How would the world media react to it?
How much time would it take for every world leader to #condemn the action and call it for a terrorist act?
But in #Paris, the #terrorist is an old #French man, and the victims are of #Kurdish origin.
This #Hypocrisy makes me sick.
#TerrorAttack #Paris10 #Politics #DoubleStandard #Europe
#music #rock #arab #fuzz #global #psych #Paris #lee-ranaldo #SY #jello-biafra #DK
The image has upset many delusional Iranians who believe #slavery was abolished in #Iran by #Cyrus the creator of #Persian empire 2500 years ago, but ignore the dark history of modern Iran specially post 17th century where #African slave, mostly under aged were used by the royal families and wealthy feudal lords. Many of the male slaves were either sold to #Arab and #Turkish slave traders when they reached puberty, or were castrated and used as "Khaje" (Persian name for castrated servants) of the #Harems of kings, princes and other wealthy Iranians.
It is really upsetting that ignorant fools with no knowledge of Iran history, blindly deny the authenticity of the picture or the fact that the child in the image is actually a slave. Some actually refer to them as servants. receiving payment, which actually was a way for slave owners to "rent" their slaves to royal members for a monthly/one-time fee until the child was to be replaced.
Since 1948, #Palestinians have heroically mounted one #resistance effort after another, all unleashing disproportionate #Israeli reprisals and a demonization of the Palestinians as terrorists.
But this resistance has also forced the world to recognize the presence of Palestinians, despite the feverish efforts of #Israel, the #UnitedStates and many #Arab regimes to remove them from #historical consciousness.
The repeated #revolts, as Said noted, gave the Palestinians the right to tell their own story, the “permission to narrate.”
“By the summer of #1949, the #Palestinian polity had been devastated and most of its society uprooted,” Khalidi writes.
“Some 80 percent of the #Arab population of the #territory that at #war’s end became the new state of #Israel had been forced from their homes and lost their lands and property.
At least 720,000 of the 1.3 million #Palestinians were made #refugees.
Thanks to this #violent transformation, Israel controlled 78 percent of the territory of former Mandatory #Palestine, and now ruled over the 160,000 #Palestinian #Arabs who had been able to remain, barely one-fifth of the prewar Arab population.”
#violence #evil #colonization #colonialism #apartnehid #genocide
The creation of the state of #Israel on May 15, 1948, was achieved by the #Haganah and other Jewish groups through the ethnic cleansing of the #Palestinians and #massacres that spread #terror among the #Palestinian population.
The Haganah, trained and armed by the #British, swiftly seized most of #Palestine.
It emptied West #Jerusalem and cities such as #Haifa and #Jaffa, along with numerous towns and villages, of their #Arab inhabitants.
Palestinians call this moment in their history the #Nakba, or the #Catastrophe.
The #Zionists — in a situation similar to that of today’s supporters of #Israel — were aware it would be fatal to acknowledge that the creation of a Jewish homeland required the expulsion of the #Arab #majority.
Such an admission would cause the #colonizers to lose the world’s sympathy.
But among themselves the Zionists clearly understood that the use of #armed #force against the Arab majority was essential for the colonial project to succeed.
#colonization #colonialism #Palestine #Palestinian #freedom #HumanRights
Rashid Khalidi, the Edward Said professor of modern #Arab studies at Columbia University, in his book “The Hundred Years’ #War on #Palestine: A History of #Settler #Colonization and #Resistance, 1917-2017” has meticulously documented this long project of colonization of Palestine.
His exhaustive research, which includes internal, private communications between the early #Zionists and #Israeli leadership, leaves no doubt that the Jewish #colonizers were acutely aware from the start that the #Palestinian people had to be subjugated and removed to create the Jewish #state.
The Jewish leadership was also acutely aware that its intentions had to be masked behind euphemisms, the patina of biblical legitimacy by Jews to a land that had been Muslim since the seventh century, platitudes about human and democratic rights, the supposed benefits of colonization to the colonized and a mendacious call for democracy and peaceful co-existence with those targeted for destruction.
One of the things I love about #Farsi language is that I can read text, books and #poems from a 1000 year old #poets and #writers and except a few words that has changed or some #Arabic words they used to used back then, but it has been replaced with some modern #Persian words after the works of scholars in late 19th century.
It was a long time ago I read #Rumi, #Hafez, #Saadi or #Obeid since I gave almost all my books including the 7 volume special edition of #Soviet published #Shahname, the oldest preserved book in modern post #Arab invasion Persian book that was written to preserve the Farsi #language and one of the main reasons that Iran is the only #muslim country that was ruled by Arabs for centuries, but never adapted the Arabic language, like almost all other Muslim countries invaded by Arabs between 7th and 9th century.
Having found an unbelievable digital archive of all the Persian books ever published, I am spending an hour or 2 a day reading the poems, partially to reset my mind that has been affected by too much distraction by social media, and partially to refresh my Farsi that I feel I am losing after some 20 years of not reading any books in Farsi.
For now, it is the 3ed edition of Obeid Zakani, based on the oldest original copy published first in 1352 a.c.
#Literature #Poetry #Iran #Culture
https://ia601707.us.archive.org/31/items/dli.ernet.430491/430491-Kuliyat%20E%20Ubaid%20Zakani_text.pdf
#HassanFathy #Egyptian #Architect #Engineer #Professor #Artist #Musician #Visionary #Inventor #Arab #Pioneer #Architecture #Mud #Brick #Adobe #Nubian #African #Building #Techniques #Earth #Vernacular #Design #Traditional #Culture #History #Egypt #Our #World
Hassan Fathy, born in Alexandria, was a cosmopolitan trilingual professor-engineer-architect, musician, dramatist, and inventor. One of Egypt's most renowned architects. Fathy was recognized with the Aga Khan Award for Architecture Chairman’s Award in 1980.
He designed nearly 160 separate projects, from modest country retreats to fully planned communities with police, fire, and medical services, markets, schools, theatres, and places for worship and recreation. These communities included many functional buildings such as laundry facilities, ovens, and wells.
He utilized ancient design methods and materials, as well as knowledge of the rural Egyptian economic situation with a wide knowledge of ancient architectural and town design techniques. He trained local inhabitants to make their own materials and build their own buildings.
Hassan Fathy developed his own ideas, inculcating traditional Arab styles like the malkhaf (wind catcher), the shukshaykha (lantern dome) and the mashrabeya (wooden lattice screens). He designed complete communities including utilities and services, country retreats, special projects, and homes.
Hassan Fathy had already worked for decades in his beloved Egypt before he designed and built for the homeless community of Gourna, Upper Egypt,: which attracted international acclaim.
The old Gourna village was situated near archeological Pharaonic sites on the western shore of Upper Egypt. The Department of Antiquities commissioned Hassan Fathy to meet the challenge of providing a home for a poor community of 7,000 people. His solution differed drastically, not requiring the machinations of the established building industry of concrete and steel. For New Gourna he utilized natural resources using mud-brick, a signature of adobe architecture, and features of Egyptian architecture such as enclosed courtyards and domed vaulted roofing. He worked with the local people to develop the new village, training them to make the materials to construct their own buildings with. In this way, he was able to provide an environment specific to the inhabitants’ needs and revive decorative techniques that were quickly disappearing with the expansion of the Global Village.
Hassan Fathy's General Principles as Guidelines:
Belief in the primary of human values in architecture.
Importance of a universal rather than a limited approach.
Use of appropriate technology.
Need for socially oriented, cooperative construction techniques.
Essential role of tradition.
Re-establishment of national cultural pride through the act of building.
"How do we go from the architect/constructor system to the architect-owner/builder system? One man cannot build a house, but ten men can build ten houses very easily, even a hundred houses. We need a system that allows the traditional way of cooperation to work in our society. We must subject technology and science to the economy of the poor and penniless. We must add the the aesthetic factor because the cheaper we build the more beauty we should add to respect man." -Hassan Fathy
One of the most outstanding Arab architects of our time, a great inspiration ~
#Al_Sadu #Bedouin #Women #Weaving #Textiles #Bedu #Culture #Kuwait #Arab #History #Tradition #Art #MiddleEast #Our #World
Bedouin Weaving
"The process of weaving is known in Arabic as Al Sadu, which is also the name of the loom. Threads are stretched between four pegs hammered into the ground to form a long rectangle. Being flat it can easily be rolled up and carried from place to place.
Weaving is one of the oldest crafts of the Arabian Peninsula, and historically, woven textiles were, arguably, the most important artifacts produced by the Bedu society of Kuwait. With traditional Arab culture under threat of change, and desert life in a state of transition due to the region's socio-economic developments, the Bedu have lost much of their traditional status, making their craft skills less valued and meaningful, and resulting in the traditional weaving culture changing beyond recognition and driven to near extinction.
Bedu women are responsible mainly, for associated weaving traditions and historically they have verbally passed information of weaving techniques, patterns and symbolism from generation to generation, but due to the lack of formal education, little has been recorded or documented by them, although through the language of Al Sadu weaving, the textiles speak for themselves.
Bedouin women weavers wove textiles on simple ground looms using hand spun yarns of camel and goat hair, sheep fleece and commercially sourced cotton. Woven textiles were typically constructed from simple warp faced weave techniques and complex complimentary warp techniques, with additional weft twining methods. Traditional woven patterns and designs message the nomadic lifestyle, the desert environment, and the emphasis of symmetry and balance due to the weaving process, providing an expressive visual ‘voice’ to the women weavers."
Keireine Canavan - University of Wales Institute Cardiff UWIC
