By Hannah El-Hitami. During the 1980s and ’90s, a group of political prisoners in Syria’s notorious Sednaya prison held oud lessons, concerts and soirees with theater and dance. Now, a group of former inmates has gathered in Germany to remember and sing together again.
By Fatemeh Shams. If people in Iran are finding a voice, what words are they choosing to say? All revolutions have slogans – the collective fight reduced to a handful of memorable, chantable, printable words. But what are the origins of these slogans? And how have they changed over time?
By Sana Tannoury-Karam, with translations by Fatima Kassem Moussa. In 1918, Omar el-Zeenni looked around him and declared “The world is madness”. Indeed, by the end of the First World War, el-Zeenni’s world was turning upside down. Born in Beirut in 1895, Omar el-Zeenni belonged to the “last Ottoman generation” that had come of age in the last few years of the Ottoman empire’s existence and whose politicization occurred during the First World War.
The band Muhtelif shared their second single called “Zümrüdüanka” with a video clip compiled from news footage documenting social movements and democratic struggles in Turkey over the past decade.
By Rim Naguib.
“On Rosenthal” is a zine on the life of Joseph Rosenthal (1872-1966): an Ashkenazi Jew who struggled for the ideals of solidarity and social justice in Egypt.
In this piece, Nurçin Ileri interviewed Sanaz Sohrabi, a doctoral candidate at the Center for Interdisciplinary Studies in Society and Culture, Montréal. Her doctoral project looks at how visual representations of oil have changed postcolonial sovereignty and resource nationalism in Iran over time. She is also an artist and filmmaker. In relation to her project, she prepares a trilogy of essay films
“I would resist the temptation of exceptionalising the times we are living in” – 5in10 with Kaoutar Ghilani
EUME-Fellow Kaoutar Ghilani studies the circulation of ideas of ‘failure,’ especially related to notions of ‘modernity’ and ‘progress,’ in postcolonial countries. How do people come to believe in the ‘failure’ of a project and how does this idea become common knowledge?
Sanabel Abdelrahman wonders why the 1001 Nights hero Sindibād is constantly evoked in Arabic trap music, and how? What is the connection between the post-2011 Sindibād of the trap and rap scene to the one of bygone decades?
Reclaiming Spaces from the Streets to the Gutter: Sketching Feminisms in Contemporary Arab Graphic Narratives
By Rasha Chatta. In a region where authoritarian and patriarchal regimes have held the monopoly on what circulates publicly and where spaces of contestation are under scrutiny, graphic narratives or qisas musawwara as they are referred to in the Arabic language—alongside other popular arts such as graffiti or street art—have carved out a new arena of dissent that was made possible by the hopes for social and political changes instigated in the wave of the so-called Arab Spring.
The Modern Arabic Bible: Translation, Dissemination and Literary Impact – an Interview with Rana Issa
Georges Khalil in conversation with Rana Issa on her new book “The Modern Arabic Bible. Translation, Dissemination and Literary Impact”. Rana Issa works at the balancing point between public humanities, activist engagements, and academic curiosity.