The New Arab Exiles by Mark Le Vine
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When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World
Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This article examines the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the compound with her coffin as the album cover [1]. -
Freedom to Write Index 2019
FREEDOM TO WRITE INDEX 2019 Freedom to Write Index 2019 1 INTRODUCTION mid global retrenchment on human rights In 2019, countries in the Asia-Pacific region impris- Aand fundamental freedoms—deepening oned or detained 100 writers, or 42 percent of the authoritarianism in Russia, China, and much of the total number captured in the Index, while countries Middle East; democratic retreat in parts of Eastern in the Middle East and North Africa imprisoned or Europe, Latin America, and Asia; and new threats detained 73 writers, or 31 percent. Together these in established democracies in North America and two regions accounted for almost three-quarters Western Europe—the brave individuals who speak (73 percent) of the cases in the 2019 Index. Europe out, challenge tyranny, and make the intellectual and Central Asia was the third highest region, with case for freedom are on the front line of the battle 41 imprisoned/detained writers, or 17 percent of to keep societies open, defend the truth, and resist the 2019 Index; Turkey alone accounted for 30 of repression. Writers and intellectuals are often those cases. By contrast, incarceration of writers is among the canaries in the coal mine who, alongside relatively less prevalent in sub-Saharan Africa, with journalists and human rights activists, are first 20 writers, or roughly eight percent of the count, and targeted when a country takes a more authoritarian the Americas, with four writers, just under two percent turn. The unjust detention and imprisonment of the count. The vast majority of imprisoned writers, of writers and intellectuals impacts both the intellectuals, and public commentators are men, but individuals themselves and the broader public, who women comprised 16 percent of all cases counted in are deprived of innovative and influential voices the 2019 Index. -
When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World
Religions 2015, 6, 1277–1313; doi:10.3390/rel6041277 OPEN ACCESS religions ISSN 2077-1444 www.mdpi.com/journal/religions Article When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World Mark LeVine 1,2 1 Department of History, University of California, Irvine, Krieger Hall 220, Irvine, CA 92697-3275, USA; E-Mail: [email protected] 2 Center for Middle Eastern Studies, Lund University, Finngatan 16, 223 62 Lund, Sweden Academic Editor: John L. Esposito Received: 6 August 2015 / Accepted: 23 September 2015 / Published: 5 November 2015 Abstract: This articles explores the explosion of artistic production in the Arab world during the so-called Arab Spring. Focusing on music, poetry, theatre, and graffiti and related visual arts, I explore how these “do-it-yourself” scenes represent, at least potentially, a “return of the aura” to the production of culture at the edge of social and political transformation. At the same time, the struggle to retain a revolutionary grounding in the wake of successful counter-revolutionary moves highlights the essentially “religious” grounding of “committed” art at the intersection of intense creativity and conflict across the Arab world. Keywords: Arab Spring; revolutionary art; Tahrir Square What to do when military thugs have thrown your mother out of the second story window of your home? If you’re Nigerian Afrobeat pioneer Fela Kuta, Africa’s greatest political artist, you march her coffin to the Presidential compound and write a song, “Coffin for Head of State,” about the murder. Just to make sure everyone gets the point, you use the photo of the crowd at the gates of the Presidential compound with the coffin as the album cover [1]. -
The Frailty of Authority. Borders, Non-State Actors and Power
The Frailty of Authority Borders, Non-State Actors and Power Vacuums in a Changing Middle East Lorenzo Kamel THE FRAILTY OF AUTHORITY BORDERS, NON-STATE ACTORS AND POWER VACUUMS IN A CHANGING MIDDLE EAST edited by Lorenzo Kamel in collaboration with Edizioni Nuova Cultura First published 2017 by Edizioni Nuova Cultura For Istituto Affari Internazionali (IAI) Via Angelo Brunetti 9 - I-00186 Rome www.iai.it Copyright © 2017 Edizioni Nuova Cultura - Rome ISBN: 9788868128289 Cover: by Luca Mozzicarelli Graphic Composition: by Luca Mozzicarelli The unauthorized reproduction of this book, even partial, carried out by any means, including photocopying, even for internal or didactic use, is prohibited by copyright. Table of contents List of contributors ........................................................................................................................................ 7 List of abbreviations ..................................................................................................................................... 9 Preface, by Nicolò Russo Perez ............................................................................................................... 11 Introduction, by Lorenzo Kamel ............................................................................................................ 15 1. Early Warning Signs in the Arab World That We Ignored – And Still Ignore by Rami G. Khouri .................................................................................................................................. -
Mapping Cairo | Norient.Com 29 Sep 2021 04:27:14
Mapping Cairo | norient.com 29 Sep 2021 04:27:14 Mapping Cairo by Torie Rose DeGhett France24's multimedia-webdocumentary The song of Tahir square. Music at the heart of revolution invites to dive in contrasting places of music in Cairo. The interactive concept gives a new approach to the role of music in the egyptian protest movement. The documentary by Hussein Emara and Priscille Lafitte is a welcome contribution to the growing discussion about artistic and musical elements of protests in the Middle East. A contribution, that is important in its content, but also in the emotional narrative it presents. Watch Webdocumentary here. In his recently published memoir Revolution 2.0, Wael Ghonim recounts pairing an activist video with music by Haitham Said. He writes: «people found the fusion of images, lyrics, and music inspiring and moving». The video he made «created an emotional bond between the cause and the target audience». That is what the footage and material presented in this documentary do: create an emotional connection with the music, instead of simply collecting it for its interest value. The Songs of Tahrir Square is interactive and visual as well as musical. The songs themselves are almost as much about seeing the vigor and passion of the performances and the crowds of people who sing and chant along with them as they are about the lyrical content. Not much could replace the sense of popular force behind such sentiments as the sight of those audiences. https://norient.com/video/webdocumentary-cairo Page 1 of 4 Mapping Cairo | norient.com 29 Sep 2021 04:27:14 Put together by Hussein Emara and Priscille Lafitte, the web documentary presents itself as a journey through the music of Tahrir, allowing the viewer to navigate a map of Cairo's musical hotspots. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Sarah R. Irving Intellectual networks, language and knowledge under colonialism: the work of Stephan Stephan, Elias Haddad and Tawfiq Canaan in Palestine, 1909-1948 A thesis submitted for the degree of Doctor of Philosophy School of Literatures, Languages and Cultures University of Edinburgh 2017 Declaration: This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: 16th August 2017 2 Intellectual networks, language and knowledge under colonialism: the work of Stephan Stephan, Elias Haddad and Tawfiq Canaan in Palestine, 1909-1948 Table of Contents -
UC Irvine Electronic Theses and Dissertations
UC Irvine UC Irvine Electronic Theses and Dissertations Title The Petrodollar Era and Relations between the United States and the Middle East and North Africa, 1969-1980 Permalink https://escholarship.org/uc/item/9m52q2hk Author Wight, David M. Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERISITY OF CALIFORNIA, IRVINE The Petrodollar Era and Relations between the United States and the Middle East and North Africa, 1969-1980 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by David M. Wight Dissertation Committee: Professor Emily S. Rosenberg, chair Professor Mark LeVine Associate Professor Salim Yaqub 2014 © 2014 David M. Wight DEDICATION To Michelle ii TABLE OF CONTENTS Page LIST OF FIGURES iv LIST OF TABLES v ACKNOWLEDGMENTS vi CURRICULUM VITAE vii ABSTRACT OF THE DISSERTATION x INTRODUCTION 1 CHAPTER 1: The Road to the Oil Shock 14 CHAPTER 2: Structuring Petrodollar Flows 78 CHAPTER 3: Visions of Petrodollar Promise and Peril 127 CHAPTER 4: The Triangle to the Nile 189 CHAPTER 5: The Carter Administration and the Petrodollar-Arms Complex 231 CONCLUSION 277 BIBLIOGRAPHY 287 iii LIST OF FIGURES Page Figure 1.1 Sectors of the MENA as Percentage of World GNI, 1970-1977 19 Figure 1.2 Selected Countries as Percentage of World GNI, 1970-1977 20 Figure 1.3 Current Account Balances of the Non-Communist World, 1970-1977 22 Figure 1.4 Value of US Exports to the MENA, 1946-1977 24 Figure 5.1 US Military Sales Agreements per Fiscal Year, 1970-1980 255 iv LIST OF TABLES Page Table 2.1 Net Change in Deployment of OPEC’s Capital Surplus, 1974-1976 120 Table 5.1 US Military Sales Agreements per Fiscal Year, 1970-1980 256 v ACKNOWLEDGMENTS It is a cliché that one accumulates countless debts while writing a monograph, but in researching and writing this dissertation I have come to learn the depth of the truth of this statement. -
Safe Haven Conference
SAFE HAVENS 2015 10 –11 DECEMBER Biographies ABAZAR A. BAGI HAMID Musician Singer Songwriter. Grew up in the cultural belt between Sudan and the Gulf, and his music is both rooted in traditional Sudanese and African music characteristic of the Gulf area, and heavily inspired by reggae and Afro-Latin music. Abazar Hamid started singing for peace in Sudan at an early age, and formed his fi rst band, “Balsam”, at university. In 1997, he became well-known at regional level when he joined “ Igd Elgalad Band”, and in 2005, he quit his job as an architect to start his solo career, launching the project “Rainbow Songs”. The project brought together musicians from across Sudan, aiming to slip lyrics about Human Rights and dignity past the music monitoring committee. Abazar Hamid released his fi rst solo album, “Sabahak Rabah” (“Good Morning Home”) in 2007 but experienced increasing censorship in his home country. Songs dealing with social and political issues riding Sudan were especially scrutinized, and after severe censorship and verbal threats, Abazar chose exile and moved to Cairo in 2008. In 2009 he established the project “democratizing music” in collaboration with other Sudanese and Egyptian musicians, as a forum to share resources rather than fi ghting each other. Abazar arrived, as Norways fi rst official town-musician, in Harstad the 10th of december 2014. ABDUL HAKIM HASHEMI HAMIDI Graduated from Herat University in Afghanistan, majoring in history. Currently he is completing a Master in Human Rights and Humanitarian Action at Sciences Po, Paris School of International Aff airs. Hamidi started his human rights activities when he was living in Iran as a refugee. -
Safe Music Havens
Safe Music Havens NORDIC PILOT - INFORMATION FOR HOST CITIES Ramy Essam, Tahrir Square, Cairo (Photo Mark LeVine) Ramy Essam, the creator of the famous ‘#Jan25 Tahrir’ song that was played throughout the Egyptian revolution in February 2011, appeared with severe marks of torture after being detained by security forces, reported Egyptian bloggers... (Freemuse 11 March 2011) On 26 October 2011, Ramy Essam’s concert at the Cairo University Medicine School was abrubtly stopped by the Dean of the university. (27 October 2011) On 21 November 2011 the Egyptian singer Ramy Essam received the Freemuse Award 2011 at a ceremony in Södra Teatern in Stockholm, Sweden. (21 November 2011) .…after publicly singing folk songs that were subsequently repeated by half a million demonstrators in the city of Hama, Ibrahim Kashoush was murdered by Assad’s Shabiha, or thugs, who deliberately removed his vocal chords both to make a political statement and to prevent him from ever being able to utter Irhal ya Bashar (Bashar Get Out) again. (”Silencing the singer”, Elie Chalala, Al Jadid, Vol. 16, no. 63, 2011) “Everybody should be able to sing songs freely in their mother language. It cannot be a crime to sing a folk song...” Raziye Kızıl (known as Gazin) was sentenced to one year in prison for having sung two Kurdish songs and thereby “making propaganda for an illegal organisation”. A second trial now carries an extra five-year prison threat. (Freemuse/BA News Center on 11 October 2011) The singer Hortsang Lhalung Tso was detained by the Chinese authorities just before attending a Tibetan culture show with other popular Tibetans in Tsoe-town. -
“The Revolution Did Not Take Place”: Hidden Transcripts of Cairokee's Post
“The Revolution Did Not Take Place”: Hidden Transcripts of Cairokee’s Post- Revolution Rock Music CAROLYN RAMZY Abstract In 2016, Egypt’s popular rock band Cairokee renamed the song that propelled them to fame from “Voice of Freedom” to “The Revolution Did Not Take Place.” The new song and its sarcastic video poked fun at the state’s centralized media and military leadership in their efforts to erase the 2011 popular uprising from public memory. Drawing on James Scott’s notion of hidden transcripts and the complicit role of the media in Jean Baudrillard’s The Gulf War Did Not Take Place, I investigate the band’s political shifts in Egypt’s post-revolutionary music soundscape. Despite aggressive efforts to censor their songs, how does Cairokee embed their political critique of military rule in present day Egypt? And, in their use of ruse, humor, and overt disenchantments with the Egyptian uprising, how do their songs and music videos craft, in Baudrillard’s words, a “third order of reality,” overcoming the classical dichotomy between the “virtual” and the “real” for their audiences offline, only to replicate the same exclusionary class politics that they critiqued in their music? Figure 1: Video still of Eid’s “Sout Al Horeya” or “Voice of Freedom.” The protester’s banner in this image reflects a line from the song’s chorus: “In every street of my country, the voice of freedom is calling.” Image taken by the author. Watch video: http://dx.doi.org/10.3998/mp.9460447.0014.103. Music & Politics 14, Number 1 (Winter 2020), ISSN 1938-7687. -
PRESS COVERAGE Egyptian Musician Ramy Essam Receives the Freemuse Swedish Award 2011
PRESS COVERAGE Egyptian Musician Ramy Essam receives the Freemuse Swedish Award 2011 26 October 2011 Ramy Essam Prepared by Ingy Sedky 26 Oct.: Egyptian Musician Ramy Essam receives the Freemuse Swedish Award 2011 Introduction: Egyptian singer Ramy Essam, who provided the soundtrack for the Arab Spring at Tahrir Square, is the winner of the 2011 Freemuse Award. The artist will receive the award at a ceremony in Stockholm, Sweden, on Monday 21 November 2011. In total 35 articles were published in printed and online media in Sweden, Egypt and the Arab World Swedish Radio 25 Oct: Freemuse Award 2011 till Ramy Essam http://sverigesradio.se/sida/artikel.aspx?programid=1012&artikel=4763241 Al- Masry Al- Youm – Egyptian independent daily newspaper 26 Oct: Ramy Essam wins the Freemuse Award for 2011 http://www.almasryalyoum.com/node/508883 ON TV – Website of the Egyptian Liberal Channel ON TV 26 Oct: Ramy Essam wins the Freemuse Swedish Award 2011 http://www.ontv-live.com/2011/10/26/%D8%B1%D8%A7%D9%85%D9%8A- %D8%B9%D8%B5%D8%A7%D9%85-%D9%8A%D8%AD%D8%B5%D9%84- %D8%B9%D9%84%D9%89-%D8%AC%D8%A7%D8%A6%D8%B2%D8%A9- %C2%AB%D8%AD%D8%B1%D9%8A%D9%91%D9%8E%D8%A9- %D8%A7%D9%84%D9%85%D9%88%D8%B3/ Al Ahram Gate – Online news portal of Al Ahram national newspaper 26 Oct: An Egyptian singer wins the Freemuse Swedish Award http://gate.ahram.org.eg/News/130987.aspx Bikya Masr - a multiple award-winning news website with staff based in Egypt and across the globe. -
Permanent State of Exception Abuses by the Supreme State Security Prosecution
PERMANENT STATE OF EXCEPTION ABUSES BY THE SUPREME STATE SECURITY PROSECUTION Amnesty International is a global movement of more than 7 million people who campaign for a world where human rights are enjoyed by all. Our vision is for every person to enjoy all the rights enshrined in the Universal Declaration of Human Rights and other international human rights standards. We are independent of any government, political ideology, economic interest or religion and are funded mainly by our membership and public donations. © Amnesty International 2019 Cover photo: Illustration depicting, based on testimonies provided to Amnesty International, the inside Except where otherwise noted, content in this document is licensed under a Creative Commons of an office of a prosecutor at the Supreme State Security Prosecution. (attribution, non-commercial, no derivatives, international 4.0) licence. © Inkyfada https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode For more information please visit the permissions page on our website: www.amnesty.org Where material is attributed to a copyright owner other than Amnesty International this material is not subject to the Creative Commons licence. First published in 2019 by Amnesty International Ltd Peter Benenson House, 1 Easton Street London WC1X 0DW, UK Index: MDE 12/1399/2019 Original language: English amnesty.org CONTENTS GLOSSARY 5 EXECUTIVE SUMMARY 7 METHODOLOGY 11 BACKGROUND 13 SUPREME STATE SECURITY PROSECUTION 16 JURISDICTION 16 HISTORY 17 VIOLATIONS OF FAIR TRIAL GUARANTEES 20 ARBITRARY DETENTION