In this episode, Ali and Lindsey are joined by Dr. Keelan Overton, an independent scholar in Santa Barbara, and Dr. Subah Dayal, Assistant Professor at the Gallatin School of Individualized Study at NYU, to talk about [Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700 (Indiana University Press, 2020)](https://iupress.org/9780253048912/iran-and-the-deccan/). They highlight the shared and oft overlooked history of Iran and the Deccan plateau of southern India over a three-hundred-year period. During this time, the sea routes between Iran and the Deccan became a major point of exchange for not only trade, but also the circulation of precious objects, poetic styles, as well as kings, saints, artisans, and statesmen. The volume paints a picture of a complex world wherein fashions and styles travel across myriad languages and social contexts. It shows how the Sultanates of the Deccan were embedded in, an integral part of, and inheritors to the norms of the Timurid period that are usually associated with the Ottomans, Safavids, and the Mughals. The result was "the creation of a robust transregional Persianate network linking such distant cities as Bidar and Shiraz, Bijapur and Isfahan, and Golconda and Mashhad." While clear hierarchies developed that privileged the Persian language and its customs, there was also a creative adaptation of Persianate archetypes into Deccani vernaculars. For example, Subah explains how one 17th-century poet tells the story of contemporary battles and political events in the form of the Shahnameh, but in Deccani language. In architecture, Keelan describes how Deccani basalt rock was used to frame the panels of otherwise archetypical Persianate tilework inscriptions. Together, they reveal the merits of interdisciplinarity and creativity for telling global histories. *Correction, ~16:16: Keelan mentioned ...
In this episode, Rustin and Ali interview Dr. Kelly Anne Hammond, Assistant Professor of East Asian History in the Department of History at the University of Arkansas, about her book, China’s Muslims and Japan’s Empire: Centering Islam in World War II (University of North Carolina Press, November 2020). During World War II, Sino-Muslims (Hui Muslims) were an important focal point for Imperial Japanese propaganda. Japanese imperial officials saw Sino-Muslims as crucial intermediaries that could help not only defeat nationalist and communist opposition in China, but also help bolster an image of the empire as anti-Western protectors of Islam. Building on an older academic tradition of Islamic Studies in Japan, knowledge of Islam was put into imperial service. Combined with the patronage of Muslim schools, mosques, and hajj pilgrimage, the empire aimed to create transnational Muslim networks that were centered in Japan and used Japanese as their new lingua franca. Dr. Hammond shows that these efforts were met with limited success due to the community’s religious and political diversity, as well as the military defeat of Imperial Japan. Even those who were receptive to Japanese efforts ultimately had to ally themselves with other powers following the end of the war, yet the legacy of their role as intermediaries remained even in the Cold War era. ...
In this episode, Kamyar and Rustin interview Armenian-American composer and performer Joseph Bohigian about his latest musical composition, “The Water Has Found Its Crack” (2020), which explores concepts of displacement, dispersion, and cultural preservation in Armenian music. The composition’s title refers to an anecdote shared by Turkish-Armenian journalist Hrant Dink about a French-Armenian woman who died while visiting the village of her youth in Turkey. When the question of where she should be buried arose, a man from the village responded “Let her be buried here...the water has found its crack.” It is a story of Armenians longing to be reunited with their indigenous land, not to take it but, in Dink’s words, “to come and be buried under it.” The discussion begins with Bohighian’s reflections about his family’s displacement during the 1915 Armenian Genocide, his upbringing in the diaspora, and his nine-month stay in Yerevan during which he wrote “The Water Has Found Its Crack.” The conversation then turns to the Armenian music theories and folk songs that influenced the piece, specifically the works of the Komitas (1869-1935), a Kütahya-born priest and musicologist widely known for documenting rural songs of the Armenian countryside. Finally, Bohigian takes us through the composition, highlighting various sections and reciting lyrics sung throughout. Visit Joseph's [Soundcloud to listen to "the Water Has Found Its Crack."](https://soundcloud.com/joey-bohigian/the-water-has-found-its-crack) ...
