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queenie-blackthorn · 7 months

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tips for writing arab characters

writer here!! im a middle eastern writer whos noticed that theres a VERY significant lack of info on how to write arabs, so im here to help !! (however, keep in mind that im specifically gulf arab and may not be able to provide as much info on levant arabs or north african arabs. if there are any on here, feel free to reblog w more info !! )

dont get arabs mixed up w muslims. yes, a large portion of the arab population are muslim, but youd be surprised at the number of non-muslim arabs that exist. if you wanna write abt a muslim character, a post i made that might help is here

list of arab countries, with the adjective:

algeria — algerian

bahrain — bahraini

the comoros islands — comorans

djibouti — djiboutian

egypt — egyptian

iraq — iraqi

jordan — jordanian

kuwait — kuwaiti

lebanon — lebanese

libya — libyan

morocco — moroccan

mauritania — mauritanian

oman — omani

palestine — palestinian

qatar — qatari

kingdom of saudi arabia (ksa) — saudi

somalia — somali

sudan — sudanese

syria — syrian

tunisia — tunisian

united arab emirates (uae) — emirati

yemen — yemeni

dialects/language:

dialects greatly differ—the egyptian dialect is the most common, followed closely by the levantine dialect

classic arabic is called fusha (fuss-ha), used in things like official documents, media, education. every arab knows it but its not used in day to day language except in media (all dialects basically come from fusha, but with slight changes)

'p' and 'g' (as in 'gurgle' or 'goal') dont exist in the arabic alphabet, theyre replaced with 'b' and 'j'

depending on where theyre from, they may also learn a third language besides arabic and english (e.g. moroccans know french, a berber arab may know berber)

appearance:

arabs look different based on where theyre from. if theyre from the arabian peninsula, they have thick curly dark hair, tanned skin, and dark eyes. levant arabs are lighter skinned, and green/blue eyes are more common with them

adding on to previous point, arabs have a variety of skin tones, even if theyre siblings. using a real example, me and my older brother respectively look white passing and afro hispanic

dark irises are considered better looking than lighter colored eyes. eyes are usually thick-lashed, with big round slightly upturned eyes

big noses are common, along with full lips (and hereditary dark circles for those with more tanned skin)

high cheekbones and well structured faces are also prevalent

culture:

varies depending on location

influenced by indian culture, IS NOT INTERCHANGEABLE WITH INDIAN CULTURE. that was aladdins mistake

poetry is so common, especially with romantic themes

songs also have romantic themes

youd be surprised at how romantic arabs are

dances vary extremely, from dabke (palestinean dance done in groups, consisting largely of leg/foot movements) to yola (emirati dance with battle origins, done using canes or fake guns) i recommend watching videos (tiktok has a lot of videos esp of dabke)

women also dance but you wont find a lot of videos of it bc its inappropriate

etiquette:

things such as giving someone your back, or facing the bottom of your feet towards someone are considered rude

pda is also taboo (even with straight couples or even sometimes married couples)

cheek kisses are a common way of greeting, but not between genders

in some gulf countries, men greet each other with a nose kiss (not in an intimate way) just stubbing their noses against each other

genders do not mix at all. schools tend to divide girls and boys into two sections starting at a certain age (around age 10/11), and mosques are split into the mens side (usually larger than womens bc men use the mosque more)

having an extramarital relationship is very very taboo (even w hetero relationships) but it still happens. a lot.

family dynamics (note that this is obviously a spectrum. this is the general dynamic, but obv it ranges from family to family):

NOT ALL OF US HAVE ABUSIVE PARENTS. sure theyll spank you if you skip school, but thats not necessarily abusive. its more strict, and youd be surprised at the amount of freedom some parents give their kids

yes, arranged marriages do happen. no, they arent necessarily forced, it just means that your parents had a hand in deciding who youll marry. yes, marrying cousins is a thing, but its much less prevalent now (also, ew)

fathers care. a lot. they dont show it, but they do. they also tend to joke around a lot

mothers tend to be the rule enforcers, and by far our moms are our best friends. we tell them EVERYTHING i swear

aunties gossip a lot

uncles are a safety hazard

its not uncommon to have a large number of cousins (mainly bc arabs tend to have a lot of kids)

the average number of children 3 per woman, but from personal experience the older the generation the more kids (e.g. my great-grandmother had a whopping thirteen kids, my grandmother had seven, my mom has six, but a couple of my aunts only have one or two)

social class/work environment/school environment:

schools tend to be either arab curriculums but there is a high density of american/british curriculum schools

boys and girls tend to be separated in school around age nine/ten but some schools will be mixed genders up till graduation

yes, women work, tho admittedly some of them tend to have careers more than jobs (e.g. photographer, writer, etc while the men handle engineering, economics, etc)

no, not all of us are rich. in fact, countries like jordan, egypt, tunisia, morocco, and yemen (and infamously palestine) are acc struggling w poverty. its mainly just gulf arabs who are rich

furthermore, gulf arabs may be generally rich but a large chunk of them have the same lifestyle as an upper-middle class family in the usa. rich but not too rich. dont be fooled by the videos of guys wearing kandoras and driving lambos

speaking of kandoras...

outfits (keep in mind that spelling may vary since its all transliteration, and pronunciation may vary depending on region) (also keep in mind that even if we still live in the middle east, WE CAN WEAR JEANS AND HOODIES AND BAND SHIRTS. just, usually cover up more in public):

abaya: loose overgarment worn by women

jilbab/chandoor: also worn by women, type of long dress or tunic

the white robe all of yall know is known as a thobe, dishdasha, or kandora

the colored headscarf worn by men is known as a ghuthrain in the gulf, kevfiah in the levant. its kept in place with a black cord called a aghal, and under it they wear a skullcap called a thagiyah

those are the most common ones, however if youd like to get a lil more specific on clothong, the ultimate guide to arab clothing is here (it also has specified clothing for individual countries)

hope this helps, feel free to reblog w more info if you have any !!

#writing tips #writing arabs #arab #writer sources #writing help #writers on tumblr #writeblr #writing advice

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riding-with-the-wild-hunt · 7 months

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“And when she learned of Finwë all that had befallen since her departure (for she had given no heed to it, nor asked tidings, until then) she was greatly moved; and she said to Finwë in her thought: ‘I erred in leaving thee and our son, or at least in not soon returning after brief repose; for had I done so he might have grown wiser. But the children of Indis shall redress his errors and therefore I am glad they should have being, and Indis hath my love. How should I bear grudge against one who received what I rejected and cherish what I abandoned.’“ - J.R.R. Tolkien, Morgoth's Ring, Laws and Customs Among the Eldar

@finweanladiesweek day 1 » INDIS & MÍRIEL THERINDË

[ID: an edit comprised of four posters in dark and light browns accented with gold and silver.

1: Roseline Lawrence, a ugandan-south sudanese model with dark skin and long coily dark hair. She is plus-size, wearing gold makeup and looking over her shoulder with one hand raised. She is framed by a gold rectangle, with gold text at the bottom reading "indis" in all caps. Below that, text in varying yellow shades reads "great; valiant woman," "second wife of finwë," and "“She was a Vanya, close kin of Ingwë the High King, golden-haired and tall, and in all ways unlike Míriel" / 2: A detail from a painting showing golden embroidered cloth draping down from above. Yellowish-orange text in a transparent brown box reads "“...when Indis saw Finwë climbing the paths of the Mountain, and the light of Laurelin was behind him as a glory, without forethought she sang suddenly in great joy, and her voice went up as a song of the lirulin in the sky. Then Finwë heard that song falling from above, and he looked up and saw Indis in the golden light, and he knew in that moment that she loved him and had long done so" / 3: A detail from a painting showing draped white and silver cloth. Silver text in the same format as Image 2 shows the same passage as the caption of the edit / Thando Hopa, a xhosa-sotho south african woman with albinism. She is looking straight at the viewer and is wrapped in a white robe that falls over her head, though she holds it out of her face. Same format as Image 1, but the frame and text are silver, and the text reads "míriel," "jewel-daughter," "first wife of finwë," and "She was a Noldorin Elda of slender and graceful form, and of gentle disposition, though . . .she could show an ultimate obstinacy that counsel or command would only make more obdurate" /End ID]

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lmjupdates · 4 months

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laurenjauregui: Mercury was retrograding hard af yesterday so here’s a second attempt to share with you my latest offering✨🤍 swipe to listen and for a taste of the inspiration behind the artwork. My heart aches for the mothers who have to bury their children, but I find it so beautiful the flowers that are able to bloom even in the darkest spaces. I wrote this song with a prayer in my heart to speak to the nonsense of this all. “The Day The World Will Blow Up” is out now on the incredible platform @even.biz who is creating a space where artists can not only get paid directly for their art in reciprocity and in a way that allows us to take care of ourselves, pay our bills, create more and more content/art and get our teams properly paid. They also have a beautiful space for fans to interact and there’s other goodies available like exclusive content pieces, & a Q &A we’ll be doing in a couple weeks you can sign up for where I’ll be going more in depth and answer any questions yall have about the song/inspiration & the platform. Thank you to my amazing collaborators @mattiusmusic & @moneyjezus and to @zasha.ink Zasha Mallory for the stunning artwork. Like any amazing piece, the more you look at it the more is revealed about how much intention was put into it. The song is $3 on @even.biz the link is wherever you can find it✨ a portion of proceeds will be going to @mecaforpeace & FAH (Fill A Heart) Go FundMe supplying funds to Sudanese families in Egypt destabilized by the violence. I hope you take a second to listen and resonate with the message❤️‍🔥 for all my feelers who don’t know where to put it, this is for you. ✨🕊✨

#lauren jauregui #instagram #postedbymarina

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sunnunderthesun · 2 months

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We need to talk about Sudan and its poetry

Oh, German Hitler

Oh, Italian Mussolini

Your chair will never ever stay again

You are just like

a foreign piaster

with no value in our market

The above excerpt is the English rendition of the song famously sung by the Sudanese singer Aisha Musa Ahmad, during World War Two, to encourage active Sudanese soldiers fighting the Axis alliance in the hope of gaining independence from British rule.

It is only towards the end of the last decade, during the Sudanese revolution, that the Eurocentric mainstream news sources began to shine a light on Sudan’s centuries-old oral tradition of poems, songs, storytelling, and chants which have always been an integral part of the Sudanese people’s peaceful protests against any form of oppression. While the works of notable Sudanese writers like Tayeb Salih and Mahjoub Sharif have brought international recognition for Sudan's written literature since the latter half of the twentieth century, much of the nation's oral poetic battle cry of resistance, strength, and resilience still remains unheard of in most parts of the world.

When asked why the internet hardly has any English-translated Sudanese poems written before the present century, a staff of ArabLit informs me that not many poems from the early or even mid-20th century exist, especially online, as translations from Arabic to English was mainly an academic endeavour until recently.

My search for Sudanese folklore on Google brings up just a handful of websites, books, and social media channels focussing on, mostly, contemporary Sudanese diasporic poems and stories, translated into or written in English, but it’s too challenging to find an English-translated poem by a native Sudanese poet on the search engine’s high-ranking webpages that list “must-read poems” or “great war poems” of this century and earlier.

On some archival websites, fragmentary specimens of Sudanese folklore can be found in a couple of late twentieth-century research papers on Sudan’s oral tradition, the journal called Sudan Notes and Records that was started by the British imperialists in an attempt to gain more control of the Anglo-Egyptian Sudan, and the racist memoir called My Sudan Year in which the cultural anthropologist Ethel Stefana Drower writes, The Sudanese is a rhymester rather than a poet. He makes rhymes and rhythms on every possible occasion, but, like all of Arab blood or partly Arab blood, he is seldom capable of producing lofty lyrical poetry. The boatmen, as they tug together at a rope, or pull their oars through the water, make chanteys, but these are rarely imaginative or poetical in the Western sense of the words.

I learn from a librarian at the Library of Congress that their only available digitalized collection of Sudanese poetry is not translated from Arabic to English. However, they couldn’t clearly tell me the reason behind the dearth of English translations of Sudanese folklore, especially the ones from over a hundred years ago, on the internet.

Efforts of individuals like Dr. James Dickens and the library activist Israa Abbas to preserve and promote recent Sudanese poems and songs, both in English and Arabic, may inspire the mainstream international literary publications, that also happen to be Western-centric, to consider publishing a powerful Sudanese poem or two sometime. Observing the educated masses' continued disregard for the ongoing destruction of lives and invaluable university archives in conflict-ridden Sudan, it’s hard to predict when the internet will show more cultural inclusivity.

#talk #free sudan #sudan genocide #eyes on sudan #finds

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ritterum · 11 months

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The sixteen stories that make up the Loom of Hours occupy a unique place in world literature. Though their respective foci may appear familiar to the reader, the alienating reality of the societies depicted therein inevitably comes to the fore, providing a window into Illapartian perspectives on the myriad cultures which the civilization of the Hours encountered.

The Loom of Hours did not start out as a literary tradition, but as an oral one. What may seem on the surface to be children’s tales of kings and prophets were originally fables told by a griot, a bard-like elder who would provide advice to their ruler through ballad or song. Instead of providing a dualist moral ‘solution’ to a problem, each fable would instead touch on predetermined aspects of a certain Hour, leaving the story open to richer and less straightforward interpretations. Over time, as writing would come to dominate larger tracts of society, griots would become replaced by encyclopedic collections of stories, with hundreds of finely nuanced variations corresponding to a single Hour. While several entries of the more popular Hours remain extant today, many of the Hours are represented by only a single story in the sole surviving Loom cycle, assembled in the Late Kingdom era by a courtier named Runao, as a gift for the new king. This “Splendid Cycle”, famously translated by Richard Burton in 1888, is what most readers are familiar with today when talking about the Loom of Hours. It is much debated according to what scheme Runao chose the different stories of the Splendid Cycle, or even if he understood their subtleties at all - perhaps he was looking for entries that would play up certain virtues of his, or perhaps he sincerely did not view them as anything more than children’s tales. Whatever the case, each story highlights its specific Hourly aspects with aplomb, and is capped with a short commentary by Runao identifying what he believes are the most crucial lessons to be learned therefrom.

That the Hours captivated the Western literary imagination when they did is no coincidence: it was, after all, thanks to the French Revolution, and the Enlightenment ideas that spawned it, that the Hours came to European attention in the first place. When Napoleon entered Egypt in 1798 with the aim of securing French trading interests, he brought with him a veritable legion of scholars, surveyors, and artists to explore and shine the light of science on the desert ruins of legend. The excavations, diagrams, and catalogues of Egyptian marvels would have been reward enough; news of these discoveries was certainly sufficient to spur decades of European ‘Egyptomania’. However, destiny had other plans in store: in May 1799, a party of expeditioneers led by Lieutenant Milo Saint-Denis lost its way in the Sudanese cataracts, stumbling upon an

“odd route, flanked by sandstone cliffs [...] through which the sun shone at untypical angles, and the air [bore] a fragrance and potency not suited to the region. Upon following this path, we came upon an escarpment of the same stone, so high above the clouds as if we had reached it by cannon-fire, and beneath us an immense valley of lush greenery and streams, broken only by an impossibly broad and jagged tower of deep-blue, pink-veined stone, about the width of a modest town by my estimate and reaching as high as the ledge [where] we were standing [...] and from whose crown water poured below.”

This is the first modern record of the passage now known as the Alodia Gullet, and marks arguably the single most important cultural and military find in modern history since Columbus landed in the New World: the discovery of Terre-des-Heures, the ana-geographic region commonly known today as Illapars - Latin for ‘that other part/land’. Saint-Denis, a trained mineralogist as well as soldier, was immediately aware of the geologic incongruity of this area with the Sudan, and ordered his men to take copious notes and measurements, including of the vegetation, weather and time of day, and recollections about the period immediately preceding the ‘transition’ into the strange land. It is thanks to these notes that a second party managed, a week later, to convoke the precise factors needed to cross into Illapars; the method they used would eventually become standardized as the Denisian traversal protocol.

Upon learning of this discovery, Napoleon was determined to map out as much of the land as possible, if only to ascertain whether similar routes could be found to other parts of Egypt. Napoleon was involved in a costly war with the local Mamluks, and was eager to find any strategy or device that would give him the upper hand. This round of exploration uncovered the passes of the Faiyum and the Sinai, the time-dilated Lake Merveilleuse, and the ruined ancient cities of Ukk and Vimvi - although, crucially, no living human settlements whatsoever. Among the treasures unearthed at this time was the so-called ‘“second” Rosetta stone’, the Ukkabal stela, which not only allowed linguists to translate Illapartian, but fueled decades of speculation about the spread of the Illapartian empires, as several familiar and historical languages were found among the inscriptions. While this expedition was a success from the archaeologist’s perspective, the strategic value of the discovered passes was negated by the low traversability of the Illapartian wilderness. Despite scattered victories, Napoleon withdrew from Egypt mere months afterward, soon followed by the bulk of the French army [...]

[...] With the support of the illustrious polymath and explorer, Alexander von Humboldt, Malbrook successfully entreatied the French government for entry into the colonized areas of Illapars, and in August 1824, arrived in the colonial town of Finisterre, near Vimvi. Malbrook’s achievements while in Illapars were manifold: he not only measured the height of the Ukkabali mountain ranges, he was the first Westerner to traverse and map out Lake Merveilleuse, and he even helped disband a smuggling ring during his time in Finisterre. Of greatest relevance to us, however, is his rediscovery of the Loom of Hours - both in its standardized “Splendid Cycle” form, and the written variations scattered throughout the various library ruins. Malbrook not only took extensive tracings and copies of the book, but was able to show the cultural significance of the stories by reconstructing the entire table of Hours from work logs and records of priestly rituals.

For almost all Illapartian cultures, the day was subdivided into sixteen hours - ten daytime hours and six nighttime hours, with the nighttime hours being longer than the daytime ones. The daytime hours were further split into five morning hours (Glass, Brick, Wheel, Cloth, Tin) and five afternoon hours (Iron, Scribe, Scythe, Ash, Water); later hours corresponded roughly with maturity and authority, while earlier ones were matched with youthfulness and individuality. The clearest example of this is the split between the two noon hours, Tin and Iron: an essential aspect of Tin stories is personhood within society; usually the individual’s hubris is punished, or their glorified sacrifice is shown to be their destiny, similar to how malleable tin can be shaped and cast into a mold. Iron aspects, meanwhile, are much “harder” and authority-focused: vengeful justice, royal presence, and protection from invasion are all common tropes in these stories. Further, Tin is astrologically the most mature of the morning Hours, reflected in the individual’s tendency to adapt to society; Iron, being the most immature of the afternoon Hours, dispenses violence without regard for its social impact. What this says about Illapartian concepts of maturity is beyond the scope of this foreword - however it does provide a glimpse into the values which those societies held dear.

Keen-eyed readers will note the astrological focus on tin instead of the stronger alloy formed with copper, i.e. bronze. Generations of anthropologists have speculated on the significance of this detail [...]

[...] While it is tempting to think of Nietzsche’s famous “God is dead” line as referring to this incident, there is no evidence to suggest that Nietzsche was even aware of the existence of buried gods. The idea of living deities would not enter public awareness until World War One, although isolated politicians, thinkers, and scientists knew about them for the few decades between then and their discovery. It is not an exaggeration to say that living gods affected modern thought to the same extent that the atom bomb would thirty years later - the industrialized world had to contend with a new wave of existential dread at the revelation that mankind as a species was no longer at the top of the totem pole, if it had been at all. In addition, the introduction by the French of militarized Illapartian artifacts, such as grenade shrapnel that could never be precisely counted, which would vanish and reappear at random in a victim’s body, or the ‘lithofax’ device that would either partially or completely convert a target’s body to stone, provoked outrage among both victors and losers of the war, and would lead to the Great Powers adopting wartime restrictions and treaties such as the Geneva conventions, forbidding the use of such weapons. The disorienting and illogical nature of these also rippled through the sciences: in their struggle to find a framework to explain what Albert Einstein referred to as “spooky actions”, physicists and chemists developed an entire new branch of physics - that is, quantum physics - and poured thousands of man-hours into research that would eventually culminate in the atom bomb and the fusion reactor. The general attitude of the time is perhaps summarized best by Modernist poet W. B. Yeats, who in the poem, “The Second Coming” - composed in the aftermath of World War One (and certainly in reaction to Illapars-related reports) - wrote:

Now I know

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

Today, it is difficult to imagine a world where the Land of Hours had never been discovered, so ubiquitous are the every-day innovations we use based on their technology. What would our microchips look like without the hundreds of miniaturized summoning, banishing, and transforming sigils etched into them? How would we rapidly heat our coffee or tea without the eyelashes of the Fire-God in our thermo-emitters? Would we be able to communicate effectively over long distances without the distance-closing porphyrous crystals of the Colorful Tower? We invite the reader to consider these questions by meditating on the stories in this anthology, which by virtue of their uncanniness and distance, may be our only common point of contact with a world not our own.

- excerpts from “The Comprehensive Loom of Hours“, Foreword

#fiction i guess #loom of hours #foreword

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ya-world-challenge · 1 month

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Book Review - Home is Not a Country by Safia Elhillo (🇸🇩 Sudan)

[image 1: book cover, photographic - a young Black woman's face, serene, is surround by various types of orange flowers - lilies, daisy-like wildflowers, butterflies; image 2: a map showing Sudan in northeast Africa, south of Egypt; image 3: Sudanese women gather for coffee - four women in saffron and red dresses with head coverings sit around a low octagonal table set with traditional coffee - source: wikimedia]

Home is Not a Country

Author: Safia Elhillo

YA World Challenge read for 🇸🇩 Sudan

Review

Before leaving for the ER a few weeks ago, I threw a bunch of books and audiobooks on library hold so I could read on my phone. I didn't get to this one during my stay, but I listened to it over the next couple of weeks.

First, I have decided that poetry/novels in verse must be listened to on audio especially if the author narrates (which they often do). Elhillo narrates beautifully and gives the book oceans of depth.

Nima is a teen caught between countries. Living in America, she doesn't feel accepted. She is also disconnected from the trauma that gives the previous generation a complicated relationship with their home country. She becomes a "nostalgia monster", as her friend Haitham calls her, listening to the old Arabic songs on cassettes from her mother's generation, searching for culture to belong to. Resentful of an imagined perfect life, she personifies Yasmeen - the name she was almost given - into someone to be jealous of... until something happens.

This novel starts out as a poetic narrative of a second-generation immigrant, slowly evolving in a magical realism adventure with a twist! With themes of belonging and being careful what you wish for, Nima is a relatable and imperfect heroine. This was an enjoyable and thoughtful read.

★ ★ ★ ★ 4 stars

Other reps: #muslim #immigrant

Genres: #poetry #contemporary #magical realism

#book review #booklr #reading challenge #books and reading #sudan #muslim #immigrant #poetry #novel in verse #contemporary #magical realism #north africa #east africa

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andrumedus · 6 months

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Mohammed el-Makki Ibrahim, tr. & ed. Adil Babikir, Modern Sudanese Poetry: An Anthology; from “The Green October” in “Songs for October”

#literature #poetry #mohammed el-makki ibrahim #modern sudanese poetry: an anthology #typography #sudanese lit #m #x #id in alt text

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moneeb0930 · 1 year

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While some have accused Beyonce of d.evil worshipping and are now using this image of ‘devil horns’ as apparent proof, I have chosen to highlight the ig.nored solar disk, which changes the course of homage completely.

Considering the obvious disk placed between both horns, this bears a closer resemblance to our ancient Goddess HetHeru𓉡𓁥: The Sudanese/Nubian Goddess of fertility, song, music and dance.

Her statue (pictured above) is one of the schist triad statues of King MenkauRa, from the “Valley Temple” next to His Giza Pyramid, 2551-2523 BCE.

It now resides, after being stolen (trust that we WILL bring Her back), in the Museum of Fine Arts in Boston, USA.

The cattle horns (see leotard) reminded the Nile Valley people of the white crescent 🌙 moon, glory and power. According to Pharaonic philosophies, the moon didn’t generate its own light. Rather, it captured the light from the sun and reflected it back to us at night. Hence the ‘moon’ (the cattle horns) essentially carrying the light of the sun. Thus giving our moon goddess the title ‘Het’ (mansion) of ‘Heru’ (light). See our previous posts for more context.

The crescent cow horns - with a central sun disk - would become HetHeru’s fundamental symbol. We believe this is closer to Beyonce’s commemorating, and should be understood as separate to any negativity. MichaelJackson, StevieWonder, Prince, Sudan Archives, ChristianDior and many other creatives of our time have paid a similar homage.

Ever wondered why we call it a moon today? You can look to the sound of a cow, for that answer. Indeed, all the origins are right here✨

*NOTE: If this is Beyonce’s pure acknowledgment of our history, then we applaud her recent appreciation of it. If however, this is some kind of cover-up for something deeply sinister (please research her apparent association with Epstein, as well as other alleged links to satanism) then this is truly, insultingly disgusting.

The purpose of sharing this information is to make clear the differentiation. Beyonce aside, the Great Goddess of our Pharaonic past and all her powerful symbology has *nothing* to do with the horrific darkness of devil worshipping.

https://youtube.com/c/HistoricalAfrica

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burlveneer-music · 11 months

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Jantra - Synthesized Sudan: Astro-Nubian Electronic Jaglara Dance Sounds from the Fashaga Underground

Near the border of Sudan, Eritrea, and Ethiopia, a disputed area called Fashaga is home to one of the most raucous, hypnotic, addictive, and celestial dance musics being made anywhere in Africa, perhaps the least known to the wider world of them all. Far from the townships of South Africa or the cities of Nigeria, this sound belongs to people intimately tied to their land, deep in the rural areas of Sudan. Known in some circles as “Jaglara,” this mysterious cosmic dance music is being innovated by one man, named Jantra, which translates as “craziness,” a moniker bestowed to celebrate both his personality and sound. Jantra cuts a mysterious figure, a rather unknown quantity even in Sudan, outside of the select few circles which have granted him cult status to perform at their humble gatherings or at street parties far from the gaze of the wider world. Never without his trusty blue Yamaha keyboard, Jantra joins a wave of synthesizer maestros across Africa revolutionizing the electronic sound of the continent. His dexterous fingers and street side raves in his home town of Gedarif near the Sudan-Ethiopia border caught the attention of a less privileged segment of Sudanese society who became infatuated. But you wouldn’t stumble across one of his parties unless you knew where to look, and they take place where few ever care to look. Jantra has no songs. He simply freestyles a combination of his melodies incessantly for hours on end, acting as a live producer and DJ for emphatic crowds in compact spaces, where the energy of his 155-168 BPM music is known to inspire the odd gunslinger to raise his pistol in the middle of the dance floor, ready to fire away a few shots into the air when the build up reaches climax. His Yamaha keyboard, like most keyboards, is not made in Africa and not tuned to cater to Sudanese rhythms or melodies. It required special tweaks from legendary keyboard mechanics in Omdurman market outside of the capital Khartoum who service, maintain, and jolt these synths to work for their aesthetics and flavor profile. Jantra then further tweaks the sound to achieve what you’re hearing — the perfect, sweet key tone, literally universal in its appeal. To produce this album, the Ostinato team pioneered a new approach: a hybrid reissue-contemporary album. Jantra had made a few cassette and digital recordings in his early days. We used excerpts from those and followed him to his legendary parties on the outskirts of the outskirts of the capital. Using a special technique devised by Ostinato producer Janto Koité, we extracted the individual melodic patterns, rhythms, as well as the MIDI data, and combined them with older recordings to recreate his lengthy sessions into individual dance tracks for a worldwide audience to reach the enviable frenzy of Sudanese crowds. This promising new dance music emerging from the deepest reaches of Sudan has never made its way outside of Jantra’s parties, let alone outside of the country, and never been professionally recorded. This record is confirmation that the many electronic styles being exported from Africa have a new worthy sibling and rival — Jantra’s signature electronic Jaglara from the Fashaga underground. It is a privilege of the highest order to be exposed to this unheralded, incredibly well kept rural Sudanese secret. Use unsparingly at your Synth Maestro: Ahmed Mohamed Yaqoup Eltom aka Jantra Produced & Arranged by Vik Sohonie & Janto Koité Recording & Data Extraction by Janto Koité Artwork by Mahammed El Mekki

#Jantra #Bandcamp #jaglara #sudan #electronic #dance #2023 #ostinato records

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