Rachel Hajar's Blog: My Life in Doha, page 6

A Magic Time

Last night I put my grandchildren Aziz (almost five years) and Saud (2 ½ years) to sleep. Their mother was busy, so I was delighted to stand in for the bedtime task. Putting my grandchildren to sleep always gives me great pleasure.

When I arrived in their house at 5:30 PM, Saud had finished with his bath and was brushing his teeth; Aziz was still taking a bath. They smiled happily when they saw me appear in their bathroom doorway. They simultaneously called, “Grandma, grandma . . .” both competing for my attention. Both chorused, “I want ipad.” They love to play games on the ipad. Aziz in particular is very adept with the games and he gets so engrossed in them. “Oh, I don’t have the ipad. Tell you what, we’ll watch cartoons and then I’ll read you stories.” They seemed happy with the compromise. Their Mommy (my daughter) does not keep an ipad around in her house so that her children will do other activities besides playing ipad games.

We then settled down to watch some cartoons in the TV room but after a few minutes Saud became bored and started to wander around. He found a ball and was soon happily playing with it when his Daddy arrived and his ball became a conversation piece. Aziz ran to them, fast as lightning, and snatched the ball from his brother. Saud started to cry wanting the ball back. Their father tried to persuade Aziz to give the ball back to Saud but Aziz refused. The two little boys ran around chasing each other, Saud whining, “Want ball, want ball.” I looked at my watch - almost 6:30 PM, Saud’s bedtime! I was a bit dismayed. It wasn’t good to get him upset or excited just before his bedtime. I tried also to get Aziz to give up the ball to no avail. Saud started to cry. Finally, his Dad ordered Aziz to give the ball back to Saud but Aziz said, “Never, never, neveerrrr!”

Uh, the situation was getting out of hand and I quickly scooped Saud in my arms, trying to calm him down by distracting him. Fortunately, it’s his habit to drink milk from a baby bottle before he sleeps and I calmed him down a bit with the milk bottle but there were tears in his eyes. At that moment, his Dad miraculously got the ball from Aziz and gave it to Saud who clutched it tightly in his hand and closed his eyes as though he was asleep. I carried him to his bedroom, picking up Winnie the Pooh, his favorite sleep companion. Still with closed eyes, he groped for his milk bottle, putting it to his mouth to suck. I turned the lights off, cradling his head, rocking him gently and humming a little tune. He squiggled, still clutching the ball and then put it inside his shirt over his chest, settled down, and fell asleep. But my cell phone rang! It was his mother asking if Saud was asleep! Saud woke up, sat up on my lap, sleepily muttering, “Aziz . . . want play with Aziz.” He twisted his little body from side to side in an effort to climb down from my lap, all the time whispering, “Want Aziz.” He settled down only when I started to narrate a story: “Once upon a time, there were two little brothers. Their names were Aziz and Saud. One day Saud was playing with a ball . . .” He loves to listen to stories where he is a participant. He quieted down. I rocked him gently, humming a tune softly and soon he was in dreamland . . .

In the dark, I kissed him, continuing to rock him, and softly humming a tune. I loved cuddling him. Soon, I laid him down in his bed . . . It was a rich, peaceful, and quiet time.

Aziz was watching cartoons in the TV room and I sat down with him, reading one of my books. Occasionally, Aziz would chuckle or get excited and narrate to me what was happening to a cartoon character. He was watching a Madagascar cartoon, which I also found humorous.

Aziz’ bedtime is 8:00 PM and I prepared him mentally by announcing that in “10 minutes, it will be bedtime” and he nodded and when the hour came, he gladly surrendered to the bedtime ritual. We went to his bed and by his pillow were his favorite bedtime stories. He kind of likes The Shapeys, an educational series for children. He likes to have a book all by himself and “read” it aloud. He can’t read yet but he narrates the story by looking at the pictures. He usually likes me to have another book to read. So, he “reads” aloud and I read from my book simultaneously with him so that we sounded as though we were doing a medley. After reading, we turned the bedside lamp off. The room was not dark because of a night light. Aziz does not want the room dark when he goes to sleep, unlike Saud. And then it was time to stop reading and just be quiet; no talking. After a while Aziz was also asleep . . . and the room became very, very quiet but filled with love.

Children’s bedtime can be either stressful or pleasurable, depending on the adult. This time – the hour of going to sleep – is a very special time. I cherish always the time I spend with my grandchildren. When I put them to sleep, I am happy and sad and I would remember countless bedtime moments when I used to put my children to sleep, when they were small.

Whether you live in Qatar, America, or Africa, it is important for children to feel that they could trust the world and bedtime provides such an opportunity.

Bedtime is truly a magical hour for parents and children – and for me.

Rachel Hajar, M.D.(Wednesday, January 12, 2011)


My Life in Doha: Between Dream and Reality
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WHEN CARMEN CAME TO QATAR

CARMEN came to Qatar last February 26 (Saturday) and 27 (Sunday). A friend of mine gave me the news, giving me a number to call for tickets. When I called the number, it was answered by a lady with a French accent. Her tickets were sold out. “These things go fast. You should have called me earlier.” Tickets were also being sold at Virgin Megastore, which had only one last ticket – seat 24C, second row in front, on the side. I had to make a quick decision. Would I go alone to the opera? Yes! And so I bought the ticket.

CARMEN is my favorite opera. I love opera but my husband does not. Opera music is very different from the rhythms of Arab music. An opera is a story or drama that is sung. Almost all the dialogue in an opera is sung or at least delivered in a pitched tone. It is not easy following the storyline from the singing. One has to know the plot or at least read the program which gives a summary of each act in the drama. I especially look forward to the singing of the arias, which reveals the true emotions of a character such as love or fear. The aria is rendered in solo voice performance. It is the singing of the arias that gives breadth and depth to the opera. Many opera greats are known for their rendition of arias and many arias composed for operas have become familiar worldwide.

CARMEN is a tragic French opera by the French composer George Bizet and is based on the novel by the same name, written by author Prosper Mérimée. In broad outlines Carmen is the story of a passionate and beautiful gypsy girl who seduces men. Her affections are as fleeting as the wind. The setting is Seville, Spain. She tempts Don Jose, an army corporal by throwing him a flower. Don Jose falls in love with her and an ardent love affair develops. Don Jose turns his back on his home and his career, going off with Carmen to live the wild gypsy life in the mountains with smugglers and the like. But Carmen’s love for Don Jose fades and she abandons him for a bull-fighter Escamillo, a new love. Don Jose pleads with Carmen to go back to him but she spurns him, and so Don Jose kills her.

With great excitement I went to the Katara Opera House – alone (I could find only one ticket, remember?). I thought it was a good opportunity to see the opera Carmen – in Qatar too! The Opera House is in Katara Cultural Village, a section of Qatar segregated for the purpose of “cultural activities.” Katara is located in the West Bay lagoon area of Doha, on Istiqlal St, opposite the Qatar International Exhibition Center. Katara is relatively new. The complex consists of an impressive outdoor amphitheatre (built to emulate the Roman amphitheatres of yore), an Opera House, a theatre/cinema, a beach, restaurants, cafes . . . The complex reminds one of European towns and villages, very foreign to the region. It is a Disney-esque place like the celebrated Souq Wagif (the Old Souk that underwent a massive facelift, like a woman, so that it is known as the “new old souq”).

There is a Qatar National Theatre which is quite capacious that holds stage plays, dramas and operatic performances from other countries. Does Qatar host a lot of these performances that Qatar had to build another? I don’t know. It could also be that the country is just floating on oil and gas revenue, awash with extra cash. Was it necessary to build this “Village”? Inevitably, the current bed shortage in Hamad Medical Corporation flashed through my mind. A pity. The country could really benefit from improving existing health facilities of building new ones.

Building luxury places such as Katara Village showcases a nation’s wealth. In the Valley of the Nile in Egypt, there are colossal monuments built by the Pharaohs’ master builders of antiquity: the Pyramids of Giza, the Temples of Luxor, Karnak and Philae, the Tombs of the Valley of the Kings. Although built to show-case the power of the Pharaoh, all of these colossal edifices are endowed with a spiritual quality that has survived through the ages. Sadly, I neither felt nor sensed any “spiritual quality” permeating the complex, perhaps because the concept and layout are alien to the region. Because it was dark, I could not appreciate the architecture of the buildings. The complex is supposed to have been designed to honour the architecture of the region.

Along the way, I had wondered about the name of this new cultural village, Why Katara? Why segregate a place just for cultural activities? Is it the fashion in city planning? Why not integrate cultural activities in the social context and life of the people? Wikipedia informs me that “Katarah, Qatara, Qatarah is an ancient settlement near Ninevah in Mesopoatamia, in the south of Iraq”. I could not trace the fate of that ancient settlement. Hopefully, Katara Cultural Village in Qatar will shine, rather than vanish or disappear from the map.

The Katara Opera house is grand, after the fashion of grand opera houses in Europe. The room is ornate with rows of regal seats, grand balconies, and polished wooden floor. I had been surprised that the stage was occupied by the orchestra. I glanced at my program. It read, “Bizet – Carmen in Concert Version”. It was not the staged opera I had in mind. Nevertheless, I settled in my seat to enjoy the orchestra play excerpts from the music and listen to the arias. It was quite pleasant but sometimes the soloists sang their songs reading the notes and drinking water from bottles!

I enjoyed the music and the arias. Certainly, for all its grand appearance, Doha Katara Opera House is not the London Royal Opera House. So, too, the performances.

It was a nice evening though.

Carmen at the Royal Opera House http://www.youtube.com/watch?v=Gd0FNp...

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
http://www.strategicpublishinggroup.c...
www.amazon.com
www.barnesandnoble.com.




Carmen Arias:
Carmen ouverture http://www.youtube.com/watch?v=PQI5Lt...
Habanera (Love is a rebellious bird) Maria Callas http://www.youtube.com/watch?v=6fZRss...
Toreador Song http://www.youtube.com/watch?v=4DNGMo...
La flleur que tu m’avais jetee (The flower that you threw to me or simply The flower Song sung by Domingo Placido) http://www.youtube.com/watch?v=zLXwaq...

A Love of Arab Poetry

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Page from Arabic manuscript

For many years I was ignorant of traditional Arab poetry and the Arab poets until I met and married my husband. He introduced me to the classical Arab poets and their poetry – the poetry of the Arabian Desert.

 My husband is a cardiologist and a poet. I remember that he was always scribbling some kind of poem on pieces of paper, usually on the back of envelopes. I soon discovered that he had two passions: medicine and traditional Arab poetry.  I would converse with him about medicine and that was fun but on Arab poetry, I was mute; I was merely an avid listener. He was partial to the classical Arab poets. He used to read to me poems of his favorite ancient Arab poets and then translate in English, usually while reclining on floor cushions in front of the fireplace in the days when we were postgraduate medical students and living in the USA. Those were dreamy days. Nowadays, these poetry readings sometimes take place in bed, just before we fall asleep, a dreamy time still. The harmonious word patterns, rhythm, rhyme, cadence, and music of poetry are soothing and relaxing, just like music. I love being read to, even though I frequently doze off.   

Through my husband, I learned the sad stories of some of the star-crossed lovers of Arabia such as Majnoon and Leila (see my post Lovesick in the Desert). He quoted famous verses of his favorite warrior poets such as Antar, narrating the fascinating circumstances of his life (see my post The Romance of Antar) that has captivated the heart of Arabia for centuries.

Many years ago, he presented me with two books, collections of classical Arab poetry translated into English. Last night, I was browsing through the books, wishing for more modern English translations to the poems. One book, Arabian Poetry for English Readers by W.A. Clouston was first published in 1881, new impression 1986. The other book, Classical Arabic Poetry (tr. by Charles Greville Tuetey was first published in 1985.

In Arabian Poetry, I stumbled upon this poem:

 THE ADIEU

 By Abu Mohammed

 The boatmen shout, "Tis time to part,

 No longer can we stay;"

"Twas then Maimuna taught my heart

How much a glance could say.

 With trembling steps to me she came;

"Farewell", she would have cried,

But ere her lips the word could frame,

In half-formed sounds it dried.

 Then bending down with looks of love,

Her arms she round me flung,

And as the gale hangs on the grove,

Upon my breast she hung.

 My willing arms embraced the maid,

My heart with raptures beat;

While she but wept the more and said,

"Would we had never met!"

 I liked the poem. It is a simple and concise poem and the translator was able to rhyme it. Of course, the format, form and style seem to follow English construction to appeal to English readers but the images are intact. Everyone will tell you that poetry can not be translated; something is always lost in translation. However,  reference to the "boatmen" in the opening line puzzled me no end. Where was the setting of the poem? Arabia is desert. The Arab empire was vast and at its height stretched from the Atlantic Ocean on the west, across North Africa and the Middle East, to central Asia on the east. I thought of possible places: Iraq – Tigris/Euphrates river? Spain – Guadalguivir river? I asked my husband if he knew the name of the poet and when did that poet live. He could not trace the poet because the name was incomplete. He said most likely the author was one of the Arab poets from Al-Andalus, Spain.

Examining the books, my husband commented that the translations in the books were "not poetry because they do not rhyme" and they do not do "justice to the original poems." It was interesting because he was measuring the quality of the translations according to Arabic poetry rules whereas the translators tried to translate the poems to appeal to English readers. Also, my husband does not consider a verse a poem if it does not rhyme.

 A poem in Arabic is called a qasidah (ode). According to my husband, classical Arab poetry traditionally opens a poem with a lament at an abandoned camp for lost love. The second part praises for the poet's horse or camel and describes a journey with the hardships it entails. The third section contains the main theme of the poem often extolling the poet's tribe and vilifying its enemies.

 The poem above is not loaded with metaphors but I find that the beauty and charm of traditional Arab verses (as translated to me by my husband) lie in the richness of its metaphors. For example, the great Arab poet Al-Mutanabbi (915 – 965AD) in one of his most famous lines said: "If you see the teeth of the lion, do not think that the lion is smiling at you."

 A poet is much admired in the Arab world. Many times in Qatar, I have noted that the publication of a poem in a local paper is heralded by a short announcement in front or back page of the paper.

 To understand a people, read their poetry.

 Rachel Hajar, M.D.

My Life In Doha: Between Dream and Reality

http://www.strategicpublishinggroup.com/title/MyLifeInDoha.html

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TO CURE A BROKEN HEART

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Shah Jahan's Jade Pendant, Museum Islamic Art, Doha, Qatar

One Thursday morning I visited the Museum of Islamic Art in Doha, Qatar. Designed by the world-renowned architect I.M. PEI, the museum is lovely and stands on a man-made island on the south side of the Corniche, sixty meters from the shore. Under the sun, its simple and distinctive architectural lines come to life: squares, rectangles, triangles, and arcs play in the sun, their shadows constantly changing as the sun moves through the sky. Its geometric simplicity is one of the captivating features of the museum. It is one of my favorite buildings in Qatar.

The exterior simplicity contrasts with the use of decorative patterns and forms inside. On entering the museum, you find yourself overwhelmed by the sense of space generated in the spectacular atrium. Dramatic architectural elements compete for your attention: the sculptural Double Grand Stair, the enormous 45-meter window with magnificent view of the Arabian Gulf, intricate geometric patterns on the floor, the dome capturing light in its facets, shafts of sunlight moving across the dome's surface giving light and movement to the space below. This area must be seen to be appreciated.

The collection consists of manuscripts, ceramics, calligraphy, metalwork, pages from the Qur'an, fabulous jewels, textiles, and carpets from across the Islamic world from the 7th century onwards. The objects in the museum are rather modest compared to other collections but one item in the galleries stood out for its eloquence and medical interest: The Jade Pendant of the Mughal emperor Shah Jahan. It is one of the prized collections of the museum

The pendant, carved from pure white jade, has finely incised inscriptions consisting mainly of verses from the Qur'an as well as detail of the full titles of Shah Jahan and the date AH 1041 [1631], the year of his wife's death. Shah Jahan was heartbroken at the loss of his beloved wife, Mumtaz Mahal who died in childbirth in June of that year. He built the Taj Mahal in Agra, India, in her memory. The shah wore the pendant to help ease his grief at the loss of his wife and therefore, the pendant was used as amulet. Such pendant is called a haldili.

Amulets, charms, and talismans have been worn since ancient times as protection against evil such as disease or witchcraft. They are made of wood and stone, clay, metal, plants and dead animals. They are carved into crude shapes and in the most exquisite forms. They are also comprised entirely of words, which are believed to have power and magical properties. Amulets and charms have been used by pagans, Christians, Jews, Muslims and followers of every faith and tradition known across the world. Some are considered direct links to the gods, others to local spirits. All are links to the supernatural. Regardless if they are called amulets, charms or talismans, these objects are credited with cures, health and prosperity. Amulets continue to be an important part of our modern culture.

There were other more magnificent objects in the collection such as the fabulous jewels, vases, and ceramics but the pendant – the haldili – made a lasting impression on me. It gave expression to the universality of human emotions. It is a touching relic of human need and aspirations.

Rachel Hajar, M.D.

My Life in Doha: Between Dream and Reality

http://www.strategicpublishinggroup.com/title/MyLifeInDoha.html

www.amazon.com

www.barnesandnoble.com

 

TO CURE A BROKEN HEART

One Thursday morning I visited the Museum of Islamic Art in Doha, Qatar. Designed by the world-renowned architect I.M. PEI, the museum is lovely and stands on a man-made island on the south side of the Corniche, sixty meters from the shore. Under the sun, its simple and distinctive architectural lines come to life: squares, rectangles, triangles, and arcs play in the sun, their shadows constantly changing as the sun moves through the sky. Its geometric simplicity is one of the captivating features of the museum. It is one of my favorite buildings in Qatar.

The exterior simplicity contrasts with the use of decorative patterns and forms inside. On entering the museum, you find yourself overwhelmed by the sense of space generated in the spectacular atrium. Dramatic architectural elements compete for your attention: the sculptural Double Grand Stair, the enormous 45-meter window with magnificent view of the Arabian Gulf, intricate geometric patterns on the floor, the dome capturing light in its facets, shafts of sunlight moving across the dome’s surface giving light and movement to the space below. This area must be seen to be appreciated.

The collection consists of manuscripts, ceramics, calligraphy, metalwork, pages from the Qur’an, fabulous jewels, textiles, and carpets from across the Islamic world from the 7th century onwards. The objects in the museum are rather modest compared to other collections but one item in the galleries stood out for its eloquence and medical interest: The Jade Pendant of the Mughal emperor Shah Jahan. It is one of the prized collections of the museum

The pendant, carved from pure white jade, has finely incised inscriptions consisting mainly of verses from the Qur’an as well as detail of the full titles of Shah Jahan and the date AH 1041 [1631], the year of his wife’s death. Shah Jahan was heartbroken at the loss of his beloved wife, Mumtaz Mahal who died in childbirth in June of that year. He built the Taj Mahal in Agra, India, in her memory. The shah wore the pendant to help ease his grief at the loss of his wife and therefore, the pendant was used as amulet. Such pendant is called a haldili.

Amulets, charms, and talismans have been worn since ancient times as protection against evil such as disease or witchcraft. They are made of wood and stone, clay, metal, plants and dead animals. They are carved into crude shapes and in the most exquisite forms. They are also comprised entirely of words, which are believed to have power and magical properties. Amulets and charms have been used by pagans, Christians, Jews, Muslims and followers of every faith and tradition known across the world. Some are considered direct links to the gods, others to local spirits. All are links to the supernatural. Regardless if they are called amulets, charms or talismans, these objects are credited with cures, health and prosperity. Amulets continue to be an important part of our modern culture.

There were other more magnificent objects in the collection such as the fabulous jewels, vases, and ceramics but the pendant – the haldili – made a lasting impression on me. It gave expression to the universality of human emotions. It is a touching relic of human need and aspirations.

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
http://www.strategicpublishinggroup.c...
www.amazon.com
www.barnesandnoble.com.

The Smell of Incense

A mabkhara is a container for burning incense and is commonly found in the Arab World. It was traditionally made from clay or soft stone, but incense burners are also made from porcelain, brass or silver.

The burning of incense is still very much a part of social life in the Arabian Gulf: weddings, festivals, and other public and social events.

The perfume exhaled from some spices and gums when burned is called incense in English and is the earliest perfume known to man. The most celebrated for its fragrance is frankincense, and in the ancient world, frankincense was more expensive than gold. The insatiable demand for it in Europe, particularly Greece and Rome, fueled the lucrative frankincense trade that in antiquity made Southern Arabia the richest place on earth. Greek and Latin authors wrote of an Arabia redolent with spices and aromatics, "all of Arabia exudes a most delicate fragrance; even the seamen passing by Arabia can smell the strong fragrance that gives health and vigor." The trade in frankincense flourished for centuries. The zenith of this aromatic heritage is long past, but traces can be found in Arabian souks where frankincense is still sold as expensive commodity.

Arabia’s aromatic past made scents a part of the fabric of everyday life in Arab culture. The burning of incense is not as widespread as it once was, but it is still a part of everyday life in the Arabian Gulf. Incense is also known as bukhor, which is made from a mixture of aromatic substances. The bouquet released when burning bukhor is floral with elusive undertones and overtones that could be spicy, woody, sweet, citrus, or fruity. The smell is pleasurable, delicious, and soothing. Fragrance is truly one of the small manifold pleasures of daily life.

In the early days of my life in Doha, when visiting Qatari friends, incense was passed around for guests to perfume themselves with the smoke. The sight of smoke swirling upwards from the incense burner and wafting its sweet fragrance had had a hypnotic effect on me. It always transported me to another time and place, sitting next to my mother in church during High Mass, watching a swinging censer spill out its smoky fragrance as priests and acolytes in their ceremonial robes walked past. Our sense of smell is a powerful memory trigger. I had always associated incense with religious service. I had been fascinated and enchanted to observe how intimately interwoven incense was in the fabric of daily life in the Arabian Gulf.

Like the dallah (Arabic coffee pot), the mabkhara (incense burner) has become a symbol of Arab hospitality in the Arabian Gulf since incense is burned in homes to welcome guests.

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
http://www.strategicpublishinggroup.c...
www.amazon.com
www.barnesandnoble.com.

Anniversary

February 1st is an important day for me – It’s my wedding anniversary and I remember it, without fail, whereas my husband forgets it, without fail. These days, I don’t really mind my husband forgetting the day. This attitude must be due to wisdom that comes with age, but I like to have days that are special, days that are somehow different from other days, to remember that on that date an event happened that changed your life: birthdays . . . wedding anniversaries . . . and other milestones in life – rites of passage. Marriage is a life-changing event but unlike a birthday, it is no longer an once-in-a-lifetime happening. Nonetheless, I do not think that it should be treated like an ordinary day. “What would your days be if I were not around to give it gentleness and romance?” is a trademark question/statement that I drop around like pebbles on DDAY. He has a wonderful sense of humor though. Several years ago, he forgot DDAY because he had been busy memorizing classical Arabic poetry and to hide his “misdemeanor”, he said that I cannot be a replacement for knowledge! I was of course offended and you can imagine what that particular DDAY was like! I spent the day being unhappy. By the time I received my flowers, it was late – 9:00 PM in the evening . . . and I became more kindly disposed towards him, thinking him sweet again! And remembering my father-in-law’s comment once upon a time, observing my varied moods, “Your affection is fickle like the wind.”

With time, as my children grew up, they would remember our wedding anniversary and through them my husband would remember . . .

I can just imagine the predicament of men. Unlike women, they are not good at remembering birthdays and anniversaries but I am positive that they have a knack for remembering a “date” (rendezvous, tryst)! I suppose they are victims of their genes. Science say that women are better than men at remembering everyday events, words, objects, pictures (called episodic memory tasks); men are better at symbolic, non-linguistic information (visual-spatial processing). For example, a man would be more likely to remember his way out of the woods (I never would); a woman is better at remembering the location of car keys, which, according to scientists, requires both verbal and visual-spatial processing. In addition, women are better than men at remembering faces, especially of females and the reason according to scientists is that women allocate more attention to female than male faces. Well, naturally!

I remember a hilarious incident narrated by a friend of ours. He is also a cardiologist and he also does not remember birthdays and anniversaries but his wife does. His wife forbids their children to remind him of her birthday, so his secretary reminds him. On that particular birthday of his wife, his secretary had reminded him but it had been too late to get her flowers. However, one of his patients had died recently and the family (Italian) had been very grateful for the years that he had takne care of their father. That day, the family had sent him a bouquet of very expensive flowers with a card. Puzzled what to do, he had had a brilliant idea: give the flowers to his wife! “No you can’t do that!” his secretary had exclaimed but he had said, “Yes, I could”, erasing his name on the card, and penciling in his wife’s. So, he had gone home with the flowers. “It’s your Mom’s birthday. Where is she?”, he had asked his daughter who replied sharply, “Who told you about Mom’s B-day?” He had replied, “No one. Nobody. I remembered. He gave his wife the flowers with the card and she had been very happy he remembered. But his wife had not particularly liked the flowers and had gone to the florist the following day.

“My husband bought this for me yesterday but I would like to exchange them please.”

“What name please?” The florist could not find her husband’s name.

“No one by that name bought any flowers yesterday but this bouquet was bought by an Italian family”, the florist had said, puzzled.

His wife had gone home angry and did not speak to him for days.

Genetic truth: Men do not remember birthdays and anniversaries. Women have an emotional need that their husband remembers these important everyday events. Remember, “Men Are From Mars, Women Are From Venus. “ The best solution is to just inform him, “It’s our wedding anniversary tomorrow.” It takes away 50% of the romance however, so one has to be creative. I usually drop plenty of hints the night before.

Last January 31, I asked my husband: “Tomorrow is February 1st. What important event happened that day?” He had been fixing his ghattra (long flowing headdress) in front of the mirror. He had smiled and gave a nervous little laugh. He replied, “Let me see . . . I was born a week after that.” “Yes, indeed”, I replied in a little voice, sighing. He is an Aquarius and the fascinating and interesting story of how he discovered his true birth date is narrated in my book, My Life in Doha: Between Dream and Reality.

I had given up, consoling myself with thought of what he told me recently “I have given you my heart.”

When I came back from the hospital, a bouquet of flowers was waiting for me in our room! He had remembered after all, but only after jiggling his memory cells!

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
http://www.strategicpublishinggroup.c...
www.amazon.com
www.barnesandnoble.com.

Pearls in the Arabian Gulf

The song, Diamonds are Forever, theme song of the Bond movie of the same title, was originally sung by Shirley Bassey and has become a classic. I love her version of the song. The lyrics hint at intrigue and betrayal. The pace, rhythm and beat are forever arresting, lively, and appealing and yet the lyrics are sad and cynical. I like the girl in the song, in particular her defiant spirit. Atta-girl! Give those filthy rich men-liars a run for their millions! But you could feel her heartache:

Diamonds are forever,/ They are all I need to please me . . . / They won't leave in the night,/ I've no fear that they might desert me./ Diamonds are forever . . ./ Nothing hides in the heart to hurt me. / I don't need love, / For what good will love do me? / Diamonds never lie to me, / For when love's gone, / They'll luster on . . . / Diamonds are forever, forever, forever . . . / Forever and ever.

Diamonds of course symbolize eternal love; hence men still give their intended bride a diamond engagement ring, even though one in two couples divorce these days. The word “diamond” comes from the Greek adamant-, adamas, which means iron or steel and is synonymous with hardest or indestructible or unconquerable. The ideal eternal love is indestructible – very romantic in virtual and hard reality, especially in the planet Venus where women dwell. What woman can resist a sparkly diamond gift? Men know this and exploit it: Wear down resistance with a diamond.

Diamonds are a girl’s best friend, so they say. How about pearls?

Diamonds and pearls are two of the very finest gems in the world. Pearls are lovely and elegant. I have always been partial to pearls. Unlike diamonds which sparkle, pearls glow with a quiet luster. They always remind me of moonlight. They symbolize chastity, purity, and feminine charm. Place a diamond ring and a pearl ring side by side and you will sense the restlessness inherent in the diamond and the calmness, serenity, and composure emanating from the pearl. The pearl has also come to symbolize a happy marriage.

Over the last seven years, an International Jewelry and Watches Exhibition had been held in Doha annually, featuring a wide range of luxury watches and jewelry from the region and from some of the most famous designers in the world. The exhibition is spectacular. It is always fun to walk through the exhibit, looking at the magnificent and expensive creations. The most interesting for me were the pearl jewelry, especially pearls in the Arabian Gulf. Once I went to the exhibit intending to buy a Gulf pearl necklace and was shocked that the price was way beyond my budget! But ohh, Arabian Gulf pearls are so beautiful and have a lot of character. The Greek historian Pliny in his book, Historia Naturalis, wrote: "the most perfect and exquisite pearls of all others be they that are gotten about Arabia, within the Persian Gulf."

The Arabian Gulf pearls are real pearls, not cultured or fresh water pearls. Fishing and pearling shaped the economic and cultural identity of the Arabian Gulf states. At the old Qatar National Museum (closed at the moment for renovation), there were interesting videos showing how pearls were collected. The pearl divers led a harsh and difficult life. Diving from small wooden boats called dhows, the divers weighted themselves down with heavy stones, collecting as many oysters as possible before a rapid accent. The divers used underwater goggles made from polished tortoise shells, and wore a bone clip to close their nostrils, and ear stoppers made of beeswax. Divers made 50 to 60 dives per day.

As I write this, I remember a true story narrated to me by my husband many, many years ago when he was just starting to practice cardiology in Qatar. One morning he had admitted to the coronary care unit Ali, a blind 70-year-old male patient with a heart attack. After sunset of the same day, he admitted Rashid, another 70-year-old man with a heart attack in the same room. As my husband talked to Rashid, taking his medical history, Ali lay comfortably in his bed quietly listening to Rashid’s voice. Then suddenly, Ali had interrupted.
“Rashid Bin Yousif, is that you”? Ali had asked excitedly.
“Yes. Who are you?” Rashid had responded.
“I am Ali Bin Thani”, Ali had answered.
, “Allaah…we did not see each other for so many years and now we meet in Hajar’s room, surrounded with machines, needles in our arms, strained and tied with wires.” Rashid had said.
“It is Allah’s wish”, Ali had responded.

They then told my husband that they were old friends. They had not seen each other for 30 years! When they were young, they used to dive together for pearls. Pearl diving was the vital source of income among Arab Gulf citizens before the discovery of oil. My husband had sat in a chair between their beds, listening with fascination to the two friends reminisce about the old days. My husband had felt very sad that those two friends who had not met for so many years had to meet under such sad circumstances in a coronary care unit, which they referred to as “Hajar’s room.” Ali had told my husband that Rashid was very strong. Once, while diving underwater, Rashid had grabbed a shark coming to attack him. He had struggled against the shark with his bare hands and brought the shark to the surface. All the Qatari divers knew Rashid’s incident with the shark.

Rashid said, “It is true. I was never scared of anything on land or at sea. God is the only one I fear.”

Both patients survived their heart attack and did well during that hospitalization. My husband had followed them up in the clinic with great interest. Ali died six months later due to a massive heart attack and Rashid was readmitted for irregular heart rhythm several times. Rashid died six years later.

Along the Corniche in Qatar, there is a beautiful, large Pearl Oyster Fountain, a tribute to Qatar’s pearling past. Before the oil era, Qatar’s economy depended on fishing and pearling. The great depression of the 1930s decreased the European demand for Arabian pearls and the Japanese cultured pearls put an end to the pearl diving profession in Qatar and the entire Arabian Gulf. Luckily, the region has oil and gas.

But pearls continue to cast their spell.

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
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Lawful magic and a blind Arab poet

“Clouddust of battle over their heads was like the night
And glitter flashes from the motion of our swords
Lighted the darkness like falling stars.”

Bashar Ibn Burd (714-784 AD)
(Trans. By HH)

The verse above is extracted from a poem by Bashar Ibn Burd praising his tribe during a battle with an enemy. The visual comparisons used are remarkable and one would never suspect on reading the above verse that the poet was blind. Bashar Ibn Burd was born blind.

Some famous poets in Western literature were also blind: Homer, Milton, Helen Keller, Jose Luis Borges, James Thurber, James Joyce . . . to name a few.

I sometimes wonder how blind poets/writers are able to craft beautiful words to convey a visual image . . . how do they craft the visual similes and metaphors?

Bashar Ibn Burd lived in 8th century Baghdad during the rule of the Abbasids (rulers of the Arab Empire whose capital was Baghdad from 750 AD to 1258 AD). Then as now, poetry was central to Arab social life. I have observed first hand how Arabs are fascinated with poetry. Who can forget the image of Saddam Hussein reading a poem he supposedly composed on the eve of the US bombing of Iraq? That was certainly surreal.

Historians and social observers state that no people in the world are so moved by the word, spoken or written, as the Arabs. Sometimes, I read in the newspaper how modern audiences in Baghdad, Damascus, or Cairo are stirred to the highest degree when there is a recital of poems. The poems maybe only vaguely comprehended or partially understood. The rhythm, the rhyme, and the music, produces on them the effect of what they call “lawful magic.”

In their history, there was always the sha’ir or tribal poet filling the role of historian and propagandist. The poet praised his tribe, elevating it over other tribes and denigrating or putting down other tribes. Thus, the poet boosted the morale of the tribe especially in times of war.

But another function of the poet was to write poems in praise of a ruler, and so Arab courts competed to retain in their courts the best of the Arab poets of the day and were amply compensated. Remnants of this practice still exist today. In the Arabian Gulf states there are still people who write poetry excessively praising a ruler or someone in power expecting to be amply rewarded. It is a form of social hypocrisy that is accepted in the society.

In the case of Bashar, he was condemned to death by the king (Al-Mahdi, 745 – 785 AD) because he criticized the king in a poem. That was a crime in those days. These days, such extreme punishment no longer exists but you could lose your job.


Rachel Hajar, M.D.

My Life in Doha: Between Dream and Reality
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ISLAMIC ART – WHAT IS IT?

Doha, Qatar, has a Museum of Islamic Art. It was opened two years ago, in 2008. Housed in the museum are manuscripts, ceramics, calligraphy, metalwork, pages from the Qur’an, fabulous jewels, textiles and carpets from across the Islamic world from the 7th century onwards.

To anyone who has browsed through Islamic galleries in other museums, the objects in the collection would seem familiar but in no way detracts from the objects’ inherent aesthetic appeal. Like the objects in other collections, the items fascinate and attract through their brilliant use of color and superb balance between design and form. Viewing them, one is drawn and charmed by the objects: they transcend distances in time and space and differences in language and culture. This explains the appeal and allure of Islamic art to a wide audience.

As in other collections, calligraphy, Arabic calligraphy, is omnipresent. In Islamic culture, calligraphy is considered the noblest form of art because of its association with the Qur’an, the Muslim holy book. The art of the book was not confined only to the Qur’an but extended to secular manuscripts as well as inscriptions on palaces, metalwork, pottery, stone, glass, wood, and textiles. Examples of these are found in all Islamic art collections, including the collections in the Qatar Museum of Islamic Art.

Another feature of Islamic art is the preference for covering surfaces with patterns composed of complex geometric or intricate vegetal elements (arabesques). This nonrepresentational decoration was developed to a high degree because of the ban on figural imagery. Images however, were allowed in Islamic courtly arts but figurative art is excluded in the decoration of religious monuments. These abstract designs give the objects elegance and beauty that is a delight to behold.

The primary means of artistic expression in Islamic cultures is the decorative arts as opposed to painting and sculpture in Western art. Illuminated manuscripts, woven textiles and carpets, inlaid metalwork, blown glass, glazed ceramics and carved wood and stone were mediums through which the Islamic artist or artisan expressed his creative energy. Oftentimes objects of daily use such as glass beakers, brass or ceramic plates or monumental architectural decoration such as glazed tile panels from building facades are beautifully ornamented, sometimes with rare and costly material suggesting that the people for whom they were made sought to surround themselves with beauty.

As in the arts of other cultures, Royal patronage played an important part in the evolution of Islamic art. Mosques and other religious buildings, including their decoration and furnishings was the responsibility of the ruler. Royal sponsorship of secular art, as in other cultures and civilizations, enabled the ruler to demonstrate the splendor of his court. Such objects were frequently made from precious materials. The majority of objects and manuscripts in museum collections (pottery, base metalware, carpets, textiles) however, have been viewed as the products of urban, middle class patronage. But whether produced in a courtly or urban or religious setting, Islamic art is generally the work of anonymous artists, and the technique employed is the same.

The Qatar Museum of Islamic Art is not a religious building but it was built by oil revenue from the state, under the patronage of the Amir of the state. It is a beautiful building. There is debate among private Qatari citizens whether the architecture is Islamic. As far as I’m concerned, it is: an ultra-modern interpretation and expression of the essence of Islamic architecture.

The building was designed by I.M. PEI, the celebrated Chinese-born American architect whose buildings are strongly dynamic and sharply geometrical with deep subtle touches of sensitivity to context. He knew nothing of Islam and Islamic architecture when he took on the Doha project and his quest to understand the essence of Islamic architecture took him to Spain, Syria, Turkey, Tunisia, and Egypt. He found his inspiration in the small ablutions fountain in the Mosque of Ibn Tulun in Cairo: “That little building is a poem . . . it is the very essence of Islamic architecture . . . from the octagon to the square and the square to the circle . . .” I.M. PEI

The Qatar Museum of Islamic Art stands on a man-made island in Doha, on the south side of the Corniche, sixty meters from the shore. Under the desert sun, its simple but distinctive architectural lines come to life: squares, rectangles, triangles, and arcs play in the sun, their shadows constantly changing as the sun moves through the sky. Its geometric simplicity is the captivating element of the museum. “It is the light of the desert that transforms the architecture into a play of light and shadow. Now, I do not know which is the shadow and which is the building . . .” I.M. PEI

Beyond its obvious exterior beauty, Islamic art makes us discover the rich historical and cultural traditions from which this art emerged.

Rachel Hajar, M.D.
My Life in Doha: Between Dream and Reality
http://www.strategicpublishinggroup.c...
www.amazon.com
www.barnesandnoble.com.