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Habibi Gets Picked Up By The NY Times Metro Section !

JANUARY 13, 2011, 3:56 PM

For Gay Arabs, a Place to Dance, and Break Down Walls 


By CHADWICK MOORE


Joshua Bright for The New York Times The Habibi dance party at Club Rush in Manhattan in November.


Around midnight, upstairs in a small club on Avenue of the Americas, the pitch-black dance floor resounded with the rapid stomps and warbling, high-energy cries of the dabke, an Arab folk dance performed at weddings and other celebrations.


When the strobe lights flashed, they revealed a sea of raised hands. A man in the crowd removed his kaffiyeh, the traditional headdress worn by some Arab and Kurdish men, and whipped it around in the air.


“I can understand so many conversations going on right now,” a Fashion Institute of Technology student shouted over the music, coiling his wrists and shakinghis hips to the belly-dance beat. “But you wouldn’t want me to translate. It’s all dirty. Dirty Arabic.”


This was a recent Saturday night at Habibi, a floating monthly dance party of lesbian, gay, bisexual and transgender Arabs in New York. In a city that seems to offer activities for every conceivable gay subculture — one 700-entry directory lists support groups for, among others, gay vegans, pilots and sailing enthusiasts, along with 62 religion-based groups — Habibi is perhaps the only opportunity in New York for gay people of Middle Eastern descent to interact openly in an organized setting.


“In New York there’s nowhere I can come to and cry, so to speak,” said Amir, 27, a registered nurse from Saudi Arabia who lives in Brooklyn and has been coming to the party for six years. “Habibi is a welcoming community.”


In its nomadic nine-year history, Habibi, which rests only during the holy month of Ramadan, has inhabited straight and gay clubs and hookah bars all over Manhattan — Flamingo, Boom, the China Club, Club Duvet, Moomia — and outlived many of them. Lately, Habibi has made its home at Club Rush in Chelsea. Habibi’s downstairs neighbor there is one of the city’s few “twink” parties; the word describes particularly boyish-looking men. Throughout the night, shy, lithe, silken-haired young men trickled upstairs to ogle the mob of Arab men dancing to Middle Eastern pop, spun by the party’s founder, a practicing Muslim named Abraham.


Habibi, the Arabic word for “my beloved”, is a sort of stepchild of a more serious-minded
group called the Gay and Lesbian Arab Society. Abraham, a former accountant in his 40s with a shaved head, steady gaze and smoky accent, was one of the society’s co-founders. Through the 1990s, the group met at the LGBT Center in the West Village.


“It got big, which is not always a good thing, because you have all nationalities of the Middle East,” said Abraham, who is of Syrian and Palestinian descent, grew up in Kuwait and now lives in Astoria, Queens. Like others interviewed for this article, he spoke on the condition that his last name not be used.


“The Egyptians want to hang out with the Egyptians, the Moroccans want to hang out with the Moroccans, et cetera,” he said. “This is always a problem you have with Arabs.”


The cookies-and-tea meetings, Abraham said, “got a little boring.” The first Habibi party, in early 2002, was a fund-raiser for the society, held in an Italian restaurant on the Lower East Side. “I thought what was natural was to do something fun, have people dance, have fun,” Abraham said.


Though the Gay and Lesbian Arab Society tended toward balkanization, Abraham said: “Habibi blends everybody. It breaks down as many walls as possible. You have everyone in the same room dancing.”


The society’s ranks, meanwhile, continued to thin. By the end, only a handful of people would show up for meetings. “I think around 2004, it was the Internet that really did it,” said Nadeem, an Iraqi Christian
who served as the society’s president from 2000 to 2004, when it stopped meeting — though its Web site remains active. “There wasn’t a need to go to meetings; people could just meet up online. Habibi is so successful, one, because it’s a business and Abraham really treats it like one, and two, the idea of a party entices people more.”


Gay Muslims, at least as much as adherents of other faiths, face hurdles reconciling their religion with their sexuality. At the city’s biggest mosque and one of its more progressive, the Islamic Cultural Center of New York, the imam, Mohammad Shamsi Ali, laid out what amounted to a “don’t ask, don’t tell” policy.


“Homosexuality is grouped with adultery, fornication, all of them very severe sins, but you don’t need to talk about it,” Mr. Ali said. “It is between you and the creator.” He said gays and lesbians were welcome at his mosque, even to bring their partners. “But we don’t need to know about their sex lives,” he said.


As the only game in town, Habibi, which has attracted as many as 300 guests, brings together Arabs of all social stripes — at once a blessing and a source of its own brand of discrimination. “In Dubai, everyone is bisexual,” a 22-year-old Columbia University accounting student said at the party in November.


“But it’s such a different scene there.” Calling Habibi “kind of trashy compared to what most Arabs, at least in Dubai, are used to,” he said: “I mean, there are street vendors here.” Nodding in the direction of a man standing in the shadows nearby, the student said: “You can spot the ones who sell kebabs on the street. It’s not difficult.”


In the D.J.’s booth, Abraham kept the hits coming — mainly from Egypt and Lebanon, but also some South Asian and Indian pop. “Anything with a belly dance beat,” he said. “Keeping people on the dance floor is a natural high for me.” The dancers included plenty of non-Arab men, many of whom Abraham said were regulars. “Hummus queens,” a 24-year-old grocery clerk from Queens named Hilal joked at one of the parties. “That’s what you call white guys who go for Arabs.”


Some of the guests yearned for something more than just a good time. “There’s a lot of post-9/11 baggage that people want to deal with,” Hilal said during another party. “But the only option they have is to go out to a club and dance?” Still, Hilal, wearing a “Hummus Is Yummus” T-shirt and a Mohawk haircut, took his place on the dance floor, too.


And around 1 a.m., three female belly dancers took to the stage, dressed in pink sequined burqas. The crowd tightly gathered around the dancers and cheered as the women, piece by piece, stripped their burqas to a crooning love song.


The next Habibi is this Sunday, Jan. 16 at La Pomme, 37 West 26th Street in Chelsea. More information is available from habibi@habibinyc.com Habibi e-mail address or the party’s Web site; its Myspace page or its Facebook page. There is a $10 admission charge.


Copyright 2011 The New York Times Company
NYTimes.com 620 Eighth Avenue New York, NY 10018

Tuesday

Slingshot Hip Hop


Slingshot Hip Hop is a 2008 documentary film directed by Jackie Reem Salloum which traces the history and development of Palestinian hip hop, in Palestine from the time DAM pioneered the art form in the late 1990s. DAM, Palestinian Rapperz, Mahmoud Shalabi, and female artists Arapeyat and Sabreena Da Witch (Abeer).

Slingshot Hip Hop braids together the stories of young Palestinians living in Gaza, the West Bank and inside Israel as they discover Hip Hop and employ it as a tool to surmount divisions imposed by occupation and poverty. From internal checkpoints and Separation Walls to gender norms and generational differences, this is the story of young people crossing the borders that separate them.

The film premiered at the 2008 Sundance Film Festival, and screened at the 2008 Chicago Palestine Film Festival. It was also shown in the 12th Annual 2008 Arab Film Festival, where both the filmmaker Jackie Reem Salloum as well as the Palestinian rap trio DAM were present for the screenings. It was the opening night film at the 2008 Boston Palestine Film Festival,and also screened at the 2010 Palestine Film Festival Cyprus.
WHY?
Jackie Reem Salloum, a film director and activist, has been one of the key players in the movement to increase global interest in Palestinian art.
Born to Palestinian and Syrian parents in Dearborn, Michigan, her artwork was influenced by her experiences as a young woman in the Arab Diaspora.
During her late teens, she studied at the renowned Steinhardt art school at New York University, where she learned to reinterpret traditional American cultural symbols like gum ball machines to include references to revolutionary figures like Musa Kazim Pasha al-Husseini, a mayor of Jerusalem who was ousted in the 1920s for his opposition to British pro-Jewish policies.
In 2005, Salloum presented Planet of the Arabs, a nine-minute film about how Arabs are portrayed in the media, at the Sundance Film Festival.
However, Salloum would not find critical acclaim until her latest film, Slingshot Hip Hop, which was recently shown at the Toronto Palestine Film Festival.
In the 80-minute documentary, Salloum profiles the lives and art of Palestinian hip-hop artists living under Israeli occupation. Groups like DAM from the impoverished ghettoes of Lyd within Israel and P.R. from Gaza infuse energy into cultural resistance.
Al Jazeera recently caught up with Salloum in Toronto where she discussed her art and film and some of the obstacles she has encountered over the years.
Al Jazeera: Why do you consider your film to be a form of resistance?
Salloum: Any Arab who is putting out work that challenges stereotypes and state/foreign policies or creates work that reflects our culture and history is enacting resistance.
The film continues to show in festivals around the world, where many people are seeing images of Palestine and Palestinians for the first time.
The rappers featured in the film are opening a window into Palestinian life in their own way. The film is also an educational tool. It is used in the curriculums of many high schools and colleges across America.
Students from areas like Brooklyn, who are predominantly Black, Latino and Chicano, are being inspired by the struggle of the Palestinians.
They are finding connections between their own struggles, and the stories told about life in occupied Palestine and Apartheid Israel in the lyrics of Palestinian rappers.
Students from America have even written hip-hop songs honouring the rappers in Palestine using a mix of Arabic and American music. Those are some of the ways in which the film works as a form of resistance.


What obstacles did you face?


When I was trying to raise money for the project, I would always have to reassert the fact that the film is about the Palestinian hip-hop movement.
Most people would assume that my film was about Israelis and Palestinians coming together through hip-hop, and when they realised that it was just about the Palestinians, they would lose interest.
Eventually, I ran out of money and had to move back home with my parents, and work at the family ice cream store. I would scoop during the day, edit at night, and take all the profit from the ice cream parlour.
That is why, in the end of the film, you will read "Fresh Booza (ice cream in Arabic) Productions," in homage to them.
Without them and support from the community and other artists, there would have been no funding for the film.
I also faced barriers shooting the film in Israel. As an Arab-American, going through Ben Gurion Airport in Tel Aviv is always a challenging experience and getting into Gaza is even more difficult.
This is especially true when they know that your background is Palestinian. I was always stopped and interrogated, some times for more than seven hours.
The stress came from not knowing if you would be allowed in; I have many Arab friends who were denied entry. Once, the Israeli authorities broke my camera before returning it to me, and since then, I don't carry any of my tapes or equipment with me when I travel.
I don't think they're afraid of me. They just don't want their image tarnished. In that sense, Israel sees every camera as a threat. In the US, for example, the image of Israel is very controlled.
We never hear any criticism whatsoever of Israeli policies. Even when American civilians like Rachel Corrie was killed by an Israeli bulldozer, Israel's actions are justified in the media as part of their fight against so-called terrorists in Gaza.
What is the relationship between Palestinian and Israeli rappers?
I didn't want to make a film about Israelis and Palestinians coming together through rap because that wasn't the reality of the hip-hop scene there.
There isn't much collaboration between Palestinian and Israel rappers. The most popular Israeli hip-hop artist is a right-wing Zionist whose audience calls for death to Arabs at his shows.
Palestinian rappers and their audiences never advocate the killing of Israelis or Jews.
There are some Israeli rappers that are progressive and supportive of Palestinian hip- hop, working on collaborative projects with DAM and some other Arab-Israeli rappers.
However, that is not reflective of the mainstream Israeli hip-hop scene.



You have called on Arab women to be more involved in the arts?
It is always important to have women's voices heard everywhere.
It is already difficult for most young Arabs, whether they are men or women, to tell their families that they want to get into the arts.
This reality is more compounded for women, who have to challenge ideas that want to keep them at home to cook and clean. When I told my parents I wanted to major in art they said "no be a pharmacist or a librarian".
So I compromised a bit for them by majoring in graphic design, and they supported it. But I continued to make art and when they actually saw the effects it had and the media coverage they became very supportive and try to convince other Arab parents to tell their kids to become artists, filmmakers, and musicians.
Abeer, a Palestinian artist featured in the film, had to fight against threats from her cousins in order to get up on stage and sing. She had to do most of it in secrecy.
Despite that, she kept doing what she loved to do the most, which is making music.
Since the film's screening in Jordan, Lebanon and Palestine, and even America, young women have flooded Abeer with emails showing their support and appreciation for the work that she is doing.
Many of them said that they were facing similar obstacles at home. Abeer has also received a lot of support from male Palestinian rappers who have refused to cut her out of their work, and have been critical of Arab societies for their treatment of women.
I want people in the Arab world to see young women like Abeer and the band Arapeyat and to realize that hip-hop isn't like the candy-coated pop music that is predominantly coming out of America and the Arab world.
What are some of the most striking discoveries that you made about Palestine during the film?
For me, I have always had family that has lived in the West Bank, so I'm very familiar with life under occupation.
My only interaction with Israelis had been at checkpoints and airports, or when they are in their tanks or sniper towers. The film, however, introduced me to Palestinians living within lands occupied by Israel since 1948, or Israel.
I was immediately shocked with the amount of discrimination and oppression that these people faced living in Israel, despite having Israeli citizenship.
In particular, I was taken aback by the level of assimilation that Palestinians were subjected to. Some of the younger people I met were confused about their Palestinian identity, and would not know how to identify themselves.
This all serves to drive a wedge between an occupied people. It was difficult to see Palestinians who lived in the West Bank, Israel and Gaza not be able to actually go and visit each other.
Hip-hop served as a point of coming together for these Palestinian youth.




Friday

Mohamed Hamaki


Mohammad Hamaki is an Egyptian singer.

Hamaki stayed nearly 2 years after the release of his first album that is produced by DeltaSound - that was a great success - not releasing any new songs until he released his single "Yana Yanta" (Either Me or You!) and shot it. After that it was reported that he decided to break up with audio producer Tarek Madkour and working on his own without him and with his same producer Nassif Kauzman the owner of DeltaSound because Madkour has been always busy working on songs for other famous singers. However, these rumors have been denied as Madkour stated on his official site that he will recooperate with Hamaki in his new album.

Months later, he released his second album "Kheles El Kalam" (All The Words Have Finished!) in 2006 and was awarded with the Platinum CD for being the best selling middle eastern artist for year 2006. Hamaki worked mainly in this album with his friend Hatem Abdel-Aziz or "Tooma" as he used to be called, who replaced Madkour's leading role in Hamaki's work under the umbrella of DeltaSound.

The song "Wahda Wahda" (One By One) which was included in the album and was the soundtrack song of the movie "Ga'alatny Mogreman" was shot featuring the movie star Ahmed Helmi and aired on TV as soon as the album was released. It achieved a great success and wide popularity among different audiences. The song "Ahla Haga Feki" (Best Thing About You) was remixed by DJ.Idriss and shot some time after the album release. In the clip, the Rapper Perry Mystique was there with Hamaki. The clip is also produced by DeltaSound and was shot in Dubai, UAE.

Hamaki released his newest album 18th July 2010 , Haga Mosh Tabe3eya . This album included 11songs

Discography 
*Laeqa2 El Nogoom - 1996
* 5allena N3eesh - 2003
* 5eles El Kalam - 2006
* Ba7ebak Kol Youm Aktar - 2008
* Naweeha - 2008
* Haga Mosh Tabe3eya - 2010
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