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
JOINT EFFORT TO STOP TERRORIST FUNDING AND CULTURAL DESTRUCTION
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]
Virtuoso French-Swiss qanun player Julien “Jalal Eddine” Weiss, who tirelessly promoted classical Arab and Syrian music to international audiences from his home in Aleppo, Syria, died this month in Paris. Forced to flee Syria’s brutal civil war like millions of other Syrians, Weiss’s death is a sad reminder of the ongoing threat to Aleppo’s rich cultural traditions, as well as an occasion to remember the city’s heritage, which played such an important role in inspiring his unique Middle Eastern compositions.
Alexandria, like Cairo, is a mismanaged city with little to offer by way of basic services, much less cultural activities. But unlike Egypt’s insular, desert capital, it is a Mediterranean city, cooler, less polluted or crowded than Cairo (with just six million inhabitants), no longer a cosmopolitan hub but open to the world in material and other ways. There are signs here of a trend toward “social transformation”—a focus on the immediate surroundings, the city itself, to explore and expand its possibilities.
Around the world, priceless monuments and artifacts are disintegrating due to exposure to pollution and hordes of visitors coupled with the sheer weight of age. The inexorable loss of cultural heritage concerns us all, but is especially troubling for decision-makers in places like Egypt that rely on cultural tourism-generated income to stay afloat. How to reconcile the need to make decaying treasures available to the public with the fact that public display is ruining them?
Shortly after the onset of the Egyptian revolution in January 2011, the police and many of the associated security forces abandoned their posts, creating a vacuum that has had a devastating effect on Egypt’s antiquities. With great alacrity, villagers who lived near historic sites started appropriating land, while others with more nefarious intentions, such as tomb robbers and organized mafias, began the process of plundering.
In a historic first, three Arab films—all dealing with the political and social challenges faced by Arab youth—were nominated for Academy Awards this past March for best foreign language film (Omar, Palestine), best documentary feature (The Square, Egypt), and best documentary short (Karama Has No Walls, Yemen).
Originally posted July 2010