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Author Archives: Arab America

Campus Debates on Israel Drive a Wedge Between Jews and Minorities

LOS ANGELES — The debates can stretch from dusk to dawn, punctuated by tearful speeches and forceful shouting matches, with accusations of racism, colonialism and anti-Semitism. At dozens of college campuses across the country, student government councils are embracing resolutions calling on their administrations to divest from companies that enable what they see as Israel’s mistreatment of Palestinians.

And while no university boards or administrators are heeding the students’ demands, the effort to pressure Israel appears to be gaining traction at campuses across the country and driving a wedge between many Jewish and minority students.

The movement is part of the broader Boycotts, Divestment and Sanctions campaign, or B.D.S., which has spread in recent years both in Europe and the United States. The issue has received intense attention on campus particularly since the conflict in Gaza last summer, which killed hundreds of Palestinians. The movement’s goal is to isolate and punish Israel for its policies toward Palestinians and its occupation of the West Bank.

Photo

A sit-in outside a University of Michigan student government meeting in March 2014 about an Israel divestment proposal. Credit Adam Glanzman/Michigan Daily, via Associated Press
There are now Israel-related divestment groups at hundreds of major colleges, including the University of Michigan, Princeton, Cornell and most of the University of California campuses. Their proposals are having mixed success: So far this year, students have passed them on seven campuses and rejected them on eight.

College activists favoring divestment have cast the Israeli-Palestinian conflict as a powerful force’s oppression of a displaced group, and have formed alliances with black, Latino, Asian, Native American, feminist and gay rights organizations on campus. The coalitions — which explicitly link the Palestinian cause to issues like police brutality, immigration and gay rights — have caught many longtime Jewish leaders off guard, particularly because they belonged to such progressive coalitions less than a generation ago.

At Northwestern University this year, for example, the student government debated a divestment resolution for more than five hours, as students with clashing views sat on opposite sides of the room. Some of the talk was openly hostile, with charges of racism and colonialism.

“Discomfort is felt by every person of color on this campus,” said an Egyptian-American senior, Hagar Gomaa. “To those who say this divestment bill makes you uncomfortable, I say: Check your privilege.”

A speaker who identified herself only as a Chicana student said she was there to support Palestinians on campus.

“We have seen the racism of people who get mad that so many empowered minorities are recognizing how their struggles are tied to the Palestinian struggle,” she said. “Students have accused us of conflating many cases of oppression. To these students, I have a couple of words for you: What you call conflation, we call solidarity.”

A student who said she had family in Israel was among those who shot back for the other side. Voting for divestiture, she said, is “pointing fingers, it’s aggressive, it’s misinformed, it’s unjust, and — most important for this campus — it’s totally one-sided.”

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When the vote was finally taken by secret ballot, the tally was close, with 24 in favor of asking Northwestern’s administration to divest — which it did not do — and 22 against.

As the debates spill from undergraduate council to dorm room, students and college officials are grappling with where to draw the line between opposition to Israel’s policies in the West Bank and Gaza — a position shared by many Jews — and hostility toward Jews. Opponents of divestment sometimes allude to the Holocaust.

“What bothers me is the shocking amnesia of people who look at the situation of American Jews right now and say, ‘You’re privileged, you don’t have a right to complain about discrimination,’ ” said Rachel Roberts, a freshman at Stanford who is on the board of the Jewish Student Association there. “To turn a blind eye to the sensitivities of someone’s cultural identity is to pretend that history didn’t happen.”

Everywhere, the discussions are long and tense: At Michigan, where the student government narrowly defeated a divestment resolution this year for the second time, university staff members were on hand to talk to students and help if they needed a break from the debate. At several schools where divestment proposals have been considered, swastikas have been painted on the doors of Jewish fraternities.

“There’s more poison in the rhetoric than we’ve ever felt before,” said Rabbi Chaim Seidler-Feller, the executive director of Hillel at the University of California, Los Angeles, who has worked on college campuses for more than four decades. “There are so many students who now see Israel as part of the establishment they’re against. What’s alarming is this gets deeply embedded and there’s no longer room for real discussion.”

Source: www.nytimes.com

An Initiative Worth Supporting

The AVPE effort is not a substitute for Palestinian independence — since it recognizes that only with independence can the full potential of the Palestinian economy be realized. At the same time, however, AVPE knows that creating jobs, finding markets and growing the private sector can’t be set aside for another 20 years.

Source: www.huffingtonpost.com

Filmmaker explores the truth behind fake Syrian-American blogger Amina Arraf

In 2011 the reported kidnapping of Amina Arraf, a beautiful Syrian-American dissident blogger, sent her online followers, human rights workers, and international journalists into overdrive. Amina’s blog, “A Gay Girl In Damascus,” had become an Internet sensation, with its frank dispatches about sexuality and daily life in Damascus under the Syrian government’s deadly crackdown.

Then it was revealed that Amina was a fiction and her abduction a hoax, the whole thing orchestrated by Tom MacMaster, a 40-year-old straight man from Georgia. In her new documentary, The Amina Profile, Canadian director Sophie Deraspe leads audiences through the tangled affair: MacMaster, a student at Edinburgh University, had authored the “Gay Girl” blog posts, going so far as to fake Amina’s kidnapping. Deraspe’s film follows Sandra, a Canadian woman who formed an amorous attachment to Amina online and believed herself to be in a relationship with the phantom blogger.

At the same time, The Amina Profile explores orientalist views of Middle Eastern women and the power of the press and social media to warp our understanding of world events. The Canadian film premiered at Sundance earlier this year, and recently finished showing at Canada’s premier documentary festival, Hot Docs, where it won the Special Jury prize in the Canadian category. Sophie Deraspe spoke to Women in the World about fact, fiction, sexual fantasy, and the Western gaze.

Women in the World: Why did you decide to make the The Amina Profile?

Sophie Deraspe: I felt that this was kind of the perfect story. There was the personal angle to it because I had strong access with Sandra. But then it opens to so many important issues in our contemporary world: online identities, media coverage, how do we get to know each other, how do we get to know another culture, how do we interact in a personal way, how are we informed of what’s happening in the world.

This story brings a new perspective to how it all works nowadays. So I felt for a very personal story it opened to something that concerns all of us. It was also like a thriller—even if it’s a documentary it has the feeling of being a fiction film. It’s a documentary about a huge fantasy, and film is the perfect vehicle to share fantasies. Even when we know it’s fiction we cry, we get involved with the characters, so obviously when we know it’s real it works even better.

WITW: What interested you about the identity of a gay Syrian woman?

SD: Amina is the creation of a Western mind for a Western audience. She had everything. She would speak about her sexuality, she was liberal, she would speak about the regime, about religion. She is this type of woman that we can admire, that we can project our fantasies onto in a world where women are supposedly covered and submissive. She has everything that we can connect with. The first European explorers went traveling on the Silk Road and brought back stories from the Middle East of women bathing together, so this orientalist vision of the Middle East is not something new.

Amina is a contemporary image that is our fantasy about the Middle East and has been there for quite a few centuries.

WITW: Why was it interesting to you that Amina ended up being a fake?

SD: Most people who believed in Amina were very bright, intelligent
people who know what’s happening in the world, and Sandra herself is not this naive type of person who would fall into the trap of a fake identity. I think it says a lot about ourselves, what we fall for in terms of media. We have to be so cautious and careful, and we have to develop a new awareness online.

WITW: What did the story of Amina tell you about the media?

SD: The media has a huge responsibility, but we as consumers as well, because we are attracted to sexy stories and sexy characters. The real Amina exists in Syria—the blogger Razan Ghazzawi. She speaks English, she is openly gay, she speaks about the regime and she’s been jailed a couple of times. But she’s not as attractive as Amina because she tells the truth—there aren’t twists and turns in every post. She doesn’t craft reality just to grab the attention of people. She just says the truth and speaks about her reality and the reality of her people.

The media want to be there very quickly and have the scoop, but they don’t fact check, they don’t verify their sources. In this situation The Guardian has a huge responsibility. They conducted an interview with Amina in Damascus, but it was never reported that the conversation never actually happened. Amina and the journalist were supposed to meet in a cafe, but Amina wrote to the journalist and said that she felt she was being followed and asked to have the interview via email.

WITW: What were your feelings about Tom MacMaster (the man behind Amina) and did they change during the making of the film?

SD: I think he’s a very clever person, but with some mental issues.
And at the same time, in the film, I didn’t want to go into this too much, because it’s not a place for my interpretation or Sandra’s interpretation. I wanted the viewer to make up his or her own mind. He knew a lot about Syria. I’m sure he was spending many, many hours a day nourishing the blog, and being aware of what was happening in Syria via social media. I’m so glad we succeeded in meeting him and having him on camera. But at the same time I didn’t want to give him a tribute. He says I’m sorry, but does he really mean it?

WITW:  Why did you sexualize the character of Amina in the film?

The perpetrator is an American straight guy who used a widespread fantasy about gay women. I didn’t hesitate to sexualize Amina in the film, because she was very sexualized right from the beginning. He was using this character not only to talk about Syria or to the media, but he had [used] this character for lesbian dating since 2006. So via Amina he had a lot of affairs with different women. Amina was sexy as well as being a rebel fighter of the revolution. The blog was a lot about her sexuality as a Muslim lesbian woman. She would even write lesbian poetry. So her sexuality was really a part of her success.

“The Amina Profile” is expected to be released theatrically in the United States by IFC films later this year.

Source: nytlive.nytimes.com

Iraqi Children Foundation: “In Their Shoes” 5k

In one of the most unique events of its kind, the Iraqi Children Foundation’s May 9 “IN THEIR SHOES” 5K will bring together – under one umbrella – various communities affected by the Iraq war. It will include Iraq war veterans who are running not for their colleagues but for Iraqi children deeply affected by … Continued

Ancient music in the mitten

GRAND RAPIDS, Mich. – The world premiere of what historians are calling the oldest music notation ever written was performed by the Forest Hills Central High School Orchestra with pianist and compo…

Source: fox17online.com

Student to perform with world renowned composer

GRAND RAPIDS, Mich. (WOOD) A world renowned composer and pianist and a Forest Hills Central High School music student will perform together on May 6, with an interesting story behind their collaboration.

Malek Jandali (left) and Tasneem Sannah (right)
Senior violinist Tasneem Sannah has been participating in orchestra since sixth grade. As a senior, she has the opportunity to perform a solo. Sannah’s family is from Syria, so she thought she could do a tribute to her country. She decided to contact Syrian composer and pianist Malek Jandali to see if he could arrange a solo for her. She didn’t think she was going to get a response, but Jandali agreed to do it. The piece was written for piano and orchestra, and he rearranged it for violin. Jandali says he saw it as an opportunity to do something meaningful and offered to perform the piece with Sannah.

The two will perform at the Forest Hills Central Orchestra Concert at 7 p.m. on Wednesday, May 6, at the Forest Hills Fine Arts Center. The concert is free and open to the public.

Source: woodtv.com

Mona Eltahawy’sHeadscarves and Hymensreveals groping at Mecca

Nothing prepared me for Saudi Arabia.

I was born in Egypt, but my family left for London when I was seven – and after almost eight years in the UK, we moved to Saudi Arabia in 1982. Both my ­parents, Egyptians with PhDs in ­medicine, had landed jobs in Jeddah, teaching clinical microbiology to medical students and technicians. But when we got there, it felt as though we’d moved to another planet whose inhabitants wished women did not exist.

In this world, women, no matter how young or old, are required to have a male guardian – a father, a brother, or even a son – and can do nothing without this guardian’s permission. They cannot travel, open a bank account, apply for a job, or even get medical treatment without a man’s stamp of approval. I watched all this with a sense of horror and confusion.

When I encountered this country aged 15, I was traumatised into feminism – there’s no other way to describe it – because to be a female in Saudi Arabia is to be the walking embodiment of sin. The country follows an ultra-conservative interpretation of Islam known as Wahhabism or Salafism, the former associated more directly with the kingdom, and the latter, austere form of Islam with those who live ­outside Saudi Arabia. The obsession with ­controlling women and our bodies often stems from the suspicion that, without restraints, women are just a few degrees short of sexual insatiability. Yet it is the men who can’t control themselves. In too many countries in the region, sexual harassment is epidemic.

It was soon after my family arrived in Saudi Arabia that I first wanted to wear a headscarf. The Committee for the Promotion of Virtue and the Prevention of Vice – the morality police – chased after women, urging them to cover up. I needed something to defend myself from men’s roving eyes and hands, and I thought the hijab, a form of dress that covers everything but the face and hands, would do that. When I told my ­parents, they said I was too young and ­suggested I wait a year or so.

Less than a month after we arrived in Jeddah, we went on hajj, or pilgrimage. Until then Mecca, the birthplace of Islam, was a place I’d seen only in pictures hanging on the living room walls of family and friends. This trip was the first time I’d worn any kind of veil outside prayer time. I looked like a nun dressed in my white pilgrimage clothes. One of the rituals of the pilgrimage is tawwaf: circling the Ka’aba, the cube-like building at the centre of Mecca’s Grand Mosque. As I slowly walked around it, reciting prayers along with my family, I felt a hand on my bottom. I had never before been touched there by a man. I could not run, and even if I had possessed the courage I could not turn around to confront the man who was groping me because the space was so crowded.

I could not understand how, at this holiest of holy places, something like this could happen. Whenever I broke free, he persisted in groping me. I burst into tears, because that’s all I could do. I couldn’t tell my parents the truth; I told them the crowds were getting to me. We went up to an inner level of the Grand Mosque, one storey up, to complete our tawwaf. Then we returned to the lower level and the Ka’aba once more to kiss the Black Stone set in the building’s wall, another ritual of the pilgrimage.

My mother and I had to wait for the ­women’s turn. As I bent toward the stone, the Saudi policeman standing there surreptitiously groped my breast. Surreptitiously: I came to learn ­during my years in Saudi Arabia and then in Egypt that this was how men did it. You ended up questioning your own sense of having been violated; did fingers actually poke through the underside of your seat on a bus or lightly brush against your behind as the man to whom those ­fingers belonged looked away?

By the time we went for our second hajj, a year later, my mind was ready to surrender and my body was desperate for invisibility. It felt as if everything was haram (prohibited) in Saudi Arabia. I was descending into the first of several episodes of depression; I felt I was losing my mind. I didn’t talk to anyone about how I felt or get any help. I struck a deal with God: I’ll cover my hair if you save my mind. I decided to wear the veil, and this time my parents accepted my decision. I hid my body the way teenage girls, newly aware of male attention, sometimes take refuge in baggy clothing. Still, the garments I wore did not protect my body from wandering hands.

Despite my sadness, I was doing well at school. I wrote an essay about the ubiquity of women’s head coverings across different faiths, which argued it was unfair to associate the veil exclusively with Islam. What about nuns, or ultra-Orthodox Jewish women? I was keen to defend my commitment to the headscarf, and to connect to other religions the notion of ­modesty to which I had submitted.

I have never before written at length about my experience of either wearing or giving up the veil. It’s always been a difficult subject, and for many years following my decision to stop wearing a headscarf I was so ashamed that I ­preferred not even to mention to new acquaintances that there was a time when I wore the hijab. Hijab has come to represent complex principles of modesty and dress – the Prophet Mohammed is said to have instructed women to cover all of their body except for the face and hands – but veiling has never and will never be as simple as this seems to suggest.

Some women veil themselves out of piety, believing that the Koran mandates it. Others want to be visibly identifiable as Muslim, and for them veiling is central to that. For some, it is a way to avoid expensive fashion trends and ­visits to the hair salon. For others, it is a way to be left alone and afforded more freedom to move about in a public space. In recent decades, as veiling became more prevalent throughout the Arab world, the pressure on women who were not veiled increased and more women took it on to avoid being harassed on the streets. Some women fought their families for the right to veil, while others were forced to veil by their families. For yet others, it was a way to rebel against the regime or the West.

The subject has consumed a large portion of my intellectual and emotional energy since I first put on a headscarf. I might have stopped wearing one, but I never stopped wrestling with what veiling means for women.

Choosing to wear the hijab is much easier than choosing to take it off. When I returned to Egypt at 21 to study journalism at the ­American University in Cairo (AUC), the hijab became a full-time job, the duties of which I had not anticipated. Back then, in 1988, before neon-pink and orange hijabs and skinny jeans, there were more fixed ideas about what a woman in a hijab could do. The strange combination that I represented complicated that equation: an Egyptian woman with a very English accent and broken Arabic, who danced along to music on campus in her hijab. Back then, that was not a comfortable mix. But trying to persuade people I could make it work became an obsession. I’d think, “What will people think about ­Muslims if I take my headscarf off after all I’ve said and done to prove you can wear one and still be an extrovert and a feminist?”

One day, I interviewed a veteran journalist who was doing exactly what I aspired to do: using her writing to fight for women’s equality. “Why are you covering your hair?” she asked. “Can’t you see you’re destroying everything we’ve worked so hard for?”

“But I’ve chosen to dress like this,” I replied.

What finally helped me part ways with the hijab in 1992 was a conversation my mother had about me with a doctor, a colleague of my father’s. It helped put to rest my conflict over that word, choice. The doctor, asking after my brother and me, wondered if I was married. When my mother told him I wasn’t, he replied – as she conveyed to me – “Don’t worry, she wears a headscarf. She’ll find a husband.” Just like that, a piece of cloth had superseded me. I wasn’t the Hijab Poster Girl. I was just a hijab.

The week I decided to stop wearing a ­headscarf, I had just finished my graduate ­studies in journalism at AUC. The biggest ­challenges were telling my family, who had pressured me to keep the headscarf on, and ­getting a bad haircut. I did not want anyone to think I’d taken it off for vanity’s sake or to attract men. At AUC, my friends, male and female, were split between the “You look so much better!” camp and the “You’ve made us look so bad!” camp. Guilt clung to me for several years. I assuaged it somewhat by continuing to wear my old hijab-appropriate clothes, minus the headscarf. I didn’t wear make-up, my hair remained short, and I had to reckon with a new body consciousness.

I have heard from and read about several women in Egypt who stopped wearing the headscarf or the niqab after the revolution that began in January 2011. I was living in the US then. I did not have enough money to fly back to Egypt to join the hundreds of thousands who marched on Tahrir Square.

When I returned later that year, it was in the “new Egypt” that I was sexually assaulted by security forces during clashes near Tahrir Square – beaten so severely that my left arm and right hand were broken – and detained, first by the Ministry of the Interior and then by military intelligence, for some 12 hours, two of which I spent blindfolded. Only by virtue of a borrowed mobile phone was I able to send an alert on Twitter about my situation. I am eternally grateful to all who spread the word about my detention and campaigned for my release. At least 12 other women were subjected to various forms of sexual assault during the protest in which riot police attacked me.

“Divide and conquer” takes on a new ­meaning when you tug on the jacket of the supervising officer who, as he witnesses his men groping every part of your body, assures you nonetheless that you are safe because he will protect you. Then, in the next breath, he threatens you with gang rape by another group of his men, amassed close by and gesticulating at you.

The details of what happened to me mattered little to the triage nurse in the emergency department of the private hospital where, about 16 hours after the physical and sexual assault, I was trying to get medical care. “How could you let them do that to you?” she asked. “Why didn’t you resist?”

“When you’re surrounded by four or five men from the riot police, and they’re beating you with sticks, there isn’t much ‘resisting’ you can do,” I explained.

I actually “resisted” sex for a long time – too long. I guarded my hymen like a good virgin until I was 29. Just as it had taken me eight years to take off my hijab, it took me a long time to overcome all that I had been taught about what I should and should not do with my body. I had spent most of my 20s working hard at building a journalism career. It was also a convenient way to avoid marriage, which at the time was the only way I could conceive of having sex. I feared I would not have the strength to fight the religious and cultural disadvantages with which I felt a wife must wrestle.

At 28, I was fed up with waiting. I met an Egyptian man I was attracted to. I asked him out; we began to date. He was patient. Just after my 29th birthday, we finally had intercourse. Not long after I broke up with him, I married a white American. Those turbulent two years taught me that marriage – to anyone – was not for me. It also sealed for me the issue of children. I am happy to be child-free. I do wonder, sometimes, if I’d had a daughter, how I would have brought her up. Would I have raised her to disobey?

I’m 47 now, living and working in Cairo and New York, and sexual guilt still lingers. I have had to fight hard to keep these paragraphs in, knowing my family will see them and disapprove, but this is my revolution.

Edited extract from Headscarves and Hymens by Mona Eltahawy (Hachette Australia, $32.99)

Source: www.theaustralian.com.au

Arab stars announced for F1 Abu Dhabi Grand Prix after-race concert

The Algerian singer Cheb Khaled, Lebanese singer Fares Karam, Emirati singer Aryam and Lebanese producer DJ Said Mrad have been announced as the four artists who will launch the seventh annual F1 race weekend with performances at du Arena on November 26.

Since 2013, the race weekend has opened on Thursday night with a programme of Arabian music – a tradition that continues this year.

The line-up was revealed at the Arabian Travel Market, at Dubai World Trade Centre. The three international acts that will perform at the After-Race Concert series (November 27-29) are yet to be revealed.

Khaled is considered to be an Arab music legend. Having achieved international success with his 1993 breakout hit Didi, the 55-year-old continues to captivate, most recently with the 2012 smash album and single C’est La Vie, overseen by Lady Gaga’s producer RedOne. A talented multi-instrumentalist, Khaled is known to fans as the “King of Rai”.

Khaled will have some younger competition from Karam, who specialises in adding a modern twist to the traditional Dabke style, an Arab folk-circle dance. Rising to fame after competing on the Studio El Fan talent show, the 40-year-old Karam scored dozens of hits including Retani (I Wish), El-Tannoura (The Skirt) and Shefta (I Saw Her).

All eyes will also be on the Emirati Aryam, who is representing the UAE and is the only female artist on the bill. Her appearance on the Yas Island stage is akin to a graduation. Aryam performed as part of the Grand Prix festivities in 2011 as part of Beats on the Beach at the Corniche, and her graduation to the du Arena heralds her arrival as a growing musical force in the region.

Since her first TV appearance in 1995, as the youngest contestant on the talent show Ya Hala Beldaif, Aryam has steadily built her career, with a standout performance at Dubai Shopping Festival two years later in addition to a string of Gulf pop hits, including the popular Seyan and Indi Kalam.

The late-night tempo will be set by DJ Said Mrad, who is known for mixing Arabian ­instruments and melodies with dance-floor beats. After conquering the international ­market with the breakout hit 1001 Nights (Alf Leila w ­Leila), Mrad has earned the tag of “guru of Arabian electronic dance music”.

There will be plenty more music to look forward to over the race weekend, with a trio of international acts to perform on Friday, Saturday and Sunday nights, stacking up to four nights of great music.

Some of the biggest acts in the world have performed at the Abu Dhabi Grand Prix since the inaugural event in 2009.

They include contemporary urban superstars Jay Z, ­Beyoncé, Kanye West and Pharrell Williams, rock legends such at Paul McCartney, Prince, The Who and Aerosmith, and pop stars Britney Spears and Kylie Minogue. Organisers have hinted that we can expect artists of a similar calibre.

Source: www.thenational.ae

A great fattoush has maximum crunch and flavour

Hamilton Spectator
By Jeanmarie Brownson
I enjoy a salad nearly every day of the week. I love to crunch with the self-satisfaction of following journalist Michael Pollan’s sage advice for healthy eating: “Eat food. Not too much. Mostly plants.”

It’s easy to eat plants when they’re covered in bacon and blue cheese, which defeats the point. Same goes for salads swimming in dressing and packed with deep-fried croutons. That’s why I like to make fattoush. This Middle Eastern toasted bread and vegetable salad satisfies my inner rabbit perfectly.

I’ve enjoyed fattoush since reading about it in “Flatbreads & Flavors, A Baker’s Atlas” by Jeffrey Alford and Naomi Duguid. The intrepid authors explain that “the root word for all the dishes in the Arab world using toasted flatbread is fatta —hence fatteh, fattoush, etc. As with most home-cooked dishes, there are a great many versions of fattoush, especially in Syria and Lebanon.

The salad recipe in their cookbook simply mixes cucumbers, tomatoes, green onions and parsley with a lemon vinaigrette and toasted pita. I mix up a version inspired by a restaurant that adds plenty of lettuce, fresh purslane and green bell pepper to the mix.

Toasted bits of flatbread or pita, sprinkled throughout the salad like exotic croutons, prove the common bond in everyone’s fattoush. Usually, I employ an open flame to toast the ginormous flatbreads called tannour sold at Middle Eastern markets. Made in superhot tandoor ovens, these chewy golden thin breads crisp quickly over the gas burner or hot charcoal fire.

Alternatively, thicker pita breads or pita pocket breads can be split horizontally in half before toasting over the flame. Popping the breads in a moderate oven lets me make quite a pile of toasted flatbreads in just 20 minutes. An oil spritzer helps prevent greasiness. Once crisp, the breads can be stored in a container for several days. Whether you flame toast or oven-crisp, the crusty breads will contain less fat and calories than most store-bought croutons.

As for the vegetables in my fattoush salad, I like to start with a mix of lettuces for maximum crunch and flavour. I love to combine thinly sliced radicchio with torn romaine leaves and tiny leaves of lemony-bright fresh purslane when I can find it.

Baby kale, slivered Brussels sprouts, tender Napa cabbage, sliced Belgian endive make it in the bowl occasionally as does watercress, arugula and red-tipped Little Gem Lettuce.

If adding spinach to the mix, I prefer bunches of tender leaf spinach; it boasts better flavour and texture than baby spinach. For weekday lunches, I buy bags of chopped lettuce mixes to save time.

I think the versatility of salad is what keeps me engaged. I almost always find something in the refrigerator capable of enhancing even bagged salad. A jar of tiny pickled onions inspires a salad topped with smoky ham and shredded cheddar. Olives and sun-dried tomatoes lend a Mediterranean feel to chopped greens. Cheeses, cooked grains and beans add texture and protein.

Of course, if I have fresh herbs, sliced radishes or shredded carrots, I add them for flavour, colour crunch. When I am eating my fattoush salad, or any combination salad for that matter, as a main course, I add strips of roasted or grilled chicken, turkey, pork tenderloin, lean beef or lamb. Boiled shrimp or scallops, flakes of grilled fish, thin slivers of ham or prosciutto likewise add goodness.

If you only have time for one improvement to your salads, make homemade dressing. Most take just a few minutes and always taste fresher than bottled. Homemade salad dressings will keep a week or more in the fridge; I pack them into glass bottles with narrow necks for easy shaking and pouring.

For fattoush, I make a lemon vinaigrette seasoned with sumac. This deep purple-red dried berry, from the sumac bushes throughout the Middle East, has a tart and fruity flavour. It can be found in ground form in Middle Eastern markets. It’s equally delicious sprinkled over salads, brown rice and roasted vegetables.

Start with crisp bread, homemade dressing and a variety of lettuces and vegetables. You’ll be well on your way to a great fattoush and a lifelong salad infatuation.

Fattoush Vegetable and Toasted Flatbread Salad

Serves two as an entree or four as a side dish

1 head romaine lettuce, trimmed

1 small head Boston lettuce, halved, thinly sliced

½ cup thinly sliced fresh herbs, such as a combination of cilantro, parsley and mint

4 to 6 medium tomatoes, such as Campari, cut into eighths

3 small green onions, ends trimmed, thinly sliced

½ seedless cucumber, quartered lengthwise, thinly sliced

½ green bell pepper, seeded, chopped

4 large radishes, cut into matchsticks, about 1/3 cup

½ cup drained canned garbanzo beans

About 2 cups roughly broken crispy pita wedges or flame-toasted flatbread, see recipes

2 cups shredded cooked chicken, optional

Fresh lemon vinaigrette with sumac, see recipe

Ground sumac, optional

Fresh lemon wedges

Cut the romaine head lengthwise into quarters. Then sliced each quarter into ½ inch wide pieces. You should have about 6 cups. Put into a large mixing bowl along with the Boston lettuce. Add herbs and toss to mix. Just before serving, add tomatoes, onions, cucumber, bell pepper, radishes and garbanzo beans to the lettuce mixture. Toss well. Add pita wedges and chicken if using, then add a couple of spoonfuls of vinaigrette (do not drench salad). Toss again. Sprinkle with sumac and garnish with lemon wedges.

Crispy Pita Wedges

Makes six to eight

¾ teaspoon salt

½ teaspoon dried basil, finely crumbled

¼ teaspoon chili powder

1/8 teaspoon ground cumin

4 pita breads with pockets

Olive oil in a spray bottle

Heat oven to 350 degrees. Have two large baking sheets ready. Mix salt, basil, chili powder and cumin in a small dish. Cut each pita round into eight wedges. Split each wedge open. Lay the pita pieces on the baking sheets in a single, uncrowded layer. Spray wedges lightly with oil; toss with spice-herb mixture and spray again. Bake, stirring once or twice, until crisp and golden, 15 to 20 minutes. Cool completely on wire rack.

Flame-toasted flatbread: Set a thin flatbread over a gas flame or hot grill. Let sit until it starts to toast and crisp, use tongs to flip the flatbread and move it over the flame to toast evenly. Cool then break into large bite-size pieces.

Chicago Tribune

Source: www.thespec.com

This Portland Restaurant Wants to Remake Iraq’s Image

By Bent Crane Munchies  There was nothing out of the ordinary on that fateful day in 2005. The war had begun only a couple years prior, but things had somewhat died down in Baghdad since Saddam Hussein was toppled and American jets had stopped dropping bombs on the city. Ghaith Sahib had recently returned to … Continued

10e in downtown L.A. has duck shawarma and za’atar pizza

Name of restaurant: 10e, named after the owner’s daughter Tenny. You could also think of it as a nod to the nearby 10 Freeway.  

Concept: A McDonald’s-turned-Lebanese restaurant with high ceilings, two floors, ornate white molding and elaborate light fixtures that give the illusion of lamps falling from the sky. The restaurant opened just six months ago with its version of Lebanese food, including some classics (kebabs, cold and hot mezze) and some not-so-traditional dishes, including duck shawarma. 

Pastry chef update: Nicole Rucker’s doughnuts now at Cofax
What dish represents the restaurant, and why: The duck shawarma. The shawarma is almost gray in color, heavily spiced with cumin, caraway, cardamom and nutmeg. If you didn’t know it was duck, you might think it was beef. The bread is thin and chewy, almost like a tortilla — unlike the bread served along with the dips; those are more like warm, puffy pillows. Inside the wrap, there are strips of lettuce dressed with tahini.

Source: www.latimes.com

Graffiti artist eL Seed to appear at Abu Dhabi International Book Fair

Earlier this year he completed a year-long residency in Dubai’s Tashkeel studio hub. Now eL Seed is back to talk about his book and ongoing passion for the art of calligraphy in the more modern form of graffiti.

As part of the programme the for Abu Dhabi International Book Fair, eL Seed will present his book Lost Walls, which was launched last year and chronicles a journey that he took through his native Tunisia painting the walls and reclaiming the country’s rich heritage.

Well known for his distinctive form of calligraffiti – a fusion of Arabic calligraphy and graffiti – eL Seed and his team put the book together to highlight parts of Tunisian culture that he sees as overlooked. As well as the images of his work, he also interspersed with a series of essays from other artists, scholars or those in the tourist industry, addressing subjects like the democratisation of art and the responsibility of the artist in Tunisia. Visitors to the fair will have the chance to buy the book and meet the author.

He will also partake in a conversation with Don Karl, founder of From Here To Fame, the publisher of Lost Walls and co-author of Arabic Graffiti, a book about the use of graffiti and street art across the region. They will discuss the significance of calligraffiti as an art form.

“Calligraphy in the Arab culture is something really important,” eL Seed says. “It used to have a very high, sacred status but step by step it became old-fashioned. Graffiti is the language of the new generation and bringing calligraphy into it keeps the tradition alive. Most importantly, it also allows innovation into this art form, adding another dimension and showing that we in the Arab world can adapt graffiti to our own context.”

Source: www.thenational.ae

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