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.”


Saudi Film ‘Hajjan’ wins 6 nominations at Critics Awards for Arab Films

Updated 26 April 2024
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Saudi Film ‘Hajjan’ wins 6 nominations at Critics Awards for Arab Films

DUBAI: Saudi Arabia-based film “Hajjan,” directed by Egyptian filmmaker Abu Bakr Shawky, is nominated for six categories at the eighth Critics Awards for Arab Films.

The movie is competing in the best feature film, best screenplay, best actor, best music, best cinematography and best editing categories. 

“Hajjan” tells the story of Matar, a boy who embarks on a journey across the desert with his camel, Hofira.

The movie is a co-production between the Kingdom’s King Abdulaziz Center for World Culture, or Ithra, and Egyptian producer Mohamed Hefzy’s Film Clinic. 

The movie, which is written by Omar Shama from Egypt and the Kingdom’s Mufarrij Almajfel, stars Saudi actors Abdulmohsen Al-Nemer, Ibrahim Al-Hsawi, among others. 

The awards ceremony, scheduled for May 18 on the sidelines of the Cannes Film Festival, is organized by the Arab Cinema Center in Cairo and assessed by a panel of 209 critics representing 72 countries. 

Sudanese director Mohamed Kordofani’s inaugural feature film, “Goodbye Julia,” and Tunisian filmmaker Kaouther Ben Hania’s Oscar-nominated documentary, “Four Daughters,” scored nominations in seven categories. 

Jordanian filmmaker Amjad Al-Rasheed’s “Inshallah A Boy” and Palestinian-British director Farah Nabulsi’s “The Teacher” have six nominations.


REVIEW: Sofia Boutella’s heroic efforts can’t save ‘Rebel Moon — Part Two’

Updated 26 April 2024
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REVIEW: Sofia Boutella’s heroic efforts can’t save ‘Rebel Moon — Part Two’

DUBAI: “Rebel Moon — Part One: A Child of Fire” drew scathing reviews (our writer described it as perhaps “the most discombobulating collection of mismatched sci-fi tropes ever committed to film”). “Part Two: The Scargiver” simply adds to that legacy.

The story: Former Imperium soldier Kora and the surviving band of ragtag warriors she’s recruited return to the moon of Veldt — home to simple farming folk in danger of being blown to bits by the mighty Imperium for failing to supply the unreasonable grain quota demanded of them. With just a few days before the deadline, Kora and her band must train the villagers to fight (and harvest the grain in just three days to provide a bargaining chip). What Kora doesn’t know is that Admiral Noble, the bad guy she ‘killed,’ is still alive. And bent on vengeance.

Before the enemy arrives, the warriors tell their life stories in a trust-building exercise — one of the clunkiest pieces of exposition ever written. There are slow-mo shots of the harvest gathering and a brief interlude to show that Kora and farmer Gunnar are very much in love.

Then, thankfully, we’re into the battle(s). Here, at least, director Zack Snyder doesn’t disappoint, even giving an original twist to the ‘spaceship plummeting from the sky’ trope by staging a showdown between Kora, Gunnar and Admiral Noble on a floor that becomes increasingly vertical. Below them, the villagers fight heroically against odds very much stacked against them, even with the help of Nemesis and her two flaming definitely-not-lightsabers.  

The well-constructed battle scenes, though, aren’t enough. Not even with a cast fighting as heroically as the villagers to salvage something. Sofia Boutella, as Kora, emerges with most credit, proving herself a convincing action hero who deserves better than this material to work with (spoiler alert: perhaps even material that allows the heroine to kill the bad guy herself, without the intervention of her boyfriend).

Yes, no one’s sitting down to watch an “epic space opera” in the expectation of thought-provoking dialogue, but “Rebel Moon” is like the result of forcing a seven-year-old to watch all things “Star Wars” and “Star Trek” in random order, then asking them to write down what happened. The best thing to say about “The Scargiver” is that it finishes — but even that comfort is tainted by Snyder’s cynical setting up of a potential part three. Possibly because that seven-year-old fell asleep before writing an actual ending.


Saudi Arabian history on display at Abu Dhabi Book Fair 

Updated 26 April 2024
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Saudi Arabian history on display at Abu Dhabi Book Fair 

  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair 

‘Ibn Saud press photograph’ 

According to notes from rare books specialists from Peter Harrington’s team, this image from archives of The Times newspaper was taken in what was then called Hejaz, following a “critical and secretive meeting between (founder of Saudi Arabia) Ibn Saud (center) and the British representative Sir Gilbert Clayton (left) — one of a pivotal series of negotiations which led to the Treaty of Jeddah in May 1927.” The two discussed “various outstanding questions affecting the relations of the Kingdom of the Hejaz and Nejd with the neighboring states of Iraq and Transjordan” to help determine the northern borders of Saudi Arabia. “Discussions over the borders were protracted and complex, with the towns of Maʿan and Kaf the object of particularly intense debate,” the notes state. 

‘Pilgrimage to El-Medinah and Mecca’ by Richard F. Burton 

In this three-volume first edition, complete with illustrations, of “one of the most extraordinary travel narratives of the 19th century,” the British explorer, writer and polyglot Richard Francis Burton recounts his Hajj journey, made “in complete disguise as a Muslim native of the Middle East” at a time when fewer than half-a-dozen Europeans had made the pilgrimage — forbidden to non-Muslims. “It surpassed all preceding Western accounts of the holy cities of Islam, made Burton famous, and became a classic of travel literature, described by T. E. Lawrence as ‘a most remarkable work of the highest value,’” the team from Peter Harrington note. In Makkah, Burton performed all the rites of the pilgrimage and his subterfuge remained undiscovered. 

‘Map and Overview Presenting the Hejaz Railway Route’ 

This map from 1903 depicts the route of the ambitious Hejaz Railway project. It “depicts a very broad area, extending from just north of Hama, Syria, all the way south a little way past Makkah, in the Hejaz; it covers most of Syria, all of Palestine, the Sinai Peninsula, the Suez Canal, and all the north-western Arabian Peninsula,” Peter Harrington’s rare book experts write. “It clearly delineates those parts of the railway that are in place and those under construction … with each station labelled. Additionally, it depicts the two alternative routes proposed for extending the line to Makkah, employing broken lines, while another line traces the proposed (but unrealized) route of a rail line from Makkah to Jeddah. The map also labels important roads and caravan routes.” 

Four years after this map was published, the book seller’s notes state, the railway reached AlUla, which is not marked on this map, although Mada’in Salah (now Hegra) is, which today is the site of one of two museums dedicated to the Hejaz Railway.  

By 1908, the railway had reached Madinah, where, the notes state, “for various political reasons, it had to be terminated.” Nevertheless, they continue, “until the outbreak of the First World War, it allowed hundreds of thousands of pilgrims to make the Hajj in safety and with relative ease.” 

‘Material from the library of Peter O’Toole by T.E. Lawrence’ 

Billed by Peter Harrington as an “insightful archive, spanning Lawrence’s transformation from man of the moment to unwilling celebrity, from the library of Peter O’Toole, whose breakthrough portrayal in David Lean’s 1962 biopic still shapes perceptions of the famous Arabist. Autograph material from Lawrence is always highly prized, but rarely is its provenance so apposite.” 

The centerpiece of the material is a photograph and an unpublished letter written by Lawrence (who became known as Lawrence of Arabia following his journeys across the Middle East, including modern-day Saudi Arabia), framed as a piece and gifted to the English actor who played Lawrence in the aforementioned biopic by his wife, Sian, and a friend not long before the premiere of the movie. The letter makes clear Lawrence’s difficult relationship with his celebrity, and is cutting about his own book, “The Seven Pillars of Wisdom,” saying that he did not own a copy himself (“No man yet has ever wanted to read his own book”) but that his mother and “little brother” did, “and that is plenty for the family. Nobody reads it: it is worth too much money. ... It is a rotten book, you know.” 

‘Oil Region in the Desert of Saudi Arabia’ 

This 1950 image, “after a painting by the German artist Michael Mathias Kiefer,” is one of a series of geographical pictures intended for use in the curriculum of German schools. “The painting juxtaposes Arab figures in traditional garb with images of drilling rigs, a lorry, and oil storage tanks, creating a strikingly orientalist image,” Peter Harrington’s notes state. “In the middle of the composition, a pipeline bisects the image, a forceful reminder of the centrality of oil to the modern Saudi Arabian economy. In the foreground, members of a group of travelers, possibly intended to be Bedouins, rest on a carpet and let their camels drink from a water tank. Away in the background, before a distant oasis, more travelers arrive at a campsite, their camels heavily laden. Their destination is the oil infrastructure that crowds the right of the image.” 


An enduring bond: A Jordanian photographer has turned his focus on two of the Arab world’s most beloved creatures

Updated 25 April 2024
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An enduring bond: A Jordanian photographer has turned his focus on two of the Arab world’s most beloved creatures

  • Tariq Dajani’s first photographic exhibition of the horse and falcon series is on display at Ahlam Gallery in Al-Olaya, Riyadh
  • Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages

RIYADH: The Arabian horse and hunting falcon are important historical and cultural symbols for the Arab world, both ancient and modern.

Now a Riyadh gallery is highlighting this enduring bond with a series of portrait studies of both creatures by Tariq Dajani, a Jordanian photographer and printmaker.

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages.

However, Dajani, an owner of Arabians, chose to reflect his love of these creatures through photography and artworks.

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages. (Supplied)

Over the years he spent many sessions photographing horses in his native Jordan, as well as the UAE and Saudi Arabia. Later, toward the end of the project, he added the hunting falcon, another symbol of cultural heritage and pride among Arabs.

Dajani’s first photographic exhibition of the horse and falcon series is on display at Ahlam Gallery in Al-Olaya, Riyadh. 

Entitled “Drinkers of the Wind,” the exhibition is the result of 16 years’ work creating portraits of these magnificent creatures.

Tariq Dajani's exhibition at Ahlam Gallery, entitled “Drinkers of the Wind,” is the result of 16 years’ work. (Supplied)

Dajani told Arab News that he is delighted to be able to display his work in Saudi Arabia, “a country that is deeply connected to the horse and the falcon.”

Ahlam Gallery is the perfect place to showcase these artworks, he added.

Dajani’s treatment of his subjects is not in the usual natural or romantic manner. Instead, and this is partly what sets his art apart, he uses a studio portrait approach, where he takes his studio to the stables or falcon sheds, and spends time carefully working on portrait studies of the creatures.

“My aim is to find a connection of sorts with the horse or the birds,” he said. “I am not interested in documenting the creature; I try to go deeper, to express something emotionally if I can.

“I was living in Sweden when I decided to photograph the Arabian horse. So I had to return to the Middle East, and I started with Jordan, my home country.

“The way I approach the work is to present the horse on a backdrop where all my focus — and thus the viewers of the final picture — will be on the animal itself and not on the environment that it is in.”

Tariq Dajani's exhibition at Ahlam Gallery, entitled “Drinkers of the Wind,” is the result of 16 years’ work. (Supplied)

While photographing in Jordan, Dajani met Princess Alia Al-Hussein, eldest daughter of the late King Hussein of Jordan. He presented some of his work to her, and received her enthusiastic approval. 

Princess Alia gave him permission to photograph the horses of the Royal Jordanian Stud, and has continued to support his work over the years, opening his first two exhibitions in Jordan.

“I had access to some of the most beautiful horses in Jordan when I first started my project. My first exhibition solely of Jordanian Arabians was a great success,” Dajani said.

“Encouraged by the reception, and by now totally absorbed in this project, I went to Dubai, then Abu Dhabi, then Saudi Arabia, where I was presented with some of the most magnificent Arabian horses to photograph. Along the way, I introduced portrait studies of the hunting falcon. They, too, are strikingly beautiful and have a special place in Arab culture and heritage.

“I will always remain very grateful to Princess Alia for her initial support, and to many others for encouraging the work and opening doors for me along the way.”

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages. (Supplied)

One of his most striking photographs shows two mares bringing their heads together in a gentle greeting.

“This incredible and totally unanticipated greeting happened while I was photographing at the King Abdulaziz Arabian Horse Center in Dirab, south of Riyadh. The two mares were led out onto my backdrop studio space from opposite sides, and when they approached each other, they gently and courteously touched their heads as if to say hello,” he said.

“It was so special. No one had ever witnessed this before. We all held our breath as we watched in amazement. I frequently think that it would be nice if these sensitive, clever creatures could teach us humans a little bit of gentleness and respect.”

Dajani’s exhibition features high-quality photographic color prints, and a smaller collection of photogravure prints, produced by manually pulling an inked metal plate, engraved with the photographic image, through a traditional printing press — a slow and difficult process that produces prints with a special feel and texture.
 


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.