هاداني ديتمارس

The news from Lebanon reads like a litany of loss. Since the war began more than two months ago, not only have 2,882 people been killed and 8,768 wounded, according to Lebanon’s Health Ministry, but once again multiple heritage sites — especially those in the south — have been damaged and destroyed. Indeed, Lebanese heritage, inexorably linked to its peoples, shares in their vulnerability and suffering.

معرض جديد في معرض الفنون التابع لمعهد الشرق الأوسط بعنوان "الفن الشعبي العربي: بين الشرق والغرب" يقدم تذكيراً في الوقت المناسب بأنه على الرغم من الصراع والاضطرابات في المنطقة، هناك ثقافة حيوية ومتنوعة وعالمية تزدهر في جميع أنحاء الشرق الأوسط وشمال أفريقيا.

Kawkaba: Highlights from the Barjeel Art Foundation, a new exhibition of works by artists from across the Middle East and North Africa that opened recently at Christie’s in London, bears the name of the Arabic word for constellation. Fittingly, it shines a light on the region’s mid-century moment when art was often part of a process of post-colonial nation building. The exhibition is a star-studded journey through the region’s 20th century histories and aesthetics, showcasing lesser-known artists along with the greats.

Although it has fallen off the international news cycle, Baghdad is booming, high on rising oil prices and full, once again, of neo-Abbasid, petroleum-fueled aspirations. Thanks to new anti-money laundering legislation, funds are being funneled not only into hotels and real estate but also into new cultural enterprises. So what does culture in Iraq look like in 2023?

The Freedom Theatre, headquartered in the Jenin Refugee Camp that was invaded once again by the Israel Defense Forces last week, is nothing if not a crucible for the Palestinian experience. Up against grinding poverty, occupation, religious extremism, and, more recently, aerial bombardment, the theater miraculously survives.

Art Dubai is so much more than an art fair. In this, its most ambitious iteration and 16th year, it promises to be both a cultural emporium and a litmus test for the global economy.

When acclaimed Saudi artist Abdulnasser Gharem opened his first solo show in New York City last week, it closed the circle on a story that began more than two decades ago on Sept. 11, 2001, and the wars and chaos that followed. The 49-year-old Gharem, a seminal figure in and pioneer of Saudi Arabia’s contemporary art scene, hopes his exhibition Hospitable Thoughts, at the Marc Straus Gallery through Oct. 16, will spark a “new cultural dialogue.”

When architect Mustafa Mofaq first started working on heritage restoration at Erbil’s citadel last year, it was with a great sense of personal connection. “My great-grandfather had a house here,” explains the 27-year-old, who is employed by an EU-UNESCO partnership aimed at supporting livelihoods through cultural heritage development in Iraq and Jordan.

In a room at the old Mosul Museum, a young Moslawi singer closes his eyes in a moment of rapture. Singing next to the museum’s modernist 1974 incarnation still being restored after ISIS’s pillage of it treasures, his voice lifts the hearts of listeners.

Afghan filmmaker Sahraa Karimi has spent decades documenting the plight of Afghan women. But when the Taliban returned with a vengeance following their takeover of Kabul on Aug. 15 of this year, she turned the camera on herself.

بينما يشاهد العالم استيلاء طالبان على أفغانستان وما أعقب ذلك من أحداث متلاحقة، يبدو الأمر وكأنه “ديجافو” أو تكرار لمعاناة أبناء هذه الأمة. ومع عودة طالبان إلى وادي باميان، وهو أحد مواقع التراث العالمي لليونسكو الذي أجاز فيه الملا عمر تدمير تمثالين من القرن السادس لبوذا قبل 20 عامًا، ندرك أننا شاهدنا هذا الفيلم من قبل ونعرف كيف تكون نهايته.

As the world watches the Taliban takeover of Afghanistan and its aftermath, it’s like déjà vu all over again for the nation’s long-suffering peoples. With the Taliban back in the Bamiyan Valley, the UNESCO World Heritage site where Mullah Omar sanctioned the destruction of the 6th century Buddhas 20 years ago, we’ve seen this movie before and we know how it ends.

In Zarzis, on Tunisia’s southern coast, Algerian artist Rachid Koraichi has created a moving memorial to the thousands of migrants who have died crossing the Mediterranean. A hybrid of graveyard, garden, and art installation, Jardin d’Afrique has become the final resting place for over 300 souls whose bodies washed up on the shore of this tourist town.

Singer Kamilya Jubran, founding member of the iconic Palestinian band Sabreen, once famously sang, “We’ve tried resistance, we’ve tried confrontation, we’ve tried intifada, we’ve tried peace. What else is left to us?” The answer of course, that hung in the air of her breathtaking vocals, was “to sing.”

Only two days after an extremist attack that saw 14 missiles rain down on Erbil, and in the midst of a new coronavirus surge and lockdown, the Chaldean Catholic Archbishop of Mosul, Najeeb Michaeel, was optimistic about the upcoming visit of Pope Francis.

“Everyone is very happy about this historic event,” he said of Iraq’s inaugural papal visit, from his home in Ankawa, Erbil’s Christian enclave, which has given refuge to thousands of those displaced by ISIS. A previously planned visit in 2000 by Pope John Paul II to Ur, birthplace of the Prophet Abraham according to the Torah, was foiled by protracted negotiations with the government of Saddam Hussein. In 2020, Pope Francis had to cancel a trip due to security and pandemic concerns.