As Iraqi Kurds gain more autonomy than ever in modern history, they seem to be losing their cultural heritage. This is exemplified best by the disappearing tradition of Kurdish carpet weaving.
Teahouses are at the heart of Kurdistan’s culture and are linked to the Kurdish collective memory of struggle and oppression, making them a central part of contesting narratives about progress, change, and tradition.
As long as there have been tombs, there have been tomb raiders. Today the plunder is taking place on an unprecedented scale, and the multi-billion dollar illegal trade has been used to fund groups such as ISIS. Brigadier General Fabrizio Parrulli of Italy’s Carabinieri Command for the Protection of Cultural Heritage, and Deborah Lehr, founding director and CEO of The Antiquities Coalition, join host Paul Salem to discuss the international efforts to crack down on antiquities trafficking.
Middle East policy is most commonly viewed through a security or geopolitical lens, but arts and culture is the human lens into the region. MEI Vice President Kate Seelye and Lyne Sneige, director of MEI’s Arts & Culture program, join Paul Salem to discuss the importance of culture as a tool for enriching policy discourse.
The countries of the Middle East are using art to remodel their national identities. Billions of dollars have been spent on colossal building efforts and massive acquisition programs in an effort to expand the cultural sector in the Middle East, especially in the Gulf. Art acquisition now appears to be part of a geopolitical strategy by Gulf countries to use their hydrocarbon money to purchase cultural clout and establish themselves as international cultural centers.
Returning to Tunisia for the first time in six years after facing charges of blasphemy for the making of “Laicite Inshallah,” her 2011 film about religious hypocrisy and government complicity with Islamist elements during and after President Zine El Abidine Ben Ali’s regime, veteran filmmaker Nadia el-Fani experienced an emotional moment.
Standing on the stage at the Carthage Film Festival’s November 2017 screening of her film, “It Doesn’t Even Hurt,” which depicts her simultaneous battles with breast cancer and death threats from Islamist extremists, she began to weep.
Nowhere in the world are women more unequal than in the Middle East and North Africa, but there have been signs of progress in the region and several key reforms took place in 2017, such as Saudi Arabia’s decision to lift the ban on women driving. Manal Omar, founder of Across Red Lines, and Hala Aldosari, a fellow at the Radcliffe Institute for Advanced Study at Harvard University, join guest host Kate Seelye to discuss these reforms and whether they signal real change in attitudes toward women’s rights in the region.
Fittingly for someone who divides her time between two river cities, DC-born, Baghdad-bred, and now London-based filmmaker Maysoon Pachachi says she is a woman who “lives on a bridge.”
“I’ve been a stranger everywhere I’ve lived,” says Pachachi, now 70, whose documentaries have captured life in Gazan refugee camps, downtown Beirut and medieval Cairo. “I’ve moved around my whole life, but I can adapt and fit in wherever I am.”
The Middle East Institute will be screening Ziad Doueiri’s The Insult at Georgetown University in Washington, DC on January 12. Get your tickets here!
Mdou Moctar recently finished his first U.S. tour. In his three October performances in Washington, he set out to do a lot. Pickless, his kinetic guitar licks bounced around the stage, bringing his audience thousands of miles away to the Sahara desert. His calm, welcoming voice sang about the struggles and hopes of his divided homeland.
November 29, 2017- Syrian protest art served as a critical form of non-violent expression during the uprisings against the Assad government starting in 2011. Recognizing the work’s historic significance, the British Museum recently acquired a collection of posters, prints drawings and photographs produced during the conflict, and turned them into a unique exhibit, “Living Histories.”
It was a magical moment to come after so many years of anticipation, when the platform below the Louvre Abu Dhabi was carefully flooded with sea water from the surrounding Gulf.
The view from El Gouna, the luxury Red Sea resort constructed in the late 1980s by Egyptian business tycoon Samih Sawiris, can be misleading. The plush yachts, pricey food menus and grand parties present an alternative reality to the financially-strapped, religiously conservative one of the capital. In other words, El Gouna is not Egypt. The industry’s muted, skeptic reaction to the establishment of an international film festival in Hurghada’s most affluent town this year was thus quite expected.
‘Arab,’ ‘Islamic’, or ‘Middle Eastern’ art are all terms used interchangeably. Despite a wide variety of contemporary artistic practices in the region, artists from the Middle East are consistently labeled with ethnic and national markers.
One of the most revealing moments of the recently concluded Ramadan TV season occurred in the new Egyptian series, Don’t Turn Off the Sun. A newly-wedded young wife finds out that her husband is having an affair with his male friend; a liaison that ultimately leads to the dissolution of their marriage. The most telling aspect of what was potentially perceived as a provocative move from the series’ makers was the fact that it didn’t stir any controversy at all.