Creative Authorship and Intellectual Property

Jordan: Dawn of Christianity

Jordan: Dawn of Christianity

Copyright owners: CreatoCanada INC and ISEE Media Services LLC, according to their respective rights and applicable agreements.

Exhibition authors and creators: Eyad Al-Khzuz and Kaiser Moussa.

Jordan: Dawn of Christianity brings together a visual identity, exhibition narrative, spatial design, moving images, sound, light and scent. Each contributes to the way visitors encounter the story. This page describes the exhibition’s creative treatment and identifies the rights associated with its original materials.

The Logo: An Early Christian Symbol in the Language of Mosaic

The logo of Jordan: Dawn of Christianity is built around the fish, an ancient Christian symbol associated with Christ. This connection places the exhibition’s identity within the visual language of early Christianity and introduces its central subject: the roots and enduring presence of Christianity in Jordan.

The fish is expressed through a distinctive mosaic composition. Individual geometric pieces define its curved outline, circular eye, patterned body and crossing tail. This treatment connects the early Christian symbol with Jordan’s rich mosaic heritage, bringing faith, art and place together in a single emblem.

The wider visual identity extends this connection through black, associated with Christian clerical dress, and rose tones inspired by the stone of Petra. Together, the emblem, lettering and palette establish a consistent identity for the exhibition, its book, signage, digital presentations and website.

The original creative work lies in the particular drawing of the fish, the arrangement of its mosaic elements, and its composition with the exhibition lettering. The copyright claim concerns this original artwork and other protectable elements of the visual identity, rather than the ancient fish symbol or the mosaic tradition themselves.

The maze and its philosophy

The maze uses a winding journey as an interpretation of perseverance through uncertainty. Within the exhibition’s narrative, it recalls the trials and persecution experienced by early Christian communities. Its turns encourage visitors to encounter the story gradually rather than take it in from a single viewpoint.

Movement becomes part of the interpretation: visitors must continue before the next part of the journey is revealed. The intended meaning is a faith sustained through difficulty and a search for direction. This is the exhibition’s artistic use of the maze, not a claim that its route reproduces a documented ancient site.

The maze soundtrack

A dedicated 5.1 surround soundtrack gives the maze an acoustic dimension. Sound is distributed around the listening space, extending the experience beyond the visitor’s immediate line of sight. The spatial mix supports the sense of moving within an environment rather than observing it from outside.

The maze soundtrack is a distinct exhibition asset. Its composition, recorded material, editing and surround mix must be credited and licensed according to the rights held in each contribution.

The cave and its atmosphere

The cave is conceived as an enclosed setting for contemplation. Its character comes from the relationship between its surfaces, candle lighting, overhead light, frankincense aroma and dedicated soundtrack. These elements bring the visitor’s attention into the space and give the historical narrative an intimate, sensory expression.

The cave is an interpretive exhibition environment inspired by a place and its spiritual associations. It is not presented as an exact archaeological reconstruction. Its expressive character rests in the particular way the exhibition brings its physical and sensory elements together.

Surface treatment and finishing

The cave’s finishing is part of its visual language. The treatment of its surfaces, their texture and the way they receive light establish the impression of an enclosed, weathered setting. Shadow gives those surfaces depth and helps the interior read as a continuous environment.

The intended effect is a sense of shelter and stillness. The finish supports that experience by giving the surrounding surfaces a presence of their own, so that the cave is understood through its atmosphere as well as its form.

Candle lighting

Candle lights introduce small points of warmth within the cave. Their modest scale gives the setting a human intimacy and invites associations with prayer, remembrance and vigil. They work with the surrounding shadows to draw attention to the quieter details of the space.

The candle lighting forms part of the cave’s visual composition. Its placement and relationship to the other light sources contribute to the overall treatment.

Light from the ceiling

Light entering from above is a defining feature of the cave treatment, inspired by the cave at Rihab in Jordan. Within the exhibition, the overhead light creates a visual connection between the enclosure below and a space beyond it. It draws the eye upward and offers an image of hope and spiritual orientation.

The significance lies in the relationship between darkness, the illuminated surfaces and the light above. This is an artistic interpretation of the reference, rather than a statement that the exhibition precisely reproduces the historic cave’s architecture or lighting conditions.

Frankincense aroma

Frankincense aroma diffusers add an olfactory layer to the cave. The fragrance is intended to evoke the atmosphere of worship and to connect the visitor’s visual and auditory experience with a less visible sense of place.

The aroma forms part of the exhibition’s sensory composition alongside the surface treatment, lighting and sound. Its contribution is atmospheric, joining the visible and audible elements in a shared sensory setting.

The cave soundtrack

The cave has its own soundtrack, distinct from the maze’s 5.1 surround programme. Its role is to support the enclosed, contemplative character of the space and the experience formed by light, scent and surface treatment. It is a separate part of the exhibition’s audio identity.

Rights in the cave soundtrack depend on the underlying music, recordings, performances and production contributions.

The book and exhibition catalogue

The book and catalogue carry the exhibition’s narrative into a form that can be read and revisited beyond the physical visit. Original writing, editorial choices, cover artwork, illustrations and the arrangement of specific content connect the publication to the exhibition’s visual and interpretive identity.

Rights in the publication as a compilation are distinct from rights in individual photographs, essays, illustrations and other contributions. The scope of ownership follows the relevant publishing and contributor agreements and the rights information attached to each edition.

The exhibition as a coordinated work

The logo, maze, moving image, cave and publications share a creative direction. Their relationship is part of how the exhibition communicates its subject. That relationship is documented through the original texts, artwork, audiovisual works, drawings and other recorded materials used to develop and present it.

Copyright and permitted use

Exhibition authors and creators: Kaiser Moussa and Eyad Al-Khzuz. The named companies own the covered original materials according to their respective rights and agreements. Individual contributions may have separate authors or rights holders.

Materials covered

Where owned by the named companies and eligible for protection, the covered materials include logo artwork and original graphics; exhibition texts and scripts; drawings, plans, renderings, models and scenic artwork; photographs, films, animations and audiovisual sequences; music, sound recordings and original audio mixes; the book and catalogue; website text and custom code; posters, brochures, presentations and promotional artwork; and original treatments, storyboards and development files.

Protection may also extend to a sufficiently original selection, coordination or arrangement of particular content. This notice does not claim copyright in the exhibition’s general idea, title alone, historical facts, public-domain objects, general layouts, functional methods, standard equipment, incense aromas or lighting techniques.

Permission and existing agreements

Unless authorised by an existing licence or permitted by law, permission from the relevant rights holder is required to reproduce, distribute, translate, adapt, publish, publicly display or perform protected material. This includes using protected material in another exhibition, touring edition, venue installation, publication, website or production.

Access to the website, possession of a catalogue or receipt of project files does not by itself grant those rights. Acknowledgment does not replace permission where permission is required. Existing agreements continue to govern the rights already granted under them.

Third party materials and lawful use

Loaned objects, photographs, music, texts, institutional logos and other third-party materials retain their respective rights status. Their inclusion does not transfer ownership to the exhibition’s creators or the named companies. Retain applicable credits and rights information when using material under a licence.

Fair use under U.S. law, other applicable legal exceptions and lawful use of public-domain material remain unaffected. Any trademark rights in the exhibition’s branding are separate from copyright; this page does not assert U.S. trademark registration or grant permission to imply endorsement or affiliation.

Permissions enquiries

For permission concerning material owned by CreatoCanada INC or ISEE Media Services LLC, identify the material, intended use, format, territory, duration and distribution. Requests relating to third-party material must be directed to its rights holder where permission is required.

Request permission ([email protected])