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Bustan Abraham
No full textAbstract
Bustan Abraham also brought together Jewish and Arab musicians, but differed greatly in constitution and focus. He issued recordings at a steady pace of one CD every two years or so. The eponymous Bustan Abraham appeared in 1992, less than a year after the band formed. The second album, Pictures Through the Painted Window, included one song, performed by three guest artists, in Hebrew, Arabic, and Spanish. His recordings all appeared under the imprint of Avshalom Farjun's company, Nada Productions. Judging by newspaper reviews, repeat invitations, the musicians' accounts, and my own observations, the band's performances were well received inside Israel and abroad, gaining a loyal fan base in Israel and considerable recognition outside. Bustan hoped to bring the Israeli musical scene to the center of the world stage by presenting an example for the world, and for Jews and Arabs in particular.</jats:p
Narrative Functions of Dialog in Sa'di's Bustan
No full textDialogue is usually attended to as an element of fiction along with other elements, while its structural and narrative functions can also be considered. Sa’di's Bustan is among the texts which has presented these narrative functions more than other Persian texts. This paper was an attempt to investigate the relationship between the narrative functions of dialogues in Bustan and its didactic aims. The most important narrative functions of Bustan are movement, extension, and completion of story-line, consolidation of casual relationships, highlighting the oppositions, importing the embedded narratives, interpretative function and aesthetic function. The high frequency of dialogues in Bustan can be due to its didactic aims. These aims compel Sa’di to use a direct expression by narrator or characters. Because of the importance of dialogue in this didactic context, the narrative aspects of these anecdotes are the results of dialogues rather than the actions and direct description and narration of narrator. Hence, in Bustan, most of the narrative changes, conclusions, explanation of casual relationships, extension of story-line, completion of narrative sequences and etc. have been presented by dialogue rather than narrator’s narration and actors' behaviors
Building the Islamic moral self: Sufi Abed’s Bustan Fatimah ma‘a Bustan ‘A’ishah
No full textSufi Abed Mian Usmani (1898-1945) of Ladysmith, KwaZulu-Natal, authored some ten religious books in Urdu and Gujerati, which appeared to have a considerable impact on the local community there, as well as more broadly for South African Muslims of Indian descent, and even for some Muslims of India. However, apart from two academic contributions, his work and legacy remain largely unexplored. This essay aims to build upon those contributions by analysing another of his hitherto unexamined Urdu works, namely, Bustan Fatimah ma' Bustan 'A'ishah (The garden of Fatimahwith the garden of 'A'ishah). It argues that these two works, when seen as a totality, seek to build the moral self.</jats:p
Bustan Abraham's Approaches to Composition and Improvisation
No full textAbstract
An analysis of Bustan's work is offered in this chapter which is based on their recordings, but informed by observation of performances and conversations with band members. The author begins with general remarks on approaches to composition and arrangement, then focuses on how the compositions and arrangements enabled improvisation. This leads to analysis of featured improvisations in relationship to their ensemble contexts. Bustan Abraham's compositions were notable for their number, extent, variety, and quality. The general outline of a piece with its specific progressions constituted the composition while some of the details of who played what were matters of arrangement that might enhance the piece but not alter its basic identity.</jats:p
Building the Islamic moral self: Sufi Abed’s Bustan Fatimah ma‘a Bustan ‘A’ishah
Full text linkSufi Abed Mian Usmani (1898-1945) of Ladysmith, KwaZulu-Natal, authored some ten religious books in Urdu and Gujerati, which appeared to have a considerable impact on the local community there, as well as more broadly for South African Muslims of Indian descent, and even for some Muslims of India. However, apart from two academic contributions, his work and legacy remain largely unexplored. This essay aims to build upon those contributions by analysing another of his hitherto unexamined Urdu works, namely, Bustan Fatimah ma' Bustan 'A'ishah (The garden of Fatimahwith the garden of 'A'ishah). It argues that these two works, when seen as a totality, seek to build the moral self
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