Podcasts about Islamic art

Send us a textIn this podcast episode, Ricardo Karam meets the Lebanese multimedia artist and poet living and working in  Beirut, Afaf Zurayk. Daughter of Constantin Zurayk, a prominent Syrian intellectual who was one of the first to pioneer and express the importance of Arab nationalism, Afaf studied Fine Arts at the American University of Beirut and continued her academic pursuit with a master's degree in Islamic Art from Harvard University.Her teaching career spanned prestigious institutions in Lebanon and the United States, including the Corcoran School of the Arts, and Georgetown University. Through her art, Afaf expresses her vision of the world as a "garden without walls", embodying freedom and openness shaped by her experiences of exile and separation.In this conversation, she shares her profound connection to art, describing it as a continuous journey of self-discovery and exploration. She also discusses the six books she has authored, which showcase her creative vision.Join Ricardo Karam and Afaf Zurayk in this captivating dialogue about art, freedom, and the ongoing quest to return to one's essence.في هذه الحلقة من البودكاست، يلتقي ريكاردو كرم بالفنانة متعددة الوسائط والشاعرة اللبنانية المقيمة والعاملة في بيروت، عفاف زريق. هي ابنة قسطنطين زريق، المفكر السوري البارز وأحد أوائل من روّجوا لأهمية القومية العربية. درست عفاف الفنون الجميلة في الجامعة الأميركية في بيروت، ثم واصلت مسيرتها الأكاديمية لتحصل على درجة الماجستير في الفنون الإسلامية من جامعة هارفارد. امتدّت مسيرتها التعليمية لتشمل مؤسسات مرموقة في لبنان والولايات المتحدة، منها مدرسة كوركوران للفنون وجامعة جورجتاون.تعكس أعمالها الفنية رؤيتها للعالم كـ"حديقة بلا سور"، حيث تتجلى قيم الحرية والانفتاح بعد سنوات من المنفى والانفصال.في هذا الحوار، تكشف عفاف زريق عن علاقتها العميقة بفنّها وكيف تحوّل هذا التعبير إلى وسيلة لاستكشاف العالم من حولها. كما تتحدث عن الكتب الستة التي ألفتها والتي تبرز رؤيتها الإبداعية. انضموا إلى ريكاردو كرم وعفاف زريق في حديث شيّق عن الفن، الحرية، والرحلة المستمرة للعودة إلى الذات.#podcast #art #artist #Beirut #washington #exploration #ricardokaram #afafzurayk #بودكاست #فن #فنانة #بيروت #واشنطن #استكشاف #ريكاردو_كرم #عفاف_زريق

Maqrizi, Egypt's most famous historian   Hello again and welcome to our fourth episode of Muslim Footprints Season 2! It's on Al Maqrizi, the most influential historian of Egypt before modern times. That's all the way from the Pharaohs, through to the 15th century! Telling us his story is Professor Nasser Rabbat, head of the Aga Khan Program for Islamic Art and Architecture at MIT.    So, why should we care about a medieval Egyptian historian? Well, he left a rich legacy of writings that offer a window into the social, economic, and cultural life of the medieval Islamic world. His meticulous documentation of Cairo's history was used centuries later by the Ottomans to understand the land they had inherited. It was also appropriated by Napoleon's teams for their monumental Description de l'Égypte, so his work became the go-to source for anyone studying the country.    Maqrizi's writing continues to influence the nation to this day. Egyptian nationalists in the 20th century considered him as the voice of the true Egyptian, while novelists and poets referred to him as the embodiment of resistance to corruption and oppression. Professor Rabbat calls him a rebel: Maqrizi's commentaries remind us of the importance of looking critically at our own societies and learning from history's successes and failures - a theme that resonates across time and cultures. Do subscribe to our YouTube channel, and follow us for more: https://www.instagram.com/muslimfootprints/ https://www.linkedin.com/company/muslim-footprints https://x.com/MFootprintsPod https://www.facebook.com/profile.php?id=61557285590197 http://www.youtube.com/@MuslimFootprints https://www.threads.net/@muslimfootprints

Welcome to Episode 15 of Pattern Portraits!Lauren Godfrey chats with artist Navine G Dossos, about wearing painting, pattern as lexicon and the connections between geometry and philosophy.This episode was recorded on the occasion of her solo exhibition ‘Riviera' at Devonshire Collective's VOLT gallery in Eastbourne.Navine is an artist living between London and Aegina in Greece working predominantly in painting and increasingly in the public realm. She has a keen interest in pattern and through her work explores geometric abstraction, merging traditions coming from Islamic art with the algorithmic nature of the interconnected world we live in.Navine studied History of Art at Cambridge University, Arabic at Kuwait University, Islamic Art at the Prince's School of Traditional Art in London, and holds an MA in Fine Art from Chelsea College of Art & Design.Her exhibition at Volt is a commission led by Towner Eastbourne in collaboration with Devonshire Collective and presents a new collaboratively designed patterned textile featuring a language of symbols developed from the surrounding area of Eastbourne and the people that live there. The textile is available for free for visitors to take a 2 metre length with which to make a garment or furnishing, thus disseminating the pattern across the town, country and potentially the globe. A truly public artwork it also manifests as a series of awnings on nearby shopfronts, peppering the town with pattern.Navine has chosen a beautiful palette of patterns including a Raoul Dufy textile from 1920, an Islamic Geometric pattern, A Japanese wave pattern, the Photoshop transparency grid and two patterns by the Bloomsbury Group; 'Pamela' by Vanessa Bell / Duncan Grant and ‘West Wind' by Duncan Grant.You can see all of Navine's patterns and more on instagram @patternportraitspodcast‘Monumental Intimacy' - The PATTERN PORTRAIT print artwork to accompany Navine's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.ukReferences:Agnes MartinCharleston House Hosted on Acast. See acast.com/privacy for more information.

 Isabelle Imbert welcomes Dr Richard McClary, Senior lecturer in Islamic art history at the University of York. Throughout his career, Richard has published extensively on artistic and architectural productions across the Islamic world. In July 2024, his latest monograph was published at Edinburgh university press, titled “Mina'i Ware: A Reassessment and Comprehensive Study of Iranian Polychrome Overglaze Wares through Sherds”. The episode dives into this production of ceramic, limited to Iran between 1180 and 1220, its technique, classification, use, and the problems of fakes and forgeries tied to the art market at the end of the 19th century. If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Richard McClary on Academia and on LinkedInMina'i Ware: A Reassessment and Comprehensive Study of Iranian Polychrome Overglaze Wares through Sherds, Edinburgh University Press, 2024Oliver Watson, Persian Lustre Ware, Faber & Faber, 1985 (open access)Abu'l Qasim Kashani, historian of the reign of the Il-khan Olǰāytū (r. 703-16/1304-16)  (Encyclopaedia Iranica)Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode.

An archaeologist and an artist walk into a dump…  For most of us, we throw our garbage to the curb, and it disappears from our lives. But to some, that's just the beginning of trash's story. In this episode, we follow two people who seek the truth in trash—an archaeologist who excavates ancient rubbish in Turkmenistan and an artist who spotlights the people responsible for making trash vanish. Guests: Martina Rugiadi, associate curator, Department of Islamic Art, The Met sTo Len, artist Andy Blancero, development officer, Freshkills Park Alliance Featured artworks: Chakaia Booker, Raw Attraction, 2001: https://www.metmuseum.org/art/collection/search/492175 Bowl with Green, Yellow, and Brown Splashed Decoration. Excavated in Iran, Nishapur, 10th century: https://www.metmuseum.org/art/collection/search/449348 Stone Oil Lamp. Excavated in Iran, Nishapur, 9th century: https://www.metmuseum.org/art/collection/search/449328 Painted Dado Panels. Excavated in Iran, Nishapur, 9th century: https://www.metmuseum.org/art/collection/search/449862 James Hampton, The Throne of the Third Heaven of the Nations' Millennium General Assembly, ca. 1950-1964: https://americanart.si.edu/artwork/throne-third-heaven-nations-millennium-general-assembly-9897 Fragment of a Wall Painting with a Fox or a Dog (and Painted Layers). Excavated in Iran, Nishapur, 12th century: https://www.metmuseum.org/art/collection/search/708593 For a transcript of the episode and more information, visit metmuseum.org/immaterialtrash #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camille Dungy. Our production staff includes Salman Ahad Khan, Ann Collins, Samantha Henig, Eric Nuzum, Emma Vecchione, Sarah Wambold, and Jamie York. Additional staff includes Julia Bordelon, Skyla Choi, Maria Kozanecka, and Rachel Smith. Sound design by Ariana Martinez and Kristin Mueller.Original music by Austin Fisher.Fact-checking by Mary Mathis and Claire Hyman. Immaterial is made possible by Dasha Zhukova Niarchos. Additional support is provided by the Zodiac Fund. Special thanks to Adwoa Gyimah-Brempong, Avery Trufelman, Brinda Kumar, Navina Haider.See omnystudio.com/listener for privacy information.

Join Tariq Bajwa and Aneeq Ur Rehman for Wednesday's show from 4-6pm where we will be discussing “Leadership” and “Islamic Art” Leadership Effective leaders are those who can adapt to changing circumstances, communicate clearly, and make decisions that benefit the collective. The Prophet Muhammad (PBUH) exemplified the ideal Islamic leader, combining compassion, justice, humility, and a commitment to the welfare of his people. Join us as we explore the teachings of Islam in regards to leadership. Islamic Art Islamic art encompasses a diverse range of artistic expressions that reflect the spiritual and cultural values of Islamic civilization. Each form of Islamic art, such as architecture, calligraphy and contemporary expression has left an indelible mark on global artistic traditions. Join us as we take a deeper look and broaden our understanding of Islamic Art. Guests Christine Penman - Leadership and Development Specialist Rizwan Baig - A contemporary Islamic Artist Shazain Baig - Islamic artist, calligrapher and historian Producers Misbah Tariq, Hania Mubarik and Amatul-Bari Khan

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.

Join Rizwan Iqbal as he explores how to get young people excited about Islamic art. Listen as he details the problems faced, solutions he has discovered, and the exciting work he has done as part of our Hands On Islamic Art project, which connects the wider UK to Islamic art collections, with funding from the National Lottery Heritage Fund.

Isabelle Imbert welcomes Fuchsia Hart, Sarikhani Curator for the Iranian Collection at the Victoria and Albert Museum in London. Fuchsia is an art historian specialised in the artistic productions of 19th century Iran, ruled by the Qajar dynasty between 1789 and 1925, and particularly on the reign of Fath 'Ali Shah Qajar, who reigned from 1797 till 1834. His patronage is known to us today through his numerous portraits and courtly arts, but also his important architectural patronage of Shia shrines, which is the topic of Fuchsia's ongoing doctoral research. In the episode, she talks about the arts, kingship and diplomacy of Fath 'Ali Shah, as well as her work in the V&A. If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Fuchsia Hart on Instagram, X and on her websiteFuchsia Hart: "Contagion or Cure? A History of Healing and Pandemic in Qom", Ajam, 5 Dec 2020Fath Ali Shah Qajar and Qajar Iran Fuchsia Hart, "The Tomb of Fath-ʿAli Shah Qajar" (recording), Youtube Video, "Private Video" Channel, April 2023Moya Carey, Persian Art: Collecting the Arts of Iran in the 19th Century, London: V&A, 2018 (available on Amazon)Markus Ritter, Moscheen und Madrasabauten in Iran 1785-1848: Architektur zwischen Rückgriff und Neuerung [The Architecture of Mosque and Madrasa in Early Qajar Iran: between re-adaptation and innovation], Leiden and Boston: Brill 2006 (partially available on Academia)Keelan Overton, Kimia Maleki, "The Emamzadeh Yahya at Varamin: A Present History of a Living Shrine, 2018–20", Journal of Material Cultures in the Muslim World, vol. 1, 1-2 (2021) (open source)Assef Ashraf, Making and Remaking Empire in Early Qajar Iran, Cambridge Uni Press: 2024Information and pictures of the Masjid-e Shah in Tehran, built by Fath 'Ali Shah (Archnet.org)A set of six Coalport plates made for Nasir al-Din Shah Qajar, England, dated 1290 AH/ 1873-74, Sotheby's London 24 April 2024, lot 50A large Canton bowl and dishes made for Nasir al-Din Shah Qajar, Persia, dated 1294 AH/ 1877, Sotheby's London 24 April 2024, lot 87

Fatma Al Mahmoud, Cultural Planning Manager at House of Wisdom joins the Morning Majlis to let the listeners know why they should attend the ongoing Chapters of Islamic Art: Carpets' exhibition at the destination. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

In this episode, Isabelle Imbert welcomes Nur Sobers-Khan, doctor in Islamic studies and curator of Islamic arts. Nur started working in curation immediately after getting her Ph.D. in 2012, and has since worked in several collections, looking at Islamic manuscripts, but also objects and archival material. Her various experiences constitute a great opportunity to learn more about the different layers of a curator role and the skills learned along the way. In the episode, she talks about the different institutions she has worked in, as well as her ongoing research on South-Asian manuscripts and the so-called Delhi collection of manuscripts in the British Library.  If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Nur Sobers-Khan on Academia, X, Instagram and LinkedInExhibitions: Marvellous Creatures : Animal Fables in Islamic Art, exhibition catalogue from the Museum of Islamic Art, Doha, 2015'Building Our Collection: Mughal and Safavid Albums' Museum of Islamic Art, Doha, 2015Qajar Women: Images of Women in 19th-century Iran (Milan: Silvana Editoriale, 2016)Doctoral research: Slaves Without Shackles: Forced Labour and Manumission in the Galata Court Registers, 1560–1572 (Berlin: Klaus Schwarz Verlag, 2014)The "Delhi library" in the British Library: “Muslim Scribal Culture in India Around 1800: Towards a Disentangling of the Mughal Library and Delhi Collection” in Scribal Practice and the Global Cultures of Colophons, 1400-1800 New Transculturalisms, ed. C.D. Bahl and S. Hanß (Switzerland, 2022)More information on the "Delhi Library": Dr Saqib Baburi, "Sufism and Persian Manuscripts from the Delhi Collection, British Library", talk given at the British Library in 2018 (audio)"Learning Lessons from the Cyber-Attack", British Library cyber incident review, 

Art historian, educator and author Jonathon Bloom joins us on the afikra podcast to talk about paper, print and the Islamic world. He talks us through changing understandings of "Islamic" art and architecture through the decades, explains the premise of his book "Paper Before Print: The History and Impact of Paper in the Islamic World" and whether it's worth using the term "Islamic Art" in the first place. We touch on the fascinating architectural history of the Minaret, the cultural impact of paper, and what it's like to co-write and work alongside his wife Sheila Blair.Jonathon M Bloom is an art historian, author and educator. He retired in 2018 as the Norma Jean Calderwood University Professor of Islamic and Asian Art at Boston College and in 2019 as the Hamad Bin Khalifa Endowed Chair of Islamic Art at Virginia Commonwealth University, positions that he shared with his wife and co-author Sheila Blair.Connect with Jonathon

Works of Islamic arts mesmerise their viewers, be it calligraphy, vases or mausoleums, but knowledge of their developments continues to be weak for the general enthusiast.  To give an introductory survey on how to delve deeper into the fascinating ocean of Islamic arts is Dr. Isaballe Imbert. Dr. Imbert completed her PhD in 2015 at Sorbonne in Persian and Indian Flower Paintings in the 16th to 18th century. She is an Islamic Art specialist with over 10 years' experience working with the best clients and institutions in the industry. She is known as a researcher, teacher, writer, art market expert and speaker, as well as host of the newly formed ‘ART Informant' podcast. For more on her work, see: https://isabelle-imbert.com This presentation will be the first of two parts with Dr. Imbert. The second will be a beginner's guide to investing in the Islamic arts market. 1:42 Islamic arts, we can say, starts in the 7th century with the advent of Islam in Arabia. How do we divide up time and geography thereafter, and do tell us about sources we can consult for them? 9:42 As this is the Abbasid History Podcast, why don't we focus on the long Abbasid era from 750 to 1517 even if the latter times will be referred to by other dynasties or regions? Tell us about some of the main areas of arts in this period. 18:50 You have a particular interest on Islamic art in India. Tell us about the development of that. 28:00 Between 2008 to 2010, you were dedicated to the study of a 14th century Qur'an produced in Gwalior, India, and now kept in the Aga Khan Museum. Tell us about that. 37:25 And finally, before we end tell us where listeners can turn next to learn more about today's topic and tell us what to anticipate in your second presentation with us: A beginner's Guide to Investing in Islamic Arts. 39:50 Audience questions from Instagram We are sponsored by IHRC bookshop. Listeners get a 15% discount on all purchases. Visit IHRC bookshop at shop.ihrc.org and use discount code AHP15 at checkout. Terms and conditions apply. Contact IHRC bookshop for details.   Originally published: https://www.youtube.com/watch?v=AjV5xiaTECg Oct 20, 2022 https://linktr.ee/abbasidhistorypodcast  

Art historian and author of “What is 'Islamic' Art?: Between Religion and Perception”, Wendy Shaw talks to us about whether art can truly be "Islamic" or "theological", and if so, what that means. We talk about the complex ways in which museums interact with the broader economies and what this means for decolonizing the field of art history, and her roundabout journey into this field all the way from biochemistry.Wendy Shaw is an art historian and professor of the Art History of Islamic Cultures at the Freie Universität berlin. Her book "What is 'Islamic' Art?: Between Religion and Perception" explores the perceptions of arts, including painting, music and geometry through the discursive sphere of historical Islam including the Qur'an, Hadith, Sufism, ancient philosophy, and poetry. By emphasizing the experience of reception over the context of production, Shaw creates a new approach not only to Islam and its arts, but also as a decolonizing model for global approaches to art history.THIS SERIES IS PART OF THE AFIKRA PODCAST NETWORKThe afikra Podcast is our flagship series featuring experts from academia, art, media and beyond who are helping document and/or shape the histories and cultures of the Arab world through their ‎work. Our hope is that by having the guest share their expertise and story, the community walks away with a new ‎found curiosity and maybe some good recommendations about new nerdy rabbit holes to dive into head first. ‎Explore all episodes in this series: https://www.youtube.com/playlist?list=PLfYG40bwRKl5xaTkBDrUKLCulvoCE8ubXABOUT AFIKRAafikra | عفكرة is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region – past, present and future – through conversations driven by curiosity.

In today's episode, Isabelle Imbert welcomes Dr Suzanne Compagnon, post-doctoral fellow at the university of Utrecht. Suzanne recently got her Ph.D. from the University of Vienna with a thesis focused on Turkish Ottoman painting, and more specifically on the single-page figures produced by the painters Levni and Bukhari in the first quarter of the 18th century. Ottoman painting in general has not been studied as much as its Persian and Indian counterparts, and Suzanne dived into the topic with passion. In the episode, they talk about the career and work of these two painters, their sources of inspiration, powdered wigs, bonnets, and much more. If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Suzanne on AcademiaRead Suzanne's Ph.D. dissertation online (open access)Esin Atil, Levni and the Surname: the Story of an Eighteenth-Century Ottoman Festival, University of Washington Press, 2000. Review of the book and reproductions of paintings on Istanbul traveloguewebsite (2014)Gwendolyn Collaço, "‘Word-Seizing' Albums: Imported Paintings from ʿAcem and Hindūstān on an Eclectic Ottoman Market", Ars Orientalis, 51 (2021), pp. 133-187 (open access on Academia)Album Arabe 6076, Bibliotheque nationale de France (digitised) Album Arabe 6077, Bibliotheque nationale de France (digitised) Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

For the first time in its 25-year history, the Islamic Arts Museum Malaysia (IAMM) has launched two exhibitions simultaneously - “A Journey through Islamic Art” and “Alif Lam Ra: Contemporary Muslim Calligraphy.” In "A Journey," the astonishing breadth of art from the Islamic world is explored, covering more than a thousand years of cultures that stretch from East Asia to West Africa. The art of calligraphy has long been central to Islamic art, and "Alif Lam Ra" presents some of the best contemporary works of calligraphy in the IAMM collection, inviting visitors to witness the evolution of calligraphy as the supreme medium of expression within Islam. Featuring objects from IAMM's own collection, both exhibitions highlight the museum's role as a custodian, preserver and knowledge provider of Islamic art, and we speak to Hariz Ahmad Kamal, a curator with the Islamic Arts Museum Malaysia, to find out more.Image Credit: IAMM

A series of conversations with Al-Mayassa bint Hamad bin Khalifa Al Thani and people who have been part of Qatar's architecture & culture development journey. In this episode, Her Excellency is joined by the German scholar and the Director of the Museum of Islamic Art Dr. Julia Gonnella. Before joining the Museum of Islamic Art in 2017, Dr Gonnella worked in the Museum of Islamic Art in Berlin. She has also authored or edited tens of books and articles and taught at Berlin and Bamberg Universities. The discussion revolves around the newly renovated Museum of Islamic Art and the exhibition 'Baghdad: Eye's Delight' as well as other noteworthy galleries on religion, the history of the Quran, and the Islamic world.  The Power of Culture Podcast is a Qatar Creates production.See omnystudio.com/listener for privacy information.

Isabelle Imbert welcomes Pr Stephane Pradines, Professor of Islamic Art, Architecture and Archaeology at the Aga Khan University in London. Stephanes is an archaeologist with a particular expertise on Sub-Saharan Africa, a large region that is being discussed for the first time on this podcast, and for today the Swahili coast in the East. In the episode, they talk about Stephane's past and ongoing archaeological projects, before diving into the architecture of the Swahili coast, artistic exchanges in the Indian ocean, as well as the practice of archaeology in different terrains and climates.  If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Stephane Pradines on AcademiaStephane's profile and list of publications on the Aga Khan University websiteStephane's publications mentioned in the episode: "Early Swahili Mosques: The Role of Ibadi and Ismaili Communities, Ninth to Twelfth Centuries", Muslim Cultures of the Indian Ocean, Edinburgh Uni Press: 2023Historic Mosques in Sub-Saharan Africa, from Timbuktu to Zanzibar, Brill: 2022"Islamic Archaeology in the Comoros: The Swahili and the Rock Crystal Trade with the Abbasid and Fatimid Caliphates", Journal of Islamic Archaeology, vol 6-1 (2019)"Madagascar, the Source of the Abbasid and Fatimid Rock Crystals: New Evidence from Archaeological Investigations in East Africa", Seeking Transparency: Rock Crystals across the Medieval Mediterranean, A. Shalem, C. Hahn (eds), Gebr. Mann Verlag: 2020More information: Pradines, S., Blanchard, P., "From Zanzibar to Kilwa : Eighteenth and Nineteenth Century Omani Forts in East Africa", Fort, 47 (2019)Pradines, S., "Sufi in War: Persian influence on African weaponry in the 19th century Mahdist Sudan", JAAS, XXII (2018)Pardines, S., "Swahili Archaeology New edition", Encyclopedia of Global Archaeology, Springer International Publishing 2018Click here for more episodes of the ART Informant.Click here to see the reproductions of architectures and objects discussed in the episode. 

For the 2 years anniversary of the ART Informant podcast, I welcome... myself. A very special host comes in to ask me questions about my newly released children's book, La Tortue et les Deux Canards, et autres fables de La Fontaine de source arabe, published at Versant Sud Jeunesse. We also talk about the podcast, of course, how and why it started, how it is going, and where I hope to take it in 2024. I hope you'll enjoy this very special episode! If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and XFollow Isabelle Imbert on Instagram, LinkedIn and AcademiaLa Tortue et les Deux Canards et autres fables de la Fontaine d'origine arabe, Versant Sud Jeunesse, 2023.Kalila wa Dimna in Islamic Arts and Literature with Annie Vernay-Nouri and Aida El Khiari, ART Informant Podcast, 2022.Shahnama made for the Mughal emperor Jahangir in 1021H/ 1612. Millon, 3 May 2018, lot 227A Page of the Royal Padshahnama, From the St Petersbourg Muraqqa', Millon & Associés, 3 Dec. 2019, lot 366Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

Ever wonder how museums go shopping for art? What does a curator see when they look at a picture? What makes something special enough to spend a fortune on? Join me in this first mini-sode featuring Laura Weinstein, Ananda Coomaraswamy Curator of South Asian and Islamic Art at the Museum of Fine Arts, Boston, as she gives us a ‘behind the scenes' look at two recent acquisitions for the museum's collection. We chat about Indian art under the British, William Dalrymple, and adorable squirrels!Hear our chat now on your favorite podcast app, Spotify or iTunes and please take a second to rate us wherever you're listening so the voices of these inspiring women can be heard all over the world!P.S. Laura was previously my guest on Ep. 18, so do catch her whole story there if you missed it, and let me know what you think of this shorter format focused on a single topic @theindianeditpodcast on instagram!SHOWNOTES FOR MINI-EDIT 1:Hear Laura's story on Episode 18 of the podcast hereForgotten Masters: Indian Painting for the East India CompanyEmpire Podcast on iTunesQuestions? Comments? Get in touch @theindianeditpodcast on Instagram !Special thanks to Sudipta Biswas, Aman Moroney, and the team @ Boon Castle / Flying Carpet Productions for audio post-production engineering!

In this episode of the ART Informant, Isabelle Imbert welcomes Dr Amanda Phillips, Associate Professor of Islamic Art and Material Culture at the University of Virginia. Amanda specialises in the consumption and trade of textiles in Ottoman Türkiye. It is the topic of her latest book: Sea Change: Ottoman Textiles between the Mediterranean and the Indian Ocean, published in 2021 (University of California Press). In the episode, they talk about the techniques and particularities of Ottoman silks, such as the so-called Studenica silk, and of course of crimson and gold-embroidered velvets made in Bursa, particularly well represented on the market, as well as academic career, book writing, and much more.If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and TwitterFollow Amanda Phillips on Instagram and AcademiaAmanda Phillips, Sea Change: Ottoman Textiles between the Mediterranean and the Indian Ocean, University of California Press, 2021.Amanda Phillips, Everyday Luxury, Art and Objects in Ottoman Constantinople, 1600-1800, Verlag Kettler, 2018 (free access).Nurhan Atasoy, Walter B. Denny, IPEK. The Crescent & the Rose: Imperial Ottoman Silks and Velvets, Azimuth, 2001Work of Pr Suraiya N. Faroqhi on AcademiaChristie's, "Collecting guide: Ottoman silk velvet panels", 2019Nazanin Hedayat Munroe, "Silks from Ottoman Turkey", MET Museum blog, 2012Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

What was it like curating the 1st Diriyah Islamic Arts Biennale? And how do you capture the essence of a place that is in the hearts and minds of Muslims around the world? Sumayya Vally talks to us about her personal relationship with Saudi Arabia, suspended geographies, adding to the Islamic Art canon, and reimagining Jeddah's Western Hajj Terminal as an exhibition space. She talks us through it from the very conceptualization of the Diriyah Islamic Arts Biennale in Saudi Arabia to individual pieces that caught Mikey's attention when he attended the opening. We also touch on what it's like letting go of a creative project once it has come to fruition, with Sumayya likening the process to post-partum depression. Lastly, we hear about what Sumayya and her research and architecture practice, Counterspace, are working on now.Sumayya Vally is an award-winning architect from South Africa. In 2022, the World Economic Forum chose her as one of its Young Global Leaders. She has been featured as a TIME100 Next List Honoree. Vally is also on the board of directors for the World Monuments Fund and is the founder of Counterspace, a research and architecture practice. In 2019, Counterspace was chosen to design the 20th Serpentine Pavilion in London. This made Vally the youngest architect to ever win this prestigious commission. Finally, Vally worked as artistic director for the very first Islamic Arts Biennale in Jeddah that ran from January through to April of 2023. Created & hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Outline:Outline is a process-focused conversation that looks at guests' individual projects rather than their full bodies of work. The conversation sketches the journey of the project; the spark of curiosity that led to the project, the process of implementing the idea, the struggles that emerged throughout the implementation, and the aftermath of the project that includes new questions and new ideas. The name “Outline” stems from the idea of creating a retroactive project outline which is part of a broader emphasis on the process of curiosity, creativity, and critical thinking from a nuts and bolts perspective. Outline is not discipline-specific; the series will be held with artists, academics, writers, filmmakers, among others. Join the live audience: https://www.afikra.com/rsvp   FollowYoutube - Instagram (@afikra_) - Facebook -Twitter Support www.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on  afikra.com 

Our special guest today is Priti Mahajan - a leading brand and communication strategist in the bespoke, lifestyle segment and she focuses on destination building, cultural travel, hospitality, arts and music. She works with legacy brands and she also works with countries to promote cultural travel to global audiences and I cannot wait to dive into this conversation with her and go on a fun ride across many places. Episode Highlights: • Dubai https://alserkal.online/ https://www.lawrieshabibi.com/ https://www.instagram.com/cavedubai/ • Botswana https://www.andbeyond.com/ • Victoria Falls, Zimbabwe • Namibia • Cape Town • Uganda • Rajasthan, India • Maldives https://soneva.com/resorts/soneva-fushi/ • Marrakech, Morocco https://el-fenn.com/ • Chandigarh, India • Seville, Spain • Ubud, Indonesia • Al Fahidi Historical Neighborhood, Dubai https://dubaiculture.gov.ae/en/attractions/festivals-and- events/sikka-arts-festival • Tajikistan • Kyrgyzstan • Uzbekistan • Baku, Azerbaijan • Museum of Islamic Art, Doha https://mia.org.qa/en/ Priti's Dubai/UAE Recommendations: Food: Arabian Tea House https://arabianteahouse.com/ Pekoe https://mypekoe.com/ Orfali Bros Bistro Restaurant https://www.instagram.com/orfalibros_bistro/?hl=en Reif Kushiyaki https://reifkushiyaki.com/ Carine https://www.instagram.com/carine.ae/?hl=en Experience: • Sikka Art & Design Festival https://dubaiculture.gov.ae/en/attractions/festivals-and-events/sikka-arts-festival • Art Dubai https://www.artdubai.ae/ • Top Golf Dubai https://topgolfdubai.ae/ Thank you everyone for tuning in today. I hope our conversations have fueled your wanderlust and inspired you to explore the world in new and exciting ways. Please don't forget to hit that subscribe button on your favorite podcasting channel to keep up with our latest episodes. I would love to know what you think…what kind of travel stories and guests you would like me to cover. So, please do leave a comment, a rating or a review. Do follow me on Instagram and find out who's joining me next week. I'm @moushtravels. You can also find all the episodes and destinations mentioned by all the guests on my website www.moushtravels.com as well as on the episode show notes. Thanks for listening and until next time safe travels and keep adventuring. "Want a spotlight on our show? Visit https://admanager.fm/client/podcasts/moushtravels and align your brand with our audience."Connect with me on the following:Instagram @moushtravelsFacebook @moushtravelsLinkedIn @Moushumi Bhuyan

In the episode, Isabelle Imbert welcomes Bharti Lalwani, art critic and perfume maker, and Dr Nicolas Roth, visual librarian at Harvard University Library, gardener and historian of horticultural knowledge and practices in India. Bharti and Nicolas have collaborated on an online exhibition: Bagh-e Hind, the Garden of India, a unique project combining art history and perfume making to recreate smells of Rajput and Mughal paintings. In the episode, they talk about the creation of the exhibition, smells, shared visual cultures, the accessibility of art history to all, and more. If you've liked this episode and want to support the Podcast, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and TwitterFollow Bharti on Instagram and check Lithrab PerfumeryFollow Nicolas on Instagram and AcademiaBagh-e Hind exhibitionAli, Daud, and Emma J. Flatt, eds. GardenandLandscapePracticesinPre-colonialIndia:HistoriesfromtheDeccan. New Delhi: Routledge India, 2012.Click here for more episodes of the ART Informant.Click here to see the reproductions of artefacts discussed in the episode. 

In today's episode, Isabelle Imbert welcomes Hiba Abid, doctor in Islamic Arts History and curator for Middle Eastern and Islamic Studies in the New York Public Library. Isabelle and Hiba have known each other for a long time, so it was time to catch up on the topics that passionate Hiba, in particular the history of manuscripts production in the Muslim West, a region still often ignored. Hiba is now a newly appointed curator and gives the audience real insights into her role, as well as the particularities of the NY Public library Middle-Eastern collection and its significance. If you've liked this episode and want to support, buy me a coffee!Mentioned in the Episode and Further LinksFollow the Art Informant on Instagram and TwitterFollow Hiba on Twitter and AcademiaMaterial Images and Mental Ziyāra: Depicting the Prophet's Grave in North African Devotional Books (Dalāʾil al-Khayrāt), Journal of Material Cultures in the Muslim World, 1 (2020), 331-354.New York Public Library Umberto Bongianino, The Manuscript Tradition of the Islamic West. Maghribi Round Scripts and the Andalusi Identity, Edinburgh University Press, 2022.Click here for more episodes of the ART Informant.

In this episode of Community Possibilities, Sam Gill joins me to talk about his work with the Doris Duke Foundation. She was "always a woman of her times" and that is reflected in her funding priorities and the Foundation trys to follow her example today. Sam shares the history of the Doris Duke Foundation and who Doris Duke was. She was a woman a head of her times in many ways. Mission and Values - Supporting the well-being of people and the planet for a more creative, equitable and sustainable future.Funding priorities of the Foundation.Why the Foundation's is committed through a diverse and equitable biomedical research workforce as a founding member of the 90 strong, STEMM Opportunity Alliance. Disruption describes when the structure of a market changes. Sam shares how disruption can help everyone participate in the market of science and how that will promote equity. How their work helps address the fundamental causes of child abuse and neglect to reshape the child protection system and gets to how it makes decisions about who is a fit parent. The Foundation is working with state agency's who want to look at the child systems in an upstream way. Why this is a hard time to be an institutionalist. How coming to the answers to some of our hard questions means questioning institutions, but may not mean dismantling them and how the margins of conversations help How Building Bridges helps tell the stories of Muslims in various ways.The role of philanthropy can play in advancing social justice and equity by funding many possible  solutions. Why debate will help us get to solutions to societies biggest probelms.His advice for people working in communities (have tenacity, take energy by polarization, look for opportunities for collaborationSam GillPresident and CEO of the Doris Duke Charitable Foundation Samsher (Sam) Singh Gill is president and CEO of the Doris Duke Charitable Foundation, which supports the performing arts, medical research, the environment and child well-being. He is also president of the Duke Farms Foundation and the Doris Duke Foundation for Islamic Art. Previously, Gill served as senior vice president and chief program officer at the John S. and James L. Knight Foundation and vice president of Freedman Consulting, LLC. Gill attended the University of Chicago and the University of Oxford, where he was a Rhodes Scholar. Like what you heard? Please like and share wherever you get your podcasts!Connect wLike what you heard? Please like and share wherever you get your podcasts! Connect with Ann: Community Evaluation Solutions How Ann can help: · Support the evaluation capacity of your coalition or community-based organization. · Help you create a strategic plan that doesn't stress you and your group out, doesn't take all year to design, and is actionable. · Engage your group in equitable discussions about difficult conversations. · Facilitate a workshop to plan for action and get your group moving. · Create a workshop that energizes and excites your group for action. · Speak at your conference or event. Have a question or want to know more? Book a call with Ann .Be sure and check out our updated resource page! Let us know what was helpful. Community Possibilities is Produced by Zach Price Music by Zach Price: Zachpricet@gmail.com

All interviews are for informational purposes only and are educational in nature. Find all of our sites here: https://linktr.ee/OfficialRobGlasser Check out the AlteredUniverseLive store to pick up some cool swag: https://www.altereduniverse.live/shop For more great videos, subscribe to our Youtube channel: https://youtube.com/@officialrobglasser We're on Twitch too: https://www.twitch.tv/officialrobglasser Listen to our Podcast here: https://anchor.fm/rob-glasser

Egyptologist, Hieroglyphics Expert, Tour Guide and Director, Mohamed Ibrahim is inspired by a passionate desire to share his wisdom. He offers a wide spectrum of knowledge regarding the history, arts, literature, and culture of the ancient Egyptians. Mohamed was born in Memphis, Egypt and studied Ancient Egyptian, Coptic and Islamic Art and History at Helwan University in Cairo. He has been working as a tour guide and a teacher of Hieroglyphics since 2000. Mohamed's comprehensive knowledge of Ancient Egypt, along with his background in comparative religions and spiritual studies, has enabled him to fill lecture halls and conduct a variety of successful tours over the years. When he is not on tour, Mohamed frequently lectures on Egyptian mythology ‐ its spiritual aspects in Egyptian art, and the Ancient Egyptian concept of Gods and Goddesses.

One of America's oldest universities is mired in a debate over Islamic art. Hamline University in Minnesota terminated the contract of an adjunct lecturer who displayed two reverent artworks of the Prophet Muhammad. This episode raises questions over academic freedom and whether images of the prophet can ever be shown.

One of America's oldest universities is mired in a debate over Islamic art. Hamline University in Minnesota terminated the contract of an adjunct lecturer who displayed two reverent artworks of the Prophet Muhammad.  This episode raises questions over academic freedom and whether images of the prophet can ever be shown.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. This episode on APEX EXPRESS highlights Khamsa, the Arabic word for “five,” is a multimedia art project showcasing Black, Muslim, Immigrant, and Refugee visual artists and musicians traversing the five stages of grief. In September 2022, Khamsa launched with an art exhibition at Aggregate Space Gallery in Oakland with a line-up of community events featuring musical performances from the project's hip hop artists and guest artists such as dancer Linkk and harpist Destiny Muhammad. Khamsa continues with an ongoing podcast series and a hip hop album released on October 23, 2022 through Simmons Music Group. Khamsa aims to address the different forms and contexts of grief, weaving both personal and universal experiences of loss. From the personal pain of losing a loved one, to the toll of Islamophobia and prejudice, Khamsa will draw in each and every one of us while bringing the stories and experiences of Black, Muslim, Immigrant, and Refugee artists to the forefront. Khamsa is a project to find harmony in our shared stories, bridging differences in cultures, beliefs, and history. Check out more about their work here: https://www.artogether.org/khamsa/ This episode was interviewed, produced, and edited by @Swati Rayasam.     Muslim, Black, Refugee rappers and artists launch healing project in West Oakland: Khamsa Project OAKLAND, CA – Khamsa, the Arabic word for “five,” is a multimedia art exhibition showcasing twenty Muslim, Black, Immigrant, and/or Refugee visual artists and musicians traversing the five stages of grief. Oakland-based organizations ARTogether and Gathering All Muslim Artists (GAMA) encourage the audience to explore different aspects of trauma's universality, striving to spark new narratives around grief and trauma, by using varied media and disciplines to present new perspectives on mental health. “The 5 stages of grief are not a linear process, we may spend some time in anger and then move to acceptance, spend some time there and move to depression,” says Abbas Mohamed, Executive Director of GAMA. “Our goal is not to remove grief from the community, because grief never goes away, but rather to equip the community with the perspectives needed to process and heal through the grief.” Weaving both personal and universal experiences of loss—from the personal pain of losing a loved one, to the toll of Islamophobia and prejudice—Khamsa is a project to find harmony in our shared stories, bridge differences in cultures, beliefs, and history, and heal through the grief. “Art plays an important role in healing our communities, especially for people of color.” Guled Muse, Executive Producer and Lead Artist, states. “I am truly excited that I was able to work with ARTogether and GAMA to collectively bring artists from different mediums, nationalities, and beliefs to explore their minds in how they process emotions and grief through music and visual arts.” Khamsa ran from September 2 – October 15, 2022 at Aggregate Space Gallery in Oakland. This program is made possible with support from the Doris Duke Foundation for Islamic Art's Building Bridges Program. Featured visual artists include Keyvan Shovir, Meriam Salem, Nabi Haider Ali, and Zara. Featured musical artists include Bryan C. Simmons, Cheflee, Mani Draper, Spote Breeze, and Sukina Noor. Khamsa Project Transcript Attachment    Khamsa Project Transcript: [00:00:00] Swati:  [00:00:33] Swati: Good evening everyone. And welcome to apex express. This is Swati Rayasam your very special guest host. Tonight I got the chance to sit down with Leva Zand and Guled Muse to talk about their recent project Khamsa which launched at the aggregate space gallery in west Oakland. Khamsa the Arabic word for five is a multimedia art project, showcasing Black, Muslim immigrant, and refugee visual [00:01:00] artists and musicians transversing the five stages of grief.  [00:01:03] Swati: I was so glad I was able to learn about not only Humsa but more about Leva and Glad's backgrounds and how in the process of putting together this show. They navigated their own grief and the multifaceted nature of grief, from the personal, such as the loss of a loved one to the societal toll of the COVID 19 pandemic, Islamophobia, or other forms of prejudice and violence.  [00:01:26] Swati: Stay locked in.  [00:01:28] Swati: Leva and Guled I'm so excited to have you. Welcome to APEX Express. I'm really thrilled to talk about your show, Khamsa, to talk about the music Guled that you've been working on, and Leva to talk a lot more about Art Together and kind of your, vision for using art as part of social change.  [00:01:45] Guled: Absolutely. For sure. And thank you so much for bringing us to the show. Truly appreciate it. My name is Guled Muse. Vallejo, Bay Area. I'm a music producer, curator, event, and content creator[00:02:00] had a lot of years, community organizing in San Francisco.  [00:02:04] Leva: My name is Leva Zand I was born and raised in Iran and I came to the US with my family in 2003 as refugees. My professional background was an international development. And I founded and I started Art Together in 2017 and I'm currently the executive director of the organization. [00:02:25] Swati: Awesome. And can you tell me a little bit more about what Art Together is? [00:02:29] Leva: Absolutely. The promise of Art Together is that we can do community building through art. Our original story is that during 2016 we were all very mad and sad and angry of election of Trump. To me, it was actually a shock because I didn't expect, and I realized that after, like being here for 15 years, I don't really know people enough. And also I experienced a sort of anger and rage in me that was very unique and new. [00:02:56] Leva: And that feeling stayed for a couple of months and I was like, I have to do [00:03:00] something about this. And it's very interesting because it seems like that election of Donald Trump was the moment that I felt American in a way that I felt like I have some skills. This is my community, this is my place, this is my people. I wanna bring those skills home. My goal was like, what is missing in the services that refugees and immigrants are receiving? [00:03:23] Leva: If you remember, we had lots of anti-refugee, anti-immigrant rhetoric back then. Muslim Ban and all of those. So I start researching what services available, what has changed since my family came here. And I realize not that much. There are amazing organizations who are providing services when refugees arrived, or social services, like mental health food or logistical support, like helping them finding housing or employment, but I couldn't find any community building program. I remember when we came here, me and my siblings speak English, but that was not the [00:04:00] case for my parents. And it took them many years to basically found their community. And knowing that, and also be familiar, that, language, is a barrier for new arrivals here for many of them. I was thinking like, what can be a medium that bring people together that they don't necessarily needs language or enter a room, a space that don't immediately feel like, oh, they don't know English, and the shame or isolation that ca comes with it. And that's why art came to mind basically. [00:04:28] Leva: It is something that everybody can enjoy, everybody can practice that you don't have to be artists to go enjoy music or theater or arts. So I started talking with a few friends of mine. And, we put together some concept of this Art Together, like how can art be used as community building? And then I started reaching out to, some service agencies, some resettlement agencies that, Hey, what do you think about this idea? Many of them welcome this idea of like how to use art to bring community together, so [00:05:00] that was the origin of story basically the first year. [00:05:02] Swati: Awesome. Yeah. Guled, if you could just give our listeners like a background, How did you become a musician? What was your inspiration? What's your vibe?  [00:05:12] Guled: As far as my music, it really just started with Rap City, back when I was like 10 years old when I first immigrated to this country and we got cable in the apartment. I remember, the channels we were just flipping through and BET was one of them. And more specifically Rap City. I remember it vividly because I remember like just that small television in the living room. We didn't have too much furniture. And, I remember seeing Black Star, Definition, the music video. And just seeing these brothers just spitting the way that they were was like, was absolutely fascinating. I've always had an experience with hip hop, but then it was much more like the commercial, like bad boy puffy, big willy style, men in black soundtrack. And from a global perspective you only get like what is being pushed to you, but [00:06:00] then really starting to understand regional hip hop, whether it was Outkast, whether it was, listening to hieroglyphics. It was something that fascinated me to the point where I started to participate in the culture as an mc, I was known as that little rapper in school. And, went on and just, things evolved. Being in college, doing a lot of events hip hop related in SF State. Shout outs to Professor Fisher, Donna, Lisa, the whole Africana studies department over there. Major love to them and the experience that they had provided me in being able to also participate in the educational aspects of teaching hip hop. [00:06:36] Guled: I remember moving to Oakland. I think that was the city that really provided the spirit inside of me. I was once outer shell of myself, just didn't know who I was and like really Oakland around that time just like really embraced me. And just being around a lot of creators, a lot of artists inspired me, but then there's so much politics within the rap game. There's a lot. [00:07:00] To the point where artists had to compromise the way that they would rap. The music that they would create. And I was seeing, an underground movement happening at the same time in Oakland, shout outs to Smart Bomb. They're doing phenomenal work. And they really inspired me to the point where, my colleagues and I, we created a website, a music project called Speak With Beats, where we were highlighting, beat makers and musicians from the Bay Area because in the Bay, we are very unique, due to the fact that we're siloed from a lot of other regions where we're not really inspired by what is hot at the moment. It's always been a thing, but now with the internet, everything sounds the same, right? Because you're being inspired by so many different artists from a click of a button. [00:07:44] Guled: But still, there's this unique aspect of people making original music and I wanted to reward them and to highlight these artists that I was just fans of before I was friends, like fans of, just to give them a platform was very important. [00:07:58] Guled: And that's where I [00:08:00] saw where my skillset was. It's transmuted from, like participating more as an mc now, just being much more behind the scenes and utilizing the organizing experience that I've had to empower my people, my colleagues, my friends who are just extremely talented and just to know that I see them.  [00:08:19] Swati: I love that. I love, that's such like a beautiful local Bay Area story. How did you two get into contact? How'd you find each other?  [00:08:27] Guled: It's funny that Leva mentioned like the 20 16, 20 17, moments of our politics. Around that time I was dealing with personal issues, to the point where I just wanted to just step away from a lot of things, including music, art, activism. I was just personally more or less burnt out. And all of this stuff started happening. During 20 15, 20 16, I was wanting to think about ways of like really pushing, the culture that I was witnessing and experiencing and supporting at that [00:09:00] time to like new heights, right? Because when it comes to beat making music, like the instrumental hip hop scene, folks are now getting the taste of it with the lo-fi Cafe Girl, but I wanted to take it, one step further because I seen like the process of how people were creating the music, the way that they were sampling the music, the way that they would just come up with the production out of thin air. And I wanted to merge it in a, in such a way where it was like classical music, like jazz music, right? Because people were just putting out beat tapes consistently. Didn't have no theme, no nothing whatsoever. So I was like, let me try to curate something that was going to affect people in a way that words cannot describe. [00:09:44] Guled: So that's where like the origins of the Khamsa project started coming to be, just bubbling. So around that time I stepped away from a lot, but that project always lingered. It always was there. And I would have not [00:10:00] brought this project into manifestation if it wasn't for my co-creator, my brother, Abaas Muhammad from the GAMA collective Gathering All Muslim Artists. [00:10:10] Guled: Major love to him. He was someone who really just inspired me to push this further because as somebody who was providing support, sometimes you need support, right? I remember, some of my peoples telling me, a therapist also needs a therapist, right? At that moment, he was a person who really helped me out, who just didn't want me to stop my artistry. he recognized it and he really supported me to the point where he brought me into the attention of art together. [00:10:40] Guled: And then just from there, that's where it really started and it's been a long time coming, it's been a long time coming. This project has been years in the making, but it's just started having a mind of its own and I can't thank art together enough. [00:10:54] Leva: Thank you. Thank you for saying that you came from your mind. Let me also share my side of a story. First of all, part [00:11:00] of our mission was supporting refugees and immigrants. Very soon we realized that the disparity in art community and also the exclusivity of art community here, especially for immigrants or refugees it's very hard to get into the art world here. So, I think it was 2018, that we start thinking about how can we support, art together and support artists, refugee and immigrants artists. [00:11:21] Leva: And by then there were a team of like few interns who were working volunteers so we decided to partner with, GAMA, gathering all Muslim artists and Oakland Art, Asian Cultural Center to put a group show together to celebrate refugee immigrants artists in Auckland. [00:11:38] Leva: So we put the show together, I think we showcased at the work of more than 30 of such artists at O A C C, March 16th, 2020. Four days before everything goes down . And, Basically Guled came to one of our meeting. We didn't have office gallery or any of those things back then. And he said, well, I need a [00:12:00] couple thousand dollars for this. And we were looking at the project and we were like, this can be a major project. [00:12:05] Leva: This can be a lot bigger than this. Just the music. So we told him that yes, we are in. Let's see if we can find resources for that. First we didn't get them, and then we applied for a major grant through Doris Duke Foundation, building varied bridges, which is about, bringing more Muslim artists and our Islamic arts to the community here. And back then Angira Huka was our program director and the project developed a lot through talking through meetings and gatherings. we were really trying that not let funding or that the direction of fund shaped the project. And that's always a challenge because funders are interested in specific things. So we took some liberty on that. We took some liberty to making sure Guled's Ideas is actually coming out and GAMA shout out to them. Great partner. and that's how this came together.  [00:12:56] Guled: Yeah. I wanted add as well too, I told Abbas, if I [00:13:00] wanted to pursue this project, like I had to provide compensation for the artists. I feel like it was really important, especially like in the hip hop community over here, there's a lot of pro bono work that goes on. I just wanted to break that culture of pro bono work because people are just working so many jobs while doing music and some of them, they just basically making music for free. [00:13:25] Guled: But just to have that component, to say once again that I see you, like I wasn't going to do this project with without that. So to be able to partner up with Art together, partner up with GAMA, partner up with the Doris Duke Foundation, it was really humbling. It was really one of those moments in my life that kind of reinvigorated my admiration and my aspirations in the arts. And since then, it was just like, it was history.  [00:13:56] Swati: Yeah. I think that it is so critical, for [00:14:00] both of you having worked in community spaces and actively involved in community spaces in different ways, it's so important that like when you create projects or when you pursue things, that you do it with that code of ethics, right? I know that what I am doing is building up folks who are behind me, who are with me, that We seek to create a world in art and in any other aspect that is less exploitative than the one we inherited, the forever pursuit of liberation through that. So, tell me a little bit about what the Khamsa project is and then what was it that inspired you or that kept, you kind of stuck on it.  [00:14:37] Guled: Yeah. It's grief, like there's multiple levels to it. Everybody has their own relation to it. But at that moment, once again, it was just like me losing myself, I was grieving my hopes or whatever that I was personally dealing with at that time. I wanted to create this music project but then have people step inside the music project, [00:15:00] inside the mind of it. [00:15:01] Leva: I got interested in the project because it was about shared human experience. It was a thing that you don't need to be from Somalia, Iran, America, Texas, I don't know. You name it. You don't have to be from any of those to experience grief. [00:15:15] Leva: So it's a shared human experience and that's basically what we are doing at art together to emphasize on things that we can share rather than things that dividing us. And also it is not just grief. It's not grief for life. It can be loss of land, loss of people lots, loss of home. All of those things are lost. [00:15:33] Leva: So it's not necessarily just life that we are losing and we are grieving for. So for me, that aspect was very interesting that this is a shared human experience. And of course the timing of it you know, COVID was happening and before that, the experience of gun violence in this country and what's happening for the Black community specifically here. [00:15:51] Leva: So all of this came together for me at least, it was like this is a shared human experience and this is something that everybody can come and enjoy and [00:16:00] understand and also process. Guled is talking a lot about the music aspect of that, but we also put lots of emphasize and work on the visual, part of it for your listeners who may not know, Khamsa project, we partnered with aggregated Gallery space, which is a gallery in West Oakland, and we basically turned the space, like people could walk and they could, there were stations that they could listen to music, but they were also seeing different form of art forms. We had abstract art. We had video art, digital art. We had fabric art. So all of them were in the one place that walking people through this stages of grief, we all experienced it in a different way and different stages. It's not a linear thing. But Khamsa itself was a project walking through grief while music is with you. And while you are looking at some of these visual arts, this is how I describe it. and also I like it that it's hard to describe because it was very intersectional. It was very different from like other exhibitions or other albums [00:17:00] that you go through because it was just very intertwined with each other.  [00:17:03] Guled: Yeah. the aspect of bridging the gap between different communities was an important aspect, as someone who identifies as Muslim, and I've been in a lot of Islamic art shows and it was always something that relates to politics. They're always, something relates to Islamic history. I really wanted something that was more human. So to be able to have my homies who created the music project at the same time, the visual artists, they were also doing their own thing, creating art for the gallery. The funniest aspect is that none of them riffed ideas off of each other. They were all working independently away from each other. So it was a way to look at this concept from different vantage points, from different identities, but we're all looking at the same thing. [00:17:51] Guled: And that's like kind of the commonality of us just being humans in general. Somebody who now sees the world different. Like what I saw is [00:18:00] like a lot of different groups, they would always share their culture. [00:18:04] Guled: So just like the music project was one component, it was gonna be an instrumental music project, but then, I needed that element of the mc and needed the element of just raw MCs that were in our local area who were just phenomenal to speak on grief, to speak on the state of the community. [00:18:22] Guled: And in the meantime, like just being able to have these visual artists express themselves in such a way was the idea. But things just started . As Leva said, it just started becoming this, when the exhibit got launched, it just became a safe space for people to go through that journey and heal each other. [00:18:42] Guled: Because there was a question in the exhibit where it says, how do you heal and grieve? And the last piece of the puzzle was the people. And they all shared some phenomenal answers and I feel like it's just in the end, became such a community project, like what makes the Bay Area so great, makes the Bay Area so unique.[00:19:00]  [00:19:00] Swati: Yeah. I think that's so beautiful. I am so intrigued by the fact that you had all of these visual, auditory, otherwise artists grappling independently with what is grief to them. Being at the exhibit, you know there were a lot of different examples of grief, right? [00:19:17] Swati: Grief around lost girlhood, grief around home, grief around relationships within family, within community, and all these different aspects. How did you stitch the visual, the auditory, and even the live performance? I'd love for one of you to talk about the live performance.  [00:19:36] Leva: I feel like we were working with immensely talented people. We had two amazing project manager, Abbas and Michelle Lin from Art Together. Shout out to her. I think they did a phenomenal job in coordination because it was not easy to coordinate between that many artists. [00:19:53] Leva: And so part of it was coordination and also, be intentional about every connection. This [00:20:00] project as Guled said was very intertwined with people who were there. Like it was a different experience if you would go there and people were there, and then if you go just watch or look at the arts or listen, it became a safest space for grief because people immediately felt connected to the message. And what I loved, loved about the project was that it brought people to, to see the exhibition and listen to music that we don't necessarily consider them gallery goers or exhibition goers. Right, aunties and uncles came and they were part of creating this space.  [00:20:34] Guled: Yeah, absolutely. I would to say strategically for this project, once again, special shout outs to Angira and, and Michelle for really holding us down, my brother Abbas was such an important part and Art together was such an important part to this project. Their wheelhouse was understanding the visual arts realm and the exhibits and galleries and what it takes for the artists to come up with their pieces. [00:21:00] Myself was on the music. What I really enjoyed about it so much about the music project was just like, once again, I'm just a fan of everybody. I'm a fan of everybody. It was just like, if you had a basketball team, who would you pick? It was my version of Oceans 11 , just like picking the best artists that I knew at that time, you know?  [00:21:21] Guled: When it came to the music production side, I wouldn't have, done this project also with one of my good brothers, Pat Mesiti Miller, phenomenal audio engineer, beat producer and also a curator as well. He would take things sonically to another level. So, once that was done, it was like two worlds coming together and I really feel like the Aggregate Space Gallery really brought these two worlds to merge. [00:21:50] Swati: Guled you know can you tell me a little bit about, Khamsa the music album component of your project and how you originated it. [00:21:58] Guled: Yeah. Right now the, yeah, the Khamsa Music [00:22:00] Project is a five track ep. Each one of the tracks represent the different five stages of grief. I initially wanted to create this more as an instrumental music project. Same way you can kind of feel jazz music, classical music, if you were thinking about, or processing an emotion, creating music that words can't describe, right? [00:22:21] Guled: Like such, like these types of experiences that you go through with grief. But however, as, as years went on, I just felt that the importance of having an mc was crucial. I felt like we needed a voice. We were losing too many hip hop artists, to gun violence. COVID affected us. George Floyd affected us, whenever experiences, critical moments in history happened like the way that hiphop responded was always powerful to me. Whether it was the death of Amadou Diallo and how a lot of the hiphop artists at that time spoke up against his death to Tupac, to Biggie, like they [00:23:00] were reflections of their time. And I just felt it was important the MCs, speak on the state of their consciousness, but also in return, being able to let the community know that they're with them. [00:23:11] Guled: Initially also, we were going to have interludes within each of these tracks, with a phenomenal artist, by the name of Sekina Noor, based out in London, with these MCs talking and rapping with each stage of grief, it was going to be her spoken word pieces during the interludes this divine feminine consciousness of what was going on in the way that we were processing this journey altogether. But yeah, just really touched base with all my homies from the Bay Area who are born and raised in Oakland Richmond, or who have had many years being in the bay, gotten in a lot of game from the Bay Area and these are all like my favorite artists I'm a fan of all of them. [00:24:00] And I guarantee three, four or five years from now you're gonna hear a lot more noise from these people.  [00:24:05] Swati: So in the process of reaching out to all of these artists that you respect all your friends, right? How did you go about curating each of these tracks did you pair the track or the theme to the artist? was that collaborative? [00:24:20] Guled: And what's funny is, cuz all these other MCs, I spoke with them, a long time ago, I told them, straight up like, Hey, listen, I'm not going to ask of this from you if I don't have a budget and as soon as Allah blessed me with the grant money from the Doris Duke Foundation, it was on.  [00:24:36] Guled: These were people that I've known for years, so I've kind of recognized their strengths except for D. Lee, D. Lee is just like one of those people who I met on the fly, and he's such a natural, he's just a phenomenal artist.  Denial [00:24:49] Guled: I was wanting to work with another artist for the track denial, but that didn't work out. But in the meantime, out of the blue, I remember I was just like listening to Water, [00:25:00] water for the Town Project, a project that's a compilation project of the Smart Bomb Collective. And it was a track with D.Lee, with his cousin, spoke Breeze and when I heard him, I was just blown back. I had to just like, you know, press it on repeat again. And I was just like, this is, he's great. You know? And so I had to reach out to my boy, spoke and spoke, reached out to D. Lee and we politiced. And what's funny is that he was the first person to deliver the track to me. And then the dope thing about it too was on the production side, you got pASDOO, who's a phenomenal producer who understands the science of sound.  [00:25:37] Guled: [00:26:00] As far as with the track anger with Mani Draper, you know, shoutouts to Grand National, Mani to me he's such a great artist. I feel like he was able to bring anger home, like if you listen to the track, it sounds like Grand Master Flash is the message. You know, like, just don't push me. And he, I feel like can represent that. And then the energy that he brought with the track, I just knew he would be the right fit. We have Brian Simmons, a phenomenal composer. He tours with fantastic Negrito and this music project that's on his label, he brought it home .   [00:27:00]  Bargaining [00:27:03] Guled: When I was thinking about who will be the right mc for bargaining, Spote Breeze just popped in my mind because of his albums, because of his music. He's a very, very layered, very complex lyricist, and I feel like the stage of bargaining was perfect for him. Cheflee is a genius, and Spote Breeze and Cheflee works together so well. And he brought it home not only providing the instrumental, but also he included the hook and the instrumental, so it was like a song that was writing itself and it just paired so well [00:28:00]  Depression [00:28:14] Guled: When it came to the track of depression, I reached out to my boy Nu Nasa, and Nu Nasa to me is one of the most positive, positive MCs. If you listen to the rest of his catalog of music, it's very uplifting. It's highly spiritual, and I've only known him artistically on that side. I wanted to see his shadow self something that was different. shout outs to aboveclouds from Virginia, he really brought that Boom Bap the style of Boom B ap was perfect.  Acceptance [00:28:46] Guled: [00:29:00] As far as with acceptance, my man, Gavin Anthony. He was somebody who I knew in my years being an mc. He was like, one of my OGs, one of my big brothers in the hip hop community. And he is not only a phenomenal lyricist, he's a phenomenal freestyler and his reflections and is just being like, older than me. [00:30:00] You know, I feel like he's been through the cycles of grief himself, so for him to talk about acceptance, it's kind of like this brotherly advice and just wisdom of somebody who's went through all of this and was able to accept. And I felt like it was a great piece to the puzzle. And then Sydequest really bringing the project home.  [00:30:18] Guled: [00:31:00] Each one of these tracks were challenging for the artists to process. So once again, all of these people I am a fan of, and I just thought like, what would happen if these folks were paired up together. and, The first time I heard it was two months after it got mixed. My boy pASDOO. He was also the audio engineer of this project. He was like, Hey, listen, you're not gonna listen to this project until the listening session. So we had a listening session at the Reef Studios on Oakland, OG Jaren and Brian C. Simmons spot. And when I first heard the project, I was just blown back, I didn't expect, the magic. [00:31:38] Guled: It was hair raising to be in the studio, listening to the songs blare out, the speakers to be around my people. It was definitely a dream come true. Like just sitting there and listening to it all. It felt like I was at a brief moment living my aspiring self. Just being there, [00:32:00] just seeing, just witnessing everything and just knowing that the art was coming from a very deep place. It just came out to being something that I thoroughly enjoy just as a fan and I felt like I put all my chips in one basket and got double in return.  [00:32:16] Swati: Yeah. No, it's a really seamless album. As you said, it had been years between when you talked about this project and when it finally got funded you were like, it's go time. And I think it speaks to the strength of the Oakland hip hop community to your music community that like, everybody was like, absolutely, let's go.  [00:32:38] Swati: You're tuned in to apex express at 94.1 KPFA and 89.3 KPFB in Berkeley and online@kpfa.org. Coming up we have two songs from Khamsa the album. The first Anger by Mani Draper. Co-produced by Mani Draper and Brian C. Simmons followed by [00:33:00] Something by spote Breeze produced by Cheflee    [00:33:03] Swati: [00:34:00] [00:35:00] [00:36:00] [00:37:00] [00:38:00] you just heard Something by Spote breeze produced by Cheflee and before that [00:39:00] was Anger by Mani Draper. Co-produced by Mani Draper and Brian C. Simmons from Khamsa at the album. Now, back to the interview.  [00:39:09] Swati: Going back to kind of what I think both of you said at different points that like this exhibition was really about breaking barriers in terms of who is considered somebody that goes to a gallery, goes to an art show, and also what art is appropriate and then even then, what belongs together. And I think particularly in the space of Islamic art, it's so important both that you married the visual of having, artists of color having, Islamic art, but then also really having this huge hip hop auditory component to explicitly have that conversation of blackness and muslimness and creation together.  [00:39:51] Guled: The thing is that this project was challenging for everybody. Like, for everybody. And when I've approached my homies about it, they're like, [00:40:00] you know, I have to really dig deep because there's trauma involved. We don't normally talk about it as much so for people to muster that up, even with the visual artists as well too, for them to really go into these spaces, that is hard, but they understood that the purpose of it was to really let people know that they're not alone, you know? To bring these world together cuz there was so much, these years, like from the moment this project was thought of to like, when the exhibit was happening, so much was going on in the world. And for people to be that vulnerable it takes a toll. [00:40:38] Guled: But some of the best art, I've ever seen came from those spaces and for them to become the mirror for people to reflect on their own sense of grief gives all this work a lot of meaning. Just the way that the people was also able to participate, in these events. I know you mentioned something about the event [00:41:00] program inside, some were planned and others weren't, one of them in particular, cuz there was just so much gun violence going on in Oakland, we had a shooting that occurred around that time in the mosque, that took the lives of, Asam Al-Awjri and Belal Esa, two people from the community, were lost to gun violence, and also the school shootings that were happening as well. Like even during that moment, while the exhibit was going, we had to curate spaces for that as well. And, just to kind of reflect back, even after the exhibit was done, some of that emotion, some of that energy, it still lingers with me to this day. [00:41:42] Guled: Yeah. Thank you for sharing that also I attended the closing ceremony and you know, Leva you gave this really beautiful speech around the crisis in Iran and what grief was bringing up for you in this space. I was wondering if you'd be open to speaking about that. [00:42:00]  [00:42:01] Leva: Yeah, it takes a lot to be comfortable with vulnerability and that is something that Khamsa and the space that it created, for it to be safe for me as the director of an organization, feel comfortable enough and feel safe enough to come and talking about what's going on in my community. [00:42:20] Leva: Right. And feel safe enough to just cry and talk.  [00:42:23] Swati: just to interject, could you give a very brief overview of what the crisis in Iran is from your perspective? [00:42:29] Leva: So what's happening in Iran is that people are tired of 40 years, four decades of autocracy and dictatorship, and a version of Islam, a version of religion that has been dictated to them no matter what they want or how they want to practice religion. [00:42:46] Leva: Unfortunately, what happened is that under this Islamic regime, I'm not calling it Islamic country because the regime itself is a dictatorship, and this is different from people. So like any fascism, they are harassing [00:43:00] people. They're killing people.  [00:43:01] Leva: I came to the US as refugee because as religious minority back in Iran, my family around their persecution, my uncle is in right now, a couple of my friends are in prison. My uncle is in prison just because he was teaching in a university to people like us, right? So the current uprising started after a young woman got killed under custody of police, morality, police, if you don't know, in Iran, there is morality police who is basically telling women in the streets how to wear hijab, how to practice their religion. [00:43:29] Leva: And people basically got tired of that so the uprising started with that, and very soon people got united that everyone wanted this regime to go. Unfortunately, what's happening is massive execution that has been regime's strategy in the last 40 years. Because again, they're killing and executing young people, young folks, without having any reason for that or any. Fair trial. So that is also grief. And it feels like for my community, we've been grieving for 40 years and that's [00:44:00] why I feel like sharing this stuff and sharing about this emotion is important. But yeah, Basically that's what's going in Iran, protests are still going, the mass execution, basically every day we're waking up to some execution news and we really hope that again we are so desperate and helpless from here. [00:44:17] Leva: That was a day that a big fire was happening in a prison that most of the political prisoners are there. And I had no idea how to process that but still be a professional person, go to work, go to the speech, do the speech, because again, that's my job. So having that space and feeling so comfortable for that many people to just see me crying.  [00:44:38] Leva: Again, the beauty of Khamsa I don't know if I would be able to be the same or talk the same way or tell the same story if it was in another exhibition or another art opening. The space itself I feel like gave me and of course people who were around and I will see them I feel comfortable enough with them. And this is not common in our communities, especially men Muslim men, because [00:45:00] I know many of them and they're friends of mine, it's not common to talk about this emotions, what's going on. And again, Shout out to Guled and the whole team who created that space. during that time, one of our staff member was going through a shooting. And again, as a whole, we felt like, my God, this is space Khamsa, was the right time, right place for all of us to be able to be vulnerable and still feel safe and connected.  [00:45:26] Swati: I really empathize with that feeling of desperation and hopelessness being in diaspora currently. But I think, you know, maintaining conversations around what is going on currently in Iran keeping tabs on what is going on, talking about it, talking about injustice and lending complexity to a narrative and not giving it to the regime, not giving it to the United States government, but really giving it to the people who have deserved it for all this time. [00:45:50] Leva: Absolutely. Absolutely. And again, this is also important for me personally, having many Muslim friends that I want them to also understand that this is not an uprising [00:46:00] against religion and the way that hijab was dictating on us we never had a choice. For me to be able to go to a school, I had to wear hijab, right? We never had a choice to practice what we wanted to do. So this is not an uprising against Islam, it's not about being Islamophobic. or don't want that. It's just people tired of fascism that govern them under the name of this religion. And that's why I feel like solidarity of Muslim community outside of Iran is crucial for them because the government in Iran can't say that, oh this anti-Islam, this is anti-religion movement. But thank you for bringing that up. Absolutely correct that we also have duty to keep this conversation going. [00:46:40] Swati: Yeah, definitely. And I think back to just really what the whole purpose of Khamsa is, right? In terms of humanizing people and bringing to light and bringing to immersive experience. [00:46:53] Swati: This really, scary emotion that all of us are feeling constantly and trying [00:47:00] to avoid. I mean, Guled, how has grief modified and changed over the lifetime of that project and what does it mean to you right now? [00:47:09] Guled: I feel like grief is like one of those, like eternal human tragedies, just when we are very well versed in what it is theoretically, like when it happens to you, you feel the effects, whether you far away, whether you're close to someone. It's like one of those truths, right? For me, just living with it, I remember seeing something really cool about Japanese art where they glue pieces together of like pottery with gold. Because even through all of that, amidst of all of the suffering and the trauma. You gain wisdom, you gain light, you gain hope. You gained this understanding of what it is to be human because day by day we're still like running around. You're just going from one place to another and not really sitting down with the experience, like what it is to live this life, in the third dimension . And I felt that art has always been a [00:48:00] way to bring something from the ether or from a different dimension, from a different place these things that really affect us to the core. [00:48:07] Guled: As far as with, my Muslim identity like Islam. You know, there's a really important fact that people have to understand is that, the Prophet Muhammad (Peace be upon him) there was a period of his time called the Year of Sorrow, where he lost his beloved uncle who protected him from his persecutors and his first wife who was holding him down, who supported him since day one. This is somebody who we revere as extremely holy, somebody who had divine revelations from the most high in a very personal way. But yet somebody of this stature still dealt with grief, he still dealt with that. So, the beautiful part about the Muslim artists is the fact that, there's people who identify with Islam you know, and from a different perspective. You could [00:49:00] be Shia, you can, speak on like the history of what happened to the grandson of the prophet Muhammad and his family, and the anger that community still feels to this day during Karbala, you can, speak on behalf of Leva's experience where , you have this regime that is pushing Islam in such a way where it's suppressing people when it's supposed to liberate us. [00:49:22] Guled: And I myself, even though I identify as Sunni, for Somali people in general, when I did the knowledge, you know, we have Sufism we have that spiritual component in our faith. And just knowing the spiritual wisdom behind the experiences that we deal with, in our day-to-day, is kind of way of God still communicating with us. Even outside of a book is God still communicating with us. So this project really, you know, after going through it, it really brought me closer to a higher power. But in the meantime, made me [00:50:00] realize like there's still so much that we have to do. Not even on the activism way, but to just even call somebody. Just tell them that you love them. Like how many of us are really doing that? Because we're chasing money. We, are putting our lives or putting our value towards things that are material, you know? It gave me such a deep reflection and for others to share their art this way and for the community to show up and provide their wisdom. It helped me a lot. It helped me a lot emotionally. It helped me a lot spiritually. It still has a mind of its own, it's still lingering. But I'm grateful and I'm blessed  [00:50:40] Leva: Thank you Guled for sharing. People processing grief very differently. I believe that, I think when I was a child, somebody told me that everybody who's living your life is taking a little piece of your heart with him. And there is a hole there that you have to learn to live with that hole and still survive. There are lots of holes in our hearts, and as we are [00:51:00] growing up, there are more and more of them. So it is actually, how are you gonna manage that? To me, over time, it became the celebration of life. It became the celebration of what we lost. [00:51:10] Leva: If it was a relationship, if it was land, if it was home, how can I cherish the moments because I cannot have them back. Coming to the realization of that, and also give it time, it's like we cannot say that, oh, I'm gonna give a five months timeline to this grief, and then I'm gonna be fine. No, every grief is different.  [00:51:28] Leva: For now I'm at the stage of my life that for me, it became more about celebration of life. Then go back and thinking about that piece of the hole that I have in my heart. It may change in a few years, but I am there. Right now . [00:51:44] Swati: That's such a beautiful sentiment. So for both of you, as we're closing, what projects are currently in the works or up next for either of you, or are you taking a very well deserved nap? [00:51:59] Guled: [00:52:00] As a matter of fact, right now I got the Khamsa Music project on all streaming platforms I have a Spotify playlist right now drop a Gem on them. It's a, It's a song from Mob Deep, one of my favorite hip hop groups. And it's a lot of just powerful hip hop music from different artists, from my own personal listening collection that got me by cuz hip hop taught me a lot. And I just feel like in this moment, I wanted to share that so people could, can get educated and learn and to also feel, and the same way that I really love hip hop. But in the meantime, you know, working with different artists and their music projects, Got some stuff under wraps, I'm still pushing. No matter how much, I'm, I'm trying to , I try I feel like this always still calls me and this still inspires me.  [00:52:50] Leva: We just opened Art Together's center in downtown Oakland. We started with a gallery. We really hope to make it a[00:53:00] new cultural hub for artists who may otherwise not have the opportunity.  [00:53:03] Leva: right now, Unfortunately, artists needs to be artists, they're social media manager, marketing person, project manager. So they have to be all of those things while also their brain is working on the art. I feel like organization like Art Together and specifically artist support program is coming handy because we are trying to take care of the logistic of the board and let the artist brain work the way that it's working. [00:53:27] Leva: Right? And that's why we are trying to have one or two major artistic project every year, the end result is going to be a public display of art, but we are here to support the logistical part of it and make it happen. This is unfortunately part of being an artist that you need to do everything and everything is harder for artists of colors and refugee immigrants, Black artists, everything is harder for them, so this is a mission for this space. I invite everyone to please come 1200 Harrison, downtown Oakland, close to Bart, make a visit. You wouldn't regret that. In terms of like major [00:54:00] projects, we are currently working with Toro Hatari, Japanese American artists for a participatory project that contains some installation coming out of workshops that spark conversation between refugees and non-refugee and locals, sharing experience and sharing a story. So we are excited about that one. That is our major art project for now. But our community art programs and many other stuff are going on. Look at our website, www art together.org. [00:54:28] Swati: Amazing. I am so glad, Leva, that you were all able to find a new home at 1200 Harrison, you said in downtown Oakland. And you know, Guled I think for the most part, all I can say is that we have to keep an eye on you. But, I really appreciate, both of you coming onto Apex Express. Is there anything else that you wanted to talk about before we closed out?  [00:54:50] Guled: So the Humsa album is on Bandcamp, on all streaming platforms this project was, an artist-led one. So all money is gonna go [00:55:00] towards, the folks that were involved. just [00:55:02] Guled: Shout out to Simmons Music Group or shout out to Brian Simmons. Shout out to Mani Draper,Nu Nasa, pASDOO. My brother D. Lee, definitely he's next up from East Oakland. Fire! Spote Breeze, Cheflee, my brothers Sydequest, Gavin Anthony, all my brothers. And the music project, major love town, major love to leva, major love to art together. Once again, it gives me reassurance to keep going. And in art and once again, . Major shoutouts to Abbas Muhammad GAMA Collective and shout out to all the listeners [00:55:40] Swati:  [00:55:40] Swati: Amazing. So that would be khamsaprojectartist.bandcamp.com/album/khamsathealbum. We'll drop that in the show notes for those of you who are curious.  [00:55:52] Leva: Everything that Guled says, plus I wanna name the visual artists who were part of this project Fahd Butt, Romina Zabihian, [00:56:00] Keyvan Shovir, Shaghayegh Cyrous, Gazelle Samizay, and Nabi Haider Ali, Meriam Salem, Fatima Zara. They were amazing visual artists. Shout out to Miles, Michelle, Angira, Velasani and everybody else who make this project possible. And thank you. Thank you for giving us this platform and opportunity to talk.  [00:56:21] Guled: See we have like a hundred people on this project. [00:56:24] Guled: Yeah. You say, I was like, this  [00:56:26] Swati: is, this is absolutely a community project.  [00:56:29] Guled: Yeah, definitely a community project.  [00:56:32] Swati: Awesome. Well, thank you both so much.  [00:56:35] Swati: To learn more about Khamsa a collaborative and very clearly community involved project by ArtTogether and Gathering All Muslim Artists Collective or GAMA visit www.art together.org/khamsa. That's KHAMSA. From there, you'll be able to find and purchase the album on Bandcamp, listen to the podcast and learn more about the project as a whole.  [00:56:58] Swati: Thank you [00:57:00] so much for joining us, please check out our website, kpfa.org/program/apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there, keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. Apex express is produced by Miko Lee, jalena Keane-Lee, Paige Chung, and today Swati Rayasam.  [00:57:30] Swati: Thank you so much to KPFA staff for their support and have a great night.   [00:58:00]  The post APEX Express – 12.26.23 – Khamsa Project appeared first on KPFA.

Ep.137 features Hayv Kahraman. She was born in Baghdad, Iraq in 1981 and lives and works in Los Angeles. Recent solo exhibitions include Gut Feelings, The Mosaic Rooms, London (2022); Touch of Otherness, SCAD Museum of Art, Savannah (2022); Not Quite Human: Second Iteration, Pilar Corrias, London (2020); Shangri La Museum of Islamic Art, Culture, and Design, Honolulu, HI (2019); De La Warr Pavilion, Sussex, UK (2019); Pomona College Museum of Art, Claremont, California (2018); and Contemporary Art Museum St, Louis, St. Louis, Missouri (2017). Recent group exhibitions include Reflections: Contemporary Art of the Middle East and North Africa, British Museum, London (2021); Blurred Bodies, San Jose Museum of Art, San Jose (2021); New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum, Berkeley (2021); Henry Art Gallery, Seattle (2019); ICA Boston (2019); and MASS MoCA, North Adams, (2019). Kahraman's work is in several important international collections including the British Museum, London, UK; Museum of Contemporary Art, San Diego, California, US; Los Angeles County Museum of Art (LACMA), California, US; Birmingham Museum of Art, Alabama, US; The Rubell Family Collection, Florida, US; The Barjeel Art Foundation Sharjah, UAE; MATHAF: Arab Museum of Modern Art Doha, Qatar; Pizzuti Collection of Columbus Museum of Art, Ohio, US; North Carolina Museum of Art, Raleigh, US; Pérez Art Museum Miami, Miami, US. Photo ~ Courtesy the artist and Pilar Corrias, London Artist https://hayvkahraman.com/ Book https://www.rizzoliusa.com/book/9780847862627/ Pilar Corrias Gallery https://www.pilarcorrias.com/artists/hayv-kahraman/2/ Jack Shainman https://jackshainman.com/artists/hayv_kahraman Vielmetter https://vielmetter.com/artists/hayv-kahraman The Third Line https://thethirdline.com/ ICASF https://www.icasf.org/exhibitions/7-hayv-kahraman Hyperallergic https://hyperallergic.com/tag/hayv-kahraman/ Financial Times https://www.ft.com/content/ba61f731-e007-4c6c-922f-bc93dd4ad4c8 Perez Art Museum Miami https://www.pamm.org/en/artwork/2020.093/ Rubell Museum https://rubellmuseum.org/nml-hayv-kahraman Art Forum https://www.artforum.com/print/reviews/201909/hayv-kahraman-81120 SCAD https://www.scadmoa.org/exhibitions/the-touch-of-otherness NPR https://www.npr.org/2019/11/27/770452266/iraqi-american-artist-hayv-kahraman-is-building-an-army-of-fierce-women Art Review https://artreview.com/hayv-kahraman-gut-feelings-review/ The Guardian https://www.theguardian.com/artanddesign/2022/feb/21/hayv-kahraman-i-was-brainwashed-into-thinking-anything-euro-american-centric-is-the-ideal Wikipedia https://en.wikipedia.org/wiki/Hayv_Kahraman jdeed Magazine http://jdeedmagazine.com/hayv-kahraman-exhibits-gut-feelings-at-the-mosaic-rooms/ Mosiac Rooms https://mosaicrooms.org/event/hayv-kahraman/

Coming to you from the Museum of Islamic Art, it was far from a picture perfect performance from South Korea who went down 3-2 to Ghana to leave their World Cup hopes hanging by a thread. We also look ahead to the final group stage matches for the already eliminated Qatar, and the big one that everyone is talking about, the clash between Iran and the USA to decide which team advances to the knockout rounds. Plus we profile a third generation sweet maker from Iran who explains his family's history in Doha and the secret to making a great Qatari sweet. The Asian Game's coverage of the FIFA World Cup Qatar 2022 is proudly sponsored by SMC.

Islam has given the world some exquisite and spectacularly beautiful art. Now, modern Islamic Art is being celebrated at Bayt Al Fann, a two-day international digital festival on 28-29 November. The event will showcase contemporary artists from across the world, who have been inspired by the Islamic tradition. It will also explore how Islamic art might evolve in the future. William Crawley meets two of the artists, British-Bahraini poet Taher Adel, who is a spoken word performer and Samira Mian who uses watercolours to paint sacred Islamic geometry. There are more details about the Bayt Al Fann website at https://www.baytalfann.com/ Can faith and politics really mix? William speaks to Tim Farron, the former Leader of the Liberal Democrat Party and sitting MP for Westmorland and Lonsdale about his new book ‘A Mucky Business' Why Christians Should Get Involved in Politics. What is your favourite Christmas carol, and why do you love it so much? During Advent, we are teaming up with the BBC Radio 3 Saturday Breakfast team to celebrate some of the nation's most popular carols. Today, presenter Elizabeth Alker meets composer and conductor John Rutter, to discuss Once In Royal David's City. Email us and tell us about your favourite carol and why it's important to you: sunday@bbc.co.uk Producers: Jonathan Hallewell and Louise Clark-Rowbotham Presenter: William Crawley (Image courtesy of Samira Mian)

Recorded September 19, 2022. Dr. Esra Alhamal creates illuminated paintings and works out of England.  In this episode, she clears up the language surrounding biomorphic patterns and the western idea of Islamic Art. Instead, Esra promotes the Arabic word Nabati; meaning “from plant” to describe the organic curvy patterns she uses to create illuminated paintings. She guides us through regional differences in the stylized visual patterns and talks about her own process as she creates different pieces. She teaches illumination, has her own paint company, and publishes a podcast about art, but still finds time to relax with the repetition of her own practice. As she says, it's nice to have a goal but being true to your creative self leads to satisfaction.Clarification: Esra was referring to two different books. Richard Sennet's “The Craftsman” and Peter Korn's “Why we make things and why it matters”To find more of Esra's work visit her website: https://www.islamicillumination.com/, or bristleandbrush.co.uk, and listen to her Podcast: https://www.islamicillumination.com/podcastInstagram: @artilluminatedpodcast, and @islamicilluminationHelp keep the podcast alive! Visit our Patreon, pick up some Merch, or make a one time donation! Listeners make it all possible. THANK YOU SO MUCH! Support the show

Father Michael Calabria, a Friar who serves on the faculty of St. Bonaventure University - who is visiting Carthage College this week - talks about his great interest in Islam and Islamic Art and Architecture .... including the Taj Mahal.

This week I am speaking with Hiroshi Okamoto who is one of the co-founder of OLI Architecture. Hiroshi Okamoto is a member of the AIA and has had an exciting architectural career path working at practices such the Ushida Findlay Partnership in Japan, and with the Joint Venture of Nikken Sekkei, Tohata Gumi and RTKL International, on Tokyo infrastructure projects and of course Hiroshi worked closely with the late I.M Pei in the twilight of his career, working on of the Museum of Islamic Art, Doha (2001–2008) as a contract administrator; and as the Project Architect of the Chapel at the Miho Institute of Aesthetics (2008-2012) in Shigaraki, Japan, I.M. Pei's last project. In 2010, Mr. Okamoto co-founded OLI Architecture PLLC and has been the design principal and project architect for the MuXin Art Museum (2011-2015), the Chengdu Silk Art Culture Museum (2012-2016), and the Museum of Islamic Art Renovation (2015-2017) in Doha, Qatar. (2017-2018) to name just a few and the firm has also won a number of prestigious awards and recognitions.   In this episode we discuss: - Hiroshi's career and the business lessons learned from masters like I.M Pei - How they used relationships developed working in the Art World to grow a firm - Working internationally and understanding different business cultures.   To learn more about Hiroshi Okamoto, visit his: Website at: http://www.oliarch.com/en/people/hiroshi-okamoto Instagram at: https://www.instagram.com/oliarchitecture/ Facebook at: https://www.facebook.com/oliarchitecture   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates: https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz *   ******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com Download the FREE Architecture Firm   Marketing Process Flowchart video here: http://freearchitectgift.com   Carpe Diem!

Art can play a profound role in opening our eyes, minds, and hearts to the world, and to understanding ourselves and those around us. This is also the reason that artists have often been a key part of cultural and educational exchanges between countries, enabling the sharing of ideas across border. This episode's guest is Dr. Navina Haidar, Chief Curator for Islamic art at the Metropolitan Museum of Art in New York City. Navina was the coordinating curator of the highly anticipated re-imagining of the New Islamic Galleries project at the Met, which came to fruition with the 2011 and which the New York Times described as "...intelligent as it is visually resplendent." She is also the author of six books Indian and Islamic art. In today's conversation, Navina shares her educational and professional journey; how curating and showcasing the arts of the Islamic world has helped build bridges and helped foster an understanding of other cultures, especially during times like 9/11 and other periods in recent history when there has been a backlash against the Muslim community; and how during these difficult times art can both heal and educate. Episode Themes: Navina's journey from a young student in India to becoming chief curator for the Metropolitan Museum of Art's legendary Islamic art collection, and the role of education in her family. How studying and living abroad deepened shaped Navina's career as an art historian. The challenges and opportunities in interpreting and curating Islamic art from around the world for a largely American audience. The role of art in building bridges in a post-9/11 world, and during other such episodes of xenophobia. The impact of the re-imagined and new Islamic art galleries at the Met. Can art help address social problems and create social change? Navina's current curatorial projects and upcoming exhibits. Episode Resources: Vogue article about Navina and the new Islamic art galleries at the Met. The Metropolitan Museum of Art article: Met Curator Navina Haidar on the 10th Anniversary of the New Islamic Galleries As If A Girl Matters virtual museum My book: America Calling: A Foreign Student in a Country of Possibility Sign up for America Calling: my take on the intersection of education, culture and migration Connect with me: LinkedIn, Twitter

I'm Josh Cooperman, this is Convo By Design and after 3 years, we're back at WestEdge. Deep appreciative breath, a nod to all the work and those who participated and here we go… Designer Resources ThermaSol - Redefining the modern shower experience. Episode 271 featuring Mitch Altman Article, great style is easy. It's the best way to buy beautiful modern furniture York Wallcoverings - Designed to inspire for over 125 years Franz Viegener - Finely crafted sculptural faucets Moya Living -  Beautiful, durable powder coated kitchen, bath & outdoor kitchen cabinetry The nod of appreciation is important because there were times in 2020 and 2021 when I wasn't sure about the future of live events returning in large format editions. Don't get me wrong, I love small gatherings and intimate events, but the big ones are exciting and add another dimension to what we can do, present and how we can engage with large groups at one time. That is also why I think it is so important to lead off with this talk, presented and sponsored by Wescover. Find out how creatives from across the US are pushing the envelope through their innovative approach to design.  They will be joined by Kevin Wildes of Oakland based sustainable furniture brand Model No along with Dallas based textile artist Nosheen Iqbal and Austin designer, Kristin Martino of KozyKasa.  All these creatives share a passion for supporting local artisans, craftsmanship and sustainability.   Learn how these designers stand out by thinking outside the box and sourcing unique and thoughtfully designed products for their projects. Featuring Kristin Martino, Kevin Wildes & Nosheen Iqbal and Moderated by Hilary Sessions Hilary Sessions is a San Francisco Bay Area-based Marketing professional with decades of experience in interior design and business management.  She is the Head of Partnerships and PR for Wescover, a marketplace for authentically designed home decor.  Hilary also served as the Principal of Quarry Hill Consulting, a PR and Marketing firm serving the Interior Design industry. Kristin Marino discovered her passion for design at a young age. Having moved multiple times before she was 18, Kristin found her creative outlet in decorating her bedroom in each new home. She describes moving numerous times as a blessing in disguise because she learned early on that there was a career path in her love for decorating. After earning her degree in Interior Design from the Fashion Institute of Design & Merchandising in Los Angeles, she began working for several top LA-based design firms shortly after graduating. A few more moves and backpacking trips later, she accidentally settled in Austin, TX, where KozyKasa was born. Website: https://kozykasadesign.com  Instagram: https://www.instagram.com/kozykasa_/  Born in Surrey, England, she moved to Texas in her mid-teens, Nosheen Iqbal received a BA with outstanding portfolio award in Communication Design from the University of North Texas. After graduation, she worked for Fossil for over a decade in design, art direction and finally as a lead watch designer. She has also worked for brands such as DKNY, Armani Exchange and a collaborative collection with Opening Ceremony whilst still at Fossil. She is currently a multidisciplinary artist working in the fields of product design and development, illustration and graphic design.  Nosheen Iqbals Pakistani heritage plays a dominate role in her choice of color, pattern and texture. Pakistan has a rich history of pigment dyeing and embroidery techniques which varies in each province and dates back further than the Mughal Empire. She is also heavily influenced by the intricate and interlaced patterns found Islamic Art. Taking key elements from the classical tradition, she elaborates upon them in order to invent a new form of decoration and design.  Kevin Wildes has over two decades of experience in manufacturing, design, marketing, retail merchandising,

In Islamic art, representations of women and the female figure are controversial. Hend Al Mansour, from Saudi Arabia, currently residing in the United States, examines Islamic social practices. Her multi-media works celebrate and critiques Islamic Arab culture. The artist, through Islamic aesthetic addresses gender equality, sexual independence and role of women. This episode includes a conversation with Hend..Hend Al Mansour website: https://www.hendalmansour.com/Artist Statement: https://www.hendalmansour.com/artist-statement.htmlA.I.R. Gallery: https://www.airgallery.org/.Description credit: Hend Al MansourImage Cover credit: "Facebook 1".Special thanks to Nine90 Group sponsoring this episode. www.nine90.com

PJ talks to Ali about the calligraphy, artefacts, body art and more that you can see at the Imperial Hotel this coming Sun Aug 20th Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Es uno de los mitos más extendidos desde el siglo XIX. Los orientalistas europeos que viajaban por el imperio Otomano, queriendo minusvalorar las creaciones de los turcos otomanos, buscaron otro pueblo al que atribuir lo más digno del imperio de la Sublime Puerta. Fue así como los occidentales redescubrieron el mundo árabe. Aquel que había salido de la península arábiga en el siglo VII, tribus beduinas reunidas bajo un único dogma religioso, el Islam, que fueron capaces de derrotar a los dos mayores imperios de su tiempo: los bizantinos y los persas sasánidas, y que en unas pocas décadas hicieron que sus gobernantes, los califas, con su capital en Damasco, gobernasen desde la península ibérica hasta las fronteras de Afganistán. A un imperio con tanto éxito, esos orientalistas del siglo XIX le atribuyeron todo tipo de innovaciones en infinidad de edificios. Quisieron ver su mano en palacios, fortalezas, jardines y acequias. Un mito, insistimos, que pervive hasta hoy, donde ponemos la etiqueta de arquitectura árabe cada vez que hallamos, en España, en Sicilia, en el Norte de África o en Oriente Próximo, una instalación hidráulica que nos sorprende o un bello palacio rodeado de frondosos jardines. Los historiadores del arte llevan desde entonces buscando los orígenes de esa arquitectura árabe que tanto gustó a los europeos del siglo XIX. Pero para encontrar sus orígenes no hay que viajar a Siria, a Persia o al norte de África, sino a Arabia, donde, fuera del Yemen, hasta el siglo XX, los árabes no tuvieron ni una arquitectura, ni un arte destacado. Los árabes fueron adoptando y adaptando a sus necesidades lo que se encontraron en las tierras conquistadas, aprovecharon lo mejor de la arquitectura persa y bizantina, de la griega y la romana dando lugar a lo que hoy se conoce de forma convencional como arquitectura árabe o islámica. Ese proceso de mestizaje entre diferentes mundos artísticos dio lugar a una arquitectura fastuosa y de gran belleza que muestra sus poderes en la Cúpula de la Roca de Jerusalén, la Gran Mezquita de los Omeyas de Damasco, la mezquita de Kairuan en Túnez con su milenario minarete, el palacio de Ujaidir en Irak o la Alhambra de Granada que vimos con más detalle aquí mismo hace un mes junto a Carmen Vallecillo. Los árabes demostraron una capacidad sorprendente para incorporar todo tipo de elementos y recombinarlos a menudo de forma magistral. Visto así, la imagen que nos legaron los orientalistas románticos de hace dos siglos parece un tanto desinformada e irreal. Pero fue esa idea estereotipada de la arquitectura árabe de tiempos pasados la que ha terminado impulsando el renacer arquitectónico dentro de los límites de Arabia en el último medio siglo. La riqueza petrolera de Arabia Saudita y de los emiratos del golfo Pérsico ha financiado una serie de obras faraónicas inspiradas en lo que se considera arquitectura árabe clásica, pero no existe nada de eso, no hay un periodo dorado ni características genuinamente árabes. Hoy, con Alberto Garín, vamos a estudiar más de cerca lo que comúnmente se conoce como arquitectura árabe. Con Alberto ya hicimos en el pasado, hace casi tres años, una ContraHistoria sobre los árabes y su historia, un programa que tenéis en el archivo (“Los hijos de Sem: breve historia de los árabes”) y que sirve como complemento al programa de hoy. "Los hijos de Sem:breve historia de los árabes" https://diazvillanueva.com/los-hijos-de-sem-breve-historia-de-los-arabes/ Bibliografía: - "Mosques: Splendors of Islam" de Leyla Uluhanli - https://amzn.to/3zij2tj - "Islamic Art and Architecture" de Moya Carey - https://amzn.to/3Pu7Bo3 - "Western Islamic Architecture" de John D. Hoag - https://amzn.to/3RQ3dkP - "Islamic Art and Architecture" de Robert Hillenbrand - https://amzn.to/3RL0Lw9 · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #AlbertoGarin #Arquitectura Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Islamic Art is a subject that is often overlooked when developing our curriculum, especially with today's focus on technology. The arts are really essential for growing minds to help our children engage with their personal and cultural understanding. I can help build key skills such as critical and creative thinking as well as developing their fine and gross motor skills. Above all, taking some time to create something from the heart is a wonderful way to glorify Allah (SWT) who created us. In Episode 85 of the Raising Mums podcast, I talk to Wajiha Khalil, creator, and teacher at Sacred Art Workshops. Wajiha Khalil is a mother of three boys, a multidisciplinary artist, and a student of sacred knowledge. Through Sacred Art Workshops, she conveys Islamic knowledge to children through visual art and creative discovery. Her process strives to bring an integrated sense of understanding through engaging projects that create a memorable experience, not only beautiful art - but an inspired and curious heart.  You can catch up with some of the wonderful work Wajiha does with her students, and join her upcoming classes, on her website https://www.sacredartworkshops.com/ and also on her Instagram https://www.instagram.com/sacredartworkshops/ More Islamic Art Resources Related: 10 Wonderful Art and Craft Ideas for Homeschool History Here: https://ourmuslimhomeschool.com/2022/05/10-wonderful-art-and-craft-ideas-for-homeschool-history.html Related: How to do Picture Study Lessons in your Homeschool HERE: https://ourmuslimhomeschool.com/2018/07/how-to-picture-study-homeschool.html How to Start Your Muslim Homeschool Launch Your Homeschool is an online course that will hold your hand and walk you through the beginning stages of homeschooling, built upon the framework of the Charlotte Mason philosophy. I teach you how to choose the right subjects for your homeschool, how to choose the right resources, and plan out your year to create a homeschool experience that aligns with the values and beliefs of your family. Whether you are homeschooling in the UK, or elsewhere in the world, this programme will help you give your children an incredible education at home.  I show you the essential teaching techniques that you'll need to know to get started. There's even an entire module on how to manage your time so you can still cook, keep the house tidy and take care of yourself, all whilst homeschooling your children! Interested? Launch Your Homeschool enrolment is currently closed. Doors open 29th July 2022, insha'Allah.  JOIN THE WAITING LIST HERE: https://ourmuslimhomeschool.com/courses Peace and love,

Gem Pursuit is back with season 6, Golden Girls - Unsung Heroines of Jewellery! We jet off to Paris for our first excursion (of many) this season, to find out more about one of the first women to blaze a trail in the jewellery industry - Jeanne Toussaint! Appointed Director of Fine Jewellery by Louis Cartier in 1933, Jeanne Toussaint was the original Art Deco tastemaker who's incredible eye for style and beauty catapulted her to the top of the biggest jewellery house in the world. We take a walk around an exhibit on the influence of Islamic Art on Cartier at the Musée Des Arts Decoratifs before visiting the Parisian office of Olivier Bachet, one of the world's foremost experts in the history of Cartier, about Jeanne Toussaint's early life, her controversial legacy, her relationship with Louis Cartier, her rivalry with the designer Charles Jacqueau and much, much more. www.courtville.ie A Tape Deck podcast.

Zarah Hussain and I sit down to discuss the intersection of tradition and tech in her field of art.Topics:Islamic art v.s. Western artHow geometry was used to represent divinity in Islamic cultureZarah Hussain's art and the intersection of tradition and techGeometry as the rules of natureHow the "rules of nature" point to intelligent designThe books that had an impact on Zarah HussainZarah Hussain's advice for teenagersThe negatives of a future-only mindset Full bio on website - https://www.zarahhussain.co.uk/aboutSocials! -Substack: https://taylorbledsoe.substack.com/Website: https://www.aimingforthemoon.com/Instagram: https://www.instagram.com/aiming4moon/Twitter: https://twitter.com/Aiming4MoonTaylor's Blog: https://www.taylorgbledsoe.com/YouTube: https://www.youtube.com/channel/UC6-TwYdfPcWV-V1JvjBXk

A new exhibit at the Dallas Museum of Art brings together about 400 pieces, including some objects by the luxury jewelry maker Cartier. It also tells the story of how the Cartier brothers were inspired by Islamic art.

In this episode, we speak with Mustaali Raj, a graphic designer and visual artist based in Vancouver, Canada. We talk about his journey into the creative industry, his challenges, and his recent 30 Days of Ramadan NFT project. You can follow Mustaali and his work here: https://www.instagram.com/mraj/ If you have any questions about this podcast or want to join me as a guest, please email haseeb@themuslimvibe.com --- Send in a voice message: https://anchor.fm/themuslimvibe/message

Reem Bassous received her Bachelor of Arts from The Lebanese American University in Beirut. Lebanon and her master of Fine Arts from The George Washington University in Washington DC. She started teaching drawing and painting in 2001 at The George Washington University, taught at the University of Hawai'i at Manoa for 9 years, and is currently an instructor at Leeward Community College at the University of Hawaiʻi. Bassous' work is in permanent collections which include the Honolulu Museum of Art and Shangri La Museum for Islamic Art, Culture and Design. www.reembassous.studio · www.creativeprocess.info

"The truth of the matter is that there are some people who are born to be creative and they're going to be artists. And the importance of fostering that is necessary, because if we each fulfill our purpose as humans, then society is better off for it. So in other words, if I had been anything else other than what I have become, I would have only been living up to half of my potential. And so that's really important to address that. I have a lot of students whose parents don't want them to be artists because it doesn't make money, but that means they're only living up to half of their potential because they're truly meant to be artists. And so society needs to shift this understanding on what is important. "Reem Bassous received her Bachelor of Arts from The Lebanese American University in Beirut. Lebanon and her master of Fine Arts from The George Washington University in Washington DC. She started teaching drawing and painting in 2001 at The George Washington University, taught at the University of Hawai'i at Manoa for 9 years, and is currently an instructor at Leeward Community College at the University of Hawaiʻi. Bassous' work is in permanent collections which include the Honolulu Museum of Art and Shangri La Museum for Islamic Art, Culture and Design. · www.reembassous.studio · www.creativeprocess.info

The Breguet No. 160 , more commonly known as "The Queen" or "The Marie-Antoinette" may be the world's most beautiful watch. Commissioned for the French Queen in 1783, the watch was so complex that it wasn't completed until 34 years after Marie Antoinette's death.  In 1983, a master thief snuck into the L.A. Mayer Institute for Islamic Art and vanished into the night with the world's most incredible time piece.Pete is joined this week by Steven Cohen (@monkeyinheaven) and we play a trailer for the fantastic Bop or Flop podcast.If you're liking the show, please subscribe wherever you get your podcasts.