This Old House

“Know from whence you came. If you know whence you came, there are absolutely no limitations to where you can go.” – James Baldwin

In March of 2018, I’m not tramping through the alleyways of Cairo, or watching glassmakers in Bida, or meeting the director of Karakalpakstan Art Museum in Nukus, or sitting with silk farmers in the mountains of Syria. No, my task is to sell my family home of 100 years (98 and ½ years to be exact) in Colorado…the home of four generations.

Since I left the USA in 1971 to marry my husband in Lebanon and move to West Africa, my cultural identity, lifestyle, family, community ties have not been that from where I came. After nearly fifty years, twice the time outside of the USA, my identity is chameleon-like or camouflaged. I don’t think too much about my heritage except now as I am letting go of the last property of my family heritage, I offer my appeasement to:

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Both sides of my mother’s family arrived in the late 1600s to the ‘new world’. My father’s family arrive in the mid-1800 first through Canada then to Colorado. My parents were raised in a small community along the foothills of the Rocky Mountains.

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Loveland, in northern Colorado, at foothills of Rocky Mountains

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Original neighborhood on 6th Street

There, one of the family homes, has remained in our family. Three years ago my, then, 92-year-old mother decided to move to Florida and live with her daughter, my younger sister, Lynn Kitchen. Mother could no longer maintain the house and decided to sell. For many reasons, I felt a responsibility to keep the house in the family. So purely on an emotion decision, I bought the house from my mother. Soon to realize that maintaining such a house when I do not live in the USA was an expensive burden. Yet engulfed in guilt, I chastised myself, “how could I spend much of my time writing about other people’s heritage when I cannot save my own?” But money was flying out of my bank account going into a property with which I could not build a future. With a heavy heart, I began to clear out, throw out and hold on.P1000511

March and April and May, these months, I polished the brass door knobs and wax the wood floors; I piled the last of the boxes and bags on the lawn for the charity to haul off; I jotted down historical notes of this 1920 house and whispered out-loud to my great aunt who built the house those many years ago. I readied the house and garden to see the day when the FOR SALE sign was hammered into the lawn along the corner sidewalk.

The house is cleared of things now.

 

It is different, emptied, probably more like when it was first built…an empty vessel to put memories into; now an empty vessel again, waiting.   P1000280

So in honor of my family heritage, this is the story of 610 North Jefferson as told by cultural historian, Carl McWilliams and my mother, Pollyann Baird:

Harter House was constructed in 1920 at a cost of $32,255.53 (with inflation, today, that amount would equal: $404,074.70). Designed by renowned architect, Robert K. Fuller, the house is among northern Colorado’s best examples of the Craftsman style of architecture. When the house was built, the lots were graced by five stately elm trees, today it is professionally landscaped with green lawn, heritage rose garden, cedar trees and shrubs, and several Norwegian maple trees.

 

The 2-storey house features an irregular plan It is supported by a concrete foundation and has solid brown brick masonry walls. There is a full basement beneath the home. The home’s solid brick walls are laid in common bond, and there are battered brick piers at the corners. Cream colour stucco, with false hall-timbering, appears in the upper gable ends on the south and west elevations, and in the upper half storey on the east elevation. The roof is broadly pitched, and features intersecting clipped gables, green asphalt shingles, and widely-overhanging boxed eaves. An original sleeping porch is on the north elevation. There are three brown brick chimneys.

The Craftsman-style porch features brick steps flanked by black wrought iron railings, brick flooring laid in herringbone pattern, and brick pedestals with large urns. The windows feature decorative window boxes with Craftsman detailing.

 

The interior of the home’s main and upper floor is divided into ten rooms including a vestibule, parlour, dining room, kitchen and breakfast room, conservatory (smoking room), an office, sleeping porch, two bedrooms, two bathrooms, and attic. There are six room in the basement, the largest of which is the billiards room and used to practice ballroom dancing. Other rooms in the basement include the fruit cellar, laundry room, coal room, a boiler room, and workshop with an original built-in work bench.

The home has tongue-in-groove maple flooring, except in the parlour which has oak flooring. The interior wood work is stained natural brown with distinctive diamond-shaped motifs adorning the interior. The main stairway is pure Craftsman with a square newel post, carved balusters, curved hand rails, and wide stair risers that give way to a graceful ascent to the second floor.

 

All original light fixtures are intact as are the original bathroom fixtures including a pull-handle flush toilet.

 

The fireplace tiles are similar to those found on the façade of the Rialto Theatre in Loveland, which were designed by Earnest Batchelder of Pasadena, California. Thirteen decorative tiles echo the glorious past of medieval masters by depicting Viking ships, knights, castles, and stylized animals and birds.P1000323P1000302

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From the parlour, French doors open onto the dining room. All walls feature shoulder high panelled wainscoting. Onto these panels, European (most probably Germans from Russia who arrived in Loveland in 1902) applied a grey-blue paint stippled on with a sponge – a technique named “Tiffany finish”. The original chandelier and scones were specially designed to match the painted walls.

 

A central vacuum system was installed to remove dirt and dust through tubing installed inside the walls to a collection container in a remote utility space in the basement.  Inlets  installed in walls throughout the house that attach to a hose and was meant to be a labor saving device.

 

Also built in 1920, the garage is located north of the house and is connected to the residence by a brick garden wall, where there is a wood gate with a pergola covering. There is a small, pentagon-shaped garden in shed located at the rear northeast corner of the property. Brick garden walls effectively tie the house, garage, and the natural features into a cohesive harmonious landscape design.

 

The Harter/Borland House is historically significant as it has been associated with notable persons of Loveland – Charles A. Harter, Maude E. Harter Borland, Eugene W. Borland, and Pollyann (Castle) Kitchen Baird. The property is architecturally significant for its fine expression of the Craftsman style of architecture and because it was designed by prominent Colorado Architect Robert K. Fuller.

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Left to right: Eugene W. Borland, Maude (Stanfield) Harter Borland, Pollyann (Castle) Kitchen Baird, Charles A. Harter

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1979 Auntie Maude (88 years old) with my children, Omar and Saadiah. Note the luggage on the stairs, Auntie Maude, in her day, called it a ‘grip’.

Robert K. Fuller was born in 1886 in Fort Collins. Robert grew up in Fort Collins and attended Colorado A&M and Cornell University where he received his degree in architecture. By 1910, Fuller had opened and architectural firm in Denver. By 1920, Fuller had designed some of his most notable buildings, including several Colorado courthouses and schools. Work credited to Fuller in Loveland include the Harter House, the Rialto Theatre and Loveland High School, renovation on the Lovelander Hotel and the original Herzinger & Harter Building.IMG_6583 (1)

The Craftsman style house, at the time, was the most popular style of the day. Inspired by the Arts and Crafts movement led by Gustav Stickley, the Craftsman style of architecture was principally influenced by the work of brothers, Charles Sumner Greene and Henry Mather Greene. Popularized throughout the country by pattern books and magazines, examples of the style included both elaborate architecture designed, Craftsman houses as well as more modest bungalows. Stickley philosophy of design stressed comfort, utility and simplicity through the use of natural materials and a lack of pretention. As publisher of the Craftsman, a magazine he founded in 1901, Stickley sought to expound upon the concept of ‘total design,” which sought to integrated the house with its surroundings through all aspects of design: house construction landscaping, interiors and furnishing.

Gustav Stickley’s concept of “total design” is clearly evident in Robert Fuller’s design of the Harter House, executed in 1919. From the complementary architecture of the house and garage to the unifying brick garden wall, to the duplicate pergola roofs over the front porch and gate to the home’s harmonized interior fixtures and furnishings, Fuller’s design embraces all of the elements of the Craftsman style.IMG_6463IMG_0432

A little family history:

Charles A. and Maude E. (Stanfield) Harter were the home’s original owners. In the spring of 1919, they commissioned Fuller to design the house in a style which they referred to as a “Brittany Bungalow.” Construction work on the residence was completed by a contractor named Danielson. Mr. Harter passed away, of complications from Bright’s disease and diabetes, in November 1920 having lived in the new home for less than a year. Mrs Harter, though, lived the rest of her life until her death in December 1992 at the age of 101. Along the way she married her second husband, Eugene W. Borland on December 24, 1926, and eventually passed the house on to her niece (my mother, Pollyann (Castle) Kitchen Baird who, in 2015, sold the house to me, great niece of Maude.

Born in 1889, Charles A. Harter was son of prominent Loveland pioneers Samuel B. and Emma B. Harter. The elder Mr. Harter arrived in Colorado Territory in the years prior to 1871. Determined to capitalize on the burgeoning mining industry, Harter made his way to Caribou, a bustling mining camp located west of Nederland, near the Continental Divide. There Harter entered into a partnership with John Lewis Herzinger, in a mercantile business, they moved their business to Loveland and purchased a corner lot at what is today the northwest corner of East 4th Street and North Cleveland Avenue. At this location, Harter and Herzinger constructed Loveland’s first brick commercial building, a two-storey edifice with the Herzinger and Harter Mercantile on the ground floor and a grange hall on the second floor.

Charles A. Harter grew up in Loveland and attended Colorado College in Colorado Springs where he met Miss Maude Stanfield (my great aunt), also attending Colorado College. They graduated and married in 1916. After his father’s death, Charles took on the family business. In early 1919, the Harters commissioned architect Robert K. Fuller to undertake two project. One was to design their new home at the northeast corner of Jefferson Avenue and East 6thstreet, and the other was to design a major addition to the Lovelander Hotel, which was owned by the Harter family. Charles was diagnosed with Bright disease and diabetes and died in November 1921 at the young age of 31. Auntie Maude was 29 years old. In 1926,  Maude met Gene W. Borland who had founded the Loveland Realty Association, House of Neighbourly Services, and was a successful investment banker. Maude managed the Harter family farms and ranches almost to the day she died in 1992, active in DAR, and many community projects throughout her life.

My mother, Pollyann, lived with Auntie Maude and Uncle Gene and attended Loveland High School where she met my father, Richard S. Kitchen. In 1992, after Auntie Maude’s death, my mother inherited 610 North Jefferson. In 2015, I took over and today, the story ends but not the memories…

In this old house…an attic treasure, a first edition book, The Secret Garden inscribed with a poem from Dudley, my grandmother’s suitor, when she was attending college in Tennessee.

 

***Recognizing that millions of people are forced to leave their homes or their homes are destroyed by natural disasters or by war leaving refugees, homeless, and untold grief, I am grateful to have the opportunity to leave this house peacefully and with love.

 


To read more about the grief of letting go of a family home read:

“Goodbye to the House My Grandmother Built.” By Yasmine El Rashidi

Watch the movie: Nostalgia:”A mosaic of stories about love and loss, exploring our relationship to the objects, artifacts, and memories that shape our lives.”

 

Red Walls of Bida – Revisited 2018

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ETSU of Nupe
Emir His Royal Highness (Bahagadochi) Alhaji Yahaya Abubaker greets people with the traditional royal gesture. The umbrella is significant as it provides shade to spotlight the Emir, the symbol of authority and the seat of traditional power.

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The people of Bida greet ETSU with raised right hand, closed fist in the traditional salute: Ranka-shi-deddy – May your life be prolonged!

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ETSU of Nupe
Emir His Royal Highness (Bahagadochi) Alhaji Yahaya Abubaker

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Our entourage presents gifts to the ETSU and praise his wisdom and thankful for his time and attention to our visit.

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In 2015, I took my first trip to Bida. The reason for this trip was to offer condolences to the family of our chief protocol officer, Alhaji Essa Ndagi, whose many years of service in our company was appreciated and still today, who is sorely missed. I decided to stay on a week and explore the area. The series of reports from that trip can be accessed at the end of this post.

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NIger Sate – Wikipedia

From Abuja, the capital of Nigeria, it takes a sane driver five hours of hard driving over extremely poor road conditions to arrive in Bida. An exhausting, dusty trip but well-worth the effort.

Bida is the second largest city in Niger State, in west-central Nigeria, an area with which I am fascinated. It is an area inhabited by Nupe people who are renowned for traditional industries that include blacksmithing; aluminum, brass and silver smithing; glassmaking and beadwork, weaving and cane weaving, woodcarving, and carpentry.

Nupe glassmaking, beadwork and brasssmiths (tswata muku) are found mostly in Bida.

 

Brass and glass-making traditional crafts have a long history in the area along with reed weaving and carved wooden stools. The Niger River runs through the state from which it is named providing an abundance of reed for weaving.  The woodcarving tradition of the Nupe does not depend on the ceremonial or ritual use of artifacts.

 

 

Except for cloth weaving, the traditional crafts are guild-organized crafts in which membership is largely hereditary, and are done by men. Only textile weaving on a vertical loom is a traditional craft by women.

The colours are the traditional colours of Nupe, weaving done by women.

Glass making can be traced to the Ancient Egyptians about 3,500 years ago. The earliest archaeological finds of glass objects in Egypt date back to the reign of the Pharaoh Thutmosis III (1504-1459 BC). The most famous of these is the illustration in the Annals of Thutmose III at Kar- nak. (Paul T. Nicholson ,”Glass Vessels from the Reign of Thutmose III and a Hitherto Unknown Glass Chalice,” Journal of Glass, Vol 48, 2006.)  In the last century BC, glass blowing (see Egyptian glass blowers here) was invented in Syria or Mesopotamia which gave rise to a variety of glass objects during Roman times. Glassmaking, the process of making glass from sand and soda ash, is said to originate in Egypt. However, there are those who disagree that the first true glass was made in coastal north Syria in the kingdom of Mitanni, Mesopotamia and brought to Egypt. (Paul T. Nicholson). 

The Bida glass makers in oral history past down over the centuries repeat that their ancestors came from Egypt via Chad, the Bornu Empire and migrating from Kano to finally settle with the Nupe area thus bringing with them the knowledge of glassmaking.

The actual process of glassmaking is considered a secret to the glassmaking guild in Bida. However, I was given a sample of the glass and description of the process was explained. Below is raw glass, processed once a year from sand and soda ash brought from Lake Chad or now, Kano. The fire in the ground bakes the sand and soda ash and takes two weeks. Also, recycled and melted glass bottles are used  to make beads and bangles. For full process, READ Bida Glass

 

 

Road to the workshop of the guild of glassmakers called Masaga.

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Bead and bangle makers atelier. DSC_0261

 

Before any bead making begins. Wood has to be chopped to make the fire. The clay oven is made of the red clay from Bida. It is repaired or built again once a year. The bellows operator carries on the rhythmic air flow into the furnace by a constant push and pull of the wood staves.P1020037  Pre-warmed glass is melted onto the iron rods. The long tongs are important. The man spreads out the melted glass with the tongs. The broad lamelliform knives are used to form the lumps of glass. Iron rods, tongs, and knives are the only tools that are used.DSC_0279

 

The tools are coated in the red clay of Bida and then the iron rods are heated and the clay bakes. This allows the bead to slide off the rod with relative ease when ready.

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Glass Bangles

 

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Below from left to right: Ayo Kuti, me, Allah Omar (bangle maker), Eba Mustafa (bead maker), bellows man, Alhaji Galedima, and two elders, young boy.

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Read: A Memorial to Alhaji Essa Ndagi, here.

Red Walls of Bida – Introduction here and here.

Bida Glass: Bangles and Beads here ; Bida Brass-work here : Bida Blacksmith here.

Roman Glass in Britain and in Bida here.

(All rights reserved, copyright 2018. To copy or re-produce photography and/or writings, written permission from Lesley Lababidi is required)

Cairo Sounds on Thursday Night (3)

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 El Tanbura
 
El Tanbura was established by Zakaria Ibrahim in 1989 in Port Said, when he brought together the masters of the simsimia, encouraging them in the revival of their musical heritage. Most of them had stopped playing: their music was no longer in demand, as people followed the fashion of pop culture music. Today, El Tanbura includes 20 members – master musicians, singers, philosophers, as well as fishermen, builders, plumbers and vendors, ranging in age from 25 to 84 years. Their instruments are their voices, the Simsimia, theTanbura (big lyre), Nay also Kawala (end-blown, reed flute), tabla (vase-shaped drum), triangle, Sagat (small cymbals), Shakhalil (kind of castanets) and Riqq (open, wooden frame drum with jingling discs in the frame). Their collected oral repertoire consists of more than 20 hours of traditional songs and much remains to be documented.
The award-winning El Tanbura has performed to enthusiastic audiences in countries all over the world from Canada to Europe, to Australia and Africa. They are regularly invited to participate in international music festivals, such as WOMAD in England, Abu Dhabi and WOMEX in Spain and, most recently, WOMAD in Russia.
In collaboration with their English partner, the production company, 30IPS, El Mastaba has produced two albums of international standard for El Tanbura band “Between the Desert and the Sea” and “Friends of Bambouti”. The Center has also produced three albums in Egypt entitled “Nouh El Hamam”, “Ahwa Qamar” and, most recently, an album of resistance songs spanning several decades, “January 26”.

– El Mastaba Center for Egyptian Folk Music

Thursday nights in Cairo are filled with parties, dinners, weddings but if you have a couple of hours and an adventurous music lover, check out a variety of folk music brought to the el-Dammah Theatre by Zakaria Ibrahim, researcher and founder of El Mastaba Center. c2228c89-922e-4bbd-b9d5-4869d1c4e8c1

El Dammah Theatre, managed by El Mastaba Center for Folk Music and located at El Balakesa Street, Abdeen.  Ticket: 30 EGP Winters: Thursday at 8pm

For more information please visit our website : www.el-mastaba.org

For more Egyptian traditional music see:

Cairo Sounds on Thursday Night (2)

and

Cairo Sounds-Egyptian Folk Music (1)

Princess Odiakosa, Chocolatier, a passion and a protest.

“We have failed ourselves if we are waiting for the government to tell us the way our lives should go.” – Princess Odiakosa

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Princess Odiakosa, founder of Kalabari Gecko Fine Chocolates

7C6016D5-354A-4AF4-87FE-4656A5098D1CImagine a box of chocolate truffles on Valentine’s Day handcrafted in Nigeria – sourced from the highest quality cacao beans in Osun State, home-roasted, ground and tempered, then mixed with pure cacao butter, sugar with artisanal techniques to capture the essence of a totally made in Nigeria chocolate experience! A pipe dream? An impossibility? Under the brand name, Kalabari Gecko, Princess Odiakosa has thrown down the gauntlet to take the challenge that one day Nigeria’s name will be synonymous with chocolate.

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I met Princess on a Legacy trip to Calabar in 2012. On a bus going to visit the Calabar Museum, we introduced ourselves. Princess, a financial consultant and manager of the training department, direct sales and marketing, at Dbrown Consulting, shared her dream about making hand-made chocolate from Nigerian cacao beans. “My dream is to see a chocolate fountain in the airport and every mall.” I saw the seriousness and determination in Princess’s eyes. However, I knew to produce cocoa from the cacao bean to luxury market in Nigeria was a radical aspiration. There are problems that chocolatiers in other countries do not face such as continuous power outages that ravage Nigeria. Most people would advise: ‘don’t give up your day job’.

In 2014, Princess travelled to Sweden to learn the art of chocolate production. Before she began the course she was passionate about the idea of making chocolate but as she learned about the process, sourcing the cacao bean locally, her passion transformed into a different kind of love affair, loving the many stages of the process. Princess sources the beans from farmers in Osun State where they have been fermented, dried, and cleaned then she roasts and grinds beans to a liquified state and mixes the raw chocolate with her special recipes. “I love experimenting Nigerian cacao bean, Forastero; it is really dark and low in bitterness.” Step by step she researched, developed her brand, and opened her company.

Cacao pods, Forastero, a tree from the evergreen family. Forastero means ‘stranger’ or ‘outsider’ in Spanish. Ordinary, everyday cocoa with strong, earthy flavours. Found in Ghana, Nigeria, Ivory Coast.

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Osun State in Nigeria – Wikipedia

Princess has not given up on her dream nor has she given up her day job. Recently, I visited Princess at her newly-outfitted kitchen and asked, “Why do you think in past decades that no one has had the interest in developing the cacao bean into luxury chocolate in Nigeria?” Princess explains:

“In primary school, we were told to draw a map of Nigeria and within each region draw natural resources, minerals, and cash crops. We colour-coded each product – limestone, yams, groundnuts, palm oil, kola nut, cacao beans, tin, etc. Ten years later that changed, when we drew the map of Nigerian resources, we just slapped a big a barrel of oil in the middle of the country and that was it.

At one point, we [Nigeria] were getting it right. But then, we got distracted. We are people that grab by the stem and not begin at the roots. Cacao bean export was the mainstay of Nigerian economy before the oil boom. The moment oil was discovered, cocoa farming was abandoned. We have oil; we send it overseas to be refined and then [they] sell it back to us as fuel. Same thing happens with cacao beans. We sell our cacao bean at a cheap rate and buy back as cocoa and chocolate which is expensive; it is a multi-billion dollar business outside Africa. We love chocolate but we don’t want to make it.

Yet, in our conversations we blame the government. We say the government is not doing this or that but at a certain age, we have to stop blaming the government. We need to do something. If we all keep talking about a negligent government until we are very old, I think we failed ourselves waiting for the government to tell us the way our lives should go. So, I said I can’t refine petroleum products but I can refine cacao to chocolate. Making chocolate is my passion and my protest.”

Last summer Princess was in England to meet a well-known chocolatier. The woman was late to the appointment. Apologetically, she explained that the summer heat ruined their confectionery and they had to move everything into a tiny, air-conditioned room and then the air-conditioner, itself, quenched. “I looked at her and said, ‘Guess what? The way you are frustrated today, this is my every day!’” Princess emphasises what all of us are aware of in Nigeria that the major obstacle of productivity is lack of constant electricity and the expense/maintenance of generators:

“When I was traveling back from my last trip, it was very difficult to think about electricity. I asked myself why am I stressing myself over electricity? I have a good consultancy career and a generator to run my refrigerator and television. But then I reminded myself that if I had electricity what would be the next excuse? My commitment is beyond a refrigerator and TV, I want to change the rhetoric about Nigeria.

Making chocolate gives me freedom. Freedom to talk. I am doing something for my country. I am making something for Nigerians to give…something sweet and delicious, something of our identity…chocolate, the sweetest part of Nigeria.

Tomorrow, when my children ask me, ‘what did you do?’ I can show them that I left a trail for them to follow, so they can say,‘this woman did her best.’ Making chocolate is for my children; it is for my freedom. This is my journey; I can’t stop.”

Instagram: Kalabari_gecko    Website: Kalabarigecko.com

*Photographs are the property of Princess Odiakosa, who kindly allowed me to use them for this article. Do not reproduce or copy without permission from Ms. Odiakosa.  All rights reserved, copyright 2018 .To copy or re-produce  writings, written permission from Lesley Lababidi is required

The key to a great noodle soup is in the noodles!

70207822-C17A-4369-9E0B-788555D9FA2ALanzhou (Lan-Jo) is a city in Gansu province, China, home of a significant population of Hui Muslims, whose rich history influence the array of food specialties in the region. But if you are short on money or time to travel to Lanzhou, don’t fret, you can experience Lanzhou’s famous hand-pulled laghman (lagman, lamien) noodles in Cairo.

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On a quiet, shady street in Daher district, sit outside at the Chinese Muslim Restaurant and enjoy Beef Noodle Soup, Lanzhou-style. Hand pulled, springy lamian noodles is dough that is roped through the fingers over and over,then slapped against the table to create hundreds of tender noodles. Each noodle dish is prepared by hand-pulling dough into noodles of various sizes…right in front of you!

 

F56288EF-9AC9-4864-815E-532CAF42D4FEMosques in China

The Great Mosque of Xi’an was built in 742AD under the reign of Emporer Zuanzong Li Longi in Tang Dynasty in Chinese architectural style. It has survived centuries till today, being renovated in the Song, Yuan, Ming, Qing Dynasties. 5AB06A36-A77E-46E1-B6AF-B1E0E7E661A5

Xuahue Mosque named He Don (Qingshuihedong meaning East River Mosque) built in 1485. Qingshuihedong Mosque in Salar Autonomous – Xunhua For history of the mosque and area read: Xiahe to Xining 57863828-AC45-4BF7-9E6F-30ABC1FD2A8EABB81139-6234-428F-9BA8-D7775152E7C2C1C05D1F-5698-4E6E-BBEE-D00E0D8DE952Chinese architecture modern minarets in Xunhua

Dongguan Mosque in Xining

4F14293D-993C-4133-93A8-8629CD108229Emin Minaret and mosque -Turpan, Xinjiang Province. The Emin Minaret was named after a local Turpan general, Emin Khoja. During the Qing Empire, the general sided with the Qing Empire against the Dzungar Mongols and defeated them. The minaret was completed in 1778 during the reign of the Qianlong Emperor (r. 1735–1796). For more information read: Foiled at the Finish

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Urumchi, China Xinjiang Province
Hezhou Mosque: (I think because it was not clear the exact name of the mosque; the dome minaret below is behind this mosque.
Located on the east side in the middle of Jianzhong Road, Hezhou Mosque was first built in the late 19th century and rebuilt in 1988

B26A815C-CD0B-4DCB-9C1F-44D5C6AD8149B0789EA8-A988-4DA8-AC3A-8BA8431CF065All rights reserved, copyright 2018 .To copy or re-produce writings, written permission from Lesley Lababidi is required.

Obelisque 2018

A2Obelisque Magazine, published annually, is now available.

The following articles are my contributions to the 2018 edition*.

Kyrgyzstan – Art of Felt

(read article here)Felt final 02-001


The Ikats of Uzbekistan

(read article here)

Ikat Final 02 -001


Street Art – The Gallant 

To view Mustafa el-Razzaz bas-relief art on Dokki Bridge go HereStreet Art 01 -2-001


Review:

A Field Guide to the Street Names of Central CairoBook review final 02-001


* Lesley Lababidi, copyright 2018. All rights reserved under international copyright laws. To copy or re-produce photography and/or writings, written permission from Lesley Lababidi is required.