Graphic Novels in the Middle East Workshop

On 12 March 2011 the Outreach Center's three-part workshop series on Graphic Novels, the Middle East, and Muslim communities concluded. Earlier sessions included anIntroduction to Content and Resources and Using Comics to Enhance Global Studies in the Classroom. The final workshop, A Graphic Novelist's View of the Middle East and Israel Palestine featured a conversation with comic artist Sarah Glidden, author of How to Understand Israel in 60 Days or Less and the forthcoming Stumbling Towards Damascus. The workshop was attended by k-12 educators from Massachusetts and Connecticut, many of whom had participated in the center's full workshop series, as well as a member of thePublic Conversations Project.  


Glidden's visit provided the opportunity for participants to consider the role of comic memoirs, documentary comics, and comic journalism in the Middle East, as well as applications of these genres for learning, teaching, thinking, and processing events in the region.  The morning session featured introductory remarks on teaching about Israel-Palestine from Outreach Center director Paul Beran, followed by Glidden's author talk reflecting on her experience translating travel within Israel into the comic memoir piece "How to understand Israel in 60 Days or Less."  Glidden's second presentation highlighted her current project about journalism within Syria, Northern Iraq, and Eastern Turkey.  Presenters and participants discussed the ways in which the comic medium can be used to communicate complex emotional experience, meta-cognitive process, and a dialectic experience between author and readers.

In the afternoon participants engaged in a close reading activity led by Outreach Center curriculum coordinator Anna Mudd, examining excerpts from Joe Sacco's "Palestine," Rutu Modan's "Exit Wounds," andOreet Ashery and Larissa Sansour's "The Novel of Nonel and Vovel."; three comic works which explore Israel and Palestine through the genres of journalism, fictional realism, and fantasy.          

The Outreach Center will continue to explore the role of comics and graphic media in teaching and learning about the Middle East and Muslim communities through on-line resources and a  one-day panel talk on Comics and Muslim Identity this April.  

Traditional Qatari dress in modern (and sometimes surprising!) contexts

Photo References/Qatar of the Past

Here are sites that have photos of Qatar in the past:

http://www.catnaps.org/islamic/islaqatold.html

http://www.qatarembassy.net/qatar%20gallery/index.asp

http://www.diwan.gov.qa/english/qatar/qatar_pictures.htm

http://www.qatarvisitor.com/index.php?cID=437&pID=1375

TRICKSTER: NATIVE AMERICAN TALES

TRICKSTER: NATIVE AMERICAN TALES

By Chris Wilson

Editor-in-Geek

STORY SYNOPSIS

TRICKSTER: NATIVE AMERICAN TALES is an anthology of authentic cultural stories from 21 indigenous tribes representing various geographic regions. The stories focus on the Trickster, a cultural icon in the Native American oral tradition.  

From the jacket: “Meet the Trickster, a crafty creature or being who disrupts the order of things, often humiliating others and sometimes himself in the process. Whether a coyote or rabbit, raccoon or raven, Tricksters use cunning to get food, steal precious possessions, or simply cause mischief.”

REVIEW

TRICKSTER: NATIVE AMERICAN TALES is the single best graphic collection of Native American folklore I have ever encountered.

Oftentimes attempts to bring indigenous stories to the masses end up with nothing more than culturally insensitive, stereotyped, sanctimonious tripe. When Matt Dembicki decided to create an anthology of comic-adapted Native American tales, he focused his efforts on three aspects: sensitivity, authenticity and storytelling.

Knowing the pitfalls of other attempts, Dembicki first located authentic tribal storytellers from geographically diverse tribes across the US and created a relationship with them. In keeping with the oral tradition, those storytellers conveyed their tales in their own way. Dembicki explained that some chose to scribe their stories and mail them to him while others dictated the stories over the phone. “The way they tell the stories is the way it was presented,” said Dembicki.

He then examined each story and storyteller’s voice and created a list of prospective artists whose style would match up with the oral story. Dembicki then presented that list of 3-5 artists, with samples of their work, to the storytellers.

In what seemed a rather surprising but collaborative effort, Dembicki gave the storyteller the final choice of artist. Giving editorial control over to the storyteller allows the reader to experience the cultural roots of the tribal story. In a back-and-forth process, the artist would send sketches to the storyteller to ensure accuracy and authenticity. The storyteller would make suggestions or comments. Not all of the art spoke to me as a reader, but the knowledge that the artist was purposefully chosen and the art was continuously verified for accuracy gave me a strong sense of respect for and connection to the tribe and its identity.

The art varies greatly in TRICKSTER, depending on the story, culture and purpose of the story. Above are a few examples of the different art styles.

The entire process took Dembicki four years, but it is a worthy four years. The outcome is an authentic and culturally sensitive volume telling the tales of a varied culture in a way that is accessible to children and adults. Some stories are obviously intended to teach young Native American children certain rules or lessons. Others are origin stories describing how the stars came to be or why the rabbit has a short tale. All of them have aspects for adults that will be lost on children. The art is as diverse as the tribes or the storytelling, which adds to the breadth of the varied native cultures represented. The audience is reflected in that diversity.

Every classroom that is charged with studying culture – elementary, middle school or high school or college – should stock a copy of TRICKSTER: NATIVE AMERICAN TALES.

AGE RECOMMENDATION

Chris’ Rating: Ages 8 and older

Publisher’s Rating: Ages 8 and older

IN THE CLASSROOM

The study of various cultures is included in state and national standards. Oftentimes, Native American cultures are only lightly taught and it is often, unintentionally, culturally insensitive, especially when Native American studies are combined with Thanksgiving. A Skype session, email or letter exchange, blog conversation or Facebook discussion with some of these storytellers –– many of whom make a living retelling their tribes’ stories –– would be an authentic approach to understanding Native American culture and help the students understand the implications of the comic folktales in the anthology.

OTHER INFORMATION

Editor: Matt Dembicki

Authors: Various

Illustrators: Various

Publisher: Fulcrum Books

Genre: Folklore

Format: Paperback

Pages: 232

Color: Full color

ISBN-13: 978-1-55591-724-1

Building a Reference Library

I had the bookstore order the following books for us:

Please help us build a reference library. Let me know what books you think will be useful for our project and I will order them.

Press Press Press

We're all over the place!

Qatar Tribune

Gulf Times

Global Arab Network

Qatar News Agency

Ester Knows

Qatar is Booming

Contact Information

Please add your contact information to the list.


Patty:

Landline: 44134812
Mobile: 33285657
Mobile: 66652771
pattypaine@gmail.com

Mashaer:
Mobile: 55502829

Jesse:
Mobile: 55272055

Don:
Mobile: 55438161

Sahar:
Mobile: 55854008

Mariam:
Mobile: 55609899

Michael:
Mobile: 33549964

michaelhersrud@gmail.com


Al Hussein
55994342


Ameera
55865518


Jo
55366143


Khadija
66859972

Nawar
55640004

Wafaa
55313350