Another woman joins in the daff playing. The prayer comes to a stop with a traditional closing prayer. Though the recent prayers have been in Turcoman, a minority language of Kirkuk and surrounding areas, the closing prayer reverts to Arabic. The women move seamlessly from the prayers to easy conversation as the worship concludes.
One woman leads this prayer, again from the handwritten prayers gathered in the notebook. The handwriting is quite clear in these frames. The prayer goes, “In this era, there is no other beauty…”
One woman leads this prayer, again from the handwritten prayers gathered in the notebook. The women sit quite closely to one another as they sing and play the tapl and daff. The prayer goes, “Oh, God’s Prophet, I sacrifice myself for your eyes.”
The notebook of handwritten prayers helps one woman lead the song while others around her, having it by heart, sing along. The percussive aspects of the prayer, the daff and tapl, continue as the backbone.
Two notebooks open on their laps, one woman, while singing, points out her place to another, who sings with her. These notebooks are a record of the prayers recited in the tekiye, a way to pass along the way of worship.
In a press conference, Barbara Williams, editor of the Black Law Journal, speaks about the publication as a resource for Black lawyers and how it can help advance equal justice and much-needed change in legal institutions. She talks about the need for Black lawyers to become advocates against injustices and the ways the legal system works against Black people and people from low-income backgrounds. Williams envisions the Black Law Journal as a forum for a new breed of legal activist that is prepared to share their knowledge with those concerned with Black community development. She also responds to questions about President Richard Nixon's law and order policy. Tom Bradley appears in this footage.
In January 1972, after the results of a seismic survey determined extensive damage caused by the 1971 Sylmar earthquake, the Wadsworth Hospital, a building on the Veterans Administration site in West Los Angeles, was forced to relocate hundreds of seriously ill patients on short notice. To make room, long-term residents at the site's domiciliary would also need to be relocated. Two women who have been residents at the facility discuss their positive treatment at the hospital and that they understand the decision is being made for the safety of the veterans, but believe the government should have given greater advance notice that they would need to relocate.
A boy stands on the second story balcony, watching the men below him listen to the mullah’s sermon. The balcony is a common hideaway for the young boys of the tekiye. They retreat up there to watch their fathers or uncles, to teach each other how to wrap their scarves around their hats properly, to eat the treats that come with a mawlood, or celebration. The walls, painted green, are typical of a tekiye. The mullah is reminding his assembled devotees not to put their heart in anything except God.
Inside the tekiye, each member of the worship is preliminarily checked. These devotees live, by Islamic State standards, a radically liberal life, manifesting a form of Islam, that IS would actively seek to destroy. As the men enter the mosque, they hear, “I bear witness that there is no god to be worshipped but Allah.”
At the Federal Building in downtown Los Angeles, reporter Jan Minagawa covers a rally in support of seven exchange students from South Vietnam who are facing deportation. He interviews three of the students who fear for their safety if they return to Vietnam after speaking out against the war and their government while in the United States. They talk about the treatment of political prisoners and the harassment and threats their families have been facing back home. Footage includes shots of the demonstrators and segments with reporter voiceover that lack picture.
The graves of sheikhs associated with the tekiye are inside the building, a shrine for devotees to visit. A verse from the Quran is written, Ayat al Kursi, or the Verse of the Throne, “In the name of Allah, the Beneficent, the Merciful. Allah! There is no God but He, the Living, the Self-subsisting, the Eternal. No slumber can seize Him, nor sleep. All things in heaven and earth are His. Who could intercede in His presence without His permission? He knows what appears in front of and behind His creatures. Nor can they encompass any knowledge of Him except what he wills. His throne extends over the heavens and the earth, and He feels no fatigue in guarding and preserving them, for He is the Highest and Most Exalted” (2:255).
Though the women’s room for worship is a simple long rectangle with no alcove for the daff and tapl players, the percussionists tend to congregate at the far side of the worship circle. The tapl is played sitting down, the drum braced against some cushions. The daff can be played standing or sitting as the worshipper desires. While the speech is not entirely clear, the language shifts from Kurdish to Arabic.
The angle of this clip shows the walls of the women’s room of worship. Marble tiling up to knee-height, the walls are largely painted white and the windows are draped in red and gold velvet.
The angle of this clip shows the walls of the women’s room of worship. Marble tiling up to knee-height, the walls are largely painted white and the windows are draped in red and gold velvet.
The Sheikha is a Turcoman, fluent in Turcoman, Arabic, Kurdish, and English. Her husband, Sheikh Yusuf Talabani, married her though she did not come from a Sheikh family. Given social and religious pressures, this indicates a personal understanding and choice of the Sheikha’s gifts, which are many. During this particular visit to the tekiye, the Sheikh was away, receiving treatment in Germany for a grave illness. The Sheikha stayed to support their community, to carry on the work of worship, but her concern for her husband made speech, at one point, difficult.
While all the other women sit on the ground, the Sheikha is seated. Though to western eyes, this is only a plastic lawn chair, the elevation is metaphorical as well as physical and shows the power and honor the community gives her, that her position confers.
In a press conference setting, unidentified officials convey the positive outcomes of an experimental transit expansion project in Watts that was conducted in response to urban rebellions in the United States in 1967. The project was designed to improve public transportation options for residents. The officials outline the multiple phases of the project, how it impacted employment and access to health care in the area, and hopes for the continuation of the project in the future.
ویدیو تصاویری را از کنسرت U2 که در آن نور و جلوههای سبز در سراسر صحنه در همبستگی با مردم ایران قرار گرفته شده بودند. U2 همین کار را در دیگر کنسرتهای خود نیز کرده است.
ویدیو تصاویری را از کنسرت U2 که در آن نور و جلوههای سبز در سراسر صحنه در همبستگی با مردم ایران قرار گرفته شده بودند. U2 همین کار را در دیگر کنسرتهای خود نیز کرده است.
Mr. Bachman, of the South Central Los Angeles Services Center, is interviewed about high unemployment in the area. He talks about the need for more entry level jobs, employers recruiting in other communities known for having a pool of semi-skilled labor and the lack of transportation in the community. Clip includes silent footage of people looking at job postings on a bulletin board and Center employees working.
In a press conference setting, Urban League president Vernon Jordan discusses President Richard Nixon's veto of the extension of the Economic Opportunity Act of 1964, which included an amendment to provide childcare benefits for the working class. Jordan states that Nixon's veto is detrimental to the lives of Black people, the economically-disadvantaged, and working mothers. Jordan also discusses the prejudiced viewpoints of white America regarding continuing challenges faced by African Americans due to inequality and institutional racism.
In a press conference setting, Los Angeles City Councilman (and future L.A. Mayor) Tom Bradley and others talk about their non-partisan voter registration drive and efforts to get more people involved in the political process through outreach in minority communities. They see this as an opportunity to reach those communities previously excluded from the process. Efforts include establishing voter registration and information offices on the East and West sides of Los Angeles, as well as Compton, Pomona and Pacoima, and recruiting young people to help register students on college campuses. Clip includes silent shots of posters, including and NAACP poster utilized in the campaign.
As Watts Fest prepares to open, a reporter interviews one of the organizers about the main attractions, including concerts, art exhibits, gospel shows and voter registration. He also mentions grand marshal Sammy Davis Jr. and attendance expectations. Footage includes shots of a band playing, crowds, and people greeting each other and taking their seats before a ceremony begins. Actor Greg Morris (of TV's Mission Impossible) and LA County Supervisor Kenneth Hahn appear briefly in this footage.
Fred Parsons covers the 7th annual Watts Summer Festival at Will Rogers Park in South Los Angeles. From a main stage at the opening ceremony, KTLA reporter Larry McCormick offers introductory remarks and talks about the festival being fun and games as well as a statement about their community. Next, LA County Supervisor Kenneth Hahn appears on stage to reflect on the Watts Rebellion and progress in the area. Hahn says they've accomplished a lot in the past seven years, but there is still more to do to improve conditions. Parsons also interviews Tommy Jacquette, executive director of the festival, and Yolanda Chapplle, queen of the festival, who sees the event as an expression of unity and Black pride. Footage includes other speakers and shots of people in the park, booths, and carnival rides.
A young woman participates in the worship while a little girl, across the circle, joins in beside her mother. Though children are cherished in this tekiye, they are explicitly encouraged not to come to the worship too young. The path of a Sufi must be consciously chosen, not an indoctrination. Sheikh Yusuf, the spiritual leader has said, “When we find children here, we say, ‘Go home! Read a book!’ But they sneak in…” Another consideration for some women in this circle is childcare. As this tekiye is the only in Kirkuk to offer sermons and prayers in all the languages of Kirkuk, many refugees or internally displaced people attend services. A woman alone with her child, separated from her family, may have no choice but to keep her son or daughter with her.