km.t podcast: Recent Episodes
Robert Beshara
km.t (pronounced Kemet) means the fertile black soil of the Nile Delta, it is also Egypt's oldest name.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
my soundtrack for The Illusion, a play by Tony Kushner based on Pierre Corneille's L'Illusion Comique.
The play was directed by Frank Bradley and staged at AUC main Falaki theatre in 2006. In addition to scoring it, I also played Pridamont.
I researched 17th-century French classical music for my compositions.
In this episode, Mohamed Abdou and I talk about many things including his recent article for ROAR magazine: https://roarmag.org/essays/let-empire-collapse-why-we-need-a-decolonial-revolution/
As well as his forthcoming book with Pluto Press, which is titled Islam and Anarchism: Relationships and Resonances https://www.amazon.com/Islam-Anarchism-Relationships-Mohamed-Abdou/dp/0745341926
Mohamed Abdou's full bio:
Mohamed Abdou is a former Adjunct Professor of Arab-North African, Islamic, and radical newest social movements at Queen's University. He is currently teaching a course on Indigenous Land Education and Black Geographies at the University of Toronto-SJE-OISE and completed his transnational and interdisciplinary ethnographic and historical-archival Ph.D. on Islam & Queer-Muslims: Identity, Gender, Sexuality, and Politics in the Contemporary, that is set in both post-revolutionary Egypt and Turtle Island. He is a self-identifying non-ideological Muslim anarchist activist-scholar and diasporic settler of color, originally from Egypt, living on unceded Anishinaabe and Haudenosaunee territory. He is author of the forthcoming book Islam & Anarchism: Relationships & Resonances (Pluto Press, May 2021). His twenty years of ‘newest social movement’ activist research and experience centres on Palestinian, Indigenous, Black, and people of colour liberation, and draws on his experiences with the Mohawks of Tyendinaga, the Indigenous Zapatista movement in Chiapas, Mexico, and participation in the Egyptian uprisings of 2011.
We continue discussing Alfonso's essay: https://stillpointmag.org/articles/blackness-and-signification/
Guest co-host Anwar Uhuru's academia.edu page: https://monmouth.academia.edu/AnwarUhuru
Video of this podcast episode: https://youtu.be/HOk70PHgoh8