المســرح في دنيــا العــرب

Artist: Naima Akef - Egypt 1954

العالم بلياتشو يضحكوا على البلياتشو حافظين بلفه ونتشه- هش ونش ودش زى الدود فى المش والدنيا بميت وش

"سبحوه بصوت الصور سبحوه برباب وعود. سبحوه بدف ورقص سبحوه بأوتار ومزمار. سبحوه بصنوج التصويت سبحوه بصنوج الهتاف. كل نسمة فلتسبح . هللوياً". العهد القديم –اسرائيل – دراسات في التلمود واللاهوت – الرسالة الاولي الى اهل كورنثوس

العَالَمُ فِي حَالَةِ سُكرْ قراءات هنا الرابط للشاعر البهبهاني  - مع اسقاطات للوضع الراهن بالكويت والخليج الخاثر والفتاوي المعلبة وعبادة الكهنوت واشاعة النظام البطركي (المرتزقة) وهو توفير الحماية لك مع اقتسام النصيب من الثروة مقابل الولاء والتسبيح لي (مثال العمير الشيخ السلفى ) يصفها الدكتور هنا بقصيدة راقصة القصر

العيش مع الديدان والقمل - الكويت 2012

The Soul of Man under Socialism

The artist Isaak Brodsky standing beside a portrait of Vladimir Lenin painted for the Conference Hall at Smolny, 1927

If the Socialism is Authoritarian; if there are Governments armed with economic power as they are now with political power; if, in a word, we are to have Industrial Tyrannies, then the last state of man will be worse than the first

Oscar Wilde, 1891, The Soul of Man under Socialism

Before The USSR rises

and there is something tragic in the fact that as soon as man had invented a machine to do his work he began to starve. This, however, is, of course, the result of our property system and our system of competition. One man owns a machine which does the work of five hundred men. Five hundred men are, in consequence, thrown out of employment, and, having no work to do, become hungry and take to thieving. The one man secures the produce of the machine and keeps it, and has five hundred times as much as he should have, and probably, which is of much more importance, a great deal more than he really wants. Were that machine the property of all, every one would benefit by it. It would be an immense advantage to the community. All unintellectual labour, all monotonous, dull labour, all labour that deals with dreadful things, and involves unpleasant conditions, must be done by machinery. Machinery must work for us in coal mines, and do all sanitary services, and be the stoker of steamers 

The Soul of Man under Socialism Entrance here

Glory to you, inescapable pain

The gray-eyed king died yesterday

The autumn evening was sultry and red

My husband returned and quietly said

"You know, they brought him back from the hunt

They found his corpse by the old oak tree

I pity the queen. He was so young

In just one night her hair turned white

He found his pipe on the mantelpiece

And went out to his nighttime shift

I'll go and wake my daughter now

I'll look into her little gray eyes

While outside the rustling poplars say

"Your king is no longer upon this earth

11December 1910, Tsarskoe Selo



Footage taken from Sátántangó (1994) directed by Béla Tarr

Poverty

 “Poverty is my glory”

الفقر هو مجد بلادي

By Majid Rahnema is a diplomat and former Minister of Iran, born in 1924 in Tehran. He represented Iran at the UN from 1957 to 1971. He works on problems of poverty and production processes of poverty by the market economy cont. here wikipedi

What we call aid money serves only to strengthen the structures that generate poverty. Aid money never reaches those victims who, having lost their real assets, look for alternative ways of life outside the globalised system of production which are better suited to their needs

That is since the 1970s -- that my main objection to development focuses on its rituals. These generate not just specific goals like "education" or "transportation," but a non-ethical state of mind. Inevitably, this wild-goose chase transforms the good into a value; it frustrates present satisfaction (in Latin, enough-ness) so that one always longs for something better that lies in the "not yet source here 

The Post – Development Reader

 

By Majid Rahnma(Author) Victoria Bawtree (Author)

The University Press Limited (UPL)  here 

INTRODUCTION-Majid-Rahnema here

he Modernization of Poverty and Destitution

The new mode of production introduced by the Industrial Revolution represented a total

sociological and epistemological break in most fields of human activity. It was at the root

of a radical shift in perception about “wealth” and “poverty”, as these terms had been

understood until then. By systematically producing new needs, it dealt a fatal blow to the

almost organic equilibrium that characterized vernacular societies. This was followed by

a profound change in the culturally established norms that had served to distinguish the

essential from the non-essential.

Poverty Modernized: A Direct Product of the New Mode of Production

Modernized poverty is thus as much the result of multiple breaks caused by the

establishment of the new mode of production as it is of pressures, mirages and

expectations related to the promises made by the new economy. These phenomena

had the effect of confronting the losers of this new order with a type of induced scarcity

for which they were unprepared

What is radically new in this condition is the fact that for the first time in history, the technoeconomic system imposed on society, which was supposed to guide it towards affluence

Editor’s note her  e Address delivered at the Philia Symposium, Orford, QC

October 2003

Translated from the French by Mariette Lemay

 

Seminar on Anti-Systemic Movements 1: The Power of the Poor

Posted: January 2, 2012 in Seminar: Planet Earth: Anti-Systemic Movements       

Tags: anti-systemic social movements, EZLN 3

Progress, False Promise by the Rich to Loot the Poor

 ** Seminar in Chiapas about the parameters imposed by power

** After 18 years, indigenous communities still confront war

By: Hermann Bellinghausen, Envoy

San Cristóbal de las Casas, Chiapas, December 30, 201

here  

Oakland Table – Majid Rahnema: Poverty

revolution” can provide humans with master plans of salvation. Instead, any concerned community
(or person) can become a powerful agent of change. In other words, the regeneration of everyone’s riches is in one’s own hands. For culturally constituted groups, this can be done through small but meaningful daily activities, through the power of convivial and creative relations with their fellow humans on the very sites where they are threatened in their dignity

searching with others the thousands of possible liberating alternatives that the modern digital world is presently preventing them to discover. For the “poor” and the “dropouts” of modernity – whose number may now be more than four billion people -, the two classical verses of the great Persian poet Hâfiz could be an inspiring light for their personal path: Referring to Jâmi jam, the crystal ball of King Jamshîd that could show him all the secrets of the world, he said,  “For years, my heart was asking me to provide it with the jâmi jam. [He was not aware that] it was asking from others what he had in itself

 

dowmload for PDF here 

Destitution, or imposed poverty, no doubt hurts, degrades and drives people into desperation. In many places, hunger and misery cry to heaven. Indeed, few development concepts find their proof in such a glaring reality. Yet poverty is also a myth, a construct and the invention of a particular civilization." Majid Rahnema

"Life is not a void to be filled. It is a plenitude to be discovered." Christoph Eberhard

الشعـــــب أبخـــــص

بومريــوم - ذكريات الستينات - كيفان - الصفاة - بوس كارت من قبل راشد بوقماز - مصور الصباح

           إبه السنيـن اسروحـي والـفــرحــه عـــيـــدت

           يبـقـى لـنــا مـربـوحـي ودنـيـانـا لـــي حــــوت

     مضـنـايـه باللـحـوحـي يــا زي ورد أوضـمـت

     لــو بـمـا بــي أبـوحـي دنــيـــاي اتــهــردمــت

    قــول عــذب نصـوحـي وبـــه الـدنـيــا زهــــت

   إهـوه لـنـا المربـوحـي يـــا حـظــي والـبـخــت

من نصائح بومريوم لاستعادة  الذاكرة هنــا علامات الشيخوخة السبع وتنشيطها:

إقرا “فن الشعر” لأرسطوطاليس للوقاية من الزهايمر - الشعب أبخص

وأيضا من ضمن النصائح السبع النزول الى ساحة الارادة والهتاف والصراخ بأعلى صوت للوقاية من سرطان الحنجرة - الشعب أبخص

النصيحة الثالثة دخن المارلبورو هنا مع فرقعة الولاعة للوقاية من الربو وضيق الشرايين - الشعب أبخص

النصيحة الأولي لما من أهميتها  لنا  كشعب  الكويت اشهار اللجنة العليا للقز والتضبيط للوقاية هنا المقترحات من الايدز – وياحبذا تكون برعاية مبارك البذالي ملصق هنا - الشعب أبخص

النصيحة السادسة الرقص على الأطراف العشر الرابط هنا  للوقاية  من  تلف الكبد - الشعب أبخص

الوصيــــة الأخيــــرة

تحسب أنَّك جرمٌ صغير وفيكَ انطوى العالم الأكبر - الوصية الرابعة - السينما الايرانية والتصوير

Bahman Jalali - Iranian, 1945-2010
Image on Imagination
signed in Farsi
scraped mirror over coloured print on board
39½ x 39½in. - 100.5 x 100.5cm.

Because night is here but the barbarians have not come

And some people arrived from the borders

And said that there are no longer any barbarians

And now what shall become of us without any barbarians?

Those people were some kind of solution

    Cpnstantine  P. Cavafy

Bahman Jalali (1945-2010) studied economics and political science at Melli university in Tehran, but very soon followed his passion for photography. In 1974 he joined the Royal Photographic Society in Great Britain and dedicated his life to photography. For 30 years he taught photography in different universities in Iran. He was a founding member of akskhane shahr, the first museum of photography established in Iran in 1997. He became the curator of the old photography of the museum.

In 1998 he started the Aksnāmeh “Letter of Photography” a quarterly photography magazine at the Cultural Research Bureau in Tehran in collaboration with Rana Javadi.

He had several exhibitions in Iran and abroad including exhibitions at Assar and Silk road Galleries in Iran, a retrospective at Antoni Tapies Foundation in Barcelona , 2007, Bahman Jalali Camera Austria, Kunsthaus Gratz 2009, Curated and also participated in "165 years of Iranian Photography", Musée du Quai Branly, and "Between Hope and Chaos, the 30 years of Iranian Documentary Photography", Monnaie de Paris, 2009, He also won the Sprengel International Prize for Photography in 2009, "excerpts from a lifework photography in Iran 1966-2010", Villa Romana Florence, 2010, a retrospective of his works at the Sprengel Museum in Hannover, 2011

His work is in several collections, including those in Musée des Beaux-Arts de Nantes, Biritish museum, Los Angeles County Museume of Art (LACMA) Sprengel Museum, Hannover and Tehran Museum of Contemporary Art

More photography and the arts source here

المُعَلّم الإيراني كان دقيقًا حين قال «لا يمكن أن نقترب من الحقيقة إلا عبر الخيال» - في فيلمه «الحياة تستمر»، حين ذهب بالكاميرا ليبحث عن «أحمد» بطل فيلم «أين يقع منزل صديقي؟» بعد حدوث زلزال مُدمّر في بلدة «كوكر»، ليصنع من رحلته الوثائقية فيلمًا روائيًا عن غريزة البقاء والاستمرار، أو كما قال هو: «الزلزال وقع في الخامسة صباحًا. أي شخص من هؤلاء الأحياء الذين قابلتهم كان يمكن أن يكون نائمًا ويموت أيضًا. كان هناك امتنان عند كل منهم لبقائه حيًا».

الرهان على الأرضِ والنَّاس والسينما، والبقاء في إيران رغم كل الظروف العَصيبة. فالشجرة أنتجت أول الثّمار المُجتمعيَّة لنضالٍ طويل بالأفلام ضد الكبت وتضييق الحريَّات. وكانت تلك لحظة مثاليَّة لانتصار الخيال على الواقع.. انتصار «الثورة» الحقيقية التي ظَلَّت مُستمرّة لسنواتٍ طويلة

انها الوصيَّة الخامسة: «اذهب بصدقِ الخيال ومُعجزة العُشب»

للاطلاع على الوصايا السبع الرابط هنــا

في النهاية، ستذهب حكومة «نجاد»، أو أي طَاغية آخر يَلهو بحريَّة الناس، وستبقى الثورة وشرائط الأفلام وأفكاركم حيَّة بداخلها.. ستبقى الأرض لَكم إن أحببتموها، وستذكركم وقت أن يُنسى الجَميع

الوصيَّة الأخيرة: «ستصل على الدوام إلى هذه المَدينة/لا تأمل في بقاعٍ أخرى/ما من سُفنٍ لأجلك وما من سبيل»

Modara Kon – Washington DC

Ensemble Mastan" is trying to refresh the Persian traditional music by introducing an active interpretation of music

About CSI Arts here 

الوصيَّة الوصيّة الأولى: «لا تحيا على الأرضِ كمستأجرِ بيت أو زائر ريف»

الغيـــــــــــــــــــــــــــــــــــــة

ولسان حالها أرجع وأترحم على أيام ريا وسكينة - صورة الموت في الكائنات في زمن النور والانبياء

 

كأنها  في كبرياء أمة

فكت عقود شعرها

في مشهد ذليل

وانتي ياسيدتي المنقوشة اليدين

بالأسطورة..

المملوءة العينين بالعويل..

لك الله ولي..

قالت معذبة الصوت:

أن السماوات ماعدن زرقاء

والصحو يبتلع الحلم

والجوع يبتلع الحلم

والجوع يبسط تحت جناحيه

مائدة الخبز والفقراء..!

وكان انخطافي

أن رداء الحياة ثقيل

وأن الأقانيم خالدة , والزوال احتمال

وان جمال البديل , بديل الجمال

وصوتي المرصع بالعشب والملح

مـــونـــولــوج داخلـــي.. الفيتـــوري هنــا

عــاوزة اتجـــوز ميكـــانيكي..شكاوي الفلاح المصري هنــأ

صــــورة المـــاضي..هكـــذا جــاء في الكتـــاب

لقد نصبت لتكون سددا للفقراء

ينقذهم من الغرق

ولكن انظر أصبحت أنت الطوفان..

وكن كالرخاء القادم الذي يقضي على المجاعة كالكساء الذي ينهي العراء كالسماء الساكنة بعد عاصفة هوجاء

تمنح الدفء لمن يقاسون البرد كالنار التي تنضج كالماء الذي يذهب العطش.. هنــا

CARNEGIE HALL

CARNEGIE HALL

The poster for Edgar G. Ulmer’s Carnegie Hall boasts the following: “Never before … never again … so magnificent an array of artists on one screen

Benny Goodman at Carnegie Hall 1938 show video here  Opera  singers



Nora embodies the American dream of self-betterment and upward mobility. Not only does she love music passionately, she takes to underwriting scholarships for poor students to train as musicians

At the heart of the story is the burning question of whether it is indeed true that classical music is for everybody, and if in turn anybody can be a classical musician. This is the ideal that the film clearly wants to espouse, but it does so carefully-as if merely assuming such things are too much to expect. The film does not show the audience in the theater because their uniformly privileged appearances would belie that ideal-the film Carnegie Hall preserves and packages a vital cultural experience not otherwise available to the masses and makes it popularly accessible. The decision to include a linking story was a savvy commercial decision that makes Carnegie Ball a true movie. It was a choice that helped make Carnegie Hall accessible to people who would not frequent the real Carnegie Hall

THE NEW YORK TIME May 3, 1947 here and carnegie hall here hidtory.And the origins of that famous carnegie hall joke here

CARNEGIE HALL, screen play by Karl Kamb, from a story by Seena Owen; directed by Edgar G. Ulmer; produced by Boris Morros and William LeBaron for United Artists release. At the Winter Garden and Park Avenue.

Nora Ryan . . . . . Marsha Hunt

Tony Salerno Jr. . . . . . William Prince

John Donovan . . . . . Frank McHugh

Ruth Haines . . . . . Martha O'Driscoll

Tony Salerno Sr. . . . . . Hans Yaray

Anton Tribik . . . . . Joseph Buloff

Henry . . . . . Emile Boreo

Katinka . . . . . Eola Galli

Olin Downes . . . . . Himself

Tchaikovsky . . . . . Alfonso D'Artega

Walter Damrosch . . . . . Himself

Mr. Damrosch (1891) . . . . . Harold Dyrenforth

and

New York Philharmonic Quintet

Philharmonic-Symphony Orchestra of New York

Bruno Walter

Lily Pons

Gregor Piatigorsky

Rise Stevens

Artur Rodzinski

Artur Rubinstein

Jan Peerce

Ezio Pinza

Vaughan Monroe and his orchestra

Jascha Heifetz

Fritz Reiner

Leopold stokowski

Harry James

Leopold Stokowski conducts the New York Philharmonic Symphony Orchestra in part of the slow movement from Tchaikovsky's 5th Symphony in the 1947 movie Carnegie Hall