Arts & Culture Publications

Renowned curator Rose Issa joins MEI Arts & Culture director Lyne Sneige to discuss Arabicity | Ourouba, the inaugural exhibit of contemporary Middle Eastern art that premiered September 14 at the new MEI Art Gallery, and why an understanding of the region’s arts and culture are important to the policy discourse in Washington.

The article was first published by the Atlantic Council.

Revolutionary Guards came to Mehdi Rajabian’s door on October 5, 2013. His crime? Running a music production company — Barg Music — that the Iranian government deemed offensive to Islam and the regime. Barg Music worked with restricted artists in Iran, particularly women, who have been legally forbidden from performing solo since the Iranian Revolution.

Part survey show, part historical document, the latest exhibition at the Palestinian Museum just outside of Ramallah, “Intimate Terrains: Representations of a Disappearing Landscape,” covers work from the 1930s until today. The show explores how representations of landscape evolved over time via a selection of iconic, rarely seen works, and special commissions by artists from Palestine and its diaspora, encompassing painting, photography, installation, video and film, natural media, sculpture, and even an “intervention” in the museum’s gardens.

In 2014, a professor and former U.S. diplomat approached The Middle East Institute (MEI) with a remarkable offer: he would donate to MEI’s Oman Library nearly 20,000 meticulously annotated Kodachrome slides of photographs he had taken throughout the Middle East over half a century.

Larry Schwartz, former deputy assistant secretary in the State Department’s Bureau of Near Eastern Affairs, and Domenic DiGiovanni, vice president of Red Arch, join host Alistair Taylor to discuss the illegal theft and smuggling of cultural artifacts from the Middle East, and what regional governments and international partners can do to help preserve the region’s cultural heritage.

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.

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.