Sunday, October 02, 2005
the life and death of filiberto ojeda rios
From El Diario/ La Prensa on The death of Filiberto Ojeda Rios , a figure in the Puerto Rican independence movement who was recently killed by the government. And here is a more comprehensive article on Rios from Wikipedia
okay, maybe he was wrong on this one
Paul Mooney disses Diana Ross at BET awards I wonder if you just had to be there.
journal of allah's five percent
Journal of Allah's Five Percent is a blog which has been around for a while but is new to me. It's done a brother in the Nation of God's and Earths.
positive is positive
Surely those who believe, and those who are Jews, and the Christians, and the Sabians, whoever believes in Allah and the Last day and does good, they shall have their reward from their Lord, and there is no fear for them, nor shall they grieve. [Quran 2.62]
muslim artists look back at the west
Muslim Voyagers in a Distant Land (the West)
By ALAN RIDING
September 3, 2005
BARCELONA - For well over 1,000 years, from the Moorish conquest of Spain to the postwar addiction to Mideast oil, Europe has been engaged with the Muslim world. Yet remarkably, over much of this period, Europe has paid little heed to how it was viewed in the eyes of Muslims.
Now, "West by East," a groundbreaking exhibition in Barcelona, tries to make amends. It records a complex love-hate relationship characterized by cyclical attraction and repulsion, proximity and confrontation. And it reaches a surprising conclusion: "Easterners have paid a lot less attention to Europeans than we have to them."
The show, which runs at the Center for Contemporary Culture in Barcelona through Sept. 25 before traveling to Valencia, was born of the perceived "clash of civilizations" that followed 9/11. Yet its premise is that today's crisis over Islamic fundamentalism is just one chapter in a very old story.
"Islam and Europe appear to constitute two separate entities that are antagonistic, irreconcilable, radically different," its catalog said. "Now that millions of inhabitants of Muslim origin live in Europe, the story we wish to recount is another."
True, so vast a subject can hardly be covered in a single exhibition built around historical texts, objects and images. But as Jordi Balló, the center's director of exhibitions, put it: "We've so often seen shows about the West's fascination with the East. We ourselves did one called 'Fantasies of the Harem.' This is an attempt to see things from the other side."
By definition, it had to be organized by a Muslim. So the center ceded full control of the exhibition to Abdelwahab Meddeb, a Paris-based Tunisian poet, writer, university professor and, most recently, author of "The Malady of Islam" (Basic Books), a look at Islamic fundamentalism. He in turn recruited nine artists and five writers from the Muslim world to contribute a contemporary view to "West by East."
For the purpose of this show, the West is principally Europe, with the United States a relative newcomer, while the East is the Islamic world. Even here, though, the lines are blurred because Mr. Meddeb and the guest artists straddle this divide.
"In everything I do or write, I try to say what I feel, that I am deeply Western and Eastern, that I am the son of a double genealogy," Mr. Meddeb said, referring to his life in Paris. "I was raised in this spirit. And with the rise of Islamic fundamentalism, I try to demonstrate the East and West are reconcilable."
To explore this premise, the show engages in what he calls "archaeological soundings," starting with maps and writings of a 12th-century Arab geographer, Al-Idrisi. He was in the service of the Sicilian King Roger II, who drove the Muslims from the island but retained Muslim scholars in his court. How far Al-Idrisi traveled is unclear, but he wrote with admiration of Rome's 1,200 churches, 1,000 baths and "the palace of a prince called pope."
Even earlier, Sicily was an important crossroads. On display from Palermo is a page from a Greek-Arabic version of the Gospel according to St. Luke, as well as an 11th-century tombstone inscribed in Greek, Latin, Hebrew and Arabic. To illustrate the crusades, Mr. Meddeb chose Usama Ibn al-Munqidh, a Syrian noble who fought the Christian invaders but who, in his autobiography, described the Westerner as "an enemy one can be friends with."
The physical - and religious - proximity of Christianity and Islam influenced sacred imagery, notably in the way some Muslim artists borrowed from Christian tradition to paint scenes from the life of the prophet (although in some cases the face of Muhammad was later obliterated to conform with prevailing iconophobia). By the 16th century, Ottoman rulers themselves were eager to be painted in the Western style.
But only in the 19th century did the Western way of life begin to transform the Muslim Orient, not only through technology, architecture and fashion, but also through philosophy and political meddling. The response was ambivalent: some Muslim leaders adopted the new ways, with photographs in this show recording their "grand tours" of Europe, but so-called Occidentalists also began resisting European domination.
Then, in 1928, with the creation of the Muslim Brotherhood in Egypt, the stage was set for the continuing struggle between the modern and the traditional in much of the Islamic world. And since then, this show's catalog contends, "the history of the Islamic countries has been marked by a dividing line that separates Occidentophilic and Occidentophobic tendencies."
Still, while a war of images is often fought in today's media, art can serve as an interlocutor. Marjane Satrapi, the Iranian author of "Persepolis," an acclaimed comic-book autobiography, painted a cheerful mural titled "The Magnificent Occident" for this show. In the catalog she noted: "Given that whenever you speak of us, it is to evoke 'The Thousand and One Nights' or terrorism, it will be interesting to see if we have ideas as fixed as yours."
Khosrow Hassanzadeh, another Iranian artist, gave his answer by looking at himself in a Western mirror: he presented a self-portrait and portraits of members of his family, each identified by name, nationality, age and profession, under the heading "Terrorist," as they might be described on a "Wanted" poster.
Shadi Ghadirian, also from Iran, offered a satirical view of how she saw the West by photographing herself in Western dress, then blacking out all evidence of flesh. Thanks to Iranian censors, she explained in the show's texts, that is how she grew up seeing Western women in imported magazines. The Moroccan video artist Bouchra Khalili turned the tables by dressing in traditional costume in Paris, summoning Western men to a casting and removing her costume in public.
The Paris-based Algerian photographer Touhami Ennadre, who happened to be in New York on Sept. 11, 2001, has focused his work in the United States on African-Americans, whom he generically calls "The Other." For "September 11," one photograph on display here, Mr. Ennadre said in the show that he had intentionally excised details of the terrorist attack to focus on "the universal essence of the drama."
Accompanying the show on television monitors, interviews with five Muslim writers provide a kind of running commentary. All are asked to respond to the same questions about their perceptions of the West, among them, what they like (rationality and efficiency were applauded) and what they dislike (the poverty of human relations was lamented).
The most original answer, though, came from Sorour Kasmai, an Iranian writer. To the question of why the West is democratic and the East often despotic, she responded: "I think democracy exists in the West because the West has had the novel. And despotism reigns in the East because the East has had poetry. The novel develops the democratic imagination because it offers various paths, various destinies, while poetry is despotic."
From NYT
By ALAN RIDING
September 3, 2005
BARCELONA - For well over 1,000 years, from the Moorish conquest of Spain to the postwar addiction to Mideast oil, Europe has been engaged with the Muslim world. Yet remarkably, over much of this period, Europe has paid little heed to how it was viewed in the eyes of Muslims.
Now, "West by East," a groundbreaking exhibition in Barcelona, tries to make amends. It records a complex love-hate relationship characterized by cyclical attraction and repulsion, proximity and confrontation. And it reaches a surprising conclusion: "Easterners have paid a lot less attention to Europeans than we have to them."
The show, which runs at the Center for Contemporary Culture in Barcelona through Sept. 25 before traveling to Valencia, was born of the perceived "clash of civilizations" that followed 9/11. Yet its premise is that today's crisis over Islamic fundamentalism is just one chapter in a very old story.
"Islam and Europe appear to constitute two separate entities that are antagonistic, irreconcilable, radically different," its catalog said. "Now that millions of inhabitants of Muslim origin live in Europe, the story we wish to recount is another."
True, so vast a subject can hardly be covered in a single exhibition built around historical texts, objects and images. But as Jordi Balló, the center's director of exhibitions, put it: "We've so often seen shows about the West's fascination with the East. We ourselves did one called 'Fantasies of the Harem.' This is an attempt to see things from the other side."
By definition, it had to be organized by a Muslim. So the center ceded full control of the exhibition to Abdelwahab Meddeb, a Paris-based Tunisian poet, writer, university professor and, most recently, author of "The Malady of Islam" (Basic Books), a look at Islamic fundamentalism. He in turn recruited nine artists and five writers from the Muslim world to contribute a contemporary view to "West by East."
For the purpose of this show, the West is principally Europe, with the United States a relative newcomer, while the East is the Islamic world. Even here, though, the lines are blurred because Mr. Meddeb and the guest artists straddle this divide.
"In everything I do or write, I try to say what I feel, that I am deeply Western and Eastern, that I am the son of a double genealogy," Mr. Meddeb said, referring to his life in Paris. "I was raised in this spirit. And with the rise of Islamic fundamentalism, I try to demonstrate the East and West are reconcilable."
To explore this premise, the show engages in what he calls "archaeological soundings," starting with maps and writings of a 12th-century Arab geographer, Al-Idrisi. He was in the service of the Sicilian King Roger II, who drove the Muslims from the island but retained Muslim scholars in his court. How far Al-Idrisi traveled is unclear, but he wrote with admiration of Rome's 1,200 churches, 1,000 baths and "the palace of a prince called pope."
Even earlier, Sicily was an important crossroads. On display from Palermo is a page from a Greek-Arabic version of the Gospel according to St. Luke, as well as an 11th-century tombstone inscribed in Greek, Latin, Hebrew and Arabic. To illustrate the crusades, Mr. Meddeb chose Usama Ibn al-Munqidh, a Syrian noble who fought the Christian invaders but who, in his autobiography, described the Westerner as "an enemy one can be friends with."
The physical - and religious - proximity of Christianity and Islam influenced sacred imagery, notably in the way some Muslim artists borrowed from Christian tradition to paint scenes from the life of the prophet (although in some cases the face of Muhammad was later obliterated to conform with prevailing iconophobia). By the 16th century, Ottoman rulers themselves were eager to be painted in the Western style.
But only in the 19th century did the Western way of life begin to transform the Muslim Orient, not only through technology, architecture and fashion, but also through philosophy and political meddling. The response was ambivalent: some Muslim leaders adopted the new ways, with photographs in this show recording their "grand tours" of Europe, but so-called Occidentalists also began resisting European domination.
Then, in 1928, with the creation of the Muslim Brotherhood in Egypt, the stage was set for the continuing struggle between the modern and the traditional in much of the Islamic world. And since then, this show's catalog contends, "the history of the Islamic countries has been marked by a dividing line that separates Occidentophilic and Occidentophobic tendencies."
Still, while a war of images is often fought in today's media, art can serve as an interlocutor. Marjane Satrapi, the Iranian author of "Persepolis," an acclaimed comic-book autobiography, painted a cheerful mural titled "The Magnificent Occident" for this show. In the catalog she noted: "Given that whenever you speak of us, it is to evoke 'The Thousand and One Nights' or terrorism, it will be interesting to see if we have ideas as fixed as yours."
Khosrow Hassanzadeh, another Iranian artist, gave his answer by looking at himself in a Western mirror: he presented a self-portrait and portraits of members of his family, each identified by name, nationality, age and profession, under the heading "Terrorist," as they might be described on a "Wanted" poster.
Shadi Ghadirian, also from Iran, offered a satirical view of how she saw the West by photographing herself in Western dress, then blacking out all evidence of flesh. Thanks to Iranian censors, she explained in the show's texts, that is how she grew up seeing Western women in imported magazines. The Moroccan video artist Bouchra Khalili turned the tables by dressing in traditional costume in Paris, summoning Western men to a casting and removing her costume in public.
The Paris-based Algerian photographer Touhami Ennadre, who happened to be in New York on Sept. 11, 2001, has focused his work in the United States on African-Americans, whom he generically calls "The Other." For "September 11," one photograph on display here, Mr. Ennadre said in the show that he had intentionally excised details of the terrorist attack to focus on "the universal essence of the drama."
Accompanying the show on television monitors, interviews with five Muslim writers provide a kind of running commentary. All are asked to respond to the same questions about their perceptions of the West, among them, what they like (rationality and efficiency were applauded) and what they dislike (the poverty of human relations was lamented).
The most original answer, though, came from Sorour Kasmai, an Iranian writer. To the question of why the West is democratic and the East often despotic, she responded: "I think democracy exists in the West because the West has had the novel. And despotism reigns in the East because the East has had poetry. The novel develops the democratic imagination because it offers various paths, various destinies, while poetry is despotic."
From NYT
latinos don't need a made-up identity
From the LA Times:
Latinos don't need a made-up identity on the occasion of Hispanic heritage month by questioning the validity of Latino unity.
Latinos don't need a made-up identity on the occasion of Hispanic heritage month by questioning the validity of Latino unity.
latinas converting to islam
Latino women finding a place in Islam
In alot of ways it has already been said. This brief story is a little bit different from most in that it deals more candidly with some of the struggles.
From MSNBC
In alot of ways it has already been said. This brief story is a little bit different from most in that it deals more candidly with some of the struggles.
From MSNBC
Saturday, October 01, 2005
africans killed trying to immigrate illegally into... africa?
Africans die in Spanish enclave is a recent BBC story on how a number of Moroccans (at least five) have been killed trying to illegally enter Ceuta and Melilla, two seperate enclaves which are on the African Coast but claimed by Spain.
Friday, September 30, 2005
it's just the mood i'm in...
Politics (n.): Formed from the Greek "poly," meaning "many" and "ticks," meaning "small blood-sucking insects"
Thursday, September 29, 2005
even more su-shi love
Monday, 5 September 2005
A Sunni teenager who died while saving Shia victims of last week's Baghdad stampede has been praised as a "martyr" by Iraqi politicians. Witnesses say Othman Abdul Hafez drowned as he tried to pull yet another Shia pilgrim from the River Tigris, having saved up to seven others.
Prime Minister Ibrahim Jaafari said his actions were a "message to the whole world" about religious unity in Iraq.
About 1,000 people died in the stampede during a Shia religious procession.
The incident was apparently triggered by rumours of an imminent suicide attack on the ceremony.
Hundreds died either by being crushed, suffocated or by drowning after they were pushed into the river.
"The Shia dies as a martyr next to the Sunni while celebrating rituals, and the one of them sacrifices himself trying to rescue the other," said Mr Jaafari.
"This is a message to the whole world that the real problem is not between Sunnis and Shias," he added.
Politicians from both Sunni and Shia communities attended the teenager's funeral on Saturday.
"He represented Iraqi unity and we are proud of him because of his message that Iraq is one country, one nation and one religion," said Falah Shensel, a Shia National Assembly member.
Relatives of stampede victims are still searching for loved ones
Many of the dead were women, children, or the elderly, hospital sources said.
The 19-year-old, from the staunchly Sunni district of Adhamiyah, responded to calls to help the stricken Shia pilgrims broadcast from a local mosque.
Witnesses said he was a strong swimmer and saved many struggling Shias before himself succumbing to exhaustion.
His actions belie predictions that the stampede - blamed on Sunni-led insurgents - may exacerbate sectarian tensions between Sunni and Shias at a time of sectarian divisions over the drafting of Iraq's new constitution.
From BBC NEWS
A Sunni teenager who died while saving Shia victims of last week's Baghdad stampede has been praised as a "martyr" by Iraqi politicians. Witnesses say Othman Abdul Hafez drowned as he tried to pull yet another Shia pilgrim from the River Tigris, having saved up to seven others.
Prime Minister Ibrahim Jaafari said his actions were a "message to the whole world" about religious unity in Iraq.
About 1,000 people died in the stampede during a Shia religious procession.
The incident was apparently triggered by rumours of an imminent suicide attack on the ceremony.
Hundreds died either by being crushed, suffocated or by drowning after they were pushed into the river.
"The Shia dies as a martyr next to the Sunni while celebrating rituals, and the one of them sacrifices himself trying to rescue the other," said Mr Jaafari.
"This is a message to the whole world that the real problem is not between Sunnis and Shias," he added.
Politicians from both Sunni and Shia communities attended the teenager's funeral on Saturday.
"He represented Iraqi unity and we are proud of him because of his message that Iraq is one country, one nation and one religion," said Falah Shensel, a Shia National Assembly member.
Relatives of stampede victims are still searching for loved ones
Many of the dead were women, children, or the elderly, hospital sources said.
The 19-year-old, from the staunchly Sunni district of Adhamiyah, responded to calls to help the stricken Shia pilgrims broadcast from a local mosque.
Witnesses said he was a strong swimmer and saved many struggling Shias before himself succumbing to exhaustion.
His actions belie predictions that the stampede - blamed on Sunni-led insurgents - may exacerbate sectarian tensions between Sunni and Shias at a time of sectarian divisions over the drafting of Iraq's new constitution.
From BBC NEWS
the space of multiculturalism
Suprisingly, Islam-Online recently featured a piece called The Space of Multiculturalism by David Theo Goldberg which explores how different ideas about race and culture interact, especially in modern cities. But in capsule form:
The nature of the world is changing. And it seems like you either work with a realistic understanding of how things are different. Or you ignore reality and get swallowed up in the wave.
what might “the multicultural” mean? Two versions are currently on offer. The first is a “descriptive multiculturalism” that at best grudgingly describes the increasing heterogeneity in most post–1945 societies as a result of global political economic changes and (in societies like Britain, France, the Netherlands, even Canada) the rapid migrations following the demise of formal colonial regimes in Africa, the Caribbean and Asia.
The second is a “normative multiculturalism” that insists on cultural diversity and a proliferation (even relativism) of values at the expense of ideas of national cohesion and unified norms. This entails an acknowledgment, occasionally even celebration, of descriptive diversity on the ethno–racial register. It places “ethnic and identity politics”, claims for right and restitution, and cultural sensitivity at the centre of the political agenda.
“The multicultural” has been caught in an oscillation between these two understandings: description and prescription. It has come to represent the contest with the values, long considered settled, of presumed homogeneity. The scope of multiculturalism has thus remained confined by the historical period after the “birth of the nation”, and of the homogeneous kinship and familiality presumed to have arisen from it.
Multiculturalism, in short, is assumed to be what happened to nations once their essential purity was challenged by the influx of racial others. This is the stuff of histories racially conceived. Consider the longstanding requirement, only now eroding, that eligibility for German citizenship be restricted to those with “German blood”; or the purging of those deemed non–white from apartheid South Africa by restricting them to “homelands” or relocating them from urban to segregated residential spaces to maintain the fantasy of “original white” space.
The nature of the world is changing. And it seems like you either work with a realistic understanding of how things are different. Or you ignore reality and get swallowed up in the wave.
why we have to get the troops out of iraq
Why we Have to get the Troops Out of Iraq by Juan Cole from Informed Comment. 'Nuff Said.
Tuesday, September 27, 2005
"i guess, michael jackson was right, you are not alone"
Have any of you seen Enemy of the State? It's the Will Smith/Gene Hackman movie where an evil conspiracy within the government makes use of some amazingly intense technology to keep people under surveilance and mess with folks' lives. Well, If you check out Google Earth you can download a free program which lets you access a virtual globe of the earth made from satellite images which has a frightening amount of search and zoom capacity (the resolution varies depending on the part of the world but when it is good you can make out the painted white lines in a parking lot). When I checked my house I was half-expecting to see my mom wave. The program also comes with a wealth of information which helps to distinguish and identify all kinds of landmarks.
in bleak projects, emerging culture
A recent article from the LA Times In Bleak Projects, Emerging Culture gives a glimpse of how African Muslims in France are defining a religious identity for themselves through hip-hop. (thanks for the heads-up to George Kelly)
"I realized that my Islam of the ghetto was just a ghetto of Islam," Malik said. "There's a disconnect, a kind of phantasmagoria of Islam. The so-called reformers are trying to invent something in reaction to the West…. We have to put things in another context. Otherwise, we would be in the Middle Ages."
Last year, Malik published an autobiography titled "Allah Bless France!" It resembles to some extent "The Autobiography of Malcom X," a figure whose journey from crime to extremism to tolerance had a profound effect on Malik. The title offers an unabashedly patriotic response to a notorious extremist pamphlet titled "Allah Curse France."
"I'm black, I'm from the neighborhood, but I am French," Malik said. "And this is the country I love."
Monday, September 26, 2005
www.blackprof.com
Here is a new website on "race, law and culture" called blackprof.com One of the more interesting posts is called Racism Phobia and it discusses why so many people seem to be more comfortable with the "poverty card" than the "race card".
I'M saying he's a gold digger
It's not exactly Chomsky or Cornel but it is still an interesting commentary on the intersection of race and class in America. This is the new song by Legendary K.O. inspired by both Kanye West's Gold Digger and Kanye's off-the-cuff post-Katrina commentary.
Download the song here
Read the lyrics here
Download the song here
Read the lyrics here
Sunday, September 25, 2005
chickenbones and katrina
Also, even though I already put up a link to their homepage, it is probably worth pointing out that Chickenbones Journal has recently been including a lot of pieces on Katrina and New Orleans. Not just the latest news but also survior accounts, more "big picture" ethical/historical essays and poetry. (That's where I found the Rootswork blog)
a cyberhoodoo webspace
I just found a blog called rootwork the rootsblog which the author describes as a cyberhoodoo webspace with "timely observations on politics, literature, culture, struggle and the hoodoo way". Even though we are coming from significantly different "places" I really feel an affinity for how the political commentary is tempered by spiritual and cultural concerns.
Subscribe to:
Posts (Atom)