Inverse Journal introduces “4 Shadows”, Azim Hassan’s solo exhibition recently held at Daye Art Gallery in Hangzhou, China. The exhibition gathered ten years of Azim’s work, from the Anantnag native’s early days in Kashmir to more recent creative explorations from his years in Hangzhou.
Dr. Asima Hassan brings us a touching poem that addresses the loss of life as it relates to the bond between a mother and a child. Perhaps the most difficult topic to explore through any artform, yet central to Picasso’s “Guernica”, Dr. Hassan’s poem verbalizes the unspeakable to give a contour to unfathomable grief.
“Just Another Bus Ride” is a story of a twelve year old girl in Srinagar who is very hungry at the close of school and worries about the bus ride home. Her thoughts are about how to best find a snack as she gets onto the bus. The bus finds itself in the middle of a tear gas shelling. The bus driver manoeuvres them out of it, with the children bewildered by the incident. The story tries to show how this child and her friends end up normalising the incident, and go on about their other childish preoccupations. This story was originally published by Muse India.
Set upon a dark stage that Kashmir has invariably become, Sadam Hussain presents four poems that read like four acts of a macabre tragedy—except there is no curtain call and the curtains are never drawn, there where hell has no end and paradise no beginning.
Kashmir Music Live (KML) returns to Inverse Journal with a long due review of one of the most lyrically dynamic and musically diverse songs from the corpus of Kashmiri Hip Hop. Here is KML’s review of the song “Safarnama” by emerging Kashmiri Hip Hop artist Qafilah.
Parray Shahid presents two grief-stricken poems that travel to a distant land and to its peoples, who in many ways are closer to the heart of Kasheer than any nearby neighbor—especially in what concerns a kinship formed from a state of subjugation, and sealed with a pact of resistance.
Inverse Journal presents three short stories by Anton Chekhov translated into Urdu and Hindi, and recorded in audiobook format by Adbi Dunya. We have included links to the full text in English translation for each of these stories.
On Malcolm X’s birthday, an elaborate documentary that explores his political life, his activism and the legacy of resistance he left behind for people around the world. The film gathers testimonials and accounts from his friends, family, and the journalists who knew him, along with archival footage of the man and the historical figure himself. The documentary was produced and aired by PBS on January 26, 1994. All rights reserved by Public Broadcasting Service (PBS).
After the release of his album (Shalakh) and the music video for the title track by the same name, SXR returns with the music video for Faasley, the fourth track from this latest collection of songs. Faasley is an emotionally charged Hip Hop ballad delivered as a solemn ode to remembrance in the face of estrangement, separation, distance, and loss.
First released in 2012, “My Neighborhood” is a documentary film that follows the life of Mohammed El Kurd, “a Palestinian boy growing up in the neighborhood of Sheikh Jarrah in the heart of East Jerusalem. When Mohammed turns 11, his family is forced to give up part of their home to Israeli settlers, who are leading a campaign of court-sanctioned evictions to guarantee Jewish control of the area.”
Produced for Just Vision, an organization seeking to build peace between Palestinians and Israelis, the symbolic meaning of this film has ascended to greater historical importance given the current and horrific situation being lived in the neighborhood at the center of this film and by extension in the rest of Palestine.
More than a decade later, the producers of the film held an online screening on April 22, 2021, followed by a discussion about Sheikh Jarrah with the film’s protagonist, Mohammed El Kurd (now in his 20s), and Just Vision’s Director of Education and Outreach in Palestine and the film’s producer, Rula Salameh. The conversation was moderated by Just Vision’s Executive Director, Suhad Babaa.
A Jewish activist woman from Israel conducts an “archaeological dig” into her immediate physical surroundings and the sites of her successive homes. It recounts her slow unlearning of Zionist erasures both of the dispossession of Palestinians previously living at these sites and of the discrimination against and relegation into poverty of Mizrachi Jews (Jews of color) sent to live at them.
A gradual awakening to an unblinkered understanding of the context – historical, social, economic of where she lives, this fragment opens a window onto the reality that is (again) erupting in horrific violence in Palestine Israel today, in the spring of 2021.
The text is the 5th section of the novella-length essaytale, “Home Archaeology”, originally published in full in Hebrew in the collection “Home Archaeology: Essay Tales” and re-rendered into English by the author. This piece will appear in print at a later time in a three-part series to be published by the author.
Abdulla Moaswes is originally from Jerusalem, Palestine. On a day such as this he presents a poem of remembrance against forgetting that returns to the days of his grandfather through a narration binding the dispossession and grief of one generation to another. The scholar and poet is inspired by Edward Said’s 1984 essay “Permission to Narrate” (published in The London Review of Books), where Said addresses the silencing and invisibilization that Palestinians faced in the international media while Zionists tirelessly propagated the myth of an Eden-like homeland—one that, according to them, was barren of inhabitants (conveniently made into ghosts) yet paradisiacal enough for an indefinite and still ongoing occupation. Beyond the need for an introduction, Abdulla’s poem speaks for itself, as his verses transit through time like remembrance transits through forgetting to keep memories alive, deep within the terrain of narration.
Earlier this week, a photograph was circulated on social media platforms (like Twitter and Facebook) showing a Kashmiri man marching with a Palestinian flag through the streets of Srinagar. Those who posted the photo did not give its author her proper credit nor indicate the source of such a powerful image, resulting in yet another case of copyright infringement and outright creative theft.
Inverse Journal got in touch with Zainab, the photographer of this iconic scene. Here she presents the photograph along with her account of how such image-making came about in line with the tradition of visual storytelling that speaks more profoundly than words perhaps could—especially on a sad occasion such as Nakba Day (Dhikra an-Nakba). Zainab’s photograph carries even greater symbolic meaning when considering that she produced it while documenting—by pure chance—the remains of an Al-Quds Day (Youm-e Quds) march in Kashmir that is carried out on the last Friday of Ramadan to show support for Palestine and its people and to protest Zionism.
As such, Zainab’s photograph situates two major commemorative days (Dhikra an-Nakba and Youm-e Quds) in one frame as she captures the heartfelt scene on the streets of Srinagar (Kashmir) to reflect the great sense of solidarity that Kashmiris feel towards Palestine and its dispossessed people. As can be observed, the image is taken with a mobile camera, and is raw in all aspects, much like the sentiment of solidarity that is felt around the world and especially in a place like Kashmir that knows sorrow and loss all too deeply.
Along with the her note, Inverse Journal has included relevant links to Zainab’s broader work.
On Frantz Fanon, Postcolonial and Middle Eastern Studies, and Palestine and Kashmir — Anthony Alessandrini in Conversation with Amrita Ghosh
Dr. Amrita Ghosh presents the transcript for an exclusive interview and conversation with Professor Anthony Alessandrini (City University of New York, USA) conducted on October 28, 2020, as a part of a MA course on Postcolonial theory that Dr. Ghosh taught during Fall 2020 as a visiting lecturer at Linnaeus University (LNU). The transcript is the result of an online conversation on Decolonization, Fanon, Middle Eastern Studies and multiple commentaries that include Professor Alessandrini’s views on Palestine and Kashmir. Inverse Journal has included a list of relevant links for those interested in engaging further with Professor Alessandrini’s work, research and academic writing.