The protests that began way back in February in Yemen have yet to abate. Since that time the country has come to an economic standstill, perhaps even a backslide, and the brink of civil war. Fate intervened on June 3, when President Ali Abdullah Salih was severely injured in a bomb blast at his residence mosque. It was a full month later before he appeared on television and only a week ago when he was discharged from the hospital in Saudi Arabia. Rumors continue to circulate that he will return, although this seems more and more unlikely given his lingering health problems. Meanwhile, like all long-standing dictators, reminders of his power still dot the landscape. The picture above is a heart-shaped image in the southern city of Mukalla. I suspect it may no longer be unblemished. Way back when this all began I thought the protests would not unseat Salih, then changed my mind and thought it would happen soon. But all bets are off because there is no way to predict the turn of events that will occur. I strongly suspect Salih will not return to Yemen and he will grudgingly sign the accord he almost did three times in the past. But as I find so often inscribed in the manuscripts I read, الله اعلم.
Category Archives: Contemporary Art
New Orientalism at a German University?
By Andreas Neumann, Erlangen Center for Islam & Law in Europe (EZIRE)
Recently, at one of the many German universities of excellence (names do not matter), students and other citizens were invited to a lecture with the title: “Stoning: a Non-Islamic tradition.†The hosts were the Seminar for Arab and Islamic Studies and the Institute of Criminal Sciences. The picture represented here is taken from the poster hanging all over the campus and also in the city. At its center, you see a huge hand on the point of casting a crude edged stone in the direction of the observer. In the foreground, there is an olive branch. The colors in the background evoke the national flag of Iran flying in wind. A short analysis might be fruitful. The picture is an example of contemporaneous stereotyped thinking and also transports a message contrary to the requirements of reason.
The hand, disambiguated by the context, symbolizes the gruesome act. It is combined with the enlarged olive branch. The olive branch was a symbol of peace in Greek and Roman antiquity, when it also was worn as an adornment by brides. Retrospectively, it was associated with Noah who sent out a dove which returned with an olive leaf in its beak (which became a branch in the Vulgate). This sign indicated that the water was receding. There might exist an older model of this image, since the association of the dove, the olive branch or even the rainbow with peace does not follow conclusively from the text. The Quran has not taken it over in its frequent references to the Genesis version of the story of the Flood (also see the account by Heinrich Speyer, Die biblischen Erzählungen im Qoran, Gräfenhainichen 1931, pp. 89-115). Nevertheless, the olive tree (by the way, in German more often called “Ölbaumâ€, oil tree) is cited several times in the Quran, especially in the beautiful verse of the light, Q 24:35, where the blessed olive tree in question is characterized as neither Eastern nor Western (cf. Zechariah 4:3-11). The olive branch has become an international symbol of peace and is represented on the emblem of the United Nations, where two of them symmetrically embrace a map of the world. Continue reading New Orientalism at a German University?
The World Was His Canvas: The Legacy of M.F. Husain
The World Was His Canvas: The Legacy of M.F. Husain
Remembering “the Picasso of India”
By Bruce B. Lawrence, Religion Dispatches, June 9, 2011
Maqbul Fida Husain, known as M.F. Husain, was India’s most famous, and its most infamous, contemporary painter. Often labeled the Picasso of India, his life and work spanned the 20th century and inched into the 21st. He produced over 30,000 paintings, some of which have sold at auction for over $1.5 million.
I organized a conference to celebrate his 95th birthday in Doha last September. It was titled (as Husain himself had requested) “The World is My Canvas.†Husain came back from London, where he also has a home and studio, but as an active participant, not a mere observer. He talked, he doodled, he joked, he even posed for a group photo.
M.F. Husain remained a dynamic, ceaseless explorer of art, life, and beauty until a couple of weeks before his death in London on Thursday June 9. In 2003, to celebrate his 88th birthday, he produced 88 oils across four Indian cities. “After open-heart surgery they said: ‘take it easy, and only paint miniatures,’†he scoffed, referring to an operation he had in 1988.
Yet controversy embroiled him from the mid-’90s because he loved, and painted from, India. Politically-minded Hindu partisans objected to his portrayal of women. He painted not just women but Hindu goddesses, and he painted them as they have been painted for centuries: unclad. But secular Indian courts allowed advocates for the Hindu right to bring a case against Husain. He was accused of causing harm to the sensibilities of others. He faced not one case but multiple cases, along with vandalism of his art and threats against both himself and those close to him. Soon after his victorious 88th birthday, he moved from India to the Gulf; first to Dubai, and then after 2007 to Doha, the capital of Qatar. Continue reading The World Was His Canvas: The Legacy of M.F. Husain
Making room for Hafiz
Spiritus, by Sami Rifai, Lebanon, Micheal-Angelo white Marble, 133x40x40 cmby, 1988
Ghazal 98: News From Abroad
by Hafiz, translated by A. Z. Foreman
Last night, the wind brought wind of one I love who’d gone away.
I too shall yield my heart unto the wind, now. Come what may.
At length my love has come to this: I can confide in none
but blazing lightnings every night and dawn winds every day.
Defenseless in your deep curled locks, and out of me, my heart
never once said “Let me recall the body where I lay”
Today, I see my friends were wise to counsel against lovefall.
Elate my counselors’ souls, O Lord, for all the truth they say.
Remembering you, my heart was bloodstruck every time wind blew
open the rosebud’s robe out on the grass in gentle play.
My weakened being leaked out through my fingertips till dawn,
whose wind blew hope of you, and brought the life back to my clay.
Your spirit of good will, Hafiz, will earn you what you yearn for.
When good-willed men cry out, all souls are ransomed to obey.
Tabsir Redux: The Book Of Death #28
[Illustration: “Refugees†by Palestinian artisit Ibrahim Hijazy, 1996.]
by George El-Hage
Today, the seventh day of the month of Death, I decided to end our relationship. I decided to pack my suitcase and leave. Everything in our spring-like room I left for you: the velvet drapes, old books, notebooks of memories and red roses. All the silk pillows, and the ivory chairs, and the chandelier of carnations, the big bed in the other corner of the room remain for you. I took with me one bleeding suitcase which is my heart. It was so filled with surprise and sorrow that I did not have room for one little pencil. I left empty-handed except for an armful of ashes. I held dejection to my breast, the harvest of a full year of love. I embraced it with anguish and washed its forehead with dew from my eyes. Continue reading Tabsir Redux: The Book Of Death #28
History repeats itself: The case of Egypt
Ruling families not fondly remembered in Egypt
The history of divine kingship and dictatorial hubris has a consistent theme: elevating a ruler’s name above all others and stamping that name on just about everything in sight. In Saddam Hussein’s Iraq his image was everywhere, at times in the heroic proportions of a Babylonian king; visit Syria and you will find Assad and son lionized in every nook and cranny; Timur is resurrected in Uzbekistan. Then there is Hosni Mubarak, whose fall from power is now accompanied by an erasure of his public visage. As reported in Al Jazeera:
An Egyptian court has ordered the names of Hosni Mubarak, the country’s former president, and his wife Suzanne, to be removed from all public places, including streets and parks. Judge Mohammad Hassan Omar ordered on Thursday that Mubarak’s name and picture be removed from sport fields, streets, schools, libraries and other public establishments, according to the state-run al-Ahram newspaper. Currently, various public spaces, including squares, streets and about 500 public schools bear the names of either Hosni, Suzanne or Gamal Mubarak.
An Adeni Artist
One of my most admired paintings by a Yemeni artist is the painting shown above by the Adeni artist Abdulla al-Ameen. I purchased the painting a decade ago at an exhibition sponsored by Yemen’s Ministry of Culture. Al-Ameen received an M.F.A. in 1984 from the Fine Arts Academy in Moscow. In addition to illustrations in books, he has designed stamps for the Yemeni government. In 1987 he received Kuwait’s “Golden Dhow Medal” for his artistic achievements.
Afghan Trucks 3
In a previous post on Afghan Trucks, the Afghan woman could be seen without a chador. The scenes from legends and movies were complemented by religious images as well, as can be seen in the photograph above. But if the man is praying to be delivered from the violence of the bombs, his prayers are yet to be answered.