Amazigh people – Liby Amazigh http://libyamazigh.org/ Mon, 26 Sep 2022 15:35:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://libyamazigh.org/wp-content/uploads/2021/10/cropped-icon-1-32x32.png Amazigh people – Liby Amazigh http://libyamazigh.org/ 32 32 Library of Congress Acquires Lifetime Achievement of Sound Engineer Jim Metzner : NPR https://libyamazigh.org/library-of-congress-acquires-lifetime-achievement-of-sound-engineer-jim-metzner-npr/ Mon, 26 Sep 2022 15:35:00 +0000 https://libyamazigh.org/library-of-congress-acquires-lifetime-achievement-of-sound-engineer-jim-metzner-npr/

The Library of Congress has acquired the life’s work of radio producer Jim Metzner, who spent decades traveling the world capturing rich soundscapes. While he’s honored they’re archived, he says he wants to make sure people actually listen to them.

Library of Congress


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Library of Congress


The Library of Congress has acquired the life’s work of radio producer Jim Metzner, who spent decades traveling the world capturing rich soundscapes. While he’s honored they’re archived, he says he wants to make sure people actually listen to them.

Library of Congress

Jim Metzner has spent nearly five decades documenting and sharing the sounds of the world, from immersive portraits of American cities to indelible moments with people and wildlife in places as varied as Alaska, Australia, Japan, Greece, Cuba, Nepal and Morocco.

He sees his job as listening to sounds, not capturing them, as he told NPR. morning edition in a recent interview.

“Sometimes you hear people say, ‘You know, I captured that sound’ and ‘I captured that sound,'” he adds. “From the start, I never felt like I was capturing anything. I felt like these things were gifts. You receive something amazing, the first thing you want to do is say “Oh my God, listen to this! me share this with someone!’ ”

Metzner has shared these sounds with many listeners over the years, mostly through radio shows, including his own nationally-aired series, Pulse of the planetbroadcast daily from 1989 until the beginning of this year.

Now more people will be able to hear more of the world thanks to Metzner’s tape. The Library of Congress announced earlier this month that it had acquired his entire work, which includes thousands of recordings in addition to photographs, diaries, podcasts and storybooks. The collection contains some 28,000 mixed-material objects dating from the 1970s to 2019.

The Library of Congress says its digital preservation work is just beginning, but has released a finding aid for the paper portion of the collection that people can use “as a general guide to the depth and breadth” of the records. that will eventually become available. .

“They include soundscapes of every description from around the world and interviews with scientists, artists and indigenous peoples,” said Matt Barton, curator of recorded sound at the library’s National Audio-Visual Conservation Center, in a statement. communicated. “While many recorders focus entirely on a single subject – nature, music, or science – Metzner’s recordings convey a full spectrum of human experience accompanied by the wide range of sounds of the natural world.”

Metzner collects poignant moments globally

Metzner’s career began with a moment of achievement in the 1970s, when he first ventured onto the UMass Amherst campus equipped with a stereo recorder, microphone and headphones. . Metzner remembers pressing the red button and hearing a veritable symphony: a couple walking and talking nearby, a bicycle rolling through the gravel, a bird flying overhead, bells in the distance.

“And I was like, ‘Wow, that’s amazing. What an amazing coincidence,” he recalls. “But it wasn’t a coincidence – this stuff happened all the time, I just hadn’t paid attention to it. And it was the microphone and the recorder that said, “Wake up…you live in a world of sound”. It’s here.’ And it was like giving it to me on a platter.”

Metzner has continued to focus on these sound-rich moments over the years, even as the scope of his work has expanded from local to national to global. He produced You hear Boston and You hear San Francisco before expanding to you hear america and, for several years in the 1980s, sounds of science.

He then turned to production Pulse of the planet, a daily radio show that presented hundreds of public and commercial stations with two-minute segments of soundscapes and interviews primarily focused on science, nature and culture. It ended in June after more than 30 years and 8,000 segments, but continues as a long-running monthly podcast under the same name.

His adventures filled thousands of tapes as technology evolved

These pursuits have taken Metzner around the world and into situations ranging from the ordinary to the unforgettable, whether it’s a Berber wedding festival in Morocco, a Japanese pottery village, the Saratoga racetrack in New York or the scene of cowboys herding cattle on the plains of Brazil – where he tried to run ahead of the herd in order to hear the vaqueros singing.

“The steer they were keeping was a longhorn steer. And one of the steers saw me and didn’t like what he saw. Put your head down, load me hard,” Metzner recalled. “I’m standing there with 14 pounds of gear, I’m going, ‘I’m a dead man.’ I thought for a second, ‘Oh my God, maybe I’ll take this Nakamishi 550 and put it in front of me.’ So I thought, ‘No! I can’t do this!’ I couldn’t even bear the thought of my gear getting gored.

“Then at the last possible second, one of the cowboys nonchalantly comes trotting towards the cow. He’s carrying a stick, and he just kicks the steer, and the steer walks away. Then the cowboy… .just tip his hat and run off… But I got a great recording. Nobody ever got a recording like this.

Along the way – and as technology evolved – Metzner recorded over 200 reels of ¼ inch tapes, over 2,000 audio cassettes and over 1,000 DATs (digital audio tapes) and digital Minidiscs, and has created some 100,000 sound files with digital recording equipment. , according to the Library of Congress.

He says his collection includes tapes of local and national programs as well as unedited interviews and the sounds he recorded to make them.

His life’s work continues

Metzner, now 70, hasn’t hung up his mic yet – in fact, he’s heading to New Zealand to record sounds and share his knowledge as a Fulbright media and communications specialist.

He tells NPR he is grateful to the Library of Congress for preserving his life’s work, which he describes as a profound honor. But he also wants to make sure he’s actually heard, not just “buried in an archive.”

Metzner spoke to the library about the possibilities of preserving these sounds. He also thinks of other ways to celebrate the art of soundscape. In the age of the smartphone, this includes creating an online forum where people – both professional recorders and ordinary citizens – can submit sounds that are important to their communities and culture, in order to create a global crowdsourced archive.

He hopes more people will discover – and recognize the value – of soundscapes, which he describes as “part of our natural heritage” and “the touchstone of our feelings”.

“You can go to a museum and see the photographs of Diane Arbus. You can see the paintings of René Magritte,” he adds. “Why not soundscapes? They are just as much an art form.”

The audio portion of this story was produced by Phil Harrell and edited by Olivia Hampton.

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Hummus, falafel and couscous: which country is responsible for the popular dishes? https://libyamazigh.org/hummus-falafel-and-couscous-which-country-is-responsible-for-the-popular-dishes/ Sat, 24 Sep 2022 20:54:08 +0000 https://libyamazigh.org/hummus-falafel-and-couscous-which-country-is-responsible-for-the-popular-dishes/
Typically associated with the Middle East, hummus, falafel and couscous dishes are now widely enjoyed in Australia and can be found in food trucks, food courts, in supermarkets and as part of home cooked meals across the country. country.
But the origins of these dishes are often subject to much controversy. So where do they come from and what is the story behind these dishes that mean so much to so many and can be linked to identity, place and memory?

Finding the origins and “owners” of a food can be tricky business. Such is the case with these delicious treats, which are all claimed by more than one nation.

Hummus and the mystery of its origins

Therese Elias learned how to make her hummus recipe from her mother-in-law when she was 18 and living in her native Lebanon.
Her love for cooking grew after her marriage, and she became determined to pass on the traditions she had learned from her mother and stepmother to her own children.
“When I came here and started a family, I really wanted to teach my children about the traditions of my childhood.”
The most popular Lebanese dish she makes is hummus made from chickpeas.
Therese, who lives in Sydney, says she adds a secret ingredient to her recipe to make it taste even more special.
“I put all my love into my hummus dish, I’m careful, I know how much my kids and everyone around me loves it.”
In addition to her secret ingredient, Thérèse’s hummus consists of chickpeas, which she peels individually, tahini, garlic, salt, lemon juice and an ice cube, which is essential to make it smooth and creamy.

“A Lebanese table without hummus is not complete, it must always be served at any Lebanese table and on any occasion,” she said.

Thérèse Elias makes hummus with her granddaughter.

The dish, which has become a staple in many Australian homes, originated in the Middle East. However, the true source of the famous dish is now widely disputed.

According to Egyptian national Ramy Hillal, hummus originated in Egypt.
“Hummus has been part of Egyptian culture for hundreds of years. It is eaten in many cultures today, but historically it was first found in Egypt…” he said.
But according to Professor Burcu Cevic-Compiègne of the Center for Arabic and Islamic Studies at the Australian National University, the real origins of hummus have never been traced. This is due to the widespread trade that has occurred in the Middle East and North Africa region throughout history.

“We must not forget that this region was famous for their trade; merchants traveled across Arabia and North Africa to sell and buy different supplies – this is why it is very difficult to trace the exact origin of a particular food,” said Professor Cevic-Compiègne.

I put all my love in my hummus dish, I’m careful.

Therese Elias

Thérèse says that although she grew up with hummus, she is not 100% sure of its origins.
One thing she is sure of is that no other variation of hummus compares to the Lebanese type.

“I know many countries make hummus, but I’m most proud of the hummus we make as Lebanese. Our hummus is the best, no one does it like us.

Can a country claim falafel?

Falafel is another Middle Eastern dish that has made its way into Australian culinary culture.
Crispy fried snacks are a mixture of chickpeas or beans, fresh herbs and spices that are formed into small patties or balls.
Unlike hummus, historians have been able to trace falafel to 16th-century Egypt. However, it is unclear whether it was founded there or transferred through trade or migration.
The uncertainty of its origins means the dish has become a staple in many Middle Eastern cultures, including Egypt.
Ramy Hillal explains how a single ingredient sets the Egyptian version of falafel apart from the rest of the Arab world.

“Some countries in the region share the origins of certain dishes, like for example some call it tamiya or some call it falafel, but we have a different version of it, that’s why we call it tamiya. The base of the Egyptian version is based on broad beans, the base of the other versions is based on chickpeas. They look alike, they’re both fried, so it’s a bit the same but a bit different,” Mr Hillal said.

Falafel in a basket taken out of hot oil in Cairo, Egypt

Falafel rolled out of hot oil at a restaurant in Cairo, Egypt. Credit: Joel Carillet/Getty Images

Influencer Lara Hawash is of Palestinian descent and she says falafel, among many other traditional dishes, reminds her of her family in her hometown of Nablus.

“I come from Nablus in Palestine and every time I eat traditional food, I remember walking through the shops in Palestine where there would always be stalls selling falafel or knafeh (a traditional dessert made from pasta filée, sweet syrup and cheese), so just seeing it or smelling it reminds me of my homeland.
Falafel is also extremely popular in Israel.
Ronit Gabriel is from Israel but is now based in Canberra where she works for the Executive Council of Australian Jewry. She explains how falafel and many other dishes became popular in her native country as a result of migration.
“Israeli cuisine is just a mixture of people from North Africa, Central Asia, Eastern Europe, the Middle East and they all brought together something from their tradition and this melting pot what is Israel is also Israeli cuisine.”
She explains how a touch of modernity and innovation is brought to these traditional dishes to make them their own.

“It’s typical for Israelis to try another way, a different recipe or modify it to make your own. For example, for falafel, we have flavored falafel. Originally in Egypt, they were made with broad beans or chickpeas but we have added flavored versions like paprika or with a curry flavor.

Whenever I eat traditional food, I remember walking around the shops in Palestine…just seeing it or smelling it reminds me of my homeland.

Lara Hawash

But adaptations and modernizations of these traditional recipes are not always welcome in the region.
Lara says food is central to her culture, their recipes are part of what defines the Palestinian Territories, and she says she feels frustrated when she sees other cultures claiming traditional Arab foods as their own, especially when they are countries with which they have been in conflict for several decades.

“To claim something that isn’t theirs makes me really frustrated because it’s our culture…that’s why it’s always important for us to keep mentioning foods and their origins so people don’t don’t forget.”

Why couscous is inscribed on the World Heritage List

Couscous has found its way into kitchens, cafes, restaurants, pubs and supermarket shelves across Australia.
The tiny granules of rolled semolina, often served as a side dish or in a salad, are commonly attributed to French or Israeli culture.

But his heritage is broader than that. Couscous is recognized on UNESCO’s list of intangible cultural heritage, the result of a joint application by the African countries of Algeria, Mauritania, Morocco and Tunisia.

Hands in a bowl of couscous.

Friends share a meal of couscous. Credit: Floris Leeuwenberg/Getty Images

Ghania Rahli is a Berber woman from the villages of northern Algeria. She says couscous is a central part of traditional Aboriginal culture.

“It’s our main course and what we eat for special events, celebrations and family gatherings,” she said.
Traditionally, North African couscous is served as a main dish, with a tomato-based sauce, and cooked with vegetables and meat.
“At home, we make it from scratch, we sift the semolina with special sieves to reduce it to these little balls. It’s a long process, but nothing tastes better than when we make it fresh.
She says that, like so many other traditional dishes, it’s important to recognize their origins as a representation of that culture and its individual characteristics.

“So many people today when they think of couscous don’t think of our culture, and it’s quite sad, it’s a beautiful dish and it represents our origins, our ancestors and making people know about where he comes from is also about preserving our richness and a unique culture.

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The Rifains dare to remember their history https://libyamazigh.org/the-rifains-dare-to-remember-their-history/ Tue, 20 Sep 2022 19:51:07 +0000 https://libyamazigh.org/the-rifains-dare-to-remember-their-history/ The importance of Moulay Mohand, a revolutionary figure in the history of the Rif, goes beyond the borders of Morocco, explains Bianca Carrera. Amid such massive state repression, his story must live on.

Indeed, more than 100 years later, the Rif is probably in a worse state for many, certainly unrecognizable for those who keep the memory of its past close to them, writes Bianca Carrera. [GETTY]

101 years ago, Mohamed Ben Abdelkrim Al-Khattabi – commonly known as Moulay Mohand, which means Prince Mohand in Tamazight – defeated the Spanish protectorate in the Moroccan Rif in what has been dubbed the annual disaster (1921). If this date was to become the anniversary of the proclamation of the Republic of the Rif, the first independent state in North Africa, it also became a symbol in the fight against colonization and the oppression of indigenous peoples in the world.

Today is not a national holiday, but a day of remembrance that only the Rifains celebrate behind closed doors. The consequences of not doing so have already been paid by figures like Nasser Zefzafi, who was imprisoned and tortured for leading the Hirak In the region. His image is now as vividly imprinted in people‘s minds as that of Moulay Mohand.

Indeed, more than 100 years later, the Rif is probably in a worse state for many, certainly unrecognizable for those who keep close to them the memory of its past.

“Expressing pride in one’s history, especially one that has benefited oppressed people across the world, is no longer allowed in the Rif. Even mere remembrance is forbidden.”

Cancer rates are the highest in the country, education remains a luxury for many, basic infrastructure and roads are lacking, as are sustainable jobs. Indeed, several young people explained how “with the Spaniards we lived better, at least we had jobs”. This, coupled with state repression of Riffian Amazigh culture and historical heritage; practically pushed the region into exodus.

Lalla Fadila Al-Khattabi, granddaughter of Moulay Mohand’s brother, the Emir Mhamed Al-Khattabi, confessed that every time she was able to return, she gets angry about “what has become of this region “.

It is difficult to understand how the Rif is in such a state following a history of struggle for liberation and prosperity led by Moulay Mohand.

Menacing Empire

It is important to understand that there is a long history of repression of the Rif tribes. Rif activist Massinissa Akandouch, who is also the great-great-grandson of Amghar Sidi Mohand Ameziane – one of the first anti-colonial Riffian leaders, explained: “Oppression existed long before. Throughout history, we have always been very self-sufficient, allowing each tribe to have a designated territory and a designated leader chosen by popular assemblies. I have the impression that this has been perceived as a threat to many of these empires whose power is based on the homogenization of the organization, religion, culture and language of a territory.

He added: “Sometimes the only solution they [empires] for the population to obey is to erase everything we have known. Because the independence we have does not come from nowhere. We learned it through our poetry, through our songs, through our clothes, through our pottery… it all tells a story. Therefore, these empires find that the only way to control us psychologically, politically, and territorially is to erase everything we’ve ever known and create a new narrative.

Indeed, the creation of a new narrative that distorted the real aspirations of the Rifian people is precisely what the famous Rifian historian Omar Lemallam talks about. The Lemallam association for the preservation of Riffian memory was prevented from creating a Rif museum, because “building a museum will be something dangerous, because to do so, you have to discover the true history. ‘They’ don’t want that,” he explained.

“After independence, those who ruled the state were not the ones who made an effort to liberate the country,” he added, “so they wrote history in such a way that ‘they show themselves as leaders and heroes, but that’s not the real story.

A universal struggle against colonialism

The question is, what is the true narrative and was there a legitimate fear that the Rif were ruling their own empire?

Akandouch summarized the reality: “The fact that the Rif has always had this independence, not necessarily politically in what we imagine as a nation, but simply by maintaining all these tribes to live independently in their own territories, with their own traditions , with their own language… which was already a threat. The fear was not that the Rifains were going to build an empire. The fear was ‘how can we control these people in a way that will benefit us?’ »

Mohamed Ben Abdelkrim’s fight was therefore a fight for the liberation of oppressed peoples from colonial powers, not a battle for the Rif alone – which many historians see, Professor Lemallam said. In his declaration of 101 years ago, the professor points out, he never specified the borders of the new free territory. Even when he was forced into exile and separated from his land, he continued to fight against colonialism around the world, hosting leaders from Che Guevara to Ho Chi Min who wanted to learn guerrilla tactics used in the Ref.

“These tactics you may have read about in the history books about the guerrillas in Vietnam or Cuba; they were all used for the first time in the Rif during the battles of Abdelkrim”, Akandouch proudly recounts.

Forbidden Memory

Expressing pride in one’s history, especially one that has benefited oppressed people around the world, is no longer allowed in the Rif. Even mere remembrance is forbidden.

The headquarters of Professor Lemallam’s association was closed by the state as dozens of historians and experts gathered to organize cultural and educational activities on the Rif.

“During the six months of the Hirak, we felt that the activists and leaders of the movement were inspired by history. In the chants, you could see the presence of Abdelkrim,” explained Lemallam.

The state perceived them as the source of the political education of Hirak, that they provided the movement with tools to criticize and oppose the Moroccan government; which would explain the violence and criminalization that followed.

Bianca Carrera is a freelance writer and analyst specializing in Middle East and North Africa politics, as well as environmental issues, at Sciences Po Paris. She has written for Al Jazeera, Oxfam, elDiario.es and others.

Join the conversation: @The_NewArab

Do you have any questions or comments ? Email us at: Editorial-english@alaraby.co.uk

The views expressed in this article remain those of the author and do not necessarily represent those of The New Arab, its editorial board or its staff.

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A fashion show in moving tribute to the memory of Queen Elizabeth II https://libyamazigh.org/a-fashion-show-in-moving-tribute-to-the-memory-of-queen-elizabeth-ii/ Sun, 18 Sep 2022 23:10:29 +0000 https://libyamazigh.org/a-fashion-show-in-moving-tribute-to-the-memory-of-queen-elizabeth-ii/

Erdem’s romantic heroines often look like they’ve stepped straight out of the pages of a 19th-century novel in their pretty toile de Jouy flowers and puff-sleeved empire-waist dresses. It’s a singular look that the London-based designer has crafted over the better part of two decades by immersing himself in art exhibitions and fashion archives, including the world’s largest fashion collection at the British museum. decorative arts and design, the V&A. And it’s one that couldn’t be further from Gen Z’s predilection for bra tops and hip cutouts that over the past season have permeated so many other runways. But from the mononymous creator’s perspective, that doesn’t mean he’s stuck in the past. On the contrary, it is only by looking back that we can hope to make sense of the present.

Erdem’s Spring 2023 collection, on display in London today among the British Museum’s Greek Revival columns, of course comes at a momentous moment in British history. London Fashion Week coincides with the laying of Queen Elizabeth II at Westminster Abbey, which is expected to draw up to a million people to the British capital, including hundreds of members of the royal family, from heads of state and heads of government. – to pay tribute to the late monarch ahead of her funeral tomorrow. All Monday shows and presentations have been canceled and some brands, such as Burberry, have chosen to reschedule until later in the month. But Erdem and most of his compatriots, including JW Anderson, Simone Rocha, Christopher Kane, Harris Reed, Chopova Lowena and Nensi Dojaka, believe the show should go on this weekend as a tribute to the monarch who has long championed the industry. of British fashion and honored rising talent with the Queen Elizabeth II Award for British Design.

The Queen’s life and times have often been a point of reference for Erdem; its Resort 2023 collection is inspired by the arrangements of its longtime florist Constance Spry for her coronation in 1953. “It is an extremely sad time in London – Her Majesty The Queen has been an inspiration and I greatly admire his sense of duty and service,” says Erdem. “The best way for the industry to support British designers is to attend the shows, photograph the collections and buy the collections. It’s a tough time, but it’s also brought a real sense of solidarity to London . »

erdem spring 2023

Spring 2023

Jason Lloyd Evans
erdem spring 2023

Jason Lloyd Evans

Dedicating the collection to the Queen’s memory, Erdem began his show notes with an epigraph “Grief is the price we pay for love” – ​​the Queen’s famous words of condolence in the aftermath of the 9/11 attacks. . It looked further back in history to find its reference points this season, sending out a range of black-faille corset dresses with remnants of 18th-century embroidery and burst etched Old Masters prints. Many looks featured a trailing black ribbon, black netting veils or jagged detailing referencing a historical mourning dress, while the closing look – a corset dress in optic white with a full skirt and elongated train and a skirt covered in black couture netting and flower-embroidered tulle – looked like a photo negative of the Queen’s coronation robe.

More broadly, Erdem has drawn inspiration this season from the artwork restoration process, including seeing an 18th-century embroidered dress come to life with intricate tulle under the structure and a damaged 15th-century oil painting brought back to life based on a 17th century painting. engraving. “My studio team and I spent a lot of time behind the scenes with curators and restoration teams from the British Museum, National Gallery, Tate Britain and the V&A,” he recalls. “I was thinking about the forensic passion it takes to dedicate your life to bringing a work of art back to life, how some restorers can work on a work for up to twenty years. It’s about obsession and dedication, about how the lines between dining and living can become blurred.

erdem spring 2023

Spring 2023

Jason Lloyd Evans
erdem spring 2023

Jason Lloyd Evans

These last words—obsession and dedication— sounds a bit like Erdem’s own creative process, which is intellectual, painstakingly researched, accretive, and always in search of greater understanding. The Montreal designer, whose parents are British and Turkish, championed diversity and inclusion long before they were industry buzzwords. He was the first designer to collaborate with stylist Ib Kamara, even before Virgil Abloh, and now works with Gabriella Karefa-Johnson.

Erdem creates silhouettes – long in skirt and sleeve and high in neck – that appeal to a modest fashion client in the Middle East, without this being their exclusive intention. Fans include Nicole Kidman, Michelle Dockery, Alexa Chung and Catherine, Princess of Wales, and many women around the world who don’t want to give it all away. “Fashion should always be inclusive,” says Erdem. “Why create something that only certain body types can wear? When something is well designed, it should work for everyone. Last year Erdem made the decision to stock their full collection in sizes ranging from UK 6 to UK 22.

“At the end of the day, fashion has always been a mirror of what’s going on in the world,” Erdem says. Never was that clearer than in her Fall 2022 collection celebrating pioneering artists from Weimar, which premiered in London on February 21, three days before Russia invaded Ukraine. In a fashion season where Instagram feeds would become a surreal juxtaposition of women and children fleeing rockets launched at Kyiv and fashion as usual in other European capitals, Erdem’s show was the first – and one of the few – to seriously confront the existential threat of authoritarianism. Forgoing its signature florals, Erdem showed an almost entirely monochromatic range with Sally Bowles-style bustiers over midi dresses and a lace dress, paired with elbow-length black studded gloves and a sequined boa.

london, england february 21st a model walks the runway at the erdem fashion show during london fashion week february 2022 on february 21, 2022 in london, england photo by john phillipsbfcgetty images for bfc

Fall 2022

John Phillips/BFC
london, england february 21st a model walks the runway at the erdem fashion show during london fashion week february 2022 on february 21, 2022 in london, england photo by john phillipsbfcgetty images for bfc

John Phillips/BFC

“I saw an incredibly powerful exhibit at the Barbican called In the night in 2019 that documented cabaret culture and the groundbreaking art that emerged from the shadows of impending war,” Erdem says of his inspiration for Fall 2022. “There were so many parallels between the current situation and the past. Ultimately, I found it fascinating that in the face of oppression, extraordinary female artists like Jeanne Mammen, Madame d’Ora, Elfriede Lohse-Wächtler, Anita Berber and Valeska Gert became pioneers in their particular vein of avant-garde expressionism. It was their form of protest.

How does Erdem find his starting point each season, I wonder? “I think it’s important to keep evolving, as a brand and as a person,” Erdem replies. “My creative process is always to start with research, build the narrative and the collection starts there. Sometimes it takes you to unexpected places. Unexpected, but not unknown. “In terms of themes ranging from my latest catwalk collection to this one, they’re chapters in the same books, so they will inevitably be linked to each other,” Erdem adds.

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French folk group Yelli Yelli set to debut in India https://libyamazigh.org/french-folk-group-yelli-yelli-set-to-debut-in-india/ Sat, 17 Sep 2022 06:30:00 +0000 https://libyamazigh.org/french-folk-group-yelli-yelli-set-to-debut-in-india/

Visiting India for the first time to perform at the Ziro Festival of Music, Emilie Hanak of French folk group Yelli Yelli says her music reflects her family’s history. Drawing from the Algerian folk musical traditions of Kabylie, Hanak explores themes of exile and nostalgia through his music, translating distant melancholy sounds from his imagination, crossing many borders. His second album La violence estmechanique was released in April 2021.

In an email interview, she tells Anupam Chakravartty about her musical influences and her creative process.