Research & Commentary Results

Unanticipated swiftness of victory can be potentially befuddling, even for the victor. After the Taliban’s dramatic and largely bloodless capture of power, their leadership has struggled to finalize the structure of a government that will rule the country. The group, however, has attempted to use the interregnum period to indulge in a rebranding exercise. Statements issued by its spokespersons in Kabul as well as in Doha indicate that the group does not wish to take revenge on the “collaborators” of the fallen government. Instead, it wishes to form an “inclusive” government, which although it will be governed by sharia, may still have role for former government servants and women. However, this could only be a feeble attempt at building a narrative, which the group will find hard to sustain, even in the short term.  

As the world watches the Taliban takeover of Afghanistan and its aftermath, it’s like déjà vu all over again for the nation’s long-suffering peoples. With the Taliban back in the Bamiyan Valley, the UNESCO World Heritage site where Mullah Omar sanctioned the destruction of the 6th century Buddhas 20 years ago, we’ve seen this movie before and we know how it ends.

That the Taliban ended up taking over Afghanistan was not surprising, given the details of the agreement between the U.S. administration and the group’s leadership that have been known for many months. What was surprising for the international community, however, was the speed and manner of their takeover. The Taliban offensive and its consequences came as a particular shock to the institutions of the European Union (EU) and the member states that took part in the International Security Assistance Force (ISAF) mission and various aid programs in the country. When it comes to assessing the consequences of the Taliban’s takeover, there is no doubt that, first and foremost, it is the Afghan people that are most badly affected. Among the members of the international community, it is the Americans that have suffered the greatest reputational and financial losses so far, but from here on out the EU may well be the party that will face the greatest consequences.

Read MEI’s weekly briefing featuring expert analysis of key regional developments for the week ahead.

As the U.S. withdrew troops from Afghanistan, the Taliban pushed through large portions of the country, capturing strategic regional centers and ultimately securing the capital city of Kabul. In its pursuit, the Taliban faced relatively little resistance as it seized government strongholds. Rather than widespread fighting, reports indicate that Taliban fighters often cut deals with soldiers, offering payoffs or demanding surrenders. At the same time and as of the time of writing, the Taliban announced a general amnesty, encouraging former government officials and women to support the group.
Whether and how long this period of limited resistance and amnesty might last are unclear. What are the prospects for future political violence both within and outside the country?

Read MEI’s weekly briefing featuring expert analysis of key regional developments for the week ahead.

Weeks before the official U.S. military withdrawal, Afghanistan is unraveling rapidly as the Taliban continue their swift military advance. They now control more than two-thirds of the country and half of the provincial capitals. With the government’s hold on Kabul in doubt, the Biden administration has dispatched troops to evacuate U.S. citizens from the country. We asked experts and scholars from across MEI to weigh in with their thoughts on the situation and what it means for the country, the wider region, and key international players.

Read MEI’s weekly briefing featuring expert analysis of key regional developments for the week ahead.

Masameer County, the Netflix animated television series taking Saudi Arabia by storm, reveals how the country’s creative class, over the last two decades, has posed awareness-raising questions while reevaluating the assumptions and terms used to discuss contentious social issues. This is not the Saudi Arabia of clerics, oil, and the royal family, but the one experienced by everyday people.

The digital space has not only enabled claims to online avatars or alter-egos, it has also ushered in new forms of digital ownership. The explosion of the online marketplace is changing the ways in which art is created, perceived, and owned. If post-internet art propelled artworks into immateriality, Cryptoart, which uses blockchain technology, is creating a new generation of art collectors. Sales of Cryptoart have leaped from over $416,000 in June 2020 to $616 million in the past year, based on data from cryptoart.io.

In Zarzis, on Tunisia’s southern coast, Algerian artist Rachid Koraichi has created a moving memorial to the thousands of migrants who have died crossing the Mediterranean. A hybrid of graveyard, garden, and art installation, Jardin d’Afrique has become the final resting place for over 300 souls whose bodies washed up on the shore of this tourist town.

Singer Kamilya Jubran, founding member of the iconic Palestinian band Sabreen, once famously sang, “We’ve tried resistance, we’ve tried confrontation, we’ve tried intifada, we’ve tried peace. What else is left to us?” The answer of course, that hung in the air of her breathtaking vocals, was “to sing.”

The rapidly growing state-supported arts infrastructure in Saudi Arabia tends to overshadow the lesser-known history of independent artist-led initiatives. The pioneering modernist Mohammed Alsaleem, for example, is known for establishing Dar Al Funoon Al Sa’udiyyah (The Saudi Art House) in Riyadh in 1979, the first space where artists could gather, work, mentor each other, and stage exhibitions at a time when there were no art schools or galleries. The Kingdom has gone through various stages in its cultural development from the 1960’s oil boom, a time of artistic productivity and government scholarships to study art abroad, to the tumultuous late 1970s of Islamic militancy and religious conservatism until the 2000s. “The 1960s was a time when art flourished in the Kingdom. In Riyadh, exhibitions by modernist painters were held in football clubs in order to engage the public,” says Raneem Farsi, an expert in Saudi Arabian contemporary art, of a time that has influenced her curatorial narrative. Along with Susan Davidson, former senior curator at the Guggenheim Museum, she is co-curator of the exhibition Light Upon Light: Light Art since the 1960s, which runs until June 12.

In 2020, the 14th edition of Art Dubai went completely online due to the coronavirus outbreak, with programming focused on performance art and healing curated by Marina Fokidis, a live broadcast of the Global Art Forum, and a digital catalogue. “We didn’t have a model to follow,” Pablo del Val, Art Dubai’s Artistic Director explained. “The online viewing rooms came later and the art industry has shifted to make these platforms meaningful. The future was unknown so we worked blindly.”

Only two days after an extremist attack that saw 14 missiles rain down on Erbil, and in the midst of a new coronavirus surge and lockdown, the Chaldean Catholic Archbishop of Mosul, Najeeb Michaeel, was optimistic about the upcoming visit of Pope Francis.

“Everyone is very happy about this historic event,” he said of Iraq’s inaugural papal visit, from his home in Ankawa, Erbil’s Christian enclave, which has given refuge to thousands of those displaced by ISIS. A previously planned visit in 2000 by Pope John Paul II to Ur, birthplace of the Prophet Abraham according to the Torah, was foiled by protracted negotiations with the government of Saddam Hussein. In 2020, Pope Francis had to cancel a trip due to security and pandemic concerns.