Kalimat Issue 02, Summer 2011 by Kalimat Magazine

Volume I • Issue 02 • Summer 2011

“Just Like Us”: bridging cultures or prolonging the question of Arabs’ cultural isolation? Page 40.

Current Affairs From Tunis, Zahra Fadhlaoui investigates what it’s like to be HIV/AIDS positive in Tunisia. Page 22.

Culture Amman correspondent Rawan Risheq takes us on a visual tour of Jordan. Page 42.

New Media New for our second issue, “Ashyaa2/Things”. So you’ll never run out of gift ideas. Page 108.

Kifak Inta? witter: @kalimatkalimat acebook.com/kalimatmagazine flickr.com/kalimat

Art + Design Fashionable modest wears? Elenany alters misconceptions. Page 78.

info@kalimatmagazine.com

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EDITOR’S LETTER

It’s crazy to think we’re at our second issue already (despite our launch issue being slightly on “Arab time”!). The first question I’m usually asked now is “how is Kalimat?” and “how has the reception been?”. To answer both, I say “Fantastic! People are head over heels for it (or something like that).” Since the issue launched in late April, we’ve had interviews with the soon-to-be-launched Framed Magazine from Australia, on one of my most frequented sites PSFK, a mention by Brain Pickings, as well as on TBWA’s site (as a former employee of the ad agency this is a big honour). The interest and reactions so far have been truly inspiring and continue to drive me. Like our last issue, this one is packed with content and features some new and returning contributors. What’s new for the Summer issue? Not one, but two fashion spreads that prove that nice clothes can be modest, discussions and reportages on issues such as sustainability in construction within the Arab region, the health and sanitation between the Libya-Tunisia border and an interview with two wedding planners in Dubai. Also, new are additions like “Ashyaa2/Things”, a compilation of cool stuff, and “The Book Club” where we asked four Kalimat contributors in different fields for a list of books that have inspired them in their careers.

With all this being said, there’s always the third question, “where can I pick up a copy?” My answer, “we’re working on it!” All that’s needed is the generous support of our readers who find happiness in our pages. We want to see Kalimat peek over other publications on the shelves and to picture people reading it and holding it under their arms! A big thanks to the entire team of people that helped with this issue and to all those that took the time to read through our first.

Danah Abdulla danah@kalimatmagazine.com

But wait...there’s more! Last month, we launched Itfarajoo, our video channel, and more recently, the Kalimat Shop, where you can find gear that truly sticks to our design (including stationery). We’re working on a few other interactive projects so stay tuned!

K A L I M AT

DOSSIER

STAFF DANAH ABDULLA

JOSEPH MAALOUF

CREATIVE DIRECTOR+EDITOR

DESIGN INTERN

Danah Abdulla is the Founder, Creative Director and Editor of Kalimat Magazine. She is passionate about education in design, journalism and media alongside the creative industry in the Arab region. Danah completed her BA in Communications at the University of Ottawa in Ottawa, Canada and is a Master of Arts candidate in Social Design at the Maryland Institute College of Art (MICA).She has experience in marketing and advertising where she has worked for companies like Matchstick, DDB and Isobar and is also a freelance writer. Her works have appeared in The Washington Report on MiddleEast Affairs, blogTO, Heeba and FEN Magazine. With one foot in the East and another in the West, her goal is to make you rethink the way you know Arabs.

Joseph is a Lebanese Graphic Designer based in Beirut where he currently works as an independent freelancer. He received his Bachelor Degree in Graphic Design from the American University of Science & Technology, Lebanon, an affiliate to the State University of New York, USA. Joseph is driven and focused on every project he pursues in an effort to make it as personal and unique as possible using a minimalist style that emphasizes both the design process and conceptual thinking.

Twitter: @zoozel

Twitter: @theyuppie Web: www.danahabdulla.com

----------------------------- ------------------------------NAIRA BADAWI INTERN Naira (ni-air-uh) n. 1. A 21 year old music snob who hails from the coastal city of Alexandria, Egypt. Born in Alexandria, she’s the textbook definition of a Leo. Globetrotting between Alexandria, Manchester, Little Rock, Charlottetown, Omaha, Philadelphia, and Toronto, is what made her the self-proclaimed nerd she is now. Nothing excites her more than politics, philosophy, poetry, good tunes and good food. Despite her love for political science and philosophy, studying said subjects at the University of Toronto is the absolute bane of her existence. In her spare time she reads, drinks pretentious teas and plays with her cat, Abaza.

2. Nigerian currency.

KARIM SULTAN EDITOR Karim Sultan is a Toronto-based electronic music producer, oud player, and writer. Born to a mixed household (Syrian-Arab and Indian) that moved and spread from country to country (Egypt, Canada, the Gulf, etc.), he found his home in the variety of music and literature he adopted when left to his own devices. While studying the basics of Western (composition and theory) and Arab (oud technique and the maqam—pl. maqamaat—the Arabic tonal system) art music, he is largely self-taught, inspired most of all by the chaotic structures of the world’s major cities and what Mahmoud Darwish, Said, and others call exile. Currently he is working at attempts to adopt a cosmopolitan approach to produce music based on encounters with electronic music and sound design and an understanding of composition and improvisation found in Arab art and popular music.

------------------------------- Twitter: @karimsultan Web: www.soundcloud.com/gazelemusic LAMA HANNOUN ------------------------------INTERN Lama Hannoun is a 21 year old from Jordan who was born and raised in the United Arab Emirates. She recently completed her Bachelor degree in Mass Communication and Advertising from the American University of Sharjah. Lama is all about accuracy, honesty and respect, values she feels leads to success. She is passionate about being part of the media industry due to the creativity a fast paced environment fuels. Lama loves reading all types of magazines whether it’s fashion and beauty or architecture, relaxing at the beach and spending time with her family.

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CONTRIBUTORS ALI SULEIMAN Ali is a recent graduate from the University of Waterloo’s Civil Engineering (surprised?) program, in Ontario, Canada. He is of Palestinian and Turkish origin, and is fluent in Arabic and Turkish. Ali has worked in project management and construction in Canada, Turkey, Jordan, and Saudi Arabia. Currently, Ali is the director of Media and Public Relations for the Toronto Area Interfaith Council and was Project Coordinator of the University of Waterloo Sustainability Project from ‘07 to ‘10. His passion for entrepreneurship extended as far as fashion: in ‘09 he organized R4 Fashion, an eco-fashion show in Toronto. He has also provided workshops on sustainable business practices for the Youth Employment Services, and is an avid supporter of green design and development. His interests include historical research, film studies, windsurfing, and theatre. Ali is glad to be a contributor to Kalimat (and we are glad to have him on board too!), and hopes to provide comprehensive pieces that stimulate the minds of readers. He likes comments, suggestions, and criticism, so feel free to contact him whenever you wish: a.suleiman@gmail.com.

-------------------SUNDUS BALATA

Sundus is completing her Masters in Political Science at McMaster University where she is specializing in Comparitive Politics and International Relations. Her research interests focus on national identity, revolutions and the political processes that emerge. She is specifically interested in how political communities come to forge nations with a particular emphasis on the Middle Eastern Region. She has just returned from a humanitarian mission to Egypt, witnessing the unprecedented scenes from liberation square during news of Mubarak’s resignation. Twitter: @suuus23

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HEBA KANDIL

NOORA SHARRAB

Heba is an eccentric maker who enjoys producing works with strong commentaries and playing on the conventional notions of adornment. Currently studying at the Ontario College of Arts and Design (OCAD), her major is Jewellery and Metalsmithing. Greatly enjoying the process and evolution of refining her skill in precious metals, conveying meanings through three-dimensional forms seems to create the most conceptual and technical depth. In contrast, the ability to communicate via the written word is a powerful medium that she wishes to visit more frequently. Portfolio: www.hebakandil.ca

Noora is an MA graduate from York University’s Department of Political Science in Toronto, Canada. Her thesis focused on Palestinian Refugee Camps in Jordan, whereby she conducted her field research in both ‘48 and ‘67 refugee camps. Noora has actively engaged with Sudanese refugees in Egypt, where she taught them English through a collaborated Student Action Program through the American University in Cairo. She currently resides in Amman, Jordan where she recently completed an internship with UNESCO-Iraq and works with an organisation towards providing scholarships for mature Palestinian Women living in refugee camps in the Middle East. Her focus is on identity politics, refugee and forced migration, and education with particular focus on the Middle East. She is the author of: “Intergenerational Differences of Identity: Questioning the Palestinian ‘Other’ and the Romantic Rawan is a young Nostalgia of a ‘Palestine’ in the Hashemite Palestinian woman who has Kingdom of Jordan.” Twitter: @noora888 spent the first half of her Blog: consciousactivist.blogspot.com

-------------------RAWAN RISHEQ

life in Jordan, and the second half in Canada. She graduated from the University of Toronto with a double major in Political Science and Middle Eastern Civilizations. She has since traveled to Indonesia and Palestine where she volunteered and documented and has now settled on development work with an NGO as part of Queen Rania’s education initiatives. Independently, Rawan has started her own campaign, “Message In A Bottle”, to raise awareness of the water crisis in Gaza and collaborate with purification companies in an attempt to alleviate the dire need for clean drinking water. She is in a constant state of expression through her creative writing, photography, painting, and music, and believes in the power of art to heal and communicate across the world. Twitter: @Soul_RRebel

-------------------MARIAM NADER

Born in Toronto, and of Lebanese descent, Mariam Nader recently completed her Bachelor of Fine Arts at the Ontario College of Arts and Design in Toronto where she specialised in curatorial practices, art theory and criticism. Currently working as a freelance curator, Mariam is interested in all spheres of contemporary art production, within Toronto and internationally.

-------------------ALEX KINIAS

Alexandra was born and raised in Egypt during a time where careers were not a personal choice but rather the result of parental guidance and the educational system. Following in her father’s footsteps, she graduated from Alexandria University as a Mechanical Engineer and pursued a career overseas with a corporation that built power distribution plants in Antigua and Barbuda. In ‘97, she moved to America and decided to pursue her ultimate passion: writing. She studied screenwriting and wrote her first script, Lonely Hearts. The screenplay, which was written in Arabic, was sold to an Egyptian production company. She is also the author of Cleopatra’s Sisters, a collection of short stories about women in Egypt, and several political thrillers and drama screenplays. Alexandra is a member of Scottsdale Society of Women Writers and currently lives between America and Egypt as she works on her first fiction novel that takes place between the two countries.

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K A L I M AT

DOSSIER

CONTRIBUTORS ANGIE BALATA

LAMYA HUSSAIN

Angie Balata moved to Egypt promptly after graduating from the University of Toronto. She followed the ‘moral’ path, dedicating her life to human rights and put her mind towards pursuing a Master of Arts. It took a revolution to realise that any change and any event began on the streets. She’s an activist and a tweeter, a writer and a trouble-seeker, and still trying to figure out the ‘everything in between’.

Lamya Hussain is a Toronto-based activist, writer and researcher on issues around Palestinian refugees. Lamya holds a Masters in Environmental Studies. Her research combines Refugee Law and Development Studies. She is currently engaged in development projects across refugee camps in the West Bank and Lebanon. Her research and field work has inspired her interest in launching projects across refugee camps that help build livelihoods for displaced communities such as the development of sustainable “green” projects that can help improve living conditions and health standards amongst refugees. In working closely with PalestinKhalid Albaih is a Romanian ians in the Levant, she mapped out a unique born Sudanese political pilot project that helps empower them and cartoonist based in Doha, simultaneously endorses their rights as refuQatar. Due to his father’s gees, a soon-to-be launched project she is diplomatic status followed currently fundraising and building networks by political exile, he lived in for. Twitter: @ilamzzone

-------------------KHALID ALBAIH

the Diaspora most of his life, surrounded by politics and conspiracy “theories”. Currently working in the Museum of Islamic Art in Qatar, Khalid considers himself a virtual revolutionist, publishing his political cartoons about life in the Arab and Muslim world on various blogs and websites. Twitter: @khalidalbaih Web: flickr.com/khalidalbaih

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-------------------NERMIN MOUFTI

Nermin graduated in 2006 from the American University of Sharjah (UAE) with a BSc in Visual Communications Design. Since then, she has been shuttling between Dubai, Toronto and New York City working as a graphic designer. A corporate brand designer by day and an experimental graphic artist by night, Nermin has developed a wealth of experience in the branding and design fields. Having been part of a Western conglomerate with predominantly Middle Eastern projects, her worldly experiences have shown her the importance and need for greater multilingual and cultural sensitivity and understanding. This has led to various self initiated projects and collaborations, which aim to encourage the unmitigated communication between the Middle Eastern world and the West. She currently works and lives in Toronto, where she is pursuing an Interdisciplinary Masters in Arts, Media and Design at OCAD University. Twitter: @nmoufti Web: nerminmoufti.com

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NASSRA AL BUAINAIN Nassra is an Emirati artist, graphic designer, photographer and writer. With a Bachelor in Communication and Media, Nassra has a variety of experience under her belt. Her interest in art dates back to childhood when she was fascinated with colouring books and attempted to draw cartoon characters. This evolved into the challenge of drawing portraits with pencil and her current experimentation with acrylic painting inspired by silk screening. Nassra has experience in advertising, having interned at Young and Rubicam and she currently works as a graphic designer in a governmental entity in Abu Dhabi. Her poetry and writing has been published in a book published by her university and in a student magazine.

-------------------MARWA SIAM

Originally Egyptian but born in Saudi Arabia, Marwa Siam-Abdou spent the first eight years of her life in the Middle East before her family relocated to Montreal, Quebec and finally settled in Toronto. She is currently pursuing a Bachelor in Journalism at Ryerson University in Toronto, one that she started after happily dropping out of the ever boring and traditional Engineering degree. To Marwa, journalism is the new politics, and potentially the only positive political tool left. She believes that “change stems from challenge” and journalism is something that challenges her motivation every day. Twitter: @MarwaSiamAbdou

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CONTRIBUTORS SARAH ELENANY Sarah Elenany is a 27 year old designer of Palestinian and Egyptian origin living in London. Her inclusive fashion label, Elenany, celebrates the sentiment of Islamic Art and Culture and captures this spirit in graphics which is then presented in clothing of aptly strong silhouettes, relevance and character. Coming from a product design background, with a “design for need” philosophy, Sarah started the label to provide stylish modest clothing that Muslims could wear. Since her aesthetic is typically British, her clothes also appeal to ordinary British people. She also produces textile-based prototypes for design companies in the UK. Twitter: @ELENANYcloth-

ZAHRA FADHLAOUI Zahra is a currently completing her undergraduate studies at the University of Toronto, majoring in Religion and English with a minor in Political Science. Growing up Su-Shi, she learned to break rules and defy cultural norms. Thanks to Judith Butler and Tony Kushner she has learned to embrace her multiple selves and identifies herself as TunisianCanadian humanist, pragmatist and sometimes Buddhist. She dreams of someday attending a Sufi retreat, going star gazing in Tekapo, New Zealand and mastering the art of Acro-Yoga. In the meantime, she is working towards raising HIV/AIDS awareness in Tunisia. Twitter: @VenusVoyager35

--------------------------------------HISHAM BASHAR OMARA ALAEDDIN ing Web: www.elenany.co.uk

Bashar is a Levantine mix of Jordanian, Lebanese and Palestinian origins and currently resides in Jordan. He’s digital photographer, a motion designer, a social activist and iPhone-obsessed. His two major passions in life are the visual arts and attempting to shed light on social affairs and causes in the Middle-Eastern region through his photography and videos. Bashar is a techgeek when it comes to cameras and optics. He reads a lot about philosophy, geography and the science of human emotions towards imagery. He loves food, is an Aquarius and quit drinking coffee seven years ago. Twitter: @BAlaeddin Web: www.balaeddin.com

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Hisham Omara completed his undergraduate studies at the University of Waterloo and is currently pursuing his PhD in Electrical Engineering at the University of Manchester. Currently, he is an executive at the University of Manchester Students Union. Hisham has experience working as a consultant for various engineering and management firms.

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SHEYMA BUALI With a background in TV Production, Sheyma Buali’s work and writing covers various areas of media and culture from the Arab world. Her writing and photography has been published in a number of journals in Europe and the Middle East. Sheyma is also independently researching visual representation and the media of spaces in her native Bahrain which continues to produce written, visual and interactive-media pieces. Twitter: @sheymab Blog: humanette.blogspot.com

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HIGHLIGHTS

Sustainable Priorities Ali Suleiman

...as the revolution continues: a Photo Essay - Angie Balata

A Space Journey, discussing science with Dr. Mehdi Benna Zahra Fadhlaoui

One and Three Light-Bulbs Mariam Nader

In the streets of Philadelphia Danah Abdulla

And we ate Mansaf! Bashar Alaeddin

The Book Club

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CURRENT AFFAIRS

CULTURE

ART & DESIGN

NEW MEDIA

104

Tahrir: Apparatus for Revolution Heba Kandil

Holding onto an Oasis ahead Noora Sharrab

Fashion, Muslims and Irony Sarah Elenany

Jaipur Collection

104

Isma3oo No. 2 - Kalimat's Musical Feature

106 108

Worth a Browse

Ashyaa2/Things

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DOSSIER

NEW MEDIA EXTRAS:

KALIMATMAGAZINE.COM Make sure to visit “New Media Extras” at kalimatmagazine.com for interactive components of articles in this issue. DOWNLOAD: This issue's Isma3oo No.2 mix. Page 104.

WATCH: Pay a visit our video channel "Itfarajoo".

SHOP: Kalimat gear that sticks true to our design. Available at our online shop. Page 112.

CORRECTION FROM ISSUE 1: Kalimat Magazine would like to apologise for the following error in our Spring 2011 issue: in Ali Suleiman’s article “Lessons from the Recent Events in the Arab World”, “(...) first crusade on the vatican square by Pope Urban II in 1095”, should read that it was summoned at the Council of Clermont of the same year. CONTACT US: Have something to say? Maybe some feedback, suggestions or you would like to feature your work or contribute to Kalimat? Send us an email to info@kalimatmagazine.com.

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N A C U O Y ? T A H W Y SA ? E R E H E S I ADVERT

. N A C U O Y S E Y . . . S E Y

GET IN TOUCH FOR OUR RATES www.kalimatmagazine.com info@kalimatmagazine.com

T U N I S I A Ex-Tunisian president Zine El Abidine Ben Ali and his wife Leila have been tried (inÂ absentia)Â and found guilty of enormous pocketing of profits in business deals during his reign. However, this failed to placate many who took part in the revolution as the autocrat continues to reside in Saudi Arabia, which refuses to respond to extradition requests. The trial highlighted the corruption of the regime, but did not cover the countless abuses of its citizens over Ben Ali's reign

E G Y P T World Bank and USAID

rejected for being out of the range new government after the 18-day began on Jan 25, yet an econom offered by Saudi Arabia was acce possibly signalling a change in the management in the coming era.Te the Military High Command, the i which took power after the steppin ex-president Hosni Mubarak, and and movements that took part in o revolution are still high.

TUNISIA

MOROCCO

ALGERIA

L I B YA

WESTERN SHARAH

MAURITA N I A

L I B Y A The rebellion against long standing autocrat Colonel Gaddafi quickly developed into civil war that prompted NATO military intervention. However, due to the increasing number of civilian deaths no certain end in sight, has led to representatives of the Arab League and Italian government (originally two supporters of the intervention) to call for the end. The French government, on the other hand, has pressed for an increase in attacks to force the old regime out.

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S U D A N Becoming two

of July 9th after a decade increases in transitional d North and South over res Sudan's primary precious from the South and proce

S Y R I A A series of uprisings throughout the country have, according to opposition sources, claimed the lives of over 1,000 protesters and 200 government forces, and arrests number over 10,000. President Bashar al-Assad has announced amnesty for those involved, but sources show otherwise. The EU has repeatedly made statements critical of the regime and relations with Turkey, a long-standing ally and economic partner, have deteriorated significantly.

D loans were e of interests of the revolution that mic stimulus loan epted instead, e region's political ensions between interim government ng-down of the social groups or formed in the

B A H R A I N In a swift counter-attack against anti-governments activists, the Bahraini monarchy, with the aid of other GCC states such as Saudi Arabia and the United Arab Emirates, quickly put down most opposition. Many prominent activists have received sentences upwards of life imprisonment, setting a darker tone for the original hopeful amongst the reformers of this regime where sectarian friction has always been a reality.

SYRIA LEBANON

IRAQ

PA L E S T I N E

JORDAN

GYPT

K U WA I T

BAHRAIN

SAUDI ARABIA

Q ATA R

UNITED ARAB E M I R AT E S

OMAN

YEMEN

UDAN DJIBOUTI

SOMALIA

o separate countries as es-long civil war, friction discussions between the source disputes. Oil, s resource, is sourced essed in the North.

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CURRENT AFFAIRS

SUSTAINABLE PRIORITIES

by ALI SULEIMAN

AN URBAN SPECIE

o more are bedouins and desert landscapes the posters of the Arab world. Save a few, the world has been reintroduced to a new picture: More than half of the Arab population now live in electrified cities, growing economies, and a new generation urban areas, with the figure likely to increase. In addition pushing for change. to a booming real estate sector, this trend is calling for new commercial buildings and large-scale complexes. And This transformation is also visible on the social that’s the problem: buildings consume between 30%-40% level, thanks to the influx of Western pop-culture, with of a city’s total energy demand, placing a serious strain on new music, fashion, and other forms of arts readily avail- infrastructure and electricity generation. Not to mention able. Surprisingly, even the ‘green’ buzz has penetrated they also produce the highest amounts of green house with growing attention to sustainable design and develop- gases. The call for sustainable buildings design is imperament; frankly, Arab environmentalism was the last thing tive now more than ever, especially in a region struck with I anticipated. poverty and limited resources. Building owners and the general public are becoming increasingly aware of rising “Sustainability” has become a loose term used energy costs and energy-related environmental issues. at free will, so it helps to define it prior to moving on. The United Nations (UN) puts it perfectly: “Development Environmental concerns may not be on the prithat meets the needs of the present without compromising ority list for many Arab governments as they have more the ability of future generations to meet their own needs.” important matters to deal with at the moment, however, This “development” encompasses all areas of life: urban the economic factor is an excellent platform to propagate planning, transportation, energy, agriculture, construc- green building practices. Sustainable buildings provide tion, and many more. Yet one field surprisingly stands energy and water efficient dwellings that would reduce out for its unique significance and influence: sustainable overall operation and maintenance costs. In addition, they buildings design. ensure environmentally friendly construction practices, local material sourcing, minimal land-development impact, and a healthy indoor environment. All of these are advocated through the Leadership in Energy & Environmental Wadi Rum - Oppenheim Architecture + Design Design (LEED) rating system by the US Green Building Council (USGBC), a voluntary ‘green building’ certification program. Buildings meeting a set of environmental performance standards earn points towards certification, often with government tax-credit incentives.

King Abdullah Financial District

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Abu Dhabi Urban Planning Council has launched Estidama (Arabic for “sustainability”), to meet its 2030 growth master plan. A key component is the Pearl Rating System (PRS), a remodeling of LEED to adapt to a different cultural, economic, and political landscape. Similarly, there are also the Jordan Green Building Council (GBC) and the Lebanon GBC, each serving similar goals in their respective countries, an excellent first step, but still not enough. LEED-like systems award points based on computer energy simulations, not measured performance. It has been found that many LEED certified projects actually perform worse than planned, and sometimes do not save energy at all, as concluded by John H. Scofield in the journal Energy and Buildings. However, this doesn’t translate them as obsolete. There are LEED-certified buildings that do save energy, because they are implemented correctly and not solely for the sake of achieving certification. Numerous projects in the region have actually helped reduce energy and water consumptions of existing buildings in the region through auditing and sequential corrective actions, not necessarily garnering a ‘green’ certification.

Targeting water efficiency is as easy as low-flow faucet installations, or grey water recycling for nonpotable use such as toilet flushing.

Wadi Rum - Oppenheim Architecture + Design

Charles Hostler Student Center American University of Beirut, Office of Communications

NOT SO GREEN PROJECTS Those attempting LEED certified projects often bite more than they can chew, case in point: the current trigger-happy constructions in Saudi Arabia and the United Arab Emirates (UAE). The King Abdullah Financial District is a new development in Riyadh, which will add 16 office towers to the market over the next year, with 20-30 more to follow, yet according to The Daily Star1, the average occupancy of such high rise office buildings in Saudi Arabia is 20%30%, and given the recent financial crisis in the UAE we can predict similar numbers there as well. It seems that developers have forgotten ‘chapter one’ of any economics text-book: supply and demand. Why are useless buildings being built when they are clearly not required? Furthermore, why are they being falsely labeled ‘green’? Most of these towers are designed with very large floor-to-ceiling window areas, resulting in extremely high cooling loads (due to high solar heat gain), in addition to excess ventilation, mechanical, and water supply operation cost. Examples of such frivolous projects are in abundance. The new Kingdom Tower to be built in Jeddah will be the tallest in the world, surpassing the newly constructed Burj Khalifa of Dubai by over 200 meters. Developers claim the “...skyscraper will be sustainable, with a low environmental impact”, despite the fact that a new city will be constructed (8.9-square-mile) around it, posing a serious impact on the land and adjacent sea. The architects hope to implement photovoltaic cell (PVC) panels and wind turbines, but this is neither feasible nor sufficient to meet the energy demand for a building of such size; as a benchmark, Burj Khalifa’s peak electrical demand is 36 megawatts2 (higher than Somalia’s hourly power consumption!). Better yet, Jordan’s Wadi Rum will be home to a luxury resort by 2014: 47 lodges carved into the sandstone cliffs providing a “future primitive experience”3, an oxymoron at best. Architects Oppenheim claim the design is ecologically sensitive, but released images of the proposal seriously question if an environmental assessment has been executed. How and from where is water being diverted/ transported (especially in a desert) to fill swimming pools? Sewage drainage, water supply, and other obstacles hardly render this project as sustainable because the long-term maintenance and operation of such a facility is in jeopardy.

implementing natural lighting, and recycling grey water for non-potable use. A missing element from this movement is additional government involvement: so far, the majority of the projects are being undertaken by private bodies. The United Nations Development Program (UNDP) states that 18.2% of the region’s residents live under national poverty lines4. With rising food and energy prices, what better way to alleviate the strain on the populace by government-sponsored programs that help people reduce their household energy and water bills?

FEAR NOT, THERE IS HOPE

This can be achieved by simple initiatives that are relatively inexpensive to implement. The tools/equipLooking at Lebanon and Jordan, there’s a movement in ment can either be donated to the populace or offered at the right direction that I would like to call “localised a discounted price from the governments. Three major public projects”. It implies constructing or transforming energy uses should be targeted: buildings into truly sustainable structures for public use. One prime example is the Charles Hostler Student Center 1. Space heating/cooling: Window glazing at the American University of Beirut (AUB). It signifi- or film-coatings, higher resistive insulation materials, or cantly decreases its energy and water consumption by ex- more efficient heating/cooling equipment. ploiting deep-sea water-cooling from the Mediterranean, 2. Water heating: Drain Water Heat Recovery 1 http://bit.ly/lL90e6

2 http://bit.ly/ieOMFj 3 http://bit.ly/lNT0rM

4 http://bit.ly/hPs6ds

Desrtec Map

systems or solar thermal panels (currently implemented in the region). 3. Lighting: employing efficient light bulbs or natural lighting reduces power consumption, as less electricity is drawn for the same luminance output. As a bonus, cooling loads will consequently drop dramatically given a lower heat gain from lighting sources. These three key areas jointly constitute between 40% to 60% of a residential unit’s total energy consumption, with space heating/cooling making up the largest share. Commercial buildings have a similar breakdown, with water heating replaced by miscellaneous electrical operations as a key energy use. Such strategies can provide over 20% in energy savings, if implemented correctly. Targeting water efficiency is as easy as low-flow faucet installations, or grey water recycling for non-potable use such as toilet flushing. These simple techniques can provide savings of 15% to 20% in water use. Overall, such programs are affordable with appealing return on investment rates. As such, household members can divert their savings towards food, education, or other areas they currently are impeded from. With the current revolts calling for action against rising living costs, such an initiative is more than urgent. Application of such policies to government buildings are already occurring. For example, the Ministry of Finance of Jordan will implement such systems to the Jordan Customs department building for an overall 21% savings in energy and water. This roughly translates to over 40,000 JD (56,000 USD) in annual savings5. This program can be extended to offer incentives for contractors and developers to implement such technologies through tax-credits. Though we have to admit, this is quite the challenge when bureaucracy is disorganised and saturated with corruption.

INVESTING IN RENEWABLE ENERGY Challenging as it may be, such an approach towards 5 http://bit.ly/kG3ml1

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sustainable buildings design is very beneficial, greater so than investing in extravagant towers or other aesthetic developments. Focus on sustainability shouldn’t end there. Having reduced demand is the first step, but embracing renewable energy sources and appropriate infrastructure is the real goal. Luckily, in a place where the sun is a rich resource, there are many projects being planned towards harnessing solar energy, as confirmed by the latest North Africa and Middle East Solar Conference and Expo (MENASOL) that took place on May 4-5. Governments and private investors are flocking to the region to exploit the opportunities. MEDGRID and DESERTEC are two future projects that seek to supply Europe with solar power from North African and east Mediterranean countries. Sources say only 25%6 of the total produced energy (around 20 gigawatts) will be exported to Europe, with the remaining share available for each host nation. The worrisome part is that power production will be under the control of private corporations, and the 25% share will most likely increase. The result is once again exploitation of resources by foreign corporations, leaving host governments with little clean energy and relying on conventional coal or oil burning to meet growing demand. If host governments seek increased security, contracts should stipulate that investments from these projects will also target necessary local infrastructure for distribution of clean energy to the native population. Private PVC panels atop residential units is another appealing option, integrated with a Power Purchase Agreement system to make it more affordable for home owners. So things aren’t too gloomy, and there is hope. One thing is certain: sustainable development should aim to better the socio-economics of the masses in the Arab world through local public projects. The rewards are endless, including the upward mobility of the economy and enhanced quality of living. Pushing this agenda through economics is easy, but to get the region to sincerely care about the environment is probably a whole different story.

6 http://bloom.bg/hTvKhL

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MONTHLY NEWSLETTER AND COMMUNIQUÉS

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...AS THE REVOLUTION CONTINUES

text and photos ANGIE BALATA

Revolutions are not easy, especially in countries with big populations and even bigger problems. In 18 days, Egyptians brought down a ruthless regime and took the first step towards rewriting their futures. The process is in no way complete, and it will likely be a long time before Egyptians can wake up and feel like they are finally ‘there’. The process so far has been complex and new problems have been created. We still wake up every day not knowing what will happen or where we are going. But we trudge on and we fight, because we must—the martyrs have not made it our responsibility to their memories. A graffito on one of the bridges in Cairo. The artist lays a word map of the characteristics that is to symbolize the new revolutionary Egypt. From top left to bottom left, the words read: trustworthiness, trust, dignity, respect, kinship, responsibility, equality, forgiveness, peace and freedom

Khaled Said: He died on 6 June 2010, a victim of police brutality. His story galvanized a nation precisely because he was a regular person who was not an activist and had done nothing wrong. His disfigured face and broken body, the result of being tortured to death, became the symbol of a generation that had become fed up. On 6 June 2011, activists gathered in Cairo and other cities in Egypt to commemorate Said’s death and to remind the State that justice has not been achieved for him and others victimised by the State. The graffiti shows Said’s face and under verses from the late Amal Donqol’s poem La Tosaleh (“Do Not Reconcile”). The lines read: “Will my blood, through your eyes, become water? Will you forget my blood-stained robe?” 18

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27 May 2011: Activists called for another large return to Tahrir Square. Some called for the second revolution of anger, while many others called for a reminder and reaffirmation that the revolution has not stopped and many of the demands of 25 January have still not been met. As with every gathering in Tahrir Square, we begin with Friday prayers.

13 May 2011: Two days before the 15 May commemoration of the Nakba, Egyptian take to Tahrir Square in an effort to send out the message that contrary to the unpopular foreign policies of the Egyptian regime, the injustices taking place in other countries are not to be supported. Flags of Palestine, Libya, Egypt, and Tunisia flooded the square.

Friendships maintained: During the 18 days, people from all over the country gathered in Tahrir Square demanding freedom and the end of the regime. New friendships were formed between people from all walks of life. Some, like this group, have maintained that bond and gather every Friday to chat, to argue politics, to exchange stories and, sometimes, to sing.

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Remembering our martyrs and affirming national unity: one of the major highlights of the graffiti explosion taking place in Cairo are the murals dedicated to remembering those who lost their lived during the 18 days and religious symbols affirming the unity between Christians and Muslims.

A Martyr: Tarek Abdel Latif, 36 years old., Engineer

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Part of the graffiti explosion that has taken over Cairo and other cities in Egypt, this graffito is a political statement on the current state of affairs. The words read: their weapon (under the gun) and our weapon (under the camera). 27 May 2011: One of the posters of many similar political statements depicting the need to try key criminals. Sign reads: (on top, taken from one of Qaddafi’s speeches in an effort of political satire) Rats, rats...we shall hunt them…from home to home…from house to house…from alleyway to alleyway. The individuals depicted (from L-R): Bashar al Assad, Muammar Qaddafi, Ali Saleh, Gamal Mubarak and Hosni Mubarak.

13 May 2011: One of the many posters that were commonly found in Tahrir Square emphasising the religious unity of Egyptians. The demonstrations in support of national unity come a week after the burning of churches in the Cairo suburb of Imbaba. Sign reads: “Unity and Coalition…Egypt First…Egypt is my mother”

Hosni, the villain: an example of the plethora of propaganda and movie-like posters that have been produced since the start of the revolution casting Mubarak as the villain in the ongoing Egyptian drama. Poster reads: “No to amnesty…the blood of martyrs shall not be forgotten...the people demand the trial of the president” K A L I M AT

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LIVING WITH AIDS by ZAHRA FADHLAOUI

he first AIDS support centre was established in 1990 in the coastal city of Sfax. Since then, 10 others have opened all over the country to educate infected and non-infected citizens alike. The centres are a place for victims to get their treatment, psychological support, group counselling and progress reports. It is also a place to interact with other AIDS victims and get more involved in activities that endorse prevention. For nonvictims, the centre offers educational programs and training on how to spread the message of using protection to authorise safe sex. Funded by the United Nations Population Fund (UNFPA), the UNFPA provides the centre with handbooks, lectures and new media materials that illustrate the methods that need to be utilised when educating other peers.

The Soussa-Section, which was the fifth established centre in Tunisia, currently treats thirty patients and serves as a community centre every Friday, hosting talks and information sessions for the public. When asked about the education of the people before going into the centre, representative Olfa Lazreg says, “how much they know and what they know is correlated with the region’s financial conditions. The lower class and impoverished cities have little or no education about safe sex and the use of protection.” This correlation is a result of limited education and availability of local schools. Soussa-Section has tried to reach the public via modern means to endorse AIDS Awareness. Aside from handing out brochures and hosting public events to raise money and awareness, they have partnered up with “Dance for Life”. “Dance for Life is an organisation that spreads the message in local schools by putting on dance performances while chanting out AIDS related verses such as “HIV and AIDS we can beat it, take responsibility, I can, you can, together we can all beat it!” This approach at educating was later abolished after school principals complained about its distracting appeal. Since then, Soussa -Section has focused primarily on theatre performances and the sharing of real stories over local radio stations.

Photo by Nabil Chemli

Since the awareness ads have spread across Tunisia, the number of HIV/AIDS cases has dropped from 70 new cases a year to 64. These numbers are attributed to the successful spread of messages contributed by the social networking efforts of the AIDS centres in Tunisia. Although the public has taken secure measures to ensure their own safety, those who contract the disease are still shunned by the majority. Assumptions are made regarding who picks up the virus and why.

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Many AIDS infected victims are disowned and betrayed by family members and friends; for this reason the AIDS Centre in Tunisia provides psychological therapy and income support to those who struggle on their own. Psychologists also work towards aiding them in emotional distress and depression that occurs throughout. Lazreg comments that, “all patients eventually accept their fate and are conscious of their limited time. We try to give them hope by keeping them busy and active in life.” The AIDS Centre organises outings and events to get victims and non-victims engaging in social activities. Lazreg says “it’s been hard trying to get everybody to understand and accept victims of AIDS, there are still some that say they should all be gathered in a cage and killed because they will infect the rest of us and this is why we have centres like this, in order to educate people and change their mentality.” The Sousse-Section,

since the awareness ads have spread across Tunisia, the number of HIV/AIDS cases has dropped from 70 new cases a year to 64 unlike several other sections in Tunisia, does not get any funding but relies on donations and fundraising to continue their mission. They hope in years to come they will have more services to offer to their patients and more productive means to educate the populace in hopes that many will willingly change their perspectives towards AIDS infected victims.

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MULTICULTURALISMREALITY OR ILLUSION? an opinion piece by HISHAM OMARA

ECLARED FAILED AND DEAD, the idea of multiculturalism has come under siege and faces intense scrutiny from those who declare it a threat to social unity and national identity in Western Europe. ”Multiculturalists...have opened a new front in their assault on rationality”. - Aleksandr Solzhenitsyn (Literature Nobel laureate) Many claim that politicians have been persuading us for years that the mixing of cultures results in their mutual “enrichment”. Yet, there has been a change in tone where politicians have been questioning multiculturalism and urging more stringent assimilation policies. “We thought they would not stay. Now we have tried living side-by-side and tried to build a multicultural society. It has utterly failed.” - Angel Merkel during a recent Christian Democratic Party Youth Conference. The turn against multiculturalism in Europe is evident in both policy and rhetoric. Of course, multiculturalism, since its adoption as a social and political ideology, has been controversial; its opponents have articulated varied views as to why it is flawed. However, the rise of islamopobia since September 2001 and its association with national identity in the wider context of the European Union has amalgamated to make the argument powerful. Ironically, even the United Kingdom, quintessentially a union of four nations (England, Northern Ireland, Scotland and Wales), a state founded on multiculturalism, hasn’t escaped this anxiety. “Conform to it; or don’t come here.” – Tony Blair As a Canadian, who has worked and studied in Europe, I was astonished at the level of scare mongering and demonization of ethnic minorities that has engulfed this continent. This is further exacerbated by this notion of social delineation whereby citizens are divided in arbitrary categories of host and guest communities and are lambasted for being different. Whereby, everyone is required to conform to this ‘never defined’ national identity. The social conscious is programmed to label some people as the ‘other’, where they become our negative mirror conveniently utilised to justify and explain suspicions. This surprisingly, as Tariq Ramadan states, ‘can only lead to half-hearted, fearful and dormant conflicts rather than a confident celebration of our riches.’ By contrast, multiculturalism has not come under the same level of criticism in Canada. Recently, Naheed Nenshi, a Harvard-educated Muslim of Indian descent, was elected as the mayor of Calgary, Canada’s conservative bastion. His victory is one of many examples of Canada’s commitment to multiculturalism that has encouraged immigrants to preserve their ethnic roots while embracing their Canadian identity. The last two Governors General of Canada were born in Hong Kong and Haiti respectively. In Canada, well-integrated immigrants at the pinnacle of success in public or private life are increasingly and refreshingly commonplace. Canada has been described by some as the most successful example of pluralism in human history and for good reason. Canada as a nation has dynamically encouraged multiculturalism through its laws and policies, and propagated it through its social fabric for decades. Understandably European history and geography, is different from that of Canada. Unlike Europe, Canada is founded on

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three nations, and two languages. But the difference truly lies in perception. Canadian views itself as a nation built by immigration; however Europe does not view multiple ethnicities as fundamental traits of its identity. Europe needs to recognise that a successful policy of multiculturalism or like the Germans call “multikulti” needs to be more than just fancy words. For the policies to truly take root and thrive throughout society, it must be reinforced by national laws and institutions, as well as by the media, academia, the professions, industry, unions and civil society. Perceiving immigrants as temporary “guests”, or as the “other” rather than offering them fulsome participation in all aspects of public life, which includes the ability and right to critique and challenge all values and norms; will only serve to propitiate a sense of isolation and undermine any sense of multiculturalism. No country that champions multiculturalism as a tool for establishing a sense of social cohesion and national pride can realistically refer to or treat people who have been living and born in it for decades as “other.” Canada recognised long ago that immigrants to Canada are Canadians; they have an equal right like any other Canadian to the social, political and moral discourse of their community and nation. There differences are utilised to weave the social fabric of Canada, and enrich what it means to be Canadian. Multiculturalism implies creating a system of engagement where all citizens can equally participate and understanding that this system will not obtain a singular truth. The discourse surrounding the ‘other’ in Europe is usually accompanied by the notion of tolerance. Tolerance is one of those words that has a lot of bark, but very little bite. If one examines the fight against apartheid in South Africa, or the civil rights movements in the United States, you would be hard pressed to find anyone of note using the word ‘tolerance’. But it is synonymous with multicultural in Europe. Tolerance as Slovenian philosopher and cultural critic Slavoj Zizek describes it ‘is a very suspicious notion. It means, yes, ‘let’s tolerate each other,’ but it also means, ‘don’t harass me,’ which means ‘remain at a proper distance from me.’ Tolerance institutionalises a lack of engagement and keeps people apart, which might seem civil to some. However, it can’t sustain a society that has to deal fairly and rationally with an ever-evolving confrontational and controversial reality. Instead of tolerance, in Canada, we speak of acceptance and mutual respect. This might seems like a linguistic nuance, but this subtlety speaks volumes at how as a society Canadians have managed to learn to co-exist and engage while apprehending the diversity of points of view and the essence of their similarities. My religion, ethnicity, culture, the working class community I grew up in, experience and education are all part of the crazy mix that make up ‘Hisham Omara’ and part of the crazy mix that makes up Canada. People in Canada are comfortable with that mix and are never requested or pressured to make these artificial hierarchies to define themselves. No vibrant society can be monolithic; it is often contradictory and paradoxical. This does make an appearance in both public and private space. A just society is able to negotiate and mediate around the problems that arise, while respecting the uniqueness of its citizens.

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FITNA TA’EFEYYA

eminder: Egypt is going through a rough time. It is arguably in the nature of human beings to, during rough times, turn against each other and with provocation from corrupt governments, wreak havoc and create inacceptable civil strife. Not every individual has it in them to “come together” and strengthen their community during times of political strife and damn near anarchy! Let’s quit romanticising now and be realistic. Considering the fact that there have been sporadic bouts of sectarian violence among Muslims and Copts within Egypt over the years, it comes as no surprise that the usurpation of Mubarak’s lovely 6,776-eon regime has aggravated the already relatively tense relationship between the two groups. Let me be clear, when I say there is tension between Muslims and Copts in Egypt, I mean there is tension between ignorant Muslims and ignorant Copts in Egypt. Even though it would be extremely biased and unfair for any educated Muslim to deny that factions within the Muslim majority have systemically favoured their own in employment, positions of power, etc., one cannot rationally argue that this particular mindset is held by each and every Muslim in Egypt. There is an interesting trend in Egypt’s history; things are lovely and peachy-keen between Copts and Muslims up until there is a sudden change in the political landscape, which thus transforms the civil and societal terrain along with it. The marriage of just the right amounts of ignorance and political confusion causes results in a melee of domestic shortcomings. One of those shortcomings is sectarian violence. Prior to the revolution of July 23rd, 1919 when Egyptian civilians rid the country of British occupation, sectarian violence in Egypt was absolutely unheard of. After the 1952 coup that removed the monarchy and simultaneously sliced off its head, King Farouk, Gamal Abdel Nasser became president and set up systems wherein Copts were excluded from holding certain positions of power or even contributing in military affairs. Despite being a socialist/nationalist who pushed for Pan-Arabism and secularism, the internal policy of his cabinet was absentmindedly dismissive of Copts and inadvertently pushed the notion of religious alienation. Nasser excluded Copts on one side and prosecuted Islamists on the other. Since Islamists were his main opposition and during his times had the potential to carry a certain stronghold within the public realm, Nasser imprisoned hundreds of them so they can do his regime no harm. After Nasser’s death, his successor Anwar El Sadat, used Islamists (Al Gama’a al-Islamiya) to subdue the leftist remnants of Abdel Nasser’s regime. El Sadat made an attempt at creating a somewhat theocratic aesthetic by instituting Sharia law into legislation and giving a substantial amount of power and authority to the Islamists. Another bad move on El Sadat’s part was the release of all the Islamists from Nasser’s prisons. Gaining strength, the radical Gama’a became a predominant influence within Egyptian society, all thanks to El Sadat. How ironic is it that the same group he gave power to back in the late 60s ended up orchestrating his assassination because of his compliance and cooperation with The Camp David Accords? Politics is comedy, I tell ya! The first significant and disturbingly violent instances of aggression between Copts and Muslims happened around 1972-1981; churches were burned, people were subsequently killed and ignorance and unfamiliar animosity was being engraved into the psyches of a lot of well-to-do Egyptians. The violence subsided during Hosni

by NAIRA BADAWI

Mubarak’s reign of terror but would every so often surface and remind us of the tensions boiling up beneath the surface of Egypt’s socio-political façade of understanding and national unity. In January of 2011, thirty years after the “beloved” ex-president Hosni Mubarak was elected, El Kedesseen Church in Alexandria was bombed. This came as quite a shock to everyone, no less than 24 people were killed and the entire country was consequently, and figuratively, shaken to its very core. “But this isn’t us!”, people said. This wasn’t something Egyptians would never do. One could say, something felt fishy about the whole Kedesseen debacle. About 20 days later, the January 25th revolution was off to a running start and 18 days after that, Mubarak was ousted. So long! After the thawrah (revolution), information surfaced about the Kedesseen bombing which disproved it as being a civilian attack but rather a government ploy to pin its citizens against one another. The barbaric attack on Mary Mina Church happened shortly after and people restated the same argument; the government did it. Maybe the government didn’t “do” it in the sense of physically going out, pretending to be a couple of good-for-nothing Salafis and attacking a church, but they most likely provoked it in some way or another. Abdel Nasser, El Sadat and Mubarak all had one thing in common: they used diversions to keep the masses busy and to prevent them from focusing on the flaws and ineptitude of the cabinet and system in power. Government-sparked fitna ta’efeyya (sectarian violence) is a classic tactic; most likely the oldest one in the book. And you know what? It really does work. Why does it work? This age-old foolproof tactic always works because most people are inherently ignorant. People will hear this or that, believe it and sometimes act upon it. The ignorance bred by the government and propagated by the media is a disease to our society and is doing nothing but creating more and more divisions within the nation. The only thing we can do to stop this from developing into more of an explosive matter than it has already become is to educate the masses, and most importantly the children, about the differences between “us and them”, the Copts and the Muslims, the Muslims and the Copts. The only difference between Copts and the Muslims is that they identify themselves with different religious “iconography”, so to speak. The ministry of Tarebeyya wi Ta’aleem (Childrearing and Education) needs to actually work on properly childrearing, i.e. teaching children to be accepting, tolerant and non-discriminatory, and educating the new generation about something other than math, science and minimal Arabic. There needs to be a vigorous reshaping of the education system which actually vies to socialise children along with the recommended dosage of academics. Unfortunately, children in our schools aren’t being taught to love and accept everyone around them, whether they wear crucifixes on their necks or scarves around their heads. This may seem irrelevant, but if you think about it carefully, it’s all directly connected.

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MASKED FACES: A TWOFOLD THREAT TO NATIONAL SECURITY AND WOMEN’S LIBERATION by SUNDUS BALATA

he recent ban on the niqaab (face veil) in France sparked fierce debate across the world putting Islam, Muslim women and sexuality at the forefront yet again. The national debate in France was consumed by the protection for France’s security and the need to preserve its secular identity, while the debate outside France remained concerned with the sexuality and oppression of women. In the media, the debate was reduced largely to a security hazard. Constructed in this light, mainstream media negated the multiple layers and issues surrounding the face veil and how it is a measure by the state to exclude certain members and force conformity to certain views. The underlying narrative outlined the contradictions between secularism and liberalism, exclusion and inclusion. Secularism is the division of religion and state, the public and private sphere while liberalism is a bundle of rights and freedoms that include the freedom of association and the freedom of expression (which would innately and inherently allow for the freedom of dress). Most liberal Western democratic countries practice a variation of secularism, since, like democracy, it is an objective you seek but cannot ever truly achieve. The individual (central to liberal theory and discourse) can never truly achieve a separation between the public and private sphere because we as individuals are comprised of both. The lines between public and private are fluid, murky and complex—part of our shifting, multiple and contradictory identities. Our beliefs, values and ideologies are constantly and unconsciously disgorging onto both spaces. So for these reasons, secular states attempt with varying success to mitigate and restrict religious influence in legal and political institutions and structures. However, conscious of the delicate balancing act, state institutions and legal structures cannot limit or prohibit their citizens from practicing their religions in the public space (i.e. wearing religious symbols) without violating the rights of their citizens and placing draconian limitations on democracy. In this battle between liberalism and secularism, democracy has been compromised. Women are once again relegated to the sidelines while (primarily) men decide what is ‘progressive’ and ‘modern’. The complaint against the face veil is no more than a recycled critique on the head veil from many decades ago: that it was anti-modern; that it represented the lowered status of women in Muslim

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societies; that women were preserving this ‘backward’ interpretation of the Islamic heritage and further, that it reinforced notions of women being guardians of the family virtue. However, what escapes criticism is that liberal ‘democratic’ cultures that rigorously seek to uphold secularism equally demand of women that they preserve Western ‘liberatory’ norms of hyper-sexualisation as representative of gender ‘equality’. Here what concerns me is the choice – women should be allowed to determine how they dress and why, away from politicisation— caught between two camps feeling the need to wear their political choice: freedom or oppression. This dichotomous relationship leaves very little room for women to decide what is right for them. The defence for secularism in France only employed chauvinistic and misogynistic views of women’s liberation. It is no different then the patriarchal and oppressive structures in Saudi Arabia that they claim to be fighting against. The liberal-secular-feminist alliance in the West has uncritically adopted the above relationship reproducing and regurgitating the same contradictions. They seek to liberate women from the shackles of patriarchal oppression by repressing their right to choose. Mona al-Tahawy epitomises this conflict standing at the forefront of the debate in recent months. Rising to instant fame over the Egyptian Revolution, she became the voice of the Egyptians to the West. Monopolising on her success to communicate the struggles and nuances of the Egyptian people, she now sought entry into a new niche —that of the authority on Muslim women representation in the West. I, as an Egyptian woman, was proud to call her a fellow Egyptian speaking eloquently and articulately about the revolution. But after the niqaab issue exploded onto the public space, Tahawy disappointed me along with many other Muslim women. Watching fierce screaming matches between her and Tariq Ramadan started my thinking about the performative aspects of the media and the importance of spectacle for public consumption. I was disheartened, to say the least. The issue was no longer about women’s liberation but now it was about Tahawy’s narcissism, self-validation and her stubborn insistence on monopolising the voice of (Muslim) women. She was defending the right to repress women based on her own personal indignations. She spoke of the oppression in Saudi Arabia that forced covering and

while these arguments were valid, she then went on to repress women for veiling. All women deserve the right to identify with whatever beliefs, ideologies and forms of dress regardless of whether we agree or disagree with their choices. Tahawy, like many others, made an inherent miscalculation based on the assumption that as a highly educated, Western woman she was in a position to dictate what liberation means. Through this repression of ‘oppression’, Tahawy, as a woman, was taking away agency from women so that they may be ‘liberated’. These newly oppressed (niqaabi) women are now forced onto the public and the political space to fight for their right to wear what they want. These women, who were traditionally silent, are now becoming loud and vocal in defence of their beliefs, and against the politicisation of their dress to validate their exclusion and expulsion from secular society. These women have repeatedly made it clear that they will lift their veils and identify themselves for security purposes. Further, democracy’s emphasis on tolerance would logically incline the state towards drafting policies that allow these women to enjoy their freedom of choice while ensuring the security of the state. But the reason for the ban on the face veil has nothing to do with security—simply put, it was culturally offensive and unbefitting of a ‘progressive’ and ‘modern’ state like France. The debate about the face veil (niqaab) receives much less condemnation then the head veil (hijab) perhaps because it is less visible with a smaller minority in Islam adopting it. The face veil is another measure taken by the state (France) to exercise its control over ‘foreign’ citizenry. Joan Wallach Scott (2007) argues that these legislations are reflective of a particular version of reality and what it means to be “French” requiring and at once, legitimising, the suppression of both the French and the Muslims – who offer their own interpretations of religious symbols and its importance in their communities. The face veil is specifically a move against Muslim French women. Images of police dragging and pushing niqaabi women protesting in the streets of France represented so many contrasts and contradictions. On the one hand, the debate assumed that the liberation of women lie in their naked faces and on the other, to achieve that liberation they would repress women’s right to make the choice since they obviously knew better.

women are oppressed, their struggle against the state identifies clear agency and deconstructs the arguments that these women are simply performed on; voiceless and disenfranchised. Their mobilisation shows that they rely on their shared collective identities to mobilise others (both Muslim and non-Muslims around their cause). Unpacking these contentious discussions and deconstructing the discourses on national security and women’s liberation, reveals that in both Western and Eastern cultures, women’s bodies continue to be used as a vessel to preserve cultural norms and values which destroys women’s agency by removing their choice. Brubaker, Rogers “Ethnicity Without Groups” Archives Européennes de Sociologie XLIII.2 (2002): 163-189.

Brubaker, Rogers and David D. Laitin, “Ethnic and Nationalist Violence.” Annual Review of Sociology vol. 24(1998): 423-452.

Ross, Marc Howard. “Culture in Comparative Political Analysis,” in Comparative Politics: Rationality, Culture, and Structure, edited by Mark Irving Linchbach and Alan S. Zuckerman, 134-161. New York: Cambridge University Press, 2009.

Scott, Joan Wallach. The Politics of the Veil (Princeton: Princeton University Press, 2007), pp 1-20.

The state was violating the physical, psychological and emotional well being of its women citizens in order to liberate them. Here, the sexualisation of a woman and her objectification was seen as necessary in order to promote and preserve gender equality. The contradiction between secularism and democracy is stark—French ‘secularism’ insisting on no overt religious expressions in the public space (where you can infringe on others) and democracy promoting the freedom to choose. Here, women who wore the face veil were caught amidst multiple contradictions and fell victim to a state that was seeking to establish its hegemony and monopoly over ‘French identity’. Inclusion and exclusion are powerfully expressed through the restriction and expansion of a society’s symbolic landscape. The exclusion of these groups from this landscape and subsequent social platforms is an assertion of power. This exclusion and inclusion is best performed by the state (Ross 2009 and Brubaker). In response to the ban, the women fought back by insisting on wearing the niqaab and walking the streets, protesting their right to choose and were immediately censured and silenced vis-à-vis financial penalties and police harassment. While Western liberal-secular discourse would insist these

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A SPACE JOURNEY, DISCUSSING SCIENCE WITH DR. MEHDI BENNA by ZAHRA FADHLAOUI

tarting his journey at the Engineering School of Tunisia, Dr. Benna moved to France in 2002 where he received his PhD in Space Science at the University of Toulouse. Today, Dr. Benna works at the Goddard Space Flight Centre in the United States, conducting research and building space instruments for NASA. He is a planetary scientist with a research emphasis in plasma physics and planetary magnetospheres dynamics. His main research interest is the numerical modeling of planetary magnetosphere and exosphere and uses his engineering experience to support the development of several spaceborne instruments. Here’s what the Tunisian Scientist had to say about his current research and his take on the future of science:

Then I worked on the NGIMS instrument that flew on the CONTOUR spacecraft. Before losing the spacecraft to a technical malfunction, the instrument was supposed to analyse the gases escaping from comet Encke. This project was followed by the SAM instrument that is scheduled to be deployed on the surface of Mars with the Mars Science Laboratory rover in 2012. SAM is a state of the art chemical laboratory capable of analysing the composition of Martian gaseous and solid samples. Currently, my team and I are in the process of integrating the NMS instrument that will be carried on board the LADEE spacecraft to the Moon in 2013 to analyse its very rarefied atmosphere. We are also fabricating the NGIMS instrument that will be carried by the MAVEN spacecraft in 2014 to Mars to study the upper atmosphere of the red planet. At the same time we ZAHRA: Your position at the Goddard Space Flight are in the mist of designing and prototyping the MOMA Centre has two tasks; one of which you collect and analyse instrument that will be carried to the surface of Mars by data of planetary atmosphere and the other is to build the ExoMars rover in 2018. As SAM, MOMA is a miniature space instruments that collect the data for you to analyse. chemical laboratory capable of analysing the Martian soil. Which one do you find is more challenging? ZAHRA: A part of your research includes studying MEHDI: They are both challenging and time con- the atmospheres of celestial bodies, why is it important to suming in their own rights. It takes years to design, in- study these and what can we observe about these bodies tegrate and test a space instrument, and it usually takes from the data you collect? years to think of, implement and validate a numerical model that simulates some aspect of the planetary environment. MEHDI: As you know, the presence of Earth’s atmosphere, its structure and its composition were maUsually, the difference between both tasks resides jor contributors to the presence of life as we know it. in the time constraints imposed for their completion. Space Earth’s atmosphere is very complex and highly dynamic. engineering tasks have more constraining schedules than To understand it, we need to isolate and study separately tasks related to theoretical research. While you usually each physical and chemical process that contributes to can take your time analysing measurements from space its presence. One way of doing this is by looking to other missions, you are running against a clock when it comes planets and small bodies of our solar system. These ceto delivering a flight instrument. With flight instruments, lestial objects, while different from our Earth, offer us a we must meet very tight deadlines that ultimately lead to unique opportunity to study the processes that drive the the launch date. A delay in solving a technical problem interaction between their surfaces, the atmospheres or that involves a scientific instrument or a spacecraft sub- exospheres (very rarefied atmospheres) and the solar wind system can have severe financial, logistical, and scientific under a different set of conditions. By understanding the repercussions on the entire mission. history and the evolution of the surfaces and atmospheres of other planets, we are contributing to the understandZAHRA: What are the instruments you build and ing of the history and the evolution of Earth’s surface and what are their functions in space? atmosphere. MEHDI: Throughout the years, I have been involved in designing, building, testing and operating several space instruments. Few are already in space, others are being built in the laboratory, and others are still prototypes or in an early design phase.

ZAHRA: Last year you were a member of the MESSENGER team that observed and collected data about Mercury’s magnetosphere and exosphere. How did you contribute to this research and how has your modelling helped scientists rethink planet Mercury?

I started my career working on the CONSERT MEHDI: I am a member of the MESSENGER sciinstrument for the Rosetta mission. This instrument is ence team. My contribution to the mission is to help my ground penetrating radar that will image the nucleus colleagues operate the spacecraft and understand the data interior of the Churyumov-Gerasimenko comet in 2014. collected in orbit around Mercury. I use complex models 28

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that simulate the interaction of Mercury’s surface, magnetic field and exosphere with the solar wind. By constantly adjusting these models and comparing them with in situ measurements, I am attempting to provide a global picture of the space environment of the planet Mercury. ZAHRA: What other data have you previously collected that has surprised you in its findings?

its impact on our understanding of how the planets and their satellites formed and of the possibility of presence of life in other parts of our own solar system will be felt for the decades to come. ZAHRA: Why would it be important to get more funding for further research in your field?”

MEHDI: Space research is inherently a very costly MEHDI: I find surprising and very fascinating and often technically risky enterprise. But, the fallouts how a very small planet like Mercury, can have a very of the discoveries and technology developments driven by complicated and highly dynamic magnetosphere (the space space science are felt by all of us in our daily lives. These environment where the planet’s exosphere interacts with benefits range from heath and medicine, public safety, the solar wind). consumer goods, environmental and agricultural resources, to computer technology and industrial productivity. As an example, we are benefiting from space research through accurate weather forecasts and early warning systems that use a multitude of observing satellites and very complicated atmospheric models, and through convenient positioning devices that use GPS satellites and locators. Space technology enabled the fast development of popular products like digital cameras and cell phones and less known products like the weather resistant paint that coats the surface of your car. ZAHRA: Of all events that have transpired in your career, what has been the most profound experience that you continue to remember? And why? MEHDI: The most memorable experience was when the MESSENGER spacecraft successively orbited Mercury on Mars 17th 2011. MESSENGER orbit insertion came as the result of more than a decade of planning and the hard work of a very dedicated team. But, after 6 years of flight, multiple flybys of Earth, Venus, and Mercury, it all came to a 15 minute main engine burn that had to be executed autonomously and perfectly by the spacecraft. ZAHRA: Finally, if you could give advice to Arab science enthusiasts out there, what advice would you give them? ZAHRA: Have you come across any phenomenon in your research that you have been unable to explain or has left you puzzled? MEHDI: Every day! In scientific research, you rarely find an answer that does not raise multiple new questions. ZAHRA: What other recent breakthroughs or discoveries have you or your team discovered that you would like to shed light upon? MEHDI: What comes to my mind is the discovery by the spacecraft CASSINI of the presence of water jets or geysers emanating from the surface of Enceladus. Enceladus is a small moon of the planet Saturn. This is the first time that we discovered large amounts of water that are escaping in this fashion from the surface of a celestial object other than Earth. While this discovery alone is amazing,

MEHDI: My only advice will be to be very persistent and patient and to never stop being curious. Curiousity is what drives a scientist on a scientific quest. Patience and persistence are what make the scientific quest reach an answer or an outcome.

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WHEN THE FLAGS COME DOWN AND THE CHANTS STOP, WHAT HAPPENS? by SUNDUS BALATA

gyptian streets were adorned with flags, verses of love for the country, along with fireworks and popcorn for weeks in celebration of the greatest Egyptian victory: the resignation of Mohamed Hosni Mubarak, a man who had entrenched repression, building on the authoritarian foundations of his predecessors. Life post-Mubarak has proved to be difficult plagued with trials and tribulations. In the wake of his resignation, Egypt is marred with political and economic uncertainty. During those historic 18 days, political, ideological and religious conflicts were silenced by the need to defeat one enemy. The desperate need to remove a despot forged unholy alliances across Egypt’s political mosaic. However, with his removal came the end to those alliances and a new era marked with fierce political competition, rivalry, and serious debate over Egypt’s social, political and economic future. There is little agreement on what the political and social groups want for Egypt but everyone (without exception), is adopting democratic discourse. The debates over Egypt’s future are further compounded with contestation over the terms and discourses used. The difficulties are numerous but they can be summarised into five main problems: first, the lack of political ideology and (charismatic) leadership; second, the deep divisions within and between political parties and groups; third, the transparency and accountability trials; fourth, frustration with the political stalemate and nation-wide strikes that continue to paralyse the economy; and finally the lack of a concrete political path towards democracy as of yet and fear of a counter revolution. The lack of a concrete political ideology rendered the political spaces for protest inclusive and pluralistic. Every Egyptian felt represented and the overall objective to rid Egypt of the Mubarak regime created a foundation for unity and political alliances. However, post-Mubarak, the oppositional parties as well as the new emerging youth movements and political groups are all adopting democratic rhetoric, specifically political freedom and economic equality as their foundations. The political ambiguity that encompassed the Egyptian nation underlying the framing of the conflict has now proved problematic as multiple groups have multiple interpretations of the political process and of what ‘democracy’ actually entails. Additionally, the old as well as the newly emerging political groups have less appeal with the (disenfranchised) masses. Only one group seems to carry political traction: the Muslim Brotherhood (MB), due to its long history in providing social welfare to disempowered communities in the poorest of areas. This plurality in political groups and multiple visions could be mediated and negotiated if Egypt had a charismatic leader. A charismatic leader would be able to rally the majority of the people towards a particular objective and lead the way towards political liberalisation. Nelson Mandela was a man of great stature, credibility and legitimacy that was surely derived from his involvement in the African National Congress (ANC) and subsequent incarceration under the apartheid regime. He commanded love and support from the masses, and was able to lead the democratic process in South Africa that dismantled apartheid. Egypt, unfortunately, has no such leader.

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The deep divisions within political groups are another serious predicament for Egypt today. For the opposition that emerged during Mubarak’s reign, the authoritarian environment provided an incentive and justification to restrict critical questions and challenges. The Muslim Brotherhood, the largest opposition, is confronting these questions today—specifically women who want access and representation in the Guidance Bureau as well as the youth who want more rights and privileges in steering the future of the Muslim Brotherhood. There are ideological, religious and intergenerational differences between the different subgroups of the MB; hence the terms, the old and new guard. The Old Guard—marred by secret elections in the 50s and 60s and the new guard, accustomed to debating and coexisting within a plural, political environment, are battling for the future of the MB. These two trends fundamentally disagree about how to do politics and like many other struggles in Egypt, the outcome of this fight will be telltale signs of the ‘new’ Egypt. This demonstrates the raging struggle for freedom, transparency and representation that is happening on the different levels and within, across and outside the political and social spaces. As for the youth revolutionaries, they are continuously caught in an entangled web of political decisions and competing political interests that continue to divide and segregate the youth. The ambiguities in the political process, the need to uproot the structures and the political and economic frustrations create a complicated balancing act for the youth revolutionaries. Many of them have become isolated from the masses since the opportunities for conversation and dialogue about the political events and decisions has severely decreased. The mass protests (during those 18 days) offered a space to access the different classes and professionals in Egypt. While protests have continued, they are more sporadic and spread out around Egypt with each class/group dealing with different demands. Even the military has experienced its ruptures from within its own ranks as the division between the older and younger generations continues to grow. The military establishment has experienced (quite publicly) these divisions. During the recent protest on April 8, 2011 that held a mock trial for Mubarak, the Supreme Council of the Armed Forces issued a strong statement declaring that if any military personnel were to join the protests, they would be subject to treason. Seven brave young officers came to the protests, stood in solidarity and were protected by civilians. This indicates growing conflicts and deep divisions raging from within the military establishment over commands and authority (traditionally marked for its most rigid and repressive structures). The higher ranks in the military establishment (the Supreme Council for the Armed Forces) took over control of the country upon Mubarak’s resignation but have been unable thus far to establish order and meet the demands of the protesters.

Photo by Angie Balata

Supreme Council of the Armed Forces (SCAF) and The Struggle For Legitimacy The upper echelons of the military, SCAF, have recently begun trying protesters in military courts. In an attempt to establish order and gain legitimacy, they are breaking up the protests using gunshots, beating protesters, arresting and humiliating them. This has been met with more force from the youth organisers and protesters swearing they would ignite many more revolutions to achieve their goals of freedom and democracy. The youth’s weapons remain their mobilising structures and capacities to create unrest and instability. The creations of the Illicit Gains Authority (IGA) to try former regime members accused of corruption and mismanagement is also an attempt to appease the protesters. Thus far, there hasn’t been tremendous violence inflicted on previous corrupt leaders, although SCAF is playing a fragile role, between not wanting to try these people and facing pressure from the population that if they don’t, the people will take matters into their own hands. The military in Egypt, in contrast with other countries, are not only interested in order so that they can retire to their barracks and disappear once again into the shadows, but the military has other more critical interests in Egypt. Under Mubarak, the military went through significant restructuring; their performance as guardians and protectors of Egypt would not be necessary since Mubarak decreed that Egypt would remain a ‘peaceful’ state. However, to appease the military establishment (that he hailed from) he allowed significant investment in the civilian sector. Thus, the instability directly affects the military’s (deep) pockets and they have a selfish, personal interest and investment in creating order so that life (and the economy) can

resume once again. There are competing and contending interests on all sides. SCAF is unable to perform ‘state duties’ (vis-à-vis establishing their authority and legitimacy) because they are seen as remnants of the old regime. The acquittal and release of Suzanne Mubarak does not bode well for SCAF’s reputation with the revolutionaries (who subsequently held another mass demonstration on May 27). While many (social and political) groups are critical of SCAF and the institution of the military, there is no agreement or consensus on an alternative governing structure. Furthermore, the Egyptian masses are worried that after uprooting (albeit symbolically) the political structures that existed under Mubarak, the military is the ‘only’ institution left standing. They say, without it, Egypt would be in complete free fall and anarchy. Finally, now that the valve on repression is broken and the Egyptian masses (specifically the workers and peasants) have been convinced that protests would bring change, there are serious and mounting expectations. Since they have witnessed how mobilisation and people power can bring down a despot, the masses have now plunged into nation-wide strikes and sit-ins demanding economic equality, better wages and a decent livelihood. The masses are undeterred by the many other problems that plague the country. With simplistic and basic demands for their daily lives, the many strikers are becoming increasingly frustrated that their lives have not gotten any better. Theda Skocpol, a renowned sociologist and political scientist, says that revolution produce complex and unintended intermeshing of differentially situated groups – an intermeshing that produces changes that never correspond nor reflect the original intentions of any one group. Unfortunately, the political unrest in Egypt froze economic activity and significantly slowed down the tourism industry. This is compounded by the closure of the stock market and leading businessmen removing their money from banks in Egypt and placing them into foreign and more secure banks abroad. K A L I M AT

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CURRENT AFFAIRS and satellite media. Revolutionary programs are underway and people across the country continue to put pressure to remove corrupt university presidents, managers at banks and hotels in an attempt to expunge and purge corruption. Prior to January 25, to settle sectarian disputes, the regime would employ a type of mediation or arbitration, however, now both communities call for trials, court justice and prison sentences. The religious communities seek responses also at the national level as opposed to individual punishment. Both parties want to see quick, swift and transparent legal processes to bring perpetrators to justice regardless of faith. Another development in postMubarak Egypt: one of the first laws to be enacted has been a harsh law against sexual harassment. This can be seen as a result of women’s avid participation in mobilising, organising and leading the protests. Photo by Angie Balata

Due to the instability in the Middle East (with multiple revolutions underway in Tunisia, Libya, Yemen, Bahrain and Syria), the cost of food has increased dramatically and the promises of a better future post-Mubarak are proving to be much more difficult than simply removing the regime. Unfortunately, the cost for freedom has been high and the ones to pay are the ones who have very little to begin with. This frustration has been exemplified in the recent rise in sectarian clashed between Copts and Muslims. Fears of counter-revolution continue to complicate the political terrain. Finally, the instability and disorder has created opportunities for some to rob, steal and brutalise others. This is especially critical since the police have not been able to regain their control of society because they lack public trust. Photo by Hisham Omara

HOPE FOR THE REVOLUTION YET

The youth (along with political groups) continue to apply serious pressure to achieve their demands. They are making headway—this was shown in their capacity to change the previous Prime Minister (Ahmed Shafik); (symbolically) dismantle the security apparatus, demand Mubarak and family be investigated and their funds rePhoto by Hisham Omara turned and disbar the National Democratic Party (NDP). They continue to apply serious pressure on SCAF to meet their demands. The mass political consciousness is only developing and growing as the revolution continues to progress, from an apolitical, repressive Egypt to an overly-charged politicised environment where political discussions continue to rage throughout the country on both state 32

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Video campaigns have been launched to uproot the daily transgressions and violations perpetrated by ordinary individuals. The videos demonise corruption, sexual harassment, littering, lying, etc...This emphasises the notion that the revolutionary movement is conscious, that the negative and ‘sadistic’ qualities of the Mubarak regime has become part and parcel of the Egyptian culture and likewise, needs to undergo a process to remove these practices in order for change to occur. Further, it shows that the revolutionary movement intends on a deeper cleansing and purging of the repressive structures, the institutions and the culture of oppression. Egypt’s revolution survived without an ideology—an ideology like Marx’s socialism or Khomeni’s Islamism would have placed a clear path but a restrictive and exclusive path towards ‘development’ and ‘democracy’. But today, Egypt stands with no ideology or charismatic leader to guide it; there is a difficult road ahead, with many bumps and hiccups. This inclusivity has protected and continues to protect the revolution but it also creates a political vacuum in this deadly fight for political sovereignty. One side will triumph eventually but thus far, the situation remains uncertain (but hopeful). The needs right now are to build proper and strong political infrastructure—the people in power are less important then clear decision-making processes and institutions to support a new, democratic political culture. This culture needs to incorporate values of contestation and debate but also negotiation and compromise. Eventually, the Egyptian political scene will begin to foster interest bargaining across groups—hopefully, institutionalising that engagement and alliance that we saw during those miraculous 18 days. Finally, a Bill of Rights is needed to place the protections necessary to ensure that regardless of who’s in power, the rights of people (especially minorities and women) will always be protected. This will act as insurance against the totalitarianism of the masses and ensure that even democracy’s vices will be restrained.

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CENSORED

by ALEXANDRA KINIAS

wo years ago, Egyptian-American director and screenplay writer Hesham Issawi approached me to collaborate on writing a screenplay about a forbidden love affair between a Coptic woman and her Muslim lover. We set gear to work together with the emphasis of exposing the hardships the young couple, who lived in the slums of Cairo, encountered in their daily lives. The challenges they faced escalated after the girl became pregnant. To salvage their love and have a better future, the couple had to leave the country and set forth to Europe by paying smugglers to take them by boat to the shore and thus the movie’s title “Cairo Exit” came to be. The storyline of “Cairo Exit” was truthful to the lives of millions of unemployed and underprivileged young Egyptians who survive in continuous chaotic clutter as they struggle to make ends meet with nothing but ghosts of a bleak future to look forward to.

The poignant journey of exploring the fictional lives of the couple and writing about it was culminated with a joyful crescendo when a producer acknowledged our efforts and stepped on board. The selection of the cast and crew commenced and the director of photography Patrik Thelander, who flew in from Los Angeles, was already scouting for locations. Not long after, the festive climax was transformed into a nightmare. The preparations for shooting froze as the censorship bureau denied approving the screenplay on the basis that the religious faith of the young woman should be changed to Islam. The interfaith relationship between the characters became the major obstacle to produce the movie. On their journey from a script to movie screens, Egyptian movies require triple permits before they see the light of day. The screenplay must first be approved before a shooting permit is issued. Before the movie is shot, the censorship bureau can demand the removal of scenes, tamper with the story or even change the title as happened with “Cairo Exit” (the initial title was “Egypt Exit”). Unless producers comply with such requirements, movies will forever remain on paper. Once a movie is shot, a screening permit must be granted and as a final reminder of who has the upper hand, the bureau reserves the right to revoke the screening permit at any time and for any reason.

Refusing to comply with the requirements to change the faith of the female character, the screenplay for “Cairo Exit” was not approved. In lieu of shooting permits, the movie was shot underground since carrying a film camera on the streets of Cairo without a permit is a felony. In spite of the games of hide and seek played between the movie crew and policemen roaming the streets in civilian clothes, shooting of the film was completed. The first censorship law in Egypt was drafted on November 26, 1881 as a reaction to Ahmed Orabi’s revolution against the British occupation. To curb the freedom of press after nationalistic newspapers in support of the revolution flooded the market, control over the media was born. An amendment to the law was made in 1904 that included censorship over movies and theatrical performances. 34

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Prior to that date (since 1896), theatrical performances and movies screened in Egypt were under the direct control and discretion of the police chief. Against the belief of the masses, the censorship bureau was not essentially created to protect family values, but its objective was primarily political to safeguard the government and its leaders. Unfortunately, nothing has changed since then. However, with the religious surge in Egypt, those who proclaimed themselves as custodians of morality rode the wave to benefit from the censorship that has assisted them in spreading their ideologies. To silence the voices and switch off the brains of the people, censorship becomes essential for the existence of totalitarian regimes. By adding a tint of religious and family values to its objectives, no one dares to dispute its motives. It comes as no surprise that movie censorship thrived under the reign of Mubarak’s corrupt regime.

genital mutilation, pre-marital sex, women who turn to prostitution for a living or interfaith relationships. Banning movies that discuss such issues on the basis that they defame the society is a form of mental manipulation as denial of an existing problem is a delusional approach to solve it. On the contrary, such important social issues require people’s awareness rather than wishing them away. Only when they are addressed they may be resolved. In addition, the ban of movies or books results in the restriction of creativity, which unfortunately doesn’t come with an operating manual that outlines guidelines to follow. Over the years, censorship has achieved nothing but an overall decline of talents. It is ironic to see that books published in Egypt in the early twentieth century are being banned in the twenty first century. No wonder that when the dispels of the cultural renaissance of the twenties and thirties in

On their journey from a script to movie screens, Egyptian movies require triple permits before they see the light of day. To safeguard moral and family values, countries worldwide have instituted the rating system whose purpose is to alert viewing audiences of the contents which maybe objectionable to some. However, banning movies in order to stop people from watching them is a common practice of totalitarian control. It is an insult to assume that people are unable to think for themselves and thus need the guidance from decision makers to tell them what they should watch, or how they should think and behave. As in other countries, Egypt also has its own inconvenient truths embedded in the society such as female

Egypt, like Abbas Mahmoud Al- Akkad and Naguib Mahfouz, two of Egypt’s most notable writers, took responsibility of the censorship bureau, Egypt’s cinema witnessed its Golden Age. The set back of the Egyptian movie industry happened with the 1952 revolution when the industry was nationalised and censorship escalated to protect the revolution. Today’s censorship officials in Egypt are the sons of the era that witnessed the cultural decline. Their qualifications are not important anymore because the job description no longer requires creativity and talent, but total submission to the regime’s doctrine. In a conversation with Hesham Issawi about why a movie like “The Yacoubian Building” would be given a green light while others with less controversial issues don’t, he stated, “The movie [‘The Yacoubian Building’] looked anti-government, but in reality it was very much what dictators do; [they] allow certain films that appear to be critical of the government to be screened in order to show they have a free society. But in fact the movie promoted their system.” In spite of the difficulties “Cairo Exit” witnessed prior to and while the cameras were rolling, and with the screening ban still very much if effect in Egypt, the movie won international recognition. It premiered at the Dubai International Film Festival, won best nonEuropean Film award at the Independent European Film Festival, and received positive acknowledgments at the Tribeca Film Festival in New York, at the Festival Cinéma Arabe in the Netherlands and at the Toronto International Film Festival. In the aftermath of the Egyptian revolution, an event that has opened the gates for freedom of expression, there are speculations that censorship on movies will be reduced or even abolished. “Many scripts that were banned under Mubarak were given the green light after the revolution,” Issawi said. With this news circulating, one only hopes that “Cairo Exit” will soon be seen by the people who inspired its story.

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BORDER CRISIS

by ZAHRA FADHLAOUI

RA’S AJDIR, DHEEBA-TUNISIA With hundreds of Libyans still fleeing to the borders, Tunisia is finding itself in crisis as it tries to help its own impoverished cities and still manage to lend a hand at accommodating the Libyan refugees. There is a growing concern at Ra’s Ajdir and Dheeba camps where refugees are at a higher risk of contracting diseases due to garbage build up, improper hygiene and malnutrition. Many Libyan families were fortunate enough to get invited to stay with Tunisians who had their own homes. Even Tunisians who live abroad that have homes here in Tunisia have generously opened their doors to accommodate the Libyans. Others, who are less fortunate and have no choice but to stay in the camps, are facing many developing illnesses. Access to washroom facilities are very limited and in some cases unavailable depending on the camp location. LIONS Club volunteer, Shirine Dhouib says that the refugees at Ra’s Ajdir “use the desert or hide behind trees” when in need to use the washroom. Portable washrooms are filling up quickly and are attracting flies and mosquitos. The pillage of garbage is also putting the people at risk for coming in contact with more insects that could bring along more illnesses. Ra’s Ajdir is compiled mainly of men of African and Bengali descent. There is a growing communication problem as language becomes a barrier. Fights break out daily between the different groups over stolen foods. Even with earlier support from the United Nations (UN), World Health Organisation (WHO), the Red Crescent

photos by Chirine Dhouib

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and various United Arab Emirates (UAE) colonies, supplies are quickly running out - there is a shortage of doctors, food, medicine and water in all camps. Ra’s Adjir has a growing concern for its refugees because the camp is located in the desert. They are in need of sun protection, access to water and better shelters. AIDS is now another concern as promiscuous homosexual acts are increasing among this group composed mostly of men. Camp Rmada in Dheeba is dedicated to providing services for women and children and whole families. This particular camp is calling for insulin, milk powder, children’s clothing, diapers and antibiotics. Cleaning supplies that are given to the refugees so they may all contribute to keeping the place in order are accidently being mistaken for drinks and are carelessly consumed by children causing more illnesses. On the brighter side, some have taken the opportunity to transform some shelters into learning centres. Islamic organisations have set these up to educate the young about their religion. Other Tunisian schools have assigned each student to choose a peer from refugee camps and befriend them. They are required to bring their chosen peers with them to school and engage in social activities with them. Psychologists have also been taking part in providing counselling and therapy for those who are suffering from depression and other mental conditions. Dhouib continuously asserts that despite all the hardship and tragedy, the people are beginning to make the best of the situation and carry on. She mentions that even on the day of the bombing inside the camp, a young couple still celebrated their marriage while others were busy mourning the death of an elderly man. Tunisian citizens, young and old, have all contributed to helping the Libyans in different ways. However, they are now stuck with their own economic crisis that has emerged post-revolution. They are struggling to make their own ends meet and continue to support the southern cities that require much attention since the revolution. Torn between helping its own nation and the thousands of refugees, Tunisia is in bigger fear that soon all the financial help from the larger organisations will be directed towards other countries under crisis. Tunisian officials and volunteers are pleading for more donation and services to help cater to their camps and people. When asked what changes must be made to find a solution to this crisis, Dhouib responded “the number one thing is to get rid of Gadhafi and the second would be to get responses from organisations we have asked for help.” Tunisians are also hoping that other problems ensuing in the Middle East will not deter the attention from the current situation in Tunisia and at the border.

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The perfect Arab citizen

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CULTURE

JUST LIKE US REVIEW

by SHEYMA BUALI

Just Like Us, a new documentary by Egyptian-American comedian Ahmed Ahmed, was screened during the London International Documentary Festival. The film, although attempting to bridge cultures, prolongs the question of Arabs’ cultural isolation at a time when Arab cultural inclusion is at its strongest.

oing to see Egyptian-American comedian Ahmed Ahmed’s new documentary, Just Like Us, it must be said that from the get go, there was scepticism. The premise of the film asks: do Muslims and Arabs laugh? To which the answer would be, yes they laugh Just Like Us. The film attempts to bridge cultures by following Ahmed and his group of ethnically mixed Western comedians on what was truly a very funny stand-up tour in the Middle East. But despite the comics’ stand up skill, the premise of the documentary remains an awkward one, prolonging the question of Arab cultural isolation. The film takes its audience to four very different Arab countries: (Dubai) United Arab Emirates, (Beirut) Lebanon, (Cairo/Alexandria) Egypt and (Riyadh) Saudi Arabia. The documentary includes clips from live standup by Ahmed himself and the different members of the troop. Taboo jokes about whether or not men should scream during sex were told by lone-female comedienne Whitney Cummings while Omid Jalali’s faux-pas use of the word “cock” in front of a supposedly conservative Dubai audience pushed the envelope of what is permissible in live performance there. Maz Jobrani’s inspection of local greeting styles added cultural fish-out-of water humour. Cutaways of confused hello-kisses with men in thobes created a hilarious cross over from stand-up stage to movie screen. In other parts, the documentary follows Ahmed as he reconnects with his native neighbourhood in Alexandria where his semi-estranged family lives, clueing us in that this films stands as self-reflection as much as a cultural exploration. His father, at home in the United States (US), nearly steals the show, telling endearing jokes with that familiar fatherly not-that-funniness giving the documentary its warm edge. But despite the laugh-with-tears reaction, the premise of the documentary isolates the Arab world’s culture and humour uncomfortably. Contrary to that (and arguably equally as questionable) the last few years’ focus on the Arab world and its culture has been stronger than ever. Last month’s glitzy global Cannes Film Festival decided on a new feature: an annual national focus. For this inaugural year, they chose Egypt. In London, the London International Documentary Festival (where Just Like Us screened twice) had a focus on the Arab world. In the US for the next two months, conscious of the vilification of Arabs’ image, Turner Classic Movies will be focusing on Arabs in cinema with the scholar of that very topic, Dr. Jack Shaheen. Globally speaking, at this point of Arab cultural inspection, post-post-9/11, post-Osama Bin Laden and so on, the question of de-demonising Arabs by showcasing 40

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how “they” live is, to put it simply, passé. Attempting to explore how (or whether) people in the Arab world laugh, Just Like Us excludes Arabs from a universal human element, extending the crass ‘us versus them’ mentality. At one point in the documentary, Tommy Davidson, one of the comedians who joined Ahmed’s troop in Beirut remarks that people in “this area are just learning how to laugh because of the intensity of their reality.” In another clip, Omid Djalali explains, “we don’t know the basic construct of a joke.” It is these remarks that insist on the separation of Arabs (and, once again, Muslims) from “us” (Westerners) by referring to them with such a cold, distant and systematic lens. As noted by anthropologist Mahadev Apte, humour and language go together as basics of human expression and communication. Palestinian writer Ibrahim Muhawi explains further the universal “techniques” of humour (such as “mimicry, exaggeration, mockery and nicknaming.”) This obvious human commonality is what makes the interpolative basis of this film borderline offensive. Bringing this question to the visual element, this insensitivity is displayed in the unfortunate graphics. In standard Orientalist fashion, the typeface for both the titles throughout the documentary and its PR material mimics a Sanskrit design. This visual mish-mash alluding to the relatively close Indo-Aryan-Arab regions fits the precise definition of what is considered “Orientalist”, in the Saidian fashion, generalising an unknowing idea of what is “Eastern”. The irony however, is that among the opening jokes of the film, Ahmed talks about how many people have responded to him being Arab by saying, “I have a friend from India”, the punch line being the insignificance of that reference. In answering a question about the humour of Arabs and Muslims (quite general in themselves) the visual elements only confuse this regional/cultural obscurity even more; more or less, the graphics work against the desired ultimate message of the documentary. The film could be divided into three sub-stories. The comical documentary that follows North American comedians in the Arab world; the warm familial background that made the film personal to Ahmed; and that hapless interpolative question that instigated the film. As Just Like Us illustrates, Ahmed Ahmed and his first comedy troop, the Axis of Evil, sparked a stand-up craze in the Middle East about five years ago. Ahmed is a funny guy, and there is no doubt that he has brought something fresh to the Middle East with his culture-bridging entertainment, in both his stand up and his films. If only he would let that shine instead of burying it in dead questions.

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JORDAN 3ALA RASI: A VISUAL TOUR photos by RAWAN RISHEQ

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ONE AND THREE LIGHT BULBS: OMAR ELKHARADLY by MARIAM NADER

here is much to be said for the romantic notion of the true artist—the propensity to conceive and the compulsion to be discerned have been perverted by the advent of the contemporary ideal of the artist-cum-businessman. In the complex sphere that makes up what is known as the contemporary art world, the demand that artists become the personification of multitasking has obscured our definition of the artist. What exactly do we want out of them? What stereotype do they need to embrace before the brows can furrow, before hostesses lean in behind baubled fingers to whisper with secret knowledge, “oh, he’s an artist?” The historical heroes of art worlds past had something in common amidst the martinithrowing, and the stroking of dead rabbits—this was an obstinate predilection to bring to fruition something that existed only within their own enterprise prior to its actualisation. In this article, I argue that Omar Elkharadly has this in common with the progenitors of the greatest isms. Elkharadly, a recent graduate of the University of Guelph’s Fine Arts undergraduate program is an EgyptianCanadian artist of the rarest kind. Despite being a virtuoso of the now (arguably) doomed process of analogue photography, Elkharadly’s primary concern is the abstract and burgeoning realm of photographic theory. His light installations are rigorously dedicated to the exploration of the tautological nature of what is represented, and its representation. Vibrating with ideas yet to be uttered, Elkharadly plays his often intimidating intellectual capacity close to the chest. “You could say I’m obsessed,” he states. “I figure that my one shot at becoming a deity is if I gain the ability to imbue my creations with sentience—my latest experiments focus on fostering conditions of selfcontradiction and self-doubt.”

background (2011) is perhaps his most iconic work. Comprised of a hanging light fixture with a translucent light bulb, polarised 3D glasses, a reflective gold projection screen, and two projectors, the work alludes to the complicated and daunting nature of conceptual art, which is unfortunately often slapped with a label that deems it “difficult art.” Although this work indeed begs a discerning contemplation, and is aesthetically challenging to those who prefer that art retain its place of honour on a two-dimensional canvas, light bulb pull-chain with gold background also retains the accomplishment of having the preoccupation of the viewer who interacts with it.

When approaching this work, the viewer is asked to wear the polarised 3D glasses. The process of donning this eyewear is not what one would expect when doing the same to watch a blockbuster that has inevitably been ruined by the advent of 3D movies. Rather, one’s presence before the gold projection screen creates a hesitancy to mesh the feeling of knowing they are standing before a piece of art with the kitsch factor of 3D glasses. Upon engaging the pull-chain, however, the light bulb does not flood with light, as one would expect. Instead, the two projectors which hold slides of black and white negaAlthough Elkharadly’s body of work is made tives of a picture of the light bulb are activated. With the aid of the glasses, up of many components, light bulb pull-chain with gold a single, three-dimensional shadow appears, one that swings in time to the

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Photos by Pam Duynstee

actual material bulb that remains off. “In essence,” explains heavy conceptual nature of the work.1” Elkharadly, “you have a sort of paradox. Effectively, you are switching on light’s shadow, light’s opposite.” This young artist has little interest in confusing the public that awaits him. In an environment that has If it sounds complicated, it is most likely because no rule or rhythm towards gaining success, and where the it is. The conception of this work is undoubtedly related goal is to make work until your superiors like it, Elkharadly to Elkharadly’s expertise in wiring hardware and electric- remains coolly indifferent. “The photographic medium, ity. The technically-sound use of slide projections harkens by its very design to record and represent light, forms its back to his first love of film photography, as the artist took own binary logic and that is of the negative and positive,” stereoscopic photographs of the light-bulb when it was he asserts. “So I’m conflating these logical structures by turned on, and then carefully exposed the photographs to stacking them atop one another.” He is creating his own ensure the least possible difference in size to the object algorithms, through which he chooses to interpret phiwhen the “shadows” were projected. losophies that will inevitably remain philosophies and never truths—and how novel it is, to be obsessed with “You have three elements: the light, the shadow, philosophical experiment in such an indiscriminate moand the negative.” Here, Elkharadly amusedly acknowledges ment in contemporary art. the reference to Joseph Kosuth, a member of what I like to call the royal family of Conceptualism. “In the conceptual sense, thinking back to platonic idealism, you have a representation of a thing being it’s mere shadow—the representation transforms the thing it represents.” 1 Gligorijevic, Kosta. “Ad Nauseam: Omar Elkharadly’s tautological tinkerings at Zavitz Gallery.” The Ontarion (2011): n. pag. Web. 10 March 2011.

Although there can be no hesitation to say that Elkharadly intends to propel our thoughts towards a more circumlocutory philosophical debate of mimesis and Dionysian imitatio, the act of engaging the pull-chain will only take the observer as far as they are willing to go. I was fortunate enough to curate an exhibition that featured a similar work by the artist—the level of interaction the piece received could only be explained by the intuitive evoking of curiosity. Perhaps there is something infinitely alluring about an object retaining its familiarity while becoming increasingly alien. Elkharadly has taken this artwork anomaly in a direction that implores the viewer to deliberate on Freudian concepts of the uncanny, and perhaps reconcile what they understand to be the definitive nature of an object with the infinitely many more representations it seemingly has. Kosta Gligorijevic, in a recent review of a solo exhibition of Elkharadly’s work in the Zavitz Gallery in Guelph suggests that the interactive nature of the work “at once offsets and complements the

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ARABIC MUSIC TODAY PART II by KARIM SULTAN

The Museum and The Street

conference discussing Arab music, a number of important things happened: important recordings were made of various musicians from around the Arab region—Tunisia, Egypt, Syria, Iraq—and their works and techniques were meticulously recorded; theoretical concerns were pored over (the signature Arab scale systems, the maqam—maqamaat (plural)— and the tuning systems — the quarter-tones that give this music its own sound and dialect and vary from place to place and school to school) and the question came up, “Is this whole thing over?”

In the last instalment of “Arabic Music Today,” I broadly covered a few points that were of importance around the time of publishing. There were two seemingly opposing flows of opinion that I found myself in between at that moment. Firstly, the idea that there is no distinctly “Arab” music, that regional or other differences caused an irreconcilable break in any unified cultural identity or practice; secondly, that distinctly Arab music is somehow a past phenomenon, culminating in a small collection of well-recognised and nostalgia-inducing artists that our parents or grandparents may have been familiar with, but Like with cultural production around the colonised nothing like that exists today. world, European specialists somehow found themselves at what they described as an end of an epoch. Armed with “Ah,” a sympathetic listener may sigh in response, recording technology of all types (photography, audio “They don’t make music like that anymore.” recording, film) and their accompanied theoretical tools, this art at its “end” was carefully reproduced in museumLet us start with this. While there is some valid- like fidelity and explained in astounding detail. This had ity to the statement that “They don’t make Arabic music a number of consequences for Arab musicians, mostly that the way they used to,” there is a deeper malaise that is it was largely recognised that a certain range of cultural both the result of that statement and of the condition production in a confined geographical area by a number of that caused it. It might be convenient to point at such peoples were recognised as being part of a whole. It also culprits as “Westernisation,” which is of course valid to meant that the rules and methods of the performance (and some degree, but it is by no means a satisfactory enough even signature performances themselves) were recorded explanation as to why the quality of widely available Arabic outside of the lineage of musicians and their apprentices music is in a palpable decline. Let us look to some reasons and the otherwise limited sphere of performance venues why they don’t do it the way they used to. (the homes of the elites, village weddings, places of worship, etc.). As a result of the rigorous study of the various genres and traditions, there was a level of standardisation, making a form reproduction possible. Even ancient genres were “revived” (our orientalist d’Erlanger, for example, This many-syllable word found its way here for worked at “reviving” “classical” genres). good reason. As covered in our previous edition, in the early part of the 20th Century, Arabic music, particularly In a sense, this placed Arab art music “in the in the large urban centres (notably in Cairo), encountered museum” which has had a lasting and detrimental effect a wide range of other musics. An event of particular im- until today. portance happened in that capital in 1932, signalling the beginning of how we think of Arabic music that lasts until today—the Cairo Congress of Arab Music. At the suggestion of French musicologist and Arab music specialist, Rodolphe d’Erlanger, King Fuad II initiated this conference of Arab On the other hand, there was an unexpected and European musicians and musicologists from around effect to the presence of nosy onlookers. The availability the region and Europe. of recorded music and texts of all sorts from Europe and the Americas, for example, allowed Arab musicians to, in Much like how I began this series, the main ques- a sense, look back in a number of ways. In addition to the tion was regarding the “decline” of Arab music (a term “local” venues, the presence of a working European popufrequently used in the imperial era, a sort of “civilizational lace (i.e. soldiers) changed the performance culture as well, concern” that probably reflected European social, political, and many night club/cabaret-like venues appeared whose and cultural anxieties more than anything else). Despite patrons expected a certain musical experience (amongst the eyebrows you might raise at the presence of colonial- other things). Popular theatre and light opera, as it was era Arab monarchs and French orientalists organising a developing in Europe, began to take its own form in the capital in an also unexpected way, actually reflecting the

Institutionalisation (The Museum)

Popularisation (The Street)

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lived experience of the place and the time. The turbulent political climate in Europe and in places like Egypt offered up the nationalist or protest song. Composers and musicians (like the famous—but still not fully understood—Sayyed Darwish) were adept at these many styles, moving from an old-fashioned Arabic genre such as the dawr to the rowdy popular song with a sing-along chorus written for the dance hall or the café to the songs of protest written for the rally. The singing style, the melodies, the instrumentation and arrangements were, in this case, distinctly Egyptian but in many cases were inspired by (or freely borrowed from) encountered musics as diverse as European art music, jazz, tango, flamenco, etc. while still retaining a measure of acceptability by the listening public. The problem is not from the effects of this influence, but rather the adopted attitudes many Arab artists and listeners have about Arab music and the music of others. A musician in the early 20th Century would likely have a good grasp of what Arab music was about—they learned the art of Arabic recitation and the general rules of the language from the Qur’an (non-Muslim Arab singers and composers, Christian, Jewish, and otherwise, have acknowledged the art of recitation’s importance in developing a singing style that accurately reflects the text), the maqamaat, the basic iqa’aat (rhythms, as most song lyrics tend to follow the rhythms closely, and the rhythms often reflect poetic meters), instrumental and vocal technique, melodic phrasing, etc. Even self-taught musicians were in an environment in which those things could be passed on.

The Road Leads Back Things changed considerably when the development of the largely urban art music gained state acceptance and, most importantly, patronage. The culture found itself officially represented as a certain style (or set of styles), at the expense of a truly reflective and dynamic set of practices, stifling production. A small number of figures (and their respective ways of doing things) dominated the world of Arab music which lead to a greater unity of understanding and frame of reference (which paralleled the politics of the times), but debased the variety of forms Arab music took—and could—take. The crumbling of the political project led to a sort of souring of the milk, and gradually what was an honest, highly charged, and almost experimental attempt of what was perceived to be simultaneously “classical” and “modern” became the symbol of an older age leading to the polar oppositions of “untouchable classic” and “dusty old nonsense.” For the young and tired artist or listener, anything new or different, whether it be international pop, heavy rock, hip hop, disco—anything of an other, widely accepted currency—would be better. In the next instalment, I discuss why this attitude is self-defeating, and why one must examine—with patience—“the classics” (and no, not the popular idols in your parent’s collection) while knowing more about technology and production than even your most tech savvy house DJ friend.

Popular song often found itself drawing on the rich and living archives of Arab and Ottoman art music, the techniques and sensibilities of recitation of texts, the need to write and perform in a bustling and often competitive urban performance environment, the rising recording and broadcast industries, and the many new sounds from abroad either actively sought out by local patrons or brought in by the great number of people passing through.

“Ah,” a sympathetic listener may sigh in response, “They don’t make music like that anymore.”

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IN THE STREETS OF PHILADELPHIA by DANAH ABDULLA

kateboarding may seem to be a typically Western activity and completely out of place in the Arab world, but don’t be too quick to judge. The sport has already established itself in the Arab region in a big way. Philadelphia Skateboards, (named after the ancient city of Amman), is the Arab region’s first skateboard brand. Established in 2009, the company, based in Jordan, takes the concept of skateboarding a step further: their goal is to support the sport and skate lifestyle across the Middle East while helping break stereotypes. What’s more, the skate brand wants to be known as a company that sells quality products and serves their community and spreads the idea behind the skateboarding lifestyle: freedom, brotherly love and respect We got in touch with Mohammed Zakaria from Philadelphia Skateboards and asked him a few questions about the idea and the future of skateboarding in the Arab region. DANAH: How did the idea come to mind? MOHAMMED: Well, the whole idea started when I was 16, I just started skating, and it was really hard for me to get skateboarding gear, because all the sports gear stores here in Amman sold fake skateboards that would break in a matter of weeks, so in order to get real skateboards I had to tell my aunt who lived in the United States to buy me one and wait for her to come in the summer. I had the vision of starting a skate shop back then, because I wanted to support the Jordanian skate scene and the Jordanian skaters. I also dreamt of becoming a pro skater, so I can just skate for a living, but to be honest I wasn’t that good (laughs). So I decided I want to start something that keeps me close to skateboarding. The idea stayed in the back of my head waiting for it to mature and for the right moment to surface. When I graduated from university in 2007, I started a 9-6 day job, which I really hated, and the idea of the skate shop started to surface slowly, because I needed an escape from the corporate lifestyle. In late 2008 I met up with a Hungarian guy who worked in Iraq, and had to pass through Jordan for a transfer flight every time he wanted to go back to Hungary. He used to skate with us every time he was in town. One day, he expressed the idea of quitting his day job as well, and getting into something MAYSAM FARAJ photo by Evan Collison

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that is related to skateboarding, and how he doesn’t want to start a skate shop in Budapest where there are already seven other skate shops. Slowly the idea evolved from being just a retail store selling gear to creating the very first Arab skate brand. A little after that, we decided to name it “Philadelphia Skateboards” after the name of the ancient Roman city of Amman. We got in touch with local Jordanian artist Rami Afifi who designed our first logo, and our first batch of products and the following two product lines. Philadelphia was established with many objectives in mind, some of which are to support and provide for the Arab skate scene, try to “bridge” the gap between the east and the west, and to try and break stereotypes portrayed about Arabs in the western media, through a medium we both can understand and relate to. We developed our vision, “to be the world’s favourite skate company, loved and respected for what we value, the positive image we present, and for the quality of products we offer.” In other words, Philadelphia is a company that maintains its soul; that gives something back to the community that’s making it what it is, supporting and elevating the scene of positive skateboarding anywhere it may exist. DANAH: What are some of the skateboarders you represent (if you do)? MOHAMMED: Currently we have a team of two skaters representing Philadelphia, both located in the United Arab Emirates (UAE). Inshallah by the end of this year, our team will grow to represent gives riders from all around the Middle East, and maybe the rest of the world. We’re already in the process of selecting our third rider! Our riders are selected based on the level of skating they possess, their style of skating, but most importantly their attitude! Their contract even states that “riders must not be assholes”! Currently on our roster we have Maysam Faraj who is one of the first (if not the first) well known skaters in the UAE, and Mark Issa who is a crazy 15 year old! Mark skates better than most twenty-something’s with far more experience would. Both of these guys are Arabia’s finest.

MARK ISSA

DANAH: How do people react when they see skateboarders on the streets of Arab countries? MOHAMMED: (Laughs) Well, just like any other “foreign” idea brought into a new place, it’s going to be rejected at first but eventually, people will get used to the idea, and adapt to it. I mean, as skaters, we’ve always been looked as “outsiders”. People used to point, laugh, and sometimes even try to start a fight with us, but eventually they saw that we weren’t going anywhere, so now they’re okay with us, as long as we don’t skate near their houses or anything! DANAH: How has your concept been received both in the region and abroad? MOHAMMED: Honestly, I did not expect it to be received as positively as it has been, and I thought it needed more time to spread out of Jordan. But that wasn’t the case. For our first batch of products, we had orders from Lebanon, and our second batch of products we sold them in Jordan and Lebanon. Then for our third batch, we sold products in Jordan, Lebanon and the UAE. And now we’re getting orders from Morocco, Tunisia and other neighbouring states. As for people’s reaction to Philadelphia abroad, we have been getting a lot of support from countries outside of the [Arab] region, especially after hearing about what we stand for. We’re currently in the process of doing business with skate shops in Philadelphia, other cities in the United States, and Canada.

DANAH: Who designs your boards? Do you hold competitions? MOHAMMED: A young Jordanian artist named Rami Afifi designed our old logo, our first seven decks, the first two t-shirts and a wheel set. Currently, we’re working with more artists like Tamer Al-Masri, Lutfi Zayed and Mothanna Hussien – who designed our new logo. Rami is of course still on the team of artists. We’re printing a deck by Tamer Al-Masri, which was actually displayed at the “City Language” exhibit. Design by Rawan Kakish

www.phillyskateboards.com Design by Rami Afifi

DANAH: What are some of the projects you’ve undertaken? What are your future plans? MOHAMMED: Well, we have a bunch of projects that we want to see come to fruition in the future such as our plan to help build skate parks throughout the Middle East. One project that we were really psyched about is the “City Language” art exhibition, where we gathered 22 young Jordanian artists, gave each artist two decks to do whatever they wanted with them as long as they stuck to the “street art” theme, i.e. freedom of expression. The pieces we received were very diverse in style, and the talent blew my mind! DANAH: Is there a big market for skateboarding in the Arab region? Right now, there isn’t such a huge scene, but I see it growing in the future. I always compare what skateboarding in Arabia is right now to what it was in California when it first started. And I mean, skateboarding is the eighth fastest growing sport in the world, so it’s only bound to hit Arabia hard at one point.

A photo by Kareem Al-zien

Design by Rami Afifi

Design by Natasha Dahdaleh

Design by Nour Bishouty

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EVERYDAY IBN RUSHD by NAIRA BADAWI

Without going into mundane and “Wikipediable” detail on Ibn Rushd’s biography, suffice it to say he’s one of the greatest Arab philosophers to ever grace this confusionriddled earth. Being viewed as anything less than one of the greats would be downright unfair considering he did a spectacular job at commenting the hell out of basically all of Aristotle’s works and formulated tons of his own theories on everything from metaphysics to music. “The Commentator” who is known as “Averroes” in the western realm of philosophy, is still viewed as a pivotal figure amongst superstars of the medieval era of scholasticism; St. Augustine, Thomas Aquinas and Maimonides, to name a few. Ifeel quite confident in stating that most of us, “us” being Arab youth, have never so much as bothered to peruse through any of Ibn Rushd’s thoughts or theories. I will go even further by saying that most of “us” have never given Ibn Sina, Al Ghazali, or Ibn Khaldun a shot either. Is classical Arab philosophy boring, irrelevant or just full out inaccessible? I suppose people perceive it as being a combination of all three. Yes, philosophy isn’t for everyone, yet, there are still tiny morsels of wisdom one can attain from acquainting him/herself with even the smallest theory from the archives of Ibn Rushd and other Arab philosophers. Philosophy can sometimes be cumbersome and tricky to decipher and understand. However, when explicated clearly and simply, anyone can easily apply it to their day-to-day or just store it in their psyche for later use. It

Photo by Naira Badawi

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also doesn’t hurt to hear a few sage-like words of wisdom every now and then. The study of knowledge and truth is more often than not tackled by all philosophers who are vying for any sort of scholastic credibility. One of Ibn Rushd’s extremely basic thoughts on knowledge illustrates that “existence is the cause and reason of our knowledge, while eternal knowledge is the cause and reason of existence.” So knowledge and existence go hand-in-hand. Our knowledge is a direct derivative of our existence; our experiences, our lives on this earth. Makes sense, obviously. However, Ibn Rushd was a clever little trickster! He goes on to say that knowledge of truth, in a non-Islamic/non-faith-based sense, is something only certain people can attain; basically those who dwell within the higher echelon of academic aptitude. Not everyone is capable of finding truth; only philosophers. Ouch. Some of us are just meant to be stupid, I guess! As a random contrast, Ibn Khaldun, for example, believes that a human being reaches “perfection of the soul” when he/she has a depth and breadth of scientific knowledge! Ibn Rushd has a very interesting and almost pretentious view; people who are capable of philosophising, have a duty to! One can`t just decide to take the “ignorance is bliss” route and exempt themselves from the difficult task of deep thought and contemplation. But, Ibn Rushd didn’t stop there, he doesn’t just want people to philosophise for the sake of it. Once a person has philosophised to the point in which they begin to have epiphanies or formulate solutions for certain crises within society or the political sphere in his/her mind, he/she has a responsibility to speak up. This is a responsibility one cannot shirk. You could easily say that Ibn Rushd staunchly opposed the concepts of apathy and stoicism Taking the time to think and philosophise about what’s around us is not just beneficial in the long run; it’s refreshing and eye opening. Ibn Rushd clearly held this sentiment very close to heart and dedicated his life to it. We don’t have to immerse ourselves in philosophy or read all of The Incoherence of the Incoherent, but philosophising, even for those who think that’s far from their comfort-zone in regards to mental flexibility, is something we should all try to do. Start off light, eventually you might acquire a taste for the robust flavours of all that is philosophical and might end up pouring over The Decisive Treatise on the Connection between Religion and Philosophy in no time!

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AND WE ATE MANSAF! text and photos by BASHAR ALAEDDIN

MANSAF: An Arabic word meaning to be stupefied, dazed, narcotised, out of it, doped, loaded, unconscious, comatose. Yes, Mansaf is the national drug of choice here in Jordan. It is not a drug per say, but a culinary ticket to satisfaction. So I sit here at my parents’ house, on their sofa preparing myself for an appetising and tantalisingly delectable journey to come, one I am familiar with as well as the guests who I sit and wait for. I'm thinking about how excited people get when they’re anticipating eating Mansaf. We can't wait to stuff our faces with Jamid (Arabic word for fermented dried yogurt) and fatty lamb-meat; together in a festive gathering for no reason other than to boast later to uninvited friends how full our stomachs are, and how much riceballs we ingested. Whether it’s a marriage, an engagement, a child’s graduation, a funeral, a new car, an Islamic holiday or even just a weekend like my little gathering today, Mansaf is served with hype and excitement. Mealtime, in Jordan in general, is not just a biological function, it’s a time of celebration. And when it’s Mansaf, you better physically

and mentally prepare yourself because you are about to indulge in a comatose afternoon! Usually, mansaf is served during lunchtime. I’ve rarely encountered Mansaf for dinner; although considering its rich and heavy nature you would think it would be fit to be served at dinner and then it knocks you out for the rest of the night! Either way, back to my gathering. Feasting on Mansaf is a serious matter, hours are spent preparing it. My guests literally have called me in the morning telling me about how they can't wait and will refrain from eating breakfast in order to save room in their tummies for this dish! The thing is, it's not difficult to find or really hard to cook, it’s quite simple actually. The hardest part is planning the crowd. You have to eat Mansaf in a circle with twenty plus people around it. One time while sitting in Wadi Rum feasting on Mansaf with the native Bedouins, they began telling me the historical and cultural significance of eating this infamous dish and relaying stories from hundreds of years ago. My hosts boasted how the ritual of guests standing in a circle around a big plate of rice and meat and eating with their hands is a sign of bondage and generosity, respect and hospitality. They told me stories of camel riders that would travel days to different villages

carrying their locally-made preserved rocky yogurt, to present it to new friends and allies as a sign of peace and welcome. Today, that ritual still stands, (we still preserve the yogurt the same way though but we don’t carry it around). Guests still stand together around this rice-filled dish as one. Standing in their positions, the Jamid bowl is passed around for each to pour as much as they desire in their designated areas. The Jamid yogurt helps stick the rice and meat together in a finely woven bite-sized ‘rice ball’ that you then chuck into your mouth. In modern present times, there’s always a friendly competition to see who will be the last one standing, especially if there’s a woman in the circle, and if a man leaves before she does, let’s just say you don’t want to be that guy! Sometimes I wonder when did women start eating from the same plate as the men and is it something you find only amongst those residing in the city or has it also started to happen in Bedouin life?

Mansaf, if defined in a dictionary, is a plate of rice, meat and yogurt, but its cultural definition is the national symbol of the Hashemite Kingdom of Jordan. When tourists arrive, they may or may not visit the Rose Red city of Petra, they may or may not float in the Dead Sea or even walk through the Roman ruins of Jerash, but they have to, no they must always try Mansaf!

After about 30 minutes of stuffing ourselves the women gathered together to chit-chat and gossip with their tea about the latest news, while the men, with their iPhones and Playstations, just lounged with the meal up to their throats, sweating and panting boasting about how they conquered this feast and that their bellies would stay full until the next day.

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TOGETHER BY A STRING: MEHDI BEN ATTIA

by ZAHRA FADHLAOUI

ehdi Ben Attia, a Tunisian filmmaker and writer is noted for his 2009 production “Le Fil”. Translated into “The String,” it tells a story of an unfolding romance between two Tunisian men. I was granted the opportunity to interview Mehdi Ben Attia and discuss both his motive for the film and his opinions on the gay and lesbian communities in the Arab world. ZAHRA: What inspired you to create the storyline of your film “Le Fil”? MEHDI: “Le Fil” is a very personal film. It deals with issues that mean a lot to me and is set in a social context that’s the one I know. I didn’t care about being sociologically correct, what I wanted was to make a film that would sound true to my own ears. ZAHRA: When creating your film, was there any particular message you wanted to send out to the viewers? MEHDI: I wanted to show that homosexuality isn’t necessarily a tragedy, that it is possible to be either gay or lesbian and happy even in an Arab and Muslim country. I wanted to find the way to happiness for my characters and have the audience think “It’s not that difficult after all.” ZAHRA: What kind of response were you expecting from the Tunisian audience in regards to your film? MEHDI: I realise that homosexuality is quite taboo in Tunisia, and I knew it would be very difficult to shoot and show the film there. The shooting actually hasn’t been difficult (once we got the authorisations), but unfortunately I never could screen the film in Tunisia. The responses I got from Tunisian spectators (for example, gays who saw it on the Internet, or Tunisians living outside their country) have actually been very encouraging, more than I thought they’d be, I suffered almost no homophobic reactions, so now I look forward to showing my film in my own country. I hope it happens someday... ZAHRA: When you learned that you film was banned from being shown in Tunisia, what was your reaction to the whole situation? And do you think that in the near future, they will lift up the ban? MEHDI: I can’t say that I’m surprised that my film was never shown in Tunis. However, it was never actually “banned,” the process is more insidious. No distributor ever asked to show the film (they knew it would be forbidden), and so the ministry never had to bother banning the film. I hope I can show “Le Fil” now that the country’s (more or less)

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free. Will this be possible? I really wish I knew! ZAHRA: What’s your current relationship with Tunisia? And if you do visit, do people recognise you or your work? MEHDI: Tunisia is my country. I live in Paris but I go to Tunis regularly.

It’s a small country, people know each other. People who MEHDI: I’m very happy and proud that the gays in Tunisia work in film know me as I know them. But I’m not famous took part in the revolution and had the courage to get or anything like that... out of the “closet!” Yes, I believe the revolution is likely to allow more freedom to everyone — hence, to the LGBT ZAHRA: During the uprisings and protests in Tunisia within community. Of course, one can’t be sure, the issue of hothe recent months, pride flags have been shooting up amidst mosexuality is not very central in the political debate at the crowds, what are you thoughts on this? And do you the moment. think the revolution will help in allowing more freedom for the gay community in Tunisia? ZAHRA: Hammamet was known for being a central site to the gay community but today Tunisians admit they are everywhere, what are your thoughts on the idea of labelling a town as the “gay community” and segregating them from the rest of Tunisia? MEHDI: I wouldn’t support such an idea. One should be able to live free wherever one is. I think the gay city in Tunisia isn’t Hammamet—it’s Tunis! ZAHRA: Of course tolerance differs in all Arab states, but which do you think is more open to accepting and allowing people more freedom? MEHDI: The more Arab countries are open to foreign cultures and tourism, the more they tend to be tolerant: Tunisia, Morocco, Lebanon, and even Egypt (despite the prosecutions) are certainly places where homosexuality is better accepted than Mauritania, Sudan or Saudi Arabia... ZAHRA: Many Arabs are homophobic or anti-homosexual; do you think this is more about cultural tolerance or religious affiliation? MEHDI: In my opinion, it’s 100% cultural. Of course, religion takes part in the culture, but I’m pretty sure that a religion is what the believers make of it and that if they decide to be more tolerant, they can find in the Book phrases to justify this tolerance. ZAHRA: Finally, if there is one thing you can say to all Arabs in regards to the oppression of homosexuality in their societies, what would you like to say to them? MEHDI: To the Arab gays, I say: Don’t think you’re not normal. Homosexuality has always existed in all cultures and will always exist. Don’t be ashamed, don’t feel guilty. Live your lives freely, and follow your hearts. To the others, I say: Let’s try freedom and tolerance. Let’s fight for our rights, all of us, regardless of gender, race, religion or sexual preferences.

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THE WEDDING PLANNERS

text by DANAH ABDULLA photos by SHERIF MOKBEL

he words “wedding” and “planning” placed side by side may seem like an oxymoron in the Arab world but the concept of an agency that plans your entire wedding is quickly attracting many young Arabs seeking a personalised wedding. Zainab and Leena of Carousel, a wedding planning agency based in the United Arab Emirates (UAE) whose mission is to help brides enjoy the ride as they embark on this special journey, discuss how their agency began, the obstacles they face and wedding planning in the Arab region. TELL US A BIT ABOUT YOURSELVES AND HOW YOU STARTED CAROUSEL. ZAINAB – I have three boys and have called Dubai home for the past 22 years. I have a degree in Finance and Business Administration from Eastern Connecticut State University in the United States. Before Carousel, I started my career working for the National Bank of Dubai and Al Alahli Bank of Kuwait, and then I started Carousel with my friend and business partner Leena. I am the compassionate and principled one!

EVERY MEMBER TAKES PART?

We did start off as corporate event planners and when couples started approaching us to plan their big day we noticed that there was a need for wedding planners in this part of the world, especially that most young couples LEENA – I’m a mother of three and have been in Dubai now have careers and many of them don’t have the time, since 1999. I completed my education at the Rhode Island resources or the know-how to plan their own weddings. School of Design in Jewellery. I worked on designing a Also, many couples don’t have families here, and even the line of semi-precious pieces in Saudi Arabia for a little ones that have immediate family members and friends while until fate brought me to Dubai. There, I met Zainab in the UAE are now keen on hiring professionals to plan and we started Carousel. I am the multitasker and master their big day. researcher! HOW DO PEOPLE REACT TO YOUR WORK? ARE THEY We both have a passion for life and for beauty; a love for OPEN TO IT? people, and a deep desire to make people happy and to help brides create their perfect wedding. We started work- We usually find resistance from the parents because the ing together four years ago as corporate event planners, concept of a wedding planner is fairly new here and they until we planned our first wedding. It was destiny, and we feel that weddings are typically planned and supervised by found our true calling. The experience was so rewarding, the family. It’s our job to be informative and explain how and through sheer demand we turned our focus totally we in fact can save them time, money and stress, allowing towards weddings. them to enjoy the experience and the day. At Carousel, it is our mission to help brides enjoy the ride as they embark on this special journey – the road to the Big Day.

WHAT’S IS THE BEST PART ABOUT WEDDING PLANNING? Seeing a bride walk down the aisle with tears of joy in her eyes. That’s when we know we delivered her dream wedding.

DID YOU INITIALLY THINK IT WAS A GOOD IDEA KNOWING THAT MANY ARAB WEDDINGS ARE SOMETHING MOST WHAT ARE SOME OF THE OBSTACLES YOU FACE? FAMILY’S JUST PLAN AMONGST THEMSELVES WHERE 60

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Convincing the couple and their family to surrender control and sit back and relax. While our clients always have complete trust in us, they still feel the need to do more, so we are constantly having to reassure them that all is in order and going as planned. In addition, planning a wedding is a very personal and emotional experience so we have to be able to deal with emotional ups and downs.

that we are wedding planners in the true sense of the word. We are also very personal in our approach to dealing with our clients: we are accessible 24/7 and go to great lengths for our clients. Many companies would design and execute your wedding but not manage the day. We are there before, during and after the wedding.

HOW IS WEDDING PLANNING IN THE UAE/ARAB WORLD DIFFERENT FROM IN OTHER PLACES?

Our passion for making dreams comes true.

In the Arab world, weddings are more of a family affair where everyone is involved in some way. Itâ&#x20AC;&#x2122;s also governed by traditions and customs that a lot of young couples want to break out of. Weddings in this part of the world are elaborate and are significantly larger.

WHAT INSPIRES YOU TO CONTINUE?

ARE YOUR SERVICES OFFERED ONLY WITHIN THE UAE?

Currently yes, but we are looking into expanding into the Gulf, Jordan, Egypt and Lebanon. Aspiring young entrepreneurs throughout the Middle East are loving what we do and we are flattered by the numerous invitations to set-up Carousel in DO YOU SEE THIS AS A GROWING MARKET IN other countries. When the time is right, we will THE RE- but for the time being, we do have an invitation GION? line that we can distribute in the region. Yes abso- www.carousel-of-life.com lutely. The we dd i ng Sherif Mokbel: mokbelography.com industry here is huge. Carousel is a one stop we dd i ng planning shop and you offer many products and services, have you re c e nt l y been faced with increased competition or is it a fairly small market where many companies do not necessarily offer the same things? There are many companies here that may offer similar services but we are unique in the sense

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EL3AB: PROFILING JORDAN’S DJS by RAWAN RISHEQ

DJ KALICE

hen speaking about Jordan you may often hear about the beauty of Wadi Rum, the marvel of the Dead Sea and the majesty of Petra, but seldom does anyone mention music. When scanning the Middle East for a nightlife experience, the tendency is to look towards Beirut or Dubai, both of which have a history of attracting the world’s top DJs to perform for crowds on beaches, in posh lounges and underground afterhours locations. However, the notion that Jordan does not sparkle on the dark night map is a misconception. As a music enthusiast, my dancing experiences have ranged from a rave of 7,000 people in downtown Toronto, to a small reggae jam in a port in Jamaica, all the way to a drum ceremony with Shamans in the Indonesian jungle. No matter what the location or genre, there is never a doubt in my mind that when the music is just right and the crowd is feeling the vibe a miraculous moment is born. Upon my move to Jordan, I have had the pleasant surprise of tasting that sense of bliss on occasion here within the small electronic dance music scene, thanks to the rich local talent. And so, on my last visit to Canada a friend of mine, who had been to Jordan on visits, asked me: 62

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“Are there even clubs in Amman?”. That’s when I realised that it was my duty to shed light on the deep passion there is here for music - especially by those who spend their time and effort creating sets to make us smile and move! By interviewing a select number of local DJs, or what I like to call (heart) beat-per-minute-maestros, I want to give them the chance to speak for themselves about their inspirations, hardships and the rewards of playing music for the sake of music. I’ll proceed now to introduce to you our DJs in order of most experience with the industry.

DJ KALICE (Morad Kalice) Web: www.djkalice.com Listen: www.soundcloud.com/kalice

in Amman back then, I saw him playing once and I just figured, “hey I’ll give it a go!” And that go is still going! RR: Is DJing your main source of income? If not what is? If yes, how did you manage/maintain its sustainability in Jordan? KALICE: It is my full time career, not just my job. 18 years in, DJing is defined as my career. I do sound engineering and music production, even graduations and weddings… commercial stuff always gives you more money that just DJing. RR: You have a reputation as being one of the pioneer DJs of the Jordanian industry, how would you compare spinning/partying in Jordan then and now?

KALICE: It was more fun back then (late 90s) RR: How long have you been DJing for and when than it is now, people didn’t have much trouble did it all begin? and stress. Of course now the scene is improving musically, professionally I mean…there are KALICE: I’ve been doing this for almost 18-19 many genres being played-R&B, House, Trance years. There was this Scottish DJ “Bish” working etc., There’s more variety.

RR: Where have you played internationally?

DJ ABU (Omar Abu-Ayaash)

KALICE: Morocco, Dubai, Lebanon, Syria and more to come Listen: www.mixcloud.com/omarabu hopefully! RR: What genre of music do you like to spin or have you played in the past?

DJ +HOVSEP (Joseph Zakarian) Listen: soundcloud.com/xhovsep Facebook: www.facebook.com/plushovsep Twitter: www.twitter.com/xhovsep

ABU: Personally I enjoy listening and spinning what’s now considered “classic sound”, mainly Tribal House with a hint of Progressive House. Most recently I’ve evolved into spinning new age Tribal Tech House.

RR: Let’s start with your DJ name: what is the meaning RR: When did you discover your musical ear and how have and significance of the “+”? you developed it since? +HOVSEP: First, because I’m a filmmaker and photojournalist I like to add the + to everything I do. Second, I try to look at life in a positive way, so I actually feel that my name and the presence of the “+” has actually impacted my personality and outlook on things.

ABU: For as far as my memory can go I remember myself being taken by music. I started playing piano at the age of six, and over the years, just before Junior High, picked up a guitar, a bass guitar, and a pair of drumsticks up until I graduated high school. I got into electronic music towards my last year, but that passion wasn’t nourished RR: What musical influences would you say helped you until I arrived in Montreal for college at the turn of the form your individual style? millennium. +HOVSEP: My uncle was one of the most prominent DJs in Amman from back in the 80s, one of the few who could use turntables. He also owned two record shops, but unfortunately, there is no more demand for those these days. He had over 20,000 records for himself and for a radio station. My dad tried to teach me violin but I didn’t continue. I did learn drums though and performed on stage only two weeks later! When I was about 13-14 years old, when it was someone’s birthday, we used to take cash from every student and rent out equipment from the one store I knew had it and sometimes, the owner would give me a free smoke machine too and I would play CDs and be the DJ of the party! At that time, there was also Yazan Ni3meh in my school and I used to follow him everywhere to hear him play. Also, when I went to study abroad in Armenia I got into alternative rock and my best friend was a great guitarist so I tried bass and we started a band and had a few gigs. I was a vocalist though and I didn’t want to sing for long. We tried to make some Armenian rock kind of style, then I moved to DJing. RR: How do you enjoy your residency at H2O Pool Lounge? +HOVSEP: The H2O Pool Lounge opening at the beginning of this summer was a very decent event. It’s a nice open area and they’re trying to do something different. I think that was the first event I enjoyed since the start of the season. Eller Van Buuren (Armin Van Buuren’s brother) came to it to perform guitar at the event and he said he really liked it! RR: Why do you think the scene is not as developed in Amman as say Beirut? +HOVSEP: We do have very talented DJs in Jordan, you’re going to interview most of them but the problem isn’t with the nightlife itself, it’s with the radio stations that keep playing the same music over and over, for I don’t know how long…and they’re messing up the people because they play bad music! Most people will agree with me, at least those who appreciate music would, there’s a demand for different genres, stations need to appreciate this and stop filling people’s ears with poison. Amman is a beautiful city, Jordan in general is a very beautiful country, Distant Heat is an amazing event-a rave in the desert, but its been stopped by the government…I don’t want to get into that, but we did lose a very important event, the summer event, that everyone waits for. Armin Van Buuren, #1 DJ in the world, well trance mainstream, but we had him spin at that event and he loved it!

RR: Where have you played locally and which venue/event was your favourite? ABU: I’ve played a few venues in Amman over the past four years, places like RGB, The Irish Pub, Albums 101, and Switch51. I would honestly have to say my favourite venues to play were the private ones, such as farms and house parties. The reason being the controlled crowd that’s invited ensures that everyone there is there for the music! RR: You are also an Audio Engineering lecturer at SAE Amman, what are your observations on the next generation graduating with this skill set? ABU: From what I see, the new generation is definitely bringing new ideas, skills, and talents to the table that couldn’t have been thought of at the time when I started This is due to the advancement of technology between that period almost ten years ago until now. The whole world is moving onto digital technology where back then, analogue equipment and peripherals dominated the scene. This could be harmful in one way though, if DJs and producers keep relying on technology to create most of their productions for them, they avoid relying on their own brain skills and creativity for that. I truly believe it’s vital to evolve with technology, just as long as you don’t forget where it all came from.

DJ KITCHEN CROWD (Hasan Hijjawi) Listen: soundcloud.com/kitchencrowd RR: “Kitchen Crowd”, what’s that name all about? KC: My artist name is “Kitchen Crowd”, after years of trying to come up with a name for myself, and I eventually gave up and stuck with my original name, when one day I was at a house party and went to the kitchen to fix myself a drink and ended up staying in the kitchen for an hour with a bunch of cool people talking about how the kitchen crowd is always more laid back and fun then everyone at the actual party so voilà! It was like a light bulb just lit up over my head, because I like to think of myself as fun and laid back. RR: How do Jordanians treat you as a DJ? Please comment on the local partying crowd. K A L I M AT

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DJ ABU

KC: They are always super friendly and support- Listen: soundcloud.com/tripthelight ive. Sometimes, when the vibe is rocking, I enjoy playing in Jordan more than any other country. RR: What kind of music do you play? How would you describe its sound and feeling? RR: You are also a promoter, what are your professional observations on the nightlife industry AS: I’m very eclectic with my sound. After awhile, in Jordan? I settled not on genres but on certain feelings, not very fixed on just one. I have a trippy melanFrustrating, difficult, complex, dirty…but I always cholic sound with a very dark and dirty baseline, feel responsible to keep on doing what I’m doing that’s my techno sound at least. But recently I’ve and exposing the Jordanian crowd to artists from branched out and been very interested in a very dark groovy down tempo sound. It’s a sort of sound all over the world. that you don’t necessarily have to dance to, but RR: You have a show called “JUICY” on SPIN maybe just groove to. Producers like Matrik (MaJordan radio station, how do you select what to ceoplex) is doing this now, a subtle deep house play? What do the people want to hear? Does it sound. I also get into a dub techno sound, irregular baseline, but not aggressive, you can sit down and influence their taste levels? it still penetrates and entrances you, plays with KC: Well I try to keep my show as diverse as pos- your head. I do also like a very driving sound; I’m sible so I go through as much music as I can. I’m very specific about picking vocals with a twisted assuming they enjoy my show because it’s not like melancholic sense. Vocals are usually very cheesy anything else on Jordanian radio. Radio remains in electronic music, sometimes at parties people the most mainstream form of listening to music request vocals but it’s hard to find just the right especially amongst high school kids, so if you give kind for me. them more options on the radio, they are exposed My other sound is much more intense, even when to much more than regular top 40 play lists. I play it I tend to become a monster. It’s like I’m at a death metal concert! I think one time I head banged my head into a mixer (laughs). It’s so aggressive but relieves all frustration. If you’re upset, you should listen to it. At the same time,

DJ ALI SAADI 64

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DJ +HOVSEP

it’s a very complex musical structure: strong vocals, nice arrangements and glitches. The first two tracks overwhelm people, but by the third track, the filtered elements seep into your mind and you CANNOT stop dancing! It’s almost like the sub base lifted you up and got you into a frenzylike being charged by the speaker! If you’re driving on a highway you’d be very dangerous! It’s very strong in Spain, started in the UK, its called “TearOutBreaks” - literally the tear is situated within the sub base, it feels like it’s tearing up the speakers. “Very intense”, that’s the only word for it. I also play dubstep, technodub - a mix of dubstep which pressures and releases you, like a zombie dance sometimes (laughs), and drum and bass.

feel when I mix and create tracks. RR: What artists have influenced you to want to be part of the music industry? EXODA: Michael Jackson was my main inspiration, but there are many great producers out there and each one has a unique signature so I would say some of my favourites are Sasha, Gui Boratto, Mark Knight and Funkagenda. RR: What inspired you to be a DJ?

EXODA: Seeing how people react to a great act blows me away. As complex as people can be with their thoughts and RR: What is the most memorable time you’ve ever spun differences, music seems to capture everyone at the same locally? time and it makes the entire place whole. It’s magical and can’t quite be explained in words. AS: Last week we had a gig at G club with Balaras, Avidbold, Ronin and Nesta, and at about 3AM when the place RR: Other Jordanian DJs you would rate? is supposed to close, we turned off the music and a crowd of about 100 people stood there for 15 minutes waiting for EXODA: BeeBee, Hasan H, Khalid Nimry, Flava, Avidbold to name a few, there are so many great local talents, the an encore. It was so personal and the energy was awesome. list is huge. It’s such a downer when you play a track and no one feels it, and that night it was amplified through the crowd. We tore the roof off the place!

DJ AVIDBOLD (Ahmed Hijjawi)

RR: Other Jordanian DJs you rate?

Listen: soundcloud.com/avidbold Fa c e b o o k : w w w. f a c e b o o k . c o m / p a g e s / AV I D AS: As for the new generation on the scene I would have to BOLD/124214237617025 say Flatliner and Avidbold have the most beautiful spirits and their presence on stage is amazing! RR: What does AVIDBOLD mean and how did you choose it?

DJ EXODA (Mohammad Arabiyat)

AVIDBOLD: Well, to be honest the first part of my name was chosen by my girlfriend (smiles). She always thought of me as an avid person for music, it makes me feel enthusiastic and the moment I fell in love with electronic dance music (EDM), I became fully dedicated to it and constantly eager Listen: www.soundcloud.com/Exoda Facebook: www.facebook.com/DJExoda to know about it. Regarding the second part of my name, frankly, it was initially supposed to be “Bald”. As crazy as it sounds, we decided to combine both “bold” and bald” RR: What does “EXODA” mean or stand for? into one meaning because once you hear it, you would EXODA: “Exoda” means God of fire. I chose it because it imagine “bald” and have an idea of how I look but once really does represent my music and my style. It’s how I you read “bold”, you would understand how courageous

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and daring you must be to become a DJ and stand in front of a crowd, play non-commercial music and make people go crazy, dancing to it and loving every minute. Adventure is all you go through in this field and you have to be ready. RR: How did DJing come into your life? AVIDBOLD: It began when I was completely surrounded by my older brother, Bee Bee, one of the biggest EDM DJs in the Middle East. He takes all the credit for teaching me the techniques of DJing and being around him taught me how the DJ must be like around his crowd and behind the decks. It took me years to learn from him, whether from attending most of his gigs or being around him at home where he enjoys DJing and listening to music literally all day long. I thank him for the push and opportunity he gave to me because he is one of the reason I got this far (smiles). RR: What are your observations on the nightlife industry in Jordan? AVIDBOLD: Jordan has been improving in the nightlife industry and we can be the best if our way of living and thinking changed a little bit. To be clearer, there are people that still think of nightlife as silly, a waste of time, an unacceptable field with a bad reputation. They never think of it as a pure, harmless and beautiful place where you can just dance and listen to the music you love to hear without messing around with other people and blowing fights here and there because some other guy glanced your girl or whatever. We forced the couples’ rules and conditions to minimise these obstacles and for now its working well but we still want to give the opportunity to those who are just there to enjoy the music as it is, regardless

of anything else. We have bedazzling locations but we still face uncountable issues to have the approval of managing events in them, we still have faith that some day all these problems will wash away and we’ll be able to reach the ears of many crowds out of Jordan through the events we organise without any bumps on our way. RR: Funniest thing that ever happened to you at an event? AVIDBOLD: Something happened recently at one of the events, while I was playing at a pool party in Aqaba and I was a little wet so I dried myself up and once I started spinning, every time I touched the mixer I got electrified and whoever comes to say hello and hug me gets electrified too! It was a “look but don’t touch” situation until I stood on my towel and got separated from the electricity. Finally, I had one last question to all the DJs: If you could tell non-Jordanians one unique thing about the partying flavour in this country, what would it be? KALICE: It’s the safest place to party in the Middle East and maybe even in the world. Hospitality is warm and there are a lot of keen youth that want to improve the scene even more. +HOVSEP: It’s the challenge to make people dance! To make them move like minshanallah ya3ni (for God’s sakes), it teaches you a lot. I love to see people dance so it’s harder to get them on their feet in Amman and make their asses mov! I look at it from the perspective of trying to add elements to my set that will MAKE them move. It’s working out well and it has taught me to connect to crowds better and try to understand what they want to move too but don’t even know it yet.

DJ AVIDBOLD

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DJ EXODA

ABU: We have a great EDM scene here in Amman, unfortunately it’s the crowd’s energy and vibes that dominates the atmosphere, not the music. It’s the few that actually go out for the music, the rest are out for the “outing” aspect of partying. But the scene is growing in the right direction, and we’re seeing more and more amazing nights in Amman nowadays.

DJ ALI SAADI

KITCHEN CROWD: The people here are very passionate about their music and the small clubbing culture we have here is hard to understand but once you get into, it’s a load of fun. ALI SAADI: The local DJs here are very, very strong, they research their music so deeply, they put their heart and soul into it! It’s a very naive way of DJing – they are rewarded by mixing not by the monetary aspect. For me, to mess with people’s heads with my music, that’s enough for me! Give any local DJ a good crowd and he will do wonders! Even the international DJs who come here are very impressed with our technique, taste and presence. EXODA: The hospitality of the Jordanian people is known around the world, so I am sure they will love the vibe here. AVIDBOLD: I would tell them that they must trust me 100% when I say they will be treated and welcomed in this country better than the population itself because our clubs, events and Jordan itself will appreciate their visit!

Make sure to visit “New Media Extras” at kalimatmagazine.com for interactive components of this article. K A L I M AT

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PICASSO & STARBUCKS: BOOK REVIEW by NASSRA AL BUAINAIN

hat would life be without a circle, the geometric shape that fascinated engineers back in time? It is a shape that has no beginning or end, no corners and one face. It is the reason of human evolution. Have you wondered what life would be without the wheel? We wouldn’t have cars, and how would planes fly with square engines? If the world was square it would end at some point! That is not an introduction to Euclid’s Elements, but an introduction to Picasso & Starbucks by Emirati writer Yasser Hareb. That was just an example of what thoughts this book makes you meditate upon.

Hareb transitions from topic to topic harmoniously and delivers content that leaves the reader with a lot to reflect on. What he discusses are topics you may have thought about before, but he will shape it for you with words that indulge all your senses. What caught my attention was how many times Hareb mentioned creativity in order to stress its importance and how the surrounding environment is vital for a good nesting of great ideas. He emphasised that the person must be outgoing with his ideas and not surrender to the negative stereotyping society might carry. That’s because creativity is hope and power for both the society and the creative person themselves.

The book title makes the reader think about a Picasso painting one can enjoy while drinking a cup of Starbucks coffee. But Hareb used this as a metaphor in one chapter to show how the organised chaos in a Picasso painting is more likely to be like an experience at Starbucks. Not all people see the beauty in a Picasso painting. However, it may be difficult to express their thoughts because art critics have classified him as a timeless artist. Likewise in Starbucks, if you don’t appreciate the coffee and the whole experience you are against what is considered cool and hip in modern days.

Hareb’s book is truly about self-discovery, it leaves the readers with questions like “what is your true goal in this life?” “Why do you sometimes under estimate your power?” “Is it possible you haven’t given ‘yourself’ the attention that you deserve?” “Have the different choices in life made us lose the path?” “Have you accepted life the way it is or has materialism unconsciously guided us to search for more?” “Have we tried to make peace with our souls, with everyone else, with the universe?” “Is being positive simply being simple?”

Although this book is far away from what the title might imply, i.e. a story about Starbucks, I see a different kind of connection to Starbucks in it. The different ideas presented by the authors are like coffee cups containing different flavours: some are sweet like a caramel macchiato and some are strong like an espresso. What they have in common is that they all have the real taste of life.

After reading Picasso & Starbucks you will be able to choose the best for you based on what you have tasted. Different flavours throughout the book will expand your knowledge of the life you live and you will be more self-aware of your inner power that made you choose this book to read in the first place, it’s all a matter of choice!

You go through the menu (table of contents) and quickly pick what you like. The coffee (topic) has no complications just simple ingredients (words) and fabulous taste (writing style). Once you drink (read) your coffee (topic) you will feel the need to have another. It is so nicely mixed that you may end up developing a Starbucks addiction (a true page turner).

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CULTURE

HIBISCUS AND MINT M

text and photos by NAIRA BADAWI inty, tart, sweet and rich all at the same STEPS: time, this konafa rendition of my karkadeh

(hibiscus), and mint pavlova is delicious to say the least. Pink pomegranate and karkadeh cream merges seamlessly into crispy, peppermint soaked konafa cakes. Served cold and topped off with fresh pomegranate gems and sprigs of mint, this easy-to-make desert is sure to impress!

INGREDIENTS: Konafa cakes: • 1 box konafa • 4 tablespoons butter • 1 cup sugar • 1/2 cup water • 3 tablespoons dried peppermint (3 tea bags of peppermint if you don’t have it loose) Cream: • 1 small packet of vanilla pudding • 250 millilitres whipping cream • 1 ½ cups milk • 10 tablespoons of concentrated pomegranate juice (POM) • OR • 4 tablespoons grenadine • 3 tablespoons hibiscus (3 tea bags of hibiscus if you don’t have it loose) Cream: • 1 pomegranate • A bunch of fresh mint

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KONAFA CAKE PREPARATION: Cake:

1. Preheat your oven to 250 degrees. 2. Pull the konafa out of the box and lightly separate it and rip it up a little bit. 3. Mix the konafa with the melted butter. The konafa doesn’t all have to be covered in butter; a little bit goes a long way. 4. Put half of the konafa in a baking tin, it could be round, square or rectangular. Put the other half in another baking tin. Make sure each baking pan is the same size and shape. 5. Press the konafa down firmly and bake until golden brown. 6. Pull it out of the oven and let it cool before making the syrup. Syrup: 1. Put ½ cup of water in a saucepan. 2. Add 1 cup sugar and the 3 tablespoons of peppermint. 3. Let it come to a rolling boil and remove from the stovetop after about 10 minutes or once the syrup thickens a bit. 4. Pop out the cooled konafa cakes from the baking tins and set each one on a plate. Drizzle the hot syrup onto each cake and set aside.

Karkadeh and pomegranate cream preparation: 1. Put 10 tablespoons of pomegranate juice into a saucepot. 2. Add the hibiscus and let it boil until it’s reduced significantly. 3. Put a tea strainer over a bowl and pour the dark red liquid right through it. 4. The hibiscus will be in left behind in the strainer and the hibiscus and pomegranate reduction will be in the bowl. Set it aside and let it cool until you finish making the pudding. 1. In a separate bowl make the pudding by adding the pudding mix and the 1 ½ cups of milk into a bowl; beat with a hand mixer. Don’t add the full amount of milk suggested on the pudding box, you’re still going to add liquid and light whipped cream. It’ll be runny if you use the full amount of milk stated on the pudding pack. 2. Whip 250 ml of whipping cream (the middle-sized carton) in a bowl until it’s nice and stiff. 3. Fold the whipped cream gently into the pudding. 4. Take a big spoon of the whipped cream and pudding mix and put it into the hibiscus and pomegranate reduction. Mix it thoroughly and pour it into the rest of the whipped cream and pudding mix. 5. Let the dark red cream marble into the white pudding and whipped cream mix. Don’t mix it thoroughly. COMPLETION 1. Put one of the konafa cakes onto a plate and slap on a bit of the marbled hibiscus and pomegranate cream. Add a few pomegranate gems in between for crunch and a bit of juiciness. 2. Very carefully place the other konafa cake on top of the layer of cream. 3. Then place a final layer of cream on top of the second konafa cake. 4. Garnish it with sprigs of mint and pomegranate gems and refrigerate overnight. Tasty! Pair it with a tall glass of iced hibiscus tea and some good company and call it a day!

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CULTURE

TAK-TAK-TAKASI

by LAMYA HUSSAIN

Tak-Tak-Takasi is dedicated to the many taxi drivers in the Middle East.

Meet Abu Tarek —The Transporter If you are an activist/artist/researcher/journalist/ photographer/writer/musician and are posing to be merely a tourist to get into the West Bank—Abu Tarek is your man. Your fanny pack and aviators don’t seem to fool him. He’s been around since the Oslo years driving travellers from all over the world that come to Jordan to cross over the Allenby Bridge into Palestine. He is your typical 3ammo (uncle) dressed decently, with a pen tucked into his chest pocket. His English is eloquent and he knows every city in the United States. And if you’re a Canadian traveler, he’ll attempt a few French words! Abu Tarek will tell you stories of his cousins that live in Montreal where he will one day open the best shawarma restaurant. The conversation will also include his security updates on the different questions that you can expect to be asked at the border. In particular he will give you a pretext of all the ridiculous questions the Israeli border security will ask you, consider the following; “What is the purpose of your visit?”, “Where will you be staying in Israel?”, “ Do you know any Palestinians ?”, “ Are you part of any group or student activities on campus?”, “Are you here to take pictures of soldiers and the security fence?”, “ What do you think of the Israeli people? , “What do you think of Israel?” and “ Will you be going to the West Bank and Gaza?” Abu Tarek will help you rehearse some of your answers as well: “ Tourism”, “ Tel-Aviv – it’s a great city!”, “ No I don’t like Araveem (Arabs)”, “ No I am an English major, so only the Shakespeare Lovers Association”,“ Only pictures of the beaches and cafés”, “ I love the Israeli people, they have a funny accent”, “ If you let me in, I’ll tell you what I think of Israel on my way out!”, “Of course not! They have no clean water there!” He will provide you with a diligently prepared and all inclusive update with the new procedures and forms that will drain you through the next 3-4-5-6 hours of interrogation by the Israelis. “Make sure you tell them you wish to see some parts in Area A! You know say you want to see the Kneset Mehdi in Bethlehem.” He’ll also give you a ‘Palestine 101’ with all the cities you must see and all the destroyed villages that are now Israeli settlements/cities. In a sense, he is somewhat more enthusiastic about your trip than you are, almost as if he lives vicariously through travellers that go beyond borders into his homeland. A humble man, Abu Tarek will only charge you a fair amount but will ask you for one favour: “Pray for me and my family in Al-Aqsa”. You are almost marvelled with his sense of detail in how he describes different Palestinian cities. The nostalgia mixed with enthusiasm smoothens your own nerves and in no time you are standing in the middle of the desert waiting to board a crowded bus with other internationals headed towards the Israeli side. His last words? “Allah Ma’aki!” (May God be with you)

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photo by Lamya Hussein

Meet Abu Hana – I love you Beirut (I love you not)…. Abu Hanna will remind you of a bitter and cranky old man trapped in a different era than the one he continues to exist in. With loud Fayrouz playing through a dusty 1998 cassette player, for a small fee of alfain leera (2,000 Lebanese Pounds) you are now in a death cab ride to downtown Beirut. You almost wonder how his cynical self survived a decade or so of the civil war. Never mind the continuous dismantling and assembling of parliament, political assassinations, armed street fights and border (in)security. He tends to ramble off into a rant in the following order: “It’s so hot in this damned country!” “There are people everywhere like roaches!” “No organisation! No system! Fowdah!” (Disarray) “Lek (look) how people drive! Trucks everywhere!” “Lek the garbage trucks…they jam traffic.” “Maafi shugl (there is no work)! The government raised taxes after the war.” “The government is a bunch of thieves!” “Fowdah…Fowdah…Fowdah!” (Everything is in disarray). “Look at the tourists, they are like rats in the streets!” “The banks are empty!” “Kello Azaab (everything is torture)! Gas prices keep going up! Azaab!” “How can I survive and feed my family?” “Shu bidna na3mel? Bidna inyeesh!” (What do we want to do? We want to live!) Only to end with; “Ahla balad Libnan!” (The greatest country is Lebanon!)

Meet Jihad—min el Dakhel (Jihad from the ‘48 Territories) Jihad is from an East Jerusalem neighbourhood, a Palestinian living under occupation that holds the Israeli Haweeya (I.D. card). You could trace his family lineage to when the Romans ruled Palestine. He knows the city like the back of his hands and navigates comfortably through the in-roads to avoid Jerusalem traffic. He can share stories about things that may no longer exist given the constant annexation of Jerusalem. He suggests a deeper look into Jerusalem outside of Damascus Gate and the Arab Souq. He suggests the following places to seek and find: Bab al Sahira, Umar Mosque, Bab al Nabi Daud, Al Umari Minaret, Bab al Maghariba, Khalidiya Library, Al- Marwani Mosque, Bab al- Silsila Minaret, Bab al- Qattanin, Bab al Hadid, the Ethopian Patriachate, Bab al-‘Atm, Bab Hitta and the Golden Gate. In addition to a tour of Jerusalem with his yellow license plate taxi and stellar Hebrew, he can take you to Israeli cities or what’s left of 1948 Palestine - Jaffa, Haifa, Aka, Majdal etc. He is your guide to all the Arab towns and villages that continue to survive in isolated pockets of poverty amongst the bustling cities of Israel. Your first stop: Al Bahar Mosque. Resting by the shores, this mosque is a standing reminder of a proud memory of history and resistance. Next, we meet the Siksik family who then take you to the remains of Al Siksik Mosque. Then there is Al Ajami Mosque named after Ajami Street, where you will find a Palestinian community in the heart of Jaffa. Other places to see include the remains of Tabia Mosque, Dabbagh Mosque, El Wahda Mosque and El Jabalia Mosque. Jihad can also take you to the El Jabalia Cemetry or the site mostly known as the Maqam Burhan or Shihab ed Din. In Akka, you will find a vibrant Arab community in a beautiful town most famous for its fish market. Its beautiful landscape is breath taking and the sight of local boys diving of the cliff side is common. And between Nazareth and Tiberias, you will find the world’s most beautiful landscapes. He’ll navigate through settlements naming former Palestinian villages along the way and could trace back prominent Palestinian family names affiliated to these towns/ villages. I asked him why they called him – Jihad min el Dakhel? (Jihad from inside) “Because I can go inside places within 1948 Palestine where the Palestinians from the West Bank and Gaza can’t go. Somehow, I am from the “enemy” territory where no one can enter!”

Meet Mohammad: The Y’asta (Captain – an endearing term) Mohammad is the jack-of-all-trades…a witty man who will bargain down to the cent! We start off at Khamseen Geneh (50 Egyptian pounds) only to negotiate down to a fair 20 for a short cab ride. He takes one good look at me and catches my “tourist” vibe. “You know I am also a tour guide! I could take you all over Egypt! I have family roots back to the Pharaohs you know!” “ If you are not happy with your hotel, I know an amazing place with a view of the Nile for a good price!” “ You need a translator? Sometimes you lose your Arabic when you stay outside too long! Sahib el Mahal dehak 3laiki w yonsobo 3laiki! (The owner of the store ripped you off).” “If you want, I can negotiate prices for you!” “ Do you have someone that can drive you to the airport? I have another vehicle; you can take your bags easily in a bigger car! Ha zabattek!” (I’ll hook you up!) I watch the busy bustling streets of Cairo, people crowding spaces, a pair of eyes watching your every move, the ahwa (coffee) boy’s loud calls—Shai! Shai! (Tea! Tea). My serenity is broken abruptly as the driver brakes suddenly. His last words? “Akoon andak el sa’a kaam bokra?” (What time should I be here tomorrow?)

PHOTO CREDITS FROM TOP TO BOTTOM Plus Aziz, Lamya Hussein, Danah Abdulla photo by Lamya Hussein K A L I M AT

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NEW MEDIA

THE BOOK CLUB

The book club is a share list of books compiled by Kalimat contributors on a selection of subjects they are familiar with. They have each suggested books that give the curious and the experts alike a perspective on it. Each list is by no means comprehensive, but they provide some insight into each area.

BOOKS EVERY CURATOR SHOULD READ by MARIAM NADER Art in Theory 1900 – 1990: An Anthology of Changing Ideas Edited by Charles Harrison and Paul J. Wood Published by WileyBlackwell, 1993 I can’t stress a text more crucial to the developing artist, theorist, or curator. In this giant compilation, you will find the original texts by the most influential artists, theorists, philosophers, and literary critics, along with brief introductions by the editors that indicate the exact intellectual value of what you are about to read. Looking at art, understanding where it’s been and where it’s going is a difficult and wretched attempt when you’re lacking the background on how Impressionism became Cubism, and why Modernism changed the world. This text is not only valuable to the aspiring art-geek—it presents the reader with the greatest and most radical social and political critiques that are necessary to those interested in ideas of postcolonial critique, feminist critique, and Marxist critique. And, if none of those reasons sound appealing to you, let me say this: reading the work of some of the most brilliant minds of this century will certainly make you more popular at dinner parties.

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Practices of Looking: An Introduction to Visual Culture Written by Marita Sturken and Lisa Cartwright Published by Oxford University Press, 2001 Understanding the images we look at on a daily basis may seem straightforward enough, but a simple glance through this book will exemplify how various outlets of media manipulate our most basic instincts through the perpetuation of pictures. Photography, cinema, advertisements, and even universal indicators like washroom signs are merely tools in which societies are conditioned into social norms. I strongly suggest this book to anyone who is paranoid that the media is “out to get us,” because it’s not a paranoia: it’s called Visual Culture. If you want to gain a critical and analytical lens through which to view the world around you, and especially the inescapable influx of visual stimulation, this book is for you. Learn how a camera can lie without Photoshop, how something as simple as an advertisement for pasta can perpetuate racial stereotypes, and finally come to terms with what exactly sign, signified, and signifier mean. Finally, an excellent explanation of semiotics— ideal for the aspiring artist or theorist who’s looking for an explanation of how conventions actually become conventions. Ironically enough, it’s full of pictures!

BOOKS EVERY ENGINEER SHOULD READ by ALI SULEIMAN Here are three books that engineers should have a look at, and they don’t involve psychometric charts or mathematical integration.

The Beginnings of Western Science (2nd ed.), David C. Lindberg An excellent account of the development of science and its ideas and practices from prehistory to 1450, the work examines the transmission and innovation of science from the early Greeks, to medieval Islam, and to the revival of learning in medieval Europe. Covering topics such as physics, mathematics, astronomy, medicine, and biology, the author provides a historical, religious, and social context for each phase of development.

Moorish Architecture in Andalusia, Barrucand & Bednorz Published by Taschen, expect spectacular photography of Andalusian marvels, including the Great Mosque of Cordoba, Alhambra Palace, and other structures of historic Islamic Spain. The book also includes detailed explanations of the motives and philosophy of the architecture, in addition to line drawings and maps.

Engineering and the Mind’s Eye, Eugene S. Ferguson A discussion on the importance of intuitive and visual thinking in the engineering practice highlighting the threat of growing dependence on analytical techniques, the author also provides countless examples, drawing from the Renaissance to the modern-era of how nonverbal thinking has been integrated in design.

BOOKS EVERY GRAPHIC DESIGNER SHOULD READ by NERMIN MOUFTI As designers, art enthusiasts and just plain coffee table book possessors, we are always on the look out for new exciting reads that quench our creative thirsts and get our artistic juices flowing. Below is a list of our latest top favorite must-reads for graphic designers and art enthusiasts alike... Happy reading!

Arabic Graffiti By Pascal Zoghbi & Don Karl As a unique reference on contemporary graffiti, urban calligraphy and type design in the Arab world, Arabic Graffiti brings together graffiti artists and typographers from the Middle East and its Diaspora whose body of work can be classified as a fusion between Arabic calligraphy, the art of graffiti writing, street art and urban culture. In addition to a rich collection of visuals featuring Arabic graffiti and street art, it covers essays by distinguished authors in which they explore the traditional elements, modern approaches, and the socio-political and cultural backgrounds which have shaped Arabic graffiti movements in the Middle East. The book includes artworks and thoughts of artists such as Hassan Massoudy, Malik Anas Al-Rajab, eL Seed, Hest1, Julien Breton, L’ATLAS, Aerosol Arabic, Native & ZenTwO, Zepha aka Vincent Abadie Hafez, Typism, Akut, and many more. It also covers contributions and essays by Huda Smitshuijzen AbiFarès, Rana Jarbou, Tala F. Saleh, Houda Kassatly and William Parry.

Typographic Matchmaking in the City Edited by Huda Smitshuijzen AbiFares This highly illustrated, trilingual book (Dutch, Arabic and English), covers the journey of 5 teams of 15 Dutch and Arab designers (type designers, graphic designers, architects, and industrial designers) who collaborated on designing new bilingual typefaces conceived for 3-dimensional/ architectural design applications. In its rigorous endeavour The Typographic Matchmaking in the City project seeks to explore new approaches for bilingual lettering and poetic narrative for public space. In a sketchbook style, the book offers great insight into each team’s process and end result. It displays the participating designers’ research contextualised by a range of brief essays that discuss the complex topic of public space, highlighting the potential role of monumental typography in architectural/ public spaces. Through this approach, the book discusses the difficulties, challenges and implications of designing for “public space” in multicultural communities and investigates some of the shared principles between Arabic and Latin typography. Typographic Matchmaking in The City is a must read for anyone who is passionate about typography (specifically bilingual typography) and it’s role in informing urban space. It is also a great insight on the vital role that type design can play in initiating cultural understanding and integration—by simply using our daily basic communication mode: the written word.

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BOOKS EVERY ACTIVIST SHOULD READ by NOORA SHARRAB What is an activist? To me, an activist isn’t just someone that stands outside government buildings or embassy’s protesting and marching in the street, it isn’t someone that wears a Kuffiya, or someone that passes out flyers at the university. An activist is someone that is globally aware of his/her global surrounding. An activist is not silent when atrocities or human rights violations occur. Activists are usually joined together by a cause, united in solidarity by shared beliefs. Whether a feminist, environmentalist, anti-racist, socialist, Marxist, human-rights advocate, etc., activists are those that are joined to bring forth a means to create “new mortalities which, when they gain the authority of mass acceptance, can inform changes in our societies.1” In the list of books above, I tried to widen the list as much as possible in order to include a wide range of issues. These are by no means in any order. • • • • •

A Dying Colonialism – Frantz Fanon Not for Sale – David Batstone Wasase: indigenous pathways of action and freedom – Taiaiake Alfred Apartheid Israel: Possibilities for the Struggle Within – Uri Davis Another World Is Possible: Globalization & Anti-Capitalism – David McNally

1 Jordan, Tim.

Fanon’s Dying Colonialism was very relevant to the current Arab Spring that has had youth in all parts of the Middle East rise against despotic regimes and dictators. Fanon is a must on every resister, and revolutionist in the fight against imperialism and colonialism. Batsone’s Not for Sale, on the other hand, opens our eyes to the harsh reality of human trafficking, forced labour and sex trafficking, leaving us wanting to check our very backyards to help save enslaved individuals worldwide. To move beyond the rhetoric which leaves society negatively associating indigenous communities in the midst of their continued colonised struggle, Alfred’s Wasase brings through a call to reclaim the land, as he deconstructs the language attached to indigenous people by redefining the community in a transformation “by recreating our personalities, regenerating our cultures, and surging against forces that keep us bound to our colonial past.” (Alfred, 2005) Uri Davis critically illustrates the continued intricate details of Apartheid Israel by identifying the fundamental problematic within Israel’s legal system. For those that want a comprehensive

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understanding of the PalestinianIsraeli conflict, read Apartheid Israel. McNally’s Another World is Possible identifies multifarious issues surrounding global justice activism, where he explains that in post-9/11, this book “remains intransigent in its insistence that mass movements of the poor and the oppressed represent the one genuine source of hope in the world today.” (McNally, 2006) Finally, Women’s Rights should be in every feminist’s bookshelf. This book brings forth a historical perspective of women to identifying women’s issues on religion, culture, human rights, violence, economic rights and reproductive rights.

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ELENANY

photography SARAH ELENANY models MIRRIAM KAISSI, OLIVIA JENNINGS

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HOODY COAT BY ELENANY SCARF BY BELISSIMA

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ART & DESIGN

TAHRIR: APPARATUS FOR REVOLUTION design and text by HEBA KANDIL

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This conceptual adornment encapsulates the 2011 Egyptian revolution in a physical manifestation. Constructed around the fist, which symbolises resistance, the piece creates its narrative when worn on the body. The bricks that create the main form represent the individual citizens of Egypt who stood together in a grassroots movement to create an empowered and persistent structure that made the revolution possible. When the fist is opened, it unveils 11 articles from the Universal Declaration of Human Rights that former President Hosni Mubarak withheld from Egyptian citizens, thus showing how through the revolution the inhumanities that were imposed upon the people became apparent to international eyes and ears. Portraying strength and cohesiveness of a nations people who were willing to put everything on the line for their basic and most fundamental rights, it shows how a collective and secular movement can be powerful in exposing atrocities, defending human rights, and promoting strong social structures.

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ART & DESIGN

HOLDING ONTO AN OASIS AHEAD… by NOORA SHARRAB

Smoke continues to blaze in the distance of her memories as she reminisces war and absolute desperation. This is a short glimpse, far away from real, of those violently attacked in Lebanon through Israel’s war on Lebanon. The Mediterranean shines against a scorching sun Hot, cool, and distant, She stands on the edge of a tin-based rooftop Peeking through a beauty remote In eyes never lightened by Shattered exile. Ripples move her heart In ups and downs Of moments so quick Blinks can’t catch up with Heartbeats Searching for bodies to clench To, eyes that fill with Teardrops Too slow to hit the concrete Frail from destructive bombs Smashed to pieces In places so small. Bodies hold tight Close together Huddled in dark dusty rooms Telling stories of Once-a-upon-a-times Of lives when they were Not here No longer Waiting to be rescued To creep through shells A caterpillar moves along now.

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In beauties Only waiting For natures destined Play to forward To a place Once seen from Stories once told In dark rooms huddled Against foggy rays Of raging skies Dropping bombs On a place no longer. Seen from the edge of her rooftops The Mediterranean Calls for her Like an oasis Lending a hand To quench her thirst With a land romantically entrenched In stories huddled tightly In the glistening drops Of their lost tears.

ART & DESIGN

CHILD OF THE REVOLUTION

text and photo RAWAN RISHEQ

weat and tears mingled and trickled down my mother’s stretching skin as she screamed at the anti-protestor forces. She served as a human shield against any harm that was to hit me, but she could not protect me from the pain. That pain broke the shell of understanding and revealed to me the truth of the injustice I was born into. “We must defend the spirit of humanity” were my older brother’s words of wisdom as he carefully painted my face in the colours of our country…words etched into my own soul. The image of my warrior sister standing atop a military tank is emblazoned in my memory forever - challenging the status quo of all I had ever seen. Sitting on my father’s strong shoulders I feast my eyes on the crowds as far as my vision can see! Up high, I hear the power of my own voice reverberating, as people chanting after me - “No justice! No peace!” How could I ever be other than better? For my future we fought, we suffered, were

beaten, humiliated, camped out, waited and even died – showing the world how to refuse to remain silenced. The resonating sounds of Allahuakbars and Hallelujahs on that glorious evening will echo in my dreams forever, and the joy of liberation will fuel me in my moments of desperation. Revolution is hardwired into my evolution, and I will bring forth the redemption of our people. In my eyes my own children will see scenes of freedom and live on to carry the pride into their generation. I will tell them the tale of the days when we blurred the lines between our dreams and reality to carve out our own destiny. I will tell them how I was the reason to hold high the beacon of hope, and how in honour of that struggle I grew to shine as their leader…

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ART & DESIGN

BEIRUT LOVES JAIPUR B

eirut Loves is a pop up store that takes the citizen of Beirut on an adventurous journey to a chosen city, one at a time, over a period of 15 days. Beirut Loves is based on the concept of a suitcase, a trunk that presents products chosen for their quality and uniqueness, where visitors will find an exciting selection of travel anecdotes, objects and an imaginary world that welcomes them to experience intriguing treasures accumulated on the way. The first in the series of pop up shops is Beirut Loves Jaipur, the land of exciting treasures, dancing peacocks, tantalising spices and multicoloured maharajas! The key products featured are by manufacturers that Beirut Loves has developed personal connections with and so a personal and intriguing story will accompany each item. Products on display will include vintage Bollywood posters, books, teas, sandals, bangles, accessories, furniture and the focus brand, noon which is presenting an exclusive capsule collection called ‘Jaipur’ which focuses on the traditional printing techniques specific to Jaipur for the pop-up.

Noon is a socially conscious fashion line that is anti-mass production and anti-exploitation. Noon works with handicraft workers in factories (which they have personally visited) that are treated with dignity and respect. The goal of the brand is to revive and preserve handicrafts and in so doing will hopefully stop the flow of workers from moving into slum sweatshops where they go to work for big mass-producing brands due to people’s lack of interest in their craft. With production and factories based in India, noon works with handloom silks, organic cottons, and traditional embroidery. So why was Jaipur chosen as a location? According to Nour Sabbagh Chahal and Nur Kaoukji, “Jaipur is a magical city, full of ancient forts and mystical bazaars. It is the home to some of the most prestigious artisans and is the capital of jewelry making in India. It is a city where designers from all around the world flock to to produce their designs. The perfect place for us to discover up and coming talents and share them with the city of Beirut! Visit the Beirut Loves Jaipur pop-up shop from June 30 until July 15 at the Sabbagh Building, Ground Floor, Wall to Wall with Hermes on Howayek Street, Bab Idriss in downtown Beirut, it promises excitement, thrill, surprise and drama! www.beirutloves.com

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ART & DESIGN

HOUSE OF TABOO

by MARWA SIAM-ABDOU

The trials and tribulations of being a female in an immigrant household. Excerpt from the short story “House of Taboo”

mmigration is nowhere near as liberating as the immigrant family first believes it to be. It’s not the opportunity they tell you about before you leave home and there definitely isn’t a “true north strong and free”. Immigration comes with constraints, concerns, hostility, and debt and is followed by a series of problematic dialogues and relationships that remain deeply buried between the walls of the household. It becomes a clash of values; constant fights and a daughter’s struggle to find balance between a culture that she’s told is hers and the one where she’s expected to fully immerse.

expected to learn about the values of where you’re from and how to live your life according to them.

The idea of “experiencing” is always a scary thought for parents; a year off of school means graduating a year late, which means missing out on a post-graduation relationship and a marriage. Graduating with a degree that’s not seen as significant career “back home” means not having something to flaunt to the community. Being an overly liberal, independent female or even seeming so is an indirect statement of your refusal to live according to classic, conventional and standard lifestyles, and that’s a Being the daughter of first generation immigrants is a form of rebellion. constant battle. It’s a lesson worth learning because it gradually shapes you, defines you and after some time and trouble, lets you be yourself. Where I come from, the fear of the unknown dictates everything and is the foundation behind the parents’ systematic, one-way-street style upbringing; their troubles gave birth to their isolation, their isolation gave birth to their fears and their fears gave birth to their dreams. Amidst the noises of their anxieties, they forget that your individualism, dreams, beliefs and needs are completely different, perhaps so different that they are foreign to them, and that’s when you’re introduced to Comments like “ I don’t need a man in my life just yet”, “I guidelines that determine your future by detouring you need a career first” and “there is no such thing as an age from the path your personal expectation. for marriage” are controversial in immigrant households and are best kept in the comfort of your own brain. The house of taboo is a household where wrongs and rights are based on a fear of a community, not on concrete, I often ask myself where these beliefs come from; why rational beliefs and values. You are taught that your it’s taboo to be out really late, why I have to believe that reputation, your career, your potential marriage are the marriage is due before the age of 25, why long hair is pillars that determine your behaviour, your ambitions, more feminine, why piercings are considered weird, and your entourage. Every element of your life that should be why being you is counter-cultural. I realise that it’s bea choice is now an obligation. cause outside of the household, and by no fault of theirs, an immigrant parent never feels at ease, so they build a house of taboos and hope to live safely inside it, protected by their “No’s”, “Don’ts”, and “Cant’s”. It isn’t until they realise that back home has changed significantly too that they actually belong somewhere. They then realise that the expectations and values they once believed in are not as timeless as they were thought to be. They realise that they can create a sense of belongingness by building their own values, creating their own relationships and making their own surroundings comfortable.

“YOU’RE OUT OFTEN AND VERY LATE, DON’T COMPLAIN ABOUT YOUR FREEDOM…”

“JOURNALISM SCHOOL?! ANYONE CAN BE A JOURNALIST! I WOULD HAVE LOVED TO HAVE AT LEAST ONE ENGINEER IN THE FAMILY.”

Instead of being taught to be your best, you’re taught to be better than everyone else. Instead of being taught to follow your dreams, you’re instructed on how to dream, and instead of being pushed to learn about yourself, you’re

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ART & DESIGN

FASHION, MUSLIMS AND IRONY by SARAH ELENANY

2) THE “MU7TARRAM” METHOD.

he word “fashion” usually conjures up images of almost-naked women parading down catwalks, indulgent after-parties for the beautiful and elite, and covergirl images so heavily Photoshopped even Hosni Mubarak’s plastic face looks more plausible! Take one plain black abaya. Get some nice plastic crystals and stick them to the abaya in a nice heart shape arrangeIt’s why you’re likely to get the “haraam finger” pointed at ment. Also, celebrate your Muslim identity by writing the you when you talk about fashion in a “Muslim” context. word “Allah” in said crystals. The expression “Muslim fashion” seems to be as ironic as Lady Gaga calling herself a lady. We generally accept fashion to be defined as a celebration of sexuality; the objectification of a woman; her empowerment through her 6 inch stilettos...But isn’t fashion just another word for “clothes”, and doesn’t everyone need to wear clothes? Yet, despite the rather simple definition of the latter, it is the more widely accepted former definition which informs the idea that Islam is at odds with “fashion”. As a consequence, Muslims who show an interest in fashion are deemed as unholy women, shallow and wasting their time with such pointless things. Rather than designers focusing on the challenging task of designing clothing which tick all the modesty boxes, whilst remaining relevant to the societies they live in, they’re too busy halal-ifying the very idea of modest fashion to the critics. Rather than trying to find solutions which allow Muslim women to have the same life choices available to them as they would do if they didn’t wear hijab, they’re too busy getting the approach to modest fashion wrong. The confusion is threefold:

1) THE “SHEEK AWEE” METHOD. Take one plain, modest outfit. Make the outfit appealing by modelling it in a sexual manner. Complete the look by wearing so much makeup it looks like you’re sponsored by Maybelline.

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3) THE “FILOUS KITEER” METHOD.

Take one Emirati who condemns the hedonistic-bikiniwearing “infidel” to hell. Take the same Emirati who wears the Calvin Klein hijab –a brand which uses said hedonistic “infidel” to promote and represent their products. Forget about the irony of a luxury brand being used as a symbol for an anti-materialistic Islam, focus on the initial problem. So what is good “Muslim fashion” design? Maybe the operative word should be “design”. Maybe we start with a specification that defines what the product needs to do. Maybe the product prioritises empowerment and not how pretty a hijab can be made to look. Maybe the product reflects the sentiment of liberation of being a Muslim woman. Maybe we reclaim the word “fashion” and coin it by our own definition.

So what is good “Muslim fashion” design? Maybe the operative word should be “design”.

ART & DESIGN

SECRETS OF THE ALLEYWAY

text and photo NOORA SHARRAB

secrets of the alleyway...

the wet puddles fill the alleyways that surround you,

and the legends that formed on the lips of red-headed beauties. always absorbing, it never blocks the presence of breathing flesh,

rushing through the darkness,

becoming one -- like kinsmen of tribes that are unshaken soft rays of the dim streetlight open curtains to sleeping by strangeness of life, souls, they emerge from caterpillars to butterflies that take haven silent and far from the mysteries of the alleyway.

You walk, not fast, not slow, but pacing by, through bricks that are embraced in each-others holdings, filling the pieces of a missing puzzle, red, grey, charcoal, and blue bricks alike, side by side, they line up to greet visitors from afar.

in its alleyways, woven in the warmth of the blanket that linger the edges of its long narrow pathway.

your steps slow, for fear of departure, ending its path on the lingering journey, nostalgic to the waking of the sun that will bare the skins of its alleyway,

you whisper against times destiny, for maybe, just once, and for the nightly passing by, the clouds huddle together, its fate will freeze, embracing and seizing the moment, beyond moving thoughts to dance around the marvels of the alleyway, and lost senses. and the stars cry as it observes in secret, blooming to bring to light the secrets lost in the corners.

but their bodies begin to roughly stir in the comforts of their humble havens,

your steps echo through the walls on alert of mystifying their souls return to hug their bodies tightly for the waktales, ing of another tomorrow, never interrupting, its eyes never blink away from its al- the alleyway breaths in, inhaling in, expanding deeply leyway, --- making room for the bodies that roll through, it bears witness to the bodies that streamed through, the souls that returned to heaven to continue their strolls,

re-birthed from sleepless nights that bring it back to its place in its alleyways...

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ART & DESIGN

A2ZANE: FEATURE

text and photos DANAH ABDULLA

e are greeted by storeowner Zane Aburaneh as we walk into A2Zane, his pop-up shop on the trendy West Queen West strip in Toronto's Art and Design district. We met Zane on our first visit to the store, where we each bought watches from O Clock, simple, eye catching designs that have, amongst other pieces, brought attention to this little pop-up shop. As we are getting a set up, a woman walks into the shop: “I need to ask you something,” she says to Zane. “Go ahead!” He responds. She hesitates and leads him outside. A few moments later, he comes back in. “What was that about?” I ask. “People come in here all the time asking me for fashion advice. She wanted to know what I thought of her outfit!” The shop is floor to ceiling bags and accessories (watches and scarves) including the famous Cambridge Satchel that’s been popping up as a

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must-have in fashion magazines. A2Zane is currently the only store in Toronto that carries it. Zane Aburaneh is a Palestinian who was born and grew up in the small town of Cambridge, Ontario. He moved to Toronto 11 years ago to pursue post-secondary studies at Ryerson University. He ended up finishing in Fashion at George Brown College and has worked in the industry ever since. He fell into (and in love with) handbags working at Holt Renfrew as a handbag specialist for Gucci. A year

and a half ago, he started an online store, importing new brands that weren't readily available in Canada. So why bags and accessories and not, say, menswear? “Because it's something for everyone - it didn't matter your colour, your height, your shape…a bag or scarf will work for anybody. Clothing is difficult, if you can’t fit into it, say if you're a little shorter, everything too long for example, then once you start hemming it, it changes the whole aesthetic of it whereas with a bag, it doesn't matter." The A2Zane pop-up shop carries brands like Matt & Nat, Great by Sandie, Tila March, Rebecca Minkoff and Torontobased Amanda Lew Kee and JUMA. Like any trendsetter, Zane is always looking to pick-up new brands, “it's one of those things that I'm on the hunt for all the time whether through word of mouth, email and blogs, I'm always on the internet! Just found a new brand from Amsterdam that I am looking to carry for next fall and just sort of always keeping on the pulse to what people are reacting to on blogs and visually. (…) People will come into the shop because they appreciate your aesthetic.” But don’t think the store only stocks bags that look nice, Aburaneh focuses on a combination of quality, style and functionality when picking out his products, “I go through different suppliers and even big sort of vendor trade shows and scour, almost like shopping! It's like going through a department store and picking out what you like but with vendors [themselves].” He thinks of the impact and longevity the pieces have, that the manufacturing and quality is up to par, “it can be something that is aesthetically pleasing but I won't carry it because the quality isn't there.” The idea behind A2Zane is more than just a pop-up shop and an online store, “eventually, it's going to become like a lifestyle of A2Zane, you can buy your pair of jeans that you love, you can buy your white shirts that are well priced (…) and then you accessorise and you personalise yourself, making everything unique, be it with a scarf, a tie, a hat, to carry all accessories from A to Zed, or A to Zane!” What’s next for this little pop-up shop on Queen West? Zane is launching a revamped website in the fall and looking to do another pop-up and/or a permanent shop. He’s scouring for places in neighbourhoods like Yorkville, Yonge and Eglinton, but online is his main focus. “Maybe one day I’ll have a permanent store, it's like a dream, you know, to be able to have a shop that becomes like an anchor for the website so people can come back and visit all the time.” A2Zane is located at 1040 Queen Street West in Toronto and online at A2Zane.com.

[...] it didn't matter your colour, your height, your shape…a bag or scarf will work for anybody. K A L I M AT

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THE JAIPUR COLLECTION

photography RAUSHAN KUMAR

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Coral Muse Dress NOONCOLLECTION

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Billowing Caftan NOONCOLLECTION

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Gold Dust Skirt NOONCOLLECTION

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T-Dress NOONCOLLECTION

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NOONCOLLECTION.COM

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NEW MEDIA

ISMA3OO NO. 2

KALIMAT’S MUSICAL FEATURE

Every issue, we provide Kalimat’s staff and contributors with a theme and they are asked to submit a song by an Arab artist based on the theme and the reason why they chose it. This issue’s theme is “Distance”. The playlist is mixed by musician and producer Karim Sultan. Download the mix: kalimatmagazine.com/isma3oo-no-2-summer-2011

TRACKLISTING 1. Fairouz — Mish Kayen Hayk Tkoun 2. Ahmed Mounib — Moshtaqin 3. Reem El Banna — Sarah 4. Nagat El Saghira — Ana Ba2sha2 yal Bahr 5. Fairouz — Li Beirut 6. Hawanem — Garden City 7. Mohammed Abdel Wahab — Ya Msafera Wahdak 8. Toufic Farroukh — Girl From Gypsy Moon 9. Sara al Badawiyya — Etla3 3a Lebnan 10. Faris Karam — El Ghourbeh 11. Fairouz — Tiri Ya Tiyara 12. Adel Mahmoud — Tairi 13. Mohmammed Lamine (featuring Rohff) — Mon Bled 14. El Iqaa — We Were Struck By Love (Humanity’s Special Power) 15. Abdel Halim Hafez — Sawwah 16. Ramy Gamal, Aziz El Shafie — Ba7ebbak Ya Belady

he idea of Kalimat’s “isma3oo” (listen up) mixes is that they are contributor-based, lending this project a bit more of what makes our writers, designers, and editors who they are. There’s little more personal than music, and I figured that a theme like the one chosen for this issue, “distance,” would bring out some good selections from our team’s collections and some cohesiveness in the tracks in mood, content, or sound (which makes my job a little easier too).

There is a wonderful variety of style and genre in the selections made across the popular music spectrum, from painfully nostalgic classic pop to tracks that are downright dancey. But, one can observe upon reading the tracklist that there are not one, not two, but three Fairouz songs. Make of that what you will! We hope the readership and the contributors enjoy this the output of this corner of Kalimat. As always, comments (or commentary) is always welcome. Karim Sultan

Make sure to visit “New Media Extras” at kalimatmagazine.com/isma3oo to download this mix.

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NERMIN MOUFTI • SONG: Fairuz - Mish Kayen Haik Tkoon • WHY: "Mish Kayen Haik Tkoon" is Arabic for You’re not how you used to be anymore. This song by Lebanese idol Fairuz is a classic. The lyrics speak of memories, love and a reminiscence of times that appear so distant. She pairs her loved one's changes with that of an unfamiliar, 'new' taste of lemons, the size of her balcony (which seems to have shrunk) and her lover’s once unconditional love. NAIRA BADAWI • SONG: Ahmed Mounib - Moshtaqin • WHY: The boy I love is from “Belad el Dahab”, the place Mounib says we are “moshtaqin” or longing for. “Moshtaqin” was blaring through Cairo International Airport the Summer I left him. I hadn’t heard “Moshtaqin” since the times I used to listen to it incessantly in the car with my baba back in elementary school. Hearing it the day I left Egypt was so poignantly beautiful; it was certainly a noteworthy moment of my life. Every time I listen to this song, the distance between him and I, between me and “Belad el Dahab”, hits me. NOORA SHARRAB • SONG: Reem Al Banna - Sarah • WHY: Reem Al Banna is one of those singers that leave you enchanted and nostalgic with her voice. This song talks about a little girl, Sarah, whose smile would cover the harshness and darkened clouds over Palestine. Sarah is a girl who faces the cruel reality of brutal murder, like many children living in occupied Palestine. This song imprints a mark of struggle that is awakened in the midst of my Diasporic surrounding. While, there are millions of Palestinians living distantly from their indigenous native lands, those that continue to live inside occupied Palestine represent a continued perpetual struggle for survival. This song is dedicated to the many Sarah’s that lost their lives simply for being there. DANAH ABDULLA • SONG: Nagat El-Saghira - Ana Ba2sha2 El Bahr • WHY: Nagat El-Saghira's "Ana Ba2sha2 el Bahr" is one of my top songs, the ones you can plain over and over again without getting tired of. Every time I hear Nagat's voice, I think of the sea and the hills rolling with greenery and how far I am from them. BASHAR ALAEDDIN • SONG: Fairuz - Li Beirut WHY: A song by Fairuz, the first time I heard this track, I literally teared at the first line she sang, "li beirut". I'm half-Lebanese and I've lived there for 9 years. I always long to go back and re-start a new life there. I may live in Jordan yet it seems so distant to me. She sings about giving a salute to the city and it's beautiful characteristics as a whole. Her voice and the slow-ness of the song just puts me back there, and it saddens me every time I hear it.

I spent my entire life living in the UAE, but I believe that my real life is back in Jordan. All my cousins, aunts, uncles and grandparents live there. This song reminds me of how distant I am from my family and from my home country. ALI SULEIMAN • SONG: Fairuz - Tiri Tiri Ya Tayara • WHY: Sung by Fairouz, this wonderful song about childhood and the merits of the past's lifestyle fits beautifully into the theme of distance. The song's melody is as playful as a child, yet the minor key gives it a sense of sadness of a place we cannot go back to. The title translates into "fly oh kite!", with lyrics about the yearning to return as a kid and fly kites on rooftops.. NASSRA AL BUAINAIN • SONG: Adel Mahmood - Tairy • WHY: It’s one of my favorite songs. It describes a precious and dear thing to Arabian Gulf: falcons (in the song we relate to it as “6air”). The love comes from the falconry sport that is popular in the region. The reason I picked this song is for the exact same reason why I love it so much: it describes distance in a beautiful image like a free bird the lover can’t capture and is always far away, but yet distance didn’t stop its owner from loving it and describes its beauty as it’s standing before his eyes. ZAHRA FADHLAOUI • SONG: Rai'n B Fever - Mon Bled • WHY: The song I chose is ‘Mon Bled’ by Rai’n B Fever. It is sung in both Arabic and French. For decades, Algerians, Moroccans and Tunisians have been fleeing their countries to seek refuge in European Colonies because of government repression. Being stranded outside their countries, the three North African Countries have united under the name ‘Al-Maghreb,’ coming together to celebrate their similar heritages. The most prominent form of celebration is music-making. Rai’n B Fever is not a group that limits itself to four or five people; it is constantly inviting new people to sing together, all of whom are artists that belong to a Diaspora. ‘Mon Bled’ translating into ‘My Country,’ portrays the longing for home that these artists share. Although this particular track is sung by Algerians, any Arab missing the scent of home or the embrace of relatives could relate to it. Like these artists, I too, have a longing for my country as I have been distanced from it due to government repression. KARIM SULTAN • SONG: El-Iqaa - We were struck by love • WHY: I've been listening to this album on and off for the past couple of months. It has a quality that is complicated but very heartfelt, a sense of being lost, nostalgic, almost anxious at some points. Altogether, in production and 'content,' the sound and feeling is very distant, both far away and deep, deep inward.

LAMYA HUSSAIN • SONG: Abdel Halim Hafez – Sawah • WHY: ALEXANDRA KINIAS • SONG: Hawanem - Garden City • WHY: It This is one of my favourite songs and also my favourite word is a song about the distant past - a nostalgia to the better times. in the Arabic language. It’s the only word that could perhaps somehow help define my journey - and it has been the backgound RAWAN RISHEQ • SONG: Mohammad Abdel Wahab - Ya Msafer music throughout many of my travels. I am a wanderer travelling Wahdak • WHY: I picked this song because personally, I find the through the unknown lands where I am forever a stranger. It quality of old Arabic music superior to modern tunes, and the is the song that speaks to the deepest, inner secrets of my life, simultaneous emotions of angst and romance to be breathtaking. love and identity. Something about the lyrics resonate to my Abdel Wahab's voice is so emotional and the idea of the lone personal journey; traveller is a theme in my own life I can relate to whenever Itake a journey and leave loved ones behind. “Wandering, And walking through the lands; wandering, And the distance between me, And my beloved is vast, SHEYMA BUALI • SONG: Toufic Farroukh - The Girl from Gypsy ... Moon • WHY: I chose this song by Toufic Farroukh because of the fusions within the one track. Bringing together quintessential If you find my love, Greet him for me, If you find my love …” Arabic sounds with a gypsy twist brought distances together, the way fusions do. We live in a globalised world where distance SUNDUS BALATA • SONG: Ramy Gamal Ft. Aziz El Shaf3ee - Ya has become quite relative to our subjective spot. Blady • WHY: I chose this song because it talks about the greatest and most profound distance: that of life and death; MARIAM NADER • SONG: Sara Al Badawiyya - Etla3 3a Lebnan between now and eternity. The separation between the martyr • WHY: The same reasons she's stating. Period. and the people he/she leaves behind. The song is dedicated to the martyrs of the revolution and the lyrics are that of what a LAMA HANNOUN • SONG: Fares Karam - El Ghourbeh • WHY: It martyr would say to their mothers as they part this world. It may be too literal for this theme but to me it has a deep meaning. discusses the profound love for one’s country and the sacrifices made in pursuit of that love.

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WORTH A BROWSE CAIROBSERVER www.cairobserver.tumblr.com This blog focuses on the modern architectural heritage of Cairo. If you’re a fan of urbanism, architecture and city life, this blog’s for you! KOOTOOB www. kootoob.blogspot.com Firm believers in the talent of Lebanese creatives, Kootoob’s quest is to seek the best work and feature it on the blog. The result is a mix of cute, serious and terribly talented works from Lebanese animators, illustrators and designers. VISUAL THERAPY www.visualtherapyonline.com As the name implies, this site is all about visual therapy. Based in Kuwait, Shahad Bishara’s “Visual Therapy” is more than a blog. The project aims to feature several innovative art and design projects and it has a few components including a studio, a gallery and a shop. Why should you visit this blog? For daily postings of inspiration. THE ABSOLUTE MAN www.theabsoluteman.com OH SERIOUSLY? www.ohseriously.wordpress.com

Dina is an architecture student in Jordan but she refuses to define herself by what she studies so she blogs about a variety of things - events she attends in Amman, photos, videos, organisations of interest and commentary. AYLA HIBRI www.aylahibri.blogspot.com This is a visual diary of travels. Unedited photos at their best.

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Recently, more fashion blogs catered to men have been popping up across the internets, but it’s truly unique when a men’s blog from the Arab world pops up on the internets. The Absolute Man provides a Middle East look into men’s style. They describe the Middle Eastern man to be a well traveled gentleman and therefore, his style should present him as so. ARCHILEB www.archileb.com All I can say about this blog is finally! Archileb is an independent resource and forum for critical reflection, debate and information exchange on architecture in and connected to Lebanon. The site presents architecture not just as a physical phenomenon but also as a socio-cultural artifact. It emerged in response to the continuing deficit of intellectual reflection and critical debate which has characterised Lebanese architecture since the beginning of the 1975-1990 war. A necessary resource.

$ DONATE HELP US PRINT KALIMAT SO YOU CAN HAVE SOMETHING TO HOLD ON TO. YOUR DONATION IS GREATLY APPRECIATED. www.kalimatmagazine.com

NEW MEDIA

ASHYAA2/THINGS

Ay Shee/Anything Tshirt

Cairo Station, 50th anniversary Special Edition DVD

These unisex t-shirts by Saudi Arabian brand KAEN, don’t feature your typical Arab calligraphy and they’re printed with a non-toxic eco-friendly materials. ISWAP (Nodouj Mall Riyadh) sales@kaenbrand.com www.kaenbrand.com

Nominated at the 1958 Berlin Film Festival, this classic film from director Youssef Chahine is a portrait of Cairo’s marginalised society and includes Chahine’s 24-minute documentary, “Cairo as Seen by Chahine”, made exclusively for French TV. www.arabfilm.com

Arabesque 2 (Aug ‘11) A sequel to Arabesque; Graphic Design from the Arab World and Persia, Ben Wittner and Sascha Thoma present a wide array of ground-breaking design and visual artwork from the Middle East and its Diaspora including typography, graphic design, branding, editorial design and illustration by contemporary young designers (including one Kalimat contributor named Nermin Moufti). shop.gestalten.com

Eskimo Coat (Aug ‘11) If you live in cities as cold as the ones we call home, you’re bound to be attracted to a winter coat that is made of 100% outer wool. Even more so if the coat is a beautiful, double breasted one with all types of cool prints as this one made by UK-based designer Sarah Elenany. Available in cream or black. www.elenany.co.uk

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Brotherhood Cardigan

Open Skateboard Deck

Alternatively, if you live in cities that have warmer winters, this red cardigan from Elenany’s Fundamentals line will do the trick. Check out the buttons, they are a nice take on the famous “hand of Fatima.” www.elenany.co.uk

If there’s one thing everyone agrees with about skateboarding it’s that their decks always have really eye-catching designs and this one, designed by Rami Afifi, is all types of awesome. Amman - www.jo-bedu.com RAGE skate shop - www.rage-shop.com Lebanon - Ghassan Al-Salman +961 3 059 289 Everywhere else info@phillyskateboards.com +962 79 640 55 56 www.phillyskateboards.com

Persian Dreams Pattern A beautiful limited edition print of an original illustration by Spainbased Dina Khalifé is a lot of fun! This statement piece is printed on coated paper but is also available on fabric paper (upon request). www.etsy.com/shop/De1000colores

Cultural Connectives Author Rana Abou Rjeily explains basic differences between the Arabic and Latin scripts through Mirsaal, a family of typefaces designed by Rana herself. What’s more, Rana applied Arabic rules of writing, grammar, and pronunciation to English as a way to introduce Arabic to non-native speakers. So cool. rana.im/cultural-connectives

Sharon and My Mother-inLaw Suad Amiry closed off TEDxRamallah in April with a bang! The architect turned author’s novel Sharon and My Mother in Law, is based on her personal diary entries and emails and is filled with Amiry’s charming humour (including the story of her Jerusalemite dog), even though it illustrates the daily anxieties of life under occupation. www.amazon.com

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Have an old school colouring book you want to share? Get in touch: info@kalimatmagazine.com

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1) Kaf poster, designed by Nermin Moufti 12’x18’ - $5 and 23.4 x 16.5 - $8 3) Shufi Mafi poster, designed by Nermin Moufti 12’x18’ - $5 5) Map of the Arab world poster, 12’x18’ - $5

2) Cities poster, 12’x18’ - $5 4) Umm Koulthoum Tote Bag, - $10 6) Eshta Ya Man! poster, 12’x18’ - $5

7) Kalimat Logo Notebook - 3.5â&#x20AC;&#x2122;x5â&#x20AC;&#x2122; - $7 9) Les moustaches t-shirt, unisex (XS-S-M-L) - $20 11) Kifak Inta? Fairuz t-shirt, unisex (XS-S-M-L) - $20

8) Map t-shirt (side print), unisex (XS-S-M-L) - $20 10) Cities t-shirt, unisex (XS-S-M-L) - $20 12) Map t-shirt (centre print), unisex (XS-S-M-L) - $20

*All prices are in Canadian dollars K A L I M AT

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