What converting Hagia Sophia into a functioning mosque really means

10th July 2020, a Turkish Court order approved Hagia Sophia’s convertion from a museum to an operational mosque.

For many Christians around the world, aborting a historical monument that represented the centuries of Byzantine Eastern Orthodox with Ottoman faith-inspired culture in the region, to having it reclaimed as a faith space for Islam, is a vilifying act of disrespect. The region has been affected by territorial tensions for millenia and many in the Balkan and Western Asia Minor, have experienced relocations, marginalisation, faith based extradition, torture and incarceration.

It is a non surprise western Turkey struggles with their record on human rights abuses, and corruption has been developmental to the Greek economy even in modern times.

Looking past the historicity of the region, and the unsettled air Erdoğan’s latest move has created, I can attest to the following:

– Erdoğan has three years left before the next election.

– The Hagia Sofia move was his check mate to Europe beyond the Greco-Turkish spats.

– Erdoğan doesn’t want to join EU (and all the monitoring and regulations), the EU will not have Turkey as it is today, but to make sure they don’t interfere, he needed to growl over his territory.

– Putin will turn a blind eye, despite Russia’s Orthodox Church affinity. Faith is only useful when it serves one’s interests by masking transparency. Christian links to the European church history are problematic for Putin’s and Erdoğan’s dark and underhanded populist and divisionary operations.

– Unmonitored, anyone challenging Erdoğan like the Kemalists, will end up in jail or dissappear.

– Turks in Turkey, Germany and the UK love Erdoğan. He took power and water to the favelas. He is making profits from the Syrian refugees that have no labour rights but plenty of will to do whatever yet not get paid or paid scraps of peanuts when they do (a 10th of the Turkish labour rates according to reports).

Noone wants drama on their doorstep. Turning adversity to positive stories is a way for populist governments to get away with the uttermost abuse of human rights.

Minorities and culture are the capital nasty regimes use for political coercion.

Coercion to domestic opposition, and coercion in international relations contexts.

Threatening securities makes vulnerable populations anxious and puts actor resources at high risk and alert. This costs actors money and make populations more predatory between them. Double win.

Hagia Sophia is the starting line of an incredibly narcissistic performance we will expect to see from Erdoğan in the next three years.

I can only hope there will be limited loss and blood lost in the process, but not set on having any hopes at this point.

In the middle of a pandemic, reclaiming a museum to a faith institution is a bold move.

To be continued…

Toxic People: 12 Things They Do and How to Deal with Them –

Source: Toxic People: 12 Things They Do and How to Deal with Them –

Christmas gift wrapped points:

They’ll be completely lovely one day and the next you’ll be wondering what you’ve done to upset them.

Toxic people have a way of sending out the vibe that you owe them something. They also have a way of taking from you or doing something that hurts you, then maintaining they were doing it all for you.

They’ll twist the story, change the way it happened and retell it so convincingly that they’ll believe their own nonsense.

Enough will never be enough.

Summary:

Short term ear noise for long term pleasures.

Please please please walk away and never look back. Whether that’s dumping them right before their birthday, not picking up their calls, leaving messages unread, or changing your flight destination to spend holidays away from them, and with normal people, you’ll feel much more better in the long run.

British Election pun

Cousin no. 1: what did you vote for?

Me: the ecologists

Cousin no. 2: the sexologists, both are biological

Me: 🤭🤫

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

I live in Tower Hamlets and in the poling station queue I could tell which was the one guy that voted Tory.

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

Me at the Radisson Blu polling Station:

I remember now why we were here on our date last month.

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

If you had a choice between two PMs which one would you choose?

: Corbyn, he’s more disillusioned to Bojo.

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

Exit polls:

Good evening the weather is looking very unsettled in the following days.

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

Rich kids go skint?

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

9pm exit poll: Shutter Island

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Bercow on Sky News: Order!

Me (in thinking bubble): waiting to hear something funnier

Bercow: spare us the theatrics

Me (in thinking bubble): you got it

Bercow: The state of my throat which is very temporary is not down to the consumption of a gangrenous testicle.

Sky news: what are you going to do now you are out of politics?

Bercow: have some fun

Me: mic drop

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️🗳️

#youthquake

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Glasgow door incorporated. 🏴󠁧󠁢󠁳󠁣󠁴󠁿

Fact: Jo Swinson still knocked on that door 😭😭😭

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Judy & Punch film preview – spoiler alert

I went to the UK launch of the Judy & Punch movie at the Picturehouse Central near Picadilly Circus.

The event had a live puppet show and actors portraying the audience husslers you’d get in the 17th century pre show crowds.

Drinks flowing, the pre movie event was comic, dark and intense with high pitched call outs and bashing noises, floating between comedy, with hints of tragedy, to fairy tale like medieval perkiness.

Now onto the movie.

Set in the mountain village of Seaside, the scenes are made in 17th century English/western European surroundings with a forest, unwavering views over the mountains and further away and filled with all the weird and wonderful characters you’d find in the dark streets of London mid century.

The story of the name Seaside goes like that. The villagers believed the sea would rise to near the top of the mountain, making their village a seaside settlement. They went on as far as building boats, which coincidentally and comically the housekeeper of Judy & Punch wonders what happened to them.

The script takes you through the success of a puppeteer couple who have returned to Seaside after the money and drink thirsty husband burned through their earnings from the big shows in the Big Smoke.

They start very successful shows at the village, waiting on the day talent spotters will come through and open up a new chance for a show in the city.

Whilst all of this rolls out, the husband keeps on failing. Whilst the wife (Judy and female puppeteer) goes out for the day, he gets drunk, nearly forgets a crawling baby to the fireplace, chases a dog for stealing his breakfast sausages and trips over throwing the baby out of the window into the dense thick forest down the mountain.

The wife returns (Judy) and the fight kicks off where he leaves her for dead in the forest. Nearby travellers/White witches find her, bring her back to health and before they move on their next journey, go back to the village to tell some truths about Mr Punch, who is about to hang the elderly housekeepers to clear his name of his wife’s and baby’s disappearance.

I won’t spoil the finale. From second to second I couldn’t predict what would happen. All I can reveal is that’s the first movie that I watched mesmerised without noticing how the time went past.

Go check it out for yourself and tell me what you think.

Seaside shenanigans at the Judy and Punch preview at Picturehouse Central, London

Rowing in the East End with its histories and all

Two years ago I came accross the documentary called Men of the Thames. The film is a journey of watermen and lightermen working in businesses on the Liquid Highway of London.

The story is narrated through the family histories of people with long associations to the London docks, the changes that have shaped their local industry since and their closeness to rowing.

Rowing for them is a family affair, taken up to continue the tradition of family participation in competitions, or as a means of rehabilitation from severe injury in pursue of ‘bringing those who stray back into a much supportive community’. It also highlights how tragedy is reflected upon and the power of responsibility owned by those working on the river.

The second documentary zooms in on the Doggetts Coat and Badge race.

Introduced and funded by Thomas Doggetts, the film takes us into the community within one of the oldest livery companies in London, housed at the Watermen’s Hall.

This is a single sculling race for apprentices in the lightermen and watermen sectors of London, traditionally originating East from the Tower of London.

Rowing in these parts of London was a far cry from the associations of today to university crews and the boat race.

Oared vessels were used to transport people by the river, and the importance of understanding the tides, steering in the streams and the elements in these wider parts of Thames were key to safe and time efficient passage.

Many of the references point to rowing facilities in the east of London. The London Youth Rowing, next to the City Airport is a more recent addition utilised by many regional clubs. Poplar and Blackwall District Rowing Club hosts exhibits from generations of Doggetts winners, many of whom trained from the club. Further athletes went on to row competitively in high performance national, international and Olympic events.

The Eastend is a place of transience and evolving histories, still unfolding to date.

Tragedy, in the home of tragedies

This summer I went to Epidaurus (/ ˌ ɛ p ɪ ˈ d ɔː r ə s /; Ancient Greek: Ἐπίδαυρος Epidauros) was a small city in ancient Greece, on the Argolid Peninsula at the Saronic Gulf, because I always wanted to watch an greek tragedy in the ancient Greek open air theatre.

I picked the play Elektra because it is a classic and a true tragedy, set in the city of Argos a few years after the Trojan War, it recounts the tale of Electra and the vengeance that she and her brother Orestes take on their mother Clytemnestra and step father Aegisthus for the murder of their father, Agamemnon.

The play was directed by a relatively new director, Thanos Papakonstantinou, who has found increasing attention, in a relatively short space of time, and in a very competitive genre.

I really loved the drive to Epidaurus, in the late afternoon, nearing sunset, travelling through the mountains with many other thousands, for the one purpose, to be at this venue and watch an ancient play. My expectations were close to none, as it would have been my first experience. I only assumed, Elektra would have been translated into a slightly more modern version, as many other cultural references and movements in Greece nowadays do.

I only realized the enormity of the crowds gathering there when I saw the size of the carpark and the queues when we got to the theatre gates. The ancient stone carved and built space welcomed us with a stage made in the same shape of its roundness, all in white with a round hole cut out on the white backdrop, linking the stage with the backdrop, by steep dramatic steps.

Epidavros

The tragedy begun and it was a disorienting and confusing experience. There were women covered in see through cloths, moving effortlessly like on-screen ghosts from the 70’s era. They reminded me of Catholicism and that became even more apparent as the play evolved. They were judgmental and backbones-less. The main character squeaked and screamed in unconnected personas making it even more uncomfortable. Yes she was going through a huge trauma however she did not need to be portrayed in such a misogynistic way. She was neither a woman, nor a devil. She was bitter and lost but the character portrayed was uncharacteristically poltergeisted for the pain and revenge she was planning. The whole lot of the other characters played out the same, they were either too weak or a copycat of Dracula like comicon characters that lacked dimension – this was a huge disappointment. The director could have played out the roles much more and did not think about their human element. It felt like he imposed his impression of the story on the actors. This left me with the impression the actors did not connect with the Director, and that is was pretty obvious he had made little effort to collaborate them even between them.

At the end of the tragedy, a bigger one happened. As the actors were bowing to their audience and receiving lots of thanks, the director, Thanos Papakonstantinou, went to the stage, dressed in an outfit resembling a German soldier outfit from the 2nd world war.

I did not find that funny or creative. I understood well his tendency to associate with the dark wave movement in Athens, after all I once was part of it too and remember al the boys getting excited with memorabilia, only to find themselves very isolated in the end. His choice was distasteful and inappropriate given we are at the verge of fascism all over Europe.

Thanos Papakonstantinou, failed on all fronts. It sounds like someone is pushing him to the front stage, however unqualified.  The Greek economy may be small, and opportunists like him can get attention and success, however Greece doesn’t deserve people like him mocking the situation (this is not a creative license, whatever he may come up to say) and fueling the division in our society further.

I wish to not see Thanos Papakonstantinou getting opportunities any day soon and for greek stages to host the original grassroots talent that exists but doesn’t try to buy in their way, through controversy. This is not USA, and there is no reason to be wearing an offensive outfit, not un-similar to Melania Trump’s ‘I don’t care’ outfit as she visited the children immigrant detention centres.