Coquetry by Mahmoud Farshchian


Coquetry by Mahmoud Farshchian

(via gozashteh)


Traditional Turkmen wedding, Golestan Province, Iran

More than a million Iranian Turkmen live in the north eastern Iranian province of Golestan (which means “Flower Garden” in Persian) and the provinces around it.

(Source: mehrnews.com, via gozashteh)

scarydogmaticalien ha respondido a tu publicación:ho ho ho ho ho

i think it’s smug anime laughter

oh. i thought it was santa…………………


Tunisian Island Becomes Street Art Hub, Raises Questions of Politics in Graffiti.

Whether cave paintings or hieroglyphics, Africans have been painting on walls for centuries. However, the idea of turning open streets into an open outdoor gallery and exhibit is something relatively new to North Africa’s largest island and Tunisia’s most popular tourist destination Djerba.

The initiative, curated by Tunisian-French artist Mehdi Ben Cheikh in collaboration with Paris-based art gallery Galerie Itinerance, is called Djerbahood features works from around 150 artists spanning 30 different countries, including Sweden’s ROA, Alexis Diaz from Puerto Rico, Stinkfish out of Colombia, Brazilian muralist Claudio Ethos, French artist Brusk, Moroccan calligraphist Abdellatif Moustad, and Tunisian street artists eL Seed and The Inkman.

Dealing with issues ranging from history and politics, to spirituality and tradition, Djerbahood, is a collaboration of epic proportions. Whether intentional or not (and I think not), the name calls to mind the racism that exists in the world of street art and graffiti culture that has, in recent years, both omitted and excluded the contributions made by black and brown artists in the popularization of this art form. Were in not for movies like Wild Style and Style Wars, the origins of resistance graffiti might all be forgotten from popular memory.

However, with the growing number of street artists and street art emerging from this area of the world in recent times, it would’ve been more interesting had they featured a selection of artists from around the African continent. Countries like South Africa and Senegal are home to some of the continent’s growing local street art scenes. Due to its size, it somewhat eclipses the grassroots graffiti movements across North Africa made headlines when #ArabSpring was a trending topic, and seemed to fade as quickly as it was noticed by the west. Then again, the politics behind this open art affair, due to unveil September 20th, aren’t rooted in Pan-African sentimentality, being sponsored by parties from France and Tunisia.

This project forms part of a growing trend of foreign street artists descending on Africa, from the likes of French artist JR’s “Women Are Heroes" series that stopped in Sierra Leone, Kenya, Sudan and Liberia, to ROA’s "Wide Open Walls" in The Gambia.

Similarly to the reactions from people in the aforementioned countries, locals in the area have had mixed responses to the art works, from some labeling it as vandalism to others welcoming the diversity and finding inspiration in the larger-than-life paintings.

See an extended gallery.

(image sources: Aline Deschamps/Galerie Itinerrance | Mohamed Messara | EPA Joel Saget/AFP/Getty Images)

(via brassmanticore)






*very quiet voice* queer spaces need to be safe for people of faith too 

I don’t think about this enough. How do I make spaces more inclusive to people of faith.

By not talking about how silly and gross religion is and by not comparing sexuality to other things forbidden in the Old Testament like shrimp, etc.

Also by insulting the laws of Leviticus saying they are “impossible to live by haha so funny shrimp is banned” is excluding lgbtqia+ Jewish people bc Jewish ppl follow those laws and for the most part are pretty good with including lgbtqia+. Obviously not all Jewish ppl/organizations/communities are good with this but they are for the most part

and by not associating monotheism with patriarchy, by acnowledging that god is not attributed a gender in islam, by educating yourself about and refuting the notion that islam is patriarchal, by not forcing lgbt muslims to explain “how that works” or how they “reconcile their faith” with xyz thing, by fostering an environment where casual sex and drug/alcohol use aren’t encouraged or considered to be social necessities, and by giving lgbt muslims the space to sort out theological quandries that the community hasn’t resolved yet.

(via scarydogmaticalien)

Anonymous: ho ho ho ho ho

i dont understand


“Native informants/Orientalists are crucial for this project of co-opting the liberal discourse of rights, based on gender as well as sexuality. Joseph A. Massad and Jasbir Puar have shown how the internationalizing of Western feminism has been paralleled by a universalizing discourse of rights for queer subjects that focuses on the “liberation” of gays and lesbians in the Muslim countries. NGOs focusing on gay rights have promoted a culturally specific epistemology and ontology of “rights and identities” to be imposed on non-Western societies, according to Massad, and have also collaborated with the U.S. State Department and Congress to threaten sanctions against Arab nations for their policies toward gay men; what Massad calls the “Gay International,” like international feminism, is embroiled with U.S. foreign policy. These critics do not deny that homophobia and patriarchy exist in Muslim and Arab societies, but they highlight the colonialist and Orientalist impulses that often underlie activism targeting gender and sexual politics in these societies or diasporic communities and the generally obscured ways these are linked with state policies. Feminism needs to account for state-sponsored violence and state-sanctioned terror inflicted on women or queers—not just abuses associated with cultural “tradition” or religion-as radical and anti-imperialist feminists have long argued.”

Sunaina Maira, "Good" and "Bad" Muslim Citizens: Feminists, Terrorists, and U.S. Orientalisms

(via lehaaz)


"my sons single" i dont care if your sons single i want to know if ur daughter is

(Source: 80st, via maghrabiyya)


SOUTHERN AFGHANISTAN. 1978. Portraits of Baloch women and girls in traditional clothes. 

Photographs by Roland and Sabrina Michaud.