{"id":37153,"date":"2025-05-30T09:52:52","date_gmt":"2025-05-30T07:52:52","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=37153"},"modified":"2025-08-19T15:41:44","modified_gmt":"2025-08-19T13:41:44","slug":"june-world-picks-from-the-editors","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/june-world-picks-from-the-editors\/","title":{"rendered":"June World Picks from the Editors"},"content":{"rendered":"
Literary conversations, films, exhibitions, musicals and concerts \u2026 TMR World Picks run the gamut \u2026\u00a0<\/span><\/h5>\n
We welcome your suggestions:\u00a0<\/span>editor@themarkaz.org<\/span><\/a><\/h5>\n

\u00a0<\/span>
\n<\/span><\/b><\/p>\n

TMR<\/h4>\n
\"Ahmed<\/a>
Ahmed Masoud’s play Application 39<\/em> featured in the Pal Art Collective 2025.<\/figcaption><\/figure>\n

Pal Art Collective 2025<\/b><\/h4>\n

Ongoing \u2014 June 1, Theatro Technics, London \u2014 more info<\/a><\/b><\/p>\n

Celebrating Palestinian theatre, storytelling, and humor \u2014 some of it black \u2014the PalArt Collective has organized the following plays, which are being showcased during London\u2019s\u00a0 Shubbak: A Window from Contemporary Arab Cultures festival. <\/span>Application 39<\/span><\/i><\/a> is a dark comedy play that imagines Gaza hosting the 2048 Summer Olympics by Ahmed Masoud (the play\u2019s original story appeared earlier this year in <\/span>Sum\u016bd<\/span><\/i><\/a>: A New Palestinian Reader <\/span><\/i>). <\/span>Peace De Resistance<\/span><\/i><\/a> features Sami Abu Wardeh\u2019s compelling call for widespread civil disobedience, a fair distribution of hand puppets, and an exploration of whether resistance can actually strum the funny bone. <\/span>Return to Palestine<\/span><\/i><\/a> tells the story of a Palestinian born in America, who goes to the homeland for the first time in a search of his people and identity. While in\u00a0 <\/span>Manjal<\/span><\/i><\/a>, dabke and poetry merge and bring together folk and modern Palestinian music with poetry, infused with tales of love, loss, and resistance from the everyday lives of the Palestinian people.<\/span><\/p>\n

\n
\"Azar<\/a>
Azar Nafisi<\/a> has been a major proponent of reading freely for years.<\/figcaption><\/figure>\n

Azar Nafisi in Conversation: The Role of Literature in Times of Crisis
\n<\/b><\/b><\/h4>\n

June 3, Middle East Institute, Washington, D.C. \u2014 <\/b>more info<\/b><\/a><\/p>\n

Drawing on both personal experience and literary tradition, acclaimed author and literary scholar, Azar Nafisi, will reflect on the power of literature in times of crisis \u2014 the written word as a force of resistance, refuge, and renewal.<\/span> She will also discuss how literature has empowered women in Iran \u2014 and around the world \u2014 to find their voices and assert their agency in the face of repression. Nafisi is the author of the 2003 best seller<\/span> Reading Lolita in Tehran: A Memoir in Books<\/span><\/i> that was made into the <\/span>film<\/span><\/a> of the same name \u2014 the movie\u2019s lead actresses, <\/span>Golshifteh Farahani and Zar Amir Ebrehami, have been banned by the Iranian regime.<\/span>\u00a0<\/span><\/p>\n

\n
\"Rastak<\/a>
Rastak has been a contemporary Iranian music ensemble performing for years around the world.<\/figcaption><\/figure>\n

Rastak: Tales of Earth and Sun<\/b><\/h4>\n

June 7 & 8, Kings Place, London\u2014<\/b>more info<\/b><\/a><\/p>\n

Tales of Earth and Sun<\/span><\/i>\u00a0is a journey through folk music, bringing together six compositions inspired by the rich musical traditions of Kurdistan, Lorestan, Balochistan, Hormozgan, Kermanshah, and heartfelt love songs from Afghanistan. Each piece carries the spirit of a place, telling stories that connect generations. Rastak is a well-known band in Persian contemporary folk music. Formed as an experimental music group in 1997, they collect, record, and interpret Iranian folk music for global audiences. Rastak incorporates language, culture, and history, merging traditional forms and instruments, such as the zarb, damami, kamancheh and santoor, with contemporary rhythms. Their song <\/span>\u201cHele Mali\u201d<\/span><\/a> is a group folk song from Bushehr sung by fisherman and sailors.<\/span><\/p>\n

\n
\"\"<\/a>
The Aziza Mustafa Zadeh Trio consists of Aziza on piano, with Ralf Cetto, bass and Simon Zimbardo, drums (photo Rainer Ortag).<\/figcaption><\/figure>\n

Saazbuzz Jazz Festival<\/b><\/h4>\n

June 11\u201313, Paris, France \u2014 <\/b>more info<\/b><\/a><\/p>\n

The SaazBuzz Jazz Festival explores identity through music by uniting artists from the SWANA region and beyond to create musical dialogues. One concert features the quintet of the Palestinian composter and pianist <\/span>Faraj Suleiman<\/span><\/a>, and <\/span>Azerbaijani singer and pianist <\/span>Aziza Mustafa Zadeh’s trio. Zadeh is known for her <\/span>fusion of jazz and <\/span>mugham<\/span><\/i> with classical and avant-garde influences<\/span>. Her performance will draw on family culture and intergenerational exchange as Mustafa Zadeh\u2019s son, Ramiz-Han, on piano, will join his mother on stage.<\/span><\/p>\n

\n
\"Asmahan,<\/a>
Asmahan, a classic singer, inspires a new musical play.<\/figcaption><\/figure>\n

Asmahan: A New Musical Play<\/b><\/h4>\n

June 16 & 17, The Peacock Theatre, London \u2014 <\/b>more info<\/b><\/a><\/p>\n

For the first time ever, a production brings to the stage the extraordinary life and music of the singer <\/span>Asmahan<\/span><\/a>, once considered a significant rival to Umm Kulthum. In what promises to be a surprising musical, the first act unfolds as a backstage interview at the Cairo Opera House in the early 1940s. The second act takes place during one of the singer\u2019s concerts, with the remarkable Syrian Armenian singer-songwriter <\/span>Lena Chamamyan<\/span><\/a> at the mic as the iconic Syrian-Egyptian singer. Many scenes include Asmahan\u2019s famous brother, the actor, singer, and composer <\/span>Farid al Atrash<\/span><\/a>.<\/span><\/p>\n

\n
\"Tammam<\/a>
Tammam Azzam (b. Syria 1980), Untitled, paper collage on canvas, 90x130cm, 2023 (courtesy Azzam Gallery).<\/figcaption><\/figure>\n

Wavering Hope<\/i><\/b>: a Syrian group exhibition<\/b><\/h4>\n

June 18-September 5, Ayyam Gallery, Dubai \u2014 more info<\/a><\/b><\/p>\n

For Syrians, hope is a complex and often conflicting sentiment. It has served as a force of endurance and, at times, a source of sorrow, rising in fleeting moments, only to vanish in the face of renewed suffering. For over two decades of conflict, displacement, and resistance, Syrian artists have relied on their creative practices as a lifeline. Through these practices, they have fought against erasure to preserve memory. At a time when homes and institutions were destroyed, art persisted as an act of quiet defiance. On December 8, 2024, the fall of the Assad regime marked a symbolic and historical turning point. The machinery of war fell silent, sanctions were lifted, and Syrians in exile felt the first stirrings of return. Yet another question persisted: was this truly an end, or merely the next iteration in a long cycle of hope and despair? With artwork by leading Syrian artists \u2014 Kais Salman, Khaled Takreti, Tammam Azzam, Abdalla Al Omari, Othman Moussa, Safwan Dahoul, Thaier Helal, Elias Izoli, Abdul-Karim Majdal Al-Beik, Mohannad Orabi, Nihad Al-Turk, and Yasmine Al Awa \u2014 <\/span>Wavering Hope<\/span><\/i> \u201cis not only a collective meditation on survival but also a record of artistic persistence,\u201d notes the Ayyam Gallery\u2019s press release. Each of the participating artists grapples with the contrast between the homeland\u2019s before and after, which oscillates between destruction and re-birth, mourning, and hope.\u00a0<\/span><\/p>\n

\n
\"Toronto<\/a>
Toronto’s Arab Film Festival is in its sixth year.<\/figcaption><\/figure>\n

6<\/b>th<\/b> Annual Toronto Arab Film Festival<\/b><\/h4>\n

June 20\u2013June 29, Toronto, various venues \u2014 <\/b>more info<\/b><\/a><\/p>\n

Toronto Arab Film (TAF) is a nonprofit organization bringing films from and about the Arab world to Toronto audiences. TAF began in 2017 with the goal of addressing the lack of Arab representation in Toronto film programming and has since grown into a multifaceted organization that promotes the diversity of Arab cultures, builds community, creates opportunities for exchange, and develops emerging artists. For the full film list, see <\/span>here<\/span><\/a>.<\/span><\/p>\n

\n
\"Rise<\/a>
Rise, Habibi<\/em> is an art exhibit based on Saqi\u2019s cult collection Classical Poems by Arab Women<\/em>.<\/figcaption><\/figure>\n

Rise, Habibi<\/b><\/h4>\n

<\/b>Ongoing \u2014 June 15, The Crypt Gallery, London \u2014 <\/b>more info<\/b><\/a><\/p>\n

In partnership with Saqi Books and Shubbak 2025, Radical Love\u2019s exhibition <\/span>Rise, Habibi<\/span><\/i> showcases the groundbreaking poems of 30 Arab and Muslim women writing over 1,000 years ago, taken from Saqi\u2019s cult collection <\/span>Classical Poems by Arab Women<\/span><\/i><\/a>, translated by the Yemeni literary historian, poet and storyteller Abdullah al-Udhari.<\/span> Paintings, textiles, sculptures, and words in <\/span>Rise, Habibi<\/span><\/i> draw their inspiration from the verses and couplets by <\/span>warriors, saints, princesses and slaves, women who defied expectations and refused to be silenced.<\/span> Zabba identified a home truth in the 9th century Abbasid dynasty: \u201cBetter to live in hardship then end up as a whipping girl.\u201d Like Zabba, Hajna from 8th century Baghdad also bristled under authority: \u201cCan\u2019t you see we\u2019ve become beetles run by a beetle boss?\u201d<\/span> Love even if its unrequited, conquers all for <\/span>Hafsa in 12th-century Granada: \u201cIf you were not a star I would be in the dark. Salaam to your beauty from one who misses the thrills of your company.\u201d <\/span>In this exhibition, ancient but timeless sentiments are transformed into emotional strategies for today.<\/span><\/p>\n

\n
\"Queer<\/a>
Queer Cinema For Palestine- No Pride in Genocide.<\/figcaption><\/figure>\n

Queer Cinema For Palestine: No Pride in Genocide<\/b><\/h4>\n

Throughout the month of June, 2025, in cinemas around the world \u2014 <\/b>more info<\/b><\/a>\u00a0<\/span><\/p>\n

Organized by the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) with hundreds of partner groups worldwide, Queer Cinema for Palestine (QCP) \u2013 No Pride in Genocide is a global film festival \u2014 from China to Ecuador \u2014 in 30 cinemas around the world. The month-long festival focuses on the work of queer, Palestinian, and allied artists, across localities, in historic Palestine and the diaspora. From doc-hybrid and experimental to fiction and animation, the films highlight cinematic arts as resistance, in the struggle for liberation. <\/span>Queer Cinema for Palestine began as an ethical alternative for filmmakers who objected to showing their work in the 2023 Israeli government-sponsored TLVFest LGBTQ Film Festival. Hundreds of filmmakers have shown their solidarity in response to the boycott, and signed Queer Cinema for Palestine\u2019s <\/span>pledge<\/span><\/a>: \u201c<\/span>As filmmakers, film artists and production companies committed to LGBTQIA+ liberation, we understand that our liberation is intimately connected to the liberation of all oppressed peoples and communities. We stand in solidarity with the struggle of the Palestinian people for freedom, justice, and dignity. We shall do no harm to their liberation struggle. In response to calls from Palestinian queers to boycott the Israeli government-sponsored LGBT film festival TLVFest, we pledge not to submit films or otherwise participate in TLVFest or other events partially or fully sponsored by complicit Israeli institutions until Israel complies with international law and respects Palestinian human rights.\u201d<\/span><\/p>\n

\n
\"Francisco
Francisco Letelier, “Flower Power,” 30x40in, 2025 (courtesy Amy Kaslow Gallery).<\/figcaption><\/figure>\n

Art and Autocracy in the Americas<\/b><\/h4>\n

Ongoing \u2014 July 27, Amy Koslow Gallery, Bethesda MD\/US\u2014<\/b>more info<\/b><\/a><\/p>\n

Citizens across the globe are reeling from the explosive proliferation of autocracies in recent years, which have left more countries run by roughshod regimes than governments protecting basic civil liberties. This year, the US became a dangerous frontrunner among rogue states snatching sovereignty away from citizens by seizing control over courts, commerce, and communications. The equation is also changing fast in Central and Latin America due to the influence of US power over the region. In the recent past, US foreign politics were conflicted and without focus; it forced out military juntas, ushered in civilian elections, birthed fledgling democracies, occupied countries, made deals with dictators, started wars, ended wars, created wealth, stripped natural resources and wreaked chaos on the continent in little more than a hundred years. As the <\/span>Harvard Review of Latin America ReVista<\/span><\/i> calculated some 20 years ago, by then the superpower had already launched an overthrow or intervention every 28 months since the late 1800s.\u00a0<\/span><\/p>\n

When civil society suffers, the creative response is often at its most poignant and powerful. Because of this, autocrats often target art, media, and culture to eliminate any distractions from their overriding message: to ensure sameness without challenge. The nine artists in the <\/span>Art and Autocracy in the Americas<\/span><\/i> exhibition \u2014 American sculptor Mimi Herbert; Cuban painters Jabriel Lafrance and Sandra Dooley; Colombian painter Fabio Mesa and Colombian muralist DJ LU; Haitian voodoo flag maker Valentin Valris; Mexican illustrator Juana Estrada Hern\u00e1ndez; The Markaz Review’s Chilean-American painter Francisco Letelier; and Peruvian pop artist Amapolay \u2014<\/span> show the stirring, often stunning effects of resistance.\u00a0<\/span><\/p>\n

\n
\"Art<\/a>
Art by Turkish artist Bilg\u00e9 (courtesy Institute of Arab and Islamic Art).<\/figcaption><\/figure>\n

Torn Time,<\/em> Bilg\u00e9<\/h4>\n

Ongoing \u2014 August 31, Institute of Arab and Islamic Art<\/a>, New York\u2014more info<\/a><\/strong><\/p>\n

This is the first institutional solo exhibition of Bilg\u00e9 (1934\u20132000) in the US. The exhibition unveils two decades of Bilg\u00e9\u2019s work, tracing her unwavering relationship to nature through her diverse, profound, and delicate approach to drawing. Born in Istanbul, Turkey, Bilg\u00e9 navigated an artistic landscape that perceived her as “other,” yet defied social expectations by remaining in the US. This exhibition examines Bilg\u00e9’s engagement with line and space, exploring scale, nature, fiction, and geometry, which connects experiences of alienation and rapture.<\/p>\n

\u200b<\/p>\n","protected":false},"excerpt":{"rendered":"

Film & photography festivals, concerts, art, standup comedy, lectures, new books…TMR World Picks run the 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