Arab Creativity and Entrepreneurship Fund

2014 Olfat al-Mutlaq Juffali, Nabil Qaddumi, Amr Ben Halim, Sawsan Jafar, Hani Kalouti, HRH Princess Adila bint Abdullah bin Abdulaziz Al Saud, Fahd al-Rajaan, Luma and Zade Zalatimo, Gregory Evans, Khalil and Aeran Amiouni, Sara Salem Mohammad Binladen, Sawsan and Ayman Asfari, Walid Ramadan, Abla Lahhoud, Amin el- Maghraby, Anne-Dominique Janecek, Dina and Amine Jabali, Suad al-Houssaini, Nafez Jundi, Najat Rizk, Omar and Nayla Karkour, Omar Qattan, Rana Sadik, Waleed Ghafari, Isaac Souede, Waleed al-Banawi, Ali Hassan al- Husseini, Anthony and Sandra Tamer, Anthony Baladi, Fayez Takieddine, Fouad al-Khadra, Habib and Lara Kairouz, Hamza al-Kholi, Imane Farès, Jamil el-Khazen, Marwan al-Sayeh, Nayla Saba Karkour, Patrick Knowles, Roberto Boghossian, Suheil Sabbagh, Tafeeda and Ali Jarbawi, Tayseer Barakat, William J. Tyne, Zina Jardaneh, Chatila Fustok, Sherine Jafar, Dina and Mohamad Zameli, Huda Kitmitto, Kathryn Sutherland, Malek and Gail Antabi, Rashad Khourshid, Salah Fustok, Omar Kodmani, Dania Sakka, Donald Zilkha, Rania and Omar Ashur, Talal and Nada Idriss, Yousef Asad, Akram Zaatari, Carol N. Marshi, Danya Alhamrani and Dania Nassief, Elizabeth Kassab, Gidon Kremer, Hanan Sayed and Steve Worrell, Jawdat Shawwa, Joslyn Barnes, Mariam Farag and Augusto Costa, Maya Abdulamajeed and Tarek Sakka, Maya al-Khalil, Nada Saab, Paula Mueller and Philippe Salomon, Riad and Rafa Mourtada, Rula el-Alami, Taymour Grahne, Wafa Saab, Pierre Olivier Sarkozy

Arab Creativity and Entrepreneurship Fund

2014 Last year, AFAC launched a special fund that aims to invest in projects Board Members that have high social impact. During these difficult times that the Arab Ghassan Salamé region is going through, we felt the need to support cultural initiatives that Chairman are contributing to positive change. We insisted on creating a long-term program that can help revive the region’s confidence in itself by providing Dr. Nabil Qaddumi the financial backbone that is needed for creativity to flourish. Vice Chair & Treasurer The Arab Creativity and Entrepreneurship Fund, ACEF, was born out Dr. Suzanne Wettenschwiler of an urge to empower local, independent cultural practitioners. ACEF’s Statutory Secretary mission is a socially conscious extension to what AFAC stands for in the world of Arab arts and culture. It is a further declaration that the support Sawsan al-Fahoum Jafar of self-expression and freedom in creative production are essential in the Abbas Zuaiter development of powerful and vibrant Arab communities. Hani Kalouti ACEF actively engages stakeholders from different backgrounds and Amr Ben Halim encourages them to pool in their skills and resources for positive social Abla Lahhoud responsibility. Building on our inherent goal to ‘Make Art Possible’, we Olfat al-Mutlaq Juffali presented ACEF in March 2014 as a shareholding venture through which investors can support Arab artists and creative entrepreneurs in developing their projects. These projects are helping educate, inspire and build different communities across the Arab region. Thus, the return on investment of this Oussama Rifahi Fund is one of positive social impact, rather than financial gain. Executive Director Given AFAC’s nature as an institution that is developing infrastruc- ture for philanthropy in the region, we have managed to invest in talented young people who are determined to propel this region forward. Creativity and entrepreneurship are much needed tools in the mission to reform our Arab communities and promote more authentic representations of who we are to the world. As we grapple with narratives of intolerance, extremism and backwardness, these independent voices are the ones that are best positioned to portray the region’s complex realities and usher in a new era for democracy. In this book, we share with you an overview of the harvest of the first year of ACEF, a one of a kind model that you helped make possible. We invested in projects that are challenging stereotypes, raising awareness, building capacities, empowering their respective communities, and offering spaces for young people to imagine a better future. Investing in this Fund is a direct investment in these voices of the fu- ture of the Arab region. ACEF’s first year was a promising stepping-stone and we are very happy with the outstanding results that we couldn’t have reached without your generous support. I, as well as the members of the board of trustees of AFAC, would like to thank you for your trust in this vision. Thank you for making tomorrow a time to look forward to together, and we hope to have you on board for years to come.

Ghassan Salamé, Chairman, AFAC 6 “We are whatwedo, especially whatwe do tochangewhat Eduardo Galeano,novelist we are.” Thank you for investing in ACEF. in you for investing Thank that has impact been created the in 2014.and done It is been the fruit has of our that collaboration. work the showcases book changing the Arab region to the better, each in its own way. This are projects These impact. high social with projects 50 cultural 2014.in Together, $725,000,weraised which wereinvested in the first edition of the Arab Creativity and Entrepreneurship Fund AFAC would like to thank its donors and investors who supported to yourgenerous support. were madepossiblethanks Arab region.Theseprojects to positivechangeinthe projects, eachcontributing This bookfeatures50 8 Jafar, Hani Kalouti, Mourtada, Rula el-Alami, Taymour Grahne, Wafa Rafa Saab, Pierre and Olivier Sarkozy Riad Salomon, Philippe and Mueller Paula Saab, Nada al-Khalil, MariamBarnes, FaragJoslyn and AugustoShawwa, Costa, Jawdat Maya AbdulamajeedWorrell, Steve and and Tarek Sayed Sakka,Hanan MayaKremer, Carol N. Marshi, Danya Alhamrani and Dania Nassief, al-Rajaan, Luma and Zade Zalatimo, Zalatimo, Zade and Luma al-Rajaan, Tayseer Barakat, William J. Tyne, J. William Barakat, Jarbawi, Tayseer Ali and Tafeeda Sabbagh, Suheil Boghossian, Roberto Knowles, Karkour,Patrick Saba Nayla al-Sayeh, Marwan el-Khazen, Jamil Farès, Imane al-Kholi, Hamza Fayez Takieddine,Baladi, Anthony Tamer, FouadSandra al-Khadra,and HabibAnthony and LaraHusseini, Kairouz, bint Abdullah bin Abdulaziz Al Saud, and Omar Ashur, Talal and Nada Idriss, Yousef Asad, Salah Fustok, Omar Kodmani, Dania Sakka, Donald Zilkha, Rania Khourshid, Rashad Antabi, Gail and Malek Sutherland, Kathryn Fustok, Sherine Jafar, Dina and Mohamad Zameli, Huda Kitmitto, Asfari, WalidAsfari, Ramadan, Salem Mohammad Binladen, Sawsan and Ayman Sara Amiouni, Aeran and Evans,Khalil Gregory Juffali al-Mutlaq Olfat Ghafari, Waleed Sadik, Rana Qattan, Omar Karkour, Nayla and Jabali, Suad al-Houssaini, Nafez Jundi, Najat Rizk, Omar Amine and Dina Janecek, Anne-Dominique Maghraby, Qaddumi,

Isaac Souede, Waleed al-Banawi, Ali Hassan al- WaleedHassan Souede, Ali Isaac al-Banawi,

Amr Ben Amr

HRH Princess Adila

Abla Lahhoud, Amin el- Amin Lahhoud, Abla Halim,

Zina Jardaneh, Chatila Chatila Jardaneh, Zina Elizabeth Kassab, Gidon

Sawsan Sawsan , Akram Zaatari, Nabil Nabil Fahd 10 Underlined Bold Regluar 2014 was a very promising for start ACEF. In its frst year, the from theArab region andbeyond. ACEF 2014 INVESTORS ACEF 2014 Fund collected a total of $726,500 from a total of 83 donors 83 of total a from $726,500 of total a collected Fund More than50shares Between 5and50shares Less than5shares Fundraising event • • • • Mary EvangelistaMary Anthony Baladi Imane Farès Maya al-Khalil AUGUST JULY • • • • • • • • • • • • • • Akram Zaatari Anthony andSandra Tamer Fayez Takieddine Sutherland Kathryn Wafa Saab Patrick Knowles Jamil el-Khazen Sawsan andAyman Asfari Anonymous Nayla SabaKarkour Nada Saab Abla Lahhoud Chatila Fustok and Tarek Sakka Maya Abdulamajeed Olfat andKhaledJuffali in New York SEPTEMBER JUNE • • • • • • • • • • • • • • • • • • Donald Zilkha Dina andMohamadZameli Walid Ramadan Nabil Qaddumi Nafez Jundi Talal andNadaIdriss Suad al-Houssaini Waleed Ghafari Fahd al-Rajaan Khalil andAeran Amiouni Hamza al-Kholi Hala Abukhadra shareholders 83 shares sold($1,000/share) TOTAL 726.5 Najat Rizk Riad andRafaMourtada Sara SalemMohammadBinladen Amin el-Maghraby Salah Fustok bin AbdulazizAlSaud Abdullah bint Adila Princess HRH Sawsan Asfari in London ACEF Launch Avg shares/shareholder 8.8 OCTOBER

MAY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Anonymous Anonymous Suhail Sabbagh Gidon Kremer Huda Kimitto Zeena Jardaneh Rania andOmarAshur Malek andGailAntabi Danya Alhamrani andDaniaNassief Jawdat Shawwa Rana Sadik Omar Qattan Anonymous Rashad Khourshid Sherine Jafar Tafeeda andAliJarbawi Dina andAmine Jabali Mariam Farag andAugusto Costa Rula el-Alami Tayseer Barakat Yousef Asad al-SayehMarwan Fouad al-Khadra Walid al-Banawi Anonymous Luma andZade Zalatimo Hanan Sayed andSteve Worrell Paula MuellerandPhilippeSalomon Dania Sakka Hani Kalouti Anne-Dominique Janecek Sawsan Jafar Amr BenHalim Olfat al-MutlaqJuffali Taymoor Grahne Gregory Evans Omar Karkour Ali Hassanal-Husseini Boghossian Roberto Habib andLara Kairouz WIlliam J. Tyne Isaac Souede Omar Kodmani Carol N.Marshi Joslyn Barnes Pierre OlivierSarkozy Rami el-Nimr in Lebanon Make ArtPossible inDubai AFAC End ofYear Event Amr BenHalim in Dubai DECEMBER NOVEMBER MARCH APRIL 12 ACEF Investor Interview “You needalotofinitiatives Rami el-Nimer to accumulateinorder to were held last year to support and promote the edition first Bank in Lebanon. He is collector an experienced and art Rami el-Nimer is the General Manager of the First National a firm believera firm in the role and of culture arts in moving societies forward. He hosted one of the five fundraisers that of Creativity and the Arab Entrepreneurship Fund. create aculturalrenaissance” organization that is helping in spreading culture in I am a big supporter of AFAC because I see it as an What do you think of AFAC’s role in this context? see how this will evolve or what will come out of it. to yet are we and beginning the only It’s society. cultural projects that tackle pressing issues in our important creating and lead the taking finally are culture as a reaction to decades of oppression. They and arts towards heading are they today and long The younger generation has been oppressed for so on getting into the job market and making money. which, as I said, was financially driven and focused if you compare it to the generation that preceded it, arts and culture, and this is a new thing, especially can feel that the younger generation is interested in in photography, film, literature, visual arts, etc. You tural scene in the region. We are seeing initiatives Spring, which was an opportunity to revive the cul- Arab the by further pushed even was it and ago decade a around started change The happening. accumulation this seeing now Weare Definitely. Do youfeelthatthesituationischanging? create aculturalrenaissance. to order in accumulate to initiatives of lot a need Youup. pick really didn’t they but there, and here There were some cultural initiatives that sprouted busy extracting oil, so no one had time for the arts. were countries Gulf the and money, making and in the past decades. People were busy finding jobs Another reason is the economy, which was crushed. was ait didn’t, it priority when and agenda, litical po state’s the serve to had Culture movements. intellectual solid on built or organic than rather ern European countries where culture was directed, ments to serve their political agendas, like in East- Culture became a propaganda tool used by govern- decay. and decline total a witnessed culture Arab region, the across countries many in dictators of After the occupation of Palestine and the takeover and Iraq and other countries but it was short lived. the region. Of course there was the in culture and arts the of oppression total a been has there Empire, Ottoman the of fall the Since Arab regiontoday? the in scene culture the evaluate you do How nahda in Egypt - in theaudience. in a subtle and sarcastic way that touched everyone that did she But things. other amongst Palestine, in situation political the Ammar, Abou PLO, the personal story to delve into issues like martyrdom, daughter of a Palestinian martyr, and she uses her a as experience personal her on based is It great. really was thought I which play, latest Taha’s da Rae- by inspired very was I issue. certain a tackle should art that believe I but social, or ronmental envi- political, be can It impact. social to lead can causes. Iaminterestedinartthathasacauseand who are producing work that is dedicated to important artists of wave interesting really a There’s region today? What doyouthinkoftheculturaloutput us intheregion. around on going that’s violence the all with today especially mission, important an is This projects. young people to develop their artistic and cultural encouraging of goal the with individuals gressive pro- and cultured of group a by initiative an is It work. their disseminate and promote produce, to the region by providing the means for young artists cial impactintheArabregion. these cultural projects that are contributing to so- AFAClike institutions support to helping are that need we why is which region, the in culture push then its people are doomed. So now we’re trying to theater,proper watched or cinema proper seen er and interactions. If you have a society that has nev- experiences, histories, emotions, people’s of tion culture is worth nothing. Culture is the accumula- offer new perspectives. A society without arts and and understand, you help causes, different about awareness raise can It you. move can Art causes. certain towards directed it’s if especially ways, positive in society impact can art society.Great a to lot a do can culture and art doubt, a Without Do you think art and culture can change a society? 14 ACEF Investor Interview “Art isacreativeoutlet forartists Nayla Karkour architect is aSyrian enthusiast and art who lives Nayla Karkour to expresstheiranger, fearsand in the Arab regionin the Arab and their role as catalysts for social change. inception last year. We sat with her about to talk and culture arts in Damascus with the aim of creating aspace for cultural exchange frustrations. and dialogue. She has been aproud supporter of ACEF since its between Beirutbetween and Dubai. In 2009, she co-founded gallery an art ” Arab regiontoday? Arab Spring, people became more worried about about worried more became people Spring, Arab You’re a keen supporter of the arts in the region. region. the in arts the of supporter keen a You’re What wereyourinitialimpressionsonACEF? Can you tell us more about your experience in in experience your about more us tell you Can I was always interested in fine arts, and it was was it and arts, fine in interested always was I In the 1960s and 1970s there was an important important an was there 1970s and 1960s the In Entrepreneurship Fund]. I was really inspired by by inspired really was I Fund]. Entrepreneurship this about me told she and AFAC], at Manager [Grants Salah Racha by approached first was I How do you see the art and culture scene in the due to different economic, cultural, and political political and cultural, economic, different to due cultural renaissance going on, but then it stopped especially at this point in time that the Arab region different communities in the Arab region in dif- in region Arab the in communities different impact helping are projects supported different the how see to interesting also was it that, only introduce Middle Eastern artists, as well as Syrian interested insupportingACEF. is going through, and it’s one of the reasons I was something I wanted to study, but for different different for but study, to wanted I something support theinitiative. am still very much an advocate of arts and culture, and open to the public, but then in 2011 the events and hosted talks and discussions, which were free artists living abroad, to Syria. There was a cultural ferent ways. So I was prompted to take part and and part take to prompted was I So ways. ferent has increased and widened, but I think that after the that it would be an opportunity to rekindle my re- my rekindle to opportunity an be would it that that, I worked as a freelance architect in Syria, up to present ACEF.present to impressed so being remember I then attended a gathering that AFAC was hosting happened and we had to close it down. However, I center.cultural a like became lery We events held lationship with the art world. The objective was to her in Damascus. We are both art lovers and I felt her energy and passion for this new initiative. I initiative. new this for passion and energy her until 2009 when my friend Rafia asked me if I’d I’d if me asked Rafia friend my when 2009 until the artworld? reasons. In the past years, access to arts and culture reasons I ended up in architecture school. After After school. architecture in up ended I reasons revival happening at the time in Syria and the gal- new program called ACEF [Arab Creativity and and Creativity [Arab ACEF called program new be interested in co-founding an art gallery with with gallery art an co-founding in interested be by the quality of the works that were shown. Not shown. were that works the of quality the by YANTE in Palestine, where they go to villages and They help instill hope and show people, especially They say that you remember things better when you the in is create help can artists that change The It’s a creative outlet for them to express their anger, How do you think artistic projects can impact impact can projects artistic think you do How doesn’t let you see the whole picture. The good good The picture. whole the see you let doesn’t experience them using your senses. So projects like or engaging the senses and opening up the minds. by need a there’s conflict, of times these during situation going on in Syria, Palestine and elsewhere. a positiveimpact. para- it’s why is Which destruction. this all spite and see a different version of reality. Sometimes Sometimes reality. of version different a see and fears and frustrations. And there is important work artists to use art as a tool for expression – whether the younger generation, that there is a future de future a is there that generation, younger the thing about the ACEF projects is that they try to to try they that is projects ACEF the about thing and perspective, narrow-minded a has media the help these artists launch projects that are having having are that projects launch artists these help that are coming out of the Syrian revolution, help teach young people dance techniques, and the films their lives especially in the Levant, and the art scene has shifted more towards the Gulf states. However, mount to back initiatives like ACEF because they because ACEF like initiatives back to mount minds of the people, whether by creating awareness present a more holistic picture despite the bleak bleak the despite picture holistic more a present people open their minds, shift their perspectives, perspectives, their shift minds, their open people individuals orcommunitiesinconflictareas? being donenow. by painting, singing, dancing, acting, writing, etc. - 16 Males 17 between 1and5years old. tutions, with10ofthosegrants given to institutions institutional grants focusedonrelatively newinsti- uted betweenmenandwomenofallages. The 18 The 33individualgrantees are almostequallydistrib- photography, research, training andregional events. flm,music, arts, of literature, performing visualarts, In 2014,weinvested in50projects inthecategories THE PROJECTS of individuals age range Individuals’ 9 TOTAL

24-29 33

30-39 16 4 4 40-49

50+ Females 16 note One project hastwograntees age range Institutions’

1-5 11 4 6-15 Institutions 18 3 15+ 03 UK Mauritania 03 Morocco 07 France 01 Algeria 01 Tunisia 03 Lybia 02 local 22 sometimes to a global audience. while others reach out to the Arab region, or reach. ofthemcater Some to their local communities Each of the 50 projects differ in their scope and OUTREACH Egypt 03

regional 10 Palestine 05 Sudan Lebanon 02 07 Jordan 05 global Syria 03 18 Saudi Arabia 01 international countries. distributed in 18 different Arab and ACEF projects areThe 50 supported Yemen Iraq 01 Kuwait 01 01 projects mahjar 16% UAE 01 18 page 193—267 bring people together in order to tackle existing prob that initiatives participatory are They realms. their into audience the invite section this in projects The page 109—192 for different points of view to come together and im alternative solutions to existing problems and allow propose that projects ACEF on light sheds section for,hope a least This at future. or inspiring more a of, glimpse a us offers it so, doing By world. better provides a space for a group of people to imagine a it and creation, inspires it perspectives, new cover Imagination is a very powerful tool. It helps us dis- page 021—108 possi- document and uncover film documentary and photography in projects These today. region Arab the of aspects different about awareness ing creat- and them on light shedding issues, social uncover to aim projects These (ADPP). Program Photography Documentary Arab Program the and (ADP) Documentary AFAC’s from selected are book this of section first the in projects The cover through inspiring projects that reach out to to out reach that projects inspiring through cover re completely only can societies Arab action. take to them lead and activities engaging in part take to offer platforms that encourage various stakeholders lems and investigate their potential solutions. They - - - strong independent women in Yemen and Kuwait, in and landscape Morocco. social the Palestine, in births checkpoint Lebanon, in refugees Syrian as of ACEF-funded projects and discusses topics such section showcases and pinpoints the social impact some cases providing tools to overcome them. in This and region, Arab the in progress of way the in standing obstacles identifying also while bilities, agine a better future. It features music festivalsandpromotingArab culture. craftsmen in Morocco, to launching various art and serving traditional music in Mauritania, supporting the Lebanese community with its public spaces, pre section showcases This projectsplace. thatbetter a range fromworld engagingthe make and projects, allowing them to think freely, speak out, create new the different communities and bring people together, as awhole. archiving of audiovisual material in the Arab region digital and production the as well as Palestine, in ties community Dubai, in spaces public Libya, in as women’s sexuality in Egypt, political corruption literature, offering new perspectives on topics such photography, music, dance, contemporary art and projects in theater, dis un re - — — — cover cover cover 20 with financialefficiencyinordertomaximizeitssocialimpact. initiative manages to combine the progressiveness of regional philanthropy, this so, doing By development. social region’s the to contributes that way a in it refocused and model financial a adopted has ACEF works. it which in communities the of sustainability encourage further will (ACEF) Fund the fieldofartsandculture. in entrepreneurship and creativity of financing the for models new develop landscape in but MENA, we also intend to provide support to AFAC as they cultural the of development the in role important organization’s the of tive delivering social impact rather than financial return. on focused techniques financing of range broader a using new forms such as social investment and impact investment, similarevolutiontimeframethe philanthropyof embraceto development of creative economies. We have also seen over a of a healthy arts and culture ecosystem has been linked to the culture scene, it is only in more recentand timesarts the of that heart the theat fosteringbeen long has creativity Whilst Russell Prior, HeadofPhilanthropy, EMEA,HSBCPrivate Bank Sobhi Tabbara, MemberofGeneral Management, Entrepreneurship Creativity and A Partnership toBoost HSBC xAFAC We arepleasedtopartnerwithAFAC andsupportthisinitiative. Entrepreneurship and Creativity Arab the supporting that Webelieve Our decision to partner with AFAC on this important initiative is reflec- HSBC Private Bank un — cover

“Art holds a mirror up to society. Therefore, it is not surprising that there is such a long tradition of artists concerned with social justice. In fact, the artist who at some time has not wrestled with the theme of justice in society is an exception. It is not a question of whether art and social justice are connected, but, rather, the form and intensity of that connection.” Dudley Cocke Khalid Shamis The Colonel’s Stray Dogs 021 Amira al-Sharif Women with Fighting Spirits 026 Zara Samiry Tales of the Moroccan Amazons 034 Khaled Abdulwahed Jellyfish 042 Omar Imam Live Love Refugee 046 Samar Hazboun Beyond Checkpoints 054 Tamara Stepanyan Limbo 064 Hamada Elrasam Traces of Conflict 068 Yahya al-Abdallah The Council 076 Natalie Naccache Our Limbo 080 Faisal al-Fouzan Friday Gathering 088 Philip Rizk & Jasmina Metwaly Out on the Street 098 Eman Helal Just Stop 102

Khalid Shamis’s father is one of these men. For

Khalid Shamis the longest time he wanted to work on a film that FILM explores exile and homecoming through a move- Male 39 Y.O LIBYA ment that dedicated itself to a homeland that for decades was out of reach. The Colonel’s Stray Dogs is a feature documen- tary that embarks on an exploration of lives lived in exile, revolution and rebellion. Lives that from the outset manifested courage, determination and a dream. Memories are interwoven with archival im- ages acquired from a variety of formal and informal sources. The product is a biographical narrative, telling the story of a country, a movement and a dictator through that of men who lived on the edge and are now at the center of a new country with a revolution still in process.

What issues are you raising in your film? Opposition movements to dictators often have a starkly differing, and at times truer, account of history than the ones we think we know. I am in- terested in exploring the compromises that one has to make in order to fight the good fight. Where does family exist in this space when the fight for the freedom of the homeland carries foremost priority? How long does one hold out the candle of hope for THE COLONEL’S STRAY DOGS the freedom of their land? What happens when In 1981 seven exiled Libyan revolutionar- the land you fought for and regained very quickly ies gathered to form the National Front turns and rejects you? Does the expectation ever for the Salvation of Libya (NFSL). Their live up to the dream? main objective was to use armed war- Can answers to these questions help inform the fare against the regime and, for a while, it situation in Libya today? looked like they would succeed. Gadhafi An understanding of exile from the viewpoint that I set out to hunt them down and for the am proposing is extremely important for a country next 30 years they became his most dan- to understand in order to move on and take pos- itive steps towards a peaceful and fruitful future. gerous oppositional force—the stray The aim is not to make a propaganda film about dogs, he called them. the NFSL but to draw on the Front to access an After Gadhafi’s death, the members of the Front understanding of the Libyan opposition to Gadhafi. rushed back to Tripoli and Benghazi to help start Films that explore people and places in the Middle the new country. They took prominent positions East are integral to understanding this immensely within the transitional government but they soon varied and troubled region of the world. Through discovered that the dream of a free Libya quickly the making of this film, and collecting the accounts turned into a nightmare as the country descended of the men who started the NFSL, I seek to uncover into chaos. In a way, these men became caretakers a hidden history that will inform global opinion on of the mess Gadhafi left. Libya, while at the same time giving me insight into 22 Un — cover A big part of the film explores the 1980s and 1990s You’re also using a lot of archival material. What Was it easy to convince them to take part in in part take to them convince to easy it Was There were around 15 founding members and I am Some of them I already knew because I grew up up grew I because knew already I them of Some My father was the doorway into this world and he Libya now, whichaffectstheirpoliticalsituation. Front; they think that they are the cause for many of them were receptive to the idea. Some of them of Some idea. the to receptive were them of document. This is not solely a personal journey of ers agreed on the condition that they would discuss don’t have anymore) with my dad. But I’m trying I’m But dad. my with anymore) have don’t challenge because of the relationship they have (or controlling what. Some people are also unwilling unwilling also are people Some what. controlling of thecountry’s problemspost-Gadhafi. is anobligation. will inform us of the present and future states of of states future and present the of us inform will is: wasitworthit? it like to be in exile, what was it like to compromise ideas and that I really want to understand what was weren’t easytogetholdofbecausethedelicate youth. As a result, the film becomes a dual heritage when Gadhafi used the media as a mouthpiece for a of more was it others some With exile. in with a country in flux; and because of the access that I that access the of because and flux; in country a situation they’re in due to the current politics. Oth- focusing on six or seven of them. In principal most a lot of this old propaganda and turning it on its its on it turning and propaganda old this of lot a men. these of all with connection the facilitated that Libya – and myself now – find ourselves in, it have to these characters, and the circumstances circumstances the and characters, these to have their family and safety? One of my big questions questions big my of One safety? and family their to show them that I’m not biased towards my dad’s history and their point of view from that history, history, that from view of point their and history to cooperate because they have a problem with the this reflected in the media. You don’t know who is head to kind of show a different point of view. I’m his own regime. I am very interested in reclaiming the project? myself, rather it is an accounting of history, which my father’s double life in relation to my years as a now trying to source it but it’s hard to find. The The find. to hard it’s but it source to trying now politics in Libya are so fragmented and you can see because it’s tough for them to sit and talk about about talk and sit to them for tough it’s because role willithaveinthefilm? You’re also insisting on working with a local local a with working on insisting also You’re It has always been my intention to help nurture I’m hoping the film would give an insight into into insight an give would film the hoping I’m Finally, what do you hope your film would would film your hope you do what Finally, country since some characters do not live there. will I industry.that, the said of Having opment devel the to contribute help and ground the on crew and leave. I want to work with local people erations under dictators and outside the country cape talking about Libya today. If we understand grew up in London and now live in Cape Town Cape in live now and London in up grew crew… it’s so fragmented today. Libya today is not just you use the past to understand something about we are today. It’s a classic thing in documentary: also be working with people from outside the the outside from people with working be also and I definitely don’t want to come with a foreign and almost none of them lived under Gadhafi. I fragmented. There are a handful of filmmakers and alliances, and I’m trying to arrive at how gen also because of very complex political decisions a mess because of extremist Islamist groups, but arrive at a point where we could understand why the present. the Libyan filmmaking industry which is quite quite is which industry filmmaking Libyan the the history of Libya through these guys we could lives lived in exile but also we’re not going to es understand the country. If we understand our our understand we If country. the understand achieve? Expected completion:Spring2016 past we can have some kind of a glimpse of where “Films that explore people and are integral to understanding troubled region oftheworld.” this immenselyvaried and places intheMiddleEast - - - past wecanhavesome “If weunderstandour where wearetoday.” kind ofaglimpse 24 Un — cover 26 Un — cover DOCUMENTARY PHOTOGRAPHY WOMEN WITHFIGHTINGSPIRITS YEMEN Female Amira al-Sharif Sadiya holdinghermorning catch 32 Y.O to build connections and subsequently be able to to able be subsequently and connections build to she found herself photographing the men in order Often them. for repercussions any have wouldn’t the identities of the women so that the photographs get the men’s approvals, and subsequently to mask the most difficult aspect of the project has been to that admits She end. the in life her document and her to access gain to managed mentary, al-Sharif band and elderly sons towards the proposed docu- up tomen’ssubjugation. to inspire other women to be courageous and step important was out story her putting that believed was attracted to Sadiya’s courage and resilience and budged on her decision to keep hasn’t her land. she Al-Sharif but her, pressure to prison male a in days 50 for her imprisoned even They area. the in land due to the increasing demand for eco-tourism her up give to Sadiya harassing been has tribe a en children and many goats. For the past 14 years and now lives on the island with her husband, sev- there raised and born was Sadiya beaches. finest island’s the of one near land of piece a owns who Sadiya, called woman a met she where Socotra of one other than her family members to see her face. it is considered shameful for a woman to allow any- graphing a woman’s face is particularly difficult as photo fact, Yemeni In a life. showcase woman’s Women with Fighting Spirits Fighting with Women Aspart of her project entitled ment authorities. enforce- law and leaders tribal leaders, religiousby led structures archalsocial patri by perpetuated further is which tion as well as to a weak judicial system, ical, cultural and religious marginaliza- have suffered a great deal due to histor- women Yemeni own. their on it made tions of a male-dominated society, have conservativetraditions limitatheand facing despite Yemeniwho,for women al-Sharif lookingnalisthasbeen Amira Despite Despite an initial objection from Sadiya’s hus Al-Sharif’s research led her to the Yemeni island to tough often is it limitations, these Given photojour Yemeni Yemeni - - - - - mistreatment.” and discrimination against fighting are and fate They are courageous and do not readily accept their change. social a leading are Sadiya “Womenlike in her documentary. In the end, as al-Sharif puts it: footsteps of Sadiya as well as other women the in featuredfollow to women Yemeni other project the contributions womenmake,”sheasserts. essential the for appreciation and responsibility, the need for greater openness and equality, shared Yemeni women in order to stimulate a of discourse stories the on tell and uncover to important is “It en, and more empowered women around the world. places, like the ones she has photographed in Yem - conservative in women between bridge cultural a provides event the that believes photographer the as March in Day Women’s International on of thesewomen,”al-Sharifexplains. of all the obstacles that the society places in the face inherent dreams and achievements reached in spite femininity.beautiful and erful explore images My Yemeniin play pow- their capturing while society that aregenerallyreservedformen. powerful commitment to save her land, attributes expressions. facial her on relying without life her of story the The photographs show Sadiya in settings that tell language. Socotran the learning even and land, on Socotra, living with Sadiya, discovering the is- inspiring andpioneeringwomenontheisland. about learn to members community and guides religious and tribalsheikhs, to leaders, spoke localShe authorities,women. the touristto access get Ideally, al-Sharif would like to inspire through photos these showcase to was objective The “This documentary illustrates the role women Al-Sharif has so far spent more than 10 months The photos show her strength and and strength her show photos The 28 Un — cover she saysthattheChinese useformedicinalpurposes Sadiya inthecoral reef holdingablackseacreature, which 30 Un — cover Sadiya seenfishingandpreparing lunch 32 Un — cover 34 Un — cover DOCUMENTARY PHOTOGRAPHY which isoneoffewfemale troupes that practice theFantasia inMorocco Oumaima, 18,isamember ofthefemaletroupe Farisat al-Hawzia, TALES OFTHEMOROCCANAMAZON MOROCCO Female Zara Samiry 32 Y.O ticipation of female troupes is rare. The first troupe par the highlights that work Morocco, in known is anaspectaudiencesknowlittle about. the arrival of female troupes in the plores the evolution of this ancestral heritage since ex- that project a to research her turn to decided mission to Sultan Abd al-Rahman). After that she complished in 1832 during the French diplomatic of Eugene Delacroix depicting the depicting Delacroix Eugene of paintings Orientalist the discovered and queen, warrior Berber century seventh a Kahina, about of theTbourida. aspect feminine this by fascinated herself found soon she and hooked, was Samiry art. equestrian heard talking about her troupe and her love for this be could voice female a until attention much pay the about reportage Moroccan households, when she heard yet another was running in the background, like in virtually all TV the while members family visiting remembers honouring the saints. Photojournalist Zara Samiry festivals the and competitions male the on ments seg- small in hour news at television on features horsemen on with “ on with horsemen in the audience to welcome be and cheerwould Women the men. of domain the been long has it nature physical very and dangerous its to Due art. military equestrian Arab-Berber of remains the mock-attackscelebrateandwarriors by simulate that performances equestrian of a secular heritage: it defines traditional da through the mainly try still maintains a horse-riding culture, ing in contemporary Morocco, the coun While cavalier traditions are disappear lish themselves in a once patriarchal warrior tradition.these down: horsewomen, modern-day Amazons, attempt to estab upside traditions turning been have ). “La Fantasia” is the modern version Although She began her research and later found out out found later and research her began She Fantasia women Moroccan young now, years few a For is part of Moroccan culture and often Fantasia Fantasiadidn’t she which to , youyous is hugely vivacious and and vivacious hugely is Fantasia ” (ululations). Tbourida, which (or Tbouri Fantasia (ac ------an amazon.” woman through her cultural heritage: that of being of all to showcase the singularity of the Moroccan cent colors that Morocco is renowned for and most the beauty of this secular tradition, those magnifi- I felt when I first discovered the feminine Fantasia inMorocco. run she will be able to compile a book on the female tions and publications, and hopes that in the long aspect of this tradition known by means of exhibi Arab woman as portrayed by the media to emerge. sometimes-victimized the of image different a for sition at the heart of Moroccan society and to allow ject lies in showcasing the evolution of women’s po trust,” shesays. mutual establish to order in project the of course the during taken had I images the them showed I course of and photographs take to freedom plete com- had I farm. troupe’s the of head the at night the spending remember I connect. to easy was It tional level and to get it recognized at the local level. feminine aspect of the the get to means good very a as saw they which portraits ofyoungwomeninthetroupe. her. She documented their everyday with lives and took work to al-Hawziya Farisat called troupe a convince to managed then She reduced. largely was research her for allotted time the summer, during place takes only that activity seasonal a is necessary.where look to able this given that Also, be to order in master to has one that jargon own information on the female and evenmoresoonaninternationallevel. unrecognized and little unknown by local audiences in Morocco. The female exclusively female an troupebefore emerged2002 to inback Mohammediadates cavaliers mixed of “I wish to share with the audience this passion feminine tradition’s this make to wants She Samiry believes that the importance of this pro- “The horsewomen were receptive to my project, much find couldn’t Samiry beginning, the In Fantasia known at interna- Fantasia, however, is still Fantasia, which has its Tbourida, - - 36 Un — cover single detonation perfectly synchronized andendwith a perfectshotin tents). Throughout theperformance, theriders muststay a male-dominatedpublicsittingincaïdales tents(Moroccan enemy, andfire asalvoofshots.Afewmeters infront ofthemis across thefield,inperfectalignmentfacinganimaginary During theshow, theriders andtheir Arab-Barb horses gallop 38 Un — cover showcases the evolution society andallowsfora portrayed bythe media of women’spositionat the heartofMoroccan sometimes-victimized different imageofthe “This reportage Arab womanas to emerge.” 40 Un — cover by hergrandfather She isanexperiencedrider, whowastaughttheFantasia Bouchra isthechiefofFarisat al-Hawziyatroupe. away from Rabat belongs tothechiefoftroupe (wearingred), afewkilometers Members oftheFarisat al-Hawziatroupe inthefarmthat 46 Un — cover DOCUMENTARY PHOTOGRAPHY with him. They suspected him to be another one of connection because they were resistant to cooperate Beirut. At first he found it really hard to establish a as well as to Syrian refugees living in apartments in camps across Lebanon, mostly in the Bekaa Valley, of Syrian refugees in the country quadru country the in refugees Syrian of number the seen has Imam Omar ago, years two Lebanon to moved he Since LIVE LOVEREFUGEE SYRIA Male Omar Imam the country. in lives new their to relating explore to in Lebanon, there are many more angles to the Syrian refugees, especially the ones refugees. He believes that when it comes these situationsemotionalof the into er these and stereotypes decided to dig deep of tired himself,really became and Syrian and UN aid. Imam, who is a photographer desperate people in need of food, money as refugees these portray to attempted Along with this came a new narrativeple as the conflict in Syria has worsened.that His research has led him to various refugee refugee various to him led has research His 35 Y.O - -

on ahumanlevel. their stories, and, importantly, connect with them with these refugees, know their names, learn about without howeverundermining the truth. manner, accessible visually a in reality express to order in techniques imaginative employing is he develop a new visual representation. In his project refugees, the photographer felt there was a needSyrian to on narratives stereotyping of abundance over the as well as cases the of most of intensity fears, and dreams,” Imam explains. Also, given the ugees, to help us understand their hallucinations, ref- the of state psychological the with connect to of themselvesandtheirsituations. understanding better a form to them allowed has bering what they’ve gone through and perhaps this their stories, and by doing so they started remem- voice and out speak up, open to them for avenue selves in the process. He believes that it created an for his project, it has also helped the refugees them- insights uncover him help to intended was search moved thephotographer. that way a in life his of details intimate the on ing dwell- Imam, to up opened man the and met they only take place between the two of them alone. So to meet with him on the condition that the meeting about Imam’s visits to the camp and was interested quite recover from the shock. The man then heard son died in a car accident in Syria and he couldn’t His anyone. to speak to refusing tent own his of several times and has now confided to the privacy suicide committing tried man The Bekaa. the in camps refugee the of one in lives who man old an their trust. with them and by doing so he succeeded in gaining ging. What he did however was start a conversation them to present themselves as desperate and beg- happy when they’re clearly not. He also didn’t ask camera. He didn’t ask them to lie, to say that they’rehis of front in stood they when dignity their aside put to them ask didn’t He different. actually was he that realized they soon But narratives. clichéd those photographers coming to them to recycle the Ideally he would like the audiences to engage engage to audiences the like would he Ideally us helps that image new a be to needs “There re the while that Interestingly,thinks Imam There is one story Imam likes to recount about - 48 Un — cover 50 Un — cover refugees inLebanon of total numberof 9.2% Akkar SYRIAN REFUGEES UNHCR Figures as ofApril2015 108 381 26 986 TOTAL TOTAL number ofhouseholds number ofSyrianrefugees 52 Un — cover refugees inLebanon of total numberof 33.2% 94 232 416 127 Bekaa Valley SYRIAN REFUGEES UNHCR Figures as ofApril2015 TOTAL TOTAL number ofhouseholds number ofSyrianrefugees 54 Un — cover DOCUMENTARY PHOTOGRAPHY According According to the World Health Organiza 2006. BEYOND CHECKPOINTS PALESTINE Female Samar Hazboun B is shared between Palestine and Israel ly under Israeli authority and Palestin and Israeliauthorityunder ly ians are not allowed to enter the area). tion, at least 69 women have given birth at Israeli checkpoints between 2000 and and 2000 between checkpoints Israeli at falls under Palestinian Authority (Area (Area Authority Palestinian under falls in the Middle East, how can they allow a woman in mostly in Area A, which A, mostly is in the Area area that but Israeli law applies; Area C falls strict falls C Area applies; law Israeli but labor to give birth in front of them while they just they while them of front in birth give to labor lieve them. “Israelis claim to be the only democracy nalist, heard about these stories she couldn’t be couldn’t she stories these about heard nalist, When Samar Hazboun, a Palestinian photojur

These incidents still happen today, 29 Y.O - - - - - other side of the checkpoint to reach the nearest nearest the reach to checkpoint the of side other issue, hoping that documenting these injustices injustices these documenting that hoping issue, would raise awareness about the issue and in the the in and issue the about awareness raise would watch on?” she exclaims. Women in labor are left stop thesecriminalities. some cases, the baby’s death certificate. Out of all focate due to the extreme tension the women are are women the tension extreme the to due focate the surviving babies, and objects the mothers have to Israel on pressure international put run long hospital. the cases Hazboun has researched, only two babies in and toys, or clothes like babies their for kept have survived. The causes of death vary: some suf- put in, a drop in the baby’s body temperature due bleeding heavily and not allowed to cross to the the to cross to allowed not and heavily bleeding The photos includes portraits of the women, women, the of portraits includes photos The Hazboun decided to research and explore this “There are indeed so many cases that it’s hard to to hard it’s that cases many so indeed are “There Also, the time she spent researching the project project the researching spent she time the Also, I was interviewing a family and the husband started Israeli prisons, she received threats and hate mail. crying. It’s so tough to see a man cry. At the end of in children Palestinian detained of experiences only agreed to speak with her without having their er families were scared of vocalizing their story and of time had passed since their babies had died. Oth- obtain a perfect a shot. She also photographed the coverage. For obvious reasons, she couldn’t get a get couldn’t she Forreasons, coverage. obvious on the subject mainly because it has received scant checkpoint, unhygienicsituations,amongothers. is a photographer today because a massive pho massive a because today photographer a is it felt like talking about it was a relief for them – them for relief a was it about talking like felt it it helpless, feel you makes just it you, of front in in Bethlehem and the checkpoints before she could in January 2014, she couldn’t find a lot of material viewed, nine are present in the final documentation. when she first knocked on their doors because a lot are needed. “It doesn’t bother me that everybody everybody that me bother doesn’t “It needed. are sidered a demographic threat to the Israelis, actions found guilty. families was important to them. A lot of the times crying starts man a When strong. be to supposed tographic archive in Palestine has been destroyed families inside their homes. Some were surprised were Some homes. their inside families like preventing them from giving birth seem to be let alone legal rights. No soldier was prosectued or they needed to speak out. None of the families has the day, we live in a patriarchal society and men are ting the project out there. When she published her hasn’t been easy on her. “There was one time when to cold, a delay in reaching the other side of the the of side other the reaching in delay a cold, to had to traverse the long distance between her house received any kind of medical or psychological help, part of a systematic strategy to erase Palestinians. previous project, which documented the horrific horrific the documented which project, previous photos taken. Out of the many families she inter she families many the of Out taken. photos permit to shoot at a checkpoint and many times she believe it’samerecoincidence,” shenotes. breaks somethinginsideofyou,”shesays. Which is why more projects like her project project her like projects more why is Which When Hazboun started researching the project On the flip side, she says that speaking to these In her opinion, since the Palestinians are con are Palestinians the since opinion, her In Hazboun confesses that she is scared of put of scared is she that confesses Hazboun - - - - veryimportant.” She hopes that once she publishes the work, it will can exertonIsraeltostopitsinjustices.” importance of photography as a proof of things things of proof a as photography of importance general, and I want to encourage more people to to people more encourage to want I and general, a proper archive for the future. Researchers and and Researchers future. the for archive proper a have we that sure make to have We stolen. and that happened. I hope to inspire other people people are things these other because initiatives such take to inspire to hope I happened. that and the more people know,we people pressure more more the and talk about these things, because the more we talk we more the because things, these about talk in Palestinians or children women, on it be tions, restric- these all to end an want I checkpoints, to end an want policy, I in change a know,want to I help raise awareness on the issue. “I want people want “I issue. the on awareness raise help people to work together and understand the the understand and together work to people more for there out initiative an put will project my hope I together. work to need photographers “I hopemyproject willputan Hazboun is now in the final stages of the project. a proof ofthingsthathappened.” importance ofphotographyimportance as initiative out there formore people to worktogether andunderstandthe number of women who have given birth number ofwomenwhohave given birth at Israeli checkpointsbetween 2000 and2006 TOTAL 69

56 Un — cover archive forthefuture.” We havetomakesure a photographertoday that wehavea proper photographic archive destroyed and stolen. in Palestine hasbeen me thateverybodyis because amassive “It doesn’tbother 58 Un — cover objects thatbearwitness toaslowlyfadinghistory. grief, andthesadtruth thatallremains from these tragedies are mere their secondarycharacters. Theproject isanintersection ofmemory, loss, images beyondwhatisusuallyseen,inviting themtoexplore storiesthrough ed event.Theyaimtointroduce personal narratives bytakingtheviewerinto worn. Theseelementsare inanimatewitnessestoanotherwise undocument- belongings, likepremature deathcertificatesorbabyclothesthatwere never checkpoints. Thephotographer pairs portraits ofhersubjectswithrelevant Samar Hazboun'sproject explores aseriesofbirthsthattookplaceat 02 has researched out ofthemanycasesHazboun number ofbabiesthathave survived TOTAL 60 Un — cover 62 Un — cover 64 Un — cover FILM Tamara Armenia at age 12 for Lebanon, before immigrating After all, an Armenian exile herself, she shared their Three years ago, as Tamara Stepanyan was Stepanyan were crammed into an enclosed garden garden enclosed an into crammed were She was very familiar with this sense of transition, Stepanyan remembers. Her heart broke at the sight. leaving the train station at Lyon-Perrache, at Lyon-Perrache, station train the leaving and living in tents. They were asylum asylum were They tents. in living and astounding sight. Hundreds of Armenians going from one place to another in search of home. followinguntilthemsheencountered an decision on their legal status. now awaiting the French government’s government’s French the awaiting now she heard familiar sounds. She started started She sounds. familiar heard she seekers who have fled andArmenia were abuse of Stalinist rule, the collapse of the Soviet Soviet the of collapse the rule, Stalinist of abuse to Denmark and then to France where she now now she where France to then and Denmark to today people escape to run away from the adverse Female resides with her French husband and daughter. daughter. and husband French her with resides happen,” to something for waiting space mined regime and the anarchy that soon followed. But But followed. soon that anarchy the and regime century, 20th the of genocide first the reasons: political and economic conditions plaguing the the plaguing conditions economic and political pain, the pain of the displaced. The filmmaker left LIMBO FRANCE “People were floating around in an undeter an in around floating were “People The Armenian diaspora exists due to various various to due exists diaspora Armenian The 32 Y.O - “Waiting creates both solidarity and dissension,” dissension,” and solidarity both creates “Waiting Then begins a long process of waiting. Some asy- Some waiting. of process long a begins Then In fact, of all the families the filmmaker spoke to, to, spoke filmmaker the families the all of fact, In one more time, and if they’re rejected again they they again rejected they’re if and time, more one only one was granted entry. Those rejected can try cases she encountered were denied legal status status legal denied were encountered she cases only gives them the right to be on the land before land the on be to right the them gives only or hell. In the asylum seekers’ case, since the state chance, at the whims of smugglers (some of them by France in landed have them of lot A country. of them suffer from illness (cancer, disability, etc.), cially since most of them have traveled as families. its decision. According to Stepanyan, 90% of the the of 90% Stepanyan, to According decision. its in Europe, they surrender themselves to the state. the to themselves surrender they Europe, in which isaptlynamedLimbo,aboutwaiting. interested in the group dynamics that emerge, espe was dormant,” the director explains. She is also also is She explains. director the dormant,” was waiting has revealed the sickness which previously since Armenia is listed as a ‘safe country’, which which country’, ‘safe a as listed is Armenia since asylum seekers’ struggle. In fact her entire film, film, entire her fact In struggle. seekers’ asylum automatically becomeillegal. shot at the homes of the subjects, precarious loca- and the streets, where asylum seekers have piled piled have seekers asylum where streets, the and as if they have endured exile in their flesh, as if the she pointsout. the court makes its verdict, Limbo becomes this becomes Limbo verdict, its makes court the lum seekers live in this state of transition for several they’re heading). All of them are lured by the pros- tions like hotel rooms, slums, squatter settlements, is It wander. characters the where journey tween their daily activities. I also want to capture how the their before waiting, of place brutal unidentified, how these bodies are struggling. Strangely many many Strangely struggling. are bodies these how up allthatremainsoftheirformerlives. means that France has no right to give them papers. months, sometimes years, before the court makes new lifecanbegin. people wait before they are sent to either heaven heaven either to sent are they before wait people pects and dreams of a better life away from Armenia. ploration of a state of being. It is an intimate in-be- board on ships without even knowing to where where to knowing even without ships on board body is waiting patiently, how these bodies roam, roam, bodies these patiently, how waiting is body “I will observe them at home as they go about about go they as home at them observe will “I As soon as they arrive in France, or elsewhere or France, in arrive they as soon As Limbo is a documentary dedicated to the ex Stepanyan was interested in this phase of the the of phase this in interested was Stepanyan In ancient literature, ‘Limbo’ is a space where - - 66 Un — cover According to the director, many exiles that had fled film Limbo.” Harbor. Marseille is a half-real, half-imaginary city, emotions when they discovered the Château d’If, d’If, Château the discovered they when emotions city that speaks to our imagination because we all of immigration. The city, nestled between the Med- our cries, worries, sadness, and happiness. As far As happiness. and sadness, worries, cries, our care humanly about somebody who needs it, es it, needs who somebody about humanly care to important very It’s reasons. administrative or out in the city because they don’t have legal status iterranean and the hills, embodies an in-between in-between an embodies hills, the and iterranean what they’re enduring,” she explains. Stepanyan Stepanyan explains. she enduring,” they’re what with people how these asylum seekers are living and space open over the horizon. Fittingly, it is also a also Fittingly, is horizon. it the over open space history long a has and time long a for crossroad a as this documentary is concerned, I want to share a city made up of all the communities it welcomes: feeling that I’ve become someone they can talk to talk can they someone become I’ve that feeling a have I language. the know even don’t they and that it was just a few minutes by boat from the Old a is “This Marseille. in arrived genocide 1915 the to make them feel what we feel, to let them hear hear them let to feel, we what feel them make to sometimes time, about talk to place perfect the kind ofchangetothesepeople. hopes that by doing so she could help bring some takes place. Marseille’s very geography and topog film the where location the be will tary, Marseille ture—and inspiration—for Stepanyan’s documen nian asylum seekers I met here told me about their read raphy evoke the idea of transit. Marseille has been precise and open to waiting, the perfect place to to place perfect the waiting, to open and precise place that is closely linked to Armenian history. history. Armenian to linked closely is that place pecially these people who are stuck, they can’t go can’t they stuck, are who people these pecially because I care to listen to them without any political “Some asylum seekers think I am a psychologist “I will observe themathomeas “I willobserve The camera willhave aninvisible “When we make films we want to touch people, While Lyon provided the initial point of depar want to shoot,whilelookingat the fail to express.” they goabouttheirdailyactivities. bodies, whatthewords sometimes presence, asifIamnotthere. Ialso in school. All Arme All The Count school. of Monte Cristo in - - - - - “Every time I make a documentary, I say that it’s it’s that say I documentary, a make I time “Every Aristophanes, Virgil, and Dante will be established concedes that documentaries are tough business. business. tough are documentaries that concedes she However, film. the comes Later other. each will come back regularly in the film. It will be like be will It film. the in regularly back come will yan plans on using texts that evoke limbo. These These limbo. evoke that texts using on plans yan sea will become a visual and narrative pattern that and share their stories with.” Some have even asked adapt to this space, letting herself be guided by by guided be herself letting space, this to adapt the seaispointofnoreturn. to and world, better a seeking here arrived have their movements, their gestures, their looks. The The looks. their gestures, their movements, their to them leave will she Here, home. their find to Homer,like tales classic from drawn mostly texts, the last time, because I give it too much of myself.” taking, of sharing love and feelings and caring for her totranslatetheirpaperwork. her characters are on a shore waiting to embark, embark, to waiting shore a on are characters her most of them, regardless of what the court decides, man being. They’re full of moments of giving and Expected completion:early2016 breathing, punctuation, rhythm. After all, they all by a voiceover and accompanied by shots of the sea. ToStepan- characters, her of state the express Documentaries force you to care about a hu- a about care to you force Documentaries Like the souls of the dead in Homer and Virgil, cries, worries, sadness, them feelwhatwefeel, “When wemakefilms to letthemhear our we wanttotouch and happiness.” people, tomake number asylumapplicationsfrom stateless people received by Europe in2014 436 000 TOTAL 68 Un — cover DOCUMENTARY PHOTOGRAPHY tions like revenge, which is what a lot of families do. situations, instead of feeding in them violent emo- these in kids with deal to how know to important emotionally and mentally. He says that it extremely is looking at how these incidents affect the kids both died in violent protests and other street clashes. He had fathers whose children the on focusing is am or, which he has received the ADPP grant for, Elras- violent andrevengeful,”heexplains. is that generation a breed also will it and blood, that says that blood shedding will only lead to more ma on kids. “The objective is to put out a message emotional and mental effects of post-conflict trau- three years in his country. The project explores the past the in shed was blood much how witnessed he after topic this on work to interested was He cuses on the youth who are affected by the conflict. of young Egyptians, but the divide be divide the but Egyptians, young of minds and hearts the in deep lives still freedom for yearning the Revolution, Egyptian the after years three Nearly TRACES OFCONFLICT EGYPT Male Elrasam Hamada is worsening. gious groups is widening and the conflict tweenthe different political and reli For the first series of this photographic endeav photographic this of series first the For fo project photographic Elrasam’s Hamada 28 Y.O - - - - work withtheir children onfixingit. that it’s a big problem instead of dismissing it, and understand kids affected the of parents the when stage a reach to Finally, hopes kids. he their treat to how know can they that so parents affected the amongst especially it, about awareness raise and problem the of extent the audiences show to ing view thisissue. to sense an impact on them, especially in how they starting slowly is he them, with issue this cussing dis- and time, spending subjects, his meeting by However, forth. so and games video violent play kids the when reinforced also is This revenge. to make the situation worse by feeding in them the will their children to see a psychologist. Some families send to willing alone let or that, of aware were to ing, singing, etc., but none of the families he spoke spend their time doing activities like sports, draw- that thekidsinthesesituationsoftraumaneedto contrary, says the he On exclaims. he shots!” tric elec with even or chemicals with them treat will psychologists think people “Some psychologists. there’s ageneralfearofandmisconceptionabout gion, there’s no awareness about this issue. In fact, of that in order to know how to treat their children. adult’s, and therefore the parents need to be aware a kids’ reaction to trauma is very different from an tions. One of the things he learned from her is that led a campaign to help kids in post-traumatic situa- with psychologist Eman Gaber, who has previously effective visual narratives. To do so, he is working and powerful deliver to able be to order in stories the psychological dimension associated with these street expression. as well, as seen through graffiti and other forms of street the on out playing is conflict the how show ages with street photography because he wants to im these juxtaposing also is He lives. daily their families inside their houses and as they the went of about photos and subjects his of portraits taken for.has looking He is he result visual the reached hasn’t he because more for looking still is he but When he launches the project, Elrasam is hop- re- Arab the in generally more and Egypt, In understand to needs he that aware also is He Elrasam has so far photographed nine families - - 70 Un — cover 72 Un — cover 74 Un — cover 76 Un — cover FILM Yahya al-Abdallah’s documentary documentary al-Abdallah’s Yahya Council Palestinian primary UNRWA school school UNRWA primary Palestinian JORDAN Male Yahya al-Abdallah I taught at private and public schools in Jordan Jordan in schools public and private at taught I in Jordan. First of all, why did you choose to focus on a on focus to choose you did why all, of First do something about these issues. I tried for three for tried I issues. these about something do of theacademic yearuntiltheendofyear. in the educational levels between the two sys two the between levels educational the in dents running for student council in a in council student for running dents UNRWA accepted that I film at a primary school in years togetapermissionfilm atpublicschools schools. I followed the student’s from the beginning a Palestinian refugee camp. It’s the same problem discrepancies the witnessed and years seven for tems. Then I decided to leave teaching and try to to try and teaching leave to decided I Then tems. have national ID’s like the kids in Jordanian public really; the only difference is that the kids there don’t but they didn’t grant me access. Up until the the until Up access. me grant didn’t they but refugee camp? THE COUNCIL tells the story of two young stu 36 Y.O The The - - What aretheissuesyouraiseinfilm? In the film I raise three main issues, which apply apply which issues, main three raise I film the In critical age. The third is about the separation be- separation the about is third The age. critical important issue that also affects the first two—the watching the girls during the school recess as if if as recess school the during girls the watching a result of that separation between the sexes and and sexes the between separation that of result a safety and the skills—as well as the relationship relationship the as well skills—as the and safety are really safe at school. The second issue is about the wayeachsex looksattheother. the headmistress are in constant disagreement as they were watching a movie, and the principal and the problemscomefromthisseparation. tween the boys and the girls, which I think is a really this at receiving are students the skills of type the to anypublicschoolinJordan. up the wall of the school and eat popcorn while while popcorn eat and school the of wall the up monitor the problem from the start. Boys climb climb Boys start. the from problem the monitor boys and an afternoon shift for the girls, so I could between a man and a woman. I think that most of The first is the safety issue. I ask if our kids kids our if ask I issue. safety the is first The I chose a school that has morning shifts for for shifts morning has that school a chose I You also seem to touch upon issues like corruption… like issues upon touch to seem also You Were thereotherproblemsyounoticed? When I lived in that school for one year I became I year one for school that in lived I When When I first arrived at the school, there were two were there school, the at arrived first I When Documentaries help us in presenting pertinent pertinent presenting in us help Documentaries How can a film like only find two doing their duties toward those who occupied with serving the interests of his family at one candidate who often lacks the necessary skills Voice”of “One structure the of up breaks law exchange ofauthority. elections are linked to the society and their families. of important things that I thought needed to be in general public’s attention towards them. The film in Jordan, especially the laws by which the Jordani- indirectly raises the problem of the political system the point and questions raise to order in issues indirectly show me that the school is not responsi- when the student said that his father is a herdsman, see in the film, from all 40 candidates at school we and job father’s his of nature the about student society and enables every family or clan to produce for the civil representation in parliament. This leads an Parliament is formed. The Kingdom’s adoption assaulted the other one and the principal wanted to students at the principal’s office. One of them had there are also issues of classism even when they all to tell me that the reason behind the student’s vio- the principal looked at me in a such way as though the expense of the community. That is what we will pre- becomes candidate the because corruption to inevitable an is Classism camp. same the in live lence has just been justified. Only then I knew that assaulting the asked he So belong. students the the movie. We also see the level of violence that is the difficultrealityitshedslighton? result of the societies in which there is no peaceful prevalent in that community and how the students’ part of the community and started discovering a lot ble for that violence, but the social class to which to class social the but violence, that for ble “Documentaries helpusinpresenting questions andpointthegeneral public’s attentiontowards them.” issuesinorder to raisepertinent The Council help in changing filming by myself; I didn’t have a crew to interrupt I spent one month with the students before filming How wastheresponseamongstudents? dents didn’t pay much attention to it. Also I was was I Also it. to attention much pay didn’t dents on showingitthereinthenearfuture. was, and that it was installed on my chest, the stu- with her the cost of the film projector. But I plan plan I But projector. film the of cost the her with was supposed to show and hid the key, because the a natural way and they treated me like I was one of so it helped me become part of their community in screening the film at the school was positive and and positive was school the at film the screening after response girls’ The girls. for shift afternoon she said could have a negative image on the school, the publicoverpersonalinterest. their teachers. Also, given how small the camera camera the small how given Also, teachers. their that has two shifts, a morning shift for boys and an the flow. have elected them; they are the only ones who chose they were happy to see themselves on screen. The ter fromalockedcontainer. like the scene when the students tried drinking wa that scenes the of some on objected headmistress headmistress had locked the library where the film principal of the boys’ school didn’t agree to share Special mention FILM FESTIVAL DUBAI INTL As I mentioned the film was shot at a school school a at shot was film the mentioned I As I couldn’t show the film to the boys because the Final CutAward FILM FESTIVAL VENICE - 78 Un — cover 80 Un — cover DOCUMENTARY PHOTOGRAPHY a common friend. The girl then introduced Nacintroduced then girl The friend. common a through Beirut in girl Syrian a to connected got story,” shesays. human a it’s politicized; not It’s displaced. the at looking of way different a is “It home. a buy can money if question to wants she Ultimately stable. financially being whilst refugee a be like is it how to relate to audiences like would She Lebanon. in refugees continue to live with anthese the unwelcomeas and of stigmadrastically map changing is East Middle political the when time a at Beirut in up growing are refugees Syrian well-off how Syrian war happened and their plans were halted. their families after their graduations, but then the to Syria to back going of plans had They studies. came together to then Beirut toand complete their Damascus graduate in raised and born all were cache to her group of five friends. The Syrian girls As a photojournalist working for the OUR LIMBO LEBANON Female Natalie Naccache social classes. clude those belonging to mid and upper ex-and backgrounds socioeconomic er low from refugees on focus signments soon realized though that all of these as She Lebanon. in refugees Syrian cover to assignments of lot a gets Naccache Times York She began working on the project after she she after project the on working began She project, her In and Independent 25 Y.O , she aims to show show to aims she Limbo, Our , Natalie Natalie , New - - - to akindersociety.” tolerance, tolerance to leads to leads peace, and peace understanding leads understanding, to leads “Empathy it: puts she as because, home, back go photos will empathize with these refugees who cant desires andvalues. their dignity with convey to seek and homeland, their of out forced being against resilience their nal, andportraits. home videos from Syria, an Instagram feed, a jour including piece, multi-media a be will project the of outcome final The explains. she lives,” private their into peaks it because subjects the to nected even a journal. “A journal makes you feel more con experiment with new media like video, audio, and out from the traditional photographic medium and for example?” she asks. This has led her to branch past, the for yearning the visualize you do “How difficult. so is through going are girls these what because project this in visualize to hard are that new country. a in life new a to adapt to trying while there, ories home and the yearnings for Syria and for the mem- go to able being not of effects psychological the on in zones and girls displaced these of story the tells documentary Naccache’s world. the around countries different six in scattered are they Now Naccache hopes that people who will see the the see will who people that hopes Naccache feelings, girls’ the communicate photos The Naccache felt that there are so many emotions - - to tolerance,tolerance understanding leads and peaceleads to to understanding, a kindersociety.” “Empathy leads leads topeace, 82 Un — cover 84 Un — cover dead inside.Iclosemy eyesandwishthatthisisn'treality.” this war, Ihave lostapartofwhoIam.I'mnotused to beingso was togobackher hometownDamascusandfindwork."In Syria's war. Althoughshewenttouniversity inBeirut,herplan Tala, 23,holdsoneofher paintingsthatshemadeinresponse to 86 Un — cover refugees inLebanon of total numberof 2.8% Beirut SYRIAN REFUGEES so Idon'tfeelitasmuch." "I'm notreally here, Igotowork,comeback,eat, sleep Nadia, 23,from Damascusinherapartment inDubai. BOTTOM LEFT UNHCR Figures asofApril2015 9 578 32 535 TOTAL TOTAL number ofhouseholds number ofSyrianrefugees 88 Un — cover DOCUMENTARY PHOTOGRAPHY FRIDAY GATHERING KUWAIT Male Faisal al-Fouzan shift atacarrepair shop Raja, 30,from Rajasthan, India,sleepingbefore his12-hours labor and service workers majority beinglow income manual population are expats,with the More thantwo-thirds ofKuwait’s 31 Y.O ing to achieve with the project, and then he took took he then and project, the with achieve to ing to explain what he was doing and what he was hop- times many them visited He him. themselves—to houses—and their up a opened took they it before and while trust their gain to had tographer pho- The moment. any at deportation of afraid constantly are who illegally, reside that workers an of numbers large are there Also like them. to intruder seemed he and country down, them the let of has that citizen a is himself so he more even because camera, his of front in normally act or up open to afraid generally were subjects living conditionsareinhuman. the where accommodations, ramshackle dense, shabby,highly are constructed, spaces poorly ing miserable situations these workers live in. The liv- the show to aim photos His inhabit. they spaces living communal the world, worker’s the enter to see thelight. to yet are cities these well, as countries Gulf all almost in prevalent is need this though and city suggestions have been made on building a worker’s failed in coming up with a decent solution. Feeble has parliament and action effective taking in tant long time, the Kuwaiti government has been hesi- he notes. Although this issue has been around for a keep it running, they turn our dreams into reality,” and city our build who workers the are they jects, at the core of construction and developmental pro- workers, restaurant waiters, mechanics…They are construction boys, tea the they’re – basis daily a on people these with deal we us; of all to speaks into it. deep dug really has one no that thinks al-Fouzan but before lot a about talked and more generally in the Gulf, has been Kuwait, in workers blue-collar of issue The Kuwait. in workers migrant come to aims of low-in landscapes uncover social the who al-Fouzan, Faisal pher Kuwaititographyphotograbyproject Friday Gathering In the beginning, al-Fouzan says that the the that says al-Fouzan beginning, the In wanted al-Fouzan objectives, his Toachieve it although issue this overlook to tend “We is a documentary pho is a documentary - - - the longrun.” we can make changes that are really meaningful in baby steps, they’re small changes, but step by step ones that will most likely create impact. These are the are and instagram, on active are galleries, to go they open-minded, is generation “This them. towards kindness and compassion more trigger the realities of these workers in order to hopefully to generation younger the of eyes the open to is however, achieve, to hopes he What term. short the in not policy,least in at change a to lead will complement thefindings. to accommodations visited the from installation of photos as well as a separate audio and furniture exhibition, which will include a comprehensive set 150 workers. ing at the workers’ accommodations and spoke to shoot- hours 200 than more spent has He itants. inhab- the between interaction the and practices, and faiths diverse their of signs belongings, their of details in zoomed meals, bathrooms, rooms, chitecture, the living environment, their routines, ar the of photos took he There Kuwait. in expats Farwaniya –whichhousemostofthelow-income and Hawalli City, Kuwait – governorate three in visualize whathewastalkingabout. back and showed them the prints so that they could some pictures of them, printed them out and came Al-Fouzan does not believe that his project project his that believe not does Al-Fouzan The project will be presented in a photographic residences workers’ visited far far so has He - 90 Un — cover A viewofKuwait’sfinancial centerfrom theworkers’ houses 92 Un — cover bedrooms, kitchensandcommunalbathrooms yard andcorridors are transformed intomakeshiftshared low-income migrant laborers from different countries.Its big An oldhouseinKuwaitCityaccommodating more than300 BOTTOM LEFT works inashopandseeshiskidsonceevery twoyears Photos ofIsmail’schildren onthewallbehindhisbed.Ismail TOP LEFT his bed and worksasanofficeclerk,hangshiswholewardrobe above Due tothelackofspace,Husain,whocomesfrom Bangladesh 94 Un — cover 96 Un — cover 98 Un — cover FILM a group of low-income workers. The film down to a protest that was organized by went toppled,they Moubarakwas after struggles. In February 2011, three of weeks variety wide a document to attempt an in Egypt across cities in sit-ins and the streets, in factories, joining marches er on short videos since 2011, filming on mina haveMetwaly been working togeth Egyptian filmmakers Philip Rizk and Jas- OUT ONTHESTREET 33&32Y.O EGYPT Male &Female Philip Rizk&JasminaMetwaly needed to beheard. and revolution the of part are workers makersthought voicesthatthethese of - - a lot of the public companies were sold to private private to sold were companies public the of lot a fluential businessmen in the country, during which in - other with collaboration in ago, years 15 than a scheme devised by the Egyptian government more that this has had on the workers. Privatization was impact the and Egypt in factories and companies neighborhood inEgypt. class working a Helwan, from workers of group film, their to led that spark the became soon event The waly. injuries and, in severe cases, death,” explains Met- and social manipulations, work-caused illness and We wanted to know the unseen battles, hierarchiesprotests. their of dimensions different the stand The film raises the issue of the privatization of “We went to listen, to film, and to try to under which is about a about is which Street, the on Out - a spectacle,sourceof past andanimagining make afilmthatturns that harshrealityinto entertainment, buta re-evaluation of the “We don’t wantto of whatthefuture could hold.” 100 Un — cover between feature and documentary and presents a presents and documentary and feature between and struggle.” imagine. They’re always worried about their work to time the have don’t life hard the live who ple “Peoplay.notes, - and Rizk lives As daily their of a chance for the actors to step out of the struggles could hold.” future the what of imagining an and past the of cle, a source of entertainment, but a re-evaluation specta - a into reality harsh that turns that film a make to “Wewant says. don’t he that it,” of out came relationships the and process, the stories, the about more was It for. looking were we thing important most the really wasn’t image the and with the actors. “The workers became our friends, duction team because of the fragility of the situationpro- big a with work to want didn’t They budget. spectators withinabroadersocialstruggle. collective imaginary, situating the participants and workplace. This hybrid approach aims to engage a evidence for the courts to stop the destruction of his mobile phone footage shot by a worker intended as and performances, fictional workshop, the from daily realities. their engages that performance the shape they as character of out and in move workers the – tion Cairo – presented as a space between fact and fic- hired thugs,arrestedortried.” or police the by beaten being or jobs, their losing demoted, being risk workers These people. than rather ‘economy’ the and investment, growth, of sake the for industry and land public privatizing people’s lives, the closing down of a public sector, tion, the effects of capitalism creeping deeper into corrup- systematic and exploitation about always capitalist employers. In the filmmakers view, “It is their by exploitation and corruption of tales less courts that fabricate criminal charges, and count- stories emerge of factory injustice, police brutality, in an acting workshop, and through the rehearsals, actual price—andtheemployeesfired. the of quarter a than less for buyers—sometimes The final outcome is a film that blurs the lines also was film the that believe filmmakers The Rizk explains that the film is intentionally low On a rooftop studio overlooking the heart of of heart the overlooking studio rooftop a On In the film, eight working-class men participate Out on the Street interweaves scenes to thefilmanyway.” but we don’t promise any solutions. There is no end objective is to make the reader feel uncomfortable, are not trying to provide solutions in the film. Our “Weend, the in out points Metwaly As questions. viewers to think about what has happened and ask story of injustice and abuse. It’s an invitation for the selection Forum Expanded BERLINALE 2015 2015 Selection BIENNALE VENICE 102 Un — cover DOCUMENTARY PHOTOGRAPHY but the officer there dismissed her and told her to her told and her dismissed there officer the but complaint, a file to office security station’s the to him, but no one came to her rescue. She then went dle of the crowded station, she started shouting at Ahmed was verbally harassed by a man in the mid - when goes, story the As Cairo. in station metro a at harassed was that girl young a Ahmed, Isra’ of JUST STOP EGYPT Female Eman Helal that was held on the occasion of Interna protest a join to TahrirCairo in Square In March 2011 Eman Helal went down to was seeing. tographer just couldn’t believe what she pho Egyptian the peak, a at still dom with the momentum of change and free revolution, inspiring an from emerged was shocked. For a country that has just Helal attacked. being even were some and harassed being were women of lot event,theshenoticedofpictures thata tionalWomen’s Day. shewas taking As according to aUN2013study women were sexuallyharassed of thesurveyed Egyptian 99.3% Few months later she came across the story story the across came she later months Few 29 Y.O - - - her. with touch in getting immediately and post book Facethe seeing remembers Helal media. social to matter the take to decided lawyer, rights man her,sister,to her hu- happened and a what about hearing after outraged was family Her home. go the society tends to shame them rather than protect lot of the women are afraid of speaking up because A harassed. sexually were women Egyptian veyed sur the of percent 99.3 that revealed study 2013 harassment. the after life Ahmed’s documenting times, numerous home family the visited Helal on, then From so. do to paramount story but their lawyer daughter insisted that it was daughter’s their vocalize to and Helal with speak would touch her. Ahmed’s parents were hesitant to someone that afraid was she visited, Helal when head). Ahmed was so terrorized her by the injured incident and thatground the on fell she so him, at shouting started she when away Ahmed pushed face, revealing her on a scaryscar level ofvisible violencea with (the girl harasser the shows portrait one fresh, still was incident the since and Ahmed, Helal says that the situation is very grave. A UN Three days later Helal was taking pictures of of pictures taking was Helal later days Three - - ing harassed is considered to be with loose morals. them. A harassed woman that speaks out about be- camera, which is making her smaller feel a morebought securerecently she when so her, attack and that the men would see her taking pictures of them first started working on the project, she was afraid she When TahrirSquare. in protest a at was she the driverisstillnowheretobe found. with people demanding justice for the sisters, but and the story created an uproar in Egyptian media escaping. He drove over her and fled. The girl died from him prevent to bus the of front in stood and police the call will she that driver the told sister girl’s the and escalated quickly tension The her. harassing started and vehicle his stopped driver ing on with her sister a in when a street Cairo bus to doafterthey’reharassed,”Helalexplains. what know don’t women the cases the of most in and it can happen to and every women anywhere, country, the in phenomenon spiraling a is ment showing their faces. “Verbal and physical harass without them of photos took Helal and harassed were they that husbands their tell to afraid even own harassment. Some of the married women were as though they were the ones responsible for their were convinced that the society would look at them they because up speak to refused have women of distance. a from her of photos took and secretly Ahmed followed tion to access the school. Once she was inside, she Educa of Ministry the from permit a get to alibi year, an as academic the this of day used Helal so first the on report usually Egypt in Newspapers topic. ‘harassment’ the up bring to impossible was it that says she because school in Ahmed of work around the system to be able to take pictures to had herself Helal fact, In school. from pulsion her from talking about this again or she’d risk ex warning girl, young the at shouting started and furious was principal The office. principal’s the to Ahmed took he story, the read teacher the ter so entry, Ahmed wrote about her harassment incident. Af journal a write to students the asked Even Helal herself was harassed once while while once harassed was herself Helal Even walk was girl a where incident an was There lot A cases. 10 documented has far,Helal So teacher her school, of day first Ahmed’s On - - - - - Currently,anti-har an for money raising is Helal project. her with change societal spur to intends photographer the that wrote and project Helal’s dream to make the streets safe for women to to women for safe walk on.” streets the make to dream the tells she the publicmight,”sheconcedes. ernment cannot provide citizens with justice, then gov her.the to “If up open to decided driver bus the by killed was who girl the of family the why reason the actually is This women. these to tice out there, and by doing so to help bring some jus and interviewswithEgyptianwomen. portraits featuring campaign billboard assment will endanytimesoon.” lem, even though I have lost hope that the situation my duty as a photographer to try to solve this prob break and then resuming work on the project.a taking of “It’s thinking is She revolution.” the after situation political the following you’re if pecially affecting you emotionally and psychologically, es starts it where point a comes Then stories. ment and tired. I’ve been hearing about all these harass insists on keeping the project alive. “I’m depressed she to but admits both tired and feeling hopeless, harassments. such for pretext the big gatherings in public spaces, which are usually non has shrunk, it’s because the army is preventing openly about it. But in her opinion, if the phenome talking are people more as improvements some situation is getting any better, although she senses she says. faces,” girls’ the on looks petrified the as much my idea is not to show incidents of as harassment transport, public on girls the of pictures taking “When Square). Tahrir to leads that road the is which KobriKasral-Nil, like areas crowded in as metro, where most of the incidents happen,the on as well (mostly occur harassments where places have been harassed, accidents of harassment, and taking photosofharassmentincidents. “I don’t want to just make a story and stop,” stop,” and story a make just to want don’t “I word the put is achieve to hopes Helal What The After working on the project for four years now, the if know really doesn’t she that says Helal who women of portraits includes project The New YorkNew Times reporter. “It’s my my “It’s YorkNew reporter. Times recently picked up on on up picked recently ------

104 Un — cover 106 Un — cover 108 Un — cover dis — cover

“Cultural activities can help rebuild shattered identities and create a sense of hope. They are important assets for community development and a necessary condition to create a free and democratic society in the long run.” Freedom Theater, Palestine Yasir el-Tigani This is Not a Play! 109 Randa Mirza Al-Zohra Wasn’t Born in a Day 114 Rula Halawani Jerusalem Calling 120 Invisible A Public Art Project 126 Maysoon Pachachi Nothing Doing in Baghdad 134 Osama Halal Above Zero 138 Younes Baba-Ali Morocco 142 Hadia Gana Scrap Paper 146 Ma3azef Ma3azef.com 150 Arab Image Foundation A Collaborative Online Platform 152 Selim ben Safa Impasse 158 Amanda Kerdahi Filtered Conversations at Round Table 164 Arab Media Lab Digital Marrakech 168 Sawsan Darwaza As We Forgive? 172 Hamza Boulaiz Louisa and Najat 176 Arthur Gabriel Yak Azrael’s Suicide 178 Anthony Chidiac Room for a Man 180 Kaouther Ben Hania Zaineb Hates the Snow 182 Hassan Darsi Le Square d’en Bas 186 Rana Jarbou Hajwalah 190

Yasir el-Tigani Male 49 Y.O SUDAN PERFORMING ARTS

THIS IS NOT A PLAY! At its core, theater is a living record of What can you tell us about the three plays? a country, told through the stories and The three plays are Death and the Maiden by Ariel experiences of its people. In Sudan, a Dorfman, A Day of Our Time by celebrated Syrian playwright Saadalah Wannous, and the third is a country that is currently witnessing ex- local production we worked on called This is not treme political tension and strife, theater a play! It is a project in improvisation and exper- has become a space that encapsulates imentation that attempts to explore the current opposing political and ideological ener- situation in Sudan, a country that is being divided drastically, like what happened with the separa- gies and promotes dialogue. This is what tion of the South, which I consider to be the most Yasir el-Tigani is trying to do. tragic historical event in Sudan’s modern history. The three plays ran consecutively over a period The idea behind your project is really interesting. of 10 days. To work on three plays simultaneously, with each play trying to achieve a different objective. What Why were these plays selected? was the thinking behind it? Dorfman’s text is extremely provocative and it has After 20 years of self-imposed exile in Damascus, I been produced almost everywhere in the world. It decided to come back to my home country Sudan. is set in a country that has only recently returned Upon my return I was shocked at the prevailing po- to democracy and it talks about democratic move- litical situation and the miserable state of the arts. So ments, the fall of regimes, and transitional justice. I decided to do something about it. I started having Wannous’ play was written in the 1990s during a conversations with groups of friends and artists time when corruption had infiltrated all aspects of and tried to think of new creative and intellectual the country. The play takes place in a school and ways to respond to the grave situation. There is no uses the school as a microcosm of the country. freedom of speech in Sudan and the only artists that Through the stories of the teachers and the stu- are actually supported are the ones rehashing the dents, it raises pertinent questions about corruption government’s taking points. The main strategic ob- and opens the audience’s eyes to what is going on jective was to establish an experimental theater that around them. Thirdly, our experiment came from works on independent theatrical productions in the the coming together of different actors and artists country, which is extremely important especially now who wanted to create theater that reflects the reality given the transformations happening in the region. we’re living in. 110 Dis — cover happy toseethe theater 30 yearsofculturaland and theaudienceswere scene inSudan being “It’s beenmorethan political oppression number ofdays reignited.” TOTAL 10 number ofattendees 1 500 TOTAL number ofperformers TOTAL 25 Any otherchallengesyoufaced? 3 months. We had a big financial challenge, and this is a chal a is this and challenge, financial big a had We We were surprised by the response of both pro both of response the by surprised were We find smart artistic solutions and we had to be care- The censorship board in Sudan is clearly very very clearly is Sudan in board censorship The Indeed we did face some hurdles; the government How wastheresponse? end it targets the crisis. We tried to be as safe as as safe as be to Wetried crisis. the targets it end our objectives. dramaturges, and other experts over a period of of period a over experts other and dramaturges, ence was really thirsty for good cultural produc- cultural good for thirsty really was ence explosively provocative. How did you manage to interpret something their own way. These works works way.These own their something interpret re- or interpret to decide they if or minds their in in Sudan because the money only goes to those those to goes only money the because Sudan in we were working on the production. We tried to to Wetried production. the on working were we was sending us direct and indirect messages when which gathered around 25 people, notably actors, notably people, 25 around gathered which play, the produce us helping in instrumental was with a lot of passion and love. There was a general ful in how we direct these plays, because in the the in because plays, these direct we how in ful from the controversies in away order run to to hopefullytried we and achieve involvement, civic and dialogue, freedom, seek They works. fighting are speaking the language of the government. AFAC government. the of language the speaking and cultural tension. We felt as though the audi- the Wethough tension. as cultural felt and feeling that the texts were very daring, especially in received was It public. general the and fessionals get awaywithit? government’s language. Your latest project was to seethetheatersceneinSudan beingreignited. tions. It’s been more than 30 years of cultural and these critical times of complicated social, political, lenge that’s generally faced by all theater makers makers theater all by faced generally that’s lenge stern. You even mentioned earlier that cultural possible but you can never know what’s running running what’s know never can you but possible political oppression and the audiences were happy funds are only given to artists who speak the the speak who artists to given only are funds “These worksare fghtingworks. They seekfreedom, dialogue, and civicinvolvement.” - - What areyourfutureplans? Since the beginning, we were keen on communi- on keen were we beginning, the Since dialogue, and it’s important to keep on creating creating on keep to important it’s and dialogue, cultural systems. So our theater is an alternative alternative an is theater our So systems. cultural can witness a total collapse in our educational and dan and more generally across the Arab region. Our to order in use to hope we that weapon our is er it problems and challenges the all given country, or opposingthatotherisfromus. dialoguea withstart theto other, aims regardlessthat of howtheater differenta are we that cating gaps. If you look at the media production around production media the at look you If gaps. is to help fill in these educational and knowledge knowledge and educational these in fill help to is ical questions, which engaged both the actors and spaces thatallowfordialogue. and through dialogue. The political deadlock after signs of the shops on the corner of your street, you astounding level of illiteracy and ignorance in Su- in ignorance and illiteracy of level astounding achieve peaceful change. Our biggest threat is the faces. It tried to productively pose and trigger crit- the Arab Spring happened because there was no no was there because happened Spring Arab the the audiencesinaninterestingway. us, or even on a very smaller scale if you look at the method to help achieve change in peaceful manners practitioners cultural and makers theater as role positive contribution to the theater scene in the the in scene theater the to contribution positive S E V I T C E J B O We do not carry weapons; culture and theat and culture weapons; carry not do We I personally thought it was a turning point, a point, turning a was it thought personally I Trigger criticalquestionsthat engage both • Open a space forcreation, imagination and • Revive independent theaterproduction in • dialogue in a country wheredialogue inacountry thesethingsare makers the actors andtheaudiences Sudan and create opportunities fortheater Sudan andcreate opportunities jeopardized - 112 Dis — cover 114 Dis — cover VISUAL ARTS Mixed MediaInstallation, 2014 The mythoftheYear oftheElephant AL-ZOHRA WASN’TBORNINADAY LEBANON 36Y.O Female Randa Mirza earliest civilizations. contained the last traces of memory of the which myths, their and polytheists East of a nascent Islam have wiped out the Near by the Byzantine Empire, and the censors paganism lingering of persecution quent subse the 380, in Christianity to Empire little known. The conversion of the Roman vast array of tales remains overlooked and such as the Epic of Gilgamesh. However, a facts. Some of those myths are well known, in their literature and archaeological arte tales numerous mythological left haveall sian, Arab, Greek and Roman civilizations Hebrew, PerAkkadian, cian,Egyptian, - Phoeni Sumerian, Babylonian, various fertility cults until the advent of Islam, the primitive first the From myths. and gods TheNear East has always been a land stories of the old Muslim chroniclers, Koranic and facing today?” we’re crises community and identity the stand under to Wouldus seen? allow are it they how redefine to able be they would hands, own their into – colonizer the by out sketched been long Near East take their historiography – which has the of people the study.“If in-depth an and ing and Mirza believes that they merit a real reread themselves, natives the to even strange works, remarkable were Those Hellenics. the to prior people in the East hadthat producedignore to significantpretended works Europeans societies, imperialist underpinned that myths Greek the What secretsdotheyhide?”sheasks. dangerous in the eyes of monotheistic religions? so was that contain they did What them. forget we that so us from hidden were myths theistic a part of this overlooked history.poly overlooked “These this of part a Lebanese artist Randa Mirza is bringing to light In her project, Al-Zohra Wasn’t Born in a Day delves into the of hegemony the before her, to According Al-Zohra Wasn’t Born in a Day, of ------now beendisregarded. of the peoples of the Near East that has up until thought mythical of part a on perspectives new religious censorship. The intention is to open up uncover also to but thought, colonial perialist the past has allowed her to not only question im of appropriation thorough and rereading This belongs. she which to historiography a defend strata thatmakeuphistoricalfact.” different the reveal to as so speech hegemonic dissect to seek I where perspective tablishment approach places itself in a postcolonial, anti-es personal “My fact. historical of reality the with up mixed become poetry and philosophy tion, fic- where palimpsest a strata, many in structed in thelongrun. arduous process, but aspires to work and on long 15 a pieces is it that admits She them. produce and then conceptualize the pieces artistically and understand and analyze them, uncover insights, It takes so much time to dig into these histories, November 2014. in finalized was piece one and completed were Two models elephant”). the of year “The and angels” fallen the and “Al-Zohra allowed and Mirza to work on three myths (Issaf and Naila”, possible, made was stage atory forms partofasharedwealth,”shesays. of criticism of symbols of a cultural identity that ication of colonial images. They are in fact tools erad the to contribute could memory collective the into myths these of integration The ations. gener future all for but East, Middle in solely not come, to generations for key is myths these of exhumation The project. this of significance also the intellectual, philosophical and historical and miniature-theater. mythic narratives, dioramas, maquette tableaus, stallations that include performances that recount poetry toputoriginmythsunderthespotlight. Arabic literature and the vast realm of pre-Islamic of collection the texts, biblical Mirza’s determination lies in her desire to to desire her in lies determination Mirza’s Through these myths, history is also con also is history myths, these Through With the help of the AFACexplor the an of grant, help With the but artistic the only not in believe firmly “I The research will lead to the creation of art in , classical classical hadith, ------116 Dis — cover historiography –which has longbeensketched out bythecolonizer– into theirown hands, to redefinehow they Near Easttaketheir “If thepeopleof would theybeable are seen?” sculpture andlightaretheprinciple materials. er, a modern miniature theater, where photography, coitus. This image will take the form of a paper theat Sumerian low-relief, showing a couple engaging in a of interpretation voluminous a are Naila and saf Is of statues The East. Middle the in processions funeral modern-day by inspired is image The Naila. Muslim pilgrimage). of rituals essential the of one of part is and times, seven Marwah and Safa of hills the between ney (Sa’iy involvesMarwah and Safa tracing the jour of rite the practice to collective imagination, although Muslims continue Arab the from disappeared largely have Naila and Today,Issaf hills. two the between offerings and became the keystone of a cult of circumambulation Naila on the hill of Marwah. The two petrified lovers left the statue of Issaf on the hill of Safa and that of twined, the inhabitants of Mecca separated them and into stone statues. Discovering the statuettes inter the enclosure of the holy place and were transformed uge in the sanctuary of the Kaaba, they made love in annual pilgrimage, known as the Hajj. Finding ref arranged to meet at Mecca during the period of the the pre-Islamic era during were Issaf Mecca and Naila,in two lovers who venerated gods the Among The mythofIssafandNaila presence isintentionallyeliminated. human sky. All the from attacking birds of hoard Kaaba,the the and elephant, the are protagonists of the Elephant into a no-man’s-land. The scene’s the Elephantmarksbirthdateofprophet. Year of the tradition, Muslim In stones. burning throwing birds of repost brilliant the by repelled the elephant refused to advance and the attack was sanctuary, the at arriving On pagans. Arab the to holy sanctuary a Kaaba, the demolishing of idea in vain attacked Mecca with an elephant, with the al and vice-King of Yemen, Abraha, is said to have 570AD. In that year, the Ethiopian Christian gener Chroniclers date the Year of the Elephant to around The mythoftheYear oftheElephant Mirza’s tableau recreates the myth of Issaf and Mirza’s diorama transfers the myth of the Year between the two hills of hills two the between Sa’iy ------

Greeks andVenus fortheRomans. goddess whose descendants are Aphrodite for the Babylonian Ishtar,and of Assyrian portrayal an a angels. The composition of the image fallen is are inspired dogs by tradition, Muslim in – feet her at placed dogs two the are Marut and Venus.Harut Zohra towards the sky and her transformation into work emphasizes the verticality of the ascension of planet Venus (Zohra means Venus in Arabic). The the of story the recount Arabs the Thus planet. a into transformed was and words the forgot she Earth, to down back go to wished she when but sky, the towards lifted is Zohra words, magic the that would take her up to heaven. On pronouncing the condition that they’d teach her the secret on wordssexually them to herself give to agreed Zohra charms. her with love in fell and Zohra met they Earth, On Earth. to them sent and etc., murder, fornication, worship, idol wine, avoid to them ed to be given human instincts by God. God instruct - angels elected from among them Harut and Marut Tosinned. have the would truth, they the out find therefore way,and same the in acted have would the angels that had they been in man’s place, they to said God man. of disobedience and behavior the by perplexed and astonished were angels The The mythofAl-ZohraandtheFallen Angels S E V I T C E J B O • • • Question Orientalists’viewsandlegacy and heritage Shed lightonanobscure pan-Arab culture Arabia Revive forgotten richstories from ancient 118 Dis — cover Photography -model#2,2014 The mythofAl-Zohra andthe fallenangels 120 Dis — cover VISUAL ARTS J eae 51Y.O Female JERUSALEM CALLING Service) during the Mandatory Period, specifically The photographs will be hung on a wall, and in and wall, a on hung be will photographs The Tell usmoreaboutyourproject. PALESTINE Rula Halawani during the years of 1936-1948 in which the PBS PBS the which in 1936-1948 of years the during directional speaker, mounted under each hung hung each under mounted speaker, directional ogy. Each photograph will have its own dedicated at large-scale – photographs panoramic eight of waves out into a focused physical space. This al This space. physical focused a into out waves was operating onto the current physical architec physical current the onto operating was val images from the PBS (Palestinian Broadcasting sound, therefore, will not overlap with other audio audio associated with its paired photograph. The stalled with Holosonics Audio Spotlight technol Spotlight Audio Holosonics with stalled approximately 1m in height and 1.5m in width. width. in 1.5m and height in 1m approximately juxtapositions. The complete installation consists lows for the audience standing in front of each each of front in standing audience the for lows tural spaces of the Old City of Jerusalem during during Jerusalem of City Old the of spaces tural night, and photographed the imposed, temporal temporal imposed, the photographed and night, photograph only to hear the sound of that specific photograph, essentially concentrating the sound the concentrating essentially photograph, photography and sound in space. I projected archi erusalem Calling is an artistic intervention using - - - - - Jerusalem callingon443and522meters.” Old CityandneighborhoodsofJerusalem. This audio, broadcasted in both public and private My safety was not the only practical concern but but concern practical only the not was safety My Palestinians gathering around radio receivers to to receivers radio around gathering Palestinians during the precise span of time that my camera’s my that time of span precise the during the is result The walls. her on era, past a from ers of work,whichwereequallydaunting. other auditory source material. The photographs, The material. source auditory other is “This sign: call station’s radio the of cadence of the archival PBS programming, which includes broadcasts original the from produced remix a of consists audio The public. in expression cultural duced, it was the conceptual framework and the process process the and framework conceptual the was it ing by the authorities, but that proved impossible. images onto the various architectural spaces in the among singing, child a Oud, instrumental ings, vibrancy that is now in ‘exile’ in present-day Jeru- present-day in ‘exile’ in now is that vibrancy shutter opens and shuts. It communed, in public, public, in communed, It shuts. and opens shutter salem, due to systematic suppression of Palestinian as a hope and a promise for a fluid inter-communal streams inthephysicalspaceofinstallation. as I mentioned, are the projections of the historical spoken the was countryside the to city the from spaces, strengthened community ties as a result of Je- of city urban the from waves, radio over artists seminated prominent cultural leaders and musical history as an understated form of withstanding the a like acting projection, the from light falling the the projecting of gesture temporal symbolic, the time and place, narrating a historical story of a Je- listen to the their voices and music. Uniting people my purpose of celebrating Palestinian culture and mentarily amplified ghostly figures of culture-mak- mother who cradles her beloved child. The city mo- rusalem that once served as a cultural capital. It acts rusalem into the distant realms of rural Palestine. rural of realms distant the into rusalem present cultural eradication. photograph—the documentation of what is seen seen is what of documentation photograph—the photographing it), I had hoped to avoid question- avoid to hoped had I it), photographing photographic archive of PBS onto the Old City (and performances and recitations, such as Koran read- The Old City walls and physical spaces caught The photographic-auditory installation I pro I installation photographic-auditory The By leaving no physical residue or indication of During the years of 1936-1948, the PBS dis- PBS the 1936-1948, of years the During Jerusalem Calling, situates a compression of

- – me, denying breaking any laws or working in a in working or laws any breaking denying me, – Your project has a public space component. Giv component. space public a has project Your 2014. Coincidentally,2014. What inspired the idea and drove you to work work to you drove and idea the inspired What While searching for historical images of the villages Presence and Impressions. Impressions. and Presence There weresomechallengeswiththeIsraeliarmy In 2009, I completed a photographic project titled Hebrew. I replied in English that I could not speak ed to a vision for vision a to ed of Jerusalem with. Three Israeli soldiers came up up came soldiers Israeli Three with. Jerusalem of camer surveillance the on caught was I example, of the ‘radio artists’ from the PBS period. These These period. PBS the from artists’ ‘radio the of en the political and legal limitations in Jerusalem, into fruition over the past six months after being being after months six past the over fruition into contribut- that material audio and visual the ing in their broken English, was fraught with tension with fraught was English, broken their in on it? were depopulated or destroyed by Israel in 1948. 1948. in Israel by destroyed or depopulated were was also supported by an AFAC grant that I was was I that grant AFAC an by supported also was several years, I continued my research, unearth research, my continued I years, several awarded the needed financial support of AFACof support financial needed the awarded in awarded in2008. albeit, simple answers. They spoke to me with foul city old the of streets the populates Israel that as and police while I was working on the project. For the subject of the Palestinian villages and cities that ther English or Arabic. The ongoing discussion, discussion, ongoing The Arabic. or English ther ei in correspond could we if and language, their set cameras and projector my had I while me to up late one night. They started to question me in in me question to started They night. one late up what are the challenges you are facing to make photographs caught my attention; over the past past the over attention; my caught photographs political matter, and them, dismissing my truthful, it happen? before they were depopulated, I discovered images “The actofmakingtheworkin expression.” own Palestinian identity, myown outcome oftheinstallation,was an operation ofpreserving my innate humanandcivilrightsof in asystemthattargets my itself, withouteven theresulting psychological self-preservation Jerusalem Calling, Jerusalem Presence and Impressions and Presence This project dealt with with dealt project This which came came which - - - -

At night, the emptiness of the softly lit streets ex- streets lit softly the of emptiness the night, At What would you like the audiences to feel or or feel to audiences the like you would What Other incidents included contentious conversations I want them to remember the beautiful days of the Forecs (IDF), police and their surveillance cameras. cameras. surveillance their and police (IDF), Forecs original programming for PBS, ‘back’ to Jerusalem of the installation, was an operation of preserving dane practices in public spaces can be the excuse the be can spaces public in practices dane of Palestinian experiences, and even the very mun- in and Jerusalem, East of state current the ever, own body in the middle of violent exchange. How- documented thatordinaryIsraelicitizenswillcall discovered me working. It is well known and even growing weary of hiding from the Israeli Defense Israeli the from hiding of weary growing its drama. By conceptually inviting the ‘broadcast when I walk the streets, these memories haunt me. intellectual conflict with the need to complete my complete to need the with conflict intellectual work in itself, without even the resulting outcome the making of act The produce. to necessary was wall and checkpoints over many years, putting my who tourists American and citizens Israeli with within my own city, which was in emotional and and emotional in was which city, own my within work to right my to speak to desire own my with self-preservation in a system that targets my innate salem of my childhood was filled with life. Today, life. with filled was childhood my of salem artists’, symbols of our culture who created the the created who culture our of symbols artists’, sonal experience. I have photographed clashes, the simple as being present with a camera and projec- as case, my in actions, – Palestinians by actions a wall. I had to continually negotiate and wrestle wrestle and negotiate continually to had I wall. a today in a symbolic visual and audio ‘broadcast’, ‘broadcast’, audio and visual symbolic a in today human andcivilrightsofexpression. language, threatened me with consequences if I if consequences with me threatened language, home. But for that reason alone, I knew my project threatening any perceive they if IDF or police the tor. It was as if I was spray painting and defacing defacing and painting spray was I if as tor.was It think afterseeingthework? my own Palestinian identity, my own psychological reach the streets of the old city freely.Jeru- city The old the of streets the reach returned. I did return, over and over, each time time each over, and over return, did I returned. needed to arrest and eject Palestinians from their from Palestinians eject and arrest to needed most difficult projects to produce in my own per own my in produce to projects difficult most poses the vulnerability of the old city and heightens could Palestine over all from people when past, particular, the old city, is one of complete control complete particular,of city,one old is the project and avoid incarceration. It was one of the of one was It incarceration. avoid and project - 122 Dis — cover Why do you think it is important to recreate recreate to important is it think you do Why I wouldn’t necessarily say I am recreating mo recreating am I say necessarily wouldn’t I Buildings, homes and neighborhoods that were were that neighborhoods and homes Buildings, at- I questions the confront to audience the want I with streets the repopulate to attempting am I DNA of Jerusalem itself, now being held hostage hostage held being now itself, Jerusalem of DNA Palestinian presence in Jerusalem by artistic ac artistic by Jerusalem in presence Palestinian cared for, and passed down over hundreds of years of the Palestinian identity and presence in such such in presence and identity erasure Palestinian the of complete the to threat ongoing the of ongoing threat of complete eradication of the the of eradication complete of threat ongoing in which now the traces of the historical Palestinian inconspicuous residential neighborhoods of my city, to connected narratives and analogies layered ily and now mourned by its original homeowners, the situate them within our contemporary peril. I seek and throughoutthestreets. legacy. cultural Palestinian our and faces familiar anthropology and its presence, the vivacity, the the vivacity, the presence, its and anthropology to. I hope to draw attention to the more demure and that all three major monolithic religions lay claim tempted to address with my work, the most impor template new associations with the already heav already the with associations new template tant of which is: what would be the PBS’s workers’ that are either significant to the world due to its its to due world the to significant either are that to conceptually liberate the Palestinian cultural cultural Palestinian the liberate conceptually to and moments historical forward bring that tions historical neighborhood in the old citya is of which Jerusalem Dolorosa, Via as such sites, historical historical physical spaces of Jerusalem – spaces – Jerusalem of spaces physical historical under occupation. I want to remind my audience audience my remind to want I occupation. under reflection onthepresentdaycity? religious or historical context, or simply cherished ments in history, but rather, intervening with the the with rather,history, but in intervening ments previously owned by Palestinians, were loved, and presence can only be found by the architecture itself. by Israelis who hang their flags from the windows by our growing families, are now forcibly occupied moments inhistory? “The interventionbringsvisibility I hope audiences of to thePalestinian’s once thriving reclaim whatwasunjustifablylost.” retain whatremains, anddesire to presence, theirongoingstruggleto Jerusalem Calling will con - - - - - You mention that the PBS was instrumental in instrumental was YouPBS the that mention Jerusalem Calling flection of the Palestinian identity. It is important to Palestinian families. Simply put, this intervention It brings these two actualities together in space and desire to reclaim what was unjustifiably lost. lost. unjustifiably was what reclaim and to remains, desire what retain to struggle ongoing our reality, and what it is now – and by collapsing enacted upon our community and physical spaces. documentation of the painful imposition Israel has community alliance, solidarity, and positive self-re - had has this impact the and followed, that flict in spite of living life under duress. We must contin ists, scholars and cultural producers that hope to hope that producers cultural and scholars ists, we have bred, as well as the creative ingenuity we ingenuity creative the as well as bred, have we on Palestinian identity and psyche today, what psyche and identity Palestinian on future survival. It isn’t simply a reenactment, or a fragmenta of campaign Israeli exhausting and and connectivity to one another throughout a brutal support the general Palestinian public resolve of of resolve public Palestinian general the support art- Palestinian by present, and past both actions, time, and by doing so, allows us to imagine the the imagine to us allows so, doing by and time, tion inmyproject,ofwhatshouldbe. together, hopefully triggers thoughtful contempla our of question pressing the of notice world the threaded together in my project, while also giving throughout all of historical Palestine, is hopefully identity Palestinian our of capital and heart the Jerusalem, in presence Our eradication. and tion have historically exercised in community building historic strategies (such as the PBS), which formed ue to remind ourselves of the extraordinary talent do you think is needed in order to capture the the capture to order in needed is think you do the demise of PBS and the deepening of the con- me that we Palestinians remain proud and hopeful, resistance. My project serves as a reminder of other possibility of what comes next. Of what once was once what Of next. comes what of possibility bring visibility to our once thriving presence, our presence, thriving once our to visibility bring reaffirming a shared Palestinian identity. With imagination of Palestinians again? Can projects like JerusalemCallinghelpinachievingthat? contributes to many projects and - - - is nowin‘exile’present-day Jerusalem. as ahopeandpromise forafluidinter-communal vibrancy that story ofaJerusalemthatonceservedascultural capital.Itacts situates acompression oftimeandplace,narrating ahistorical The photographic-auditory installation,JerusalemCalling, 124 Dis — cover with familiarfacesandPalestinian cultural legacy. ‘broadcast’, Halawaniisattemptingtorepopulate thestreets PBS, ‘back’toJerusalemtodayinasymbolicvisualandaudio Palestinian culture whocreated theoriginalprogramming for By conceptuallyinvitingthe‘broadcast artists’,symbolsof to one another, throughout building andconnectivity exercised incommunity a brutalandexhausting we havebred,aswell remind ourselvesofthe “We mustcontinueto the creativeingenuity extraordinary talent we havehistorically Israeli campaign of fragmentation and eradication.” 126 Dis — cover REGIONAL EVENTS tures,forms andnational representa Informedby specific sites, stories, tex- brought to light forgotten narratives. tions,dug outhidden foundations and manifesta immaterial and material at tectural context of Dubai. They looked within the cultural, historical and archi invisible the revealing and visible the concealing gestures sculptural formal rary national monuments, narrative and ble”.themeA that inspired contempo- rou responded to the notion of “InVisi al-Maz Shaikha and al-Qadiri Monira Var tan Avakian, Doa artists Aly, Vikram Divecha, commission public this For also criticized. and itreplicated was studied, is known, ban sprawl has no limits. This scenario tural projects are monumental and ur- almost nothing overreaches. Infrastruc where context a metropolis, excessive an economy, a style; an adjective for an scale, a is “Dubai-phenomenon” The Curatorial introduction byAmandaAbiKhalil a public art project, Dubai a publicart InVisible ------ity to address Dubai’s context and and its communities.context Dubai’s address to ity rainsfor their practices andthe abil ter new artists the offers It world. art the outside from operate to capacity its for Dubai in particularly courages en AFAC that production cultural of laborand achievements. It is this form tors, engineers, policy makers’ efforts, technicians,culturalactors, contrac of chain invisible yet complex a dure, publicproce A commissiona also is Dubai beyond its gigantism. bolic associations within the context of sym and readings poetic silent of ans the custodi to become and the viewers community the by appropriated thus sion are to be read and metamorphosed, The works resulting from this commis individual. the and collective on the pact gibleandintangible nature andits im- tan its space, public in culture of place the question to call works the tions, ------sive monument. 24/7 anditbecamethebasisforDoaAly’selu- Bindu RaireportedtheincidentonEmirates eruption ofnaturewithinanurbanenvironment. on thetrunkofisland,”likeamirage;an Jumeirah. Thecreaturewasseen“onthedivider was spottedrunningdowntheroadatPalm In May2014,anArabianMountaingazelle ment’s “life”holdsitsaura. tears and sweat. This dust generated by the monu is pollen. Dust is fibers. Dust is also skin cells, hair, from this residue, from this dust. Dust is emanates soil. Dust structure monumental a by evoked er scale of residue the monument generates. The pow the in resides It scale. in resides Monumentality COLLAPSING CLOUDSOFGASANDDUST AvakianVartan DEER INTHEHEADLIGHTS Doa Aly in al-Qadiri’sshimmeringmonument. economy,visible the made of finally workings the in cog central a region, the of wealth the of basis ture of its extraction is rarely seen. This drill is the presence of oil is known and all-pervasive, the na- the while And region. the in oil of discovery the after the economic transformation that came with history forgotten a most, to invisible is industry pearl The oil. of economy current the to central is that tool the simultaneously, and years many so an both to for economy Gulf’s the fed that world underwater alluding form iridescent gigantic A ALIEN TECHNOLOGY Monira al-Qadiri

- - physical andimmediatereaction. a evoking and assumptions visual with playing experience, viewing active an encourages It eyes. their before evolves and changes it as sculpture, the with engage to forced is audience the work, the circling by Merely shapes. geometric of riety sculpture appears to change form, becoming a va- the angles, different from Seen colors. primary in Sculptural installation, made from scaffolding polls STAND HERE Shaikha al-Mazrou that runsthroughit. works. Each of these boulders has a cylindrical hole construction infrastructure and marine concrete, asphalt, for used rocks and aggregates of range a producing Emirate, mountainous the in blasts conduct regularly quarries where Fujairah, from handpicked carefully were that boulders gouged of composed installation sculptural Site-specific BOULDER PLOT Vikram Divecha 128 Dis — cover Monira al-Qadiri,AlienTechnology ABOVE Vartan Avakian, CollapsingCloudsof GasandDust BOTTOM LEFT Shaikha al-Mazrou, StandHere TOP LEFT 130 Dis — cover out with holes in them. It’s a machine-made hole hole machine-made a It’s them. in holes with out come rocks the and explosion the in points weak are there Sometimes them. blast and explosives gineers drill holes in the mountains, fill them with thing completelydifferent. some- into translated and Dubai to over brought mountains are subjected to man’s power and then those how in interested was I form. different a in are then raised here in Dubai and we inhabit them aggregates are used to make concrete blocks, which of thisproject. sessions and that’s what mainly triggered the idea the process works. I even witnessed some blasting how me showed and there me took who engineer blasting a befriended I that happened so it and Fujairah, of Emirate the in happening quarrying dialogue withthecity. a create that through and them with intervene es, process these with work to try I here. happening trying to understand the heavy construction activity processes construction in lot a involved been has this city surface from almost nothing. So my work I’ve been living in Dubai for nine years and I’ve seen Intervention BOULDER PLOT 37Y.O UAE Male Vikram Divecha In the process I realized that the blasting en blasting the that realized I process the In then and down leveled are mountains These of lot a there’s that attention my to came It - - they seethemselves overhere. how about people with dialogue a open can that art here, stays that art creating in interested was I transience. Art comes and goes from this place so of place, a is Dubai sense certain a in and Dubai, in being me and land this with have I relation the ever small this community is. My work stems from responses from people interested in the arts, how cussion besides providing a subject for discussion. It’s important for public art to create a place for dis- cities). and architecture from ratios my borrow (I but there is also a spatial relation that is important around it, touch it, etc. On walk one sidecan it’s you a spectacle, material, very is work The spaces. is something important because Dubai lacks public area for contemplating and just being there, and it an providing and say to things has that artwork public space. It almost overlaps between being an or social really a of part becoming is artwork this how in interested I’m So activity. regular this by inhabited being is space the and exercise, walk, a have morning, the in place the to come People viewer/visitor. the and work the space, the with happening relationship interesting this and there’s site the around hanging are People space. public or social a as artwork the is there Firstly, Response mercial purposes. com- for used and crushed be to Fujairah to back habit thebuilding. in- I how of sense spacial a in blocks the arrange to tried I building. actual an of plot a of size the almost is artwork the for used size plot The do. to construction site, and that’s what the project tries a inside peak to allowed never you’re but Dubai of language visual particular very a is work tion way possible. oddest the in but nature with relationship a have do actually I that realized I then but nature, with I’m this urban kind of person with no relationship represents man’s incisions into nature. I always felt of the mountain block. I felt that this little gesture and it’s so perfect that it offsets the organic shape On the other hand there have been interesting After the project ends, the boulders will be sent Construc- artwork. the of part is fencing The - 132 Dis — cover modernist and lacked any edge. There was some- was There edge. any lacked and modernist sculpture of an actual gazelle, but this seemed too oversized an of thought first I belong. doesn’t it tling encounter with an object or a creature where astonishment ofthereporter. the by inspired very was I moment”. headlights at the Palm Jumeirah, and calling it a “deer in the Arabian mountaingazellerunningdowntheroad an seeing reported writer the where 2014, May in news story posted by Bindu Rai on a upon stumbled I Then urbanism. and nature or technology, and nature between link to some create disposed was I mindset, specific a in me put Dubai about reading But it. I about little too knew anyway and piece, art public a for interesting not it’s such, as Dubai of “critique” any propose to want didn’t I knew I etc. projects, extravagant of modernity: dream world architecture, gigantism, version its by spellbound completely or of critical fiercely neither is that Dubai on material find to hard city.It’s the understand to try to was action re- first my so before, Dubai to been never had I Intervention HEADLIGHTS DEER INTHE EGYPT 38Y.O Female Doa Aly I thought of recreating this awe, the unset- the awe, this recreating of thought I Emirates 24/7, related by Bindu, and I wanted to capture that. capture to wanted I and Bindu, by related as experience the about eerie and sublime thing enthusiasm and joy of participation involved in it. there’s definitely something to be learned from the but again, art public into venture I’ll sure not I’m between contemporary art and the general public. mind a lot lately, as I am witnessing a growing gap accessibility and relevance, which have been on my has taught me to let go. It also raised questions of thought of my work in those terms. The experience the space, artist relinquishes control completely, I had never public a In it. touch to allowed isn’t public the where context museum or gallery a in public art piece before. I’m used to exhibitinga done never works had I because me, to surprise a also sitting underneath it. This level of interaction was pictures with the skull, putting their arms taking aroundstarted They immediately. it, it to related ple was arelief. which it, with love in fell public the and curator], a bit worried. But AFAC, Amanda [Abi Khalil, the was I so beauty, sublime of case sure a scary, but and without its trademark horns, looked stunning I done!” moment. The skull, its size, with its cavities came together in the studio,finally it thereWhen was a product. “what final have the from different very always it’s idea an have you when course Of surprisingly.positive, very been has far so sponse re- the but creepy too be would it worried was I Response becoming whatitiswithouttheaidoflogic. slowly mirage, a like look would It distance. far a from it see could one that so space, open vast a animals, therebybecomingasublimeevent. over dominance man’s reverse would it thought I troubling. slightly but familiar object, artificial yet organic an is skull oversized The stand. a on mounted skull gazelle huge a of that be will ture sculp- the decided and trophies, hunting gazelle at looking started I species). endangered an fact in is gazelle mountain (the roads the down ning run- creatures living full-bodied as not but ture, cul the of part much very are they life, everyday Emirati in exist do gazelles that thought I Then With unexpected warmth and familiarity, peo familiarity, and warmth unexpected With in installed is piece the that important was It - -

134 Dis — cover FILM What do theyWhat pass on to their children? How do they carry this burden of the past socie ultimately and – people do How What have we become?’ In this circumstance, can IRAQ Pachachi Maysoon into the future? How do they live with it? wars. and dictatorship of years long the they have seen and experienced – not just survive to helpsthem future? theWhat the resist to will the themselves inside integration,Iraq?likefind they Howdo ties – repair and renew themselves in a in themselves renew and repair – ties ably neverthey will forget much of what are?they whoProb- ofsense keepa and inflicted on Iraqis by other Iraqis? Everydaypeo Iraqis? other by Iraqis on inflicted iden sectarian separate into splintering rapidly is damage and to trust in a fragile hope for since the invasion of 2003,throughinvasionbutof the since sticking with ‘their own’ and blaming the ‘others’, the blaming and own’ ‘their with sticking situation of catastrophic violence and dis and violence of catastrophic situation then how do they deal with the barbaric violence violence barbaric the with deal they do how then tities? And if people don’t follow the sectarian path, country the that fact the with Iraqis as themselves they retain a sense of community and a belief in in belief a and community of sense a retain they eae 67Y.O Female ple ask themselves and each other: ‘Who are we... are ‘Who other: each and themselves ask ple NOTHING DOINGINBAGHDAD Also, how do people reconcile their sense of of sense their reconcile people do how Also, - - - - Why did you decide to make a feature and not not and feature a make to decide you did Why Why didyoudecidetomakethisfilm? We very much wanted this dialectic between the the between dialectic this wanted much Wevery Doing in Baghdad). We sat down with her and with Maysoon Pachachi Iraqi filmmaker a free-of-charge film-training center 2006 in Iraq in on going was what of midst the In Irada and I got off really well and from all this docu I don’t think it could have worked as a documenta London-based Iraqi filmmaker Maysoon Pachachi How didyoustartworkingonthefim? of ordinary lives living the most extraordinary situ extraordinary most the living lives ordinary of or took her child to school, there were those scenes empathize with - are living through extraordinary through living are - with empathize only way to do that. For me personally I find that that find I personally Forme that. do to way only explosions and shocked, weeping people. Who are in Baghdad and we had both been collecting stories is exploring in her new film it’s really hard to have a story, whereas in fiction fiction in story,whereas a have to hard really it’s but narrative a have to easy it’s documentaries in the seemed fiction and exterior, the and interior very difficult to show properly in documentary. documentary. in properly show to difficult very it easier to wage wars and ignore destructive prac destructive ignore and wars wage to easier it ations. At the same time I had co-founded with an with co-founded had I time same the At ations. short story writer, stopped being able to write fiction and charactersfictionalizingthemcompletely. and having conversations about what was going on. and their feelings of past and present, and this is is this and present, and past of feelings their and and violenttimes. about thisfeature. lie. She found that every time she went out in Iraq in out went she time every that found She lie. tell the story of how people – as individuals we can tices, when you don’t see these ‘victims’ as individ a documentary? like you? As an Iraqi filmmaker, I urgently need to the film’s producer Talal al-Muhanna to learn more humanity –andhow? ual people with dreams, fears and dilemmas – just these people? In our minds they’re just ‘victims’. Is my co-writer Irada al-Jabouri, who is a novelist and mentary material we started extrapolating situations ry because it deals with the interiorities of people of interiorities the with deals it because ry because it seemed like we were living in a one big big one a in living were we like seemed it because Those are some of the underlying questions that We’re surrounded by images of Kulshi Makoo (Nothing - - - - - 136 Dis — cover And despite overwhelming odds, like a miracle, life Yes, it ultimately is a hopeful story. It definitely does What would you like the viewer to think or feel, feel, or think to viewer the like you would What What isthefilmabout? TVs but they haven’t really gone through such expe For the others who have actually been through and I would say to find that sense of hope in themselves, It is the kind of hope that has to be renewed in one is city the when time a at neighborhood Baghdadi and violence sectarian extreme witnessing is Iraq It happens over one week at the end of 2006 when So isitahopefulstory? of the characters unfold and intersect. So it’s not not it’s So intersect. and unfold characters the of is being unmade. It is a fragile kind of hope for sure. is like, the damage of living in this sort of situation who will see the film only hear about explosions on or maybeevendo,afterwatching themovie? way or another everyday. This is universal in a way, is inhabit you world the that feel really you where we’re dealing with. The essential thing in the story is you can create trajectories as to what happens to to happens what to as trajectories create can you a way to make something at a time when everything shows a strong possibility inside people for finding falling into pieces and that the society you’re part of still blossoms. just trying to live ordinary, everyday lives in spite of a single a story of a hero or a heroin; we felt that a that felt we heroin; a or hero a of story a single a stories the all when day last the to up builds and the time to heal. So it doesn’t run away from that, that, from away run doesn’t it So heal. to time the to find that sense of courage to hope. Many people circumstances. deadly sometimes and difficult the that’s going around them. It’s about people who are the ways in which people may find internal personal the peopleinfilm. has been through years of trauma and has not had hero format was inappropriate given the situation life of different characters, each living on their own, resistance to the destruction and fragmentation fragmentation and destruction the to resistance riences, so I’d like them to see what it really means. not run away from pain. It shows what the damage mixed typically a in place takes It curfews. nightly but it does have a sense of hope in the sense that it but it’sstrongerinthecaseofIraq. the shows It lines. sectarian along divided being - And the seventh draft is probably not the final final the not probably is draft seventh the And You’ve written seven drafts. First of all, why so so why all, of First drafts. seven You’vewritten film took place in Basra and had different charac different had and Basra in place took film I think that on the regular scale of things a film can- I took it away and pulled it apart, adding parts and Do youthinkafilmcouldchangetheworld? completely modified. but Baghdad to transposed were characters the of comments and then she rewrote it based on that. my with At her to back went I others. some deleting characters and all this work is intended to integrate characters. Irada is not a film writer and didn’t know characters and then combining them with fictional while scenes rewriting be will there sure I’m one! dilemmas andoverall moreenhancedstorylines. inclusion did not sufficiently benefit the dramatic dramatic the benefit sufficiently not did inclusion drama character’s main the of enhancing include you did.Itcanalsomakethinkaboutthings. you have more agency and strength than you thought will allow them to take a step back and think about writing. When we first started writing, half of the the of half writing, started first we When writing. write a structure, a scene outline, first. After that we went through it, started extrapolating interesting interesting extrapolating started it, through went a dialogue. You can go in and come out feeling that faced such dire circumstances, I hope that the film sat and wrote the scenes together in Arabic. Then Arabic. in together scenes the wrote and sat a certain point when we were applying for funds we and time long a for talked I and Irada shooting. accessible for audiences; in short, to have stronger ters. After draft two, we changed the location. Some how toresistthisstuff. to make the ensemble nature of the narrative more the overlapping stories better with one another and whose characters three of removal the and line the over took I so version English an write to had gathered, had each we material the all took then not do very much. What it can do however is start start is however do can it What much. very do not much about writing for film, so we decided that I that decided we so film, for writing about much the last? main characters with sharper and more evident evident more and sharper with characters main purposes of draft six’s screenplay.six’s draft Weim of also purposes are proving upon the character arcs of two secondary two of arcs character the upon proving many? Secondly,many? and like process the was what how did the story evolve from the first draft till till draft first the from evolve story the did how The revisions that were made on draft seven seven draft on made were that revisions The - - Talal al-Muhanna al-Muhanna Talal What’s thestatusofproduction rightnow? What wasthemainchallenge? Was there any turning point during the writing the Wasduring point turning any there film because of its unfolding and intersecting nar intersecting and unfolding its of because film The challenge was to find a fictional form in which There wasn’t just one point. When I first started started first I When point. one just wasn’t There opportunity outside the stress of full on production cally acute. That’s why we chose to do an ensemble context and realize that 2006 was a harbinger or a on going been has which fragmentation, extreme dramas beinglived. gaging story – personal, dramatic and psychologi- and dramatic personal, – story gaging in particular with some of the local and regional regional and local the of some with particular in ing through now. Back then, people were thinking we’re doing that is because we wanted to take an an take to wanted we because is that doing we’re where wearenow. actually is answer the and us taking this is where with what’s happening in Iraq with ISIS and the the and ISIS with Iraq in happening what’s with perspective fresh a offered Talal he with working or productionprocess? and triumphs, jokes and songs, the yearnings for for yearnings the songs, and jokes triumphs, and joys small the – lives daily these of details the and foretelling of this extreme disintegration we’re go we’re disintegration extreme this of foretelling for quite sometime but it’s happening so intensely recently more Also characters. the of one on lot a and changed certain things, and as we talked further to mix some of our European crew from France France from crew European our of some mix to tion for a test shoot in Kuwait and one of the reasons to keep the tension between the chaos on the streets the Arab Spring happened and it impacted quite quite impacted it and happened Spring Arab the individual the on focus calm and steady a hold to love, the angers and grieves and fears. It was crucial to explore these wider existential questions we are he asked questions that I couldn’t answer. Then Then answer. couldn’t I that questions asked he ratives of ordinary, everyday lives. It was important now. It actually made me look at the script in a new not to let ourselves be enticed by sensationalism, but en good, a telling time, same the at while raising, “What a flm can do is start a “What aflmcandoisstart dialogue. You cangoinandcome out feeling thatyou have more you thinkaboutthings.” agency andstrength thanyou thought you did.Itcanalsomake We are currently in preproduc in currently are We - - - - What drewyoutoproducethisfilm? fiction film. So when she started telling me about about me telling started she when So film. fiction Script Award at the Dubai Film Festival. We won Festival. Film Dubai the at Award Script I actually came to know about the film through a through film the about know to came actually I on one of the characters in the film. About two and don and who has been collaborating with Maysoon off thefilm. ducer I’m always trying to get the most bang for the pro a As East. Middle the Kuwaitand from crews we called Maysoon and met up at a little diner and wrapping theshootbyendofJanuary2016. to according goes all If film! the in up end would a half years ago, I was visiting London and she men and the prize was $100,000, which helped us kick us helped which $100,000, was prize the and summer Ithat decidedof end to the submit By thequickly. of project kind to went the it IEWCway a a had and script the took I Then talking. started as early November/December 2015, which means filming begin can we then post-production, and tioned that she was working with Maysoon on a on Maysoon with working was she that tioned her character work on the story and the story itself read-through and we agreed to work together. In In together. work to agreed we and read-through relative of mine who is an Iraqi actress living in Lon plan and we raise sufficient funds for production production for funds sufficient raise we and plan buck, so I’m hoping that a couple of those scenes scenes those of couple a that hoping I’m so buck, - - - 138 Dis — cover PERFORMING ARTS are living in Syria,” says director, Ous director, says Syria,” in living are we what is “This not. does dancer one Only bed. high a atop from themselves pro dance Syrian the of scene final the In ABOVE ZERO 35Y.O SYRIA Male Osama Halal small ray of hope.” dancer is that tiny breathing space, that standing last The close. it’s but zero, AboveZero name the where That’s death. of edge I am living on the edge of suicide, on the ment,can explode mortar a right there, mo any at that knowing street a down conscious or unconscious. When I walk cide, whether direct or indirect, whether sama Helal. “We are living a state of sui duction, Above Zero comes from. It’s not quite quite not It’s from. comes , seven dancers hurl - - - - grandest sense. The creators quote the chants of of chants the quote creators The sense. grandest the in and level personal the on both act, political the ‘fear barrier’ forms the core of this work. It is a express them, so this was difficult; they struggled.” to space the given being or fears our expressing to used not Weare them. for real is what not es, experienc- imagined or hypothetical using swer improvisation exercises in Syria, they typically an- do people “When Helal. says them,” for new and radical something was that and experiences own formers. “I asked the dancers to answer from their per the of many for scary was question that ing ‘What scares you?’ It turned out that even answer with improvisation exercises based on the question permitted themselves before. The rehearsals began never they ways in dialogue to chance a them ing offer themselves, performers the for light of ray For the creators of the performance, breaking performance, Forthe of creators the ways, many In has been that vital vital that been has Zero Above - - - 140 Dis — cover presence of Syrians here in Lebanon,” says Reemsays Lebanon,” in here Syrians of presence “We realize that some Lebanese people resent the musicians. or dancers whether performers, nese Leba- and Syrian between collaboration the been to expresswhat’sreal.” tools my develop to need I happening? is nothing if as stories, love staging or art flowery,beautiful amine my role as an artist. Why should I be creating an operation without anesthesia, it makes me re-ex- tools, or electricity, or whenhis a of doctor must bereft perform door a make to blacksmith a forces tools, it makes you honest. When the war in Syria your rethink you makes revolution A happening. needed to use my artistic tools to express what was I realized I began, revolution the After on. going really is what from removed totally or flowery is now, even art, Syrian much So them. doing was I theater projects without really understanding why a Syrian artist. “Before the revolution, I worked on as him for approach new a is which street, Syrian the on happening is what to closer craft his bring to call a been has revolution Forthe says. him, he street,” the to close very it’s that; like not is Rap views. their from art their separate artists “Many and that choice was especially important for Helal. rappers are Darwich, Sayyed and al-Rass cians, Twomusi stage. the on of action the of part also Modhar al-Hagi, as well as four musicians who are dramaturge Koon, ensemble, theater Syrian the vours. The skyhurlsdownnorain,onlyiron.” War War II. “The earth no longer produces, it de- of events horrific the during exile in was himself came from Berthold Brecht’s poetry, when the poet Inspiration longing. and immigration fear, about itself and to despair of their demands for freedom. despair to people drive to use dictatorships what is barrier’ ‘fear this Helal, of eyes the In hope!” reach to barrier fear the break freedom, reach to fear the “Break protesters: peaceful early Syria’s space to express them.” our fears orbeinggiven the “We are notusedto expressing Another breakthrough for the production has production the for breakthrough Another The production is a collaboration between between collaboration a is production The war,about performance a Zerois Above about -

know more.” some more understanding than others, wanting to show by different generations of Lebanese people, the after approached was “I expected. she than ly opportunity for dialogue often came more abrupt- the her, For somehow.” understanding more be might they that hope the in audience, Lebanese a to perspective together our present to also work but stage, to on us for only not chance a was “This Ensemble. Koon the of member Khattab, number ofattendees TOTAL 1 800 S E V I T C E J B O • Create job opportunities for Syrian artists forSyrian artists Create job opportunities • Send outamessage ofpeaceand light at • Produce theatrical worksthattackle thecur- • Open a space fordialogueandcollaboration • in Beirut a timeofcompletedestructioninSyria on Syrianpeople rent politicalsituationanditsrepercussions theater professionals and between SyrianandLebaneseartists number of artists TOTAL 18

142 Dis — cover VISUAL ARTS Younes Through the project, Baba-Ali will reflect MORO©©O is a project by visual artist While the idea is relevant to many other developing The work is an intervention that explores the the explores that intervention an is work The Tell usmoreaboutyourproject. that inhabit pirated the logos. so-called invent new gestures, sounds and images Baba-Ali grants the creators of original work exclu and everyday activist Younes Baba-Ali activist everyday and countries, I chose to focus on Morocco because because Morocco on focus to chose I countries, Morocco. contemporary in copyrights of concept sive rights to its use and distribution, and on the legal concept of copyright, which questioning the right to copy in Morocco. ae 28Y.O Male MORO©©O MOROCCO - Are there any legal implications on someone who As an artist I find it both complicated and inter and complicated both it find I artist an As There are rules and regulations but they’re not not they’re but regulations and rules are There Through the project I question the possibility of of possibility the question I project the Through Europe, or the West more generally. So how can can how So generally. Westmore the or Europe, It doesn’t affect me directly but I’ve seen this a this seen I’ve but directly me affect doesn’t It I am a Moroccan artist. There is a lot of plagiarism How doesthisissueaffectyoupersonally? deep inside the system is still very dysfunctional dysfunctional very still is system the inside deep country is growing culturally and also economically, enforced so it gives people an opportunity to con to opportunity an people gives it so enforced copy of [the international food chain] Subway. You directly or indirectly and then it becomes sort of of sort becomes it then and indirectly or directly there if – laws copyright how examine to esting being up end products copied When copying. of copying, the right to copy, the dysfunctional rules brands. international from concepts and clothes, copies inMorocco? going on whereby local brands copy culture, food, in the West, and it’s really visible. A lot of people people of lot A visible. really West, it’s the and in identity, to the food presentation and concept—is a with this mentality, and then when I got into the the into got I when then and mentality, this with superficial attitude of wanting to be like Europe but and chaotic. are stealingorcopying. also see fake Nikes and you have access to culture and everything about it—from the logo and visual art world I started to see how people steal ideas ideas steal people how see to started I world art are any–implementedwithinsuchacontext. accepted, what does this tell us about our culture? and regulations, the legal aspects, and the economy these things to happen? It feels to me like it’s a very the country go in this capitalistic direction trying to trying to build an image of itself that compares to tinue copying. What’s interesting now is that the that is now interesting What’s copying. tinue lot. We have a place in Morocco called Sandway Sandway called Morocco in place a Wehave lot. normal. Modern art in Morocco copies modern art participating in international business and also also and business international in participating be on the same level as the West but still allow for by way of pirated videos and music. We grew up up Wegrew music. and videos pirated of way by “Your allows positionasanartist you inorder to to create shortcuts tackle a particular situationand tackle aparticular present adifferent pointofview.” - - “To undermine a system, it is first necessary to to necessary first is it system, a “To undermine April 2015. An exhibition that will premiere in Brussels on 16 Your position as an artist allows you to create short create to you allows artist an as position Your What willthefinaloutcomebe? The context is very important, so I try to think of of think to try I so important, very is context The First of all you have to understand the context and How do you intend to address the problem in in problem the address to intend you do How can be as close as possible to the public to propose pos- of lot a have we artists As copies. the copying and situation particular a tackle to order in cuts context aspossible. will I copies? the copy actually I can How this. do good trades that I can copy. I will try to find the the find to try will I copy. can I that trades good sibilities socially, it’s interesting for me to practice all the specificities in order to be as relevant to the and see if it’s possible to reproduce the same ones. are dysfunctional and to get people to think about a lot to do with process so it’s also about how I can has country.work the My in them reproduce and and more about the economic impact. The idea is ject will develop once I begin with the process but I the situation and it’s always about how I situate situate I how about always it’s and situation the the possibilities of copying. I will be researching researching be will I copying. of possibilities the that Morocco in brands fake the of some copy to this kind of copying. It’s less about culture and art local production sources where they are produced hope that it will trigger questions about things that to them ask and copiers the to out reach to have brands international plagiarized completely have your work? my work, what kind of public space I choose, etc. etc. choose, I space public of kind what work, my I how idea, the develop I how choose, I material what speak, I whom context—to that in myself tem withthiswork? reproduce this and that. I don’t know how the pro- penetrate it.” How are you penetrating the sys- the penetrating you are How it.” penetrate present a different point of view. So I will myself be - S E V I T C E J B O Producing installations thatquestion the • Refecting oncontemporary society and • Approaching an urgent issueand exploring • global economy right to copy rocco its effects ongrowing economieslike Mo- 144 Dis — cover some ofthefakebrands completely plagiarized in Moroccothathave international brands and reproduce them “The ideaistocopy in thecountry.” 146 Dis — cover VISUAL ARTS LIBYA 42Y.O Female Hadia Gana AFAC grant to participate in Ashkal Ashkal Alwan’s in participate to grant AFAC SCRAP PAPER With your AFAC grant, you were able to work on Libyan artist Hadia Gana received an an received Gana Hadia artist Libyan Beirut. In the following interview, she followinginterview, the In Beirut. The video was a continuation to my ceramic instal- tells more about the experience and what on the floor. The work was more of a question than official letters, when thrown towards the bin, end up cisions taken by the successive Libyan governments. golden paper-bin surrounded by printed ceramic ceramic printed by surrounded paper-bin golden came out of it. scrapped paper.some scrapped how mimic to was aim The an answer, a question about political decisions and lation titled a video as part of Ashkal Alwan’s Ashkal of part as video a program. Whatwasthevideoabout? previous project further by highlighting wrong de priorities. is a short video taking my my taking video short Scrap a Paper is Home Works Home Gannas, which consisted of an empty 2014 program in in 2014program Home Works Home - Video making was a completely new territory for for territory new completely a was making Video Could you tell us more about the process of mak- It’s a work where I try to understand and express express and understand to try I where work a It’s of the Home Works program—where eye-opening events of both the revolution and post-revolution post-revolution and revolution the both of events in most of my other work, I try to exercise a certain ing workshops, also a new experience for me, and fellow Libyan citizens, are subjected to. Also, like Also, to. subjected are citizens, Libyan fellow and thought-provoking. I also took creative writ creative took also I thought-provoking. and and develop a clear storyline. The rhythm of the the of rhythm The storyline. clear a develop and the violence that I, as well as a large of number of number of large a as well as I, that violence the that followed the talks and video screenings—part me helped that resources right the offered tutors these workshops were useful in helping me focus me helping in useful were workshops these level ofviolence. kick start the project. The philosophical discussions medium in my work. Ashkal Alwan and its guest guest its and Alwan Ashkal work. my in medium different a with experiment to wanted I but me, program allowed me enough time to process the the process to time enough me allowed program ing thevideo? - ‘international art market’ wasn’t my focus. I saw saw I focus. my wasn’t market’ art ‘international Apart from being an educational and therapeutic therapeutic and educational an being from Apart What do you hope that audiences would think think would audiences that hope you do What Where willitbescreened? The video hasn’t been screened yet, but it will be be will it but yet, screened been hasn’t video The I see my video as an enabler for discussions and a and discussions for enabler an as video my see I London later this year. Until recently, the realm of in exhibited be should and now on working am I I strongly believe that art and culture are key players How do you think art and culture can help a help can culture and art think you do How dialogue in a soft way in countries accustomed to accustomed countries in way soft a in dialogue introduce to tools perfect are culture and Arts es. derstand our own problems and make better choic- un- we experiences exchanging By cultures. other organic manner, just like plants invade the concrete. an in change create to is aim the when especially way, indirect and nuanced a in messages certain in Libya. Also, I wanted the video to resemble clay in theprogram. in Libya such as corruption, disdain and thought- and disdain corruption, as such Libya in violence mycountryatthispointintime. wound and maybe shed light on one reason for the or feelaftertheywatchit? in a society’s evolution, and even more in countries interesting insights and breadth to the country’s country’s the to breadth and insights interesting violence and this allows for different points of view supported by technicians as well other participants another dimensiontoandenrichingthework. future artscene. trigger for questions. It tries to put the finger on the the international exposure and input is bringing bringing is input and exposure international the in remains focus case—my the still is It lessness. tool, art enables knowledge sharing and access to that have been traumatized, like Libya for instance. to emerge. Art may also be effective in delivering delivering in effective be also may Art emerge. to modelling and had no knowledge of video editing, my fellow citizens on subjects that were a bit taboo with discussion or dialogue of form a as work my major part inspired by the Libyan society; however, part of the ceramic installation ceramic the of part society evolve? but Ashkal Alwan offered the facilities and I was was I and facilities the offered Alwan Ashkal but but it has an insular potential that could bring bring could that potential insular an has it but The Libyan art scene is underdeveloped yes, yes, underdeveloped is scene art Libyan The which which Bread, Dry You are creating an art museum in Libya. Tell Libya. in museum art an creating Youare The museum aims to involve future visitors from from visitors future involve to aims museum The work-in-pro- a be to planned is itself project The Indeed I am creating the Ali Gana Museum in one Faculty inTripoli. Healsostudiedlocalcraftsand of Tripoli’s suburbs. It will be the first art muse art first the Tripoli’sbe of will It suburbs. exchange. educational the of part as ideas and difficulties, gress since it has to account for the developments in the country and evolve in tandem with them. them. with tandem in evolve and country the in who is known to be as one of the “first generation educational and center cultural a as more work will constitute the core material for the museum’s archaeological and anthropologic institutions from artists” in Libya. This sculptor and painter was so architecture in the country. His work and research the Italian colonial era. The Ali Gana Museum will the start by using social media to share thoughts, thoughts, share to media social using by start the discussions. cultural and programming thematic teaching, 40 years of which were at the Architecture um in the country, as until now we mostly have have mostly we now until as country, the in um developed. you said about Libya’s art scene being under being scene art Libya’s about said you platform based on the work of one artist, Ali Gana, passionate about art education and spent all his life us more about this, especially in relation to what - - 148 Dis — cover accustomed toviolence a softwayincountries introduce dialoguein of viewtoemerge.” are perfecttoolsto and thisallows for “Arts andculture different points 150 Dis — cover MUSIC Journalists are fed content and the con the and content fed are Journalists TV screens without being challenged, challenged, being without screens TV nttto 04Y.O Institution years in time, when a wave of dictators dictators ofwave a when time, in years when people in the Arab region will will region Arab the in people when Egyptian journalist and critic Moham critic and journalist Egyptian JORDAN Ma3azef took over the regionArab and orchestrat the time “after trol mechanism had direct implications tent finds its way onto their pages and and pages their onto way its finds tent Kalfat’s statement, one has to go back 50 analyzed oranalyzed criticized. forms of criticism. Over time, this con this time, Over criticism. of forms all suppressed and speech of freedom culture of compliance and complacency. mad Kalfat says that a day will come come will day a that says Kalfat mad speak of speak the time “before on the state of the media by fosteringbya media the of state the on ed a tight control mechanism that quelled MA3AZEF.COM Ma3azef.” To understand Ma3azef” and - - - - “We do not have a tradition in the region that sit that region the in tradition a “Wehave not do Arab Spring as an online magazine that aims to to aims that magazine online an as Spring Arab Taleb concedes that traditional media in the region Fast forward to 2011 when an inspiring wave of of wave inspiring an when 2011 to forward Fast Ma’an Abu Taleb,al-Zaatary,Abu TamAhmad Ma’an and - out of nowhere. of its establishment, opening loopholes in these these in loopholes opening establishment, its of er Abu Ghazaleh “got a kick” in 2011 when they they when 2011 in kick” a “got Ghazaleh Abu er founders the that, before time some for cubating examine the music critically or by Westernby jour or critically music the examine in those times. It was born from the womb of the the of womb the from born was It times. those in itself because it encouraged average productions. productions. average encouraged it because itself sues, and forms that accompanied the Arab Spring and the surge of cultural output that followed. Abu saw the opportunities that the revolutions created sic.” He explains that music writing in the Arab Arab the in writing music that explains He sic.” a collective energy that came out of a sudden and sudden a of out came that energy collective a knowledge tocriticizethem. trenched for so long. The Arab uprisings brought uprisings Arab The long. so for trenched tightly controlled mechanisms that have been en been have that mechanisms controlled tightly look at cultural and music production in the Arab uprisings swept the Arab region and shook the core region falls into two categories: it’s either written either it’s categories: two into falls region region withacriticaleye. media criticism has also affected the music scene music the affected also has criticism media nalists that tend to stereotype the works produced. proved incapable of dealing with the new ideas, is- puts it quite simply, “There was no writing on mu- because journalists did not have the capacity and capacity the have not did journalists because by Arab journalists who do not make an effort to to effort an make not do who journalists Arab by “Ma3azef According to Abu Taleb, this unsatisfactory unsatisfactory this Taleb, Abu to According

—AliSharayer, Kalimatmagazine While the idea of the magazine had been in- been had magazine the of idea the While was launched because, as Abu TalebAbu as because, launched was Ma3azef cism ishealthy, asafundamental art scene.”art racy andaconditionforvibrant requisite ofafunctioningdemoc- 400 000 listeners onsoundcloud reminds usthatcriti- Ma3azef was an idea that emerged TOTAL - - - “The articles are starting debates, and some readers Arab cities on music appreciation, writing about about writing appreciation, music on cities Arab The workshops focus on training people in several sort the of content no is there that admits Taleb even go into online wars over an article, especially other musicians who have been very supportive supportive very been have who musicians other criticism and discussion on Arabic music. The mag- doing those but bad, or good either as classified down or sound like a press release if we were to to were we if release press a like sound or down getting a good share of readers (2000-3000 unique in Egypt, where Egypt, in what they had expected when they first started. started. first they when expected had they what write it in Arabic?” he asks.) Toasks.) though, he there Arabic?” get in it write and cooperative,”henotes. aga, Amjad Nasir, and Camilia Joubran, and from than more lot a been has response the that says something really original do not fit within the es- the within fit not do original really something and in Arabic. (“Why should we talk about Arabic followers on Facebook and their Soundcloud page and one report every four months, with week a each articlearticles three average on publishes azine series of workshops with the Qattan Foundation. Foundation. Qattan the with workshops of series find to hard is it region, the to journalism of form journalists who excel at this type of writing. Abu Abu writing. of type this at excel who journalists takes place about Arab music with Arab listeners — hold name. We have also been very encouraged encouraged very been also have We name. hold tablished system.” the founders need to overcome a major editorial editorial major a overcome to need founders the they want to have, which has led them to begin a begin to them led has which have, to want they that Given hurdle. is production Music work. of kind original uates reaches more than 400,000 listeners. Abu Taleb Abu listeners. 400,000 than more reaches music in English and why should it be dumbed dumbed be it should why and English in music platform where a serious and engaging discussion page views per article). There are more than 40,000 platform is filling these gaps by offering serious serious offering by gaps these filling is platform by people we respect and admire like Faysallike Dar admire and respect we people by Abu Taleb’s long-term objective is to become a This is where is This across theArab region writers andtranslators Ma3azef has become a house comes in. The online online The in. comes Ma3azef is introducing a new new a introducing is Ma3azef TOTAL 50 - - Arab region. In parallel he’s working on building a core team team core a building on working he’s parallel In of staff writers and contributors from across the the across from contributors and writers staff of talent. writing new retaining and discovering of especially when you give them compelling content.” in region, Arab the in music to listens everybody taxis, in cafes – everywhere, and there’s no reason music, structuring articles, etc., with the hope hope the with etc., articles, structuring music, not just the intelligentsia,” he says. “My idea is that people shouldn’t be reading about music as well, well, as music about reading be shouldn’t people S E V I T C E J B O “We want to be a magazine that everybody reads, Offer aplatformforopenandcritical discus- • Foster criticalthinking andpromote narrtive • Organize events to promote localmusicians •

PRODUCTION Maz3azef tacklesArabic music sion aboutArabic music journalism amongArab journalists OF GOD MUSIC MUSIC 03 04 from 4angles “THE WORRY 02 MUSIC REVOLUTION 01 ARAB MUSIC” THAT CHANGED 152 Dis — cover RESEARCH A COLLABORATIVE ONLINE PLATFORM FOR PHOTOGRAPHIC ARCHIVES A COLLABORATIVEONLINEPLATFORMFOR 17Y.O LEBANON Institution Arab ImageFoundation Courtesy Arab ImageFoundation Tamouz celebrations, RifaatChadirji,Baghdad,Iraq, 1978, Members of the AIF have engaged in research and photographs. displaying and preserving, lecting, col - of modes different as photography,well as also remains a platform for critical thinking about and research, trainings, in opportunities for allowed networks across the region and beyond, which have pert in photograph preservation, and we have built Over the years, the AIF has become a regional ex- as the regional cultural and political dynamics? archiving and preservation in the region, as well namics of today’s visual culture, the state of phototoday,dy role the AIF’s given see you do How torians, andotherpractitioners. who are artists, curators, writers, filmmakers, his- members, its of practices collecting and interests research the to according built was collection its archive. It is a membership-based organization and an nor museum a neither is it model: governance unique its to success its owes probably AIF The thing, whatwoulditbe? If you were to attribute the success of AIF to one and touchingimages.Icannotpickone! intimate very have others processes, rare contain lections only have a handful of photographs, some photography... Each collection has gems, some col fessional or an amateur photographer, a collector of from a different source, which can be a family, a pro coming each collections, AIF 300 about are There What isyourfavoriteAIFcollection? tells us more about the project. terview,AIF’s Mokaiesh Rima Director in following the In disciplines. various and global audiences and specialists from phy and visual culture by engaging Arab critical reflection in the field of photogra tographarchives, andwould encourage pho- regional as well as collection own tive tool, which would allow access to its conceivedinnovativean as interac-and being is that platform online an launch ImageFoundation to intendsArab The a

number of regional initiatives. But the AIF AIF the But initiatives. regional of number - - - - - zone intermsofsustainability. comfort a of more little a reached have to us like also would I programming. digital rich a as well as visibility, local strong us giving programming phy and the evolution of the medium, with a public cal be to AIF the like would I Where doyouliketoseeAIFinfiveyears? for critical thinking and exchange on photography. interactive features and its blog, it will be a platform Finally,invite. will we which archives, its through be a platform for collections. the about mation collections. between and photographs between linkages create and images more access to users allow will platform new The and role AIF’s achieving itsobjectives? establishing further in help AFACof support the with developing currently are you that platform digital new the will How Baladi’s Vox Populi project,ongoing). (Lara uprisings political recent of context the in and possibilities the exploring to 2012), Kassel, sule, Zaatari’s (Akram understanding um muse- traditional the from away preservation of re-definitions from range that projects artistic engagement with and preservation of photogra challenges of archiving across digital media media digital across archiving of research on other collections and It will hold more infor more hold will It an incubator for criti for incubator We also want it to to it want also We Time Cap Time - - - -

154 Dis — cover Lebanon, Beirut,CourtesyArab ImageFoundation Studio Portrait, Fouad BendaliGhorab/ StudioFouad, Jordan, 1968,CourtesyArab Image Foundation Maha Sha’sha’a,Photographed byDaedSha’sha’a,Amman, 156 Dis — cover The AIFhasproduced Family Album,Egypt,CourtesyArab ImageFoundation 2014 Prize forArab culture UNESCO-SHARJAH publications 08 exhibitions 15 The AIF has a public space and and research centeropento thepublic space public a has AIF The many ofwhichare online images intheAIFdatabase, TOTAL 40 000 13:00 -17:00 Mon -Fri OPENING HOURS S E V I T C E J B O • Encourage thepreservation, digitizing, online • and Act asa locusand triggerforartistic • Upgrade theAIF’s onlinepresence, thereby • the region publishing anddiffusionofarchives across and institutionsintheregion andbeyond scholarly collaborations betweenindividuals Africa,andtheArab diasporaEast andNorth circulation ofphotography from theMiddle its missionforthepreservation, studyand allowing itto betterfulfllandcommunicate 158 Dis — cover PERFORMING ARTS Your project project Your Tunisian contemporary dancer and cho- Selim BenSafa Impasse IMPASSE Through their own world, all in one closed theatri persons looking for themselves, each in different characters, with one thing in common, common, in thing one with characters, different cal setup, free to express themselves, ask reographerSafia.basedItBenSelim is and cultural religiousbarriers. three characters, in my opinion, reflect Tunisia’s reflect opinion, my in characters, three together on stage: the pursuit of happiness. These and the social and cultural barriers that limit limit that barriers cultural and social the and about their dreams, of what makes them happy their progress.Tell us moreaboutit. region: tugged between opening towards the West reality but also that of a large majority of the Arab on three scenes of life, three different different three life, of scenes three on questions and look for answers. TUNISIA Male , I wanted to bring three very very three bring to wanted I Impasse, is a choreographic creation by creation choreographic a is Impasse aims to make people think 27 Y.O - At the end of the performance, we received an in- an received we performance, the of end the At What hasbeentheresponseonyourshow? Since creating Since I believe that dance or art in general exists to make How was the process of creation like and what what and like creation of process the was How Do you think that dance, or a dance performance order toexchangedifferentpointsofviews. dance classes they had had and to make way to to way make to and had had they classes dance contemporary all time certain a for forget to ers danced phrase but a feeling. This research process “written” a from start to not and differently create credible standing ovation from the audience. The audience. the from ovation standing credible contradictions. of us have a difficulty admitting to this duality. gained momentum with Impasse. I asked my danc in contemporary dance in Tunisia since we ap- we Tunisiasince in dance contemporary in international tour. want more,” others were very moved… the gamble when leaving my performances, be saying: “Well,saying: be performances, my leaving when and we are also in the course of working on an an on working of course the in also are we and sion to change things but to make people think as passe’s genesis lies in this context, I think: to make take this performance to other Arab countries in in countries Arab other to performance this take the performance. This very positive feedback we we feedback positive very This performance. the he’s gotapoint…” the spectators think and to make them face their their face them make to and think spectators the did youlearnfromit? response has been very good, some told us “we “we us told some good, very been has response received also allowed us to plan a Tunisian tour tour Tunisian a plan to us allowed also received nisia’s contemporary dance scene also came to see much as possible. I hope that the audience will, will, audience the that hope I possible. as much proached gesture in a different way. We wish to to Wewish way. different a in gesture proached paid off. people think. Personally, I don’t have the preten the Personally,have think. don’t people I between deep desire and social reality because most in thiscase,canhelpachievetheseobjectives? “Impasse’s genesisliesinthiscon- Various professionals and major actors in Tu in actors major and professionals Various We don’t always succeed at making a choice choice a making at succeed always don’t We For“revolution” a was performance the some, contradictions.” think andto make themfacetheir text, Ithink:to make thespectators in 2013, I have wanted to to wanted have I 2013, in Jour À Im- - - - Arab region, we do have a real artistic identity – our The questions often focused on the “pursuit of hap- The emergence of the “danced” gesture came later I believe dance can greatly contribute to changing I believe that dance in the Arab region is changing Do youthinkthatdancecanchangesocieties? How do you see the state of contemporary dance cere. On stage, each of my dancers each really felt explore new approaches. I also think that within the our countryandusproud. certain of it, thanks to choreographers, I’m imminent, dancers is it but but professionals as ognized incite them to change their attitudes. Art in general is to me a first step towards change. It is what will genuine rage. itated roundtable discussions with the audiences. audiences. the with discussions roundtable itated in the process of creation. I tried for gestures and gestures for tried I creation. of process the in what we dare.” To touch audiences and to incite incite to and audiences To touch dare.” we what will toovercomethissituation…“Impasse”. student), lost young, the woman; brilliant young a society. After the them to ask themselves these kinds of questions questions of kinds these themselves ask to them are numerous sources of inspiration, which make for the creation of works of quality that will make will that quality of works of creation the for also Tunisian and foreign partners that we have. To they claimed their fears, their desires but also their the servant; civil (the characters their on work to started first dancers my of Each emotions. their their movements, they really were possessed by a by possessed were really they movements, their sin- work my made creation of process this that the recognition from the state; we are still not rec- not still are we state; the from recognition the history, our culture, our religion, our revolution, revolution, our religion, our culture, our history, us specialintheworld. the sociopoliticaltensionsgoingon? believe Today,I danced. be to reactions natural more and more and choreographers are daring to piness,” “the tensions between what we want and in the Arab region today? Do you think it reflects be supported by an organization like AFAC allows “To touch audiencesandto incite of questionsisto meafrststep In Tunis, young choreographers today seek seek today choreographers young Tunis, In towards change.” them to askthemselves thesekinds performances we facil we Impasse performances - other, it is about acknowledging the difference of of difference the acknowledging about other, is it ingly different at first gaze on stage, but in reality in but stage, on gaze first at different ingly from one day to the next, of course, but it will con- and the same fears. Dance won’t change the world and dance in particular is about opening up to the to becontributingthis. tribute to making change happen, and I am proud expectations same the have characters three the the other. In S E V I T C E J B O Democratize contemporary dance in Tunisia, • as Showthat body language isasimportant • Make a statement after Tunisian revolution • Foster tolerance andpromote differences • Incitepeople to askquestionswhich can • Make people think aboutthelimitations • oral language ocultural limitations of theirculture and intheArab region more generally that thebodyneedsto break free from soci- lead to changingattitudesandbehaviors Impasse I put three characters, seem-

160 Dis — cover about acknowledging up totheother, itis “Art ingeneraland dance inparticular is aboutopening the difference of theother.” 162 Dis — cover 164 Dis — cover VISUAL ARTS EGYPT Female Amanda Kerdahi FILTERED CONVERSATIONS AT ROUND TABLE FILTERED CONVERSATIONSAT 32 Y.O 100 women living in Cairo to smoke with AmandaKerdahi’s with the unrestrained female body, the female unrestrained the with Round TableRound picks up from whereConversa- 100 filters became visual transcriptions of two actions her anda conversation start about their In the first project I was so focused on the installa- in Egypt, in whichEgypt, is in fact generally asso femaleseeminglyand,ofidea sexuality How is the second project different from the the from different project second the is How tions couldn’t see the impact these conversations could first one? conversations, inviting the viewer to experience experience to viewer the inviting conversations, in Egyptiansocietyconnectedtothefemalebody. crosses boundariescrosses andgoesbeyond ta- ciated with ‘easy andvirtue’ loose morals. space intimacies where non-stigmatized with women of various ages, sexual orientations, re- more trivial, the act of smoking in public sations explored the taboos associated associated taboos the explored sations sexualities and experiences. The conver feedback has been extremely positive. Women have actually the crux of the work. In the beginning I beginning the In work. the of crux the actually sations, then juxtaposed them with soundless video and used them as vestigial recordings of the conver a piece of fabric replacing the typical filter. Each fil between women are shared. She invited boos in order to create a non-judgmental, fragments ofcomplexfemalesexualities. the conversations I’ve had in the past months, the mutual offers speakers between trust and timacy the project I realized that the conversations were were conversations the that realized I project the tion rather than the conversation. Halfway through talking about sexuality. Kerdahi collected the filters ter (square of fabric) visualized spoken and unspo- learning, perception shifts, or affirmations. From have both on myself and on the participants. In participants. the on and myself on both have ligions, and professions, in order to counter taboos ken thoughts of the smoker and her sexuality. The usually reserved for private exchange: smoking and The cigarettes were hand-rolled by Kerdahi with Her new project new Her left. The aim is to continue to have a dialogue Filtered Conversations at at Conversations Filtered 100 Conversations 100 - - - - -

What are the typical themes that are explored in in explored are that themes typical the are What What hasbeenthefeedbacklike? Conversations explored how this has reshaped the the reshaped has this how explored Conversations There was also a lot of talk about the way women women way the about talk of lot a also was There The topics and tangents of each conversation have have conversation each of tangents and topics The I let them steer the conversation. I participate and and participate I conversation. the steer them let I I can’t speak for a lot of them, but those who have outside the binary gender norms, as well as the expe dimensions of sexuality and homosexual experiences. equal status. I will also invite women who don’t don’t who women invite also will I status. equal government right now on homosexual or queer bod queer or homosexual on now right government ies or anybody that looks different, anyone working working anyone different, looks that anybody or ies environ the how and bodies own their with identify is the focal point of the event. There is no head of head no is There event. the of point focal the is view ofthetableduringdialogues. share my own experiences but I don’t change the topic. the from targeting of lot a there’s because it around assment was a big topic, which wasn’t surprising. surprising. wasn’t which topic, big a was assment and a lot of talk about how we’re going from a very very a from going we’re how about talk of lot a and smoke. In addition to the fabric filters, I will collect ated by sharing an intimate dialogue. This is why is This dialogue. intimate an sharing by ated themselves. There was also a certain queer element element queer certain a also was There themselves. heterosexual normative culture to rediscovering other talked to me about it afterwards told me that there the glass cups which will be used in the final instal- hierarchy no also is there that implying table the table. The joining of women in addition to dialogue conversations the on focuses project second the lation with soundless video – a round, top angle angle top round, a – video soundless with lation these conversations? riences, fears, and stories that have come out of that. ment plays a large role in the perception they have of met each other and there was a bond that was cre- paradigm in which we’re living, and also the dangers been varied, insightful, and informative. Sexual har Sexual informative. and insightful, varied, been between those who attend – each participant has participant each – attend who those between round a at congregate to women the inviting by “I think that change needs to start “I thinkthatchangeneedsto start effect andthenitwillspread in on a very smallscale.Ifoneperson on avery a way thatatop downapproach wouldn’t.” feels different aboutherbody, then maybe it will have a sort ofripple maybe itwillhave asort - - - - 166 Dis — cover ‘vagina’ withoutanyone something eventhough in thegrander scheme of thingsitmight not giggling orfeeling “Being abletosay awkward isquite really bethatbig number ofwomen 100 TOTAL of adeal.” number ofrecorded conversations 40+ TOTAL number offlterscollected 400 TOTAL I think that change needs to start on a very small small very a on start to needs change that think I How do you think a project like your project can of normalizing talk about sexuality is important important is sexuality about talk normalizing of contribute tochange? ing and somebody is listening, and for me this was grander scheme of things it might not really be be really not might it things of scheme grander isn’t something super measurable because when I was a sense of catharsis, that they felt lighter after scale. If one person feels different about her body,her about different feels person one If scale. small change is a lot more realistic. Also, this idea and slow it’s taken for the changes to take place, I awkward is quite something even though in the the in though even something quite is awkward the most important thing to be doing, to really be really to doing, be to thing important most the listening tothemandrespondinggenuinely. leaving. If anything it’s just because they’re speak- then it will spread in a way that a top down ap- down top a that way a in spread will it then and effect ripple of sort a have will it maybe then think about my own sexuality and about how long that bigofadeal. to say ‘vagina’ without anyone giggling or feeling thing really personal. However, this kind of slow slow of kind this However, personal. really thing realize that it is so hard to measure. It’s just some- proach wouldn’t. So my goal or expected outcome being able to just normalize that and being able able being and that normalize just to able being So it. around hush-hush of lot a there’s because S E V I T C E J B O Create more visibility around complexities • Actualize aninstallation thatcounters • • Provide a safe space for dialogue among Egyp- stigmas andtaboosinEgyptian societyin of sexuality orientations, religions, and professions connection to thefemale body tian or Arab womenof various ages, sexual

168 Dis — cover VISUAL ARTS Abdelaziz Taleb, Director, Arab Media Lab DigitalMarrakech video,multimedia performances,video 2010), and then came the Arab Media Lab, which DIGITAL MARRAKECH 04Y.O MOROCCO Institution Arab MediaLab workshops and other interdisciplinary interdisciplinary other and workshops Marrakech city, with the main events events main the with city, Marrakech Through Digital Marrakech, you aim to capture held in the old medina. takesplace in anumber of locations in ists from all over the world present latest installations, digital mapping, net art, art, net mapping, digital installations, practices, research and technology, and performances, film screenings, workscreenings, film performances, practices in the fields of digital film and aims to present diverse trends and trends diverse present to aims forms. The festivalforms. programconsistsThe of development of media festivalThe arts. initiated theDigitalMarrakech Festival. media arts and digital festival, which which festival, digital and arts media showcase important achievements in the shops, lectures, and an exhibition. Art exhibition. an and lectures, shops, since 2012. First with show the richness and complexity of Arabic culture and reflect on current Arab happenings as well as through video, digital film, and moving images images moving and film, digital video, through through the lens of digital technology. What What technology. digital of lens the through the evolving artistic zeitgeist in the Arab region sparked theidea? been working on various projects that explore explore that projects various on working been Videokaravaan Videokaravaan is an international international an is project (2002- We have - - This fourth edition was a great success. The fes- The success. great a was edition fourth This Tell usmoreaboutthe 2014festivalprogram. For the 2014 edition we decided to dedicate part of How wastheresponse? derson, Quentin Tarantino, and Ghassan Salhab Salhab Ghassan Tarantino, and Quentin derson, our experience with the public, and show the the show and public, the with experience our experimentations. and reflections ideas, of wide-range a encompass our program to contemporary representations in in representations contemporary to program our in the Arab region and explore how technology in importance of the moving picture. We wanted to to We wanted picture. moving the of importance images represent them, they represent the political video and media artists have been exploring dif exploring been have artists media and video filmmakers, Young growth. constant witnessing and a special program focused on the Arab region. artists andfilmmakers. an alternative space for a new create and debate critical and open an stimulate and social conditions of different communities, and and anxious freedom, and most importantly, they ferent paths of subjective expression with a fragile the Moroccan art scene. It has also succeeded in in succeeded also has It scene. art Moroccan the in spot reputed a secured and matured has tival the region is understood and practiced. We also Wealso practiced. and understood is region the the deeply rooted traditions. Overall, their images had special tributes to Terrenceto tributes Wesspecial Malick, had An- to media arts. We wanted to take a close look at thehow Arab region, ranging from independent cinema have been taking control of their own images. Their media arts and digital communications are evolving Video production in the Arab region has been has Videoregion Arab the in production With Digital Marrakech we wanted to share share to wanted we Marrakech Digital With generation of media - 170 Dis — cover 2,000 visitors. 3D Digital Mapping, and welcomed more than than more welcomed and Mapping, Digital 3D What has been the Festival’s biggest achieve- Festival’sbiggest the been has What With a very limited budget, we have managed to to managed have we budget, limited very a With The idea is to make the festival a very significant significant very a festival the make to is idea The the expanding in role major a plays festival The Moroccan artists and international ones. It brings collabora interdisciplinary to contributes also It artists local for platform a is Marrakech Digital How do you think your festival is adding value value adding is festival your think you do How create a special showcase and put Digital Mar Digital put and showcase special a create created several international interdisciplinary collaborations. interdisciplinary international several created experimental films, creative documentaries, digital education. Our ambition is to turn the festival into cultural event on the Moroccan and Arab map and of professionals. during the master classes, which stretch over two and video film, in talents local for opportunities interactive media. The most successful participants showcased, as well as one main workshop on on workshop main one as well as showcased, and energies, and introduces them to the newest newest the to them introduces and energies, and a centeroftheyoungpeople’slifeinMarrakech. between exchange international of atmosphere are offered the opportunity to produce new works the Arab region that opens its program to various trends inmediaarts. ideas common sharing artists emerging together public. larger much a to work their present to tions between South and North, and creates an an creates and North, and South between tions supervision the under held are and weeks four to unite various social spheres, like culture, arts and reaching out to the rest of the Arab region and and region Arab the of rest the to out reaching representations of new cinema (independent and (independent cinema new of representations rakech on the map as the only festival in Africa and to theattendees? ment sofar? “Encouraging artistic activitiesin “Encouraging artistic our region willopenthedoorto and sociallevel.” and thisinturnwillcontributeto a lotofexperimentation,which transformations onanindividual leads to a rich artistic atmosphere, leads to arichartistic We had more than 150 artworks artworks 150 than more Wehad - - 1 500 We believe that encouraging artistic activities in in activities artistic encouraging that Webelieve TOTAL How and in what ways do you think an initia- an think you do ways what in and How on an individual and social level. The majority of of majority The level. social and individual an on our region will open the door to a lot of experimen of workshopsandmastersclasses. change intheArabregion? is also a platform for learning since it includes a lot number ofattendees and this in turn will contribute to transformations and video art, video installations, 3D mapping). It themselves indifferentways. they are using art to reclaim their right to express and young is region Arab the in population the atmosphere, artistic rich a to leads which tation, tive like Digital Marrakech can help in creating S E V I T C E J B O Challenge theWestern perspective onart • Provide aprogram to young mixed media • Contributeto individual andsocial develop- • creation inMorocco, Strengthen media art • and complexityofArabic culture from various feldsandinitiateinter- artists participants national andregional networksamong the mixed mediaart ment through video,digitalflm-makingand from theArab region andshowtherichness North AfricaandtheArab region North number ofartists TOTAL 100+ - 172 Dis — cover PERFORMING ARTS As We Forgive? As part of her graduation project my daughter daughter my project graduation her of part As AS WEFORGIVE? Sawsan Darwaza get people to start thinking aboutthinkingperti- start peoplegetto exploration of extremism and revenge, which are which revenge, and extremism of exploration award-winning theater director Sawsan JORDAN explores how these issues are threaten are issues these how explores ness in this context of extreme violence. forgive and revenge like concepts nent Darwaza. The play raises many issues issues many raises play The Darwaza. tremism,discrimination, and hate, and region. As Arabs we’re surrounded by and sub- and by surrounded we’re Arabs As region. two very relevant ideas to what’s going on in the the in on going what’s to ideas relevant very two pecially its discussions of social divisions and its its and divisions social of discussions its pecially with what’s happening now in the Arab region, es worked on a text by Australian writer Tom Holloway. I was really drawn to the text because it intersects ing our morals and ethics. She hopes to How didtheideaofthisplaycomeabout? eae 52Y.O Female facing the Arab region today, such as ex today,as such region Arab the facing is the most recent work by - - - - and he was happy about it. I then translated it with doesn’t really have money, so he beats him and and him beats he so money, have really doesn’t do or worry about anything. Then someone breaks one of the actors, Alhakim Masoud, and after that spoke to Holloway and shared my vision with him, What’s thestoryabout? Najib Nuseir, who is a professional writer in Jordan. man starts talking to the audience about his plan his about audience the to talking starts man a has who man 50-years-old a about is story The The final theater text was a collaboration between first is psychological related to how someone can someone how to related psychological is first the actorsandmyself. text provides a launch pad to discuss these issues. I further developed the script and the themes with I So it. with experiment and it adapt to wanted I for revenge. There are two layers to the story. The into his house, but the thief discovers that the man jected to a lot of violence and I felt that Holloway’s leaves him frightened. From that moment on, the home feeling secure, and he doesn’t really have to knee injury and lives off the government. He sits at and controversies, whole new paradigms. We’ve paradigms. new whole controversies, and region, our in happened has that revolution any association withviolence. of dead people, etc. But it remains a virtual type of of us feel protected. We talk about violence in num- or death’ of ‘theater the call I what and cruelty’, to subjected is person a when arise that emotions our entire moral and ethical systems have been been have systems ethical and moral entire our crossed all the red lines. Our reference points, and establish through this play a direct connection or connection direct a play this through establish Why didyoudecidetotakethisdirection? Why do you think establishing this connection this establishing think you do Why The audience is also subjected to this violence. The more violent adjectives for it because it’s a type of touch themanysecond. theater that brims with an extreme violent energy. the ‘theater of violence’—I have even tried finding theater, or what Artaud refers to as the ‘theater of vio extremely is that society a to lead could this violence that we’re exposed to through narratives can violence this that feel them let and pressure violence, racism, or discrimination, and eventually you are dealing with whole new sets of problems problems of sets new whole with dealing are you Despite living in a place of extreme violence, most If you’re talking about the Syrian catastrophe or or catastrophe Syrian the about talking you’re If to violenceisimportant? in the media; in other words, we’re disconnected disconnected we’re words, other in media; the in extreme of state a in audience the put to is idea from it, it’s like fiction. It was important for me to lent. The second layer has to do with experimental ber of explosions, number of air strikes, number number strikes, air of number explosions, of ber bers, and most of the time in huge numbers: num become so violent and full of rage. These are scary “The play wasprovoking, like thetitle —Omar Tarawneh, spectator admits forgiveness makes you want session, ajourney ofcries,blood, violence, andambiancenoire.” It invitesyou to anopenthinking fear, vengeance, andforgiveness… the process ofregret, pain,hatred, to digdeeperto betterunderstand itself As We Forgive? The factthatit - - and afraid. It’s a very difficult and unprecedented altered dramatically. Everyone is hugely confused can impacttheaudience’spointofview. can do is ask questions and change perspectives. It I And society. change can theater political not or or achievements substantial of speak really can’t discussions and explore how to move forward with so far, but I still want to work on it and refine it now What doyouhopetoachievewithit? rific metaphor because you don’t have to be inside realized that it can’t. However what political theater the explosiontobleedanddie. that I have more time to analyze the feedback and We’veobjectives. full about talk shows nine done period. The play ends with a blood bath. It’s a hor- I still haven’t finished the project so we can’t really impact. My thesis at university explored whether whether explored university at thesis My impact. it. In theater, if you don’t travel with your play you S E V I T C E J B O Propose anewnarrative to counternarra- • Promote tolerance andpeace • Get peopleto think abouttwoimportant • of extreme violence tives ofviolenceandterror issues—forgiveness andrevenge—at atime 174 Dis — cover “Political theatercan change perspectives. number ofspectators TOTAL 1 600 ask questionsand It canimpactthe audience of view. Amman 07 ’ s point other 02 ” Zurich Tunis Fujairah Beirut Australia Future Shows 178 Dis — cover LITERATURE Yak. Yak is the General Director of the the of Director General Yak. Yakthe is The Day AzraelDayThe Committed Suicide Azrael has nothing to do with the story.other the In with do to nothing has Azrael Nile Cultural Center in Juba and a con a and Juba in Center Cultural Nile AZRAEL’S SUICIDE SUDAN Male Yak Gabriel Arthur Why didAzraelcommitsuicide? tributingto writer discovered tribe. Being caught up in this tribal-po doesn’t he that discovers then he But power. cal politi- retain to order in group ethnic another of a is Azrael religions, many In (Azrael). Death of dealing with a protagonist who acts like the Angel is being used by his commanders to kill members kill to commanders his by used being is words, it’s not Azrael himself that would commit commit would that himself Azrael not it’s words, newspaper in South Sudan. novel by Sudanese writer Arthur Gabriel suicide. Azrael is used here symbolically; we are are we symbolically; here used is Azrael suicide. actually belong to his tribe but to the other tribe tribe other the to but tribe his to belong actually and army Sudanese the in officer high-ranking a the occupation of rebels who belong to his newly newly his to belong who rebels of occupation the that he thought were the enemy. After his discovery, is Azrael fictional Our death. their upon God to them returns and people dead of souls the takes his commander orders him to go liberate a city from who Angels God’s of commander high-ranking 42 Y.O al-Mauqif, an Arabican is a is - - What is the big idea or the main story you are are you story main the or idea big the is What What inspiredyoutowritethis novel? So this is where suicide becomes a solution to an an to solution a becomes suicide where is this So There are two messages I would like to send to the On 15 December 2013 a fight erupted within the the within erupted fight a 2013 December 15 On ourselves belonging to a certain group or the other a be to chosen has one No indirectly. or directly intricate situation. world. The first is that there were ethnic massacres is the tribe of the president, and the Nuer tribe, tribe, Nuer the and president, the of tribe the is without puttingalotofeffortinto it. which is the tribe of the former vice-president. The litico-military imbroglio he decides that he can’t go, trying totellinyournovel? matter what you will do in order to protect your your protect to order in do will you what matter member of a certain ethnic group; we have all found political or ethnic group, it will affect you either either you affect will it group, ethnic or political perpetrated in South Sudan. The second is that no presidential guards between the Dinka tribe, which but he also won’t be able to resign from the military. “In atribalsocietylike ours, fction canhelpchangepeople’s perceptions ofeachother.” Are youafraidofcensorship? Sexual livesarenotjustabouthavingsex.Sexisa The stereotypes being held by certain tribes against I’m not afraid of censorship because that is the least I don’t write to entertain people, but rather to let let to rather but people, entertain to write don’t I Besides being a political novel, you also touch touch also you novel, political a being Besides Do you think fiction can help change societies? one would expect. Things might have reached har of the killers who are still alive. But whoever is not out torturing his spouse; otherwise he wouldn’t wouldn’t he otherwise spouse; his torturing out can help change people’s perceptions of each other. or frustration will reflect in our behavior and hence devoid of intimate sex. And that depression or stress inspiration camefrom. ciety, especially in your discussion of the charac would not satisfy himself except through torture torture through except himself satisfy not would in the novel would not relieve himself sexually with a manormakehimveryhappy. as just physical contact between two intimate souls, achieve is to tell my reader that beyond what we see to trying I’m What victims. his of bloodshed and see the world. In a tribal society like ours, fiction fiction ours, like society tribal a In world. the see a failed coup by the former vice-president, and then second day the government announced that there’s assments if not worse. To unmask the hideous face stress, and depression might be a result of a life life a of result a be might depression and stress, source of happiness and unhappiness. Frustration, affect our societal relations. One of the characters things turned violent and tribal. This is where my where is This tribal. and violent turned things the worldisnotworthyofbeingawriter. lays a monumental power that could either destroy that it would make some change in the way they they way the in change some make would it that hoping angle, own my from world the see them ready to compromise his life to reveal the truth to truth the reveal to life his compromise to ready ters’ sexual lives. Why did you decide to take this times pinpoint some kind of perversion in the so reach the zenith of orgasm. He’s like a dictator who upon a lot of societal complexities, which some which complexities, societal of lot a upon route and what are you trying to achieve with it? “Whoever isnotready to compromise hislife to reveal worthy ofbeingawriter.”worthy the truthto theworldisnot - - - - - Juba, Bor, Bentiu, and Malakal, and that these gen- What kind of tremendous change would you like I would like my fellow citizens to recognize that that recognize to citizens fellow my like would I each other could be challenged, if not eradicated, eradicated, not if challenged, be could other each could change. I hope that this fiction will make a make will fiction this that hope I change. could executors—because I believe that most of them them of most that believe I executors—because the be to happen who other. readers each For the against tribes both by executed been have ocides escape justice. way to tell a story, can attract readers and immerse what they have done. I want to write about them them about write to want I done. have they what are still alive— I would tell them that I write about so that they would not escape from our collective our from escape not would they that so them emotionally. When a fictional work is able to tion, in how the characters and plots interweavefic- of nature very the inthat think I fiction. a through tremendous changeinourtribalpsyche. tears, our behavior or our way of looking at things torment their consciousness by reminding them of the genocides that you have been part of. I want to there were tribal-based genocides that happened in move you emotionally, sometimes to the point of of point the to emotionally,sometimes you move to seeoncethenovelispublished? memory, even if they have somehow managed to to managed somehow have they if memory, even Expected completion:May 2015 “I wantto writeaboutthemso escape justice.” our collective memory, even if they have somehowmanagedto that they wouldnotescapefrom 180 Dis — cover FILM Anthony Chidiac Room for a Man a for Room Carole Abboud, Producer What werethedifficultiesyoufaced? The director is the main character who is trying to Chidiac, the director, tell us more. It was a long conversation that trickled down to to down trickled that conversation long a was It I started producing films six years ago and it so so it and ago years six films producing started I How didthefilmcomeabout? context. So they were a hard sell. It was difficult to get them across the censorship board or on TVs, on or board censorship the across them get issues but through fictional characters. We were characters. fictional through but issues mentary about a young Lebanese man man Lebanese young a about mentary was happening to him in his own private home. home. private own his in him to happening was friend personal a developed and closely working struggling with his identity. Carole Ab identity.Carole his with struggling boud,thefilm’s producer, and Anthony arrive at Anthony’s room. The entire film basically ship and at one point he was telling me about what a 52-minute fictional film in which he tackled real a film with two men kissing each other. It’s also also It’s other. each kissing men two with film a for Gulf the from funding get couldn’t you and regional or Lebanese the in them to used not are takes place in his room. It’s an introspective film. film. introspective an It’s room. his in place takes tough to sell them abroad because the West are are West the because abroad them sell to tough happened that I was working with films that can can that films with working was I that happened how havetheseinfluencedhisgrowth. understand his environment and surroundings and be considered as ‘difficult’, in the sense that people ROOM FORAMAN LEBANON ae 26Y.O Male is an 80-minutes docu- 80-minutes an is I worked with Anthony on - - Anthony Chidiac, Director Chidiac, Anthony Anthony himself. What kindofquestionsdoesthefilmraise? We’ve read the synopsis of the film, but in your The director is allowed to express him or her self self her or him express to allowed is director The us, around things the observes basically film The Can filmslikethisleadtochange? Beyond the question that the director is asking him- It’s a sensitive topic to cover. Did you face any any face you Did cover. to topic sensitive a It’s of, what they are, and what we can do with that that with do can we what and are, they what of, made they’re what understand to order in down environment heorshelivesin. change. They’re small earthquakes that will con will that earthquakes small They’re change. in particular, the film more generally asks how is it information. So his mom, sister and the house are its perspectives, correct a misconception, or offer or misconception, a correct perspectives, its shift society, impact eventually can that way a in is written like a personal reflection. It’s an intro an It’s reflection. personal a like written is own words as the director, how do you describe to trying are we stories the and us in believe who the for sell to want not do I to. adhere to willing same time be so chained by the social and cultural self, which is what is it like to be a man in Lebanon around the director’s universe, and breaks them them breaks and universe, director’s the around some kind of impact, because no matter how small film talented Withthe imagination. for space a we’re saying is Gulf the when So selling. of sake spection, which is known as ‘Cinema d’auteur.’ d’auteur.’ ‘Cinema as known is which spection, tearing down the house and reconstructing Antho- like for someone to be able to live freely while at the tell, andforthisIthankthem. like the main obstacles and it’s as though we’re we’re though as it’s and obstacles main the like tion. Small changes are needed in order to lead to emancipa- and freedom for quest our to tribute the impact is, in the end it will create some kind of we’re Westthat the saying and is progressive too looking for a certain exotic format which I am not your film? ny’s room, which here metaphorically resembles resembles metaphorically here which room, ny’s makers I’m working with, we’re trying to create create to trying we’re with, working I’m makers not exotic enough, you have institutions like AFAC resistance? big changes. This documentary film film documentary This - - - What do you hope audiences would feel, think think feel, would audiences hope you do What film would trigger something in every single viewer Stories remain personal until they are shared shared are they until personal remain Stories To be honest, we never started working on that film The film is pretty much about your story, which I believe there is a thin line between myself as a as myself between line thin a is there believe I obtain enough distance during the editing process, cal, funny, strong) and few other working men, in (hysteri mother the is which character main one event, main one through triggered and exposed it becomes smoother to treat yourself as a charac- a as yourself treat to smoother becomes it or doafterwatchingthefilm? yeurs of other people’s lives, especially when humor which is my bedroom’s renovation. The film stars success, work, responsibility, family, loneliness, etc. mothers, manhood, like – on raised been have all we values basic some re-question to them get and ‘cor not that’s and audience target certain a for and dramaareinvolved. addition to personal belongings that reflect my my reflect that belongings personal to addition and manhood, etc. Many layers are simultaneously a Father, fear of strangers and desire for strangers, ter. the omnipresence of a mother and the absence of absence the and mother a of omnipresence the tried to combine opposite elements in one bowl like this experience both challenging and motivating. I home and insecurity, past and future, childhood childhood future, and past insecurity, and home rect’ if you want to hit the market. But I hope the the hope I But market. the hit to want you if rect’ publicly. It’s a hard process indeed, but once you you once but indeed, process hard a publicly. It’s story. Whydidyouchoosetotellitpublicly? person and as a filmmaker and that’s why I find find I why that’s and filmmaker a as and person position inthefilm. Expected completion:November 2015 is at the same time a very private and sensitive sensitive and private very a time same the at is “A flmcaneventually impact “Honesty” is probably the right answer for that. society, shiftitsperspectives, I have the feeling that people enjoy being vo- being enjoy people that feeling the have I offer aspaceforimagination.” correct amisconception, or - - 182 Dis — cover FILM man called Maher. Maher then left to Canada and she had before she married Zaineb’s father with a story love a about me telling started mother her incident the After nine-years-old. was she when accident car a in died father Zaineb’s cousin. my since she was a kid because her mother, Wided, is The project started as an adventure. I knew Zaineb so long? tion. What is the film about and why has it taken produc- of stages final the approach to starting You’ve been filming for six years and are finally KaoutherBenHania’s film,new ZAINEB HATESTHESNOW TUNISIA Female Ben Hania Kaouther Hates the Snow, the Hates it has taken so long. moreaboutustells project theandwhy feature. In this interview, the filmmaker and documentary between boundaries ingonit for thepastyears, six blurs the which she has been work been has she which 40 Y.O Zaineb - gone throughthisphasewhengrowingup. all we’ve specificities; its despite story universal a terest to me in this story. feelings. It is the initiatory process, which is of in- about the life of adults and the complexity of their much learn will Zaineb daughter. and mother a between relationship special yet ordinary an of ry life and to the world of adults, but it’s also the sto- to introduction about is story Zaineb’s ourselves. about ourownfamilialrelationshipsand us teach can person, a of fate special the through which, nary people. Touching stories with a hint of poetry, ordi- concerning those stories, small of fond am I What attractedyoutothisstory? that isCanada. hates the snow, or in other words the land of snow emotionally and discovers whether or not she truly and physically matures she as Zaineb of eyes the family life. It is a processchanging her documentary and life told throughgirl’s Tunisian young a of story the is film the So thing. good a was this that Wijdene, daughter, own his convince also to had Maher part, her.his For for change radical a was about this man? Going to Canada, emigrating – it Zaineb tell she would How Wided. for confusing his daughter from his ex-wife. It was all so new and and him with live to Canada to daughter her with move to her to proposed then He rekindled. was story love the and condolences his present to her learned that Wided has lost her husband, he called father.Zaineb’s – Maher liking When her to larly an arranged marriage to a man who wasn’t particu- married another woman. Wided ended up accepting they arefacingalong theway. difficulties the document me letting comfortable They will try their best to achieve their goal and are they would like their story to have a happy ending. revealed to me that, just like in romantic have comedies, Maher and Wided and film this about lot a story, between Canada and Tunisia. We have talked I found myself involved in their long-distance love [Zaineb’s stepfather] Maher is my maternal uncle. film? the of confidante. lone her I’m and together up grew we part be to cousin, paternal them my is Wided mother] [Zaineb’s convince to hard it Was Zaineb Hates the Snow is tiring butrewarding atthesametime. cally and creatively on finding solutions. It was very if you will. It was a great experience to work techni how to divide the tasks by myself like solo orchestra, learned I so everything, sound, picture, the doing team sole the was I way a In house. the into team situation is private and I couldn’t bring in a technicalIn thisfilmIwasforcedtomyselfbecausethe What didyoulearnfromthisexperience? their houseandyouhavetoshootresponsibly. in constantly filming you’re rolling, starts camera the When difficult. very still was it but me knew Wided and Maher gave me their trust because they they maynotwanttorevealorshowcase. extent you can go in diving into details, details that the of wary be and shoot you what and how to as their doors, their memories, you open need they to people, be of sensitivelives personal the shoot you Obviously there was an ethical issue involved; when What were the main difficulties that you faced? editing process. the starting are we completed, been has filming the of most since parallel, In matures. and grows she as life girl’s young a in years transformational the end of production we would have captured five By day. passing each with dreamlike and remote more life past a and father dead her of ghost the with filled place Tunis, a homeland her to returns and Canada country adoptive her leaves she until year this over Zaineb follow to continue to is plan The [2014]. summer past this Canada to parture de final their of moment the at family Zaineb’s Tunis, followed in we father Zaineb’s of death the Since the first footage shot back in 2009 following Which production stage have you reached now? the film – physically, psychologically, emotionally… get to really witness the growth of the characters in When you’re filming over a long period of time you grow. and learn you how phase, initiation the was me for thing important other.most each The with ing between the two girls and how they started to livethat’s the rhythm of life. In 2009, I filmed the meet because time long a take would it feeling a had I Did youknowitwouldtakesuchalongtime? - - - Expected completion:Endof2015 beyond anddiggingdeeper. more to emotions, to love, to family; thus venturing dress a less intellectual theme, a theme that relates Withgenre. that I have a special attraction to the documentary allowed me to learn “direct cinema” and to find out and choose from it things that interested me. This reality, with all its complexities, and could observe in France through a catholic institute, I was facing documentary about Imam education on secularism In my second film her wedding night with this stranger (the husband). so thathissisterdoesnotcommit“thing”on wedding sister’s his sabotage to tries child a film, that In eye. child’s a through seen sexuality adult – theme similar a treated I film, short fiction first original and sometimes surprising manner. In my teach us something about the world of adults in an Firstly, because a child’s sensitivity reasons. and various outlook for eyes can Zaineb’s through story closeness to the characters. I have my chosen to thanks to do tell to theable was I which spot, the on shot images of composed mostly be will film The you madeinthefilm? What kind of artistic choices and decisions have same time allow you to have a storyline that evolves. to write scenes that can be rich in reality but at the for feature films in the sense that it taught me how me prepared has it way in So camera. the of lens the from world the at look to filmmaker a allows and decisions you make in the film. Documentary choices the by meaning creating up end you and reality, in write to learning like is documentary a that’s poetic or narratively interesting. So making way a in it reorganize to way a find to is challenge the reality, filming you’re when So on. going is much so and chaotic is It mess. big a is Reality fiction. Whatdrewyoutothisformat? a like feels also but documentary is film Your , I wish to ad- to wish I Snow, The Hates Zaineb Imams Go to School, a 75-minute 184 Dis — cover 186 Dis — cover VISUAL ARTS (repérages, relevés, inventaires, mesures, plans, plans, mesures, inventaires, relevés, (repérages, LE SQUARED’ENBAS MOROCCO Male Hassan Darsi Le Square d’en Bas d’en Square Le Quel genre de questions essayez-vous de poser a d’urbanisation d’une ville elle-même en chantier, en elle-même ville d’une d’urbanisation de construction qui emprunte les mêmes outils outils mêmes les emprunte qui construction de d’une maquette qui inventorie l’existant en vue d’en introduit et amplifie une réflexion sur la ville et et ville la sur réflexion une amplifie et introduit ses réalités. politique la à contre-pied en et …), archivages, faire unmodèle,formel,socialetpolitique. l’Hermitage en 2002 en l’Hermitage si- projet autre un par ans 10 de plus a y il tamée travail à l’échelle, et c’est la question posée dans dans posée question la c’est et l’échelle, à travail travers voutre nouveau projet, milaire « milaire résonnance avec deux territoires de la ville de Casa- blanca. Les deux projets consistent en la fabrication est une œuvre en chantier en œuvre une est Bas d’en Square Le La question essentielle dans ce projet est le le est projet ce dans essentielle question La Le projet de la maquette, cas du parc de parc du cas maquette, la de projet Le 42 Y.O prolonge une recherche en » 1 . Les deux projets sont en en sont projets deux Les . le Sqaure d’en Bas? - A quelle échelle pensons nous la ville la nous pensons échelle quelle A intègre un processus participatif. processus un intègre Bas d’en Square Comment prévoyez-vousposercesquestions? La construction de la maquette se fait à plusieurs à fait se maquette la de construction La D’abord par la nature même du projet du même nature la par D’abord citoyenne, ouverte, participative et projet de société. construction de la ville peut-elle devenir une ques- de faire c’est maquette, une faire Si construction. quette d’une ruine en centre-ville. Pour cela, cela, Pour centre-ville. en ruine d’une quette struction du réel, mettant en vis-à-vis en mettant réel, du struction tout leprogrammesocialetpolitiquedelaville. tion populaire ? cette à participer ponctuellement viennent tés échelle estimons-nous nos moyens d’action l’architecture, à plus grande échelle, comment la comment échelle, grande plus à l’architecture, mains, des habitants dans toutes leurs diversi- leurs toutes dans habitants des mains, modèle desociétévoulons-nous ? Le Square d’en Bas estd’en Square Le un processus de con : démarche :

? A quelle quelle A ? : Une ma- Une :

? Quel Le Le - œuvre à décaler le regard pour mieux percevoir, percevoir, mieux pour regard le décaler à œuvre Voir la maquette et l’apprécier, voir la ville et vouloir Source du lion, renseigne sur les capacités d’une d’une capacités les sur renseigne lion, du Source Qu’ aimerez-vous les gens ressentent après avoir Quelle a été la réaction du public jusqu’à présent? Quel est le principal problème auquel font face Le travail à l’échelle qui structure la construction de Le cas du « La Source du lion. Une rencontre sur la ville avec ville la sur rencontre Une lion. du Source La La maquette est en construction, le processus processus le construction, en est maquette La Les villes dans notre région sont à certains endroits Par ailleurs, autour de la construction de la ma la de construction la de autour ailleurs, Par Pensez-vous que l’art peut contribuer à résoudre et de travail à l’échelle humaine. de l’Hermitage (Jadis abandonné et aujourd’hui aujourd’hui et abandonné (Jadis l’Hermitage de construction d’une société, comme Casablanca Casablanca comme société, d’une construction chantier ouvert toute la semaine dans l’atelier de de l’atelier dans semaine la toute ouvert chantier le dans maquette la de éléments des construire et Cie »,sujetdelamaquette. terri même le vers vues de point de convergence quelques dizaines de personnes sont déjà venues venues déjà sont personnes de dizaines quelques ces problèmes?dequellefaçon? grammer des actions pluridisciplinaires en danse, quette, deux autres projets se sont greffés pour pro- inhumaines. Une ville ne se construit pas seulement se l’approprier. a étéàl’originedesavraiemodernité. se construit par le rêve, par la poésie et par le désir. à mener. L’art devrait reprendre sa place dans la la dans place sa reprendre devrait L’art mener. à justes plus les actions les que réalité la bien aussi sociales, et implication des architectes dans une une dans architectes des implication et sociales, tente defaireéchoàcetteréflexion. la maquette dit inversement ce manque de réflexion l’écrivain algérien Kamel Daoud a eu lieu dans le le dans lieu eu a KamelDaoud algérien l’écrivain toire questionner le devenir du lieu « réhabilité) que j’ai conduit de 2002 à 2007 avec La vu LeSquare d’enBas? particulier? pourrait redevenir le laboratoire d’architecture qui participatif se met en œuvre progressivement et et progressivement œuvre en met se participatif par l’argent et par les intérêts économiques. Elle Elle économiques. intérêts les par et l’argent par performances, poésie, ateliers de dessins, enquêtes les villes arabes aujourd’hui , Casablanca en en Casablanca , aujourd’hui arabes villes les Projet de la maquette Le Le Square d’en Bas » autour du parc Legal Frères - - 2016 que la maquette puisse circuler dans d’autres Durant 7 ans, ce parc jadis abandonné est devenu devenu est abandonné jadis parc ce ans, 7 Durant Macel. Juillet2014-Janvier2016 1 Nationales du Patrimoine en avril. Je prévois en en prévois Je avril. en Patrimoine du Nationales a activé les désirs autour de ce parc et de tous les les tous de et parc ce de autour désirs les activé a design des années 80 à aujourd’hui) de la collection Quelles sont les prochaines étapes pour com- pour étapes prochaines les sont Quelles La dimension communication par tous les médias, en tempsvenu. d’y participer. de la maquette jalonner le chantier et créer le désir des surréalistes vaste chantier concernant ce territoire de 17 hectares. un cas d’école pour la ville de Casablanca. Ce projet villes au Maroc et ailleurs, pour de nouveaux mo- nouveaux de pour ailleurs, et Maroc au villes histoire, l’histoire de l’art, de l’architecture et du du et l’architecture de l’art, de l’histoire histoire, parcs abandonnés dans Casablanca. Le projet de de projet Le Casablanca. dans abandonnés parcs permanente de Beaubourg. Commissaire Christine inscrite dans la collection de Beaubourg, a été un un été a Beaubourg, de collection la dans inscrite la maquette fait partie de l’exposition actuelle (une marocaine Nadia Sabri autour de Max Ernest et et Ernest Max de autour Sabri Nadia marocaine même atelier, une autre avec l’historienne de l’art ments de rencontres et d’échanges en perspective. pléter leprojet? presse écrite, télé, radio et web feront écho au projet publiques viendront tout au long de la fabrication La Maquette du Parc de l’Hermitage, La maquette sera inaugurée lors des Journées ; d’autres moments de rencontres aujourd’hui 188 Dis — cover redevenir lelaboratoire d’une société,comme dans laconstruction Casablanca pourrait d’architecture qui a été àl’originede sa reprendre saplace vraie modernité. » « L’art devrait 190 Dis — cover FILM Rana Jarbou. and the lens of a woman, the filmmaker the lens of Rakan, a young male joyrider, plores the city of Riyadh, as seen through During my research of one of these practices, which ferent worlds lived by the respective graffiti artists. dif- the reveal that practices graffiti specific three titled, kingdom Saudi the in graffiti about documentary a making on planned initially had I is, truth The So thefilmisaboutthissubculture? in circleswithoutdirection. outer part of the city. the in place taking processions joyriding the ing ranging from drifting to joyriding to simply attend- activities in engaging Arabia, Saudi in subculture Hajwalah What doesitmean? Let’s begin with the name of the film, Hajwalah HAJWALAH SAUDI ARABIA Female Rana Jarbou Jidranuna (Our Walls) is the term used to refer to a youth male is a documentary film that ex that film documentary a is 33 Y.O Hajwalah , which was to explore also means driving Hajwalah. - is tellingofour virtual worldsandrelationships. media, social and internet the to referring our acter, is asked about the city, its public spaces and message when Rakan, a joyrider and the main char is gradually revealed. I kingdom Saudi the in relations social our of tion structural The Arabia. Saudi my accessibilityisverylimited. joyrider,a about story a tell possibly can whom to media. Driven by curiosity, I also wanted to see if I only had a single narrative about it in mainstream cially since it had been around for decades, and yet in the kingdom is a more urgent story to tell, espe- I shifted the focus because I thought that joyriding Why didyoushiftthefocusoffilm? focus onthehajwalah. roadand revolt, nography titled, the to reference in vandal,” “the titled, initially had I hajwalah In a sense, the film is still about “our walls” in separation from one another. He answers by by answers He another. one from separation subculture, I stumbled across an eth- by Pascal Menoret, that led me to me led Pascalthat by Menoret, Joyriding in Riyadh: oil, urbanism, intentionally reinforce this violence and regula- and violence which which - away I saw that joyriders conquer public spaces spaces public conquer joyriders that saw I away far From it. understand to wanted and subculture making process. I became attracted to the joyriding film- the in reflected is relations and interactions tured from the car window, and regulation of social structural and economic violence in the city is cap male counterparts who drive in the outer city. The ing my plight with my visible and yet marginalized day, nothing seems more important than connect As a native of Riyadh hoping to drive in my city one joyriders’ stories? other the and Rakan’s to you attracted What character inthisfilm. the city itself, Riyadh, which has become a central about more learned also I challenged. were types of Saudi male youth, and many of my own stereo- joyriders. I learned a lot about the sumptions and he even changed my perspective on as- my all story.defied their Rakan tell to willing someone always is there that me to proven far so has process This space. public and city the about wasn’t had in mainstream media, and another that one joyriding about conversation real a have to is Rakan? What is public space? The film attempts to encourage introspection. What is the city? Who and yetwedon’tfullyunderstand. expression of something we see and hear everyday pression of power. I want this film to be a powerful sition between the power of expression and the ex- A central theme in my work has been the juxtapo- Is there a main message you are trying to deliver? city. I am a passenger, being driven in no direction. growing rapidly the in place of sense a claim to that drives in no direction. It captures my attempt the city from a woman’s lens, through a filmic essay hajwalah world. the relive virtually and reimagine to order in ing gam- to turned and year a almost for joyriding stopped he job, his losing of Fearful stereotypes. the defies Rakan legalized. be should that sport” “motor a considers he what for passion Rakan’s through practice joyriding the explores film The What willthefilmexplore? I am not trying to build tension in the film, but explores film story,the Rakan’s to parallel In hajwalah world - - - spatial repression. courses that tend to obscure a bigger picture about dis- politicized and classist gendered, dismantle to film this want I citizens. fellow own our of ing our impulsive polarized politicization and sidelin- in integral become has interactions and relations addressed with separately. Regulation of our social be to box a in subcultures and people put to tend that narratives typical the subvert to hoping am I day-out. day-in with faced both are we that sion repres- and violence structural the highlighting and plights, our connecting of urgency the felt I What areyouhopingtoachievewiththefilm? same periodjoyridingemerged. of Riyadh, creating a car-based culture. During the city expanding the of spaces vast the in mobile be to and space of sense make to way only the came be transportation car scenario, this In boom. oil period in the Saudi kingdom’s economy due to the important an was which 1970’s, the in ticularly nomadic and tribal society into an urban one, par Oil discovery in the country quickly turned a once the Kingdomtoday? in on going what’s to relevant story the is How became aninevitablepartofthenarrative. to take a closer look. In doing so, my gendered lens and competition. I wanted to make this film in order ates a public spectacle of performance, admiration are “joyriders,” a collective group identity thus cre- with a quest for individual identity and fame. They Expected completion:March 2016 - - 192 Dis — cover re — cover

“Arts and culture offer platforms for social interaction; they help build civic experience by advancing collective work and problem solving, experimentation in co-existence and respect for diversity and dialogue, all crucial moments of transition and reform.” Moukhtar Kocache Al-Ma’mal Foundation for Contemporay Art The Jerusalem Show 193 Espace Culturel Festival of Popular Sayings 200 Information Assembly for Culture, Heritage and Arts Popular Hassani Tarab 204 Sara Ouhaddou Entre 2 208 Maison des Cinéastes Cinema Crossroads 216 Cinéma & Mémoire Passages in African Cities 220 Dar al-Mussawer Ten Stories from Syrian Refugees in Lebanon 222 ASSABIL Horsh Beirut Festival 226 Ma3mal 612 Karama Festival 230 YANTE I Can Move 234 Zakharef in Motion Nomad Dance Camp 238 Danseurs Citoyens Made By Street 242 Shareef Sarhan War Game 244 Brunel Institute Cities of Salt 246 Shubbak A Window on Arab Culture 250 Anya Visa For Music 256 Beirut & Beyond Second Edition 262

Al-Ma’mal Foundation for

Contemporary Art VISUAL ARTS

Institution 16 Y.O PALESTINE

THE JERUSALEM SHOW The Jerusalem Show is an art and cul- You’ve been organizing the Jerusalem Show for ture festival that aims to open up Pal- seven years now. From your experience, in what estine to the international art scene and ways can artistic and cultural projects like the one you organize impact situations of severe promote Palestinian contemporary life conflict like in Palestine? and art through a two-week program in I believe that situations of severe conflict, such as Jerusalem and the West Bank attended in Palestine, are fertile breeding grounds for radical by artists, researchers, academics and thought and extremism. But over the many years I’ve been living in Jerusalem, I have also seen that architects from Palestine and the rest with motivation and guidance – with the provision of the world. Jack Persekian, Director of of alternative options – new ways of thinking and Al-Ma’mal, the foundation that organizes inspirational new work can emerge. These things the Show, tells us more about the project. become beacons that attract and inspire other peo- ple, and sometimes entire communities. 194 Re — cover What are the main challenges you face in put - in face you challenges main the are What So our duty as art and cultural institutions is to to is institutions cultural and art as duty our So Jerusalem Show Jerusalem the for idea The Somewhat differently from other exhibitions in in exhibitions other from differently Somewhat Qalandiya International Biennale, is one of our our of one is Biennale, International Qalandiya Palestinian presenceinthecity. Palestine, the Jerusalem Show requires that the the that requires Show Jerusalem the Palestine, How did the did How dire situation in the city, and what our role in it it in role our what and city, the in situation dire over the past seven years, and which in 2012 con- 2012 in which and years, seven past the over or is in response to the situation in the city: its past, greatest achievements. imposed on Jerusalem by the Israelis. We developed in the face of a determined campaign to eliminate for impossible is it thankfully But me. frightens it where places in like is situation the what imagine its present, the life of its inhabitants…This means with the people in the city through partnerships partnerships through city the in people the with work the artists present in the Show is inspired and/ overcome them? and the issues, two these tackle help to programs several and Palestine, in art contemporary for advocates asked ourselves time and again how we can act as the over concern our about conversations from sistence of Palestinian artistic and cultural projects forced upon them. It is not very difficult for me to stituted the basis for creating and structuring the structuring and creating for basis the stituted and meetings at schools and community centers. I there aren’t any artistic and cultural projects, and the limitations of doctrine and to question what is beyond think to them allow that spaces create to think this model, which we have devised and tested how we can find ways to break the state of isolation achievement? might be. Throughout the many years that we’ve we’ve that years many the Throughout be. might people, young particularly and people, for ration me to picture Jerusalem without the untiring per untiring the without Jerusalem picture to me not only brings people from all over to Jerusalem, to over all from people brings only not ting together the Show annually and how do you past seven years? What has been your biggest biggest your been has What years? seven past provide these options, this motivation and inspi- and motivation this options, these provide been working at Al-Ma’mal (since 1997), we’ve we’ve 1997), (since Al-Ma’mal at working been but more importantly it puts them in direct contact Jerusalem Show is one of these. The Show develop in the the in develop Show Jerusalem stemmed largely stemmed - What has the response been like to the 2014 Show? Gaza to enter the city. And it was a real challenge real a city.was the it enter And to Gaza This challenge I think actually ended by affecting by ended actually think I challenge This This network or consortium would also ensure an Bank and Gaza. So almost all of them have never have them of all almost So Gaza. and Bank I think the response was very positive, particularly city and the situation without being able to access it. conceive, develop and realize their projects. This This projects. their realize and develop conceive, to trips several on return they city,often very and cover the costs this process entails. And in recent in And entails. process this costs the cover efficient and judicious way of utilizing the limited on diversifying its fundraising base, reaching out to overcome this, Al-Ma’mal (like several other insti- is of the utmost importance – it is at the core of of core the at is it – importance utmost the of is who participated in the Show are from the West the from are Show the in participated who what makes this Show special. But the challenge challenge the But special. Show this makes what working in Jerusalem would create a critical mass whole wider networks of collaboration and partnerships a sort of reconnection with the city,the with reconnection of sort a grad- is which for the artists to produce work that responds to the succeeds – to isolate and remove Jerusalem from Jerusalem remove and isolate to – succeeds from local artists. You see, most of the local artists for Al-Ma’mal here is to raise enough resources to the Palestinian psyche. that participating artists need to spend time in the that is hard for the donor community to ignore. ignore. to community donor the for hard is that the – scarce become have resources these times ually being forgotten and lost as Israel tries – and tutions working in the arts in Jerusalem) is working not allow Palestinians from the West Bank and and Bank West the from Palestinians allow not resources athand. more challenging than it was a few years ago. To ago. years few a was it than challenging more partnerships amongst the various arts institutions been to Jerusalem, because as you know Israel does beyond the city. We believe that a strong network of “Artists, practitioners, research- art salem, andfamiliarized themselves ers and art/cultural institutions ers andart/cultural culture, history andpoliticsinJeru- changed andlearnedaboutlife, with thecomplexandrichreality from abroad participated, ex- from abroad participated, that Palestinians live in.” Jerusalem Show undertaking is becoming far

196 Re — cover people, andparticularly young people,tocreate and toquestion whatis spaces thatallow them limitations ofdoctrine cultural institutionsis to providemotivation “Our dutyasartand forced upon them.” to thinkbeyond the and inspirationfor All these issues, coupled with a greater interest by You speak a lot about the role of imagination. imagination. of role the about lot a speak You What wasthethemeyouworkedon? Our theme was ‘Archives, lived and shared’. This shared’. and lived ‘Archives, was theme Our I believe it was Albert Einstein who once said: “Per But instead each institution is actually developing How can imagination contribute to social, cul- social, to contribute imagination can How ory is either created or purposed as a result of an an of result a as purposed or created either is ory the- or invention of kind any that fact the to due originated from the fact that there are several several are there that fact the from originated online archives are to be cross-referenced, search- implemented. be to need protocols what and cure of their very existence. Of course, several of these idea formatted from imagination. Thus proving proving Thus imagination. from formatted idea in institutions partner the of most by incorporated individuals and institutions in collecting and stock- iso independently, in infrastructure and own its preserving on working Palestine in institutions which systems to install, what equipment to pro- to equipment what install, to systems which wider audience. Yet none of them are talking to one any given social, cultural and/or political context. political and/or cultural social, given any for – all it says this me to And imagination.” as specialized institutions are investing in digitizing in investing are institutions specialized for theBiennale. able and sharable, as a major body of information and indexing – and this is clearly essential if these further, none of these institutions is working with far so has archives these to access but archives, another about this. They could be crosschecking crosschecking be could They this. about another that knowledge is just as infinite and important important and infinite as just is knowledge that haps imagination is the basis for all knowledge knowledge all for basis the is imagination haps theme title the as adopted being as well as theme ‘Archives, theme the so And level. national a to the others on concerns like classification criteria criteria classification like concerns on others the the general public is totally unaware of why they’re their findings and even collaborating in working out a to accessible them make to attempt an in them lived and shared’ proved very pertinent, and was was and pertinent, very proved shared’ and lived lation from the others. To complicate the matter matter the To complicate others. the from lation urgency to raise awareness of the phenomenon phenomenon the of awareness raise to urgency tural and/orpoliticalchange? piling archives, have provided ample material and preserved, how they’re utilized, and in many cases pertaining to the history of a nation and country. and nation a of history the to pertaining been limited to researchers and historians, while while historians, and researchers to limited been Qalandiya International Qalandiya 2014 as their guiding guiding their as 2014 - - What do you think is the single most important The Imagination is the bedrock for change: no change Palestine? can happen before it’s imagined, believed in and and in believed imagined, it’s before happen can organized by us Palestinians in Jerusalem, which Jerusalem, in Palestinians us by organized engaging, inspiring,andthoughtful. and particularlyeveryyoungperson,inPalestine. person, every of imagination the spark to simply and broaden to enrich, to is role Our upon. acted asserts our presence and steadfastness in the city. It to the world and tells our story in ways that are that ways in story our tells and world the to value that the that value presents a fresh, contemporary image of Palestine S E V I T C E J B O “Imagination isthebedrock for change: nochangecanhappen acted upon.Ourrole isto enrich,to Palestine.” imagination ofevery person,and particularly every young person,in particularly broaden andsimplyto sparkthe before it’s imagined,believed inand Jerusalem Show Promote research onPalestinian history, • Provide a positive andcreative environment • Build cultural bridges through cooperation • Encourage andcultural Palestinian life art • ofPalestine, Connectthefragmented parts • debate onsocialandpoliticalissues challenged by the closed off political horizon an archive library and dire economicconditions andvisiting partici- among localparticipants and promote discourseonPalestine andthe Gaza places, culture andsociallifestyles andbuild pants andprovide apositive environment for region JerusalemwiththeWest Bank, particularly for theyouth whoseself-confdence is is bringing to to bringing is Show Jerusalem is a key international art event, 198 Re — cover artist talks screenings 03 05 guided tours 04 workshop 01 Germany Ireland UK India Cyprus Turkey Iraq Palestine from Artists Australia USA Japan The Netherlands Finland Denmark Switzerland France 21 TOTAL number ofprojects 23 TOTAL number ofartists 200 Re — cover REGIONAL EVENTS THE FESTIVALOFPOPULARSAYINGS 08Y.O MAURITANIA Institution Espace Culturel Mauritania’s traditional tales from being Elhaj Aldine is on a mission to preserve Given the influence of television and the internet internet the and television of influence the Given lost. In the following interview, he tells us How didtheideaforprojectcomeabout? of communication, both stories and reading are are reading and stories both communication, of erbs and legends, workshops on how to teach sto- teach to how on workshops legends, and erbs storytelling including: activities, many comprises more about his ambitious undertaking. sessions in local schools, presentations of prov- of presentations schools, local in sessions and advocate for their culture, and our own aware- and the dominance of these new,these of dominance the modes and different teachers especially. to a wide audience, especially schoolchildren, the schoolchildren, especially audience, wide a to tales frombeinglost. how important it is for every people to both defend local government in the city of Nouakchott, whichthe by organized festival yearly a through latter ries to schoolchildren and others geared toward toward geared others and schoolchildren to ries ritanian and Arab culture, making them accessible number of the fables and morality tales from Mau- to imperative an felt we truth, bitter this of ness participate by preserving Mauritania’s traditional beginning to lose their place in society. And given The project aims to gather together a large large a together gather to aims project The What are the challenges you find yourself facing We look forward in this regard to adopting a cur a adopting to regard this in forward look We There are a lot of challenges actually,re- challenges they of but lot a are There culture of Mauritania and the Arab region, as well cultures, with the goal of providing a tangible con its educationalrole. introducing the concept of the story within the ed- and educators about the function of the story and as promoting openness and opening up intercul- up opening and openness promoting as the Ministry of National Education so that they they that so Education National of Ministry the tural dialogue. social national of strengthening the to tribution ucational curriculum, just as we will be opening up harmony and the preservation of the non-material meetings for dialogue and discussion with teachers may help and contribute to our project by gradually number of measures, and we will be working with a through with dealt be can that challenges main riculum aimed at opening up to Arab and African in preparingforthefestival? + 1500 5 000 REACH students membersofthepublic - - source ofentertainment, and awaytothink about a sourceofknowledge, history, folktaleshave the differentaspects their life’spath,asa helped peoplealong “Since thedawnof of whatitmeans to bealive.” 202 Re — cover Folktales fulfill an essential social role as an educa an as role social essential an fulfill Folktales In an effort to meet the challenges and overcome overcome and challenges the meet to effort an In How can your festival help revive a storytelling cul out methods for disseminating and teaching those young people benefitted from the human experience in the community, and categorizing those stories stories those community,categorizing the and in collecting around: mainly challenges, some ipate stories during long evening gatherings with the family, it what of aspects different the about think to way a source of entertainment, a source of knowledge, and sions (whether at their grandmother’s knee or under sort of audience with the right variety of stories at a com- the managing and coordinating and stories; they received through these nightly storytelling ses storytelling nightly these through received they and proverbs under a variety of subjects; figuring subjects; of variety a under proverbs and folktales or legends gathered popular from and referencestories oral of figures number significant a tales have helped people along their life’s path, as a as path, life’s their along people helped have tales tional and pedagogical tool; since the dawn of history, under the moonlight, and how many children and and children many how and moonlight, the under and intheArabregion? the implementation phase of the project, we antic- during encountered be may that difficulties the up theprojectintimeallotted. ture that is generally on the decline in Mauritania means tobealive. mitment of our partners and targeting the right right the targeting and partners our of mitment predetermined quantity in order to ensure finishing “There isampleevidence to indicate development, dueto theways in How many people got used to enjoying traditional contribute to sustainablesocial and democracy.” which they helppromote citizenship that art andculture caneffectivelythat art reciting andmemorizingstories, some aimed atteachers,othersstudents number of workshops on the art of number ofworkshopsontheart TOTAL 15 - - - There is no doubt that the different forms of cul- of forms different the that doubt no is There In your opinion, how can the story help bring bring help story the can how opinion, your In cultural institutions, in an effort to raise the profile of disseminating the storytelling arts within schools and cate that art and culture can effectively contribute to of lack a by accompanied models role and dialogue other cultural endeavors in the region, might also lead mo and legends fables, stories, of value educational generations, allowing them ownership over their cul it to help create the desired Arab cultural renaissance. inherent value, worth preserving and highlighting. We ideals andclearconviction. in our communities today, particularly among the the among particularly today, communities our in values through both educational and cultural chan cultural and educational both through values community and folklore of sense a spread help will which they help promote citizenship and democracy, without losing the authenticity of ancient Arab culture. and training and materials gathering on workshops youth, in urban and semi-urban settings, where vio where settings, semi-urban and urban in youth, shifts in mentality and strengthening our fragile social Keeping pace with current trends of globalization globalization of trends current with pace Keeping fabric, helpingcreatemoresolidfuturegenerations. sound education of children and youth. The story story The youth. and children of education sound in ways the to due development, social sustainable and delinquency is noticeable, and there is a lack of of lack a is there and noticeable, is delinquency and around relatives and friends). No one can deny the the deny can Noone friends). and relatives around those values considered essential to helping create create helping to essential considered values those tural heritage so that they may be able to modernize of something as form art traditional humanist, this the supporting ideals, and values promote help to telling tradition, which is almost a general decline, decline, general a almost is which tradition, telling to providing more solid foundations for the upcoming hope also that disseminating this project in the Arab or tribe the of elders the with or tent a of dome the lence and intolerance are rampant, academic failure ucational tool and social pastime and as a channel channel a as and pastime social and tool ucational to sustainable social development, due to their their to due development, social sustainable to contribute tangibly expression artistic and tural might be able to re-establish the story as both an ed an both as story the re-establish to able be might about a(cultural)renaissance? region, evolving it and having it replicated through through replicated it having and it evolving region, nels, through theatrical or performative works, and and works, performative or theatrical through nels, rality tales. partially explains the social deterioration we notice notice we deterioration social the explains partially The marked decline of this time-honored story time-honored this of decline marked The In fact, we hope that through our project we we project our through that hope we fact, In Despite all that, there is ample evidence to indi to evidence ample is there that, all Despite ------What areyourlargeraimsforthisfestival? The project our organization is undertaking aims undertaking is organization our project The disappeared. oral storytelling festival in Mauritania is to revive to is Mauritania in festival storytelling oral cultural. The idea for organizing a regular story and ceptance of diversity and pride of belonging and and belonging of pride and diversity of ceptance our fragile social fabric, helping create more solid val- the consolidating on impact visible and clear identity: all those moral values necessary for raising where habits and customs are fading, and where where and fading, are customs and habits where this spread and revive to seek we which in ways which provides an opportunity for for opportunity an provides Folklore,which ular ancient practice, within schools and cultural insti- and youth with an openness toward the other in in other the toward openness an with youth and strategy and social practice, helping raise children and African cultures if it is used as an educational future generations. future generations. to promote the story within an educational and and educational an within story the promote to the centers and spaces for cultural exchange have tutions and even in the interior towns and villages the meeting and interaction of the social and the the and social the of interaction and meeting the the ideals and values of tolerance, respect, the ac- the respect, tolerance, of values and ideals the terms of both culture and society, raising them on strengthening and mentality in shift a creating to ues of citizenship and democracy, which are vital democracy,are and which citizenship of ues moral valuesandpopularproverbs. reciting and theatrically performing stories, are all pedagogical context, through the through context, pedagogical The story can lead to a renaissance in both Arab The workshops around gathering, memorizing, number ofgathered popularstories and fables thatshave roots intheArab and African culture TOTAL 60 Festival for Pop-Festivalfor S E V I T C E J B O Promote awareness around thedangers • Advance thestoryteller’s profession, and • Contributeto the protection ofthe story and • Advance thevalues ofcitizenship, inter-cul- • Facilitate dialogue betweenthegenerations • Contributeto the educationofchildren and • stories andproverbs oral cultural traditions andthenon-material academic success (fathers andsons) ritania revive sceneinMau- thecultural andartistic fgures inthecommunity, motivating themto youth, whodon’t have recourse to reference threatening non-materialheritage tural dialogueandhumanrightsthrough heritage ofMauritania 204 Re — cover MUSIC POPULAR HASSANITARAB nttto 04Y.O MAURITANIA Institution for Culture, HeritageandtheArts Information Assembly production of this music was limited to few big big few to limited was music this of production ones that are common in the Arab region. But the the from different are which instruments, unique uses also It songwriting. Arabic with combined beats African of blend original really a is which cially when it comes to traditional Hassani music, history,musical rich espe very a has Mauritania your project? What’s the problem you are trying to tackle with order.tall Given country’sthe a realities,culturalisthis extinction. to way its find not tania’straditional Hassani music does is workingmakehardto sure that Mauri- (Khater) al-Midah bint Malouma - convince themto takepartintheproject. to impossible been have would it otherwise me; liked and knew they that is thing good and The effort. time of lot a took this and them for look to Wehandful. a are masters, the by taught was had that generation older the of children the basically are which this, doing still are that musicians The What wasthebiggestchallengeyoufaced? save itnow, itwillbelostforever. transmitted to the younger generation, if we don’t being isn’t tradition this since especially that, felt knowledge to people outside of their families. So I musical rich this on pass they do nor music their record they do neither – culture closed very a It’s The families started disappearing, so didmusic. thetheir of music.protective very were that families 206 Re — cover of Mauritania.Itspeaks “The Hassani musicis musical tradition that it isaveryimportant very representative of ourhistoryand distinguishes this number ofrecording days TOTAL 09 country.” number ofrecorded songs TOTAL 19 number of participating artists number ofparticipating TOTAL 06 lot ofverygoodpress. a received have we and good very been has sponse re the Generally supportive. and encouraging very been has Culture of Minister the Also it. done have supporting the project because otherwise we couldn’t Very good! First of all we are very grateful for AFACHow hasthereceptionbeenso far? for we’ve beendoing. work the promote and feedback, get music, the to listen to gathering a be will It album. the launch will Nouakchottin Association our at event an we where to scene musical the in interested people other and invite the musicians, the press, the Ministry of Culture produce an album containing 19 songs. Then we will There will be the mastering and finalization. We will What will happen after the recording is complete? working withsix. now are we so them, of three contact couldn’t we music. Our initial plan was to have nine artists but the recording on experts with working there days comes to the studio with his team and spends two artist Each artists. six with working are We sic. In the past 10 days we have been recording the mu- What’s thestatusofprojectnow? save what’sleftofit. and knowledge the archiving and it recording by to maintain and save this rich heritage for the future tradition that distinguishes musical thisimportant very country. a is it and So we history need our of speaks It it. made Mauritania of development the to contributed have who country.people this The uniqueness ofthismusic. cause we have to allow other people to discover the be progress, or technology fight to trying doors, it now. I said that they couldn’t stay behind closed to become extinct if we do not do something about going is music this that said I it. in involved them plained the importance of this project and of having so to speak. When I first reached out to them, I ex them’, of ‘part as me consider they so knowledge, I belong to a generation that received this musical say the musicians are protective of their music… You must have faced a lot of resistance since you The Hassani music is very representative of of representative very is music Hassani The - - - Mauritanian peopleandthestoryofMauritania. the traditional Hassani music tells the story of the and history accompanies Music it. about eration preserve it for the to future and teach the future gen order in music this archiving and recording, documenting, in help will that nucleus the as act will they and music this preserving in interested portant. We are starting to have a group of people im- extremely is believe we that tradition musical a archive to order in Association this Wecreated What doyouhopetoachieveinthefuture? S E V I T C E J B O • Build musicians’ capacities sothat they can • • Connect young people to their history and • Revive an important musical heritage and generations transmit ancientknowledgeto theyounger heritage through music save it from the threat of extinction - 208 Re — cover VISUAL ARTS Artistic trends tend to evolve in a glo MOROCCO 28Y.O Female Sara Ouhaddou while continuing to define and reaffirm ENTRE 2 to questionsto culturalAnd identity?of linked adaptation of processes these to producecomplexto expressions relat broad spectrum of influences. At the the At influences. of spectrum broad balized world as they are exposed to a above all how can artisanal practices practices artisanal can how all above are global infences and constraints ac cultural identity? circumstances these within evolve commodated to local needs? How are Buthow contexts. local specific to ed conditions and end up being reshaped geographical and historical cultural, same time, they are also subject to to subject also are they time, same - - -

. Her work focuses on the relationship between the between relationship the on focuses work Her 2. Moroccan tradition of crafts on one hand and contem examines how traditional art can be drawn out of its of Moroccan crafts, and stimulate the development of environment. historical of expressions examine to wants She co. on the role of art in Arabic culture today. Through Through today. culture Arabic in art of role the on identity and their place within the current cultural cultural current the within place their and identity with them to upgrade the knowledge in various fields and culturallanguage. traditional forms in order to develop a new aesthetic haddou is interested in exploring in her project her project she aims to explore the way tradition can materials and techniques used by local craftsmen and new artistic techniques. The project tests the limits of plore new ways of artistic creation, she hopes to work porary artwork on the other, as part of a wider debate be used as a basis for artistic innovation in Moroc in innovation artistic for basis a as used be These are some of the questions that Sara Ou Sara that questions the of some are These By involving craftsmen in different trades to ex to trades different in craftsmen involving By Entre - - - - 210 Re — cover After two and a half years of working on this project I’ve been researching traditional artisanal crafts crafts artisanal traditional researching been I’ve I had to immerse myself in the different contexts contexts different the in myself immerse to had I I was working with the embroiders in the North, North, the in embroiders the with working was I It makes sense to think that a project with the scope How didthisprojectstart? of work which they’ve been doing for a really long development of the artisanal scene in my country my in scene artisanal the of development can shape an identity and end up influencing the art details like geography, politics, society, and others order to advance the state of these crafts. While fin- craft, their techniques, their way of life, and from and life, of way their techniques, their craft, enough to meet a man who was born in the Medi- the in born was who man a meet to enough lucky was and there from someone with connect dents at a local school. Once we had access to the especially from the very craftsmen it attempts to to attempts it craftsmen very the from especially in the beginning, because they are used to one way in Morocco for quite some time now and I was in- was I and now time some quite for Morocco in in order to understand all the details related to a to related details the all understand to order in the to contribute to were I if that knew I So itself. interested in the particularities of context, of how ishing my Masters program in Paris I became more in Tetouan, and we decided to work with the stu- the with work Tetouan,to in decided we and intruder, a free woman coming to their area to ruin it was really hard at first to establish a relationship with them because they looked at me as a foreign a as me at looked they because them with which is a very conservative and closed community, and dealing with different artisans, I realized that an effort to respect the context I’m in, so for exam- made also I people. to me introduced and around and ambition of there are different types of resistance. It also de also It resistance. of types different are there terested in how the evolving cultural context can can context cultural evolving the how in terested there trytoimprovethem. their daughters[laughs]. link to the parents. I also understood that I had to our became then they trust, their gained and kids main resistance I faced was involving the craftsmen na and was very well known there. He showed me particular craft, learn about the people making this pends on which part of the country you’re in. When ple when I first went to the school I wore a involve. Howwasyourexperiencelike? become a source of inspiration and innovation in innovation and inspiration of source a become So I spoke to the director of an art space there, Other than that, on a more general note, the the note, general more a on that, than Other Entre 2 will face a lot of resistance, gelaba. - Are there any specific regions you’re focusing on? 20 craftsmenfromthecommunity. What’s yourdreamforEntre 2? first achievement. On each project I try to connect and work with 15- The issues raised in this project are about the trans- Targa, and weaving in the Atlas Mountains). While all on focus to able be to is goal long-term The How many craftspeople are involved in the project? ditional crafts and preserve the techniques used in objective is to help reinterpret crafts in contem- in crafts reinterpret help to is objective The context. globalized a within identity cultural end up becoming routine work and makes them them makes and work routine becoming up end cals on their traditional crafts, and after that start doing this I realized that if I actually take the time ceramics in the Ourika Valley, rubber recycling in used they as other each with anymore connect are that regions different the between connection introducing the world to these crafts, their history, Tetouan, in (embroidery regions different four in where they come from, etc., then this would be the able to work towards reinventing very old and tra- and old very reinventing towards work to able be to like would society.I modern So in survival aims to rethink the relationship between local and project The Morocco. in crafts local of formation somehow disconnected. I find that people don’t don’t people that find I disconnected. somehow a way to trigger their curiosity and excite them to them excite and curiosity their trigger to way a averse to trying new stuff. So I always have to find a newtechnique. time. This is a very noble thing of course, but it can to face the resistance and try to work with the lo- the with work to try and resistance the face to worked I’ve far So nationwide. recognized be to used craft their past the in whereas region their in Tetouanknown of only are embroiders The to. making them. It’s a really long process though. In porary structures and enhance their chances of of chances their enhance and structures porary parts of Morocco because I would like to create a create to like would I because Morocco of parts be involved in a new project and experiment with experiment and project new a in involved be “I wouldlike to beableto work and traditional crafts and in makingthem.” towards reinventing old very preserve thetechniques used And it so happened that it was snowing on that day. And all the projects are like that. Youthat. like are projects the all start And always Charouit is usually a really colorful piece but I asked What has been the response of the craftsmen craftsmen the of response the been has What Bou Charouit Bou So the big white piece was unfolded as the snow snow the as unfolded was piece white big the So There have been a lot of very positive responses. In I spoke to the Director of a women’s association in I told them that we did something new, and we we and new, something did we that them told I could lookatitdifferently. Addedtothat,theBou extent that it has become so trivial. I decided to use special a using women, the all with collaboration of the weavers is working on their own, I wanted wanted I own, their on working is weavers the of gather a lot of women to work on a project. In this idea could help them imagine something else and was falling and the sight was just magical, almost with a lot of resistance but then you somehow end started apologizing to me because they thought thought they because me to apologizing started sacred. The women were very surprised and at first and everyone gathered to look at what they’d done. also insisted that they work gently with the fabric, the with gently work they that insisted also I done. be could what to as perspective their shift a town that has many weavers and we managed to and at their technique changes, everything changes. an incredibleexperience. to. After a lot of resistance we got started on the the on started got we resistance of lot a After to. this that felt I white. pure in one on work to them this technique in a new way so that the craftswomen the to famous very is which weaving of technique that they had done something wrong because the because wrong something done had they that to gather them and get them to work together. So the last project in the Atlas Mountains where each like a jeweler, and not roughly like they’re used used they’re like roughly not and jeweler, a like these worksandexposetheworldtothem. their mind changes, the way they look at their craft just was It green. in one new a on working them new a it gave they So name. new a it give to have and women? up reaching your goal. And throughout the process, region they produce a big traditional carpet called name, and a few days later I came back and saw saw and back came I later days few a and name, project. Finally, the day came to uncover the carpet piece was not what they’re usually used to. And And to. used usually they’re what not was piece parallel I’m trying to find different ways to exhibit and we decided to work on one in in one on work to decided we and S E V I T C E J B O Build bridgesbetween thegeneration of • Focus onthefuture generation of craftsmen • Enhancethepotential ofinnovation and • Transform theprocess ofproduction and • Reinterpret crafts incontemporary struc- • design oflocalcrafts through innovation contemporary circumstances of Moroccan craftsmen master craftsmen andthenewgeneration forms thatwillrevive interest inthemthe tures andenhancetheirchancesofsurvival infuenced by modernlifestyles by reconceiving andfnd thetraditional arts improvement (technicallyandartistically) in modernsociety 212 Re — cover

2.5m in Arabic carpet called Bou Oumlil. Oumlil means white Some of the female weavers working on a new Atlas Mountain WEAVERS 28 Division oftasks recycled fabric of white 120m days working 2m women cutting preparing wool fabric and 5 machines traditional wood weaving ontwo 10 The agerange 2 large carpets The outcomewas 20 80 women in total 15 214 Re — cover their technique changes, look attheircraft andat changes, theway they of resistancebutthen everything changes.” you somehowendup like that.You always And throughoutthe “All theprojectsare reaching yourgoal. process theirmind start withalot 05 in Ourika Valley and Atlas Mountain craftsmenthe tointroduced were NEW TECHNIQUES 2200 02 in Ourika Craftmen working on ceramic patterns Ourika Village CERAMICS years clay of natural Kg Males 06 Female 01

20cm a setoftiles The outcomewas 216 Re — cover REGIONAL EVENTS (gained in 1960). That boom saw a period of sub of period a saw boom That 1960). in (gained various provinces create their films. first CINEMA CROSSROADS 12Y.O MAURITANIA Institution Cinéastes Maison des Interview with Abderrahmane Lahy, Di Lahy, Abderrahmane with Interview helps young Mauritanian filmmakers in in young filmmakers helpsMauritanian From the beginning of the 1960s until the beginning tania, who is spearheading a program that How didtheideaforprojectcomeabout? ers in the capital, Nouakchott, which at the time time the at which Nouakchott, capital, the in ers of the 1980s, Mauritania went through a cinemat a through went Mauritania 1980s, the of going to train abroad, and the opening of movie movie of opening the and abroad, train to going ic boom that was quite significant in comparison comparison in significant quite was that boom ic rector at rector Maison desCineastes Mauri-in stantial local film production, with lots of people people of lots with production, film local stantial to the country’s relative age since independence independence since age relative country’s the to had apopulation ofabout400,000. theaters in most of the country’s provinces. At one point there were more than 10 different movie theat - - - - Information disrupted the administration of cinema disappearing one after the other,movie the the after and one disappearing commercial theaters. in the country. Art also effectively disappeared from years. When the Association of Filmmakers was was Filmmakers of Association the When years. began theaters movie The warning. prior without and where they might see reflections that they Mauritanians, address might directly that films showing founded in April 2002, their reading of the situa the of reading their 2002, April in founded tion pushed them to work along two urgent tracks: the schoolcurriculums. the head of state, would go to attend movies at the lar that entire families and politicians, including including politicians, and families entire that lar reviving the collective movie-going experience by by experience movie-going collective the reviving makers all emigrated abroad, and the Ministry of of Ministry the and abroad, emigrated all makers be able to identify with immediately,advanc with and identify to able be This period of inactivity went on for about 20 20 about for on went inactivity of period This One day, this all came to a sudden halt however, It reached a point where cinema was so popu so was cinema where point a reached It - - - - You Speak the Language of Images? of Language the Speak You What arethenoticeablechanges thatyouhave . In the end, end, the In Films. Short Festivalfor International The most important changes that have taken place There are two processes by which we choose the the choose we which by processes two are There How were the films chosen? What are the sub- the are What chosen? films the were How covering everything from the basic idea, to script- to idea, basic the from everything covering creative support of the Filmmaker’s Association Association Filmmaker’s the of support creative and financial the under film the produce to order or anyotherparty. gates for culture and youth and local networks and in the provinces on the basics of the cinematic arts, ing the largest possible number of young people people young of number possible largest the ing include: is then written during the training workshop. The writing, cutting,directionandediting. whether or not each film will be entered into com- into entered be will film each not or whether we choose the competitors by coordinating with the sociation to the programming of the of programming the to sociation a three-five day training course for young people people young for course training day three-five a shops organized by the Filmmaker’s Association Association Filmmaker’s the by organized shops alongside the other films produced through work- a general competition entitled “Workshop Films,” and itspartners. and then we narrow it down to one topic. The script associations for youth. The second is artistic, and it and its graduates began producing short films short producinggraduatesbegan its and to operate under the same name, without any as- any without name, same the under operate to them togetafirstlegupintheindustry. allow to cinema of ABC’s the on courses through then presented to the Festival team, who decides decides who team, Festival the to presented then for competitive entryinthefestival. the name was changed to takes place over two phases: the first by soliciting a witnessed sincethelaunching oftheproject? municipal districts, as well as with regional dele- regional with as well as districts, municipal nine films. First is an administrative one whereby related to their own local or even national concerns, number of topic suggestions from the participants, participants then split up into creative teams in in teams creative into up split then participants petition. The designated films are then entered into jects withwhichtheydeal? After the production of all the films, they are are they films, the all of production the After This is how the idea of the program, entitled During its first years, the program continued continued program the years, first its During Cinema Cinema of the Provinces came about. It’s Nouakchott Nouakchott Do , - Some of the young people who benefitted from from benefitted who people young the of Some - young of number significant a of graduation The - - The strong and bold change in the issues that are - The creation of a substantial new generation of of generation new substantial a of creation The - Association and who are able to either participate in Any artistic or cultural output contributes to positive or the the Festival,or Film Kaédi films completely independently of the Filmmaker’s chott Festival, or to other regional or international tival), screening local films and organizing training In your opinion, how might films play a role in role a play films might how opinion, your In of modern creative forms and techniques also raises change, first, on the artists themselves, and this is is this and themselves, artists the on first, change, of thecreativeservicesavailablethere. courses for the village youth who don’t have access evision stations that have cropped up during the the during up cropped have that stations evision tel- local the in staff technical and creative the of own small film festivals there (for example, the the example, (for there festivals film small own issues that were previously invisible or absent. The use questions thatremaintaboo. in the project. And when the number of films being being films of number the when And project. the in indeed what happened with many of the participants its activities or to submit their films to the to films their submit to or activities its young filmmakers who are able to produce their produce to able are who filmmakers young and who today have come to make up a major part festivals. the creation and reading of the image, and gives a gives and image, the of reading and creation the to the capital and therefore can’t take part in any any in part take can’t therefore and capital the to their towns in the interior and established their their established and interior the in towns their to returned support its and courses project the thorny tackling and issues complex many tioning ques- are films The media. the in dominant topics last years. measure of freedom to the viewer to be able to discuss raised by the films being made, a significant de significant a made, being films the by raised Association Filmmaker’s the with training matic produced increases, it creates a local culture around political change? and cultural social, to contributing positively parture from the uncontroversial or self-indulgent cine their continue to on gone have who people “The flmsare questioning tackling thornyquestionsthat remain taboo.” many complexissuesand Boghé River Image FesImage River Boghé Nouak- - - - 218 Re — cover As a sequel to the previous question, do you feel Association’s selection and its production of films Filmmaker’s the generation, current the Among Vanderweerd, a film that talks about the inhuman What are the challenges you face? Do you face you Do face? you challenges the are What We faced seizure or confiscation only twice: first first twice: only confiscation or seizure Wefaced There is no censorship board for films in the in- the in films for board censorship no is There city of Oualata. The Ministry excused itself from from itself excused Ministry The Oualata. of city up make who those of whims the to down comes of our workshop or program participants of this this of participants program or workshop our of matters taking for and change positive for desire during the training workshops, building into other dence of social and political change. Some of these expression? generation. forged relationship temporary the beyond goes in conjunction with the documentary the with conjunction in into one’s own hands. In fact we see evidence of of evidence see we fact In hands. own one’s into is distinguished through its philosophy, founded on young filmmaker’s films raised issues such as the showing the film under the pretext that the country really issue the Mauritania; in sense stitutional among theMauritaniannomadcommunities. by the Belgian filmmaker Pierre-Yves filmmaker Belgian the by Oblivion in fabric, while at the same time working on building a country with so many cultures itself, which has has which itself, cultures many so with country a about issues that were previously silent or hidden the level of public awareness and audience etiquette audience and awareness public of level the treatment of black Mauritanian prisoners in the the in prisoners Mauritanian black of treatment culture. for responsible that’s sector private the that every time we see the output produced by one light on all the terrible, hidden things in the social any opposition from the censorship board, or or board, censorship the from opposition any tremism, etc. do you have a certain measure of freedom of of freedom of measure certain a have you do evi- direct considered be can this table, the under meetings and programs that help strengthen the the strengthen help that programs and meetings that the films you support fulfill this role in Mau- painful 1989 events in Mauritania, bisexuality, ex- bridges between peoples and cultures, especially in building up the Mauritanian person and shedding both itsbenefitsandpitfalls. ritania andhow? And when these films begin raising discussion That’s why our support for this generation generation this for support our why That’s Drowned Drowned 1989, produced by the Filmmaker’s Association and 1989, but we won the battle that time by going over of therepublic. directed by one of our training workshop partici- workshop training our of one by directed course an empty excuse, and promised to allow it allow to promised and excuse, empty an course was going through political transition, which is of their heads and appealing directly to the presidency their permission. The second time was withwithout it show the to us film,drove which promise, their fulfill didn’t They time. later a at screened be to pants. The film talks about the bloody clashes of of clashes bloody the about talks film The pants. S E V I T C E J B O Useflm asatool forsocialchange • Establish cinema clubsinvarious Mauritani- • Provide young Mauritanianswithtools for • self expression an provinces begin raisingdiscussion direct evidence ofsocial hidden underthetable, “And whenthesefilms this canbeconsidered about issuesthatwere and politicalchange.” previously silentor number offlmsperyear length ofeachflm TOTAL 06:00 mins TOTAL 09 220 Re — cover REGIONAL EVENTS PASSAGES INAFRICANCITIES 06Y.O ALGERIA Institution Cinéma etMémoire cinema professionals that has been pro CinémaMémoire et isanassociation of Director, gives us more details. Habiba Djahnine, Cinéma et Mémoire’s them through the making of their films. workshopcreative guides that a in part take will participants selected The ma. Mouvementen Ville la Cine- Kaïnaand de L’Institut with partnership in tries, coun African eight in filmmakers young launched a competition of short films for decade. In October 2014, the association to film professionals in Algeria for over a viding training and audiovisual resources - - country. There are eight countries involved in in involved this program. countries eight are There country. partner each in held be to workshop creative a by followed competition film short a suggested I So cities”. African in passage the “filming of theme come up with a program of short films around the to me asked they before, continent African the on worked never had they Since environment. ban ur the within transition in space a as Passages” “Urban of notion the around project disciplinary multi a of up setting the on them with work and committee steering their of part be to me asked (IVM) Mouvement en Ville la de L’Institut films. matography with youngsters that have never made cine- in experiences practical share to is idea The What inspired the idea to create such a program? - - pack basedona collectiveexperience. goal is to create a high-quality short film collection final The exhibitions. and shows TV festivals, in project seeks to promote the work of young artists African continent and are under 35 years old. The the in live applying, before film first one least at made have who filmmakers self-taught young or cinema in students at aimed is competition The your goals? are what and at aimed competition the is Who say alotabouttheparticipants’responses. we have not yet received many proposals so I can’t competition the launched just have we that Given this project. It is rather unifying and also universal. and production companies immediately adhered to The partners, cinema associations, cinema schools, the programbeen? What has the response of the participants about emergence ofsolutionsonhowtolivebetter. the for allows analyzed, well if space, urban the of appropriation The us. to societies African our about things interesting reveal can theme of kind ible creative potential and zest for life. To me, this organized and overpopulated, but with an incred- badly urbanized, too are which cities, our in play at are that mutations the and lifestyle the of trait por-a generate to us allow will It subject. creative and promising a is “Passage” of theme the that As I said, we adhered to the IVM’s program. I find Why did you choose the theme Urban Passages? the meanstomaketheirfilmspossible. and create. Through the competition, they will have makers to discover themselves, work on themselves,film- young for needed are these like experiences Cinema programs cannot only take place known. inget to schools;opportunity the with them provide and talents new discover to able we’re program, of kind this Through known. themselves make to give young people residing in Africa opportunities partners, to share experiences and practices, and to tablish a dynamic relationship between the different to work collectively in a creative workshop and es The most important thing is to get the participants What is the value of this project in your opinion? -

S E V I T C E J B O • Create flms that explore various dimensions • Develop methodologiesofpartnership • Provide to training the next and support • of different Africancities among Africancountries generation offlmmakers inAfrica 222 Re — cover REGIONAL EVENTS however to address the needs of the Syrian youths cal services, education, etc.). Little has been done weather,water,to access sanitation, of lack medi- (extreme endured conditions living harsh the to country, mostly in the Bekaa Valley the and Akkar,throughout due scattered settlements tented the in refugees the on coverage and efforts their cus under dire very and severe conditions. 2,000,000, the majority of which are living geeshas estimatedbeen morebe to than refu non, number the incoming of Syrian In Leba countries. neighboring in shelter forced millions of citizens to have flee and seek Syria in violence and turmoil The TEN STORIESFROMSYRIANREFUGEESINLEBANON 02Y.O LEBANON Institution Dar al-Mussawir Aid organizations and the media tend to fo to tend media the and organizations Aid - - - refugees, aged between 18 and 25 years and living launched a program that aims to provide 20 Syrian have awareness, and self-advocacy through nities commu- marginalized support and region the in center in Beirut that aims to promote image culture of incomeinthisnewenvironment. sources for looking constantly are They Lebanon. in opportunities working find to yet are but Syria talents. Many of them have finished their studies in ists, filmmakers, photographers and other creative demographic that constitutes college students, art and country. and skills after they were forced out of theircapacities schoolstheir develop and themselves support to means for searching are who Beirut, in living Dar al-Mussawir, a photographic and cultural significant a is Beirut in Syrians the Among - artistic and recreational way to help them express and talk about their lives through images. It was an children with the opportunity to record, document 500 Palestinian refugees. a similar fashion to distributed 500 cameras to 500 Syrian children, in the of part As positive. very been has projects previous the of impact the that says Haidar culture. image promoting on focuses also that non-profit a Zakira, with collaboration fore with other Syrian and Palestinian refugees, in their skillsets,”heexplains. for them by offering them training and developing opportunities job create to is objective long-term “The filmmakers. as careers their kick-start help to means professional with participants ginalized mar mostly and unemployed these provide will lives ofSyriansinLebanon. tool for advocacy and raising awareness about the powerful a as act will videos the of broadcasting The Jazeera. Al ARTE,and CNN TV5, like media international on as well as platforms media social on broadcasted later and country the throughout locations various in screened be will videos The and to share an insight into their lives through communities film.other from Syrians with interact to worries, fears, and dreams. In addition, it’s a chancememories, stories, their express to outlet creative shows thatthistypeofprogramishighlyneeded. which applications, of number large a receieved they that says Haidar enrolled. were participants Dar al-Mussawir. of Founder Haidar, Ramzi shares videos,” their tacts, access and technical support in order to make es. The participants will be supported with the con- provinces, to stories of the middle and upper class Lebanese the throughout dispersed settlements aspects oftheSyrianrefugees’lifeinLebanon. various covering minutes, seven and five between gram will allow them to develop short films ranging pro the Working pairs, workshops. in of series a in Beirut, with video and editing training through Dar al-Mussawir has done similar projects be- training the Importantly,that believes Haidar The videos will provide the participants with a 20 begun, just has which edition, first the In tented from span to expected are stories “The Lahza 1, which was done with Lahza provided troubled project, they they project, Lahza - - - share theirstorieswiththeworld.” and documentaries full-fledged into films short knowhow, but after that they’re free to develop their providing them with the equipment and technical “Weare beginning. the only are videos short the that says he concerned, is program this as far As abroad. jobs found have which of some ticipants, up a whole new world of opportunities for the par to thepublicinanexhibition. displayed and book a in published later were ages im- The trauma. their from recuperate them help their feelings, step out of their difficult reality and S E V I T C E J B O Haidar believes that these projects are opening • Provide work opportunities formarginalizedProvide workopportunities • Create advocacy andraise awareness • • • refugees through flm of Syrianrefugees’ lives Produce 10flmsexploringvarious aspects Train Syrianyouths onflmandvideoediting - 224 Re — cover 1 184813 11 483 UNHCR Figures as ofApril2015 TOTAL TOTAL number ofrefugees awaitingregistration number ofregistered Syrianrefugees 1 196296 TOTAL number ofconcernedSyrianrefugees 226 Re — cover PERFORMING ARTS HORSH BEIRUTFESTIVAL nttto 15Y.O LEBANON Institution ASSABIL Ali Sabbagh, Activities CoordinatorActivities Sabbagh, Ali ASSABIL has been organizing the ASSABIL works on promoting public libraries as libraries public promoting on works ASSABIL BeirutFestival in 2011, we have worked worked have we 2011, in FestivalBeirut Horsh Can you give us some background about the the about background some us give you Can Horsh Beirut, which is otherwise a closed (public) the past years, mostly comingpastyears,themostlyfrom the How is this Festival related to your organiza- your to Festivalrelated this is How gram for free, and offering people a chance to visit festival in the biggest green space in Bei in space green biggest the in festival in the long run, this will convince the municipality to coming are people of lot a that Beirut of ipality densely inhabited and deprived neigh deprived and inhabited densely rut opens rut this space green tothe public since2011. rut Municipality The Bei- of yond the walls of public libraries. By organizing organizing By libraries. public of walls the yond for thelibraries. Fes-The everyone. to accessible are that activities festival, we can reach new audiences and conquer opened we since ASSABIL, for priority top a and available to the public has been a major challenge them making and spaces public of opening and borhoods surrounding the park. to openupthepark tothepublic. hopefully So presumes. municipality the what to the park and they’re respecting the space, contrary visibility provide also and reading, and books to related program cultural a offer and public the to tival created an opportunity to open Horsh Beirut the publicspacesincity. be culture and spaces public to access ensure to neighbor Bachoura the in library public first the high-quality cultural activities during this annual this during activities cultural high-quality the of launch the With 2000. in Beirut of hood ed between 6,000 and 8,000 visitors in in visitors 8,000 and 6,000 between ed attract has which event, forone this only tion’s mission of promoting public libraries and park. Also, it’s a chance for us to show the munic- the show to us for chance a it’s Also, park. public spaces and as spaces for dynamic cultural cultural dynamic for spaces as and spaces public festival? reading? We are presenting a high-level cultural pro cultural high-level a presenting are We , a multi-layereda , free and The creation creation The Horsh ------

What in your opinion is the most important val- What was the main highlight of the fourth an- fourth the of highlight main the was What We strongly believe that public spaces and cultural cultural and spaces public that believe strongly We Horsh Beirut Festival The Festival has been going on since 2011 and in and 2011 since on going Festivalbeen The has Through the proposed program, we seek to intro to seek we program, proposed the Through Our libraries, and the other public spaces where where spaces public other the and libraries, Our French artists and performers with expertise in in expertise with performers and artists French For the last edition we aimed to develop the festival Do youseeanyprogressonthisfront? differently and imaginatively with societal problems duce audiences to a creative world, a world that deals upheaval. and conflict, tension, of times in cially goal to open inaccessible and closed public spaces ideas at future festivals as we build stronger ties ties stronger build we as festivals future at ideas we past, the in done not have we something ists, inent public spaces in the city. Our goal was to to was goal Our city. the in spaces public inent imagination, enjoyment,andpeaceful coexistence. with localandinternationalartistsexperts. vironment, we think it is particularly important to to important particularly is it think we vironment, and tensions that are so pervasive in too many of of many too in pervasive so are that tensions and espe societies, developing in critical are activities street art to develop and create performances di- performances create and develop to art street artistically in a way that supports its longstanding this first exchange, we will further develop these these develop further will we exchange, first this these spaces. In the current fragile and volatile en volatile and fragile current the In spaces. these they said that they would open it in one or two years. municipality,the by organized conference last the have added a new dimension to the festival. After festival. the to dimension new a added have to the public. So we worked with Lebanese and and Lebanese with worked we So public. the to use ASSABIL’s mobile library to go beyond the the beyond go to library mobile ASSABIL’s use rut such as the Seafront Corniche and the city’s city’s the and Corniche Seafront the as such rut rectly inspired by Horsh Beirut and other prom- other and Beirut Horsh by inspired rectly promote public spaces as shared spaces of culture, of spaces shared as spaces public promote public gardens. ue thatthefestivaliscreating? nual festivalheldin2014? “In thecurrent fragile andvolatile spaces asshared spacesofculture, By working with street art companies and art- and companies art street with working By environment, wethinkitisparticu- ful coexistence.” imagination, enjoyment, andpeace- larly important to promote public larly important to other public spaces in Bei in spaces public other to - - - - 228 Re — cover and culturalactivities developing societies, of tension,conflict, especially intimes and upheaval.” “Public spaces are criticalin 7 000 number ofvisitors number ofartists 12 TOTAL TOTAL We don’t distribute books since libraries are for for are libraries since books distribute don’t We Teenagers are very hard to attract so we try to do do to try we so attract to hard Teenagersvery are That’s really interesting, especially in a country Tell us more about your programs to promote promote to programs your about more Tell us It’s been very good and you can even notice the the notice even can you and good very been It’s In the beginning we were worried about opening up How hastheresponsebeensofar? changes on the students themselves, because because themselves, students the on changes of different cultural activities like cine clubs, music cation and collaboration among artists, writers, writers, artists, among collaboration and cation come in and break things and ruin the park, but but park, the ruin and things break and in come civilized debate. How has the impact been on on been impact the has How debate. civilized important role because they’re providing informa- we are also working with students of secondary secondary of students with working also are we workshops in photography, puppetry, writing, and their at libraries have don’t they because visits we work, have become platforms for communi for platforms become have work, we schools ondebatingclubs. and training librarians to encourage people to read. programs cultural creating on We focus schools. with work Wealso meet. to together coming are social level, they are spaces for democracy because for the live debates. You can notice a change in in change a notice can You debates. live the for seven books for three days. We also organize a lot free, as well as having free internet. You can borrow free. They are open to the public and lend books for further strengthen this role, paving the way for future collaborations. for way the paving to role, us this strengthen enable further will project This performers. and a really big space. We thought that people would would people that We space. thought big really a the kids of public schools who come for special special for come who schools public of kids the their arguments, in how they find the right argu- right the find they how in arguments, their preparing training and practice of lot a get they a On provide. they resources various the through tion to people and increasing the educational level they started waiting for the festival. This shows that then we saw that they’re extremely disciplined and also distributebooks? where it’s really hard for people to engage in in engage to people for hard really it’s where the students? nights, etc. So on a cultural level, they play a very a play they level, cultural a on So etc. nights, people from all ages and religious backgrounds backgrounds religious and ages all from people people arehungryforthesespaces. reading. Besides managing the libraries, do you -

against eachother. from Ashrafieh and Dahieh for example, to debate ment, in how they speak publicly, etc. We are also bringing bringing schools from different neighborhood, like S E V I T C E J B O Promote reading andencourage civilized • Lobby the MunicipalityofBeirutto perma- • Offer audiences, especiallyfrom deprived • exchanges among artists Promote artistic • and Develop public spaces as places for arts • debate charge cultural program culture nently opentheHorshBeirutPark neighborhoods, withahigh-quality, free-of- from different backgrounds 230 Re — cover REGIONAL EVENTS project by the Arab Network for Hu for Network Arab the by project FromAmman Gazato with Hope KARAMA FESTIVAL 05Y.O JORDAN Institution Ma3mal 612 and Amman. other stakeholders, mainly based in Gaza involves filmmakers, artists, activists and rights’issues through film. The project cultural platform to shed light on human a creating of objective the 2013 with in initiatedJordan.was It in (HRFF) tival of the Karama Human Rights Film Fes- division a is which Films, Rights man ing committee composed of film experts from Am by filmmakers from Gaza, were selected by a view with thePalestinian audiences throughcinema. engage and communicate to seeking by blockade of the festival’s objectives is to challenge the Gaza one that mention to fitting also it’s context, this Within 2015. May till postponed was it Gaza, in blockade the to due but February, in held be to spearheads From AmmantoGazawithHope. who al-Khatib, Ehab says change,” and impact create later could that seed a as hope implant to “We hopeful. aim more people make can festival the that believe they importantly, more perhaps and addition, In campaign. solidarity indirect an it’s Gaza; and Amman connects that bridge a ate This year’s films, some of which were produced The 2015 edition of the festival was supposed The organizers believe that the project can cre is a is - - - - creating aspace thatallowspeopletohope. despite all these difficulties they are succeeding at realities in Gaza but the organizers are proud that political the and blockade the given implement to easy been hasn’t project the say, to Needless of resourcesandtoughconditions.” lack the despite created, be can possibilities that proves activities and screenings film for Gaza in lecting destroyed cinema houses and open spaces Se world. better a for hope to people allow and symbol of life; it will inject colors a into be a will blackal-Nasr of space ruins the on Screening says. he action,” take and issue this of responsibility have now been destroyed. They forced us to claim that scenes in the film made us remember these places “The public. the to screened be can films where spaces of lack the and Gaza in cinemas of uation entitled film center. The idea was inspired by Khalil Muzayen’s cultural once-prominent this into back life inject would they there, festival the organizing by that hope organizers The occupation. the by stroyed de been has that house cinema old an Cinema, city,” al-Khatibexplains. Gaza’s issues and present an honest portrait of the opportunities and tools. These films bring to light include films produced in Gaza, despite the lack of to important was it so Gaza, in cinema of uation sit the explore to aims elements its all in project There are also films by amateurs from Gaza. “The fathers). Palestinian from are children the cases pass on their nationality to their children (in many to non-Jordanians marry who women Jordanian of right the about discusses and complications is identity film The showing. also is Marbouta, film, own Al-Khatib’s Gaza. in situation the program are thinks areessentialtoolsforchange. of creating dialogue and debates, which al-Khatib goal the with sessions, discussion interactive by followed be will films The universal. more others and region Arab the to relevant situations some films tackle various human rights violations, with Gaza, which is a partner on this project. The chosenin Group Film Lama the from members and man The films will be mainly screened at al-Nasr al-Nasr at screened mainly be will films The Al-Khatib’s two favorite films from this year’s are supposed to spread life and vivacity but but vivacity and life spread to supposed are and The Beach, Sarahwhich and discuss Gaza 35mm Gaza , which exposes the sit the exposes which ,

Taa - - - - Gaza for film screenings that possibilitiescanbe lack ofresources and “Selecting destroyed and activitiesproves created, despite the and openspacesin tough conditions.” cinema houses 232 Re — cover Mohammed Hawajri,Red Carpet,Gaza 380 TOTAL number ofspectators Gaza Nablus Jerusalem Ramallah Four Palestinian cities 08 themed flms number ofscreened TOTAL 234 Re — cover REGIONAL EVENTS YANTE The organizers of the nttto 04Y.O Institution I CANMOVE weekly community classes with disabled disabled with classes community weekly The program has two different aspects. The first first The aspects. different two has program The Tell us more about the program and how it it how and program the about more us Tell tool fortooladdressing devel-socialspecific a Palestinebe believein thatcandance us more about her vision. the Artistic Director of the program tells gage participants physically, emotionally, performances to raise awareness and en and elderly, the women, participants, is the training program, which has been going on children in villages, as well as thematicaswell as villages, childrenin stress disorder. The program includes includes program The disorder. stress sion, fragmentation and post-traumatic for four years now and the objective behind it is to socially, and intellectually. Nadia Arouri, all started. opmentobstacles, like inequality, exclu- PALESTINE I Can Move project - What doesthetrainingprogramconsistof? When we first launched the program we sent out a We launched a pilot in 2011, evaluated it, made made it, evaluated 2011, in pilot a Welaunched We are training dance therapists, not just dancers, How istheselectionprocesslike? call for applications through our networks in Pales consists of community building through dance. dance. through building community of consists intellectual and cultural circle and reach everyone. is to give them the tools that would allow them to them allow would that tools the them give to is therapy,com psychology,dance nonviolent in in thefourthandlastyearofthisprogram. is the outreach program that we do, and it mainly various educational skills. Participants are trained some changes to it, and then started a 12-months, so throughout the different modules, we teach them four-yearsWe2012. in program training now are tine. It was important for us to get out of the elitist teach students dance technique. The second aspect management, among other things. The objective objective The things. other among management, munication, possibility management, and project become dancetherapistsandactivists. - - (gender-equality,mar exclusion, stereotyping, What made you believe in the possibilities of of possibilities the in believe you made What We didn’t want to be exclusive. What we consider I studied dance and saw the impact of both the the both of impact the saw and dance studied I Dance as a communal therapeutic activity activity therapeutic communal a as Dance Do youthinkthatdancecouldreallyheal? order to achieve growth instead of stress (PTSD) de social the advancing by peace enhances good enough. ginalization and fragmentation). If you look at at look you If fragmentation). and ginalization interest and commitment. They come in the begin important in the selection is that the students show in each individual four resiliencies—emotional in situations of post-trauma, you have to enhance within two hours you can prove to someone who who someone to prove can you hours two within with us and become part of the program. We don’t with another person for six seconds, their body you’re not necessarily dealing with an emotional communities and individuals of velopment and onmygrowth.AndsinceI’maPalestinian, it something they could pursue, they sign a contract an absolutely emotional experience, even when tool insocietiesthatareextremelytraumatized. and mental resilience. Dance provides an expe an provides Dance resilience. mental and touch involved, and when any person is in touch human of element important an is There topic. divide social of elements addressing through hasn’t seen you or doesn’t know you that you’re you’re that you know doesn’t or you seen hasn’t that believe don’t I because exams audition have ning and try out for a month and if they feel that it is rience that enhances all of these four pillars. It is resilience, physical resilience, social resilience, resilience, social resilience, physical resilience, psychological and physical process on my body body my on process physical and psychological such aprogram? post-traumatic growth theory, they say that in in that say they theory, growth post-traumatic became obvious to me that dance is an important an is dance that me to obvious became “Dance asacommunaltherapeutic divide (genderequality, stereotyp- viduals andcommunitiesthrough addressing elementsofsocial activity enhancespeaceby advanc- fragmentation).” ing, exclusion, marginalization and ing thesocialdevelopment ofindi- - - - - What hastheimpactbeensofar? This technique helps in building bridges in the in bridges building in helps technique This The villages have a long history of infighting, so I could go on forever! There is one really impor dren working with children from private schools. come watch the performances. Even the munic come to Zababde and participate in the program, ed to the society. So dance is one of the strongest dance participants tackle intellectual issues relat change on all levels, from challenging gender gender challenging from levels, all on change There bodies. their of possibilities the expand groups; you have to watch out for the space space the for out watch to have you groups; ipality chiefs of the two villages came and shook a organized we training, the of end the At in. intellectual resiliencies: you have to count, mark you could see the change on a social level. Our Our level. social a on change the see could you when we asked the students from Tammounfrom students the asked we to when which borders a Muslim village called Tammoun. whereby disabled participants were able to to able were participants disabled whereby with thestreetkids. social is because dance is usually done in social happy the is which oxytocin, producing starts society. Some of the children became friends af and be an active part of that space. As for the the for As space. that of part active an be and astonishing to see other students from Tammoun show in the playground of the school, and it was a conservative, Christian village called Zababde, and disability stigmas to social and economic economic and social to stigmas disability and sense can You examples. many so really are hormone. The physical is rather evident. The The evident. rather is physical The hormone. them in. So we went in and were really harsh on let didn’t school Christian the of principal the tant story from our pilot phase, which we did in tools in terms of achieving growth after trauma. your of movement the coordinate counts, the ter the program. Even some of the girls reported hands anditwaskindoflikemakingpeace. him until he finally approved to let the students mental, which is usually split into cognitive and marginalization. policy is to bring together groups from different body, listen to music, etc., and also in community being harassed less after they became friends friends became they after less harassed being backgrounds, so in this case we had street chil street had we case this in so backgrounds, When we worked with the street children, children, street the with worked we When We also have cases of physical triumph triumph physical of cases have also We - - - - - 236 Re — cover 175 differentiated youth andmixed groups children, handicapped,elderly, culturally TOTAL number of participants includingstreet number ofparticipants What willhappenafterthisfourthyear? What about the impact on the participants participants the on impact the about What This year the participants have their graduation pro graduation their have participants the year This This is a very tough question. They’ve grown a lot, lot, a grown They’ve question. tough very a is This I consider this as a huge success because we have not lot a thinking been we’ve which question, big a It’s In Palestine there’s a misconception that marketing that misconception a there’s Palestine In In the past four years, you’ve worked with street street with worked you’ve years, four past the In only managed to include the private sector, but also to dance in community centers and schools in Palestine. of our students as full timers with the task of teaching everything bythemselves. of mentorship the under students the to it taught of up; open They program. the throughout experience it’s And body. their with around play to dare don’t begin they when program; the in women the all of get them to take charge and step up in building society. ian Commercial Bank and Pedico Holding to hire two you couldseeshacklestornaway. with us they are much weaker than the men and they this say can I conservative. and scared more were about. We have just managed to convince the Palestin The ourselves. everything organize to had we ago, all by themselves. In the first performance four years short term selling. CSR on the other hand is a really a is hand other the on CSR selling. term short and CSR are one thing, but they’re not. Marketing is ject, so we’ve let them set the themes. They’re doing it acknowledge that they to has come One fromthem! completelycriticizing always differentam I although that could indirectly lead to profits for your company long-term commitment where you work on projects on work you where commitment long-term do to have they year This marketing. and press the on worked also and themselves, choreography the they’d jump and go on their hands, while the women will youbeworkingonthisyear? next year they learned the choreography and kind kind and choreography the learned they year next they growth incredible the see to interesting really men were more playful and creative than the women; themselves? professional teachers, and in the third year they did they year third the in and teachers, professional because theentiresocietyisbetter educated. backgrounds. kids, the disabled, the elderly and women. What What women. and elderly the disabled, the kids, In the beginning when we gave out exercises, the - - S E V I T C E J B O Contributeto thesocialdevelopment of • Promote empathyamongstindividualsand • • Break stereotypes by addressing issuesof • Raiselevels ofselfandcommunalempathy • Promote intercultural cooperation • Work withstigmatized individualslike • such asstereotyping, inequality, exclusion, gender equality, powerofthedisabled,and empower themto becomeproductive, zation andsocialfragmentation active citizens within thePalestinian society violated women,young females andchildren marginalization andfragmentation the creativity ofthesociallymarginalized Palestinian individualsandcommunities Enhance genderequalityandfghtstigmati by addressing elementsofsocialdivide backgrounds in schoolsfrom socio-economic varying - 238 Re — cover PERFORMING ARTS NOMAD DANCECAMP 02Y.O JORDAN Institution Motion Zakharef in workshops.interestinglyTheir peculiar Founded in 2007 in Jordan, ‘Zakharef ‘Zakharef Jordan, in 2007 in Founded to achieve. thisdancemovement andthe wasborn Festival, AIDF. After its success, the Islamic Broth Islamic the success, its AIDF.After Festival, gional and local dance performances and and dance promoting at aimed ization in Motion’ is a local, non-profitorgan local, Motion’ a in is economic challenges facing the Arab region today, an an annual encounter of re international, erhood wrote a statement against the government’s is a symbolic name for the body in motion, and the free body expression in Jordan and the andJordan in expression body free in 2007, it was called Amman International Dance much-needed goals its team is eager eager is team its goals much-needed whichin context the nameholdsto key year after, we faced difficulties in securing funds funds securing in difficulties faced after, we year region. Its eponymous dance festival is festivaldance eponymous Its region. festival survived!” for the festival due to the repercussions of that an- support of a dance festival because it’s and artistic director, “When we started the festival says Dina Abu Hamdan, the organization’s founder tribute to traditional arabesque and architectural and arabesque traditional to tribute tinues. “Our new name, ‘Zakharef in Motion,’ pays lines that are formed by dancing bodies. ‘Zakharef’ nouncement, so we changed the name,” she con- she name,” the changed we so nouncement, “Zakharef in Motion wasn’t our original name,” Amidst the rapid socio-political changes and and changes socio-political rapid the Amidst haram. The - - - Dance Camp,’ a regional project that joined the the joined that project regional a Camp,’ Dance other forms of art is seen as a blasphemous act, act, blasphemous a as seen is art of forms other crucial in shaking off old stigmas and setting more es amongst them through performance. This is a is This performance. through them amongst es dancers, empowering the culture of sharing, invit- Eastern Middle and African North of experience global performingartsscene. into the artistic, cultural, and social lives in Jordan, ity, and professional development. Dance amongst its young dancers are increasingly threatened by a ing them to reflect on the similarities and differenc- way, boosting local identity and presence in the the in presence and identity local boosting way, very rare type of collaboration, mainly because of because mainly collaboration, of type rare very and especially dance, in a positive and progressive ations. Its different platforms are directly reflected fertile grounds for culturally engaged future gener lack of resources crippling their production, mobil- to set up a very unique workshop, the ‘NOMAD ‘NOMAD the workshop, unique very a up set to unnecessary luxury or illegitimate means of self-ex- lack of funds and logistical obstacles as basic as as basic as obstacles logistical and funds of lack motivating, encouraging and developing the arts, the developing and encouraging motivating, pression. The work done by ‘Zakharef in Motion’ is “Cultural and artistic organizations“Cultural andartistic Through ACEF, ‘Zakharef in Motion’ was able communities basedondialogue.” our values androots, andbuild create abetterunderstandingof their thoughts,openminds, have thepowerto reach outto the masses, touch their hearts, change masses, touch theirhearts, - ‘NOMAD Dance Camp’ has an international agen- ‘NOMAD Dance Camp’ encouraged its participants Through finding the points of connection between participants Jordanian three and regional Seven Hamdan, “Many examples of how Japan, France France Japan, how of examples “Many Hamdan, out to the masses, touch their hearts, change their da. It is a firm advocate of the fact that instead of instead that fact the of advocate firm a is It da. market occidental the only not and communities, local address to stories own their expression, of channeled their own thoughts, their own language of the world. In collaborating to write a contextual, enriching the participants’ solitude and self-reflec- desert. The spectacular setting was a major factor dance camp’s aim is to create sustainable solidarity net- future a for preparation strategic a is camp the communities, their by heard be to and create obtaining travel visas, preventing the artists from on the ground, and not just be affected by them. them. by affected be just not and ground, the on which they are tempted to address most of the time. work of a young generation of Arab talents. The The talents. Arab of generation young a of work any form of artistic and creative expression, we can culture of power soft the used Britain Great and com - build and roots, and values our of standing and artistic organizations have the power to reach and individual state of art production in this part part this in production art of state individual and isolated dormant, rather the off shaking alition shared East Middle the and Africa North from and directors in a natural reserve in the Jordanian among the regional performing artists to face the to youth the empowering and writings, those all to build bridges with the world. Through dance or under-better a create minds, their open thoughts, tually influence the world very tangibly. “Cultural their visions and projects, forming a dynamic co dynamic a forming projects, and visions their tion regardingtheirindividualandgroupworks. they livein. under tremulous events, cultural activity can ac- can activity cultural events, tremulous under local performance, each of the young participants to think about contributing to the political changes unstable political and socioeconomic challenges challenges socioeconomic and political unstable munities based on dialogue and respect,” says Abu sustainability own its for accommodating merely meeting andworkingtogether. met with international choreographers, writers writers choreographers, international with met While being set in the middle of the desert, the Throughout this unique experiment, dancers dancers experiment, unique this Throughout During the three-week residency program, the - Arab region where the youths remain untrained untrained remain youths the where region Arab What’s more relieving is that ‘Zakharef in Motion’ We candefendourintegrityandvalues.” Dance Camp’ is not interested in pausing at indi- at pausing in interested not is Camp’ Dance dance camp. The team is as dedicated as ever to ever as dedicated as is team The camp. dance of signs in diluted fears hidden some and doubts encouraging as that of the participants. Anxieties, one another. The response from the public was as other,yet each to listening were parties different where dialogue of forms authentic experienced creative sectors. building other, the accepting through enforced between balancing of challenge The expression. export our thoughts, and break the mainstream. mainstream. the break and thoughts, our export is here to stay, especially after the success of the the of success the after especially stay, to here is initiative into a regional movement with an agenda vidual accomplishments, but intends to grow this from reaching their full potential, using the tool tool the using potential, full their reaching from involved everyone that respect and relief joyful titioners on how to approach the community, yet the approach to how on titioners trust, and investing a lot of time and effort in the the in effort and time of lot a investing and trust, to collaborate. Enriching the mainstream without the in crucial is collective the and individual the of freedom and thought independent promote to least expectedintheregion:dance. artists the and community The balance. this keep losing artistic integrity is a long-term investment investment long-term a is integrity artistic losing managed to communicate and break the isolation. preserving and respecting the personal spaces of of spaces personal the respecting and preserving portunity for a learning experience for many prac- breaking the walls stopping local communities communities local stopping walls the breaking S E V I T C E J B O Abu Hamdan is very clear that the ‘NOMAD ‘NOMAD the that clear very is Hamdan Abu

The ‘NOMAD Dance Camp’ created an op an created Camp’ Dance ‘NOMAD The Create solidarityamongst the regional per- • Promote freedom ofthoughtandcreate • Create Nomadresidencies to hostartists • Launcharoadmap forPan-Arab mobility • anddancers Buildlocal capacitiesofartists • spaces forexpression political andsocioeconomicchallenges forming artists inorder to facetheunstable forming artists from countriesofconfict between Arab dancepractitioners - 240 Re — cover 242 Re — cover PERFORMING ARTS regulations governing this professional practice, practice, professional this governing regulations that the government neglects; there are no rules or completely underdeveloped. “Dance is a type of art is country his in is dance professional of state the Tunisian dancer Mohamed Bahri, who believes seasoned of thatbrainchild the is It bodies. their with way to engage citizens and help them come to terms collective that aims to use street art and dance as a as well as intellectual capacities. dancers on developing their technical training and work with professional participants are offered vocational to become professional dancers. The in unfavorable communities in Tunisia with the objective of helping kids living dance company Danseurs Citoyens Made By Street is aproject by Tunisian MADE BYSTREET 01Y.O TUNISA Institution Citoyens Danseurs Danseurs Citoyens started in 2012 as a dance a as 2012 in started Citoyens Danseurs bodies toliberatethem.” es, our aim is to go to the same places and use our terrorism and Islamists are taking over public spac- get them across. When the country is going to dance use to throughwanted we and positions political our have We personally freedom. and democracy a project that raises issues related to human rights, decided to take to the street. “We wanted to work on change, he, along with some of his fellow dancers, of energies the by Empowered things. of state the improve help to attempt an in intervene to Bahri for opportunity an created It possibility. of dows win new Tunisianup the opened RevolutionBut pled with throughout his 25-year career as a dancer. careers andbecomeprofessionals,”heexplains. that could help young people kick off their dancing dance for institutions or schools national no and reason I think this still hasn’t happened – and is is and – happened hasn’t still this think I reason more healthy relationships with our bodies and the their bodies. “I think that we need to start creating through themselves express to space a with them provided and problems cultural and social mous Tunisiansyoung 15 enor-ered from suffered who formance that was shown in various parts of Tunis. during which the students worked on a street per- a two-months creative and experimental workshop program, entitled and the realities around them.” The eight-months bodies their between relationship the and bodies, their bodies, to teach them how to think with their with movement create to 25 needed and techniques the 16 between aged kids taught during we which program educational eight-months an started and school a opened we so bodies, their of capacities the of aware not They’re borhoods. educating young people in underprivileged neigh- by “Westarted Tunisia. in dance professional of Bahri andhiscolleaguessucceededinconvincing the Ministry ofCulturethe Ministry to establishtheNational Bahri admits that these are issues he has grap- In its first edition in 2014, Bahri’s objective is to establish the foundations October 2014 Dance Committeein Tunisia Made by Street, was followed by Made by Street gath - - the Ministry of Culture to establish the Nationthe establish to Culture of Ministry the ready baring fruit. They have managed to convince al- are art street and dance to access democratize of alternativeart. organizations, each focusing on one specific form smaller various encompasses that organization big a creating on planning are they that reveals He rejected. often are ideas new that and done, be should things how on take classical a there’s and other alternative types of Art. Bahri feels that street dance, clowning, circus, like graffiti, culturally, or break legally dance, whether country, the in supported not are or institutions no have that of art types the on is focus The students. new with own shows. their on working currently are others and troupes dance foreign with opportunities casting or tions posi- landed some – them for doors some opened has been noticeable and that the program has even participants the on impact the that body. says He – and more generally, with talking openly about the to go before it becomes at ease with dancing bodies is aformofarttheydon’tunderstand.” cultural stigmas that lead people to say that dance and religious social, various are “There notes. he lamist culture, which has a clear role for the body,” not being allowed to happen – is because of the Is- Danseurs Citoyen’s efforts to normalize and and normalize to efforts Citoyen’s Danseurs edition second a launching is Bahri 2015, In Bahri believes that the country has a long way dance, otheralternative types street dance,clowning,circus, graffti, break FOCUS ON number ofparticipants TOTAL 15 - from dancing.” “Youhimself, people it prevent puts cannot he as Happy song and putting it on the internet. After the all, of versions own their filming started schools country,the in in kids effect whereby ripple a and uproar an caused This it. did who students three the stop Education of Minister the saw which eo, Williams’Pharrell the was there Also, publicly. dance to people encouraging country, the around wildfire like spread that videos Shake of hundreds the cites He improvements. of lot a sense already can Bahri but go, will ment are havingalotofpositiveimpact.” discussions these that think I it. doing we’re why and people start asking discussion about a whathold we’rewe doingshows andthe “After dancing. with associated stigmas and misconceptions the street performances are also helping in challenging need culture, they need happiness,” he says. Their “Peoplework. of type this for thirst a is there that year). As for the impact on the same audiences, he feels the of March in proposal their submitted had (they 2014 October in Committee Dance al S E V I T C E J B O It might still be early to judge how far this move- • Democratize and develop dancein Tunisia • democracyUse dance asatool to further • and dance inunderprivileged Promote art • Establish achoreographic centerto empow- • and freedom ofspeech neighborhoods er localdancers vid- Happy Harlem Harlem 246 Re — cover MUSIC CITIES OFSALT 12Y.O UK Institution Brunel Institute The world premiere of a new opera by by opera new a of premiere world The (BICMEM), Yvette Christiansë, both Professors at Columbia Columbia at Professors both Christiansë, Yvette Oliver Butterworth, Co-director of the Brunel In Brunel the of Co-director Butterworth, Oliver Cities of Salt. Yvette Christiansë and I will travel to What’s the story behind this Opera? How did did How Opera? this behind story the What’s Zaid Jabri, an outstanding young com young outstanding an Jabri, Zaid The distinguished writers, distinguished The There have been other Arab operas – Patrick Lama, to composer Arab an by opera first the is This MEM website, Rosalind and Yvette could listen to Dubai and at Oxford University. Through the BIC- Institute for Contemporary Middle-Eastern Music poser from Syria, with a libretto by Roby libretto a with Syria, fromposer er for their planned opera based on the great first great the on based opera planned their for er composers and also read their biographies and and biographies their read also and composers of composers, amongst whom, and perhaps at the Music ContemporaryMiddle-Eastern for stitute gain contact details. In September 2012 Rosalind in London at Cadogan Hall, at LSO St. Luke’s, in University in New York, approached Professor Pe- wrote to us saying: “I did make contact with Zaid, with contact make did “I saying: us to wrote salind Morris and Yvette Christianse, Christianse, Yvette and Morris salind Krakow sometime in the Spring to meet, but in the already promoted performances of Zaid’s music music Zaid’s of performances promoted already and support from American Opera Projects, they Projects, Opera American from support and for which, with permission from the Munif estate, spondence with Zaid, whose conceptualization of and have now begun working together on the opera more! and by Abdel Rahman Munif. based on the famous novel Cities of Salt ter Wiegold and myself at the Brunel University University Brunel the at myself and Wiegold ter top of the list, was the Syrian Zaid Jabri, whose whose Jabri, Zaid Syrian the was list, the of top had the musicisexactlywhatwehad hopedfor.” novel of Abdelrahman Munif’s trilogy the idea come about and how did it all happen? musical extracts from works by all the suggested suggested the all by works from extracts musical music and extraordinary gifts we knew well; we had now awaited a score. We recommended a selection meantime, we are enjoying an extraordinary corre be taken on by a world class opera house. Why house. opera class world a by on taken be now andwhyhasittakensolong?

already written a substantial libretto which which libretto substantial a written already The exchange has been a thrilling one thrilling a been has exchange The for advice in their search for a compos Rosalind Morris and and Morris Rosalind Cities of Salt, - - - - -

Arab operatotheinternationalstage. Going Forth by Day,Forthby Going What were the challenges you faced in making/ Creative Arts. But perhaps most importantly it is Syria with Purcell’s Dido and Aeneas. and Dido Purcell’s with Syria Poland and we are delighted that the performance Rockefeller Foundation, the Bellagio Residence Residence Bellagio the Foundation, Rockefeller we but challenge greatest the always is Funding of composition at the Krakow Music Academy in in Academy Music Krakow the at composition of opera composer Amr Okba in 2005 wrote 2005 in Okba Amr composer delighted that the one female role will be taken by enjoyed acrosstheregion. opera houses, such as the splendid one in Muscat, development in many Arab countries and although a awaits still and Stuttgart, in performance cert in turn supported by the Qattan FoundationQattan the by supported turn in and in the last 50 years or so. Of course, Egypt has has Egypt course, Of so. or years 50 last the in who by their generous support and enthusiasm are with Krzysztof Penderecki and is now a Professor and CEC Artslink and the Virginia Center for the the Projects, Opera American and Arts’ the for for the librettists and composer and here we have London the also and AFAC,from support having in fortunate very are jian. Originally from Damascus, for the individual and particular roles and we are most but performances opera of tradition long a the wonderful pianist from Palestine, wrote an an wrote Palestine, from pianist wonderful the the Royal Opera House, Covent Garden, above all, found be to also has funding production, the to the Polish Cultural Institute. But before one gets the brilliant young Syrian soprano Talar Dekrman the Middle East is just a little behind the develop the première of existence into come only have most region, the there are numerous symphony orchestras across key to making this happen, key to bringing the first hopefully it will not be long before opera can be be can opera before long be not will it hopefully usually given by visiting Italian companies, as at as companies, Italian visiting by given usually ment of the orchestras, and with the many new new many the with and orchestras, the of ment recently as 1995, presented the first ever opera in producing thisOpera? proper production. Art music is relatively a new new a relatively is music Art production. proper been fortunate to have assistance from the ‘Alwan Another challenge is finding the ideal singers CANAAN Aida. It was Solhi al-Wadi who, as and the very talented Egyptian Egyptian talented very the and which has had a partial con Shubbak Festival,Shubbak

Zaid Jabri studied The Book of of Book The

Opera in in Opera who are are who - - - 248 Re — cover understanding theplace “We cannot understand of thosewhoweremost immediately affected of oil.Butthestories of oilhavenot often our worldwithout by thediscovery been told.” number ofmusicians Opera by anArab composerto betaken 27 TOTAL on by aworldclassopera house 1 st number ofsolovoices 07 TOTAL ‘Cities of Salt,’ providesof ‘Cities a magnificent exception. – they can listen to excerpts – they can contact the Jordan, Kuwait, Lebanon, Morocco, Palestine and We love his writing in these books both for its beau its for both books these in writing his love We Yvettelibretand the Morris Christiansë, Rosalind Syria, this is the first time that the BICMEM’s BICMEM’s the that time first the is this Syria, The The choice of East, and help to bring both Talar and Zaid the the Zaid and Talar both bring to help and East, Poland; Michel Klauza was for some time working tists exceptional book. event will demonstrate the wonderful artistic and artistic wonderful the demonstrate will event composers directly and, most importantly, of styles from a wide range of Lebanese composers ened environments. It has made some people enor threat- and cities founded has It networks. new of of novels, which in the English translation is called sequence Munif’s told. been often not have oil of cannot understand our world without understand - international recognition they deserve, as much much as deserve, they recognition international in the UK at Welsh National Opera and is now Mu ed is really interesting. Could you please tell us tell please you Could interesting. really is ed will beconductedbythePolish conductorMichel we will see many more of these exceptional collabo has (www.brunel.ac.uk/BICMEM) itself website ing the place of oil. But the stories of those who who those of stories the But oil. of place the ing Klauza who has often performed Zaid’s music in in music Zaid’s performed often has who Klauza were most immediately affected by the discovery discovery the by affected immediately most were as also reviving interest in Abdel Rahman Munif’s sic Director of Podlasie Opera and Philharmony at the EuropeanCentreforArtsinBialystok. they will find many symphonic works in a variety variety a in works symphonic many find will they then programthemintheirconcertseries. hope that, with the generous and continuing sup- continuing and generous the with that, hope musicians and composers to the UK the to composers and musicians Middle the in found be to are that talents musical rations; it only needs a promoter in for instance Ja- mobility possible, and demanded the construction respects, dependent on oil. It has made new kinds of mously wealthy and others desperately poor.We desperately others and wealthy mously port of the Institute by Brunel University London, produced such an international collaboration. I do pan to look up ‘symphony’ from say Lebanon, and more aboutthisdecision? Although the BICMEM has brought over many My hope is that this special Royal Opera House The world we live in today is, in almost all all almost in is, today in live we world The as as the text to Salt be adapt of Cities from Egypt, Egypt, from

they can ------

Arab region? What can these pre-histories tell tell pre-histories these can What region? Arab Abdel Rahman Munif believed that the mis- the that believed Munif Rahman Abdel The novel which was written in the 1930s depicts Our hope is that this Opera, and Opera in general, Munif tells a story that everyone should hear. And History is a process of continuity and change. We consider the role of the oil economy in the contem Our same. the remained has what and changed can be a source of inspiration for engagement in in engagement for inspiration of source a be can ought not induce despair. provoke certainly can it answers, provide cannot indeed enlivenitfurther. of enormity the grasp to reader the for possible it can wepossiblylearnfromthem? questions and critical reflection on the world. text of combination its with – opera that feel we can helpachieveoratleastcontributetothat? it hasshapedtheconflictsofourtime. inspires inspires people to both think and feel differently. indeed has what about think to audiences want and music, theater and immersive experience – can the transformations that occurred. We believe that ty and because it opens up that history and makes and the foreigners. This hasn’t really changed changed really hasn’t This foreigners. the and rulers their of victims were Arabs when time a the history that Munif invokes, but in the end it is hope is that in posing this question, people will will people question, this posing in that is hope the world. the very process of creation and in this way, Opera about excitement some be should there Opera, to up to audiences to determine how and in what ways uses story and music to move people, and while it the time of the novel and the current time in the make this story available to new audiences, and and audiences, new to available story this make so much today. What is the relationship between sion of literature is to increase awareness and and awareness increase to is literature of sion porary situation. We can draw many parallels with us about our contemporary conflict and what what and conflict contemporary our about us renaissance and revival. Do you think this Opera for cases create to attempt an in receptiveness In watching and listening But it

It - 250 Re — cover REGIONAL EVENTS SHUBBAK -THETHIRDEDITION UK Institution 04Y.O on Contemporary Arab Culture Shubbak, aWindow London. The festival brings together a together brings festival The London. S influence of London’s population. Arab perform and exhibit, with the objectivethe exhibit, with and perform porary Arab culture and the growing growing the and culture Arab porary as the Arab region’s extravaganza in in extravaganza region’s Arab the as filmmakers and musicians to present, present, to musicians and filmmakers diverse group of Arab artists, writers, writers, artists, Arab of group diverse of celebrating and promoting contem promoting and celebrating of hubbak Festival Festival hubbak has been described described been has - Al-Qattan Charitable Trust, decided to transition transition to Trust,decided Charitable Al-Qattan Office had the idea of creating a festival that show- cases the wealth and breadth of contemporary Arab ization, with the responsibility of organizing the the organizing of responsibility the with ization, organ cultural independent fully-fledged a into festival once every two years. The second install second The years. two every once festival the and Foundation Qattan M. A. the of support ated by the Mayor. So the steering group, with the success great a was It London. in audiences to art but it was just a one-off project that had been initi It all started in 2011when London Mayor’s Mayor’s London 2011when in started all It - - - 252 Re — cover “Shubbak is developing into an international festival Belaza, MeherAwachri, RadouanMriziga. of strand Realm Public the in Library,Art British Director. Thiemann is responsible for curating the Director. Gorman is hoping to anchor the festival as ed tours.For the 2015 edition, which is happening of openness, collaboration, tolerance and curios and tolerance collaboration, openness, of spirit a in work their exchange and communicate defined by its content, new artists and programming countries. Arab 16 from artists hosted and events including Radhouane el-Meddeb, Badke, Nacera Badke, el-Meddeb, Radhouane including into existing London collections, free family events installations in public spaces, artistic interventions ity,” says Eckhard Thiemann, Shubbak’s Artistic Artistic Shubbak’s Thiemann, Eckhard ity,”says innovation,” says Daniel Gorman, the Festival’s Festival’s the Gorman, Daniel says innovation,” where nostalgia and interest in the past is con- is past the in interest and nostalgia where UK premieres of theater and dance performances dance and theater of and premieres UK House, Opera Royal the at premiere world voices and approaches that aim to inspire audiences against the ambitions of new ideas and concepts, concepts, and ideas new of ambitions the against and fast changing city, where historic culture rubs at World’s End Place and the British Museum, a Museum, British the and Place End World’s at and a wider partner program of events. Program Program events. of program partner wider a and sion. This will consist of a core program of new com theater, dance, includes which program, festival’s and create an atmosphere in which Arab artists can as wellwithintheArabregion. a key event in London and the UK’s artistic calendar, from London and the Arab region, showcased 52 52 showcased region, Arab the and London from highlights include a 2-day Literary Summit at the at Summit Literary 2-day a include highlights number of curatorial approaches to achieve his vi his achieve to approaches curatorial of number guid and talks literature, film, arts, visual music, missions, premieres and public realm installations, ment took place in 2013. It attracted 55,000 visitors ploration of cities and time. London is a dynamic a is London time. and cities of ploration between 11 and 26 July, Thiemann is employing a “It is a confluence of and a platform for different “Many ofthefestival’s refect artists One of the key themes this year will be an ex- an be will year this themes key the of One deeply ontheirpositionintimeand audiences to thinkaboutwhat world we wantto live in.” imbued by thepast,andprovoking hidden histories, showingafuture place, manyexcavate forgotten and - - - - Arab region. Culture can provide a very different, very a provide can Culture region. Arab Shubbak. And as the organizers point out: “The “The out: point organizers the as And Shubbak. Thiemann explains. derstanding and expressing our relationship to the with side by side cities growing fast of optimism deep recent changes in Arab societies, the booming challenges artistically and to imagine a more in- more a imagine to and artistically challenges artists festival’s the of Many come. to things of ing audiences to think about what world we want we world what about think to audiences ing ing itself as a window for artists to deal with these media,” the in see we what from different very is artists’ imaginations open up new ways for us to to us for ways new up open imaginations artists’ spiring future. After all, artists are at the center of provok- and past, the by imbued future a showing something and dealing directly with people, which a more personal and faceted way of understanding imaginings bold and ideas futuristic with fronted these imaginations.” tragic destructionsfromwarandconflict. to live in. In particular, many of the artists chart the understand our world. Shubbak is the window to to window the is Shubbak world. our understand news and people are looking for other ways of un- of ways other for looking are people and news many excavate forgotten and hidden histories, histories, hidden and forgotten excavate many place, and time in position their on deeply reflect political instability and strife, Shubbak is present- “I think the Arab region is constantly in our daily At a time when the Arab region grapples with grapples region Arab the when time a At

(Kalfayan Galleries) Hand Painted Porcelain Vase byRaedYassin 254 Re — cover 52 TOTAL number ofevents in 2013 132 editorial piecesinUK and internationalmedia TOTAL that arequestioning “The festivalspeaks of restlesssocieties visitors in2013 55.000 Peter Aspden,Financial Times themselves.” expected in2015 65.000 256 Re — cover MUSIC Visa For Music Visa For Music For Visa vember 2014 with the aim of promoting nttto 01Y.O MOROCCO Institution Anya Tell usmoreaboutyour project. initiative, Brahim el-Mazned. Maghreb (North Africa) and the Machrek (East- Machrek the (Northand Maghreb Africa) inaugurated in Rabat, Morocco in No in Morocco Rabat, in inaugurated everyone interested in music production. It is a plat- ern Mediterranean countries) regions. Despite the and developing the music sector in Af in sector music the developing and will thus allow artists from different parts of the the of parts different from artists allow thus will rican and Middle Eastern countries. We speak with the founder of this acclaimed form that aims to create links between the East and tion especially on the cultural level. the West. It also aims to bridge the gap between the VISA FORMUSIC proximity of these two regions, there is a disconnec- is a meeting place for artists and and artists for place meeting a is is a new platform that was Visa for Music for Visa - -

Arab region and Africa to come together, connect, Why wasitcreated? The project came as a response to the fact that there Eastern and African music, we hope to contribute countries of the South. The region offers an artistic it is widely underexploited. It remains a part of the industry is witnessing. It is also an attempt to chal to attempt an also is It witnessing. is industry Eastern Middle of – lack a even or – absence an is world that has no international platform for cultural artists andprofessionals oftheseregions. between collaborations and foster movement ate a and collaborate. Through this platform for Middle and cultural potential that is rich and diverse, but but diverse, and rich is that potential cultural and a need to face the profound changes that the music and African artists at an international level and from to the development of the cultural and music sector. lenge the unfavorable conditions for artists from the music. Thus, Visa For Music For Visa is an opportunity to cre to opportunity an is - - 258 Re — cover a morehopefulimage “Through musicand desires anddreams art wecanpromote number ofconcerts and appealtothe of youngArabs.” TOTAL 32 Workshops DJs 04 06 MIDDLE EAST CARIBEAN MOROCCO MOROCCO EUROPE EUROPE AFRICA 05 Screenings Film 01 VJs 03 04 08 08 09 What were the main difficulties you faced in in faced you difficulties main the were What It is a meeting point for music professionals during In the beginning it wasn’t very clear to people what European countries, and I was so surprised at how It was a great success. Weapplica- success. 650 great received a was It In November 2014 you organized the first edition creating interest and making it happen, the success challenges and problems the Arab region is facing connect and have the opportunity to work together certain formats, like either an exhibition for profes couple of days I was traveling around in different in around traveling was I days of couple discovered at discovered example, It America. and Europe from also and countries, of thenextedition. it was really hard to get them to grasp the concept, we were doing because most people are used to to used are people most because doing were we of thefestival.Howwasitreceived? sic professionals from around the world can meet, and push for more innovation. We spent a year year a Wespent innovation. more for push and sionals or a music festival. music a or sionals also created opportunities for many musicians. For from Lebanon, Palestine, Jordan, Turkey,notably African most attended, world the over all from the difficulties we have gone through in terms of of terms in through gone have we difficulties the culturally.and economically today all despite But trying to convince sponsors to come on board but the day and a music festival open to the public at at public the to open festival music a and day the let alone pick their interest, especially given the the given especially interest, their pick alone let the tions from 51 countries and over 1,000 musicians night. The idea is to create a platform where mu- where platform a create to is idea The night. many people were aware of it and wanted to be part making ithappen? “It is an event thatisvitalto show- Montpellier Festival in France because they were —MohamedAmineSbihi, diplomacy...” of artistic production and Moroc of artistic case Moroccan musical output, co’s musical heritage, it’s cultural a structure that creates linkages, which wasmissing... takes part in the Music valorizationtakes part and N3rdistan Mashrou3 playedLeila and at Visa For Music For Visa Moroccan Minister ofCulture Visaboth. Foris Music Visa For … Also, in the past past the in Also, … - - Through music and art we can promote a more more a promote can we art and music Through region. Arab the over cloud dark a is Todaythere How do you think a festival like this can positively of young Arabs, especially through alternative alternative through especially Arabs, young of invest in similar platforms. similar in invest to need we music, such of production the inforce is likeawindowtotheArabregion. an international platform and by opening up to to up opening by and platform international an the rest of the world it is helping in promoting a promoting in helping is it world the of rest the re to and dynamic, new a create and emerge to the region and give local alternative acts a chance this kindofplatformishighlyneeded. that we achieved from the first edition shows that hopeful image and appeal to the desires and dreams reality.in production music support to were we If of reflection biggest the is itself in which music, Visaregion. ForArab the of Music image positive impact theArabregion? S E V I T C E J B O • Strengthen the North-South relationship in Strengthen theNorth-South • Contributeto the improvement ofthe status • Promote theregional musicscene atan • inthe development ofthe local Participate • mobilitybetween African Encourage artistic • of artists from southerncountries of artists cultural sector intheseareas countries andtheMiddleEast the cultural sector international level is also is VisaFor Music - 260 Re — cover 1 000+ 220 60 TOTAL TOTAL TOTAL number ofexhibitors number ofartists number ofattendees 262 Re — cover MUSIC SECOND EDITION nttto 02Y.O BEIRUT Institution Beirut &Beyond Amani Semaan The Beirut & Beyond International Music Arab region and beyond. A lot of these acts are not Festival Why do you think the audience believed in you? was launched two years ago as a platform Khaled YassineKhaled This shows that they have come to trust our artistic Next year we are planning to work in different ar different in work to planning are we year Next Beirut. In the last edition we had a concert in Tripoli to a wide-ranginga to audience inBeirut. It the project. about more us tell Yassine Khaled tor Direc Artistic Semaanand Amani tor It seems that you are also reaching out to new new to out reaching also are you that seems It In just two years you have managed to build an providingtheopportunityfor exposure, case emerging independent music acts from the the from acts music independent emerging case different audience and it was very well received. received. well very was it and audience different decentralize cultureinLebanon. to important very it’s that think we because eas direction and are eager to discover new talent. The of surprise to the experience. People are buying buying are People experience. the to surprise of discovering them at the festival, it added an element for showcasing local and foreign talents, featuring a band called Alif. It was a completely completely a was It Alif. called band a featuring backgrounds and influences to perform for newvoices. feedback so far has been very positive. We’re really thinking about is a tour around universities in order we’re idea One styles. new to listening in terested in- is and music independent for knack a has that tickets to concerts for bands they don’t really know. happy with the result. It happened really quickly quickly really happened It result. the with happy audiences, notjusttheelitecrowdinBeirut… really known locally, so when the audiences started exchange, and dialogue. Festival Direc Festival dialogue. exchange, and international music festival with a strong line up. because I think audiences are curious and hungry “There’s curiosityandhungerfor We hope to build a solid base of festivalgoers festivalgoers of base solid a build to hope We new voices.” invites musicians from various various from musicians invites Indeed we are trying to get outside It has been our objective to show- to objective our been has It - - - Amani Semaan Semaan Amani You seem to be putting a lot of effort into the the into effort of lot a putting be to seem You World Music Festival 2014. We did a legal workshop on copyrighting, copyrighting, on workshop legal a Wedid 2014. Khaled YassineKhaled Every year we invite festival managers, bookers, bookers, managers, festival invite we year Every Embassy, the workshops were more specific in in specific more were workshops the Embassy, How doyousummarizethegoalofB&B? choose theartistsfromhere. concrete. We had a small presentation by the the what Basically etc. artistically, economically, discussions thatarecreatedduringthemeetings. goers and it is important to trigger their curiosity their trigger to important is it and goers in Lebanon and more generally in the Arab region importance of these workshops comes from the the from comes workshops these of importance international festivals or labels. I also feel that the students students after all are the next generation of festival a Scandinavian tour every year on which we take take we which on year every tour Scandinavian a from now. Also, we make it a point to keep our our keep to point a it make we Also, now. from agents, labels and other professionals to come see artists need to know for their project to be fit for for fit be to project their for know to need artists to new acts and styles and allow them to discover to them allow and styles and acts new to Eu- a to perform that bands regional four or three to create curiosity among students early on. The The on. early students among curiosity create to to everyone. accessible is festival the that so affordable tickets the acts. In the last edition we had 25 international their interest in the Middle East and how they they how and East Middle the in interest their the artists on how to develop their projects legally, educating at aim and festival the of days four the tives. ThefirstistohelpmusiciansfromtheArab new culturesthroughmusic. ropean audience. workshops. region get exposed to the international music scene. professionals attend the festival. We also organize professionally. The workshops are held during during held are workshops The professionally. “When weorganize ahighquality With the support we got from the Danish Danish the from got we support the With The second objective is to introduce audiences sends amessageofhope.” In the first edition the workshops weren’t very image [oftheArab region] and music festival, itcreates adifferent The festival also helps the artists artists the helps also festival The The festival has two main objec- main two has festival The during which they explained Oslo - 264 Re — cover – before and after the revolutions. You see now revolutions. the after and before – Arab region? Arab region, which are specifically entrenched in in entrenched specifically are which region, Arab Western media. The fact that we’re exposing these Khaled YassineKhaled Khaled YassineKhaled Their reach is definitely growing and they’re being How can the festival in your opinion contribute Do you sense a change in the music scene in the opens up new channels and opportunities. Also, opportunities. and channels new up opens cept of a band was unheard of before - you had you - before of unheard was band a of cept geted towards musicians and professionals (agents, is different from what the mainstream disseminates. in the mainstream yet and the reason mainstream issues. The workshops are free of charge and tar and charge of free are workshops The issues. which explained everything the musicians need need musicians the everything explained which were extras. This mainstream impact is still not styles are being exposed, and this automatically automatically this and exposed, being are styles sends a message of hope. It’s also a confirmation a also It’s hope. of message a sends starting to surface in mainstream media. You media. mainstream in surface to starting audience isdefinitelyincreasing. members band the of rest the and singer lead a to know about that. The goal is to have a series of series a have to is goal The that. about know to the surfacing of these bands from the ‘underground’ heard more, which means that a greater variety of like publishing, licensing, distribution, and other and distribution, licensing, publishing, like topics different upon touch that workshops legal the mainstream. fit to format certain a to adapt to have don’t they to the artists that whatever they’re saying is valid; has a role in challenging the stereotypes about the hear the media also talk about ‘bands’; the con the ‘bands’; about talk also media the hear ten to music has changed in the past five years years five past the in changed has music to ten media doesn’t cover them is because what they say to the energies of change going on in the region? managers, venues). music festival, it creates a different image and and image different a creates it festival, music quality high a organize we when And reotypes. ste these challenge helping is abroad musicians new independent acts, sometimes controversial, but judging from the underground compass, the big enough because TV is still an integral force, The artists we work with are not not are with work we artists The Locally I think the way we lis we way the think I Locally - - - - S E V I T C E J B O Offer afree platform forprofessional • to culture Enableaccess and participation • Offer aplatformforfreedom ofexpression • localand regional independent mu- Support • Create and foster networksofexchange and • Play arole inpresenting adiversifed image • Expose audiences to awiderange of musi- • Becomeanagent ofchangetowards a • Arab culture development through aseriesofworkshops, scene intheMiddleEast,by exhibitinggood andyoung engaging emerging artists sicians by showcasingandpromoting their collaboration both withinthemusicindustry of theArab region andcontemporary of music cal genres celebrating theuniversality and background and positive intercultural exchange ina work through anannualfour-days festival practices andoffering newworkmodels music practitioners for all,regardless ofage,status,religion, fragile andconfictedregion transparent, equal,andprofessional music lectures andtraining, primarilyaimedat locally andinternationally decentralize culture “We think thatit’s very importantto in Lebanon.” 266 Re — cover number ofattendees TOTAL 3 700 number ofvenues TOTAL 09 number ofperformers TOTAL 85 Lebanon 24 Scandinavia 09 “The mission of art is ACEF 2015 to increase awareness Invest in Talent and the and receptiveness in Future of the Arab region an attempt to create cases for renaissance and revival.”

Abdul Rahman Munif, Novelist

Cultural philanthropy is about self-invention and renewal. Philanthropists are the bold risk-takers of the day who dare to imagine a different tomor- row and invest in a more vibrant and resilient Arab region. Shareholders in the Arab Creativity and Entre- preneurship Fund (ACEF) 2015 are all together investing one million dollars to fund 50 new art projects across the Arab region through AFAC’s Granting Programs. The Arab region is witnessing a cultural revival. Through a myriad of means, forms and open ex- Residents of the USA benefit from tax deduction pression, the thinkers and cultural practitioners on their donations. For more information send of the Arab region are stimulating important dis- us an e-mail to: cussions and offering new perspectives. Following [email protected] the success of the inaugural edition in 2014, we are glad to announce that the second funding cycle for the Arab Creativity and Entrepreneurship Fund (ACEF) is now open. Investing in ACEF 2015 is investing in those voices of the future for the benefit of each one of us, for our communities, and the whole world. One thousand shares will be available to be acquired at $1,000 per share for a total of $1 million. The Fund will be dedicated to support 50 original and new cultural projects from the Arab region in 2015.

Shares can be purchased by wire transfer to AFAC’s account below. Please indicate your name on the transfer instruction, the trans- fer amount, and the mention “ACEF2015”. Please also send an email notifying us of your purchase, where you heard of the Fund and your mailing address: [email protected]

Account Name: Arab Fund for Arts and Culture Bank Name: First National Bank S.A.L Bank Branch: Hamra Bank Address: FNB - Hamra Branch, Beirut, Lebanon Swift Code: FINKLBBE Account/IBAN: LB02 0108 0000 0000 0011 8859 7002 www.arabculturefund.org/support/acef This book was conceived and developed in collaboration with The Outpost magazine, Beirut.

Ibrahim Nehme Editor Hicham Faraj Art Director

Mowana Sabeh Designer

Raafat Majzoub, Amahl Khouri Writers

Lina Mounzer Translator

Photo credits Page 6,19 Reem Falaknaz Pages 8, 269 Anne Marie Jacir (Lamma Shoftak) Uncover (Opener) Samar Hazboun, Eman Helal, Faisal al- Fouzan, Omar Imam Discover (Opener) Rula Halawani, Peter D’Souza, Yasir el-Tigani Recover (Opener) ASSABIL, Visa For Music, al-Maamal Foundation, Younes Baba Ali Karama Festival Mohammed Hawajri (Red Carpet) Boulder Plot Peter D’Souza Sara Ouhaddou Marwen Farhat Cities of Salt Abbas, Magnum Photos Shubbak Luc Schrobiltgen; Kalfayan Galleries, Athens; Younes Baba Ali; Danny Willems Beirut & Beyond Sawrini - Elena Kukoleva Page 270 Zakharef in Motion

This book was produced in partnership with HSBC Private Bank

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Account Name: Arab Fund for Arts and Culture Bank Name: First National Bank S.A.L Bank Branch: Hamra Bank Address: FNB - Hamra Branch, Beirut, Lebanon Swift Code: FINKLBBE Account/IBAN: LB02 0108 0000 0000 0011 8859 7002

For more information on how to become an ACEF 2015 investor and a supporter of arts and culture in the Arab region: www.arabculturefund.org/support/acef [email protected] www.arabculturefund.org