The story of the Basrah Museum, which opened three new galleries on March 19th after languishing for 28 years, is nothing less than cinematic. Read it here.
The works of Sudanese artist Ibrahim El Salahi were long overlooked by the international arts community. Today, his extraordinary works are recognized globally as defining works of African modernism and are housed in some the world’s most prestigious galleries, including they Tate Modern and the MoMA – all thanks to the tireless work of fellow Sudanese scholar Salah Hassan.
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.
It is a travesty that in the 21st century the construction of a mega-hydropower-generation project, the Great Ethiopian Renaissance Dam (GERD) has been underway for over seven years without an independent, comprehensive transboundary Environmental and Social Impact Assessment (ESIA) conducted first.
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.
The Middle East is the world’s most arid region and the one most dependent on renewable freshwater resources that originate outside its territories. These resources are largely contained in the Nile, Euphrates-Tigris, and Jordan river basins. An international law-based approach to transboundary watercourse development and management is vital for human security and regional stability. Applying legal principles in the Nile Basin is imperative, as unilateral actions by upstream countries can harm livelihoods on a large scale in downstream countries and destabilize their economies.
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.”