Review Amman: The Last Print Issue by Q0DE AGENCY

EDITOR’S

LETTER +962 6 553 6907 info@reviewamman.com

Managing Director

Dina Dabbas Rifai dinadabbasrifai@gmail.com

Chief Editor

Lena Ghannam lena@reviewamman.com

Creative Director

Faridon Abida faridon@reviewamman.com

Art Editor at Large Farah AL Jundi

Arabic Editor Ghiya Rsheadat

Photography Hasan Ameen

Contributors:

Andrew Spalding, Mandy Merzaban, Mike V. Derderian, Rebecca Rayan

Amman is a city with many stories. These stories range from our very first days in 1909 to the plans we have for our tomorrow; each story is unique and telling about who we are and where we come from. The city is home to a vast array of talented, vibrant people who run the gamut from painters to poets. But who are they? Who’s telling the story of Amman? Nowhere is there a source that pays tribute to the past and the present of our great city in a creative, modern and informative light – drawing attention to the urban grandeur and history that surrounds us. Creating an unprecedented forum in the pages of our magazine, we are bringing together all of the things that you need, want and should know about Amman. It won’t get more complete than the pages of this magazine. For the first time, Amman’s over-looked and underestimated phenomenal qualities will be encapsulated and preserved in one place. It’s about time.

Printing

National Press

Publisher

The Technical Co. for Press and Tourism Publications Copyright in Amman and abroad of all editorial content is held by thepublishers of

REVIEW:AMMAN

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ON THE

COVER

The Forest

It isn’t clear whether Amman itself has started to change or if the shifting undercurrents we’re feeling are a result of the population; both the permanent and transient. Today we find Jordan as identifiable on an increasingly global scale – maybe even ‘popular’ as far as tourism in the Middle East goes. What this has meant for us in Amman on a micro level is, simply put, a new brand of change. The way our city appears to the rest of the world now matters and is subject to the observations and circumstances of people who come and go, perhaps never getting the chance to have the full Jordanian experience. People flock from all over the world to come study, visit friends, work, see Petra, receive medical treatment, or just stop by while they’re passing through on their way to a bigger, more glamorous Middle Eastern destination. The impressions of journalists, students and nomads who traipse in and out of the country every day, are shaping the cultural image of Jordan for those who haven’t seen it for themselves. To be fair, the iterations of nonnatives make up the majority of the cultural exposure Jordan gets on a global scale, and if the powers that be so choose, there could be a much bigger impact made by our very own Ministry of Tourism – one that might actually be homegrown and genuine. So then it’s up to us – and by ‘us’ I mean you and me – to make the imprints. We’ve already started with amazing photographers representing us abroad like Fatima Abbadi, or rising fashion stars like Rad Hourani. Now we have to keep going and be persistent in telling the world who we are and shaping our identity – not as a nation, but as a population. A population of thinkers, dreamers and innovators, that’s who I believe we are as informed Ammanis. This issue of R:A sets out to give glimpses of how Jordan is portrayed (and ultimately defined) through art, fashion, and good old-fashioned journalism. How fitting that this issue’s theme developed around seeing Jordan from a removed perspective, because as you read this, that’s exactly how I’ll be seeing things. In my last issue as Chief Editor, I ask you to try and see your life – not just Amman – from above. Funny, how clarity is the only thing that comes from taking a step back. I think it’s time for me to do just that… as for the rest of you Ammanis, it’s time to read on and re-assess. x Lena

This issue, we’re showcasing two of our favorite works by Jordanian artist and designer Leena Saoub. See (and hear) more from Saoub in Quiet Riot – the têteà-tête R:A had with the young talent says it all. Flip to page 34 to check it out.

CONTENTS

FILTER 8 News

PULSE 14 Al-baladtheatre 18 Reality Meets Absurd 26 Calling all listeners 30 Emulating Vincent

DESIGN 38 Quiet Riot 44 Say It Like You Mean It 50 Debunk

SNAP 54 We, the Women 58 The New Classics

ACTION 68 Now In Technicolor 74 Shades of aChameleon

COMMUNITY 100 Streetwalkers 104 Pass the Pipe 110 Am(man) In the Mirror

:‫تقرير‬ < ‫ املشي السريع‬95 ‫بقلم تيسير الكلوب‬

،‫عمان‬ ّ ‫ عروس‬93 ‫رواية فادي زغموت‬

:‫أماكن‬ ‫ مسرح البلد‬87

:‫حضري‬ ArtWORLD 116 Pure Imagination, Defying Explanation 122 On the Far Side of the Canvas: 126 On Display 132 Zara Gallery Go-Green Initiative 136 What’s good

BASICS 146 Events 150 Calendar 151 Directory 1152 Showcase

‫ مشروع اللويبدة‬89 ‫للتناغمواأللفة‬

:‫ثقافي حر‬

‫ سري املعلن‬85

‫بقلم نادر الرنتيسي‬

:‫إسمع شوف‬

‫عمان‬ ّ ‫اقتراحات من مج ّلة‬ ‫متجددة‬ ‫لتجربة ثقاف ّية‬ ّ

MUST SEE

Here and now

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The upheaval in the Arab world of the last year serves as inspiration to artist Khalid Khreis, whose most recent exhibition is on display at Nabad Art Gallery until November 21st. Dr. Khreis, who also serves as the director of the Jordan National Gallery of Fine Arts, says his work is entering risky territory, with the promise of the unexpected. The artist has long been recognized for his ability to translate intellectual, spiritual and visual currents of the day into a cohesive and inspired artistic vision, and People, Places and Traces is a welcome addition to the current roster of exhibitions in Jordan.

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Race You to Mukawir

In late November, Biking Jordan is hosting a thirty-two kilometer race from St. George’s Church in Madaba to Herod’s Palace in Mukawir – a route that provides scenic vistas of the Jordan valley and many Biblical sites. The competitive race is open to cyclists over the age of sixteen, and registration ends on November 17th.

Admit It

Ammanis are likely noticing an upsurge in the word ‘because’, or ‘mahoo’, in everyday life. For the linguistically challenged, ‘mahoo’ introduces an excuse much like ‘because’. For example: “I didn’t do my homework because my . . . ” One local figure has had enough, and he has a challenge: convert the ‘mahoo’ to ‘mahool.’ For the linguistically challenged, ‘mahool’ translates – roughly – to ‘excellence.’ His message is simple: take responsibility, acknowledge one’s actions, stop making excuses. Who knew one ‘L’ could make all the difference?

The Great Arab Novels

Since 2007 the International Prize for Arabic Fiction (IPAF), and in early November has come into literary focus and this year is no exception. The longlist for the 2012 prize was announced this month; thirteen novels by writers hailing from Lebanon, Egypt, Syria, Algeria, Iraq, Tunisia and Jordan were selected. Our very own homegrown entry is The Amazing Journey of Khair al-Din ibn Zard by Ibrahim Al Zaarur. The shortlist for the prize will be announced on December 7th, and the winner will be announced on March 27th. Check out arabicfiction.org to find out what the winner gets to take home.

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A Story for Each Painting

Works by the late Ismail Shammout and Tamam El Akhal will be on display at a new exhibition at the Orfali Gallery. Shammout, who passed away in 2006, and his wife Akhal are considered among the foremost Palestinian artists. The Orfali Gallery, located in Amman’s Um Uthaina neighborhood, will feature prominent works by both artists. Orfali is serving up a rare treat, and it shouldn’t go unacknowledged; no one should miss this exhibition – Palestinian or otherwise.

When In Doubt, Sing

It’s become a yearly tradition: the Dozan wa Awtar Christmas concert. Dozan wa Awtar is Jordan’s only adult secular choir, and its members are a talented, well-trained group under the direction of Shireen Abu Khader. Classic carols along with international tunes will be performed on the 14th and 15th of December at the Greek Catholic Cathedral of St. George. Be sure to bring the little ones to the kids concert on the 16th. For more information, visit dozanwaawtar.com.

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Grassroots

Early November witnesses the launch of Zine El Arab, a mini-magazine that is a completely organic undertaking; printing is done on home printers, with contributors pitching in to print and hand out copies. Shepherding the venture are editors Ganzeer and Nidal El Khairy, who say that content is primarily visual and totally uncensored. Look for copies on cafĂŠ tables, stuffed in racks with other glossy mags, or popping up on park benches.

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Al-baladtheatre For the last 70 years and over the span of over three generations, this building has pulsed with hundreds of thousands of cultural melting pots. It has simmered over uncountable cultural crafts, an outlet for creative expression and an educational space for all. Starting off in it’s youth as an abandoned facade and then turned into an old cinema house back in the 40’s,life was only properly bestowed back upon it in 2005 when it finally became what we have affectionately come to know as ‘Al-Balad Theatre’ ; the non-profit multipurpose artistic and community venue. The space blossomed into an incubator for the cultural movement in Jordan by collaboration with performing art groups, NGO’s, patrons of the arts both public and private encompassing participators in both Jordan, the region and the international world alike.

Through the collaboration of a team of engineers, artists and administrators, the project entitled ‘Development for alternative artistic venues’ was born and went on to serve as an artistic and culturally rich platform that has since helped raise a fundamental cultural awareness amongst our society and a creative outlet for the many talents of our burgeoning youth. Festivals, fairs, performances, screenings, and shows are only a few of the alternative realities that take place center stage. Among the events that take place is the annual story telling event called ‘Hikaya’ which is truly one of its kind. ‘Hikaya’ is an open platform of an intercultural dialogue between Jordan and other Arab countries set to discuss, demonstrate and educate the various yet infamous methods of Arabian storytelling. Spoken

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through the educated mediums of experienced storytellers, authors and educators, this project of individual development and cultural growth takes form through artistic residencies, workshops, and festivals that are all crucial to the development of literacy and the formation of the Arab identity. ‘Hikaya’ is partnered with The Arab Education Forum, The Arab Theatre Training Center (Lebanon), L’echangeur (France), MS (Denmark), Tamer Institute for Community Education (Palestine). While on other endeavors, Al-Balad theatre has has repeatedly seen collaborations with cultural centers such as the Ministry of Culture, ‘Dar-AlAnda’ gallery, ‘Rawad’ foundation, the French Cultural center and the Royal cultural center. In addition, Al-Balad theatre also hosts the ‘Al-Balad’Musical Festival on a biannual basis to encourage local and regional musical talents.They have hosted several valuable household names such as Souad Massi, Lena Chamamyan, Charbel Rouhana, and Omaima AL-Khalil. The integration of such talent into the younger generation is a priceless collaboration when weighed in the value of their experience and insight. It would be safe to say that amongst the most prestigious moments of the Al-Balad theatre was the evening

cocooned by the late and great Mahmoud Darwish for the signing of one of his last works entitled ‘The Butterfly’s Burden’. In nurturing of the theatre’s role to help encourage the flourishing of the Jordanian cultural movement, Al-Balad theatre releases monthly publications under the name of ‘WAW Al-Balad’ which encompasses all the events, shows, performances, exhibitions and general efforts taking place around our beloved Amman and kingdom to make sure that we are never in the dark, except as an eager spectator. In the community contribution sector, the theatre is home to a children’s library encouraging early reading and literary education for all children alike. Making sure that they find joy during these extra curricular activities by learning from volunteers that take on the role of storytellers, puppeteers and caretakers of the wide-eyed and curious hunger that only children posses. The Al-Balad theatre is run by Mr.Raed Asfour, alongside with the theatre’s many friends and volunteers that help make all of this possible. Reminding us that what’s old is not forgotten, and that dreams can indeed manifest at home.

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Reality Meets Absurd words:Mike V. Derderian images:Courtesy of the artist

Mike Derderian exposes Jordanian illustrator Yazan Khalifeh’s thoughts on cartoons, caricatures and the way he makes his magic. A man wearing horn rimmed black shades can be seen smiling a Cheshire smile. The eyes are a little smaller. The nose is quite enlarged. The cheeks are bloated yet human and the shelter lips are those of a prizefighter: swollen like a blimp. In spite of the disproportionate yet somehow oddly proportionate measurements of the face, one can easily tell it’s Foad Al Mohandes. This humorous portrait of the late Egyptian actor, thespian and comedian is one of dozens illustrated and digitally painted by Jordanian illustrator Yazan Khalifeh. His specialties are humorist caricature portraits, and his passion about his work and subjects is clear. In the past few years, Khalifeh has created distinct and eerily lifelike caricatures of some of the Arab world’s most recognizable figures, from Haifa Wahbeh to Mahmoud Abbas. “The secret is not just in expanding the proportions of the face. It’s about

capturing the spirit of the drawn subject and for viewers to be able to immediately tell who its owner is,” explains Khalifeh with whom I met a few weeks ago. Currently working as the Art Director at Jeeran, Khalifeh showed up wearing black training pants and a black t-shirt that reflected an affinity to graphics — a fitting ensemble, since he graduated from the Applied Science University with a BA in graphic design in 2001. “I’ve been drawing all my life. I started out drawing superheroes until the start of the first Gulf war when I switched to drawing caricatures and political drawings. I started publishing in Addustour’s cartoons supplement,” Khalifeh says, adding, “I discovered painting in university when I studied graphic design. I simply fell in love with painting.” Since 1998, Khalifeh’s been on unobstructed path of achievement: He won 2nd place in a local universities cartoon contest and in 2000 he won

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a Traffic Day poster award and a Philadelphia University cartoon award. On the heels of these successes Khalifeh held his first solo exhibition in Blue Fig Amman in 2006. In 2008 his work was featured in Ballistic Publishing’s book Expose 6: the finest digital art publication in the known universe. “After holding the exhibition at Blue Fig, the cartooning bug bit me again and I found myself gravitating back to caricatures. I started drawing caricatures for 3alaRasi.com where I [now] have an extensive archive. I later returned to drawing humorist portraits with emphasis on faces. With Facebook and social media growing, I gained a lot of exposure and gained a [big] following, both locally and internationally.” Khalifeh sites the late Iraqi caricaturist Moyad Ne’meh and American caricaturist Jason Seiler as two of the most important artists who have influenced his work. “Ne’meh used to draw caricatures and faces. He was amazing. Jason is the teacher with whom I took a humorist caricatures course online. Of course there are other artists who influenced my work but it’s hard to name them all,” Khalifeh says, adding that Mad Magazine also had a deep impact on the way he draws. Being in contact with a lot of artists from all over the world has pushed him to work harder and produce more.

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“Some faces are easier to draw than others, but there are faces that I struggle with” “You have a lot of artists out there who are fast and up to date. It takes a lot of practice and discipline to produce on a daily basis and that’s why I like being on Facebook. It helps me connect with artists and at the same time find more motivation,” he adds On how he picks the faces that he wants to turn into humorous caricatures, Khalifeh said it’s all about feeling the presence of the person he’s set to illustrate. “I always choose individuals who have a strong presence and charisma. Some are good people and some are villains,” says Khalifeh whose gallery of portraits also includes the faces of dictators, presidents, politicians, actors and musicians.

Looking at the ease of his lines, colors, texturing and details, one would think that the moment his pencil hits the paper, he immediately comes up with a humorist portrait. That’s not quite case according to Khalifeh. “Some faces are easier to draw than others, but there are faces that I struggle with. One example is Bashar Al Assad, Syria’s president. He has distinct features that give the impression that he’s easy to draw but he isn’t. Humorist caricaturing is all about capturing the reality of a feature and exaggerating it,” says Khalifeh, who spends three hours a day drawing and honing his craft. Khalifeh’s art – whether they’re caricatures or cartoons – speaks

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volumes to the natural talent he embodies, as well as his affinity for Middle Eastern pop-culture. As the online world expands locally and abroad, so does his work and along with it, his name. Never content to stay in one place, Khalifehâ&#x20AC;&#x2122;s star is on the rise, and as we ended our get together that day, he revealed future plans for a solo exhibition at Zara, that will feature the entire scope of his humorist

portraits. Not only that, but Khalifeh claims he has a surprise portrait up his sleeve, the subject remains a mystery. Constantly looking two steps ahead, both creatively and professionally, Khalifeh is set to burst through the glass ceiling and take us all on his wild ride â&#x20AC;&#x201C; all through the incredible lens of his hilarious, crafty pencil. yazankhalifeh.com

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Calling all listeners Public acting workshops by RSICA are developing talented actors and building Aqaba’s local art scene Words: Andrew Spalding Aqaba is going to be full of actors – if Bret Scott has his way. A faculty member of the Red Sea Institute of Cinematic Arts’ Directing department, Scott also heads up RSICA’s latest initiative: the Screen Acting Studio. On a sound stage in one of RSICA’s academic buildings in sunny Aqaba, members of the Aqaba populace gather once each week to learn the craft and methods behind screen acting. There is no age limit, no experience requirement; the spirit behind the program is a ‘come one, come all’ attitude. “People tend to think of acting as something big and showy, but the art of acting is the art of listening,” says Scott, who adds, “Strange as that may sound, the kind of listening actors do is an acquired skill.” In other words, waiters,

taxi drivers, teachers and heck – even journalists – might be among those with the latent ability to act who need some guidance and instruction to hone their craft and develop a more stable, reliable technique. “Acting is a skill as well as an art,” says Scott, who believes that “anyone can benefit from the experience of the class.” The training provided by the Studio, which is held once per week, is both practical and theoretical with the ultimate aim of developing film actors. Much of the curriculum draws from the insights and techniques of Konstantin Stanislavksy along with the extemporaneous performance methods used by Chicago’s Second City, the famed breeding ground for comedians and Saturday Night Live performers. Classes are offered in English and

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Arabic, and the schedule permits new students to enter at any time. After initial training in acting techniques, students in the RSICA Screen Acting Studio eventually participate in the projects of RSICA’s full-time filmmaking students. Some weeks, the amateur actors may be working on a scene from a famous play like Tennessee Williams’ The Glass Menagerie or acting out a scene from the award-winning film Casablanca. Since RSICA’s students in the Masters of Fine Arts program are regularly writing scripts for films and television shows, the Aqabawi actors also receive the opportunity of working on truly original cinematic art. Additionally, actors also take part in all facets of production as experienced by professional actors. For example, RSICA student directors will lead the amateur actors in the Acting Studio

through ‘blocking sessions,’ or rehearsals during which movement is explored and finalized. As part of the educational and developmental process, the actors – just like any other student at the Red Sea Institute of Cinematic Arts – are subject to criticism by the Institute’s faculty. “Ansel Adams, a famous photographer, once said that the definition of an artist is ‘one who is willing to drastically discard anything but the very finest results,’” says Mr. Scott. “We try to hold our actors’ work to a similar standard here in the Studio. While we recognize that all of our students are at different levels of development, the philosophy of this studio is that success as an artistic requires unwavering dedication and practice.” Signs of such success are showing.

During a recent performance at the Screen Acting Studio, RSICA MFA student Dalia Thafer saw nothing ‘amateur’ about the novice actors and their work. “I was surprised at how moved I was by the performance,” says Thafer after watching one of the acting exercises in class. It was one of the many occasions brought about by the Screen Actors Studio whence the actors established a dynamic rhythm and brought to the stage the openness that excites audiences. Aqaba is a far cry from Hollywood and London’s West End, but the latent talent is being cultivated. RSICA officials notified R:A of plans to bring the Screen Actors Studio to Amman in order to reach a broader pool of talented individuals and extend the opportunity of acting to all Jordanians. Now that you know, you better start listening.

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A La Vincent words:Farah Aljundi images:Courtesy of the artist

To say that “understanding and admiring art is the human passage to a higher standard of living” is to say that art determines existence. R:A sat down with artist Farid Fakhriddin to hear him wax poetic on the real, the faux and how to artistically fuse a genuine past with the sometimes disingenuous present. Review:Amman So, Mr. Fakhriddin, looking at your work seems like one big party,Are these scenes reenactments or a long lost desire? Farid:Fakhriddin Both. I find myself belonging to a certain era at certain specific times. Looking at the present culture gives me the nostalgia of going back to a more sophisticated, refined culture. We live in a very chaotic present; in my paintings I try to remind people of the genuinely refined eras. R:A Tell us a little bit about yourself, and how you came to start painting?

F:F In school I used to draw on the margins of my books and on every empty space I could find on my papers. I remember my teachers would get very upset and were very harsh on me when they’d see my books full of sketches and figures. At the same time, those same teachers would give me all the artistic work in the school – like sketching scientific figures of the human body. R:A Do you have a muse? If so, whom? F:F I was born and raised – until the

Farid in company of his paintings at home

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age of nine – on the most beautiful piece of land: rich in culture, history and mostly rich in inspiration and meditation. Watching the beauty of my mother and her appreciation and admiration for quality of life, educated my eye and artistic senses. R:A What is one item you simply can’t live without? F:F Sketch pencil. R:A You seem to be very whimsical but very serious about art. What is it that makes the reality of art so important to you? F:F When I see in reality – and in dreams – that the Arab world has started educating themselves with art and not [merely with] decorative items. We in fact in the Middle East spend much on decorative items and even buy commercial paintings, just to fill walls. My dream is people to start acquiring art for the sake of art. Art to be taken seriously at schools and educational institutes, to open students’ minds and give them the ability to develop, realize and understand the concept of life in a sophisticated manner. What is art

except an expression of what one feels or what one thinks? Art is a tool in teaching our young generation how to respect and believe in democracy. R:A What music do you envision playing in the scenes you create on the canvas? F:F Art is a package. Educating our ears and eyes and choosing the right words go hand in hand. You can’t have a good ear for music, but a very cheap taste in paintings. Actually, I play the guitar myself. I find old Arabic music very inspiring and rich – complete in words, composition, music and performance. R:A What is it about the type of encounters in your paintings that inspires you? F:F Painting expresses my own feelings towards my daily issues. A scene I witness, news I read in newspapers, a song I’m listening to, a book I read . . . mostly my inspiration comes when I have an opinion of what I see, hear and watch.

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R:A Is it human interaction or a visual scenario that you find your first inspiration in? F:F Both. My wife is my inspiration, through her very positive look towards life. Through her love for life and the way she chooses elegant stances and opinions when needed in very hard times. R:A Your style varies slightly from one venue to another. What provokes it, and is it voluntary? F:F Artists are big travelers â&#x20AC;&#x201C; their mood moves from one place to another. I

get inspired from the way my children think, dream, move and behave. My children inspire me to paint young active paintings, and my culture inspires me to paint mature deeper paintings. Being young in thoughts, but mature in knowledge moves me from one venue to another. R:A Some of the faces in your paintings are blurred while others arenâ&#x20AC;&#x2122;t, why is that? F:F Clarity and dimness are two opposites. When I want to relay a clear and direct message, I concentrate on

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Farid clasped, Hands and soul before his portrait of his wife, Hanadi

clarity and sharpness of faces like the Jerusalem painting.

sake of education and living different cultures.

R:A If you could attend anyone’s cocktail party, living or dead-who would it be? F:F Um Kalthoum. And Van Gogh, who I believe would have never had a cocktail party.

R:A What’s your preferred artistic medium? F:F Oil and only oil.

R:A As an artist, what’s your greatest fantasy? F:F Traveling around the world, for the

R:A You get one song, once dance partner and one venue. What would they be? F:F Daret al Ayyam by Um Kalthoum, which would inspire a waltz with my wife in the Van Gogh museum in Amsterdam.

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Quiet Riot words:R:A Staff images:Courtesy of the artist How is it that one Jordanian artist managed to put some of the Arab culture’s most taboo issues center stage, and not create pandemonium? Well, we’re not sure. But it must have something to do with the even keel Leena Saoub operates on . . . masterfully. Plunging into women’s rights and gender equality on a public stage in the Middle East is a reality that hasn’t actually hit the cusp of its effect yet. Meaning: artists like Saoub – with numerous awards and lofty credentials to her name – is sneaking into the asof-yet unacknowledged forefront of a new social era. What a wonderful way to do it, too – through the backdoor we like to call art. The Jordanian educated (Yarmouk University!) designer cum artist has unwittingly thrown her hat into an arena that most have cowered away from. It’s about time! And to think, her ethos, aesthetic and inspiration all hail from Amman; yet another unexpected, againstthe-grain twist from one of Amman’s unburied treasures. But don’t take it from me, go ahead and take it from the words of the woman herself.

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Self portrait

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R:A You’ve done a lot of work with different industries and mediums. How has that shaped your view as an artist? L:S Art, conceptual photography and design have always been my passion and print is my favorite medium to work in. I’ve always tried to work on art, fashion and music-related projects, and this comes through in my art as well. I’ve found that all of these different interests, media and thought processes come together in my work, and I like to blur the boundaries between them sometimes; I feel it gives me more freedom of expression than to limit myself to just one traditional medium.

R:A So, then do you consider yourself a designer or an artist? L:S I’m a graphic designer and a visual artist. In the near future – hopefully – one of my dream projects is to start my own little design house. I [eventually] would like it to expand into a design café, studio, factory, gallery . . . and more. R:A Most designers/artists have a clear idea of where their aesthetic began shaping itself. Is Amman part of that idea for you? L:S My work experience in Amman was great, and yes, Amman itself is my inspiration. I love Amman. During the time [I lived there], there weren’t

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all that many English-language magazines, but I learned a lot from my work experience with great people, and was exposed to many great ideas and experiences; I found they really gave me a solid base to start with in Dubai. I think if I had stayed in Amman I would have started my own company by now. R:A If Amman played a major developmental role for you in your current work, why did you leave? L:S It was purely by chance, really. I was on a trip to Dubai in February 2006 and was offered a job, and by the start of April of the same year I had relocated [to the Gulf]. I suppose I was also looking for a challenge after spending five years working in Amman. I felt like I’d reached a place where I was limited at work and couldn’t go any further. It’s not that I didn’t love working in Amman, I just felt Dubai –with its international community and all the projects that were going

on – was a good place to start from scratch and build myself up in a more competitive and open-minded environment. I felt it was time to push myself, and get out of my comfort zone. R:A Judging by your recent work, I’d say you did just that. How does your own identity as an Arab female play into the themes you address? L:S My work usually showcases women in the Middle East and how our culture and traditions play a big role in controlling lifestyles and careers. I’m also interested in how women’s rights are often hidden in certain closed societies. My recent exhibition Spaced, revolved around advocating the rights of misunderstood and abused women, and showing the contrast with traditional views on gender equality (or inequality, as the case may be). As for identity, people do love to label, but I am proud to be a female Arab artist from Jordan.

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Say It Like You Mean It words:Rebecca Ryan images:Lena Ghannam

If only we had our own stylish and succinct medium to get our message of admiration across to Rasha Hamdan on her latest venture, Yislamoo. Not just your average greeting cards, these pocket-sized works of art say (and show) it all when you just can’t find the words – Jordanian style.

A fledgling greeting card company, Yislamoo, is surprising Amman with their edgy, bright and current designs and their generous nod to contemporary Arab pop-culture. Yislamoo card stands have been popping up all over the city, slowly creeping in to fill the as-of-yet uncharted territory of greeting cards. These cards say the things that balloons never will. The designs are humorous, clever and feature sophisticated designs – miles ahead of the standard Hallmark fare. The bold images and simple Arabcentric messages express genuine sentiments that translate visually to a varied audience. Yislamoo plays with traditional concepts to create an original and contemporary impression, or as one blogger Roba Al Assi put it, “Localizing geek culture and urbanizing very Arab culture”. This is just one of the many, many reasons the cards are set to make a big impact in Amman. The slang term ‘Yislamoo’ translates to the sentiment ‘may you be safe from harm’ and this succinctly embodies the ethos of the brand – merging a local phrase into a high-concept logo. These bold greeting card-postcard hybrids are the brainchild of CEO and creative director Rasha Hamdan, who set up the family-run enterprise just a few months ago. Hamdan – a self-described visual narrator with a background as a branding expert in both Jordan and Dubai – currently

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runs her own design agency, Um Lulu, in Amman. For those of us who admire the fairly recent re-branding of Rainbow Street and the urban plaques that have replaced the typical Ammani street signs, we have Hamdan to thank. Her handiwork lurks in the most conspicuous spaces, but in truely humble fashion, she rarely takes center stage publicly to claim ownership.

inspiration is in traditional Arabic calligraphy, combined with a twist of contemporary design, which shifts the focus of this art form. Specific cards reflect more modern cultural insights: from pop art disembodied lips shouting birthday wishes, to a Facebook-inspired Arabizi phrase that resonates with pretty much everyone across the city, if not the country and the world.

Looking at the cards, it seems nearly impossible that the varied styles and designs all came from the same creative mind, but alas, everything is possible. All of the cards to date have been created by Hamdan herself. Her labor of love is the result of a long-standing fascination with the card medium – even her allowance as a teenager was split between buying greetings cards and mix-tapes. Hamdan’s

Despite the varied styles and color palettes, there is one thing that binds these designs together: the sincerity of the messages and the attention to detail. These cards are aimed at being little gifts in and of themselves, both for special occasions and the expression of everyday sentiments. Yislamoo taps into modern Middle Eastern culture and responds with a wink - one design shows a flying camel delivering a baby in lieu of the traditional stork.

“The form underlines the purpose of the cards, intended as a valued gift to be kept and exhibited, not just a throwaway message”

DESIGN

The irreverent and interactive voice that dominates Hamdan’s designs carries over into Yislamoo’s online profile. All of the cards are featured on the brand’s Facebook page, where comments are encouraged. To mark Inventors’ Day, they ran an online competition to find the favorite new invention, voted for by visitors to Yislamoo’s Twitter and Facebook accounts. Yislamoo frequently asks its followers for their thoughts, most recently prompting a discussion on the personal meaning of friendship – likely an early planning stage of some fresh new card designs. The cards themselves are stunning and who says quality has to be sacrificed to make way for environmental concerns? Ecofriendliness is also addressed in the way Hamdan’s cards are

manufactured. Each card appears and feels like a high-end postcard, rather than a traditional greeting card, which simultaneously minimizes paper consumption and makes them easier to display. The form underlines the purpose of the cards, intended as a valued gift to be kept and exhibited, not just a throwaway message. Clearly, Hamdan’s Yislamoo venture has a commitment not only to environmental sustainability, but also to the promotion of Jordanian artistic culture. Arabic selfexpression in linguistic and social terms is at the foundation of the company and continues to be at the forefront of any development. To expand the range of designs, Yislamoo is looking to collaborate with local artists from the region and new cards are expected within

“Yislamoo taps into modern Middle Eastern culture and responds with a wink” a month or two. Distribution is often a problem for small new companies but the products are now available at twelve locations across the city, (check out Yislamoo’s Facebook page for a full list) including Jo Bedu and most recently, Books@Cafe. The website will become an online store for the cards and Hamdan is aspiring to expand regionally with a card for every occasion, all the while maintaining modernity, style and an authentic Arab voice. yislamoo.com

DESIGN

Debunk words:Lena Ghannam images:Courtesy of the artist It’s always being said that inspiration can only be found within. The cynic in me wants to ask, “Could that ever really happen? Really?” It’s difficult to believe how it’s possible when you’re more than sure that inspiration has everything to do with what affects the senses; in short, one’s physical surroundings.

Shereen Audi

Artist Shereen Audi lives, breathes and works in Amman with that near-mythical ability to inspire herself – never looking outwards to find her drive. According to Audi, “It’s not a certain place that stirs creativity in me, it’s my passion for art. It’s just amazing.” Amazing indeed. With an upcoming exhibition in Dubai this winter season, Audi is perhaps one of the most surprising artists to emerge in Amman, precisely because the works she creates don’t reflect her surroundings – they’re unexpected and come straight from the stream of passion she embodies purely for the existence of art. Her retro-90s take on angelic nude figures (wings and all!) speak to nothing tangible in our Jordanian surroundings. No hot pink paint and bare breasts to be found here, not for many, many miles. So, can it be said at this point that the inspiration myth no longer stands? Probably. No matter where you are there’s potential to see in neon, if you want to. Shereen Audi is exhibit A; her paintings are bold evidence of not just that, but also, that really, anything is possible.

DESIGN

SNAP

We,

the Women words:Lena Ghannam images:Fatima Abbadi So often, Arab women are compared to their western counterparts – mostly to point out the stark differences in their respective realities. JordanianItalian photographer Fatima Abbadi sees things differently. Her collection of images, Women Through My Lens, opens the viewer to the idea that perhaps Arab and European women are more alike than it seems. Through her careful and emotionally evocative pictures, Abbadi pays homage to women everywhere by capturing her subjects in moments brimming with subtext from a female perspective. Regardless of where women are – socially, geographically, emotionally – the female experience is unified across the board. The details might change, but Arab or Argentinian, women identify on levels that transcend logistics and circumstance. Abbadi, in creating this collection, was herself influenced by her experience as Jordanian-Italian woman living abroad. If these images look familiar to you, it’s probably because Abbadi had her first solo exhibition here in Amman last year at Dar Al Anda. Unfortunately, Abbadi’s spectacular work isn’t showing anywhere in Amman right now, just in the pages of R:A. The great thing about that is now you can take her photographs home with you, instead of leave these gems behind as relics on a gallery wall. (We give you permission to rip out the pages and frame them, if you want.) The intimacy of Abbadi’s photography is what sets her lens – and the women she sees through them – just beyond the conscious and into the realm of inwardly understanding the female experience.

SNAP

The New

Classics words:R:A Staff images:Ali Saadi

Concerts in Amman are, to say the least, few and far between. Accordingly, good concerts are even more rare. So when Mashrou’ Leila took the stage early this fall, it came as a surprise when their performance put shame to a lot of acts that have come through our city in the past – many of them names that are far bigger than the seven-piece Lebanese ensemble. Their music has garnered a following around the Middle East that can’t be anything other than a prelude of what’s to come in the regional music industry. Synthetic Arabpop has some real competition now. Writing the future in musical notation and in the caliber of their performances, Mashrou’ Leila are nothing less than trailblazers. The music’s whimsy wouldn’t be there if it weren’t for the eccentricity of the band – something that’s blatanty evident when they’re on stage. For Amman they put on a show-stopping performance; smoky silhouettes and emotional riffs allowed the audience to forget the time and forget the place. In his images, Ali Saadi captured exactly what made their heady performance so memorable, all that’s missing is the music. Look closely, and maybe you’ll hear it . . . maybe you’ll hear what we’ll one day look back on as the time when Mashrou’ Leila redefined classical Arab music.

ACTION

Now In Technicolor words:Lena Ghannam images:Mike V. Derderian You’ve seen them in black and white – all gorgeous and feisty – and here they are again as seen (and remembered) by the mind’s eye of Mike V. Derderian. These actresses of Egyptian cinema and stage have inimitably defined that bygone cinematic era of tragedies, passion and singing beneath leafy trees – harkening the trademark Bollywood movies which, stylistically, always seemed to run parallel to their Egyptian counterparts in those days. Today it’s difficult to pinpoint two (much less six) Egyptian actresses who harness the same brand of star-power as these ladies who set a fierce female standard in the Arab film industry. So powerful were these women on the screen, that they ingrained themselves into history and into the subconscious of a young Derderian; here they re-emerge as an homage, not just to them, but to his grandmother who taught him about each lovely lady, and to the era of Egyptian cinema that sadly, no longer is. What we do have though, are the old crackling films (with hilariously misinterpreted subtitles) that let us visit that time without thinking about today. Derderian throws his illustrator hat into the proverbial ring and stuns with a rainbow-colored interpretation of what some might think is ancient history.

Madiha Kamel

Mervat Amin

Nahed Sherif

Soad Hosny

Nadia Lutfi

Hind Rostom

ACTION

Shades of a

Chameleon words:Lena Ghannam images:Farah Aljundi

No one really knows – unless they’ve tried – just how complex acting can be. As non-actors, we constantly travel through a range of emotions every minute of every day of our lives. Some hide it well, others not so much. But it’s only the trained actor who can shift on command from a confident, badass heroine with a sordid past to a scorned and broken woman, toeing the thin line between apathy and empowerment. It might come easily to a select few, and for others, exhaustive training dictates how convincing (or not) an actor they are. Needless to say, Jordanians aren’t exactly on the global acting map; there are plenty of talented actors waiting to be nurtured, but so far only a handful (perhaps even less) have emerged. Lara

Sawalha, a name that surely resonates with many, many Ammanis, is one of those people who, simply put, was born to act. Off the stage Sawalha shines, and on stage and screen she’s impossible to resist. R:A approached the unassuming starlet to do what she does best: morph from one mood to the next with the kind of ease that makes people feel that surely, it can’t be that hard, this acting thing. Make no mistake; hers is a talent that has been cultivated through years of exposure, discipline and a rare lighthearted worldview. Actors, by definition, exist to be seen and Sawalha – arguably Jordan’s most valuable young actor – is undoubtedly a spectacular sight, even in the inert expression of still life photography.

ACTION

‫!‪Flip to page 96 to read our Arabic section‬‬

‫إقلب إلى صفحه ‪ 96‬لقراءة قسم‬ ‫عمان بال ّلغة العرب ّية‬ ‫مجلة ّ‬

‫‪82‬‬

‫إسمع‪ ،‬شوف<‬

‫فرح سراج‬ ‫عمان حيث‬ ‫نشأت فرح سراج في ّ‬ ‫كانت تتلقى دروس البيانو ونظريات‬ ‫الموسيقى‪ ،‬وفي سن الرابعة من‬ ‫عمرها أسرت قلوب جمهور المسرح‬ ‫الثقافي الملكي في احدى الحفالت‬ ‫الموسيقية التي غنت بها وعرفت‬ ‫كأصغر مؤلفة موسيقية في عمر‬ ‫السادسة‪ .‬وفي سن السابعة عشرة‬ ‫من عمرها تلقت دعما من جاللة‬ ‫الملك عبداهلل الثاني حيث سجلت‬ ‫أول ألبوم لها بين بريطانيا وتركيا‬ ‫مع األوركسترا السمفونية التركية‬ ‫وبحضور جاللة الملك والملكة في‬ ‫ذلك الحفل‪.‬‬ ‫درست فرح الموسيقى في جامعتي‬ ‫ترينيتي في لندن وبيركلي في‬ ‫بوسطن مقدمة عددا كبيرا من‬ ‫الحفالت الموسيقية بالتعاون مع عدد‬ ‫كبير من الموسيقيين العالميين ثم‬ ‫انتقلت للعيش والدراسة باسبانيا‬ ‫حيث تعلمت أيضا أصول موسيقى‬

‫فرقة نايا‬ ‫الفالمنكو والتأليف‪.‬‬ ‫تغني فرح لقضايا انسانية تهمها‬ ‫وتهم العالم بأجمعه فغنت‬ ‫لغزة ولدارفور وللحرية في كل‬ ‫مكان‪ ،‬حصلت على جوائز عدة‬ ‫في الواليات المتحدة واسبانيا‬ ‫وبريطانيا وكانت أول عربية تؤدي‬ ‫بحفل جوائز نوبل في أوسلو‬ ‫ومثلت األردن باليوم العالمي‬ ‫للسالم بالتعاون مع األمم المتحدة‬ ‫باالضافة الى األداء بالمنتدى‬ ‫االقتصادي العالمي باألردن هذا‬ ‫العام‪.‬‬ ‫كما غنت فرح بحفل‬ ‫‪Bands Across Borders‬‬ ‫بمشاركة عزيز مرقة وعالء وردي‪،‬‬ ‫محمد لحام ويزن حيفاوي بواحد‬ ‫من أكبر التجمعات الموسيقية‬ ‫بعمان وتعمل حاليا على تسجيل‬ ‫ّ‬ ‫المزيد من األغاني بمشاركة عدد‬ ‫من الفنانين باألردن وعالميا‪.‬‬

‫برعاية وزارة الثقافة األردنية وبدعم خاص‬ ‫جدا من وزير الثقافة األسبق السيد‬ ‫جريس سماوي وبتأسيس روال جرادات‬ ‫للفرقة وموسيقياتها‪ ،‬أقيم حفل‬ ‫موسيقي الطالق مجموعة نايا‪ -‬أول‬ ‫فرقة موسيقي نسائية أردنية‪ -‬لتقديم‬ ‫الموروث األردني والموسيقى العربية‬ ‫الكالسيكية‪ .‬وقد امتأل المسرح بالجمهور‬ ‫الذي دفعه الفضول وحسه االبداعي‬ ‫الكتشاف هذه الفرقة الجديدة وما‬ ‫ستقدمه وخرج بسعادة عارمة‪ .‬تضمن‬ ‫برنامج الحفل أغنيات لعبدالوهاب وأم‬ ‫كلثوم ومقطوعات موسيقية لفنانين‬ ‫أردنيين مثل عامر ماضي وعبده موسى‬ ‫واسماعيل خضر‪ .‬تتكون نايا من ‪12‬‬ ‫موسيقية وهن الرا عليان‪ ،‬هيفاء كمال‪،‬‬ ‫ولينا صالح غناء‪ ،‬ورلى برغوثي على آلة‬ ‫القانون‪ ،‬ديما سويدان ومروة السيد على‬ ‫العود‪ ،‬نوران محو على الفيوال‪ ،‬مي حجارة‬ ‫على الكونتراباص‪ ،‬آالء التكروري على‬ ‫الفلوت زين طبيشات على البيانو وهند‬ ‫سبانخ على اإليقاع‪.‬‬

‫إسمع‪ ،‬شوف<‬

‫‪83‬‬

‫أيام مجاز‬

‫للشعرالعربي‬

‫حفل ‪ 4x4‬املوسيقي‬

‫هي ليست سيارة بدفع رباعي‪ ،‬بل ليلة فريدة من نوعها أقامتها بندورة‪ -‬جيران‬ ‫ميوزيك في مسرح البلد يوم الجمعة ‪ 7‬تشرين األول‪ ،‬ضمت هذه األمسية‬ ‫الموسيقية ‪ 4‬أنماط من الموسيقى البديلة من نمط شرقي‪ ،‬هارد روك‪ ،‬والراب‬ ‫العربي من أداء المربع وسحر خليفة‪ ،‬قزدرة‪ ،‬ترابية وفرقة طارق الجندي‪ .‬التنوع‬ ‫الموسيقي الذي استمر لساعتين أثبت أن الجمهور األردني ملم ومهتم بهذه‬ ‫األنماط وتفاعله معها كان أكبر دليل على نجاح هذه الليلة الموسيقية‪.‬‬

‫تكريما للشاعر األردني زياد العناني‬ ‫والذي يتعافى من المرض‪ ،‬أقام محترف‬ ‫رمال للثقافة والفنون بالتعاون مع عدد‬ ‫من الشعراء الشباب أمسيات شعرية‬ ‫باسم “أيام مجاز للشعر العربي” في‬ ‫دورته الثانية‪ .‬وجاءت هذه األمسيات‬ ‫التي بدأت يوم السبت ‪ 15‬تشرين األول‬ ‫واختتمت يوم الثالثاء في ‪ 18‬من تشرين‬ ‫األول كنجاح الفت ومهم للحضور االبداعي‬ ‫عمان في ظل أيام صعبة‬ ‫والثقافي في ّ‬ ‫تشهد تقلبات اجتماعية وسياسية‪ .‬القى‬ ‫المهرجان استحسانا كبيرا حيث سلط‬ ‫الضوء على مواهب شعرية فذة منها‬ ‫المبتديء ومنها المحترف وشارك في هذه‬ ‫األمسيات الشعراء خلدون عبداللطيف‪،‬‬ ‫أنس الشوبكي‪ ،‬عضيب عضيبات‪ ،‬فوزي‬ ‫باكير‪ ،‬نور الشيخ قاسم وهي من أصغر‬ ‫المشاركين‪ ،‬خالد شلبية‪ ،‬محمد الترك‪،‬‬ ‫ماهر القيسي‪ ،‬كايد عواملة‪ ،‬وحسين‬ ‫الشريقي ورافقهم الموسيقيون عادل‬ ‫مصطفى‪ ،‬عمر يوسف‪ ،‬عالء يوسف وغسان‬ ‫أبو حلتم‪.‬‬

‫‪84‬‬

‫ثقافي حر‬

‫إلي استدعى كل مخزونه‬ ‫طريقه َّ‬ ‫اللغوي المكتسب من اللغات األخرى‪،‬‬ ‫لقراءة الورقة‪ ،‬ولسوء حظي فقد‬ ‫كنت أنوي إخفاءه‬ ‫أدرك المعنى الذي‬ ‫ُ‬ ‫حرصا على خصوصيتي‪ ،‬لكنهم‬

‫صحوت على خديعة‬ ‫ُ‬ ‫كبرى‪ ،‬وصرْ ُت سيرة‬ ‫متداولة بني الناس‬

‫ظننت أن‬ ‫لجمع الرؤوس بالحالل‪،‬‬ ‫ُ‬ ‫أن أكتشف‬ ‫األمر بات ممكنا قبل ْ‬ ‫أمراض القلب والسكري‪ ،‬لكنني‬ ‫ارتبت في أمر الفتاة التي كانت‬ ‫ُ‬ ‫تحدثني من وراء ستار افتراضي‪،‬‬

‫جميعا‪ ،‬وقبل أن تبلغني الرسالة‬

‫فقد بات س ِّري معلنا كما لم يكن‬

‫عرفوا مضمونها‪ ،‬بل إن بعضهم جاء‬

‫من قبل بين زمالئي‪ ،‬وعند كل‬

‫يهنئني مسبقا‪ ،‬قال أحدهم‪ :‬مبروك‬

‫أصابتني كالسهم فأنا قبل‬

‫وصرت في كل‬ ‫من يعرفني‪،..‬‬ ‫ُ‬

‫يا رفيق! وأسهب في الحديث وراح‬

‫أصبحت “مجموعة إنسان”‬ ‫األربعين‬ ‫ُ‬

‫مكان أسمع األغنية ذاتها التي‬

‫يعطيني ملخصا لكيفية التعامل مع‬

‫أستوعب كل األضداد!‬ ‫ُ‬

‫تغنيها الزميلة التي لم تعد‬ ‫“نغشة”‪ ،‬وتفرط في تغليظ مالمح‬

‫تمتهن‬ ‫المرأة األوروبية الشرقية‪ ،‬التي‬ ‫ُ‬ ‫كرامتها بداية‪ ،‬ثم تستخلصها تماما‬

‫أن فاتني قطار‬ ‫ُ‬ ‫فكرت بالزواج‪ ،‬بعد ْ‬ ‫أوكلت لجارتي مهمة‬ ‫الهوى‪،‬‬ ‫ُ‬

‫أن‬ ‫العنوسة على هيئتها؛ فما ْ‬ ‫أمشي خطوة في أي اتجاه‪ ،‬حتى‬

‫األصلي بعد كل صبغة!‬

‫استمالة المرأة الثالثينية التي‬

‫أن “ارضى‬ ‫يحثني صوت بالغناء ْ‬ ‫بالنصيب ”!‬ ‫ْ‬

‫كما تستعيد المرأة لون شعرها‬

‫تعمل في بنك وتقبض ثالثة عشر‬ ‫وبقيت‬ ‫الرياح في كل اتجاه‪،‬‬ ‫جرت‬ ‫ْ‬ ‫ْ‬ ‫ُ‬ ‫سفينتي في المرسى؛ كل ما فعلته‬ ‫كنت‬ ‫في “التجربة البلغارية”‪ ،‬أنني‬ ‫ُ‬

‫حاولت إقناع رجل‬ ‫فشلت ‪،‬‬ ‫راتبا‪ ،‬ولما‬ ‫ُ‬ ‫ْ‬ ‫وأصلح‬ ‫صالح أنني قابل للهداية‬ ‫ُ‬ ‫للزواج من ابنته التي ال يظهر‬

‫َ‬ ‫أقبل؛ لكنني‬ ‫وكنت على وشك أن‬ ‫ُ‬ ‫وصر ُت‬ ‫صحوت على خديعة كبرى‪،‬‬ ‫ُ‬ ‫ْ‬

‫أختار ألوان صبغة تناسب شعر امرأة‬

‫وجهها‪ ،‬لكنني فشلت فلم يكن‬

‫سيرة متداولة بين الناس؛ تتجسد‬

‫يتساقط بفعل دخولها الخمسين‪.‬‬

‫خشوعي مقنعا في صالة الجمعة!‬

‫مالمحي بمجرد النقر على محرك‬

‫غنّت الزميلة التي لم تعد “نغشة”‬ ‫وتأكل الفالفل بزيته األسود‪ ،‬أغنية‬

‫جاءتني رسالة من موقع “شرعي”‬

‫عصي‬ ‫البحث عن رجل “كان‬ ‫َّ‬ ‫سر!‬ ‫الدمع”‪ ،‬واليوم ما عاد له ٌّ‬

‫ثقافي حر‬

‫‪85‬‬

‫سرِّي املعلن‬ ‫بقلم‪ :‬نادر رنتيسي‬

‫الحمراء الوحيدة‪ ،‬التي كانت تضمن‬

‫َ‬ ‫فأدرك الزمالء أن األمور باألمس‬ ‫وجهه‪،‬‬

‫ْ‬ ‫أكترث‪،‬‬ ‫لي العشاء ثالث ليال‪ .‬ولم‬

‫لم تكن على ما يرام‪ ،‬وزميلتي التي‬

‫خرجت إلى الممر أردد الكلمات‬ ‫ُ‬

‫تكتشف مواه َبها بغناء مع ِّبر عن‬

‫ُ‬ ‫يقف أمام مكتبي الحديدي منتظرا‬

‫القليلة التي كت َبتْ ها بخط أنثوي‬ ‫شديد االلتواء في أحرف المد‪ ،‬غير‬

‫أحوال الزمالء‪ ،‬اختارت أغنية طازجة‬

‫تحدد قيمة ما سأنقده بما تتضمنه‬

‫أن أراها‬ ‫مصدق أنه ال مانع لديها من ْ‬ ‫ِّ‬ ‫وأصافحها بالكف‪..‬؛ هكذا دفعة‬

‫دفتر وردي‪ ،‬متعدد األغراض فيحتوي‬

‫واحدة!‬

‫سافرت صاحبة الدفتر‬ ‫نعم فقد‬ ‫ْ‬ ‫الوردي إلى الخليج برفقة زوج سريع‬

‫وتشكيلة متفاوتة الوسامة لنجوم‬

‫عدت إلى مكتبي‪ ،‬ونظرات زمالئي‬ ‫ُ‬

‫الطلب‪ ،‬ولم تستجب لكل الرسائل‬

‫المنتخب اإليطالي في العام ‪،90‬‬

‫تتقافز منها األسئلة‪ ،‬وزميلتي‬

‫التي أرسلتها من تحت الماء‪ ..‬لكنني‬

‫وقصائد مكسورة الوزن نسخت‬

‫“النغشة”‪ ،‬التي تحرص على إحالة‬

‫تحاملت‪ ،‬صحيح أنني في أول شهر‬ ‫ُ‬

‫مشوهة من ديوان صدر حديثا لنزار‬

‫المواقف التي تشهدها إلى أغنيات‪،‬‬

‫قباني بعنوان “هل تسمعين صهيل‬

‫راحت تغني من أنفها‪“ :‬الرفاق‬ ‫ْ‬ ‫من‬ ‫حائرون‪ ،‬يتساءلون‪ ،‬حبيبتي أنا ْ‬ ‫تكون ”!‬ ‫ْ‬

‫اشتقت إليها‪ ،‬لكن “س ِّري لم ُي َذعْ ”‪،‬‬ ‫ُ‬ ‫ت زميلتي خفيفة الروح تقرأه‬ ‫وإن بق َي ْ‬ ‫ْ‬

‫أنتظر مفاجأة من أي نوع قبل‬ ‫كنت‬ ‫ما‬ ‫ُ‬ ‫ُ‬ ‫عشرين عاما‪ُّ ،‬‬ ‫أن‬ ‫كل ما‬ ‫ُ‬ ‫كنت أتوقعه ْ‬ ‫ُ‬ ‫كفيه خلف ظهره وهو‬ ‫المراسل‬ ‫يعقد‬ ‫ْ‬ ‫َ‬ ‫الحلوان‪ ،‬فأبرم معه صفقة سريعة‬ ‫الرسالة المعطرة‪ ،‬المقتطعة من‬ ‫صورا بتسريحات مختلفة لعمرو دياب‪،‬‬

‫أحزاني؟”‪ ،..‬وأوراقا ناشزة عن الدفتر‪،‬‬ ‫واضحة السطور‪ ،‬كثيرة الترقيم‬

‫كانت حديث الناس “شلون أودعك‬ ‫يالعزيز وبايدي أحجز للسفر”!‬

‫بدقة الفتة‪ ،‬وتذيعه بأغنية ظلت‬ ‫معن المغني‬ ‫ألعوام تترد في رأسي؛ ُي‬ ‫ُ‬ ‫في بكائها وتلخيص نكبتي بـ”أني‬

‫كتبت عليها بيانات العشق األولى!‬ ‫ُ‬ ‫خرجت إلى موعدي!‬ ‫أبال ‪،‬‬ ‫ولم‬ ‫ُ‬ ‫ِ‬

‫إنسان ”!‬ ‫مرساة ال ترسو جرح بمالمح‬ ‫ِ‬

‫وها قد جاء الرد!‬ ‫َ‬ ‫ومد‬ ‫المراسل ‪ ،‬لكنه لم يكتف‬ ‫لت‬ ‫ق َّب ُ‬ ‫ّ‬ ‫كفه إلى جيب قميصي وأخذ الورقة‬

‫كنت مهموما‪،..‬‬ ‫في اليوم التالي‬ ‫ُ‬ ‫َ‬ ‫المراسل من أمامي بإشارة‬ ‫صرفت‬ ‫ُ‬ ‫تلطم‬ ‫كادت أن‬ ‫عصبية من كفي‬ ‫ْ‬ ‫َ‬

‫وصارت لي هيئة إنسان آخر‪ ،‬فبعد‬ ‫ت ورقة ملساء من‬ ‫أعوام‬ ‫خرج ْ‬ ‫َ‬ ‫حملها زميل‪ ،‬وفي‬ ‫الفاكس‬ ‫ُّ‬ ‫تخصني‪َ ،‬‬

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‫أماكن‪:‬‬

‫‪87‬‬

‫مسرح‬ ‫على مدى ‪ 70‬سنة‪ ،‬شهد هذا المبنى‬ ‫اآلالف من الفعاليات والنشاطات الثقافية‬ ‫وعاصر ما ال يقل عن ‪ 3‬أجيال‪ .‬مبنى‬ ‫كان أشبه ببيت مهجور مهمل‪ ،‬بدأ أوال‬ ‫بسينما فيرساي في االربعينات ثم ثم‬ ‫أعيدت له الحياة في عام ‪ 2005‬عندما‬ ‫أصبح “مسرح البلد”‪.‬‬ ‫جاء تطوير مسرح البلد بمشاركة ‪11‬‬ ‫مهندسا وفنانا واداريا من خالل ورشة‬ ‫أقيمت بعنوان “تطوير االماكن الفنية‬ ‫البديلة” حيث كانت نتائج هذه الورشة‬ ‫فضاء ثقافيا متعدد االستعماالت يقوم‬ ‫بعرض الفعاليات المختلفة بغاية‬ ‫عمان‬ ‫تنشيط الحركة الثقافية في ّ‬ ‫تحديدا وتطوير النسيج الفني للمجتمع‪.‬‬ ‫تتمحور رسالة المسرح حول تحفيز‬ ‫الشباب المحلي الستعراض مواهبهم‬ ‫وتطويرها من خالل مهرجانات وحفالت‬ ‫وعروض وورش عمل متعددة تقوم على‬ ‫خشبة المسرح‪.‬‬ ‫من هذه الفعاليات مهرجان حكايا‬ ‫السنوي وهو األول من نوعه في األردن‬ ‫حيث يقوم على التعاون والحوار بين‬ ‫األردن والدول العربية لمناقشة وعرض‬ ‫خصوصية القصة واسلوب روايتها من‬ ‫خالل حكائين ومؤرخين وتربويين من‬ ‫شبكة حكايا ومن خارجها‪ .‬باالضافة‬ ‫القامة عروض وورش عمل توزع ما بين‬ ‫مسرح البلد وعدد من المراكز الثقافية‬ ‫مثل مؤسسة رواد‪ ،‬ديوان الدوق‪ ،‬دار‬

‫االندى‪ ،‬المركز الثقافي الفرنسي‪ ،‬مركز‬ ‫الحسين الثقافي‪.‬‬ ‫كما يقوم المسرح باقامة مهرجان‬ ‫موسيقى البلد كل عامين لتشجيع‬ ‫فناني الموسيقى البديلة في‬ ‫األردن والدول المجاورة‪ ،‬فيستضيف‬ ‫موسيقيون لهم ثقلهم في هذا‬ ‫المجال مثل سعاد الماسي‪ ،‬لينا‬ ‫شماميان‪ ،‬شربل روحانا وأميمة‬ ‫الخليل ويقيم اجتماعات خاصة يجمع‬ ‫فيها بين هؤالء الفنانين والجيل‬ ‫الجديد لطرح خبراتهم ومبادلة الحوار‬ ‫بخصوص مستقبل هذا النوع المهم‬ ‫بالوطن العربي‪.‬‬ ‫من أهم الفعاليات التي شهدها‬ ‫مسرح البلد استضافة الراحل المبدع‬ ‫محمود درويش لتوقيع دواوينه األخيرة‬ ‫منها «أثر الفراشة» بحميمية ودفء هذا‬ ‫المكان‪.‬‬

‫وتعزيزا لدوره في الحركة الثقافية‬ ‫باالردن وتشجيعه لكل الفعاليات التي‬ ‫تدور في األردن‪ ،‬يصدر مسرح البلد مجلة‬ ‫شهرية لرصد النشاطات والفعاليات‬ ‫عمان والمملكة تحت‬ ‫الثقافية في ّ‬ ‫اسم «واو البلد»‪ .‬وهي أجندة تجمع بين‬ ‫فعاليات المسرح والموسيقى والرقص‬ ‫والفنون والمعارض‪ ..‬الخ‬ ‫وفي ركن خاص بردهة المسرح تكمن‬ ‫مكتبة لألطفال لتعزيز القراءة ولتشجيع‬ ‫أطفال الحي تحديدا على قضاء وقت‬ ‫ممتع ومفيد بعد المدرسة حيث يقوم‬ ‫عدد من الحكواتية والمتطوعين‬ ‫بقراءات قصصية وروايات ألعاب دمى‬ ‫بشكل دوري‪.‬‬ ‫يدير السيد رائد عصفور مسرح البلد‬ ‫وللمسرح عدد كبير من األصدقاء‬ ‫والمتطوعين اللذين يعتبروا من ركائز‬ ‫نشاطاته‪.‬‬

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‫حضري‪:‬‬

‫أكثرلإلنسان ولحركة المشاة وتكاد ال‬ ‫تسمع ضجيج السيارات في الشوارع أو‬ ‫أن تشهد أزمة مرورية فيها‪.‬‬ ‫كل هذه المعطيات وغيرها الكثير‬ ‫جعلت أعضاء الجمعية يفكرون مليا‬ ‫وجديا بتنظيم مهرجان يحتفي بهذا‬ ‫المفهوم (التآلف) من خالل تخصيص‬ ‫بعض المساحات أو أجزاء من شوارع‬ ‫وحارات للدول األجنبية ستبدأ بدول‬ ‫اإلتحاد األوروبي مبدئيا ‪ ،‬بحيث تتحول‬ ‫هذه الحارات لجزء من حي (فرنسي‪/‬‬ ‫إيطالي ‪ /‬برتغالي‪...‬الخ) يقدم للزائرين‬ ‫إضافة لتصميم الفضاء الحضري‬ ‫للدولة منتجا إبداعيا وثقافيا وفنيا‬ ‫وسياحيا عن هذه الدولة من خالل‬ ‫ما ترغب كل دولة بعرضه في حيها‬ ‫أو شارعها فتكون اللويبدة نسخة‬ ‫مصغرة أو مبتكرة ألحياء أوروبا‪.‬‬ ‫كذلك ستحتضن اللويبدة من خالل‬

‫الفضاءات الفنية والثقافية الموجودة‬ ‫أصال فيها مجموعة متنوعة من‬ ‫الفعاليات الفنية والثقافية من‬ ‫معارض للفنون التشكيلية وحفالت‬ ‫موسيقية وعروض أفالم ومسرحيات‬ ‫بحيث يتخصص كل مكان بفعالية‬ ‫معينة أي أننا سنخلق نقاطا أخرى‬ ‫للفعل الفني في اللويبدة أثناء‬ ‫المهرجان نتحدث هنا عن دارة الفنون‪،‬‬ ‫دار األندى‪ ،‬مكان‪ ،‬حديقة المتحف‬ ‫الوطني‪ ،‬مسرح أسامة المشيني‪،‬‬ ‫فضاء المسرح الحر‪ ،‬مسرح التراسنطة‪،‬‬ ‫محترف رمال‪ ...‬وغيرها‪.‬‬ ‫األجواء اإلحتفالية ستغطي كل‬ ‫زوايا جبل اللويبدة من زينة وأعالم‬ ‫وبالونات وإنتشار لبعض الموسيقيين‬ ‫والرساميين في أكثر من مكان‬ ‫وتخصيص أماكن كثيرة للسير‬ ‫على األقدام إضافة لتخصيص أمكنة‬

‫لتناول بعض المأكوالت والمشروبات‬ ‫ومناطق أللعاب األطفال وعروض‬ ‫المسرح التفاعلي المخصص لهم‪.‬‬ ‫كل هذه الفعاليات ستنحدر تحت‬ ‫ثيمة محددة وهي التآلف الذي تتميز‬ ‫به هذه المنطقة الرائعة‪ .‬تهدف‬ ‫الفعاليات لنشر الوعي والمحبة‬ ‫والتسامح وتسليط الضوء على‬ ‫مفاهيم بيئية ومعمارية والحقوقية‬ ‫والديمقراطية من خالل محاضرات‬ ‫ولقاءات تفاعلية أيضا‪.‬‬ ‫هذا الحدث الثقافي السياحي‬ ‫اإلبداعي والحضري الذي تتعاون‬ ‫معنا على تنظيمه أمانة عمان‬ ‫الكبرى ووزارة السياحة ووزارة الثقافة‬ ‫باإلضافة لدول اإلتحاد األوروبي من‬ ‫المنتظر أن يرى النور في أواخر ربيع‬ ‫‪ 2012‬ونتطلع لتنظيمه سنويا في‬ ‫المستقبل‪.‬‬

‫حضري‪:‬‬

‫تآلف جبل اللويبدة‬ ‫يعمل أعضاء جمعية أصدقاء اللويبدة‬ ‫على مشروع جديد هو األضخم في‬ ‫سلسلة المشاريع واألنشطة التي‬ ‫تنفذها الجمعية‪ ،‬بحسب مدير‬ ‫المشروع وعضو الجمعية رشيد‬ ‫ملحس‪ .‬تتلخص فكرة المشروع‬ ‫بترجمة مفهوم التآلف ‪Harmony‬‬ ‫الذي يميز جبل اللويبدة على‬ ‫المستوى المعماري والبشري‬ ‫والعقائدي والثقافي‪ ،‬ففي اللويبدة‬ ‫نجد أنماط العمارة العمانية المتعددة‬ ‫التي ال زالت بارزة في فضاء المكان‬ ‫رغم أن بعضها يعود لعشرينيات‬ ‫القرن الماضي‪ ،‬كذلك المساجد‬ ‫والكنائس ذات التصميم المميز‪.‬‬ ‫يسكن جبل اللويبدة منذ القدم‬ ‫مسلمون ومسيحيون‪ ،‬عرب وأجانب‬ ‫من مختلف الجنسيات والخلفيات‬ ‫الثقافية في تناغم وتآلف فريد يجسد‬ ‫فكرة الحياة المدنية وإحترام حرية‬ ‫الفرد وخصوصيته‪.‬‬ ‫وباحتضان اللويبدة للعديد من‬ ‫المؤسسات الثقافية والفنية والمراكز‬ ‫األوروبية تعتبر هذه المنطقة البيئة‬ ‫األمثل لشركات التصميم والرسوم‬ ‫المتحركة والدعاية واإلعالن ‪ .‬األشجار‬ ‫الكثيفة والمساحات الخضراء من‬ ‫حدائق عامة وإطالالت على قلب مدينة‬ ‫عمان تضيف للويبدة ميزة جمالية‬ ‫وروحانية خاصة‪ ،‬وشوارعها الضيقة‬ ‫وأدراجها العتيقة والمتنوعة تنتصر‬

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‫‪90‬‬

‫تقرير‬

‫وبعد “فرصة مرمي”؟‬ ‫مازلت أدرس امكانية تحويل‬ ‫الفيلم لمسرحية حيث أبدت احدى‬ ‫الفنانات االردنيات اعجابها بالقصة‬ ‫واهتمامها بتأدية دور مريم على‬ ‫خشبة المسرح‪ ،‬وهو من األمور التي‬ ‫شجعتني ودفعتني لاليمان بهذا‬ ‫الفيلم أكثر حيث أن تقدير فنانة‬ ‫محترفة مثلها لهذا العمل يعني‬ ‫انني على الطريق الصحيح‪ .‬طبعا‬

‫أنوي وأتمنى مشاركة “فرصة مريم”‬ ‫بمهرجانات سينمائية عربية وعالمية‬ ‫وحيث أن صناعة األفالم في األردن‬ ‫بدأت تلقى دعما جيدا من الجهات‬ ‫المختلفة ومن الجمهور األردني‪ ،‬فاني‬ ‫سأستمر بكتابة واخراج األفالم ألساعد‬ ‫في تنشيط الحركة الثقافية لألفالم‬ ‫األردنية‪.‬‬ ‫يتطرق الفيلم لصراع مريم بين روح‬

‫المغامرة التي لم تعتده من قبل‪،‬‬ ‫والحفاظ على شعورها بالطمأنينة‬ ‫واألمان‬ ‫ما يميز «فرصة مريم» هو استخدام‬ ‫تقنية الكاميرا الحمراء ألول مرة في‬ ‫تصوير فيلم قصير‪.‬‬ ‫من المحتمل اداء «فرصة مريم» على‬ ‫خشبة المسرح من قبل فنانة أردنية‬ ‫محترفة وطاقم عالي المهنية‪.‬‬

‫تقرير‬

‫قصة مرمي‬ ‫هنادي عليان مصورة‬ ‫فوتوغرافية‪ ،‬كاتبة سيناريو‬ ‫ومخرجة مبدعة درست فن‬ ‫صناعة األفالم بكلية ال‬ ‫‪ SAE‬وتقوم حاليا بتصوير‬ ‫فيلمها “فرصة مرمي” الذي‬ ‫يعتبر من أوائل األفالم‬ ‫القصير التي تصور بتقنية‬ ‫الكاميرا احلمراء‪ ..‬هنادي‬ ‫حتدثنا أكثر عن هذا الفيلم‬ ‫القصير وقصته‪..‬‬ ‫حدثينا عن قصة مرمي‬ ‫قمت باخراج القصة ذاتها عندما‬ ‫كنت طالبة وقررت هذا العام باعادة‬ ‫اخراج القصة بتحديث على تفاصيلها‬ ‫وبمراعاة عدد من المالحظات التي لم‬ ‫انتبه لها قي الفيلم السابق‪“ .‬فرصة‬ ‫مريم” فيلم قصير يتحدث عن مريم‪،‬‬ ‫فتاة بالثالثينيات من عمرها‪ ،‬انطوائية‬ ‫الشخصية وغير اجتماعية‪ .‬تتمحور‬ ‫حياتها حول العمل والبيت حيث‬ ‫يكمن عالمها الخاص بها‪ .‬في يوم‬ ‫من األيام ترجع لمنزلها لتجد باقة‬ ‫من الورود قدمت من مجهول داخل‬ ‫بيتها مما يزعزع هدوءها ويفقدها‬ ‫الشعور باألمان‪ .‬تقرر التقدم بشكوى‬ ‫للشرطة وبذات الوقت يخالجها‬ ‫شعور خفي بالسعادة لوجود من‬ ‫يهتم بها‪ .‬تتطور األحداث بشخصية‬

‫مريم ونظرتها تجاه العالم الخارجي‬ ‫وينتهي الفيلم بالتطرق للصراع ما‬ ‫بين حفاظ مريم على شعورها باألمان‬ ‫أو الخروج من فقاعتها وتجربة حس‬ ‫المغامرة‪.‬‬

‫ما الذي مييز هذا الفيلم برأيك‬ ‫ألول مرة سيتم اخراج فيلم قصير‬ ‫بتقنية الكاميرا الحمراء وهي كاميرا‬ ‫عالية التقنية تستعمل عادة باألفالم‬ ‫الروائية الطويلة على عكس الكاميرا‬ ‫الديجيتال التي تستدعي ما يسمى‬ ‫بتقنية “النفخ” الخراج صورة جيدة‬ ‫بجودة عالية‪ .‬تم دعم الفيلم من‬ ‫حيث المعدات والتقنيات من االتحاد‬ ‫االوروبي وسيتم عرض الفيلم قريبا‬ ‫على شاشات الهيئة الملكية لألفالم‪.‬‬

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‫‪92‬‬

‫تقرير‬

‫القصص التي‬ ‫طرحتها بروايتي ال‬ ‫يغطيها االعالم وال‬ ‫يتبادلها افراد اجملتمع‬ ‫بحوارهم اليومي‬ ‫يتحدث فادي عن نشأة هذه‬ ‫القصص في مخيلتها لتحويلها‬ ‫لشخوص في روايته‪ ‬‬

‫عندما بدأت في الكتابة كان همي‬ ‫كتابة القصص التي تشبهنا‪،‬‬ ‫قصصا ال يغطي االعالم الكثير من‬ ‫تفاصيلها‪ ،‬وال االدب التقليدي يتطرق‬ ‫لطرحها‪ .‬تلك القضايا األساسية التي‬ ‫تؤثر في حياة األشخاص من حولي‬ ‫ال تذكر بالشفافية المطلوبة‪ .‬نحن‬ ‫كمجتمع أردني نحمل كما كبيرا‬ ‫من األحكام األخالقية التي نتبارى‬ ‫في اطالق سهامها نحو اآلخر‪ .‬أردت‬ ‫حمل أصوات تلك الشخصيات من‬ ‫حولي‪ ،‬قصصا أطلقت نفسها خارج‬ ‫السياق الضيق للعالقات االجتماعية‬ ‫المتعارف عليها وأحببت اعطائها‬ ‫مساحة لسردها‪ ,‬علها تنجح في‬ ‫طرح قضيتها و تساهم في دفع‬ ‫المجتمع ليكون أكثر انفتاحا و رحمة‬ ‫ألفراده‪.‬‬

‫فادي زغموت‬

‫أما عن احتمالية حتويل الرواية‬ ‫لفيلم روائي طويل‪ ‬‬

‫أتمنى ذلك بالطبع‪ .‬العديد ممن‬ ‫قرأ الرواية شعر بأنها تصلح كعمل‬ ‫سينمائي لما بها من مشاهد‬ ‫تصويرية‪ .‬من المبكر الحديث عن‬ ‫األمر‪ ,‬لربما نراها على الشاشة يوما‬ ‫ما‪ .‬صناعة السينما في األردن في‬ ‫طور النمو السريع و قصص كهذه‬ ‫تصلح كفيلم‬

‫عن جتربته بالتدوين‬

‫بدأت بالتدوين قبل ‪ 5‬أعوام‪ .‬كنت‬ ‫قد بدأت بكتابة قصص قصيرة قبل‬ ‫ذلك و أردت أن أنشرها ألحصل على‬ ‫آراء من حولي‪ .‬بدأت بالكتابة باللغة‬ ‫االنجليزية و بعد فترة حاولت التدوين‬ ‫بالعربي ألكتشف جمال هذه اللغة‬ ‫و قربها من قلبي‪ .‬مع الوقت و مع‬ ‫تراكم المواضيع التي كنت أطرحها‬ ‫في المدونة‪ ,‬بدأت فكة الرواية تتبلور‬ ‫في مخيلتي‪ .‬كنت قد حاولت بداية‬ ‫بكتابة رواية باللغة االنجليزية من‬ ‫قبل و لكني لم استطع المتابعة‪,‬‬ ‫و لذلك فقد أعدت الفكرة بالعربي و‬ ‫أضفت شخصيات أخرى ألعطيها زخما‬ ‫وأبعادا أخرى‪ .‬بدأت وحاولت واحتجت‬ ‫لقرابة السنة والنصف التمام الرواية‬ ‫بالشكل الذي يرضيني وها هي‬ ‫اليوم تبصر النور لتخرج للمجتمع‬ ‫العماني تحديدا وأتمنى أن تلقى‬ ‫ّ‬ ‫اعجاب القراء‪.‬‬

‫تقرير‬

‫عمان لفادي زغموت‬ ‫رواية من قلب ّ‬ ‫رواية جريئة‪ ،‬مليئة باألحداث الواقعية‬ ‫التي تدور حولنا ويتم انكار وجودها‪.‬‬ ‫عمان» لفادي زغموت تعكس‬ ‫«عروس ّ‬ ‫الحياة العمانية من وجهة نظره‬ ‫االجتماعية‪ ،‬حيث يسلط فيها‬ ‫الضوء على طبيعة العالقات بين‬ ‫الجنسين في عمان و مقدار الضغوط‬ ‫و القيود في حياة المرأة األردنية‪.‬‬ ‫تتنقل شخوص بين المرحلة العمرية‬ ‫التي تبدأ بعد التخرج من الجامعة‬ ‫وتعكس االسلوب الذي تتعامل‬ ‫به تلك الشخصيات المختلفة مع‬ ‫استحقاق سن الزواج‪« .‬وفي مجتمع‬ ‫عماني المحافظ‪ ,‬استحقاق الزواج‬ ‫مقدس‪ ,‬لألسف تلك المؤسسة‬ ‫األساسية في بنية المجتمعات ال‬ ‫تناسب كل أفراد المجتمع و في‬ ‫أحيان عدة ال تتم بشكل صحي نتيجة‬ ‫للعديد من االعتبارات االجتماعية‬ ‫األخرى‪ ».‬برأي زغموت‪ ،‬العروسات االربع‬ ‫في روايته يحملن قصصا مختلفة في‬ ‫مدينة عمان‪ ,‬من هنا جاء اسم الرواية‬ ‫عمان»‪ .‬بالنسبة لفادي‪,‬‬ ‫«عروس ّ‬ ‫فأول دوافعه لكتابة هذه القصص‬ ‫كانت اطالق صرخة في أذن المجتمع‬ ‫لعله يقف للحظة و يعيد حساباته‬ ‫للمفهوم الضيق للعالقات الشرعية‬ ‫المتعارف عليها‪« .‬فالحياة قد تكون‬ ‫أسهل و أشد بساطة ان خففنا من‬ ‫هوسنا في األدوار الجندرية و فتحنا‬ ‫قلوبنا لنفحة من التسامح و تقبل‬ ‫اختالفاتنا و حاجاتنا الفردية» كما‬ ‫يعتقد ‪.‬‬

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‫تقرير‬

‫هو ليس نشاطا لتسلية‬ ‫الوقت أو متريره‪ ،‬بل ثقافة‪،‬‬ ‫حراك إصالحي لتحسني‬ ‫لياقة الفرد وجتسيد ملفهوم‬ ‫شعبي احلركة بركة‬ ‫مع مرور الوقت سيصبح‬ ‫املشي أنسب األماكن لعقد‬ ‫اجتماعات بدل أن تقام في‬ ‫املقاهي‪ ،‬فترى تبادل احلديث‬ ‫واحلوار بني املشاة عادة‬ ‫اجتماعية لطيفة‬

‫وبين هذا الجماد‪ ،‬تصبح متلهفا لكي‬ ‫تمشي فوق هذا الرصيف الذي تداعبك‬ ‫زهرة الياسمين برائحتها العطرة‪،‬‬ ‫ويصبح هذا الشارع دربا تسعد بالمرور‬ ‫عليه‪ ،‬فتربط بين شكله وموقعه‬ ‫رابطا عجيبا مع اسمه‪ ،‬يصبح الدرج‬ ‫الذي تسلكه بين البيوت ممرا آمنا‬ ‫ينقلك من موقع إلى آخر بل ربما من‬ ‫عالم إلى آخر‪.‬‬ ‫وراء جوالت المشي ما وراءها من‬ ‫خواطر وعبر كانت تمر في مخيلتي‬ ‫في كل مكان‪ ،‬فعندما كنا ننطلق‬ ‫في جولة مشي سريع باتجاه رأس‬ ‫العين كنت تجد نفسك بجانب قصر‬ ‫مشيد وبدون أي سابق تنبيه معماري‬ ‫تجد بجانبه بيت بسيط لتظن نفسك‬ ‫تشاهد دعاية على نظام “قبل وبعد”‬ ‫لبيت كيف كان وبعد أن رمم كيف‬ ‫أصبح قصرا‪ ،‬وفي جولة المشي تجاه‬ ‫عبدون ترى أنماط وأنماط من الفن‬ ‫المعماري وبيوتا بل قصورا تجعل‬ ‫لسانك ينطق اللهم ال عيش إال عيش‬ ‫اآلخرة وتسمع من حولك كلمات‬ ‫اإلعجاب واإلنبهار‪.‬‬ ‫مع مجموعة المشي السريع عرفت‬ ‫ألول مرة ونحن نمشي في شوارع‬ ‫جبل عمان أن بيت الملك طالل رحمه‬ ‫اهلل في هذا الشارع من الفتة صغيرة‬ ‫على سور المنزل‪ ،‬وفي الجولة في‬ ‫وسط البلد تتعرف على الدرجات التي‬ ‫يسلكها أهل المنطقة والتي صارت‬ ‫ممرات سرية بسبب جهل الناس بها‪،‬‬ ‫وكم أسعد عند نزولنا من درج الكلحة‬ ‫الذي يربط بين جبل اللويبدة ووسط‬ ‫البلد عندما أرى على يساري صورة‬ ‫مرسومة لجيفارا يرتدي بنطال فوتيك‬

‫وقميصا رسم علي صورة عمر المختار‬ ‫وكتب عليه اسمه‪ ،‬وفي رمضان‬ ‫تصادف صعودنا لسقف السيل‬ ‫المسحراتي الذي كان يتعاون هو‬ ‫وأخوه ليوقظ الناس على سحورهم‬ ‫الذي فيه لهم بركة‪.‬‬ ‫في جولة المشي السريع في جبل‬ ‫القلعة تدخل بعد أن تدور حوله‬ ‫الممرات بين البيوت لتشم رائحة‬ ‫البرسيل على الغسيل المنشور‪،‬‬ ‫ولتبدأ مجموعة األطفال التي لم تجد‬ ‫لها غير الشارع لتلعب به‪ ،‬تأخذهم‬ ‫بإيجابية دور الدليل فتستقبل وجوه‬ ‫براءة ألطفال يتطوعون ليدلوك‬ ‫على طريق باتجاه واحد أنت تعرفه‬ ‫فتجاملهم بأن تتفاعل معهم كأنك‬ ‫ضللت السبيل وعند آخر نقطة‬ ‫سمحت لهم فيها أمهاتهم بأن‬ ‫يصلوها يتوقفون ليسمعوا كالمها‬ ‫ويودعونك متمنين كما تفهم من‬ ‫عيونهم أن تعود لهم أيها الزائر‬ ‫الغريب خفيف الظل مرة أخرى‪.‬‬ ‫في جولة المشي السريع تمشي بين‬ ‫شوارع البسطاء لتشعر باألمان أكثر‬ ‫بكثير من شوارع داخل أحياء السفارات‬ ‫التي ال يخلو ممر فيها من كشك‬ ‫حراسة‪.‬‬ ‫“المشي السريع هو أكثر من مجرد‬ ‫مجموعة‪ ،‬هي لحظة تظن فيها أنك‬ ‫لن تستطيع لتكتشف بعدها أنك‬ ‫تستطيع‪ ،‬فامش سريعا واستمر في‬ ‫المشي ودع قدميك تتحدث” هذا شعار‬ ‫مجموعة المشي السريع‪ ،‬ومع التجربة‬ ‫ستكتشف أنك أضفت لهذا الشعار‬ ‫تلقائيا “ودع تفكيرك في شوارع عمان‬ ‫يتحدث”‪.‬‬

‫تقرير‬

‫“دع قدميك تتحدث”‬

‫بقلم‪ :‬تيسير الكلوب‬

‫أسبوعيا وليومين نكون على‬ ‫موعد مع جولة من جوالت مجموعة‬ ‫المشي السريع‪ ،‬التي تنطلق من‬ ‫الدوار الخامس في كل مرة باتجاه‬ ‫ناحية من نواحي عمان‪ ،‬يشارك‬ ‫فيها الرجال والنساء‪ ،‬والشباب‬ ‫وكبار السن‪ ،‬يبدؤون جولتهم وهم‬ ‫يرتدون السترات الصفراء‪ ،‬يجوبون‬ ‫الشوارع كانهم موج أصفر اللون إذا‬ ‫مر بجانبهم مصدر ضوء رأيت البياض‬ ‫اللؤلؤي ينعكس من ستراتهم‬ ‫العاكسة للضوء‪.‬‬ ‫مجموعة المشي السريع ليست‬ ‫نشاطا لتسلية الوقت أو تمريره‪ ،‬أو‬ ‫فعالية دورية أسبوعية لتمضية الوقت‬ ‫فقط‪ ،‬بل هي ثقافة وثقافة تتجاوز‬ ‫الثقافة الصحية ورياضة المشي‪ ،‬بل‬ ‫هي حراك إصالحي لتحسين لياقة‬ ‫الفرد وتجسيد لمفهوم شعبي‬ ‫الحركة بركة‪.‬‬ ‫مجموعة المشي السريع هي جولة‬ ‫ثقافية تعطيك دورة مجانية تحفظ بها‬ ‫شوارع عمان وتتعرف على الكثير من‬ ‫معالمها‪ ،‬تكتشف الكثير من الحدائق‬ ‫التي لم تعرف عنها أبدا قط‪ ،‬تخرج‬ ‫من معرفتك بحارتك أو المنطقة التي‬ ‫تعيش فيها لتصبح من سكان جميع‬ ‫ضواحي عمان ومناطقها‪ ،‬عمان تصبح‬ ‫معروفة عندك حارة حارة ومنطقة‬ ‫منطقة وشارع شارع وزنقة زنقة‪.‬‬ ‫مع مجموعة المشي السريع أصبحت‬ ‫شوارع عمان وأدراجها ساحة مفتوحة‬ ‫للناس يمشون في شوارعها بالمئات‪،‬‬ ‫وستكتشف حينما تشارك في جوالت‬ ‫المشي السريع أن عمان مالئمة لهذه‬

‫الرياضة بل لن تجد عاصمة أكثر مالئمة‬ ‫لهذه الرياضة‪ ،‬كم كنت أسعد عندما‬ ‫أجد األجانب مشاركين في بعض‬ ‫الجوالت يمشون مستمتعين بشوارع‬ ‫عاصمتي‪ ،‬يلتقطون الصور‪ ،‬ومع مرور‬ ‫الوقت سيصبح المشي هو أنسب‬ ‫األماكن لعقد اجتماعات بدل أن تقام‬ ‫في المقاهي‪ ،‬فترى تبادل الحديث‬ ‫والحوار بين المشاة عادة اجتماعية‬ ‫لطيفة ‪.‬‬ ‫في الجوالت المتنوعة والتي تصحبك‬ ‫خاللها مجموعة المشي السريع ال‬ ‫تصبح نظرة الشارع الذي كنت تمشي‬ ‫عليه بسيارتك أو الرصيف الذي تنظر‬ ‫إليه وأنت في الحافلة كالنظرة التي‬ ‫تنظر له بها وأنت تمشي فوقه‪ ،‬فمع‬ ‫مرور الوقت وتكرار المرور والجوالت‬ ‫تصبح هنالك عالقة ال إرادية بينك‬

‫مجموعة املشي السريع‬ ‫هي جولة ثقافية تعطيك‬ ‫دورة مجانية حتفظ بها‬ ‫شوارع عمان وتتعرف على‬ ‫الكثير من معاملها‬

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‫احملتويات‬ ‫تقرير‪:‬‬

‫‪ 95‬املشي السريع‬ ‫بقلم تيسير الكلوب‬

‫عمان‪،‬‬ ‫‪ 93‬عروس ّ‬ ‫رواية فادي زغموت‬

‫حضري‪:‬‬

‫‪ 89‬مشروع اللويبدة‬ ‫للتناغمواأللفة‬

‫أماكن‪:‬‬

‫‪ 87‬مسرح البلد‬

‫ثقافي حر‪:‬‬

‫‪ 85‬سري املعلن‬

‫بقلم نادر الرنتيسي‬

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‫اسمع شوف‪:‬‬

‫فيلم جديد لهنادي عليان‪ ،‬فرح‬ ‫سراج‪ ،‬فعاليات ثقافية‬

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Streetwalkers Words: Andrew Spalding

It’s no secret that Ammanis are averse to walking more than fifty meters unless they absolutely must. Opting for a stroll to get from point A to point B is definitely not the popular choice – though the overarching benefits are undeniable – but it just might be the bad medicine we need to set the stage for a pedestrianized future. Jordan’s roads have become a stage of tragedies. Ask any Ammani if they know someone who has died in a car accident, and they’ll proceed to rattle off a list of names – friends, cousins, siblings. Others will mention their own recent crashes and note the remnants: scars, nerve damage, legal fees, and so on. But untimely and avoidable deaths aren’t the only tragedies taking place on Jordan’s roads. Road rage is so common it’s become the norm, with angry honking, screams of curses, and roadside verbal brawls leaving the realm of possibility and entering the realm of the likely and expected.

Absent any large-scale effort by the government to introduce and enforce driver etiquette, it falls on individuals to turn the other cheek and uphold some modicum of civility. Idealists may put stock in this pay-it-forward solution, but in the spirit of radical collective action, this writer offers an alternative: take back the streets. When did we become so averse to walking? Not the kind of walking taking place in gyms or at the nadi; walking on a sidewalk, on the street? Weather-wise, Jordan has one of the best climates anywhere, and the one

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positive of a country with a dangerous water shortage is that rain rarely happens, so remove that from your arsenal of excuses. Also remove inconvenience from your list of excuses. Yes, trips from Khalda to Abdoun, or Um Uthaina to Marj Al Hamam are inconvenient â&#x20AC;&#x201C; save your car or a taxi for such journeys. But for most activities, Amman is very walking-friendly; vegetable stands and fruit stalls are commonly within fifteen minutes of oneâ&#x20AC;&#x2122;s home, as are coffee shops, restaurants and gyms. The only valid excuse one can find is harassment, and this applies to (mostly) women above a certain age. Drivers of all kinds typically honk at women, scream obscenities, make offensive gestures, and otherwise remove any enjoyment from a leisurely stroll. While such behavior is atrocious and inexcusable, what if walking became more common and normal to the point where the those same drivers were strolling down the road themselves? Reclaiming the streets will require all

“For most activities, Amman is very walkingfriendly; vegetable stands and fruit stalls are commonly within fifteen minutes of one’s home, as are coffee shops, restaurants and gyms”

sectors of society to participate, from kids to the over 60s crowd. And given the dire state of women’s health in Jordan – especially regarding heart disease and diabetes – walking will offer more than a social statement; it will engender more optimal health and promote a culture of, if not exercise, then active participation in urban life. Yet reclaiming our highways and byways from trucks and automobiles does not fall solely on walkers. Bikers – and I’m not talking about the coterie of Harley enthusiasts overrunning Abdoun and its vicinity – must join the by-way-of-foot masses! In the city limits of Amman, this writer has spotted no more than three cyclists in 2.5 years, and it was probably the same person with different attire or bike. Plenty of bicycle shops exist: from Cycling Jordan (off of Mecca Street) to Bike Rush, the latter located just off Rainbow Street. Both cater to all budgets, ages and tastes. Like walking, biking is benefi-

cial to one’s health but is faster and more economical. Don your helmets, put on your spandex biking gear (or don’t) and ride with a partner, because these streets were built for cyclists. At press time, a popular photo circulating on Facebook shows a street filled with sixty cars; they’re bumperto-bumper, stalled in traffic. Put alongside the image of stagnant cars are two other transportation possibilities: buses and bikes. In place of the cars is a bike, and in place of both, a cluster of sixty bicycles. The message is clear: cars clog roads. Implicit is the ecological damage: sixty cars pollute much more than 1 bus, and both pollute more than bicycles and walkers. For clear skies, better health, safer roads, increased social cohesion, and some transport diversity – yeah, I’ll walk (and cycle) for that.

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Pass the Pipe words:Andrew Spalding

For an alternatively authentic understanding of Ammani nightlife, here’s a rundown of the handful of argileh places in town where the lights are dim and the vibe is real. A friend passing through Amman on his way to Dubai once told me, “Amman is where you go to disappear.” It’s a strong statement to make, so I probed further; did he mean that life is slow and quaint? That people only care about those in their families? That social cohesion is lacking? “There’s just not much going on,” he clarified. “There is,” I replied, perturbed by his arrogance and presumption, “but it’s not easily accessible.” True, there’s no TimeOut Amman, but even if there were, finding fresh material to write about on a weekly basis probably won’t happen. Only a handful of establishments open up each year (you can literally count the number of nightclubs on one hand) and

the biggest entertainment acts to pass through are Lebanese ones. But Amman offers what Gemmayze bistros and Dubai Mall eateries try to aesthetically engineer: authenticity. In other words, the touristic veneer is absent or minimal and the crowd, local. As the world becomes smaller, its products converge – and the process has already begun; a cheesesteak in Dubai or Amman is more or less the same as one in Philadelphia. Familiarity is appealing, but what about homemade, homegrown, local? Why travel if the offerings of every city are the same? The world wants authenticity. And contrary to what my friend once said, while many cities ease into a lull at night, Amman seems to come alive. The

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roads become crowded, cafes fill up, gyms bustle and the aisles of grocery stores swell with families. While it seems that the most popular nighttime activity is driving around – seemingly without destination – there’s more than meets the eye. Sure, there are clubs and pubs, but you’ll also find plenty of cafés and argileh lounges – which are fast becoming the most popular types of entertainment venues. Sadly, argileh lounges have followed a pretty standard recipe: bright lights, square dark brown tables, solid colored upholstered chairs with a stiff back, retractable glass windows, a menu that includes variations of rocca salads, chicken entrees served with steamed broccoli and courgettes, an overpriced juice selection, and no less than 5JD for an argileh, plus additional charges for the disposable ‘healthy’ pipe. And of course, we can’t forget the taxes. Please, let’s not forget the taxes. Spare me. Ok, not the taxes part – tax evasion is not cool – but spare me (and yourself) the whole artificial, fauxmodern mess that constitutes most of the cafés and lounges on offer in Amman. Why willingly subject oneself to an environment more akin to an airline passenger holding-pen? In the spirit of adventure, R:A veered off the beaten path and visited cafés and holes-in-the-wall throughout Amman. At first, our criteria were defined in the

negative: a particular establishment can’t look, taste or feel like any of those hackneyed argileh concepts spawning in malls, Mecca Street and Abdoun. Over time, a positive understanding of what distinguishes the following establishments developed, along with our affection and respect. These places are authentic – and they haven’t included that fact in their branding (yet). Al Oud Al Rannan Café Jabal Hussein Sorry ladies, this one’s for guys only. Just one block from Dowaar Firas in Jabal Hussein is Al Oud Al Rannan. The youngest of our featured cafes is incredibly popular, attracting educated professionals of the middle class – lawyers, bank workers and doctors. Gentlemen come to listen to live music, play cards, and smoke the house special argileh. Restaurant Auberge Wast Al Balad The most well-known of Jordan’s cafés has a cult following among crunchy expats and even the most well-heeled of the Ammani elite. The expats come for the inexpensive beverage menu and argileh, while the fresh food (especially the fish) draw in the latter. The café has the ambiance of a speakeasy, with tables crammed together, waiters knowing patrons by name, dim lights and service by the bottle, and only by the bottle. Finding Auberge in the maze of downtown streets can be difficult, but remember that there is Café Auberge –

a coffee, argileh and card-playing space – and Restaurant Auberge, a smaller room perched above the coffee shop. If there isn’t a wait for a table, a cloud of smoke and the sound of clinking glasses of arak – you’re not in the restaurant. Tables fill up by nine, and if you reserve, you have the table for the night. Abu Ahmed’s Wast Al Balad Balad-goers think of Abu Ahmed’s as the companion to Auberge, although the two are unrelated. Abu Ahmed’s is slightly cleaner, more commercial and larger than its neighbor, and the waiters are more attentive. Both serve the standard Arabic fare: argileh and alcohol. And unlike Auberge, Abu Ahmed’s will hand you a receipt when you ask for the bill. When weather permits, patrons can sit on the balcony on the third floor – but come rain or shine, you’ll find live music at Abu Ahmed’s on weekends. That Whole Strip of Cafés on Amir Mohammed Street Connecting Second Circle with the Balad is Amir Mohammed Street, and lining the left side of the street are a string of cafés and self-proclaimed ‘night clubs’; needless to say, the latter are a far cry from Ibiza. Argileh is reliable, and the cafés, spartan. By night, the street is filled with men – nary a female to be seen – and most come to watch football, play cards and smoke. Authentic? Oddly, yes, very much so. Entertaining? To some, however this depends entirely on one’s idea of fun.

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Am(man) In the Mirror words:Andrew Spalding

“How do I look?” It’s one of the questions at the center of human life, for better or worse. Rely on the answer too much or too little, and you’re either pegged as self-absorbed or deluded, respectively. But knowing what others think of us is a crucial tool that has the potential to expose us to details about ourselves that we’re unaware of – and sometimes it’s good to know the bad with the good. In the spirit of pop-psychology, R:A embarked upon an extensive, non-scientific analysis of what foreign writers and reporters have to say about the city formerly known as Philadelphia. Travel writers, political journalists, tourism message boards – no stone was left unturned, no crackpot website excluded – and the results were varyingly humorous, baseless, spot-on and, at times, poetic. These are the most notable selections:

“A Newly Stylish Amman Asserts Itself” heralded the New York Times in November 2009. One presumes the reporter defines ‘style’ as skin-tight jeans, faux Dolce & Gabbana belts, and a surfeit of hair gel, eh? But seriously, the reporter reasoned that wealthy West Ammanis who study in Canada, the UK, and the US returned to Amman with a bevy of bright ideas and, ahem, culture. Additional statements made by the reporter demonstrating specious reasoning and shoddy reportage include: the “fun Friday flea market called Jara Souk”; “Wild Jordan, the showroom and lively café” (lively?!); “Abdoun Circle…is the heart of the city’s thriving night life where the chicest club [can be found]” (let’s all jaw-drop together at that statement). It’s convenient for the purposes of an article when everything is located together, but in Amman, it’s not – it’s a diffuse, at times impenetrable city. The reporter recognized as such, using

Madian Al Jazerah’s statement that to find enjoyable places in Amman, you might have to dig around. But anyone – including this reporter – who deems Abdoun Circle ‘chic’ can’t be taken seriously enough to trust that they were thorough in their work. Seems offhanded, if somewhat truthful factually. “Head to Jordan’s capital Amman and chill-out in an Arab autumn” reads the headline for the recent article in UK’s Metro. The writer began her piece at Cube’s (in)famous ‘80s night, where, according to this article, “excess and hedonism reign.” Sadly, this is an impression not common in the typical Middle Eastern travel piece, built on a foundation of Lawrence of Arabiainspired mythos. Instead, she warns, “If you’re looking for grandiose mosques and miles of souks, Amman is not the place.” Right on, sister. Among the many venues the writer visited are Cantaloupe, which she (wrongly)

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categorizes as Asian fusion. She cites one Canteloupe-goer’s wisdom that “it’s acceptable to show your shoulders or legs, and I always feel safe.” Very clearly, both the writer and her source traveled to the gastro pub ensconced in an automobile. After the requisite praise of Books@Cafe, which is practically formulaic in Amman tourism literature, the writer notes the pleasures of sipping wine while catching a flick at the Royal Film Commission. “As a courtesy to Islam, alcohol is not always on menus but I failed to find anywhere that didn’t serve it,” a statement which evinces the depth of reportage going into this article. Nevertheless, the writer is dead-on when describing the Rainbow Street area as rife with people “peacocking” about. Is there a more apt word for the culture of loitering? “Instant weekend….Amman” was local writer Matthew Teller’s submission to

the regular feature in The Guardian, published in the spring of 2008. “Spring is the best time to visit the Jordanian capital” announces Teller; we’re off to a good start. “If you want a handle on how a young, buzzy Arabic capital is making its way in the modern world, Amman is for you,” and he advises travelers to check out “medieval mosques, gloomy spice bazaars and fading romance” in other Levantine locales. Considering the hotels available, one questions Teller’s advice to lodge at Le Meridien, which in 2008 was pre-renovation. As a seasoned explorer and writer of Jordan, Teller gives snappy, concise and accurate advice regarding urban attractions, and his exposition of art galleries verifies his more insider knowledge. Exceptional are his dining and retail recommendations; he doesn’t avoid the typical (Wild Jordan, Fakhr El Din) but supplements with the less

well known (Tannoureen, Al-Rashid Courts coffee house). Again, Books@ gets its shout-out, but likely because hipper clubs have a short lifespan in Amman; around this time, both 9 and Nai would have been popular, but alas, three years later, only Books@ has survived. One wonders why Madaba and its culinary delight, Haret Jdoudna, didn’t get a mention (along with St. George’s Church and Jabal Nebo) but a forgivable omission, likely dictated by a frazzled editor. One can relate. For Travel and Leisure, a global travel publication based in the United States, Lee Smith traveled throughout Amman, Aqaba, Wadi Rum, Ajloun, Karak, and Jerash. He met leaders, including HM King Abdullah II, and wrote a lengthy piece published in the first month of 2005. His portrait of Jordan is among the most accessible, accurate and, for a Western audience,

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useful, especially in how Smith situates Jordan historically, politically and economically. And when it comes to Amman, Smith glosses over the details of where to go and what to do – T+L favors broad strokes, not sterile itineraries. He’s refreshingly honest: “Amman has no great architectural tradition, no world-famous mosques… it was once one of the Islamic empire’s cultural backwaters.” He offers that Amman is on the rise, however, and his observations are accurate, especially on Ammani society. When someone at Books@Cafe (where else?) says that Algiers is superior to Amman, Smith writes, “It’s a typical urban refrain in the Arab world: some city is always better than the one you’re in. Algiers is better than Amman; Cairo is better than Algiers; Beirut is better than Cairo.” An Ammani in attendance offered a broader explanation, “Young Arabs feel stuck in their societies. There’s very little room in any Arab city. Sometimes you have economic space, a better chance to make a living, but there’s no social or political space [either].” Smith goes on to share his thoughts on Jordan, its future, and its reality, emphasizing the poetic (on Eid al Adha: “The sheep are tended to be slaughtered. There is birth and death. Peace and war.”) more than

the practical. TimeOut Dubai and Abu Dhabi both release very brief itineraries for trips to Amman approximately every eight to ten months. Recent iterations feature such Amman-specific activities as the Dead Sea, Jerash, and the Evason Ma’In Hot Springs resort. Blue Fig is deemed one of the “hippest hangouts in Amman.” Really? This may have held some truth in 2008, but with 2012 looming, TO better brush up on contemporary Amman. For a publication that has built its reputation as the arbiter of fresh and funky, the recommendations are staid and inaccurate. For the reputable Financial Times, journalist Sharmila Devi submitted reflections on Amman for the paper’s travel section. Factoids about Amman, its history, and people are attached to anecdotes and first-hand observations in order to portray the many facets of the city. Summed up in Devi’s assertion, “Nothing is ever what it seems in the Middle East,” whether it’s a thobe-wearing, Arabic speaking, Brooklyn-esque, English person or a blond, blue-eyed gentleman who turns out to be Circassian. Thus, the

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atmospheric trumps the explicitly utilitarian, and Devi tours art galleries, hotel lobbies, Abdoun, the Balad and everything in-between. Her conversations with legendary local architect Ammar Khammash situate Amman for the FT’s global audience: “[Amman] is like living on top of a wall….we are on the line between the Mediterranean and the desert and can go east for the sun or west for the clouds.” Books@ again receives its mention, as does Ren Chai, Living Room and Darat al Funun. Much has eclipsed these still sterling establishments since the article was penned in 2006, but Devi deserves credit for offering an insider’s view in such a short space, especially when discussing the manner of politics and civic life in Amman. “In the absence of a Freedom Square, many Jordanians will speak openly and informatively in private about the myriad problems facing this poor, desert country.” Addending the statement is a glimpse into the Four Seasons’ Square Bar on an ordinary night, where women are walking in glamorously and one woman is “draped around a much older man.” She ends tersely, “The Bedouin desert feels a long way away.” Indeed.

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Pure Imagination, Defying Explanation words:Farah Aljundi images:Courtesy Rad Hourani

â&#x20AC;&#x153;I started imagining clothes the same way I started creating images: with a sense of curiosity and innocence driven by my nobackground background. No school. No teachers. No telly. No boundaries. No formatting. I like the idea of a world that we could live and shape by ourselves, only by observing. Each our own.â&#x20AC;? Rad Hourani

The investigation into essential human nature has finally warmed its way up the adopted arms of modern culture. In a world hungry to fall prey to the next label society deems appropriate, it seems the human quest for coming full circle is often confused with staying within the walls of predicted stereotypes and the rut of tedious categorization. For most, the personal exploration of the complex and messy ambiguities of life can be hard enough, let alone the creative expression of it. However, when the likes of Jordanian designer Rad Hourani take center-

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Horaniâ&#x20AC;&#x2122;s transformable unisex coat, can be worn in over 10 different was

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â&#x20AC;&#x153;My clothes have erupted from this world of mine. They are asexual, aseasonal, they come from no place, no time, no tradition, yet they could be home anywhere, anytime.â&#x20AC;?

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“Circumstances have brought me to move around the world from an early point in my life and I’ve felt compelled to continue doing so. Consequently, this experience has made me consider things in a wider perspective . . . with no restrictions.”

stage and achieve an almost holistic approach of its execution, he gets hats, heels and hankies off. Not only for managing to hop on the rusty train of creative cultural progress, but for making a distinguished mark on it too. Hourani is no stranger to the world of visual arts; his work is a laboratory of simmering design, photography, film and music that convey his vision of unbridled ideals. Although primarily known for his work in fashion, Hourani does not consider himself to be a designer or even an artist. His work is a depiction of freedom from the limitations of gender, weather and literal definition. Evidence of today’s fascination with sexual ambiguity can be found all

across the media landscape, popularized in fashion and music by legends such as Boy George, Michael Jackson, David Bowie and Mick Jagger. This shattering of cultural norms would have been inconceivable forty years ago, and perhaps would be today if it weren’t for the social upheaval of the 60s. Androgyny offers an alternate affirmation of identity with no ultimatums, replacing cultural vacuums with individual desire. Which is why – in a world that emphasizes labels – it’s no wonder that Rad Hourani ‘s fashion line, replete with androgynous pieces, comes as a breath of fresh air to his contemporary audience. In the vein of a generation’s struggle to skip rules and opt for dim, lesstraveled roads instead, it is not to

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“Fashion for me . . . is a tool for self-expression and self-invention. It’s about clothes transcending simple functionality and gaining symbolic power by engaging in a dialogue with their environment and their time.”

be forgotten that Rad Hourani was born in 1982 to a Jordanian father and Syrian mother. At 16, he moved to Montreal with his family until 2005,when he relocated to Paris to launch his first collection at the ripe age of 25. Using an architectural eye on shapes and the development of fabrics in sharp and immaculate couture, Hourani’s line functions as a research lab of experimentation with deconstructed volumes. Meanwhile, the RAD by Rad Hourani collections focus on the same aesthetic, but from a more casual approach with an emphasis on transformable garments. Hourani’s Spring/Summer 2012 col-

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lection from RAD by Rad Hourani, is a soothing transition from his signature dark palettes into a wide spectrum of blue shades, which peek out among his loyal dedication to the monster staple colors: black, white and grey. Through colors of darkness to light, Hourani juggles a take on the tuxedo jacket to create 22 transformable pieces, which take the good ol’ tux from wraps to belts to a play on hems. All the while retaining a sober and humble elegance that understates itself to put forward the wearer’s expression of the depth of their individuality. Hourani’s choice to incorporate blue was an ode to self-love and self-care; A by-product of intuition and gratitude to the silent appreciators of the magnitude of simplified statement pieces.

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In works prior to his last collection, which were presented in a personally curated video, Hourani was invited by the Joyce Palais Royal of Paris in June 2010 to present TRANCLASSIC, an homage to timeless elegance through mediums of photography, film and installation. This eventually served as a platform into the solo-exhibition at the RA/Momu in Antwerp. Quickly following that was a personal invitation from the notoriously selective Anna Wintour and Franca Sozzani, to present the Rad Hourani #6 line in Milan in the honor of the CFDA Vogue Fashion Fund at the Vogue Italy Talents exhibition. Hourani has since continued to

show the ready to wear line RAD by Rad Hourani in New York, and continues to present his namesake collection in Paris. It’s difficult to tack down the potent dream world of Hourani, where he flirts with obstacles and frolics in boundaries. Hourani’s mastering of circumstance and refusal to fall victim to prejudices and social constructions prove him to be a groundbreaker of human misconception. So it’s only appropriate that we constantly remain thankful that he’s taken on the monumental task of bringing our unknown fantasies to life.

“I must say that I think a great deal about myself when designing. Of course, I didn’t create a brand just for my own sake, but I believe that using what I would like to wear as a starting point to the design process is the most truthful and straightforward approach; it allows me to stay focused on my aesthetic and also assess my commitment to wearability, functionality and comfort. There’s nothing scarier than making fashion – or anything else for that matter. That, everybody agrees on.”

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Mandy Merzaban is the collections manager and curator for the Barjeel Art Foundation, established by Sharjah-based collector Sultan Sooud Al-Qassemi in 2010. She has curated three exhibitions for the Barjeel collection: Peripheral Vision, Residua and Strike Oppose. Since Barjeel’s inception Mandy has overseen all aspects of the foundation’s development. She is a graduate of the Fine Arts program at the University of British Columbia.

On the Far Side of the Canvas: Art Patronage in the Middle East words: Mandy Merzaban A security guard at the Barjeel Art Foundation surprised me one afternoon when he asked if I might read through an essay he had written on the importance of having exhibitions on display for public consumption and art collection in general. 28 year-old Kisekka, a commerce graduate from Uganda, always enjoyed examining the Arab artwork on display at the gallery, keenly reading the artist descriptions and brochures. Delighted by the idea of reading something written out of pure, unbridled interest in art, I eagerly accepted his request. Kisekka began his essay by posing a question: “To what extent is art collection more of an asset than a liability in today’s ever-changing society?” Within the essay, he examined the role of art in several different facets of society: politics, culture and education. He argued that artists are uniquely positioned to capture the narratives of their respective societies. He emphasized that art promotes an exchange of knowledge between cultures through a range of media and therefore, collecting, preserving and sharing artwork encourages a better understanding of the complex issues facing our world today. His essay served as a perfect example of why widening the accessibility to art is so important for the region. He himself

became an active participant in the art world simply because he had access to a venue that placed art within the public’s grasp, rather than reserve it for a privileged few. Of all the countries in the Middle East, the UAE has shown the most progress as far as evolving into a vibrant commercial art scene. Still, a number of key areas require much deeper development for a nuanced art community to flourish. Among them is a vital need for emphasis to be placed on investing in artwork maintenance to preserve collections for the future. In addition, non-commercial initiatives with a mandate to promote, exhibit and publish high-standard critical work of emerging and established artists in the region are needed in greater number. This all falls under the ‘patronage’ umbrella. Art patronage can take many forms: collecting, sponsoring art education programmes, artist residencies or scholarships, commissioning public art projects, or opening museums. Patrons should seek to make financial and intellectual contributions and emphasis should not be placed on the former in favor of the latter. The UAE is in a unique position to promote Middle Eastern, Arab and Iranian art on the global stage. Within the $10 billion art market in the Middle East, the Emirates has become an art junction;

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Jeffar Khaldi, Special Report, acrylic on canvas, 240x220 cm. 2009.

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The Barjeel Art Foundation exhibition space

“Underlining the value of art as a critical aspect of cultural progress is vital amid rapid market development”

evidence of this can be found in the numerous commercial galleries in Dubai, annual art fairs (most notably Art Dubai), the advent of auction houses like Bonhams and Christie’s, as well as growing patron interest in purchasing Arab art. Among the acclaimed artists who have exhibited in UAE-based galleries are Palestinian Jeffar Khaldi, Egyptian artists Huda Lutfi and Youssef Nabil, Iraqi artist Hayv Kahraman, and Iranian artist Ramin Haerizadeh. Collectors from across the globe are now paying more attention to regional talent than they were even a few years ago – and they’re willing to pay lofty prices to call some highly praised pieces their own. Mahmoud Said’s 1929 work Whirling Dervishes sold at a Christie’s auction in Dubai last year for $2.55 million, setting a world record for the highest price paid for any Arab or Iranian painting at auction. In April 2011, Christie’s raked in $8 million in sales from an auction showcasing modern and contemporary Arab, Iranian and Turkish art. Christie’s – active in Dubai since 2006 – dedicated $1 million of the auction’s profits to an education programme in Saudi Arabia.

On the collection side of patronage, the region is clearly moving forward quickly. However, there are continued costs – in preserving, handling, maintaining and insuring artwork – which many collectors have not fully taken into consideration. This crucial aspect of art collecting remains a relatively nascent concept in the region. Patrons need to build the intellectual and logistical support for their works in order to maintain their value over time. A cultural shift toward recognizing maintenance as a necessity rather than an option is imperative. Yet finding well-ventilated, climate-controlled storage facilities that can withstand the sweltering heat and humidity of our local summers can be tough and many collectors need to develop their own specialised facilities by refurbishing existing warehouses or building new ones. The additional cost involved in this should be considered as part of a collector’s acquisition plans, rather than after a purchase is made. Some major shipping companies are beginning to adapt their services to comply with international standards in art logistics. Freightworks is a ship-

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Huda Lutfi, Democracy is Coming, acrylic and collage on paper, 34x45 cm. 2008. Zena El Khalil, Binge Drinking, mixed media on board in plexi glass frame, 200x82.5 cm. 2008.

ping company that caters to a vast and discerning clientele in Dubai and Kuwait. They recently opened a new branch dubbed Freightworks Art to give those clients what they clearly need: professional art handling from A to Z. Mohammed Younus, Freightworks’ manager, said the company would be sending its crew to Germany to receive training from transportation firm DB Schenker on proper packing, handling, transportation and storage methods. Underlining the value of art as a critical aspect of cultural progress is vital amid rapid market development. What needs to happen next is the creation of patronage networks to aid in cultural development projects. For instance, interdisciplinary projects bringing together emerging and established artists, scholars, writers and critics might create a platform for research, exhibition and criticism. Some steps are already being taken. The Abu Dhabi-based philanthropic organisation Emirates Foundation – funded by private donors and government entities – runs an arts and culture program that shows particular interest in encouraging and facilitating Emirati vis-

ual, performing, and literary arts through internship placements, apprenticeship and scholarships. In late 2009, the foundation began offering Masters degree scholarships in museum studies, museum education, conservation, cultural management and exhibition design. Improving indigenous expertise in these areas is vital as Abu Dhabi embarks on building Guggenheim and Louvre museums on Saadiyat Island. Art dialogue and criticism has been proven to aid in cultural growth and the process should engage the artists themselves, patrons, educational institutions and perhaps most importantly, the viewing public. It takes time for any society to apply cultural value to art, but the foundations should be built consistently over time – however long that may take – in order to enable an intellectual and progressive art community to flourish in the UAE and wider region. Patrons who are able to contribute to and encourage a diverse range of initiatives will be able to build a multifaceted art community that produces works of a high critical standard.

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On Display words:Andrew Spalding images:Courtesy of the Jordan National Gallery of Fine Arts

Well-designed, stimulating and possessing the best collection of art from the developing world, Jordan’s National Gallery of Fine Arts is a national treasure. “I’m going to the museum.” It’s not the statement one hears frequently in Jordan, and both in and outside these borders, it’s not the sort of statement that passes for cool. Sure, there are those in certain social circles for whom a trip to the museum – any museum – is something to be relished/reflected upon/repeated. That latter crowd has probably been to the Jordan National Gallery of Fine Arts multiple times, and notes the opening of new exhibitions on their calendars. If you fall in this category, by all means disregard the following and consider giving (another) donation to this fine establishment. But if you’ve never been to the National Gallery, don’t know where it is exactly, or have never even heard of it, listen up.

Some background: Jordan gets flak for having a weak cultural tradition and a poor grasp of its heritage and culture in the face of modernity. In the same breath, naysayers criticize a lack of support for the arts and a dearth of diversity. Newsflash: artists are rarely supported, most live from commission to commission or sale to sale. In a country where poverty is pervasive, the arts would likely receive short shrift. However, as the case may be, Jordan has the National Gallery of Fine Arts – a sound establishment to develop and nurture our local arts culture. The museum itself is two buildings on opposite sides of a sculpture-lined garden, and the complex is located in a leafy circle in Jabal Weibdeh, a circle

The Nationa Gallery of Jordan

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varyingly known as duwwar al hawooz (for it’s large garden), duwwar al fan (arts circle), or simply duwwar canvas (for the restaurant in the vicinity). The museum is open every day, except Tuesdays and Fridays, from 9 in the morning until 5 in the evening, and admission is always free. In other words: it’s conveniently located, open regularly, and costs the same as it would for you to sit on your couch and do nothing. This, ladies and gentlemen, is the trifecta of public institutions. Practical considerations accounted for, let’s move on to the art. If you’re looking for a thorough, wide-ranging collection of regional art, look no further than the National Gallery. In fact, with a collection of over two thousand works, the National Gallery has the largest collection of contemporary art from develop-

ing countries. There are the familiar names like Dia Azzawi and Rafa Nasiri of Iraq, and Princess Wijdan, Muhanna Durra and Samer Tabbaa of Jordan. Yet the art on display comes from over 60 countries, including Somalia, Syria, Lebanon, Egypt and Sudan. Visitors receive a crash course in both the art of Jordan and the Levant, as well as the art of Asia, Africa and the Middle East – no small feat. Selected floors house the museum’s permanent collection, which includes paintings, sculpture and mixed media, while other floors regularly feature short-term exhibitions. Recent notable ones include a photographic journey through the homes of Chilean poet Pablo Neruda and a German exhibition on green design. Currently, the museum is showcasing the latest work by HRH

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Princess Wijdan, Echoes of Rome, which majestically unites elements of Roman and Arab culture. Princess Wijdan’s impact on the National Gallery goes far beyond its current short-term exhibition, however, even beyond her many pieces that are part of the museum’s permanent collection. Princess Wijdan was instrumental to the museum’s founding over 30 years ago, and remains a vital force both in the wider arts community in Jordan and the Royal Society of Fine Arts, the organization that oversees the National Gallery along with a graphic design studio, library, publication bureau and the everpopular restaurant, Canvas. Many readers have likely been to Canvas, or have at least heard of it and no doubt failed to make the connection between the eatery and the National

Gallery. Right about now, you might even make the connection between the restaurant’s name and it’s affiliation with the National Gallery. See? But seriously, when restaurants are prioritized by all of us (including this reporter), and we arrive at a point where eateries are more recognizable than the arts, a reevaluation is in order. I offer this: Days start and end; food is eaten and digested; relationships begin with a whirl and decline with time. Indeed, permanence is a rare commodity, one in which art has more or less cornered the market, but the art is only as secure as those stewarding it. In Jordan, we have one such exceptional caretaker – the National Gallery – and as change seizes the culture of the region, it helps to be reminded of those universal truths expressed in very particular works, by very talented artists.

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Zara Gallery Go-Green Initiative Elmer Dumlao ‘Eye-to Eye’ Their shapes and skyward gazes have become a part of our beloved and particular Ammani landscape, but little do we take into consideration how much of a part of our environmental problem they have become too. Satellite dishes are certainly part of our modern day entertainment, but also of our modern day perils. Expired satellite dishes have been accumulating in heaps of robotic deaths of plastic and metal without proper means of disposal. We often forget that recycling materials as scrap is just as essential of a ‘clean up’ as other environmentally conscience efforts. Elmer Dumlao however, was able to take

the banal and unsightly to turn our view inwards by creating ‘eyes’ that depict the basics of dramatic and complex human experiences. His collection entitled ‘Eye-To-Eye” transforms these dishes into a study of eyes, where the pupils dig deep into the general concept of the surrounding cornea. He investigates the ideas of love, soul, purity, life, freedom, status, choice, hope, challenge and the natural growth and deterioration of life. Elmer believes that these representations of life must exist in harmony to achieve true inner peace. However, he does not ignore that it is a natural human state to be intertwined in one or more of

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“Obsession”

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Above: “Love” Below left: “Chalange” Below upper right: “Life”

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Elmer Dumlao

these emotions simultaneously, when experiencing the mosaic mysteries of human nature. His choice of materials to cover the satellites are raw yet direct. Punctured egg shells to represent the disrobing of one’s shell once exposed to the world and the cycle of life, a labyrinth of spirals when faced with a ‘challenge’, gold coins surrounding a dimmed pupil blinded with ‘status’, pins in an otherwise serene pupil emphasizing the pains and perils of human ‘love’, as well as a mirrored pupil amidst circles of blue to remind us of ‘purity’. Dumlao remains true to the essence of perception and feeling “on not just what you see, but how you see.”

‘Eye to Eye’ is the first exhibition held at the Zara Center as part of Zara Gallery’s ‘Go Green Initiative’, which supports projects such as the ‘Green art project’ by ‘Art Medium’. Refreshingly, ‘Zara Gallery’ is dedicated to the universal language of art, teaching and reminding us of the importance of raising local awareness to the environmental concerns out there. Allowing the reward of silent images to speak louder than statistics. ‘Eye to Eye’ is just the beginning of the list of artists to be supported, and number of exhibitions that will be held at the ‘Zara gallery’ to help build an ecologically responsible society. Reminding us as always; never to turn a blind eye.

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“The Nile”

Hazy Gazing

Aside from the melancholic look back at ornate Bedouin women in Syria, memoirs of a young Nile river and portraits of ghosts from Palestinian pasts, Ruth and Peter Herzog’s exhibition, 19th century vintage photography from the Middle East is an insightful visual development of photography during that century. On at Beirut’s Sfeir-Semler Gallery until the 29th of October, the collection is part of Ruth and Peter Herzog’s Laboratory of Photography. Established in 2002, the compilation is a series of over 300,000 photographs that capture the memory of the region and serve as documentation of the Middle East at its prime. sfeir-semler.de

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Synan Beduin Women

“dream and reality” by: Nes’s Erdok

Waking Life: Istanbul Edition

Turkey’s social and cultural agendas of reform are translated loudly through the collaboration of 74 pioneering Turkish females of the last century, who have gradually shaped the local contemporary art scene. Dream and Reality offers a fresh, alternative perspective on the country’s history regarding their critical position in contemporary art through disciplines that range from painting to installation and video. As if you need another excuse to visit Istanbul, go catch these forces to be reckoned with at the Istanbul Modern from until January 22, 2012. istanbulmodern.org

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ArtWORLD

“Clouds from a different time” series by: Melisa Onel

“The Coast” series by: Silva Bingaz

“Torn” series by: Zeynep Kayan

She Sees It

Six younger generation female artists from Turkey engage in a subconscious conversation of uncanny encounters through a photographical narrative. Hosted at the Istanbul Modern, their visual dialogue discusses philosophical, socio cultural and artistic impacts while exploring the refreshingly wide scope of possibilities in photography today. Participating artists include Silva Bingaz, Banu Cennetoglu, Cinar Eslek, Zeren Goktan, Zeynep Kayan, and Melisa Onel. There’s plenty of time to catch Uncanny Encounters – it’s on display until January 8th 2012. istanbulmodern.org

ArtWORLD

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“Rasing the stereotype” by: Sarah Ayoub

How About Taking it Back?

Nine artists from all over the Middle East teamed up to lift the all-too-repetitive stereotypes Muslims and Arabs face in today’s modern world. Through their art, they expressed their feelings about being type casted and segregated by way of various medias and techniques to come together as one clear voice of expression. Participating artists in Raising the Stereotype include Imann Al Dakheel, Laudi Abilama, Malak El Shazly, Mona Al Gurg, Wendy W Fok, Mona Al Qahtani, Sara El Kamel, Sarah Ayoub Agha and Soraya Darwish. Hosted by the Ara Gallery in Dubai, the event ends on October 29th. thearagallery.ae

“City Magazine”

“The Hallway”

On the Wire

A first timer in the Middle East, but certainly not to the world of photojournalism and studio photography, Erwin Olaf tackles taboos and modern drama of issues such as gender, sex, despair and grace in a tragic and hyper-realistic exhibition entitled High Tension. His subjects are eerily tense with an energy that goes beyond the complexities of verbal expression; yet somehow, they retain the simplicity of the viewers first impact. Go find out what we’re talking about for yourself – the exhibit is on until November 10th at the Carbon 12 Gallery in Dubai. carbon12dubai.com

ArtWORLD

“The Siren”

A New Narnia

Also on at the Ara Gallery is Emarati artist Saeed Khalifa’s debut solo exhibition, Fabula. It’s a hauntingly beautiful tale of surreal photography and ethereal digital images that tell the story of a boy who strays away from home into the magical portal of a rose that leads him into a forest. There, sits a blind man on his weave creating a quilt made of the stories of the inhabitants of the forest, representing the artist’s visual response to the acceptance of today’s modern society. Huddle under the cover from November 1st until the 29th. thearagallery.ae

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“The Gate”

BASICS

BASICS:EVENTS

Hussien Madi:Nabad Art Gallery It’s a bit late in the game, but we felt it necessary to pay homage to the lovely exhibition held at Nabad Art Gallery in honor of the great work of Hussein Madi. Featuring paintings and limited edition prints, the onslaught of his robust art brought out the best in Ammani art lovers. As one of the leading contemporary artists the Middle East has to offer, Madi made our month – August, that is – with his paintings and prints.

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SAQ’R:Jacaranda Limited edition prints from one of Jordan’s local stars went on display at Jacaranda in Jabal Amman last month to more fanfare than any other opening we’ve heard of in the last six months. Maintaining his status as the go-to depicter of wildlife in the Middle East, Tariq Dajani’s SAQ’R showcases the awesomeness of the Arabian hunting falcon. Congratulations to Dajani and anyone who snatches up a piece of his work. Mabrouk!

Sugarcoat Melting:Zara Gallery The Zara Gallery played a lucky, lucky host last month to Cattle Republic’s latest offering, Sugarcoat Melting. In the second of (we hope) many exhibitions, Ahmad Sabbagh and his partner in crime Micheal Schinköthe, set out to peel back the layers of human nature. Focusing on the more sinister of the seven deadly sins – gluttony and greed – the duo reached into the depths of their artistic, twisted souls and revealed the darkness lurking inside the human race. Oddly enough, the art itself, not so dark and twisted . . . but sober and cutthroat.

BASICS:CALENDAR

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Dozan wa Awtar Christmas Concert Greek Catholic Cathedral of St. George Amman:Jordan December 14th and 15th dozanwaawtar.com

Deferred Dreams by Emad Dahir Foresight32 Gallery Amman:Jordan October 25th to November 17th foresightartgallery.com

Amman Symphony Orchestra Al Hussein Cultural Center Amman:Jordan November 16th 06 4767221

No â&#x20AC;&#x201C; Sheepâ&#x20AC;&#x2122;s Land by Saba Innab Darat Al Funun Amman:Jordan Until January 5th daratalfunun.org

19th century vintage photography from the Middle East Sfeir-Semler Gallery Beirut:Lebanon Until October 29th sfeir-semler.de

Amman by Fouad Elkhoury Darat Al Funun Amman:Jordan Until January 5th daratalfunun.org

Uncanny Encounters Istanbul Modern Istanbul:Turkey Until January 22nd istanbulmodern.org High Tension Carbon 12 Gallery Dubai:UAE Until November 10th carbon12dubai.com Raising the Stereotype Ara Gallery Dubai:UAE Until October 29th thearagallery.ae Fabula Ara Gallery Dubai:UAE November 1st to 29th thearagallery.ae

Echoes of Rome by Wijdan Jordan National Gallery of Fine Arts Amman:Jordan Until January 5th nationalgallery.org Trails of Thread by Hamdi Shawqi The Studio Amman:Jordan Until December 2nd thestudio-jo.com Film Days of Milos Forman Rainbow Theatre Amman:Jordan October 30th to November 3rd 06 4610077 Kamel Afandi Performance Terra Sancta Theatre Amman:Jordan November 24th to 26th 0795876085

Art in Palestine Meem Gallery Dubai:UAE October 5th to November 1st meemartgallery.com

Global Entrepreneurship Week Queen Rania Center for Entrepreneurship Amman:Jordan November 14th to 20th unleashingideas.org

People, Places and Traces by Khalid Khreis Nabad Art Gallery Amman:Jordan October 26th to November 21st nabadartgallery.com

El Morabba3 Concert Miqdad Annab Art Gallery / Music House Amman:Jordan November 28th musichouse.jo

Intuition and Imagination Jordan National Gallery of Fine Arts Amman:Jordan October 10th to November 30th nationalgallery.org

Jordan Through My Eyes: Zohrab Wadi Finan Art Gallery Amman:Jordan November 21st to December 10th wfinangallery.com

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BASICS:DIRECTORY

GALLERIES & MUSEUMS

Karim Gallery karimgallery.com:06 461 7585

Artisana :06 464 7858

Lines Gallery :06 465 5084

Bandak Art bandakart.net: 06 582 4952

Madaba Museum :05 324 4056

Broadway Gallery broadway-gallery.com:06 581 0280

Makan Art Space makanhouse.net:06 463 1969

Arab Womenâ&#x20AC;&#x2122;s Organization of Jordan :06 565 0644

Childrenâ&#x20AC;&#x2122;s Museum Jordan cmj.jo:06 541 1479

Nabad Gallery nabadartgallery.com :06 465 5084

British Council britishcouncil.org.jo:06 460 3420

The National Center for Culture and Performing Arts pac.org.jo:06 569 0292

French Cultural Center lecentre-jo.org:06 461 2658

The Royal Film Commission film.jo:06 646 42266

Goethe Institute Goethe.de/jordanien :06 464 1993

Turkish Cultural Center :06 463 9777

Dar Al Anda daralanda.com:06 462 9599 Darat Al Funun daratalfunun.org:06 464 3252 Darat Al Tasweer darataltasweer.com:06 461 1538 Foresight32 Gallery foresightartgallery.com:06 556 0080 Four Walls Gallery 06 592 0902 Haya Arts Center princesshaya.net:06 566 5195 Islamic Museum :06 567 2155 Jacaranda Images jacarandaimages.com:06 464 4050 Jordan Archaeological Museum :06 463 8795 Jordan Folklore and Jewelry Museum :06 465 1742 Jordan Museum of Popular Traditions :06 465 1760 Jordan National Gallery of Fine Arts nationalgallery.org:06 463 0128

Naqsh Design House naqshdesignhouse.com :079 557 0760 Orfali Art Gallery orfali.net:06 552 6932 Orient Gallery orientgallery.net:06 568 1303 Royal Automobile Museum royalautomuseum.jo :06 541 1392 Royal Cultural Center :06 566 1026 Silsal silsal.com:06 593 1128 The Gallery :06 465 8427 The Jordan Museum JordanMuseum.jo:06 462 9317 The Studio thestudio-jo.com:06 464 6367 Wadi Finan Gallery wfinangallery.com:06 463 6939 Zara Expo zaraholding.com/zara-expo :06 465 1433

American Center of Oriental Research acojordan.org:06 534 6117 Amman Institute for Urban Development ammaninstitute.org:06 478 5358

Greater Amman Municipality ammancity.gov.jo:06 535 9970 HamzetWasel hamzetwasel.com:077 786 8298 Humane Society for Animal Welfare hcaw-jordan.com:06 412 9077

Royal Scientific Society interacademies.net:06 534 4701 Royal Society for Conservation of Nature rscn.org.jo:06 533 7931 Spanish Cultural Center amman.cervantes.es:06 461 0858

USAID jordan.usaid.gov:06 590 6117 THEATERS Al Balad Theater al-balad.org:06 465 2005 Al Hussein Cultural Center ammancity.gov.jo:06 473 5186

Injaz injaz.org.jo:06 565 7410

Royal Cultural Center :06 566 1026

Italian Cultural Center :06 464 0350

SPECIALIZED INSTITUTIONS

Jordan Environment Society jes.org.jo:06 569 9844

Jordan Academy of Music jam.edu.jo:06 560 4172

Amman Film Cooperative jordanianfilms.com:06 464 3251

Red Sea Institute of Cinematic Arts rsica.edu.jo:03 201 6201

Jordan River Foundation jordanriver.jo:06 593 3211 King Hussein Foundation kinghusseinfoundation.org :06 560 7460

CULTURAL CENTERS

National Music Conservatory nmc.edu.jo:06 476 7221

Abdel Hamid Shoman Foundation shoman.org:06 465 9154

Noor Al Hussein Foundation nooralhusseinfoundation.org :06 560 7460

Royal Academy of Culinary Arts raca-lesroches.edu.jo :06 541 2682

BASICS:SHOWCASE

Diana Mcnay, charcoal on paper

mcnay.diana@gmail.com

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