{"id":27888,"date":"2025-02-19T16:30:10","date_gmt":"2025-02-19T16:30:10","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=27888"},"modified":"2025-02-21T00:58:39","modified_gmt":"2025-02-21T00:58:39","slug":"hon-by-yasmine-hamdan","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2025\/02\/19\/hon-by-yasmine-hamdan\/","title":{"rendered":"Hon by Yasmine Hamdan"},"content":{"rendered":"

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If you’ve seen Jim Jarmusch’s vampire film, Only Lovers Left Alive<\/em>, you may remember the scene near the end where the film stops for a moment in Tangier so that Yasmine Hamdan, a Lebanese singer, can perform one of her songs. I’ve got the soundtrack CD which includes Hal<\/em><\/a>, the song she sings, but despite my predilection for Middle Eastern music I’ve been remiss in chasing down the albums that she’s released since. Hon<\/em><\/a> is a new Yasmine Hamdan song, her first in a while if the YT comments are correct (her last album was in 2018), with an animated video credited to Khalil. The video is a wholly animated piece which is one reason why it’s featured here; as I’ve said in the past, I lost patience with the live-action video format years ago but still like those that use animation provided the technique is well-deployed.<\/p>\n

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The song itself is a political one, you might say inevitably so given the singer’s background and the state of current events. No prizes for guessing what the “tiny country with a gaping wound” refers to. Khalil’s animation uses its variety of collaged objects to spell out Arabic words. Is one of these a fleeting reference to the opening shots of Sergei Parajanov’s The Colour of Pomengrates<\/em>? Maybe. The link to the song came via Animation Obsessive<\/a>, a favourite Substack which teaches me something new with every post. The latest instalment concerns Robert Sahakyants, an Armenian animator described as a Soviet hippy, or the closest you could get to such a thing in the Soviet Union of the 1970s. That’s another lead to go chasing after.<\/p>\n","protected":false},"excerpt":{"rendered":"

If you’ve seen Jim Jarmusch’s vampire film, Only Lovers Left Alive, you may remember the scene near the end where the film stops for a moment in Tangier so that Yasmine Hamdan, a Lebanese singer, can perform one of her songs. I’ve got the soundtrack CD which includes Hal, the song she sings, but despite … Continue reading “Hon by Yasmine Hamdan”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Hon by Yasmine Hamdan","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[52,7,14],"tags":[4334,13849,13848,400,13850],"class_list":["post-27888","post","type-post","status-publish","format-standard","hentry","category-animation","category-film","category-politics","tag-jim-jarmusch","tag-khalil","tag-robert-sahakyants","tag-sergei-parajanov","tag-yasmine-hamdan"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-7fO","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/27888","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=27888"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/27888\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=27888"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=27888"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=27888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}