Digital & Print Membership
Yearly + Receive 8 free printed back issues
$420 Annually
Monthly + Receive 3 free printed back issues
$40 Monthly
Love Letter to Lebanon

“Make sure you sit on the left side of the plane,” said Edwina. After checking into my connecting flight from Istanbul to Beirut, I realized I had an aisle seat in the third row on the right side of the plane, much to my dismay. The attendant at the flight counter looked at me, perplexed as I insisted on switching to a seat on the left side of the plane, even though the only remaining seat was in the back row, adjacent to the bathroom.
I woke from my nap in the clouds to the announcement of our imminent descent into Beirut Rafic Hariri International Airport. As I gazed out the window, the Mediterranean stretched before me, its azure waters sparkling. The coastline hugs the sea as if they’ve shared a thousand lifetimes together. Rising boldly from the depths of the sea are the Pigeon Rocks, monument-like stones shaped by time and carved by the restless hands of wind and waves. Weathered yet unwavering, they stand tall.
After a week in Lebanon, I would come to understand that the landscape that first welcomed me was more than a breathtaking view. It is a living metaphor, a testament to the beauty that runs deep through this land, the warmth felt in every embrace, and the soul of a people who carry their history and heritage like poetry in their veins.

My dear friend Edwina invited loved ones from each corner of the world and each chapter of her life. This trip was a celebration of two important milestones, her 30th year around the sun and her achievement of earning a Master of Science degree in Sustainability Management from Columbia University. But more than that, this was a “homecoming” to Lebanon.
To Edwina, Lebanon is her everything. She says Lebanon is her home: “It’s memory, it’s resilience, it’s love. It’s where my ancestors are buried and where my wildest dreams are rooted. It’s where the mountains meet the sea in a way that feels like poetry, and where joy and pain live side by side: both loud and sacred. Returning to Lebanon always brings me back to myself. Planning this journey was my way of giving that feeling back to the people I love.”
Over the course of the week, Edwina showed us Lebanon through her eyes. One of the most special days of the trip was when we visited Daher Farms, Edwina’s family’s land in the Bekaa Valley. It was a way to introduce everyone to where much of her story began.

The day started with a delicious, traditional spread catered by ADIRA, a brand she strongly resonates with for their work with Lebanese women and farmers in the Central Bekaa region. ADIRA’s products blend tradition and innovation, and their mission reflects so much of what Edwina loves about this country: care for the land, pride in culture, and investment in community.
We also toured the Daher Foundation, led by Edwina’s mother, Marleine. Daher Foundation is committed to improving healthcare access, empowering youth, and creating more sustainable livelihoods in rural Lebanon.
As Edwina said, “It meant so much to me to show everyone the work we’ve been doing behind the scenes: initiatives that center dignity, well-being, and long-term impact. Seeing the group’s engagement and curiosity reminded me how powerful it is when global and local communities come together with open hearts.”
We ended the day at Tawlet Ammiq, a breathtaking farm-to-table restaurant that sits at the edge of the Bekaa Valley, overlooking its patchwork of fields. It was one of those rare pauses where everyone felt connected to something bigger—the land, the people, the purpose.

A few days later, we ventured an hour north of Beirut to Batroun. Founded by the Phoenicians, Batroun is a 4,000-year-old fishing village and is considered one of the oldest cities in the world. A historical tour followed by shawarma and Batrouni lemonade brought us to Arnaoon, a centuries-old Lebanese village cradled by the mountains. We danced our way into Arnaoon, stomping to dabkeh and synchronizing our steps to the derbakeh.
The traditional Lebanese architecture set against mountain peaks and lush vegetation transported me to a place I couldn’t describe, only feel. Yara had the right words to capture the dizzying magic of Arnaoon. She commended its authenticity and purity for transporting visitors, “grounding them in something both real and timeless.”
To Yara, Arnaoon is a land deeply rooted in her heart. Perhaps, it’s because her parents discovered a hidden gem and felt called to revive the echoes of a village of five small Lebanese goat herders’ cottages dating back 500 years ago. When Yara’s parents first stumbled upon this land, something about it captivated them. She said they often describe it as a calling, a mission to breathe life into a dream. Yara’s parents didn’t know the path ahead, and she said they lacked the means to realize the vision they carried. But they chose to take the first step, regardless. That step led to something far greater than they had ever imagined.
In Yara’s words, “Arnaoon became a place of happiness, dreams, and opportunity. [It’s] a home to a community of pure- hearted people who reflect the very soul of the land itself.”

Knowing the unparalleled generosity and hospitality of Lebanese people, I was not shocked to learn that Yara and Edwina became friends by a serendipitous chance of fate. A simple offer to help a stranger on the street unfolded into a collaboration and showcase of shared purpose and heart, rooted in a mutual love for their land and people. From early planning to the final farewell, every detail was approached with intention. Over three immersive days, they curated experiences in each corner of Arnaoon, with each moment crafted to invite connection, joy, and belonging. “I imagined guests living a different story in each corner of Arnaoon, experiencing a unique emotion in every zone,” said Yara. Yara strived to connect people and “create magic for those who are already magical.”
Amongst rolling hills and a moon so full it could burst, Ranim and Bernard invited us to experience the land that shaped them through the quiet power of our stillness and breath. Though they had only just met on this trip, their energies were unmistakably aligned.
“I’ve always thought I wanted to travel the world—little did I know the world would come to my homeland, and I’d get to connect with it through the presence of such beautiful souls,” said Ranim. She wanted to offer the group a taste of what Lebanon has taught her, which is “resilience, joy, creative chaos, unconditional love, and the miracle of holding paradoxes.”
Bernard also wanted to offer something from the heart. Through yoga, meditation, and the soulful resonance of the handpan, he created a space where we could feel Lebanon not just with our eyes, but with breath, body, and heart. “This offering was my way of showing another face of Lebanon, not the one shaped by headlines, but the one rooted in resilience, warmth, and soul. I wanted to reflect the peace that exists here, even in the midst of complexity.”
Ranim and Bernard showed us how intention and presence can become a bridge that connects us not only to ourselves, but to the spirit of a land, its people, and wisdom held beneath the surface.

After Arnaoon, we spent time in Anfeh, a coastal town in northern Lebanon. Known for its striking blue-white seaside chalets and crystal-clear waters, Anfeh is often compared to the Greek Islands. But it has a character all on its own. Perched on a rocky peninsula with archeological remains including salt pans and Crusader-era ruins, the land tells a story shaped by centuries of trade, conquest, and monastic devotion. The landscape is rugged and serene, dotted with ancient chapels, windswept cliffs, and the shimmering sea. Today, Anfeh remains a peaceful retreat, where the past lingers gently and nature speaks in the language of waves and stone.
I ended my trip in Lebanon with a few days in Beirut. Beirut could and should be its own story, because Beirut is the blueprint. The blueprint for a city characterized by persistence, reinvention, and soul. A mosaic made whole by every fracture. A pulse that never stops. Beirut shows the world how to hold contradictions: churches and mosques share a skyline, laughter echoes louder after loss, ruins become roots. Here, you rebuild not just buildings, but belief. Beirut showed me who I am when everything familiar falls away, a believer in resilience, beauty after ruin, and the quiet power of beginning again.
Gin basils at the Albergo Hotel rooftop, shawarma at Em Shérif, dancing at GOU and AHM, strolling through Gemmayzeh and Saifi Village, and power blackouts at the hair salon were some of the memories formed in Beirut. The daytime was filled with discoveries, while evenings felt like the city’s true spirit came to life. Music spilling from every corner. Tables filled with mezze and laughter. It felt like time bent in Beirut.

I didn’t expect to stay a few extra days in Beirut, but after Israel initiated missile strikes on Iran, Beirut Rafic Hariri International Airport was temporarily closed with dozens of flights cancelled, including mine. It took days to rebook my flight, but I felt grateful to be safe and enjoy extra time in Lebanon. It was a privilege I do not take lightly or for granted.
Two days before I arrived in Lebanon, Israel bombed Beirut on the eve of Eid al-Adha. This attack in June 2025 marked the fourth Israeli strike in the area since a ceasefire was agreed on in November 2024. South Lebanon remains a military playground for the Israeli Occupation Forces. Despite the ceasefire, Israel has not withdrawn from Dawair, Hammaes, Jabal al-Deir, Jabal Blat, and Labbouneh in South Lebanon. In a recent article from Atalayar, Mohamed, a resident of Bint Jbeil, wrote, “The greatest danger is that people are getting used to nothing. That’s what the occupation wants, for us to forget our land.”
Much like their Palestinian brothers and sisters, the people of Lebanon are there to stay. The people of Lebanon are like the Pigeon Rocks that stand tall in the Mediterranean. Like the thick cedar trees found in the mountains and on the national flag, they remain rooted in the land they love.
I was deeply moved—and dare I say, changed—by my week in Lebanon. Lebanon feels like a warm embrace. The warmth of the sun hovering over the Mediterranean, the warmth of knafeh in ka’ik, the warmth of people who greet strangers as friends.
To know the Lebanese is to feel their soul in three sacred truths: the earth beneath them, rich with memory; the community around them, woven with resilience; and the heritage within them, carried like flame.
To Lebanon, with love. Until next time.

{
"article":
{
"title" : "Love Letter to Lebanon",
"author" : "Aditi Desai, Edwina Daher",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/love-letter-to-lebanon",
"date" : "2025-09-08 10:03:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Beirut-sunset.jpg",
"excerpt" : "",
"content" : "“Make sure you sit on the left side of the plane,” said Edwina. After checking into my connecting flight from Istanbul to Beirut, I realized I had an aisle seat in the third row on the right side of the plane, much to my dismay. The attendant at the flight counter looked at me, perplexed as I insisted on switching to a seat on the left side of the plane, even though the only remaining seat was in the back row, adjacent to the bathroom.I woke from my nap in the clouds to the announcement of our imminent descent into Beirut Rafic Hariri International Airport. As I gazed out the window, the Mediterranean stretched before me, its azure waters sparkling. The coastline hugs the sea as if they’ve shared a thousand lifetimes together. Rising boldly from the depths of the sea are the Pigeon Rocks, monument-like stones shaped by time and carved by the restless hands of wind and waves. Weathered yet unwavering, they stand tall.After a week in Lebanon, I would come to understand that the landscape that first welcomed me was more than a breathtaking view. It is a living metaphor, a testament to the beauty that runs deep through this land, the warmth felt in every embrace, and the soul of a people who carry their history and heritage like poetry in their veins.My dear friend Edwina invited loved ones from each corner of the world and each chapter of her life. This trip was a celebration of two important milestones, her 30th year around the sun and her achievement of earning a Master of Science degree in Sustainability Management from Columbia University. But more than that, this was a “homecoming” to Lebanon.To Edwina, Lebanon is her everything. She says Lebanon is her home: “It’s memory, it’s resilience, it’s love. It’s where my ancestors are buried and where my wildest dreams are rooted. It’s where the mountains meet the sea in a way that feels like poetry, and where joy and pain live side by side: both loud and sacred. Returning to Lebanon always brings me back to myself. Planning this journey was my way of giving that feeling back to the people I love.”Over the course of the week, Edwina showed us Lebanon through her eyes. One of the most special days of the trip was when we visited Daher Farms, Edwina’s family’s land in the Bekaa Valley. It was a way to introduce everyone to where much of her story began.The day started with a delicious, traditional spread catered by ADIRA, a brand she strongly resonates with for their work with Lebanese women and farmers in the Central Bekaa region. ADIRA’s products blend tradition and innovation, and their mission reflects so much of what Edwina loves about this country: care for the land, pride in culture, and investment in community.We also toured the Daher Foundation, led by Edwina’s mother, Marleine. Daher Foundation is committed to improving healthcare access, empowering youth, and creating more sustainable livelihoods in rural Lebanon.As Edwina said, “It meant so much to me to show everyone the work we’ve been doing behind the scenes: initiatives that center dignity, well-being, and long-term impact. Seeing the group’s engagement and curiosity reminded me how powerful it is when global and local communities come together with open hearts.”We ended the day at Tawlet Ammiq, a breathtaking farm-to-table restaurant that sits at the edge of the Bekaa Valley, overlooking its patchwork of fields. It was one of those rare pauses where everyone felt connected to something bigger—the land, the people, the purpose.A few days later, we ventured an hour north of Beirut to Batroun. Founded by the Phoenicians, Batroun is a 4,000-year-old fishing village and is considered one of the oldest cities in the world. A historical tour followed by shawarma and Batrouni lemonade brought us to Arnaoon, a centuries-old Lebanese village cradled by the mountains. We danced our way into Arnaoon, stomping to dabkeh and synchronizing our steps to the derbakeh.The traditional Lebanese architecture set against mountain peaks and lush vegetation transported me to a place I couldn’t describe, only feel. Yara had the right words to capture the dizzying magic of Arnaoon. She commended its authenticity and purity for transporting visitors, “grounding them in something both real and timeless.”To Yara, Arnaoon is a land deeply rooted in her heart. Perhaps, it’s because her parents discovered a hidden gem and felt called to revive the echoes of a village of five small Lebanese goat herders’ cottages dating back 500 years ago. When Yara’s parents first stumbled upon this land, something about it captivated them. She said they often describe it as a calling, a mission to breathe life into a dream. Yara’s parents didn’t know the path ahead, and she said they lacked the means to realize the vision they carried. But they chose to take the first step, regardless. That step led to something far greater than they had ever imagined.In Yara’s words, “Arnaoon became a place of happiness, dreams, and opportunity. [It’s] a home to a community of pure- hearted people who reflect the very soul of the land itself.”Knowing the unparalleled generosity and hospitality of Lebanese people, I was not shocked to learn that Yara and Edwina became friends by a serendipitous chance of fate. A simple offer to help a stranger on the street unfolded into a collaboration and showcase of shared purpose and heart, rooted in a mutual love for their land and people. From early planning to the final farewell, every detail was approached with intention. Over three immersive days, they curated experiences in each corner of Arnaoon, with each moment crafted to invite connection, joy, and belonging. “I imagined guests living a different story in each corner of Arnaoon, experiencing a unique emotion in every zone,” said Yara. Yara strived to connect people and “create magic for those who are already magical.”Amongst rolling hills and a moon so full it could burst, Ranim and Bernard invited us to experience the land that shaped them through the quiet power of our stillness and breath. Though they had only just met on this trip, their energies were unmistakably aligned.“I’ve always thought I wanted to travel the world—little did I know the world would come to my homeland, and I’d get to connect with it through the presence of such beautiful souls,” said Ranim. She wanted to offer the group a taste of what Lebanon has taught her, which is “resilience, joy, creative chaos, unconditional love, and the miracle of holding paradoxes.”Bernard also wanted to offer something from the heart. Through yoga, meditation, and the soulful resonance of the handpan, he created a space where we could feel Lebanon not just with our eyes, but with breath, body, and heart. “This offering was my way of showing another face of Lebanon, not the one shaped by headlines, but the one rooted in resilience, warmth, and soul. I wanted to reflect the peace that exists here, even in the midst of complexity.”Ranim and Bernard showed us how intention and presence can become a bridge that connects us not only to ourselves, but to the spirit of a land, its people, and wisdom held beneath the surface.After Arnaoon, we spent time in Anfeh, a coastal town in northern Lebanon. Known for its striking blue-white seaside chalets and crystal-clear waters, Anfeh is often compared to the Greek Islands. But it has a character all on its own. Perched on a rocky peninsula with archeological remains including salt pans and Crusader-era ruins, the land tells a story shaped by centuries of trade, conquest, and monastic devotion. The landscape is rugged and serene, dotted with ancient chapels, windswept cliffs, and the shimmering sea. Today, Anfeh remains a peaceful retreat, where the past lingers gently and nature speaks in the language of waves and stone.I ended my trip in Lebanon with a few days in Beirut. Beirut could and should be its own story, because Beirut is the blueprint. The blueprint for a city characterized by persistence, reinvention, and soul. A mosaic made whole by every fracture. A pulse that never stops. Beirut shows the world how to hold contradictions: churches and mosques share a skyline, laughter echoes louder after loss, ruins become roots. Here, you rebuild not just buildings, but belief. Beirut showed me who I am when everything familiar falls away, a believer in resilience, beauty after ruin, and the quiet power of beginning again.Gin basils at the Albergo Hotel rooftop, shawarma at Em Shérif, dancing at GOU and AHM, strolling through Gemmayzeh and Saifi Village, and power blackouts at the hair salon were some of the memories formed in Beirut. The daytime was filled with discoveries, while evenings felt like the city’s true spirit came to life. Music spilling from every corner. Tables filled with mezze and laughter. It felt like time bent in Beirut.I didn’t expect to stay a few extra days in Beirut, but after Israel initiated missile strikes on Iran, Beirut Rafic Hariri International Airport was temporarily closed with dozens of flights cancelled, including mine. It took days to rebook my flight, but I felt grateful to be safe and enjoy extra time in Lebanon. It was a privilege I do not take lightly or for granted.Two days before I arrived in Lebanon, Israel bombed Beirut on the eve of Eid al-Adha. This attack in June 2025 marked the fourth Israeli strike in the area since a ceasefire was agreed on in November 2024. South Lebanon remains a military playground for the Israeli Occupation Forces. Despite the ceasefire, Israel has not withdrawn from Dawair, Hammaes, Jabal al-Deir, Jabal Blat, and Labbouneh in South Lebanon. In a recent article from Atalayar, Mohamed, a resident of Bint Jbeil, wrote, “The greatest danger is that people are getting used to nothing. That’s what the occupation wants, for us to forget our land.”Much like their Palestinian brothers and sisters, the people of Lebanon are there to stay. The people of Lebanon are like the Pigeon Rocks that stand tall in the Mediterranean. Like the thick cedar trees found in the mountains and on the national flag, they remain rooted in the land they love.I was deeply moved—and dare I say, changed—by my week in Lebanon. Lebanon feels like a warm embrace. The warmth of the sun hovering over the Mediterranean, the warmth of knafeh in ka’ik, the warmth of people who greet strangers as friends.To know the Lebanese is to feel their soul in three sacred truths: the earth beneath them, rich with memory; the community around them, woven with resilience; and the heritage within them, carried like flame.To Lebanon, with love. Until next time."
}
,
"relatedposts": [
{
"title" : "Unpublished, Erased, Unarchived: Why Arab-Led Publishing Matters More Than Ever",
"author" : "Céline Semaan",
"category" : "",
"url" : "https://everythingispolitical.com/readings/unpublished-erased-unarchived",
"date" : "2025-11-13 10:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Unpublished.jpg",
"excerpt" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.",
"content" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.Against this backdrop of erasure, the scarcity of Arab women’s voices in publishing is even more alarming. A bibliometric study spanning 1.7 million publications across the Middle East and North Africa shows that men publish 11% to 51% more than women. What’s more, women’s authorship is less persistent, and men reach senior authorship far faster. Arab women are not only under-published but also systematically written out of the global record.This is why Slow Factory has founded Books for Collective Liberation, an Arab-led, independent imprint committed to telling Arab stories the way they should be told: authentically, empathetically, and wholly. We publish work that would never survive the filters of legacy publishing: the political hesitation, the “market concerns,” the fear of touching Arab grief, joy, or its future. Independence is not an aesthetic choice; it is the only way to protect our stories from being softened, sanitized, or structurally erased.Our forthcoming title, On the Zero Line, created in partnership with Isolarii, is a testament to that mission. It stands on the knife’s edge where memory is threatened with extinction—a book that documents what official archives will not. It is a testimony that refuses to disappear.But books alone are not enough. Stories need a home that is alive, responsive, and politically unafraid. That is the work of Everything is Political (EIP), our independent media platform and growing archive of essays, investigations, and first-person journalism. In an era where Big Tech throttles dissenting voices and newsrooms avoid political risk, EIP protects the creative freedom of Arab writers and journalists. We publish what mainstream outlets won’t—because our lives, our histories, and our communities, dead or alive, should not depend on editorial courage elsewhere.Together, Books for Collective Liberation and Everything is Political form an ecosystem of resistance: literature and journalism that feed each other, strengthening each other, building memory as infrastructure—a new archive. We refuse the fragmentation imposed on us: that books are separate from news, that culture is separate from politics, that our narratives exist only within Western frameworks. This archive is not static; it is a living, breathing record of a people determined to write themselves into the future.When stories from Gaza, Beirut, and the broader Levant fail to make the news—or make it only as geopolitical abstractions—the result breeds distortion and public consent to eliminate us. It is a wound to historical truth. It erases whole worlds. We will not let that happen.Independent, Arab-led publishing is how we repair that wound. It is how we record what happened, in our own voice. It is how we ensure that no empire, no newsroom, and no algorithm gets to decide which of our stories survive.Tonight, we gather at Palestine House to celebrate the launch of On the Zero Line, a collection of stories, essays, and poems from Gaza, translated in English for the first time. This evening, we are centering the lived experiences of Palestinians from Gaza who have been displaced in London. I have the honor of interviewing journalist Yara Eid and Ahmed Alnaouq, project manager of the platform “We are not Just Numbers.” Here, we will discuss how mainstream literature and journalism have censored us—and how we can keep our stories alive in response."
}
,
{
"title" : "The British Museum Gala and the Deep Echoes of Colonialism",
"author" : "Ana Beatriz Reitz do Valle Gameiro",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/the-british-museum-gala-and-the-deep-echoes-of-colonialism",
"date" : "2025-11-11 11:59:00 -0500",
"img" : "https://everythingispolitical.com/uploads/the-younger-memnon-statue-british-museum%20copy.jpg",
"excerpt" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.",
"content" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.The invitation-only event drew high-profile guests such as Naomi Campbell, Mick Jagger, Edward Enninful, Janet Jackson, Alexa Chung, and James Norton. With a theme of ‘Pink Ball,’ the night drew inspiration from the vibrant colors of India and walked hand-in-hand with the museum’s ‘Ancient India: Living Traditions’ exhibition, adding a touch of colonial irony à la British tradition.Unlike its always-talked-about New York counterpart, or Paris’s star-studded affair last year that reunited figures like Doechii, Tyra Banks, Gigi Hadid, and Victoria Beckham, London’s event felt less memorable fashion-wise. With little buzz surrounding it - whether due to a less star-studded guest list, unremarkable fashion, or its clash with the Academy Museum Gala - it ultimately felt more like an ordinary night than a headline-making affair.But the event was not entirely irrelevant. In fact, it prompted reflections rarely discussed in mainstream media. Notably, because in spite of the museum’s sprawling collection of objects from other marginalized countries, the event ‘‘celebrated’’ Indian artifacts looted during colonial rule. Equally noteworthy is the institution’s partnership with BP - the British oil giant whose exports reach Israel, a state that, in the twenty-first century, stands as a symbol of colonialism and the ongoing genocide of Palestinians. And, of course, every penny raised went to the museum’s international initiatives, including an excavation project in Benin City, Nigeria, and other archaeological digs in Iraq.Although excavation is often portrayed as a means of preserving the past, archaeologists acknowledge that it is inherently destructive - albeit justifiable if it provides people with a deeper understanding of the human past. As Geoffrey Scarre discusses in Ethics of Digging, a chapter in Cultural Heritage Ethics: Between Theory and Practice, it matters who has the authority to decide what is removed from the ground, how it is treated, whether it should be retained or reburied, and who ultimately controls it. Something that feels especially relevant when discussing the objects of marginalized communities and the legacies of countries shaped by European colonialism, now just laid bare as trophies to embellish the gilded halls of Euro-American institutions.That the British Museum’s collections were built on the wealth of its nation imperialism is hardly news. Yet the institution, like so many others, from the Louvre to the Met, continues to thrive on those very foundations. As Robert J. C. Young observes in Postcolonial Remains, “the desire to pronounce postcolonial theory dead on both sides of the Atlantic suggests that its presence continues to disturb and provoke anxiety: the real problem lies in the fact that the postcolonial remains.”Although postcolonialism is often mistakenly associated with the period after a country gained independence from colonial rule, academics like Young, Edward Said, Gayatri Chakravorty Spivak, and Frantz Fanon acknowledge that our world is still a postcolonial one, with cultural, political, and economic issues reflecting the lasting effects of colonization. Its aftermath extends beyond labels like “Third World” or the lingering sense of superiority that still marks the Global North; it also fuels a persistent entitlement to our art, culture, and legacy.This entitlement can be seen in the halls of many museums worldwide. And though looting may not always be illegal - as in how these institutions acquire those objects - it is certainly unethical. For decades, scholars and activists have debated that these institutions should restitute the legacies taken from other lands, objects stolen through wars of aggression and exploitation. Still, these museums deliberately choose to hold them, artifacts that bear little cultural resonance for their current keepers, but profound meaning for the people from whom they were taken.But these debates are no longer confined to academic circles. Take Egypt, for instance. Its long-awaited Grand Museum finally opened its doors three decades after its initial proposal in 1992 and nearly twenty years since construction began in 2005. Now fully operational, breathing fresh life into Egypt’s storied past through showcasing Tutankhamun’s tomb among other relics of the country, it is demanding the return of its legacy. Egypt’s former and famously outspoken Minister of Tourism and Antiquities, Dr. Zahi Hawass, for instance, recently told the BBC: “Now I want two things, number one, museums to stop buying stolen artefacts, and number two, I need three objects to come back: the Rosetta Stone from the British Museum, the Zodiac from the Louvre, and the Bust of Nefertiti from Berlin.” Beyond the direct call-out, Dr. Hawass has initiated online petitions demanding the return of the artifacts, amassing hundreds of thousands of signatures. Nevertheless, the world’s great museums remain silent, and the precious Egyptian treasures are still very much on display.With African, Asian, and Latin American legacies still held captive within Euro-American institutions, the echoes of colonialism linger well into the 21st century, keeping the postcolonial order intact. Even fashion, an industry that loves to believe it exists beyond politics, proves such. Whether through events that claim to celebrate certain things but end up being meaningless, the current Eurocentrism that still dominates the industry, or how many labels still profit from the aesthetics of marginalized nations without acknowledgment, fashion, much like museums, reproduces the very hierarchies postcolonial theory seeks to expose.Ultimately, the British Museum’s latest event does not celebrate Indian culture or Nigerian history through its excavation in Benin City. Like so many Euro-American institutions, it reinforces imperial power - masquerading cultural theft as preservation.In fashion as in museums, spectacle too often conceals empire - and beauty, unexamined, can become complicity."
}
,
{
"title" : "Mirror Mirror on the Wall: The Art That Proves How Queer Iran Once Was",
"author" : "Aryana Goodarzi",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/mirror-mirror-on-the-wall",
"date" : "2025-11-11 11:36:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Amorous_Couple_V%D0%A0-1156-d509fb.jpg",
"excerpt" : "During a graduate school seminar, my professor asked questions - not about my takeaways from the text or theory, but to check her own. I was almost guest lecturing the seminar with her. Some student was always reciting a reiteration of Foucault or Butler. Theory was invoked to replace thought. In the West, discourse always precedes practice. That night class, I fell into what has since become a two-year love affair with a painting - an imbrication of art, politics, and culture.\\My professor introduced me to one of my favorite pieces of art: Amorous Couple, early nineteenth century. Two androgynous figures are framed with a rich palette of oil strokes that refuses governable gender. It’s an insurgency against the taxonomies of gender, sexuality, and nation. The painting doesn’t beg for inclusion in the queer archive; it exposes the limits of the archive itself.",
"content" : "During a graduate school seminar, my professor asked questions - not about my takeaways from the text or theory, but to check her own. I was almost guest lecturing the seminar with her. Some student was always reciting a reiteration of Foucault or Butler. Theory was invoked to replace thought. In the West, discourse always precedes practice. That night class, I fell into what has since become a two-year love affair with a painting - an imbrication of art, politics, and culture.\\My professor introduced me to one of my favorite pieces of art: Amorous Couple, early nineteenth century. Two androgynous figures are framed with a rich palette of oil strokes that refuses governable gender. It’s an insurgency against the taxonomies of gender, sexuality, and nation. The painting doesn’t beg for inclusion in the queer archive; it exposes the limits of the archive itself.Being proud to be Iranian is often thought to be antithetical to queer liberation – the way being a patriotic American is deemed antithetical to queer liberation today. I’ve often felt that these parts of me sit like oil and acrylic paints on a canvas – handled as an impossible pairing, even as they blend. The work – and by “work” I mean our lives – does not plead with, or seek permission from, Whiteness. Art takes us places we would otherwise not be able to access with only words.Art historian Najmabadi, once self-described as art-blind, went to the Brooklyn Museum in 1995, where she “realized doing history only with texts…had actually deprived me of an enormous resource for study, especially for issues of gender and sexuality.” I took in the painting, watching it metamorphose into a mirror. Words have never been able to paint me the way this did.Pieces like Amorous Couple (early 19th century) and A Couple Embracing are not just historical artifacts of queerness, but also a political intervention: an assertion of legitimacy within both art and politics. It takes the allegorical into documentarian. In Qajar era Iran (1789-1925), femininity and masculinity were not attached to gender or sexuality. Qajar Era Iranians didn’t need to “perform” gender in the way Judith Butler wrote about, because gender performance presupposes repeated cultural practices. Those cultural practices weren’t part of Qajar Iran because gender expression or sexual partners did not imply a rigid sexuality. Many paintings make it impossible to tell who is of which gender, or whether their relationship is heterosexual.What was freedom in Iran became a means of oppression in the West. Both Westerners and Iranians were anxious about how their culture would appear to one another. However, Western politicians misread Iranian culture through their own homophobia and influenced how sexuality in Iran is understood. As Michel Foucault might say, the concept of sexuality was not repressed - it was talked about more, politicized, and defined into homosexuality and heterosexuality. Creating these cultural categories expanded the governments reach of power. People have always had sex with the same gender. It wasn’t until the 19th century that they were called “homosexuals,” and put into that category with sociopolitical effects.\Political art simply cannot address tasks that exist entirely outside of the scope of art. Writer Maggie Nelson has said that, “Neither politics nor art is served if and when the distinctions between them are unwillingly or unthinkingly smeared out.” However, art is not apolitical - the archive of cultural production is held by branches tethered to state sponsored social engineering. Curation is an arm of control. It upholds the manufactured illusion that art and cultural institutions are liberal while ensuring compliance with capitalism and censorship. Art takes the allegorical into documentarian. It records, resists, ruptures. When it cannot influence the law, it increases literacy. When it cannot free people, it frees perception. If art cannot legislate freedom but can expand perception, then it is implicated in how freedom itself is imagined. The history of gender in Iran shows that perception is produced by cultural institutions. Najmabadi once wrote that “to be modern was to be gendered.”This production necessitated a “cultural labor” of gendering. This modernization required a labor of gendering – work that constructed and upheld the binary itself. What Najmabadi reveals is that gender was not simply “discovered” or “expressed” but produced. [Gender]queerness was actively removed from literature and the arts. Heteronormalization was also integrated through laws the state enacted. The education system also promoted binary gender through curriculum and school segregation, teaching children the “right” way to be a man or woman. This labor continues in art institutions today, where censorship begins with aesthetics, visually reinforcing the gender binary and censoring cultural institutions.Art and politics have a reciprocal dynamic: art is always one of the first cultural institutions to be censored and defunded. The change in gender aesthetic aligns with the timeline of Iran’s deepening politics with the West. Paintings, like Lovers, began to have one person topless with exposed breasts and another with facial hair. Despite wanting to reject Western influence, the Islamic Republic of Iran (IRI) came to depend on a concept of sexuality corresponding to that of the West more than its own. Along with the art, cultural attitudes began to change, and did so definitively with the 1979 Islamic Revolution. Just as Western influence politicized queerness in Iran, the US’s invasion of itself is rewriting the laws, culture, and curricula it once claimed as part of its freedom.In March 2025, the Trump administration issued an executive order to “Restore Truth and Sanity to American History” by banning art exhibitions involving queerness or gender identities that do not align with the administration’s gender ideology. Trump’s order reads like a decree from the Ministry of Culture – ironically, the kind of censorship the U.S. once condemned abroad. The national gender policy is also transphobic, recognizing only “male” and “female” according to another of Trump’s executive orders. The administration will also pull funding from schools with queer inclusive education.The policies have reverberated through the politicization of art and queerness. In both countries, queerness continues to come up in unquestionably national terms while contemporary politics makes queerness a national threat. There’s a quiet kind of grief that washes over you when you begin to think about the queer/trans families and adults fleeing the country – a country your family fled an authoritarian state for.Trump’s presidency is not a prior condition so much as a confirmation of what has always been. If we lived in a culture that was less homophobic and anxious about the [gender]queer experience, then queerness would be less troublesome - since part of what it’s doing is troubling the assumptions around the construction of sexuality. The US is not yet a gender apartheid, but Qajar era art functions as both witness and warning to countries that claim freedom in the name of patriotism yet repress queerness in the same terms.America is not just a country; it poses a mission: the “free” world. Many queer/trans adults and families are having to choose safety over a sentiment. To be queer in the United States is to be patriotic - because it demands the country invest in its own promise. And criminalizing queerness is not very patriotic when the basis of this country is (supposedly) the unalienable rights of life, liberty, and the pursuit of happiness. Qajar era art paints a time when queerness was not politicized – destabilizing both the Islamic Republic’s homophobic dismissal of queer history and the West’s hold over queer identities.In both the U.S. and the Islamic Republic of Iran, censorship of queer art[ists] is justified through nationalism. The US is a museum of the “free” world, its galleries and libraries where the nation performs itself. Like Iran’s Ministry of Culture, US cultural institutions are curators and librarians, deciding what belongs on the walls and shelves. To have US laws be like that of the IRI’s makes me think of art like Amorous Couple not as subverting the IRI – that’s part of it – but as primarily revealing Islamophobia. The irony is that the Iran being called upon to address homophobia wasn’t even homophobic. Putting queer liberation in terms of only freeing them from the IRI disregards the actual cause: the US. To address the oppressive politics of transphobia and homophobia includes - no, necessitates - taking apart the Western empire. Addressing the politics of transphobia and homophobia doesn’t stop at critique - it necessitates dismantling the Western empire itself.What happens when art can hold queerness in a way that politics cannot? Does it only succeed as art – or can it enact political and cultural change? If political and cultural change cannot be attributed to the piece, is that a failure on any part of the artist or a failure of broader politics? The paintings may not answer these questions, but it pursues them, deepening possibilities. Qajar era Iran can teach the US about the role of art at a historical juncture where the construction of freedom is positioned against self-determination.There is a Western hold on queerness that once made me feel like I wasn’t as Iranian for being queer and not as queer for being Iranian.The artwork reimagined queerness not as a site of fragmentation but as a continuity – testimony to Western efforts that were never entirely successful. Many have so little concern for how an artwork has been politically, culturally, and artistically conceived that they accept art devoid of politics. When art is treated like a luxury, it’s because a culture doesn’t want it to be a tool for liberation. As show cancellations increase in the United States, uncertainty deepens about whether the supposedly liberal politics of the art world are confined to the walls of exhibitions.Ultimately, Amorous Couple confirms that art is not merely archival - it is a political intervention beyond the reach of culture and law."
}
]
}