Rewilding the Kitchen
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    • Abbie Franchette
    • Abdullah AlKindi
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    • Bhavika Bhatia
    • Farah Nasrawi
    • Jehan Ali
    • Kōl
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    • Narimene Hakimi
    • Richi Bhatia
    • Salma Serry
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    • Shereen Saif
  • The Kitchen Activations
    • A Recipe of Memory
    • A Menu of your Life
    • The Fictional Recipe
    • Eating Color
    • Making Tub Kim Krop
    • Egyptifying Petit Fours
    • Defamiliarise-Deconstruct
  • The Feasts
    • A Decolonial Teaparty
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    • Home
    • About
      • Curatorial Statement
    • The Artists
      • Abbie Franchette
      • Abdullah AlKindi
      • Abeer Loan
      • Andrew Riad
      • Aya Afaneh
      • Bhavika Bhatia
      • Farah Nasrawi
      • Jehan Ali
      • Kōl
      • Lamya Tawfik
      • Luchie Suguitan
      • Moza AlMatrooshi
      • Namliyeh
      • Narimene Hakimi
      • Richi Bhatia
      • Salma Serry
      • Shannon Ayers Holden
      • Shereen Saif
    • The Kitchen Activations
      • A Recipe of Memory
      • A Menu of your Life
      • The Fictional Recipe
      • Eating Color
      • Making Tub Kim Krop
      • Egyptifying Petit Fours
      • Defamiliarise-Deconstruct
    • The Feasts
      • A Decolonial Teaparty
      • Open Kitchen
      • Shades of the Earth
    • Documenting the Project
      • The Rewilding Almanac
      • The RTK Publication
      • The Archive Table
Rewilding the Kitchen

Signed in as:

filler@godaddy.com

  • Home
  • About
    • Curatorial Statement
  • The Artists
    • Abbie Franchette
    • Abdullah AlKindi
    • Abeer Loan
    • Andrew Riad
    • Aya Afaneh
    • Bhavika Bhatia
    • Farah Nasrawi
    • Jehan Ali
    • Kōl
    • Lamya Tawfik
    • Luchie Suguitan
    • Moza AlMatrooshi
    • Namliyeh
    • Narimene Hakimi
    • Richi Bhatia
    • Salma Serry
    • Shannon Ayers Holden
    • Shereen Saif
  • The Kitchen Activations
    • A Recipe of Memory
    • A Menu of your Life
    • The Fictional Recipe
    • Eating Color
    • Making Tub Kim Krop
    • Egyptifying Petit Fours
    • Defamiliarise-Deconstruct
  • The Feasts
    • A Decolonial Teaparty
    • Open Kitchen
    • Shades of the Earth
  • Documenting the Project
    • The Rewilding Almanac
    • The RTK Publication
    • The Archive Table

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Ingredients


rose - dried

sage - dried

mint - fresh

orange/ lemon slices

cinnamon

green or white tea

sugar/ honey

This recipe goes well with a recipe for a lover and a friend (pg 2.)


1. Prep your blend.


Now, really, the blend can be to your liking - any herbs or flowers you have lying around will do. This specific blend will include rose, sage, and mint. Not really my doing, but more because the man at Honey and Herbs misheard my five dirham request, instead filling up a huge bag of all three. I was too shy to correct his mistake, and coughed up the twenty bill instead, a miscommunication that hurts neither of us in the exchange.


2. Measurements are useless. 


If you like rose, add more

If you like sage, add more.

If you don't like either, remove them both.


3. Add the blend to a pot.


I make my tea in a pot so that anything I don't drink can soak my space in a concoction of warm aromas.

Let the blend come to a boil with some water. It's no real technique, just leave it long enough to roll a cigarette and dim the lights. This ritual often comes before bed or falling asleep on the couch.

4. A crucial step: a cute tea set.

Drinking from any mug is an option, but a cute tea glass is all part of the ritual.

Tea time took a turn after I inherited my mother's first set: ceramic pot, mugs, and plates bought over 25 years ago from Anne's Antiques, a small shop just off the corner of 184th Street in the Bronx. The floral design, intricate and detailed, litter the set with pops of blue, orange, and yellow. What caught Mama's eye decades ago, now creates a space of beauty within ritual.


5. Activate your simmer pot.


This step must happen after you pour your tea out of the pot, but before the couch or bed engulfs you.

Return the sifted leaves to the pot.

Add a few more.

Add in your cinnamon sticks, a few citrus slices, and a little more mint.

Keep the heat on low and the scents fill your space.

Refill water every few hours or when low.


6. Decide your sweetness level:


Before the tea leaves the kitchen, a small contemplation sip is necessary.

If you take a liking to the taste, find your way to the next step.

If not, pause.

Add some sweetness. Honey and sugar are good options.

(Honey from the supermarket or grocery is a no-no. Stop by the honey shop and try not to get overwhelmed by the endless options; hair growth honey, protection honey, viagra honey - options for all kinds of nights.)

7. Sip.

Sit down on your couch or bed with your cup of tea. Light up your cigarette and turn on some music. Allow the tea to cool the harshness in your throat, until your cigarette is over, and your eyes become droopy.


8. Forget about the rest of your tea.


It goes cold on the bedside table; a ritual of rest and relaxation.

Little Caps / طوائي صغيرة

Shishbarak, meat-filled dumplings in a yoghurt and herb sauce 

"Little Caps  / طوائي صغيرة"

delves into the intricate relationship between the art of shaping Shishbarak and the transformative impact it has on the body. Through a combination of movement, shadow, and culinary arts, "طوائي صغيرة / Little Caps  " highlights the process of shaping dough using a series of coded gestures devised through play between the two performers: Aya Afaneh and the dough itself. 


Aya is performing the role(s) of  a matriarchal assembly-line method of making Shishbarak through a series of gestural compositions embedded within the devised codes. A process that is typically a communal activity, with tasks delegated by a leading matriarch, thereby becomes an experience of endurance for the solo body. Within the confines of an improvised assembly line,"طوائي صغيرة" ultimately explores the shrinking and expanding of the isolated body intimately responding to the demands of moulding, crafting, and dancing with the dough. 

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About Aya Afaneh

Aya Afaneh is a Palestinian artist curious about the intimacies between ecologies and the body. She centres food within her artistic practice as a matriarchal, generational community tool for learning and reconciliation through playfulness and sensual connection. 


Aya is currently living in the UAE and graduated with a Bachelors of Art from New York University Abu Dhabi in May 2021, double majoring in Art and Art History and Theatre, with a minor in Creative Writing. She is currently a recipient of the Salama Bint Hamdan Al Nahyan Emerging Artists Fellowship and was chosen as a part of Numoo’s first cohort (‘21/’22) and SAMT Alternative School Volume 5 and Volume 6 (2022). Her work has been displayed in Tashkeel, Bayt Al Mamzar, Alserkal Avenue, as well as internationally. 

@aafneh

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