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Arab Idol": a Palestinian Victory, at Last*
Volume 11, Number 7 April 30, 2017 "Arab Idol": A Palestinian Victory, At Last* Ronni Shaked and Itamar Radai From the left: Mohammed Assaf, Yacoub Shahin, and Ameer Dandan in "Arab Idol" finale, 25.2.2017. Source: "Arab Idol" website: http://www.mbc.net/ar/programs/arab-idol-s4.html On February 27, 2017, Palestinians in the West Bank, the Gaza Strip and the diaspora, as well as the Palestinian citizens of the State of Israel, sat captivated by the broadcast of the finale of the fourth season of the reality television show, "Arab Idol." Held in Beirut, the final round of the Arab Idol competition featured two Palestinian contestants, Yacoub Shahin of Bethlehem in the Palestinian Authority and Ameer Dandan from the Galilee town of Majd al-Krum in Israel, along with a third finalist from Yemen.1 1 The Israeli Hebrew press portrayed the Arab Idol finals as "a competition between an Israeli and a Palestinian," however Dandan was enlisted to the program and presented himself during 1 When Shahin was declared the winner, widely known as "Mahbub al-ʿArab" ("Darling of the Arabs/Beloved one of the Arabs"), it touched off a celebration in Bethlehem’s Manger Square. Thousands of the city's residents had gathered in the plaza outside of the Church of the Nativity, with Palestinian pennants in their hands and the distinct Palestinian symbol, the black and white checkered Palestinian kufiyya (headdress/scarf), on their shoulders. On the east side of Manger Square, the municipality had set-up a big screen for a public viewing of the show's finale. -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
Khamis-Lina-Edward-Social-Media-And-Palestinian-Youth
The Journal of Development Communication SOCIAL MEDIA AND PALESTINIAN YOUTH CULTURE: THE IMPACT OF NEW INFORMATION AND MEDIA TECHNOLOGIES ON CULTURAL AND POLITICAL DEVELOPMENT IN PALESTINE Lina Edward Khamis n the last decades Palestinians witnessed a failure to reactivate the peace Iprocess, coupled with the expansionist policies of the current Israeli government, the quest of a two-state solution, is fast disappearing. Barriers to development imposed by the continuing occupation and the separation wall. The consequences of the Palestinian condition as a stateless nation, and nonexistence were evidenced in the lack of communication among people, the distance from places of leisure, culture and social disintegration with all the limitations of life that are accompanied with it. The Palestinians had to invent and create an immediate solution to come alive and adapt to the current situation or else run the risk of engendering a well known form of social pathology. In a country were institutional forms of government are lacking; ‘popular culture has developed on social media platforms free from the governmental authority and power. Facebook provides a free space for self-expression, creativity, civic initiative, anti-politics and the freedom of communication with international society.’ Recent statistics indicate that Palestinian youth are one of the largest users of social media in the Arab World, mainly Facebook (PCBS, 2015). The onset of the use of social media heralded an interest, by scholars in re-defining the lynchpins of democracy in Palestine and the importance of social media in that equation. The effect of new media on emotional life, empathy, political participation, and social mobilisation had a major impact on these deliberations. -
Visions of a General Framework for Egypt's Cultural Policy
Visions of a General Framework for Egypt’s Cultural Policy November 2015 1 2 Table of Content Dr. Ismail Serageldin’s Introduction 5 Introduction: Support to Cultural Diversity and 7 Creativity in Egypt 1- Preliminary Overview 29 Egypt in five cultural circles 31 Our Arab Culture and the Culture of Knowledge 33 About the Egyptian Identity 37 Countering the Current Conditions 38 2- The Current Cultural State of Affairs 41 The Egyptian Cultural Society 44 Key cultural issues pertaining to the book, 46 the song, the cinema, and the theater 3- Cultural Reform in Egypt 57 Vision and Objective 57 Specific Objectives 57 About Education and Media 61 The Creative Industries 64 4- Institutions and Mechanisms 67 - Museums 68 - Libraries and the Family Libraries 69 - Ministry of Antiquities 71 - General Authority for Cultural Palaces 72 - General Egyptian Book Authority 74 - The High Council of Culture 75 - Arts Academy 75 - Visual Arts Sector 77 - Theater Section 79 - Folklor and Performance Arts Sector 80 3 - The Opera 80 - Film Industry 81 - The National Center for Traditional Crafts 84 - Scientific Societies 85 - Oral Heritage 86 - Cultural Fields and reforming their positions 86 - Dar al Kuttub and National Archives 87 - The National Translation Center 87 5- Funding 89 The Cultural Development Fund 90 Antiquities Fund 90 The Private and Public Sectors 91 Using Government Guarantee 91 6- The Digital Revolution and How to Deal with It The New Knowledge Revolution (The Seven Pillars) 93 First: Parsing, Life, and Organization 93 Second: Image and -
Sīrat Banī Hilāl: Introduction and Notes to an Arab Oral Epic Tradition
Oral Tradition, 4/1-2 (1989): 80-100 Sīrat Banī Hilāl: Introduction and Notes to an Arab Oral Epic Tradition Dwight F. Reynolds Then he remembers how he used to like to go out of the house at sunset when people were having their evening meal, and used to lean against the maize fence pondering deep in thought, until he was recalled to his surroundings by the voice of a poet who was sitting at some distance to his left, with his audience round him. Then the poet would begin to recite in a wonderfully sweet tone the doings of Abu Zaid, Khalifa and Diyab, and his hearers would remain silent except when ecstasy enlivened them or desire startled them. Then they would demand a repetition and argue and dispute. And so the poet would be silent until they ceased their clamour after a period which might be short or long. Then he would continue his sweet recitation in a monotone. .. (Hussein 1982:2) This poetic tradition which Egypt’s preeminent literary scholar, Ṭaha Hussein, recalls at the outset of his autobiography is one familiar through much of the Arab world—the sīra of the Banī Hilāl Bedouin tribe which chronicles the tribe’s massive migration from their homeland on the Arabian peninsula, their sojourn in Egypt, their conquest of North Africa, and their fi nal defeat one hundred years later. The migration, the conquest, and the defeat are historical events which took place between the tenth and twelfth centuries A.D. From this skein of actual events Arabic oral tradition has woven a rich and complex narrative centered on a cluster of heroic characters. -
Unclassified DAF/COMP/AR(2016)43
Unclassified DAF/COMP/AR(2016)43 Organisation de Coopération et de Développement Économiques Organisation for Economic Co-operation and Development 24-Nov-2016 ___________________________________________________________________________________________ _____________ English - Or. English Directorate for Financial and Enterprise Affairs COMPETITION COMMITTEE Unclassified DAF/COMP/AR(2016)43 Cancels & replaces the same document of 18 November 2016 ANNUAL REPORT ON COMPETITION POLICY DEVELOPMENTS IN EGYPT --2015-- 29-30 November 2016 This report is submitted by Egypt to the Competition Committee FOR INFORMATION at its forthcoming meeting to be held on 29-30 November 2016. English JT03406125 Complete document available on OLIS in its original format - This document and any map included herein are without prejudice to the status of or sovereignty over any territory, to the delimitation of Or. international frontiers and boundaries and to the name of any territory, city or area. English DAF/COMP/AR(2016)43 Note by Turkey The information in this document with reference to “Cyprus” relates to the southern part of the Island. There is no single authority representing both Turkish and Greek Cypriot people on the Island. Turkey recognises the Turkish Republic of Northern Cyprus (TRNC). Until a lasting and equitable solution is found within the context of the United Nations, Turkey shall preserve its position concerning the “Cyprus issue”. Note by all the European Union Member States of the OECD and the European Union The Republic of Cyprus is recognised by all members of the United Nations with the exception of Turkey. The information in this document relates to the area under the effective control of the Government of the Republic of Cyprus. -
Vamping the Archive: Approaching Aesthetics in Global Media
University of Pennsylvania ScholarlyCommons Center for Advanced Research in Global CARGC Papers Communication (CARGC) Spring 2018 Vamping the Archive: Approaching Aesthetics in Global Media Rayya El Zein University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/cargc_papers Part of the Communication Commons Recommended Citation El Zein, Rayya, "Vamping the Archive: Approaching Aesthetics in Global Media" (2018). CARGC Papers. 8. https://repository.upenn.edu/cargc_papers/8 CARGC Paper 8 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cargc_papers/8 For more information, please contact [email protected]. Vamping the Archive: Approaching Aesthetics in Global Media Description CARGC Paper 8, “Vamping the Archive: Approaching Aesthetics in Global Media,” by CARGC Postdoctoral Fellow, Rayya El Zein, is based on El Zein’s CARGC Colloquium and draws its inspiration from Metro al- Madina's Hishik Bishik Show in Beirut. CARGC Paper 8 weaves assessments of local and regional contexts, aesthetic and performance theory, thick description, participant observation, and interview to develop an approach to aesthetics in cultural production from the vantage of global media studies that she calls “vamping the archive.” Disciplines Communication Comments CARGC Paper 8 Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This report is available at ScholarlyCommons: https://repository.upenn.edu/cargc_papers/8 CARGC PAPER 8 Vamping the Archive: Approaching 2018 Aesthetics in Global Media Yasmina Fayyed sings “Sona, oh Sonson,” in the Hishik Bishik Show. Photo by @foodartconcept, August 16, 2016. Vamping the Archive: Approaching Aesthetics in Global Media CARGC PAPER 8 2018 I am very proud to share CARGC been fully explored and that we feel Paper 8, “Vamping the Archive: are important for the development of Approaching Aesthetics in Glob- global media studies. -
Middle East Resources
Middle East Resources Novels At the core of Middle Eastern literature, is the art of storytelling. Many stories have circulated through the Middle East and North Africa for hundreds of years and remain pertinent to understanding the region’s historical context and cultural heritage. Middle Eastern literature is often characterized by its social and political commentary, comedy, poetic nature, and suspenseful plot lines. ● The Thousand and One Nights (also called The Arabian Nights) by Anonymous ● Arabic Short Stories translated by Denys Johnson-Davies ● Silence for the Sake of Gaza by Mahmoud Darwish ● A River Dies of Thirst: Journals by by Mahmoud Darwish ● The Harafish by Naguib Mahfouz ● The Cairo Trilogy: Palace Walk, Palace of Desire, Sugar Street by Naguib Mahfouz ● Miramar by Naguib Mahfouz ● Yacoubian Building by Alaa Al Aswany ● I Saw Ramallah by Mourid Barghouti, ● The Black Book by Orhan Pamuk ● My Name is Red by Orhan Pamuk ● The Map of Love by Adhaf Soueif ● My Michael by Amos Oz ● Pillars of Salt by Fadia Faqir ● Beirut Blues by Hanan al-Shaykh ● The Stone of Laughter by Hoda Barakat ● The Butterfly Mosque by G. Willow Wilson ● The Lemon Tree by by Sandy Tolan ● Native: Dispatches from an Israeli-Palestinian Life by Sayed Kashua ● Once Upon a Country: A Palestinian Life by Sari Nusseibeh ● Once in a Promised Land: A Novel by Laila Halaby ● Taxi by Khalid Al Khamisi ● All the Rivers by Dorit Rabinyan ● The Kite Runner by Khaled Hosseini ● A Thousand Splendid Suns by Khaled Hosseini ● Mornings in Jenin by Susan Abulhawa ● Persepolis: The Story of a Childhood by Marjane Satrapi ● The Corpse Exhibition and Other Stories of Iraq by Hassan Blasim ● The Blind Owl by Sadegh Hedayat ● The Forty Rules of Love by Elif Shafak ● Gate of the Sun by Elias Khoury ● Yalo by Elias Khoury ● Revolution for Dummies: Laughing Through the Arab Spring by Bassem Youssef Poetry Arabic poetry is the earliest form of Arabic literature.The Arabic language is a unifying symbol of cultural and historical identity in the Middle East. -
34-2 Frishkopf
34-2 Frishkopf http://fp.arizona.edu/mesassoc/Bulletin/34-2/34-2%20Frishkopf.htm Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles, Genres, and Available Recordings[1] Michael Frishkopf, University of Alberta Reprinted from the Middle East Studies Association Bulletin, Winter 2000 (with changes in orthography to HTML standards). Copyright 2000 by the Middle East Studies Association of North America IT IS OFTEN assumed that as ‘orthodox’ Islam rejects music, Qur’anic recitation (tilawa) and the Call to Prayer (adhan) are its only acceptable melodic practices. By the same logic, the special music of Sufism is bracketed under the labels ‘heterodox,’ or else ‘popular,’ Islam. Both ‘orthodox’ and ‘Sufi’ practices are then categorically distinguished from the ‘secular’ world and its music. This erroneous ‘tripolar’ view of music and religion in Egypt can be ameliorated by considering the rich range of Islamic melodic practices performed there. Performance of inshad dini (Islamic hymnody) has been widespread in Egypt throughout the twentieth century, crossing all geographical and social boundaries.[2] Focusing primarily on the supplication and glorification of God, praise and love for His Prophet, expressions of spiritual experience, and religious exhortations, inshad practice is not limited by region, economic class, or religious perspective. Inshad expresses the affective dimension of Islam, most pronounced in mysticism (Sufism). While inshad is always Sufi in the broadest sense of that word, and though some Sufi orders are rightly famous for their liturgical inshad (while others include none), inshad has been appreciated in a broad social domain far exceeding the borders of the Sufi orders. -
Egypt Tunes Into Nostalgia for Golden Age of Arab Song
WEDNESDAY, FEBRUARY 13, 2019 07 Egypt tunes into nostalgia for golden age of Arab song Ahmed Hafez, bassist for Egyptian rock band Massar Egbari, warms up in a recording studio in the Egyptian capital Cairo Songs that sounds Egyptian classical Arabic music singer Ahmad Adel performs a song by celebrated 20th century Egyptian composer Mohamed nostalgic Abdel Wahab, AFP | Cairo, Egypt But in the 1990s, Gulf coun- seminal director of the Revival tries vying for cultural dom- opera’s Oriental Music de- tanding before a rapt Until the 1970s, inance emerged as rivals partment. Rising artists from such places crowd, Ahmed Adel oozes to Egypt’s music industry, and And to soar above Cai - as Lebanon, Morocco and the charm with his passionate Egypt’s music indus- Rotana, the Arab world’s larg- ro’s 24-hour cacophony, she United Arab Emirates harness Sperformance of an Egyptian try was bubbling, est record label, was formed doesn’t just look to golden millions of views on YouTube, classic, evoking a romantic in 1987. oldies. usually singing in their own di- nostalgia for Arabic songs of with singers like The company is currently “I bring (pop stars like) Ang- alects. the past. owned by businessman and ham, Saber El-Robai, Wael Jas- Egypt’s music scene remains After a melodious introduc- Oum Kalthoum, Saudi prince, Al Walid bin Talal. sar. They are beautiful voices vibrant, including electro Shaa- tion on the Oud, the famed ori- The 2011 uprising that have an audience among bi music, an exuberant popu- ental lute, Adel croons his way Mohamed Abdel in Egypt that plunged the coun- the youth,” said Morsi. -
Not Arabi Or Ajnabi: Arab Youth and Reorienting Humor
International Journal of Communication 14(2020), 3202–3219 1932–8036/20200005 Not Arabi or Ajnabi: Arab Youth and Reorienting Humor SULAFA ZIDANI University of Southern California, USA This article examines a type of online content created by Arab youth that mixes local and foreign popular culture and politics. This content is examined in relation to the position of Arab youth within transnational power dynamics looking at how they build on longstanding meanings to define their own unique culture. These creations mixing Arabic and foreign (arabi–ajnabi) languages, music, images, and videos, result in content that is humorous specifically to those who are literate in both of the cultures being juxtaposed. Drawing on academic literature on humor, remix, and mash-up culture, this article looks into how this new content, labeled here as reorienting humor, becomes a way for doubly marginalized youth to be cultural agents for themselves and disrupt the direction of cultural flows in a way that creates a disturbance in the power relations and calls into question binaries such as local–global dominant–marginalized, and center–periphery. Keywords: mash-up, remix, power, humor, transnational, Arab, Middle East A music video released in October 2016 shows Japanese artist DJ Pikotaro dancing in an animal print outfit singing a repetitive electronic song called Pen Pineapple Apple Pen (PPAP). The images in Figure 1 are not from that video, but from an Arabic page on the social networking website Facebook called Tamt Altargama, which focuses on “translation of foreign arts.” These edited images dress Arab celebrities such as Umm Kulthum, Amr Diab, and Fairouz with Pikotaro’s iconic animal print scarf. -
Bibliographies Arabic Writings on Z R
BIBLIOGRAPHIES ARABIC WRITINGS ON Z◊R RICHARD JOHAN NATVIG The following lists Arabic writings on zr, dating from the 1880s to the present.1 The writings included in the list vary from the briefest mention in passing of zr to book length studies. The genres range from religiously motivated texts such as tafsır (Koran exegeses), fatw (legal opinions), and internal regulations for Sufi †uruq, to news reports, news- paper and women’s magazines articles, interviews, poems, polemics and apologetics, and so forth. Useful in compiling the list have been a small number of previously published bibliographies on zr and general works of reference (see ‘Abbreviations’, below).2 I have not seen all of the works listed here myself, and I have therefore not been able to verify all the references. The ones that I have had access to are marked by an asterisk. Although far from complete, the list presented here is the most comprehensive to date. It can be seen as a supplement 1 On zr, see Lewis &al, Women’s Medicine and the literature referred to there and Nabhan (for both, cf. ‘Abbreviations’, below); Janice Boddy, Wombs and Alien Spirits: Women, Men, and the Zr Cult in Northern Sudan, Madison: The University of Wisconsin Press 1989; Susan M. Kenyon, Five Women of Sennar: Culture and Change in Central Sudan, Oxford: Oxford University Press 1991, passim, but especially Chapter 6, ‘Al-Umıya of ‡ombüra Zr: Leader of a Spirit Possession/Healing Cult’, 184-221. Regular readers of this journal may have read Lidwien Kapteijns and Jay Spaulding, ‘Women of the Zr and Middle-Class sensibilities in Colonial Aden, 1923-1932’, SAJHS, 5, 1994, 7-38.