Research & Commentary Results

On a sub-level inside one of the Smithsonian’s art galleries in Washington, a man stood entranced by the Golden Hour, a six by eight foot photographic composition of Mecca.

The man noted the dozens of cranes and the Makkah Royal Clock Tower, a monstrous and controversial piece of architecture that dwarfs everything around it. Then, with his finger, the visitor carefully air circumnavigated around the Great Mosque.

“What’s this tiny black cube in the middle?” he asked, pointing to the Kaaba.

The Middle East Institute (MEI) is saddened by the passing of Zaha Hadid, the renowned Iraqi-born architect whose iconic structures ignited imaginations and experimented with new spatial concepts. Hadid was the first female and first Arab recipient of the Pritzker Architecture Prize, the field’s highest honor. In 2013 she received MEI’s Issam M. Fares Award for Excellence in recognition of her visionary contribution to architecture and urban design.

A casual, short visit to Stockholm may not yield any eye-opening revelations. The mood is as tranquil as ever—the trendy restaurants and bars occupy every neighborhood in the center, and the grandeur of its dazzling, opulent architecture blinds the eye from noticing the Roma beggars scattered across the city.

This article was first published by the Shakespeare Theatre Company.

At the edge of the Pacific, in a bucolic suburb of Vancouver called Horseshoe Bay, the “father of modern Iranian sculpture” has lived a quiet existence since 1989.

Despite being a pioneer of Iranian modernism and one of the founders of the Saqqakhaneh School of Art in mid-20^th century Tehran, Parviz Tanavoli has been virtually invisible in Vancouver.

Today, however, a new documentary about the artist directed by Canadian filmmaker Terrence Turner has bridged the chasm between the Middle East and the Pacific Northwest.

For any major film festival, politics is an imperative ingredient, inseparable from the glamor and publicity organizers always strive to attract. Of all the big film fairs, the Berlin International Film Festival (aka the Berlinale) has forever been known to be the most political, either in its eye-raising selection or in its granted awards.

The Arab Spring’s seismic impact on the region not only shifted the political landscape, it also sparked a new wave of cultural thought. It refocused attention onto Arabic arts and literature as a prism through which various scholars sought to understand ongoing social changes.

Yemen’s war is a forgotten catastrophe. Peter Maurer, the president of the International Committee of the Red Cross, stated in August: “Yemen after five months looks like Syria after five years.” All too commonly, civilians are bearing the brunt of the violence in Yemen. According to the United Nations, more than 2,700 people have been killed and more than 5,000 wounded. Schools, hospitals, and roads have been destroyed by the Saudi-led air campaign.

Update: Theeb has officially been nominated for best foreign film for the 88th Annual Academy Awards.

When news of Theeb’s Oscar shortlist status was announced a few weeks ago, director Naji Abu Nowar’s cell went mad with congratulatory calls.

“It was incredible,” recounts the Amman-based filmmaker at the Palm Springs Film Festival where his film has played to packed theatres.

Palm Springs is not a place normally associated with cutting edge Middle Eastern cinema.

In fact, the obvious connections to the region are more about geography and agriculture—desert scenes reminiscent of Palestine or Iraq, date palms from North Africa—than film.

In mid-June, just before Ramadan, the pre-dawn calm of downtown Cairo was shattered by the sound of heavy machinery. The municipality had decided to repair the battered sidewalks, a fairly regular occurrence since shoddy concrete tiles are typically used for the job. Truckloads of sand were deposited at intervals along the main boulevards to be spread as a bed for the new tiles, while much of the rubble from the old ones was left piled by the curbs. To avoid the rough new terrain pedestrians took to the streets with the cars.

(NEW YORK) – At the Culture Under Threat forum held at the Asia Society headquarters in New York on Sept. 24, foreign ministers and senior government officials from around the world joined leaders of arts institutions, archaeological associations, and experts in terrorism to stop the looting and trafficking of antiquities, and halt a major source of funding for terrorism.

TEN MIDDLE EAST AND NORTH AFRICAN COUNTRIES ANNOUNCE CAIRO DECLARATION, TAKE STEPS TO PREVENT THE WAR CRIME OF LOOTING AND THE DESTRUCTION OF HERITAGE

This article was first published on Huffington Post.  The Antiquities Coalition and MEI are co-sponsoring a regional conference in Cairo on May 13-14 to reach an agreement on steps to combat antiquities looting.

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]