MJMES Volume IX
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“Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان. -
Belly Dancing in New Zealand
BELLY DANCING IN NEW ZEALAND: IDENTITY, HYBRIDITY, TRANSCULTURE A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Cultural Studies in the University of Canterbury by Brigid Kelly 2008 Abstract This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. -
INDEVCO 2016 Childhood Development in the Middle East Initiatives
NURTURING CHILDHOOD DEVELOPMENT IN THE MIDDLE EAST NURTURING CHILDHOOD DEVELOPMENT IN THE MIDDLE EAST NURTURING CHILDHOOD DEVELOPMENT IN THE MIDDLE EAST OUR COMMITMENT TO CHILDREN’S EDUCATION is to partner with local and international organizations, NGOs, and the media to promote and support childhood education as a precursor to success in life. Responsibility Context Investment in Early Childhood INDEVCO member companies, Sanita values and facilitate the right to Development (ECD) in the Middle in Lebanon, and Napco Consumer education for children through early East and North Africa (MENA) is Products in Saudi Arabia, have adulthood. 1 cited among the lowest in the world . introduced education interventions UNICEF and the World Bank link ECD UNICEF, WHO, and the World Bank, to parents, identified in the World to UN Sustainable Development among others, have developed Bank’s Stepping Up Early Childhood Goal SDG4 for access to inclusive frameworks to guide policy makers Development as key areas for high and quality education and lifelong and practitioners in how to invest in returns, not only for individuals and opportunities for all3. young children, linking ECD directly families, but also communities and to children’s ability to contribute society2. Impact is measured by meaningfully to society. Given partnerships, engagement and reach that many governments have strict across countries. budgets, the private sector has an INDEVCO provides support to important role to play. Georges N. Frem Foundation initiatives that disseminate core 2 -
1 Self-Representation of Arab Female Influencers on Instagram
Self-representation of Arab Female Influencers on Instagram: A qualitative and quantitative analysis Sara S. Elmaghraby ∗ Abstract This paper aims at exploring the new media platform (Instagram) and its role in offering an innovative platform for women to present themselves, and, to break stereotypes. It aims at identifying the ways Arab Female Influencers present themselves to their followers on Instagram visually and verbally. In order to collect the sample of the Arab Influencers, a survey was conducted on 100 female college students. Then a quantitative and qualitative analysis was conducted on the accounts of 115 Arab female influencers that these students followed the most. Influencers were divided according to their careers, and their official accounts and were analyzed according to a 7-category coding scheme. The last post published on their account was described with its caption, hashtag, tag, and visual frame. The paper concluded that college students prefer to follow actresses, singers and fashionistas, travel bloggers and nutritionists. It also concluded that Arab female influencers mainly tend to present themselves promoting their work and publishing personal stories on this new media platform (Instagram). Keywords: Instagram, Gender, Middle East, Framing, Visual studies, Self Representation ∗ Teacher at Journalism department Faculty of Mass Communication, Cairo University 1 Introduction After Goffman suggested his theory of self–presentation (Goffman, 1959) several types of research defined self- presentation as a behavior that tries to deliver information about oneself or some image of oneself to other people. According to Baumeister self-presentation “ denotes a class of motivations in human behavior (…) that are in part stable dispositions of individuals but they depend on situational factors to elicit them. -
Asmahan Presence and Distinctive Performance Style
A versatile singer renowned for her powerful voice, enchanting stage Asmahan presence and distinctive performance style. Amal Al-Atrash, (1912-1944), better known by her stage name Asmahan, was an exceptional Syrian-Egyptian singer and actor who rose to fame in Egypt in the 1930s and early 1940s. Born into a prominent family, she moved from Syria to Egypt with her mother and siblings due to political unrest. To earn a living, her mother, who had an excellent voice, began singing and playing the oud. She was a source of inspiration for Asmahan and her brother, Farid Al-Atrash, who also became a famous musician. Asmahan, like her mother, demonstrated vocal talent from an early age, and went on to sing songs written by DID YOU KNOW? renowned musicians in some of Egypt’s most important venues. Asmahan collaborated with the great artist Mohammed Abdel Wahab, Asmahan was a versatile singer celebrated singing one of his compositions for for her powerful voice, enchanting stage the Film Yawm Sa’id (Happy Day). presence and distinctive performance style. She was not only skilled in tarab, but she was also incredibly innovative. Her voice was FUN FACT regarded as one of the few in the Arab world at the time able to compete with renowned Asmahan and her brother Farid Al- Egyptian singer Umm Kulthum. Atrash starred in the successful 1941 film Intisar al-Shabab (The Triumph Despite her short life, Asmahan performed of Youth), in which they portray two and recorded several memorable songs young singers looking for fame in Egypt. composed by renowned musicians, including her brother Farid Al-Atrash. -
22 Vertiefungstext 13.Mdi
TBS 16 The Appeal of Sami Yusuf and the Search for Islamic Authenticity by Christi... Page 1 of 13 PEER REVIEWED ARTICLE: The Appeal of Sami Yusuf and the Search for Islamic Authenticity By Christian Pond A quick glance at the top 40 most requested songs on the Web site for the popular Arabic music video channel Melody Hits TV reveals the latest and greatest from stars such as Lebanon’s Nancy Ajram—infamous for her sexually suggestive videos—as well as others like America’s rapper Eminem and Egypt’s crooner Tamer Hosny. Next to each song’s title and number is also displayed a picture of the artist. At number 32, next to her hit Megamix, is a picture of Britney Spears staring at the viewer with the fingers of her right hand resting suggestively on her bottom lip. At number 35, popular rapper 50 Cent is shown in front of an expensive sports car wearing a fur coat, diamond-studded chain and black bandana. Wedged between the two at number 34 is the British Muslim singing phenomenon Sami Yusuf with his latest hit Hasbi Rabbi.(1) Well-dressed, sporting a fashionably cut, close-cropped beard and preferring tailored black suits to traditional dress, he is famous for his glitzy religious CDs and music videos. Born in 1980 to Azerbaijani parents, Sami Yusuf grew up in London and first studied music under his father, a composer. From a young age he learned to play various instruments and at the age of 18 was granted a scholarship to study at the Royal Academy of Music in London.(2) In 2003, Yusuf released his first album entitled Al Mu’allim (The Teacher). -
The Camps'': 1 the Emergence of Palestinian Rap in Lebanon, a New
”Welcome to the Camps”: 1 The Emergence of Palestinian Rap in Lebanon, a New Social and Political Song Nicolas Puig To cite this version: Nicolas Puig. ”Welcome to the Camps”: 1 The Emergence of Palestinian Rap in Lebanon, a New Social and Political Song. Muhammad Ali Khalidi. Manifestations of Identity, The Lived Reality of Palestinian Refugees in Lebanon, Institute for Palestine Studies ; IFPO, pp.107-122, 2010, ISBN 978-9953-453-35-4. hal-02957782 HAL Id: hal-02957782 https://hal.archives-ouvertes.fr/hal-02957782 Submitted on 5 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Chapter 7 “Welcome to the Camps”:1 The Emergence of Palestinian Rap in Lebanon, a New Social and Political Song Nicolas Puig ombining the festive and aesthetic dimensions of protest, rap is now blossoming among a category of young Palestinians Cas a powerful vector channeling political and social messages. Still confidential and sometimes condemned, this form of music represents a special mode of expression related to the new generation, which stands out in the current cultural landscape. Indeed, the emergence of Palestinian rap in Lebanon and in Arab countries generally, raises the question of the appearance of a cultural activity characterized by a sense of strangeness and distinctiveness.2 As one of the cultural activities anchored in the city, rap testifies to the urbanity of the individual and constitutes a matrix of neighborhood and refugee camp representations. -
Arabic Films
Arabic Films Call # HQ1170 .A12 2007 DVD Catalog record http://library.ohio-state.edu/record=b6528747~S7 TITLE 3 times divorced / a film by Ibtisam Sahl Mara'ana a Women Make Movies release First Hand Films produced for The Second Authority for Television & Radio the New Israeli Foundation for Cinema & Film Gon Productions Ltd Synopsis Khitam, a Gaza-born Palestinian woman, was married off in an arranged match to an Israeli Palestinian, followed him to Israel and bore him six children. When her husband divorced her in absentia in the Sharia Muslim court and gained custody of the children, Khitam was left with nothing. She cannot contact her children, has no property and no citizenship. Although married to an Israeli, a draconian law passed in 2002 barring any Palestinian from gaining Israeli citizenship has made her an illegal resident there. Now she is out on a dual battle, the most crucial of her life: against the court which always rules in favor of the husband, and against the state in a last-ditch effort to gain citizenship and reunite with her children Format DVD format Call # DS119.76 .A18 2008 DVD Catalog record http://library.ohio-state.edu/record=b6514808~S7 TITLE 9 star hotel / Eden Productions Synopsis A look at some of the many Palestinians who illegally cross the border into Israel, and how they share their food, belongings, and stories, as well as a fear of the soldiers and police Format DVD format Call # PN1997 .A127 2000z DVD Catalog record http://library.ohio-state.edu/record=b6482369~S7 TITLE 24 sāʻat ḥubb = 24 hours of love / Aflām al-Miṣrī tuqaddimu qiṣṣah wa-sīnāryū wa-ḥiwār, Fārūq Saʻīd افﻻم المرصي تقدم ؛ قصة وسيناريوا وحوار, فاروق سعيد ؛ / hours of love ساعة حب = ikhrāj, Aḥmad Fuʼād; 24 24 اخراج, احمد فؤاد Synopsis In this comedy three navy officers on a 24 hour pass go home to their wives, but since their wives doubt their loyalty instead of being welcomed they are ignored. -
LAD LUX Fold-Out ARTWORK V2
ROOM 1 Introduction R DDLE I belonged to a woman whose voice stole the show! I can also be the star, with my glitter and glow. D D YOU KNOW? This necklace reflects the UAE’s long history in pearling. The discovery of the world’s oldest known pearl in Marawah Island, Abu Dhabi, shows how pearls have been harvested and valued for nearly 8000 years. This beautiful necklace was gifted to the great singer Umm Kulthum by Sheikh Zayed bin Sultan Al Nahyan, Founding Father of the UAE. With nine rows, it is decorated with pearls, gemstones and gold pendants. ACT V TY Where would you wear this sparkling necklace if it were given to you? ROOM 2 The Origins of Luxury R DDLE Like the moon and stars against night skies, My pearls and dark hair will catch your eyes. D D YOU KNOW? The type of jewellery in this portrait was considered to be the most expensive and popular during the Roman period, 2,000 years ago. The most beautiful pearls were from the island of Dilmun, in present day Bahrain. ACT V TY Try to find other precious objects decorated with pearls in the exhibition. ROOM 4 Luxury at the Table R DDLE You’ll find me in your tea cup, When you want to cosy up. I go round and round in circles, you see. Oh, how much fun that is for me. D D YOU KNOW? In Europe around 500 years ago, spoons were regarded as personal items. Although this spoon was not for tea, many guests used to bring their own spoons when invited to lavish meals. -
Benefits of Belly Dance in Childbirth Experience
BENEFITS OF BELLY DANCE Benefits of Belly Dance in Childbirth Experience Karisma Pathak University of Massachusetts May 5, 2020 Professor Aston K. McCullough Professor Mary Paterno RUNNING HEAD: BENEFITS OF BELLY DANCE 2 ACKNOWLEDGEMENTS I am incredibly thankful to my advisers, friends and family for their support in completing my thesis. I am deeply grateful to my advisors Professor Aston K. McCullough and Professor Mary Paterno for their encouragement, wisdom, guidance, patience, and mentorship this past year. I would also like to thank Professor Paul Dennis and Cara Marie Manlandro for being instrumental in helping me orchestrating this thesis while it was in its initial phases. I cannot begin my thesis without thanking Ruth Manlandro for her dedicated support to me this past year. I am grateful to have someone so supportive of me in accomplishing my goals. Without the support of these advisors, I would not have been able to finish my thesis. I would like to thank my belly dance teacher Melinda Pavlata and the entire UMass Amherst Belly Dance Club for introducing me to and making me fall in love with belly dance. Also, thank you to Tara Campbell for her continued mentorship and support of my doula work in the field of childbirth. I am lucky to have friends like Saswata Mishra, Michael Zhao, Helen Chan, and Elizabeth Tripp who supported me during my thesis. I am thankful to have such positive sources of emotional support and encouragement. Finally, I would like to thank my parents Anjali and Sanjeev, my sister Roma and my brother Jai for their love and support. -
Why They Died Civilian Casualties in Lebanon During the 2006 War
September 2007 Volume 19, No. 5(E) Why They Died Civilian Casualties in Lebanon during the 2006 War Map: Administrative Divisions of Lebanon .............................................................................1 Map: Southern Lebanon ....................................................................................................... 2 Map: Northern Lebanon ........................................................................................................ 3 I. Executive Summary ........................................................................................................... 4 Israeli Policies Contributing to the Civilian Death Toll ....................................................... 6 Hezbollah Conduct During the War .................................................................................. 14 Summary of Methodology and Errors Corrected ............................................................... 17 II. Recommendations........................................................................................................ 20 III. Methodology................................................................................................................ 23 IV. Legal Standards Applicable to the Conflict......................................................................31 A. Applicable International Law ....................................................................................... 31 B. Protections for Civilians and Civilian Objects ...............................................................33 -
Project of Statistical Data Collection on Film and Audiovisual Markets in 9 Mediterranean Countries
Film and audiovisual data collection project EU funded Programme FILM AND AUDIOVISUAL DATA COLLECTION PROJECT PROJECT TO COLLECT DATA ON FILM AND AUDIOVISUAL PROJECT OF STATISTICAL DATA COLLECTION ON FILM AND AUDIOVISUAL MARKETS IN 9 MEDITERRANEAN COUNTRIES Country profile: 3. LEBANON EUROMED AUDIOVISUAL III / CDSU in collaboration with the EUROPEAN AUDIOVISUAL OBSERVATORY Dr. Sahar Ali, Media Expert, CDSU Euromed Audiovisual III Under the supervision of Dr. André Lange, Head of the Department for Information on Markets and Financing, European Audiovisual Observatory (Council of Europe) Tunis, 27th February 2013 Film and audiovisual data collection project Disclaimer “The present publication was produced with the assistance of the European Union. The capacity development support unit of Euromed Audiovisual III programme is alone responsible for the content of this publication which can in no way be taken to reflect the views of the European Union, or of the European Audiovisual Observatory or of the Council of Europe of which it is part.” The report is available on the website of the programme: www.euromedaudiovisual.net Film and audiovisual data collection project NATIONAL AUDIOVISUAL LANDSCAPE IN NINE PARTNER COUNTRIES LEBANON 1. BASIC DATA ............................................................................................................................. 5 1.1 Institutions................................................................................................................................. 5 1.2 Landmarks ...............................................................................................................................