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Archive for the ‘Artsy Shmartsy’ Category

We had a terse argument that ultimately got me to here. If he left work a few minutes early, we would lose a few dollars. But if I could leave home a few minutes early, I could pick up the food. The free food. But would it even be worth it?

Mmmm look at all those yummy preservatives and other added chemicals!

Sometimes the boxes are more generous with fresh produce and even some yogurt or cheese in them. Sometimes they are measly, full of processed, chemical-filled “food” items that I am ashamed to feed my children. We finally agreed that the risk was worth the few dollars we would lose. The few dollars wouldn’t buy any produce or any other foods beside a gallon of milk.

The warehouse had moved since my visit last month, but I didn’t know that until I arrived and read the posted flier with a map directing me to the new location. I was tempted to take the flier so I wouldn’t forget the address, but it was the only one posted. I got back in our car, his work truck. We own just this one vehicle, but it doesn’t seat our entire family. I drove a little faster. We lose on the other end if I am late.

From the bright, midday sunlight I step into the dark, unfamiliar space, looking hurriedly for the number tags. Should someone else get the next number, it could mean late or later for me. New people don’t know the process. They take a number, sit and wait with the rest of us, waiting for food. But when the number is called the new person is then told to fill out paperwork which they should have filled out before they took a number. This can make the wait unpredictably and painfully longer. Some days there isn’t a wait. Other days, it could take an hour’s worth of waiting just to finally walk over to the counter and exchange a number tag for a box of food. If my turn is not called soon enough, I may have to leave without my box.

The warehouse is so noisy. Just like the old location. There are several workers, a few administrators, dozens of people waiting ahead of me, the television is on and of course, several small children are in various states of playing or clinging. I find the number dispenser and move further into the warehouse looking for a place to sit. So many people standing. So much noise. I hate it that they watch me as I stand looking for a place to sit and wait for the food.

Then I see her and realize that the noise is mostly a moaning sound. A very tall and heavyset woman is lying on her side on the painted cement floor. She is writhing just slightly and making a constant moan. Many people are standing around watching her, ignoring the Wizard of Oz on the TV. A man is on the floor cradling her shoulders and head in his lap, telling her: “You’re okay baby. You’re okay.” A woman is asking no one in particular if the moaning woman is diabetic. The curious or concerned woman has a family member who is diabetic; she guesses that perhaps this is the moaning woman’s problem. She is epileptic. This is repeated throughout the crowd. “She is epileptic.”

A woman is asking the man on the floor questions, relaying the information into the phone. I hesitate. Should I take a seat? I step just outside the entrance. Back into the brightness. My number is 56. I see a couple in the parking lot, loading their food into two backpacks. I want to ask them what number they had. I am envious that they got their food before whatever is happening happened and they don’t have to wait. The woman on the phone is the one who should be calling the numbers. Another couple leaves and I want to ask them what their number was. I peek through the door at a man standing near the pick-up window. I try to see what number is in his hand. I feel so callous. That woman is sick on the cement floor. She may not get her food. She may not need it anymore. Maybe I should leave.

I move along the side of the building, further away from the door. An ambulance comes. I watch the entrance closely for anyone else coming out with their box. I don’t know what time it is. I can see most of the inside of the waiting room. I don’t see a clock. I remember during another visit at the old location that the place didn’t have a clock on the wall. Maybe it makes the waiters too anxious. The Wizard of Oz is a VHS tape and won’t even give a commercial break to hint at how long I have been waiting. Someone else comes out with a box of food. I go back in. The number 59 is still hanging on the wall. I press myself against the wall next to the number tags. I stare down towards my feet and notice how my nails are digging into my hands. I can see the wrapper of a hypodermic needle on the table next to me. I can see her feet. She is lying on her back now. Only one of my friends knows that I do this. A few days ago I told her that I only felt desperate during my first visit to the food bank. I feel desperate again today.

~~~

This story originally appeared in University of Alaska Anchorage’s ‘Understory.’

Go here for a list of Muslim operated (and sometimes halal carrying) foodbanks.

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Today was our first real snow, sledding worthy. I have been looking forward to the colder weather and being able to turn away from the beautiful great outdoors and work on various projects. Of course I had hoped to do some things with the kids, but like I said- sledding weather- so we shall see if they turn to the craft table anytime soon. But as for me, I did NaNo this year and it got me hooked on doing some time-framed or similarly structured projects. I am forever deferring projects- no time, no time- but somehow I pushed through and stuck to 30 days of noveling- though I didn’t finish and wasn’t able to dedicate an hour or more to writing every day- but I did stick it out and got a nice chunk done. And this time-framed/self-inflicted deadline seems to work for a few friends, so- I’m hooked. Actually I’m doing two projects simultaneously…

Or is that three? I have long wanted to learn Arabic and for almost as long I have wanted to learn the 99 names of Allah (SWT). My first project is to familiarize myself with the Arabic alphabet by writing out the 99 names in Arabic. Easy enough, insha Allah, I’m just writing out 3 or 4 names in English and Arabic for a few minutes every day.

The other project stemmed from a friend’s poem which had a sweet little bit in it about love notes under pillows. I haven’t done much handwritten correspondence in a decade, though I used to do quite a bit, so I thought that might be fun to do that thing so many people suggest to keep the marriage jumping or whatever it is they say, by writing and tucking away some little love notes. But then I thought better to write them to myself…

The first one, for tonight, is about breastfeeding, which I’m doing right now. If some less personal notes come about, maybe I will share them, otherwise I’m onto 40 Nights of Love Notes under my own pillow and the 99 Names of Allah while the kids are soaking through there mittens.

Happy Creating!

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The last few years eid al-fitr has run up on me so fast that I haven’t been able to get anything special done with the kids. This year (probably because I’m not fasting!) I put in a BIG effort to at least get all of our clothes and snack shopping done ahead of time (probably because I am washing clothes by hand and now live in a rural area where everything will be shut down for eid and then some). So. I did it! I had everything ready for Saturday morning and then heard that eid probably wouldn’t be until Monday. Oh.

Pinning seemed like the obvious thing to do with all my extra time. And it led me to realize that I had everything on hand to do this: *note, I know I could have made some quicky posters or paper ring chains or similar, but I hate to make non-resuable decorations, so I don’t and hence the never-having-enough-time-to-make-something, but this I could:

Now, take a good look at the sample and compare it to our final piece. Those picturesque, perfectly crafted tutorials with children are never my reality.

I almost lost my Mary Poppins a few times, but ultimately I love the individuality that each child brought to it, of course.

 

I also had the brilliant idea to write an eid greeting on our rustic (read unfinished) walls, but, um, ran out o chalk…

May He accept our Good deeds, from you and me!

Love and Peace,

~Brooke

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Community advocate, workshop facilitator, mother, and self-taught artist, Idil Abdullahi has recently returned to university to finish her first fine arts degree in ceramics, while continuing to expand her repertoire of mediums for “story telling” through visual art.

[Brooke Benoit] When did you begin experimenting with art/self-expression? When did you recognize yourself as an artist?

[Idil Abdullahi] I first began to experiment while I was in high school, mainly because my English was so poor at the time. The only subjects that I could relate to and engaged me then were the visual arts. Also, during art classes, my work was being commented on by classmates who didn’t otherwise speak to me at all, so I thought there must be something there, though I really had no concept of what an “artist” was at the time. I just knew I wanted to create, and that feeling of being so immersed in what I was doing became addictive.

My artistic journey has been anything but linear. There was a long absence from creating and then I began experimenting with various mediums which left me with more self-doubts. As such, it was still difficult until very recently to think of myself as an “artist.” It was going back to studying that has given me a fresh point of view and renewed energy to keep going and continue. Upon reflection, I think that I have come full circle and it truly feels like a coming home, Alhamdulillah.

[Brooke Benoit] What made you decide to formally study art?

[Idil Abdullahi] It wasn’t something I planned. After working in the community settlement sector, I wanted to get more qualified in that area, so I initially applied to study social work.  Around the same time, I became involved in community arts initiatives and after lots of encouragement, I got the courage to change my course just in time to fine arts instead.  Straightway, I felt like everything was fitting together so much better and being a product of community arts myself, I was looking forward to continuing to be a part of that once my studies were completed.

Just as someone may write ideas down and organise them to try and get some answers, in the same way I am driven to create – to make some sense out of it all.

[Brooke Benoit] You have emphasised that what you “hope to highlight in the works are issues and feelings of being erased from history past, present and future as the unrest back home [in Somalia] continues to worsen.” Just by creating your work, of course, you contribute to continuing the traditions and history. For people viewing your work – especially your ceramics – they may just see beautiful pottery, can you please explain what some of the meanings are behind the forms?

[Idil Abdullahi] That idea of being erased are the emotions that are fuelling my current work, and in the same way  whether it’s my ceramics or henna paintings, they are indicating questions or experiences I am wrestling with at any given time. Just as someone may write ideas down and organise them to try and get some answers, in the same way I am driven to create – to make some sense out of it all. Many times the ideas come first and they are very concrete, other times it’s a very intuitive process of being drawn to certain forms or colours.

For example, my dervish series are on the surface inspired by the graceful movements of the Sema ritual, but on another level it was a period in my life where I felt that I had to hide my belief that Tasawuf or Sufism is an integral part of Islam. The Sema itself represents growing through love and that’s what I hoped the form would embody as well as opening the door for conversation. They were my first formal ceramic works and thinking back to the days when I was making them still fills me with so much love and gratitude. Not many people notice, but on the turquoise dervish there is this very faint “Bismillah” on it, which at the time was a mark of prayer for blessed beginnings into the ceramic world.

[Brooke Benoit] You have said that you are “very much process driven, and thrive on experimentation. The making, the changes, the accidents, everything you might not see in the end product is just as important, if not more,” which is absolutely horrifying for some people who may see this idea as wasting time and/or resources or may just not be as ‘daring’ to try new things. Can you please explain what the internal process is for you when you are experimenting in artistic mediums and processes?

[Idil Abdullahi] Different materials can convey different emotions, so experimenting, in that sense, to me is important. I probably don’t do enough of it myself due to those same apprehensions you mentioned. And experimenting doesn’t necessarily mean using more materials, in fact it could mean using less.

As an example, I have used all the established painting materials and was never satisfied or enthusiastic about the outcome. And then, by His grace, I saw a window to experiment using henna as a painting medium on watercolour paper, layering it with ink and the results were significant. Here was a medium I have been using for years, but since I knew it as a medium to traditionally adorn the body, it never occurred to me to try it outside of that. So my approach now is more experimental and instinctive; I make lots of samples to begin with and see what is working and whether an idea is worth pursuing.

[Brooke Benoit] Often so much emphasis is placed on the final outcome of someone’s work or an artist’s successes. Are there any mediums you have tried and strongly dislike? If so, what lessons were you able to take with you from those attempts?

[Idil Abdullahi] I wouldn’t say I strongly dislike them, but I really struggled to paint in oils.  More time was spent cleaning the brushes and drying my work and I would ruin pieces because I kept working on them before the layers dried, so I had to start again which irritated me. What is interesting though is after my trials with oils ended, I was convinced that I like to work fast. Yet here I am today working with clay, one of the most unpredictable and time-consuming mediums there is. I don’t know how to explain it but there was this immediate magnetism to clay, whereas with oils I couldn’t wait to finish with them.

[Brooke Benoit] Please tell us about your work with Somalia Drought Relief efforts, as well as your work with refugees in your community?

[Idil Abdullahi] I was involved in various famine fundraising initiatives, primarily using the arts, to raise much needed money and the response was enormous. There is still much work to be done, and there needs to be sustainable prevention programs and strategies put in place. I don’t feel that I have personally contributed very much at all. But because of the positive response to those initiatives, we are hoping to utilise the arts again for programs that involve the community here while at the same time benefiting the community back home.

[Brooke Benoit] Have you been able to return home in the last two decades since you had to leave Somalia? Do you have any plans to do so in the immediate future?

[Idil Abdullahi] No, I haven’t been back there largely because I grew up in the capital city of Mogadishu, which is still one of the most unsafe places in the region. However, I do have extended families in other parts of Somalia and lately I have been yearning to go back, maybe because I am getting old or something, I don’t know. I have been trying to prepare myself to go next year, insha Allah and I am truly excited and looking forward to it.

[Brooke Benoit] You successfully and beautifully use a wide range of mediums – ceramics, photography, henna, performance, painting – are there any mediums or art forms you are dreaming of using in the future, but haven’t had time or access to yet?

[Idil Abdullahi] I would love to do some digital illustration of my henna designs to make them sharper and also more useful outside the body. Video is another medium that is very appealing, the way it engages all of the senses is exceptional. Right now I think the best solution is to collaborate with other artists skilled in those areas rather than taking on too much.

Idil’s work, along with several other Muslim women’s art, is currently on display, May 12th – July 8th 2012, as part of the No Sugar Added exhibit at the Casula Powerhouse Arts Centre in New South Wales. To view or purchase her work and learn more about aiding in Somali drought relief, visit Idil’s portfolio page http://www.artfiles.com.au/idilabdullahi and email her through there.

~~~
This article is from the June 2012 issue of SISTERS Magazine (the magazine for fabulous Muslim women). 
All images courtesy of Idil Abdullahi.

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“Artist” is a loaded label, with many possible connotations. Struggling, brooding, and solitary may fit Nadia Janjua at small intervals, though vibrant, multi-faceted, and innovative are better ways to describe her and her work. Maybe hustler is most fitting. Nadia is constantly on the move, hustling to make, sell and often give away her art for charity. A vast archive of her activities and work spans from her own blogs and websites to profiles on several professional artist organisations, a handful of social network pages with thousands of followers, an Etsy shop, a regularly published newsletter, and a Deviant Art account. Browsing her online photos, one can find her architectural works, fine art paintings, and jewellry, as well as her travel shots from all over the world and photos of the artist at work in her studio and on the road.

Nadia’s flurry of activity shows not only in the quantity of her work, but the global reach and size of her contributions are quite impressive as well. Like many artists, Nadia’s interest in art started very young and her parents were able to give her “a lot of independence and space,” in which she ultimately found making art to be her natural calling.

  My art work is my strongest tool for giving charity, for sadaqa jariya (continuous charity), and for spreading beauty and remembrance of Allah; it’s an obligation for me to use it in the best of ways.

“My conviction and dedication to my craft and (the) creative process from an extremely young age didn’t allow my parents to see what I was doing as frivolous.” Though they naturally have concerns about their daughter “choosing a life of financial risk and uncertainty,” Nadia is thankful for their support. “My parents have attended nearly every art exhibit I’ve ever had, and they’ve helped fund my creative pursuits when I’ve needed it, which is tremendous and I’m grateful for it.”

Nadia’s main areas of work are traditional canvas painting, architecture, and personal adornment, such as earrings and key chains; all of which she has somehow or another been able to donate to charity. “My art work is my strongest tool for giving charity, for sadaqa jariya (continuous charity), and for spreading beauty and remembrance of Allah; it’s an obligation for me to use it in the best of ways.”

Nadia has had the opportunity to work with several charitable organisations, including Habitat for Humanity, Architecture for Humanity, Islamic Relief, CARE for Haiti, Children International, CalEarth Pakistan. “Any time there is a natural disaster in any part of the world, I am quick to respond in whatever small way I can

by raising money and researching reliable sources to donate to.” In late 2011 she had planned a trip to Turkey following her completion of the Hajj, and arrived soon after the devastating earthquake. Before leaving the United States, Nadia got into gear: “I started a fundraising campaign to sell my art work and collect a percentage of that to distribute directly to those in need, or buy immediate supplies for earthquake victims.” Once on the ground, she wasn’t able to reach Van to distribute the funds as planned, but she was still able to give the funds directly to homeless individuals in Istanbul, and another reliable relief group operating in Turkey.

Though Nadia plans her annual trips as best she can, forced flexibility is one of the many challenges and lessons she appreciates about travelling. “This sense of adventure and fearlessness is important to me as an artist; art can be so risky, and so controversial – if you don’t have faith in your moves and in yourself, you’ll never get past that blank canvas. The same goes for travelling – if you choose to stay in that resort and not mix with the locals for fear of being in uncharted territory then you really haven’t travelled. And travelling is hard! The physical act of sitting in a plane for hours, of uncomfortably squirming in your bus seat on an overnight trip, of trying to buy a ticket for the train and not knowing a single word of the local language – it’s all very challenging but it’s the triumph of experience over all of the other stuff – that’s what it’s all about. Same with art – my personal philosophy is to never focus on the end product as much as I do the journey. If I’m so distracted by the outcome, my process will never be in harmony. It’s when I can let go of how things will end that I truly come to realise my potential, and the beauty of the process – and in the end, that’s what keeps me very grateful.”

Through the many events Nadia has participated in, opportunities for exciting collaborations and new directions have opened up. In particular, being invited to the IMAN Artist Retreat in April 2011 exposed Nadia to the range of talented Muslim Artists and creative thinkers who currently exist. “The experience was phenomenal – it was intense and mind-opening and heart-breaking and simply a blessing to be surrounded by such talented Muslim artists from all over the world!” Among her long-term plans, Nadia says, “I know that I really want to work with my art in therapy settings and I want to keep working to help build awareness of the validity and necessity for the arts within the Muslim community.” She is also interested in expanding the way she uses her larger scale work – architecture. Nadia, still a ‘young architect’, is most interested in residential work, “and exploring the unique ways in which we live our daily lives,” however architecture is yet another avenue for the artist to recognise her appreciation and give her work and talents for the sake of Allah I. Nadia is also involved in architectural relief efforts: “The post-disaster recovery and rebuilding process is one which I feel architects are not as involved in, and yet we have the capacity to contribute so much to this field.” Art to live in, art to look at, art to wear, art in “everyday life” is Nadia’s goal when creating. “All in all, there’s nothing I consider unreachable or off-limits for myself as a creative individual – if there is joy and honesty in the process of making it, and if it contributes to the greater good of spreading beauty and encouraging consciousness amongst people, then I consider it within the scope of my work.”

Most of Nadia’s work can be viewed on her main website www.njartitecture.com, and you can also find her works on Facebook, Etsy, Deviant, Tumblr, and at various art fairs and showcases, such as an upcoming Community Café event hosted by IMAN; and a solo show at BloomBars, an inspiring non-profits art community space in Washington, D.C.

Brooke Benoit is an American artist who is home-educating her 5.5 children in Casablanca, Morocco. Her current most-used mediums are dirt, seeds, worms, balsa wood, and glitter paint.

~~~

This article originally appeared in the April 2012 issue of SISTERS Magazine- The magazine for fabulous Muslim women.

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When I first stumbled upon the burgeoning sisters’ craft niche in the Muslim blogosphere, my cynicism hijab must have been wrapped too tight. Why? I wondered. There are g-oodles of craft blogs, websites, online video tutorials and so on, why would the Muslimahs want to add to that clutter? And then I scrolled down – and it was love at first sight: a Muslimah-only international craft swap!

Farhana Faruq started her blog Sketched Soul way back in 2006, and it is one of the oldest of the Muslimah craft blogs on the Internet. Fresh onto her Canadian ISP, Farhana’s interests in creativity, encouraging sisterhood, sharing a love of reading, and her family’s various grassroots charity projects immediately showed through in her first few posts: “Surfing the net I realised there were a lot of people out there like me. Creative but broke. Wanting to give but not having enough. So Sketched Soul was born. It was (and still is) meant to be a means for creative (and the not-so-creative) people to come together and help with little projects that make a huge impact on the lives of those less fortunate. At the same time, the blog brings (mainly) sisters together through the different projects and swaps.”

A graphic designer with a love for fashion, Farhana’s sister-to-sister “swaps” and charitable “projects” have become a staple of her blog,but her compulsion to craft also keeps the blog filled with a wide range of tutorials and innovative art and craft suggestions, such as her Arabic calligraphy wedding cake topper, annual Ramadhan crafts, and a fabulous stencilling tutorial. This winter, between uploading photos of her recent hand-painted leopard-print skirt project and a headband tutorial, Farhana also synthesised her several years of e-community building know-how to help put together an international book drive for an orphanage her uncle has built in Zambia.

Educators and entrepreneurs have long known that fostering creativity and actively pursuing hobbies gives people the confidence to amass new skills, try new things, and therefore tend to be more successful in their endeavours and lives. While they’ve all had their fair share of admirers gush “Oh, I could never!”, longtime crafters know that actually folks really could – if not this, then maybe that. While someone may not have the patience or ambition to learn a particular craft, art-making processes, like all other things, can be learned and all learning begets more learning across different mediums. For these sisters who initially just wanted to chat stitches and knots, branching out and subsequently building up are re-occurring themes .

“An artist/artisan of sewing, knitting, crochet, embroidery … and sometimes craft,” Sabina Taylor has over 30 years of experience in fibre arts as well as a multitude of other mediums she has mastered to incorporate into her work. Like all the bloggers, Sabina simply loves her craft; she is thankful to Allah I to have her talent and she has a drive to share both her appreciation and knowledge with others. Sabina first stepped away from her Kenmore and dye baths long enough to put up some blog entries on Slip Stitches and More when she was living overseas in the United Arab Emirates. What “began as an outlet while acclimatising to the Mideast” ultimately increased Sabina’s tech-skills online: “as I grew in SEO and pc/web knowledge I began to ‘get it’ and incorporate all this into my handmade business.”

Sabina’s modest blog has grown into a nice little brand for her with a YouTube channel, a few social network pages, and an Etsy shop. “The novice sewist” is still Sabina’s motivation and while the blog is a great showcase for her work, Sabina freely shares her decades of know-how with many tips and tutorials that can be especially beneficial to sisters, such as her videos of an easy caftan-making lesson and how to repurpose a butterfly abaya into a shoulder abaya. In turn, as someone who has benefited a great deal from da’wah and knowledge-based websites, Sabina has also expanded into a second blog which is Islam-based and she has had the opportunity to share plentiful information about the deen with her non-Muslim craft readers.

Erum in Pakistan has long been a compulsive crafter and wanted some way to record and maybe share all the projects she had done for her family, such as the fancy holiday dresses she makes and embellishes for her daughters. Her nephew suggested she get a blog and with little know-how, Arts Crafts N Hobbies was hesitantly started in 2010. Craft blogging has turned out to be an amazing experience for Erum who has met many talented and generous people all over the world: “The blog polished my creativity and has given me a chance to learn and try out so many new things.” While she continues to enhance her skills and expand her repertoire, Erum has also begun to dabble a little in selling her crafts locally.

Another seasoned blogger of several years, Ginger Davis, aka UmmLayla of the Crafty Muslimah blog [whoops! That's the Crunchy Mama blog!], posting from the American Midwest, just recently started a second craft-focused blog where she hopes to highlight her aim to make one project a week during 2012 with the goal of making herself a whole wardrobe. On her other blog, Ginger’s original Ramadhan crafts always garnered a lot of attention from readers searching for Islamic-related items unavailable commercially and for those who are more likely to do-it-yourself. Ginger tries to wear something handmade every day and by simply uploading pictures of projects she is already doing, “in the end maybe other people will be inspired to do the same.” Ginger loves the process of creating something from start to finish, beginning with the rawest of materials, figuring all the bits out, and finally arriving at the finished product. “If I could go from baby sheep to finished sweater, it would be fulfilling a dream of mine.” Sounds like someone has a lot of blocking and blogging to do!

If you are a crafty Muslimah – newbie or master – you can find like-minded souls, not only among the Muslimah craft blogosphere, but there are also e-groups budding up all over the Internet. If you don’t have time or access to quilting circles or beading classes in your area, you can still enjoy the camaraderie of other crafty sisters on Facebook, Yahoo, Flickr, and throughout Cyberville.

Brooke Benoit is an American artist who is home-educating her 5.5 children in Casablanca, Morocco. This year when people ‘ooh’ and ‘ahh’ over her kids’ Ramadhan projects, she may begrudgingly admit that the brilliant ideas were not originally her own.

~~~

This article appears in the March 2012 issue of SISTERS Magazine (the magazine for fabulous Muslim women). 

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By the way, before I board-up my Brookoli shop on Etsy for my summer hibernation, I want to say thanks to all my great supporters and customers and am offering a 30% off EVERYTHING sale. During check out just enter the coupon code: CRASH

Thanks again for all the support and kind words!

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Please check out, share and submit! to this, insha Allah, upcoming anthology Intersections: Woman, Artist, Muslim. on WordPress, on Facebook, on Tumblr

~~~

Intersections: Woman, Artist, Muslim

Ruminations on Being, Creating, and Believing

Bismillah al Rahman al Raheem

This is a call for submissions for a new project, the anthology Artist Intersections: Woman, Artist, Muslim. As you well know art and all its various forms, such as poetry, performance, film, illustration, fashion, are often misunderstood and even demonized in the greater Muslim community. The intent of this project is to reflect on the experiences of creative/creating Muslimahs to (insha Allah) dispel some of these myths as well as to inspire others to maximize their God-given talents and the blessings available through doing so.

As this project hopes to reveal (notice we didn’t say “unveil”!) a wide scope of the artists and artistic happens, both visual and literary, across the ummah, we are open to accepting a diverse array of writing styles, including and by no means limited to essays, dialogues, creative non-fiction writing and poetry that is directly relevant to the subject matter. We would also like to include some inspiring, entertaining and/or insightful interviews of artsy sisters. You are welcome to put together an interview for submittal, contact us for suggestions of sisters of interest, or run by us ideas of potential interviewees.

Works which include excerpts from Quran, hadith, and other Muslim Maxims are of course welcomed in this project, however if your style or preference does not include such, your work is also welcome as we strive for inclusion of a diverse representation of believers, respecting the individuality in each Muslim point of view. This is not an anthology of “Islamic Art,” rather it is an anthology of Muslim Women Artists. In the spirit of inclusivity we ask that writers consider their readers and therefore cannot accept any work which includes vulgarity or explicit depictions of sex. Submissions from Sisters of Color are especially appreciated.

We would love to hear about issues related to being a Muslim woman artist, such as:

  • Internal and external struggles with accepting yourself as a artist
  • Rectifying your culture, art and religion
  • Epiphany-like moments related to being an artist
  • Art and dawah
  • Art as ibadah
  • Art as rizk: Being a working (as in selling) artist
  • Accepting yourself as being a creative being or non-working (as in selling) artist
  • Creativity and your community
  • Reflections on historical Muslim arts and artists which inspire you
  • Anything else related to your being an artist, a woman and a Muslim

Submission Guideline Details:

  • Email all submissions both as .doc and pasted in the content of your email to intersectionsanthology@gmail.com
  • Maximum 5,000 words
  • Include a 2-3 sentence biography
  • If you have one, include website or blog url
  • Submissions due March 1st, 2012

Information about compensation, copy rights and similar will not be available until a publisher has been secured, minimally each accepted entry will receive a copy of the anthology.

Please help spread the word! Share the submission guidelines for Intersections:  Woman, Artist, Muslim on your blog, website, social networks and with all of your creative sisters.

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Dearest Three Regular Readers,

We knew I would never be able to keep this at a steady pace and alas I have gotten very neglectful. It’s the beads! The pretty, sparkly, happy, sexy beads–they distract me and keep me busy these days.

Please have a looksie at my new Etsy shop, which The Boy #1 is in on as well, and don’t take me off your blogroll yet. Insha Allah I will be yammering away soon now that I figured out most of that yucky techy time-consuming stuff over at The Ets.

<3

~Brooke

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Watched Rio, the cartoon about the rare Brazilian birds, with the kids last night and woke-up disappointed not only about the blatant hueism, but also about how slow I am to catch these things when I catch them at all. There is always so much isms to discuss with kids when we watch any cartoons and with Rio the thing sticking out glaringly for me was the African American voices–dogs seem to commonly have Black-sounding voices, especially if they are the only dog in the movie and more so if they are naughty/naughtyish, such as the bulldog in Rio being played by Tracy Morgan. Really? A bulldog? Sigh. Likewise, a naughty blackish kind of bird I see is actually a Canadian Goose is played by Wanda Sykes. I smell a trope here. And George Lopez is a Brazilian-residing Toocan? Ok, like I said, always a lot to critique in my kids’ seemingly innocent little movie watching, but here in Rio the hueism is what I most pressingly need to rewatch the movie with my kids so that we can discuss it.

So in a Brazilian nutshell (yes, I did) the Good guy, a bird-loving and saving ornithologist, is so fair-skinned that I wasn’t sure if he was even supposed to be Brazilian–the kids watched the movie in French the first time around, so the accents were all, well, accented to me. And yes, I understand Brazilians come in a full spectrum of skin tones, including White, and that is why it is all the more upsetting that the Bad Guys were all noticeably darker than the Good guy. The three bird thieves, as well as the little orphan-like boy who is pressed into working for them are all darker-to-Black. This blatant racism seems especially hurtful because Brazil is always held up to this color-blind fallacy, as in “Look at Brazil, all the colors are co-mingled and getting along so well!”–not– and also the guy who made the film is from Brazil and in the features section of the video he is so very, very “excited” to share his “colorful” country with us, the viewers. Sadly, the background characters are all pretty white washed too.

I was happy to see the kids were doing some critical watching as well as self-correcting while viewing the film, they were being clear to differentiate between the US and South America in their discussion and my eldest son made a comment in which he changed “foreign countries” to “just countries.” Perhaps this is an earlier indicator that my kids will not be as insensitive to these issues as I was indoctrinated to be. Also, the eldest asked me about the poverty, specifically noting the metal-roofed shanties which we also see here in Morocco, without this connection I don’t know that he would noticed the poverty–the younger kids didn’t mention it. I’m sure they will be thrilled to watch it again with me sometime this weekend, so I’m doing a little pre-discussion preparation. I want to discuss with them the hueism problem, as well as the White Savior trope which comes up with the orphan-like kid being adopted in the end and also try to get them to discuss some of the roles played by Black voice-overs in order to see if they notice how those characters are much sillier compared to the others.

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