In the name of Allah, the Most Gracious, the Most Merciful Other salawat for the love of the Ahlul Bayt, peace be upon him, and Allah, the Most Merciful, peace be upon him Historians have referred to this verse that I just recited As one of the first times that Rasulullah s.a.w used the term Shi'a Because there's a debate amongst the Muslims When did the Shi'a start? When did Shi'izm start in the Muslim calendar? Some people they say it started after Ashura Others they say it started during the time of the Abbasi government During the time of Imam al-Batar and Imam Sadim And many have theories as when did the Shi'a school of thought begin And when was that term used? However, in our opinion the Shi'a school of thought It started with the religion of Islam And it never separated away from the religion of Islam The first day Rasulullah s.a.w introduced the religion of Islam to people That was also the day he told them to follow Ali ibn Abi Talim s.a.w And the verse in the Qur'an in Surah al-Baynah That those who believe and do good deeds Those are the best historians They say that Rasulullah s.a.w was his sister And s.a.w was his father Rasulullah s.a.w was his sister And Ali ibn Abi Talim s.a.w Rasulullah s.a.w said And then he said And Ali ibn Abi Talim s.a.w is the best of creation And the narrations They say that when Rasulullah s.a.w used to walk into a room Or into the masjid The Muslims and the Sahaba they used to say The best of creation has entered And the proof for the advent of Shi'ism Is with the same proof of the advent of Islam The same day Rasulullah s.a.w told people To accept him as a prophet And accept his Ras'ala That same day he also told them And the Khalifa and the wazir and the wasi After me When how do we come to this conclusion Allah s.w.t In the first occasion where he ordered Rasulullah to invite people towards The religion of Islam When was that? That was according to the verse Hadith al-Dar And that was when Rasulullah s.a.w He invited his family Before Allah ordered Rasulullah To publicly announce the religion of Islam He ordered Rasulullah to call upon His close ones first Because Allah says أقربون أولى بالمعروف وأندر عشيرة تكل أقربين Bring down, invite your family first Invite your ashira first So Rasulullah s.a.w He gathered his family He gathered his family And one of them was Ali ibn Abi Talib Who at that time he was a young man He taught his family He taught them who out of me Who out of you will believe In the message that I have sent That I have been sent with Because I have brought you A message that no one has brought his family So He told them that he is a prophet He told them about the Rasala And then he asked his family He told them who of you will believe in me Who of you will follow me Who of you will be with my supporter This person will be my Khalifa He will be my wazir And he will be my wasi after me That time it was only the family of Rasulullah But you see that even the family At that time no one accepted Rasulullah But there was one voice that said I will follow you And that was Ali ibn Abi Talib And then Rasulullah said You are the Khalifa You are the wasi You are the wazir after me So here we see that Rasulullah The same day he told people to believe in him As a prophet He told them and he appointed Ali ibn Abi Talib So this is the proof that The Imamah and the wilayah Came with the religion of Islam And today historians, Muslim historians They say that there were From amongst the sahaba of Rasulullah There were sahaba That were known to be the shia Ali ibn Abi Talib Because Rasulullah said You and your shia You and your shia are the best of creation And there were known Shia of Ali ibn Abi Talib During the time of Rasulullah Ammar ibn Yasir Salman al-Muhammadi Al-Muqdad These were known to be Shia of Ali ibn Abi Talib Abu Dhar al-Ghufari And you see That many of these companions Of Rasulullah, they were companions But just because they followed Ali ibn Abi Talib Of course following Ali ibn Abi Talib It means following Rasulullah It's not a different path From the path of Rasulullah But they had love For Ali ibn Abi Talib You see that most of the ones Who showed love to Ali ibn Abi Talib They were killed A man who today People, they consider him the Sahaba of Rasulullah One of the companions of Rasulullah Sallallahu Alaihi Wasallam You see that he killed Hundreds of the Sahaba of Rasulullah Sallallahu Alaihi Wasallam In the Battle of Safin Hundreds were killed Many of the companions of Amir al-Mu'mineen Who happened to be Sahaba of Rasulullah They were assassinated By Muawiyah And today we are accused of disrespecting The Sahaba while you see Muawiyah He killed off many of the Sahaba Many of them He killed them off Who killed Ammar ibn Yasir Ammar ibn Yasir was one of the first Muslims His parents They were the first martyrs in Islam Yasir and Sumeya And Rasulullah Sallallahu Alaihi Wasallam He tells To him You will be killed By the group that has been Misled Has gone astray From the religion of Islam On the day of Safin In the Battle of Safin He was killed Ammar was killed by the army of Muawiyah And many other Sahaba Hijra ibn Hadim Muhammad ibn Abu Bakr This is the son of Abu Bakr But just because he had happened to be The Shia of Ali ibn Abi Talib He was killed by Muawiyah And his body Was stuffed in the body Of a dead donkey And it was burned Now you know where Daesh Where they get their inspiration from They get it from their role model Another man Another man Amr ibn al-Khuzai This was one of the Sahaba Rasulullah This was one of the Sahaba Rasulullah sallallahu alaihi wa ala Historians say That he was killed by Muawiyah And his head Was the first head that was Carried across the towns And across the cities in the religion of Islam The first head that he was killed Was in Islam Amr ibn al-Khuzai This man was Rasulullah Sallallahu alaihi wa ala Did a dua for him One day Rasulullah told him May Allah prolong your youth And they say that He was 80 years old He was an old man But his beard was all black When it was being carried across the villages In the cities Who did this? This was Muawiyah Where does Daesh And these terrorists get their inspiration from They get it from their role model The first terrorist in Islam One of the first terrorists in Islam It was Muawiyah You see that many of the Shias Were killed And this is why Don't be surprised when you see The Shias are attacked today The Shias are discriminated against today There's a sunnah to this There have been others That started this And until today They have their followers Now we need to Who are the Shias And what does it mean To be a Shia Because many people They think that it's just a name It's just a name And you go by that name Is it truly just a name In Islam Joining the religion of Islam Anyone who says Allah becomes a Muslim However According to the narrations It requires action It's not just words Not anyone can just come and say I'm a Shia And therefore They are a true Shia Of the Ahlul Bayt And this is a very important issue Because Some of the enemies of the Ahlul Bayt Today They say that It was the Shia that killed Imam Hussain It was the people of Kufa The people of Kufa They wrote letters to Imam Hussain Inviting him to come to Kufa Once he came They sent out an army that killed Imam Hussain And didn't allow Imam Hussain To enter Kufa They say it was the Shias And this is not something that I'm just saying There's actually scholars And speakers And pamphlets that are being passed out Especially during these days They say look at the Shia Now they beat their chests Crying for Imam Hussain Because they are in remorse That it was them that killed Imam Hussain A.S Now we need to analyze this We need to see who killed Imam Hussain A.S And who was Responsible For the murder of the family Of Rasulullah A.S And it wasn't just a murder It was a type of killing Where even the children of Imam Hussain Were killed The body of Imam Hussain Was stomped with the hooves of the horses So Who killed Imam Hussain A.S In order to Reach a conclusion We have to look at How many groups There are in regards to the Ahlul Bayt And what are the belief systems Of those groups In regards to the Ahlul Bayt You see that there is one group That Are known for their hatred For the Ahlul Bayt A.S And these are the Nawasub These are the ones that showed Hatred to the Ahlul Bayt from day one And until today they show Hatred to the followers Of the Ahlul Bayt A.S These are the ones that when you Hear the news two days ago in Taqif Someone goes and he starts shooting People that are attending a Majlis And we hear about this all the time And they see the day of Ashura as a day of celebration And this is no joke There are people out there Who consider themselves Muslim But yet they see the day of Ashura the day that The grandson of Rasulullah And the family of Rasulullah Were massacred on the day of Karbala On the day of Ashura is a day of Eid And they celebrate that Eid By fasting On the day of Ashura As a celebration As a form of celebration There are people out there And you see the pamphlets That are being passed out As the day of Ashura comes If you follow the social media You'll see people saying don't forget to fast On the day of Ashura Because it's a day of Eid It's the day that Rasulullah Saved Prophet Musa And saved Prophet Noah These are all fabricated lies Because Imam Sadaq He speaks about the day of Ashura, he says This is the day that This is the day that This is the day that This is the day that This is the day that And you see their followers Until today Showing the hatred Towards the followers Of the Ahlul Bayt Towards the ones who cry For the Ahlul Bayt I don't know what have we done to them How do our tears for Imam Hussain And crying for Imam Hussain How is it bothering them We're not doing anything to them But you see that they're uncomfortable When people remember the family of Rasulullah Why? Because when you remember the family of Rasulullah You're going to remember who oppressed them Who abused them Who took the power from them And therefore You will know the truth And people do not want the truth to be known Imam Sadaq, he says In one hadith He says He says He says The one who shows hatred to the Ahlul Bayt He's not going to come and say I hate Muhammad The family of Rasulullah You don't find anyone saying Although indirectly they do show it But no one is going to come and say I hate the Ahlul Bayt But what they say The Imam says They're going to show the hatred to you The Shias of the Ahlul Bayt They're going to be killing The Shias of the Ahlul Bayt They're going to be massacring The Shias of the Ahlul Bayt And this is what we see today Today you look in the world If you're up to date with what's going on You see that wherever there are Shias They're discriminated against They're abused Their power is taken from them They're being harassed Why? They're only crimes that they love the Ahlul Bayt Otherwise If we were just like all the other Muslims If we were careless If we didn't care If we showed love to everyone The one who killed and the one who was killed There wouldn't be sanctions Against the Shia countries There wouldn't be governments Bombing Coalition bombing the Shias of Yemen As we see today Why? They're only crimes that they are followers And lovers of the Ahlul Bayt So this is one group The Nawas of that Show their hatred to the Ahlul Bayt And the followers of the Ahlul Bayt And then there's another group In regards to the Ahlul Bayt Who they say We love the Ahlul Bayt But we also love the enemies of the Ahlul Bayt We love the Qatil And the Maqtul All of them they are All of them You go there Before Daesh went and destroyed The grave of Hijr ibn Adi And Kindi in Sham There was a plaque written On the grave of Hijr ibn Adi It said This is the grave of the Sahaba Of Rasulullah One of the companions of Rasulullah Al-Jaleel And may Allah be satisfied with him Who was killed By the Sahabi and Jaleel By the honorable Sahabi Muawiya And there are some Muslims Who actually fall for this They say all of them are All of them may Allah Be satisfied with them And Rasulullah there is a hadith Attributed to Rasulullah That we do not accept The hadith says Rasulullah supposedly He said My companions they are like the stars Whichever one you follow You will be guided Anyone that you follow They will guide you To the right path Now Here where is the principles Of the Qur'an Where is the principles that Rasulullah Brought the Muslims Why does the Qur'an give us a long Story of Qabil and Habib The two sons of Adam Why does Allah subhanahu wa ta'ala Give us so many stories in the Qur'an Isn't it so that I choose Which side I am on Isn't it so I stay against oppressors Doesn't Allah say Rasulullah is against the oppressors The ones who oppress The ones who are hypocrites The ones who are hypocrites And this is why we need the day of Ashura Because it constantly reminds us To stay against the To have a voice against the Oppressor Imam Hussain He constantly reminds us To have a firm stance Against the oppressors To say that the tyrants They are afraid of the day of Ashura You see tyrant governments and Dictators They don't want people crying for Imam Hussain Because when people cry for Imam Hussain They will stand and they will Question the tyrants of their time Just like Imam Hussain Questioned and he stood Against the tyrant of his time And then there is a third group Who love the Ahlul Bayt However Their love to the Ahlul Bayt It is so extreme Where it reaches a level of Gholu Where they are leaving the faith Because Of so much love for the Ahlul Bayt And there were people like that during the time Of Ali ibn Abi Talib Amir al-Mu'mineen Ali ibn Abi Talib He says Two types of people Will perish because of me Mu'ib al-Ghal Mu'ib al-Ghal One of them Who is a mu'ib He loves me but his love Drives him to leave Tawheed And leave Allah subhanahu wa ta'ala And this is not what kind of love Amir al-Mu'mineen wants This is not what the Ahlul Bayt wanted They wanted people to love them Allah orders us to love the Ahlul Bayt But the Ahlul Bayt orders us to Allah subhanahu wa ta'ala If someone says I only love the Ahlul Bayt And I don't care about Allah I don't care about anything else This is harm, this is gholu And this is something that the Ahlul Bayt They were the first to speak against Today you find people They say we love the Ahlul Bayt And then they do not follow The teachings of the Ahlul Bayt They start cursing And abusing The language towards everyone else Who disagrees with them Is this truly what the Ahlul Bayt wants Go and look at the lives of the Ahlul Bayt The morality The akhlaq that the Ahlul Bayt had The Ahlul Bayt, they bring people towards Tawheed If I'm going to leave The path Because of loving the Ahlul Bayt The love of the Ahlul Bayt has not helped And this is why Rasulullah sallallahu alaihi wa ala He compared Amir al-Mu'mineen To Aisa To Jesus Why? He tells him there's going to be a group of people That will hate you Just like a group of people hated Jesus And they did not believe in him And then there's also going to be a group of people That will love you so much Just like there was a group of people That began to worship Jesus And they considered him God And there were people during the time of Imam Ali that considered The Ahlul Bayt to be God And this is false This is not a true shi'a Of the Ahlul Bayt, alaihum sallam And finally, the fourth category Is the true shi'as The true followers Of the Ahlul Bayt, alaihum sallam The ones who Use the Ahlul Bayt In order to reach Allah subhanahu wa ta'ala The ones who Use Ali ibn al-Bait And the Ahlul Bayt in order to reach Rasulullah Rasulullah Because we follow Amir al-Mu'mineen and the Ahlul Bayt So that we get closer to Rasulullah And this is why We are following the Ahlul Bayt Because we believe they were the closest ones To Rasulullah They were the ones that can give us The true sunnah of Rasulullah The true religion of Rasulullah Now We need to see The ahadif, the narrations Of the Ahlul Bayt that speak about The virtues of the Ahlul Bayt And what kind of characteristics Do the Ahlul Bayt have When we look at the narrations We see that the Ahlul Bayt They say being a shi'a Is not just something where you consider yourself You call yourself a shi'a Of the Ahlul Bayt and therefore you're a shi'a It's not like Islam where anyone can consider themselves A Muslim as soon as they Say the shahada The ahadif from Imam Al-Baqir He says Do not let The sects get over you And overcome you say I'm from this sect, I'm from this group of people And then he says Our shi'as They are the ones that obeyed Allah Subhanahu wa ta'ala They are the ones that worshiped Allah These are the qualities Of the shi'a Of the Ahlul Bayt, a.s And another hadith from Imam Al-Ruza a.s He says They are the ones that Obey the orders Of the Ahlul Bayt a.s When Imam Sadab says And when the Ahlul Bayt They say you have to pray You have to fast, you have to Go to Hajj, you have to pay khun Sanzakat We have to follow the orders of the Ahlul Bayt I cannot just consider myself a shi'a Of the Ahlul Bayt And I ignore all of the teachings Of the Ahlul Bayt a.s So it says The ones Who object And stand against our enemies Because there are some people who say But it's okay Ma'dash, leave the ones who It's okay, listen to them Take your religion from them Yes This is wrong because we have to take Our religion from one group of people And that is the ones who Rasulullah sallallahu alayhi wa alayhi And another hadith From Imam Sadab a.s He says He says And he is And he is He says he lies He who says he is From the Shia of the Ahlul Bayt Yet takes the religion From another group of people From the enemies of the Ahlul Bayt a.s One day Aiman came to Imam Al-Hasan And he told him I love your father And I am one of the Shias Of you and your father Because what does Shia mean? Shia means followers of So he says I am one of the Shias of your father And I follow you Imam Al-Hasan a.s He looked down And then he raised his head He looked at him And he told him I do not see your name In the list of Shias Of the Ahlul Bayt And I do not see your face As a familiar face Of the Shias of the Ahlul Bayt a.s And then he tells him If you want to consider yourself A muhab Someone who loves the Ahlul Bayt But being a true Shia This is Being a Shia means That you are the best of creation You have reached that high level The level of Ammar The level of Abu Dhar The level of Salman The level of the companions of Imam Al-Hussain a.s Who gave up everything That they had For the sake of the Imam of their time Are we willing to sacrifice For the Imam of our time? Now Tell me that killed Imam Al-Hussain a.s Who were they? What group of people were they? Historians say That the army that killed Imam Al-Hussain The least number says That they were 30,000 The narrations say That most of them And all of them They were from Kufa There was not one soldier from Sham That came to kill Imam Al-Hussain a.s It was an army That came out of Kufa To stand against Imam Al-Hussain a.s So some people they say yes Since it was Kufa Since they came out of Kufa Then that means It was the Shia that killed Imam Al-Hussain a.s However, that's not the case Because if we analyze We will see that at that time Kufa was not like the Kufa that we know today Kufa was not a Shia city Kufa was not a city that had Shias in it It was a military city That was That was It was a camp, a base That was started by the second Khalifa Omar ibn al-Khattab And he ordered Muslims to go there In the Muslim Conquest And then Amir al-Mu'mineen He also had to go there And the people that were there During the time of Amir al-Mu'mineen Many of them they saw Amir al-Mu'mineen Of course there were some Shias But many of them They saw Amir al-Mu'mineen as the fourth Khalifa Amir al-Mu'mineen as the first Imam And there are many stories that prove this Many narrations that prove this One day when Amir al-Mu'mineen was in Kufa The month of Ramadan started At night time He saw that the Muslims They were gathered in the Masjid praying Taraweeh prayer Amir al-Mu'mineen He told them Taraweeh is not the sunnah Of Rasulullah And all Muslims they agreed that it was not the sunnah Of Rasulullah Did he pray or did he order people to pray Taraweeh Because Taraweeh Salat al-Layn It's a mustahab prayer It's a recommended prayer And a recommended prayer cannot be prayed in Jama'a This is what Rasulullah told the Muslims And then after Rasulullah came He did not pray Taraweeh in Jama'a And then the second Khalifa Omar he came He saw the Muslims praying in the Masjid He told them why don't you all pray Taraweeh In Jama'a So when Ali ibn Abi Talib came In Kufa he told the Muslims not to pray Taraweeh Because this was not the sunnah of Rasulullah We have to follow the sunnah Of Rasulullah He sent Imam al-Hasan to them You know what the people of Kufa began to do In the Masjid They began to yell We want to follow the sunnah of Omar Not even the sunnah of Rasulullah So then Amir al-Mumineen he said So this proves That many of the people that were In Kufa they were not Shi'ahs of Amir al-Mumineen Many of them they gave Amir al-Mumineen A difficult time You go and read Nahj al-Balaga You see that in many narrations He would tell them You are not even man You are cowards They would not obey They would not obey Amir al-Mumineen And you see in the battles In the battle of Safineen There was a group of Muslims That turned against Amir al-Mumineen Who were on the side of Amir al-Mumineen Why? Because Muawiya he fooled them By raising the Quran He placed the Quran on his spear Some people they saw The Quran is raised by Muawiya Then we will not fight Muawiya anymore Amir al-Mumineen told them I am the speaking Quran According to the Hadith of Rasulullah He is fooling you They told him stop the war Amir al-Mumineen he was very close To getting rid of Muawiya They told him stop the war Or else we will kill you And they were truly going to kill Amir al-Mumineen And then there was a group Of Khawaraj One of those men From those Khawaraj Was Shimr ibn Joshan Killed Imam al-Husayn al-Hussain Now is that Are those groups of people That are considered Shias of the end of Bait There were groups of people On the day of Ashura Imam al-Husayn he stands to pray One of them He tells him Imam al-Husayn Why are you praying? Your prayer is not going to bring you anywhere You are going to go to the Hellfire This is how they speak to the Grand Salam Is this one of the One of the actions of a Shia A follower of the end of Bait On the day of Ashura Imam al-Husayn he told them Why are you killing me? What have I done to you? Have I stolen from you? Have I abused you? Have I talked bad about you? What have I done to you? They told him We are killing you because Your only crime is that Is this a Shia of the end of Bait Are these actions of Shia? Yes Imam al-Husayn alayhi salam He called them Shia But Shia just means followers He tells them On the day of Ashura After Imam al-Husayn was still alive They began to attack the camp Of Imam al-Husayn The women and the children He began to call them Deen for you And you were not afraid of obstacles So be free In your world You are the Shia of al-Abu Sufyan You are the Shia of Muawiyah And Yazid And you are the Shia of Abu Sufyan the man who waged A war against Rasulullah Ever since the first day Rasulullah told people to believe And then his son Muawiyah came And he waged a war against And then Yazid came And he killed Imam al-Husayn alayhi salam Of course today These Nawasab that we were talking about earlier They come and they say Yazid had nothing to do with it Why are you Shia as you gather And Muawiyah you keep cursing Yazid He had nothing to do with it If he had nothing to do with it Then why was the head of Imam al-Husayn Taken all the way to Sham Why was the family of Rasulullah Taken all the way to Sham He had the head of Imam al-Husayn In front of him And he was speaking poetry To the head of Imam al-Husayn He speaks About his forefathers He speaks about His forefathers He says No news came And no revelation There was no revelation There was nothing And then he would say And then he would say He says only if my ancestors My fathers and uncles Who were killed by the sword of Ali ibn Abi Talib In the battle of Badr Only if they see today how the game Has been switched Now it's Husayn's had the son of Rasulullah It's in front of me This was Yazid Today you still find that Yazid has people That say no no no no Yazid did not do anything Did not talk about Yazid So it was not the Shi'a That killed Imam al-Husayn It was the Shi'a of Bani Sufyan And Al-Omeya Now someone might come and say Okay what about the letters There were letters that were sent To Imam al-Husayn And Imam al-Husayn he brought out those letters And he began to call out some of the names Who signed the letters Al-Hajjara bin Abjar And many other names He began to call them out on the day of Ashura He told them didn't you sign this letter here He brought out the letters with him These men they were also Nafshia And these men they just wanted to They thought that Imam al-Husayn Al-Husayn was coming And they did not think that the grandson Of Rasulullah was going to be killed Because there was truly a revolution That was going on And many people thought that Imam al-Husayn Was going to come So there were many people that signed their name So that when the day Imam al-Husayn Comes and he truly has power They will tell him See I signed, I was one of the first That signed with you So that they tell him I also had my name But then the day it turned against the And they go on the day of Ashura These men that signed One of them he tells Imam al-Husayn Follow your cousins What's the difference Yazid is from Bani Umayyah They are the cousins of Bani Hashem What's the difference You come and give power to Give power to Yazid It's okay This is what these men were saying Is this the true Sufat The true quality of the Shia of the Anubait The qualities that we recited earlier Now someone might come and say Okay they were not Shia's What about the real Shia's That were in Kufa There were some Shia's in Kufa When you look at the history You will see that ever since The time ever since The martyrdom of Amir al-Mu'minin Year 41 after Hijrah The Shia's in Kufa They were persecuted And many of them were in the gels And the prisons Were killed by Muawiyah And then by the governments That came after Muawiyah He sent a letter To his governor in Kufa He told them See who loves Ali ibn Abi Talib He was the first who started the Sunnah Of cursing Ali ibn Abi Talib And the Ahl al-Bait And then he wrote a letter He said see who loves Ali ibn Abi Talib And have sanctions That person Do not give him his monthly or weekly salary So you see the Shia's They had economic sanctions Second He said see who loves Ali ibn Abi Talib Destroy his home Over his head The same thing Israel is doing now The same thing The governments that follow Are doing right now to the Shia's in Yemen Destroying their homes Wiping out cities Destroy their Shia's Destroy their homes Over their heads And then he writes a third letter He says see who has love for Ali ibn Abi Talib And killed that person Many of the Shia's They were killed Many of them were oppressed They had nowhere to go And you see that Many of them For example Al-Mukhtar One of them Al-Mukhtar Al-Hussain He was in the jail of In fact The city of Kufa It was under martial law When he came And he took over There was So much strict control Over the city that no one could leave the city Or enter the city And whoever that they thought Was a Shia They would grab him So this is what happened To the true Shia's Sallallahu ala Muhammad wa ala Muhammad And then of course there were others There were others Who did love the Ahlul Bayt Who Who's heart were with the Ahlul Bayt Alayhum salam However because of a few dinams Some gold That they gave them And because of this dunya They allowed And they left the Imam of their time To be killed all alone in the battle In the land of Karbala There were many That told Imam Hussein I want to live I don't want to come and give myself I don't want to die right now And of course We have to think about ourselves When the Imam of our time comes What are we going to answer What are we going to tell him Right now are you willing to leave your job And your family and your work And everything that you have If the Imam comes tomorrow The ones who followed Imam Hussein They left everything They left everything This is why they became Known as the Ansar of Imam Hussein And inshallah tomorrow We will remember the Ansar of Imam Hussein Alayhum salam But there were some men There were some groups of people Who they said no I want to live I don't want I'm not ready to die right now One of them Was a man by the name of Abid Allah ibn al-harwan jokfi This man as Imam Hussein Was traveling towards Kufa He passed He saw a tent in one of the villages That he passed through He saw a tent On that tent there was a spear It shows that this is a fighter This is a soldier So he finds out that It is Abid Allah ibn al-harwan jokfi Who was one of the known men In Al-Kufa So Imam Hussein he sent one of the Men who was with him He tells him go and ask Abid Allah to join us and be our supporter This man he goes And he tells Abid Allah Aba'a Abdullah the grandson Of Rasulullah The son of Fatima He's inviting you to join him And be his supporter This man Abid Allah he tells him Hussein is the saint Is the very reason that I left Kufa I left Kufa So now I don't have to hear about Hussein And I don't have to get involved With a group of people fighting Hussein Or be on the side that is fighting Hussein Because many people They were pressured into fighting Imam Hussein He said I don't want to have anything to do with this But Subhanallah the caravan Imam Hussein passes right by him And then The messenger he goes back To Imam Hussein and he tells him He refuses to come Here Imam Hussein The hadith says he went by himself He walked to him Look at the humbleness of Aba'a Abdullah Imam Hussein he knew he was going to die But he wants to take people With him to paradise He wants people to be saved with him He goes With his children They are walking to the tent of this man Imam Hussein tells him O Aba'a Abdullah You have the noob, you have sins Isn't it time that you purify yourself And Allah don't you want Allah to forgive you Come and join us I am the grandson of Rasulullah Didn't you hear what Rasulullah said about me Husaynun minni And I am in Hussein This man He told Imam Hussein I can't I am too attached to this life I want to live He told Imam Hussein O Aba'a Abdullah told Imam Hussein I know the haqq is with you And I know dying with you is dying And going straight to paradise But I want to live How many of us are actually like that Let us put ourselves in the place of this man What would we have answered To Imam Hussein Imam Hussein told Imam He told him but I have a fast horse I have a fast horse That every time I've chased someone with that horse I've caught on to him And every time someone is chasing me With a horse I've been able to flee away I'll give this horse to you Imam Hussein tells him We don't want your horse You think I came here because I want your horse I don't want your horse I want to save you Then the Imam tells him Take yourself away from us Because if you hear our wa'iyah If you hear me calling On the Day of Ashura When I'm surrounded If you hear me calling Alaa Halmin Nasirin Yan Suruna I heard from Rasulullah Say that when the Ahlul Bayt call For someone to help them And that person hears them And refuses to help them Allah will throw him on his face In the Hellfire Take yourself away There were people like that They loved the Ahlul Bayt They know the haqqas with the Ahlul Bayt But they were willing to Leave the Imam And leave the Imam to die All alone on the Day of Karbala And today we remember Muslim Ibn Aqeel The Safir The ambassador of Imam Hussein Alaa Halmin Nasirin He was sent by Imam Hussein And yet this man Was also betrayed And he was oppressed He enters Kufa 18,000 men They give him bay'ah Meaning that they're giving Imam Hussein bay'ah And then He enters and he takes over And he spreads the fear In Kufa These 18,000 They become And the 4,000 become 100 And the 100 become 2 people Until he is all alone In Kufa All alone A mother she would come and take her son Telling him leave him This is a fitna Another wife she would call her husband And tell her husband Don't be involved in what's going to happen There's going to be bloodshed There's going to be fighting Stay out of this All alone Until Muslim Ibn Aqeel Was left all alone But Muslim Ibn Aqeel He had wrote a letter to Imam Hussein Telling him to come These men have given me allegiance They have given you allegiance And they're waiting for you But suddenly They turned against Muslim Ibn Aqeel One night In the Masjid Muslim Ibn Aqeel He's praying And he turns around He sees there's no one with him There's no one with him He's walking in the city of Kufa All alone The one who he was staying in his house Ali Ibn Urwah Was taken as a prisoner by Ubaidullah Ibn Ziad Where should he go? His host is in the prison Of Ubaidullah Ibn Ziad Where should he go?  None like you do not cry He says I do not cry The people have turned against me He sent his salams To Imam Al-Husayn To Muslim of Naqeel He reaches Imam Al-Husayn The messengers they tell Imam Al-Husayn Imam Al-Husayn He begins to cry The Muslim of Naqeel He says it is your fault I ask you Allahumma And I ask you in the name of Allah Allahumma Allahumma Allahumma The hearts of believers Is there any living of them or death Follow Allahumma Between us and between them In goodness You are the answer to the calls You are the forgiveness of the wrongs Inna ka ala kalli shayin qadir Qusallallahu ala Muhammed wa al-Muhammad


Hello OscillatorSync here and welcome back to another modular patch from Scratch video. So in the last modular patch from Scratch video we made quite a complex patch with drums and bassline and arp and lots of modulation and lots of movement and I kind of joked towards the end of that video that or I've got patch cables left over and places left patch left over and this isn't a finished patch until every single patch cable is used and which was kind of tongue in cheek obviously but I also think that's sometimes a bit of a trap that you can fall into with modular where every patch that you make has to use everything and I don't think that's always necessarily a useful way to think about things. So I was daydreaming about a patch idea earlier today that I would like to try out. Hopefully a little bit more focused inevitably but in the video I'll end up patching every single thing because I am only human but the idea that I kind of had was making use of stages especially with the alternate firmware that's on it to do a lot of the pitch sequencing to create these nice bleepy bloopy kind of sequences that are probably a little bit cliche in the world of modular but they're cliche for a reason it's because they're kind of lovely. So that's what we're going to go for today something a little bit more mellow bleepy bloopy and making use of stages to do our pitch sequencing and we'll talk about how we'll patch that up very shortly. So I think we'll go with like just one or two voices and I think the first voice that we'll go with it will be really simple and we'll just use the 2HP VCO probably into a low pass gate and that can be basically the entirety of our voice. So let's grab let's just try a short one let's try a triangle wave into low pass gate and we'll take the output of the low pass gate and put it into X pan whether or not we make things pan around or whatever I haven't quite decided yet but just might be nice to be able to place voices in stereo and then we'll need to patch the output of X pan into something as well I guess we'll just go into just into the aux of Stemix and then if we let's just make sure that's all patched okay if we just temporarily just give that a gate from Pam's okay great that's all working as intended. So right let's just for the moment let's just open the CV on the low pass gate up using at end so we can talk about the pitch okay so there is our oscillator so the idea that I had for the pitch sequencing is that on the alternate firmware the orange segments on stages will as well as being able to do something on hold which is kind of one of their main reasons for existing we can now also do something hold which is pitch quantized and we can set the pitch quantization just by holding down the button and sort of sweeping through there and we can show that that's working if we patch in a second reach yeah actually that's a bit tight we use a slightly longer patch cable if we patch the output of this orange channel now into the volts proactive and we can move how we've selected a pentatonic scale there I think and then let's cut over the scales in here so that's no scale there's another scale there but we'll go with the pentatonic because the nice thing with the pentatonic is that it's always going to sound pretty good so obviously we can just move it around using the slider here but if we feed a level into the input of this segment say from a LFO over here perhaps so patching the output of that segment into the input of this one you can probably hear that there's some possibly over here down at the bottom that there's some pitch quantization going on there but it's obviously a really really long swoop there now what we could do is we could attenuate that signal and I've got one of these little friends here which is just a flying attenuator which would be good for showing that this isn't what we're going to do ultimately as it happens but we open that up we have attenuated that signal and if we open it up more we're going to get bigger and bigger sweeps there but one of the nice things that's in this alternate firmware is that if we set this orange segment into looping mode this knob now acts as a attenuator rather than a slew time and what that means is that between these two knobs we can use the level to offset it and we can use the knob at the top to make a bigger range which gives us quite a formal set of tools because we can constrain what we're doing really easily place in different parts of the range but stuff that's always going to be in tune and working nicely so that's really cool now what we probably don't want to have here is this thing just sweeping up and down forever and ever right instead we probably want to hold on pitches as we go so for that if we send a gate into this channel of stages it will act as a proper sample and hold and it will hold each time that it gets a gate so let's um maybe channel one of pams okay so we patch that in so it's stopped moving all together and if we start pams every time it hits that gate it's going to choose a new pitch now if we make the gate pattern on pams a little more interesting so if we if we come into channel one here first things first let's make it a bit faster and if we change the rate of our LFO because of the incoming voltage moving around faster or slower we can get these different patterns and so the relationship between the gates that are coming in our offset and attenuation here and the speed of the LFO now give us like infinite combinations of different patterns which are always in tune always in time but we can be really performative about them and really quickly find new things and of course we could also change the shape of our LFO as well so it's now just descending or more slew skewed towards the top and bottom and I think this is a really nice way to think about um creating these patterns let's make the gate pattern on pams a little bit more interesting than that so maybe let's get some Euclidean stuff going on in there so we'll come into the configuration for this channel the quantized one this isn't perfect incidentally occasionally i'll throw something out but it's it's good enough so let's put like um four into nine Euclidean pattern there and then still we've got this kind of performable patch here now we probably don't want this open all the time now instead we probably just want the gate from pams that's changing the pitch to trigger the um low pass gate so every time a new pitch comes out we get a new gate so let's unpatch that and grab um is that coming into there so for a longer stack cable so i'll grab this stack cable well i want the gate and you want to come out pattern so the gate from pams that can come into our low pass gate and we'll just make the um width of the gate from pams really tight so it does the nice low pass gate ping thing so now we've got this really nice little voice where we can move its range around offset it and as we move this range and offset around we still get the same um contour of pitches so it's always the same contour of pitches and if we want to change the contour of the pitch is we can change the speed of i'll i think that's a really lovely way to work um because it's it's the sort of thing that modules really really sort of suited towards doing okay let's take this patch a little bit further and do some more interesting stuff with it shall we so i think the first thing i want to do to take this patch a little bit further is actually just duplicate this entire thing for another voice so maybe um use beehive which is the plat's clone to do a very similar uh trick basically the same thing but because we'll have different lfo speeds and different gate patterns the two will interact with each other and and be lovely i hope so um so we'll set that channel to be an lfo we'll set this one to be the looping um orange segment switch up to the quantized mode uh then we'll take the the level out of that into the false proactive on beehive we can patch uh where are my smaller cables we can patch um that into the level as we had before and then we'll do the same thing duplicating the gates i think so we'll have channel two be our gates so that can both come up to ping our uh low pass gate and then uh also i swear it's more small you have to switch to a different color very very triggering i'm sorry uh we'll have that also gate our sampler and hold like that then go in there so it's basically duplicating that whole thing so we haven't actually patched the output of uh plat's into the low pass gate yet and we haven't patched the output of the low pass gate into uh we're going to expand again just so that we've got panning control that's what pan one to left a little bit on to the right now we should now have two voices okay uh yeah cool so that's basically happening but the moment our gate on pans is a little bit boring and we'll do the same thing of making that um thinner and give it like a euclidean thing cool uh yeah here's plat's maybe a little bit too cool uh let's make uh this pattern a little bit more sparse maybe a bit faster okay that's yeah that's that's nice isn't it um so um given that's sort of on the go there what else uh can we do okay so i can't help but notice that our VCO here has an FM input and that makes me want to FM things so let's grab um yeah so let's just molt the output of beehive there and let's shove it into the FM just for the moment just to see what that sounds like so listen okay that's a bit much so if we just listen to it's a bit much but it's there's something that i like so perhaps rather than having full on FM all the time we could either attenuate it uh or we could um envelope it but yeah let's rather than go straight into the uh FM input there let's go via uh a VCA shall we um going to the stack cable for that i think have a longer one there we go uh so if we come with the stack cable switch it out for a longer one uh so what are we doing um so that is the output of there so if we send that into a VCA and then from the VCA go into the FM input instead and that gives us a bit more control over how much FM is happening if we turn it up then we get more obviously but perhaps we could like modulate that um just LFO maybe i was thinking maybe like an envelope but i don't think i want it all the time so um perhaps we just take a LFO slow LFO on stages maybe one of the random LFOs instead in the alternate firmware uh like something slower now of course what i would say is that i could use a random LFO for the pitch as well that might be fun not less controlled though uh so we'll take the output of that random LFO go into VCA and because uh these are two like both of these are like sequence to a pentatonic scale the relationships between the notes are always going to be fairly um simple so even when it hits hard like that it's still going to sound pretty um pretty chill all things considered what now um i'd like to get some delay so i've got this thing just sat on a delay before when i was playing before so if we could get everything into that and get some delay happening that might be a really nice thing uh i am out of stack cables i might need to reconfigure some of this to allow me to do the delay uh oh actually no because i'm they're coming out of this which is nearby so i can just use short ones this is about to get like a million times better when i had delay obviously so i'll just break that and same with this one route your cables and then bring that out onto a channel of ST mix i think i've got this set as um wet only output mode is one yes that's wet only look at that i knew that without looking at the manual i'm learning this thing in you i'm forcing myself to use different modes on it because i don't use other modes on it so if i turn this level up we should get see pro pan the main voices closer towards the center now that's nice right of course adding delay is going to make it better hmm do we want to add one more thing uh i have an idea it might not work but let's um let's give it a try because we won't know if we don't give it a try okay so hear me out um what if we fed the output of one of our voices possibly the orcs output of beehive into rings and i've got it on the um alternate red mode which is like strings with reverb and that might sound really nice and i could i guess i'm not using the filter yet so i could take like the output of the orcs on beehive into the filter sweep the filter around when it goes low it won't will basically not go into rings at all okay well let's just give it a go that's um so uh so orcs out of beehive into the input of the filter and then from the end pass output we'll try bandpass might be better with a low pass we'll try bandpass uh bandpass into the inputs of rings so i don't think we're going to pitch rings i've just got it set at the bottom which should put it in tune with everything else because i think everything's in C so i'll just use the rings straight up as a resonator and then we'll take the output left and right or odd and even as it were in reverb mode this gives us stereo so it should give us some more width to the sound as well uh set this in the middle somewhere let's see what you can hear let's just turn down our main source for a second so we just got the delay there and there's rings being rings or calm down rings so we're just kind of using it as a as a reverb really but with like okay let's modulate that then uh it's a dangerous dangerous rings isn't it it's the thing with rings it's always got it's always on the edge of going mad isn't it okay um so we need to modulate some stuff right okay uh okay what we've got that we can modulate stuff with so we're pretty much out of stages other than one there which i might save in case i need like an envelope or something uh so we're gonna start taking some random stuff from pams maybe uh yeah so let's maybe move over to channel three set it going really slowly to a triangle wave and patch that into that position parameter just there turn it turn your filter i think the thing is i don't want this happening like all the excuse me all the time so maybe we uh modulate the cutoff of the filter so it only just catches it now and again so i guess we'll use pams for that as well so if we come to four maybe use the smooth random out there okay we'll need a long cable for that i think uh into the CV input there that's far too fast perhaps we also need um perhaps you just need that not happening all the time as well uh oh so i recently got one of these which is a low pass gate that you can just sort of hang off the edge of your uh your setup uh so we could instead of having the orcs go straight into the filter there we can have it go into the low pass gate have the input of this like that and then we can ping it with like another slow pattern on pams perhaps so we'll go over to five and we'll just i'll just set it as a gate pattern just to make sure everything's working first that's like a tone control there so it loses a bit more volume than the the tack up but it might be okay should we just turn this up uh so let's give that a more interesting pattern now interesting that's now because hard edge triggering rings as well maybe we just set the random skip up nice uh bloops in there just some perfectly pleasant bloops and bloops there's a little bit of menace from from rings there and if we want to as i say if we want to move that most melodies around we can cool okay okay one more thing just to make this a little bit more performable i think so at the moment it's pretty straightforward for us to give ourselves changes to the melody and the sort of the contour of the melody but it's not so easy for us to change on the fly the rhythms so much and also i want to move that to that side of that cable because that was doing my head in so let's just make it so that we have a bit more hands on control maybe these two sliders we can use to help us change the rhythm a little bit and probably the way to do that is to either mess with the steps or the random skip on those first two channels of pams i guess let's try the steps in the euclid so just coming back onto channel one there what it will do is come into the menu and come across to the e-trig parameter which is currently set at four so what's my step set at nine okay um so if i come in to edit this here and rather than have it set at four if i go the way back i can probably set it to cv yes okay cv one okay and offset of zero and we'll set the attenuation in a second so if i patch uh the output of this channel of atten in here to here just come on to this channel here i should see the value go up and down or does that just go between zero and the maximum for the euclid i don't know let's find out shall we so okay so that's currently everything and if i go down to zero it puts it on all of them which is a bit annoying but i guess i can live with that okay and then we can do the same thing with the other channel then i guess and then we have like these hands on controls for how much each of the voices are firing so we can come out of the cv set up there come out of channel one into channel two e-triggers exactly we want to be come in here and set that to cv two now they have control over that i always want to make it so we go we have control over how much how much each of those channels are firing we have control over the offset and the range and then the contour just here so that is nice i think that's that's probably the patch we have rings picking up occasional pings of what's going on on beehive so that's always going nice and controlled we could probably get things a bit more modulating but i think for the sake of brevity we're probably out there i always have control of the tape here i think that's a rather pleasant little patch it's one of those patches that you kind of set up and then you just kind of leave it going don't you oh go on let's just let's make the voices burn about uh i wasn't going to uh but i can't i can't help myself can i clearly uh where we're going uh i want to come out of there uh we'll just have so an eight set of a smooth random moving real slow not like at the full level either and same on this other channel here we go now we're done cool well um well i hope that was interesting uh or relaxing at the very least um and uh let me know in the comments if there are particular types of patches you'd like to try you'd like me to try and tackle um i'm happy to take a look at any suggestions but otherwise i think until next time thank you so much for joining me take care


Cool. Thank you, you too. Bye-bye. Dude, you've, I've been doing interviews like crazy. You've always got to hire good people.  Good people make my job easy. People like Matt, DJ, Dylan, Lindy, they make my job so much easier. When you surround yourself with good people, they actually end up making you look better than you really are.  You're gonna have to find good people. Maybe you've got things that you want to look for. Maybe they've got to be positive. If they're negative, in an interview, I'll give people a chance to be negative all the time. What did you like, what did you like the least, or what did you hate about your previous job? That is how you find out, you let them talk, and that's how you find out if they're if they're negative or not. And so here, we're a positive only zone, a positive only team. Some questions I like to ask is what did you like the, of everything I've told you so far, what do you like the most and what do you like the least? And so after I tell them all about the position, everything that we are, everything about us, what do you like the most and what do you like the least? It gives them a, them a chance to say, here, here's where I like the best, but it also gives me a chance to know if there's something that they don't like. Maybe it's the pay, maybe it's the hours, maybe it's the culture, maybe it's me, maybe it's the team, maybe it's what we do, maybe it's, you know, this or that. If maybe it's the dress code, whatever, if there's something that they don't love, I want to know what it is. I also, I also ask everyone, hey, I always tell them, hey, everyone's great at something, what do you grade at? They say, well, I don't know. Well, if you had to choose, what would you say? Everybody's great at something. And if they can't pick something, if they can't say what they're great at, then they probably lack confidence, right? So there's always a few questions that I love, love, love to ask. But things we look for is if they want the world and they're bragging about how amazing they are and how much money they've made and they're just a killer agent and, you know, they're begging for the world and they want the highest commission in the world, they're normally full of it.  They're normally just messing with us. So we find that our best agents are the ones that say, rather than saying, what can you do for me?  You can tell they're ethical. You can tell that they will actually work the leads you give them, that they will actually work hard.  That'll tell you a lot about a person. They say, well, you know, I'm jumping on them first thing Monday morning. That's too late. That's too long. That's, that's, you know, the leads are dead. Are they calling them Friday night or they call them Saturday morning? When you're building a team and an agency, once you get attention, man, you got to find the right people. You don't want, we get free leads out. If I get free leads, it leads up to the wrong people. I'd waste a lot of money and I've wasted a lot of money over the years. That's why we hire a lot of people and learn who to hire and who not to hire.  And sometimes it's like, well, because I'm looking for a job, you know. Well, I wanted, I want to hear more than that. I don't want to hear, hey, I'm looking for a job, right?  I'm looking for, hey, I'm looking for a home, looking for a career.  And so I like to ask questions to give them a chance to complain, to give them a chance to, you know, maybe not know what to say.  And then see how they respond. You know, if they had bad experiences, it can be on their previous up lines, previous companies, but a lot of times it's on them.  If that's happening, that kind of worries me. It really does.


Hymns to the Night by Novalis. Translated by George MacDonald. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Pete Williams. Hymns to the Night by Novalis. Translated by George MacDonald. 1. Before all the wondrous shows of the widespread space around him, what living, sentient thing loves not the all-joyous light, with its colors, its rays, and undulations its gentle omnipresence in the form of the awakening day. The giant world of the unresting constellations inhales it as the innermost soul of life and floats dancing in its blue flood. The sparkling, ever-tranquil stone, the thoughtful imbibing plant, and the wild, burning, multi-form beast inhales it. But more than all, the lordly stranger with the sense-filled eyes, the swaying walk, and the sweetly closed, melodious lips. Like a king over earthly nature, it rouses every force to countless transformations, binds and unbinds innumerable alliances, hangs its heavenly form around every earthly substance. Its presence alone reveals the marvelous splendor of the kingdoms of the world. Aside I turn to the holy, unspeakable, mysterious night. afar lies the world, sunk in a deep grave, waste and lonely is its place. In the cords of the bosom blows a deep sadness. I am ready to sink away in drops of dew and mingle with the ashes, the distances of memory, the wishes of youth, the dreams of childhood, the brief joys and the hopes of a whole long life arise in grey garments, like an evening vapor after the sunset. In other regions the light has pitched its joyous tents. What if it should never return to its children, who wait for it with the faith of innocence? What springs up all at once so sweetly, boating in my heart and stills the soft air of sadness? Thou also take a pleasure in us, dark night? What holdest thou under thy mantle, that with hidden power affects my soul? Precious balm drips from thy hand out of its bundle of poppies. Thou upliftest the heavy laden wings of the soul, darkly and inexpressibly are we moved, joy startled, I see a grave face that tender and worshipful inclines toward me, and amid manifold and tangled locks, reveals the youthful loveliness of the mother. How poor and childish a thing seems to be now the light, how joyous and welcome the departure of the day, because the night turns away from thee, thy servants, you now strew in the gulfs of space those flashing orbs to proclaim thy omnipotence, thy return in seasons of thy absence. More heavenly than those glittering stars we hold the eternal eyes the night hath opened within us. Farther they see than the palest of those countless hosts, needing no aid from the light they penetrate the depths of a loving soul, that fills a loftier region with its bliss ineffable. Glory to the queen of the world, to the great prophet of the holier worlds, to the guardian of blissful love, she sends thee to me, thou tenderly beloved, the gracious son of the night. Now I am awake, for now am I thine and mine, thou hast made me know the night, made of me a man, consume with spirit fire my body, that I, turned to finer air, may mingle more closely with thee, and then our bridal night endure forever. 2. Must the morning always return? Will the despotism of the earthly never cease? Unholy activity consumes the angel visit of the night. Will the time never come when love's hidden sacrifice shall burn eternally? To the light a season was set, but everlasting and boundless in the dominion of the night, endless in the duration of sleep. Holy sleep, gladden not to seldom in this earthly day labour the devoted servant of the night. Fools alone mistake thee, knowing not of sleep but the shadow which in the twilight of the real night thou pitifully castest over us. They feel thee not in the golden flood of the grapes in the magic oil of the almond tree and the brown juice of the poppy. They know not that it is thou who hauntest the bosom of the tender maiden and makest a heaven of her lap. Never suspect it is thou, opening the doors to heaven, that steppest to meet them out of ancient stories, bearing the key to the dwellings of the blessed, silent messenger of secrets infinite. Three Once when I was shedding bitter tears when dissolved in pain my hope was melting away and I stood alone by the barren mound which in its narrow dark bosom hid the vanished form of my life, lonely as never yet was lonely man, driven by anxiety unspeakable, powerless and no longer anything but a conscious misery. As there I looked about me for help, unable to go on or to turn back, and clung to the fleeting, extinguished life with an endless longing, then out of the blue distances, from the hills of my ancient bliss came a shiver of twilight, and at once snapped the bond of birth, the chains of the light. Away fled the glory of the world and with it my mourning, the sadness flowed together into a new, unfathomable world. Thou night inspiration, heavenly slumber, didst come upon me. The region gently upheaved itself, over it hovered my unbound, new-bound spirit. The mound became a cloud of dust and through the cloud I saw the glorified face of my beloved. In her eyes eternity reposed. I laid hold of her hands and the tears became a sparkling bond that could not be broken. Into the distance swept by like a tempest thousands of years. On her neck I welcomed the new life with ecstatic tears. It was the first, the only dream, and just since then I have held fast an eternal, unchangeable faith in the heaven of the night and its light. The beloved. Four. Now I know when will come the last morning, when the light no more scares away night and love, when sleep shall be without waking and but one continuous dream. I feel in me a celestial exhaustion. Long and weariful was my pilgrimage to the holy grave and crushing was the cross. The crystal wave, which, imperceptible to the ordinary sense, springs in the dark bosom of the mound against whose foot breaks the flood of the world. He who has tasted it, he who has stood on the mountain frontier of the world and looked across into the new land, into the abode of the night. Truly, he turns not again into the tumult of the world, into the land where dwells the light in ceaseless unrest. On those heights he builds for himself tabernacles, tabernacles of peace. There, longs and loves and gazes across until the welcomest of all hours draws him down into the waters of the spring. Float above remains what is earthly and is swept back in storms, but what became holy by the touch of love runs free through hidden ways to the region beyond where, like fragrances, it mingles with love asleep. Still wakest thou cheerful light, that weary man to his labour and into me poorest joyous life, but thou wildest me not away from memory's moss-grown monument. Gladly will I stir busy hands where behold where thou hast need of me. Praise the luster of thy splendour. Pursue unwirried the lovely harmonies of thy skilled handicraft. Gladly contemplate the clever pace of thy mighty, luminous clock. Explore the balance of the forces and the laws of the wondrous play of countless worlds and their seasons. But true to the night remains my secret heart and to creative love her daughter. Canst thou show me a heart eternally true? Has thy sun-friendly eyes that know me? Do thy stars lay hold of my longing hand and return me the tender pressure and the caressing word? Was it thou did adorn them with colours and flickering outline? Or was it she who gave to thy jewels a higher, dearer weight? What delight, what pleasure offers thy life to outweigh the transports of death? Where is not everything that inspires the colour of the night? She sustains thee motherlike and to her thou o'est all thy glory. Thou wouldst vanish into thyself in boundless space, thou wouldst dissolve if she did not hold thee fast, if she swaddled thee not so that thou gruest warm and flaming begot the universe. Truly I was before thou wasst, the mother sent me with my brothers and sisters to inhabit thy world, to hallow it with love that it might be an ever present memorial to plant it with flowers unfading. As yet they have not ripened these thoughts divine as yet is there small trace of our coming revelation.  I feel in me the close of thy activity, heavenly freedom and blessed return with wild pangs I recognize thy distance from our home, thy resistance against the ancient glorious heaven, thy rage and thy raving are in vain. Unscorchable stands the cross, victory banner of our breed. Over I journey and for each pain a pleasant sting only shall one day remain yet in a few moments then free from my and intoxicated in love's lap lie. Life everlasting lifts wave-like at me, I gaze from its summit down after thee your luster must vanish yawn mound underneath a shadow will bring thee thy cooling wreath. Oh draw at my heart, love, draw till I'm gone that fallen asleep I still may love on. I feel the flow of deaths youth-giving flood to and ether transform my blood. I live all the day-time in faith and in might and in holy fire I die every night. 5 In ancient times over the widespread families of men an iron fate ruled with dumb force. A gloomy oppression swathed their heavy souls, the earth was boundless, the abode of the gods and their home. From eternal life stood its mysterious structure. Beyond the red hills of the morning in the sacred bosom of the sea dwelt the sun, the all-enkindling living light. An aged giant up bore the blissful world, fast beneath mountains lay the firstborn sons of mother earth, helpless in their destroying fury against the new glorious race of gods and their kindred glad-hearted men. The ocean's dark green abyss was the lap of a goddess. In crystal grottoes reveled a luxuriant folk, rivers, trees, flowers, and beasts, had human wits. Sweeter tasted the wine poured out by youth abundance, a god in the grape clusters, a loving motherly goddess up grew in the full golden sheaves, love's sacred inebriation was a sweet worship of the fairest of the god-ladies. Life rustled through the centuries like one springtime, an ever-variagated festival of heaven-children and earth-dwellers. All races childlike adored the ethereal thousandfold flame as the one sublimest thing in the world. There was but one notion, a horrible dream-shape, that fearsome to the merry table strode, a-wrapped the spirit there in wild fright the gods consul knew nor showed to fill the anxious hearts with comfort-light. Mysterious was the monster's pathless road whose rage no prayer nor tribute could requite, to his death who broke the banquet up with fears with anguish, dire pain, and bitter tears. Eternally from all things here departed that sway the earth with pleasure's joyous flow, divided from the loved ones who've departed, tossed by longing in a dull dream to struggle faint and thwarted, seemed all was granted to the dead below. Broke lay the merry wave of human bliss on death's inevitable rocky cliff. With daring spirit and a passion deep did man ameliorate the horrid blight. A gentle youth puts out his torch to sleep, the end just like a harp sigh comes light. Cool shadow floods or melting memory creep, sang the song into its sorry need. Still undeciphered lay the endless night, the solemn symbol of a far-off might. The old world began to decline, the pleasure-garden of the young race withered away. Up into more open, desolate regions forsaking his childhood struggled the growing man. The gods vanished with their retinue. Nature stood alone and lifeless, dry number and rigid measure, bound it with iron chains. Into dust and air the priceless blossoms of life fell away in words obscure. Gone was wonder-working faith and its all-transforming, all-uniting angel-comrade, the imagination. A cold north wind blew unkindly over the rigid plain and the rigid wonderland first froze, then evaporated into ether. The far depths of heaven filled with glowing worlds, into deeper sanctuary, into the more exalted region of feeling the soul of the world retired with all its earthly powers, there to rule until the dawn should break of universal glory. No longer was the light the abode of the gods and the heavenly token of their presence, they drew over themselves the veil of night. The night became the mighty womb of revelations. Into it the gods went back and fell asleep, to go in new and more glorious shapes over the transfigured world. Among the people who too early were become of all the most scornful and insolently estranged from the blessed innocence of youth appeared the new world with a face never seen before in the poverty of a poetic shelter, a son of the first virgin and mother, the eternal fruit of mysterious embrace. The foreboding, rich blossoming wisdom of the east at once recognized the beginning of the new age. A star showed the way to the humble cradle of the king. In the name of the distant future they did him homage with luster and fragrance, the highest wonders of nature. In solitude the heavenly heart unfolded to a flower chalice of almighty love upturned toward the supreme face of the father and resting on the bliss-forboding bosom of the sweetly solemn mother.  Ere long the most childlike souls by true love marvelously possessed, gathered about him like flowers sprang up a strange new life in his presence words inexhaustible and the most joyful tidings fell the sparks of a divine spirit from his friendly lips. From afar shore, born under the clear sky of Hellis came a singer to Palestine and gave up his whole heart to the wonder-child. The youth thou art who ages long last stood upon our graves so deeply lost in thought a sign of comfort in the dusky gloom for high humanity, a joyful start. What dropped us all into abysmal souls us forward with sweet yearning now? In everlasting life death found its goal for thou art death who at last makes us whole. Filled with joy the singer went on to Hindustan, his heart intoxicated with the sweetest love and poured it out in fiery songs under the balmy sky so that a thousand hearts bowed to him and the good news sprang up with a thousand branches. Soon after the singer's departure his precious life was made a sacrifice for the deep fall of man.  His lovely mouth emptied the dark cup of unspeakable woes in ghastly fear the birth of the new world drew near. Hard he wrestled with the terrors of old death. Heavy lay the weight of the old world upon him, yet once more kindly at his mother. Then came the releasing hand of eternal love, and he fell asleep. Only a few days hung a deep veil over the roaring sea, over the quaking land. Countless tears wept his loved ones. The mystery was unsealed. Heavenly spirits heaved the ancient stone from the gloomy grave. Angels sat by the sleeper delicately shaped from his dreams.  Yet weep thy loved ones tears of joy, tears of feeling and endless thanksgiving over your grave, joyously startled. They see thee rise again, and with thee. Behold thee weep with sweet fervour on the blessed bosom of thy mother, solemnly walking with thy friends, uttering words plucked as from the tree of life. See thee hastened, full of longing, into thy father's arms, bearing with thee youthful humanity and the inexhaustible cup of the golden future. Soon the mother hastened after thee in heavenly triumph, she was the first with thee in the new world. Since then long ages have flowed past, and in ever-increasing splendor have stirred your new creation, and thousands have away from pangs and tortures followed thee, filled with faith and longing and fidelity, walking about with thee and the heavenly virgin in the kingdom of love, serving in the temple of heavenly death, and forever thine. Uplifted is the stone, and all mankind is risen, we all remain alone, and vanished is our prison, all troubles flee away, thy golden bowl before, for earth and life give way at the last and final supper. To the marriage death doth call, the virgins standeth back, the lamps burn lustrous all of oil, there is no lack, if the distance would only fill with the sound of you walking alone, and that the stars would call us all with human tongues and tone. Unto thee, O Mary, the thousand hearts aspire, in this life of shadows the only they desire, in thee they hope for delivery, with visionary expectation, if only thou, O holy being, could clasp them to thy breast. With bitter torment burning, so many who are consumed at last from this world turning, to thee have looked and fled. Helpful thou hast appeared to so many in pain, now to never go out again. At no grave can weep any who love and pray. The gift of love they keep from none can it be taken away to soothe and quiet his longing. Night comes and inspires. Heaven's children round him thronging watch and guard his heart. Have courage, for life is striding to endless life along, stretched by inner fire. Our sense becomes transfigured. One day the stars above shall flow in golden wine.  The love is given freely and separation is no more, the whole life heaves and surges, like a sea without a shore. Just one night of bliss, one everlasting poem, and the sun we all share, is the face of God. Six. Longing for Death. Into the bosom of the earth, out of the light's dominion death's pains are but a bursting forth, sign of glad departure. Swift in the narrow little boat, swift to the heavenly shore we float. Blessed be the everlasting night, and blessed the endless slumber. We are heated by the day too bright and withered up with care, we're weary of a life abroad, and we now want our father's home. What in this world should we all love and with faith? That which is old is set aside, and the new may perish also. Alone he stands, and soar down cast, who loves with pious warmth the past. The past where the light of the senses in lofty flames did rise, where the father's face and hand all men did recognize, and with high sense, in simplicity many still fit the original pattern. The past wherein still rich in bloom, man's strain did burgeon glorious, and children for the world to come sought pain and death victorious, and through both life and pleasure spake, yet many a heart for love did break. The past where to the flow of youth God still showed himself, and truly to an early death did commit his sweet life, fear and torture patiently he bore so that he would be loved forevermore. With anxious turning now we see that past in darkness drenched, with this world's water never we shall find our hot thirst quenched to our old home we have to go, that blessed time again to know what yet doth hinder our return to loved ones long reposed. Their grave limits our lives, we are all sad and afraid, we can search for nothing more, the heart is full, the world is void. Infinite and mysterious thrills through us a sweet trembling as if from far there echoed thus a sigh our grief resembling, our loved ones urine as well as we, and sent to us this longing breeze. Down to the sweet bride and away to the beloved Jesus have courage, evening shades grow gray to those who love and grieve. A dream will dash our chains apart, and lay us in the Father's lap. End of Hymns to the Night by Novalis Recording by Pete Williams, Pittsburgh, PA.


The Houston Rockets want to sign you to a 10-day contract. You're going to take that deal? I'm going to take that deal. You are? Yes. Has that been like a bucket list thing for you? I would love that, but I definitely think that's not going to happen, so I'm not going to set my hope and expectations up there, but I think I would average like five points. You would? Wow. Yeah, that's a lot too. That is a lot. Those guys are really good. Yeah. So you've thought about this, to actually say five points. Yeah, and I have a friend of mine, he's, I think he's like five-five. He thinks he's going to score seven points in an NBA game. Really? Yeah, I don't think so.


Okay, super. Okay, now it's official, we're live, okay. Welcome to the first Innovate Heritage Conversations between Arts and Heritage. My name is Elliot Grani-Saukey. This is Katerina Benengasa, and we're the founders of the project, and we have an amazing organizational team who you'll be introduced to later. We started this project through the World Heritage Studies Program at the Brandenburg University for Technology, and we'll explain a bit more of the concept and kind of how it began throughout the conference a bit later, but first we want to thank our partners with who this wouldn't be possible. So Katerina will tell you who our partners here are today. Thanks to our partners who are here today. The German Commission for UNESCO World Heritage Studies course at BTU Cottbus, the British Council, Germany Oriental Heritage Without Borders, and the Center for Arts and Urbanistics, ZKOL. Dr. Wolf from the German Commission, German UNESCO Commission, if you would like to come up, thanks. Thank you very much. Good afternoon. Dear Mrs. Grani-Saukey, dear Mrs. Benengasa, dear Mrs. Rudolf, dear Mrs. Kadal, dear Mrs. Adam Bakan, dear Mr. Wievers. Dear artists, dear guests, it's a great pleasure to welcome you here in Berlin and to this conference. We at the German Commission for UNESCO were completely taken by the idea to cooperate in this conference. We think this is a very interesting and very innovative program. And as we know that in the Technical University in Cottbus-Zenftenberg and in the Oriental Heritage Without Borders, you do a lot of work along these lines for a long time. And we were very much taken by the idea that you get together and try to organize this international and transdisciplinary conference. In the past decade, BTU Cottbus and its students have often taken a pioneer role as bridge builder between the academic world, civil society, and local communities, research, and policymaking in Germany. International cooperation far beyond Europe characterizes its innovative research approach. With its investigation of the relationship between the arts and heritage, BTU Cottbus once more proves to be worth its reputation as an international think tank in this area. Heritage is what we live with today and what we pass on to future generations. However, our heritage does not only comprise thousands of properties forming part of the cultural and natural heritage, which the World Heritage Committee considers as having outstanding universal value. Our heritage rather manifests itself from our cherished historic monuments and museums to traditional practices and contemporary art forms. All together, they lie the foundation for vibrant, innovative, and prosperous knowledge societies. Jumping from a basic knowledge of UNESCO World Heritage into an expanded tactile and exploratory perspective, looking at the subtexts of heritage in collaboration with the arts, innovative heritage illuminates world heritage is dependent of arts and heritage. Heritage often is a form of a creative process while much of the arts is based on historical framing and influenced by our heritage. Think of the World Heritage site Bauhaus and its sites in Weimar and Dessau, for example, which revolutionized artistic and architectural thinking and practice in the 20th century. So far, however, profound research as to the mutual benefits of arts and heritage has been neglected. I myself have a personal interest in your topic, in the topic of your conference. You know, I have worked for about two decades on a topic which is central to what you do. That is called mimesis. And the issue mimesis is a Greek word and means the creative imitation of heritage. And the issue is that how do we produce new things by using existing forms of art and knowledge? How do we change them? And what are the processes in this change? And we have just done, or I as a professor at the Freyja University have organized a conference at the Lomonosov University in Moscow on these issues, mimesis and cultural metamorphosis. So the idea that cultural learning is largely mimetic learning through a form of partly unconscious imitative learning, but it's not like a copy machine, just producing a copy. It's an active process, and it's an active process in which we change the heritage. Dynamics of changing heritage is what is interesting, and you call it innovative heritage. So this is, I think, a central part because it puts the accent on the dynamics of change in the art. And today, you know, there are lots of challenges. We can no longer talk about modern art. We have today a global art with different centers of art. I remember with it to the Biennale in Sao Paolo and another one in Egypt, and in China. We have so many different perspectives coming up these days based also on the regional heritage that I think this is of great interest that you try to work along these lines and find some, your path through this still very chaotic and complex field. This is, so one thing which I think is essential in this conference. Another aspect is also important for us in Germany because last year we joined the convention on immaterial cultural heritage, which passed in 2003 at UNESCO. And now we are looking for immaterial cultural heritage in Germany. We haven't done that because of our history and there were some problems with going back into history with fascism, national socialism, and now we are trying to redefine our relationship to immaterial cultural heritage. And there's an expert group which tries to select all these different proposals which have been submitted. And we are just in the process of doing these things. And this is also the question, how is the relationship between heritage and innovation? How are the dynamics of arts? How do we change things by also keeping some traditional elements in it? And so in that sense I think you are really doing a conference right at the central point of art development and also of the issues of related to heritage. Dear guests, via lectures, panel discussions, workshops, exhibitions, performance, evenings, and film screenings, you will have the occasion to explore the intersections and divergence to promote creative approaches to theoretical and practical issues. Thus fostering dialogue and enhancing collaboration between heritage and the arts. The German Commission for UNESCO would like to thank you all for your rich and diverse presentations indicated in the program. We are confident that your ideas will be to the benefit of World Heritage worldwide and that from this conference a dynamic and a very innovative perspective will come up. In that sense I wish you a very good conference and I'm very interested in the outcomes of your work. Thank you Dr. Wolff, that was a wonderful opening. I would like to ask our next partner to come to the stage, Simona Khadar, the fabulous program coordinator for World Heritage Studies at BTU Cottpus. Ladies and gentlemen, it is a pleasure for me to welcome you on behalf of the World Heritage Studies program at Brandenburg University of Technology in Cottpus to innovate heritage. A wonderful initiative of our students and an invitation to think about heritage, arts, about innovation and this time not about conservation but about conversation. But maybe think is not the right word here. This event came into existence out of a felt need to experience heritage. Not only to think and talk about it in theoretical terms but also to experience it directly, authentically and meaningfully. After all, we only protect and perpetuate what is meaningful to us and meaning comes from use, from personal interaction, otherwise oblivion is inevitable. So there is probably no better way to protect heritage than to rediscover our personal relationship with it. This event also points to another need, namely the need to build connections between abstract thought and experience, between the past, the present and the future, between the individual and the collective, between visible materials and symbolic imagination, between heritage and arts. But where exactly does the language of heritage and that of arts differ? Oscar Wilde described art as the most intense mode of individualism. Heritage, on the other hand, represents our collective consciousness, the sense of belonging and the comfort of roots. As human beings, we speak the language of both since we are individuals and social beings at the same time and we always oscillate between these two dimensions that characterize us. But it is often the case that individual works acquire collective universal significance. This may be because if heritage joins people in the same memories, in the same values, in the same narratives, art joins them in the same emotions. For this reason, art appears to be somehow atemporal. I know that art historians will not necessarily agree with that, but the emotional intensity that inspired artistic creations 3,000 or 100 years ago may still resonate in the eye of the beholder nowadays. Heritage, on the other hand, contains an automatic reference to the past. It implies age and it implies distance. But time and distance, as science itself acknowledged, are relative and very much dependent on the observer. And this brings me to a very important decision maker in the heritage framework, time. Time, which in fact is nothing more than our system to represent changes, to express the passing and the becoming. Time, which is not always linear as in the European context, but sometimes cyclical and accessible in all its points through experience. Time, which makes us distinguish between the old and the new, although not always as opposites. This interaction between the old and the new is the origin of many disputes and threats affecting heritage. For a long time, the general approach was that everything labeled as heritage should have a certain historical distance and should keep its historical distance, avoiding change. The simple designation as heritage often generated a dislocation from a larger context and from the present, while protection meant barriers, barriers from cultural and social use. But the danger of being only transmitters and not also creators of heritage, the prospect of being prisoners of time and not having the possibility to create new cultural forms that respond to a new contemporaneity could have disruptive consequences. Now it has become clear that a new understanding of heritage is necessary, one that recognizes that heritage is not a finite product, but a continuous process. Not something that was, but something that is becoming. By not bringing heritage into the present context and to the language of contemporaneity, the risks of alienating it completely are very high. This need for constant innovation, for new ways to relate to tradition, to interpret it, to make it alive and to add to it lies also at the end, at the core of this conference. The next three days are an invitation to all of you, not only to think about heritage, but also to experience and recreate it in your personal forms, be it old or new. So I wish you many good conversations and a very creative time together. Thank you very much. Thank you very much, Simona. And now Mr Bevers from the British Council Germany, Project Coordinator of the Arts. Yes, hello. Can you hear me? I'll just put that on. Good afternoon, yeah, my name is Matthew Bevers. I am the Arts Coordinator at the British Council here in Germany. And first of all, on behalf of the British Council, my colleagues are a very warm welcome to the conference, Innovate Heritage, looking at a conversation between the arts and heritage, looking at the impressive list of speakers and artists who'll be contributing over the next three days. I think we can quite safely say that this is a truly global meeting of practitioners, professionals, researchers. And of course, not just here in the room today, but thanks to the live stream we're being followed by people around the world. And I know from my own experience how difficult live streams are, so well done. And I hope we stay online. And of course over the next three days, people here will be sharing ideas and exchanging their expertise on the arts and heritage. And I think I can second what's been said so far that before that the arts and heritage really do go hand in hand and you can't really separate them. And it's precisely this exchange and sharing of ideas which lies at the heart of the work of the British Council. And that's why we're so delighted to be part of the conference today. The British Council, for those that don't know, is the UK's cultural relations organization. And we work in 110, or just over 110 countries around the world. And it's our aim to build engagement and trust for the UK by doing what we're doing today, bringing people together from around the world to share knowledge and ideas. So that's why we're really very happy to be here. And we work in three main areas, which are the English language, education and society, and the arts. And together with my colleague, Dr. Elke-Ritt, I work on our arts program here in Germany. And with our arts program, our aim is to encourage new ways of connecting and seeing each other through the arts. With our program, we build relationships with creative partners, both in the UK and here in Germany, in order to deliver exciting projects here in Germany. At the moment, for example, we're cooperating with the Poesie Festival Berlin, which started last night, and with Creative Scotland, who are the Scottish Arts Council. And we've brought together six poets from Scotland, with six poets from Germany, and they're going to work on translations of one another's poetry. And the results of that, the translations in English and in German, will be presented at the Poetry Festival in Berlin on Tuesday and Wednesday next week. So if you're interested and still here, please feel free to go along. We also recently kicked off a global celebration of the 450th anniversary of the birth of William Shakespeare, who is perhaps one of the greatest global figures in our cultural heritage. And we brought together eight authors, writers from the UK, at our annual literature seminar here in Berlin, where they discussed and reflected upon Shakespeare's influence on their work and on writing today. With our arts program, we also, we support the presentation of over 200 UK arts events across Germany each year. We're currently working with the Foreign Affairs Festival here in Berlin, the Performing Arts Festival, to arrange a performance by the National Theatre of Wales, who are performing at all places in Berghain, in Friedrichshain on the 10th, no, the 9th and 10th of July. So if you're, again, if that's your kind of thing, please feel free to go along. And finally, the final sort of main strand of our arts work is we give arts professionals in Germany, be they festival directors, the heads of theatres, curators, we give them the opportunity to go to the UK and visit the UK arts festivals, like such as the Edinburgh Festival, the Glasgow Festival of Visual Art, the London Short Film Festival, where they, first of all, they get the experience, they get to experience the latest arts and artistic trends from the UK, but also it's about making contact with artists and arts organisations that will hopefully lead to collaborations in future. So with that all in mind, that's why we're very happy to be at this meeting today, and I think we're gonna hear from some fantastic speakers over the next few days. I'm pleased to hear that there are also a few speakers from the UK or based in the UK. It just remains for me to also say thank you to Innovate Heritage for inviting us to be part and putting together such a wonderful programme. Thank you to the other partners as well, the Brandenburg University of Technology, the German UNESCO Commission and Oriental Heritage Without Borders. Thank you, of course, also to the speakers and the artists who've come from various parts of the world to be here, and I wish you all an exciting and enlightening three days. Thank you very much. Thank you. Our next partner who will be speaking is Soraya Adabakan, who is from Oriental Heritage Without Borders, who has been a really important partner for us and helped us make this event possible as well. So I'd like to welcome her to the stage now. Thank you. My name is Soraya Adabakan, dear guests, colleagues and participants, ladies and gentlemen. I'm very much privileged to have this opening statement and it gives me a great pleasure to welcome you as the President of Oriental Heritage Without Borders to the First International Innovate Heritage Conference focusing on importance of dialogue between the arts and heritage. A special conference that is jointly organised what the World Heritage Studies message programme at Technological University of Brandenburg and supported in kind by the German National Commission for UNESCO, the British Council and the Azerbaijan Student Network. Today's gathering is truly a union of many cultures in harmonious coexistence with participants from various countries spanning all five continents. As a brief introduction, our non-for-profit organisation OHWB Oriental Heritage Without Borders was established in 2012. It acts as cultural and scientific association based in Berlin informed by a group of enthusiastic scholars and researchers all with different educational background whom share a great interest as well as concern for the rich culture and heritage of the Orient. As we like to think, we are simply a group of ordinary people caring about extraordinary places. With that said, culture is a living material and thus protecting and promoting the arts and cultures is about living and sharing the diversity of our cultural expressions. Hence, OHWB is strongly dedicated to further contribute to the documentation, promotion, preservation and dissemination of such an imperative knowledge for the better understanding of its exceptional Oriental heritage including both the tangible and intangible cultural heritage and especially the heritage in danger and post-conflict which is mainly focused on. The title of our three day conference innovative heritage conversations between arts and heritage emphasises the importance that professionals of the arts and heritage assign to culture. Heritage and the arts are key components for a comprehensive culture that leads to a multifaceted development of the individual. Allow me to use the words of the late Malina Mercury. If a child is sensitized to culture, then a different society, a different mentality and a different direction will be created. To this end, such an interdisciplinary and intercultural dialect can serve as the map and compass to enable those who are minded to navigate their way on this journey. The arts and the myriad forms and as a preeminent form of expression over time across cultures allow us not only to celebrate our cultural diversity but to learn and better understand our motives, anxieties, aspirations and history. Dear guests, believe in a world undergoing transformation subject to rapid changes and defined by globalization, the mobility of cultures, modern technologies and by economic upheaval. As such, the aims and practical procedures and the practice of the arts and heritage must be in a state of continuous redefinition. The main purpose of today's conference is to provide an environment for fruitful and constructive dialogue between these essential fields amongst our fellow peers. To exchange ideas and experiences on new creative matters for development of more collaborations and practice and innovative approaches and research in which the arts and heritage together can shape our culture and further enhance our cultural diversity. The artistic and scientific program of the conference focuses on social and cultural issues, creative expressions, endangered heritage and identities as well as environmental challenges that we face in the 21st century. The whole program is designed to help develop a sound dialogue through different perspectives with the purpose of exploring ways through which heritage, through arts and vice versa can respond to the contemporary needs of our lives to enable us as the citizens of tomorrow to function harmoniously both at the levels of our local and global communities. I would like to take this opportunity to express my sincere thanks to the hardworking and really hardworking and dedicated team of organizers at Innovate Heritage working day and night to bring us to where we are now and in particular our honorable speakers, all of whom have been involved since the beginning of the planned stage and are still here today for all of us to benefit from their contributions even though they are very busy with their responsibilities and full schedules. We truly appreciate your dedication and care for this cause. Again, this program could not have been made possible without the kind support of the German Commissions for UNESCO, the British Council and our good friends at Azerbaijan Student Network, whom all foresee the importance and necessity for more in-depth dialogue between the arts and heritage. I hope that everyone will take the results of this program to develop better networks and collaborations between these two imperative cultural fields and ensure the quality and livelihood of our rich cultural diversity. Finally, I wish you all three fruitful days of interesting and beneficial discussions and also that you have a pleasant stay in Berlin. I warmly welcome you all again. Thank you very much. Our next speakers from the Centre for Art and Urbanistics, unfortunately we're not able to make it due to transportation problems but as, sorry, as mentioned we do have an additional partner that was very recently joined us was the Azerbaijan Student Network. We're very happy to be working with them. And yes, and we would also like to thank the Centre for Art and Urbanism where we are today. A very interesting organization. As you can see, we're in the main hall. Later this evening you'll see the exhibition space downstairs. The patio is where the screen, the film screening this evening will be in a couple hours. The bar and the patio will be open and as you can see there's a public park around us and the playground. There's even beehives. It's a very nice space. And the other half of the building is actually artist residencies. So it's a very active, dynamic space and we're very happy to be partnering with them. So we are ahead of schedule now so we're going to take a short break before we welcome Professor Brita Rudol for her lecture and I don't know. It starts at three o'clock so I don't know what the time difference is in ten minutes so we have a ten minute break. Thank you very much.