Jottings of history, culture, music, art, photography, nature, literature, architecture, and much more. Many posts on Islam and Islamic influences. Enjoy.

5centsapound:

Sliman Mansour سليمان منصور‎, born 1947.

Mansour is a Palestinian painter, whose work gave visual expression to the cultural concept of sumud,  

The Birzeit-born painter and sculptor first came to prominence for his surrealist masterpiece, Camels of Hardship in 1973. The Dali-esque image of a Palestinian peasant struggling under the literal weight of dispossession has become a classic of its kind, and became the launch pad for a career that would be defined by original approaches to representing the struggle for his homeland.

Identified as a subversive by Israeli security forces, Mansour was plagued with harassment. In 1981 at Gallery79 (during the  Intifada), an exhibition was closed after only six hours and he was arrested. “They told us we are not allowed to use red, green, black, and white in our works,” he recounted in a later interview. Such treatment was to be a recurring theme of a career that was regularly interrupted with jail time.

While his work would prove influential enough to be exhibited in over a dozen countries and four continents, and win such prestigious prizes as the “Nile Award” at the 1998 Cairo biennial, Mansour was never content with merely producing artworks. In addition, he sought to inspire a revolution in Palestine that would bring a new generation of artists capable of communicating creative messages to the world. With this intent, he co-founded the International Academy of Art in Palestine, as well as the Wasiti Art Centre in Jerusalem. Both institutions have gone on to become prestigious names, teaching and exhibiting some of the region’s finest artists.

Mansour’s creativity and determination to revive Palestinian identity has led him through a diverse range of disciplines, including cartoon drawing and authoring two books on Palestinian folklore. He is also a member of the “New Vision” art group which seeks to promote the use of local materials in the spirit he pioneered.  - via thisweekinpalestine

(via fakjumather)

— 2 months ago with 591 notes
#Palestine  #israel  #freedom  #oppression  #war  #art  #culture  #sliman mansour  #intifada  #struggle 

fucking-history:

Late 15th century, steel, engraved and damascened with silver; copper alloy ”This turban helmet … is fixed with a lead seal stamped with the mark used in the Ottoman arsenals, an indication that this [helmet] passed into Turkish possession as booty with the Ottoman conquest of Iran and the Caucasus.” (Metropolitan Museum of Art)

(via iuvencula)

— 2 months ago with 261 notes
#ottoman  #helmet  #culture  #turkey  #caucasus  #turkish  #clothing  #costume  #battle  #war 
phlealedrp:

maarnayeri:

Iraqi student Zeidoun Alkinani protesting the posession of ancient Iraqi artifacts by Germans at the Babylonian Ishtar Gate in the Pergamon Museum of Berlin.
Prior to World War I, German archaeologists excavated large numbers of ancient artifacts across what is today Iraq and shipped them to Germany as part of a larger phenomenon of cultural pillage by European archaeologists across the Middle East that continued for decades.
In 2002, Iraqi officials asked for the return of the Gate, to no avail. A year later, the U.S. invaded the country.
via The Ajam Media Collective

Old school archeology was often a fancy name for “pillage” and “raiding historical artefacts”. While the mistakes of the past cannot be undone, I wonder what keeps museums from - like they do to fossils - replicating the historical object and simply returning the original to their place of origin. I understand the importance of those objects for historical research - however, I don’t see why the original must be in exposition, nor why it can’t be studied where it belongs. 
And before someone argues that “they wouldn’t be protected in the middle east”, I regret to inform you that form of thinking is one of the most pernicious forms of imperialism: the idea that only the enlightened europeans would be able to “preserve history and culture” was endlessly used as a pretext for looting the cultural heritage of “savages” and “primitives” for centuries. Ironically, all the while those “enlightened preservers of culture” supressed traditional expressions, customs, artforms and manifestations. Not to mention the more violent aspects of imperialism, that is. 
Simply return the artefacts, Germany… Or somehow negotiate with Iraq to keep it with the compliance of the State that you took it from. Really, make a deal out of it. Iraq could use some sort of income from this lease of historical objects, don’t you think?
There is no reason to keep it as is other than saying “Look at this beautiful thing we stole. You could see it where it belongs, but it is ours now”. I know archaeologists meant no harm in their actions: it was a product of the then common mentality, and even those who defend the maintenance of this status quo are not evil or mean or anything. Just misguided, perhaps a bit stubborn. Or I propose Iraq steals the Brandenburger Tör in exchange, dunno. That would certainly make archaeologists change their mind about historical artefacts being taken away by force and corruption. Just my two cents

phlealedrp:

maarnayeri:

Iraqi student Zeidoun Alkinani protesting the posession of ancient Iraqi artifacts by Germans at the Babylonian Ishtar Gate in the Pergamon Museum of Berlin.

Prior to World War I, German archaeologists excavated large numbers of ancient artifacts across what is today Iraq and shipped them to Germany as part of a larger phenomenon of cultural pillage by European archaeologists across the Middle East that continued for decades.

In 2002, Iraqi officials asked for the return of the Gate, to no avail. A year later, the U.S. invaded the country.

via The Ajam Media Collective

Old school archeology was often a fancy name for “pillage” and “raiding historical artefacts”. While the mistakes of the past cannot be undone, I wonder what keeps museums from - like they do to fossils - replicating the historical object and simply returning the original to their place of origin. I understand the importance of those objects for historical research - however, I don’t see why the original must be in exposition, nor why it can’t be studied where it belongs. 

And before someone argues that “they wouldn’t be protected in the middle east”, I regret to inform you that form of thinking is one of the most pernicious forms of imperialism: the idea that only the enlightened europeans would be able to “preserve history and culture” was endlessly used as a pretext for looting the cultural heritage of “savages” and “primitives” for centuries. Ironically, all the while those “enlightened preservers of culture” supressed traditional expressions, customs, artforms and manifestations. 

Not to mention the more violent aspects of imperialism, that is. 

Simply return the artefacts, Germany… Or somehow negotiate with Iraq to keep it with the compliance of the State that you took it from. Really, make a deal out of it. Iraq could use some sort of income from this lease of historical objects, don’t you think?

There is no reason to keep it as is other than saying “Look at this beautiful thing we stole. You could see it where it belongs, but it is ours now”. I know archaeologists meant no harm in their actions: it was a product of the then common mentality, and even those who defend the maintenance of this status quo are not evil or mean or anything. Just misguided, perhaps a bit stubborn. 

Or I propose Iraq steals the Brandenburger Tör in exchange, dunno. That would certainly make archaeologists change their mind about historical artefacts being taken away by force and corruption. Just my two cents

— 3 months ago with 4900 notes
#repatriation  #iraq  #war  #stolen  #history  #culture  #Architecture  #invasion  #museum  #protest 
very interesting. 
zolotoivek:


The ethnic origin of the Abkhazians of African descent — and how Africans arrived in Abkhazia — is still a matter of dispute among experts. Historians agree that the settlement of Africans in a number of villages in the village of Adzyubzha in Abkhazia (then part of the Ottoman Empire) is likely to have happened in the 17th century. According to one version, a few hundred slaves were bought and brought by Shervashidze princes (Chachba) to work on the citrus plantations.This case was a unique, and apparently not entirely successful, case of mass import of Africans to the Black Sea coast. 
According to another theory, Abkhazians of African descent are the descendants of the Colchians, the inhabitants of the ancient kingdom of Colchis in present-day western Georgia. However, the question of the likelihood of at least some continuity between the ancient Colchians and current Abkhazians of African descent is not known, because there is no available, reliable evidence of the existence of an African population in historic Kolkhi. They may also derive from the Egyptian Copts or Ethiopian Jews. Abkhazian writer Dmitry Gulia in the book “History of Abkhazia” compared the place names of Abkhazia and the corresponding names in Ethiopia and claimed that some of the geographical names are identical: Bagadi – Bagadi, Gunma – Gunma, Tabakur – Dabakur, etc. 
In 1927, the Russian writer Maxim Gorky, together with the Abkhaz writer Samson Chanba visited the village of Adzyubzha and met elderly Africans there. Based on his visit and comparison of his observations with the published data, he felt that the Ethiopian version of the origin of the Abkhazians of African descent is true. 
- Source

Portrait of an Afro-Abkhazian man, c. 1870-83. Photo from the George Kennan Papers.

very interesting. 

zolotoivek:

The ethnic origin of the Abkhazians of African descent — and how Africans arrived in Abkhazia — is still a matter of dispute among experts. Historians agree that the settlement of Africans in a number of villages in the village of Adzyubzha in Abkhazia (then part of the Ottoman Empire) is likely to have happened in the 17th century. According to one version, a few hundred slaves were bought and brought by Shervashidze princes (Chachba) to work on the citrus plantations.This case was a unique, and apparently not entirely successful, case of mass import of Africans to the Black Sea coast.

According to another theory, Abkhazians of African descent are the descendants of the Colchians, the inhabitants of the ancient kingdom of Colchis in present-day western Georgia. However, the question of the likelihood of at least some continuity between the ancient Colchians and current Abkhazians of African descent is not known, because there is no available, reliable evidence of the existence of an African population in historic Kolkhi. They may also derive from the Egyptian Copts or Ethiopian Jews. Abkhazian writer Dmitry Gulia in the book “History of Abkhazia” compared the place names of Abkhazia and the corresponding names in Ethiopia and claimed that some of the geographical names are identical: Bagadi – Bagadi, Gunma – Gunma, Tabakur – Dabakur, etc.

In 1927, the Russian writer Maxim Gorky, together with the Abkhaz writer Samson Chanba visited the village of Adzyubzha and met elderly Africans there. Based on his visit and comparison of his observations with the published data, he felt that the Ethiopian version of the origin of the Abkhazians of African descent is true.

- Source

Portrait of an Afro-Abkhazian man, c. 1870-83. Photo from the George Kennan Papers.

— 3 months ago with 497 notes
#culture  #russia  #abkhazian  #black  #african  #black sea 

5centsapound:

Scarlett Cotton: Still Alive

This visual diary of Cotton’s journey through the Sinai desert chronicles her encounters within this harsh land and it’s inhabitants, the Bedouins.

I photograph my hosts, those that ask me to, those that pose. These are my guiding line. Gestures and laughter replace the spoken word. Time seems different, the people too. It’s a hot summer. From one area of shade to another, we reach for each breath of air, each lift of the breeze. I no longer know which day it is; we live in the present

[…]

Photography is a rarity for them and my camera never leaves them indifferent. A joyful complicity develops. The men joke around in lascivious poses, the women send their veils flying, all embroidered with brightly colored beads. [In the face of such novelty, constant surprises, and so much good-will, I enter into the rythm of things, let myself go. I gain the trust of the women who show me their private quarters. In their brightly colored robes, between a heart-shaped clock and a stylized palm-tree on the wall, the Bedouin pose with all the seriousness and attention that this new experience requires. They smoke, raising their veil with one hand. I fall in love with this cheerful and curious people, who consent to pose for me, and do so with delight.

- Cotton quoted in culturist

*…shining eyes in every shot.

— 3 months ago with 315 notes
#sinai desert  #photography  #culture  #Bedouin  #color  #people  #cotton 
What’s your priority? The human spirit at its most triumphant and at its most trivial.
explore-blog:

A serendipitous screenshot capturing the tragicomic travesties of ad-supported media, viscerally contrasting the human spirit at its most triumphant and at its most trivial: On the left, the remarkable Diana Nyad, flexing her jellyfish-stung arm as she takes pride in a record-breaking endurance swim; on the right, a model flexing her art-directed ability to take pride in Louis Vuitton. 

What’s your priority? 
The human spirit at its most triumphant and at its most trivial.

explore-blog:

A serendipitous screenshot capturing the tragicomic travesties of ad-supported media, viscerally contrasting the human spirit at its most triumphant and at its most trivial: On the left, the remarkable Diana Nyad, flexing her jellyfish-stung arm as she takes pride in a record-breaking endurance swim; on the right, a model flexing her art-directed ability to take pride in Louis Vuitton. 

— 7 months ago with 724 notes
#human  #spirit  #strength  #power  #natural  #beauty  #consumerism  #photography  #swimmer  #swimming  #Diana Nyad 
middleeasternpoetry:

ausschreitungen:

A soldier helping a boy over the barbed wire. After the picture, the soldier was immediately replaced. God only knows what happened to him afterwards.

Where kindness is, who cares for peace or war? Where goodness acts, who hears prayer or quarrel? When a man’s accepted, who cares where he’s from? Surrender, yield; if not, your pride’s a stone. - Rumi 

middleeasternpoetry:

ausschreitungen:

A soldier helping a boy over the barbed wire. After the picture, the soldier was immediately replaced. God only knows what happened to him afterwards.

Where kindness is, who cares for peace or war? Where goodness acts, who hears prayer or quarrel? When a man’s accepted, who cares where he’s from? Surrender, yield; if not, your pride’s a stone. - Rumi 
— 7 months ago with 105823 notes
#rumi  #war  #hero  #history  #soldier  #children  #death  #bravery  #life  #photography 
Now that’s how you rock thick manly eyebrows. She’s gorgeous.
multicolors:

sceptic4l:

ali’s eyebrows > cara’s eyebrows

Her whole face

Now that’s how you rock thick manly eyebrows. She’s gorgeous.

multicolors:

sceptic4l:

ali’s eyebrows > cara’s eyebrows

Her whole face

(Source: krysuvik, via jamanooo)

— 7 months ago with 21577 notes
#model  #beauty  #art  #makeup  #fashion  #eyebrows 

LOVE! May God protect and elevate these women. 

Women of Sarajevo during the Siege:

My message to the watching gunmen who surround my city is simple, you will never defeat us!” -  Meliha Varesanovic

and the message was clear, you will never defeat us.

(photos taken by Todd Stoddart)

(Source: oscarisaaac, via iuvencula)

— 7 months ago with 1056 notes
#bosnia  #bosnian  #war  #women  #culture