“Syngué Sabour” directed by Atiq Rahimi




In the early 90’s, during the Afghan Civil war, before the Taliban took over, a war hero lies in a coma. At his bedside, his young wife prays for his recovery.

Yet, soon, leaving her husband behind, she has to flee with her two children to seek refuge in a brothel run by her aunt.

On her way to visit her husband, she is trapped into love by a young fighter. Against all odds, what could have been rape, turns into a true revelation of all her senses.

When facing her husband again, she decides to entrust him with her most intimate desires… In spite of himself, the man lying in front of her becomes her “Syngué Sabour”, her patience stone, which allows her to reveal all details of all her shameful secrets, misfortunes and sufferings.. Until it explodes!

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“Wajma” directed by Barmak Akram


Barmak Akram last movie “Wajma”, “An Afghan Love Story” selected to the International 2013
Sundance Film Festival
And the Screenwriting Award goes to ……….
Barmak Akram!!!!!
For Wajma (an Afghan Love Story)
“we all felt that the writing of this film was so natural that it became practically invisible”!!!
Et le Prix du Meilleur Scénario est attribué à ……
Barmak Akram!!!!
Pour Wajma (an Afghan Love Story)
“nous avons tous sentis que le scénario était tellement naturel qu’il en est devenu pratiquement invisible”!!!
Y el Premio del Mejor Guion va a ……
Barmak Akram!!!!
Por Wajma (an Afghan Love Story)
“hemos todos sentido que el guión era tan natural que se convirtio en algo praticament invisible”!!!
E o Premio do Melhor Roteiro vai para……
Barmak Akram!!!!
Por Wajma (an Afghan Love Story)
“todos nos sentimos que o roteiro era tao natural que ele acabou praticamente desaparecendo”!!!
Watch the Ceremony Awards from minute 49
Regardez la Cérémonie à partir de la min 49
Miren la ceremony a partir del min 49
Olhem o video a partir do min 49Watch the Ceremony

How do you get to Carnegie Hall?



KABUL, Afghanistan — Every night, Mohsen, a slight, awkward 13-year-old boy, goes home from school to an orphanage here and does something that would probably have been impossible a dozen years ago: he practices his violin before going to bed.

The instrument, he said, has become his closest friend. “It has a sad voice,” he said.

All such voices, happy or sad, were banned by the Taliban from 1996 to 2001, when they imposed their extremist vision of Islam on Afghanistan, a country with a long and rich musical tradition. Musicians were beaten, instruments destroyed, cassette tapes smashed.

But since 2010, an Afghan music scholar trained in Australia, aided by a Juilliard-educated violinist and with government backing, has kept a small music school going in Kabul, putting musical instruments into the hands of street kids and striving to make space for girls in a country where education is often denied them.

The very existence of the school, the Afghanistan National Institute of Music, is a significant achievement. Now it is sending a group of youngsters, ages 9 to 21, to the United States for a 13-day tour. They arrive on Sunday, with performances scheduled for the Kennedy Center in Washington (on Thursday) and Carnegie Hall (on Feb. 12), not to mention an ice-skating trip to Yonkers and a visit to “The Lion King” on Broadway.

“It’s the responsibility of a musician to defend the right of human beings everywhere to be musical and to express themselves through music,” said William Harvey, the American violinist who is the conductor of the school’s Afghanistan Youth Orchestra. “We’re celebrating a victory: the return of music.”

The 48 Afghan students on the tour will perform in traditional ensembles and in a Western-style orchestra in tandem with players from the Maryland Classic Youth Orchestra and the Scarsdale High School Orchestra, which helped raise money for the tour.

The Afghans will also play at the State Department, the Italian Embassy and the World Bank. They will stay together in hotels, traveling under the eyes of security guards. United States Embassy officials here have warned the students not to abscond.

The organizers say the tour has special significance in a country so marked by violence and misery. “We are taking the message of peace and stability to the international community to show what a positive change has occurred,” said the school’s founder and driving force, Ahmad Sarmast, who has a Ph.D. in music from Monash University in Melbourne, Australia.

Yet worries linger. Music in Afghanistan still draws strident censure from the many conservative mullahs, who insist that it is un-Islamic. And once the American military withdraws next year, the school’s existence could become precarious if such conservative forces come to power.

For now, though, the school is pushing ahead with its ambitious plans. Altogether it will cost $13 million to run the school for the next 11 years, including the construction of a concert hall, rehearsal space and dormitories for the students, who attend free, Mr. Sarmast said. At least six embassies — including that of the United States — contribute to the school’s annual costs, along with the Goethe Institut, the British Council and Afghanistan’s religiously conservative Ministry of Education (a shield against accusations that the institute is “un-Islamic”).

The American tour is primarily sponsored by the United States Embassy, which is spending slightly more than $300,000, according to embassy officials. The World Bank, which is underwriting the school’s new concert hall and dormitory, is putting up more than $100,000 for the tour; other contributors include the Carnegie Corporation and the Asian Cultural Council.

Carnegie Hall and Kennedy Center officials have also thrown their weight behind the concerts. Carnegie will bring schoolchildren to the performance in Stern Auditorium and has helped with publicity. The Kennedy Center has lent a hand with costs and is putting the Afghan orchestra in its Millennium Stage series in the main concert hall.

“This is a moment that they can grab,” said Garth Ross, the Kennedy Center’s vice president for community engagement. “They’re doing so in such a positive, public, global way. That’s super inspiring.”

Besides training in music theory and Western and Afghan instruments, the school offers its 141 students the ministry’s curriculum, which includes religious and Koranic studies. Significantly, a third of the students are girls, who often struggle to receive basic education in Afghanistan. Half the students are from orphanages or are former street kids. Few had any musical knowledge before they arrived.

The students come from almost every province and include members of the country’s three main ethnic groups, the Pashtuns, the Tajiks and the Hazaras, Mr. Sarmast said. “We have a wonderful mosaic of Afghanistan here,” he said. “Part of our commitment is to promote musical diversity in Afghanistan.”

The faculty includes a half-dozen Westerners.

The school offers something else: a place of security. For many students this is simply the first time in their lives that an adult has paid attention to them and encouraged their talent.

In fact, it might just be the happiest place in Kabul.

At midday recently, chattering children poured out of the red two-story building, each grasping a plastic-foam lunch container in one hand and a water bottle in the other. They wolfed down their food and raced back to class, showing a level of engagement rarely seen in Afghan schools.

In a cramped rehearsal room where the children and teachers were crowded in chairs barely an inch apart, Mr. Harvey was trying in vain to quiet the students so that they could begin rehearsing both the Afghan and Western pieces for their Carnegie Hall concert.

“We start from silence,” he shouted over the din. When he had quiet, he counted in Dari, “Yak, du, sei, char,” prompting the first soft notes of Ravel’s “Bolero.”

In another practice room two girls were playing a raga on sitars, their faces rapt in concentration. Next door three boys practiced the Western flute as a teacher supervised. At the end of the corridor, where the rooms have upright pianos, a thin lad, Arson Fahim, 14, played a Mozart sonata.

An organization that works with orphans, the Afghan Child Education and Care Organization, brought Arson to the school. Speaking in hesitant but clear English — English is a required course — he said he had no idea how he came to love Western classical music. “I had never had any hope I would ever see a piano,” said Arson, who was introduced to the keyboard just a year ago.

Now, after devouring recordings on the Internet by different pianists, he sounds like a savvy conservatory student. “I like the way Richter plays Mozart,” he said, referring to the Soviet pianist Sviatoslav Richter. Another pianist, Milad, 18, also in English, declared himself partial to Bach. Both said they were in awe of the pianist Glenn Gould and carried on a 10-minute conversation about his technique.

“Glenn Gould was a genius because he could watch 12 movies at the same time, and that’s why he plays Bach so well,” said Milad. “Because you have to have five voices at the same time with Bach. I can listen to two, but five is almost impossible.”

Marjan, a 14-year-old girl with a face at once tough and sad, came to the school through Aschiana, a nongovernmental organization that works with Afghan street kids and displaced people. She has been playing the violin for three years. Mr. Harvey, the youth orchestra’s conductor, said her story encapsulates the hope of music.

“When you see a little girl who was selling chewing gum on the street because her father was beaten by the Taliban with a chain so badly that he couldn’t work, and her mother does laundry to bring in enough money,” he said, “this is really a historic moment.”

Americans are weary, even cynical, after reports of so much violence, he said. “But with these two big concerts in New York and Washington, we are showing people not to give up on Afghanistan.”

The New York Times, February 1, 2013
Alissa J. Rubin reported from Kabul, and Daniel J. Wakin from New York

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“Conference of the birds”


“Le cantique des oiseaux” (“Conference of the birds”), new French translation by Leili Anvar, Iconography & Comments by Michael Barry 

207 miniatures persanes, turques, afghanes et indopakistanaises du XIVe au XVIIe siècle illustrent l’intégralité du Cantique des oiseaux dans une nouvelle traduction française du persan versifiée réalisée par Leili Anvar, normalienne, agrégée et docteur en littérature persane.
Commentaires iconographiques de Michael Barry, professeur et chercheur à l’université de Princeton, consultant auprès de l’Aga Khan.
Prix de lancement jusqu’au 31 janvier 2013 : 195 € puis 230 €.

Une épopée mystique universelle
Écrit à la fin du XIIe siècle, ce poème persan chante le voyage des oiseaux, métaphore de l’âme, vers Sîmorgh, oiseau mythique, manifestation visible du Divin. Le Cantique des oiseaux est un récit initiatique dans lequel chacun peut voir le reflet de lui-même. Ce qu’‘Attâr exprime résonne et vibre dans tous les cœurs.

Une nouvelle traduction, profondément belle

Il fallait à ce poème une nouvelle traduction qui par son souffle et sa musicalité parvienne à rendre cette ascension spirituelle lumineuse, vibrante et universelle. La traduction en vers de Leili Anvar restitue la dimension poétique du texte original et révèle sa puissance symbolique. Le résultat est sublime, fidèle à la lettre et à l’esprit d’‘Attâr.
Une iconographie inspirée

Au-delà de la beauté, la valeur symbolique des œuvres a guidé nos choix iconographiques, afin que chacune des 207 peintures reproduites, par sa résonance avec le poème, l’éclaire et le magnifie. Les recherches ont été menées au sein des collections publiques et privées d’art islamique en Europe et aux États-Unis, mais surtout au Proche et au Moyen-Orient.

La contribution de deux éminents spécialistes

Des commentaires présentés en regard de chaque illustration éclairent la lecture du texte et des œuvres. Ils mêlent les contributions de Michael Barry, professeur à l’université de Princeton, spécialiste des civilisations de l’Iran et de l’Afghanistan, et de Leili Anvar, normalienne, agrégée et docteur en littérature persane.

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Monacopolis – Architecture, Urbanism et Urbanisation in Monaco







The Nouveau Musée National de Monaco directed by Marie-Claude Beaud presents MONACOPOLIS – Architecture, Urbanism et Urbanisation in Monaco, Realisations et Projects – 1858–2012MONACOPOLIS is on view in the two NMNM venues—Villa Paloma and Villa Sauber.The exhibition is curated by Nathalie Rosticher-Giordano—Chief Curator of the NMNM. The collective Martino Gamper and Åbäke (London) is responsible for the exhibition’s sets and graphic design (signs, visual identity and publication).
Villa Paloma explores, inter alia, Eugène Beaudoin’s urban development proposals of the 1940s, Le Corbusier’s mysterious sketch, and the idea mooted by a surprising stranger, Henry Bulgheroni. After the Second World War, in a context aligned with the European issue of reconstruction, Monaco also had above all to deal with the total saturation of its territory. There duly appeared for Monaco various new urban planning solutions, in a period replete with visionaries. Starting in the 1960s, we thus discover utopian proposals such as La Venise monégasque, Yona Friedman’s transparent and suspended bridge-city, Archigram’s Features Monte-Carlo, a rejection of deliberately buried architecture but offering a masterly response to  exaggeratedly multi-faceted specifications, Paul Maymont’s Thalassopolis, a city that could be extended ad infinitum over the water, Edouard Albert’s L’Ile artificielle and the Quartier Marin, designed together with Jacques-Yves Cousteau, and Manfredi Nicoletti’s La Ville satellite and theMarinarium. More recently, Jean Nouvel came up with a Centre de l’homme et de la mer, and Emilio Ambasz devised Public Park and Residencies. Real urban development is reinstated in the exhibition thanks to a sizeable collection of illustrative material and filmed reports, emphasizing the ceaseless energy of the works begun in the 1960s, which have never been interrupted since.

A publication will be released in late February 2013. Nothing less than a trove of references filling some 600 pages, it will include a comprehensive iconography, for the most part hitherto unpublished, and essays broaching the notions of heritage, vacationing, and urban planning and development, written by historians, architects, urban planners, and philosophers.

MONACOPOLIS – Architecture, Urbanism et Urbanisation
in Monaco, Realisations et Projects – 1858-2012
Villa Paloma: January 19–May 12, 2013
Villa Sauber: January 19–December 30, 2013Nouveau Musée National de Monaco
Villa Paloma
56, boulevard du Jardin Exotique
98000 MonacoVilla Sauber
17, avenue Princesse Grace
98000 MonacoT +377 98 98 20 95