TheArabicTrain

amokacha-dessine: BE HAPPY خليك مبسوط…او حاول

le-okacha — Tue, 14 May 2013 17:11:43 -0400

amokacha-dessine:

BE HAPPY

خليك مبسوط…او حاول

manoola87: يا طير …. يا طير

salmadahab — Tue, 14 May 2013 02:00:38 -0400

manoola87:

يا طير …. يا طير

ondaroof: Cairo taken by: Khalid Mohy

salmadahab — Sat, 11 May 2013 02:00:37 -0400

ondaroof:

Cairo

taken by: Khalid Mohy

Photo

salmadahab — Sat, 04 May 2013 02:00:50 -0400

sherifnagib: حسين الإمام - كابوريا

salmadahab — Thu, 02 May 2013 02:00:37 -0400

sherifnagib:

حسين الإمام - كابوريا

paulkatcher: Gripping front-page story in the New York Times on...

salmadahab — Wed, 01 May 2013 02:00:32 -0400

paulkatcher:

Gripping front-page story in the New York Times on Samar Hassan, a girl whose reaction to seeing her civilian parents killed by U.S soldiers became one of the most iconic and graphic photos to come out of the Iraqi war, seeing that photo for the first time, six years after it was taken.

Writer Tim Arango on Hassan’s life since the incident:

The photograph of Samar is frozen in history, but her life moved on, across a trajectory that is emblematic of what so many Iraqis have endured. In a country whose health care system has almost no ability to treat the psychological aspects of trauma, thousands of Iraqis are left alone with their torment.

And on the impact of the photo:

The photo of Samar had far-reaching impact, for it was visual testimony to a particular scourge of this war: the shooting of innocent civilians as they approached American checkpoints or foot patrols, killings made possible by liberal rules of engagement aiming to protect soldiers from suicide car bombers. The image was a point of discussion at the highest reaches of the Pentagon as it considered ways to reduce civilian casualties.

The Iraq war delivered few singular images for the popular imagination, partly because the country was too dangerous for photographers to move around freely, but also because in an age of saturated media coverage and short attention spans, it may be more difficult for news images to take root in the collective memory.

The military also set strict rules for embedded journalists that kept many graphic images from the public eye; the military asked Mr. Hondros to leave his embed assignment after he shot the pictures of Samar.

The photographer, Chris Hondros, was killed April 20 while on assignment in Libya.

dynamicafrica: endilletante: Eloge de Sidi Bou Saïd, de...

le-okacha — Sun, 28 Apr 2013 08:01:20 -0400

dynamicafrica:

endilletante:

Eloge de Sidi Bou Saïd, de Max-Pol Fouchet et jacques Perez, Editions Ceres, 1975.

Tunisia

almohamedg: الكلاب تعوي والقافلة تسيرBy: Mohammed Mousa

le-okacha — Sun, 28 Apr 2013 07:25:54 -0400

almohamedg:

الكلاب تعوي والقافلة تسير
By: Mohammed Mousa

intlwanderlust: Chefchaouen, Morocco

le-okacha — Sun, 28 Apr 2013 04:00:54 -0400

intlwanderlust:

Chefchaouen, Morocco

الشاون - او شفشاون المغرب

le-okacha — Sun, 28 Apr 2013 02:00:38 -0400

الشاون - او شفشاون

المغرب

Audio

le-okacha — Sat, 27 Apr 2013 10:00:39 -0400

Photo

le-okacha — Sat, 27 Apr 2013 08:01:03 -0400

Photo

le-okacha — Sat, 27 Apr 2013 06:00:45 -0400

bobbycaputo: Marc Garanger’s Portraits of Unveiled Algerian...

le-okacha — Sat, 27 Apr 2013 04:00:37 -0400

bobbycaputo:

Marc Garanger’s Portraits of Unveiled Algerian Women

During the Algerian War in 1960, village women were relocated to concentration camps and forced to pose for ID card portraits without their veils.

“I would come within three feet of them,” Garanger remembers. “They would be unveiled. In a period of ten days, I made two thousand portraits, two hundred a day. The women had no choice in the matter. Their only way of protesting was through their look.” […]

In the Middle East, the veil is like a second skin among traditional people. It may be taken off only within the secrecy of the walls, among women or between husband and wife, but never publicly. Garanger’s portraits symbolize the collision of two civilizations, Islamic and Western, and serve as an apt metaphor for colonization. The women’s defiant look may be thought of as an ‘evil eye’ that they cast to protect themselves and curse their enemies.

بورتريهات لنساء من الجزائر

postcardswall: private swap The postcard came from...

le-okacha — Sat, 27 Apr 2013 02:00:22 -0400

postcardswall:

private swap

The postcard came from Algeria

برقية من الجزائر

winningthebattleloosingthewar: Dinka: Legendary Cattle Keepers...

le-okacha — Fri, 26 Apr 2013 16:07:59 -0400

winningthebattleloosingthewar:

Dinka: Legendary Cattle Keepers of Sudan by Carol Beckwith and Angela Fisher

Carol Beckwith and Angela Fisher are world-renowned photographers dedicated to preserving and celebrating the diversity of African cultures and ceremonies.

These captures are part of one their books entitled “Dinka”, featuring an ethnic group that inhabits the Bahr el Ghazal region of the Nile basin.

“Dinka of Southern Sudan are one of the most outstanding groups of pastoralists on the African continent. Covered with ash and up to 7ft 6in tall, the Dinka were referred to as gentle giants by the early explorers. Living in perfect harmony with their cattle, they believe their animals are their essential link to God.”

zamaaanawal: Jalabiyatob’s parents on their wedding day in...

le-okacha — Fri, 26 Apr 2013 16:07:23 -0400

zamaaanawal:

Jalabiyatob’s parents on their wedding day in Khartoum, Sudan, 1970s.

صورة زفاف ف الخرطوم …..السودان

الشيخ زين محمود - يبكى و يضحك

le-okacha — Fri, 26 Apr 2013 16:03:59 -0400

الشيخ زين محمود - يبكى و يضحك

Photo

le-okacha — Fri, 26 Apr 2013 16:02:16 -0400

couscousqueen: I love Djmawi Africa so much جماوى افريقا

le-okacha — Fri, 26 Apr 2013 16:01:08 -0400

couscousqueen:

I love Djmawi Africa so much

جماوى افريقا