A2Q
VOL 3 • ISSUE 2 • DECEMBER 2023
Design + Heritage + IMPART Summit + Arab Futurism + Perfumery Symposium
Connecting Creatives • Convening Communities
• Celebrating Cultures
ISSN: 2833-4752 (Digital) ISSN: 2833-4744 (Print) 2 | A2Q | April 2022
About A2Q A2Q (America to Qatar) is a digital magazine that spans the work of artists and the insights of experts from the United States, Qatar, and the Arab and Islamic worlds. As a digital platform serving creatives with diverse perspectives in art and culture, A2Q addresses subject matter in the aim of bridging cultural barriers and cultivating understanding. While at its core A2Q provides a voice to culture, history, and art relating to the Arab and Islamic communities around the world, A2Q also exists in recognition of the universal appeal of creative expression and the benefits of cultural convergence. Interested in being featured in an upcoming issue of A2Q? You can submit your work as an artist, writer, or academic with the QAIC editorial team for a chance to be featured. If selected, we will contact you to begin the editorial process. More information can be found at www.qataramerica.org/A2Q.
About QAIC The Qatar America Institute for Culture (QAIC) is an independent 501(c)(3) non-profit organization that creates, curates, and executes programs and research that amplify the prominence of all forms of art and culture in society. QAIC cultivates artistic expression and cultural dialogue from the United States, Qatar, and the larger Arab and Islamic worlds. QAIC serves as a vital hub to convene artists, curators, storytellers, creatives, scholars, and academics, connecting them with a global network that extends beyond its physical space in Washington DC. Through art exhibitions, educational programs, scholarly research, and cross-cultural partnerships, QAIC provides interactive experiences in an inclusive environment to celebrate and appreciate art and culture. To learn more about QAIC, please visit our website at www.qataramerica.org
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EDITORIAL
Faima Al-Dosari Laila Abdul Hadi Jadallah Nada Darwish Lyndsey Medlin Mary Kathleen Smith
CONTRIBUTORS
AlMaha Ahmed Al Mahmoud Aiman Hasan Nadine Zaza Anaghime Ziani
ART PRODUCED BY Andrew Abell Albert Ting DotLemon
SPECIAL THANKS TO Simon Fong
QAIC CONTACT INFO info@qataramerica.org
What We Do ART QAIC’s headquarters, located in DC’s popular Dupont Circle neighborhood, hosts rotating exhibitions throughout the year in our historic gallery space. Whether an innovative contemporary art installation or a sensory journey through history, these exhibitions invite visitors of all ages to explore diverse forms of art and heritage.
CULTURE At QAIC, all are welcome to expand their knowledge of the arts and culture by participating in our regular educational programs. Our Expressions Art & Culture Talks provide audiences exclusive insight from creatives and experts on topics including horse breeding, film, and architecture. The newly launched Museum Series convenes museum practitioners not only for a behind-the-scenes look at today’s museums, but also to generate dialogue about current museological trends and issues. At our hands on cultural enrichment events, audiences learn about art, culture, and the creative process by producing their own art and crafts.
EDUCATION We invite members from our various communities to engage with us in many ways, whether through celebrations such as our iftar dinners or our annual IMPART Summit, the “Congress for Creatives.” We also offer various scholarly opportunities, including fellowships and internships, throughout the year for those interested to get further involved with QAIC.
What's Inside F E AT U R E D
Letter from the Executive Director ......06 What We've Been Up To ............................ 07 IMPART Summit 2023 ..................................10
Al Zubarah Qatar’s First World Heritage Site
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Thanks To ..........................................................28
The Floral Scents
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Arab Futurism Arab Futurism: A Confluence of Tradition and Tomorrow
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Bimaristan The Legacy of Medieval Islamic Hospitals
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Letter from the Executive Director Dear Friends of QAIC, As the snow blankets the landscape and winter arrives, it is my great pleasure to bring to you this special edition of A2Q Magazine. Our focus for this issue revolves around two fundamental yet enthralling themes—design and heritage—concepts that have long been cornerstones of human development and civilization. The age-old wisdom, coupled with the enthusiasm of modern design, forms a cooperative relationship that we cannot afford to overlook, especially in an era that demands both ingenuity and a conscious respect for traditions. These two elements are part of our cultural and intellectual core, and so, it is only fitting that we dedicate an issue to explore their complex interactions and growth represented within these fields. We have an array of compelling articles lined up for you. First, we offer a comprehensive look at our IMPART Summit & Design Festival as well as the Perfumery Symposium, where our teams have collaborated to explore the captivating world of scents—a unique blend of science, design, and culture. Next, Nadine Zaza gives us an inside view into Arab Futurism, where she explores the crossroads of design, technology, and culture. Our "Future of Art" piece argues that technology isn't replacing the arts but enhancing them in new and exciting ways. In addition, scholar Aiman Hasan guides us through the history of medicine and hospitals in Islamic societies, showing how this heritage has contributed to modern healthcare. Last but not least, Anaghime Ziani offers a case study on Qatar's efforts to preserve cultural heritage, spotlighting the historical site of Al Zubarah. The richness and depth of this special issue wouldn't be possible without the tireless contributions of many. Our dedicated team has worked in unison to curate and present content that is both engaging and enlightening. Equally vital are our partners and sponsors, whose support ensures that we can continue to produce high-quality content that resonates with our readers. To each individual who has played a role in shaping this edition, I extend my heartfelt thanks to everyone who helped with this creative product. Your collective efforts have made this issue not just insightful, but truly inspiring. With gratitude,
Fatima Al-Dosari, Executive Director
LETTER FROM THE EXECUTIVE DIRECTOR
What We’ve Been Up To FIRST FRIDAYS Over the past few months, QAIC has actively participated in ArtWalk Dupont. Notable events during this series include the soft opening of our 2023 IMPART Artists Grant exhibition, featuring work by this years winners. Additionally, a partnership with the locally renowned gelateria, Dolci Gelati, resulted in a highly successful World Chocolate Day celebration during the July Art Walk, attracting over 1,000 guests.
OPENING OF PEARLS OF WONDER EXHIBITION Pearls of Wonder: a digital era opened at QAIC on June 2nd, showcasing the work of five contemporary Qatari artists reflecting the connection between modern Qatar and its pearling heritage. The exhibition opening, sponsored by Excelerate Energy, featured remarks by QAIC's Executive Director and the US Ambassador to Qatar, Timmy Davis, via video. Pearls of Wonder welcomed nearly 400 people on its opening night and will be on display at QAIC through December 2023.
QAIC Execuitve Director, Fatima Al-Dosari, is accompanied by Derek Wong, Vice President of Government Relations at Excelerate Energy at the opening of Pearls of Wonder: a digital era. The exhibitions presentation at QAIC was sponsored by Excelerate Energy.
SUMMER FESTIVAL On June 24th, QAIC hosted its highly anticipated Summer Festival, aligning with World Refugee Day to raise awareness about the region's beauty. The festival featured art workshops, culinary experiences, a comedy festival, and community-based activities. It also marked the opening of the exhibition Pearls of Wonder: a digital era with fresh and cooked oysters, thanks to Excelerate Energy.
OPENING OF IMPART ARTIST GRANT, TECHNOLOGY EXHIBITION The October ArtWalk celebrated the opening of the 2023 IMPART Artist Grant technology exhibition, showcasing installations by awardees Salma Hassaan, Randa Malkawi, and Farjana Salahuddin.
A visitor to QAIC enjoys Mohammed Faraj Al-Suwaidi’s virtual reality experience, featured in the Pearls of Wonder: a digital era exhibition.
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THINGS TO DO DC On July 19th, Things To Do DC collaborated with QAIC to host a sold-out event, "A Cultural Evening in Qatar." Guests experienced Qatari culture through traditional karak tea, live Oud music by Laith Al Attar, and the opportunity to try on Qatari attire. The event featured traditional Arabic food, Oud music, and exploration of QAIC's Perfumery Museum, emphasizing QAIC's commitment to promoting cultural understanding.
Guests enjoyed learning about traditional Arabic music played on the Oud during “A Cultural Evening in Qatar.”
GEORGETOWN’S CCT STUDENTS & ALUMNI MEETUP AT QAIC In September, QAIC hosted a meetup for Georgetown University's Communication, Culture & Technology Program (CCT) students and alumni, emphasizing intellectual connections between cultures through networking, culture, and cuisine.
SPORTING SOCIALS WITH D.C. UNITED AND CITI OPEN QAIC engaged with its members through exclusive gatherings at the DC United vs. Inter Miami soccer match and the DC CitiOpen, providing unforgettable experiences and fostering community connections. QAIC Executive Director and Georgetown University Communication, Culture & Technology Alumn, Fatima Al-Dosari, led a fruitful discussion with CCT students, faculty, and alumni.
ARAB FILM HOUSE FESTIVAL QAIC hosted the Arab Film House program in collaboration with the Middle East Institute on November 16, featuring short films by US and Dohabased filmmakers.
MUSEUM OF PALESTINIAN PEOPLE HOSTS CHILDREN’S BOOK TALK AND SIGNING AT QAIC QAIC hosted the Arab Film House Festival in collaboration with the Middle East Institute and the Doha Film Institute on November 16, featuring seven short films by Qatari, US and Doha- based filmmakers. A diverse audince of DC residents enjoyed the Arab Film Festival, hosted by QAIC and the Middle East Institute.
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PERFUMERY WORKSHOP QAIC hosted its second and third Perfumery Workshops in collaboration with DIYScent Studio. Participants delved into the intricate process of perfume creation and crafted two unique fragrances.
OPENING OF PERFUMERY MUSEUM EXPANSION Participants in recent Perfumery Workshops learned to create their own fragrances.
QAIC celebrated the soft opening of its Perfumery Museum Expansion in September, featuring enhanced educational sections and a larger "Test Your Nose" experience. The expansion included an installation by emerging Qatari artist AlMaha Ahmed Al Mahmoud, bridging art and fragrance. The museum now offers a "Scent Story" interactive feature, making QAIC a mustvisit destination in DC for fragrance enthusiasts.
QAIC SHINES BRIGHT AT ART ALL NIGHT WITH ASTROLABE ACTIVATION
Fragrance fans take in the new sites and smells of the expanded Perfumery Museum.
QAIC's interactive installation, Astrolabe, attracted 900 visitors during Art All Night DC on September 30th, featuring a live musical performance by PanArab Egyptian singer Ashraf Bashah. The immersive experience connected attendees with the rich cultural heritage of the Middle East.
INTERNATIONAL DAY OF SOLIDARITY On November 29, QAIC joined hands with the Arab America Foundation to host an event, demonstrating solidarity on the International Day of Solidarity with the Palestinian People.
Muath Edriss preformed timeless Arabic songs as our team and the Arab America Foundation joined together on the International Day of Solidarity with the Palestinian People.
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IMPART Summit and Design Festival: Where Art, Technology, and Innovation Converge BY MK SMITH
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rom the moment the Qatari Art Delegation arrived in Washington, D.C. on October 16, it was evident that a week of creativity, innovation, and cultural exchange was about to unfold. The IMPART Summit, hosted at QAIC’s headquarters, offered a unique opportunity for artists, creatives, and innovators to come together and explore the intersection of art and technology. Here's a glimpse into the highlights of this captivating week. The week commenced with a warm welcome at Immigrant Food, where the Qatari Art Delegation and special guest Dr. Dania Thafer gathered for a welcome dinner. The evening was marked by meaningful conversations and the exchange of ideas. The heart of the week’s festivities began to beat on Wednesday with the IMPART Artists Talk. Hamad al Mohammed of H Jewelry and Ghanim Al Ghanim, the director of AlHosh Gallery, both members of the art delegation, introduced themselves and their work to the audience. Then, QAIC Executive Director Fatima Al Dosari set the stage for the main event of the evening: the 2023 IMPART Artist Grant Winners: Farjana Salahuddin, Salma Hassaan, and Randa Malkawi. They engaged in a fascinating conversation about their art installations and their relationship to the intersection of art and technology. Thursday was dedicated to exploring the future of museums in a rapidly evolving technological landscape. The "We Are Museums" workshop, titled "Creativity Unleashed," delved into what museums might look like as technology continues to shape and redefine the art world. Students, delegates, and members of the DC art community engaged in this opportunity to discuss what lies on the horizon.
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The IMPART Summit 2023 was a testament to the power of art and technology to bridge cultural divides, inspire innovation, and spark meaningful conversations. It demonstrated the importance of fostering connections and understanding between Qatar and the United States.
QAIC ED, with Qatari Art Delegation and Representatives from the Embassy of Qatar at IMPART Auction & Benefit Party.
IMPART SUMMIT 2023
The week was not all serious discussions and artistic explorations. On Friday, a lively Auction and Benefit Party took center stage. Guests enjoyed delectable mocktails and small bites as they perused the items available for bidding in the silent auction. The evening was enriched by the musical styles of Nas Jota. The highlight of the night was a poignant speech by the Executive Director of UNRWA USA, Mara Kronenfeld. The weekend continued to be a hub of engaging activities. Guests had the opportunity to explore the world of olfactory art and fragrance creativity at the Perfumery Symposium. Organized in collaboration with the Institute for Art and Olfaction (IAO), members of the 2023 Olfactory Delegation to Doha invited attendees to explore the cultural significance of fragrance through talks and interactive workshops. The symposium represented all the best parts of QAIC’s mission to bridge communities through culture. QAIC closed Saturday’s events with a discussion between Qatari Art Delegate Mohammed Al Matwi and US-Qatar Business Council's Mohammed
Barakat, addressing creative entrepreneurship in a global context. On Sunday, we opened our doors to the public with a Middle Eastern coffee tasting, providing a sensory experience that transported attendees to the heart of Arab coffee culture. Roasters representing the coffee preferences of Saudis, Yemenis, and Turks, all had the opportunity to introduce the QAIC community to the coffee culture of our colleagues and friends oversees. The 2023 IMPART Summit & Design Festival was a testament to the power of art and technology to bridge cultural divides, inspire innovation, and spark meaningful conversations. It demonstrated the importance of fostering connections and understanding between Qatar and the United States. As the event drew to a close, the echoes of creative discourse and cultural exchange continued to reverberate, leaving a lasting impact on all those who participated in this dynamic and enriching week.
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Al Zubarah:
Qatar’s First World Heritage Site BY ANAGHIME ZIANI
Once a bustling regional hub of pearl trading, [the coastal town of Al Zubarah] dates back over two centuries. The fortified town includes its inner and outer walls, a harbor, a sea canal, and its historical fort. This all serves as evidence when trying to decipher how life must have been for the people of the northwestern region of Qatar.
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cross the globe, World Heritage Sites are designated by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as sites that possess “outstanding human value” for their significance in the realms of the cultural, historical, or scientific. An international convention protects these areas—the World Heritage Convention— to preserve them for future generations’ appreciation and enjoyment.
insight into past practices of urban organization and development—the site remains largely intact as it was in the early 20th century. Once a bustling regional hub of pearl trading, the town itself dates back over two centuries. The fortified town includes its inner and outer walls, a harbor, a sea canal, and its historical fort. This all serves as evidence when trying to decipher how life must have been for the people of the northwestern region of Qatar.
Among such World Heritage sites is the coastal town of Al Zubarah, Qatar’s largest archaeological site. Located nearly 100 Kilometers (62 miles) from Qatar’s capital Doha, Al Zubarah remains the bestpreserved specimen of an eighteenth to nineteenthcentury trading and pearl fishing town in the Gulf. The site includes 60 hectares (over 148 acres) of land and remnants of buildings such as homes, mosques, fort structures, and even a marketplace (or souq). This has allowed experts and researchers a rare
Perhaps the most notable stop along the town of Al Zubarah is its visitor center, located in the historic Al Zubarah fort. The latter was built in 1938, to protect Qatar’s northwest coast. The fort was part of a larger network of forts along the Qatari coastline, built to defend against the sea and protect freshwater resources in the territory. Interestingly enough, the fort itself includes a well: 15 meters deep (approximately 50 feet) and cut into a limestone bedrock. The well provided water to the inhabitants of the fort and has a
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design typical of early Arab and Gulf fort architecture, with a traditional roof construction and square ground plan that are characteristic of regional architectural tradition.
PEARLING IN AL ZUBAR AH Al Zubarah boasts a natural harbor and a coastal position in the larger Gulf area, which allowed the location to serve primarily as a trading and pearling settlement. Al Zubarah’s economy was then largely cyclical, and reliant on the seasonal nature of pearl diving. The process of pearl diving itself took several weeks out at sea, during which teams of divers would coast along in search of pearl beds. Tools and objects that would have been used to collect oysters and keep any pearly treasure safe were recovered at the archeological site. These objects include diving weights, used by fishermen to aid their search for
oysters, and pearl boxes for the safekeeping and later trade of collected pearls. Another informative feature of Al Zubarah is its numerous madabis—date presses. Dates are considered a recognizable facet of Qatari culinary culture that holds both symbolic and dietary significance. The relative abundance of date presses uncovered on the site gives us a welcome insight into the dietary and economic practices of the former inhabitants of AlZubarah. A madbasa is a small room with sloped and ridged floors, in which dates would be placed in sacks under weights to produce a flavourful and sweet date syrup.
THE SOUQ OF AL ZUBAR AH Trade in pearls, dates, and other goods we still enjoy today would have primarily occurred at the
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canal and served as a route for the facilitation of trade and the collection of freshwater. The canal was later filled in and replaced by screening walls, meant to provide a safe route for the transportation of water to Al Zubarah. The site’s boardwalk offers visitors a safe way to navigate the site from an elevated perspective to take in the large structures and better identify the remaining footprint of the buildings that formerly stood on the site. The layout and organization of the town ultimately reveal the urban, social, and economic practices of the time. Ultimately, the Al Zubarah Archeological site continues to be a repository of history of great significance to the region. Despite attacks on the town culminating in its burning down in 1811, the town has remained a beacon of historical significance as a valuable source of knowledge regarding northwestern Qatar, its people, and past practices of pearling and fishing towns in the past two centuries of the Gulf at large.
HERITAGE BEYOND BORDERS
town’s market—its Souq, the town’s economic center. Archeological probes into the marketplace were first undertaken in the 1980s by Qatari archeologists. Their research revealed a complex aggregation of smaller rooms, along with artifacts and objects that were recovered from the marketplace and analyzed. A complex archeological investigation that focused on the earth and stone composition, among other factors, has allowed us researchers to reconstruct the town’s timeline and layout. Such probes have allowed researchers to determine that following the 1811 attack on Al Zubarah, during which most of the town was burned to the ground, the Souq was ultimately abandoned. Areas surrounding the historical site offer captivating insights into Al Zubarah’s broader function in relation to its surroundings. For instance, the neighboring fort, Qal’aat Al Murair, once overlooked the coast and guarded the freshwater supply of Al Zubarah due to its proximity to the town. It remained occupied until the completion of Al Zubarah’s fort in the early 20th century. Murair initially connected to the sea via a
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The United Nations Educational, Scientific, and Cultural Organization (UNESCO) is the most prominent global body dedicated to preserving and conserving culturally significant material heritage sites, natural landscapes, and ‘intangible’ heritage practices across the globe. Gaining a UNESCO ‘World Heritage’ designation is more than a nice moniker - it carries symbolic and financial weight. A nomination can bolster tourism in a country or region and serve as a platform for fundraising. It can also be a tool for historically marginalized and vulnerable communities and populations to protect land and traditions, and to counter cultural appropriation. At the same time, however, UNESCO’s concern with promoting “national cultural values” privileges a narrow understanding of who has the ‘right’ to determine, promote, and protect heritage sites and practices. Because, in UNESCO’s framework, the ‘nation-state,’ is the only legitimate representative of cultural sites and practices, heritage designations often reflect an ‘official’ narrative leaders want to tell — one of continuous culture, authenticity, glory, and ownership, which may not align with popular sentiment or the historical evidence presented. Furthermore, the notion that singular ‘culture’ or heritage practice can neatly fit into a geographical boundary is easily refutable ( just look at the ongoing debates surrounding the origins of hummus!). For
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the majority of everyday people, the importance of heritage is more rooted in a deep connection to land, family, and community than to a ‘nation’. What happens, then, when one is severed from that land and/or the community networks that make these practices whole? What happens when people beyond the scope of UNESCO, no longer have a cohesive ‘nation-state’ to represent them and advocate for the conservation and continued practice of certain traditions? In the 12 years since the outbreak of war in Syria in 2011, 14 million Syrians have been forced to flee their homes, with more than 6.8 million internally displaced — approximately 5.5 million have become refugees in neighboring countries, and a small percentage have found refuge in Europe. At such a time, when every day is a struggle for survival — due to devastating violence, material loss, and insecurities surrounding food, water, and housing — you’d be forgiven for thinking that ‘heritage’ and art are rendered irrelevant. At the same time, however, in the context of displacement, resettlement, and a pervasive sense of ‘dislocation’, the continued practice of ‘unofficial heritage’ (often intangible practices of music, dance, food, or storytelling) can provide psychological comfort, foster social support and cohesion, and maintain a sense of identity and belonging. Traditional mourning rituals and condolence ceremonies are organized in private homes, providing psychological support and a sense of community for those experiencing loss. Food, and the practices involved in its preparation and consumption, can quite literally “provide a taste of home” and build or rebuild bonds across generational and cultural fissures. Displaced communities often treasure performing arts and poetry as they serve as a vehicle to communicate memory, folklore, social norms, and morality. ‘Heritage’ is living, dynamic, and fluctuating. Traditional heritage discourse frames places and traditions as static and unchanging, but no material object or intangible practice has ever existed in a vacuum, immune to thousands of years of climatic, political, and socio-economic shifts or cross-cultural exchanges. Intangible heritage practices that refugees bring with them across borders are impacted by, and, in turn, impact the cultural fabric of their host communities. One of Berlin’s most popular and acclaimed restaurants, Malakeh, was started by Malakeh Jazmati, a Syrian refugee from Damascus. In London, the Syrian arts
and cultural practices have been widely embraced by a diverse community - notably highlighted during the Syrian Arts and Culture Festival. Interactive Hikaya (oral storytelling) has been performed in Jordanian and Swedish schools to highlight Syrian folklore and cultural memory and foster connection and understanding between Syrians and their host communities. Additionally, young Dabke dancers in Jordan have formed connections and found an outlet for joy and friendship through participating in informal, multinational Dabke groups. These “unofficial” heritage practices stand contrary to state-sanctioned narratives that dictate what can and should be included in the national story and historical fabric. Though extremely traumatic, war and displacement do inform and shape new traditions, art practices, community ties, and cross-border connections. In Beirut and New York, for example, a young Syrian theater troupe recounted the story of uprising, war, and displacement in ‘While I Was Waiting’. The production used art and performance as a way to construct a contemporary Syrian history, informed by the trauma of war and displacement as well as resilience, strength, and the ability to foster and maintain community transnationally. Conceptualizing ‘refugee heritage’ highlights the need for an understanding of heritage as something that exists beyond dominant intuitions and national borders — as a dynamic, fluctuating concept, that is fed by both the positive and negative experiences that shape human history. Furthermore, in the current global context — with refugee communities around the world facing rising instances of interpersonal and systemic xenophobia —it is increasingly important to highlight heritage and cultural practices to exemplify shared humanity and the nuanced, dynamic nature of the refugee experience. Doing so can counter misrepresentations and stereotypes prevalent in Western media and serve as a platform for refugees to tell their own stories and reclaim the dominant narrative of their lived experiences.
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The Floral Scents In September QAIC proudly opened its doors to a newly expanded Perfumery Museum. Guests visiting the space were met with a fragrant ‘Test Your Nose’ experience as they perused the museum’s newly acquired collection of historical artifacts and wandered through a special guest installation by VCU-Q alum AlMaha Ahmed Al Mahmoud — exhibited throughout the museum’s interconnected second floor. BY ALMAHA AHMED AL MAHMOUD 20 | A2Q | December 2023
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n Perfume, eau de toilette, and essential oils offer us a chance to experience natural materials at their most fragrant and aromatic. Yet, while most perfume enthusiasts will have a vague notion of where perfume is derived from — a blend of essential oils, aroma compounds, fixatives, and solvents extracted from raw materials (plants, wood, flowers, roots, and resins) — the process through which the smell of these natural elements is captured and bottled in liquid form remains largely unknown. How does scent, an ethereal and intangible sensation, become material? It may be difficult to imagine, but the creation of something so seemingly delicate is actually a very arduous process. The first challenge is sourcing the raw materials, many of which are rare due to the laborious nature of their cultivation, extraction, and distillation — this rarity is one of the many reasons these tiny, bottled concoctions we know as ‘perfume’ are so highly valued. After the raw material is collected, it is then prepared for distillation (i.e. chopped, ground, or crushed). For example, Oud - a fragrant wood scent popular across the SWANA region - is derived from the resin of rare, mold-infected Aquilaria Trees. It is carved by hand from the trees in a time-intensive and laborious process. These resin chips are then used in the distillation process. Another coveted scent used in popular fragrance lines such as J’adore Dior and Mon
In exploring the expansion of our Perfumdry Museum, visitors delighted in the opportunity to smell Al Mahmoud’s The Floral Scents.
Guerlain is Jasmine Sambac, which is derived from Jasmine flower buds. These must be picked fresh from the bush right before blooming to ensure the freshest and most durable fragrance. Buds are skillfully handpicked, and it takes a single laborer roughly one hour to collect the 5000 to 6000 buds that make up a onekilogram bundle. For reference, for one kilogram of oil, 1,000 kilograms of jasmine buds are needed. The scent is extracted from the entire bud. Once the raw materials have been collected and prepared, the process of extracting the natural oils through distillation can begin. Distillation is an ancient process that can be traced to Ibn Sina, the Islamic polymath, who is credited with developing and systemizing the distillation method still used to extract liquidized scents today. Distillation is carried out in a still — which is a type of apparatus used to separate the components of a liquid mixture by selectively boiling elements at their various boiling points. Once boiling has produced vapor, this vapor will travel into a separate tube called the condenser where it is cooled and condenses into a liquid — from which the desired fragrant compounds are extracted. There are several different stills and the type used depends on the specific needs of the fragrance maker.
The Floral Scents includes an artful display of dried flowers.
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Distillation is an ancient process that can be traced to Ibn Sina, the Islamic polymath, who is credited with developing and systemizing the distillation method still used to extract liquidized scents today. Image of Alembic , Invented by Jabir Ibn Hayyan, Public domain, via Wikimedia Commons
A pot still is the most simple apparatus. It consists of a pot (usually a glass beaker) placed on a boiler, a condenser, and a vessel to collect the distilled product. The pot is filled with water and the plant material (i.e. a flower, root, or resin) before being heated to create steam. The steam passes through the plant material and captures volatile compounds, which then travel as a vapor to the condenser where it forms a liquid. A column still, composed of a series of columns with different temperatures, is slightly more complex and allows for more control over the process as the various columns enable different distillate components to be separated. Vacuum stills are often used for more delicate and heat-sensitive materials. This apparatus operates with a reduced boiling point which reduces the risk of heatrelated degradation to plants. Regardless of the still type, the distillation process typically follows similar steps each time. When carried out on an industrial scale, the raw materials are placed in a large tank with 5 to 10 times the volume of water — depending on the flowers, plants, barks, and roots used. As this mixture is heated, steam created from the reaction traps the scent of the plants which then rises into the condenser (a series of coiled pipes above
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the tank). As the steam travels into the condenser, it is cooled until it condenses into a liquid — this liquid is essentially a mixture of water and the essential oil. It is collected in a separate container and then decanted to separate the essential oils from the water. Depending on the size of the apparatus, it may be necessary to repeat the process multiple times to derive the amount of essential oil required. These distillation processes form the basis of oil extraction for perfumes. However, in order to create perfume, eau de toilette, or other fragrances, the distilled essential oil is typically mixed with other extracted aromas, as well as a carrier oil or alcohol which are used to dilute concentrated scents and preserve the perfume. While distillation is one of the most common and ancient methods for extracting fragrance, there are a number of other techniques used — including enfleurage, expression (used for citrus oils), and extraction. Each method leads to a similar outcome, an exquisite perfume concoction that is capped, stored, and allowed to mature and blend for at least a week. Finally, the perfume can be sprayed or dabbed on to elevate the olfactory senses, even evoking good memories for some wearers.
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Heritage Beyond Borders - Dabke, decineper 2018 (CC)
Arab Futurism: A Confluence of Tradition and Tomorrow BY NADINE ZAZA, GRADUATE CANDIDATE IN THE INTEGRATED DESIGN & MANAGEMENT PROGRAM AT MIT’24, CEO & FOUNDER OF CULTURE CRATE
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n the evolving tapestry of global design and dialogue, where diverse cultures interweave their stories, Arab Futurism, borrowing heavily from Afro-futurism, stands out as an intriguing and insightful exploration. At the intersection of age-old Arab traditions and the boundlessness of tomorrow, a new narrative is being woven—one that melds historical significance with forward-thinking design. This duality was the central theme of two workshops I had the privilege of hosting at QAIC, which helped to
cast light on the dynamic and expansive possibilities of Arab Futurism. The first workshop, ‘Beyond Borders: Exploring Arab Futurism through Object’, ushered participants into an experience where design thinking principles intertwined with traditional Arab artifacts. The goal was not merely to consider the past and future, but to immerse oneself in a dance where one led the other to new horizons — where Arab heritage and the future aren’t considered
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mutually exclusive. Crafting innovative and culturally significant objects of the future by infusing them with the heart or essence of Arab heritage creates a bridge between epochs. Such an approach not only safeguards the rich tapestry of our cultural lineage but also establishes avenues for cross-cultural dialogues, fostering creativity and stimulating diversity. Following in a similar vein, the second workshop titled ‘Beyond Borders: Exploring Arab Futurism through Apparel’ pivoted its focus towards the sartorial world. The Arab world's sartorial history is a rich narrative, one that echoes the tales of our eastern roots, cities, and people. Reimagining these tales through the lens of futurism breathes new life into them. As participants delved into traditional Arab apparel, they set out to fuse its timeless elegance with contemporary design philosophies. The outcome? A range of imaginative garment designs that resonate with the past while speaking to the functionality and aspirations of tomorrow. My intrigue in the confluence taking place between design and Arab Futurism is not a recent revelation. Throughout my journey, I have continually grappled with this fundamental question: How can design exist at this fascinating crossroads? This quest birthed ‘Culture Crate’, my venture dedicated to exploring these themes. It’s not only about the preservation of culture; it’s about progression. It’s about understanding our roots, valuing them, and then charting a course for the future that carries forward this legacy.
Culture Crate endeavors to unravel the intricate threads that form our ethnic racial heritage and project it into the future using a blend of digital and analog learning methodologies. Through this venture, we aim to offer a holistic experience that is educational, enlightening, and engaging. Participants should find themselves immersed in a learning experience where cultural preservation is seamlessly aligned with innovative education. In conclusion, Arab Futurism is not merely a design principle—it’s a philosophy. It acknowledges the weight of history while holding space for the promises of tomorrow. The workshops at QAIC were not merely about designing objects or apparel; they were about designing a future where Arab heritage remains an integral, living component. It's a future where the stories of our ancestors find a voice in the innovations of our descendants, and where ventures like Culture Crate serve as beacons, illuminating the path forward. Design at the intersection of Arab Futurism offers a unique moment in time—a chance to contemplate, reinvent, and reshape. As we embark on this bright path ahead, we hold the profound heritage of the Arab world close, ensuring its tales, principles, and customs continue to be deeply inscribed in the chronicles of the future.
... Arab Futurism is not merely a design principle—it’s a philosophy. It acknowledges the weight of history while holding space for the promises of tomorrow. Heritage Beyond Borders, Traditional lunch dinner, Damascus, Syria, James Gordan 2008
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The Legacy of Medieval Islamic Hospitals: Bimaristan BY AIMAN HASAN
T
oday’s modernized hospital institutions owe a great deal to the Bimaristans of the medieval Islamic world in the 9th century. The idea of affording care to the sick in a public facility is not a modern concept and has been in place since the 4th century. Its origins, however, have been erroneously attributed to Europe, thereby erasing its near-Eastern roots. While overnight patient care in a doctor’s residence was common in Byzantium, an organized space dedicated to the service of the sick emerged in the Islamic world primarily under the Umayyads (661 – 750 CE). These designated centers were called Bimaristan, deriving from the Persian word bimar meaning sick/ill, and stan meaning place. These institutions not only served as the abode of the sick but also symbolized the wealth and prestige of the Muslim rulers who patronized them. The earliest documented Islamic hospital was a leprosarium– an asylum for lepers – constructed in 707 C.E. in Damascus under Umayyad Caliph Walid ibn Abd al-Malik. Eventually, in 805, the Caliph Harun Al-Rashid’s vizier, Al-M’utadid, commissioned a multifunctional Bimaristan. Their number grew exponentially thereafter, and hospitals emerged in Baghdad, Fustat, Morocco, Makkah, Medinah, and Persia. Funding for Bimaristans came from the religious endowment, waqf, of wealthy nobles and rulers. Donations were either in the form of dinars or property that could be used to generate revenue for the upkeep of the facility. Part of this revenue also covered a small stipend that was given to the patient upon being discharged from the Bimaristan’s care.
LOCATION
Great thought was put into the location and design of the Bimaristans. The buildings were intended to facilitate light and enhance the flow of air to foster the swift recovery of the patients. Al-M’utadid, the vizier, assigned al-Razi, the Persian physician, philosopher, and polymath, the task of determining the location of the Bimaristan in Baghdad. Al-Razi placed pieces of fresh meat in various neighborhoods to gauge how swiftly they rotted. He chose the place where meat decomposed the least as the ideal site of the hospital as he determined it had the finest air quality, where putrefactive changes were least likely to occur. Most hospitals were built near freshwater sources to ensure the availability of clean water for patients. As the
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hospitals became more commonplace, they were built in city centers and on trade and pilgrimage routes to ensure that pilgrims and travelers received adequate treatment if needed.
lifespan. If, however, the chief physician noticed failures in the actions of the assigned physician, they asked the patient’s family to exact a penalty, known as blood money, from the physician. This left little room for medical negligence.
DESIGN
RECOVERY
The Bimaristans were open to everyone on a 24-hour basis. The policy statement of Bimaristan Al-Mansur Qalawun in Cairo specified that the treatment must be available free of charge to locals and foreigners alike. There was a system of classifying patients based on their illnesses as they were admitted, much like a modern hospital. The typical Bimaristan had specialized departments including surgery, ophthalmology, orthopedics, and mental health with specialized staff. They had separate wings for men and women. Special preventive measures were taken to avoid the spread of infection; in-patients were assigned hospital wear, while their personal belongings were kept in the hospital treasury and returned to them upon being discharged. The hospital staff were also responsible for instructing incoming students; they received hands-on training inside the Bimaristan (much like modern-day residency). The students and staff had access to extensive libraries. For instance, Ibn Tulun’s hospital’s library contained 100,000 books on medicine, while Europe’s largest library at the University of Paris had around 400 volumes.
ACCOUNTABILIT Y
Bimaristans had a system of accountability to ensure smooth running. They were staffed with a sanitary inspector responsible for ensuring hygiene practices. Accountants and administrative staff ensured the rightful allocation of funds to each department and a superintendent, called a sa’ur, oversaw the management of the entire institution. The nobles and rulers also conducted rounds every Friday to visit the sick and ensure the facility was running smoothly. In the unfortunate case of a patient’s death, their family could approach the chief doctor to review the case and the assigned physician’s prescribed treatment. If the assigned doctor had followed the correct treatment procedures of the time, the chief doctor would declare that the patient’s life had ended without malpractice and that they had lived out their allotted
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Doctors had a set of criteria that they used to determine if a patient had fully recovered. The patient could be released if they were able to ingest and subsequently digest, at one time, an amount of bread deemed normal for a healthy adult along with the roasted meat of a whole bird. Those cured but still too lethargic were transferred to the convalescent ward until they were healthy enough to leave. Financially challenged patients were given new clothes and a stipend to start afresh. Islamic civilization has rendered great service to science and medicine and Bimaristans form a critical component of that heritage. There is no question that the hospitals we see today with specialized wards, physicians, overnight facilities for in-patients, patient care such as hospital wear, food, and safeguards against medical malpractice have been modeled after Bimaristans from the medieval Islamic world.
Thanks To
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qataramerica.org info@qataramerica.org
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