+ IMPART
+ Pearls of Wonder
+ Olfactory Art Delegation
ISSN: 2833-4752 (Digital)
ISSN: 2833-4744 (Print)
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 to 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.
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, D.C. 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
Andrew Abell
Fatima Al-Dosari
Laila Abdul-Hadi Jadallah
Lyndsey Medlin
Mary Kathleen (MK) Smith
Nada Darwish
Susan Barrows Libby
Abdelrahman Kamel
Anaghime Ziani
Andrew Abell
Dr. Dianna Derr
Laila Abdul-Hadi Jadallah
Lyndsey Medlin
Mary Kathleen (MK) Smith
Nada Darwish
Saskia Wilson-Brown
Salma Heram
Museum of Islamic Art’s Learning and Outreach Team
QAIC’s headquarters, located in D.C.’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.
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 handson cultural enrichment events, audiences learn about art, culture, and the creative process by producing their own art and crafts.
info@qataramerica.org
We invite members from our various communities to engage with us in many ways, whether through celebrations such as our iftar dinners and our annual IMPART Summit, “Congress for Creatives.” We also offer various scholarly opportunities, including fellowships and internships, throughout the year for those interested in getting involved with QAIC.
Welcome to another issue of A2Q magazine, where we share our program updates, reflect on some of our recent events and exhibitions, and extend a literary platform for scholars and cultural writers. Our theme for 2023 is “Technology & the Arts,” a year which we and our community of creatives and partners explore the intersection of various forms of art through different media applications, and how they shape and influence one another. Through this exploration, we hope to showcase how each field plays a significant part in the development of our own cultural programming and art exhibitions, providing a lens through which we can examine the diverse and dynamic cultures of the world.
The art world has always been a place of innovation, and with the rapid advancements in technology, it is essential that it adapts and becomes accessible to a wider, more diverse sector of society. By embracing technology, we can break down barriers to the arts, creating new ways of engaging with various audiences. Our focus on art, culture and technology guides us as we curate our programs and exhibitions. In doing so, it provides opportunities to showcase innovative programming, continually pushing the boundaries of what is possible.
We have an outstanding lineup of events and exhibitions planned for this year, and our team has worked tirelessly to deliver a diverse range of programming that is sure to inspire and engage. Joining ArtWalk Dupont is our new opportunity to open our doors every month to the community of art enthusiasts in Washington, D.C, solidifying our relationship with our neighborhood and community as a cultural landmark in the nation’s capital. Since January, QAIC has showcased several exhibitions, inviting visitors to explore topics including Arabic typography, climate change, and Qatari history and contemporary culture.
The articles featured in this issue provide a glimpse into the diverse programming that QAIC has to offer. The exhibition-in-depth feature for Pearls of Wonder: a digital era showcases the interplay between art, culture and technology, as it explores Qatar’s rich history of pearl diving through a contemporary and digital lens. In her engaging article, Dr. Diane Derr of VCUarts Qatar highlights the innovative and culturally exploratory work coming out of the institution’s Research Labs.
These immersive exhibitions and related articles provide an excellent example of how technology can be harnessed to tell a compelling story and engage with a wider audience. Similarly, the MIA Afghan Safar program highlights the cultural exchange fostered by QAIC’s programming. Through a collection of videos, photographs and illustrated stories, Safar showcases the experiences of Afghan refugees and the support provided to them by Qatar.
Continuing this exploration of cultural narratives, an insightful article from the Arab America Foundation (AAF) delves into the founding and legacy of National Arab American Heritage Month (NAAHM). Demonstrating our commitment to promoting marginalized cultural narratives through programs and partnerships, QAIC celebrated NAAHM, International Women’s History Month, and Ramadan through major events. This issue highlights the numerous events QAIC organized in partnership with organizations including the Smithsonian’s National Museum of Asian Art, Women Ambassadors Foundation, and others. Such collaborations serve as yet another testament to QAIC’s dedication to the convergence of art, culture and technology in its diverse programming.
At QAIC, we believe that art is for everyone, and we are committed to fostering a sense of belonging within our community. We recognize that we must do more to create a space that is welcoming and inclusive, and we are committed to engaging with and supporting communities that have traditionally been underrepresented in the arts. This includes those who face economic, cultural or social barriers, as well as those with disabilities or who come from different cultural backgrounds. The arts have the power to bring people together and to create a more connected, diverse, and inclusive society.
I extend my sincere gratitude to our team, partners and sponsors, who have made our upcoming cultural programs and this issue of A2Q possible.
With gratitude,
QAIC has joined ArtWalk Dupont for a monthly public ‘open house’ event ...
... allowing D.C. locals and art enthusiasts to pop into art galleries and museums around the Dupont Circle neighborhood. Over the past few months, we have held special programs as part of ArtWalk Dupont, including a members-only preview of our exhibition, Research Labs, as well as a live Arab Film House talk and screening with celebrated filmmaker Ouliad Mouaness and his film 1982, highlighting Arab American Heritage Month.
At our Art of Athletics we were lucky enough to celebrate ...
... with Olympic swimmer and UNCHR Goodwill Ambassador, Yusra Mardini, and newest partner, S.T.E.A.M. Your Dreams. On February 14th, and in the light of Qatar National Sports Day, we were delighted to host a virtual conversation with Mardini to talk about film, peacebuilding, and sports through her experiences fleeing the Syrian civil war and her breakthrough in the sport of swimming. Following this, guests were invited to participate in a tech and art eSports workshop combining storytelling and gaming.
The exhibition, which is part of an annual exchange between VCUarts Richmond and VCUarts Qatar, features groundbreaking projects from 11 teams of faculty, students and alumni. Research Labs highlights a cross-section of collaborative research, including projects exploring Arabic and cultural typography, art law, emergent technology, graphic design, sound design and statistical analysis. This exhibition will be on display until July 2023. More on page 34.
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Olfactory Art
Delegation visits Doha.
5
QAIC Executive Director, Fatima AlDosari, and Director of Programs, Laila Abdul-Hadi Jadallah, led an Olfactory Art delegation to Doha, Qatar with participants from the U.S. and E.U. Delegates were introduced to culturally, historically and commercially relevant sites in and around Doha. Delegates learned about the historical importance and contemporary practices of fragrance in the country and region at large. More on page 30.
As part of QAIC’s Arabic Language and Culture program ...
... QAIC participated in Qatar Foundation’s first TEDinArabic in Doha by providing an “edutaining” space for attendees to learn the Arabic alphabet through play, using two interactive experiences. Audiences were introduced to the Arabic language and culture through touch and smell through an individual live sensory activity using raw ingredients and their related Arabic letters and words, and a group challenge to complete QAIC’s popular “olfactory alphabet” puzzle which represents the 28 Arabic letters with a related herb or plant.
In March, QAIC was pleased to participate in the Women Ambassadors Foundation’s Conference on Diplomacy, Geopolitics and Women’s Rights at Howard University. The event included a “Fireside Chat on Leadership,” with Harvard Business Review in which QAIC Executive Director, Fatima Al-Dosari, joined in. In the evening, QAIC hosted a reception to celebrate women in diplomacy, particularly those from less represented populations.
Women Ambassadors Conference and Reception.
QAIC attends the White House Open House Honoring National Arab American Heritage Month.
Members of the QAIC team also joined Congresswoman Rashida Tlaib in celebrating the NAAHM at a private luncheon at the Library of Congress’ private Members Chamber, where more than one dozen members of Congress shared remarks highlighting the impact Arab Americans have had on both local and national communities. Between remarks, guests had the opportunity to view texts and artifacts commemorating Arab culture, including a table set up by QAIC which spoke to the significant role of scent in Arab culture.
Eid Celebration with the Smithsonian’s National Museum of Asian Art.
To celebrate the end of Ramadan, QAIC hosted an event to honor Eid al-Fitr. The evening was filled with a variety of activities: a skilled henna artist was on hand to adorn guests with beautiful henna designs, while our special guest and Grammy Awardwinning oud player, Rahim AlHaj, provided captivating music.
United & Empowered: QAIC brings Arab and Gulf Women Leaders Together for an Eid Reception.
For the first time, Gulf and Arab women met and celebrated at QAIC’s headquarters, bringing Ambassadors and diplomats from Kuwait, Tunisia, Mauritania, the Kingdom of Saudi Arabia, and the United Arab Emirates, organized by QAIC, under one roof. QAIC, in partnership with Advancement of Arab & Gulf Women in America, was honored to receive the esteemed guests during an unforgettable evening that was enriched by music from celebrated Oudist, Huda Asfour, and adorned by luxurious offerings graciously provided by our new partners, Bentley and Cartier.
IMPART Artist Grant 2022 Opening Exhibition.
In May, QAIC was happy to launch our new IMPART Artists Exhibition, featuring the work of three diverse artists, Hoesy Corona, Nura Dhar and Roger Mokbel. Through different mediums the artists address issues such as climate migration, human interventions in the natural environment and the relationship between tradition and labor. The evening included light refreshments, presentations and an informal Q&A from Corona and Dhar with the attending audience. The exhibition will be on display through August 2023.
QAIC participates in Embassy of Qatar’s Passport DC: Around the World Embassy Tour Presentation.
On May 6th, embassies throughout D.C. opened their doors to guests to share cultural activities, food and more. QAIC was honored to once again join the Embassy of Qatar to support their art and cultural activations. QAIC was thrilled to share our mission and work through the presentation of interactive activities for adults and children with the over 1,400 guests that passed through the building.
Introductory Tatreez Class with the Museum of Palestinian People and Wafa Ghnaim.
In late May, QAIC hosted an embroidery class where 36 guests learned from esteemed embroidery and textile researcher, curator and educator, Wafa Ghnaim, the ins and outs of Palestinian embroidery. Students and observers learned how to stitch a popular pattern while gaining knowledge about the history of Palestinian embroidery.
Our 2021 IMPART Artist Winners were featured in an exhibition this Spring at the IA&A at Hillyer in Washington, D.C., also featured in The Washington Post.
QAIC announced our 2022 IMPART Artist Grant Winners this past winter for the theme of Sustainability & the Arts. Their artwork is currently on display and will be featured at our Summer Festival in June 2023.
In January, QAIC announced our 2023 IMPART Artist Grant. This year, we asked emerging and mid-career artists to explore the theme of Technology & the Arts. We were also pleased to announce an esteemed jury panel: Diane Drubay, Dr. J.R. Osborn, Maxime Laprade, Shane Guffogg and Sheika Shaika Al-Thani. Scan the QR code to learn more!
SAVE THE DATE! Starting on October 16th, QAIC will be hosting our third annual IMPART Summit. Check our website for exciting updates on what’s in store.
Pearls of Wonder: a digital era is an immersive digital art exhibition that premiered in Washington, D.C. in June 2023. This exhibition explores and recounts the rich and involved history of pearl diving in Qatar, which is vastly intertwined with the country’s traditions and culture.
Featured Artists
May Almannai | Alanoud Al-Buainain |
Saida Al-Khulaifi | Maryam Al-Homaid |
Mohammed Faraj Al-Suwaidi
About the art ... A window into the nineteenth century, when pearl diving was prevalent in the region. The journey of a pearl diver began with a beach ceremony. The different crews would stand next to their vessel and bid farewell to their families and others standing onshore as they took to the sea.
The five artists featured in this exhibition –Mohamed Faraj Al-Suwaidi, Maryam Al-Homaid, Alanoud Al-Buainain, May Almannai and Saida Alkhulaif – are alumni of Qatar Museum’s (QM) Fire Station, a contemporary art space committed to supporting artists through its Artist in Residence program. The exhibition was curated by QM’s Curator of Contemporary Art, Dr. Bahaa Abudaya, who says, “I’m delighted to have had the opportunity to share these artists’ work outside of Doha and bring a piece of our culture to the United States through an exhibition highlighting an important part of our nation’s history, our pearling industry.”
Pearls of Wonder premiered in December 2021 at the contemporary art space, Lavan541, in New York City as part of the Qatar-USA 2021 Year of Culture. This annual initiative is run by Qatar Museums (QM) under the leadership of its Chairperson, Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, and is an international cultural exchange which deepens understanding between nations and their people.
Before the discovery of oil and gas, the pearl trade made up most of the region’s exports. This industry has ancient roots: classical writers such as Isidorus
About the art ... An old myth says that pearls are created when oysters swallow raindrops. In the Arabian Peninsula, a land rarely blessed with rain, pearl diving was a leading source of income until oil was discovered and cultured pearls dominated the market. Pearls of Rain imagines a foggy dream and nostalgic memory of the artist’s great grandparents who lived in that period.
About the art ... Bubbles and Pearls explores the concept of time and evolution. Pearl diving was one of Qatar’s main industries until the early 1930s. The art installation conceptualizes the progression of pearls’ value throughout time. The journey leads to the introduction of natural gases, marking an end to the pearling industry and a new beginning in Qatar’s development.
and Pliny the Elder reference the pearl industry of the Gulf region. Its prominence continued into the Islamic period, continuing up to the early 20th century.
Over a four-month-long summer period, scores of dhow boats full of divers, sailors, and pullers headed out to the pearl banks situated off the shore in shallow waters. As much as a quarter of the population from Arab Gulf shore states were involved in the business.
These teams were made up of a mix of locals from regional tribes, as well as current and former slaves from Africa and the Asian subcontinent.
Pearling was physically demanding and highly dangerous work. The men on these voyages were subject to animal attacks, decompression sickness, and drowning.
In Natural History Pliny reports that pearls were the most highly rated valuable in Roman society and that those from the Persian Gulf were especially praised.
Three species of oyster specifically harvested were: Pinctada radiata, Pinctada margaritifera and Pteria macroptera (mother-of-pearl).
About the art ... Influenced by the round, spherical shape of the pearl and its radiance, Vestige (Recollections) reflects on the world of pearl diving. Through re-recorded archival footage, montaged with animations and videos created and filmed by the artist, the mirrored elements continue beyond the surface of the pearls, into the inner shell of the oyster, the sea, and parts of the dhows. The sound features recordings by the artist of the sea, glimpses from pearl diving archival resources, brought together with rhythms, such as handclaps and drum beats, that appear in the songs performed by the pearl divers on their journeys.
Pearl/oyster stock photo: pxhere.com
About the art ... As a local millennial living through the drastic rapid economic and cultural change within Doha, Qatar, she often finds herslef striving to reconnect with her family’s past. Her grandfather had a crucial role during the pearl diving era. He and may other men sacrificed their lives diving deep in the sea, hunting for pearls for months during the brutal summer heat of the region.
Hundreds of thousands of oysters were harvested in the search for pearls and the mother-of-pearl. These luxury goods were used in jewelry and clothing and sold in far-off global markets. Europe, North America, India, Persia, and the Ottoman Empire all clamored for stones whose quality was said to out-rival all others.
In the early 20th century, the industry collapsed after the dual seismic shifts of the Japanese introduction of artificially produced pearls into the global market, and shortly after, the discovery of oil and gas. However, the vestiges of Qatar’s pearl diving industry remain through the stories of elders, and the interest in exploring this rich history through activities such as diving and in the work of contemporary artists.
Maryam was inspired by the great poet Mubarak bin Saif Al Thani and his poem, The Remains of a Diving Ship, for this piece. In this poem, he talked about observing an abandoned ship lying by the seashore. The remains of the boat are left on the seashore for the next generation to witness.
Each of the exhibiting artists in Pearls of Wonder take inspiration from their own family’s history, archival footage, poetry and myths to explore the multifaceted history and culture of Qatar’s pearl diving industry through virtual reality, video, sound and multimedia installations.
This exhibition opened in June 2023 and is generously sponsored by Excelerate Energy.
As an Arab and Islamic Studies major in my undergraduate years, I was eager to spend time in the Arab world. Unrest in the region, coupled with a strict university travel policy meant my study abroad options in the region were limited. Despite having spent most of my coursework studying the Levant, I embarked on a semester abroad in Doha, Qatar as part of a program supported by Georgetown University School of Foreign Service in Qatar. To make a long, fruitful, and joy-packed story short, I truly enjoyed every moment of my time in Doha. I loved my time in Qatar so much, that I return to Doha every other year to catch up with friends that are now more like family.
Adoration for my time and experiences in Doha
translated neatly into me taking a job as Senior Communications Officer with Qatar America Institute for Culture (QAIC) in Washington, D.C. One of my first assignments at QAIC was to prepare orientation materials for two high-level QAIC-led delegations to Doha, Qatar and the surrounding area. The first delegation consisted of a group of five olfactory art experts, while the second delegation consisted of members of QAIC’s Board of Directors from both the U.S. and Qatar.
The Olfactory Art Delegation convened from March 6th to March 10th. Admittedly, in the days leading up to the trip, I had to ask a colleague what ‘olfactory’ even meant. I was pleased to learn it refers to the art of fragrance.
It is difficult to explain to those who have not visited Qatar; there is perhaps no better-smelling country than that of this small, Gulf peninsula country. The delicious smells which seem to linger everywhere from the classroom to the gym (yes, really) are not naturally occurring, but rather manufactured, purchased, and worn with purpose. While a waft of a particular scent can still transport me back to my time in Doha, matters of olfactory are but an anecdote of my experience. To the contrary, this delegation’s entire presence in Qatar was predicated upon their interest in the olfactory arts.
Rather than simply perusing some of Qatar’s many malls and sniffing scent samples at perfume stalls, the delegation educated themselves on every step of the olfactory process. Among the delegation’s highlights was a visit to the Qatar Foundation’s Qur’anic Botanic Garden, where they learned about the religious significance of different plants and their corresponding aromas. The group then learned about how these aromas are captured and concocted into new fragrances. The delegation’s learning experience was not limited to commercial spaces. At the Museum of Islamic Art, Dr. Tara Desjardins pointed out artifacts related to the history of the olfactory arts in various Muslim societies. Moreover, life-long perfume collector, Reem Abu Issa, kindly granted the delegates a private tour of Qatar’s Perfume Museum, which houses Abu Issa’s private collection of more rare and highly-valued perfumes from around the world.
Of course, the trip would not have been complete without the delegates enjoying the final product of all that they had learned, perfume. Under the tutelage of local perfumery experts, delegates visited perfume exhibitions and other expos to learn more about Qatari culture.
Each morning, I prepared posts for social media, promoting what the delegation had done the day prior. As the days passed by, I grew increasingly more excited about the delegates’ experiences. Rather than viewing the country through lenses clouded by stereotypes, the delegates, I realized, were discovering some of the true beauty of Qatar.
The Board of Directors Delegation is one which more closely mirrored my own experiences in Doha. Within the first 48 hours of touching down at HIA, the board of directors visited my old stomping grounds of Education City. The city, in my opinion, was the ideal first stop in their journey to explore Doha, as it highlights the ways in which education, development and cultural preservation are critical priorities to the Qatari government. Just as I attended extracurricular lectures nearly every day in Qatar, all in service of deepening my breadth and depth of knowledge, the
directors met with representatives from many parts of Qatari society. Unsurprisingly, they were met with the same gracious and welcoming Qatari hospitality as I was. Similar to how my Qatari friends invited me to their majlis on Thursday nights, the board directors were invited to dine at the table of celebrity Chef Noof.
Be it driven by a desire to understand the entire cultural fabric of Qatar, or even just a singular thread of it, a trip to Doha is always a good idea. There is only so much that can be gleaned from a textbook or news article. To truly understand a culture other than one’s own, they must immerse themselves in it.
A Q&A with the Museum of Islamic Art’s Learning and Outreach
Interviewed By: Nada Darwish
In Arabic, Safar means travel or journey. This word ties into multiple meanings in the unique exhibition at the Museum of Islamic Art (MIA) in Doha, Qatar. The Safar Exhibit tells the story of the journey faced by Afghan families, children and mothers who were evacuated in 2021, while simultaneously pulling visitors into an emotional rollercoaster as they explore each of the seven galleries within the exhibition. Through a collection of videos, interviews, photographs and art, Safar illustrated these stories by starting with Afghanistan’s history, geographical position, its wealth and natural
resources, and its place in some of the largest empires and the cornerstone of multiple civilizations since the Bronze Age.
For this Q&A, the QAIC team spoke with MIA’s Deputy Director, Mr. Salem Al Aswad, and the Learning and Outreach team who delivered over 7,500 engagements such as art workshops, calligraphy, geometry, storytelling, literacy and practical activities. With the success of the Afghan Refugee Program and the importance of art to empower and build community, MIA also collaborated with the U.S. military base in Qatar to expand this vital program.
Can you tell us a little bit about the Afghan refugees’ program? How it started? Why and when?
In September, we received an official letter from the Ministry of Foreign Affairs (MOFA) about the refugees’ arrival in Doha. The Afghan refugees were housed together in a compound. The learning and outreach team of MIA provided daily workshops tailored for adults, youth and kids. Sometimes we engaged refugees through social activities and celebrations such as Ramadan, Garangao, or Qatar National Day. We started at the compound with MOFA, and then we received a call from the U.S. Embassy in Qatar before Her Excellency, the U.S. Chargé d’affaires
memorization. We believe in learning by experience. We adopt one theme, and we would do it for the whole day or even across two-to-three-day workshops, festivals, and movie nights with dinosaurs and animals. It is a full educational program continuing with the same theme across all departments.
The children would stay in the compound with us for a couple of months, but when they left it was the hardest part. We are mothers, so we understand a child needs a parent especially if they are young. In the beginning, we noticed their emotional side was very, very down. So, we focused on doing activities, which you could see in the exhibition, to cheer them up. It didn’t make sense to give educational lessons for kids who are already upset.
Ambassador Greta C. Holtz, who expressed her interest in working with MIA. So, after that, we had two days to go to the base and provided them with the same workshop we did at the compound. We provided over 400 workshops working from 9:00AM until 8:00 PM in the compound and the American base.
It was very emotional. We became a part of a family, like one team. In the beginning, we started teaching with two languages, Arabic and English, but later we saw that they needed English most importantly. So, we taught Arabic so they could read the Qur’an which actually they already knew how to read from training
So, after about one-and-a-half months, you could see their faces changing, more coloring with paint, more smiles, more people gathering together and brighter colors. They started to be like one team.
We loved going to the U.S. base. There was a huge audience, and it was really fun. We would be exhausted within two hours because what we did within a week at the compound, we would do in one day at the base. One workshop at the base had a minimum of 200 students. We were like teachers, at first it was harder to control but after proper communication it was easier to focus them.
Are there any stories about this work you would like to share?
Our favorite kid is Jalal and he was with us every day. Even when he moved to the U.S. base, he was like a teacher with us. His mom is from Ukraine and married an Afghan citizen, and she is a refugee herself as well as is her son. In the beginning, Jalal didn’t want to be around people. He was crying a lot, he was even biting himself and hurting his nails. He didn’t even want anyone to hug or talk to him. And within one month, he just comes around to hug you, love and play. This is one of the cases where we saw change. Another case where we saw change was with three young sisters. At the beginning, they were shy, they stayed away from everyone, and then again, you could see the difference within a few weeks. For unaccompanied minors, the boys were difficult to deal with as they were a bit naughty. Then the mother would come out of us; we started to act like mothers, not teachers. We started to have a connection with them and became like a family. This is one of the most amazing things, we cried a lot that day.
They always ask me what I would like to change. I would say, I wouldn’t have been away the day that they left us. Out of 300 children, 95 of them left together on that day.
They didn’t have any idea about the refugees, and they didn’t know what’s inside the exhibition. Inside, it is the work that the refugees have done when they were here attending education class. Is it art? Is it music? People want to know what is inside. It is seven galleries. Each gallery talks about something different. Afghanistan’s history, Afghanistan’s relations with Qatar. There are so many things. So, I think when people visit, no one knows what to expect and are surprised.
We named the exhibition Safar, which means “my journey.” We meant to take you on a journey and, hamdela, we achieved that. When people come into the exhibition, they really feel the journey from the beginning and through to the final destination. It is very emotional. People do understand and they always say we didn’t know that happened. The exhibition is meant to present one thing: the Afghan refugees’ voice, not the entities’ voice. When you go into the exhibit, it’s all about the refugees.
Over 80,000, which is the biggest number in history.
What are the technologies used in the exhibition?
TVs, videos, interviews and barcodes to show personal interviews. The photos are more than enough to take you there, to travel there!
Many of them hope to go back home and some wish to change things back in their country if they return. And many of them hope to go to the United States. Some hope to travel to Europe. And some of them said no, I hope to stay here in Qatar. But this is all hopes.
Some wish to continue their education as they’re about to graduate their last semester but will need to repeat their studies. The issue is the curriculum they follow which is different from here. It’s difficult for them to continue their studies.
The main target is to share our experience to tell people the importance of refugees. People have to help support each other and to share their voice. That’s the main point of the exhibition.
“The main target is to share our experience to tell people the importance of refugees. People have to help support each other and share their voice. That’s the main point of the exhibition.”
Saskia Wilson-Brown
Think of the last time you walked into your home after a long trip away, or into a friend’s home before a dinner party. While your first observations may have been visual, the subtle sensorial insights you gained from smell were most likely just as profound. Homecoming, the anticipation of a warm and convivial meal, the first impression of a new place: smell often unconsciously forms our first impressions, supporting or subverting our expectations and our experience.
It was with this in mind that I took note of my first olfactory perceptions of Qatar. In the airport: cleaning fluids, the myriad smells intentionally worn by humans, a quick whiff of incense. Outside, a surprising ocean smell carried by warm, moist air. Conditioned as I have been to expect sandy desertscapes from Qatar, this was, to me, a surprise. The smell subverted an expectation which immediately enriched my experience.
I came to Doha as part of a group of delegates, the beneficiaries of a most Qatari welcome on a trip organized by Qatar America Institute for Culture (QAIC). The delegation presented a collection of olfactory professionals, including independent perfumer Rubia Chaudri, Micah Anderson and Jawad Khawaja from Oudimentary, artist Regina Mamou, calligrapher and artist, Razwan Ul-Haq, and our hosts from QAIC, Fatima Al-Dosari and Laila Abdul-Hadi Jadallah. Most of the participants in this delegation had ties to the cultures or religions in the myriad regions collectively known as SWANA (Southwest Asia North Africa), and all had a deep, vested interest in the field of perfumery.
Our purpose was cultural exchange, more specifically to learn about Qatari culture through the lens of scent.
Beyond the visceral and uniquely personal experience of place that scent can produce, scent and scent-making tie into all aspects of human expression. As my fellow delegate Razwan Ul-Haq explained, “being a physical distillation of chemistry, scent can also be said to be a social distillation of a culture.” Indeed, focusing on scent can offer what Micah Anderson calls “a subtle window, uncovering hints of history, geography and sociology in a society, reflecting back to us the underlying values of a group or place.” Down to the food people eat and the perfumes they choose to wear, scent can be an important sensorial manifestation of cultural expression.
View of Doha from the Museum of Islamic Art.From the delegation’s perspective, allowing scent to lead us gently into Qatari culture allowed us to form more emotional connections to new experiences. Nowhere was this clearer than at the Qur’anic Botanic Garden. Religion, a deep part of many cultures, presents a system of beliefs that can sometimes feel intangible to a person raised outside a faith. A way to understand and engage with it, then, might be through the myriad smells of the natural world. The delegation had a chance to experience this firsthand when we smelled aromatic flowers and herbs that had connections to religious scripture, mentioned by name in the Qu’ran and several of the hadiths (reports of statements or actions of the Prophet Muhammad, PBUH).
In every day Qatari living, the group noted a tangible presence of scent in what, to an American nose, were unexpected places. “I was impressed by how prominent scent is in Qatar as a reflection of the culture. Simply walking through a shopping mall, for example, would yield multiple different scents via perfume and burned oud and bakhoor,” noted Anderson. And, indeed, from Souq Waqif to the mosque, Katara Cultural Village to the shopping malls, there were few places that were not at least partially scented.
“It was clear in a short time that scent was an important part of Qatari culture.
This aromatic presence also manifested in personal aromatic expressions. Rubia Chaudri made special note of the perfume preferences of the Qatari people we met, which she described as “strong, yet sweet with a combination of woods, musk and florals.” She also noted that scents were often worn as a way to define individual style, complementing the traditional dress of the Qatari people. Jawad Khawaja, for his part, noted the cultural value of “long lasting oilbased perfumes and other fragrances.”
We’ve seen in this article a few approaches that can help form a scent-driven connection to a new place, but learning about culture through scent is – in truth – too individuated to quantify. As Regina Mamou explains, “small moments of aromatic discovery, or small moments of aromatic déjà vu, produce a personal and vulnerable process that relates each and every one of us to the ‘already seen’ and an openness to ‘seeing for the first time.’” It is an intensely and irretrievably individualized experience: not replicable and often unexplainable.
Saskia Wilson-Brown is the founder and executive director of the Institute of Art and Olfaction (IAO) in Los Angeles. Wilson-Brown obtained her BA at UC Berkeley, and her MA (Fine Art) at Central Saint Martins College in London. A former video producer and film distribution strategist, she founded the IAO in 2012, a non-profit organization devoted to experimentation, access, and crossmedia projects with a focus on scent.
She has led the organization from an idea to an institution devoted to serving the general public and independent institutions including Pulitzer Foundation for the Arts, Getty Center, Goethe Institut, Hammer Museum, Wallace Collection and others. In 2015, she launched IAO’s flagship program, The Art and Olfaction Awards, an international awards mechanism for independent and artisan perfumers, and experimental practioners with scent.
The delegation looks forward to sharing our olfactory perceptions and cultural impressions during a series of programs at the IMPART Summit at QAIC in October.
A shop in Souq Waqif
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Scent penetrates and dissolves language and cultural barriers.
Diane Derr, Ph.D., Associate Dean for Research and Development
At VCUarts Qatar, creative research is deeply rooted in the history and traditions of Qatar, recognizing its meaningful impact on society through cultural production and cultural preservation. Research serves as the foundation for societal progress through the creation of new knowledge or innovative applications of existing knowledge. Creative research explores the complexities of the live human experience.
Across creative disciplines, rich insights can be unearthed through diverse modes of making, writing, interrogating, disrupting, dismantling, manipulating, synthesizing, analyzing, experimenting, exploring, and unpacking.
The Institute for Creative Research at VCUarts Qatar, launched in 2022, is committed to advancing our understanding of complex issues and challenges through critical insights and new perspectives.
Contributing to the vibrant creative and cultural ecosystem of Qatar, the Institute for Creative Research bridges the local and the global, supporting experimental, exploratory, and traditional inquiry in the creation and application of new knowledge through applied, empirical, practice-based, and practice-led modes.
The framework of the Institute for Creative Research is built around facultyled research labs. The labs explore a broad and diverse spectrum of domains, including Arabic typography, art and law in the Gulf, cultural production and preservation, emergent technology, film and design, graphic publishing, nanotechnology and textiles, culturally responsive pedagogy, product design, and experimental sound design.
Collaboration is a fundamental component of the research labs. Collaboration not only makes it possible for domains of knowledge to intersect, but the unique and valuable perspectives of diverse team members can further contribute to how unexpected insights may be revealed. Embracing the importance of this diversity, each lab is comprised of collaborative teams of faculty, students, and recent alumni.
About the lab ... Sonic Jeel is a collaborative initiative investigating sound, noise, electronic music, and audiovisual media within the context of Qatar and the Gulf region. We celebrate the interplay of the sonic and the graphic toward a new generation of interdisciplinary makers. “Our aim is to be a platform for exploratory research, production and distribution of experimental sonic work in support of the growing creative industry in Doha.”
About the lab ... The TypeAraby platform is dedicated to the creation, study, promotion and preservation of Arabic typography and typedesign. It was initiated by the Graphic Design Department at VCUarts Qatar as a laboratory space for cultivating a contemporary vision for Arabic type while maintaining and promoting its traditional calligraphic roots as an important mechanism for language sustainability. The platform is a springboard for events, workshops, lectures, exhibitions and publications that engage local, regional, and international creative communities.
Simone Muscolino, Michael Hersrud | Sonic JeelAbout the lab ... W/W/W is the experimental publishing and visual research practice of Nathan Ross Davis and Sarah Elawad. Water with Water’s work is a funky international mix of historical, vernacular, contemporary, and personal cultural references with dynamic visuals in the form of unique printed books, ephemera, merchandise, and apparel. W/W/W’s activities increase the visibility, reputation, and impact of VCU School of the Arts Qatar and Qatar Foundation in the context of artist book publishing and independent design publishing communities internationally.
Student and alumni participation in the research labs is significant for us. Students receive valuable hands-on experience in an array of research methods, processes, and approaches in the creative fields through mentorship and 1:1 research training, working with leading faculty in the field.
Complimenting their course instruction, students learn first-hand how to engage with the local community and industry partners with opportunities to participate in collaborative research projects with Qatar Foundation partner institutions as well as the VCU Monroe Park, and medical campuses in Richmond, VA.
Recent alumni participating in the research labs benefit from professional development opportunities and significant community engagement, while building their own studio practice. These student and alumni experiences add to VCUarts Qatar’s long and robust history of preparing students as leaders in Qatar’s cultural and creative industries.
As disciplinary boundaries become increasingly porous and new knowledge domains emerge, innovative approaches and applications in critical making, creative thinking, collaboration, emergent technology, social impact, and transdisciplinary will be revealed.
About the lab ... Boost Lab aims to bridge the gap between creative conception and commercial activation. It is a research fueled launchpad for innovative, culturally-resonant products, developed in Qatar. Projects from VCUarts Qatar students, alumni and faculty are selected based on alignment with Boost Lab priorities, articulated in the Priorities section of this proposal, and based on compatibility with Boost Lab, FabLab and PrintLab capabilities.
Through Qatar’s commitment to a knowledge-based economy, thriving cultural and creative ecosystems, and its distinctively diverse environment, the country is uniquely positioned to play a leading role in advancing such domains of creative research. VCUarts Qatar, entering its 25th year as a partner university of Qatar Foundation, has been instrumental in supporting and contributing to Qatar as a pioneering voice in creative discourse, preparing students as future leaders in Qatar’s creative industries.
Celebrating diverse voices and perspectives, the Institute for Creative Research is committed to advancing creative research in Qatar through meaningful contributions within the local community, the classroom and wider global discourse.
Research Labs marks the second collaboration between QAIC and VCUarts, and inaugurates QAIC’s year-long focus on technology and the arts through exhibitions and programs.
This exhibition will be on display at QAIC until July 2023.
The FIFA World Cup Qatar 2022™ marked the very first FIFA World Cup held in the Middle East and the Arab World. Decidedly a historical event in both the region’s history and that of the tournament, its resounding legacy will likely remain relevant for decades to come.
According to official reports, more than 1.4 million fans from across the globe visited Qatar to attend the FIFA World Cup Qatar 2022™. Between matches, fans had a multitude of cultural offerings and entertainment events: the FIFA Fan Festival, the Corniche Activation that featured numerous cultural and entertainment activities and several others are reported to have attracted over 530,000 daily attendees.
As mega sporting events often do, the 2022 edition of the FIFA World Cup marked an opportunity for
cultural exposure and exchange between residents and visitors. Many visitors were experiencing Qatari, and even Arab, culture for the first time, and were exposed to Arab and Qatari hospitality for the first time as well. As a result, examples of Qatari hospitality quickly popped up all over social media, gaining both traction and global attention. Some of the most notable clips shared over networking sites include videos of visitors donning themselves in traditional Qatari clothing with a twist, namely thobes and ghutras decorated with the flags of participating countries.
Moreover, many Qataris opened up their camps and majlis’ to visitors during the World Cup, giving fans a unique first-hand opportunity to acquaint themselves with Qatari customs, traditions and cultural heritage.
Brazil v Swtizerland, 947 Stadium
Perhaps the most lasting cultural legacies of the momentous event is what has been dubbed as Qatar Museums’ “Outdoor art museum”. This refers to the country’s outdoor landscape which is utilized as an outdoor museum, with an expansive array of artworks.
The public art experience arguably begins and ends at Hamad International Airport in Doha, where visitors are greeted with an impressive array of contemporary artworks, at both arrival and departure terminals. Monumental sculptures, such as Urs Fischer’s Lamp Bear, a monumental bronze sculpture of a yellow teddy bear sitting inside of a lit lamp which celebrates the idea of travel. KAWS’s Small Lie is a similarly monumental and impressive sculpture. Hovering at 32-feet of Afrormosia wood, it is reminiscent of children’s wooden toys.
Public art installed in preparation for the World Cup includes works such as Pouce (Thumb), located in Souq Waqif, a traditional and wildy popular marketplace dating back to the late nineteenth and early twentieth centuries into a traditional Qatari architectural style. César Baldaccini’s installation of a large bronze thumb breathes contemporaneity into a traditional space, further enriching the cultural experience of souq-goers.
Similarly, Shouq Al Mana’s Egal has quickly become a social media fixture for those who visit the Lusail Marina Promenade. The installation symbolizes the Egal, a piece of cultural headgear worn by men as part of national Qatari clothing and is a reflection of the Qatari contemporary artist’s interest in culture and identity, often appearing in her work as a merging of elements from the past and present.
Spain v Costa Rica, Al Thumama StadiumThe grounds of the Museum of Islamic Art have become a microcosm of the larger scale “outdoor museum” project, as its park included several largescale artworks by renowned Japanese artist Yayoi Kusama, as part of her exhibition My Soul Blooms Forever, which feature several large-scale artworks which had never been shown in the region. The Palm trees which mark the walkway to and from the park have been decorated by Ascensions of Polka Dots, along with several works which add a whimsical and decidedly Kusama-esque dimension to the park.
Visitors also had the chance to visit public art in the desert outside of Al Zubarah and Ain Mohamed heritage sites, a short road trip outside of Doha to the country’s northernmost part.
As part of Qatar Museums’ aim to protect, preserve, and promote the rich history linked to its heritage, works by renowned artists Olafur Eliasson, Simone Fattal, and Ernesto Neto were commissioned for these sites. Olafur Eliasson’s Shadows Traveling on the Sea of the Day is a site-specific artwork that elicits the viewer’s active participation as the work draws from ephemeral materials such as water, fog, and light, to shape the viewer’s experience, which varies depending on these environmental factors.
These public artworks are part of one of the world’s most ambitious public art programs comprised of more than 100 works that were on view during the FIFA World Cup Qatar 2022™, with a collection of artists
from diverse backgrounds and nationalities, each supplementing the public art scene, spread throughout the country’s landscape.
This World Cup was decidedly one of firsts and one of record-breaking. Viewership rose and soared according to FIFA reports: the final achieved a global reach of close to 1.5 billion viewers, with the opening match capturing over 550 million. The largest single sporting event in the world is far more than a mere celebration of the sport. It is, rather, a platform for cultural exchange, awareness, and impact. Visitors from all over the globe rally behind teams and are encouraged to display the values of sportsmanship, cultural respect and understanding.
3.
to the Sea, 2019.
marks the entrance to the National Museum of Qatar, his work suggests the link between past and present. 4. Olafur Eliasson, Shadows Travelling on the Sea of the Day, 2022. This work features 20 mirrored circle shelters that both provide respite from the sun and also ask visitors to ponder their place in nature. 5. Shouq Al Mana, Egal, 2021. The artwork serves as a tribute cultural headwear worn by men as part of the national attire. 6. Yayoi Kusama, Flowers That Speak All About My Heart Given to the Sky, 2019. A set of five whimsical and brightly-colored flowers over six feet high. 7. Yayoi Kusama, Dancing Pumpkin, 2020. The bronze tufts spread 16 feet from the center, giving the impression of being in motion.
Ultimately, the FIFA World Cup Qatar 2022™ marked a historical and pivotal moment for the soccer franchise and the region as a whole. More so, it was an opportunity for visitors to experience Qatar and its culture first-hand.
1. Kaws, Small Lie, 2018. The inspriation comes from the artist’s relationship with wooden toys growing up. 2. Cesar Baldaccini, Le Pouce, 2019. Souq Waqif is the location for Le Pouce acting as a landmark of modern art in the heart of the city.
Simone Fattal, Gates
Fattal
In recent years, National Arab American Heritage Month (NAAHM) has quickly attracted attention and gained interest from Arabs and non-Arabs alike, garnering welldeserved recognition for the Arab American community.
Learn how NAAHM came to be, as told by Warren David and Dr. Amal David, cofounders of the Arab America Foundation (AAF).
Salma Heram
The process to designate the month of April as NAAHM began formally in 2017, although according to Warren David and Dr. Amal David, celebrations of Arab American Heritage date back to the 1980s and earlier. Dr. Amal—who was a supervisor in the Detroit Public School System for many years—noticed in 2017 that some cities celebrated Arab American Heritage at different times and for varying periods of time throughout the year. States such as Michigan, Illinois, California, Texas, D.C., Maryland, and others promoted celebrations inconsistently and with no coordination with each other.
When setting out to choose the month for NAAHM, April was picked for several reasons. First, Arab America Foundation (AAF) didn’t want to take away from other minority communities, thus avoiding February for Black History Month, March for Women’s History month, and September and October for Hispanic Heritage Month.
Further, April did not conflict with summer vacations and graduations, nor with the return to school in the fall.
Second, and most importantly, April was chosen for symbolic purposes. The month marks the beginning of the spring season, symbolizing hope, growth, color, and new beginnings—which was perfect for celebrating our wonderful Arab American Community and its heritage.
In 2023, AAF is seeking recognition from all 50 states. Furthermore, permanent initiatives have begun in New Jersey, Ohio, Michigan, California, and Rhode Island. The enthusiasm from corporations and universities in commemorating NAAHM is increasing tremendously, along with exponential growth in interest in presentations about the Arab American identity.
The first National Arab American Heritage Month (NAAHM) Celebration took place in Washington, D.C. in April of 2017
The Arab America Foundation (AAF) is launched and receives 109 proclamations and resolutions, representing 26 states, affirming NAAHM
Proclamations and resolutions commemorating NAAHM are issued by school systems and government officials in Virginia, Maryland, Michigan, and California
For the first time, the President of the United States recognized April as NAAHM. That same year, Arab America received 130 proclamations and resolutions from 45 states
During the height of the COVID-19 pandemic, 22 proclamtations from state governors were received
AAF is seeking recognition from all 50 states. Permanent initiatives have begun in New Jersey, Ohio, Michigan, California, and Rhode Island
A record number of citations were received, with 144 proclamations and resolutions from 45 state governors. Illinois, Oregon, Virginia and Indiana passed permanent legislation designating April as NAAHM
State of Illinois Proclomation declaring Arpil as Arab American Heritage Month AAF co-founders Dr. Amal David and Warren DavidNone of this success would have been possible without Arab America’s grassroots network of over 250 Arab American volunteers in 28 states, gathering a large number of proclamations from organizations in their states, counties, municipalities, local school districts, and of course, governors. This year, we have already made history by receiving a proclamation from Alaska’s state governor for the first time.
While this increased recognition of Arab American Heritage is exciting and long overdue, Warren David explained that the designation of National Arab American Heritage Month is larger than it appears: “NAAHM is a movement to reclaim narrative, history, language, music, food, and to exercise our civic duty as Arab Americans.” Dr. Amal added that while it increases our sense of pride in our community, NAAHM is also about educating non-Arabs in the U.S., citing her background in education.
She passionately emphasized that what motivates her to continue promoting NAAHM is the idea of educating non-Arabs on the legacy of Arab Americans, and that depriving the younger generation of Americans
of an understanding of Arab American heritage is a disservice to them both, Arab and non-Arab children alike. She went on to emphasize the importance of allowing young Arab children to be “proud of their identity, and to see people like them and their ancestors represented in the classroom and beyond.”
When asked about the obstacles they faced in working to establish National American Heritage Month, the Davids admitted they experienced more than their fair share of hate messages and backlash. However, as Mr. David put it, this negativity was “the exception, not the rule,” and overall AAF has received overwhelming support, both moral and financial, from the community, private donors, and other organizations.
This past April we recognize that National Arab American Heritage Month holds immense significance, both for Arab Americans and non-Arab Americans alike. By “being true to our ancestors,” as the renowned Lebanese poet and philosopher Khalil Gibran stated, we stay true to ourselves and build future generations of proud Arab Americans.
US President Joe Biden sent his “warmest greetings” to the Arab community in the US to mark the start of Arab American Heritage Month (Screenshot)
And Special Thanks To Howard University, The Anderson at VCUarts Richmond, The Museum of Palestinian People, and The Smithsonian’s National Museum of Asian Art
