Growing underground: How Afikra is revealing Arab culture to NYC and beyond

Afikra is a communal exploration of Arab history and culture.(Supplied)
Updated 17 December 2018
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Growing underground: How Afikra is revealing Arab culture to NYC and beyond

  • Afikra is a "communal exploration of Arab history and culture"
  • Afikra has now expanded beyond NYC to parts of Europe and the Middle East

NEW YORK: Typically, when young Arabs meet up in a large group they gather for two main reasons: To protest or to party. Afikra, though, takes the middle road, describing itself as a “communal exploration of Arab history and culture.” It feels like a cozy college lecture without the grades — but everyone gets schooled.

It all started in New York four years ago, when a group of young Arabs decided to meet “underground” in a sort of cultural salon, an idea loosely based on the Pen League, the infamous “secret” group in which Arab intellectuals including Khalil Gibran came together in NYC to discuss aspects of their Eastern culture in a Western world.

“The Pen League started 100 years to the year prior to when we started Afikra [in 2014],” said Mikey Muhanna, Afikra’s vivacious founder. “They were a collective of Arabs and Arab-Americans living in New York, trying to understand and write about their heritage and their identity in this region, and in some ways, we were, too.”

The monthly gathering is now a well-oiled machine. Invites circulate via virtual word of mouth and attendance averages about 40 people per meeting. The speakers don’t promote anything and don’t necessarily have to be Arab, but two participants have pre-agreed presentations, usually projected on a wall with slides that illustrate a curiosity. Each person is coached beforehand and the topics remain a secret until they are live.

Afikra has now expanded beyond NYC to parts of Europe and the Middle East. Each gathering has a purpose, to create a community in which specific topics are introduced by non-experts to a room full of willing students of life. Everyone gets to sit down and dedicate several hours on a Sunday to educating and enlightening themselves and each other on something quirky about the Arab World.

Recently, Muhanna was on a whirlwind trip, as usual. He visited five different cities in five days, asking and responding to questions. He then returned to New York, where he gave a presentation about Afikra at an art space currently dedicated to the New York Arab World Art & Education Initiative (nycaae) before getting on a plane and launching the latest Afikra installment in Amman, Jordan. All Afikra’s talks so far have been conducted entirely in English, but there are plans to start offering meetings in French or Arabic. Afikra’s online archive is currently home to around 150 talks, or, as Muhanna explained, “150 questions that people can now find resources for to answer those questions.”

Originally, Muhanna was running the whole thing himself, with some assistance from friends, but there are now 50 volunteers helping out around the world. There are certain aspects that are consistent throughout all Afikra’s chapters: the same logo is used, and presenters all go through the same centralized coaching process. The audiences, of course, vary though.

“The community in Bahrain is different than the community in Washington, D.C. or Montreal or in Beirut,” said Muhanna. “Because the community is different, the questions they ask might be different. For example, we had a lot of questions coming out of Bahrain about the linguistic diversity of Bahrain, which is really, really interesting. Versus questions that come out of North America, for example, where a lot of them have to do with Arab immigration waves to North America. It helps us speak to the diversity and the breadth of the types of questions people can ask about this region, so that’s nice. That’s a diversity that we are trying to expose and celebrate.”

The most recent Afikra NYC, part of nycaae, was hosted by Kuwaiti art curator Razan Al-Sarraf at the ArtX space. Her sister, Rawan, also attended. “One thing that stuck with me was when they were introducing Afikra, they were saying that it’s an event for people to learn about Arab culture,” she said. “I thought that was really interesting because when you’re in foreign lands, I feel like Arabs tend to group together. (But this) wasn’t specifically for Arabs to find each other, it was more open to everyone learning collectively about our culture.”

Hussam Abu-Libdeh was a past presenter and was already preparing for a new topic. ”You learn something new every time you come here,” he told Arab News. “One of the most amazing things is just meeting really cool people and having these quick discussions over pastries where you get to learn more about cool things that they’re doing. It inspired me to present again. I presented back in April, and the question then was, ‘Why does the Arab world consume a lot of tea?’ We consume a quarter of the tea supply in the world, but tea is not indigenous to our part of the world, so I researched how Arabs started drinking tea, because it’s a plant that doesn’t grow here but we like it a lot. It was fascinating to learn about how this plant has come to us, the politics of it.”

Dima Mabsout from Lebanon stumbled upon the event by chance but said it would certainly not be her last. “I think a lot of (Arab) history has been literally buried so we never have these spaces where people are interested to talk about things and to develop curiosity,” she said.

For Jim Khouri, it was his eighth visit. He found out about Afikra the old-fashioned way. “It was recommended to me by a friend of a friend who knew people in New York who would often go to these events, so he told me to check it out. I came to my first one last year and I was hooked.”

Lubna Alnasser from Saudi Arabia loves how Afikra deliberately keeps the topics a secret, adding an element of intrigue. She was pleasantly surprised when one of the topics of the night touched her personally.

“You don’t know what people are going to talk about and (whether it will be) something that you really like,” she said. “The speech today was about the tapline (the trans-Arab pipeline) and how it changed the economic aspect of the oil industry in Saudi Arabia, and I found it really interesting because my dad lived in one of the villages-turned-cities on the tapline, and he had so many anecdotes — I wish he was here to share them — on how it changed the culture and the social aspect of these cities.”

Rami Abou-Khalil is one of the leaders of the NYC team, and he told Arab News that while each session of Afikra is unique, there are certain elements that need to be consistent for it to achieve its goals: “I measure Afikra’s success by the diversity of the community, the passion for the different topics, and by every time that someone comes to us at an event saying how excited they were to learn about something new.”


Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

Updated 25 April 2024
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Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

DUBAI: The Cannes Film Festival announced on Thursday that Moroccan director, screenwriter and producer Asmae El-Moudir will be part of the Un Certain Regard jury at the 77th edition of the event, set to take place from May 14-25. 

She will be joined by French Senegalese screenwriter and director Maïmouna Doucouré, German Luxembourg actress Vicky Krieps and American film critic, director, and writer Todd McCarthy. 

Xavier Dolan will be the president of the Un Certain Regard jury. 

The team will oversee the awarding of prizes for the Un Certain Regard section, which highlights art and discovery films by emerging auteurs, from a selection of 18 works, including eight debut films.

El-Moudir is the director of the critically acclaimed film “The Mother of All Lies.”

The movie took the honors in the Un Certain Regard section, as well as winning the prestigious L’oeil d’Or prize for best documentary at the festival in 2023. The film explores El-Moudir’s personal journey, unraveling the mysteries of her family’s history against the backdrop of the 1981 bread riots in Casablanca.

El-Moudir is not the only Arab joining the Cannes team. 

Moroccan Belgian actress Lubna Azabal this week was appointed the president of the Short Film and La Cinef Jury of the festival. The La Cinef prizes are the festival’s selection dedicated to film schools.


Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

Updated 25 April 2024
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Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

DUBAI: Marriott International, Inc. announced on Thursday that it has signed an agreement with Neom to open its second Ritz-Carlton Reserve in Saudi Arabia. 

The hotel is anticipated to open in Trojena, a year-round mountain destination located in the northwest region of the country. 

The resort is expected to feature 60 expansive one-to-four-bedroom villas. Plans also include a range of amenities including a spa, swimming pools and multiple culinary venues.

Chadi Hauch, the regional vice president of Lodging Development Middle East, Marriott International said in a statement: “Together with Neom, we look forward to bringing this ultra-luxury experience to Trojena. This signing also marks an important addition to our portfolio in Saudi Arabia where we continue to see a strong demand for our luxury brands.” 

“Trojena is a rare destination, and we are delighted that Ritz-Carlton Reserve has hand-picked the mountains of Neom for their next property.  Together we will create an experience that can’t be recreated anywhere else. Our visitors and residents will experience a sanctuary that will capture the magic of Saudi Arabia, embracing ultimate luxury in an unforgettable location,” executive director and Trojena region head Philip Gullett said in a statement. 

Trojena, one of the flagship developments within Neom, is being developed and positioned as a year-round adventure sports destination that will include activities such as skiing, water sports, hiking and mountain biking. It will also include apartments, chalets, retail, dining, entertainment, leisure, sports and recreational facilities, and other hospitality offerings, including a W Hotel and a JW Marriott Hotel.

Ritz-Carlton Reserve currently boasts a  collection of only six properties in destinations including Thailand, Indonesia, Puerto Rico and Mexico.


The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

Updated 25 April 2024
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The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

VENICE: No event in the international art scene is more anticipated, or debated, than the Venice Biennale. This year’s edition, “Foreigners Everywhere,” curated by Adriano Pedroso from Brazil, features 331 artists and 86 nations, including four Gulf countries as well as Lebanon and Egypt.  

Saudi Arabia 

Women’s voices chanting in unison fill the air of the Saudi Pavilion at Venice this year. “Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan, and hundreds of women from across the Kingdom participated in its creation. The exhibition, which includes large-scale installations in the form of desert roses filled with writing and drawings by the Saudi female participants whom AlDowayan worked with, aims to showcase the evolving role of women in the Kingdom while also striving to dispel media narratives that have long defined them. The chanting is derived from traditional battle songs once performed by Saudi men before they went into battle. Here they are chanted by women in a powerful chorus of strength and resilience, backed by recordings of the wind passing through sand dunes. The work, AlDowayan tells Arab News, “is about change, subtle changes — like those of a sand dune — the surface changes, but the core stays the same.”   

“Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan. (Supplied)

UAE  

Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia” at the National Pavilion of the United Arab Emirates. It’s an introspective show consisting of drawings, sculptures, paintings and installations charting Al-Saadi’s travels around his homeland. “Traveling and understanding the natural world around me has always been an important part of my work,” Al-Saadi, who has even used rocks from the Emirates as his ‘canvas’ for some of the works, told Arab News. “Through this presentation in Venice, I hope visitors will enjoy tracing the travels I have taken over the past few years and also think about the world around us, and our place within it.”  

Visitors will also be presented with gifts: maps and scrolls in colorful traditional chests from the region, which will be removed and presented to guests by actors from the UAE.  

Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia.” (Supplied)

Qatar  

While Qatar doesn’t have a national pavilion at the biennale, it is presenting “Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices” — a group show of films by artists from across the Arab world, Africa and South Asia, as well as video installations from the collections of Mathaf: Arab Museum of Modern Art and the Art Mill Museum (scheduled to open in 2030). All the films were backed by the Doha Film Institute. 

“For me, it was important to show movies reflective of the theme of the biennale — so, revolving around immigration, foreigners, personal diaries and self-portraits and stories from women — all coming from independent (artists) in the Global South, whose voices are not always shared,” the Paris-based curator Matthieu Orlean told Arab News. 

Installation view of 'Your Ghosts Are Mine.' (Supplied) 

 

Egypt  

Alexandrian-born artist Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion, which — in the first week of the biennale at least — has proved to be one of the most popular pavilions at this year’s event.   

The film is based around Egypt’s nationalist Urabi revolution against imperial influence in the late 19th century and Shawky uses historical and literary references as starting points from which to weave together a story that fuses fact, fiction and fable, while also exploring national, religious and artistic identity.  

“I worked with performers who enacted a play in a theater for the film,” Shawky told Arab News. “The film strives in part to connect the idea of history to drama — drama regarding the connection to catastrophe and drama regarding cynicism. I like to analyze the authenticity of history, especially Egyptian history. When one makes films about history there is this gap between truth and myth.” 

Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion. (Supplied)

Lebanon 

Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio, and guides viewers through ancient Phoenicia. The piece, Al-Solh explains to Arab News, is inspired by the tale of Europa, the daughter of a Phoenician king who was abducted from the city of Tyre in Lebanon by the Greek god Zeus, who had transformed himself into a white bull to trick her into riding him, then took her off into the sea.  

“The (work) pays tribute to the ancient multicultural heritage of Lebanon,” Al-Solh says.  

In the center of the pavilion is an unfinished boat, that Al-Solh says references “the tension that women still face today, despite their emancipation.”  

Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio. (Supplied)

Oman  

Oman’s second participation in the biennale, is an exhibition titled “Malath — Haven.” It includes work from five Omani contemporary artists: Ali Al-Jabri, Essa Al-Mufarji, Sarah Al-Aulaqi, Adham Al-Farsi and Alia Al-Farsi (who also curated the show). “We used the word ‘haven’ in the title because, since antiquity, foreigners — including the Romans, Portuguese and Indians — have visited Oman,” Alia Al-Farsi told Arab News. The works on display — from Al-Farsi’s own colorful and expressive mixed-media murals (such as “Alia’s Alleys,” pictured here) to Al-Aulaqi’s “Breaking Bread,” which includes a large sculpture of a niqab made from silver spoons — reflect both traditional and contemporary life in Oman.  

“As an Omani creative with an international background, my aim was for the exhibition to serve as a sanctuary for visitors and travelers, allowing stories to unfold and intertwine, mirroring how our country finds its richness in intercultural dialogue,” the curator said in a statement.

'Alia’s Alleys' is on show in Venice. (Supplied)

 


Arab-American Heritage Month: Sama Alshaibi — ‘I’m trying to change this idea of what an Arab woman is’ 

Updated 25 April 2024
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Arab-American Heritage Month: Sama Alshaibi — ‘I’m trying to change this idea of what an Arab woman is’ 

DUBAI: The fourth in this year’s series focusing on contemporary Arab-American artists in honor of Arab-American Heritage Month. 

Born in Basrah to an Iraqi father and a Palestinian mother, Sama Alshaibi is an Arizona-based professor and artist who has mostly devoted her 20-year career to video, photography and performance art.  

During the Iran-Iraq war of the Eighties, Alshaibi and her family moved around the region, living in Saudi Arabia, the UAE, and Jordan, before eventually settling in the American Midwest when she was 13 years old.  

Sama Alshaibi_Water Bearer II. (Supplied)

“Growing up in the United States was strange. We were a ‘different’ family in Iowa and there wasn’t a lot of diversity. But I grew up in a place with nice people,” Alshaibi tells Arab News from Bellagio, Italy, where she is doing a residency at the Rockefeller Foundation.  

But she also says there were obstacles, mainly formed by major political events that impacted her. “It was challenging, because of where I’m from,” she says. 

Alshaibi’s work is largely inspired by her Arab roots. “Arts were so revered in my family,” she says. “I don’t even know if I would be making art if it wasn’t for my heritage.” It was her father, an avid photographer, who taught her to use a manual camera. She aspired to become a photojournalist herself — inspired by 20th-century African-American photographers, notably Carrie Mae Weems and Lorna Simpson, who documented Black culture in their imagery.  

Sama Alshaibi's 'Gamer Albumen' print. (Supplied)

Many of her images are portraits of herself wearing, for example, traditional Middle Eastern garments, referencing romanticized Orientalist portrayals of women, and in the end, challenging them.  

“I’m trying to change this idea of what you think an Arab woman is,” she explains. “I started seeing the power of communication, of taking political or social issues and using your body, your performance, your environment, to address them.”  

One of Alshaibi’s best-known series is called “Carry Over,” in which she photographed herself carrying large objects (or Orientalist props), such as a tower of container tins or a water vessel, above her head. The images poetically show a woman’s endurance and comment on a collective history, affected by colonialism and cultural loss.  

“I’ve always been interested in the notion of ‘aftermath’ — what happens after the destruction of your environment,” explains Alshaibi. “It gets you to the question of what we can’t hold onto anymore.”   


REVIEW: ‘Returnal’ — a thoughtful and challenging sci-fi adventure

Updated 23 April 2024
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REVIEW: ‘Returnal’ — a thoughtful and challenging sci-fi adventure

LONDON: Right from the start, before you even take control of Selene Vassos, a reconnaissance scout who has crash landed on a prohibited and mysterious planet, you are warned that “Returnal” (available originally for PS5 but now PC too) is “intended to be a challenging experience.” Such difficulty may deter the casual gamer used to a steady progression of character and exploration through a games environment. However, “Returnal” is a thoughtful and rewarding adventure that lays claim to much originality of thought in its set up. The key theme is that when you die, you return! But not to the same environment that you were in before. Instead, each new cycle postures new challenges and progress can only be made by unlocking upgrades that allow you to make more meta progress in Selene’s journey.

Selene herself is a super professional, unfazed character who doesn’t appear too bothered when she comes across a body of her former self that died in this strange world where the laws of physics and time appear not to apply. Staying alive is obviously crucial, particularly as it allows her to retain better weapons for longer. In addition, avoiding damage allows for boosts of agility, vision and more, making for a more lethal Selene. The environment is varied and surprising with each incarnation and the weapons on offer come complete with a range of exciting alternative fire mechanisms such as homing missiles or laser-like items. A hostile environment where even plants are a threat to life is mitigated by your technology, the core of which you can improve despite the reset of deaths, through fancy smart “xeno-tech” that becomes integrated with alien kit left around.

There is a paradox in “Returnal” described by Selene herself that she is trapped in an environment that is “always the same, always changing,” which literally makes no sense. Players have to be patient in the early chapters getting used to the sapping dynamic of death and return. Once that makes more sense, the loneliness of both her alien environment and the impossibility of even dying to escape it make for a pretty special atmosphere that a smart shooting engine then complements.