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Olivea

Farrah is a poet, professor and writer, based in Manhattan. Focused on living cultures and their intersections alike, this site features her profiles on film, art, music and travel. ... [more]

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TerraIncognita: Filming on Lethal Terrain, Iraq & Nigeria

The kidnapping of ‘Iraqi War’ documentary filmmaker Mohamed Al-Daradji filmed the Iraqi war documentaries Al-Ahlaam (Dreams) in 2003 and its sequel Love, War, and Madness in 2006, but he didn’t expect to be kidnapped. “We were four in crew of forty-five protected by police and still got kidnapped outside of a mosque,” he replies in an interview I conducted last year. Al-Daradji’s dual Dutch-Iraqi citizenship also complicated matters, being that many Iraqis felt that his European nationality put him in the services of the Americans. Insurgent captors believed he and his crew were U.S. backed, so they killed his 14 year-old boom man; secondly, the US military viewed his Iraqi-ness with suspicion, arresting him and his crew for being “al-Qaeda” propagandists as they recovered in a Baghdad hospital after being kidnapped by insurgents. Danger plagued the Iraqi-born actors of Al-Ahlaam, as main characters Bashir Al Majid-- a former real Abu Ghraib prisoner under Saddam Hussein-- and Aseel Aded, or ‘Ahlaam’ herself were forced to the Sunni extremist dominant ‘Dora’ southern tip of Baghdad. Al-Ahlaam and its documentary sequel Love, War, God & Madness have been shown at over a hundred film festivals worldwide. “It’s about the situation in Iraq in general that people like. They see the film and like that it comes from the true, human side of the Iraqi individual,” says Al-Daradji whose most recent film, Son of Babylon, is being shot in seven countries (Egypt, Iraq, Lebanon, UAE, etc.). It follows a woman who journeys from northern Iraq with her grandson to find her husband who has been missing since 1991. Al-Daradji’s motives were simple: “to engage with the Iraqi people who are not evil, suffer, and need to be heard.” Regardless of his motives, the tripwires of filming in Iraq were multiple so the filmmaker suggests to all filmmakers interested in filming Iraq or some other lethal terrain to select film crew from Iraqi locales: [Even] filmmakers of Iraqi descent need not tell Iraqis he’s not from Iraq… the important thing is to keep a very low profile, to know where you are going, how, what and when. A filmmaker with Iraqis will be safer, his job easier, but there’s still no room for safety in Iraq. In order to be psychologically prepared for Iraq Al-Daradji says: You must be prepared to die. American [soldiers] in the road will shoot anyone, and you just have to be prepared to not fear it…. If you have a camera in Iraq, you will always be a suspect, and especially if you are Iraqi you can even be more a target: Sunni or Shiite, Palestinian or Algerian, Al-Qaeda. The almost suicidal willingness to capture his subjects’ sufferings, Al-Daradji has earned multiple awards for his first and two subsequent films. More sadistically, however “filmmakers going to Iraq need to trust in the Angel of Death; fear can lead to massive problems in the field.” II. The detainment of Nigerian ‘oil exploitation’ documentary filmmaker Six months into Andrew Berends’ infiltration into exploitive nature of the Niger Delta oil economy, to film The Delta Boys, the Nigerian State Security Services (NSSS) detained and interrogated Berends and translator for ten days, on the conviction of espionage; they confiscated their possessions and left them without sufficient food or water in August 2008. He was released only a month later, after supporters raised $10,000 for legal expenses and after media casters, political journalists and senators raised money and signed a petition on his behalf. He advises filmmakers to keep a low profile and obtain journalist visas and permission from both the Nigerian Ministry of Information and local Niger Delta government. “Nigeria is the most difficult place I’ve ever filmed,” claims the director last year. He also advises filmmakers to safeguard their footage and contacts. Berends speaks from experience. After all, he once had to swallow his SIM card: It is best to periodically courier copies of footage out of the country. [Because] one's cell phone and laptop will likely be seized… I managed to swallow the SIM card from my phone, so [NSSS] couldn't get the numbers. Unfortunately I lost all my contacts. Also, after denying that I'd spent time in militant camps, the police found copies of my grant proposals on my laptop. In these proposals, I'd explained in some detail about all the time I'd spent in certain militant camps. Interestingly, shooting Blood of My Brother and When Adnan comes Home, in Iraq about the Iraqi war, Berends didn’t run into any trouble. He spent six months, from March to September 2004 shooting in Iraq and deemed it “one of the easiest places I’ve ever worked...In Iraq, I was definitely an outsider, but I achieved extraordinary access to my subjects’ lives, suffering, and struggle.” British white male, Andrew Berends completed these two films without running into the same problems he would have two years later in Nigeria. He attributes this to the fact that so many Iraqis want the outside world to know what’s happening there: They understood that I was a journalist. Some believed strongly enough in their fight that they were willing to die for it. It was only natural that they appreciated having an outsider there willing to document their struggle. Five journalists Berends knew were kidnapped, while he managed to successfully integrate with Iraqi insurgents against the Americans. In fact, he says: The Iraqi Arab culture is a culture of hospitality. Some of the Iraqi friends I made explained that because I was away from my family and in a strange land, it was their responsibility to take care of me and protect me. These were not paid fixers, just ordinary people who befriended me, and wanted to see me succeed in capturing stories to share with the rest of the world. Berend’s time in Iraq was victorious he was a welcomed outsider who intimately accessed the sufferings, experiences and world of the Iraqis. That said the world has become increasingly dangerous for journalists. Despite these two filmmakers’ attempts to avoid becoming the objects of regional politics, the extenuating circumstances Al-Daradji and Berends endured extend into their films’ subject matters. Near-death experiences demonstrate to filmmakers, artists and adventurers everywhere that the will, desire and conviction are the means to freely channel internationally veiled truth, suffering and exploitation.
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"MY WIVES & I"


New York City epitomizes the reconciliation of opposites: Rich and poor, dark and light, or high and low. Boundaries, or geographical, religious, sexual identifications account for the creation of the continents, law and individuality. Nevertheless, they drive people to war. Empathy is thus needed to temper the flames of difference. Artist George Lewis privileges this notion of empathy through a collection of sensually iconic photographs. The “Behind the Veil, Sexuality in the Middle East”exhibition recently featured at NYC’s VBH, 940 Madison Avenue. Valentino bought more than a few pieces opening night, and rich Saudi princes commission Lewis to photograph them regularly.


Penetrating the private with profound subtlety and grace, Lewis stays clear from administering a political agenda. Lewis’ deep interest in the human condition propelled his four-year artistic and spiritual journey to the Arabian Peninsula. Meddling with what he coins “the revealed and the concealed,” Lewis’ point of departure is human basic needs. “Everybody eats and everybody screws,” he intones. Subsequently drawing on this relationship between the sacred and the profane are his “Human Nature”, “Ya Habibi”, and “Curious.”



 


 


"CURIOUS"


In all three strolls in an eminent scantily clad sculpture: a Michelangelo ‘David’. Manliness shooting through his every muscle fiber, cell and bulb visually magnetizes the fully veiled women treading the same path. Tight white swim-shorts on an exposed man wildly contrast the loose black niqaab on anonymous women. A large mosque serendipitously spanning the background of each of the three photographs further intensifies cultural symbiosis.


Mosque or no mosque, married or widowed, the quixotic women gaze unselfconsciously at the hypnotic passerby. They inadvertently take on the role of the gawking male admirer. The gentleman in all of these photos is the objectified sex figure to which all eyes helplessly gravitate. His allure shamelessly draws on the fascination of nebulously disguised humans, whose sexualities are visually concealed. The veil ironically enables women to feed their eyes and imagination, without being caught, or scorned. Basic needs could be tempered or repressed, but their seeds extinguish at death, only.


Student Sarah Alfaham, president of the Muslim Student Association at the University of Toledoreiterates the ‘barrier’ quality of the Hijab. Women stripped of their clothes are in reality enslaving themselves to the men who view them as “pieces of meat,” notes Weam Namou, author of “Muslim Women Empowered by Their Religion,” featured in The Multicultural Review 2010. Namou highlights Muhammad’s caring concern for elevating the status of women: “According to Islamic law women have total control of their wealth, marry who they want, keep their own name when they marry, inherit property, and have their marriage dissolved in the case of neglect or mistreatment,” she notes, reminding society that Western men cheat on their wives, while the Muslim man “…marries another woman—for a crucial reason—and informs his wife before arranging for his marriage.” Westerners fail to deem the former as oppressed, even though Muslim women have the right to leave their husband, if she doesn’t consent.


In all three strolls in an eminent scantily clad sculpture: a Michelangelo ‘David’. Manliness shooting through his every muscle fiber, cell and bulb visually magnetizes the fully veiled women treading the same path. Tight white swim-shorts on an exposed man wildly contrast the loose black niqaab on anonymous women. A large mosque serendipitously spanning the background of each of the three photographs further intensifies cultural symbiosis.


Heretofore, the veil functions as part-shield part-disguise.  Examining the full  ‘gamut’ where anything is possible, the seemingly narcissistic male juxtaposed with local women, whose haute couture collections were limited to the private space, depicts mutual fascination or attraction. Humorous, yet charged with intrigue and social reverie, the man was a novice at bending the rules of life and love. The women watching become rebels in thought, violators of the sacred.



Mosque or no mosque, married or widowed, the quixotic women gaze unselfconsciously at the hypnotic passerby. They inadvertently take on the role of the gawking male admirer. The gentleman in all of these photos is the objectified sex figure to which all eyes helplessly gravitate. His allure shamelessly draws on the fascination of nebulously disguised humans, whose sexualities are visually concealed. The veil ironically enables women to feed their eyes and imagination, without being caught, or scorned. Basic needs could be tempered or repressed, but their seeds extinguish at death, only.


Student Sarah Alfaham, president of the Muslim Student Association at the University of Toledoreiterates the ‘barrier’ quality of the Hijab. Women stripped of their clothes are in reality enslaving themselves to the men who view them as “pieces of meat,” notes Weam Namou, author of “Muslim Women Empowered by Their Religion,” featured in The Multicultural Review 2010. Namou highlights Muhammad’s caring concern for elevating the status of women: “According to Islamic law women have total control of their wealth, marry who they want, keep their own name when they marry, inherit property, and have their marriage dissolved in the case of neglect or mistreatment,” she notes, reminding society that Western men cheat on their wives, while the Muslim man “…marries another woman—for a crucial reason—and informs his wife before arranging for his marriage.” Westerners fail to deem the former as oppressed, even though Muslim women have the right to leave their husband, if she doesn’t consent.


Heretofore, the veil functions as part-shield part-disguise.  Examining the full  ‘gamut’ where anything is possible, the seemingly narcissistic male juxtaposed with local women, whose haute couture collections were limited to the private space, depicts mutual fascination or attraction. Humorous, yet charged with intrigue and social reverie, the man was a novice at bending the rules of life and love. The women watching become rebels in thought, violators of the sacred.


 



"HUMAN NATURE"


The veil reinstates itself as a potent, beautiful symbol in “Kinky Kandoura.” A nude man, wrapped in transparent bubble wrap hanging over his face and head like a bridal curtain, is alone. The vacuous black background highlights the weightlessness of such bubble wrap. Veiled indoors, the suspicious specimen derives pleasure from having the freedom to dance, pray, or lay alone. A charade unacceptable in the public space, a man so hypnotized by the veil’s power cannot help but indulge in its strange fabrication. The bubbles, perhaps an extension of the joy or levity so artfully endured alone, the passionate man appropriately sports a dark red scarf beneath the layers of meticulously engineered bubble wrap. Neither contrived nor invasive, Lewis’ genuine empathy and poise are rewarded with cleverly insightful photos that inspire in-depth discussion.



 "KINKY KANDOURA"



"AREBESQUE II"



Fueled by an innate love and interest in learning about other cultures, George Lewis attended a same-sex boarding school for twelve years. He notes: “It was largely responsible for why I was so successful in going to the Middle-East and getting people to reveal something of themselves.” Rigorously strict, boys caught canoodling with girls on school premises were expelled. Boys caught having sex with boys, however, were let off! Such circumstances have tamed Lewis into “not [being] frightened with dealing with the gamut of sexuality, or cultural civilization,” and we see this through some of his more controversial works. Addressing grave obesity, explicit nudity and a transsexual Christian convert, Lewis’ preoccupation with the human condition upward spirals up through the telescopic lens of sophisticated complex sexualities.


In particular, the “Cross Dresser” tetrarch features four pieces on a secretly gay 26-year old male, who was being forced to marry a year later. Dancing privately in his sister’s abbayah, Lewis intimately captures a young man’s dancing through opaque veils. Concealment, his second nature, is made evident by the fact that he dances most comfortably from concealed and isolated. An electrifying ironic paradox, double standards infuse the veil symbol with textures and possibility. Shed like skin in private, Arabian women cleverly transcend the subservience too commonly attached to the burqa or niqaab. Little do they know, however, that the men for whom they save their hair, skin and body borrow and buy their own veils to bring home. Substantiating men’s lives, either physically or metaphorically, it is fear and shallowness, and not the fabric of the veil that ought to be lifted and denounced.


Veil coverings signify freedom and anonymity for some and concealment or protection for others. Utter necessity to the fearfully closeted, women have found fashionable ways to publicly embody their sexuality, without foregoing sacred custom. Had the dancer, whose sculpted body ironically appears more masculine than the beach studs’, been rich, “he’d be dancing for the London’s Ballet National,” says Lewis.



Exploring the duality of the public versus the private realms, peculiar to men and women of Qatar, Yemen, the United Arab Emirates, Saudi Arabia, Kuwait, Bahrain and Oman, Lewis highlights the shortcomings of sympathy. A mere product of pity, “sympathy denotes fear,” he articulates. Anything fearful criticizes, and “I am not here to criticize, but to empathize.” Empathy carves far deeper paths of communion than sympathy, intonates the poet-philosopher at heart. It is the ‘the pure product of knowledge, nuance and calmness.’ Lewis’ photography informs his painting, but research, introspection and linguistic maps lay their course and foundations.



 


 


Lewis blurs the division between the two sexes, and beautifies the nuances in between.  “On the Road” portrays two fully veiled women operating a motorcycle at high speed, in Saudi Arabia, where women are forbidden to drive. A mosque filling the rear view mirror renders the gesture all the more rebellious and exciting. Speeding against the wind in the opposite direction of Islam, then, these women are hardly confined to their Western conceived ‘oppressive’ regimen. Aggressively rumbling, controlling the motor of freedom, Arabian women are not crying victims. While the laws of the Gulf are quintessentially rigid compared with their Levantine, Maghrebi, Iraqi or Egyptian neighbors, they find freedom through fantasy in public, and dress better than most westerners in private. Inverting sexual norms, because Lewis inspired them to, these ladies pledge allegiance to health, courage, and drive.



The linearity of sexually prescribed roles is further disrupted in “Burkini Beach”, which captures a woman suavely baring her thighs, belly and panties in the sea.  Supple light flesh enticingly contrasts with her dark-veiled arms, neck, head and modest female companion. Sultry lips, parted as though she were singing or sending coy kisses to the camera, the innocent yet bold woman’s fashionable lasciviousness invites love. Transcending stereotypes of confined, subservient Arabian women, free-spirited seductress moves us to questions our Western ideals. Beauty is mystery and contrast; bare-it-all bikinis lack the sublime textures and color inflections cast ever so delicately by the dark burqa against flesh, water and sun.





Reconciling differences is best displayed through the photo, “Ambiguity Embraced.” A solo man stands richly toweled. Head retreated sub-blanket into what appears to be an octopus-like arm cradle; I guessed that it was one man. Apparently women who really want children see a man with baby, while gay men see two men enthralling each other. Either way, it tells the story of how everybody wants to be embraced. It focalizes the notion of reconciling differences, empathy, in the gesture of a long, deep embrace.


To conclude, Lewis’ exhibition is refreshing. It’s not too often people fly and spend years infiltrating the jewels of the Arabian Gulf. While issues of sexuality exist in every culture, Lewis articulates numerous facets of one softly controversial issue of sexuality, but mostly works to communicate and share the beauty it inspired in him. The fashion industry surely loves a play on fabric, a re-costuming or an innovative dance equipped with veils, scarves and gowns.


“While the sensuality is very beautiful between Arabs, there are parts of it that should not and cannot be revealed”, says Lewis, who—is holding back so much, in fear of tapping scandal or controversy. “Gender Bender” truly encapsulates the complexities of light created by a cross dresser’s maneuvering a mirror into different vantage points. Set behind a curtain, Lewis constructs his own protective veil by keeping us wondering what incredible people he encountered and inspired. If there’s anything anyone could learn from the exhibit, it is that mystery is supremely alluring.



Reconciling differences is best displayed through the photo, “Ambiguity Embraced.” A solo man stands richly toweled. Head retreated sub-blanket into what appears to be an octopus-like arm cradle; I guessed that it was one man. Apparently women who really want children see a man with baby, while gay men see two men enthralling each other. Either way, it tells the story of how everybody wants to be embraced. It focalizes the notion of reconciling differences, empathy, in the gesture of a long, deep embrace.


To conclude, Lewis’ exhibition is refreshing. It’s not too often people fly and spend years infiltrating the jewels of the Arabian Gulf. While issues of sexuality exist in every culture, Lewis articulates numerous facets of one softly controversial issue of sexuality, but mostly works to communicate and share the beauty it inspired in him. The fashion industry surely loves a play on fabric, a re-costuming or an innovative dance equipped with veils, scarves and gowns.


“While the sensuality is very beautiful between Arabs, there are parts of it that should not and cannot be revealed”, says Lewis, who—is holding back so much, in fear of tapping scandal or controversy. “Gender Bender” truly encapsulates the complexities of light created by a cross dresser’s maneuvering a mirror into different vantage points. Set behind a curtain, Lewis constructs his own protective veil by keeping us wondering what incredible people he encountered and inspired. If there’s anything anyone could learn from the exhibit, it is that mystery is supremely alluring.


 


 

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A Romantic Dream to Sew Together Urban Pieces:


Eye Lenses ReFocalize d-r-a-m-a from dream


 


Sniffles and giggles shatter the glass


c r a c k s into pieces with light reflecting various people’s faces


like marble does the eyes


   blackened with


       the


       dusts of


            memory.


Sesame seed-lashed, his eye-rich prune glossed,


 Like black olives—


 I will remember


his hair


 reaching neck line, as moist thick waves


    in which I could let my hand swim


  imagine that it were dark chocolate that


   I could shovel heartily into my mouth


    and become the


  sprinkling espresso


            that wakes me CLEAN


                    from the dusty


                          coffee BEAN. 


 


 


Lenses


 


Fingers on piano keys vertebrae my crown


into a popping ivory slide,


 My thoughts glide


    with no defined place to sit down.


Handled by ocean waves


 


in a café filled with people,


     rise and 


then fall   like   appetite,


ebb and wane—


 the external enters my blood stream


and I become profane.


 


 


Moving is Endless


 


To keep moving, searching endlessly


  on the streets of the city


Does not bring thee, necessarily


  to true freedom, sanctity


 


It is an obsession with glory


  with achievement’s false story


Never read in its entirety


  rather fragmented witty.   


 


 


 


 


 


 


 


 


 


 


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