Podcasts about brunei gallery

Contemporary artists Nalini Malani and Anita Dube, and curator Shanay Jhaveri, journey through two decades of cultural and political change in South Asia, from Indira Gandhi's declaration of the State of Emergency in 1975, to the Pokhran Nuclear Tests in 1998, in the 2024 exhibition, The Imaginary Institution of India. ⁠The Imaginary Institution of India: Art 1975–1998⁠ runs at the Barbican in London until 5 January 2025. ⁠Rewriting the Rules: Pioneering Indian Cinema after 1970⁠, and the ⁠Darbar Festival⁠, ran during the exhibition in 2024. The exhibition is organised in collaboration with the Kiran Nadar Museum of Art in New Delhi. Nalani Malani: In Search of Vanished Blood runs at Tate Modern in London through 2025. Hear more from Nalini Malani in the EMPIRE LINES episode from My Reality is Different (2022), at the Holburne Museum in Bath: pod.link/1533637675/episode/74b0d8cf8b99c15ab9c2d3a97733c8ed And hear curator Priyesh Mistry, on The Experiment with the Bird in the Air Pump, Joseph Wright of Derby (1768) and Nalini Malani (2022), at the National Gallery in London: pod.link/1533637675/episode/f62cca1703b42347ce0ade0129cedd9b You can also read my article, in gowithYamo: gowithyamo.com/blog/nalini-malani-my-reality-is-different-review For more about artists Bhupen Khakar, Nilima Sheikh, Gulammohammed Sheikh, Arpita Singh, and Imran Qureshi, listen to curator Hammad Nasar on Did You Come Here To Find History?, Nusra Latif Qureshi (2009): pod.link/1533637675/episode/f6e05083a7ee933e33f15628b5f0f209 And read into the exhibition, Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now, at MK Gallery in Milton Keynes and The Box in Plymouth, in my article in gowithYamo: gowithyamo.com/blog/small-and-mighty-south-asian-miniature-painting-and-britain-1600-to-now-at-mk-gallery For more about Imran Qureshi, listen to artist Maha Ahmed on Where Worlds Meet (2023) at Leighton House in London: pod.link/1533637675/episode/fef9477c4ce4adafc2a2dc82fbad82ab And read about the exhibition, in my article in recessed.space: recessed.space/00156-Maha-Ahmed-Leighton-House For other artists working with film and video at the Sorbonne, in Paris, listen to Nil Yalter on ⁠Exile is a Hard Job (1974-Now)⁠, at Ab-Anbar Gallery during London Gallery Weekend 2023: pod.link/1533637675/episode/36b8c7d8d613b78262e54e38ac62e70f For more about the Kochi-Muziris Biennale in Kerala, listen to artist Hanna Tuulikki's EMPIRE LINES episode about Avi-Alarm (2023), from Invasion Ecology: pod.link/1533637675/episode/21264f8343e5da35bca2b24e672a2018 On modernism in southern India, listen to curator Jana Manuelpillai, on The Madras College of Arts and Crafts, India (1850-Now) at the Brunei Gallery in London: pod.link/1533637675/episode/2885988ec7b37403681e2338c3acc104 And for more works from the Kiran Nadar Museum of Art collection, read my article on Postwar Modern: New Art in Britain 1945-65 at the Barbican in London in Artmag: artmag.co.uk/postwar-modern-building-out-of-the-bombsite/ PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

fWotD Episode 2636: Empire of the Sultans Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 23 July 2024 is Empire of the Sultans.Empire of the Sultans: Ottoman Art of the Khalili Collection was a 1995–2004 touring exhibition displaying objects from the Khalili Collection of Islamic Art. Around two hundred exhibits, including calligraphy, textiles, pottery, weapons, and metalwork, illustrated the art and daily life of six centuries of the Ottoman Empire. Many of the objects had been created for the leaders of the empire, the sultans. Two of the calligraphic pieces were the work of sultans themselves.In the 1990s, the exhibition was hosted by institutions in Switzerland, the United Kingdom, and Israel. It visited thirteen cities in the United States from 2000 to 2004, a period when Islam became especially controversial due to the September 11 attacks and the subsequent wars in the Middle East. Critics described the exhibition as wide-ranging and informative. They praised it for showing beautiful art works – naming the calligraphy in particular – and for presenting a fresh view of Islam. Catalogues were published in English and French.The Ottoman Empire lasted from the 13th century until 1922 and, at its peak, had territory in three continents: Asia, Europe, and Africa. In 1516 and 1517, it took over Mecca, Medina, and Jerusalem, the holiest cities of Islam. Although officially an Islamic state, the empire was culturally diverse and multilingual, including Christians and Jews as well as Muslims. Through the history of the Ottoman Empire, its rulers, the sultans, were patrons of the arts. At the capital Constantinople, they created institutes to train and organise architects and artists, establishing distinctive Ottoman styles of architecture, manuscript illustration, and design. The Ottomans developed distinctive styles of Islamic calligraphy, improving its practice for nearly 500 years. In the 19th century it was routine for the sultans themselves to be trained in calligraphy. During the 16th-century reign of Suleiman the Magnificent, the empire reached its greatest extent. Suleiman and his successors used their wealth to build the Topkapı Palace and other buildings in Constantinople, including large mosque complexes decorated inside with architectural inscriptions.For much of its history, Islamic sacred art has been characterised by aniconism: a prohibition against depictions of living beings. Islamic cultures and time periods differed in how they interpreted this, either as applying narrowly to religious art or to art as a whole. Islamic artists compensated for the restrictions on figurative art by using decorative calligraphy, geometric patterns, and stylised foliage known as arabesque.Sir Nasser David Khalili is a British-Iranian scholar, collector, and philanthropist who has assembled the world's largest private collection of Islamic art. The Khalili Collection of Islamic Art spans the time period from 700 to 2000 and includes religious art works and decorative objects as well as those with secular purposes. Empire of the Sultans was the first exhibition drawn entirely from this collection and the first major exhibition at the School of Oriental and African Studies' Brunei Gallery. Some of its objects had never before been put on public display.The exhibition's curators were J. M. Rogers, the collection's honorary curator; and Nahla Nassar, its acting curator and registrar. More than 200 objects were on display, covering six centuries of the Ottoman Empire. These exhibits fell into four sections. "In the service of God" displayed texts including the Quran as well as furniture and ornaments for decorating mosques. "Sultans, soldiers and scribes" included armour, banners, and documents relating to the administration of the empire. "Arts and crafts" included metalwork, textiles, glass, and ceramics. Finally, "books, paintings and scripts" included manuscript paintings, calligraphic works, tools associated with calligraphy, and book bindings. Most objects in the exhibition bore some form of calligraphy.Some venues had listening stations that let visitors listen to music from Ottoman Turkey and hear stories in Arabic and English. At Brigham Young University, carpenters recreated facades of Turkish mosques.The religious manuscripts included thirty-two calligraphed Qurans or Quran sections. These included the work of notable calligraphers including Ahmed Karahisari, Sheikh Hamdullah, Hâfiz Osman, and Mustafa Izzet Efendi. Other literary works included the Masnavi of Rumi and the Dala'il al-Khayrat, a collection of prayers. Wooden roundels, painted with Quranic quotes or the names of the Islamic prophet Muhammad and of the first caliphs, had been used to decorate mosques. Similar decorative calligraphy was embroidered on silk or satin textiles, including a black satin panel from a covering for the door of the Kaaba. Mosque furnishings on display included candlesticks and decorative door fittings in brass or copper. There were qibla compasses used to find the direction of Mecca for prayer and astrolabe quadrants for telling the time for prayer from the rising of stars.The armour on display included helmets, chain mail shirts, and a 15th century war mask. These were mainly forged from iron or steel. Some of this armour was for horses: chamfrons which protected their faces and also served an ornamental purpose. A cotton talismanic shirt was decorated with Quranic quotations, prayers, and the 99 names of God. Weapons on display included daggers, swords, and flintlock guns, many with inscriptions and fine decorative patterns created by damascening (inlaying gold and silver wires into a metal surface). The daggers and swords included the earliest surviving example of a curved Islamic sword upon which was engraved the name of Baybars, a 13th-century Mamluk sultan. The Ottomans took this from Egypt and added gold damascening. Military banners bore the names of God and Muhammad along with prayers and invocations. An image distinctive to Ottoman banners was Zulfiqar, the two-bladed sword that Muhammad is said to have taken at the Battle of Badr. A section of one such banner was included in the exhibition.The documents included grants of land and income. As official proclamations of the sultan, these used highly ornate, stylised calligraphy and incorporated the sultan's tughra, an elaborate monogram that was their official seal. The display included tughras of Suleiman the Magnificent, Selim II, Murad III, Ahmed I, Mehmed IV, Abdul Hamid I, and Abdulmecid I. Two manuscripts told histories of the sultans, illustrated with portrait paintings.The third section included metalwork, pottery, jade, and textiles. The domestic metalwork objects were made of silver, brass, or gilt copper. The textiles, from the 16th and 17th centuries, included rugs and woven silk lampas panels from locations around the Ottoman Empire.In the late 16th century, the Ottomans used Iznik pottery, with its bold colours on white, to decorate imperial palaces and mosques. Several examples from Iznik were included in the exhibition, including tiles, dishes, and vases. Other pottery on display included fritware dishes from Syria and a set of twelve fritware bowls made in 1860, each inscribed in Arabic with "Imperial Chamber" and "a gift for his excellency Abraham Lincoln". The curators were not able to establish why or where this gift was made for Lincoln, beyond that the inscription suggests they were made in Turkey. A 16th or 17th century tile panel, 207 by 112.5 centimetres (6.79 ft × 3.69 ft), bore two calligraphed statements of faith, suggesting it was made to decorate a mosque.The final section of the exhibition included calligraphic works, manuscript paintings, decorative book bindings, and tools used by calligraphers. The calligraphic works included single panels, albums, and inscriptions on leaves. Among their scribes were notable calligraphers such as Sheikh Hamdullah, Mahmud Celaleddin Efendi, and Mehmed Şevkî Efendi. The exhibition had calligraphy panels by two sultans, Abdulmejid I and Mahmud II. One type of calligraphic work special to Islam is the hilye, a description in words of the qualities of Muhammad or other prophets of Islam. On display were several examples of hilyes. Some of these followed a standard pattern with main text inside a central medallion and additional names and quotations in surrounding panels; others had unconventional layouts or textual inclusions.Among the paintings and drawings were portraits from poetry manuscripts, painted within elaborate decorative borders, and two examples of the saz style which combines fantastical foliage and creatures. The exhibition travelled to a total of sixteen venues in four countries. Some venues put on special events, including performances of Turkish music, film viewings, lectures, and demonstrations of calligraphy.Musée Rath, Geneva, Switzerland, July – September 1995Brunei Gallery, School of Oriental and African Studies, University of London, UK, July – October 1996Israel Museum, Jerusalem, Israel, December 1996 – June 1997Thirteen venues were in the United States, the first time an exhibition from the Khalili Collections had been held in North America.Society of the Four Arts, Palm Beach, Florida, February – April 2000Detroit Institute of Arts, Detroit, Michigan, July – October 2000Albuquerque Museum of Art and History, Albuquerque, New Mexico, October 2000 – January 2001Portland Art Museum, Portland, Oregon, January – April 2001Asian Art Museum of San Francisco, San Francisco, California, August – October 2001Bruce Museum of Arts and Science, Greenwich, Connecticut, October 2001 – January 2002Milwaukee Art Museum, Milwaukee, Wisconsin, February – April 2002North Carolina Museum of Art, Raleigh, North Carolina, May – July 2002Museum of Art, Brigham Young University, Provo, Utah, August 2002 – January 2003Oklahoma City Museum of Art, Oklahoma City, Oklahoma, February – April 2003Frist Center for the Visual Arts, Nashville, Tennessee, May – August 2003Museum of Arts and Sciences, Macon, Georgia, August – November 2003Frick Art and Historical Center, Pittsburgh, Pennsylvania, November 2003 – February 2004Critics described Empire of the Sultans as broad and informative. Reviewing the Geneva exhibition for the Financial Times, Susan Moore observed that "no other single collection outside Istanbul has the range of material" to put on such a wide-ranging overview of Ottoman culture. She identified its main achievement as showing how the Ottoman world was affected by its conquest of other territories. The Middle East magazine said the Brunei Gallery offered a "beautifully curated" show that "cleverly illustrates how art was an integral part of Ottoman daily life". The Columbian concluded from the Portland exhibition that "Nasser D. Khalili's collection of Islamic art treasures is so extensive it nearly brings the Ottoman Empire to life." The New York Times described "[t]his treasure trove of a show" at the Bruce Museum as having "an impressive sweep".Critics praised the beauty of the exhibited art works. The Albuquerque Tribune described Empire of the Sultans as a "stunning exhibit of treasures of the Ottoman Empire" whose 225 objects "are simply breathtaking". Reviewing for the San Francisco Chronicle, David Bonetti found all the objects "at least interesting" and the best "gorgeous", naming the carpets and ceramics as highlights. For The Capital Times, Kevin Lynch described the Milwaukee exhibition as a "serenely gorgeous show" and "a must-see for those who want clarity in these troubling times." In his review of the year for 2002, Lynch named Empire of the Sultans as the fourth best visual arts event. Reviewing the London exhibition for The Times, John Russell Taylor found it a pity that some of the most interesting objects shown in Geneva had been excluded from the Brunei Gallery (usually for lack of space), but said that the somewhat reduced display still included "many real gems of significant art".The calligraphy, in particular, attracted praise. The Associated Press wrote that its beauty could be appreciated even by visitors who do not understand Arabic writing. Alan Riding in The New York Times described the calligraphy from the later years of the Ottoman Empire as "works of extraordinary delicacy". In The Oklahoman, John Brandenburg named the calligraphy section as the strongest part of the exhibition, saying that the "magnificent blend of art and science as well as military and cultural history" may require more than one visit to take in. The Atlanta Journal-Constitution highlighted the "superb" calligraphy as well as "wonderful" miniature paintings.Empire of the Sultans was described as showing Islam in a way that contrasted with existing prejudices and with current media coverage. Describing the Brigham Young University exhibition as a "[p]art decorative art extravaganza, part cultural history lesson", The Salt Lake Tribune praised it for sharing the artistic culture of the Islamic world at a time when news mentions of Islam were dominated by war in the Middle East. The US senator John Edwards said of the North Carolina exhibition in 2002, "Since Sept. 11, Americans have been asking more questions [...] about Islam and Islamic cultures in general. The Museum of Art's exhibition offers opportunities to enhance our understanding of Islam's rich and varied cultural history, as well as the events happening today." The New Statesman recommended "an unmissable exhibition" that showed Ottoman culture on its own terms rather than following Western preconceptions. The Pittsburgh Post-Gazette saw the exhibition as an alternative both to the way Islam was being portrayed in news reports and to a romanticised view of the Arabic world as mysterious and distant. A catalogue by J. M. Rogers was first published in both English and French in 1995 to coincide with the exhibition at the Musée Rath in Geneva. This included colour photographs of 203 exhibited objects. Updated English editions accompanied the Brunei Gallery exhibition in 1996. Fourth and fifth editions of the catalogue were produced for the United States tour, including 226 objects.Rogers, J. M. (1995). Empire of the Sultans: Ottoman Art from the Collection of Nasser D. Khalili. Geneva: Musée d'Art et d'Histoire. ISBN 1-898592-04-7. OCLC 34380041.Rogers, J. M. (1995). L'empire des sultans: l'art ottoman dans la collection de Nasser D. Khalili (in French). Geneva: Musée d'Art et d'Histoire. ISBN 9782830601190. OCLC 716306659.Rogers, J. M. (1996). Empire of the Sultans: Ottoman art from the collection of Nasser D. Khalili. London: Azimuth Ed. ISBN 9781898592075. OCLC 475490537.Rogers, J. M. (2000). Empire of the Sultans: Ottoman art of the Khalili Collection (4 ed.). London: Nour Foundation. ISBN 9780883971321. OCLC 471619620.Rogers, J. M. (2000). Empire of the Sultans: Ottoman art of the Khalili Collection (4 ed.). London: Nour Foundation. ISBN 9780883971321. OCLC 471619620.Official page on Khalili Collections siteOfficial video from the Israel exhibitionThis recording reflects the Wikipedia text as of 01:00 UTC on Tuesday, 23 July 2024.For the full current version of the article, see Empire of the Sultans on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Nicole.

21. Khushwant Singh Lit Fest: Indian, Pakistani & Bangladeshi authors - In this special We'd Like A Word India episode at the Khushwant Singh Literary Festival, co-hosts Paul Waters & Jonathan Kennedy (standing in for Stevyn Colgan) hear ideas from top authors of fiction, non-fiction, memoir & poetry & other experts. WARNING - one of our interviewees (Farrukh Dhondy) gets a bit sweary. WHO IS JONATHAN KENNEDY? WHY IS HE HERE? AND WHERE IS STEVYN COLGAN? Jonathan was Director of Arts in India for 5 years for the British Council. He's been everywhere in India and knows everyone there involved in culture. He was also for 12 years the Executive Director of Tara Arts, looking at the world through a South Asian lens. Jonathan is doing some India & South Asian episodes of We'd Like A Word with us. We'll drop them in every now & then. Normal service will be resumed with Steve & Paul shortly. Our guests on this WLAW KSLF episode include Harinder Singh, who with The Singh Twins & Gopinder Kaur has created the book Jewels of Sikh Wisdom; Pinky Lilani, cook, networker extraordinaire, founder of Asian Women of Achievement, & author of Some Kind of Wonderful; Nadia Kabir Barb of The Whole Kahani south Asian women's writers' collective & author of the short story collection, Truth or Dare; Farrukh Dhondy, author, playwright, media executive & activist - who writes about his bookish relationship with the notorious serial killer Charles Sobraj; Ayesha Manazir Siddiqi & her debut novel, The Centre; sisters Shirin & Marina Wheeler who write separately about their parents - Shirin on her father, the iconic journalist Charles Wheeler - Witness to the Twentieth Century, & Marina on her mother, Dip - The Lost Homestead - My Mother, Partition and the Punjab; poet Imtiaz Dharker on her latest collection, Shadow Reader; Aneysha Minocha, founder & CEO of Quantaco, the green tech, clean tech carbon-reducing start-up that grabbing attention; & Akshat rathi, author of Climate Capitalism, also senior reporter for Bloomberg news & host of the Zero podcast on climate change. Phew - that's loads! What is the Khushwant Singh Literary Festival? The Indian version happens in breathtakingly spectacular surroundings inside the military cantonment in Kasauli, Himachal Pradesh, in the foothills of the Himalayas. Paul's been there. This recording is at the London spin-off at the Brunei Gallery at SOAS - the School of Oriental and African Studies. Khushwant Singh was one of India's most prolific authors, a scholar, journalist, iconoclast & dubbed "the most honest man in India." The festival is keen to promote closer ties between India & Pakistan; equal opportunities for women worldwide; & disseminating the values of democracy, tolerance, compassion in a world that is increasingly more polarised. We'd Like A Word is a podcast & radio show from authors Paul Waters & Stevyn Colgan. We talk with writers, readers, editors, agents, celebrities, talkers, poets, publishers, booksellers, & audiobook creators about books - fiction & non-fiction. We go out on various radio & podcast platforms. Our website is http://www.wedlikeaword.com for information on Paul, Steve & our guests. We're on Twitter @wedlikeaword & Facebook @wedlikeaword & our email is wedlikeaword@gmail.com Yes, we're embarrassed by the missing apostrophes. We like to hear from you - questions, thoughts, ideas, guest or book suggestions. Perhaps you'd like to come on We'd Like A Word to chat, review or read out passages from books. Paul is writing a new cosy mystery series set in contemporary Delhi - more on that anon. And if you're still stuck for something to read now, may we recommend Blackwatertown, the thriller by Paul Waters or Cockerings, the comic classic by Stevyn Colgan.

Jana Manuelpillai revisits the Madras College of Arts and Crafts, the first British colonial art school set up in India, through the post-independence practice and striking monochrome works of A.P. Santhanaraj. The Madras College of Arts and Crafts in Chennai, Tamil Nadu, was the first art school in India, set up by the British colonial administrator in 1850. Post-independence in 1948, as the Government College of Arts and Crafts, teachers like K.C.S. Paniker and S. Dhanapal, and A.P. - Andrew Peter - Santhanaraj, transformed from the School, from its ‘Kensington style' education, to focus on Indian influences. Historical attention has focussed on schools in Bombay, Baroda, Calcutta, and Delhi, but curator Jana Manuelpillai suggests that this actually let a more ‘authentic' southern idiom to flourish - something he continues to explore with contemporary artists. Marking 55 years since Madras State was renamed Tamil Nadu, Jana shares footage from his meetings with the Santhanaraj, and outlines his plural influences, from Indian fresco painting to the art of Jackson Pollock. We discuss the diversity and deep practice of traditional religions in the south, and the differences between European primitivism and nativism, ‘othering' the likes of Pablo Picasso. Plus, we discuss the globalisation of contemporary art markets, challenging London, New York, and Paris' primacy, and the ‘stamps of approval' they've granted diaspora artists past. A.P. Santhanaraj (1932-2009): Modern & Contemporary Art from South India ran at the Brunei Gallery, SOAS in London until 23 September 2023. You can find more at the Noble Sage Art Collection, online and in London. For more South Asian art histories, hear curator Hammad Nasar on Did You Come Here To Find History?, Nusra Latif Qureshi (2009), on EMPIRE LINES: pod.link/1533637675/episode/f6e05083a7ee933e33f15628b5f0f209 And read more about the exhibition, Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now, at MK Gallery and The Box, in my article in gowithYamo: gowithyamo.com/blog/small-and-mighty-south-asian-miniature-painting-and-britain-1600-to-now-at-mk-gallery WITH: Jana Manuelpillai, Director of The Noble Sage Art Collection, which specialises in Indian, Sri Lankan and Pakistani contemporary art. He is the curator of A.P. Santhanaraj (1932-2009): Modern & Contemporary Art from South India. ART: ‘The Madras College of Arts and Crafts (1850-Now)'. IMAGE: Installation View. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

We're celebrating fifty episodes of EMPIRE LINES, with three specials recorded offline and in the museum space – this time in the Tate Modern, in London, for their latest exhibition Surrealism Beyond Borders. Returning to EMPIRE LINES, Richard Gray joins curator Carine Harmand to explore the works of Mozambican artist, Malangatana Ngwenya. Plus, curator Keith Shiri unveils Malangatana's restored mural at the all-new Africa Centre in London. White gnashing teeth, wide eyes, and clawed hands of humans and animals dominate Malangatana's Untitled (1967). Otherwise titled How Long Will This Go On?, the overwhelming oil work is a horrifying visualisation of the violence endured by his native Mozambique, as it struggled for independence from Portugal's Estado Novo until 1975. A prominent political figure, Malangatana joined the Mozambique liberation movement FRELIMO in 1964, and was imprisoned by the Portuguese secret police. Neither a propagandist nor a 'pamphleteer', his works nevertheless embody his own politics and biography, from his artist's block after prison, to his efforts to memorialise the 'Mozambican personality'. Practicing in both colonial and post-colonial Mozambique, he straddled empire lines across Africa, contesting the notion of Europeanisation as civilisation. Set against the exhibition and sounds of Mozambique musicians, curator Carine Harmand and Richard Gray reveal the two way flows between European modernism and Africanist art, and how the artist appropriated and benefitted from surrealism's international network. Plus, film curator Keith Shiri shares his experiences with the artist at the recent reopening of the Africa Centre. Surrealism Beyond Borders runs at the Tate Modern in London until 29 August 2022. The Africa Centre in London reopened on 9 June 2022. Part of EMPIRE LINES at 50, featuring three exhibitions ahead of their final weekend. See the episode notes for links to the last tickets, and the other episodes on Althea McNish and Ingrid Pollard. PRESENTERS: Carine Harmand, Assistant Curator of International Art at Tate Modern, and of Surrealism Beyond Borders. Richard Gray, postgraduate research student at SOAS University of London. He was the co-curator of Our Sophisticated Weapon: Posters of the Mozambican Revolution at the Brunei Gallery, and formerly a 'cooperante internacionalista' (internationalist co-worker), contracted as a teacher by the Mozambican government in the late 1970s. Keith Shiri, film curator, founder, and director of Africa at the Pictures, the London African Film Festival, and the Africa Media Centre at the University of Westminster. He is the curator of the Icons of the Africa Centre Series at The Africa Centre, and is a BFI London Film Festival Programme Advisor. ART: Untitled, Malangatana Ngwenya (1967). IMAGE: 'Untitled'. SOUNDS: Adlina Tatana // Alda Ngwenya, Vasco Sambo. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

For EMPIRE LINES' 30th episode, we're heading offline and out into the museum space - to SOAS' Brunei Gallery, in London. Richard Gray is co-curator of their latest exhibition, Our Sophisticated Weapon: Posters of the Mozambican Revolution. Cashew nuts are a paradoxical symbol in Mozambique. Brought over from Brazil by 16th century Portuguese colonists, they were used to attract - and commit - Mozambican peasant farmers to compulsory cultivation. Yet they became a national icon for post-colonial Mozambique, peppering propaganda imagery from its independence in June 1975. Associated with abundance, Mozambique produced and processed over half the world's cashew supply, which remained the state's greatest export until the 1980s. Kept illiterate under Portuguese rule, Mozambique's masses were mobilised using vivid visual art. The Frelimo government celebrated the industry's revival with colourful posters, symbolising the post-colonial promises of plenty, socialist internationalism, and a new humanity. But beyond propaganda, these posters reveal how artist collectives appropriated communist and capitalist graphic design, including comics, creating a movement which threatened those who sought to destabilise Mozambique from the inside out, like South Africa and Zimbabwe. Set amongst the sounds of Nampula province, co-curator Richard Gray traces the colonial history of the cashew nut to the neoimperial practices of international financial institutions today. Our Sophisticated Weapon: Posters of the Mozambican Revolution runs at the Brunei Gallery at SOAS, London until 11 December 2021. Find out more about the exhibition online, read the catalogue of interviews with the surviving artists, and attend SOAS School of Arts' special seminar on 11 December 2021. PRESENTER: Richard Gray, postgraduate research student at SOAS University of London. He is the co-curator of Our Sophisticated Weapon and formerly a 'cooperante internacionalista' (internationalist co-worker), contracted as a teacher by the Mozambican government in the late 1970s. ART: Let Us Harvest All The Cashew Nuts, To Harvest The Nuts Is To Develop Mozambique, Alexandre Milhafre (c. 1979). SOUNDS: TRKZ. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines *CORRECTION: The war with Renamo caused around one million civilian deaths and displaced five million throughout Mozambique. Around one million were likely displaced from Nampula province, from where many went to Malawi.

In this episode, we talk with scholar-practitioner Jacqueline Hargreaves about her work with the Hatha Yoga Project, her unlikely background as an engineer that first brought her to India, and her life as a nomadic yoga researcher with her partner Jason Birch. Jacqueline shares some wonderful stories about her work including a rare audience with Mysore's Royal Family and the discovery of a lost manuscript thousands of miles from India in a very unlikely place. We also discuss her upcoming online course, YS 114 | Rāja Yoga: History, Theory, and Practice which will be co-taught with Jason Birch. Speaker BioJacqueline Hargreaves is an Engineer, senior Yoga Teacher, and independent researcher who examines the contemporary meeting place between historical Yoga practices and their application in the modern world. She is a founding member of the Journal of Yoga Studies, a peer-reviewed academic journal, and the co-founder of The Luminescent, an independent open-access educational platform for publishing cutting-edge, original research from primary sources. She has travelled throughout India for fieldwork into the origins of Haṭhayoga and studied meditation extensively, including mindfulness-based meditation and intensive Zen practice in a remote part of Japan.Hargreaves collaborates with scholars, artists, and scientists to communicate research on both premodern and modern facets of Yoga. Most recently, she curated the exhibition Embodied Liberation I and II at the Brunei Gallery in London for the Hatha Yoga Project (SOAS University of London). In collaboration with the AyurYog Project (University of Vienna), Jacqueline curated the Untangling Traditions series and designed a web-based visual and interactive timeline for premodern yoga and Āyurveda. Hargreaves is currently producing a documentary film, which aims to bring to life the unique content of the postural practice preserved in an eighteenth-century Sanskrit yoga text, Haṭhābhyāsapaddhati, through a visual reconstruction of its extraordinary section on āsana. LinksThe Luminescent (www.theluminescent.org)Journal of Yoga Studies (www.journalofyogastudies.org) Embodied Liberation - The Textual, Ethnographic and Historical Research of the Hatha Yoga Project (www.soas.ac.uk/gallery/embodied-liberation/) AyurYog Timeline (ayuryog.org/timeline) Hatha Yoga Project (hyp.soas.ac.uk)Haṭhābhyāsapaddhati: A Precursor of Modern Yoga (hathabhyasapaddhati.org)  

We discuss the diverse and fascinating exhibits on display in ‘The Art of Innovation: From Enlightenment to Dark Matter’ at the Science Museum in London. See links below. ‘African Textiles from the Karun Thakar Collection’, Brunei Gallery, SOAS (11 October 2019 – 14 December 2019): https://www.soas.ac.uk/gallery/african-textiles/ ‘The Art of Innovation: From Enlightenment to Dark Matter’, Science Museum (25 September 2019 – 26 January 2020): https://www.sciencemuseum.org.uk/see-and-do/art-innovation-enlightenment-dark-matter Ciba-Geigy Review: https://discover.libraryhub.jisc.ac.uk/search?q=ciba+geigy+review Caroline Alexander, ‘Faces of War’, Smithsonian Magazine (February 2007): https://www.smithsonianmag.com/arts-culture/faces-of-war-145799854/ Jeanne Willette, ‘Henry Tonks: Torn Portraits: The Art of Facial Reconstruction’, arthistoryunstuffed (1 July 2016): https://arthistoryunstuffed.com/henry-tooks-torn-portraits-the-art-of-facial-reconstruction/ Allison Meier, ‘The Sculptor who made masks for soldiers disfigured in World War I’, Hyperallergic (8 September 2016): https://hyperallergic.com/314255/the-sculptor-who-made-masks-for-soldiers-disfigured-in-world-war-i/ Sandra Kemp, ‘Future Face: Image, Identity, Innovation’, Science Museum (October 2004 – February 2005): https://wellcomecollection.org/books/WwVK3CAAAHm5ExyF and http://www.bbc.co.uk/ouch/features/future_face_exhibition_at_the_science_museum_london.shtml

A 3,000 year old Iranian ritual, archaeology on a council estate, and London's Greek Cypriot community: Matthew Sweet hops on the 29 bus route, puts on some VR glasses, and visits the hospital which was home to "the Elephant Man" as he talks to researchers showcasing their projects at the 2018 Being Human Festival. Petros Karatsareas and Athena Mandis guide Matthew through the moves made by the Greek Cypriot diaspora in London along the 29 bus route. Carenza Lewis and Ian Waites of the University of Lincoln explain why they've organised an archaeological dig on a 1960s council estate. Nadia Valman and Karen Crosby are organising a slide projection onto the walls of the Royal London Hospital Living Zoroastrianism is an exhibition on show at the Brunei Gallery at SOAS (until December 15th) in which Virtual Reality allows visitors to experience a 3,000 year old ritual from pre-Islamic Iran, stages by Almut Hintze and Anna Sowa You can find events around the UK in the Being Human Festival of research into the Humanities here https://beinghumanfestival.org/ Producer: Luke Mulhall

SOAS's exhibition at Brunei Gallery - photos taken in Asia 150 years ago by John Thompson. And my own process of stylised portrait drawings.

In the build up to the World Radio Day Event 2018 the SOAS Radio Team will be interviewing community radio, representatives of communication for sports & development organisations, radio industry professionals and academics on this years theme of ‘Sports & Radio’ in a series of podcasts. In this episode, Laura Siegler talks to Anna Kessel. Anna Kessel is a sport journalist for The Observer and The Guardian. In 2007, she co-founded Women in Football, an organisation working on women’s participation in football, celebrating women’s achievement, challenging discrimination and offering professional expertise. Anna talks about the role of Women in Football in tackling gender issues in the sport industry and the importance of creating a more inclusive sport culture, as well as the role that radio and journalism plays in challenging mirepresentations of women in sport. The World Radio London 2018 event will be hosted by SOAS Radio on Wednesday 7th February, in the Brunei Gallery at SOAS, University of London from 3-8pm. Sign up to the event for free here: www.eventbrite.co.uk/e/world-radio-day-2018-sports-radio-tickets-42167120994

In the build up to the World Radio Day Event 2017 the SOAS Radio Team will be interviewing community radio, representatives of communication for development organisations, radio industry professionals and academics on this years theme of ‘Radio and Global Transitions’ in a series of podcasts. In this episode, Joe Smith talks to Noma Masina. Noma is the Current Affairs Producer for ZiFM Stereo, the first independent, non-state radio station to be set up in Zimbabwe in 2012, a senior teaching fellow at the centre for Media Studies at SOAS, and was formerly a writer for the Zimbabwe Independent Newspaper. Noma talked with Joe about the role of a private radio in the context of the history of Zimbabwe’s State broadcasting dominance, pre- and post-independence, the role of alternative broadcasting in the build up to elections and social media and its usefulness and limitations in youth uprisings, with specific reference to the #Rhodesmustfall and #feesmustfall movements in South Africa. The World Radio London 2017 event will be hosted by SOAS Radio on Friday 10th February, in the Brunei Gallery at SOAS, University of London from 3-8pm. For more information about the event, click here. Sign up to the event for free here. Music in Jingle – The New Mastersounds – Miracle

In the build up to the World Radio Day Event 2017 the SOAS Radio Team will be interviewing community radio, representatives of communication for development organisations, radio industry professionals and academics on this years theme of ‘Radio and Global Transitions’ in a series of podcasts. In this episode, Anna Ruth talks to Peter Lewis. A former senior lecturer of Community Radio at London Metropolitan University and co-author of ‘From the Margins to the Cutting Edge: Community Media and Empowerment’, Peter has promoted the profile of radio in the academic world and contributed much to this field. Peter talked with Anna about the emergence and history of community radio, its role as an important resource for protest and activism, the current mapping project he is involved with, ‘Radio Garden’ as part of Transnational Radio Encounters and more. The World Radio London 2017 event will be hosted by SOAS Radio on Friday 10th February, in the Brunei Gallery at SOAS, University of London from 3-8pm. For more information about the event, click here. Sign up to the event for free here. Music in Jingle – The New Mastersounds – Miracle (Image from Londonmet.ac.uk)

In Behind The Music this week, we meet Abdoulaye Samb, a Senegalese guitarist, singer and composer whose love of mixing musical genres and styles creates wonderful fusions of cultures and musics. In the interview Abdoulaye tells us about his latest album Wouty, and the musicians from Senegal who have inspired him along the way. Abdoulaye will be performing with his band Minnijiaraby on Thursday 30th April in the Brunei Gallery at SOAS. For more information about the concert, follow this link: https://www.soas.ac.uk/music/events/concerts/30apr2015-senegalese-music-with-an-open-heart.html Copies of Abdoulaye Samb's new album 'Wouty' will be available to buy at the concert. For more information about Abdoulaye Samb and his band Minnijiaraby, follow these links: http://minnjiaraby.com/ https://www.facebook.com/abdoulaye.samb.3158?fref=ts Track listing: 1) Wouty - Abdoulaye Samb & Minnijiaraby 2) Wango arti - Baaba Maal 3) Bannaya Foly - Noumoucounda Cissoko 4) Ne la thiass (Gona in a flash) - Cheik Lô 5) Mamdiyel - Daby Balde 6) Africa - Abdoulaye Samb & Minnijiaraby

In Behind The Music this week, we meet Jyotsna Srikanth, a British-Indian violinist and composer who uses her Carnatic musical routes to create musical fusions inspired by traditions from all around the globe. Jyotsna will be performing on Monday 16th January in the Brunei Gallery at SOAS. For more information about the concert, follow this link: https://www.soas.ac.uk/music/events/concerts/16mar2015-carnatic-nomad-with-a-violin.html Track listing (all tracks performed and composed by Jyotsna Srikanth): 1. Thilana Ratipatipriya 2. Raghuvamsha Sudha 3. Haunting Thoughts 4. Monsoon Magic 5. Spring 6. Folk Dreams 7. Arabian Dreams 8. Irish Folk Dance Produced by Katie Bruce and Alex Richardson. For more information about Jyotsna’s ‘London International Arts Festival’ follow this link: http://www.liaf.co.uk/

In Behind The Music this week, we hear from Gaio de Lima to tell us all about his latest project 'A Oca'. A Oca brings together a group of musicians to explore the rhythms, melodies and dances from the Amazonia and Northern Brazil. We hope this show will inspire you to come along to see A Oca play live in the Brunei Gallery at SOAS on Friday 6th February. Track listing: 1 'Tupyzinho' by Carlos Malta e Pife Muderno 2 'Queima' by Zabé da Loca 3 'Chiclete Com Banana' by Jackson do Pandeiro 4 'Vapor da Paraíba' by Jongo da Serrinha 5 'Carro de Boi' by Zé Coco do Riachão 6 'Coisa dos Santos' by Carlos Malta e Pife Muderno 7 'Puia da Limeira' by Terezinha e Lindalva) 8 Xotiando The Queen by A Oca Produced by Will Roper, Alexandra Richardson & Karen Boswall

In Behind The Music this week, we hear from Michael and Joe from London Sacred Harp. We learn all about this unique style of community singing that spans way back in history to the 1800s. We also give you a taste of what you can expect to hear in their concert, Early Music from the New World, on Friday 16th January at the Brunei Gallery at SOAS University. Track listing: 1. 77 on the top 'Child of Grace' from Sacred Harp, performed by London Sacred Harp 2. 573 from Sacred Harp, performed by London Sacred Harp 3. The Watchman's Call from Christian Harmony, performed by London Sacred Harp 4. 49 on the top 'Old Hundred', from Sacred Harp, performed by London Sacred Harp 5. 'Old Hundred' - John Philip Sousa 6. 'As pants the hart for cooling streams', by Hugh Wilson, performed in Manchester Cathedral. 7. 'Sacred Throne', performed by London Sacred Harp 8. 111 on the bottom, from Sacred Harp, performed by London Sacred Harp 9. 'Rockbridge' from Christian Harmony, performed by London Sacred Produced by Katie Bruce and Will Roper

#CreativeAfrica! ADF hosts representatives of African creative industries in an exciting lead-up to the 2014 African Development Forum! This explorative show includes interviews with guests Kiran Yoliswa, founder of online blog and shop, StyledByAfrica.com, and Nii, founder of a radio station in Jamestown, Ghana, "JT Live", in which we engage in a rigorous discussion on how the creative industries in Africa can impact economic development, challenge political landscapes and be valued more on the continent. The African Development Forum will take place on 15th March 2014 at the Brunei Gallery, SOAS, University of London. Check out our website for more information: http://adf.soasunion.org/ Track list: Fela Kuti "Everything Scatter" Oumou Sangare "Moussolou"