Ajam Media Collective

We aim to re-imagine publishing, telling new stories of West Asia and its diasporas through essays and emerging research.

Launched in 2011, Ajam Media Collective is an online forum designed to highlight representations of West Asia within Western media.

Ajam started as a blog for graduate students with an interest in West Asia. This is the collective effort of five people from different fields, ranging from academia to filmmaking, music and journalism. By employing diverse skills and knowledge, they provide greater access to the more complex and nuanced discussions and debates within in the academy in the region, which they refer to as Ajamistan. The underlining premise is that this region, while part of the Middle East, is under-represented in Western and online media.

Ajam in Arabic means ‘otherness’ and for this reason the term ‘Ajamistan’ was coined to refer to a geographical area from Turkey in the West and to Iran, the Caucasus, Central Asia, Afghanistan and South Asia in the East. A common thread among these countries is the influence of Persianate culture and heritage present during the Ottoman, Safavid and Mughal eras until the 18th to 19th centuries. In addition, since Persian was the language of culture and literature, these countries were influenced and continue to reflect various elements of Persianate culture.

 

“Ajam Media Collective is committed to uniting authors from various backgrounds and disciplines to promote diverse critical views on culture, politics, and society, emphasizing the region’s importance as a thriving cultural center whose multiple realities are too often obscured by the popular Western and global media.”

 

Therefore, this online platform focusses on covering cultural and society related matters in this region, as well as shedding light on contemporary and historical issues via informed analysis, by offering semi-scholarly resources from academics, activists and student input. Ajam also provides access to contemporary research and debates in various topics, such as, Urban Geography, Cinema, Gender Studies, literature, history and others.

Moreover, in order to offer a holistic insight and to cover the respective topics comprehensively, a diverse range of formats are used to present various topics and insights, such as podcasts, longer essays of film analysis, photo essays, blog articles and music. This vast range of information can be accessed by region as well.

A quick guide to transliterating Arabic, Persian or Urdu on your computer

Scholars in the West relying on sources in languages written in Arabic script (such as Arabic, Persian, Ottoman Turkish or Urdu) often need -if only to search the library catalogues- to be able to write the Arabic script in a transliterated or romanized form. This post offers a quick guide to transliterating or romanizing languages written in Arabic script. Transliteration and romanization are used interchangeably to designate the action of writing the Arabic characters in Latin characters.

1. Transliteration systems

Transliteration and romanization system are based on adding diacritic marks to Latin characters to render letters and sounds that don’t exist in English. Numerous transliteration standards are available (ALA-LC, ISO, IJMES for example) which might be confusing, but the most important is to be consistent once you have chosen a system. It is important to note as well that each language -even if written in Arabic script- will have a proper transliteration system. Most North American libraries use the ALA-LC (Library of Congress) romanization tables whereas a number of European libraries use the ISO 233 transliteration standard. Knowing the differences between ALA-LC and ISO 233 will help search library catalogues much more efficiently. Last, some journals or publishers have their own transliteration system which they require authors to use: knowing which standard is used in a specific publication will often make using it much easier.

2. Diacritic marks

The main challenge with romanization is the consistent encoding of letters with diacritic marks. Using a persistent encoding standard will ensure the marked letters display properly regardless of the document format, type of device, or exploitation system you are working on. Inconsistent encoding will result in alterations of the text where letters turn into different signs, often illegible.

3. Encoding standard

The computing standard for consistent encoding of non-Latin scripts is the UNICODE TRANSFORMATION FORMAT (UTF). Developed in the early 1990s by a not-for-profit consortium made of large computing companies (Adobe, Apple, Google, IBM, Microsoft, Oracle) and governmental agencies, UNICODE is regularly amended to include more characters. At present, it allows to write 150 different scripts among which Arabic, Persian, Ottoman Turkish, Urdu and  their romanized forms. Different UTF standards are available, but the most commonly used are UTF-8 (in particular for HTML web documents) and UTF-16 (especially for text documents in both Windows and mac OS environments).

4. Typefaces (fonts)

In order to encode letters in UTF, you need to use one of the rare typefaces that support UNICODE characters such as Arial Unicode MS on PCs, and either Times New Roman, Helvetica or Lucida Grande on mac. If not among the default typefaces available on your computer, these fonts can easily be downloaded for free from the internet.

5. Transliterated letters input

Once you have a typeface compatible with UNICODE, you need a tool allowing the input of characters and diacritic marks. Because regular keyboards layout cannot accommodate key combinations for all characters with diacritics, alternative methods were developed by operating systems: the Microsoft Windows Character Map and the Extended Accent Codes for Mac will give you access to the entire repertoire of UNICODE characters.

6. Additional information

The Arabic Macintosh website is a very valuable resource for mac users interested in transliterating the Arabic script. The Digital Orientalist dedicated a lengthy post to keyboard layouts in both mac OS and Windows environments.

The Arab Image Foundation

The Arab Image Foundation’s evolving collection contains more than 500,000 photographic objects. The work of over 250 amateur photographers and 700 professional photographers and studios, the objects date from the 1860s to the present day, and span 50 countries

Objects in the AIF collection reflect a range of genres and styles – including documentary, reportage, industrial photography, fashion photography, etc.

In 2016, the AIF embarked on a major drive to digitize its collection, which is housed in Beirut. Since then, 28,000 photographs from its collection have been digitized.

The new AIF website launched in May 2019 with the support of the Royal Norwegian Embassy in Beirut, the Arab Fund for Arts and Culture (AFAC) and The Ford Foundation.

  • Images of collection items (25,000 so far) are now available to access and use.
  • All website content is available to view without registering for an account. In the near future, users will be able to register to download or bookmark images.
  • The website’s fresh, user-friendly interface and improved search function.
  • An interactive online catalogue offering image tagging and commenting, and display options.
  • A lab for digital experimentation and online residencies.

AIF Collection.

Tour the Lab

Explore projects, events and more.

Engage with the AIF

  1. Guided visits of the AIF
  2. Resources, The AIF Library
  3. Internships & Volunteering
  4. Consultancy
  5. Residencies at the Arab Image Foundation

Image Use Guidelines

Image policy covers image use, privacy rights, crediting and more.

The Foundation hopes to generate critical thinking about photographic, artistic and archival practices, promoting its collection as a rich resource for research, reflection and the creation of new works, forms and ideas.