this article features links to three poetry films by ghayath al-madhoun:

(1) the city (2) your memory is my freedom (3) the celebration

i salute you!

any guess why visibility on lemmy has been heavily affected, whereas from microfedi things looked normal?

thank you!

just tried to view one of your recent posts from microfedi via sharkey - impossible > otoh, viewing threads from fedia.io posted to lemmy which don’t appear at lemmy instances seems to be possible when i use sharkey (both link and thread type)

from the article:

An Istanbul court on Sept. 18 held the first hearing of author Yavuz Ekinci on “terrorism propaganda” charges for his novel Dreams Divided (Rüyası Bölünenler) published in 2014.

The trial began with the attendance of many authors and civil society representatives.

In his defense, Ekinci rejected all charges and drew attention to the conditions leading to the banning of his book.

"Dreams Divided is the story of my home, my people, my village, my country. It is the story of those who wait endlessly by the window, in front of the TV, for news of their sons, daughters, or fathers. Whether you call them Saturday Mothers or Diyarbakır Families, Dreams Divided tells the story of this land,” he explained.

Ekinci continued, “What troubles me the most in this case, and what I’ve tried to understand since I first heard about it, is the mindset of the person who reported my novel to the Presidential communication system CİMER on the night of the second day of the massive Feb. 6 earthquake.”

“Amidst this horror, on the night of Feb. 7, someone took the time to report my novel to CİMER, accusing me of terror propaganda. While I felt ashamed even to sit, eat, or talk during those days, someone reported my book, thinking they were being patriotic,” the author said.

Ekinci held that his novel was a work of fiction. “The fact that the fictional world I created seems real to the court speaks to the power of my literature and the court’s approach to fiction. Suing a fictional universe is abstract. Judging, banning, and seizing it in today’s courts is political. To judge an artist based on characters and their words is an insult to art,” he contended.

The court decided to inquire with the Istanbul Security Branch Directorate about the publication date of Ekinci’s Dreams Divided and referred the case to the prosecution for an opinion on the merits. The trial was adjourned to Dec. 9.

Following the hearing, Ekinci made a statement in front of the courthouse. “This is not just a case against me, but a warning to all authors. No one can tell a writer what to write or how to write. We want literature to be discussed through new styles, not lawsuits,” he said.

What happened?

Following a complaint to CİMER on Feb. 7, 2023, one day after the Feb. 6 earthquakes, an investigation was launched into Yavuz Ekinci’s novel Dreams Divided, published by Doğan Kitap in 2014.

On March 14, 2023, Istanbul’s 7th Criminal Court of Peace issued a decision to seize the books. Following this, the Istanbul Chief Public Prosecutor’s Office also initiated an investigation.

(English version by Ayşenaz Toptaş)

there had been many other options than gigantism, and if the capital reaaaaaaally had to be moved, why not to lampung (not far away from jakarta, no shortage of water supplies, lower risks of floods etc)? instead, “nusantara” is a typical croonie program, with orang koruptor filling their pockets, and leaving damage to the rest, driving away indigenous population etc

from the article:

An amulet from the collections of the Rautenstrauch-Joest-Museum in Cologne is returning to Japan after over 100 years. The rare piece of jewelry will be handed over to the National Ainu Museum in Hokkaido at the end of August, the Cologne museum announced on Friday. The amulet belongs to the Ainu, the indigenous people of northern Japan, and is made of tiny glass beads that were once woven into the hair of young boys.

The Rautenstrauch-Joest-Museum houses a total of 220 Ainu artifacts, most of which were acquired at the beginning of the 20th century by the Hamburg trader Johann Friedrich Umlauff, who supplied many German ethnological museums at the time. The amulet was part of this collection and is now one of only four known amulets of this kind worldwide.

Scientists from Japan discovered the amulet a few years ago while preparing for the founding of the National Ainu Museum and examining collections in Western museums. This led to a close and productive collaboration between the Rautenstrauch-Joest-Museum and the National Ainu Museum. The “permanent loan” of the amulet to the museum in Japan has further developed this cooperation.

The team of Japanese scientists who discovered the amulet expressed their gratitude towards the Rautenstrauch-Joest-Museum for facilitating its return to its rightful home. The Japanese National Ainu Museum now proudly displays the amulet as a significant addition to their collection, representing the strong connection between the two institutions.

addendum: this well-researched short article in english contains more valuable information than any news article in german > see for example: https://www.deutschlandfunkkultur.de/seltenes-amulett-kehrt-aus-koeln-nach-japan-zurueck-102.html

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the interconnections do not end at this point: peepal tree not only helped to establish peekash (run today by [bocas lit fest](https://www.bocaslitfest.com/ of trinidad and tobago), but peepal tree also recently integrated hoperoad publishing, yet another great uk indie dedicated to literature from the global south

some crocodile tears are also in the bag:

Prof. Dr. Hermann Parzinger, Spokesman for the Board of the German Digital Library and President of the Prussian Cultural Heritage Foundation (Stiftung Preußischer Kulturbesitz): “I am delighted that with the launch of the new online portal the German Digital Library has created a basis for transparent access to collection items from colonial contexts. Users will find a portal in which a wide variety of cultural institutions within a network of many others have already made their collections accessible to a broad public.”

source: http://www.museenkoeln.de/Downloads/rjm/Press Release_9 July 2024_Colonial Contexts.pdf