2024 SAFIR Supporting Artist’s Exhibition in Tokyo – Dana Alnafouri

Parasol Dana: Bridging Cultures Through Art

SAFIR is proud to present the latest exhibition by Syrian artist Dana Alnafouri, a dedicated SAFIR artist since 2017. This exhibition, titled “Parasol Dana,” will be held at the BUoY Arts Center Tokyo from September 26-30, 2024 and stands as a testament to the resilience and creativity of Syrian artists and underscores the importance of initiatives that nurture and sustain the arts. SAFIR was happy to support by enabling her to present her art here in Tokyo and sponsoring this exhibition.

Dana Alnafouri’s presence in East Asia underscores the importance of connecting diverse Asian cultures. Her work emphasizes that Syria, as part of West Asia, shares deep cultural and historical ties with the East. This initiative aims to bridge the gap between different parts of Asia, fostering mutual understanding and dialogue. By showcasing Syrian art in Japan and South Korea, including Dana’s solo exhibition at the CICA Museum in July 2024 sponsored by SAFIR, the initiative is helping to weave a richer tapestry of cultural exchange, reminding us of the sacred connections that have existed since ancient times and the cultural aspects of the Silk Road. This effort reflects a shared vision to celebrate the resilience and creativity of Syrian artists while promoting a deeper, cross-regional appreciation of art and heritage.

Dana’s exhibition draws inspiration from her childhood memories, particularly the vibrant worlds of Japanese animation. Growing up in Syria, the Japanese cartoon Parasol Henbē (مغامرات سنبل) left a lasting impact on her, blending with the landscapes of her homeland to fuse reality and imagination. Created by Fujiko Fujio, Parasol Henebē was a beloved 1980s cartoon in the Arab world, featuring a cheerful character from a magical world filled with rainbows; this show evoked a sense of a safe and happy world.

Dana explains that the fantastical scenes from these animations coexist with memories of life in Damascus and the Syrian countryside, inspiring scenes of nostalgic and imaginative paintings of imaginary worlds. Cultural influences and personal memories interplay, where the whimsical and the real merge into colorful, playful compositions. The use of UV light introduces another layer, revealing hidden details and transforming the viewing experience, much like the way childhood perceptions change over time.

The panoramic landscapes of Stolac, an ancient European city in Bosnia and Herzegovina, reflect this spirit of playfulness. The natural beauty of the area, with its cozy homes nestled in nature, feels like an imaginary world brought to life, complementing the vibrant, fantastical elements of Dana’s other works. During the 19th International Summer School Youth and Heritage, Dana drew sketches of the scenic nature of Stolac, which later further inspired her paintings.

2023 Artist Residency in Brazil – Juhayda Bitar

In December 2023, Syrian artist Juhayda Bitar embarked on a transformative journey to Brazil, thanks to an art residency opportunity facilitated by SAFIR’s ambassador Lina Attar Ajami through ambassador Claudia Barenco Abba.

With a Master’s degree in Painting from the Faculty of Fine Arts in Damascus, Bitar’s artistic approach is deeply influenced by her close observation of nature and her connection with the movements of waves and the patterns of clouds.

Upon arriving in São Sebastião, São Paulo, for a 45-day residency at Kaaysá Art Residency, Bitar was immediately captivated by the unique Brazilian landscape. “What I saw when I arrived in São Sebastião wasn’t just a sea, it was the ocean,” she remarked. The vibrant hues of the Brazilian sunset, with its poetic blend of orange, yellow, and golden shades, along with the lush green of the forest, inspired a new palette in her artwork.

Bitar’s time in Brazil was enriched by the lively samba music and the warm-hearted people she encountered. These experiences influenced her use of vivid colors and spontaneous yet delicate brush strokes, which translate her memories and emotions onto the canvas. Her work, characterized by abstraction, serves as an emotional outlet, decoding mixed feelings of nostalgia, hope, and a deep connection with nature.

Hosted by Kaaysá Art Residency, Bitar was supported by a scholarship from a project led by businesswoman Luiza Helena Trajano. The residency, located in an old bed and breakfast by the forest facing the ocean, provided a nurturing environment for artists from around the world. Bitar’s application was supported by the Arab-Brazilian Chamber of Commerce (ABCC), with the help of SAFIR’s ambassador Lina Attar Ajami and Brazilian ambassador Claudia Barenco Abba.

During her residency, Bitar had the opportunity to immerse herself in the cultural life of São Paulo, visiting the São Paulo Museum of Art (Masp) and attending a play at Teatro Oficina. Working with various materials like acrylic and watercolor paint, she captured the essence of Brazil’s beauty and its influence on her art.

Reflecting on her experience, Bitar said, “Every place has its beauty, whether we are talking about cities, deserts, or forests. People have both tragedy and comedy inside themselves… Nature is like each one of us – it has several feelings. All this influences.”

Juhayda Bitar’s journey to Brazil not only expanded her artistic horizons but also highlighted the power of cultural exchange and the universal language of art.

2023 Artist Residency in Europe – Noor Bahjat Al Masri

Brushstrokes Across Borders: Noor Bahjat Al Masri’s Artistic Voyage in Europe

SAFIR connected Dubai resident, Syrian Artist Noor Bajhat with Artist Marina Fedorova, who invited her to spend a summer in both Munich, Germany and Paris, France – supported by Sputnik Partners. Both artists collaborated on a project for a fine German stationary brand named Prantl creating bespoke unique illustrated cards. During her residency, Noor was exposed to the German and French Art scene where she produced a body of exquisite works on paper.

Noor Bahjat & Marina Fedorova

Noor Bahjat Al Masri, embarked on a transformative artistic journey across Europe, leaving a lasting mark on her creative perspective and practice. Her journey, supported by Sputnik Partners, unfolded as a symphony of cultural immersion and collaboration, enriching her artistry with newfound inspirations and techniques. 

As she adjusted to a different rhythm – navigating time, transport, and the nuanced art of catching the sun’s fleeting rays – Noor was also immersing herself in the continent’s rich art scene and visited a myriad of galleries and museums, each leaving a lasting impression. From Kunst Hall Munich and Pinakothek der Moderne in Germany to St. Peter Church and Leopold Museum in Vienna, her artistic senses were ignited by the diverse tapestry of creative contemporary art. The gothic architecture, rich details, and the vibrant artworks in European churches, museums, and galleries became a brushstroke, shaping her artistic perspective and leaving an enduring impression that would echo in her creations. 

Noor Bahjat with Sultan Sooud Al-Qassemi in Berlin

In reflecting on the collaboration with Prantl, Noor Bahjat Al Masri expresses immense satisfaction with the partnership, emphasizing their superlative professionalism and flexibility. The collaboration afforded her complete freedom in selecting the artworks for printing on the cards, resulting in an amazing fusion of colors with impeccable timing. Noor chose four distinct paintings from her “Love Series,” each card serving as a unique visual narrative. One card depicts a bride and groom, honoring the profound bond of matrimony. Another portrays two lovers adorned with tattoos, symbolizing life’s difficulties as they hold each other’s hands against a serene pink background. A tender scene unfolds in the third card, featuring a mother bowing towards her baby with utmost care. The fourth card depicts two figures of the same gender kissing, embracing diversity in love. The final design, a birthday card, intricately blends a feminine portrait with a skull surrounded by plants, conveying the poignant message that life has both beauty and inevitable endings. Noor’s collaboration with Prantl not only showcased her artistic prowess but also conveyed powerful messages, encouraging herself and others to live for what truly matters.

In the realm of technique, Noor’s encounters with different artists and studios brought forth a plethora of knowledge. From composition planning with Marina to diverse canvas surfaces with Tammam Azzam, these lessons promise to elevate Noor’s future work to unprecedented levels. Unexpected discoveries unfolded in the intricate details of European life, inspiring Noor through Gothic architecture, rich lifestyle nuances, and the subtle differences between Syrian and German contemporary art.

Noor Bahjat visiting Syrian artist Tammam Azzam in Berlin

Sputnik Partners played a pivotal role, not just in sustaining her stay but also in introducing her to Parisian art platforms and facilitating connections with European artists and galleries. The experience, while testing her patience in the European art market, offered insights into the importance of free expression and continual artistic evolution.

As Noor prepares to return to Syria, the differences and similarities between the art scenes in Syria and Europe linger in her thoughts. She envisions sharing her experiences, bridging gaps, and infusing the Syrian art community with the wealth of knowledge she gathered on her European artistic expedition. Noor Bahjat Al Masri’s journey transcends borders, weaving a narrative of cultural exchange, collaboration, and personal growth. As her art continues to evolve, the echoes of Europe’s influence resonate through each brushstroke—a testament to the transformative power of artistic exploration across continents.

This article is written by Noor Mounajjed based on input provided by Noor Bahjat about her time spent with Artist Marina Fedorova.

2024 SAFIR Supporting Artist’s Exhibition in South Korea – Dana Alnafouri

A Symphony of Lines and Nature

In the realm of contemporary art, Dana Alnafouri stands out as a beacon of innovation and introspection. A Syrian artist and researcher, Alnafouri’s work is a testament to her profound engagement with the world around her, seeking to understand it through artistic evidence and to reflect her cultural identity through historical visual representations.

Her art is not merely a practice but an adventurous interaction with colors, paper lines, and other elements, all converging in a joyful, minimalistic expression. Alnafouri’s fascination with nature’s beauty and scientific logic, coupled with the informative power of visual communication, fuels her inspiration. Whether it’s the surface of a canvas, the vicinity of a lab, or the classroom where she imparts knowledge, her creative processes unfold across various mediums, shaping a multidisciplinary career marked by an eagerness for knowledge, openness to communication, and a love for experimentation.

Dana recently completed her solo exhibition at the CICA Museum in South Korea. Titled “Tsukuba Crystallized Déjà Vu,” her collection invites viewers into a world where paper voids come alive with spontaneous strokes, infusing warmth into the cool stillness. The dance of memory and perception captures fleeting and eternal moments, transcending explicit boundaries. Colors blend, lines intersect, and dialogues resonate through the spaces between artworks, weaving a continuous narrative that envelops the viewer. In this gallery, nature’s rhythms intertwine with personal histories, reflecting the profound imprint on our psyche. Shadows and light play across surfaces, inviting deeper exploration. Dana’s artistic expression forms a mosaic that encourages us to see not only with our eyes but also with our souls – the profound stories whispered by the medium itself.

The concept of the exhibition layout of Dana’s artworks emphasize simplicity and direct engagement. The artworks are presented unframed on paper, which is practical and affordable. This approach highlights the raw beauty of the art and allows viewers to connect directly with the artist’s vision. By exhibiting in this straightforward manner, the focus is on the art itself, encouraging the audience to engage with it as an activity. This method ensures that the artwork remains accessible and authentic, fostering a more intimate and meaningful experience.

As she pursues her Ph.D. in Humanity and Social Sciences, with a focus on prehistory and archaeology, Alnafouri continues to intertwine her academic pursuits with her artistic endeavors. Her aspiration is for her art to resonate with viewers, evoking the joy and connectedness she experiences during its creation, and inviting them on a journey filled with discovery, emotion, and appreciation for the natural world’s beauty.

Dana Alnafouri’s work is more than just visual art; it’s a dialogue with time, nature, and the self, inviting us all to listen closely and join in the symphony of life’s rhythms. We invite our followers to stay tuned for this extraordinary exhibition, where we can all attune ourselves to the symphony of life’s cadences.

2018 Workshop – Summer Digital Tools Workshop in Beirut

Digital Tools Workshop Beirut 2018

This summer, three SAFIR Artists (Wissam Al Shaabi, Akil Ahmad and Yamen Youssef) were out of seven artists participating in a four-day digital workshop that took place at Beirut’s Ashkal Alwan. The workshop was organised by Ein el-Fan in collaboration with SAFIR.

In line with one of the three skill sets that SAFIR works to develop in its artists Outreach, the main  purpose of the digital workshop was to develop artists’ ability to communicate virtually by growing their technical skills and online presence in order to help them expand their international reach.

Digital Tools Workshop Beirut 2018

The program, led by an international team with expertise in new media for art exposure , emphasised hands on learning. By the end of the workshop artists had worked on building new websites, writing artistic statements, developing their public speaking skills and leveraging their digital profiles.

2018 SAFIR Officially Launches in Dubai

Dubai, U.A.E. ART DUBAI 2018 – Saturday March 24th marked an important milestone for SAFIR as we launched our NGO for the first time in Dubai. At the event, which took place as a part of Art Dubai Modern’s Misk Lounge in Madinat Jumeirah, we hosted people of interest as well as collectors and art market influencers to have a talk about SAFIR and its aims. One of our co-founders, Hala Khayat, took the time to thoroughly explain to the audience exactly what SAFIR was founded for. She later introduced the artists and ambassadors that have become a part of the SAFIR program so far.

 

 

SAFIR Artists, Noor Bahjat, Alaa Sharabi and Juhayda Al BItar – all of whom currently reside in the U.A.E. – went on stage to address the audience regarding their work and how SAFIR has helped them move forward in their artistic careers.  They each explained their preferred techniques and how they have evolved since joining the SAFIR family.

Alongside the introduction of the artists, Khayat presented the newly established SAFIR Ambassadors’ Program. Two of SAFIR’s ambassador’s, Jouhayna Samawi and Lina Attar, were in attendance of the event and explained their upcoming plans for to support SAFIR’s capacity building and networking objectives in 2018.

 

 

 

 

SAFIR Ambassador Mrs. Lina Attar

 

The first project, led by Beirut based Ambassador, Mrs. Lina Attar, is revolves around enrolment enrolling SAFIR artists in English language classes in Beirut, and following up with them weekly. Attar went on stage to share her experience thus far. The second project, led by Dubai based Mrs. Jouhayna Samawi, will be an event hosted in the aims of growing our network, enhancing outreach and more thoroughly introduce our purpose and goals in the fall of 2018.

 

 

 

SAFIR Cofounder, Hala Khayat, paying tribute to the late Fathallah Zamroud

At the end of the presentation, Khayat dedicated the talk to our late founder Fathallah Zamroud and paid tribute to his legacy. She then addressed the audience on different ways they could support SAFIR by either donating to the cause or dedicating their time to enhance the artists’ experiences.

 

 

 

 

 

Watch the full launch on the video below:

 

March 24th 2018 – Stay Tuned as SAFIR Officially Launches at Art Dubai!

Much has been done over the past three years when SAFIR was created as a project to support young Syrian artists all over the world and to further the international representation of Syrian and Middle Eastern Art practices.

Today SAFIR works to support 16 young Syrian artists through the creation of workshops, mentorship programs and more recently language scholarships to support their capacity building in three main focus areas: Thought Process, Expression and Outreach.

At the launch, vice president of MASSYR, Hala Khayat, will talk about the progress SAFIR has made so far and its primary role as a non-profit that supports Syrian Artists internationally. Three SAFIR artists currently present in Dubai will also share their experiences and the ways in which SAFIR has helped further the development of their artistic career.  And to wrap it off, two of SAFIR’s current Ambassadors will talk about their  planned activities for 2018.

Art the Global Language: An Interview with Mohammad Zaza – By Ana Jasbon

 

Paint until you have nothing left to say. Mohammad is an artist of few words and believes that the true way of communication is through painting. Born in Riyadh, Saudi Arabia, from Syrian parents who were also artists, he got in touch with the brush from a young age giving him an advantage over many of his peers.

 

Being raised in artistic surroundings, he learned how to express his views via paintings in which he reflects human interactions. He analyzes religion, friendships, romance, death, happiness and feelings, which he portrays with a unique vision on a canvas. Some of his favourite paintings are The Oud Player, The Prayer and The First Question. Although these are his favourite paintings so far, he is very critical about his art work and believes he hasn’t accomplished his masterpiece yet.

 

Mohammad, having studied at the faculty of fine arts in Aleppo University, Syria, familiarized with a lot of art movements but prefers not to be categorized into a specific art style. He is very open to different approaches and interpretations of his art pieces, but he says most of the people classify him as part of the Surrealist art movement.

 

Throughout his career, Zaza  lived in different countries and believes that the Middle East, although possessing the culture and eye to feel and make great art, does not yet believe in its true power. He views art in the Middle East as a subject that is regarded as prestigious and part of an environment which is aimed at bringing people together from a certain social class; adding that it should be made more accessible to a wider public. Through a better artistic education, sensitivity to artistic creation could be expanded, giving everybody the chance to feel art’s power of change.

 

Thanks to technology, which he refers to as a prop for new artists, he has been working on a very ambitious project for the past three years. He is combining art and film to create an animation film.

 

With a smile on his face he would like to advise new artists to paint without thinking about the recognition, but just to express themselves, the same way you would express yourself through talking. Always remember art is a way of communication. This is why his main goal is to paint until he has no message left to convey.

 

Ana Jasbon is a project assistant at SAFIR and a Master’s student at Paris Sorbonne Abu Dhabi majoring in Banking & Finance. She is a devoted scholar, continuously seeking knowledge.

 

2018 SAFIR’s English Language Classes: Empowering Syrian Artists

In January 2018, SAFIR Ambassador Mrs. Lina Attar hosted a single English language class in Beirut. The intimate gathering included four participants: Johnny Seaman, Mohamad Khayata, Akil Ahmad, and Anas Breihi.

Mrs. Attar recognized that language proficiency is a gateway to opportunities. By offering English courses, she equipped SAFIR artists with a powerful tool. She followed up with participants weekly, ensuring their progress and addressing any challenges. 

Mrs. Attar’s initiative emphasized that language proficiency is an essential tool for artists. By imparting English skills, she empowered these talented individuals to navigate the art world with confidence. Whether seeking exhibitions, grants, or residencies, their newfound language abilities would serve as a catalyst for growth.

Learning English isn’t just about words—it’s about unlocking a world of possibilities. Mrs. Lina Attar’s project exemplifies SAFIR’s dedication to nurturing creativity and connecting artists across borders.

A BLUE INTERVIEW WITH MOHAMAD KHAYATA- BY NOOR MOUNAJJED

Blue is the color of serenity, tranquility, and calm. Perhaps even sadness and nostalgia. It is the color of the sea; a spine-chilling force that mankind cannot control. Through his paintings in The Aegean Sea series, Mohamad Khayata told the stories of the people who didn’t have a voice because they were lost at sea. However, this series is not dark nor melancholic. Mohamad chose another life for the people who set out for sea, and as he described, these people were having a quiet moment.

Just like there are people who have migrated to Greece, these people migrated to the sea. Maybe the sea is their safe haven.” 

 

Mohamad Khayata was genuinely an interesting and captivating artist to interview. The mood constantly moved, quietly and quickly, like waves struggling to meet the land. One moment, Mohamad would be talking about home, of his blue room (his studio in Bab Tuma), of the family he left behind; and another, he wold return to his bubbly and humorous self. When things got too gloomy, Mohamad would stop mid-sentence and ask “oh so what was your question again?” He used to draw and sculpt for as long as he could remember, but knew he wanted to make a life out of art in elementary school. He used to sculpt many figures of animals using paste, when his teacher introduced him to a new material; clay. The same teacher noticed that Mohamad had a talent for art, and encouraged him to join many competitions, up until he became an art pioneer in Damascus. 

At some point the principle of the school called me to her office, and I remember being scared to death, because students were never called into the her office unless they were going to be punished. So it was a big shock for me when I understood that she called me to congratulate and appreciate my work. And that was my turning point. That is when I noticed I could make art and sculpting a career. I felt tied to it. And I decided I wanted to go into fine arts.”

 

When he got his studio in Bab Tuma, Mohamad went deeper into photography. He bought his first Sony optical camera when the Faculty of Fine Arts in Damascus University gave him 12,000 Syrian pounds as a reward for coming second in his class. Taking photographs was very difficult at the time, and his blue room in an old Damascene house seemed like the only place he could take pictures. Mohamad was pleased to tell me more of his blue room, and said that

 

“I was tied to this place, because it reminded me of my grandfather’s home, where I lived there for 13 years. This house had around 14 rooms, with a fountain in the middle, and there was something about the walls that drew me. The walls were made out of clay and straw, which are both materials that are very close to my heart. Not like stone, which is a lot more cold.”

 

In his blue room, the concept of Stitching My Syria Back began to grow. It started with Mohamad experimenting with the camera and taking pictures of himself with the “madeh” (a patchwork that his mother used to make out of clothes).

“I was in Syria when I took the first picture, on the other hand I took the others in Lebanon. They spoke different stories, and the fact that I was the subject of the picture, made me feel like it didn’t work well with the idea. It had a bigger meaning in Lebanon. I felt like it was a way to bring people together. We all had things in common. We all left our homes. We started a new life in a different country. I was documenting all this. It was artistic because it was a sort of documentary of people’s lives away from home. For them and for me, Lebanon was just a transition. We are all just waiting for a chance to return. So I wanted to document their lives in this period. The period of transition. And that was the purpose of the madeh. It was a patchwork, and you’re bringing together fabrics of different colors, sizes, and materials in one piece.

 

The Aegean Sea series seemed to be a product of coincidence, and Mohamad explained to me how is it so.

 

“I chose this blue, not for a particular reason, but because I kept buying the same color like ten times. I would go to the shop to buy art supplies, (I love the color blue very much), and there would be so many options to choose from, and yet I kept buying the same color. Many colors with different shades and undertones. And every single time, I would buy the exact same shade of blue. At some point, I noticed how many tubes I had of the same color, and that is how I was sure that it had to mean something. I put the color on my palette, and just painted on an empty canvas. Without much thinking. As usual, I left the top part of the canvas empty, and I started to paint faces. I was painting, and I imagined someone. I wanted the concept to be  about the people that lived in the sea . I don’t want to say that they drowned or died, because the idea of life and death varies a lot.”

 

Mohamad explained that The Aegean Sea is not dark. He said that if anything he particularly loves this series because it isn’t dark. Instead, the characters he painted were having a quiet moment, and his was merely giving them a different life. He used this color because he wanted to discover what it was and what it meant. He chose a different place for these people, and left the “ending” to his audience.

 

Being so taken aback by the many details put into Bits and Pieces, I couldn’t but help and ask Mohamad how does he put his ideas onto paper. There are two types of work, as Mohamad explained; direct and indirect. There are paintings where Mohamad knew exactly what he was going to portray, and there are paintings where Mohamad’s ideas were generated from his subconscious.

 

“In Bits and Pieces, I had a lot of patience to put as much detail as I did to the illustrations. I was illustrating memories. When you leave your home, you start remembering. You think how beautiful things were, and how different they are now. There were moments that we took for granted. We didn’t notice them. You start appreciating these moments more. Now that you’re away from your family, and from what was familiar to you. The time that you lived in before is no longer, and there’s no way to bring it back or change now. I’m scared to go back home. Not because I’m worried that it might be dangerous, but because I’m afraid to find a place that is no longer. That changed into something that I;m not familiar with. Because now, memories are so much more beautiful than the real world. The memories are gone. You spent these 5 years somewhere else, and the time that was then is not the same as it is now.”

 

Through Mohamad’s most recent exhibition, Umm Al Zuluf, he connects himself as well as his audience to the songs and melodies that traveled along the Euphrates. “Umm Al Zuluf” is one of the most popular songs of the “Mulayaa”, which are the old songs sung by the tribes that lived near the banks of the Euphrates. These people sung melodiously through their sadness and happiness, and with his paintings, Mohamad made sure that the echoes of our ancestors were louder and clearer.

“Umm al-zuluf, the most popular of these songs, is usually echoed by the tribes who transport their goods through deserts and mountains and is dedicated to the Mesopotamian goddess of fertility and love: Ishtar. Due to its length, it was the best companion for the long journey of these tribes who celebrate the Akitu, the spring Babylonian festival. My experience with music made me rediscover my country’s rich musical heritage, the one I got to know when I was young but that I never really listened to. My ancestors’ words of love and generosity, reminiscence and separation that summarized in melodies, times of destruction and prosperity, seem now to describe so well what we are facing today: destruction, sadness, hard work and sometimes, even happiness. In my Current exhibition “Um al-zuluf” I am trying to celebrate the life of the tribes of this area and their beautiful music and culture, which is now the only advocate for the sad Euphrates.”

His most recent work is called “A Woman Selling Her Kids”, which basically is a painting of a woman selling her children in jars. It expresses the idea that there are mothers that  take advantage of their children, and are stealing their children’s time and lives. Mohamad watched children grow in the streets for two years, and realized that these children won’t have any memories other than those in the streets.

 

“War forces you to do more than that [sell your children]. No woman would sell her children, unless it is a different type of selling. Selling might not necessarily mean actually selling. It’s the idea that there are people who use or take advantage of their children. For example, the women that beg on the streets for their children. And it’s basically a woman selling her kids. She’s taking time from her children. She’s taking their lives. And I don’t think anyone is happy with this situation, but I think it’s what war does to people.”

 

Translated from Arabic 

Noor Mounajjed is the Project Assistant at SAFIR. She is a book-worm, writer, and an aspiring Economist.  She lives by the motto “when you can’t find the sunshine, be the sunshine”.