feel and textural contrast. On the other hand the process is often as simple as slapping some banging drums under a magical sample!

You have collaborated with the top Arab Hip Hop artists The Narcycist, Omar Offendum, Shadia Mansour, DAM, El-Far3i & many others. How did you meet? Was the chemistry between their flow and your beats instant or progressive? The international Arab hip-hop community is rather small so you eventually end up meeting fellow artists while traveling and/or online. We are all mutual friends. In terms of chemistry, I’ve been fortunate to have worked with extremely talented people, who make my job much as producer much easier. I also know prior to working with somebody if our styles will be complimentary. What inspires you in making your compilations? Are beats born from the mundane or do you have a personal system? Life experiences, whether good or bad, and the desire to express an emotion in the form of music are what inspire me to create. It could be a major event, a random conversation, meeting a new person, watching a really powerful movie, seeing a show and surely listening to inspiring music. Sometimes it comes down to a basic need to create, regardless of whether something decent is produced. I’m also really fascinated by the idea of leaving behind a legacy, a body of work that will continue to exist when i’m gone. Many artists vouch for your unique anthology and captivating beats. Do these testimonies add any pressure to create more and better? No, I just do what I feel to be honest. That’s not to say I don’t strive to evolve, because there’ s nothing worse for one’s creativity than getting stuck in a comfort zone and not being challenged. There’s always something new to learn. I also expect my friends to be honest with me and provide constructive criticism.

On the bucket list. Is there an artist you would dream to collaborate with? Yes, the legendary Sade. She’s one of my favourite singers and songwriters of all time and it would be a great honor to work with her. I would also love to collaborate with D’Angelo and Lauryn Hill, who in my opinion are musical geniuses. In terms of hiphop, the list would definitely include Nas and Jay Z.

“[...] because there’ s nothing worse for one’s creativity than getting stuck in a comfort zone and not being challenged.”

Did you ever rap? (answered above :)) Who are your inspirations when it comes to production? Hip-hop-wise, I would say Dr. Dre because he is a visionary who pioneered a whole sub-genre. He’s like a movie director who assembles a team of creative people to get the best possible result out of the artists he produces. Same goes for Kanye, who although as a rapper I am not a fan of, thinks about the larger picture musically and pushes the boundaries of the genre. He has come the closest to mastering the art of combining dope sampling with live instrumentation. Last but definitely not least, Rick Rubin, for his longevity, originality and ability to create hits for anyone from Jay Z to Johnny Cash and the Dixie Chicks. Is getting your track played on FM radio as important as before? It has frankly never been a goal of mine, but getting the occasional

royalty check is always a nice little surprise. Artists today have so many online resources at their disposal to market their music and directly interact with their fans, that the role of radio is not as crucial for indie acts anymore. Where do you see yourself in 5 years from now? Hopefully making music out of a studio somewhere tropical, hahaha. If you would give advice to a young & upcoming hip hop producer. What would it be? Be yourself and work hard. Also, expand your musical horizons by listening to and studying all types of music, not strictly hip-hop. Any last words for re-volt magazine readers? Thanks for the support! Look out for my new beat-based instrumental project set to drop very soon as well as the El Nargisee record, an all-Arabic album with Narcy entirely produced by yours truly.

Interview by Hass DENNAOUI revoltmag1@gmail.com

s p o t f . y . i .

“Target Wall of Gaza 1” by Palestinian artist Laila Shawa See more http://www.octobergallery.co.uk/artists/shawa/

s p o t f . y . i .

TOP 5 TUNES on my headphones

➔ RECOMMENDED VIDEO

The Narcicyst ft. Meryem Saci “Average Type”

THAT’S THE JOINT! The Hip Hop Studies Reader 2nd Edition | August 2011

This expanded and revised second edition of That’s the Joint! brings together the most important and up-todate hip-hop scholarship in one comprehensive volume. Presented thematically, the selections address the history of hip-hop, identity politics of the “hip-hop nation,” debates of “street authenticity,” social movements and activism, aesthetics, technologies of production, hip-hop as a cultural industry, and much more. Further, this new edition also includes greater coverage of gender, racial diversity in hip-hop, hip-hop’s global influences, and examines hip-hop’s role in contemporary politics. With pedagogical features including author biographies, headnotes summarizing key points of articles, and discussion questions, That’s the Joint! is essential reading for anyone seeking deeper understanding of the profound impact of hip-hop as an intellectual, aesthetic, and cultural movement.

REORIENT Middle Eastern arts & culture magazine www.reorientmag.com

Contemporary art from the Middle East www.artclvb.com

LOCAL FLAVA’ | BARTER MARKET

Salem BAJNAID | BARTER MARKET (Al-Balad, Jeddah) What sparked the idea of the Barter Market? We wanted to experiment with the possibility of creating a space that permits goods, services and knowledge to flow more openly between people without the mediation of money. A space where everyone’s participation was valued and encouraged and the culture of consumerism is suspended, even if temporarily, in favour of a cooperative one that emphasises sustainability and solidarity. Therefore not only did we open the market to all potential barterers, but also partnered with the recycling project Trochet to help further promote their cause. How did you approach the Hayya Jeddah committee and what was their feedback? The permit to hold an event in the Balad festival was ready beforehand, so we used it. How was the feedback from the people? Overwhelmingly positive! The visitors to the market showed a natural grasp of the trading mechanism to the extent that some setup their bartering tables on the very first day and others remained throughout the 5 day period. It was especially the response from children that confirmed our success. Not only were the children

‫سوق املقايضة‬

bartering under the supervision of their parents, but a few even agreed to work for half an hour or so and assist curious visitors in exchange for an item of their choosing to collect by the end of their shifts. Moreover, the online interaction on @barterksa is still continuing with the majority requesting a sooner than later follow-up to the market. What is next for the Barter Market? We hope our experiment will inspire a network of barter markets that emphasise the values and benefits of this model and its contribution to the circulation of wealth on a more equal footing. Becoming free of the culture of consumerism means becoming dutiful to ecological and social justice and more attuned to genuine human relations. So instead of the popularity of the ‘Duty Free Zone’ phrase we propose to popularise an alternative phrase ‘Dutiful & Free Zone’ where people are dutiful to their environment and community and free of wasteful consumerism.

[FOLLOW] Salem BAJNAID’s initiative @barterksa

Join uS to ceLeBrAte the Second edition of JeddAh Art WeeK. An internAtionAL GAtherinG for JeddAhâ&#x20AC;&#x2122;S creAtiVe coMMunitY. jeDDahartweek.com

Photo: Susie of Arabia / Susie Johnson Khalil. Design: A+B Studio, London.

ON THE GO | DJ SOTUSURA

[FOLLOW DJ SOTUSURA] Twitter @SOTUSURA facebook.com/sotusuraofficial

EXPRESS Q&A | DJ SOTUSURA From ARA to ENG, your name translates to ‘DJ Sound&Image’. How have both elements affected your choice to become a DJ? The name came out after I came back to the Middle East. I was already dj’ing, before that, under other names but, moving back and working within the Arab hip hop culture, I decided to pick up an Arab name that represents me fully. The sound and image of hip hop is what got me into this culture: music, bboying, dj’ing, graffiti, etc... I’m also influenced by everything I hear, see or watch in general. That’s another way of describing the name. How would you describe your style? I’d rather have someone else describe my style, someone who might have attended a couple of different events. I am definitely boxed in as an underground hip hop dj, but I do play all kinds of different styles of music within a set - depending on where I’m playing. The back-bone of everything is definitely hip hop, but I can find myself playing some chilled out trip-hop set in a lounge, or some cumbia or afro beats in a club.

In a concert though, I’d focus on dropping arabic hip hop beats and tracks mixed with some classic maybe. What’s your method in producing? Do you have a ritual or source of inspiration? I produce for fun, usually when I’m in the right place and I really feel like it. It’s a hobby and I do it when I have the time and the mind for it. No real ritual. I usually have my machine close by so I can just chop up a sample first, mess with it and then add drums. If that sounds good, I take it further. But, it’s not necessary in that order: the last thing I did was a remix of a Al-Far3i track. With this one, I came up with the drums first and then added the sample. Stay posted this track should be on my souncloud before the end of the month! Everything is a source of inspiration to me but a lot of times it’s music and the sample I choose. A simple excerpt from a track can be an inspiration and lead to my work flow.

What is your thoughts about Arabic Hip Hop? And what can we expect from you in 2014? My thoughts on Arabic hip hop are positive. I like the way it has been growing lately and the amount of people putting effort behind it. The more I see projects coming to life, the more I am motivated. I can’t talk for the entire scene either, but when I look at the people I work with closely, I’m glad to see that each one has left there homes to travel to other countries to do shows, and it shows that it means a lot to them, whether it being hip hop music or its entire culture. 2013 has been a great step but we are looking forward to 2014 to have even more impact! As far as my goals and what you could expect from me in 2014, well, one year is short but it’s starting very well for me: lots of shows in new cities where I have never played before, starting Feb. 1st, in Lyon, with Boikutt and Ramcess L’Hamorabi. Some tracks planned to come out such as the Al-Far3i remix and at least one or two mixtapes.

ON THE GO | EL FAR3I

EXPRESS Q&A | EL FAR3I ‫الفرعي‬ When did you realize you want to get into Hip-Hop? I never thought of it like that, especially that sometimes I feel like I wouldn’t even call it hip hop. I’d rather call it ‘rap’ as it would sound more like a technical thing i.e rhyming of a beat. When I was young, I used to write poems in Arabic; but then I stopped and got into playing the drums. Around 2004, I started writing rhymes again and finally, in 2008, I decided I was going to do actual rap tracks to express things around me. In your opinion, what is the state of Arabic Hip Hop nowadays? I think it’s in a very good place, but I still believe it is not an isolated movement. It might be seen as such by kids who want to copy paste from the bigger hip hop scene. I believe it is part of a bigger movement of freedom of expression for

all of the Arab youth, whether they write songs, blog or do other forms of art. In the end, rapping has the words: it talks for all of these people. With Internet, underground artists have more power. Do you think this power can overcome the power of record labels/mainstream? Indeed, record labels already started finding new forms of music distribution so ultimately both underground & mainstream are in the same place: Internet. However, underground artists need more funding and experience to be able to compete. People like the music we do, but it is not very accessible due to the lack of market force behind it.

Personally, you take me on a lyrical journey in all your rap songs. What inspires you? How would you describe your style? Well, Thank You Brotha Hass! :) I ‘m inspired by everything: daily life, relatives in Palestine, our martyrs, the streets of Amman, travelling, people, the Arab dreams as much as revolutions, conspiracies and love. I just think of it as reflecting on how I feel. It takes something as simple as a Facebook status to inspire me. Where is your dream performing stage? Anywhere in the Arab world. If there were no borders, where every Arab can travel and not get stopped!

[FOLLOW EL FAR3I] facebook.com/A5ook.El.Far3i Twitter @El_Far3i

Films & Documentaries: 5 Broken Cameras

::SYNOPSIS:: The first-ever Palestinian film to be nominated for best Documentary Feature by A.M.P.A.S®, the critically-acclaimed 5 BROKEN CAMERAS is a deeply personal, first-hand account of life and non-violent resistance in Bil’in, a West Bank village surrounded by Israeli settlements. Shot by Palestinian farmer Emad Burnat, who bought his first camera in 2005 to record the birth of his youngest son, Gibreel, the film was co-directed by Burnat and Guy Davidi, an Israeli filmmaker. Structured in chapters around the destruction of each one of Burnat’s cameras, the filmmakers’ collaboration follows one family’s evolution over five years of village upheaval. As the years pass in front of the camera, we witness Gibreel grow from a newborn baby into a young boy who observes the world unfolding around him with the astute powers of perception that only children possess. Burnat watches from behind the lens as olive trees are bulldozed, protests intensify and lives are lost in this cinematic diary and unparalleled record of life in the West Bank. 5 BROKEN CAMERAS is a Palestinian-Israeli-French co-production. A Kino Lorber Release. http://www.kinolorber.com/5brokencameras/ Emad BURNAT Director of ‘5 Broken Cameras’ Emad Burnat is a Palestinian farmer and filmmaker. He is the 1st Palestinian nominated for the Academy Award for Best Documentary Feature. His documentary 5 Broken Cameras is a first-hand account of life and demonstrations in Bil’in, a West Bank village adjacent to Israeli settlements. The film was co-directed by Burnat and Guy Davidi, an Israeli filmmaker. The film is structured in chapters around the destruction of each one of Burnat’s cameras and the film follows one family’s evolution over five years of village upheaval.

Yassin AlSalman a.k.a. The Narcycist - Photo Credit | Laith MAJALI

LOCAL FLAVA’ | BOOK

Mourning mural inspired by the Ancient Egyptian Tomb or Ramose, mourning the 70 football (soccer) spectators who died in Feb. 2012

Walls of Freedom | Street Art of the Egyptian Revolution ‘Walls of Freedom’ is a powerful portrayal of the Egyptian Revolution, telling the story with striking images of art that turned Egypt’s walls into a visual testimony of bravery and resistance. It takes a closer look at the most influential artists who have made their iconic marks on the streets. This survey of Egyptian street art is also enriched by images of the revolution taken by acclaimed photographers and activists. Spanning major Egyptian cities like Cairo, Alexandria and Luxor it is a day-to-day reflection of the volatile and fast-shifting political situation. With contributions by experts in many fields, ‘Walls of Freedom’ not only places the graffiti of the revolution in a broader context, it also examines the historical, socio-political and cultural backgrounds which have shaped the movement.

PRE-ORDER BOOK http://fromheretofame.com/books/wof.html

LOCAL FLAVA’ | BOOK

(Artist | Alaa Awad • Photographer | Ali Khaled - February 2012)

REVIEWS & QUOTES

“This book, part witness, part theory, part commemoration, is an act within our revolution – our continuing revolution.” Ahdaf Soueif “How many books have been published about Egypt’s revolutionary Streetart? This is the only one I wanna read!” Ganzeer, Artist “’This book, in my opinion, is going to be the most honest and professional documentation of the Egyptian graffiti movement in our time.” Aya Tarek, Artist “Walls of Freedom shows what we as Egyptians have accomplished until today, something we need to appreciate, to know how we should continue.” Hanaa el Degham, Artist

“I am certain that “Walls of Freedom”will be an exquisite combination of Art & Intellect that reflects the true spirit of what is unravelling in our nation.” - Magdy El-Shafee Author of Metro, the first Arabic Graphic Novel “Walls of Freedom is the real voice of the Egyptian revolution graffiti scene.” Bahia Shehab - Ted Fellow, Islamic Art Historian and Artist “Walls of freedom is a reminder of people’s ability to take their destiny into their own hands!” Sondos Shabayek, founder of Tahrir Monologues, political activist

ART | DESIGN | SHOP

WWW.VISUALTHERAPYONLINE.COM

R E V O L T / R E P O R T

EXCLUSIVE INTERVIEW AHMED YOUNIS

BIOGRAPHY

Ahmed Younis is an Adjunct Assistant Professor and PhD student in the College of Educational Studies at Chapman University. Younis served as a Senior Consultant for the Gallup Organization and Senior Analyst for the Gallup Center for Muslim Studies from 2007 to 2012. In 2009, 2010, and 2011, he was named as one of the 500 Most Influential Muslims globally. In 2011 & 2012, Arabian Business Magazine named Ahmed as one of the “Power 500” of the Arab world and one of the 500 Most Famous Arabs in the world. Younis is author of Gender Justice: The Situation of Women and Girls After the Arab Spring (Harvard International Review – Feature), and the author of American Muslims: Voir Dire [Speak the Truth] (MVI -2002), a post-Sept. 11 look at the reality of the debate surrounding American Muslims and their country. With his brother Mohamed, Younis is also a co-author of The Role of Entrepreneurship & Job Creation in US-Muslim Relations (Brookings, US Islamic World Forum 2011). As part of his Gallup portfolio, from January 2009 to June 2011, Ahmed served as Director of Strategic Partnerships and Communications for Silatech, a youth employment initiative to promote large-scale job creation in the Middle East and North Africa founded by Her Highness Sheikha Moza bint Nasser, first lady of Qatar. A Juris Doctor graduate of Washington & Lee School of Law, Younis also served as National Director of the Muslim Public Affairs Council from 2004-2007.

Interview with Ahmed YOUNIS INTRODUCTORY THOUGHTS In the name of the Infinite, the beginning before all beginnings and ending after all ends, he source of beauty, love and mercy. First and foremost I Salute Re-Volt and appreciate the opportunity to have this conversation. Do you think art can build a solid infrastructure in Saudi Arabia, it being a muslim and conservative country? Dr. Maher Hathout taught us that “Art is a message from the soul delivered in an envelope of beauty.” I have absolutely no doubt that the brilliant and diverse people of Saudi Arabia can build and have in history built many genres of art. La Yakthar is an excellent example of such – by bringing humor and technology together to narrate the progress of society allowing Saudi humor to ‘go viral.’

Art in Saudi is there. It requires for each of us to cross the barriers of class and amplify beauty regardless of where it sits. I have a great deal of hope in Saudi Arabia. A great deal! You have a passion for authentic hip hop. How would you describe the Arabic Hip Hop scene? I learned to respect myself, my people and my history through Hip Hop culture. Hip Hop is a core component of what defines me. Hip Hop is complex and fluid – a brilliant human production that reminds us of the power of the word. The Arabic Hip Hop scene is one of the best arguments for the relevance and penetrative ability of Hip Hop as an initially American cultural product exported to the world. Hip Hop is knowledge of self. Among the Arab intellectuals and educators who are also rappers is Omar Offendum.

One should never underestimate the potential contribution of any society on earth – because it is in Allah’s ultimate wisdom that there be nations and tribes of differentiation so they may implement the Qur’anic concept of Al Bayan – the art of intelligent speech and discourse – it is without any doubt that every community can produce beauty.

From Los Angeles, Offendum, an Award winning architect by profession and acclaimed education has reached levels of social entrepreneurship and brilliance of unmatched proportion. Offendum reached the Metropole Orchestra of Holland bringing his lyrics and music to a fully classical level. This is a gain for Hip Hop not just a gain for some special interest group. Offendum insists of carrying his message and that of other influential figures of Arab Hip Hop such as The Narcysist, Shadia Mansour, Far3i, Mohamed El Deeb and many others to the level of humanity as one people recognizing the differentiated struggles of innocence all over the world. Their message is authentic not because they say so but because their work consistently adopts a corresponding effort that benefit people. Whether Iraq, Syria or cities throughout Europe and the West Arab Hip Hop or more accurately Hip Hop cultural contributions by Arabs have helped children,students and their surrounding communities in innumerable ways through fundraisers.

Art is a revelation that God allows his creation. It is a connection to the infinite. No matter their political, social or economic conditions. I still pray on a rug given to me by Muhammad Abdullatif Jameel of ALJ made by Saudi women in a co-op and its artistic value is why I pray on it.

The future of Arab Hip Hop is bright and powerful because the struggles of the Arab world are significant and matched with continuing generations of brilliant and innovative young people. Our job is to work to create environments that allow brilliant people to be brilliant.

Ahmed Al Shuqairi – who many see as a television preacher or positive youth development expert is really an artist. From the idea of Khawatir to the episodes and their editing and conceptualization – Shuqairi like others is offering an artistic contribution to public discourse. If we look at social-entrepreneurs such as Muna Abusulayman with her work in job creation, media, fashion and a myriad of other genres, Muna and others make Saudi already contributing considerably to the development of art and the future.

Interview with Ahmed YOUNIS

Recently, The Muslim Public Affairs Council celebrated 25 years of service. How did MPAC impact your life?

they live. Almost all of this man’s friends are half his age. Straight up. Living with Dr. Hathout has been the greatest blessing of my life after my immediate family.

I was a board member of MPAC at 18 years old. Upon graduation from Law School I served as MPAC’s National Director in Washington DC in the post 9-11 era. It is a significant part of my life and the community that it comes from is my home community and the place I learned Islam, the Islamic Center of Southern California. MPAC is an institution that consistently serves Muslim Americans at the apex of progress and the development of young people. I am indebted to the folks that built and run it for much of my early development. MPAC and ICSC are the reason I am who I am and think how I think. Those institutions built in us a love of God and a deep investment in serving humanity. Without those two things a human is really missing out.

What is your opinion on Arab Entrepreneurs? Do you think the Arab region prepares and insures a successful trajectory for these thriving businessmen//businesswomen?

If there’s one word that would give Dr. Maher Hathout justice, what would that word be? Youth – this man dedicated his life to young people, their ideas and free development into vibrant and contributing members of the societies within which

I’ve written extensively on this topic. For our purpose I will say that young people in the Arab world are statistically much more inclined toward entrepreneurship than their global counterparts. We can also say with confidence that Entrepreneurial mindsets in the region are supported by superstars such as Fadi Ghandour, Ahmed Alfi, Muhammad Jameel, Shaikha Moza bint Nasser and many many others. Whether it is Flat6Labs, Ashoka, WAMDA, Silatech or a myriad of other projects throughout the Arab world focused on positive development the only thing they need to reach scale and change reality in the region are willing and brilliant young people which the region has plenty of. The Arab world is poised for something amazing very soon and anyone that studies the region sees this clearly. I recommend an excellent book called Startup Rising by my friend Chris Schroeder about

Interview with Ahmed YOUNIS tech startups in the Arab World. The revolution is already happening. Now – to be entrepreneurial doesn’t mean one has to work as an entrepreneur. We need a diversity of jobs, economies and opportunities for all young people. This is not an impossible task. Tell Re-Volt something that not a lot of people might know about you.

support as you attempt to bring positive change is the vocation of revolutionaries. Arabs are very diverse and most monolithic representations of such diversity is sourced in racism. So the extent to which Arabs are perceived as sufficiently Arab also exist on a spectrum reflected in sociology, politics and is to work economic power.

“Our job to create environments that allow brilliant people to be brilliant.”

My father was a youth organizer and semi-pro boxer in Egypt during the prime of Muhammad Ali then he worked a full career as a healer - a Physical Therapist. He taught my brother and I that unnecessary movement will only tire you. Calm, balance and moderation were taught as hallmark traits of political conflict. You punch only once after careful study. And make sure you lay the opponent out. Most importantly, only strike for justice even if it is against yourself.

My mother is a student of the most important scientists in the modern history of Physical Therapy as a discipline. She was the first Muslim, African and Arab woman to receive a PhD in Physical Therapy from USC and received the highest awards granted in her field. With Dr. Helen Hislop & Dr. Jacqueline Perry, my own mother stands among the second generation of great scholars in the history of this science. Being the son of a brilliant scholar such as my mother is among the greatest blessings God granted me in this life. I personally face a lot of criticism just because I host a hip hop show in Saudi and don’t look Saudi. What do you tell those people that think & believe that Islam is only for Arabs? Well … criticism should always be embraced – it allows us to grow as individuals and induces a deep comfort with patience, which is a necessary tool to success. I too face a great deal of criticism – I’ve learned from my teachers to see it as a tool for betterment and self-reflection and as a hurdle like other hurdles on the obstacle course of life. Relying on your community, family and culture for

Race, of course is a social construct, it is not real in any tangible way other than our learned engagement with its stimuli. Statistically Arabs compose less than 30 percent of Muslims globally.

That, however, belies the reality that much of Muslim identity globally is Arabized in its articulation of authenticity. What does that mean? It means if you walk into most Chinese mosques in China or American mosques in America you will encounter a hierarchy that privileges Arabia, Arabs and those that evoke the cultural norms of Arabs. This suffocation of the potential rainbow of beauty that is Muslim life around the world on every continent is the primary challenge to the positive progress and development of Muslims as positive contributors to human development. I say this as an Arab, Egyptian and Muslim American. Do you think that Islam is being hijacked? No. I believe that’s an excuse potential reformers use to not work harder and smarter. What is the Arab Nation missing? Get over the colonial experience – literally we need to move on. Divest from narratives of grandeur. Get back to the basics. Honor every human. In my research at Gallup in creating the Silatech Index we found that the perception of young people as to “the amount of respect children receive daily” was closely correlated to the ranking of that

Interview with Ahmed YOUNIS country on the Index measuring the job creation environment. Ask yourself. Are the children you know respected and treated with dignity? Are the youth of your country and community enfranchised into society with things other than banal consumerism? We need to stop identifying problems and start propagating solutions. And as the Qur’an reminds us repeatedly – we must each start with ourselves because God does not change the disposition of a people until they change what is within their own hearts. Your thoughts on the Education System in the Arab World? As someone doing a PhD in a College of Education I can assure you that education and learning are under assault all over the world including in America. Unfettered Capitalism that focuses on privatization and devolution as primary modes of efficiency enhancement are destroying learning. Neoliberalism chokes the individual into a consuming animal that is only relevant to points of production and their growth for the wealthy. The whole world, not just Arabs, need to wake up and revolutionize education. Also – as I argue in my recent Harvard International Review article entitled Gender Justice, we also need to remember that education without work is not an end. Working toward employability and self-actualization at the same time is not an easy combination to master. The first step toward such is to re-authenticate the role of the teacher in all societies. We need a mindset shift that brings education back into the orbit of all young and old. As Yassin Beh aka Mos Def said – Knowledge of Self is Like Life After Death. How many of our schools globally are teaching children knowledge of self?

What are your thoughts on the construction taking place now in Makkah to expand? The greatest artistic contribution of Muslims to the world has been in architecture. Our own Offendum was an award winning architectural student at the great University of Virginia. This is what we do! That architecture should always be focused on beauty, the oneness of God as well as comity among people. It should be a blessing for all and designed to reduce inequality and injustice. Muslims build when they build. They do not build to destroy. I haven’t been to Mecca in about 4 years so I don’t know enough to comment specifically on this project. OUTRODUCTORY THOUGHTS I pray that the Beloved showers His blessings on all and grants us all from His unlimited mercy. Shout out to my amazing wife. Salute to beauty wassalam!

REEM MAREI | Winner of BarakaBits Poster Ad Competition Instagram: @reemmarei THE CONCEPT

Each of the three character symbolizes a searching method: • The first one uses reports and research to pursue the events. • The second one has a magnifying glass, which is a symbol of searching and hunting. • The third one has a camera to capture the events. They all look happy since they are delivering positive events. The Middle East Map is shown in low low opacity in the background to state the fact that Barakabits covers the whole area - since a background is a generalized element.

Films & Documentaries: THE SQUARE (Al-Midan)

::SYNOPSIS::

The Story of Revolution Behind The Headlines From the 2011 overthrow of a 30-year dictator, through military rule, and culminating with the forced military removal of the Muslim Brothehhood president in the summer of 2013, we follow a group of Egyptian activists as they battle leaders and regimes, and risk their lives to build a new society of conscience. The Egyptian Revolution has been an ongoing roller coaster. Through the news, we only get a glimpse of the bloodiest battle, an election, or a million man march. At the beginning of August 2013, we witnessed the second president deposed within the space of three years. The Square is a truly immersive experience, transporting the viewer deeply into the intense emotional drama and personal stories behind the news. It is the inspirational story of young people claiming their rights, struggling through multiple forces: from a brutal army dictatorship willing to crush protesters with military tanks, to a corrupt Muslim Brotherhood using mosques to manipulate voters. The activists in our film are armed with nothing more than cameras, social media, videos posted to YouTube, and a resolute determination to liberate their nation. The film is made in a cinéma vérité style, giving us an up-close view of revolution from the ground. New technologies show us that the voice of young people cannot be silenced in this digital age. Our characters are fighting an ancient war with new weapons. The Square was first released as an unfinished cut at Sundance in January of 2013, where it received the Audience Award for World Cinema Documentary. Yet as the filmmakers were accepting the award, the characters of the film were back in the streets of Egypt fighting, as the first democratically elected president announced that he was granting himself powers greater than their previous dictator. With these unexpected events, we knew that the story was not over, so we returned to the streets to capture what would become the second part to the story — the battle against the Muslim Brotherhood and Mohamed Morsi’s removal by the Egyptian army.

Films & Documentaries: THE SQUARE (Al-Midan)

We witness the incredible sacrifice these activists endure on the road to freedom. Through the voices of these daring revolutionaries, we understand why they believe that it’s worth risking life and limb for ideals and the future of the country. This documentary takes us on a transformational journey into this historical revolution first-hand through the eyes of both secular and Muslim Brotherhood protagonists, who once stood united with one another against a brutal regime. The audience watches as the country splits, and those who once ate together, slept next to each other, and joined forces in Tahrir Square to fight for dignity and social justice, are forced to stand opposite one another, divided by politics, on the streets of Cairo. The Square is a live developing story of the quintessential struggle for freedom and democracy, of people putting everything on the line to fight for their rights against institutional powers. Egypt has become a battleground of ideas, and the films shows that it is the most devout of Muslims that will take to the street to fight the abuse of religion to create a fascist state. For the first time, Muslims in vast numbers are fighting against political Islam. The complexity of what is happening here cannot be summed up in a news report. What happens in Egypt will dramatically affect the rest of the Middle East and the world. “I’ll continue making films because I love being able to drop into other people’s worlds. My goal is to be constantly learning.” JEHANE NOUJAIM Director of “The Square” [FOLLOW JEHANE NOUJAIM] Twitter @JehaneNoujaim {More about The Square} http://thesquarefilm.com/ www.facebook.com/TheSquareFilm

Our goal for audiences is to experience the evolution of a revolution in the 21st century and understand what these activists are trying to say: civil rights and freedoms are never given away, they are fought for. Historically, this has always been the case, from the Civil Rights movement to the fight against Apartheid. But how does this fight begin and sustain itself and ultimately become successful? This film shows that true change in a society does not begin with a majority, but the relentless and ongoing commitment of individuals to those principles of change.

‫شما‬ ‫فرح‬ ّ

BEATING POETRY

Q&A Farah CHAMMA Revolting Through Poetry

Farah Chamma is a Palestinian poet studying Law and Political Science at the Paris-Sorbonne University Abu Dhabi. She began writing poetry at the age of 14 at the same time as she started exploring her personal relationship with her faith. Farah writes poetry in English, Arabic, and French using a variety of lyrical and linguistic styles. Her work can mainly be described as introspective. She is one of the youngest members of Poeticians, a group of poets and writers from the Middle East. She has been engaged in performance poetry and spoken word since 2008 and has participated in many events and competitions including the SIKKA Art Fair and the Emirates Airlines Festival of Literature. In 2012, she organized and hosted “Sip of Poetry” in Abu Dhabi, a poetry evening featuring various poets from the region. She is currently working on launching a student-led poetry group with the help of award-winning poet and hip-hop artist, Paul D, aiming to encourage spoken word performances in colleges and universities. How powerful in your opinion is spoken word? I think spoken word is the most powerful way for poetry to spread in our world today. A performed poem spreads so much faster than a written one. I also think it’s a powerful art since it combines both literary and theatrical skills, giving more space for creativity. What got you into poetry? I started writing at the age of 14, but my “real” poetic experience took place when I first performed in front of an audience with the Dubai-based poetry group the Poeticians, I was around 15. Ever since, I’ve been engaging in performance poetry. What inspires Farah Chamma? What mostly inspires me to write is the audience, which always proves to be supportive and thirsty for more art and performance. Whenever I sit down to write, I think of them, those individuals that with sincerity would appreciate every word that is to be written. Your poem ‘How Must I believe’ circulated all over social network. How is the feedback? The majority of the feedback is very encouraging. Although, there is some criticism on both the language of the poem and its content. Some found that the Arabic language with which the poem was written is weak, which

is understandable in some way since my poem ‘How Must I Believe?’ is one of my first written Arabic pieces (having been educated in an American system school and having been writing poetry in mainly in English). Others found the poem to be too polemic and the majority of those have misunderstood the poem to be a declaration of atheism, which is not at all the case. Your latest poem ‘Nationality’ made a strong impact on social network. What ignited the need to write this poem? Aspiring to get “foreign” documents is becoming very common in the Arab world. Who doesn’t want to avoid long visa processing and painful airport controls? Who doesn’t want to get a higher salary (in some parts of the world), and avoid anything problematic by saying “I am Canadian (or Latin or European)”? These are some of the main questions that pushed me to write my poem ‘The Nationality’. The many messages I’ve been receiving, esp. from “The Arabs in exile”, explaining their political refuge and, sometimes even, identity crisis stories, only prove to me this reality of “Arab document depreciation” that we are living in. The feedback I’ve been getting is very encouraging and in many cases, insightful! Who are your favorite poets? Tamim Al Barghouti, Hisham El Gakh, and T.S. Eliot.

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MOGHAZI | Hijazi & Hip Hop Fusion 1. What inspired you to be a producer? Ever since I was a kid, I’ve always been curious about music, music softwares and musical instruments. Then, during the age of 17, I started learning how to play ‘oud’ and soon after that I wanted to develop a different skill that was known more internationally; so I started learning how to play the keyboard. After learning all of these and some other musical production softwares, I found myself able to produce full tracks of high quality music and of course these skills comes gradually with lots of practice and can’t be learned overnight.

2.Your beats have a lot of hijazi feel to it. Do you get credit or attack for linking and fusing it with hip hop? I was a bit surprised on how the fans loved it and it was actually beyond my expectations, because I felt that what I produced was something simple. 3. What’s your dream? My dream is to develop my studio and upgrade to a professional level and make music that will be internationally known.

[FOLLOW MOGHAZI] Twitter @MoghaziMusic soundcloud.com/moghazi-1/

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ASHEKMAN Street Artists ‫ اشكمان‬- ‫لن ميوت شعب لديه غرندايزر‬ www.facebook.com/ASHEKMANstreetart Twitter @ashekmanstreet Instagram ASHEKMAN

retrospective

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Can you recall the earliest memory of your passion for art and design? I felt connected to the field of colour and design in an early age. Ever since I was a child, I used to go to every gallery and art show possible with my dad. I remember when we used to go in our little family summer vacation, my dad and I used to pick one day to visit all the galleries in the city, as the rest of the family can not take 9 hours and sometimes 12 of museums and galleries. It was our thing, and still is.

Hazar BOGARY | Saudi Conceptual Art Director Hazar Bogary is one of the most influential graphic designers of the Arab region. She is an artist strongly influenced by the surrealists and she is skilled at creating narrative, conceptual and digital images of individuals and their surroundings. Originally from Saudi Arabia, Hazar resides in Vancouver, and holds a Bachelorâ&#x20AC;&#x2122;s degree in Commercial Art and Graphic Design from Central Missouri State University, as well as a diploma in Professional Digital Photography from VanArts. Hazar started her career in advertising as a graphic designer, and later began working as a conceptual art director. Her works have earned her numerous awards, and have been exhibited both in her native Saudi Arabia as well as internationally.

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What art movement help forge your style? As my style developed a lot through time, I feel that I lean more toward the surreal style. where there is a sense of mysteriousness and hidden concept. I like to grab my viewer attention, to not only look but see through my work.

I feel every designer who needs to start freelancing or even start his/her own business should take a course in marketing or administration. It just expanded my knowledge and taught me unique techniques in exposing my talent and marketing it. for that, I took the chance to do my maters in administration, I learned a lot. The exposure of the mix of cultures and religion made me know who I am and what I actually want, made me appreciate what I have and weight the value of it; and that influenced my creativity a lot, it made it broader and limitless. What was your senior project? It was the launch of my freelance business Hazar Bogary Imaging, which was officially launched in August 2013. You also hold a diploma in Professional Digital Photography from VanArts. What ignited your interest in pursuing photography? As I worked for four years in advertising before I came to Canada, I felt so much joy with advertising that my lack of understanding photography was in the way of making me feel pleased about my work; especially that photography is a big part of advertising. For that, I had to push myself and gain a diploma in it. Now, I feel I covered a big aspect in graphic design, but that does not mean I will stop wanting to learn more and attend workshops.

What is your source of inspiration? Everything in my daily life that I encounter could possibly be an inspiration, however I still have a day every week which I spend some time enjoying peace of mind in a cafe, a galley or even a movie waiting for that moment to strike and get me working. You chose to do your higher design studies abroad. How well has that intermixed with your Saudi origins and do you think you were able to exploit your creativity more out there? I studied my bachelor of commercial art graphic design in central Missouri state university and four years after graduating I went to Canada where I took my masters of administration science.

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Winner of a Silver Design Award in the US & a captivating photography exhibition in artclv gallery in Toronto. Headlines highlighting a path of great accomplishments. Can you tell us more about the two events? During my last semester in the bachelor of graphic design, my advertising instructor Lynch proposed the idea of getting into the OMNI contest of design which is held in the U.S.A for all the design schools who wanted to participate. I felt eager to participate and for my drug awareness poster I won a Silver award. As for my latest accomplishment in entering the fine middle eastern gallery located in Toronto “ArtClvb”, it started when I finally developed my own style in photography where I combined my skills in graphic design and photography to put together a collage art pieces. I started visiting galleries, reading more about how to exhibit my fine art pieces then I came across Artclvb who accepted my work right away and selected four of my art work to put up in their gallery. I remember that was one of my best days to carry and drew a smile on my face. It was huge and a big step further to me and still is. re-volt magazine picked one of your photographs as a front cover for February 2014 issue. Is there an anecdote or a thought behind it? Also describe briefly the techniques. You know, I was talking to my Husband the other day who has been a great support to me and has always encouraged me to accomplish more. I was telling him, I have had these pictures for a year now in my computer just for my eyes to enjoy, and printing them on my wall. Then the idea of sharing my art with the world stroke me, I launched them up on my website and started gallery hunting. The turn out and feedback of my work to the people who came across them amazed me, not that I didn’t trust my work or style but it has been such a great turn out. Most of them just ask me to own a copy of my work and it is such a great joy to have a piece of me sharing many families daily life, and adding accent and joy to their atmosphere.

[FOLLOW HAZAR BOGARY] www.facebook.com/hazarbogaryimaging www.hazarbogary.com

“Saudi Arabia always at heart” You were also one of the first Saudi artists to participate in the Courtyard Gallery in Jeddah, Saudi Arabia. How was that experience and what was the local feedback? To be honest I was not able to attend the opening event personally due to my study in Canada, but my dad and brother sent me great short recordings of the event. It was really big, I enjoyed seeing people checking my work, taking a minute or two to ask about the technique and lighting; it was so much fun to watch that. However, I went to check my work and the work of the other artist when I went to Saudi for a vacation; the arrangement and placement of the work were outstanding. Did you showcase your work in other venues in Jeddah? I have a number of my work at Andalusia Café, I carefully selected four of my artworks to blend with the theme of the place.

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honoured and I think It will be a great way to give back, to enrich the new generation with the humble knowledge I gained through the years. However, I won’t be starting until my husband and I decide to finally move to Saudi for good.

You are currently residing in Vancouver. Do you have a design studio or freelancing? As I always have the urge to stay productive, when I graduated from the Masters Program I had everything ready to launch my freelance business, which came true on August 2013. I work from home to clients in Saudi Arabia, Canada and UK: the internet made it easy for me to go international. It has been keeping me busy ever since, alhamdolila. Are there any upcoming events or projects you would like to share with us? To be honest, there is this something inside me which always makes me feel obligated to give back to the community. Of course the freelance business, exhibitions and workshops are taking most of my time, not to mention my little daughter Bana, but I always felt I want to give more. Until one day, I received an email from the Dean’s office of one of the universities in Saudi Arabia to be part of their faculty and teach advertising. I felt so

re-volt magazine is nosy. What is your favorite kind of music? My friends call me a bipolar when it comes to music, they always tell me your music library just doesn’t feel it is owned by one single person. With every mood occur, with every burst of new feelings and with every moment there is a type of music that I prefer to hear. I love all kind of music and it all depends on the scenarios I am living and going through. Interview by Hanane FATHALLAH revoltmag1@gmail.com

ALBUM REVIEW | AL JISR VOL.1

RE-VOLT & PHONOSAPIEN PRODUCTIONS | AL JISR VOL.1 FLASHBACK | October 2010 Hip-Hop is a universal language and a bridging communication tool. Hip-Hop isn’t dead. It’s more alive than ever with the rise of Hip Hop Artists from all around the globe. You just have to change the channel and know where and what to listen. From this perspective, Re-Volt Radio & DJ Lethal Skillz launched a series called “AL-JISR - Bridging Cultures” where we get you artists from all over the world mixed on one track- showing the true meaning of hip hop and unity. It is a small attempt from our end and hopefully more countries and more artists will be featured in the next ones to come. Mad respect to all the featured artists and to DJ Lethal Skillz for doing a brilliant job with the mixing. Listen to the mixtape here

R E V O LT / R E P O R T

BEIRUT | Graffiti Artist Yazan’s Work Vandalized! I hadn’t know before that this is the fourth time an unknown vandal has ruined the masterpieces Yazan has made all over Beirut! Yazan’s flawless depiction and artwork has perpetuated the essence of important historical figures and contemporary personalities. Over the weekend of the18th to 20th January 2014, someone defaced the iconic mural of Ali Abdallah, the homeless man who most American University of Beirut students knew and were saddened after his tragic passing on a cold winter’s night on the streets of Bliss. The other one was of Mahmoud Darwiche, the famous Palestinian poet and author. The vandalism was not done randomly: it was well studied as only the main features of the

portraits in Yazan’s pieces were whitened out with thick layers of paint. What’s more unfortunate is that there is no way to salvage the graffiti, due to the excessive layering of paint coats. So, Yazan is going to redo them this week, and I imperatively suggest we all help him preserve them - permantely! Help and support Yazan to protect his work with a plexiglass shield.Visit his Facebook page to read more about it. The only hiccup with graffiti and street art is their vulnerability towards vandals like this one. Although the motives are still undetermined, people’s reactions to this criminal act against art are diverse.

R E V O LT / R E P O R T

www.facebook.com/YazanOne

Some tackled the situation via religious motives - certain sects condemned the act of portraying faces and facial features. In that case, I guess we should rule out all visual representations or graphics depicting people or individuals. Like photographs. ‘HARAM!’ How predictable. This used and abused exclamation arrogantly cuts through beautiful art such as Yazan’s masterpieces. Hypocrisy. Whoever they are, their motives are crystal clear. they hide behind the mask of religion, when in reality they’re envious individuals, poisoned by ignorance and driven by hate. It’s truly sad and repulsive and unforgivable to see such odious acts. This self-destructive behavior is leading us to a bottomless hole where

[FOLLOW YAZAN] Instagram @YazanHalwani

humanity, culture and reason will soon vanish. Whether in politics, art or ideologies, ‘they’ are trying to erase Humanity, unless we conform to ‘their’ beliefs. Cavemen had more sense than these vandals. Big respect goes to Yazan’s poised reaction and reflex to re-do, re-paint and to RE-VIVE! Hanane Fathallah revoltmag1@gmail.com

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[FOLLOW OdOd] twitter.com/2od2od

OD OD | SAUDI FEMALE GRAFFITI ARTIST

WHEN DID YOU START DRAWING GRAFFITI? I started graffiti 6 years ago. At first, I was only sketching different graffiti styles then I really got into drawing characters. ----------------------------------AS A FEMALE IN SAUDI ARABIA, HOW HARD IS IT TO GET INTO THIS FIELD? Honestly, it’s very hard since our society doesn’t really support such art, especially for females because they have this perception that graffiti can’t be for females. As female artists, we also face a common problem which is finding the right place - WALLS!

WHAT MADE YOU GET INTO THAT? It was inevitable since I come from a family of artists each one us has his/her own interest; including ceramic art, painting, photography and fashion. I chose graffiti art because it is basically the most liberating art through which you can present your idea or message; and my main aim was not just to become the artist but to become the art it self. I wanted to prove that graffiti is not vandalism and yes I’m a female and I too can be a graffiti artist. YOUR FAVORITE GRAFFITI ARTIST IS? What really amazes me is that each graffiti artist has his or her own style but my favorite is EL SEED because he was the one who inspired me and taught me how to create my own style.

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Deyaa One | Saudi Graffiti Artist [FOLLOW ME] Deyaa@dhadstore.com Instagram @deyaa_rambo Facebook deyaa one Painters deyaar

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This is a street art piece done by Deyaa One & Abdulaziz A.Z at “La Fête de la Musique” in Jeddah on January 30th 2014

LOCAL FLAVA’

EXCLUSIVE Q&A | PROJECT PEN Who started PP and why? Project Pen was started in Amman, in a café on Rainbow street, by a group of volunteers with a background in the creative industries and humanities – the founding team included developers, writers, bloggers, musicians and artists. Project Pen really developed in three stages. The first was a call out to writers in Jordan to see if young people were writing fiction, especially in Arabic. That was exciting because in April 2012 we saw everyone interacting online but we didn’t know how many people were writing fiction, especially in Arabic. Once Project Pen figured out that there were in fact many aspiring writers not just in Amman but in the Middle East, we started to focus on readers. What kinds of stories did a young digital generation want to read? We addressed that question in collaborative writing slams such as ‘storylabs’, an English language incubator for advanced writers called the ‘Cell’, and very successful initiatives like the Middle East’s 1st ‘Twitter Stories’ contest. The concept is managed by John Lillywhite, Maisa Khudair, Aysha El Shamayleh and Farah Jabaji. With no resources or finance, it’s pretty much kept alive by the creative class in Amman devoting their time and their talent. As PP team, who is a writer to you? Who is your target audience? A ‘writer’ for Project Pen is anyone who imagines. When you think about it writing is an essential unit of creativity – not just in literature but in film, in rap, in poetry, in anything with a script or narrative arc. There’s something democratic about writing. All you need is a pen, some paper and an idea. There’s no expensive training needed. At the same time though, Project Pen is not just about writers. It’s about ‘story’. We believe that great art, design and video are building blocks of story – that cave paintings scratched on walls, or the oral tradition of the hawakatee, need to be translated online in new forms for a generation born ‘beyond the book’. A new generation of reader that has not been defined, but is pretty much our target audience. We don’t really want people to read stories on Project Pen. We want them to engage with them.

What value does Project Pen add to already existing user-generated platforms such as forums, portals and blogs? Writers and artists support us because they understand it’s not just about creating content, or promoting one individual or even a group of individuals – it’s about creating a critical mass of creative work that will one day, we hope, bring a new kind of writing and story to a part of the world that does not publish enough fiction. We’ve developed a slightly grandiose title for it: ‘the digital literary frontier’. The internet is changing the way information is assimilated. For project pen team story is a vital and ancient part of that. How can I share my story with PP’s community and why should I? The philosophy behind project pen is one of first steps as well as peer review. The first step is getting your work out there, getting it read, and watching it ripple across social media. Psychologically it’s a small but important step for any writer. For a small group of professional writers it’s about peer review and sharing their work with each other. Anyone can send a story in via the submit section of the website or over email. Every submission is divided into one of six categories. A team of Arabic and English editors curate the stories, and provide a light edit when necessary. Everything we do at project pen is creative commons licensed so the copyright and commercial rights belong the author. For us the biggest issue facing writers is not that their copyright could be stolen – it’s that their work will not get read. The idea is to build a support system or encouragement system for writers from the ground up, as well a new kind of digital audience who respond to, appreciate and understand story in all its forms.

Creative writing is something talented people do but also taught, how do you encourage users to write and share their stories? Project Pen runs an advanced writing group called ‘the Cell’, with a focus on incubating the talent of a core group of writers so that one day they can be published successfully. We do this offline. It’s a lot of work but it’s been extremely rewarding. The cell is run by Aysha, an award winning Jordanian spoken word poet and writer. We want people to be proud of the fact they write, at any level. That’s why online, we support imagination and the ‘idea’ as much as we do formal writing skills. As with all art, there is an element of human and psychological development. Some writers have very distinctive visions or style but their grammar or technical ability is limited. We think these people are important and we push them to work with artists and to experiment with their ideas where-ever possible – even if it’s just by sending an email saying ‘Keep Creating’. Tell me about your Twitter-story competition. All of us tell stories about our lives to ourselves and to other people all the time. We do it on twitter. On Facebook. On SMS. It’s a human function embedded in our genetic material. We are all storytellers. Pointing this out is part of our mission – taking writing down from the ivory towers, salons and conservatories onto twitter or into the streets. Project Pen twitter stories in collaboration with Inches Social Media challenged people in Jordan and across the Middle East to accept this, and send a story in Arabic or English to the hashtag ‘#projectpen’. The competition was inspired by Hemingway’s famous ‘story in six words’. Twitter Stories received significant coverage in Jordan as well as in Dubai, and created the kind of brand interaction and creative engagement the team had always dreamed of. An ebook anthology of the stories is available on Ipad and Kindle via projectpen as well as Itunes bookstore, for free. Tell us about your new brand? Our biggest campaign so far in 2013 has been the graffiti manifesto campaign around the streets of Amman to announce a new more focused project pen. The logo rather than the graffiti has been controversial in a way we never expected, but it has also allowed us to reach out to new audiences, and explain what we’re doing in a completely new way.

What is your monetization strategy if you have one? And how do you sustain PP financially? Monetization is a big issue for project pen, as it is increasingly for publishing globally. Profit is not always a force for innovation. At times project pen has found having no legal or financial personality a definite benefit. In the real world writers need to make money and publishers need to have a steady stream of revenue in order to be able to print, invest in great writing, and also take risks, which is the key to the future. Project Pen wants to stay agile and continue to innovate until it can find an investment and business model that feels right. For now, we are completely broke. Like most of the people we work with. What is your advice to other content and user generated businesses\projects? For project pen the driving force of any innovative online business is not advertising, or bogus indicators beloved of balance sheets – its creation. The internet is one big cerebral cortex and if you’re going to interact with it, you’d better do it BIG and make your mistakes fast. Don’t be afraid if people don’t get what you’re doing or why you’re doing it. Wave goodbye to prestige and what your friends think. Imagine strangers a million miles away. And reach out to them.

‘Poems from Atom’ the Ebook Download ‘Poems from Atom’ for Ipad and Iphone. Download ‘Poems from Atom’ for Kindle.

http://nomadicwax.org/

M I C • C H E C K

[FOLLOW QUADIR LATEEF] twitter.com/Quadirlateef

Q&A QUADIR LATEEF Give me 1 word that describes the following personalties: Brother Ali | Sincere Amir Sulaiman | Passionate Omar Regan | Funny The Narcicyst | Fashionable Omar Offendum | Kind Ridwan Adhami | Talented Chuck D | Movement Lil Wayne | Dajjal Are you currently on any label? Yes my own label called “Deen & Dream” How does your faith of Islam help you in your art? My faith guides my Intention and Islam gives me the motivation to rap. Who inspired you growing up? My Father played a huge role in my life, he taught me everything I know and showed me the definition of being a Man. You’ve said that “Real Hip Hop is the force in this rap industry” - What is the current state of hip hop in your opinion? I think Underground hip hop is producing great fruits but mainstream is lacking real talent. I believe mainstream hip hop is becoming better in the sense of Lyric and Real Rhymes…so Hip Hop is on the COME UP. Do you think getting radio play is as important as 5 years ago? Radio Play 5 years ago was more important then but now The internet is slowly taking over i mean people like Immortal Technique and Brother Ali can Pack venues and they NEVER been on the radio. Truthfully i think the people have lost faith in the radio because its a big payola.

Tell Re-Volt Magazine something not a lot of people know about you.. I have a Baby on the way What’s your goal in the music industry? To gain influence and use my influence to Help people and give Dawah. What can we find in Quadir Lateef’s earphones? Fools Gold, Rebel Forces, Half Earth Half Angle and The Block The Devil & The Deen Mixtape Any last words for re-volt magazine? I’m NOT playing games with these whack MCs; their time is LIMITED! And be on the look out for Alkebulaun CD to drop soon He is a PROBLEM! Interview by Hass Dennaoui revoltmag1@gmail.com

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This is a street art piece done by Karim Tamerji & Said Mahmoud to promote Lebanese rapper levitra professional faq B.0.X’s latest song “An Animal Called Human”

[FOLLOW L-FRESH THE LION]

M I C • C H E C K

http://l-fresh.com/

L-FRESH THE LION: A STRONG BELIEVER IN HIP HOP “The name L-FRESH The LION has two stories. When I first started rhyming, a friend of mine said I was a Fresh MC. So I thought about what the word “Fresh” meant to me. I gave it my own definition and broke it down as an acronym: Forever Rising Exceeding Sudden Hardships. For me it is about overcoming, surpassing and rising to be the best that I can be. The LION was a name that was also given to me. But it was given to me at birth. My people (Sikhs) give females the middle name Kaur (Princess/Royalty) and males get given the middle name Singh (Lion). I felt it was only right to combine both of those elements into a single name, as I take on board a combination of Hip Hop culture and the roots of my people.”

Buy the song Faithful on iTunes

You are a big believer in the essence of Hip-Hop culture. Where do you see the state of Hip-Hop now? Hip Hop is always growing and changing. Since its roots in the 1970s, it has become a global culture, something that people from all over the world identify with. Each country and/or region has introduced its own uniqueness to the culture. It’s become a way for us to communicate across national boundaries. It is a universal language that continues to bring people together. I’m inspired by seeing the growth of Hip Hop globally. I’m even more inspired by seeing the continual impact is has on global, national and community affairs. You founded an online clothing community called the “Power To The Peaceful Community” What do you hope to achieve by starting project? Power To The Peaceful Community is an extension of a universal philosophy that resonates with many people all over the world. There are people everywhere who want to see the end of conflict, violence and oppression. Those same people wish for peace, love, unity and a space where we can have fun as equals. I see Power To The Peaceful Community as a way to continue to bring people together outside of my music. People can express their thoughts and ideas in the clothes they wear. The Power To The Peaceful Community shirts represent that collective yearning for positive change. What inspired you to get into Hip Hop? Story telling. I loved the way in which MCs expressed their stories over music. The raw energy, passion and emotion drew me into the genre of hip-hop music.

Through hip-hop music, I was introduced to Hip Hop culture and instantly recognised how powerful Hip Hop is as a means of self-empowerment. It has a way of bringing out the best in people. As we master our skills, we are constantly improving ourselves as human beings. How was meeting KRS One? It was a great experience. He had a lot of knowledge to share. I learnt a lot from hearing him speak and watching him perform. He is a Hip Hop legend. What’s your take on record labels? Are you signed? We are in an age where the artist must recognize their own power. I think the relationship between a record label and an individual artist is very important. It must be a partnership in the true sense of the word. Both must be aiming for the same goals and working in alignment with one another. If both parties have separate interests, then it can be a real challenge with very little chance of there being a positive outcome. I’m currently signed to a one-album development record deal with Vienna People Recordings here in Australia. My album is due to be released in early March. Who is L-FRESH listening to recently? I’m listening to Australian artists Jimblah and Remi. I’m also listening to Dead Prez after having just been on tour with them in Australia.

‫رفيف زيادة‬

BEATING POETRY

[FOLLOW RAFEEF ZIADAH] @RafeefZiadah

WE TEACH LIFE, SIR!

RAFEEF ZIADAH | Performance Poet and Activist Rafeef is a Palestinian performance poet and human rights activist based in London. Her performances of poems like ‘We Teach Life, Sir’ and ‘Shades of Anger’ went viral online within days of their release. She received an Ontario Arts Council Grant from the Word of Mouth programme to create her debut spoken-word album Hadeel. Since releasing her album, she has toured many countries, performing poetry and conducting workshops. She was chosen to represent Palestine at the South Bank center Poets Olympiad in 2012.

“Today, my body was a TV’d massacre. Today, my body was a TV’d massacre that had to fit into sound-bites and word limits.

How about you give us a story of a woman in Gaza who needs medication? How about you? Do you have enough bone-broken limbs to cover the sun?

Today, my body was a TV’d massacre that had to fit into sound-bites and word limits filled enough with statistics to counter measured response. And I perfected my English and I learned my UN resolutions. But still, he asked me, Ms. Ziadah, don’t you think that everything would be resolved if you would just stop teaching so much hatred to your children?

Hand me over your dead and give me the list of their names in one thousand two hundred word limits. Today, my body was a TV’d massacre that had to fit into sound-bites and word limits and move those that are desensitized to terrorist blood. But they felt sorry. They felt sorry for the cattle over Gaza.

Pause. I look inside of me for strength to be patient but patience is not at the tip of my tongue as the bombs drop over Gaza. Patience has just escaped me. Pause. Smile. We teach life, sir.

So, I give them UN resolutions and statistics and we condemn and we deplore and we reject. And these are not two equal sides: occupier and occupied. And a hundred dead, two hundred dead, and a thousand dead. And between that, war crime and massacre, I vent out words and smile “not exotic”, “not terrorist”.

Rafeef, remember to smile. And I recount, I recount a hundred dead, a thousand dead. Pause. We teach life, sir. We Palestinians teach life after they have occupied the last sky. We teach life after they have built their settlements and apartheid walls, after the last skies.

Is anyone out there? Will anyone listen? I wish I could wail over their bodies. I wish I could just run barefoot in every refugee camp and hold every child, cover their ears so they wouldn’t have to hear the sound of bombing for the rest of their life the way I do.

We teach life, sir. Today, my body was a TV’d massacre But today, my body was a TV’d massacre made to fit into sound-bites and word limits.

And let me just tell you, there’s nothing your UN resolutions have ever done about this.

And just give us a story, a human story. You see, this is not political. We just want to tell people about you and your people so give us a human story. Don’t mention that word “apartheid” and “occupation”.

And no sound-bite, no sound-bite I come up with, no matter how good my English gets, no sound-bite, no sound-bite, no sound-bite, no sound-bite will bring them back to life. No sound-bite will fix this.

This is not political.

We teach life, sir.

You have to help me as a journalist to help you tell your story which is not a political story. Today, my body was a TV’d massacre.

We teach life, sir. We Palestinians wake up every morning to teach the rest of the world life, sir.”