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My Journey to Revive Hazara Culture Over the Past Decades

John Gulzari — 2025-05-21T20:29:27Z

“First they ignore you, then they laugh at you, then they fight you, then you win.”
Gandhi
The above quotation from Gandhi is a picture-perfect saying that fits into my Hazaragi cultural revival work. it seems like Mr Gandhi had a Cristal Ball thought in which he could predict the future in the 20th Century. It also means that visionaries such as Mahatma Gandhi, Martin Luther King Jr., and Nelson Mandela had set the ground for future generations of advocates, revivalists and change-makers.

As Neapolitan Bonapart once said, “Give me a good mother and I shall give you a great nation” was another landmark statement that resonated with me. My mother was an illiterate woman who introduced me to Hazara culture at the young age of seven years, despite being an illiterate woman she had lots of embroidery, handicrafts, the best motherhood wisdom and a wise vision for raising her children and raising a family as a teenager when she first got married.

I was just seven years old when my (late) mother made a hat with a “Dum-e sheer” in cross stitch design of Hazaragi embroidery, which I still have with me as a safekeeping.

When I became a teenager; I became more curious about my Hazara cultural heritage discovery.

Fast forward to 1999 after escaping the persecution in the Hands of the Taliban and

John Gulzari

seeking refugees as a teenager to Australia via a leaky boat from Afghanistan I became more isolated. I could say that I was among the first settlers in Dandenong among the Hazara refugees from Afghanistan.

I recall a moment in 2001 when I was sitting on a bench in front of Dandenong Plaza in sorrow and regret and thinking to myself, as I heard rumour back in my village that “when people go to Western countries they will become like foreigners and lose their faith, identity and culture heritage.” So, I thought that I was also going to lose my culture, language and identity.

Luckily, now over 10,000 Hazaras are living in the city of Greater Dandenong.

Fast forward 10 years, when First Nawroz in 2011 was celebrated. I saw "Koochi" or “Kuchi” which means an Afghan Gypsy dress among the audience and "Gand Afghani" which in Afghanistan it is an imposing traditional dress and an Imposed identity of “Afghanism” hegemony of a particular tribe in the rest of the tribes in Afghanistan also here in Australia.

After 2010 When I became a secretary of the Shamam Association I advocated and lobbied to remove the camel (a sign of stigma & hate - that people used in burning our Hazara houses and fire rockets from camelback in Hazaraistan) and proposed and worked towards getting Dimond Shape “Hazara & Shia Identity Marker” Installed at Thomas Street, Dandenong however Dandenong council refused to remove the name “Afghan bazaar”.

So in 2011, I started wearing my hat and shall around my neck proudly. Ever since I continued wearing and became more curious about my identity and Hazaragi cultural heritage. Also, I have been recognised for my cultural outfits in various large events, seminars, social functions, rallies and protests etc.

Since 2012 I have attended a bunch of Nawroz Festival and other cultural events and held a stall to exhibit and raise awareness about rich embroidery, handicrafts and motifs of Hazaras to fellow Australians.

I founded and formed a MACHID. Inc. (Meaning collection of 7 stars in Hazaragi e.g. Southern Cross) formed & registered in 2013 (music art & culture or Hazara identity - Dandenong) as an incorporated entity.

Furthermore, I took part in various interstate, local and regional Victoria and events internationally (Shepperton, Mildura VIC, Naracoorte SA and Canberra ACT, Japan & Pakistan) to introduce the importance of Hazara Culture, Cultural identity and Cultural heritage to the world heritage list.

Here in Victoria, I requested a religious (mullahs) group which has approximately 400 students until the high school to provide us with some children, so we be able to form a small singing or cultural group. when I asked about the children's group for the Hazaragi song and stage performances - They laughed at me by saying “az dom shi shuro kada” implying starting far back which means it is too late. Also, they said “kola khalqiya” a Communist hat and so on.

Now these particular religious teachers are going with teenage girls in Hazaragi dress to various events, singing “Srood e milli” a national song on stage everywhere. These are the guys who denied the Hazaragi language identity and imposed Dari and Farsi upon Hazara people children of future generations.

2015 got married and wore a Hazaragi cultural outfit at my wedding. and wore daily in Quetta, which people laughed at me. and called my name "Aughostani" "Lalai" "Tayra" etc.

In Quetta, around 2016 when I was attending some poetry night, someone snapped a picture of me and labelled me “Hazaragi Cultural Radical". If promoting one's culture is a sin, then let me be that person.

Some critics mocked me on social media labelled me “Jaghurigo Culture” It is not Hazaragi which represents all Hazaras. but Hazaragi is very rich and diverse we have not yet researched or defined what Hazaragi culture means, which I am trying to establish through my future books.

In 2017, I started researching Hazaragi culture, as online and in print, Hazaragi cultural heritage, motifs, and designs have been stolen and attributed to other tribes. With the help of my friends, I collected and categorised 1,000 photos of embroidery, handicrafts, and Hazaras. which I shall publish in 10 volumes (so far, 3 books on culture, but the first volume of Embroidery and Handicrafts has been published).

One of the cardinal reasons is Hazara youth students from Pakistan in various institutes e.g. NCA, LUMS, PIFD, Indus, etc. contacted me about literature reviews or academic sources on Hazaragi embroidery, culture, and motifs, which can be used as reference.

However, none of them have accessed, so, I became a pioneer and forged the path for our future generations. Luckily, I live in Australia which means I have access to resources, books and other references at my disposal, and the Hazara people in Pakistan, Afghanistan and Iran do not have access to those books or literature specific to Hazaras.

Besides, in most Western literature on Hazara embroidery, handicrafts and motifs have been misrepresented, often discriminating against Hazaras and portraying them as prodigious or under the influence of the elite in Afghanistan, who harboured hatred against Hazaras and shared anecdotes and fables with Westerners, or intentionally fabricated myths and propaganda against Hazaras.

Furthermore, I am grateful to our Hazara Artis, who are the real experts. I have the Honor of collaborating with Hazara experts like A/Prof. Ramzan Jafari, Prof. Mohammad Sabir, renowned artists H.A. Hatif, Zia Atahi and many others to highlight their work in my literature.

Up until the 2024 Nawroz Festival since 2012, I held a stall and gave people a test of the Hazaragi cultural experience for free which I paid out of my pocket for stall hire and all other expenses.

I collaborated with Japanese friend Ali Arifi (PhD) and (late) Japanese researcher with UNASCO Ms Anuki (Deputy Director) on the Intangible Culture Heritage (ICH) seminar workshop during 2020.

I also collaborated with Fatima Atif & Dr Fawzia Director of PNCA (Pakistan National Council of Arts) and renowned Hazara historian Ishaq Mohammadi (USA) to hold a session on Hazara Cultural Heritage. Also delighted to see Hazaragi Diorama is one of Fatima Atif & Dr Fawzia's legacy, which I am delighted to see coming to fruition.

I am optimistic, that one day we will have museums and displays all over the world that host Hazaragi Embroidery, Motifs, Handicrafts and other significant items that will be a significant contribution to the world heritage list and the body of knowledge in this field of Culture and Anthropology.

In conclusion, I am proud of my identity, as Hazara and proud of my people who have celebrated Hazara Culture Day in 2025 all around the globe, and said no to the genocide of not only the Hazara people but also Genocide of culture and Linguicide of the Hazaragi Language, which is another front I am working on and have currently authored over 30 books to preserve, promote and revitalize Hazaragi language under the entity of HALPARS for future generations yet to come.

In Solidarity with World Hazaras.

May 19, Hazara Culture Day: A Celebration of Resilience and Memory

Kamran Mir Hazar — 2025-05-19T18:17:44Z

Today, on Hazara Culture Day, we honor a people whose history has too often been silenced, erased, or misunderstood. The Hazara have endured, preserved, and now rise to reclaim their voice through art, poetry, and culture. As editor of Kabul Press^?, I'm proud to share this tribute, a reflection in verse and prose that journeys through memory, love, land, and the enduring spirit of Hazaristan.

This piece is both an invitation and an offering: to listen, to remember, and to witness the rich tapestry of a culture that continues to write its own story, line by line, verse by verse.

May 19 - Hazara Culture Day

May 19 - Hazara Culture Day

Today we celebrate the resilience, the richness, and the rhythm of a people too often written out of history,
a nation now writing its own, line by line, verse by verse.

As Ban'ya Natsuishi, Japanese poet and director of the World Haiku Association, reminds us:
“"To our displeasure, the history of some people, like the Hazara's, is often distorted or destroyed.
The Hazara people of Central Asia overlapped various cultures; they enriched our civilization."”

Poems for the Hazara, the anthology I had the honor to edit, gathers 125 poets from 68 countries,
each poem a universe, all orbiting the Hazara universe.

From Jack Hirschman (USA) to Micere Githae Mugo (Kenya),
Zindzi Mandela (South Africa) to Khal Torabully (Mauritius/France),
Julio Pavanetti (Uruguay/Spain), Raúl Henao and Elsa Tió (Colombia and Puerto Rico),
Anne Waldman (USA), Gabriel Rosenstock (Ireland),
Mamang Dai (India), Erling Kittelsen (Norway), Berry Heart (Botswana),
Rodrigo Verdugo (Chile), Tamer Öncul (Cyprus), Germain Droogenbroodt (Belgium/Spain),
and the list flows on, a caravan of verses crossing deserts and silence,
a chorus of memory defying erasure.

And within these pages breathe the many tongues and textures of poetry:
haiku and ghazal, free verse and spoken word,
Hazara raft, spun through the seismic hush of the dambura,
its strings streaming the rivers of Hazaristan,
songs flowing, bending, carving memory into stone,
into the rocks of the Hazaristan mountains,
becoming Salsal and Shahmama,
resonating with Rumi, and older ways,
the listening body of the land,
as Salsal turns left to take another silent māx.

And in those stones,
the breath of Dawlat Beig Sultan,
whose body, they say, dissolved into the mountains,
into root and ash, into barley fields and bitter almond groves,
his soul spiraling through the cycle of becoming:
from solid to plant, from plant to beast, from beast to human,
echoing not only Rumi, but the older ways:
those who heard the mountain breathe,
and moved with it,
in rhythm, in silence, in fire.

Here, too, is the childhood of Rumi,
cradled by his Hazara Ābʌy and Ātʌy,
echoes of his first metaphors rising
from Hazaristan soil.

Today, we offer these poems not as history rewritten,
but as memory reclaimed,
not as elegy, but as breath, as seed, as fire.

And when the wind arrives,
the verses rise as the Ʌždʌr,
the ancient Hazara dragon,
not in fury, but in motion,
its spine rippling with the earth's exhale,
its limbs circling the invisible,
gathering from the air what was scattered,
pulling it inward,
and unfurling it,
gesture by gesture,
into a sky not open,
but listening.

— Kamran Mir Hazar

Glossary

Hazaristan: Hazara land, Hazara country.

Raft: A Hazara melody or musical expression, often played with the dambura.

Salsal: The male Buddha of Bamiyan in Hazaristan.

Shahmama: The female Buddha of Bamiyan in Hazaristan.

Rumi: Poet and philosopher of Hazara origin Jalāl al-Dīn Muḥammad Rūmī

Māx: A kiss.

Dawlat Beig Sultan: The Sultan of the Hazara before the Afghan invasion.

Ābʌy: Mother (in Hazaragi).

Ātʌy: Father (in Hazaragi).

Ʌždʌr: The Hazara version of the dragon, appearing in legends and place names across Hazaristan, such as the Ʌždʌr Valley.

Keywords / Hashtags
#HazaraCultureDay #PoemsForTheHazara #Hazaristan #CulturalResistance #SalsalAndShahmama #HazaraDambura #AzhdarMovement #PoetryAsMemory #EasternWisdom #SpineOfTheMountain #WeAreStillHere #KamranMirHazar #HazaraHistory #HazaraPoetry #ListeningLand #Bamiyan #MemoryAsFire

To explore more voices and stories from Hazara poets worldwide, you can find Poems for the Hazara through [publisher/link here]. Join us in amplifying this vital cultural heritage, for memory is resistance, and poetry, a bridge to the future.

The Hazaristan Flag: Meaning, Symbolism and the Hazara Identity

Kabul Press - Investigative News & Analysis — 2025-05-01T20:17:48Z

Imagine the heart of Central Asia, a land carved by towering, jagged mountains that hug hidden valleys, where whispers of ancient lives sleep beneath layers of snow. Here, a flag ripples with a quiet strength – the Hazaristan flag. It's not just a pretty design for a country that's still finding its place on the map; it's a living, breathing story of a people. The Hazara, who've faced down centuries of hardship, haven't just survived – they've held onto their dignity, their memories, their dreams. This tricolor – the bright yellow of the sun, the pure white of the snow, and the vast blue of the sky – it's the very spirit of who they are.

More Than Just Colors: How a Flag Became a Song of Revival

Back in 2013, Kamran Mir Hazar, a thoughtful soul, gave this flag its form on Kabul Press, a digital haven where Hazara voices could finally be heard. What started as a simple design blossomed into something much bigger – a cultural comeback. Think of it: this flag's meaning soared when it graced the cover of “Poems for the Hazara,” a collection of voices from all over the world – 125 poets from 68 countries, all lending their words to the Hazara story.

Winston Morales Chavarro - Colombian poet, novelist and journalist is reading the anthology Poems for the Hazara

Winston Morales Chavarro is one of the contributors to the anthology Poems for the Hazara

The photo on that cover, snapped by Najibullah Mosafer, is something else. It shows the flag reaching up towards the sky with the shattered remains of the Buddha of Bamiyan in the background. That site isn't just an old monument to the Hazara; it's a raw wound, a place where both the Taliban's destruction and centuries of trying to erase their existence meet. Seeing the flag there, it's like a visual poem: out of destruction, something new is being created; where there was silence, a voice is rising; in the shadows, a light is pushing through.

Colors That Speak Volumes: The Heart of the Tricolor

Ancient Art from Bamiyan: A Glimpse into Hazaristan's Past

A fragment of an oil-based mural from the Bamiyan caves (5th-7th century CE), revealing Gandharan artistic influences and highlighting the region's rich cultural past in Hazaristan.

Each shade on the Hazaristan flag isn't just a random pick. It's tied to the very ground they walk on, the culture they live by, and even how they see the world. These colors don't just stand for things; they are a statement of being, a way of saying, "We are here, and this is why."

💛 The Sun's Golden Promise: Heritage, Roots, and a Hope That Won't Fade

That bold yellow at the bottom? That's the sun of Central Asia, beating down on the golden land of the Hazara, from the wide-open meadows of Uruzgan to the ancient cliffs of Bamiyan. It feels like the warmth of their traditions, the richness of the stories they tell and the art they create, the very light of who they are that just refuses to dim. If you look back, that earth has always been sacred. It wasn't just about growing food; it fed their spirit, their sense of community, their pride, and their responsibility to the land. And just like the ochre in those incredible old oil paintings in Bamiyan, that yellow feels like it's been part of their story forever. You even see that vibrant yellow pop up in their traditional clothes – it's just part of who they are.

🤍 The Snow's Quiet Strength: Integrity, Toughness, and a Peaceful Fight

The Buddha of Bamiyan: Ancient Colors of Hazaristan

This image shows the towering Buddha of Bamiyan carved into the cliff face in Hazaristan. The earthy tones of the rock, ranging from yellow to beige, resonate with the yellow of the Hazaristan flag, symbolizing the land and heritage. The vast sky above, a hint of blue visible, mirrors the flag's blue, representing hope and ancestral memory. The enduring presence of this ancient monument underscores the deep historical and cultural roots of the region.

That crisp white in the middle? Think of the winters in Hazaristan – harsh, yes, but also breathtakingly beautiful. That snow isn't just cold; it's like a shield, and it teaches you things: how to be strong inside, how to be pure in spirit, how to just endure. The white highlands around places like Nili and Ghazni aren't just scenery; they've shaped the Hazara character – making them stand tall, unbending, and resilient. And it's like those soft white tones you see in the old oil paintings of Bamiyan that show a kind of inner wisdom, a clear light. On the flag, that white speaks of fighting for what's right without violence, of having a clear moral compass, and of the quiet strength it takes to simply survive. Even when you look at the horizon where that big blue sky meets the land, there's often that bright, almost white line – it's all connected.

💙 The Sky's Endless Embrace: Hope, Memory, and a Spirit That Can't Be Held Down

Winter in Nili: White Peaks Under a Blue Sky

This image captures a snow-covered landscape in the Nili region of Hazaristan under a clearly sunny sky. The dominant white of the snow-laden mountains reflects the bright daylight, while the expanse of blue symbolizes hope and ancestral memory. Although the sun isn't directly visible, its presence illuminates the scene, a reminder of the radiant energy associated with the yellow of the Hazaristan flag, representing cultural continuity and hope rooted in this very land. The underlying rock formations, the foundation of this landscape, often display tones that echo this yellow, further connecting the flag's symbolism to the natural environment.

That deep blue at the top? That's the huge sky stretching over places like Daykundi, Bamiyan, Ghazni – everywhere their ancestors lived, worked the land, shared their beliefs, and told the stories that still live on. It's the same blue you see in those amazing 7th-century oil paintings in Bamiyan, some of the oldest in the world – it feels divine, peaceful, like the vastness of the cosmos. For the Hazara, that blue isn't just about being free; it's about their consciousness, a mind that won't be boxed in by borders, whether they're drawn on a map or in someone's head. It's a spirit that just keeps reaching.

Hazaristan: A Homeland Etched in Time

Remembering Bamiyan: A Flag Against Absence

A Hazara man stands draped in a blue, white, and yellow flag before the empty alcove where the Buddha of Bamiyan once stood. This image evokes a sense of remembrance for the lost cultural heritage and highlights the connection between the flag's colors and the historical landscape of Hazaristan.

To really get what the flag means, you've got to understand the land it speaks for – Hazaristan. This isn't some made-up place; its roots go way back in history, in the very shape of the land, and in the hearts and minds of the Hazara people. Back in the late 1800s, a British guy named Henry Walter Bellew described Hazaristan stretching far and wide. This land, once its own, became a target, especially during the brutal rule of Abdul Rahman Khan, whose late 19th-century actions against the Hazara were devastating, leading to mass killings, forced moves, and the breaking up of their ancestral territory.

The Hazaristan Charter: A Roadmap to Revival

Hazaristan map before the appearance of so-called Afghanistan

The idea of Hazaristan isn't just looking back with longing. It's been put down in a fundamental document called the Hazaristan Charter, a kind of moral compass for their national rebirth. Its articles aren't just political statements; they're about what's right and wrong, about their history, about justice, and about deciding their own future. Article 20 of that Charter makes it clear: Hazaristan is the land of the Dai (their traditional communities), and they're the ones who define its borders. It also says that any parts of their land taken through violence and injustice are still considered part of Hazaristan. This shows that their claim to the land isn't about taking someone else's; it's about putting things right, about recognizing their ancient roots. And by saying this, the Charter gives the flag even more weight – it's not just a symbol; it has a kind of legal and moral backing.

From the Ground Up: This Flag Belongs to the People

Hazara Tradition in Color: A Young Expression

A young Hazara girl is pictured wearing traditional Hazara clothing. The vibrant blue of the dress, the intricate white embroidery, and a beautiful silsila visually echo the colors of the Hazaristan flag, representing the sky, snow, and sun, respectively. This attire showcases the cultural heritage and the inherent presence of these symbolic colors within Hazara traditions.

Unlike a lot of flags that are just handed down from the government, the Hazaristan flag grew from the people themselves. When Kamran Mir Hazar asked Hazara communities everywhere to print it, sew it, wave it, it sparked something real. You saw it in protest marches, at universities, on social media, on handmade signs – this flag wasn't traveling through official channels; it was moving through the shared will of the Hazara diaspora. Every time someone made one, it was an act of saying, "We're still here. We have a voice. We can't be bought."

Official Recognition: The Charter Speaks Again

The flag got its official stamp in Article 37 of the Hazaristan Charter, which declares it the national symbol of the Hazara people. It says that its colors and how it looks should be respected and promoted everywhere – officially and culturally. This took the flag from being just a cultural symbol to a national one with the weight of their own foundational law behind it, putting it not just in their hearts but also in their vision for the future.

Poetry, Protest, and Standing Together with the World

Hazara Protest in London against the Hazara Genocide

When that flag appeared on the cover of “Poems for the Hazara,” and when hundreds of poets from all over the world wrote an open letter to leaders, it showed how art and activism can come together. The flag became a rallying cry not just for the Hazara but for anyone standing against violence and the erasing of cultures. That book wasn't just poems; it was a political act, a global record of outrage and solidarity.

The Hazara Stateless Nation, A People Who Refuse to Be Silent

The Hazaristan flag doesn't fly from embassies or lead grand parades. It doesn't get signed onto treaties. And yet, it's one of the most powerful national symbols today – precisely because it comes from struggle, from poetry, from memory. It's like it's sewn from the sky that no one can fence in, the snow that no one can buy, and the sun that no one can put out. It speaks in the language of the mountains and those who've sacrificed, of ancient art and bold statements. It's a living identity – you see it in Hazara homes, it's etched in the hearts of those who've been forced to leave, and it flies defiantly in the winds of history.

The sun. The snow. The sky.
This is Hazaristan, the Hazara country.

Frequently Asked Questions

: The Hazaristan flag features three horizontal bands: blue (top), white (middle), and yellow (bottom).
: The bold yellow at the bottom represents the sun of Central Asia, the golden land of the Hazara, the warmth of their traditions, the richness of their stories and art, and the enduring light of their identity. It connects to the sacredness of their land and the ochre found in the ancient oil paintings of Bamiyan.
: The crisp white in the middle embodies the harsh but beautiful winters of Hazaristan, representing inner strength, purity, endurance, and a quiet, nonviolent resistance. It's also linked to the soft white tones in the ancient Bamiyan oil paintings, suggesting wisdom.
: The deep blue at the top mirrors the vast sky over Hazaristan, symbolizing ancestral memory, hope, and a spirit that cannot be confined by borders. It echoes the profound blue found in the ancient 7th-century oil paintings of Bamiyan, suggesting a divine and cosmic connection.
: The Hazaristan flag was conceived in 2013.
: The flag first appeared on Kabul Press^?.
: The flag gained significant symbolic weight when it was featured on the cover of “Poems for the Hazara,” a multilingual poetry anthology that amplified the voices and resilience of the Hazara people globally.
: The Hazara are a people with a deep historical presence in Central Asia, known for their resilience, rich cultural heritage, and historical connection to the highlands of Hazaristan. Tragically, they have faced periods of intense persecution, including what many recognize as genocide and cultural genocide, aimed at their physical and cultural erasure. As Japanese poet and director of the World Haiku Association Ban'ya Natsuishi noted, "to our displeasure, the history of some people, like the Hazara's is often distorted or destroyed. The Hazara people of central Asia overlapped various cultures; they enriched our civilization. Here we ardently dedicate our various poems in various languages to encourage the Hazara to restore their honor."1 The Hazara people continue to strive for recognition, justice, and the preservation of their distinct identity and history in the face of ongoing challenges.
: Hazaristan, also known as Hazara Country, refers to the historical and ancestral homeland of the Hazara people in the heart of Central Asia, a land with deep roots in their identity and cultural memory.
: According to the historical account of Henry Walter Bellew (1834-1892), the borders of the Hazara country, or Hazaristan, extends "from the border of Kabul and Ghazni to those of Herat in one direction and from the vicinity of Kandahar to that of Balkh in the other.”
: The colors of the flag are deeply intertwined with the natural environment of Hazaristan: the yellow of its sun-drenched land, the white of its snow-covered mountains, and the blue of its expansive skies.
: Bamiyan, with its ancient Buddhas and early oil paintings, is a crucial site for Hazara history and culture. The image of the flag rising against the ruins of Bamiyan symbolizes resilience, revival, and the enduring spirit of the Hazara people in the face of destruction and erasure.
: The Hazaristan Charter is a foundational document outlining the principles for the revival of Hazaristan, emphasizing historical rights, justice, and self-determination for the Hazara people. It also recognizes the Hazaristan flag as a key national symbol.
: Unlike many national flags imposed by governments, the Hazaristan flag grew organically from the Hazara people themselves, sparked by Kamran Mir Hazar's call and embraced by the diaspora as a symbol of their identity and resistance.
: For the Hazara diaspora around the world, the flag serves as a powerful symbol of their shared identity, their connection to their homeland, their resilience in the face of displacement, and their ongoing aspiration for recognition and justice.

Keywords: Hazaristan flag, Hazara flag, پرچم هزارستان، پرچم هزاره، بیرق هزارستان، بیرق هزاره، Hazara people, Hazara Nation, Hazaristan, Hazara country, Hazara stateless nation, Bamiyan, yellow symbolism, white symbolism, blue symbolism, cultural identity, historical landscape, oil paintings, poetry, resistance, Hazaristan Charter, diaspora, Central Asia, Hindu Kush, So-called Afghanistan, cultural revival, Hazara poetry, Hazara art, Hazara history.

Kazim Yazdani's Half Century of Dedication: Hazara Community Unites in Munich to Celebrate History and Solidarity

Hazara Cultural Center - Munich, Germany — 2023-10-05T17:04:11Z

In the heart of Munich, at the Hazara Cultural Center, a remarkable gathering unfolded, marking an extraordinary moment in the history of the Hazara community. This photo story captures the essence of a celebration that honored the enduring legacy of Hazara historian Kazim Yazdani, whose five decades of relentless dedication have documented the rich tapestry of Hazara history, as well as the unimaginable systematic crimes perpetrated against them.

On this occasion, not only did the Hazara community come together to commemorate Kazim Yazdani's enduring efforts, but they also observed the 1st of October as World Hazara Solidarity Day, paying solemn tribute to the victims of the Hazara genocide. Join us as we navigate through these poignant and powerful moments of unity, remembrance, and the unwavering spirit of the Hazara people in Munich, Germany.

Notre-Dame de Paris, Remembering Buddhas of Hazaristan

Kabul Press - Investigative News & Analysis — 2019-04-18T06:30:23Z

Kabul Press^?: In March 2001, Pashtun leader Mullah Omar ordered Taliban to destroy the principal symbols of the Hazara history and culture, the Buddhas of Bamyan, Hazaristan. Buddha sculptures of Hazaristan had female and male versions. The Hazara named the female buddha as Kheng Bod or Shahmama (35 m tall). The name of male buddha was Sorkh Bod or Salsal (53 m tall). Both were carved during the empire of the Kushan, the Hazara ancestors.

Sorkh Bod or Salsal

An open letter from hundreds of internationally recognized poets says: Afghanistan's entire 20th century history has been marked by killings of Hazaras and systematic discrimination against them. On February 10 and 11, 1993 in the Afshar area of Kabul, the Mujahadeen government, and its allies exterminated and left injured thousands of Hazara men, women and children. In August 1998, the Taliban killed more than ten thousand Hazaras in the northern city of Mazar-i-Sharif. Similar bloodbaths quickly spread to other parts of Afghanistan including Yakawlang. Destroying Hazara history and promoting an inaccurate, demeaning history of their culture have been further strategies, in addition to violent crimes. For example, in March 2001, the Taliban notoriously destroyed the ancient Buddha sculptures of Bamyan which were principal symbols of Hazara history and culture, and one of the most popular masterpieces of the oral and intangible heritage of humanity. Such is the history of two centuries of crimes against the Hazara, and from which they still suffer.

Kheng Bod or Shahmama after destruction

View online : An Open Letter from the Poets World-wide

World Without Walls, An Open Letter From 1.478 Poets

Kabul Press - Investigative News & Analysis — 2019-04-18T05:06:06Z

Kabul Press^?: 1,478 poets around the world have released an open letter asking the world politicians for a safe and peaceful world without walls. The poets are from 168 countries including Colombia, Hazaristan, France, India, Norway, South Africa, Japan, Israel, Turkey and Russia.

In the name of the poets, writers, artists, and of all men and women that are in the cause of global peace, we call upon all the president/ prime minister/ head of the government over all nations of the Earth, who are responsible for the most cardinal issues of life, and to all peoples of the world, to join the efforts FOR A WORLD WITHOUT WALLS.

We deeply expect peace to be the cause, the fundamental purpose, and the most important objective in all the history of humanity.

We want freedom and independence to be respected in all countries, by all means possible, and to be continually strengthened.

We further urge that the care of the glorious Earth must be the flag and banner in every human being, social groups and nations.

We urge that there are no more wars or interventions in the internal affairs of every country, and that current conflicts and tensions will be deactivated through a generous dialogue.

We hope and we want that all governments of the planet that they may join their efforts in order to ensure that the core values of humanity: peace, dignity, justice and individual and collective rights are respected in all countries.

We urge that all the governments take immediate and effective steps so that the rights of the most oppressed sectors are defended.

World Poetry Movement
COORDINATING COMMITTEE

Poets: Jack Hirshman (United States), Ataol Behramoglu (Turkey), Rati Saxena (India), Dinos Siotis (Greece), Ayo Ayoola-Amale (Ghana), Christopher Okemwa (Kenya), Francis Combes (France), Jidi Majia (Popular Republic of China), Mohammed Al-Nahban (Kuwait), Agneta Falk (Sweden), Alex Pausides (Cuba), Khalid Rassouni (Morocco), Magdalena Camargo (Panama), Vadim Terekhin (Russia), Oscar Saavedra (Chile), Keshab Sigdel (Nepal), Zolani Mkiva (South Africa), Fernando Rendon (Colombia).

Poets:

Writer´s Union of Mozambique
Writer´s Union of Tchad

Nguyen Quang Thieu (Vietnam)
Paul Muldoon (Ireland)
Tahar Bekri (Tunicia)
Nguyen Phan Que Mai (Vietnam)
Nguyen Bao Chan (Vietnam)
Mai Vhan Phan (Vietnam)
Quan Pham Long (Vietnam)
Ghassan Zaqtan (Palestine)
K. Satchidanandhan (India)
Jan Erik Vold (Norway)
Chris Abani (Nigeria)
Paolo Ruffilli (Italy)
Lorna Shaughnessy (North Ireland)
Werewere Liking (Cameroon)
Ulugbek Yesdaulet (Kazakhstan)
Jose Luis Hopffer Almada (Cape Verde)
Ashur Etwebi (Lybia)
Tulasi Diwala (Nepal)
Saidash Mongush (Tuva/Russia)
Baatarkhuu Tumendemberel (Mongolia)
Mindy Zhang (Popular Republic of China)
Gustavo Pereira (Bolivarian Republic of Venezuela)
Juan Calzadilla (Bolivarian Republic of Venezuela)
Peter Rorvik (South Africa)
Freddy Ñañez (Bolivarian Republic of Venezuela)
Sainkho Namtchylak (Tuva)
Quincy Troupe (United States)
Claudio Willer (Brazil)
C. K. Stead (New Zealand)
Tarek El Tayeb (Sudan)
Amosse Mucavele (Mozambique)
Hadaa Sendoo (Mongolia)
Petar Tchouhov (Bulgaria)
Homero Carvalho (Bolivia)
Khazal Al Maijdi (Iraq)
Les Wicks (Australia)
Jumanda Gakelebone (Botswana)
Serge Crepy (Madagascar)
Teresa Colom (Andorra)
Enrique Solinas (Argentina)
Hussein Habash (Syria)
Inga Gaile (Latvia)
Gabriel Jaime Franco (Colombia)
Oleg Babykin (Russia)
Lincoln Bergman (United States)
Gerry Loose (Scotland)
Zakariah Mohammed (Palestine)
Mohammed Al-Lawzi (Yemen)
Zoe Skoulding (Wales)
Mina Gligoric (Serbia)
Nese Yashin (Cyprus)
Howard Fergus (Monserrat)
Casimiro de Britto (Portugal)
David Mc Kirdy (Hong Kong)
Uwe Kolbe (Germany)
Claus Ankersen (Denmark)
Rifaat Salaam (Egypt)
Ramiz Rovshan (Azerbaidjan)
Dan Taulapapa McMullin (Samoa)
Alhaji Papa Susso (Gambia)
Jean Portante (Luxembourg)
Julien Kilanga Musinde (Congo)
Kendel Hippolyte (St Lucia)
Nimrod Bena (Tchad)
Retabhile Masilo (Lesotho)
Aboubakar Said Salim (Comoro Islands)
D Genius (Islas Comoro)
Paul Dakeyo (Camerún)
Chandra Gurung (Nepal/Bahreim)
Paul Sezzie (Malawi)
Ibrahim Nasrallah (Jordan)
Richard Georges (Virgin Islands)
Zarko Milenic (Bosnia)
Alex Fleites (Cuba)
Krysia Dabrowska (Polonia)
Mahmoud Sharaf (Egipto)
Íkaro Valderrama (Colombia)
Carlo Bordini (Italia)
Aleksandr Larin (Russia)
Gennadiy Skokov (Russia)
Elena Terekhina (Russia)
Lyudmila Filatova (Russia)
Elvira Small (Russia)
Anatoly Chernikov (Russia)
Vera Matveeva Czyzewska (Russia)
Ludmila Kasenkina (Russia)
Lilia Gazizova (Tartaristán)
Tatiana Shalkovska (Russia)
Alexander Orlov (Russia)
Murad Akhmedov (Dagestan)
Yuri Gunaza (Russia)
Hamzat Zudinov (Russia)
Marina Akhmedova (Dagesta)
Sanaz Davoodzadeh Far (Iran)Saaz
Gabriel Impaglione (Argentina/Italia)
Yoo Choong Yeul (Corea del Sur)
Cherif El Soubashy (Egypt)
Ali Abdolahi (Iran)
Pompen Hantrakool (Thailand)
Sulma Montero (Bolivia)
Alice Sun-Cua (Philippines)
Brian Johnstone (Scotland)
Poet Asa (Zimbabwe)
Ivan Hristov (Bulgaria)
Marianne Larsen (Denmark)
Jacques Rancourt (Francia/Canadá)
Vatherine Anne Cullen (Ireland)
Jendell Hippolyte (St. Lucia)
Master Masese (Botswana)
Paul de Brancion (France)
Mbizo Chirasha (Zimbabwe)
Paul Abiola Oku-ola (Nigeria)
Sophia Naz ((India)
David Eggleton /Rotuma)
Gazmendi Krasniki (Albania)
Joseph Omagor (Uganda)
Lyudmyla Diadchenko (Ukraine)
Brian McFall (Scotland)
Althea Romeo Mark (Antigua)
Gurmukh Singh (India)
Ahmad Yamani (Egypt)
Regina Dyck (Alemania)
Ghadeer Abu-sneineh (Jordan)
Ann-Margaret Lim (Jamaica)
Lkhagvadulam Ganbat (Mongolia)
Manok Kulathunge (Sri Lanka)
Maruping Go A Bowelwa (Botswana)
Honoré Djimasdé (Nigeria)
Elizabeth Grech (Malt)
Inger Mari Aikio (Sami, Finland)
Khumagadi Ya Poko Keabonye (Botswana)
Patricia Jabbeh (Liberia)
Lasana Sekou (St. Martín)
Ali Al Ameri (Jordan/United Arab Emirates)
Khadijatou Doyneh (Guyana)
Manoj Kulathunge (Sri Lanka)
Boineelo Andy Nyukulane (Botswana)
Legodile “Dredd X” Seganabeng (Botswana)
Danijela Trajkovik (Macedonia)
Marko Pogakar (Croacia)
María Augustina Hancu (Moldavia)
Obedia Michael Smith (Bahamas)
Kateri Lemmens (Canada)
Akram Alkatreb (Syria)
Anandi Fernández (Argentina-(India)
Carlos Norberto Carbone (Argentina)
Michel Cassir (Lebanon)
Jean Michel Ekele (Cameroon)
María Chapp (Argentina)
Juan Garrido Salgado (Chile-Australia)
Damaris Calderón (Cuba)
María Elena Blanco (Cuba)
Giana Diano (Italy)
Louis-Philippe D´Alembert (Haiti)
Ana Maidana (Argentina)
Prava Samantaray (India)
Jairo Guzmán (Colombia)
Valeriu Stancu (Romania)
Amarsana Ulzytuev (Russia)
Lasse Soderberg (Sweden)
Ángela García (Colombia)
Hassan Teleb (Egypt)
George M. Momogos (South Africa)
Khal Torabully (Mauritius Islands)
Catherine McCabe (North Ireland)
Elena Mitreska (Slovaquia)
Gunnas Svenson (Sweden)
Zehra Serra Hacer Bas (Turkey)
Anthony Molosi (Botswana)
Álvaro Marin (Colombia)
Amarsana Ulzytuev (Russia)
Lasse Soderberg (Sweden)
L.S. Kheeva (India)
Anand Khatri (India)
Hemant Divate (India)
Huda Aldaghfag (Saudi Arabia)
Ahmed Almulla (Saudi Arabia)
Shiva Prakash (India)
Biplab Majee (India)
Milena Ercolani (San Marino)
Cecil Blazer William (St. Vincent and Granadinas)
Gibi Bacilio (Curazao)
Alfredo Tembo (Zambia)
Luis Britto (García)
Lola Koundajkian (Armenia/United States)
Ruby McCan (Scotland)
Sabah Al Ahmed (India)
Archana Shenoy (India)
Sunita Chaturvedi (India)
Nithins Dev (India)
Prithviraj Taur (India)
Noor Zaheer Zaheer (India)
Babitha Justin (India)
Aditya Shukla (India)
Madan Soni (India)
Rakesh Kumar (India)
Madan Saini (India)
Luís Filipe Sarmiento (Portugal)
Jerome Rothenberg (United States)
Sosthéne Mbernodji (Tchad)
Harpa Rún Kristjánsdóttir (Iceland)
Shakuntala Sanyal (India)
Víctor López Rache (Colombia)
Juan Diego Tamayo (Colombia)
Benedicto Bérgamo (Brazil)
Steven Fowler (England)
Vyacheslav Kupriyanov (Russia)
Keamogetsi Joseph Molapong (Namibia)
Rayen Kvyeh (Mapuche, Chile)
Gaston Mariquez (Mapuche, Chile)
Ediel Vásquez (Mapuche, Chile)
Álvaro Miranda (Colombia)
Jinseok Jakob Huh (South Korea)
Waldo Leyva (Cuba)
Winston Morales (Colombia)
Dostena Anguelova Lvergne (Bulgaria)
Luis Eduardo Rendón (Colombia)
Gloria Chvatal (Colombia)
Gemino Abad (Philippines)
Carlos Ernesto García (El Salvador)
Josef Straka (Czech Republic)
María Teresa Panchillo (Mapuche, Chile)
Fabricio Estrada (Honduras)
Andrei Khadanovich (Belarus)
Kamram Mir Hazar (Hazaristan)
Margarito Cuellar (Mexico)
Marra Lannot (Philippines)
Daniel Freidemberg (Argentina)
Fadyl Oktay (Turkey)
David Cortes Cabani (Puerto Rico)
Turcsi Istavn (Hungary)
Barbara Pogaknic (Slovenia)
Eduardo Esposito (Argentina)
Dariusz Tomasz Lebioda (Polland)
Oumar Farouk Sesay (Sierra Leone)
Fernando Linero (Colombia)
Peter Semolic (Slovenia)
Hildebrando Perez Grande (Peru)
Nene Sonna Gasperment (Reunion Islands)
Aminur Rahman (Bangladesh)
Armando Romero (Colombia)
Erkut Tokman (Turkey)
Claudio Pozzani (Italy)
Susy Delgado (Paraguay)
Anissa Mohammedi (Algeria)
Martha Gantier (Bolivia)
Edwin Moroka (Botswana)
Cliff Oyugi (Kenya)
Godspower Oboido (Nigeria
Arif Khudairi (Egypt)
Tendai Maduwa (Zimbabwe)
Chary Gumeta (Mexico)
Martha Rojas (Costa Rica)
Martha Zapata (Colombia)
Lina Zerón (México)
Alejandra Lerma (Colombia)
Taty Hernández (República Dominicana)
Yirama Castaño (Colombia)
Joao Rasteiro (Portugal)
Leonardo Gustavo Ruiz (Bolivarian Republic of Venezuela)
Carolina Samudio (Argentina)
Mpesse Geraldin (Cameroon)
Pedro Arturo Estrada (Colombia)
Barnabe Layé (Benim)
Ana Francisca Rodas (Colombia)
Katherine Medina Rondón (Peru)
Jennifer García (Colombia)
Mirka Arriagada (Chile)
Luisa Fernando Trujillo (Colombia)
Ana Lucía Narváez (Colombia)
Lello Vocce (Italy)
Vicent Fasciani (Switzeland)
Hala Mohammed (Syria)
Boruk Petrovic (Slovenia)
Habibe Hiyriboyen (Turkey)
Juan Sebastian Sánchez (Colombia)
Mariana Ossa (Colombia)
Eduardo Espina (Uruguay)
Luis La Hoz (Peru)
Roberto Resendiz Carmona (Mexico)
Sergio Iagulli (Italy)
Gaston Sequeira (Argentina)
Rhymme Sonny (Ghana)
Gregorio Gómez Centurión (Paraguay)
Jeton Kelmendi (Albania)
Shilpa Nasnolkar (India)
Asoke Kumar Mitra (India)
Djhamidi Bond (Cameroon)
Nicole Cage (Martinica)
Shota Iatashvili (Georgia)
Patrono Kokou Henekou (Togo)
Néstor Caballero (Bolivarian Republic of Venezuela)
Julio Borromé (Bolivarian Republic of Venezuela)
Alberto Rodríguez Carucci (Bolivarian Republic of Venezuela)
Luís Alberto Crespo (Bolivarian Republic of Venezuela)
Edmundo Aray (Bolivarian Republic of Venezuela)
Juan Antonio Calzadilla Arreaza (Bolivarian Republic of Venezuela)
Lenín Bandres (Bolivarian Republic of Venezuela)
Gabriel Jimenez Emán (Bolivarian Republic of Venezuela)
Anne Mejías (Bolivarian Republic of Venezuela)
Douglas Bohórquez (Bolivarian Republic of Venezuela)
Antonio Trujillo (Bolivarian Republic of Venezuela)
Scott MacBain (Scotland)
Achour Fenni (Algeria)
Sotirios Pastakas (Greece)
Celina Garrido (Argentina)
Amale Haddazi (Morocco)
Vasily Popov (Russia)
Anna Alina Lebioda (Polland)
Boineelo Andy Nyukualne (Botswana)
Tobias Burghardt (Germany)
Danijela Trajkovic (Serbia)
Nikolaos Vlahakis (Greece)
Jeanie Bogart (United States)
Antonis Skiathas (Greece)
Norma Segades-Manias (Argentina)
Ray Ndéby (Cameroon)
Gokul Krishnan (India)
Vinod Vithall (India)
Pankaj Trivedi (India)
Suruchi Dubey (India)
Chandramohan S. (India)
Lakshmi C.S. (India)
Piyush Daiya (India)
Margarita Benderev-Manasevich (Russia)
Tatiana Bessonova (Russia)
Mikhail Bondarev (Russia)
Vyacheslav Boczarski (Russia)
Olga Galaktionova (Russia)
Vladimir Ilyin (Russia)
Peter Katerinichev (Russia)
Sergei Mikheenkov (Russia)
Rudolph Panferov (Russia)
Nikolay Lukichev (Russia)
Margarita Benderev-Manasevich (Russia)
Tatiana Bessonova (Russia)
Mikhail Bondarev (Russia)
Vyacheslav Boczarski (Russia)
Olga Galaktionova (Russia)
Vladimir Ilyin (Russia)
Peter Katerinichev (Russia)
Sergei Mikheenkov (Russia)
Rudolph Panferov (Russia)
Nikolay Lukichev (Russia)
Shikhar Goel (India)
Nilim Kumar (India)
Rashina Rasheed (India)
Anjora Khatri (India)
Gopal Lahiri (India)
Govind Mathur (India)
Biplab Majee (India)
Uma (India)
Julio César Pavanetti (Uruguay)
Mitko Gogov (Macedonia)
Hilal Karahan (Turkey)
Michael Augustin (Germany)
Carlos Ciro (Colombia)
Nurduran Duman (Turkey)
Daniel de Culla (Spain)
Eduardo Llanos Melussa (Chile)
Fernando Cuartas (Colombia)
Ausra Kaziliunaité (Lithuania)
Juan Garrido Salgado (Chile)
Sandor Halmosy (Hungary)
Pablo Benítez (Paraguay)
Samantha Barendson (France)
Víctor Rojas (Colombia)
Antonino Caponetto (Italy)
Sigfredo Ariel (Cuba)
Tateb Chakhian (Armenia)
Freddy Romeiro Campo Chicangana (quechua, Colombia)
Canela Jaramillo (United States)
Robin Ngangom (South Africa)
Dušan Gojkov (Serbia)
Ruben IZaguirre Fiallos (Honduras)
Juri Talvet (Estonia)
Jose Luis Ayala (Peru)
Aljaz Koprivnikar (Slovenia)
Utbek Isdautet (Kazakhstan)
Esengali Raushanov (Kazakhstan)
Akberen Yelgezek (Kazakhstan)
Serik Akunkarov (Kazakhstan)
Tynyshtykbek Abykakimov (Kazakhstan)
Enrique Sánchez Hernani (Peru)
Jirke Poetijn (The Netherlands)
Carlos Andrés Jaramillo (Colombia)
Pietro Berra (Italy)
Marcel Kemadjou (Cameroon)
Mauricio Arcila (Colombia)
Timo Berger (Germany)
Alberto López Serrano (El Salvador)
Edwin Rendón (Colombia)
Attila Balázs (Slovaquia)
Rudy Alfonso Gomez (Guatemala)
Roger Santibáñez (Perú)
María Elena Mesa (Colombia/Canada)
Aurelia Lassáque (France)
Rodrigo Verdugo (Chile)
Yolanda García Ares (Spain)
Carlos Satizábal (Colombia)
Amale Haddazi (Morocco)
Flaminia Cruciani (Italy)
Dimitris P. Kraniotis (Greece)
Mourad Harkat (Algeria)
Wioletta Greg (England)
Margarita Losada (Colombia)
Manuela Salinas (Colombia)
Stefhany Rojas Wagner (Colombia)
Valentina Rojas (Colombia)
Berona Teomitzi (Mexico)
Lina Trujillo (Colombia)
Ekaterina Grigorova (Bulgaria)
Luisa Aguilar (Colombia)
Eugenia Sánchez Nieto (Colombia)
Anatoly Kudryavitsky (Ireland)
Angelina Llongueras (Catalunya)
Fadir Delgado (Colombia)
Luis Thenon (Canada)
Hugo Francisco Rivella (Argentina)
Esteban Nicotra (Argentina)
Khedija Gadhoum (Tunicia)
Eduardo Gomez (Colombia)
Rira Abassi (Iran)
Malak Mustafá (Syria)
José Luis Diaz Granados (Colombia)
Dimitri Ruggeri (Italy)
Francesca Randazzo (Honduras)
Jaime Svart (Chile)
Baurzhan Jakup (Kazakhstan)
Shakizada Abdukarimov (Kazakhstan)
Baibouta Koshym-Nogai (Kazakhstan)
Bakyt Bedelhan (Kazakhstan)
Batyrkhan Sarsenhan (Kazakhstan)
Germain Droogenbroodt (Belgium)
Camilo Restrepo (Colombia)
Catalin-Mihai Stefan (Romania)
Stefan Markovski (Macedonia)
Anwar Suhail (India)
Veer Saxena (India)
Basant Jaitly (India)
Basant Parihar (India)
Neha Bhandarkar (India)
Udayan Thakker (India)
Pradeep Kumar (India)
Agneya Dube (India)
Chetan Audichya (India)
Kalulal Kulmi (India)
Kundan Mali (India)
Gowrikant Sharma (India)
Vijay Maru (India)
Shivraj Sonval (India)
Somshekhar Vyas (India)
Rajesh Sharma (India)
Kushagra Jain (India)
Dilip Damor (India)
Ashwani Kumar (India)
Daniel Acevedo (Colombia)
Basir Ahang (Hazaristan)
Zhivka Baltadzhieva (Bulgaria)
Ernest Pépin (Guadalupe)
Bengt Berg (Sweden)
Winston Farrell (Barbados)
Quito Nicolaas (Aruba)
Mahnaz Badihian (Iran)
Raúl Mansilla (Chile)
Umit Sener (Turkey)
Imdad Aaakash (Pakistan)
Nicolas Antonioli (Argentina)
Tugrul Tanyol (Turkey)
Carlos Vasquez-Zawadski (Colombia)
Njipendi Daouda (Cameroon)
Leticia Luna (México)
Johana Carvajal (Colombia)
Puyaka Philip (Kenya)
Augusto Enrique Rufino (Argentina)
Aazam Obidov (Uzbekistan)
Winston Orrillo (Peru)
Godswill Muzarabani (Zimbabwe)
Juan Cristobal (Peru)
Abdulkadir Mussa (Syria)
Manuel Pachón (Colombia)
Sabino Esteban Francisco (Maya, Guatemala)
Joel Linares Moreno (Bolivarian Republic of Venezuela)
Saparbai (Israel)
Carlos Enrique Cartolano (Argentina)
Enrique Sacerio-Gari (Cuba)
Augusto Rodríguez (Ecuador)
Heike Fiedler (Switzerland)
Selnich Vivas (Colombia)
Eva Yarnoz (Spain)
Berta Alicia Ramírez (El Salvador)
Feipe Orozco (Colombia)
Christina Pacosz (United States)
Margarita Bustos (Chile)
Laura Garavaglia (Italy)
Kalyanee Rajan (India)
Kanki Sharma (India)
Farrukh Nadeem (India)
Pratishtha Shyam (India)
Arindam Sanyal (India)
Dafairoon Shrivastav (India)
Kunwar Ravindram (India)
Geeta Gairola (India)
Shambhu Nath Shukla (India)
Dilip Mewada (India)
Sharad Kokas (India)
Nand Bhardwaj (India)
Anshu Parihar (India)
Aditya Shukla (India)
Ferruccio Brugnaro (Italy)
José Muchnik (Argentina)
Eliot Kaz (United States)
Yolanda Catzalco (United States)
Aitana Alberti León (Cuba-Argentina-Spain)
Juana Garcia Abás (Cuba-Spain)
José Luis Fariñas García (Cuba-Spain)
Eddy Toussaint Tontongi (Haiti-Unites States)
Arnoldo García (United States)
Gary Hicks (United States)
Andrena Zawinski (United States)
Sharmila Ray (India)
Hermine Navasardyan (Armenia)
Nuria Jui-Ling Chien (Taiwan)
Etnairis Ribera (Puerto Rico)
Orietta Lozano (Colombia)
Mohammed Ahmed Bennis (Morocco)
Malak Mustafá (Syria)
Geetesh Sharma (India)
Antonio Armenteros (Cuba)
Myint Aung (Myanmar)
Mohammed al Amin al Karki (Iraq)
Ezil Vendhan (India)
Luz Mary Giraldo (Colombia)
Xosiyat Rustamova (Uzbekistan)
Oswald d´Atl (Ghana)
Jacques Berdthesque (Belgium)
Maksudul Ahsan (Bangladesh)
Muhammad Majeed Mehr (Pakistan)
Andrés Uribe Botero (Colombia)
Jorge Marel (Colombia)
Julio César Correa (Colombia)
Jaime Nevado (Colombia)
Elena Paso (Argentina)
Carlos Gerardo Orejuela (Colombia)
Manyazewal Endeshaw (Ethiopia)
Arturo Mora (Colombia)
Eleonora Finkelstein (Argentina)
Marco Alfaro (Costa Rica)
Abdul Zagbour (Siria)
Spyros Manesis (Grecia)
Niria Naranjo (Colombia)
Dieunedort Fokoua (Camerún)
Julián González Hoyos (Colombia)
Enrique Hernández D´ Jesús (Colombia)
Patricia Gómez (Puerto Rico)
Kristian Kozelj (Slovenia)
Ravi Shankar (Australia)
Sergio Morán (Argentina)
Enzo Santese (Italy)
Honey Novick (Canada)
Katika Kulakova (Macedonia)
Jean-Jacques Pierre Paul (Haiti)
Mariela Pino Droguett (Chile)
Magdalena Fuentes Zurita (Chile)
Raul Ignacio Valenzuela (Chile)
María Daniela Cáceres (Chile)
Antonio Acevedo Linares (Colombia)
Cecilia Palma (Chile)
Alirio Quimbayo (Colombia)
Alicia Dauvin Solar (Chile)
Olimbi Velaj (Albania)
Jorge Etcheverry Arcaya (Canada)
Messouar El Idrissi (Morocco)
Zhivka Baltadzhieva (Bulgaria)
Catherina Davinio (Italy)
Marian Berguenfeld (Argentina)
Sergio Morán (Argentina)
Graciela Huinmao (Mapuche, Chile)
Lindantonella Solano (Colombia)
Manju Gautam (India)
Rijan Acharya (India)
Kamala Budhathoki (United States)
Santa Sapkota (India)
Chocho Adkr (Myanmar)
Ashok Kumar Verma (India)
Sharmila Khanal (India)
Rabin Rai (India)
Kristian Koželj (Slovenia)
Avaya Shrestha (India)
Katja Kustrin (Slovenia)
Dilip Khanal (Australia)
Bhola Bhattarai (India)
Subash Singh Parajuli (India)
Khalid Raissouni Boulkher (Morocco)
Dhruba Karki (India)
Uttam Lamichhane (India)
Manju Tiwari (India)
Jivka Davidova (España)
Enrique Nogueira López (España)
Samuel Trigueros (Honduras)
Amita Gupta (India)
Kamran Noorani (Pakistan)
Abhro Banerjee (India)
Jahangir Asgar Jani (India)
Vistasp Hodiwala (India)
Leena Kejriwal (India)
Luz María López (México)
Kapil Kella (India)
Jane Bhandari Cuffe (India)
Uzma Noorani (Pakistan)
Frederic Simon (India)
Shehla Hasin (England)
Kami Ch (Pakistan)
Moniza Inam (Pakistan)
Efthymios Lentzas (Greece)
Haseen Musarat (Pakistan)
Melanie Marschnig (Austria)
Yousuf Mustikhan (Pakistan)
Rehan Mazhar (Pakistan)
Zarir DeVitre (India)
Hoori Noorani (Pakistan)
Satchit Puranik (India)
Karthigeyan Arumugam (India)
Seema Sheikh (Pakistan)
Khuda Bux Abro (Pakistan)
Zaheer Kidvai (Pakistan)
Aritra Paul (India)
Syed Ali Wasif Rezavi (Pakistan)
Majid Lotia (Pakistan)
Fatima Mehta (India)
Rumana Husain (Pakistan)
Joy Bimal Roy (India)
Paschen Uwe Narita (Japan)
Uma Maheswari (India)
Balakrishnan R. (India)
Srijith Sundram (India)
Jeevalakshmi Dhanapal (India)
Arunangsu Roy Chowdhury (India)
Kollu Nadeem (India)
S. R. Shanmugavel (India)
Ramachandran (India)
Manonmani Pudhuezuthu (India)
A Sasha Alamgir (Pakistan)
Ajayan Bala Sidharth (India)
Murtaza Solangi (Pakistan)
Meeran Mitheen (India)
ெப்ணணிய்ம ெச்லவாக (India)
ெச்லவ்கமாரி (India)
Hosur (India)
Vijayabharathi Sivasami (India)
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Mario Castro Navarrete (Chile)
Juan Carlos Céspedes (Colombia)
Ruth Castellar Salah (Colombia)
Lina María Montoya (Colombia)
Guillermo Berrío (Colombia)
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Camilo Sánchez (Colombia)
Rodrigo Pérez (Colombia)
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Marta Cwielong (Argentina)
Mohmed Elfatih (Egypt)
Brane Mozetic (Slovenia)
Rafael Quiroz (Colombia)
Monica Cifuentes (Chile)
Luis Ignacio Murcia (Colombia
Olga Rojas (Colombia)
Patricia Morales Gaete (México)
Doris O´Byrne Dorado (Colombia)
Sonia Giraldo Gallego (Colombia)
María Lanese (Argentina)
Alexander Guevara (República Bolivariana de Venezuela)
Juan Carlos Acevedo Ramos (Colombia)
Natalia Gomez (Colombia)
Maria Elvira de Arechavala (Argentina)
Angel Grajales (Colombia)
Michelle Rincón (Colombia)
Ramiro Caiza (Ecuador)
Abiezer Guarecuco (Chile)
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Álvaro Delgado (Colombia)
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Silva Palma (Argentina)
Elisa Jorgensen (Argentina)
Jorge Ivan Grisales (Colombia)
Ronald Cano (Colombia)
Luisa Isabel Garcia Meriño (Colombia)
Jose Manuel Ramon Gutiérrez (Spain)
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Ashim Poudel (Nepal)
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Santa Dangol (Nepal)
Ayush Pantha (Nepal)
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Shalu Shrestha (Nepal)
Berit Møller (Norway)
Srishti Gurung (Nepal)
Ichya Kandel (Nepal)
Suraj Lamichhane (Nepal)
George Cole (United States)
Samrat Shrestha (Nepal)
Rune Sandkjernan (Norway)
Sebika Bomjan Shahi (Nepal)
Aditya Joshi (Nepal)
Sampada Sharma (Nepal)
Krishma Gurung (Nepal)
Nischhal Subba (Nepal)
Karib Gautam (Nepal)
Sulav Bhandari (Nepal)
Pedro Licona (Colombia)
Pierre Carpentier (Guyana)
Paul N'Zomono (France/Congo)
Wendy Alvarado (Costa Rica)
Lilliana Chaves (Guatemala
Rafael Restrepo (Colombia)
Andrea Sua (Colombia)
Rupa Koirala (Nepal)
Bijendra Karmacharya (Nepal)
Aakash Parajuli (Nepal)
Anish Thapa Magar (Nepal)
Sahara Katuwal (Nepal)
Giovanni Romano (Estados Unidos)
Carol Litdang (Laos)
Bigisha Adhikari (Nepal)
Faqeer Sein (Pakistan)
Latif Javed (Pakistan)
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Hamza Ali Ahmad (Pakistan)
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Ashok Lal (India)
Subas Tamang (Nepal)
Sandesh Shrestha (Nepal)
Bibek Subedi (Nepal)
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Андрей Бениаминов (Russia)
Hamid Larbi (Francia)
Игорь Витюк Пушкино, (Russia)
Оксана Москаленко (Russia)
Suraj Shrestha (Nepal)
Nina Popova (Russia)
Михаил Бондарев (Russia)
Лилия Газизова (Russia)
Борис Самбуров (Russia)
Rajit Shrestha (Nepal)
Sazeena Nemkul (Nepal)
Shrinkhal Sarawagi (Nepal)
Sunita Manandhar (Nepal)
Юрий Коноплянников (Russia)
Ashma Shahi (Nepal)
Сергей Барут-Фишер (Russia)
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Shyko Mammon (Nepal)
Avishek Singar (Nepal)
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Nydia Rivero (Colombia)
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Victoria Aguilar (Colombia)
Diana Marcela Rios (Colombia)
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Angelica Rios Gutierrez (Colombia)
Edwin Hernan Martinez (Colombia)
Felipe Carvajal (Colombia)
Claudia Jannethe Castro (Colombia)
Rafael Arturo Cardenas (Colombia)
Liana Malagon Oviedo (Colombia)
Jorge Arturo Rivera (Colombia)
Lida Marcela Cifuentes (Colombia)
Daniela Cárdenas Llanos (Colombia)
David Riaño (Colombia)
William Acosta (Colombia)
Jahir Fajardo (Colombia)
Valentina Cano (Colombia)
Tatiana Martinez (Colombia)
Tatiana Mejía (Colombia)
Alcira Hortúa (Colombia)
Rogelio Valencian Sierra Medellin, Colombia
Andrey Ramos (Colombia)
Alvaro Quiroz Campaña (Colombia)
Slendy Pamela Maldonado (Colombia)
Anita Montes (Colombia)
Catalina Garcés (Colombia)
Nestor Lara Rivera (Colombia)
Ada Luz García (Argentina)
Camila Tenorio (Colombia)
Javier Gómez (Colombia)
Jesus Donado (Colombia)
Ernesto Sánchez (Colombia)
Edgar Manuel Angulo Romero (Colombia)
Magda Patricia Figueroa (Colombia)
Valentina Moreno (Colombia)
Leonardo López Olascoaga (Colombia)
Carolina Amador (Colombia)
Maria Camila Valderrama (Colombia)
Juanita Montoya (Colombia)
Héctor Hugo Ávila (Colombia)
Kevin Richard Rangel (Colombia)
Jorge Gómez (Colombia)
Gustavo Adolfo Velásquez (Colombia)
Juan Sepúlveda (Colombia)
Tatiana Moreno (Colombia)
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Opal P Adisa (Estados Unidos)
Francisco Cobacho (España)
Angela Gentile (Argentina)
Terje Dragseth (Norway)
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İbrahim Baştuğ (Turkey)
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Erdal Alova (Turkey)
Eray Canberk (Turkey)
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Haydar Ergülen (Turkey)
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Beste Sakallı (Cyprus)
Hasan Öztoprak (Turkey)
Nihat Behram (Turkey)
Onur Behramoğlu (Turkey)
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Abdullah Nefes (Turkey)
Küçük İskender (Turkey)
Erdal Alova (Turkey)
Mustafa Köz (Turkey)
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Ashok Chakravarthy Tholana (India)
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Emilia Toro Leontic (Chile)
Claudia Villafañe (Argentina)
Aryan Kafle (Nepal)
Prajwol Simkhada (Nepal)
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Gunjan Shrestha (Nepal)
Shishir Maharjan (Nepal)
Neha Niraula (Nepal)
Hem Kumar Pun (Nepal)
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Den Roh (Nepal)
Ya Li Kuo (Australia)
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Aaditya Mahato (Nepal)
Sujeet Shrestha (Nepal)
Aatish Bhatta (Nepal)
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Hydra Dynama (Nepal)
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Anil Baniya (Nepal)
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Aryan Thapa (Nepal)
Виктор Кирюшин (Russia)
Apurba Pandey (Nepal)
Utpal Upreti (Nepal)

View online : The World Poetry Movement

No Better Subject than “Afshar Massacre” for Angelina Jolie's New Movie in Afghanistan

Mohammad Amin Wahidi — 2019-02-10T20:58:43Z

Two months after her first movie's premiere and worldwide success, as a new director, Angelina Jolie has announced to the media that she has an idea and is writing a script on the Afghanistan Civil War.

Her debut feature, “In the Land of Blood and Honey”, a critically acclaimed movie about the civil war in the former Yugoslavia has expanded her fame as an emerging director and it proved her talent in making good movies as well in addition to be an extraordinary actress.

This new announcement seems to be good news for the people who look for justice in Afghanistan; the victims of the civil war and genocides such as Afshar Massacre.

Suffering injustice in Afghanistan even after ten years of two new governments, people are still hopeless for the transitional justice to be applied by the corrupted government of Afghanistan, but millions believe cinema as an effective medium can make their dream come true; depict the picture of committed crimes during these years which may push the war criminals to the justice courts.

Afshar Massacre, as a brutal genocide and a spot of shame in the contemporary history of Afghanistan, has caused the loss of almost 5,000 innocent people including women and children in a one-day military operation in west of Kabul in February 1993.

This evident massacre, has been recorded by different international human rights organizations and many documents including names and statistics, photos and videos of the killed and captured people are available in the HR organizations achieves.

Besides there are some documentaries available which have interviews with the remainders of the victims and their relatives that could help write a strong script based on this harsh scene of the contemporary Afghanistan History.

The result of a film on Afshar Massacre could be a Hotel Rwanda II which will not only have a humanitarian value but a critic acclaim and a box-office success for sure.

The Academy Award winner actress, Angelina Jolie is famous for her humanitarian assistances to the poor, war-torn countries as she has been a Goodwill Ambassador of the UNHCR and has so far made several trips to the countries in conflict- zone including, Afghanistan, Chad, Iraq, Libya and Sudan.

Her background as UNHCR Goodwill Ambassador since 2001 has helped her gain a deep knowledge and understanding the level of sufferance the people in these war torn countries face and how many victims remain unhealed even long after the war.

Thus in her first movie as a director, she has proved to have had understood the meaning, the essence and the consequences of a civil war that is horrible and its consequences destroy even generations.

Afghanistani filmmakers and script writers would welcome Ms. Jolie to come and work on an Afshar Massacre script for her new movie in Afghanistan where she will be warmly welcomed, assisted and supported by them.

This article was published first on Thursday 23 February 2012

MUSTANG: A popular film critical of conservative Islamic culture in Turkey

Deniz Gamze Ergüven — 2017-11-19T20:42:08Z

MUSTANG was released in 2015 to much critical acclaim, and box office success. Director, Deniz Gamze Ergüven was born in Turkey, but lived with her diplomat family in Paris, for most of her life. Having a one foot in repressive Turkish culture and the other in liberal French culture her film spotlights the difficulties of being a woman in the repressive rural Islamic culture, far from cosmopolitan Istanbul.
The story of four orphaned teenage sisters guided by their grandmother through conservative Islamic cultural taboos on women. The grandmother is comparatively liberal, with little fear of boys, and lets the girls enjoy modern clothes and trappings like computers and telephones. They seem happy, well adjusted, and love the progressive female teacher at their co-ed school.
But then a veiled village crone sees them innocently playing on the beach with a group of boys. She reports to the grandmother that the girls are out of control, and embarrassing the family because there is no man to discipline them.
The girls' uncle comes to live with them to keep them in line. He is a typical conservative Islamic male who believes women should stay in the home and do all the work, while the men hang out on the patio, drinking, playing cards, and watching football on TV. Females are not welcome in their conservative Islamic world, except as laborers and breeding stock.
The girls' situation deteriorates, as they begin losing their freedoms. The uncle throws out their computers, phones, and colorful modern clothes. He forbids them to leave the house—even to go to school. They resist, and eventually he installs bars on the windows and doors, and a spiked fence around the yard.
However, he is really a lecher, who begins having sex with at least one of the girls. The grandmother knows what is going on, but is too afraid to say anything. Her solution is to marry the girls to the first interested boys and get them away from the uncle. As a girl, she had gone through the same thing, and that was her mother's solution too. One wonders how many generations this solution has been applied.
The film then becomes a study in the dark side of conservative Islam. I have had some experience with that world, and its victims, both male and female. Basically, the women are driven insane due to the hypocritical culture whose foundation is based on a wide array of lies. Regarding religious observance, many Islamists portray themselves as pure and pious, but they do not go to the mosque, they do not say their prayers, and they see Mullah's as lazy freeloaders with questionable sexual morals.
They make a huge deal over virginity, but that's a lie. Plenty of sexual unmarried and extra-marital intercourse occurs. Women preserve their “virginity” with anal intercourse. Those who experience pre-marital vaginal intercourse, bring a vial of chicken blood to pour on their legs and bedsheets, on their wedding night. In the morning, when they hang bloody sheets out their bedroom window, to prove their virginity, the neighbors are comforted that the sanctity of female virginity has been preserved, even though they all know it is probably a fraud.
A local doctor “certifies the virginity” of one sister, even though she admits to him she was not. He promises to say nothing, thus preserving the sham in his own way.
The story does not represent all of Turkey's Islamic culture, but pointedly takes place in a rural town. Modern Istanbul is presented as a refuge for women, with greater opportunities, and less hypocrisy.
In recent years, Turkish politics, led by President Recep Tayyip Erdoğan, has taken a sharp turn to the right and rejection of progressive, democratic Western culture is popular. MUSTANG is a strong statement against the professed purity and goodness of the resurgent conservative Islamism. It says that women must be empowered, and honesty be valued over deception in religion and society powered by corrupt men, to create a just, productive culture.
Because of this attitude, this film was made in France, not Turkey. It was funded primarily by
French interests, and submitted as France's entry into the 2015 Academy Awards. France has suffered greatly from conservative Islamic violence in recent years, and MUSTANG is their message that something is deeply wrong in the conservative Islamic message and actions.

Community's Aspiration to Restore The Bamiyan Statues

Shukria Neda — 2017-10-09T06:08:10Z

First of all, I would like to express my sincere gratitude to government of Japan and UNESCO Office for conduction of this important event.
I have come from Afghanistan, the country where has preserved the Buddha Statues, the greatest cultural glory of mankind and the proudest historical witness for 1600 years.

I have come from Afghanistan, the country where has expectantly hugged the wounded and torn identity of the world for 16 years.
Today, Bamiyan has come to Japan. Bamiyan, the city where is tired of pain of explosion of the history. Bamiyan, the city where is tired of seeing the empty niches of the Statues.

Today, the Bamianes, have come to Japan to ask the world: Are Buddha Statues the common share of all of us? Are the empty niches of these statues are painful for you too? Are you ready to share this pain with Bamiyan?
If yes, please, stand up for the respect of re-standing the eastern Buddha Statue in Bamiyan.

Dear Friends,

We are here in one of the most important historical sessions of UNESCO office, the session which is aimed to make a decision about the restoration of one of the greatest cultural glory of mankind. However, this session and the decision followed are of special value for the people of Afghanistan from a variety of point of views.

First: Restoration of the Statue, cultural masterpiece of history:
One of the reasons for the importance of restoration of one of the Buddhas Statues is that this action can be considered as an important step in relation to the advent of a vast cultural and culture- building programs.

We believe that if we want to find a sustainable resolution to restrain war and violence, the approach regarding the current war should be changed and the strategic vision should be transferred from military to a cultural- historical vision. It is obvious that violence in Afghanistan are rooted in various internal and external factors, however, lack of cultural programs and dialogues are a huge gap in this country and the restoration of Shahmama Statue can be considered as a great step in filling this gap.

Second: Restoration of the Statue and protection of human rights:
The cultural right is one of the examples of human rights which has been emphasized seriously in international documents of human rights. According to Article 27 of Universal Declaration of Human Rights: “Everyone has the right freely to participate in the cultural rights of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary, or artistic production of which he is the author”. Accordingly, based on Article 15 of “International Covenant on Economic, Social and Cultural Rights, the use of these rights has been emphasized and has obliged the States to provide the required facilities to practice these rights. One of the essential commitment stipulated for the States is to take measures for “maintenance and development” of cultural monuments.

Maintenance and restoration of historical monuments help the progress of tourism industry and improvement of economic situation which in turn assist people to achieve economic rights including the right to have an appropriate job, dignified life, enjoying social insurances and other human rights.

Third: Restoration of the Statue and Protection of Peace in Afghanistan:
The attempt to achieve peace and life in a society is not always possible through discussion, assistance, and military investment. Sustainable piece is achievable via elimination of violence-raising and dispute-provoking culture. The violence-provoking culture can be gradually and sustainably replaced by peace-seeking and reconciliatory culture through cultural means of beliefs, opinions, behavior, and functions of people in a society.

Afghanistan is a multi-ethnic society where different social groups live with different cultures, interests and diverse historical antecedents who have been away from each other due to war and conflict and have no mutual concept and understanding from each other. However, these diverse people can be gathered under a huge cultural umbrella including historical monuments which are of their common values and away from political tension and instability. The Buddhas of Bamiyan have the potential to establish peaceful and reconciliatory interaction among different social groups in Afghanistan.

The respected audiences,
The creation of the Statues is the narrator of a spectacular and glorious period in mankind history. However, the demolition of these Statues is another history itself. The history of cruelty and savagery which makes its demolition date a symbol of cruelty and barbarization in the calendar of humankind.
At present time, these two Statues are the coincidence of the two histories: The first history: Creation event, the second history: demolition event. Maintaining the two events is important for the history and the next generations.
I have two suggestions regarding Maintaining of the two events.
My first suggestion to the Government of Afghanistan and the UNESCO office is to restore and repair the eastern statue as “the symbol of peace among religions”. Because in today's world, where people interact peacefully without taking into account the geography, ethnic, language, and race; the main problems which creates the deepest distances between people are conflict and pessimism between religions.

For example, the conflicts between the Muslims and the Buddhists in Myanmar, disagreement on construction of mosques for Muslims in the United States, killing of the other religions' followers by Muslims are among the examples which reveal a deep and huge distances in human societies.
We believe that every religion conveys redemptive message and stipulates the provision of justice and improvement of benefaction in society. Therefore, instead of concentrating on outward differences, people should focus and pay attention to the common soul of all religions such as believe in God, love, affection, peace seeking, justice, and other ethical instructions.

It should not be disregarded that restoration of The Buddhas Statues in Bamiyan, Afghanistan, can be a linking bridge between the two split cultures of Islam and Buddhism and a positive message for the religious war in Myanmar. Muslims and Buddhists have a common destiny and even in a country like Afghanistan, they have a common history and past. They now can have common interaction too.
Without any doubt, by the restoration of the eastern Statue as the “symbol of peace among religions”, these commonalities will be strengthened not only between the Islam and Buddhism, but also among the entire religions.

We wish that “women” can be pioneers in the campaign for the restoration of one of these Statues as the “symbol of peace among the religions” all over world; because women are the most vulnerable people in any conflict while they can change it into the strongest peace makers.

My second suggestion to the Chair of the Board of this session, UNESCO office and the Government of Afghanistan is that the western Statue of be kept just as demolished as it is and be named as the “symbol of cruelty and barbarization”.
What happened during the Taliban period is hard and irreparable. The demolition of these Statues in the advent of the twenty-first century means demolition of the culture and history of mankind. Therefore, ignoring this tragedy is equivalent to its confirmation by the today's civilized people.
So let one of these Statues remain unrepaired so that the history and the next generation know what has happened to the civilization and culture of mankind in a geographical area called Afghanistan in twenty-first century. Let the history know that the Taliban showed no mercy to the stones. Let history judge what happened to humans in Afghanistan especially in Bamiyan in this era.
The end

Tales from the Road – AMAZING IDAHO

Robert Maier — 2017-09-12T17:33:20Z

Amazing Idaho

I spent the night outside the Donner Pass town of Truckee. After 12 days on the California coast, it was surprising to see there was still plenty of snow in late June. I took the sharp right north on I-80 into Nevada—past Reno, Fernley, and landed in God-forsaken Winnemucca, where I stayed in one of the hemisphere's ugliest RV parks.

After dinner at possibly the greasiest Mexican restaurant ever, I walked through downtown, which had the saddest little strip of casinos in the hemisphere. I went into one that was, with a fistful of quarters, but saw that slots the machines had gone boring digital with credit card thingies for money. Plus, as with everything digital, they had a million choices, and I had no idea how they worked. Gone was the satisfaction of plunking in a quarter, pulling the arm, coaxing the spinning wheels, and hearing 3-4 or 100 quarters jangle into the metal coin tray, like little bells from heaven.

No fun there. The handful of players scattered around the dark rooms were mostly grim-faced solitary middle-aged women pulling on cigarettes and sipping raspberry vodkas.

This stretch of I-80 is desolation row, passing ghost towns like Battle Mountain, Beowave, Golconda and Valmy. Then you zoom by the little city of Elko, which according to Wikipedia “is also home to legal prostitutes and contains active brothels. Several geothermal features are located in Elko, the largest of which is the Elko Hot Hole.” In winter, you can ski for $20.

About 80 miles from Elko, at the only town in the West with two Flying J's on the same exit, I turned north onto US 93 North. One of the great American desert highways, it runs mostly two lanes for 1,457 lonesome miles from Phoenix to Canada, crossing five Interstate Highways, and passing hundreds of ghost (or nearly) towns.

On the border, there is Jackpot, Nevada, which has a 15 story hotel ‘convention center' that lures gamblers from Twins Falls, Idaho to this D-grade border sin city.

Then, the West blossoms into Idaho, which has some of America's most bizarre natural features. Craters of the Moon National Park, St. Anthony Dunes, and the back end of the Rockies. The ghost towns and sleazy casino villages of Nevada are replaced by refreshing views, lakes, and electric green fields of wheat and potatoes, and Nuclear Reactors.

A bit further up the Road, I passed a little time with this vagabond couple at a Flying J in Twins Falls (they were thumbing their way to Vermont).

Idaho has its share of lonely roads, if you like to feel alone in the world.

And one of the most bizarre sights in the USA, Craters of the Moon National Monument. Hundreds of square miles of volcanic cinders line the road. The most recent flows were just 2,000 years ago. Not a place to be barefoot.

Idaho was one of the most surprising places, I've ever been, but the potatoes I had weren't the best, and they're not promoted much. But then again where will you find a landscape that looks like a herd of dinosaurs just took a dump.