German international magazine, der spiegel, publishes a dossier about Trump's presidency, the illustrative image is astounding

German international magazine, der spiegel, publishes a dossier about Trump's presidency, the illustrative image is astounding

    Saturday, February 04, 2017   No comments

 ISR comment: The image illustrating the cover dossier of “Der Spiegel,” a leading magazine out of Germany, a country that knows firsthand the consequences of being ruled by populist authoritarians, is astounding. It speaks to the power of art in capturing the moment. Its selection for the cover of the magazine underscores the role of the media and journalism in society during challenging times.
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Donald Trump has now been president of the United States for two weeks. It literally pains me to write about all that has happened in these first days. The president of the U.S. is a racist. He is attempting a coup from the top; he wants to establish an illiberal democracy, or worse; he wants to undermine the balance of power.

With his style of rule -- his decrees, his appointments and his firings -- he is dividing Washington and the rest of the country. Our cover story this week, which will be published in English on Monday, describes how Trump's inner circle works and how insecurity has grown among government officials. It sheds light on the role of Stephen Bannon, the former head of the right-wing news portal Breitbart News, who has become Trump's Faust, his chief ideologue and the man pulling the strings in the White House. Bannon is also a man who loves wars -- he sees them as being thoroughly advantageous.


During the course of his reporting on the cover story, SPIEGEL Washington correspondent Gordon Repinski met with government officials who spoke of their worries and their pangs of guilt. "They are considering whether the right thing to do would be to leave the government or to put up resistance from within," says Repinski. In London, my colleague Peter Müller spoke with Ted Malloch, who is considered Trump's favorite for the post of ambassador to the European Union -- a man who has praised Brexit and predicted the collapse of the euro.

  

The problem will not resolve itself. German business is the opponent of American trade policy, the German democracy is the ideological opponent of Donald Trump, but even here, in the middle of Germany, right-wing extremists are trying to give him a helping hand. It is high time that we stand up for what is important: democracy, freedom, the West and its alliances. Germany, of all countries, the economically and politically dominant democracy in Europe, will have to form the alliance against Trump, because it won't otherwise take shape. It is, however, absolutely necessary.


  

The image for this week's cover was created by the artist Edel Rodriguez. Edel was nine years old when, in 1980, he came to the U.S. with his mother -- two refugees, like so many others. "I remember it well, and I remember the feelings and how little kids feel when they are leaving their country," he told the Washington Post on Friday night.

The newspaper wrote: "This DER SPIEGEL Trump cover is stunning." It wasn't the first time Edel has drawn Trump. He usually portrays him without eyes -- you just see his angry, gaping mouth and, of course, the hair. "I don't want to live in a dictatorship," he says. "If I wanted to live in a dictatorship, I'd live in Cuba, where it's much warmer."

In other vital coverage this week, New York correspondent Philipp Oehmke met up with Dave Eggers and Wolfgang Höbel interviewed T.C. Boyle. Both American authors spoke about the issue gripping the entire world right now: Trump's America. "The world must be shaking," says Boyle.

Finally, in a SPIEGEL interview, my colleagues Horand Knaup, Markus Feldenkirchen and I asked Martin Schulz, the center-left Social Democratic Party's candidate challenging Angela Merkel in this year's chancellor race, what he thought of Trump. "Contemptible. He crosses the boundaries of every basic consensus that a democracy needs! It's staggering."

 A selection of stories from the issue will be published in English this week at
Spiegel.de/international.

 

Native Deen Uses Rap to Combat Stereotypes About Islam

Native Deen Uses Rap to Combat Stereotypes About Islam

    Tuesday, August 09, 2016   No comments

Summer camp may seem like an unlikely place to create a successful, internationally-acclaimed rap group.

But in the early 90s, during an era when the mix of rap and musical activism was at its prime, three amateur, Muslim-American artists saw an opportunity to blend the Islamic faith and hip-hop culture.

Roughly a decade later — the same year as the Sept. 11 attacks — the trio formed Native Deen, a Washington, D.C., based rap group,which celebrates the Islamic-American experience using a fusion of hip-hop and R&B flavor.

Native Deen meet with students during a trip with members of the U.S. State Department to a school in the Palestinian territories in 2006.


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"We grew up during the golden ages of hip-hop. This was the music and the language of young people," group member Naeem Muhammad told NBC News. Their mission? "To spread an uplifting message of Islam" to combat the misunderstanding of Muslims and non-Muslims alike, said group member Abdul-Malik Ahmad. The group now boasts sold out performances internationally and in 2006 won an Al-Mahabba Award, which celebrates Muslim achievements in the arts, in Dubai. "Our music came at a time where a lot of young Muslims were having issues with identity," Muhammad said, adding that Muslim youth often struggle with merging "their Muslim identity with all of their American identity" while growing up in a country that misunderstands their faith. Source

 

  

Inside the Arabic Islamic Institute in Tokyo

Inside the Arabic Islamic Institute in Tokyo

    Monday, May 12, 2014   No comments

Inside the Arabic Islamic Institute in Tokyo, 15 students of calligraphy raptly practice writing verses from the Qur’an. Yet when the call to prayer is heard, few stir. The instructors and students are Japanese, and only two are Muslims. Here, their calligrapher’s pens (qalam in Arabic) are not made of reeds, as is traditional in much of the Islamic world. Nor do they use the brushes (fude) favored by Japanese calligraphers. Their pens are made of bamboo, which is plentiful in Japan.

For centuries, educated Japanese have been taught the traditions of calligraphy beginning in grade school. At the Nitten, the annual arts exhibition in Osaka, calligraphy is important enough to merit its own section. An appreciation of calligraphy is a lifelong interest for many Japanese, and for some, acquiring proficiency at it is a lifelong study. Yet, over the past two decades, a few have quietly put down their fude and picked up a bamboo qalam to try their hand at calligraphy in Arabic, which, they often find, is not as alien as they had thought.

Yukari Takahashi, who owns an elegant Tokyo nightclub, holds up a sheet of Japanese rice paper with embossed floral patterns framing immaculate calligraphy. I ask her why she studies Arabic calligraphy, and, in her limited English, she answers, “Very beautiful.” Other practitioners—a retired consul-general, a choreographer and dancer, the head of the Tokyo City Retirement Fund—also mention beauty first when describing their attraction to Arabic calligraphy.

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Word As Image: Contextualizing “Calligraffiti: 1984-2013″ with French-Tunisian Street Artist eL Seed

Word As Image: Contextualizing “Calligraffiti: 1984-2013″ with French-Tunisian Street Artist eL Seed

    Wednesday, February 19, 2014   No comments

BY RUSTIN ZARKAR

“Calligraffiti:1984-2013,” runs from September 5th to October 5th, 2013 at New York’s Leila Heller Gallery. As an updated version of the original show in 1984, the current exhibition features nearly fifty artists from the Middle East, North Africa, Europe, and North America. The article below also contains segments of an interview with French-Tunisian street artist eL Seed.

The interplay between word and image– of language and visual representation– has become complexly intertwined in the cultural productions of contemporary societies. The art gallery combines text and image; most installations are accompanied by a placard revealing information about the piece such as the name of the artist, the materials used, as well as the name of the work and when it was created. Here, the word becomes a conveyor of meaning, which elucidates the content of the visual material. The textual is treated just as an instrument in the service of the visual. However, in the cases of calligraphy and graffiti– two separate but undeniably related art forms– text itself is the object of beauty. The word merges with the image itself and the dichotomy between the two is nullified; no one can say when the letters end and the image begins, or vice versa.

This synthesis of linguistic signs and visual representation is explored by New York’s Leila Heller Gallery in their new exhibition entitled “Calligraffitti: 1984-2013.” The show features a substantial collection of text-based visual art created by artists such as eL Seed, Parviz Tanavoli, Hassan Massoudy, Hossein Zenderoudi, Shirin Neshat, and many more. The show’s titular portmanteau points to another unification: that between graffiti and calligraphy. With the majority of the featured artists originating from the Arab world and Iran, the allusion to the regions’ traditional calligraphic practice is prominently displayed. The influence of early Islamicate styles such as floriated Kufic and Nasta’liq’s siah mashq are clearly visible in the innovative works.

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Where Allah Rocks: Indonesia's Tolerant Take on Islam

Where Allah Rocks: Indonesia's Tolerant Take on Islam

    Thursday, November 07, 2013   No comments

By Erich Follath

The Southeast Asian island nation of Indonesia has the world's largest Muslim population, which practices an open-minded, gentle version of Islam in urban areas. But elsewhere Islamists are beginning to encroach.
Joko Widodo is a strange character, a superstar in his country and a figure of growing importance in Asian politics. He is also a mixture of many things that don't ordinarily mix.

Sometimes he behaves like the legendary Kalif Harun al-Rashid, who used to sneak out of his palace in Baghdad at night to mingle, in disguise, with ordinary people and learn what they were thinking. Sometimes he emulates Nelson Mandela, who has charmed people with his optimism and eloquence throughout his life. And sometimes he comes across as a Mick Jagger type, charismatic and assertive, but perhaps a little too self-absorbed.

For his fellow Indonesians, this is apparently an irresistible blend of character traits. Widodo, 52, widely known as "Jokowi," is a pop star and an inspirational tribune of the people. He is the governor of the regional district of Jakarta, a megalopolis of about 23 million people on a strip of land along the coast, which is constantly threatened by flooding. In fact, scientists believe that most of Jakarta will be underwater by 2050.

Greater Jakarta is one of the most chaotic collections of people in the world, a seemingly ungovernable Moloch. But according to opinion polls, Governor Jokowi is doing such a good job in Jakarta that Indonesians say they would elect him president in next year's national elections. This would also make him one of the leaders of the G-20 group of 20 major economies.

Indonesia, an enormous nation consisting of more than 17,500 islands, stretches from Banda Aceh on the northern tip of Sumatra to Borneo, Java, Bali, the Maluku Islands and New Guinea. It encompasses more than 5,000 kilometers (3,107 miles) from west to east, or about the distance from Lisbon to well past Moscow. It is a country with vast, virtually uninhabited regions and some of the world's most crowded places. It also holds volcanoes and tropical rainforests, the home of giant, 60-meter (200-foot) trees, along with mangroves and coral reefs, orangutans and Komodo dragons.

Indonesia's manmade wonders are as impressive as its natural features. Magnificent Buddhist temples like Borobudur and impressive Hindu sites like Tanah Lot are UNESCO World Heritage sites. And Jakarta, Surabaya and Medan boast some of the world's largest and most beautiful mosques.

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A Pilgrimage to a Person

A Pilgrimage to a Person

    Thursday, August 29, 2013   No comments

When you are not with close friends,
you are not in the presence.

It is sad to leave the people you travel with.
How much more so those who remind you of God.
Hurry back to the ones protecting you.

On every trip, have only one objective,
to meet those who are friends
inside the presence.

If you stay home, keep the same purpose,
to meet the innermost presence
as it lives in people.

Be a pilgrim to the Ka`ba inside a human being,and Mecca will rise into view on its own.

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A Rumi's poem, translated by Coleman Barks