#multiculture

[girlactionfigure]

Funny sort of apartheid when an Israeli Arab is a Supreme Court judge.

motzoballs

[dawatyanproject]

When the Phases of the Moon Pull the Tides of Time | 明月几时有 光阴墨潮生: #1 (First Quarter)

First Quarter Moon / Neap Tide / @11:25pm from Toronto, ON

During the pandemic lockdown, I like to watch “How-To-Wear” videos of people putting on their traditional/ethnic clothing, as the content provides a sense of connection to the outside world.

One day, I came across a video introducing the Emirati kandura, a regional variation of the Arab garment also known as a thawb or dishdasha (note1). The presenter mentions that the Emirati kandura is often worn with a long tassel-like piece called a tarboosh (plural: tarabeech; note2), dangling from the neckline. 

Dating back to the nomadic history of the Bedouin people, the tarboosh is an important cultural and poetic object in Arab culture: before the travellers left home for a trip, their family members would infuse the tarboosh in fragrance, so that the scent from home could stay with the travellers during their journeys. 

In history, especially during times when travelling was more difficult and long-distance communication took significantly longer, people of different civilizations had found creative ways to make the concept of home, family, and memory portable. 

...人有悲欢离合，月有阴晴圆缺，此事古难全。但愿人长久，千里共婵娟。

—— 苏轼 《水调歌头·明月几时有》

“While humankind experiences joy and sadness, separations and reunions, the Moon experiences its dark eclipse or bright crescent, fullness or absence: such are historical cycles that are impossible to be broken.

I can only hope the loved ones can remain together for the longevity of time itself, and they are bathing in the same moonlight even if they are thousands of miles apart.”

- An excerpt from “Shuidiao-Getou (Water Melody)” by Su, Shi. (Translated by Eric Chengyang)

Throughout history, ancient Chinese poets had used the Moon as a symbol of remembrance, and as a medium to express complex feelings in regards to separation and distance, due to the fact that the moon is always available and has its changing phases. For instance, during the Mid-Autumn Festival in the year 1076 AD, Su, Shi (aka. Su, Dongpo; 苏东坡), a famous Song-dynasty poet wrote and addressed his famous ci to his brother from afar. 

Since the date of the Mid-Autumn Festival is determined by the Chinese lunar calendar that tracks the phases of the moon, in the evening, the moon is always round, full, and whole. As indicated in Shu, Shi’s ci-poetry, the full moon not only symbolically represents reunions but also serves as a reminder for gathering. 

Interestingly, the Mid-Autumn Festival (中秋节; on Sept. 21 in 2021) shares similarity with the Canadian Thanksgiving which took place yesterday, with regards to their approximate timing and modern festive customs.

I have always felt a special connection to the Mid-Autumn Festival because of my love and constant craving for mooncakes; unlike most Chinese festive foods, the mooncakes are not available all year round. 

In Canada, Asian grocery shops and bakeries usually start to put out the mooncakes for sale, as if the shops are reminding their customers that another Mid-Autumn Festival is near, and the beloved yet brief Ontarian summer is packing its bags and is departing soon. 

Since mooncakes are seasonal, each year, I always felt a bit sad when I ate the last piece of mooncake over coffee, as I wondered where the unsold, leftover mooncakes had gone after the festival.

At the end of this past summer, when I went shopping in an Asian supermarket with my mom, I saw the stacks of mooncakes at the entrance: a sight that felt so normal that I forgot we were still in a pandemic.

Seeing the boxes of mooncakes again, I recalled a conversation I had with my mom last time when we shopped together. At the time, while we were picking out mooncakes, we were discussing why some mooncake brands had such an unbelievably expensive price tag, and I jokingly told her that maybe those mooncakes’ salted egg filling contained actual gold foil.

This conversation felt so fresh and vivid, that I had the impression as if it had just happened sometime in the summer. However, when I picked up a mooncake box and saw the expiry date, I suddenly realized that the reason I was seeing the mooncakes again, was because a full year had already gone by since we last shopped together.

Image: a Cantonese mooncake (left) & a Suzhou-style mooncake (right), with a cup of dry chrysanthemum-osmanthus tea served in a gaiwan.

After having spent months indoors without leaving the Suburban neighbourhood during the pandemic lock-down, I feel like the grains of time have been unknowingly seeping through the spaces between the grasp of a hand. 

Like the recurring cycles of the Moon’s phases, I have managed to locate my position in time not from a calendar, but rather through the return of the mooncakes, although this year, I was not feeling the sadness because I ate the last piece of mooncake as the festival passed. 

- By Eric Chengyang (墨月无觞) of Dawat Yan Project, on Oct. 12, 2021 (@11:25pm)

To be continued in the form of a visual poetry as the Moon moves. Thank you for reading part #1 and visit the Dawat Yan.

______

Notes & Citations

1. To learn more about the diverse styles of the kandura / thawb / dishdasha, please refer to the following article. Img #01 shows a model with a tarboosh hanging from the neck, and img #03 shows what an Omani tarboosh looks like.

Gulf: What differentiates the Dishdasha from the Kandora?

https://gulfnews.com/photos/lifestyle/gulf-what-differentiates-the-dishdasha-from-the-kandora-1.1601284787970?slide=1

2. Reference for the “tarboosh/tarabeech”:

“Bracelet inspired by the Emirati Tarboosh: Al Ghadeer UAE Crafts x Loreta Bilinskaite-Monie”, by Dubai Design Week

https://www.dubaidesignweek.ae/programme/2019/bracelet-inspired-emirati-tarboosh/

3. A fun fact: due to the different styles of mooncakes (as shown above), Chinese people from different regions tend to eat the mooncakes in distinctive ways:

Northern-Central Chinese tend to eat the mooncake in 1-2 single bites, because their variant of mooncakes has a flaky crust. 

Southern Chinese such as Cantonese, like to cut up the mooncake with a knife, and either eat or share the smaller pieces over tea. 

As someone from a Cantonese background, I personally think that mooncakes also go well with coffee.

[ht80]

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YES TO MULTICULTURALISM! : It's alllllll happening in good old #Footscray today with the celebration of Ethiopian New Year Festival! (based on the Julian calendar) Totally digging this music and dancing 💃!!! : How sweeet are the costumes and hairdos??!! 😍😍😍 : : #weekendvibes #westside #wefo #ethiopia #ethiopian #melbourne #multiculturalism #multiculture #dancing #music #celebrate #ethiopeanewyear #culture #immigrants (at Footscray Mall)

[vincenzosplate]

Today COME to @parramasala_ #Festival and Cook with me and Enzo from 5.30pm The #Italian Duo is back on stage and we will be making 2 Loved #ItalianRecipes...Come to the #Parramatta Festival and find out what we are preparing for you (Today we are celebrating our #multicultural city). • • • • • #vincenzosplate #casaecucina #italianfood #pasta #pizza #parramasala #foodfestival #chefs #Chefslife #chefsoninstagram #multiculture #foodfromtheworld #foodfestivals #sydneyfestival2017 (at Parramasala)

[dawatyanproject]

Welcome to the Dawat Yan Project

Our title, Dawat Yan, was inspired by two different languages:

Dawat (دعوت) is a word from the Urdu language. 

When used as a noun, Dawat is a feast, a joyous occasion, or a banquet in which many guests participate and partake through acts of eating, conversation and other means of entertainment. When used as a verb “dawat” is to delight, to entertain, to feed and gratify the soul through an exuberant feast that is well attended.

Yan (宴) is Chinese hanzi character that is equivalent to a banquet or revel. When used as a verb, “yan” signifies the action of inviting someone to such an occassion. In addition, if it is used as an adjective with another hanzi character, “yan” can also imply the state of being peaceful, joyful, or entertaining. 

Because “dawat” and “yan” share various similar meanings, “Dawat Yan” will always signify an invitation to a feast, irrespective of whether readers are accustomed to read from left to right, or right to left.

The graphics of the logo captures the overlaps between two distinctive cultures by featuring a karahi (کڑاہی) or wok (镬 or huo in Mandarin): two similarly shaped pots commonly used in Pakistani and Chinese cooking, respectively.

Left: a cast iron karahi with a Chicken Karahi (courtesy of Mariam Magsi) Right: a wok with tomato & egg stir-fry (photo from Wikimedia Commons by Mx. Granger)

Can food unite us by transcending race, class, gender, conceptual borders and physical distance?

By peeling the layers of Pakistani and Chinese cuisines through an artistic and creative process, the Dawat Yan Project is a gathering in which we explore the sophisticated ingredients of food: including history, culture, and intergenerational knowledge.

Composed by Mariam Magsi & Eric Chengyang

[tixdomedia-blog]

India Color Fest is a new Innovation by 'Koncept Workz' its a MUSIC FESTIVAL WITH COLORS to celebrate the togetherness of all Sections of people in Six Continents without distinction, exclusion, or preference based on Nationality, Religion, Cast, Creed, Race, Colour, Sex, Sexual Orientation, Civil Status or Cultural variations.

                                        Event Date                                 Jan. 21, 2017, 4 p.m.

The event will be celebrated by Participants and Performers by mix the combination of Multicultural Local, Regional, National and International Music and Dances. Our objective is to bring people together to enjoy & de-stress themselves by singing, dancing, flying and showering with colors and make no identification of any discrimination. Artists Info •Get Massive (India’s No.1 Trance DJ) •Trishna TheBand (India’s Got Talent Finalist Rock band) •Runa Rizvi Sivamani ( Bollywood Playback singer ) •DJ HASSAN ( Bollywood king from Bangalore) •Dew Drops ( Dance Troop From Mumbai)

                  Book Tickets @tixdomedia

[gravalicious]

“Images of the wounded, white working class, betrayed by leaders who expected it to bear the brunt of cultural diversity and now beset by violent and criminal aliens, provide a means to assess the initial symbolic configuration of the melancholia that has come to characterise our era. It can be glimpsed in the vulnerable, feminine form of Enoch Powell’s aged white woman taunted by the ‘wide-grinning piccaninnies’ who – if you recall the famous mythography of his ‘Rivers of Blood’ speech – taunted her with the word ‘racialist’[12] because, in defiance of the race relations legislation newly introduced by Labour, she had unreasonably refused to rent out rooms in her decaying house to them. Thus postcolonial intruders from Multiculture in times of war the ‘new commonwealth’ accomplished what the Nazis had failed to do: they destroyed an unsuspecting nation from within. Powell’s focus on housing and dwelling echoes more recent conflicts, but that coincidence does not draw the same degree of interpretative attention as the easier notion that these are unavoidable conflicts driven by the natural force of race and the anthropological power of culture. We often forget that the plausibility of Powell’s prophecy of racial war was won through the way that his ghastly predictions coincided with the assassination of Martin Luther King Jnr. The teleology that makes the US into an image of Britain’s political future raises more general problems, but we can say that our leaders are still being caught out by their inability to imagine a future for Britain’s racial politics that is not deduced from US history. The US also exemplified the only racial destiny that the British punditocracy could conceive. There is now some catching up for both groups to do. Important opportunities arise both from seeking a future elsewhere and in seeing in our own recent history things from which other nations and governments might profit.”

Paul Gilroy - Multiculture in times of war: an inaugural lecture given at the London School of Economics (2006) [Critical Quarterly, vol. 48, no. 4]