Cairo’s Townhouse Gallery: Social Transformation through Art
As the urban historian Lewis Mumford pointed out, “When a city has reached the megapolitan stage, it is plainly on the downward path: it needs a terrific exertion of social force to overcome the inertia, to alter the direction of the movement, to resist the immanent processes of disintegration.”[1]
Virtuoso French-Swiss qanun player Julien “Jalal Eddine” Weiss, who tirelessly promoted classical Arab and Syrian music to international audiences from his home in Aleppo, Syria, died this month in Paris. Forced to flee Syria’s brutal civil war like millions of other Syrians, Weiss’s death is a sad reminder of the ongoing threat to Aleppo’s rich cultural traditions, as well as an occasion to remember the city’s heritage, which played such an important role in inspiring his unique Middle Eastern compositions.
Alexandria, like Cairo, is a mismanaged city with little to offer by way of basic services, much less cultural activities. But unlike Egypt’s insular, desert capital, it is a Mediterranean city, cooler, less polluted or crowded than Cairo (with just six million inhabitants), no longer a cosmopolitan hub but open to the world in material and other ways. There are signs here of a trend toward “social transformation”—a focus on the immediate surroundings, the city itself, to explore and expand its possibilities.
The Science of Preserving Egypt’s Cultural Heritage
Around the world, priceless monuments and artifacts are disintegrating due to exposure to pollution and hordes of visitors coupled with the sheer weight of age. The inexorable loss of cultural heritage concerns us all, but is especially troubling for decision-makers in places like Egypt that rely on cultural tourism-generated income to stay afloat. How to reconcile the need to make decaying treasures available to the public with the fact that public display is ruining them?
Shortly after the onset of the Egyptian revolution in January 2011, the police and many of the associated security forces abandoned their posts, creating a vacuum that has had a devastating effect on Egypt’s antiquities. With great alacrity, villagers who lived near historic sites started appropriating land, while others with more nefarious intentions, such as tomb robbers and organized mafias, began the process of plundering.
In a historic first, three Arab films—all dealing with the political and social challenges faced by Arab youth—were nominated for Academy Awards this past March for best foreign language film (Omar, Palestine), best documentary feature (The Square, Egypt), and best documentary short (Karama Has No Walls, Yemen).
