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CM33: Relics

Samia Rahman is concerned about her personal relics, Boyd Tonkin meanders through Sicily, Aaron Tugendhaft exposes the veneration of certain relics, Rita Sonal Panjatan is unable to shake the scent of old Hyderabad, Andrew Petersen explores what lies beneath ancient Muslim graves, Leyla Jagiella visits Poland's hidden mosques, Hafeez Burhan Khan is enchanted with Jerusalem, Nur Sobers-Khan puzzles through manuscripts, Yovanka Paquete Perdigao performs the pilgrimage to Touba, Tam Hussein embraces his relic self, Aaftab Haider makes footprints across Europe, Sahil Warsi goes back to

CM32: Music

Samia Rahman is lost in music; Jeremy Henzell-Thomas suggests music opens hidden windows to the soul; Ziauddin Sardar witnesses the annihilation of the famous Qawwali 'Mustt Mustt'; Hassan Mahamdallie remembers his punk days; Stefan Williamson Fa discovers the Sufi-Flamenco fusion of Aziz Balou

CM31: Climate

CM30: West Africa

CM29: Futures

CM28: Narratives

CM27: Beauty

CM26: Gastronomy

Merryl Wyn Davies shreds foodie culture as the construct of affluence and essence of abundance, Yasmin Alibhai-Brown returns to Uganda to recover her taste buds, Timothy Bartel is transformed by a visit to Willowbrook Farm, Jeremy Henzell-Thomas is convinced that the rise of celebrity chefs spells the end of

CM25: Values

Merryl Wyn Davies tries to make sense of values in the post-truth age; Kabir Helminski provides a primer on Islam and human values; Boyd Tonkin welcomes strangers; Mohammad Moussa urges us to embrace pacifism; Gail Boxwell learns the meaning of 'givenness'; Hannah McClure whirls into ecstasy; a story by the father of Catalan literature, Anselm Turmeda; and Maha Sardar's list of ten

CM24: Populism

Ziauddin Sardar dismembers post-truth angst; Richard Appignanesi mourns the loss of world; Barnaby Rogerson traces the history of the word demagogue; Bhavik Doshi is disturbed by the populist rhetoric of the Indian diaspora; Scott Jordan watches anxiety-drenched movies; Marjorie Allthorpe-Guyton is unimpressed by 2017 Venice Biennale; and poems by Carole Smith.

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