Research & Commentary Results

Jordan has the lowest rate of women’s economic participation of any country not at war. According to the ILO, the kingdom’s female labor force participation rate is below 15%, while that of men is about 60%. This is lower than rates of female labor force participation in neighboring Lebanon (23%), Saudi Arabia (22%), and the West Bank and Gaza (18%). As the COVID-19 pandemic stretches on, the government of Jordan should take the opportunity to expand the accessibility of remote work and corresponding opportunities for Jordanian women who aim to play a role in their nation’s economy.

Why have authors revisited it over the decades through literary works, and what makes it appealing to international readers?

Afghan filmmaker Sahraa Karimi has spent decades documenting the plight of Afghan women. But when the Taliban returned with a vengeance following their takeover of Kabul on Aug. 15 of this year, she turned the camera on herself.

When Abdulrazak Gurnah was awarded the Nobel Prize in Literature in October, he and his novels came under the international spotlight. The award committee praised his “uncompromising and compassionate penetration of the effects of colonialism and the fates of the refugee in the gulf between cultures and continents.” But Gurnah is not the only son of Zanzibar whose art has been shaped by the memories of migration, and his recent recognition is an occasion to highlight and reflect on creative work in different media by individuals of similar backgrounds who have also been shaped by the trauma of forced departure.

Jason Pack on the 2021 Oasis Backgammon Championship, the first major international backgammon tournament to be hosted in the Arab World in recent memory, and how it reflects broader changes in the Middle East.

Marvin Weinbaum and Javid Ahmad discuss conditions in Afghanistan since falling back under Taliban rule, including worsening economic and humanitarian crises, the security situation, the role of international and regional actors, and where things might be headed moving forward.

Artists Helen Zughaib and John Halaka join MEI’s Lyne Sneige in conversation on the MEI Art Gallery’s current exhibition, “Converging Lines: Tracing the Artistic Lineage of the Arab Diaspora in the U.S.” They discuss the exhibition’s themes of exile, memory formation, changing identities, and the state of in-betweenness that often accompanies migration.

Converging Lines: Tracing the Artistic Lineage of the Arab Diaspora in the U.S. seeks to situate Arab and Arab American artists within the larger history of American art while emphasizing the rich history of cultural production that has come from the larger Arab American community.

The concept of human security encompasses people-centric policies to protect individuals from insecurity that could pose threats to their survival and dignity. Traditional security systems support that protection and state institutions are responsible for enabling conditions for growth and development in a society. This article discusses the emerging characteristics of Taliban governance, the current state of human security in Afghanistan, and how these new conditions affect the protection of human security.

Like the rest of the world during the past 20 years, Afghanistan has lived much of its life online and via networked technology; a multifaceted understanding of how digital rights are foundational to protecting Afghans in the face of an uncertain future must be key to any humanitarian or policy strategy undertaken by the U.S. or the international community.

Inside the Khaleeji Art Museum’s Architecture of Memory, which showcases the work of Dana Al Rashid.

The Middle East and North Africa (MENA), for a variety of reasons, are unrivaled in their need for bold, creative thinking about their future. But that is precisely why creative thinking about the future of the region — why strategic foresight — is essential. Produced in conjunction with MEI’s Strategic Foresight Initiative, Thinking MENA Futures aims to map out some of the possible futures for the region, as envisioned by thoughtful innovators working today to realize them.

For the second time in the past two decades, a large number of Afghans find themselves escaping chaos. Twenty years ago, it was the American invasion of Afghanistan after the terrorist attacks of 9/11 that caused a large wave of refugees. More recently, the hasty American withdrawal from the country and the ensuing Taliban takeover have created another wave of refugees.

بينما يشاهد العالم استيلاء طالبان على أفغانستان وما أعقب ذلك من أحداث متلاحقة، يبدو الأمر وكأنه “ديجافو” أو تكرار لمعاناة أبناء هذه الأمة. ومع عودة طالبان إلى وادي باميان، وهو أحد مواقع التراث العالمي لليونسكو الذي أجاز فيه الملا عمر تدمير تمثالين من القرن السادس لبوذا قبل 20 عامًا، ندرك أننا شاهدنا هذا الفيلم من قبل ونعرف كيف تكون نهايته.

The images of desperate Afghan citizens trying to leave their country, beyond highlighting a massive human tragedy, may become a symbol of the so-called war on terror. Many of those Afghans already understand the feeling of abandoning their homes, because their families experienced it. They know what happens when foreign armies withdraw from their country and the tragedies that can ensue. The difference this time, however, was the deadline — only a few weeks.