Spring Retreat POSTPONED until Autumn

Dear Zende Creative followers,

It is with immense regret that I have to announce that the first Zende Creative Retreat will have to be postponed until Autumn 2014 due to venue issues and the organiser’s health problems. Our initial experience will go a long way towards ensuring a successful retreat in the autumn, offering a moment of peace and creativity among the rush of our everyday lives through poetry, calligraphy and adventure.

We have been delighted at the response so far, with interest from as far afield as Canada, the US, the UK, France and the United Arab Emirates. All those who have paid deposits already will receive a full refund unless they expressly wish to keep it for the next Zende retreat.

We would like to thank you for all the likes, shares, comments and interest that you have all shown and will keep you all updated as we secure our venue for autumn. Stay tuned for the new dates and further articles, poems and artwork in the meantime!

Warmest regards,

Medina (aka Cavemum)


The Alpujarras: A Bounteous Host

The mountain range where the retreat will be held, Las Alpujarras de Granada, are an extensive system of interlocking valleys that stretch all the way from Granada to Almeria. The Emirate of Granada was the last Muslim province of al-Andalus after the Reconquista took back the rest of the Iberian Peninsula, and remained entirely Muslim – apart from pockets of Mozarabic (Arabised) Christians – for 400 years. During this time Hispanic Arabic was the main language spoken in the province, which originally incorporated Jaen, Almeria and Malaga, which today constitute their own provinces. With its hidden valleys, coves and forests, the Alpujarras were famously the last refuge of the Moors who refused to go into exile after the fall of Granada in 1492.

January: Almond blossom season in the Alpujarras

January/February: Almond blossom season in the Alpujarras

On the southern slope of Mulhácen, Spain’s largest peak (named after a Moorish ruler, Mulay Hassan), Órgiva enjoys a more temperate microclimate compared to Granada itself, with milder winters (we rarely see snow settle) and spring and autumn that are closer to a sunny summer day in England – or even warmer. The mountains still display the terraces dug by the Muslims here hundreds of years ago, and are still planted with the trees they brought here: almonds, oranges, mandarins, lemons and figs, among others. Only a half hour’s drive south takes you to the Costa Tropical, where local farmers produce bananas, mangoes, custard apples and other exotic fruits.

Gardens at the Hotel Taray

Gardens at the Hotel Taray

The Zende retreat we will be set in the Hotel Taray, a beautiful botanical garden hotel in Órgiva, which features both double and triple bedrooms, two gorgeous terraces (one which is part of the restaurant so you can breakfast with views of mountains and palm trees) and a conference room which we will use for the calligraphy classes. The poetry classes will be based on the upstairs terrace but can move about to find inspiration from different sites of the hotel and in the gardens, for instance, taking a ‘Gingko Walk’ as haiku poets would do in Japan to connect with nature before writing.

Views from upstairs terrace

Views from upstairs terrace

There is a stunning swimming pool with a smaller pool for children, and by the end of April the temperatures should be high enough to swim in. Our intention is to book the whole hotel, in which case we can plan specific times for those who wish to have separate swimming. In between classes and after lunch there will be time to stroll, lounge, soak up some sun, read, scribble and generally take advantage of this idyllic setting.


The Hotel Taray has an excellent new restaurant, Flor del Limonero, as well as a laundry service, money exchange, and some of the friendliest staff ever. For more information about booking your place on the retreat, please have a look at our Bookings page

The Wheel: Poem by Nimah Ismail Nawwab

The wheel’s turning

shadows love, lust, passions of this world

as it moves in a kaleidoscope of tumbling shards

the illuminated soul

glistens within the circle of existence

as the music of the other realm

unheard and unseen by others

fills the soul with unbound  joy

The empty threshold of this momentary station

is for once filled with golden lights

converging for once, converging


The spokes of the wheel

lie at rest

the merging lights run off shaded shadows

and the circle is complete

is complete.


From Canvas of the Soul: Mystic Poems from the Heartland of Arabia, Tughra Books 2012


Asghar’s Calligraphy Workshop Featured in Local News!

Asghar’s upcoming Nastaliq calligraphy workshop, which will be held at the prestigious AM gallery in Almeria on Saturday the 25th of February, has been picked up by four local newspapers!TALLER DE CALIGRAFÍA DIARIO DE ALMERÍA

The articles can be read below in Spanish by following these links:





Literature: The Forgotten Islamic Art

When we think of ‘Islamic art’, it is usually the classic trivium of calligraphy, Islimi (biomorphic design) and geometry that spring to mind. These are a visible response to the Qur’anic statement ‘Allah is Beautiful and He loves beauty’.

Love of beauty is so deeply ingrained into Muslim culture that we can find exquisite examples of architecture, tilework, marquetry, metalwork, jewellery, textiles, carpets, ceramics, carved plaster, and book art from every corner of the Muslim world. Whatever else is going on, it seems there is always someone making something beautiful!

Carved stucco calligraphy from Samarqand. WikiCommons

Carved stucco calligraphy from Samarqand. WikiCommons

However, visual arts are only one half of the story. Literature, verbal compositions that can conjure up the wildest or subtlest of sensations, has generally not received the same nurturing attention in the Islamic world. While Rumi has become a household name in the West, Arabic literature is suffering from brain drain: Western-educated Arab writers now compose in English.

From time immemorial, whether it be the Ilead or Gilgamesh, Sunjata or Mahabharata, Shahnameh or Mathnawi, epic poems or collections of poems have infused lives that might otherwise be confusing, dreary, or even tortuous with a sense of something greater, more beautiful, more extraordinary. They also shape a cultural identity and present the history, philosophy and perhaps even the soul of a people to outsiders.

Jalal-ad-Din Rumi's Mathnawi. WikiCommons

Jalal-ad-Din Rumi’s Mathnawi. WikiCommons

The codification of written Arabic as a means of preserving and disseminating the Qur’an enabled Arabic poetry, which had hitherto been entirely oral, to develop as a written art form. While the Qur’an is much more than poetry, there are elements to it that certainly influenced Arabic poetry, such as rhyme, rhythm and repetition (and deliberate interruptions to all of these). The mutability of Arabic makes for some wonderful word plays, phonetic cadences and semantic connections between words with the same letters in a different order.

In the Prophet Muhammad’s own time, poetry was a great source of joy for people living a hard life in a hostile environment. Hasan bin Thabit was Muhammad’s (s.) favourite poet Companion, and he was known to say to him, ‘Hasan bin Thabit, say it again.’ Later, too, poetry was considered a vital part of a scholarly education, alongside such sciences as Qur’an, hadiths, jurisprudence, astronomy, logic, rhetoric, algebra and physics.

A great many spiritual masters of the Islamic tradition have also been poets, channeling their glimpse of the Divine into something that can be a source of joy and inspiration to others for centuries to come. These include not only the ecstatic Persians Hafez, Rumi, Saadi, Jami, Ferdowsi and their kind, but also scholars such as Imam ash-Shafi’i, Imam Ghazali, Ibn ‘Arabi, and Dawud az-Zahiri. In Andalusia alone there were many poet-scholars, such as Ibn Abd-Rabbihi of Cordoba, Ibn Bajja of Zaragoza, and Ibn al-Faradi of Cordoba – and many more who focused on poetry alone.

Bust of Andalusi Sufi poet Ash-Shushtari, from Guadix near Granada. WikiCommons

Bust of Andalusi Sufi poet Ash-Shushtari, from Guadix near Granada. WikiCommons

So why has Islamic poetry slumped in modern times? While the V&A in London hosts the Jameel Gallery, Doha, Qatar has the Museum of Islamic Art, and dozens of art galleries and private collectors deal in visual Islamic art, poetry is famously hard to make a living from. You can’t sell a poem for $10,000 to put on someone’s wall. It is a kind of folk art, designed to be memorised and passed on to others.

The political decline of the Muslim world over the past 500 years or so has also certainly had a hand in our literary doldrums. While praise poets might have enjoyed the patronage of wealthy rulers in the past, now poets must offer their wares to the paying public – perhaps a healthier relationship in any case. Literary forms have also remained the same for centuries, encouraging poets to fixate on form instead of focusing on content.

Page from Ferdowsi’s Shahnameh. WikiCommons

Yet creative writing, when done with the intention to honour the principle that ‘Allah is Beautiful and He loves beauty’, is just as much a sacred art as any other Islamic art. I would even argue that the process of delving into your heart and discovering what is there follows the advice that ‘He who knows himself knows his Lord’.

Creativity is a much-needed vent for feelings that otherwise have nowhere to go, and when those feelings are beautiful, that is enough to create a work of beauty. At its best, it is a moment of union between the heart and the head, a reminder of how to live with compassion and awareness of all that passes through the caravanserai of the heart.

With that intention, we wish all those who attend the Zende Creative Retreat this spring connection, remembrance and peace.

Further reading:




Winter Scene, a Poem by Daniel ‘Abdal-Hayy Moore


Cold winter night blue snow crust on the ground
colors bleached out to only a few from the usual spectrum

even multicolored things in black and white now
palladiums of xylophone ice cabinets in a near dimension suspended

just above ground level played on by angels using
devilish mallets to make long low echoing plongs of sound

reverberate among skeletal trees housing the few birds
left in their snow coats trying to snooze heads deeply

buried in wing-pits like tight
feather balls for a sport frozen in space the pitch

suddenly stopped in midair until spring thaw
when all will float freely in space again against

flittering green backdrops and uncoiling scarlet splashes and
a soft golden ubiquitous light even in the middle of the night

it seems with earth’s blood flow pulsing so
youthfully again through the vision screen

and everything again like a golden
ocean in motion with all its leaping arcs and arches

not like the
present suspended animation of the silvery ice-world held in the

center of planetary star-space like a single round teardrop frozen on its
sad descent to nowhere from no particular

origination to no clear destination but dear God’s good
pleasure through all His various weathers rapidly

shifting from hot to cold and
back again in our

1/7/2001 (from Blood Songs, The Ecstatic Exchange, 2012)

Abdal Hayy bio pic

This poem was posted on AH Moore’s blog on Jan 7 2014, during the rather poetically named Polar Vortex that has plunged temperatures on the East Coast down to unimaginable lows – and this poem was written on the same day 13 years ago. As AH Moore added, ‘prayers for the indigent and the needy’ during these freezing times! AH Moore will be giving our first talk and performance on the subject of Sufi poetry at the April Zende Creative Retreat, as well as being our general all-round Zende zeitgeist and talisman.


Nastaliq calligraphy by Asghar Alkaei Behjat

Gholam edited

Nastaliq is a style that is used all over Iran, Pakistan and Afghanistan. It was developed in the 8th and 9th centuries in Iran; according to legend a master calligrapher dreamt of flying geese, and when he woke decided to develop a style that imitated that flying, fluid vision.

The name nastaliq is a fusion of naskh (the small, neat, regular style used by copyists for writing out whole books or other long texts) and ta’liq, the ‘hanging’ style that is still used for more decorative purposes alongside other scripts.

This piece is a verse by Hafez, the great Persian mystic poet, beloved by Iranians above any other poet. It reads: ‘I am the slave of the slave of the one who has no attachments in this violet wheel’. The ‘violet wheel’ refers to the Milky Way, that purple swirl in space we call home!

Asghar will be leading the nastaliq calligraphy workshops on the April retreat.