Kalimat is proud to call its Winter 2012 the Egyptian Design

Issue. Check out the Art+Design section for more.

Culture New Media
Kifak Inta?
Volume I Issue 04 Winter 2012
Current Affairs
Art + Design
twitter: @kalimatkalimat
fickr.com/kalimat
Tasnim Qutait discusses the emergence of Lib-
yas revolutionary rap and hip hop scene. Page
54.
Colouring nostalgia. Check out the continua-
tion of the Sindibad colouring book. Page 150.
Ali Suleiman takes a look at the Arab worlds trans-
portation system and future planning. Page 28.
In Egypt, Sally El Sabbahy sits down with Shahira
Fahmy, Mona Hussein, Dina El Khachab and Cherif
Morsi to discuss the state of design. Page 92.
TRANSIT FACILITIES IN THE ARAB LEAGUE
Rapid Bus Transit Underground Metro
Algeria
Bahrain
Comoros
Djibouti
Egypt
Iraq
Jordan
Kuwait
Lebanon
Libya
Mauritania
Morocco
Oman
Palestine
Qatar
Saudi Arabia
Somalia
Sudan
Syria
Tunisia
UAE
Yemen
Lightrail Marine Port Airport Inland Waterway Rail
Operating Planned Light-rail includes trams, monorails, urban commuter rails.
Often light-rail systems transforminto underground metro lines
Bus Rapid Transit refers to exclusive high capacity bus lanes.
Taxi, share-taxi, private vehicles and regular buses are common services, not depicted
acebook.com/kalimatmagazine
soundcloud.com/kalimat info@kalimatmagazine.com
imeo.com/kalimat
K A L I MAT D O S S I E R 3
EDITORS LETTER
Its hard to believe that it has been a year since I frst
launched Kalimat in November 2010. A soft social media launch
was followed by unbelievable moments in our history - when the
actions of Mohamed Bouazizi changed the Arab world forever.
That moment has given all of us hope and inspired many of us
to take action. It also made me understand Kalimats purpose
even more.
The question thats been popping up recently is what
exactly is Kalimat? I like to answer with what would be con-
sidered one of those obnoxious Chuck Norris jokes, You dont
get Kalimat, Kalimat gets you! The idea is that you can choose
to call Kalimat a journal, a magazine, a website, a resource,
whatever you like, but the point is to enjoy the contents and
use it as a tool. Kalimat works with all types of writers: profes-
sionals, amateurs and beginners from all sorts of backgrounds
to feature tones as varied as Arabs themselves. That leads us
to the second question: the content. Is it a design magazine
featuring articles on politics in their Current Affairs section?
The four broad dossiers are in place to avoid being boxed into
one certain topic under the magazine rack. Personally, I like to
read about everything, and I love to buy magazines that cover
my wide range of interests. Design: magazines are vital examples
of good publication design and this is where designers can get
really creative. Its not there to turn anyone off or scare them
- better visuals help you process information in an easier way
(think of infographics or transit maps). I am not a believer that
only fashion, art, design and architecture magazines deserve
nice layouts, everything does.
In the last issue, I spoke about Kalimat moving into
the education sector, specifcally, media and design education.
Our future plans include bringing together students, educators,
professionals, entrepreneurs, businesses and just about anyone
from any background committed to education, collaboration
and pursuing new solutions to problems. Design is a power-
ful problem solving tool. Designers mediate across language
barriers, clarifying messages using elements of design. This
isnt a thinking process saved solely for all felds of design,
and it isnt purely aesthetic, but it can be used in non-typical
places for collaboration and to fnd creative solutions to social
and political problems, policies, business practices, and more.
Since the infuence of the felds of design and media is largely
ignored within education, our goal is to fll that void by de-
veloping curricula that will address this issue, training a new
generation of thinkers and leaders using design methodologies
to make signifcant changes in their communities. Our current
rigorous editing process with writers whose frst language isnt
English is our frst step in creating a system of constructive
criticism and language building in order for them to develop the
confdence and skills to share their stories in various outlets,
not just in Kalimat Magazine. Media, like design, is a powerful
tool for education.
Our Egyptian Design issue is a great entry into my
discussion here. Kalimat, in collaboration with Alchemy Design
in Egypt, includes interviews, conversations and features on vari-
ous Egyptian, Arab and international designers discussing the
power of design, the cultural differences, stereotypes, the chal-
lenges and more. Weve put together a fantastic and resourceful
issue that touches on topics largely ignored and misunderstood
in the region and amongst the diaspora - not only the different
areas of design but also homosexuality, transportation, the state
of science amongst others.
Also in this issue, were presenting our frst series of
infographics that will help our readers better visualise the data
included in some of the articles, and a conversation with two
Syrian activists who were arrested during the uprising.
I want to thank everyone for the wonderful support
and feedback received this past year, were working on a printed
edition, we swear! We still need your help with our surveys and
donations. A big thank you to Ghada Ibrahim from Alchemy
Cairo, without her passion, will and ideas, we would never have
such a wonderful Egyptian design issue. I also want to thank
Karim Mekhtigian from Alchemy Cairo (and his entire team)
- Karim blogged on our blog Kalimat, Kalimat twice a week for
an entire month, preparing our readers for the Egyptian Design
issue. And fnally, I want to thank the entire Kalimat staff and
the contributors for helping put this issue together. Without
their dedication, Kalimat wouldnt be possible.
Danah Abdulla
danah@kalimatmagazine.com
4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5
STaff cOnTRIbuTORS
aLI
SuLEIMan
Ali is a recent graduate from
the University of Waterloos
Civil Engineering (surprised?)
program, in Ontario, Canada. He is of Palestinian
and Turkish origin, and is fluent in Arabic and
Turkish. Ali has worked in project management and
construction in Canada, Turkey, Jordan, and Saudi
Arabia. Currently, Ali is the director of Media and
Public Relations for the Toronto Area Interfaith
Council and was Project Coordinator of the University
of Waterloo Sustainability Project from 07 to 10.
His passion for entrepreneurship extended as far as
fashion: in 09 he organized R4 Fashion, an eco-fashion
show in Toronto. He has also provided workshops
on sustainable business practices for the Youth
Employment Services, and is an avid supporter of
green design and development. His interests include
historical research, film studies, wind-surfing, and
theatre. Ali is glad to be a contributor to Kalimat (and
we are glad to have him on board too!), and hopes
to provide comprehensive pieces that stimulate the
minds of readers. He likes comments, suggestions, and
criticism, so feel free to contact him whenever you wish:
Email: a.suleiman@gmail.com.
--------------------
naIRa
BADAWI
Naira (ni-air-uh) n. 1. A 21
year old music snob who hails
from the coastal city of Alexandria, Egypt. Born in
Alexandria, shes the textbook definition of a Leo.
Globetrotting between Alexandria, Manchester,
Little Rock, Charlottetown, Omaha, Philadelphia, and
Toronto, is what made her the self-proclaimed nerd
she is now. Nothing excites her more than politics,
philosophy, poetry, good tunes and good food.
Despite her love for political science and philosophy,
studying said subjects at the University of Toronto is
the absolute bane of her existence. In her spare time
she reads, drinks pretentious teas and plays with her
cat, Abaza. 2. Nigerian currency.
--------------------
REEM
fEKRI
Reem Fekri is an Emirati cur-
rently living in Thailand. She
obtained her BA (Hons) in Fine
Art from Central Saint Martins and her Masters in
Cultural and Creative Industries from Kings College
London. She previously worked at Art Dubai and cur-
rently works as a freelance writer, writing about art,
food and travel.
--------------------
RAWAN
RISHEQ
Rawan Risheq is a Palestin-
ian woman who has spent the
frst half of her life in Jordan and the second half in
Canada. She graduated from the University of Toronto
in Political Science and Middle Eastern Civilisations.
She has since travelled to volunteer and document
in Indonesia and Palestine and worked with an NGO
as part of Queen Ranias initiatives for education.
Independently, Rawan initiated Message In A Bottle,
her campaign to raise awareness of the water crisis in
Gaza and collaborate with purifcation companies in
an attempt to alleviate the dire need for clean drink-
ing water. She currently resides in Toronto where she
is completing the ToP Facilitation Programme at the
Institute of Cultural Affairs. She is in a constant state
of expression through her creative writing, photog-
raphy, painting and music, and believes in the power
of art to heal and communicate across the world.
Twitter: @Soul_RRebel
--------------------
SaLLY EL
SabbaHY
Half American and half
Egyptian, Sally El Sabbahy
is born and bred in Cairo. Since graduating from
the American University in Cairo where she studied
Political Science and Arab and Islamic Civilisations,
she has spent her time pursuing her two passions:
Egypt and writing. Her interests include contemporary
Egyptian history, social dynamics in the Arab world
and culture and heritage preservation. She is currently
a writer for a Cairo based advertising and publishing
company and has recently begun pursuing a wider
career in freelance writing.
--------------------
HEbba
faHMY
Egyptian-Canadian poet,
writer, activist, and teacher,
Hebba Fahmy can be found
scribbling ideas and verse in notebooks and on scraps
of paper wherever inspiration fnds her. She completed
her B.A. in French Literature from McMaster University
and her Bachelor of Education at Brock University.
Teaching being its own activism, Hebba dove into her
role as teacher with gusto. Her interests range from
complimentary and alternative medicine to swimming
to reproductive rights to sustainable architecture. She
is currently working on her debut poetry collection,
forthcoming. Her articles, poetry and short stories
explore themes of oppression and empowerment,
love, sexuality, gender, the environment, notions of
ability, identity, spirituality and the Arab revolutions.
Hebba has appeared in panel discussions about Muslim
women and about Palestine and her writings have been
published on rabble.ca.
--------------------
aLEX KInIaS
Alexandra was born and
raised in Egypt during a time
where careers were not a per-
sonal choice but rather the
result of parental guidance
and the educational system.
Following in her fathers foot-
steps, she graduated from Alexandria University as a
Mechanical Engineer and pursued a career overseas
with a corporation that built power distribution plants
in Antigua and Barbuda. In 97, she moved to America
and decided to pursue her ultimate passion: writing.
She studied screenwriting and wrote her frst script,
Lonely Hearts. The screenplay, which was written in
Arabic, was sold to an Egyptian production company.
She is also the author of Cleopatras Sisters, a collection
of short stories about women in Egypt, and several
political thrillers and drama screenplays. Alexandra
is a member of Scottsdale Society of Women Writers
and currently lives between America and Egypt as
she works on her frst fction novel that takes place
between the two countries.
--------------------
TaSnIM
QuTaIT
Tasnim Qutait grew up in Swe-
den, Britain, Egypt and Libya.
She graduated from London University with a BA in
English, recently completed her MA degree at Uppsala
University, and now works as a translator and freelance
journalist. She is interested in the interconnections
between politics, culture and literature and the ne-
gotiations of identity between the Muslim world and
the West.
DanaH abDuLLa
Creative DireCtor+eDitor
Danah Abdulla is the Founder, Creative Director and
Editor of Kalimat Magazine. She is passionate about
education in design, journalism and media alongside
the creative industry in the Arab region. Danah completed her BA in Com-
munications at the University of Ottawa in Ottawa, Canada and is a Master
of Arts candidate in Social Design at the Maryland Institute College of
Art (MICA).She has experience in marketing and advertising where she
has worked for companies like Matchstick, DDB and Isobar and is also a
freelance writer. Her works have appeared in The Washington Report on
Middle-East Affairs, blogTO, Heeba and FEN Magazine. With one foot in the
East and another in the West, her goal is to make you rethink the way
you know Arabs.
Twitter: @theyuppie Web: www.danahabdulla.com
-----------------------------
RAWAN HADID
CoMMUNiCatioNS+PUBLiC
reLatioNS
Rawan Hadid spent the formative years of her life
on the shores of the Arabian Gulf. This was followed by the beautiful
city of Montreal, where she pursued her B.A in Communication Studies
at Concordia University. Since then, she has completed her M.A in Middle
Eastern Studies from Columbia University in the City of New York, where
she is currently based. She curated and co-organised the Dreams of a
Nation Film Festival in 2011 and has dabbled in magazines, educational
initiatives and media production, until she found Kalimat which is where
she focuses on pursuing her varied passions in one place and in pursuit
of a goal with high social impact. Her greatest aspiration remains: to one
day fnd a place to live that is just as exciting, but not as cold.
-----------------------------
aMIna HacHEMI
eDitor
Amina Hachemi obtained her BA from Paris-
Sorbonne University and her MA in Translation,
Writing and Cultural Difference from the University of Warwick.She is
a passionate linguist with particular interest in literary translation and
writing, especially short stories. She enjoys creative experimentation,
such as testing the boundaries of language through the incorporation
of foreign words into her writing.Being of Algerian and Irish descent,
she also likes to explore cultural perspectives and interaction through
her work.Amina believes in the arts as a fundamental platform for
intercultural dialogue and understanding.She is currently working as a
freelance editor and translator.
Twitter: @ahach Web: www.ahachemi.weebly.com
-----------------------------
KaRIM SuLTan
eDitor+ProDUCer
Karim Sultan is a Toronto-based electronic music
producer, oud player, and writer. Born to a mixed
household (Syrian-Arab and Indian) that moved and
spread from country to country (Egypt, Canada, the
Gulf, etc.), he found his home in the variety of music and literature he
adopted when left to his own devices. While studying the basics of Western
(composition and theory) and Arab (oud technique and the maqampl.
maqamaatthe Arabic tonal system) art music, he is largely self-taught,
inspired most of all by the chaotic structures of the worlds major cities and
what Mahmoud Darwish, Said, and others call exile. Currently he is working
at attempts to adopt a cosmopolitan approach to produce music based on
encounters with electronic music and sound design and an understanding
of composition and improvisation found in Arab art and popular music.
Twitter: @karimsultan Web: www.karimsultan.ca
-------------------------------
RIME EL-JaDIDI
iNterN
Rime is a 20 year old from Casablanca, Morocco. She
is completing her BA in International Studies at Al
Akhawayn University in Ifrane and plans to pursue
graduate studies in Journalism. Rime is interested in Middle Eastern politics,
new media, cinema and travel. She lives in hope of someday becoming a
solo traveller.
Twitter: @rimerrante
-------------------------------
angIE
baLaTa
Angie Balata moved to Egypt
promptly after graduating from
the University of Toronto. She
followed the moral path, dedicating her life to human
rights and put her mind towards pursuing a Master of
Arts. It took a revolution to realise that any change
and any event began on the streets. Shes an activ-
ist and a tweeter, a writer and a trouble-seeker, and
still trying to fgure out the everything in between.
Twitter: @3aasy
--------------------
6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 7
cOnTRIbuTORS
naSSRa
aL-
buaInaIn
Nassra is an Emirati artist,
graphic designer, photographer and writer. With a
Bachelor in Communication and Media, Nassra has a
variety of experience under her belt. Her interest in
art dates back to childhood when she was fascinated
with colouring books and attempted to draw cartoon
characters. This evolved into the challenge of drawing
portraits with pencil and her current experimentation
with acrylic painting inspired by silk screening. Nassra
has experience in advertising, having interned at
Young and Rubicam and she currently works as a
graphic designer in a governmental entity in Abu
Dhabi. Her poetry and writing has been published in
a book published by her university and in a student
magazine.
--------------------
aHMED EL
KaffaS
Born in Alexandria, Egypt,
raised in Montreal, Quebec,
and educated in Toronto,
Ontario, Ahmed grew up playing music in local
bands and backpacking the world at every possible
opportunity. He is currently pursuing a Ph.D. in the
department of Medical Biophysics at the University
of Toronto. While his formal education is rooted in
science and engineering, he has since developed
a passion for studying the history, sociology and
philosophy of science. This has brought him to look
at those both in and outside the scientific community
to understand the greater philosophical questions
pertaining to the field of study as both an enterprise
and a culture. He is also fascinated with understanding
the relationship that science holds with society and
how the two interact and feed off one another, with
emphasis on the Arab/Muslim world and the general
Middle-East.Ahmed is also interested in composing
experimental music inspired by systematic and oriental
rhythms, entrepreneurship for social innovation, and
the advancement of scientific culture.
--------------------
gHaDa
IbRaHIM
Born in Paris and currently
residing in Cairo, Ghada
Ibrahim has over 7 years of
experience in design-related Public Relations and
Marketing Communications Management. She is
currently working as the Communication and Public
Relations Manager of Alchemy Design Studio. Since
2006, Ghada Ibrahim has been responsible for the
development and management of Alchemy Design
Studio and its designers communication activities,
which resulted into a considerable increase in the
companys coverage in local and international media.
In addition to working on interdisciplinary accounts,
she has also specialised in Branding and Design
Management; which led to the establishment of several
local design brands (&CAIRO). Throughout her career
within this Cairo-based leading studio, she had the
opportunity to work on a wide variety of high profile
projects within the Egyptian Design Industry and
participate in various international design events.
Web: www.alchemy01.com
Email: ghadaibrahim@alchemy01.com
--------------------
sAIf AlNuWeIRI
Saif Alnuweiri is a Palestinian
born and raised in Vancouver.
Currently a sophomore
Journalism student at
Northwestern University in
Qatar, he has been able to return
to his roots after 13 years in
Canada. An avid photographer and traveller, Saif takes
great pleasure in visiting new places and revisiting old
ones. Instilled with the values of the Medill School
of Journalism, accuracy and clarity are the most
important aspects of any written work. Twitter: @
saifnuq Flickr www.flickr.com/photos/saifalnuweiri
--------------------
HEba EL
KaYaL
Heba Elkayal is the Lifestyle
Editor of the Daily News Egypt. A
writer and a journalist, Heba has
spent the past three yearsexploring andcoveringthe
trends offashion, food, travel, architecture and design
interiors in the Arab world, while probing the universe
of modern and contemporary Egyptian art.She has
interviewed some of the most established and globally
recognised artists and designers including Philipe
Starck, Christian Louboutin, Rosita Missoni, Donatella
Versace, Rabih Kayrouz, Jason Wu, Matthew Williamson
and designers of Lebanese brand Bokja. Heba is also a
brand ambassador for Egyptian jewellery brand Azza
Fahmy.
Twitter: @hebaelkayal Email: hebaelkayal@gmail.com
--------------------
KaRIM MEKHTIgIan
Karim Mekhtigian is a designer
who picked-up his skills and
knowledge from around the
world. Though Armenian in
origin, he was brought-up in
Cairo in an environment that
allowed him to enjoy the citys
multicultural background. He travelled to Paris to
study Interior Design and Scenography at the cole
Suprieure d'Art et Techniques (ESAT). In 1993, he
started Dessilk; a small Paris-based design studio
specialized in the creation of handmade tableware and
home accessories. In 1997, he moved back to Cairo
and founded Alchemy Design Studio, which quickly
became a staple in the Egyptian Design Scene with its
wide range of design services including architecture,
interior and product design. Known as "the Alchemist",
this designer started different initiatives to promote
the Egyptian industry. The projects included the
creation of the Egyptian Designers Forum (EDF) to
working as an Art Director for the Egyptian Furniture
Export Council (EFEC) and launching his own furniture
brand Alchemy Cairo. With a passion for timeless
designs, stories and concepts, he has been trying to
subtly transpose the Cairene sensorial landscape into
his designs for this new brand.
Web: www.karimmekhtigian.com
--------------------
MEHRunISa
QaYYuM
Mehrunisa Qayyum is the
founder of PITAPOLICY
consulting and a writer and
consultant on issues of development and political
economy. She has degrees from Chicago and
Georgetown Universities, and worked at the United
Statess Government Accountability Office for four
years. She is the author of apolicy briefon the Syrian
diaspora for theMiddle East Institute, and has written
for Islamic Horizons. She runs a blog, PITAPOLICY,
focusing on the political economy of the Middle East
and North African region. Twitter: @Pitapolicy
--------------------
SOPHIE
cHaMaS
Sophie Chamas recently
completed her MA at New
York Universitys Hagop Kevorkian Center for Near
Eastern Studies, where she focused specifically on
the Lebanese-Shia group Hezbollah and carried
out an ethnographic analysis of a sample of the
media produced by the group. She received her BA
in International Studies and English Literature from
the American University of Sharjah. Sophie is a short
fiction and poetry writer and has been published in
UnlikelyStories, Big Bridge, and The Juke Jar. She just
concluded a summer internship with the New York-
based NGO ArteEast, where she served as the film
intern. Hailing from Lebanon, she has lived all over the
Middle East and is currently "in between" countries.
--------------------
DEEna
DOuaRa
Deena Douara speaks a quaint
form of Arabic but pretty de-
cent English. She writes wher-
ever and whatever she can, including, most recently,
blog posts for Salon.com. She has worked as a jour-
nalist, teacher and a communications consultant. She
considers herself very lucky to have close ties and fond
memories with the Middle East, particularly Egypt.
Dont quiz her but in addition to other degrees she
does not use, she has a Masters degree in Middle East
Studies from the American University in Cairo. But
really, Deena just loves writing and taking pictures.
--------------------
faRIS
HabaYEb
Born in Abu-Dhabi to
Palestinian parents, Faris
Habayeb spent most of his early years living in the
Arab world. Summers were spent in Palestine and
Jordan and in-between, he lived in Qatar until he
moved to the Midwest for professional development.
Faris graduated with degrees in Visual Communications
Design and Professional Writing and Publishing from
Purdue University. Currently, he resides and works
in New York City as a graphic designer and writer.
He has a passion for food, typography and French
bulldogs.Twitter: @fhabayeb
Portfolio: www.behance.net/faris
Web: www.darabzine.wordpress.com
--------------------
RanIM
HaDID
Born in Canada, Ranim Hadid
is a Palestinian living between
Qatar and Beirut. Currently
a Senior Journalism student at the Lebanese
American University, she chose this field because
she thought it best suited herenergeticand curious
personality. Upon completion of her degree, Ranim
plans to pursue her Masters studies in the United
States. She enjoys learning about different cultures
and animals, has a weak spot for children and and
hopes to pursue a career in journalism.
Twitter: @RanimHadid
--------------------
baSHaR
aLaEDDIn
Bashar is a Levantine mix
of Jordanian, Lebanese and
Palestinian origins and currently resides in Jordan.
Hes digital photographer, a motion designer, a social
activist and iPhone-obsessed. His two major passions
in life are the visual arts and attempting to shed light
on social affairs and causes in the Middle-Eastern
region through his photography and videos. Bashar
is a tech-geek when it comes to cameras and optics.
He reads a lot about philosophy, geography and the
science of human emotions towards imagery. He loves
food, is an Aquarius and quit drinking coffee seven
years ago.
Twitter: @BAlaeddin Web: www.balaeddin.com
--------------------
KHaLID
aLbaIH
Khalid Albaih is a Romanian
born Sudanese political cartoonist based in Doha,
Qatar. Due to his fathers diplomatic status followed
by political exile, he lived in the Diaspora most of his
life, surrounded by politics and conspiracy theories.
Currently working in the Museum of Islamic Art in
Qatar, Khalid considers himself a virtual revolutionist,
publishing his political cartoons about life in the Arab
and Muslim world on various blogs and websites.
Twitter: @khalidalbaih
Web: www.flickr.com/khalidalbaih
--------------------
cOnTRIbuTORS
baSSIL
MIKDaDI
An avid sports fan, Bassil
Mikdadi holds a Bachelor of
Arts degree in Middle East
Studies from McGill University and a Master of Business
Administration from Virginia Tech. When he isn't
slogging away at the office, Bassil enjoys partaking in
various athletic activities, learning foreign languages
and traveling. He is a big believer in supporting local
teams over the football/marketing behemoths and is
a supporter of Major League Soccer's Montreal Impact.
Bassil is a co-creator of Football Palestine.
Twitter: @FutbolPalestine
Web: www.footballpalestine.blogspot.com
--------------------
abDEL-
RaHMan
HaMED
Currently based in the Gulf,
Abdel-Rahman Hamed recently graduated from the
University of Toronto with a Bachelor of Commerce.
While the 22 year old makes his living in the world
of consulting, his passion lies on the football pitch.
A long time follower of Palestine's National Football
Team, he co-created Football Palestine - an English
language blog dedicated to matters of Palestinian
football. In its three years, the website gathered
an international readership, including a mention
in Sports Illustrated. Outside the football world,
he enjoys reading up on politics and history and
experimenting with his electric guitar. Abdel-Rahman's
vision is for Football Palestine to become a thorough
documentation of the Palestinian National Team's trials
and accomplishments, thereby supporting wider efforts
to preserve and promote the Palestinian identity.
Twitter: @FutbolPalestine
Web: www.footballpalestine.blogspot.com
--------------------
Make sure to visit New Media Extras
at kalimatmagazine.com for interactive
components of articles in this issue.
NeW MeDIA eXTRAs:

DOWNLOAD: Listen to our

official podcast Isma3oo no. 4.
Find out more. Page 147.
WATCH: Pay a visit our vimeo
video channel "Itfarajoo".
CONTACT US: Have something to say? Maybe some feedback, some
suggestions or some work you would like featured in Kalimat?
Send us an email to info@kalimatmagazine.com.
CORRECTION FROM FALL 2011: On page 81 - bottom photo reads " A self-portrait of the graffiti
alter ego? Artist: Shank". Caption should read: "Self-portrait. Artist Amry Aly". Page 85 - 2nd
row, left side, incorrect photo is featured to match the caption.
sHOP:

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LIMITED EDITIOn POSTERS
LES MOuSTacHES unISEX TSHIRT
Make a statement with this 32-page, blank paper,
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Straight up Syrian slang poster Shuf Ma Fee is
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1 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 1
HIgHLIgHTS
14
20
22
38
51
66
72
7aafiz, mish faahim: rote in the
Egyptian classroom -
Deena Douara
Coming out or Coming to
terms: Non-traditional sexual
arrangements - Sophie Chamas
Towards an Arabo-Scientific
Culture - Ahmed El-Kaffas
Politics and Sport: Football in
Palestine - Abdel-Rahman Hamed
& Bassil Mikdadi
Kinship in Arab Cinema: Rasha
Salti on the myth of a Radical
Rupture - Rawan Hadid
A Day in Cairo - Heba El Kayal
The Ancient and the Urban -
Sally El Sabbahy
100
12 38 92 146
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L I B YA We all watched it happen. After months of
violence against an authoritarian regime, suddenly Qaddas
death was everywhereit was a headline moment few will
forget. Yet the country still remains far from settled in the
aftermath of months of violence against Qaddas regime, the
images leave us with a lot of questions about the uctuating
utility and disposability of both Arab leaders (and Arabs
themselves) in that churning, oil-burning engine of world
politics.
S Y R I A Some say that the inherited presidency Bashar al-Assad will soon fall, others say civil war is
coming, while others are sceptical and refuse to comment. Either way, the death toll of protesters is
rising (in the thousands), and despite being one of the quieter states in the past, Syrias true
importance comes to the forefront, a vital pressure point between Turkey, Israel, Iran, Lebanon, and the
rest of the Arab region.
I R A Q As American forces prepare to leave, many of us ask ourselves:
What happened? A state now almost wholly dependent on the foreign
intervention that brought its fall, Iraq remains a dark reminder of the frailty
of alliances and that strange new politics that came to shape the region
at the end of the last century.
K U WA I T In news that surprised many outside the
country, the government fell and prime minister resigned
anduncharacteristicallyprotesters stormed the
parliament amidst corruption scandals. Is this emirate
(which sits on 10% of the worlds oil) yet another to check
off the list in the wave of 2011, or is this politics-as-usual,
given that the government has been dissolved all but three
times since 2006?
B A H R A I N Being home to some of the largest
and most sustained protests in the region, events
here have come to be known as "the forgotten
revolution." Recently, after promised reforms were
not delivered following a highly critical report into
the protests earlier this year, gathering protests by
Shia demonstrators (the majority of the population)
have been continuously dispersed in a systematic
crackdown against unrest.
T U N I S I A In a move that would only cause more discomfort to
autocrats, exiled human rights activist Moncef Marzouki is elected
president by a coalition led by the moderate Islamist Nahda
party. Still in the process of unwinding the tangles left by the former
ruling family, a new dynamic settles between Nahda, liberals and
the left, and the legal and political legacy of Ben Ali.
P A L E S T I N E Despite the attention
they have received in the media, the
second (and Supposedly nal) stage of
releasing 550 Palestinian prisoners has
had issues that have marred the process.
Many have re-entered custody, others
remain under house arrest, and others
still cannot return to their families.
L I B Y A
E G Y P T
S U D A N
SOMAL I A
DJ I BOUTI
YEMEN
OMAN
U NI T E D
A R A B
E MI R AT E S
QATA R
B A HR A I N
K U WA I T
I R A Q
S Y R I A
L EBANON
PAL ESTI NE
J ORDAN
TUNI SI A
SAUDI
ARABI A
A L G E R I A
MOROCCO
WESTERN
SHARAH
MAURI TANI A
1 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 3
1 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 5
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T
he rather fat translation of the quote above, Hes
memorised, not understood, belies its insightful-
ness, used frequently and across various contexts
in Egypt.
The meme represents an understood societal phe-
nomenon in which a person appears to parrot speech or
action without really understanding, questioning, or con-
textualising it.
Egypts educational system is well represented by
the saying. It is widely accepted in Egypt and across much of
the Arab region that the national education systems promote
rote learning (learning by repetition) and memorisation over
critical thinking, creativity, or self-reliance. The result is that
schools breed submission and conformity rather than critical
and independent thought. Students become used to and are
rewarded for being passive knowledge recipients. Though
it would be tempting to use the revolution to debunk such
assertions, it would also be hasty to do so without further
investigation into who led the revolution, why the country
had been relatively calm until recently, and the percentage
of Egyptians actually active in revolting and why.
Student-oriented and critical teaching methods,
on the other hand, are widely hailed as crucial to producing
successful leaders, adaptable employees, and productive, de-
veloped societies. On a more individual level, such learning
creates more confdent, creative learners capable of evaluating
and analysing, interested in learning for intrinsic satisfaction
as opposed to external reward.
Egyptian universities, educators, parents and stu-
dents are themselves concerned about these issues. Even
the Egyptian government has publicly acknowledged rote
learning as an educational crisis since the 1990s and has
since initiated various reform efforts.
But if everybody is acknowledging and denounc-
ing the same thing, how is the system perpetuated? Who is
to blame?
GOvERNMENT
A theoretical approach some researchers take is to
contextualise education as a refection of society at large,
intentionally or unintentionally shaped by larger political
structures.
One view is that an authoritarian regime will beget
an authoritarian educational system, reliant on punishment,
coercion, and suppression. Students are taught that there is
only one absolute truth or correct answer, and they intensely
fear answering incorrectly. In some schools, beating, curs-
ing and humiliation are commonplace as teachers instil fear
and enforce authority. Even in university, students may be
penalised for holding a different opinion than their professor.
Ultimately, students learning under any authoritari-
an system anywhere may display apathy, excessive obedience,
uncritical conformity, lack of resistance against authoritarian
discourse, self-abnegation, and fear of freedom (according
to infuential theorist Paulo Friere). Again, that the Arab
Spring somehow disproves this theory is optimistic and per-
haps more complicated. It may be better said that the wave
of revolts have occurred in spite of what has been instilled.
While this theory represents education as refective,
other theories are more accusative: the government is not
interested in creating a society that will challenge the status
quo. Indeed lay people commonly believed the government
wanted to keep people too occupied for politics. On colonial-
ism, scholar Lauren Dale says mass education became a direct
means of maintaining social control, using rote to internalise
social values of conformity and obedience.
For less pernicious reasons, the government may
have had an interest in reducing the number of students
fowing into Thanawaya Amma (the fnal years of high school
discussed below) and universities due to the high costs to
government and the low returns on investment.
Yet another take on the politics of low-quality
mass education is to view it as an effect of elite desires
and priorities. Professor Mark Warschauer, for one, blames
powerful elites with the most to gain from the status quo
for thwarting government efforts to disrupt the testing and
private tutoring system. He notes that meaningful reform
only occurs when powerful social forces push for it. While
in some societies wealth depends heavily on a thinking and
intelligent workforce, in Egypt it may be argued that larger
and easier profts can be made through investment into real
estate, import trade, or monopolising a service. As such,
there has traditionally been little impetus for elites to push
for serious investment into quality mass education. And, of
course, the children of elites are rarely attending national
system schooling themselves. In this way, the majority of
the population is irrelevant to elite reproduction of their
own wealth.
Nonetheless, reform efforts have been numerous,
with varying degrees of success, and burgeoning neoliberals
may have a growing stake in educating the population in
such a way that would fuel the private sector and adapt to
globalised competition.
TEACHERS
Teachers are frequently the frst line of attack for
societal dissatisfaction with the system. Ultimately though,
teachers abilities and failures must be accounted for by how
the system selects and trains them, and supports or pressures
them throughout their careers.
7aafIz, MISH
fAsHIM:


In general, we may presume that enthusiastic teachers
will seek ways to engage students and succeed as instructors,
however success may be defned for them. In fact, it appears
that most teachers did not actively seek the vocation and are
not enthusiastic about it, at least in the beginning. Faculties
of Education accept some of the lowest entrance marks, which
reduces its prestige, and absorbs those with few other options.
Once in the classroom, in public schools at least, ob-
stacles far outweigh incentives. Even where teachers are trained
on the concepts of critical thinking and student-centred learning,
they face other practical restrictions: large class sizes which can
reach up to 100 students, pressure to cover a lengthy curriculum,
and administrator and parent pressures to stick to teaching to
the test. Ministry inspectors themselves often prevent teachers
from implementing new pedagogy learned from workshops.
Most fundamentally perhaps is the issue of salaries,
which are notoriously low the lowest of all state employees
which further tarnish the positions prestige and status, and
undercut teachers authority. They have also arguably led to
deterioration in teaching quality in the classroom in favour of
giving private lessons perhaps the most controversial topic in
education today.
Teachers need private lessons for the money, and stu-
dents need private lessons for the marks. Teachers say they
cannot make ends meet, or live a dignifed life without the
sometimes lucrative intake from private lessons (10 times their
salaries in big cities). They are a perplexing phenomenon:
students in their fnal two years stop attending school and in-
stead pay private tutors, who are the same school teachers, for
tutoring classes which are often equally or more populated than
would have been in school. The irony is that while parents and
students grow increasingly dependent on them (despite their
illegality), they are at the same time blamed for a deterioration
of in-school teaching quality, with many even accusing teachers
of intentionally sabotaging the systemsaving quality instruc-
tion for private lessons and penalising students who do not take
them. Furthermore private lessons exhaust teachers, leaving
little energy for classroom planning and teaching.
Two statements can be made unequivocally: private
tutoring is ubiquitous, and teaches strictly to the test. The
offcial rate on participation is approximately 58% of families
(in 2005), and nearly all secondary students. Households may
spend upwards of 25% of their income on private lessons and
some families will sell belongings and go hungry paying for them.
Attitudes toward prestigious and non-prestigious fac-
ulties boosts lessons as well, with increasingly ferce competition
for the top faculties, which demand higher and higher marks
sometimes exceeding even 100%. Preceding this is competition
for general secondary school acceptance (as opposed to vocational
school), which practically guarantees university acceptance.
Private lessons reinforce rote learning and probably
to a greater extent than classrooms do since parents pay tutors
solely for higher examination marks. Students with the right
tutors or guides expect to fnd on the exam many of the ques-
tions already practiced.
Teachers have joined a host of other protesting workers
since Hosni Mubaraks ouster to call for higher salaries, perma-
nent contracts and reduced classroom sizes. Whether or not such
changes will soon be implemented and will have the desired effect
on educational quality, will remain to be seen.
ExAMS
Thanawaya Amma exams are the secondary school
exit exams which cover the entire curricula and account for 100%
of students marks and university admission criteria. The exams
are an event and media frequently cover the weeping, fainting,
fury, leaks, violence, and even suicide attempts that accompany
them. There are basically three stances on standardised exams:
a) they are desirable because they are equitable; b) they are
undesirable because they promote undesirable teaching and
learning methods; or c) they may be written in such a way as to
encourage higher-order thinking, making them benefcial.
Societal opinions on Thanawaya Amma are com-
plicated. On the one hand, one frequently hears complaints about
the extremely high stakes exams which exhaust students, parents,
and budgets. On the other hand, they are commonly viewed as
the sole means of ensuring objectivity and fairness. Some even
believe the pressure of exams is what forces teachers to teach
and students to study. Universities too fnd the exams a useful
selection mechanism amid ever-increasing enrolments. Overall,
there is actually great resistance to changing the system despite
what educators and scholars may say about it.
Some of the negative effects are summed up by
Ronald Dores thesis of the Diploma Disease which describes how
even from primary school, the centre of schooling and learning
revolves around preparing for the monster exams which almost
wholly determine a students career path; they provide a single
opportunity to test well enough to determine, frst, whether a
student enters vocational or general secondary school and later,
which faculty and career a student may enter, in a society where
education, social mobility, prestige, and marriage are all very
salient and interrelated concerns.
The structure of the exam and the ensuing train-
ing for it is also problematic. The tests largely consist of very
specifc factual recall-type questions, which are prepared for
through memorisation, drills, and worksheets. Some questions
even require the near-verbatim memorisation of defnitions or
passages.
Educator Ali Osman says the system encourages re-
producing rather than creating or thinking, even up through
the university level. In one telling example, he describes an ex-
periment which pitted student responses against prepared model
answers. Teachers were asked to rate answers as they would on an
exam. To a question assessing English that asked What do you
usually have for breakfast? one student responded I usually
dont have breakfast. Model answers described a few possibili-
ties containing breakfast foods. The student was thus given a
zero for his response.
Cheating also seems to be thriving. It is not uncommon
to hear stories of teachers who assist students who take private
lessons with them during local examinations, or of students who
devise clever and not-so-clever means of cheating.
Government reforms before the revolution were aiming
to include more portfolio-type assessments, relieving at least some
of the pressure of fnal exams. Different types of considerations
could enter into a students overall exit score. The problem with
approaching rote by experimenting with the stakes of the exam
is that it does not consider the reason exams have largely been
supported by the public: they are seen as (rightly or wrongly),
at least just and egalitarian. Corruption and cheating is pervasive
in Egypt, and any form of subjective assessment would likely be
problematic, unfair, and easily corrupted. Perhaps as evidence,
the SAT tests that American diploma students must take went
up from 40% to 60% of a students fnal mark because the other
60% were too easily attained, bought, or granted by schools.
Many believe changing the exam system to prioritise
higher order skills and problem analysis would force everything
else to change. The question then is, why have exams not changed
in a way that experts, teachers, or administrators recognise as a
positive step forward?
Back in 2008 when I was fnalising my research on
the subject, Thanawaya Amma students were taking their Phys-
ics exams. The exam was weird. Newspapers and talk shows
covered the big story that had students tearful, parents angry,
and teachers stunned. Some students left in the middle of their
exam. One said he had gotten a brain stroke upon reading
the frst two questions. One mother on television insisted on
calling what happened death rather than injustice. There
was a public uproar against the weird exams. One student,
used to being a top scorer, appeared on a popular talk show to
express his ire and frustration after having solved 54 old exams
throughout the year only to be challenged and perplexed by the
diffcult exam. Apparently the exam was all tricks, imagina-
tive, and indirect. Among the teachers, students, parents, and
even politicians included in the debate, not one defended the
exams, despite the fact that everyone appears to be saying that
exams should force students to think critically, creatively, and
independently.
The change in question style would seem to be what
by DEEna DOuaRa
1 6 D O S S I E R K A L I MAT
Current
AffAirs
experts have been calling for
for years: questions to stimulate
higher-order thinking; questions
that you need not practice 54
tests for.
It is actually quite
plausible that reform will have
to be instated top-down, ex-
actly how it was implemented
through changes in the types
of exam questions asked. There
would undoubtedly be growing
pains as teachers and students
alike struggle to adapt to a new
way of testing and thinking but
these growing pains are unjust
to no one in particular and eventually, all parties would neces-
sarily adapt.
The Thanawaya Amma system explains many contra-
dictions. While students and parents say they desire a certain
type of teaching, what they mean is they would want that in an
ideal situation. Instead, they are in a less-than-ideal situation
in which, quite naturally, their greatest concern is doing well
in school so as to open all the right doors to future success.
Teachers are caught in the same dilemma. They are expected
to complete the lengthy curriculum and when they do try to
implement changes and different teaching practices, they are
confronted with negative reactions by students and parents
worried about covering the material more directly.
ONWARD
In this transitional period for Egypt it is
still too early to tell how education may change. It
is certainly not many peoples priority and is not as
hot a topic as more overtly political ones. Whether
education reforms resume, halt, or change entirely,
time will tell, but there can be little doubt that
the revolution and the variety of new political and
social options, and fresh debates it has ushered in
will force many young people to make up their own
minds about their futures. Whether their education
had any effect on young peoples participation in
the revolution, there can be little doubt that the
revolution will effect young peoples participation
in their own education.
DIALECT
MAGAZINE
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ReAlITY cHeck:


opinion piece by aLI SuLEIMan

One minute, one minute, cut in Turkish Prime Minister

Tayyip Erdoan, objecting to Shimon Peres at the 2009
Davos World Economic Forum, you know how to kill very
well. He then packed up and left the stage accompanied by
bedazzled journalists. Enter stage right: the Arabs, swept off
their feet, falling in a love affair with Erdoan, the Justice and
Development Party (AKP), and Turkey in general.
This new relationship is refected almost everywhere.
Arabs are glued to their television screens keeping up with
Turkish soap operas that overwhelm with alluring scenes of the
Bosphorus. One Palestinian in Gaza named his son after Erdoan.
And, amusingly, there are now Arabs who profess their newly
rediscovered Turkish roots, even if this involves a grandparent,
or better yet, a distant great-grandparent.
Part of me is very happy about the new relationship.
During my primary school education in Jordan, our teacher
touched on the Ottomans and Arabs, men-
tioning the Arab Revolt from the Ottoman
yoke. To this day I recall the students turn-
ing to me and giving me contemptuous looks,
knowing that my mother was Turkish. Now
I imagine the Education Ministry refning
those tiny details to suit a better public
discourse.
This love affair is getting out of
control. It needs a reality check to slow
things down for a rational re-assessment.
The AKP has been able to muster much sympathy in the Arab
world for two primary reasons: increased intervention in the
Israeli-Palestinian confict, and carrying an Islamic persona
that projects itself as a role model for successful governance.
Hereafter, I will use AKP and Erdoan interchangeably.
Sure, Im happy with Turkeys new stance on the con-
fict, but not with the methodology. Following the Gaza fotilla
incident Erdoan became more famboyant than before, adding
threats of military action and promising to accompany future
aid ships with naval powers. The AKP recalled its ambassador
from Tel Aviv and ended all military relations with Israel (though
the extent of this has not been confrmed).
Who in their right mind threatens a more powerful
and intelligent army? (After all, you dont threaten a lion when
you are a mouse.) But Erdoan is not dumb; he knows how
to use this Israel-bashing opportunity to improve his image
at home and to gain Turkish investment opportunities in
the Arab worldand thats all it is.
You may disagree, but if Erdoan were really pas-
sionate and sincere about the Palestinian cause, he would
terminate economic relations with Israel, not the meagre
military one that only benefted Turkey with some small
measure of arms. Israel was Turkeys fourth largest trading
partner in 2008, so it is interesting that Erdoan chose to
continue economic relations that feed the Israeli occupa-
tion. Does he value the Turkish economic performancethus
ensuring political popularityover the lives of Palestinians?
Finally, Im opposed to Turkeys intervention in the
Palestinian question due to Erdoans swashbuckling methods
and use of Islamic idioms. I believe the Palestinian cause
should be an Arab initiative and effort (with international
aid, not intervention), devoid of any religious idioms, and
certainly not Islamic, because it is an insult to our Jewish,
Christian, and non-religious friends who strive on behalf
of the Palestinians. The confict is territorial, not religious.
AKPs Islamic roots are a major catalyst in this
new relation. Erdoan even exudes an image of the future Caliph
to some Arabs. It may sound frivolous, but this is the reality
in the Arab and the wider Islamic, world. Even In Turkey, while campaigning
next to mosques following the Friday prayers, he is also seen by some as a
sort of return to the Ottoman Caliphate.
Opposition parties in Turkey use this imagery in their polemics, but
I dont believe in it. Establishing a caliphate is not in his or his backers best
interests, neither will the AKP impose sharia law. Nevertheless, the idea does
truly exist in the minds of fundamentalists or the uneducated, who view a
vote for the AKP as a vote towards God.
I cant blame the Arabs; from their perspective Erdoan is a saviour
(as demonstrated above) and the AKP is the model to follow if you want to
achieve economic success and better living standards, with an Islamist twist.
How does it work?
Turkish soap operas are a vital cultural export. The shows exhibit
a lush lifestyle with attractive characters driving expensive vehicles and
living in villas overlooking the Bosphorus. Of course the shows in the Arab
world are edited to censor sexually tense scenes to ft in with the moderate
Islam angle. Still, the audience, in turn, metaphysically participates in the
presented lifestyle, which integrates a biased positive image of Turkey and,
by extension, Erdoan, and the civil society that awards such a pleasurable
experience to them.
Not only has this attracted larger number of Arab tourists, it has
convinced many that this is the ordinary Turkish lifestyle. Credit where credit
is due: AKP has probably provided the best social services and reforms in
the recent past. But this comes at a cost of increased corruption and a more
authoritarian regime. Over 57 journalists have been jailed based on anti-
government bias. Other intellects and writers have been detained or put on
house arrest based on fimsy conspiracies to overthrow the government. The
2010 constitutional referendum, which passed, allowed the AKP to appoint
Supreme Court judges and other unprecedented government control.
Yet the soap opera lifestyle remains reserved for close friends of the
AKP and its supporters. The Arab region is fed a biased view of the Turkish
economic performance, often citing only GDP growth. Yet Arabs who have
never read into Turkish history or politics somehow fnd the authority to
claim Turkey is in better shape after Erdoan; poverty, unemployment, and
consumer purchasing power has either deteriorated or remained stagnant.
The Muslims in the Arab world have to wake up and realise that
neither is the AKP modelled on true Islamic values, nor will the perceived
caliphate seek out the Arabs best interest. Turkeys goal is to enhance its
regional power and seek economic dominance, not create a brotherhood of
Turks and Arabs holding hands. One only must recall his latest trip to Egypt
and North Africa where Erdoan was accompanied with over 350 businessmen
from Turkey. Similarly, over 500 offcials and businessmen from various trade
and investment groups joined Erdoan in January 2011, when he visited the
GCC capitals.
Since the AKPs victory in 2002, new interest groups formed that
possess lobbying powers on foreign policy. These include the Turkish Foreign
Economic Relations Board, Turkish Industrialists & Businessmens Association,
and the Confederation of Businessmen and Industrialists. Such bodies have
for increased Turkish expansion into Middle Eastern markets, and trade and
investment between Turkey and its Arab neighbours has almost quadrupled
between 2002 and 2009.
I would be the frst to suggest that enhanced and healthy economic
relations lead to stronger political and social relations, but here we are get-
ting a clear picture of who is dominating. Even if we were to agree on a trade
relation that benefts Turkey more than the Arabs built on the trust of some
vehicle of Islamic unity, most Arabs are unaware of the foreign privatisation
movement in Turkey. Major industries and family companies are giving way
to European or American frms, often with AKP compliance. Privatisation can
yield benefts, but Turkeys complete and almost unregulated sell out of natural
resources, telecommunications, banks, and other key institutions is alarming.
We Arabs can be emotional people. We think with our hearts, and
there is the danger of being easily exploited due to this weakness. With at-
tachments to a sense of nationalism and religion, anyone who speaks to us
in this language will get our trust.
Rather than fully embracing this new relationship, we must be cau-
tious in our analysis. Are we asserting our regional interests in these bilateral
agreements? Are we safeguarding our internal policies from exploitation?
Turkey should be a regional ally holding extensive relations with its Arab
neighbours, but to achieve this, we need a stable, rational, and truly bilateral
process that protects self-determination of the Arab region.
foreign Minister Ahmet Davutoglu at Arab league - reUterS
egyptians welcome erdogan - aa
Holding both nationalities and having lived in both Turkish and Arab societies, I believe hold a unique
view on Turco-Arab relations. Though I am critical of the AKP party in the following article, I do not
hold any political allegiance, and I recognise the benefts it has bestowed upon Turkey. My purpose is
to shed light upon what many the Arab region are overlooking and to challenge its public discourse.
2 0 D O S S I E R K A L I MAT
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TOWARDs AN

Here, an attempt to describe the problems with developing an innovative culture is set out in a
felt way. Though there are issues with always looking outwards for solutions, it is made clear that
unless a society undergoes the long, hard struggle from within, no real change can be made.
O
ne of the hot questions arising from the on-going Arab
Spring is on how to improve scientifc research and the
science enterprise as a whole in the Arab region. All the
right motivations are there: about 0.2% of gross domestic product
has generally been spent for the past decades on science and research
in Arab countries; the overall contribution to the worldly body of
scientifc literature arising from the region is extremely small; most
Arab universities dont even make it in the top 500 world universities,
and so on. This has of course been a relatively important concern for
decades, and more recently in the Khaleej (Gulf) region, particularly
amongst the Gulf Cooperation Council (GCC) nations. The trend in
those countries has mostly been to develop large scale science cit-
ies, or build satellite campuses for recognized foreign universities,
where foreign scientists are imported to run the show. This sort of
model is being considered in post-revolution Egypt in the creation of
a science city supported by the Nobel Laureate Ahmed Zewail. As an
analogy, I would equate these projects to enormous, state-of-the-art
jet planes (very well equipped, sophisticated and powerful) fown
by pilots who simply lack experience maneuvering around the local
skies and terrain. Just like past efforts to build great institutes and
modern universities in the region, these will likely crash and burn
with time, unless a scientifc culture begins to thrive in the region.
The political tectonic plates of the Arab region have con-
sistently shifted every 10 to 20 years over the past century. Changes
are rapid, short lived and often lose meaning with equal speed. Con-
fusion is pervasive as its inhabitants try to fnd their way around to
their identity, exploring new and often weak ideologies. Truth would
have it that Arabism has mostly failed. This may sound pessimistic,
but I believe that understanding this failure would allow us to also
comprehend why it is that most comprehensive attempts for change
undertaken to date have failed. There are a number of well thought
out theories that can try to explain the lack of success in the region:
lack of maintenance, short lived passion, fear of the unknown, a lack
of grassroots initiatives, the love of all that is foreign, economics,
foreign intervention, and so on. All these attributes interact together
in an extremely complex manner to yield the current Arab fasco. I
am not interested in writing about the intersection of these factors
and how they came about, but what I am interested in is the develop-
ment of science in the Arab region. I strongly believe that without
a scientifc culture, science and any long-term initiatives associated
with it cannot bloom. Subsequently, I also believe that the develop-
ment of a scientifc culture will lead to seemingly natural solutions
to many of the political and social problems of the region. Here I
want to set out, in a basic way, a quick overview of the structure of
the scientifc culture (or the lack there of) in the region. Specif-
cally, I would like to contemplate the following questions: What is a
scientifc culture? What are the potential societal uses of a scientifc
culture? And, what are the challenges of establishing such a culture?
WHAT IS A SCIENTIFIC CUlTURE?
To the outside observer, it can be said that the average
Arab mindset hasnt yet realised the true value of scientifc research
(and academia as a whole for that matter). Yet there remains a be-
lief that the values and lessons of science can simply be imported
from the Western world, and that doing so will rapidly generate
innovation and infuence rapid positive change in the region. A
recent article published in Science Magazine (Bhattacharjee, 2011)
reports on universities in Saudi Arabia, which offer to compensate
successful foreign scientists who conduct their research elsewhere
on the basis that they include the name of their university (in this
case, a Saudi university) as an affliation in their journal publica-
tions. What these academic institutes are doing is simply increasing
their academic, scientifc, and research footprint through fnancial
means, with minimal attempt to recruit these scientists to conduct
their research at the university itself. Such practices can seriously
threaten the ability of these universities to transform themselves into
world-class research centres. Without local scientists who know the
Arab terrain (which includes the Arab culture itself with its traditions,
limitations, ideologies, as well as its positive attributes) and who
have undergone their own struggles to successfully establish their
own scientifc culture, these institutes will likely fail with time at
generating genuine scientifc research, especially as the Arab region
continues to change.
Lauren Daston, a world-renowned historian of science based
in the Maxwell Institute in Germany, describes the history of what
can be termed modern science (15th century and beyond) as a
European self-portrait (Daston, 2006). She identifes the well-known
and well-established modern scientifc method, and all of its innova-
tive byproducts, as a European (Western) infuenced idea, unique to
European society because it directly refects the evolution of European
society. The struggles which countless Europeans and Westerners have
gone through to establish this enterprise are the reasons why science
works so well in the West, and are the reasons why science has become
a culture amongst Westerners. The scientifc revolution was itself a
decisive break with tradition. she states, initiated on a grassroots
level. Those who struggled against ancient traditions sacrifced their
lives for the innovative and controversial ideas they believed in, often
to never see any form of direct compensation. In the Arab region
today, one can certainly appreciate an increasing number of young
Arabs who are beginning to live for great ideas and ideals, willing to
sacrifce for them all that they have, at minimal fnancial compen-
sation. However, because this new phenomenon (which really only
becomes visible with the arrival of the Arab Spring) is conceptually
diffcult to adapt within the existing framework of the current Arab
culture, the number of people in the region who think this way is very
limited. In fact, I would argue that most Arabs in power today still
simply seek a quick and easy fx. Although the few notable changes
are promising, these will certainly require a great deal of effort and
struggle before a noticeable change can be appreciated.
Lee Smolin, a physicist-philosopher at the Perimeter In-
stitute in Canada, describes science as a culture made up of a com-
munity of immensely imaginative, extremely rational and highly
ethical individuals (Smolin, 2006). These individuals are capable
of bringing about new and potentially innovative ideas to change
how a society views the world. But just as science infuences the
society from which it stems, it also is inversely infuenced by that
society. This sort of infuence is often related to the creative forces
(arts, literature, media) as well as the ethical values of the society.
Scientifc culture is then fostered at a very young age in children
through an education system that emphasises critical thinking and
research skills over simple memorisation skills, further establishing
an appreciation and an almost naturalistic scientifc existence. Overall,
science requires freethinking and the ability to question basic facts,
theories, traditions and ideas and, more importantly, the practice of
scientifc research must not be fnancially driven. Money can, and
will, certainly buy new technologies, the rights to innovations or
even entire science centres, equipment and personnel, but we need
to realise that along with these comes the lifestyle and sociocultural
values of the innovator. Money cannot buy innovation that lead to
real change, and it will certainly not buy a scientifc culture. Science
needs to be developed locally on the basis of a societys collective
curious intellect and yearning for understanding above and beyond
that which already exists in its traditions. This is the only way it can
be intermingled with its local ethical and imaginative roots.
WHAT ARE THE SOCIETAl USES OF A
SCIENTIFIC CUlTURE?
Science itself can offer solutions to many challenges haunt-
ing the Arab world. For one, scientifc research is well known to
produce innovations, which can in turn enhance the economic
growth and improve standards of living. For an example, one can
simply look at Germany and Japan. After being devastated by war,
both nations managed to return to the world stage as innovators in
science, engineering, research and technology. On the other hand,
incorporating a scientifc culture to complement on-going scientifc
research offers a completely different range of vital benefts. Some
of these benefts include:
An emphasis on rational thinking and systematic methods for
resolving everyday life problems (through education and societal
encouragement to develop critical thinking and research skills)
A more rigorous evidence-based professional practice (Medicine,
Law, etc.)
A system (i.e. peer-review system such as in most scientifc and
academic communities) which scrutinises and aggressively validates
the quality of knowledge production and traditions embedded in a
society
Transparencyan obvious problem in most Arab countries (in
governance and otherwise)
Research on topics relevant in the region (and sometimes even
down to the community)on a grassroots level, this can even ad-
dress existential or metaphysical questions pertinent to Arab nations
Enhances the quality of interests of citizens and shapes their per-
sonal understanding of the world around them
Yields a systematic and rational self-portrait of a society
Of course, a scientifc culture in the Arab region would be
unique to the region in its ethics and perhaps even in its imagina-
tive character, but would still speak the same language spoken by
all scientiststhat is the language of reason and evidence based
knowledge production. On that level, Arab scientists would then be
able to collaborate with scientists across the globe, yet contribute
in a manner unique to them.
WHAT ARE THE CHAllENGES OF ESTABlISHING
SUCH A CUlTURE?
There is an obvious range of potential challenges that
young individuals trying to establish this sort of culture in the region
would have to face. The frst one to mind is, of course, tradition.
Arab societies are often saturated with taboos and norms dictated by
religious as well as ancient cultural traditions, which can be exces-
sively limiting to scientifc research and the formulation of scientifc
thought. Another challenge that can be professed is the obsession
of all that is foreign. There is a sense of adoration in the Arab world
for importing new things from (predominantly) the West. It is often
a struggle to adopt these ideas/technologies/products in the region,
which can create a number of domestic issues and challenges. Ex-
amples of imports which have led to challenges in the Arab region
could include banking systems based on interest, a range of destruc-
tive technologies and consumer goods, pharmaceutical drugs and
pesticides which have caused a range of chemically-induced diseases,
multi-national corporations, and so on. Although most of these may
hold appeal for some, without a critical examination and adequate
research capabilities these can lead to overconsumption, misuse or
the exploitation of a society and its resources. Along similar lines,
there has been the tendency to quickly build new and large-scale
projects (institutes, cities, vacationing resorts, parks, etc.), without
ever feeling the need to maintain what is already present. As a result,
these projects often age and deteriorate rapidly. This phenomenon
leads to the construction of other newer projects (because we often
fnd that newer is better), leaving the older to quickly turn into
ruins. Maintenance is necessary, especially if research institutes and
universities are to continuously produce good work and good students;
we cant keep allowing everything to fall apart.
The elements necessary to produce a progressive and in-
novative Arab culture need to come from the bottom up and become
a natural phenomenon in the lives of the societys members. From
a very young age, children must be taught to question ideas, and
reach answers through logic and reason. They must also be taught
to struggle for what they wish to achieve and to be creative and
imaginative both in what they produce and in fnding solutions
to their problems. Their sense of curiosity must be nurtured, and
they must be taught to think profoundly of all that they encounter
in life. These new scientists and academics, native to the region,
as well as everyday members of society, will be equipped with the
ability to examine their surrounding critically, conduct research
and formulate well rationalised conclusions and decisions based on
evidence. Consequently, they will be able to design and implement
new innovative and creative solutions, which match their physical,
economical and metaphysical needs. The methodologies utilised to
conduct scientifc research and arrive to innovations will also better
refect the essence of the society and adequately address its immediate
requirements. Furthermore, it will be necessary for the Arab world to
put break with the current culture of education through memorisa-
tion, which often encourages a right or wrong (black or white)
answer. Doing so also has the advantage of integrating the idea of
pluralism into society, an imminent challenge faced by most Arab
societies today. Importing foreign models and institutions without
laying down the necessary foundations will almost certainly lead to
failure. Thus, fanatical opposition to such initiatives will then more
likely bring this society even more backwards (as has happened in
the past). Weve certainly seen other such foreign ideas fail in the
region. These often do more harm than good. However, having a
unique and truly integrated scientifc culture in the region will allow
a system of maintenance to more readily be available. Furthermore, it
will dampen the culture of dependence on foreign intervention cur-
rently in place as the region becomes increasingly more independent
and capable of competing in a healthy manner with the rest of the
world (in terms of the quality of what it produces). Perhaps a good
frst step to rejuvenate the culture of science amongst Arabs is to
revisit the ancient centres (some much older than others) for higher
learning. I am referring here to centres such as Al-Azhar in Egypt
or Al-Karouine in Moroccoironically, the two oldest universities in
the world. As a comparison, the two oldest universities in the West
(Oxford and University of Bologna) remain highly respected and ef-
fciently functional institutes, still ranked very highly amongst the
top worldwide research and learning centres. This certainly goes to
show how much Arabs generally lack appreciation for their heritage.
There are of course many other institutes worth revisiting (and reno-
vating) in almost every country in the region. These centres have an
ancient history of knowledge and innovation, an ancient tradition of
discovery, of new ideas, of autonomy, of research and of discourse and
questioning. Understood as such, such legacy should then provide a
solid platform for a grassroots scientifc and innovative culture that
is well-grounded in a historical perspective.
opinion piece by aHMED EL-KaffaS
2 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 2 3
Current
AffAirs
THE ancIEnT anD
THE uRban
I
n the preface of Cairo: 1001 Years of the City vic-
torious, author Janet Abu-Lughod, writes, To the
student of modern urbanismCairo presents pri-
marily problemsHere admittedly is a city with pressing
problems of land use, chaos and ineffciencies, of human
and vehicular congestion, of social disorder and poverty,
striving vigorously to create a utopia. But here also is a
complex city, a blend of old and new, of East and West,
which must not be allowed to achieve its new order at the
expense of its unique and poignant beauty nor its human
warmth. The problem is one of balancing conservation and
progress.
1
In spite of having been published forty years
ago, Abu-Lughods articulate capturing of Cairo contin-
ues to ring true to the chaotic yet absurdly functional
nature of the city today. However, while the description
given by Abu-Lughod may still do the current character
of Cairo justice, the Cairo she was writing about then was
a metropolis composed of approximately four million in-
habitants. Today, the number exceeds sixteen million
2
,and
while the boundaries of Cairo have stretched outwards into
numerous urban desert developments since the publishing
of her book, the majority of the citys growing population
has continued to reside in the core. Besides the obvious
implications that this raises regarding the ineffciencies
that are rampant in Cairos urban infrastructure and
management schemes, it also raises the question of what
has been happening with the conservation of the citys
historically signifcant districts and monuments amidst
these pronounced modern stresses. Given how vast and
complicated the issue of urban conservation is in Cairo
alone, three examples will be discussed to provide a clear
insight into the varying approaches that have been used
in urban conservation plans across Cairo. Needless to say,
the problem of balancing, as Abu-Lughod described it in
1971, is still raging in the city of a thousand minarets.
Six months after the resignation of President
Hosni Mubarak, local newspapers published photos of El
Moez Street, the remaining vein of Fatimid Cairo, which
revealed that the recently renovated pedestrian-only
road was now lined with cars, motorbikes and impromptu
street cafs following the disappearance of the security
blockades and tourism police during the initial days of
the January protests. Restored Moez Street needs rescu-
ing again, read the headline in one popular paper, while
a handful of concerned twitter activists called upon the
interim ministers of Tourism, Culture and Antiquities to
save the well-known historic avenue from its vehicular
invasion. At frst glance, it did appear that the UNESCO
world heritage site, which had undergone costly renova-
tions over a period of 10 years, was at risk of damage
due to nothing more than the seeming indifference of its
neighbours. However, it is too simplistic to sweepingly
generalise the disregard for El Moezs pedestrian only
policy as the result of people not respecting the value of
1 Abu-Lughod, Janet, Cairo, 1001 Years of the City Victorious(Princeton, NJ: Princeton
University Press, 1971).
2 Sims, David, Understanding Cairo, The Logic of a City out of Control (Cairo, Egypt:
The American University in Cairo Press, 2010).
their countrys heritage.
Instead, the heart of the issue stems from the fail-
ure of the Egyptian government to provide and regulate the
infrastructural needs of most of Cairos neighbourhoods, while
paralleling these efforts with the conservation of the citys
historic districts and monuments. The case of El Moez Street
is illustrative in that it shows how the social impacts of this
policy failure quickly manifest in the absence of any sort of law
enforcement. Over a cup of coffee, Omar Nagati, an Egyptian
architect, urban planner and self-described urbanist, elabo-
rated on the issue. The problem with El Moez Street is that
most of the interventions were meant to cater toward tourists
and cultural production, as opposed to the local needs of the
people in the area. Thats why after the revolution the local
people began driving on the street after the security barriers
came down; its not because theyre uncultured, its because
they have needs that havent been addressed. So unless an
urban conservation plan addresses the needs of the majority
then its a matter of power relations. The story behind El
Moezs renovation and the character change it underwent is
particularly revealing in this respect. During a conversation
with author David Sims (Understanding Cairo: The logic of a
City out of Control) and architect and urban planner Kareem
Ibrahim, it was revealed that El Moez had once been home to
a series of markets, specialising in the sale of lemons, garlic,
onions and pickles. A walk down the street today would not
reveal so much as a lemon rind, much less an entire market
dedicated to them.
The disappearance of the markets can be credited to
Mubaraks Minister of Culture, Farouk Hosny, who personally
spearheaded the renovation of El Moez Street. His vision for
the streets aesthetic took on a predominantly touristic appeal
and consequently, the local shop owners had to replace their
goods with shisha and souvenirs, or as Ibrahim describes it,
gentrifcation on the commercial level. A particularly poignant
embodiment of this commercial whitewashing of El Moez is
captured in the story of a fsh seller who works directly on the
street. Ibrahim recalls, Farouk Hosny was touring the street
and the fsh seller wanted to show how proactive he was, so he
brought his grill outside and starting grilling fsh. Hosny got
offended at the idea of a fsh restaurant that didnt ft with
the look he wanted for the street, so he shut him down. The
man wasnt compensated; he was simply told he could not grill
fsh anymore. He literally just sat in his shop doing nothing
for three years until the revolution. In spite of the quirkiness
of this one case, it provides a unique insight into the offcial
mentality towards conservation in the historic city. The linear
approach to urban conservation that could not accept a fsh
grill in Fatimid Cairo is what also led to the banning of cars
on the street, without providing an alternative space for the
shop owners cars. With no way of easily moving their goods to
and from their shops and often having to walk long distances
to reach them, it shouldnt come as much of a surprise that
once the barriers came down, El Moezs storeowners returned
to driving and parking their cars along the street.
In spite of its noteworthy accomplishments in turn-
ing El Moez into an appealing historic attraction for Egyptians
and foreigners alike, the renovation plans failed to take into
account the socio-economic or infrastructural needs of the
local people, and as shown, actually detracted from these
needs. In a conversation about El Moez with Daniele Pini,
the UNESCO coordinator of a three-year long project, entitled
The Urban Regeneration of Historic Cairo, he summarised the
problematic nature of renovating based on such a limited scope.
Conservation does not mean freezing the city and making it
into a museum, because a city cannot be a museum. To freeze
everything is not conservation; its a way of looking at conserva-
tion that can work for an archaeological site or a painting or a
sculpture, for instance, but a city cannot be like that. A city is
bound to change, and so the problem of urban conservation is
to manage that change, he asserted.
A signifcantly more successful project in another
area of Historic Cairo was undertaken by Aga Khan Cultural
Services, which took into account the infrastructural and socio-
economic needs of the modern inhabitants while carrying out
the renovations of selected buildings. The focal point of the
urban conservation efforts were in al-Darb al-Ahmar, one of the
poorest areas of the city, which is also home to a very signifcant
collection of Islamic architecture. Ibrahim, who had worked as
the Aga Khan Cultural Services technical coordinator of the
Darb al-Ahmar Revitalisation Project, discussed with us the
two-pronged development and restoration approach that was
created for al-Darb al-Ahmar beginning in the late nineties. After
conducting intensive historic, infrastructural and social studies
of the conditions of the area, the frst phase of the project took
off in 2000. This [frst phase] aimed at improving the living
conditions of the inhabitants of the area, but it did so through
a dual strategy, Ibrahim explains, We worked on physically
upgrading the neighbourhood by addressing housing issues and
public space infrastructure and monument restoration, while
also looking at the other aspect of socio-economic development
of the district. In that respect, the project focused on micro-
credit, employment, vocational training, health and education
issues and even included some environmental initiatives. Our
philosophy was simply that you cannot do a physical upgrading
in the historic context without looking at the socio-economic
conditions behind them, and I think this is one of the biggest
lessons learned from this project, he adds.
Among the socio-economic endeavours that Aga Khan
implemented in al-Darb al-Ahmar were the establishment of a
health clinic, the installation of water heaters in many homes
and a trash collection programme. In terms of renovations, one
of the many structures that were restored included a dilapidated
school building, which was originally built in 1905 and was
missing most of its ceilings and foors due to decades of neglect.
This building was one of the very rare examples that existed
in the neighbourhood, because originally, it was an extended
family building. This is actually the case of many of the older
buildings in al-Darb al-Ahmar, but most of them have fallen
down or have been subdivided into smaller plots with small
separate structures, he notes. Aga Khan was able to buy the
school building a process that took roughly three years and
restore it, and now it is a functioning building for the use of
the community. In total, the project managed to restore nearly
100 buildings within al-Darb al-Ahmar, but Ibrahim is quick to
point out that this number is still a drop in the ocean because
al-Darb al-Ahmar alone has 5,500 buildings to deal with.
Unfortunately, in spite of the successful model that
Aga Khan employed, the drop in the ocean impact that Ibra-
him described was simply not enough to prevent similar post-
revolution transgressions, like what occurred in El Moez, from
happening in al-Darb al-Ahmar. Following the absence of any
sort of cohesive law enforcement, many fnancially opportunis-
tic landlords in al-Darb al-Ahmar quickly built additional and
illegal foors on their buildings, thus deteriorating the urban
fabric of the neighbourhood.
A renovation process the results of which have yet
text sAllY el-sABBAHY
photography faRIS HaSSanEIn
Conservation does not mean freezing the city and making
it into a museum, because a city cannot be a museum.
2 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 2 5
to be seen has also recently taken hold of the downtown area.
Although not similar to the previous two examples in that it is
not technically considered historic heritage, downtown Cairo has
garnered a renewed interest in recent years from private interest
groups because of its architecturally signifcant buildings. In
general, the area as a whole has fallen into disrepair since the
1970s, when downtown lost its title as a high-end shopping and
entertainment haven to neighbourhoods like Mohandeseen and
Heliopolis. A great part of this disrepair, Nagati explains, can
be largely credited to rent control, So, even though many of
the buildings may still look fantastic from the outside, if you
walked into them youd fnd that the infrastructure is completely
torn apart, because the owners dont have enough revenue,
thus incentive to maintain the buildings. Nagati, who also
teaches urban design studios focusing on in-between spaces
in downtown Cairo, added that the recent interest in downtown
was sparked by the return of younger generations, who focked
to it to re-discover something [there] that was lost for their
parents. Following this re-glamorisation of the area, large
real estate companies who had been paying attention to this
changing dynamic, began buying up properties in anticipation
of a real estate boom.
One of these companies, Al Ismailia Real Estate, owns
twenty properties at the present, with plans to acquire another
four or fve in the near future. During a walk through downtown
with Nagati, we were able to see a handful of the buildings that
Al Ismailia owns, such as the well-known Viennoise Building,
which currently hosts community art initiatives and offers a
space for screenings in the ground foor, and a sprawling retro
movie theatre, which will supposedly be restored. The current
conditions and functions of the buildings sits in sharp contrast
to the growing fears that groups such as Al Ismailia intend to
gentrify areas of downtown through turning their properties
into boutique hotels and high-end bars and shops; a move that
would put low-income and essentially informal businesses in
downtown such as the many street cafs out of business due
to increased rents. Karim Shafei, the Chairman of Al Ismailia
frmly denies these suspicions and expressed his sentiments
during a recent conversation. I think the defnition of a suc-
cessful downtown, worldwide, is that it is a melting pot for the
different socio-economic segments of the society. You cannot
have a downtown that is exclusive to either the upper markets
of society or the middle markets or the cheaper markets. If
you label it as either of those you are immediately excluding
the other stratas of the societyOur vision for downtown is
that it remains accessible by all different sectors. He does
acknowledge that Al Ismailia intends to go through with some
high-end projects, but adds, We dont think that this is the
only way to go and this is not the ultimate target of the project.
The ultimate target of the project is to have a mixed society
in downtown, because otherwise our real estate would simply
not be as important. Nagati seems to agree that the company
has been given a bad rap for the most part, but said that he
understood the fears expressed by some, as the paradigm of
pushing poor people out of areas and into the periphery of Cairo
has taken place in several [other] instances. For now, it seems
that those eager to know the outcome of the urban renovations
to downtown will still have to wait a number of years.
To summarise, the task of carrying Cairo into the
future, while also maintaining the remnants of its past is no
easy feat. The combination of weak governance, a burgeoning
population, and often-unrealistic expectations of what the city
can and cannot be has created the urban paradox that is modern
Cairo. However, if the familiarity and understanding of Cairo that
was expressed by the individuals interviewed for this article is
any indication, the current problem of urban conservation is an
imbalance that may one day see itself straightened out.
2 6 D O S S I E R K A L I MAT
illustration KHaLID aLbaIH
2 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 2 9
cuRREnT
affaIRS

TRanSIT In THE
aRab REgIOn
In a 1899 study on the development and growth of cities,
Adna F. Weber concluded that transportation along with political
and socio-economic factors caused different growth rates and sizes
of cities
1
. The concept was furthered by Schaffer and Sclar (1980)
who demonstrated how modes of travel (walking, driving, public
transit, etc.) infuences these parameters
2
.
To better understand the socio-economic development of
the Arab world, itll be worthwhile to review and forecast its transit
facilities. The current situation is not as bleak as one would presume,
as I did at frst. According to a 2009 report by the UN Economic
and Social Commission for Western Asia (UN-ESCWA)
3
over 30 mil-
lion motor vehicles exist in the Middle East, including Egypt, and
growing at 4.2% per year; average rate of developing countries is
2.8%. Of the 30 million, passenger cars constitute 60% of the road
transportation feet, while trucks and buses make up approximately
28% and 3%, respectively. With 10 million more in remaining Arab
nations (North and East Africa), total number of motor vehicles in
the Arab League is over 40 million.
I began focusing on private vehicle statistics to highlight a
growing concern for transit planning in the region: lack of adequate
public transit. As pointed out by Lynn Sloman in Car Sick (2006), our
car-addicted culture has a high price: obesity, degraded air quality,
unsustainable land-use, and dependence on oil. Indeed, the ESCWA
report points out that in 2005, 51% of total oil consumption in the
Middle East was by road transit! So we are in need for sustainable
transit, defned by Indiana University Professor William R. Black
as a system or network of transportation that offers independence
from oil, fewer emissions, lower road fatalities/injuries, and, reduced
road congestions.
CURRENT SITUATION
Danah Abdulla and I have prepared a graph summarising
existing and planned transit facilities. Note that marine ports are
highly commercial zones and mainly used as trade ports, though some
passenger services are offered.Majority of railways in the Arab region
are for cargo transport, with minimal people movement. Exceptions
to this are Tunisia, Egypt, Morocco, Algeria and Sudan, who have
signifcant amount of people movement through national railways.
What is exciting is how many governments have decided to develop
light rail transit (LRT) systems, best described as trains for urban and
inter-urban movement (e.g. tramways, monorail, streetcars, metro,
etc.). Egypt and Tunisia are not new to LRT, having operated such
facilities since the late 1980s. The city of Cairo is also considering
expanding the underground metro with a third line due 2022.
An LRT is planned in Jordan between Amman and Zarqa
a route constantly ridden with traffc with a capacity of 100,000
riders per day. The project is aimed at reducing congestion and
emissions, while preserving the environment.
Why is rail transit on many of the governments agenda for
public transit? High-speed and light-rail trains carry a soft approach
1 Weber, Adna F. 1899. The Growth of Cities in the Nineteenth Century. Macmillan. Reprinted by
Ithaca, NY: Cornell University Press in 1965.
2 Schaffer, K. H., and E. Sclar, 1980. Access for All: Transportation and Urban Growth. New York:
Columbia University Press.
3 http://www.uncclearn.org/sites/www.uncclearn.org/fles/unescwa14.pdf
to promoting public transport; they are more comfortable, reliable, and
attractive than conventional bus networks. It has a higher people moving
capacity, which is advantageous for transit planners. In addition, from a
politicians view, they represent modernity and something tangible to win
public support. Rail projects gain in momentum signals the promotion
of rural transportation, on a regional and national level. This is part of
a greater plan known as the Integrated Transport System in the Arab
Mashreq (ITSAM), aiming towards strong regional integration. This is
furthered by the Agreement on International Railways
4
& Roadways
5
in
the Arab Mashreq. Examples of this regional cooperation include:
a proposed railway linking the GCC countries, with possible links to
Jordan and Syria;
fve agreements have been signed that include Sudan, Jordan, Egypt,
Saudi Arabia, Syria, and some African countries, involving passengers
and goods transport;
a 40km suspension bridge connecting Qatar and Bahrain, offering
several traffc lanes and one railway line;
improvements of highway Routes M40 (linking Jordan, Iraq, Palestine,
and South Mediterranean coast) and M45 (connecting Jordan, Syria,
Saudi Arabia, and Yemen);
new rail network linking Jordans urban centres with neighbouring
countries for movement of people and goods.
On the local level governments must offer proper public transit for urban
and rural areas. The need for solutions is to tackle congestion problems
due to increased private vehicle ownership and limited road networks.
CAR SICK
The frst solution governments offer is traditional: more roads,
or, their expansion as we witnessed in Dubai. Often this is sided with
traffc signal improvements. However, this is not attentive to the prob-
lem, which happens to be increased private motor vehicles. Changing
urban forms and shapes to accommodate increased car ownership only
feeds the menace that is increased vehicle ownership reaffrming a
car-city blueprint.
Rather, authorities should promote public transit over private
vehicle, to dramatically reduce the number of vehicles on the road. This
solves the congestion issue, which in-turn lowers emissions and reduces
road fatalities/injuries.
Reducing private motor vehicles is not easy, and requires long-
term stability and the will to implement policies and monitor outcomes.
Nevertheless, heavier promotion of public transport and regional inte-
gration of is visible. What follows is what has been achieved (or needs
to) in promoting and developing a sustainable transportation model.
URBAN FORMATION
Not many Arab cities are paying attention to land-use strategies.
4 http://treaties.un.org/doc/source/RecentTexts/11_c_4E.pdf
5 http://untreaty.un.org/unts/144078_158780/4/2/12115.pdf
text AlI suleIMAN
infographic DANAH ABDullA
According to Lynn Sloman, municipalities cannot get people out
of cars and into public transit if offces, homes and shops are
built according to a car-city blueprint. This translates into a
land-use model that forces people to drive because no adequate
public transportation is available for inter-zonal trips. Measures
that would help are:
develop along public transit routes
revitalise inner city zones to be pedestrian friendly, barring cars
locate residence, retail and employment spaces in close prox-
imity, minimising travel-effort
discourage urban sprawling; develop self-contained and car-
independent residences
These policies require a 20-30 year planning vision.
BUS RAPID TRANSIT (BRT)
BRT is a high quality bus service achieved through
exclusive grade-separate lanes and high passenger capacity
vehicles. The system can integrate other features such as low-
level boarding, intelligent fare collection, and fuel effcient or
electrical engines. Few Arab governments are following this
technology. Jordan has launched such a project for Amman,
however, fnancial and political issues have caused delays.
Though signifcant interest in LRT is promising, municipalities
and regional authorities shouldnt ignore the importance of a
good bus service. They can serve many areas where LRT infra-
structure is physically barred, and offer a lower initial capital
investment LRT facilities require almost new structures.
vEHIClE EMISSIONS TESTING & CAR
REPlACEMENTS
Many Arab countries have set vehicle emissions testing,
to ensure compliance with rated emissions, leading to improved
urban air quality. Old vehicles also result in fuel defciency and
poor emissions. In Syria, 60% of cars are at least 13 years old;
25% of Egypts vehicles are over 20 years old; and 60% of Pal-
estines vehicles are between 5-15 years old. A success story of
policy and will is Jordans replacement of old taxi feets in major
cities; according to the UN-ESCWA, ()authorities provided
custom exemptions for medium-sized passenger cars and buses
and reduced the sales tax...taxi owners have been granted an
exclusive exemption from taxes if they replace their old vehicles
with new ones. Cairo has also implemented a similar program
in retroftting old cabs.
ElECTRIC vEHIClES
This sector remains limited in the Arab world, however,
some achievements must be noted. Perhaps the most thrilling
is the release of Wallys Izis
6
, a Tunisian-made 4x4 vehicle (only
the engine was manufacture by Peugeot). Although the main
engine is a 1.4 litre petrol engine that meets Euro 4 emission
standards, an electric version is available with a 90 km range.
Recently Jordan launched its frst solar-powered electric vehicle
charging station to promote clean energy
7
. It is the frst phase of
a future vision of installing such stations on the Kingdoms roads.
PROMOTING TRANSPORT SAFETY
Many Arab countries have taken steps towards reduc-
ing on-road fatalities/injuries, almost each having a road safety
commission. The Arab Road Safety Organisation was established
in 1999 to promote and share road safety strategies. The or-
ganisations statistical publication isnt promising, questioning
the enforcement effort of policies. However, data is incomplete
and only covers between 1989 and 2006. Individual statistics
offers a better view. For example, according to the organisa-
tions publication Morocco has one of the highest recorded
traffc accidents of the league at 54,492 in 2006, nearly 3,000
6 http://www.wallyscar.com
7 http://www.jordantimes.com/?news=42481
Tunisian made Wallys Izis
montceau-news.com
cairo Metro safety Guidelines - D. Bothe
Planned Amman BRT - Greater
amman Municipality
The frst solution governments offer is traditional: more
roads, or, their expansion as we witnessed in Dubai.
TRANSIT FACILITIES IN THE ARAB LEAGUE
Rapid Bus Transit Underground Metro
Algeria
Bahrain
Comoros
Djibouti
Egypt
Iraq
Jordan
Kuwait
Lebanon
Libya
Mauritania
Morocco
Oman
Palestine
Qatar
Saudi Arabia
Somalia
Sudan
Syria
Tunisia
UAE
Yemen
Lightrail Marine Port Airport Inland Waterway Rail
Operating Planned
Light-rail includes trams, monorails, urban commuter rails.
Often light-rail systems transform into underground metro lines
Bus Rapid Transit refers to exclusive high capacity bus lanes.
Taxi, share-taxi, private vehicles and regular buses are common services, not depicted
3 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 3 3
old road transformed into
pedestrian only zone in amman -
expat family Amman
Metro in tunisia - Panoramio (htabor)
Lrt in algeria -
rabatramways
more than the year 2005. However, a few months ago Moroccan
infrastructure ministry data showed a 17.5% drop in road ac-
cidents, attributed to a new highway code
8
. The code enacted
a penalty point system and higher fnes for careless driving,
something Algeria has decided to adopt.
Mauritania passed its frst legislature of its kind on road
safety, met with protests claiming the fnes are too high given
the low income of citizens
9
. Qatar has reduced traffc accidents
by 28.6% between 2007 and 2008 through legislation, improve-
ment of road networks, and national awareness campaigns.
INTEllIGENT TRANSPORTATION SYSTEMS
(ITS)
ITS is a system that provides an enhanced transporta-
tion experience and performance through information technol-
ogy. Examples include conveying real-time traffc conditions to
drivers/commuters for enhanced trip behaviour and mode choice,
through information displays at transit stations or on-road mes-
sages.The use of ITS in the Arab world is yet limited. Dubai, as
usual, is an exception. It implements such a system at its port
operations for container terminal management, ship movement
control, and customs processes. Furthermore, Dubai has enforced
vehicle locating and tracking systems in its taxi feet. Egypt,
Jordan, Lebanon, and Saudi Arabia have
shown interest in following suit.
IMPROvED FUEl SPECIFICA-
TION
Improving fuel specifcation can
result in fuel savings, healthier emissions,
and maintenance cost savings. In 2005
nearly 20% of gasoline in most Arab coun-
tries was leaded, compared to todays almost
completely unleaded. Many countries also
sought to reduce diesel sulphur content:
Lebanon set a maximum 350 parts per mil-
lion (ppm) while Bahrain at 50 ppm. Pales-
tine is also improving diesel specifcations
to comply with Euro 4 standards.
CHAllENGES & CONClU-
SION
The main aim towards a sustainable transportation
model is to shed from a car-culture to a society where public
transit is held as the moral and preferred method of movement.
The frst step is to provide good public transit facilities at a con-
venience. The number one obstacle towards a sustainable transit
system is funding, followed by weak integrated policies, and
lack of technical expertise, according to the ESCWA. The GCC is
unique in not being fnancially hampered. The recommendations
presented must be implemented with caution, often integrated
with other solutions for optimum results, and always with
socio-cultural and physical dynamics in mind. A transit service
functioning well in one city may completely fail in another.
What remains is proper implementation of policies
and regulatory forces. Education is also essential, teaching
children on environmental issues and promoting public transit
as a healthier and moral choice. Compulsory driving education
on safety would also be benefcial.
8 http://tinyurl.com/3evs8o3
9 http://tinyurl.com/3pnpzls
A
mid intensifying repression by Bashar Al-Assads
regime, Syrians struggle for unity and dignity. This
past November in Cairo, young Syrian activists rush
from meeting to meeting with the goal of unifying all opposition
groups. In Canada, a young Syrian lands in an unknown place.
Abdulhamid Sulaiman is a young Syrian painter, archi-
tect and activist involved in the Syrian uprising since its early
days. During the spring he was arrested by the Assad regime.
Upon his release, he left Syria for Cairo. In exile, Abdulhamid
continues the struggle against the regime, meeting with all
Syrian opposition groups in order to achieve a Syria for all,
including the Alawis.
Mohamad Muner Al Abdallah arrived in Canada in
October 2011. A Syrian civil engineering student, he joined
the thuwwar (rebels) early on. He too was arrested. During
the revolution, he stayed all over Syria, including Damascus,
Aleppo, Homs, Hama, and Palmera. Far from Homs, Mohamad
adjusts to life in a shelter in Canada. His faith in the Syrian
sha3b (people) is indomitable. The road ahead, for him, is paved
with struggle and hope.
Both Al Abdallah and Sulaiman see the potential of
the Syrian community, amid divisions fostered by the regime.
Al Abdallah explains that Syrians, generally, dont have a lot
of money and those that do, use it to help people. They help
students from poor families buy books, assist people in getting
medical treatment, or in leaving Syria.
In Al Abdallahs experience, discrimination is found
in the economic sector of society. On a personal level, he fnds
that people around him accept each other as human, not as a
religion or a language. He sees trust already present in Syrian
society, but it is in need of cultivation. Many of his friends
are Christians and Muslims, and he lived in a neighbourhood
with many Kurds, eating and studying together. Problems are
government-created, he feels, and divisions can be mended when
the regime falls. For example, the Alawi accent is distinctive and
favoured by the regime - people can tell a persons background
by their accent. It is important to Al Abdallah that discrimina-
tion ends. If someone applies for a job, he insists, no one should
look at the persons religion.
As the uprising continues, people stay at one anothers
houses, a peaceful place to sleep and to leave their belongings.
People invite defectors into their homes to protect them and
so airplanes shoot defectors and some buildings, in Homs. If I
didnt go, who will go out? The young people have to go out,
to make this, to make the government [fall]. We have to do
this every day, states Al Abdallah. The Syrian government suc-
ceeds in killing the peoples fear, he says. He notes Aleppos
increase in participation, through the shadow of the 1982
regime crackdown. We need Aleppos assistance to win in this
revolution, he affrms.
Its healthy for people and parties to have different
viewpoints, in Sulaimans opinion. For the moment, however,
they need to come together - for the rebels in Syria. Sulaiman,
as an independent member of the opposition, and many oth-
ers have conveyed concerns to the American Ambassador, the
Russian Ambassador, groups from the United Nations (UN), and
human rights groups from around the world.
Sulaiman expresses the need for the opposition to
unify their demands and strategies. The rebels inside, they
are counting on us, he says. Foreign countries explain that
it would be easier to communicate with one unifed body. The
Ambassador of the United States in Cairo met many different
opposition groups one on one - each group with different de-
mands, requests. He continues, We have to be together, and we
have to give only one demand that we all agree on. Opposition
groups, including youth leaders, meet continually, to fnalise
a basis of unity.
The groups diverge regarding the viability of various
strategies to oust the regime. For Sulaiman, this regime cannot
be removed peacefully; a sad conclusion, he laments. The revo-
lution should be armed, he says, or should have external help.
Other opposition members, like the National Coordination Com-
mittee (NCC), feel that the regime can be removed peacefully, or
without military intervention in Syria. Groups like the NCC are
deterred from foreign intervention by the Iraq and Afghanistan
catastrophes, and by the emerging Libyan example, viewed by
the NCC as foreign occupations. Al Abdallah and Sulaiman see
a need for a no-fy zone, and Sulaiman sees a need for a buf-
fer zone. But, Sulaiman says, I dont like it. I dont want any
foreign soldiers on my land. Al Abdallah concurs, No soldiers
are welcome on Syrian land except for the Free Syrian Army.
Sulaiman adds, And I dont want anyone to bomb any Syrian,
even if he is supporting Assad. Al Abdallah says the revolu-
tion should remain peaceful, that nobody should be allowed to
use guns except for Al-Jaysh Al-Sooree Al-Hurr (the Free Syrian
Army, or FSA) and both young men dread civil war. They explain
that demonstrators protest unarmed specifcally to curtail the
possibility of a full-fedged civil war.
Al Abdallah explains that if somebody is injured, many
people come to the rescue, even under fre to take the wounded
to safety. Away from the hospitals, doctors treat injured protes-
tors. Its hard to face guns peacefully, says Al Abdallah and the
demonstrators dont carry guns. The Syrian security has diffculty
facing large groups, he says. They get people alone, which is why
groups of people run together to retrieve the injured.
Under the nights cover, Syrian security prefer arriving
at peoples houses to round people up for detention. Al Abdallah
and others took garbage cans to the street, and stayed awake
all night. Three buses of Syrian security and military came and
the young protestors threw small rocks at the garbage cans.
This loud noise, and the sound of freworks, emulated clashes
and gunfre. The Syrian security forces retreated. Until the tank
came, but it didnt shoot and the youth retreated.
On September 12, 2011, Sulaiman attended a workshop
called Warshet 3amal Mo2tamer: Mo2tamer Warshet 3amal:
Tajreem Ta3ifyyah wa Siyanat al-Wi7dah al-Wataniyyah (Con-
ference: Workshop on the Criminalisation of Sectarianism and
the Maintenance of National Unity).
We were Syrians from different sects, different vi-
sions. Like, for me, I was from the left, from the Agnostics,
he explains. The Ikhwan Al-Muslimeen (Muslim Brotherhood),
Christians, Alawis, Druzes, Kurds, and other individuals and
groups were also represented. Together, they wrote a declaration
THE SYRIan
STRuggLE
cuRREnT
affaIRS
text HeBBA fAHMY
3 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 3 5
against sectarianism
1
. They vowed not allow anyone to attack any sect after the
regimes collapse.
Workshop participants also penned a letter to Alawis. The letter em-
phasises their belief that all people in Syria are equal, including the Alawis, he
states. Sulaiman sees that people have learned to expect discriminatory treatment
from Alawis, and are therefore suspicious of them. But, he says, there are honest
Alawis, who dont use the preferential treatment the regime offers them.
This past November, Sulaiman personally witnessed some Syrian pro-
testers pushing and throwing eggs at NCC members in front of the Arab League
building in Cairo. He tried to stop the protestors and help the NCC members.
One of them, Ahmed Fayez Fawaz, had spent 17 years in jail, for being against
the Hafez Assad regime. He considers Fawaz a patriot. And although Sulaiman
is completely against the NCCs point of view, he stood up for them twice. We
are calling for democracy, for freedom. We should let anyone say whatever they
want. People also attacked some artists who support Assad when they came to
the building. I am also against this, even if they support Assad. We dont have
to deal with them in this brutal way. [] Its not our vision. We are fghting for
rights for everyone, so we dont have to use this against people.
Sulaiman sees that Syrians are trying to help their fellows inside or
outside Syria as much as they can. Al Abdallah notes that many Syrians are giv-
ing money to those inside. Both observe that people help friends leave Syria, in
order to join them, or help family.
Al Abdallah notes that rallies across Canada help tell the Syrians that
people outside of Syria support them. The Canadian media covered the protests
and even Al-Jazeera picked up the story. Activists outside are completing the
activists inside, says Sulaiman. Syrians are now coordinating in cities worldwide,
to support the Syrian revolution. Spreading knowledge about Syria is useful, in
order for people to understand what is happening.
Al Abdallah was surprised about the lack of Canadian media coverage
on Syria. He appreciates Canadians support, including that of the Syrian Cana-
dian Council (SCC). He wants Canadians to learn more about Syria and about the
revolution, and urges Canadians to support Syrians by writing to the Canadian
government, to send money to the Syrian people and to send some support to
the Free Syrian Army.
Sulaiman appeals to people outside Syria to increase pressure on their
governments to vote against Syrian government, to remove their ambassadors
from Syria, and to send Syrian ambassadors back to Syria. He wants people to
ask their governments to apply economic penalties on, and to completely cut
1 Nabil Chabib. Warshet 3amal Mo2tamer: Mo2tamer Warshet 3amal: Tajreem Ta3ifyyah wa Siyanat al-Wi7dah al-
Wataniyyah (title in Arabic script). Midadulqalam.info. 12 September 2011. http://www.midadulqalam.info/midad/modules.
php?name=News&fle=article&sid=1990
ties with, Assads regime.
Activists inside, they cant work without the activists outside.
Everyone has a part, says Sulaiman. Both activists feels its important
to spread the Syrian peoples case and to send more letters to their
countries, to UN bodies and human rights organisations, asking them
to act faster.
Syrians are done with the speeches. We want acts, says
Sulaiman. Syrian refugees are in dire need of assistance. In Turkey,
in Lebanon, in Jordan, and refugees like himself. He doesnt live in a
refugee camp, but is a refugee, out of work and applying for asylum.
Sulaiman explains that many people are getting killed or
arrested, because they fear that no one will give them asylum. If they
leave, they will die starving, maybe, outside, he states. Syrians are
feeing Syria constantly, applying for asylum at the UN and the UN in-
forms them that it can take over a year to fnd Syrian refugees in Egypt
a country that will accept them. In Egypt, refugees cant work, Egyptians
cant even fnd work. How can Syrian refugees fnd work to survive?
Sulaiman states that if all countries gave asylum to Syria,
Syrian refugees would be faring much better. Australia, Canada, some
European countries, and the USA, take, together, tens of thousands of
immigrants.
I mention to him the Canadian immigration and refugee systems
are highly fawed. I note that Canadians can write to the government,
not just to pressure them to grant asylum to the refugees, but also, to
demand more receptive systems overall, and to grant status for all
2,3,4
.
Both Al Abdallah and Sulaiman agree that the quality of Syrias
education system needs to be improved. The two concur that bribery
must end. Sulaiman highlights the need for a work-focused technocrat
government, rather than one focused on religious views. Al Abdallah
mentions improvements in agriculture, infrastructure, healthcare, the
environment, communications, and tourism. He states that the court
must be separate from the nizaam (the state) - it must be independent
and make its own decisions. People in jail must have human rights. The
Syrian media must listen to everybody, and not say whos correct - it
must disseminate information and let the people decide. The minimum
wage of the country must increase, as part of the bribery problem results
from a low minimum wage. Healthcare must improve; its free, but it
must be better quality. The education system must be more organised
and contain more practicums. Civil engineers should train at building
sites, and medical students, in hospitals.
Sulaiman would like to have a country where activities are
performed through institutions, rather than the government. He feels
that most Syrians, including religious ones, believe in a secular system.
Syria can be secular and offer human rights to everyone. In his vision,
Syria would make a Ministry of Human Rights.
In the meantime, Al Abdallah was shocked that the Canadian
government would help him as soon as he landed. Having lived in Syria
for so long, this was a completely different experience. He would like to
have a place where he can stay for a long time and is planning to apply
to university here, and has found a job. He thinks his life will get better.
Sulaimans future hangs in the balance. He feels that the
Egyptian people welcome the activists, refugees and opposition members
and fnds them to be friendly, supportive, and protective. The people,
and even political parties, have given them places to meet, help with
media, and interviews. Activists from Syria, Libya, Yemen, Bahrain and
Tunisia held a conference and Syrians, Yemenis, Libyans, Egyptians,
protest together at the Syrian and Yemeni embassies. I have carried
martyrs in Syria and I have carried martyrs in Egypt, he says. However,
he is unable to use his architectural skills in a country with such a high
unemployment rate for citizens much less, refugees. He sees his status
as a refugee as unsustainable.
Meanwhile, in Al Abdallahs opinion, the regimes violent
repression and its lies to the international community, demonstrate
that the Syrian government is losing traction. The Syrian people are
strong, he says. He states that, historically, once the people decide,
they do not wait - they create change, like the French Revolution. He
also cites the Civil Rights Movement, calling it the African American
Revolution. The people identifed problems, persisted over time, and
prevailed. The Syrian people know that those revolutions triumphed,
and so will theirs.
2 No One Is Illegal - Toronto. Canadian Immigration System: Broken Homes, Broken Promises. No One Is
Illegal - Toronto. Toronto: n.p., 2011.
http://toronto.nooneisillegal.org/node/649
3 No One Is Illegal Toronto and Tamil Youth Organization. Stop Detentions! Stop Deportations! Status for
All!. No One Is Illegal - Toronto. Toronto: n.p., nd. http://toronto.nooneisillegal.org/node/362
4 United Nations High Commissioner for Refugees. UNHCR urges more countries to establish refugee
resettlement programmes. United Nations High Commissioner for Refugees. Geneva: United Nations High
Commissioner for Refugees, 5 July 2010. http://www.unhcr.org/4c31cd236.html
abdulhamid Sulaiman and Haitham Maleh
T
witter and Facebook jumpstart political and social
justice discussions. In the case of TweetNadwa, a
socio-political movement born in Egypt, Egyptian Twit-
ter users are not afraid to jumpstart socio-religious discussions
and the role of religion in politics. Lebanon boasts more Twitter
users than Jordan, Egypt, Libya, and Saudi Arabia combined.
These countries make up a signifcant portion of the Middle East
and North Africa (MENA) region. Yet Egypt achieved a revolution
with less Twitter and Facebook users than its Levantine cousin,
Lebanon. Consequently, Al-Arabiya journalist Anne Allmeling,
and Dalia Mogahed, Director for the Abu Dhabi Gallup Centre,
assert that Egypts revolution is incorrectly labelled as the Face-
book Revolution. Furthermore, social media tools, like Twitter,
amplify the voices of social and political movements rather
than cause social change because Gallup found that only 8%
of Egyptians respondents relied on updates from social media
as events unfolded leading to ex Presidents Hosni Mubaraks
resignation.
1
STUDYING THE MENA UNIvERSE OF
TWITTER, OR TWITTERvERSE
The Dubai School of Government issued its second
report to share data and highlight trends of the Twitterverse
segment of the Arab world. Although product developers will
leverage university study as market analysis to produce new ap-
plications, I cannot help but join the several activist Tweeps
and organisations, like the Search for Common Ground, to
determine how to plug in and amplify my voice for a particular
social justice cause when I have gone hoarse from talking too
much. According to the Dubais seminal social media analysis
the Arab Social Media Report (ASMR), the Arab region houses
30 to 40 million Twitter users that are active. Essentially the
active group provides information to about 160 to 170 million
Twitter consumers in the Arab region alone
2
.
To what extent have we overplayed the social media
factor in political and social movements? The analysis above
already covers that, but other socio-cultural and socio-political
movements are not pausing for more answers. In fact, social
organisation and confict management activists are moving
forward anyway with their smart phones in hand in response
to the next phase of grass roots mobilising in 140 characters
(the really savvy ones are probably using 139 characters and
have already retweeted their analysis of this piece by now).
Already, information addicts and policy wonks face a virtual
identity crisis when tweeting or updating their Facebook sta-
tuses. Overlay this virtual identity crisis upon political and social
justice activists engaging in virtual debate, then the search for
common ground undergoes a translation challenges as nuanced
debate must employ language that the technological world uses
through binary code of zeros and ones. If I overlay this virtual
identity crisis upon political and social justice activists engaging
in virtual debate, then I observe how controversial actors, like
the Muslim Brotherhood, undergoes a translation challenge as
nuanced debate must employ brief, succinct language. In fact,
1 http://english.alarabiya.net/articles/2011/06/16/153573.html
2 Arab Social Media Report, 2011-http://interactiveme.com/index.php/2011/06/twitter-usage-
in-the-mena-middle-east/
social organisation and confict management activists are moving
forward anyway with their smart phones in hand in response
to the next phase of grass roots mobilizing in 140 characters.
In addition, these lessons learned may apply to a
future forum in the US regarding another controversial subject.
For example, imagine a symposium, like TweetNadwa, occur-
ring in the US as many Americans refect on the 2010 Census.
American townhalls already exist to debate divisive legislation.
Why not add an additional layer of participation that would
allow opportunities for those who are unable to commute to a
far location. The virtual participants would have an opportunity
to discuss the data, respond, and then review the implications
of increasing minorities.
TWEETNADWA FUNCTIONS AS AN ON-
GOING FORUM FOR DEBATE
Ironically, my virtual friendnot to be confused with
imaginaryEiman Abdelmoniem, who tweets as @EimanAbdel,
responded to my Tweet question: What socio-political movements
serve as positive examples of using social media? @EimanAbdel
pointed me, @Pitapolicy, towards @TweetNadwa, which
means Tweet Symposium, an Egyptian inspired/organised
project developed by Egyptian grass roots organiser, Alaa Abd
El Fattah. In particular, audience members discussed the Muslim
Brotherhood, an Islamist organisation that inspires political
participation and civic engagement and renounced violence
over 50 years ago.
Hundreds of Twitter users and audience members gath-
ered to listen, read and respond over a large screen in Dokki,
Egypt and voice their thoughts in no more than 140 secondsor
140 characters. Participants responded to questions about their
Islamist background to more delving insights, like Why did you
leave the Muslim Brotherhood? As a result, El Fattah mobilised
others who believe in dialoguing on the evolving description
and purpose of Islamism, Islamist identity, and its participation
in the new public sphere of Egypt.
July 6th marked the latest TweetNadwa forum in
Egypt. The virtual forum discussed social justice and economic
challenges. Comments included a range of analyses that both
supported and questioned rejected Egypts decision to accept
foreign loans. Specifcally, those favouring socialism debated
with those who leaned towards capitalist systems. However,
debates are not strictly one side versus another. Those wary of
social medias limitations on communicating nuance need not
worry as other Twitter users introduced additional perspectives
that did not strictly adhere to for or against. For example,
one participant commented that corruption occurs in both sys-
temsso the -ism that should be challenged is despotism,
rather than strictly socialism or capitalism.
SUDANESETHINKER
Amir Ahmad Nasr is Sudans frst blogger and is known
throughout the Twitterverse @SudaneseThinker. The innova-
tive forum created by Amir Ahmad Nasr provides a contemporary
case study of connecting Muslim thinkers, social media activists
VIRTuaL
cuRREnT
affaIRS
text MEHRunISa QaYYuM
3 6 D O S S I E R K A L I MAT
and Islamic scholars in a global setting. Ahmad founded his blog
Thinking Aloud, Thinking Allowed to explore the spectrum of
Islamic thought. He acknowledges his earlier strict Islamic lean-
ings, which then morphed into atheism, and again transformed
into a Muslim who wants to engage with other interpretations
that respond to societys needs. Some ideas might receive more
approval, or Tweetplause, than others, but democratising a
public forum on controversial discussion serves to encourage
many possible solutions to a multi-faceted problem. As he quoted
Haroon Moghul at a DC based think tank, Freedom House, Islam
faces a crisis of authoritytoo many scholars who believe that
there are authoritative, but they are actually authoritarian. In
this vein, Amirs online project developed into offine discussions
and transformed into the forum Future of Islam in the Age of
New Media, which invited 60 speakers from contrasting philo-
sophical backgrounds to speak for a minute each. Participants
included insights from: Fatemeh Fakhraie, Reza Aslan, Asma T.
Uddin, Haroon Moghul, among 56 others. The full recording is
available online.
Nasr enthusiastically refers to the conference as the
frst, shortest online discussion of informed interpretations
of Islam. The forum tackles what he identifes, as the post-
modern age problem in that each interpretation is equal and
thereby problematizes discourse. Each authority projects an
opinion without reviewing the counterfactual. Hence, if each
interpretation is weighed equally, then online and offine com-
munities offer credence to unfounded interpretations rooted
in extremism. Moreover, those scholars that tend to agree with
one another, continue to engage within comfort zones rather
engaging across comfort zones. Thus, interpretation remains
stagnant because there is less cross engagement.
The goals for the forum included convening those
with different viewpoints who normally would not interact with
one another. Amir stated that people holding similar views
tend to discuss challenges with each other and are less likely to
engage with those who are from other schools of thought, at
a July social media event hosted by Freedom House, a DC based
think tank that focuses on transparency in government and civil
society. In particular, Amir honed in on a meta critique of
modernity: each interpretation is equal. However, this philoso-
phy poses the post-modern problem that each interpretation is
equal, which problematises belief structures and offers credence
to unfounded interpretations rooted in extremism.
Amirs organisational experience with social media
questions the possibility of groupthink. Theoretically, social me-
dia introduces an opportunity to tackle groupthink by allowing
different voices to speak to each other. However, if implemented
is social media reinforcing a human tendency to tune into others
who we would have already listened to on traditional media? For
example like attracts likeas the saying goeswhere those
who are anti-polygamy will not engage with those who believe
that polygamy should be reintroduced in modern society. Both
schools of thought might simply fnd comfort in their labels
as progressive or liberal or conservative without even try-
ing to update each other on their current positions. The vast
majority of non-scholars might simply represent a large median
range while the labelled positions represent less than 20% of
the population. This polarized trend applies to other societies
as wellnot just Islamic interpretations. In fact, the polarised
trend refects how many Americans characterise their dilemma
of media coverage as either too liberal or too conservative
nor does it stray too far from how mainstream Americans express
their religious, political and social views.
lESSONS lEARNED: APPlICATION IN THE
US?
The lessons learned from this forum may be broken
into two broad categories: philosophical and organisational.
Philosophically speaking, it is possible to engage in controver-
sial, nuanced debates about religion and politics. The reason is
simple: rather than acting on the paranoia about the involvement
of Islamist parties and avoiding discussion, engage whomever
is willing to participate in a respectful environment. In fact,
including controversial viewpoints challenge the secular para-
noia regarding Islamist politicswhich is often magnifed by
many uninformed media outlets and pseudo political analysts.
The second lesson is: abstract, loose associations can
still beneft from organised forums via abstract networking
devices, like Twitter and Facebook. Both facilitate exchanging
ideas without being judged by appearance/physiognomyor
the more divisive construct of ethnicity in identity politicsif
one chooses to participate virtually.
According to the Pew Research Survey, the average age
of Facebook users has risen to 38 from 33 among Americans.
The increased participation in social media tools like Facebook
refects Americans comfort engaging in social media. What if
we, as Americans, discussed identity politics and evaluated the
message rather than fxating on the face of the messenger like
the @TweetNadwa forum?
These lessons learned may apply to a future forum in
the US regarding another controversial subject. For example,
imagine a symposium, like @TweetNadwa, occurring in the
US as many Americans refect on the 2010 Census. American
townhalls already exist to debate divisive legislation. Why
not add an additional layer of participation that would allow
opportunities for those who are unable to commute to a far
location? The virtual participants would have an opportunity
to discuss the data, respond, and then review the implications
of increasing minorities.
Through social media tools, like Twitter, El Fatah has
1) engaged on a controversial subject of Islamism, 2) enlisted
participation by non-Egyptians without fxating on ethnic
identity, and 3) offered a model for other activists, youth, and
organizations to set up their own virtual dialogue by holding
their crowded @TweetNadwa event. In addition, Ahmeds
organised event challenged the post-modern ideology that
each interpretation is equal by revisiting the essence of who
and what determines authority.
In summary, both TweetNadwas and Future of
Islam organisers and participants are transforming a paradigm
of an abstract controversy into an accessible discussion available
to anyone who respects healthy dialogue and differences. Even
though the Egyptian and Tunisian revolutions and the Sudan
transformation, did not stem from social media, the protestors
and participants involved have more options in amplifying
their presence and voice for whichever socio-political causes
they choose to pursue to better understand their communities.
Moreover, information addicts and policy wonks will do their
best to keep up with these motivated activists who are either
mobile, or using their mobile.
YOuR AD W
OulD
LOOK M
IgHTY fInE
HeRe.
Yes...Yes IT W
OulD.
gET In TOucH fOR OuR RaTES
www.kalimatmagazine.com
rawanhadid@kalimatmagazine.com
3 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 3 9
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nOn-
TRaDITIOnaL SEXuaL
aRRangEMEnTS
L
ast June, I received an invitation from a friend to the
opening reception of an event in New York City entitled:
Coming Out Muslim: Poems, images and artistic works
honouring and celebrating queer Muslims. While I had met many
individuals who identifed as queer in the Middle East many of
whom were born into Muslim families I had never come across a
person who identifed as a queer Muslim. For some, religion was a
sore spot, a thing they rejected because they felt it had rejected
and subjected them to social and familial discomfort and unwar-
ranted feelings of guilt. For others it was wholly insignifcant,
a relic from the childhoods they left behind, gathering dust in
a fgurative attic like an old toy.
The surprise that characterised my initial reaction to
the invitation made me realise that I had subconsciously (and
ignorantly) assumed the mutual exclusivity of queerness and piety.
Additionally, after attending the modest but moving exhibition in
the basement of a church squeezed between bustling restaurants
in the East Village, I awakened to the uncomfortable realisation
that my perception of the lesbian, gay, bisexual, transgender
and queer (LGBTQ) community in the Middle East had long been
framed by mainstream Western discourse on homosexuality in
the region a discourse that assumes the naturalness and trans-
historical character of the heterosexual/homosexual binary, the
inherently homophobic nature of Middle Eastern cultures, and
the universal desirability and beneft of both translating sexual
practices into a fxed sexual identity and of publicly professing
that identity.
In his controversial article Re-Orienting Desire: The Gay
International and the Arab World, Joseph Massad argues that
the international gay rights movement or what he calls the Gay
International is trying to remake the world in its own image.
Western gay rights activists, he argues, ignore the particular his-
tory of sexual practice in the Arab world and as a result, see the
prevalence of private same-sex relations in the region as a sign
of severe religious and cultural oppression. These activists then
seek to liberate practitioners of same-sex relations by helping
them publicly embrace the sexual identities they have thus far
been prevented from expressing. This discourse, writes Massad,
assumes pre-discursively that homosexuals, gays and lesbians
are universal categories that exist everywhere in the world, and
based on this pre-discursive axiom, the Gay International sets
itself the mission of defending them by demanding that their
rights as homosexuals be granted where they are denied and
respected where they are violated. In doing so, however, the Gay
International produces an effect that is less than liberatory (p.
363). In attempting to impose its own sexual epistemology on
the Arab world, Massad asserts, the Gay International undermines
a tradition of sexual fuidity in the region and paradoxically puts
practitioners of same-sex relations in danger of persecution.
To clarify, the Gay International, according to Massad,
assumes that without publicly professing ones sexual identity,
one is not being true to oneself. But this process of outing
oneself creates what Massad calls a uniform desire and in so
doing erases the possibility of other previously available forms
of desire and pleasure. A man, for instance, whose desire was to
penetrate meaning he might have yearned for both men and
women in being made to transform his sexual practice into a
sexual identity is forced to choose one sexual object. Addition-
ally, in blanketing the region with the homosexual/heterosexual
binary where it did not exist before Massad argues that the
Gay International paradoxically de-naturalises same-sex practices
in Arab countries. The heterosexual norm comes to be juxtaposed
with the homosexual deviancy and same-sex practices are forced
out of the private realm where they had long been allowed to
thrive and into the public sphere where they come to be perceived
as a threat, as something that must be repressed and/or weeded
out. In seeking to liberate Arab homosexuals, Massad argues, the
Gay International has actually made it more diffcult for them
to engage in same-sex practices.
I do not purport to engage with the work of the in-
ternational gay rights movement in this article (a project which
would require a lot more research and a much larger word limit).
My reason for briefy recounting Massads complex argument was
to preface the coming paragraphs in which I discuss the way a
group of Algerian and Israeli individuals, fctional and real re-
spectively, navigate, experiment and struggle to come to terms
with their sexualities. I examine two flms, a documentary and
a mock documentary, that deal with how these individuals look
inwards at their own societies and try to fnd a space for their
desires within them. Instead of dismissing their heritage and
choosing to look outwards to the West for acceptance, comfort
and liberation from the oppressive ways of their people, and
instead of trying to understand and defne themselves using a
foreign epistemic vocabulary, these individuals examine their
own heritage and customs and try to produce new and modifed
ways of being that build upon and are rooted in the already es-
tablished practices of their societies. These flms highlight the
diverse forms that same-sex relations can take. They animate
the point that Massad is trying to make: that what may seem
liberatory and universally desirable to one person may cause
violence to another and may not be satisfying to him or her. In
watching and listening to these people navigate their sexualities
on their own terms, we are able to gain an appreciation for the
diversity of practices, relationships and confgurations of love
and affection that exist in various societies, and we are pushed
to question our quickness to assume that a given arrangement
is the result of oppression rather than a product of a different
lifeworld one we might not belong to, but which we might
be capable of understanding if we take the time to patiently
watch it in motion.
Israeli director Illil Alexanders 2004 documentary
Keep not Silent follows three Orthodox Jewish lesbians in Je-
rusalem as they struggle to reconcile their faith and sexuality.
Instead of trying to paint a generalised picture about the plight
of lesbians within Orthodox Judaism which explicitly forbids
homosexuality Alexander invites three women to relay their
particular and varied experiences. They not only speak to us
through interviews, but generously make room for the viewer
in the most intimate and painful corners of their lives, allow-
ing us to linger in the background behind sheets and window
panes as they share private kisses with lovers, engage in painful
encounters with family members, and get into heated debates
with Rabbis. The frst is Yudit, a woman trying to fnd a way
to share a traditional Orthodox Jewish marriage ceremony with
her partner. The second is the married Miriam-Ester who has ten
children with her husband and has spent her entire marriage
repressing her sexual attraction to and feelings for women in
order to keep from violating her religious beliefs. The last woman,
Ruth, is also married with children but has taken a lover with
her husbands approval and divides her time living between both
households. As part of a group known as the Orthodykes, these
women meet regularly to discuss Jewish law and its stipulations
on sexual practices and same-sex relations.
I was particularly struck by one scene in the flm in
which Yudit sits down with a Rabbi to discuss the possibility
of embracing her sexuality while remaining a committed and
practicing Orthodox Jew. We watch this sweet-natured, timid
woman uncomfortably explain to the Rabbi how she tried to
overcome her desire for women, pushing herself to be with
men, trying to shed her forbidden feelings. Nothing worked, she
explains. This is who she is. This is how she was born. There had
to be room for her in her faith, there had to be a page some-
where in the mosaic of books that decorated the Rabbis walls
into which she could ft comfortably, in which she made sense.
But there was no such page, he asserted. There was no place in
Judaism for a lesbian. There is no ambiguity when it comes to
this topic, he stated comfortably. We are all tested and made
to suffer in different ways by God, he explained. This was her
particular brand of suffering and she had to try and overcome
it. But since she had clearly tried and seemed incapable of
defeating this affiction, and in order to keep from entering
into a marital union with a man against her will, he suggested
she resign herself to a life of abstinence, fnding self-fulflment
in charity and volunteer work.
I had diffculty wrapping my head around Yudits
resilient dedication to a faith that seemed to repeatedly shove
her out and that attempted to punish her for the way its God
had created her. Why didnt she and the other women in this
flm just leave the Orthodox Judaism that seemed to bring
them so much personal anguish behind, I wondered. As the
flm progressed, I watched Yudit joyfully satisfy her desire to
share a traditional wedding ceremony with her partner and I
witnessed the remarkable arrangement that Ruths family had
agreed upon in order to bring her happiness. I realised that I
had misunderstood these womens relationship to their reli-
gion, and underestimated the depth of their faith, and their
determination to remain committed to its customs and ways of
life without having to give up the desires that make up such
an important part of themselves. I realised that bringing my
own subjectivity to bear on them, I had wrongfully assumed
that their sexual identities took precedence over their religious
beliefs, that the former constituted part of their true self and
the latter a social imposition that suppressed this inner truth.
One might assume, like I did at frst, that Ruth chooses
to stay with her husband while taking on a lover instead of
leaving him and freely living the life she desires because she
is oppressed by an overbearing religion and a society dedicated
to strictly implementing its laws and ostracising those that vio-
late them. But, just like we have no right to tell these women
opinion piece by SOPHIE cHaMaS
that their sexuality is a perversion, we also have no right to
tell them that in order to practice their sexuality and love for
women, they must give up the faith that plays such a central
role in their lives. It is assumptions like these, which we take
for granted and fail to question, that Massad warns us against.
When we approach, however benevolently, foreign ways of life
without questioning the universality of our own beliefs and ways
of being, we run the risk of doing violence to the people we seek
to help by failing to ask what liberation means to them, what
their desires and priorities are, and whether they needed us to
liberate them in the frst place. If we set our assumptions aside
or at the very least, open them up to the possibility of being
challenged and reworked, we are able to see that for someone
like Ruth, for example, her compromise allows her to continue
to practice the customs of her faith and take care of the fam-
ily she has nurtured and deeply cares for, while being able to
comfortably engage in a relationship with the woman she loves.
Remi Langes mock documentary The Road To love,
while signifcantly lighter in content than Alexanders flm,
is a nevertheless touching and thought provoking story about
a young Franco-Algerian on the awkward and uncomfortable
journey to realizing, exploring and coming to terms with his
sexuality. Karim, a sociology student in France, decides to
make a documentary about homosexuality in North Africa for
a class project. His encounters with the gay North Africans he
interviews make him extremely uncomfortable at frst, as he
wards off a few unwanted sexual advances and has trouble fg-
uring out the direction of his project. He eventually strikes up
a friendship with Farid, a young fight attendant, who teaches
him not only about modern same-sex practices in North Africa
and its diaspora, but also exposes him to the history of these
practices in the Maghreb and the wider Arab world. What began
as a friendship gradually blossoms into something more than,
with Karims girlfriend Silhem noticing the evolving relationship
between the two men before Karim fully realises the depth and
nature of his feelings for Farid.
As the two continue to grow close, Karim becomes
more comfortable confessing his feelings to Farid but remains
hesitant about giving himself to him. Together they travel
to Marakkesh, Moroccos gay city, where same-sex practice is
ubiquitous and widely tolerated. There, the historical narrative
that has framed Karims journey to self-discovery continues to
punctuate the flm, as he learns about the Quranic school famous
for its promotion of master-pupil same-sex relations, the Siwa
oasis in Egypt where it was considered perfectly natural for men
to temporarily marry, and many other examples of same-sex
practices in Arab history.
What I found interesting and different about this
flms approach to Arab homosexuality was that Karims journey
of self-discovery does not occur in Parisian gay hot spots. Lange
veers away from the expected, from the assumption that Karims
repressed sexuality stems from his rootedness in a homophobic
and intolerant culture and religion. Instead of having his sexual
awakening occur in liberal Paris and instead of dismissing his
heritage as backwards and unaccepting, as something that must
be shed in order to embrace his true self, Karim is able to
come to terms with his sexuality by contextualising it within
an Arab heritage of same-sex practice with which he is able to
feel emotionally connected and in which he feels at home. He
seeks sexual asylum then, not in the West, but in the long his-
tory of sexual fuidity and experimentation cradled within his
region of origin, a history which, while tragically ignored by
modern Arab governments, cannot be erased from a collective
memory which preserves it through written and oral histories
passed down the generational ladder, and which continues to
fourish through continued practice, as extremely secretive as
it might have become.
Farid, fnally understanding what it is that Karim has
been waiting for, gives him a ring. As he places it on Karims
fnger the screen fashes briefy to an old image of a Sitwa
marriage ceremony, linking the two events. Well, Karim says,
you can take me now.
4 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 4 1
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bEIRuT VOYagE
photography baSHaR aLaEDDIn
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TAHRIR 2011-THe
gOOD, THE baD &
THe POlITIcIAN:


by sHeYMA BuAlI
anaTOMY Of a
DIsAPPeARANce:

by TAsNIM QuTAIT
A
lmost one year on, the political and social shifts
that have gone on in our region still stand as un-
precedented. While perhaps the euphoria of hope is
starting to balance out into a dire and perplexing reality, for
some countries the honeymoon is way over, the time to rebuild
is starting to lag and ideological complexities are getting thicker.
For others, the fght marches on.
In the meantime, scholarship and the arts are scram-
bling to keep up with the zeitgeist, while making efforts to
document the trickling points of change. As it is, by now, Arab
Spring movies have already been received with grandeur at
major flm festivals all over the world. Octobers Doha Tribeca
Film Festival gave its Best Film award to Merzak Alloueche
for his flm Normal, set in Algeria with the Arab Spring as a
backdrop. Despite its big win, the flm got damper reviews with
variety calling it contrived and shapeless for reworking a
shelved project to ft into the current hype. 18 Days, an anthol-
ogy flm of ten shorts, was at the centre of the Cannes focus
on Egypt. This flm was deemed forgettable, but, also according
to variety, with strong reaction to recent events. From the
same producers comes another portmanteau, Tahrir 2011: the
Good, the Bad and the Politician, a feature-length flm made up
of three half-hour documentaries, which premiered at Venice.
In the cases of 18 Days and Tahrir 2011, the argument
was made that these flms were made too soon to generate an
insightful look into those two and a half weeks. But Tahrir 2011
stands as a worthwhile piece of documentation. Slightly similar
to 18 Days, all three segments used real footage stitching them
to interviews retelling the events of those weeks. If made at
any other point, it would not have so energetically grasped
the spirit, attitude and overall mood that betook Egypt during
that intense period.
The frst of the three segments is the strongest ex-
ample of this. The Good, directed by Tamer Ezzat, takes us back
to Tahrir Square to revisit the activists who were there, talking
about their experiences and looking back at the media images
that defned the revolution globally. Of the three, this is the
segment that best captured the spirited frenzy of those weeks.
The half-hour piece is like a trip back to the main stories and
images witnessed around the world: the aggressive water hoses
spraying the men in Friday prayer, the wild Battle of the Cam-
els and all the bare-chested men who bravely stood in front of
tanks daring them to roll on (these YouTube videos brought
new meaning to the word gada3 [brave]). These looks back
at the bigger events that were picked up by the media keep
details that werent included in perspective. To some, this was
seen as lacking innovation for that same reason. But innovation
is not the point, there is a more practical object here, which is
documenting events as they happened through the eyes of the
activists, uncensored and unabridged.
The Bad, directed by Ayten Amin, gives insight into
L
ibyan writer Hisham Matars latest novel Anatomy of
a Disappearance is at once the coming of age story of
a sons struggle for intimacy with his distant father,
and a haunting tale chronicling that fathers disappearance,
leaving the son in the limbo that is the psychological shadow
of a disappearance. Suspended in the past, without the fnality
of bereavement, the lack of closure is articulated by the young
narrator as a condition of inbetweenness: The truth is, I dont
believe Father is dead. But I dont believe he is alive either.
The absent father is a recurring theme in Hisham
Matars writing, drawing from the abduction of Matars own father.
Jaballa Matar was once a member of the Libyan delegation to
the United Nations and, after Muammar Gaddafs coup, found
himself a political dissident living in exile. Abducted in 1990 by
the Egyptian secret service, he was handed over to the Libyan
equivalent and subsequently imprisoned in the notorious Abu
Selim prison. His fate remains unknown until this day, though
the collapse of Gaddafs regime may yet yield information on
his and countless other missing Libyans cases.
Hisham Matars writing, both journalistic and fctional,
gives voice to Libyas four decades long history under one of the
most entrenched and brutal dictatorships of the region. Both
his novels have been hailed as being prescient, under that
double-edged quality of timeliness ascribed to works seen as
having contemporary political relevance, as distinct from the
timelessness to which literary works are often said to aspire.
His debut novel, In The Country of Men, charts the surveillance,
show trials and public executions of a police state through the
perspective of a nine year old child whose father is imprisoned
by the Guide. A fnalist for the 2006 Booker Prize, it was
polices point of view. The offcers testimonies demonstrate
the mixed up political position they were in. The most
revealing was their discussion of the eliminations, or
killings of activist believed to be leading the protests, the
on-going cover-ups by the Egyptian media and subsequent
resignations of many of the policemen. One offcer, hiding
his face from the camera, spoke highly of the protesters,
referring to them as revolutionary brothers, pointing out
that they were indeed very peaceful; while another says
uneasily, I also wanted the regime to fall, but this is my
job. This was the most serious and chilling of the three
segments.
The Politician, directed by Amr Salama, takes a
big u-turn. A comic expos of the man who was the target
of the nation wide protest, this is the most experimental
of them all. Cartoonishly in its pop-colour scheme, it ques-
tions what it takes to be a dictator and digs up some silly
anecdotes about Mubaraks superfciality, namely his ritual
of hair dying (stating hair dying is a philosophy not an
action.) Salama interviews different men that were part of
Mubaraks cabinet, as well others who were not, including
Alaa Al Aswany, author of Yacoubian Building, and former
Director General of IAEA, and Egyptian presidential candi-
date, Mohammed Al Baradaei. This segment brings up media
manipulations and nonsensical hair colour concerns of the
men in charge (Wednesdays were apparently hair dying day
with most of the cabinets men following Mubaraks lead).
The flm succinctly collects the stories that stood
out during the revolution, retelling them from the point
of view of the people who were there. The raw emotion of
the immediate review of iconic events kept the energy high
throughout the three-part documentary. It is often the
case that a time buffer is used to look back at big events
in order to give them certain sense of logic and narrative.
In this case, there was very little, if any at all, which for
documentative purposes, worked very well.
Tahrir 2011 mirrors the way the media worked
throughout the Egyptian revolution: grassroots, empow-
ered and immediate. People on the streets with cameras
and phones took the place of formal journalists, their
videos, images and text being the content of major news
networks. This same footage and information is now being
used in cinematic documentaries being screened worldwide,
archiving testimonies and setting stories straight. Civilian
media lead the recording and disseminating of truths
that corporate media either failed or wasnt allowed to do.
Tahrir 2011 captured the unique spirit of the revolution,
documenting the united voice that toppled a 40-year-old
regime. Whatever happened after that, well thats a whole
other movie.
quickly labelled the Libyan Kite Runner not so much as
a result of topical resemblance between Matars novel and
Khaled Hosseinis The Kite Runner, but as a refection of the
contemporary interest in works tied to the Middle East
and connected with the so-called War on Terror.
The recent turmoil that has been given the name
the Arab Spring has again lent topicality to Matars work.
His second novel, Anatomy of a Disappearance was completed
in November of last year, a month before the recent wave
of Arab uprisings began, and was published on the heels
the Libyan uprising and just as Muammar Gaddafs regime
was collapsing. During the early days of the Libyan upris-
ing, in an attempt to stave off a revolution, Gaddaf freed a
number of prisoners, including some of Matars relatives who
had been in prison for two decades, and one of his cousins
was later killed during the battle for Tripoli, an event he
wrote about in The Guardian. Through his writing, and the
well-known circumstances of his fathers abduction, Matar
has been described as uniquely positioned to speak to the
political forces that fuelled the Libyan revolution.
However, while much has been made of the semi-
autobiographical nature of Matars fction, there is no raw
emotive or confessional quality to the novels, which are
remarkable for their spare and lucid prose, leaving the
reader to fll in the gaps. Moreover, despite the specifcity
of the frst novels setting in Tripoli in 1979, the reader is
left with the sense that In the Country of Men could be
set anywhere. Rather than allowing the narrative to be
embroidered with ethnographic details, the novels spare
style works to strip away much of the sense of particularity,
representing Libya as the archetypal totalitarian state. In
Anatomy of a Disappearance, this is taken one step further
as the whole novel takes place in exile. While the father, a
former minister in an overthrown monarchy, is described
as working towards a time when the country comes back
to us, that country itself remains unnamed. From the
few details we are given it appears to be Iraq rather than
Libya, but very little is made explicit throughout the novel.
Events are subordinated to atmosphere, and politics, like
the mysterious abductors, are left in the shadowy margins
of the story, even as the impact of political forces on the
individual lives they rupture is testament to the truism
Kamal offers his son: You cant live outside history.
The disappearance of the narrators father is at
the vanishing centre of both of Matars novels, which are
both narrated through the perspective of an only child, yet
they are markedly different in tone. Suleiman tells his story
with an urgency and immediacy, describing with vividness a
childs confusion at his alcoholic mothers medicine, and
his dissident fathers mysterious business trips. On the
other hand, Nuris narrative has an air of quiet introspec-
tion that lends an atmospheric, intangible quality to the
writing. While the frst novel focuses on the claustrophobic
bond between a child and his lonely and embittered mother,
the second is largely about a sons struggle to understand
and connect with a distant father.
At the beginning of Anatomy of a Disappearance,
the young narrator Nuri el-Alf lives with his father Kamal,
4 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 4 9
HiSHaM Matar - National Post
a dissident in exile in Egypt whose relationship from his son
is strained following the death of his wife. As Nuri tells us, his
father seemed to have lost his way with me; widowhood had
dispossessed him of any ease that he had once had around his
only child. Father and son become two fat-sharing bachelors
kept together by circumstance or obligation, until, while on
holiday at a beach-front hotel in Alexandria, fourteen year old
Nuri meets Mona, a young woman in a yellow swimsuit who
becomes both a source of adolescent angst and a mother sub-
stitute: the yellow strap running across her back brought to
mind the yellow hospital bracelet that had been bound round
my mothers wrist. Monas emotional hold on both Nuri and
Kamal further complicates their relationship until the story
takes an unexpected turn with the mysterious disappearance of
Nuris father. The son who wanted to be the father, to emulate
his elegant, tailored clothes, his perfectly manicured fngers,
and that defance in his eyes fnds himself lost as a series of
revelations unravel any certainties Nuri held about his fathers
life: All that I did not know about my fatherhis private life,
his thoughts, why he was kidnapped and by whom, what he
had actually done to provoke such actions, where he was at this
moment, whether he could be counted amongst the living or
the deadwas like a mask that suffocated me.
Throughout the novel, the precision promised by the
title is affected through an increasingly narrow focus on the
effects of the disappearance on the son, almost to the exclu-
sion of all else, so that the narrative develops into a dissec-
tion of the coping strategies by which we respond to loss. The
unknown fate of his father continues to slowly consume Nuri,
this paralysis deftly captured when he tries on his fathers old
raincoat: I tied the belt around my waist the way he used to do.
He will need a raincoat when he comes back. This might still ft
him. I returned it to its place. Nuri tells us that following his
fathers disappearance, [e]verything and everyone, existence
itself, has become an evocation, a possibility for resemblance.
Perhaps this is what is meant by that brief and now almost
archaic word: elegy.
This intense focus seems to force the events of the
story to recede to the background. This quality of Matars writing
is evident in the frst novel in the immersion of the reader in
the stifing atmosphere of the police state, as young Suleiman
evolves from innocent child to a participant in an inescapable
culture of private betrayal and public humiliation. Compelled by
an urge he scarcely understands, he is driven to betray his best
friend, and later to inform on his father to the friendly security
man in the white car outside the family home. He witnesses
the disturbing scene of his mothers self-abasement as she begs
the wife of the local secret police chief to save her husband, an
incident which haunts him many years afterwards: That visit
has remained with me ever since. Whenever I am faced with
someone who holds the strings of my fate an immigration
offcer, a professor I can feel the distant reverberations from
that dayand this is also why, when I fnally think I have
gained the pleasure of authority, a sense of self-loathing rises
to clasp me by the throat.
Writ large, this scene of desperation and humiliation
sums up the circumstances that impelled the recent Arab upris-
ings calling for dignity and social justice, as a new generation
attempted to resist the despotic regimes their parents had
attempted and failed to overthrow before them. This kind of
insight into the emotional impact of living under oppression is
at the heart of the political relevance of Matars writing, which
dwells on the dangers and rewards of resistance.
In Matars frst novel, the revolutionary fervour of
the father and his comrades is met by a bitter response from
Suleimans mother: Clouds, she said, only clouds. They gather
then fit away. What are you people thinking: a few students
colonising the university will make a military dictatorship roll
over? For Gods sake, if it were that easy I would have done it
myself. You saw what happened three years ago when those
students dared to speak. They hanged them by their necks.
And now we are condemned to witness the whole thing again.
There are parallel passages in Egyptian writer Ahdaf
Soueifs The Map of Love, published in 1999, including one char-
acters prescient account of how many revolts there have been in
Egypt: We live by slogans. We take comfort in them: the great
Egyptian people. The peaceful, patient nation that when it is
aroused shatters the world. Shatters the world? Tell me when
in all of history did the Egyptian people rebel? When? When
Urabi [reference to the uprising led by Ahmed Urabi in 1879-
82] spoke up for them, they sold him out. They ran away and
let the British in. Youll say 1919 but 1919 wasnt a revolution.
It was a few demonstrations and it hasnt changed anything
Fifty-two? That wasnt a rebellion of the people. It was an army
movement which rode the people and told the people that it
spoke with their voice. The people have no voice.
These passages offer a poignant reminder that for all
the euphoria over the uprisings in the Arab world, the story
is not yet over, and that it is through the very act of reading
that a works signifcance becomes lasting, moving from timely
to timeless.
cuLTuRE
aRTEEaST
MaPS aRab
SubJEcTIVITIES aT

by RAWAN HADID
T
he Museum of Modern Art (MOMA) has begun to
redefne and expand its credentials with respect
to Arab art beginning with a landmark three-part
exhibition on Arab cinemaMapping Subjectivity: Experimen-
tation in Arab Cinema, 1960s-Now. A mouthful? Possibly, but
the content of this flm programme is no small feat. Long-
forgotten flms and entries at recent high-profle festivals
join forces in what the programme refers to as a remapping
of cinema from the Arab world.
I had long ago resigned myself to perpetual disap-
pointment when it came to Arab and Middle Eastern focused
organisationsreductive, essentialist, orientalist or simply
ill-informedI had yet to come across anything that didnt
feel fundamentally fawed. Whether it were new organisations
with a post 9/11 agenda, desperate to pander to a holier
Other, or whether it was established arts organisations ven-
turing into the suddenly-sexy world of Middle Eastern art, I
was usually left with a sour taste in my mouth. If I saw one
more poster with a niqab-covered woman and another flm
series called something smart like Unveiling Arabia, I may
have had to unveil that poster off the wall myself!
But then I moved to New York, and New York is
the city where all bets are off. ArteEast is a non-proft arts
organisation based in New York City that focuses exclusively
on promoting and supporting artists from the Middle East and
their diasporas. Their programmes manage to fnd that bal-
ance between working within a regional agenda and somehow
escaping the narrow and fat framework for approaching audi-
ences that is ubiquitous when dealing with all things Arab.
Their flm programmes specifcally propel the critical viewer
to question what we were being told by the programme as a
wholeto push our boundaries and challenge preconceived
notions of the topic or subject at hand.
Programmes like Mapping Subjectivity that give
another layer to the regional framework and complicate
prevailing perceptions, are the strength of ArteEast. Last
year, the programme opened with the well-known master of
the absurd in Palestinian flmmaking, Elia Suleiman. Much
of its remainder, however, was made up of hard-to-come-by
flms, or works by less well-known flmmakers. The obscure
was prevalent, and the programme was formed of clusters that
refected thematic and aesthetic relationships rather than
chronological or geographic ones. This programming intends
to inspire new ways of thinking about modernity in the
cinema of the Arab world. If this sort of programming didnt
change the interlocutor and tell stories despite, rather than
because of, overarching discourses, I didnt know what could.
The second year of Mapping Subjectivity included a
diversity and richness of visual imagery from all over the Arab
world. A panel titled Archives, Appropriation and Montage:
Rewriting History and the Personal in Arab Film was held at
the MOMA. There, Rasha Salti, senior director at ArteEast, and
Jytte Jenson, Curator at MOMAs Department of Film were joined
by Jean-Michel Frodon, flm critic, Karim Tartoussieh, scholar of
Middle East and Islamic Studies, and Rania Stephan, flmmaker.
Her flm, The Three Disappearances of Soad Hosni was part of
Mapping Subjectivity: Part II and was acquired to become part
of MOMAs permanent collection.
At the panel, Salti discussed her hope that critics and
scholars will revisit and rethink prevailing theories, and the way
we are taught to think about Arab cinema. The entire programme
is premised on such complications; an against the grain reading
of modernity, screening the continuities and conversations be-
tween modern narrative flmmakers and postmodern conceptual
art. By teasing out the alliances, the programme insists that a
kinship exists and challenges a prevailing view that an animos-
ity is present, whereby postmodern creative producers refuse to
use modern works as a reference.
The focus here is on the use of found footage and
archives to engage critically with offcial narratives, often ap-
proaching what may otherwise be considered unmentionable.
A number of flms in Mapping Subjectivity Part II achieve this
through the personal, absorbing the audience into the life of
the flmmaker. Hiya + Howa Van Leo: Her + Him Van Leo
(Akram Zaatari 2001) is the portrait of Armenian-Egyptian
studio photographer Van Leo, where Her is Zaataris daring
grandmother. The flm is a conversation between Zaatari and Van
Leo about photography and its relationship to flm, and how Van
Leo remained outside of the way in which photography is used
by national projects. While the state produces ID card photos,
Van Leo produced studio portraits of scantily clad women. Like
this, the flm places us at the intersections of experimentation
and modernity.
Another flm, chosen to screen immediately after Hiya
+ Howa Van Leo was Ikhtifaaat Soad Hosni el-Thalaathat: The
Three Disappearances of Soad Hosni (Rania Stephan 2011), an
elegy to that stunning icon of Egyptian cinema. The dialogue
between lowbrow Egyptian cinema and video art is testimony to
the power of fabricating fction from archival fction. This is a
flm history of Soad Hosni, but also of Arab women in flm his-
tory itself. In paying homage to Hosnis career, Stephan avoided
the polemic nature of her tragic death and decided to work with
Hosnis work. The result is a slowly compiled three-part Greek
tragedy, which asserts, Imagination is more beautiful than
reality, where Hosnis memory is the plot, and the actress tries
to remember her past. The fnal product is stunningly powerful.
5 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5 1
ARTEEASTS PROGRAMMING
During the second installation of Mapping Subjectiv-
ity at MOMA this year, I sat down with Barrak AlZaid, Artistic
Director of ArteEast and talked about how and why ArteEast got
started, how the organisation challenges peoples understandings
of the region, how education fts into ArteEasts work, and all
of the smaller scale programmes that keep ArteEast engaging.
Barrak and I spoke about ArteEasts many projects
far too many to describe in detail herefrom their visual art
exhibitions, flm programmes and artist talk series, to their
online programmes which include quarterly publications such
as ArteZine and Shahadat, a literary e-zine which toggles
between translations and thematic issues, which look at both
popular literature and contemporary literature. As though all
of this doesnt keep ArteEast bustling and busy enough, they
also act as a resource for artists. ArteEast streamlines grant-
writing processes, acting as an intermediary for the artist by
acting as their fscal sponsor and disseminating industry news,
artist opportunities, grants, fellowships and production grants.
When discussing ArteEasts location: not having a
dedicated space, and being located in New York City, versus say,
Beirut or Cairo, Barrak had this to say:
All over the world were doing this incredible work
from different standpoints and I think what we do that sets us
apart is, we act as a kind of a nexus and a platform for all the
disparate ways of doing Arab or Middle Eastern art. We have a
really dynamic online platform, so were able to provide resources
directly to artists and to consolidate all that noise thats out
there about, you know, grants and funding opportunities and
residency opportunities. So I think that thats really where
our strength lies, is our ability to kind of beto be able to
tie together all those different ways of doing art and ways of
supporting artists.
THE REvOlUTIONS
Currently, the one topic that pervades all things Arab
is that of the revolutions, and its a topic that has also punctured
into the ArteEast bubble . Barrak commented on the impossibil-
ity of refecting sensibly or intelligently so early on.
Because there was so much revolutionary program-
ming that was happening afterwards, we really wanted to step
in and say, now theres an important level of criticality that
needs to happen before we can just perpetuate all these images.
The frst response that we had was with the issue of Shahadat,
which did the translations of the signs that were in Tahrir Square.
With that issue, we took a slice of all the revolutionary
fervour that was happening and attempted to situate that slice
within a very specifc cultural, historical and regional analysis
Things that audiences over there would take for grantedthats
an aspect of the education that we do.
THE ARAB ART OF THE ARAB GUlF
Another topic that preoccupies me when it comes to
Arab Art is that new-fangled mania I spoke about earlierthe
suddenly sexy Arabian Art, and the type of gallery that has
been popping up in recent years that sells art at really high
prices, which fve, ten years ago was unimaginable, for the artist
and for the buyer. Very few would have thought a piece could
fetch six digits in a 3-minute auction in Doha or Dubai. Now
it just happens much more often and we discussed what the
echoes for this new art market are in New York City and around
the world. Barrak commented:
Part of what drives the market is production of works
and how they circulate. So I think works are gaining presence,
and as for whats happening in the Gulf, I mean, there are gal-
leries that have been operating there for many years. You have
Sultan Gallery, Farida Sultan (the director), whos been showing
works in her gallery for years and the same with Dar Al Funoon,
and thats just in Kuwait! Then you look at Dubai and you have
dozens and dozens of galleries that have cropped up in the last
couple of years and I think a big part of that is driven by Art
Dubai and the intensely commercial nature of the market thats
created by having a global centre for art and for collectors. So
I think that when you create a space for something, you never
create something in a vacuum; its always being pushed and
supported by other things. So you know, you have Art Dubai
and you have that happening alongside the Sharjah Biennial,
alongside the construction of cultural institutions in Abu Dhabi.
You have that region acting as a nexus and a mid-pointGeo-
graphically, if you just like look at where that fair is situated,
its an area of very high interest, its an area very high passage
There are lots of people that are passing through. There are of
course, consequences to this type of movement:
If you look at the Sharjah Biennial last year, so many
incredible works that were produced through production bud-
gets by the biennial. Just forget regional specifcity; just look
at the works themselves and theyre just works of art, and its
something really special. Rania Stephans flm was, completed
in a large part by support from the Sharjah Art Foundation. It
won the biennial prize, and was recently acquired by the Museum
of Modern Art. Its being shown simultaneously at the Mapping
Subjectivity programme and in the gallery installation at MoMA
PS1. Thats another way that the interest is being leveraged.
The fow of information is not uni-directional
And it is precisely this sort of natural, organic fow
that ArteEast promotes and perpetuates that makes it such a
necessary organisation. While so many things continue to go
wrong, and those Unveiled posters are still around, at least
something else is out there for the rest of us. Next years instal-
ment of Mapping Subjectivity may be the last, and I for one am
already excited for it. I am sure the many more programmes
forthcoming will continue to draw audiences and cultivate
critical conversations.
cuLTuRE
POLITIcS anD
sPORT:

by abDEL-RaHMan HaMED & baSSIL MIKDaDI
T
he international footballing world that is governed by FIFA is
strewn with scandal. From racism to bribery FIFA has weathered
quite a storm in recent months. Lost amongst the controversy
and bright lights of the World Cup Finals are the success stories FIFA is
responsible for. A prominent example of such success was the creation of
a fully-fedged, re-affliated Palestinian national team in 1998. This meant
the Palestinian National Football team could now compete in World Cup
and Asian Cup qualifying, a symbolically signifcant development for a
people without a United Nations (UN) recognised country. FIFA approved
the membership based on its neutral stance towards the fnal status
negotiations between the Israelis and the Palestinian Authority (PA).
Palestine quickly announced its presence on the world
stage with a bronze medal in the 1999 Pan Arab games in Jordan, beat-
ing out the likes of Qatar, Syria and the United Arab Emirates (UAE).
With these early participations, there were clear political overtones as
the local media lauded every match as a statement of existence and
match commentators rambled on about solidarity. For the fans, there was
enormous pride as the Palestinian fag was carried onto international
football grounds and the players stood for the anthem.
The national team did not just represent a geographic region,
but an identity that was dispersed the world over. In 2002, this global
outreach was emphasised as Nicola Shahwan, a Chilean-Palestinian,
was put in charge of the team, bringing in fve South American based
players with him. Today, the Palestinian squad draws more players from
historic Palestine - both in and outside the Green Line - as local football
got back on its feet, and it includes players from wherever Palestinians
can be found. In this sense, it truly unites and represents Palestinians,
whether they are from the Occupied Territories or in the Diaspora.
As years went on, fans naturally started to expect more from
the national team. Participation for the sake of participation in tourna-
ments was no longer enough. Results were demanded as the local press
and online football forums became increasingly critical and scrutinising
of every performance. However, there was room left for excuses as Israeli
travel restrictions hampered preparations more often than not and the
fact that the local league was in hiatus meant not as much was expected
of the players. In fact, these hardships made any results achieved all
the more celebrated as in the eyes of the fans, they demonstrated the
perseverance of the Palestinian people. This link between struggle and
sports should make it no surprise that the team is nicknamed Al-Fedaie
(revolutionaries) after the fearless resistance fghters of the 1960-1970s.
The Palestinian Football Association (PFA) had a modest bud-
get and was supported by the generous efforts of a group of Palestinian
businessmen. Squad selection was subjective as there was no stable pool
of players to draw from and neither was there a sure way to assess their
abilities than in short training camps. Diffculty in obtaining the neces-
sary visas from Israeli authorities and poor coordination with the clubs
of foreign-based players made the planning of these training camps even
more chaotic. Furthermore, while other teams enjoyed the comforts of
their home matches, Palestine played its home matches in Qatar and
Jordan in near-empty stadiums, often travelling the same distances as the
BarraK aLZaiD
Hiwa + HUwa vaN
Leo
iKHtifaaat SoaD HoSNi
eL-tHaLaatHat
5 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5 3
visiting team. With all these factors, Palestine had,
by default, underdog status. It was easy to rationalise
this: If all other areas of Palestinian life were out of
the ordinary, surely football had to be too. In 2008
however, something changed.
The PFA administration was dissolved and a
new one, headed by former PA security chief and Fatah
Central Committee member Jibril Rajoub, took over. He
brought with him enormous political backing to the
PFA as its annual budget swelled to $6.5 million - an
eight fold increase. Since Rajoub took over, Palestine
hosted several international matches on home soil, the
frst of which was against Jordan and hugely hyped.
The West Bank Premier League was resurrected, thanks
to PFA funding and corporate sponsorship. Rajoubs
political connections meant more easily issued visas
which facilitated travel. The national team benefted
from these developments as the league got players
into shape, introducing new faces, and the matches
on home turf boosted team spirit and increased fans.
If political overtones just came naturally
with Palestinian football before, with the new PFA
administration, they became part of offcial policy.
The Faisal Husseini International Stadium located in
Al-Ram, a town on the outskirts of Jerusalem, became
the new home of the Palestinian National Team. Its
location is not accidental and is in line with the Pales-
tinian Authoritys claims to East Jerusalem. Whether it was the
senior, Olympic or Womens team that was playing, any match
at home was touted as a political achievement in PFA press
releases. Concerns among the fans grew that the national team
was being used as a political tool as matches with questionable
technical beneft were being agreed to. One example was a trip
to Iraq for their frst international match on home soil since
the US invasion where the unprepared and weakened Palestine
squad was hammered in the two matches in Baghdad and Arbil.
That might
be one extreme end,
where purely politi-
cal considerations are
factored into deciding
on what matches to
play. The PFA oth-
erwise has used this
football diplomacy
wisely, in some cases
to bring technically
adept teams into the
Occupied Territories to
play against Palestine.
Very recently, South
Africas development
squad visited Pales-
tine for two matches
in Dora and Nablus. The dates for the matches were chosen
for political fanfare, one was held on the anniversary of Yasser
Arafats death and the other on the 23rd anniversary of the
Palestinian Authoritys declaration of independence. The sons
of Mandela were welcomed in their visit of solidarity to the last
people in the world under Occupation. All the political aspects
aside, these matches were benefcial to Palestines preparations
for two upcoming tournaments. More often than not, fans
are left with the feeling that the political overtones are more
important to the PFA than the game itself. Since hosting that
frst match against Jordan three years ago, posters of foreign
leaders, adjudged to be representative of the national team
or club Palestine were playing, have been hung in prominent
areas all over the stadium alongside depictions of their local
counterparts. The list of leaders to get this treatment includes
some of the most maligned sovereigns in recent years: Ramzan
Kadryov, Vladimir Putin, Bahrains monarch Hamad Al-Khalifa,
Silvio Berlusconi, Tunisias deposed President Zine El-Abdedin
Ben Ali, and most recently, Jacob Zuma.
As Palestine strives for credibility on and off the pitch,
one must ask what this political pander is achieving. For his
part, Jibril Rajoub has announced that he will not seek a second
term as PFA president and instead return to the political sphere.
FIFA has stringent laws concerning the use of the sport as a
political platform. In November, the governing body stopped
England from wearing poppies on their jersey to commemorate
Remembrance Day. FIFA has also issued bans or threatened a
ban for a slew of nations whose governments have obstructed
actions of the FA. For whatever reason, Rajoubs blatant political
hijacking of many games has escaped the ire of FIFA.
F o o t -
ball has become a
powerful tool over
the past three de-
cades: the sport
has become inter-
twined with popu-
lar culture and its
stars can garner
billions of dollars
in revenue. On the
international level,
football has become
a bastion of soft
nationalism, which
has resulted in the
creeping of politi-
cal messages. The
teams and associations involved avoid any potential controversy
by simply focusing on the game. But with politics affecting Pal-
estines ability to call up players and travel freely, it is nearly
impossible for them to emulate their European counterparts.
That being said, the political messaging in Palestinian Football
has gone past soft nationalism: its become more of a platform
for Fatahs leaders and their political visions. With a new coach-
ing staff in place and with another PFA executive board set to
take charge in 2012, it remains to be seen if the politicisation
of Palestinian football is just a passing fad or the start of an
unfortunate trend.
cuLTuRE
PRESERVIng
PaLESTInIan
IDEnTITY
text and photos RanDa OTaIbI
T
atreez the Palestinian embroidery or cross
stitch is more than an art or craft; it is
an integral part of the Palestinian culture.
This kind of handicraft has geometric pat-
terns and foral or biomorphic motifs which has been
generated instinctively, transferred from generation to
the other expressing the wisdom of a nations heritage.
Implemented professionally, this simple
systematical work procedure maintains the thread
direction while moving from one stitch to the other.
Thus, it produces a one directional stitched piece that
refects the unity of the origin in spite of the variety
of the patterns.
Embroidery styles changed recently. Pat-
terns which, for centuries, were tied to regions and
villages became mixed together. The dominating red
colour which used to be dominating the tatreez also
gave way to a variety of colours expressing the new
generations preferences.
Embroidery survived, but it was transformed
from a village handicraft into an artistic expression
of Palestinian identity.
5 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5 5
cuLTuRE
LIbYan
REVOLuTIOnaRY RaP
by TaSnIM QuTaIT
D
ays after the Libyan revolution began on February
17, 2011, the newly formed group Revolution Beat
came to the hub of the Libyan pro-democracy move-
ment, the collection of seaside buildings known collectively
as The Courthouse in Benghazi. They found an empty room,
brought in their equipment, and started recording their frst
song, titled simply and appropriately Thawra(Revolution).
The groups appropriation of a room for their creativity is an
apt metaphor for a generation that grew up under the regime
of Muammar Gaddaf fnally fnding the space and the freedom
to express themselves with revolutionary zeal.
Early on in the uprising, hip hop became the music
of choice for many young Libyans trying to oust Muammar
Gadhaf, embodying in its form and content the revolt raging
in the streets. In one article, a Libyan rapper was quoted as
saying, The revolution expresses how we feel and that is what
rap is about: expressing how you feel. And now we are not
afraid. Following the liberation of Benghazi, musicians in the
opposition-controlled east were able to air their work on radio
stations such as Benghazi Free Radio, Libya FM and Tribute
FM, composing songs aimed at boosting the morale of fght-
ers and persuading people that it was time to rise up against
the regime. Dozens of rap songs were put on CDs and groups
started distributing copies to demonstrators at the courthouse
in Benghazi where crowds gathered every evening to listen
to speeches, drumming, chanting and patriotic songs which
celebrated their release from decades of fear.
Earlier this year, TIME featured an article with the
title Rage, Rap and Revolution: Inside the Arab Youth Quake,
describing Rayes le Bled as the anthem of the young people
who have shaken regimes from North Africa to the Arabian
Gulf. With 60 percent of people in the Arab world under the
age of 30, youth culture has been at the heart of the cultural
and social forces driving transformations in the region, and
rap songs in particular have created an important platform for
encouraging a spirit of resistance.
This outburst of political, insurrectional hip hop in
the region was not born out of the uprisings; rather, the events
of what has been called the Arab Spring galvanised an under-
ground music scene that has been evolving over the past few
years. As a historically subversive form of music, hip hop has
been used to give voice of people who had been marginalised,
evoking themes of struggle and resistance. Artists in the region
have been creating their own versions of this form of music with
live performances beginning in the 1990s, borrowing from but
not blindly mimicking mainstream Western hip hop. In tapping
into hip hops spirit of defance, Arab artists have reshaped the
style to ft their own purposes, to voice outrage about the prob-
lems in their societies, rapping about poverty, unemployment
corruption, autocracy and repression. As the lyrical, rhythmical
nature and the hyperbolic boasts of hip-hop bring it close to
Arabic poetic traditions, fusions of poetry, pop, traditional music
and rap have been created by artists adjusting the beats and
lyrics to ft their own reality, an art form which in many cases
emerged as a platform for free speech and political resistance.
Many of these groups worked underground, a result of
government repression and censorship. In Gaddafs Libya the bold
invective of this form of music would never have been allowed
on the state-controlled radio stations, and so the only way of
circulating tracks was through cell phones and the internet, a
major outlet allowing them the ability to record songs and put
them up online almost immediately.
One of the most prolifc Libyan rappers, an artist
known Ibn Thabit, who had been criticising the regime in Libya
in his songs since 2008 and kept his identity hidden in order
to protect himself and his family from government reprisal,
posted the song Al Soal (The Issue) on YouTube on the 27th
of January 2011, several weeks before the uprising began in
Libya. In it, he comments on people who will say at least we
have bread, bread is cheap/but you cant measure the price of
blood. Towards the end, he addresses Gaddaf directly:
Muammar, you have never served your people
Muammar, youd better give up
Know that you cant escape
Our revenge will catch up to you
Like a train coming at a wall...
I swear by the God who created you and created us
Muammar, your end is near
After protests began on 17 February, Ibn Thabit con-
tinued to release songs such as Tripoli is Calling and Libya
Is which includes both Arabic and Tamazight lyrics, posting
videos on platforms like YouTube and offering songs free for
download on his website.
In his Call to the Libyan Youth Ibn Thabit ends the
song with these words: I have a message for you/this is the
chance you dreamed about/so you can live standing on your feet
not on your knees. A self described ordinary Libyan
speaking the thoughts of many Libyan youth, Ibn Thabits
anonymity and the fact that he had not promoted himself op-
portunistically as a revolutionary celebrity produced a unique
dynamic of identifcation for many young Libyans who saw his
potent lyrics as expressing the frustrations, the dreams and the
hopes of their generation. Recently, on the 30th of November,
Ibn Thabit posted a video on YouTube announcing that he would
keep all his videos and his website up for those who want to
download his songs, but that after the liberation of Libya he
would no longer be creating new material, saying that he didnt
create music for fame or applause, but for the cause.
Ibn Thabit has collaborated with MC Swat in a song
called Victory or Death, and another called No Doubt which
sends out this message of self-examination: Those who want
the revolution to succeed/Begin with yourself, and continues
Now weve overcome the fear of death/now we each have a
voice/Now silence in the face of oppression is a crime/The
devils dream would be that nothing changes/And that is what
Ill fght, as long as Im alive.
Another prolifc artist, MC Swats songs include Story
of 1969, Laugh and Smile which commemorates the martyrs
as those who will not die, and 17th February Revolution,
which begins with these lines:
In the name of the revolution,
In the name of this generation
In the name of Libyas beloved soil
Today I stand and claim my rights
With fve million behind me.
Ibn Thabit is represented with three tracks in a
music anthology inspired by the events of the Arab Spring.
Khalas Mixtape Vol. 1: North African Hip Hop Artists Unite
features songs by artists from Tunisia, Egypt, Libya, and
Algeria. The album was complied by Khalas (Enough) (www.
enoughgaddaf.com) an organisation formed by members
of the Libyan diaspora in 2009 in response to Gaddafs
frst speech at the UN. The Khalas mixtape is an example
of the way protests throughout the Arab world have al-
lowed not only the long-repressed voices in the region to
reverberate, but also created an opportunity for people in
the diaspora to speak out in unison and collaborate with
those in the homeland, forging
identity links between those
who never left the country of
origin, those have lived abroad
in self-exile or forced exile for
decades, and those who grew
up as second-generation im-
migrants.
Through this sense
of unity, protest songs by
artists with dual or hyphen-
ated identities such as Libyan-
American artist Khaled M have
become part of the unoffcial
soundtrack for the Libyan revo-
lution. Based in Chicago, he is
the son of a Gaddaf dissident
who was jailed for fve years
under the regime. After the
uprising began, Khaled M. and Iraqi-British
Lowkey released the single Cant Take Our
Freedom which contained lines such as
You cant take our freedom and take our
soul/You are not the one thats in control/
La ilaha illa allah/no power is greater than
Gods. These lyrics employ the shahada
(the article of Muslim faith) to de-authorise
Gaddaf, destroying the self-created power
and omnipotency of his personality cult, ad-
dressing him directly: Go ahead and divide
your plans, at the end of the day you are
just a man.
One of the refrains of many Libyan
rap songs is to refer to todays generation as
the grandchildren of Omar Mukhtar in ref-
erence to a famous Libyan resistance fghter
who fought against Italian colonialism in the
1930s, a testament to the historical context
in which the revolution is seen. Many of
the songs include the words We will not
surrender, we win or we die, a slogan
taken from a speech by Mukhtar, which
became the title and opening words of a
song by Irish-born Libyan Rami El-Kaleh.
Tragically killed by Gaddaf loyalists in
March before seeing the song released,
El-Kalehs lyrics give poignant resonance
to the songs message that the revolution
can not die: You can burn all the bod-
ies / You can bury them in the ground /
They will rise from their ashes / Just to
bring you down.
Interweaving lyrics with the
musical components of the protests them-
selves, with call and response rhyming
chants and segments of Gaddafs viru-
lent speeches, music, and especially rap
in Libya popularised calls for resistance
and protest, and the Internet spread this
message like wildfre. Rather than being
a trend indicating political or ideological
affliation, it became a platform for honest
self-expression and a productive means of
expression for youth to communicate with
one another across the region. In becom-
ing the rhythm of the resistance, these
songs about revolution strip away the
bling of the genre and brings it back to
basicssomeone telling it as it is, uniting
people who share common struggles, and
encouraging new beginnings. As MC Swat
says in No Doubt: I have something
to say, and I dont need a podium/I only
need a mic to reach you.
revoLUtioN Beat - Odd culture
KHaLeD M - Montreal Mirror
via cBs
revoLUtioN Beat - Odd culture
5 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5 7
cuLTuRE
bOXER
text and photos by BAsHAR AlAeDDIN
A
rifa, a 27 year-old aspiring flmmaker, seems to be your av-
erage Jordanian girl, but not exactly: shes Jordans boxing
champion, a title shes maintained for two years and is about
to defend it for a third time this December. I sat with Arifa to ask her
about the sport, her life and the time she got her frst broken nose.
BASHAR: Tell me about yourself
ARIFA: Im a 27-year-old aspiring flmmaker. In 2006, I earned my
Bachelors degree in Film and Journalism from the Lebanese American
University. I am the two time boxing champion of Jordan in my weight
category as well as the captain of the national team. My favourite colour
is hot pink and I am a Libra (laughs).
BASHAR: What inspires you about boxing?
ARIFA: I have been boxing regularly for the last four years, and every
single training session I learn something new. I love how it stimulates
and coordinates your entire body while keeping your mind sharp; every
move counts, its like a game of chess. The footwork is pretty challeng-
ing too, like a dance.
BASHAR: What role do you think you play in encouraging other young
women in Jordan who want to pursue boxing?
ARIFA: I hope that when young women see me in the ring they think,
she can do it so I can too! I think I have inspired my friends and
family to realise their athletic potential whatever age they are. I do
hope my experience encourages women to put their gloves on and get
into the ring.
BASHAR: What obstacles did you have to overcome (mentally, physically,
socially, etc.) to become the champion you are today?
ARIFA: I was never really an athlete. At 23 I discovered my passion and
talent for boxing. I started training on a daily basis to make up for all
the lost time. So one of my biggest challenges is that Im still trying to
physically transform my body to that of an athletes and to master the
mental and physical aspects of boxing,.
BASHAR: How does your family feel about your athletic ambitions?
ARIFA: My family have always supported me in everything Ive done,
but honestly, they didnt take me very seriously when I told them that
I want to compete and enter the National Boxing Championship after
only boxing for a couple of months. However, when they saw my dedica-
tion and complete transformation, they cheered me on. We were always
raised to be the best at what we love to do. My family started to get
more physical, even my grandparents support me fully by always keep-
ing up with boxing news. Actually, my grandfather collects newspaper
clippings of me! Everyone is proud. I remember before competing in the
Asian championship, I was nervous about the thought of breaking my
nose, so my mom said nothing that is broken cant be fxed.
BASHAR: What lessons from boxing have you transferred onto your
personal life?
ARIFA: Boxing taught me discipline, patience, self-confdence and self-
control.
I have learned to never under estimate my opponent, or anyone, and to keep
pushing myself. You never really know what type of person you are until
you have been tested, and stepping into the ring is always a major test.
Above all, I learned that its never too late to start doing what you love.
BASHAR: What is the one thing you love about boxing? Whats the best part?
ARIFA: Winning! When the referee raises your hand at the end, announcing
you as the winner, the feeling is not comparable to anything else! I have
come to love the discipline of training and getting myself in the best pos-
sible shape, both physically and mentally.
BASHAR: How do you feel about the world of boxing in Jordan?
ARIFA: The members of the Jordanian mens team are internationally ranked,
they are world-class boxers. I am currently training with them and they
are fascinating to watch every time. They have earned gold medals in world
championships and are in the qualifying rounds to go to the Olympics in
2012. On the other hand, The womens boxing team is relatively new, our
achievements and performance cant be compared to the mens team just
yet, however I can see it improving and female boxing in Jordan becoming
more popular in the next few years. We have what it takes to make it; state
of the art facilities, dedicated coaches and enthusiasmwhat we are miss-
ing is more boxers. I invite anyone to come to a training session, and who
knows, they may fall in love with boxing like I did!
BASHAR: Whats your next step?
ARIFA: I will be defending my title for the third time in the National Boxing
Championship of Jordan soon, and then Im ready for whatever the boxing
federation has planned for our team in 2012. Exciting!
BASHAR: What do you do in-between training? How do you relax?
ARIFA: I am a freelance assistant director, so when Im working on a project,
the long hours make it diffcult to eat and sleep properly! Between projects,
I make sure that I get enough sleep, eat well, get occasional massages and
generally take care of myself. I love watching movies and spending time
with my family and friends.
BASHAR: Tell us about a major win and a major loss.
ARIFA: I will never forget my frst boxing match at the 2009 Jordanian
National Championship. I wasnt expecting to win at all, it was the frst
time I got punched squarely in the face, but the natural high of winning
made it worth it! I lost in Kazakhstan at the Asian championship. It was a
different calibre of boxing. Still, that training camp/championship in Ka-
zakhstan taught me life lessons and I made friends with some world boxing
champions. We had a great time. You win some, you lose some as they say.
Robert Green Ingersoll said, The greatest test of courage on earth is to bear
defeat without losing heart.
I
m driving through Patong, a rather claus-
trophobic and somewhat soulless area of
Phuket, Thailand and rather suddenly, in
true Thai style, the heavens have opened up,
and it starts to pour rain. Its falling so hard
I fear it might leave bruise marks all over my
forehead. My scooter feels slippery on the road,
and I can barely see through my fake Ray Bans.
I pull into the nearest caf that I
could fnd. I run in soaked to my very core. I
look up at the tacky neon sign reading Dubai
Restaurant out loud. I laugh and look around.
Dubai? In Phuket, Thailand? Of course. Its sur-
real, the kitschiness of the dcor, the smell of
apple shisha in the air, the ornate gold frames
that surround the portraits hanging on the wall.
I sit down and order hummus, lentils and baba
ganoush (eggplant dish). Its over priced and
rather terrible tasting, but I enjoy every bit of
it. Because for half an hour, while the torrential
rain alters my day, Im home.
5 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 5 9
CULTURE cuLTuRE
In PaTOng KIngDOM Of
WOMeN:
text and photos REEM fEKRI
by RAWAN HADID
a customer sitting in what resembles a majlis, under a charcoal sketch of His royal
Highness Sheikh Mohammed bin rashid al Maktoum
His royal Highness Sheikh Mohammed bin rashid al
Maktoum portrait sits next to a portrait of the royal
thai family, a requirement in thailand
arab and indian waiters bearing the
restaurants t-shirts.
F
ilms about Palestinian women, Pales-
tinian refugees, and flms about Ein
el Hilweh Refugee Camp, are in no
short supply, but Dana AbouRahmes Kingdom
of Women does speak a new visual language that
sets it apart.
A resoundingly satisfying visual ap-
preciation of how the women of Ein El Hilweh
have navigated their lives, the flm is peppered
with animations which show the viewer what
the womens stories cannot convey: memory,
visual history, and feeling. The flm follows the
women through their lives as they tell us their
stories and about their struggles and successes.
Produced in collaboration with Al-Jana Arab
Institute of the Arts, the flm maintains a strong sense of oral history, chronicling an element of the
Palestinian experience.
The largest, and most well known of the Palestinian refugee camps in Lebanon, Ein el Helweh
has endured war and destruction through several Israeli invasions and the Lebanese civil war. The flm
records the lived experiences of mothers, daughters, sisters and wives as they tell us about the complete
destruction of their camp and how they rebuilt their lives and their homes. In one sense, the flm can
be seen as a commentary on gender in refugee camps: after the destruction of their homes , the women
did what they felt they needed to do to survive. Without simply being pigeonholed in their Palestinian-
ness, these women and their stories are truly inspiring.
Making flms about the Palestinian experience continues to be a complicated undertaking.
There is no one way of being Palestinian, just as there is no one way of being a woman. As I saw this
flm, it was ultimately about everyday heroes fghting their every day strugglesit just so happens
that these struggles take on a particularly forceful narrative when the Israeli invasions are involved.
One sequence of events includes women burning the aid tents provided to them in protest of their liv-
ing conditions. Here, the women taught the aid workers the lessons they needed to be taughtscenes
particularly gratifying to watch. The women took their own lives and homes into their own hands and
refused to have their futures dictated to them by unsympathetic aid workers. Living in tents was not
going to be an option, and they made that clear.
There is a history, and violence, and consequences, and this flm absolutely accounts for and
involves all of those, but I dont think all our Palestinian stories should be about struggling mothers,
There is no one way of being Palestinian, just
as there is no one way of being a woman.
and distraught refugees. People respond to their environments and create
change and that is what is inspiring. This need not always come in the form
of iconic images, like Leila Khaleds famous poster yielding a gun and draped
in a keffyeh, but also in every day struggle and resistance.
Animated cartoons of Palestinian artist Naji al-Ali tell the viewer
about the Israeli invasion and its destruction. The raw simplicity of the
animations adds commanding layers to the flm. We meet women who were
imprisoned and women whose husbands were imprisoned while the women
tended to their families. How can this be shown without physical memorabilia?
They are no longer incarcerated and the houses have been rebuilt. When the
women burned their tents in protest and refusal against their living conditions,
they literally became the animated superheroes of their kingdom.
6 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 6 1
cuLTuRE
In SEaRcH Of
gOLDEn cInEMa


L
ike cattle, members of the press at the Doha Tribeca Film
Festival were herded into the press centre, where we spent
a good portion of the four-day event. I wasted time I had
intended for interviews wandering around confused, trying to fgure
out if the professional journalists around me were also clueless or if I,
a mere doe-eyed amateur, was simply out of my league. To my relief I
wasnt alone in the dark.
Even before the red carpet was dusted off and laid out, the
festival had begun on an awkward note from the perspective of the
press at least. We received the press schedule and media guidelines the
evening before the start of the festival, prompting several outraged emails.
Later, press conferences were cancelled without notice. Interviews were
scheduled with flmmakers that we or at least most of us were not
made aware of. Press screenings, interviews and conferences overlapped,
making it impossible to adequately savour the selection of events avail-
able to us. Moreover, for reasons unknown, press screenings were not
arranged for most of the flms competing in the Arab Film Competition,
leaving the press conferences held on their behalf embar-
rassingly empty and awkwardly silent. The press conference
for the Arab Documentary Film Competition was cancelled
altogether for a lack of media interest, I was told. How
members of the press could be expected to show an interest
in flms they hadnt seen was beyond me. Not only was this
debacle frustrating for reporters, it was somewhat insulting
to the flmmakers, who found it (rightfully) diffcult to hide
their annoyance.
Film has the power to change lives. This, tells us
Amanda Palmer (executive director of the Doha Film Institute
(DFI)), is DFIs founding belief. The prologue to the festi-
vals flm guide, written by Palmer, gives one the impression
that DFI is primarily concerned with changing lives through
Middle Eastern flms. Palmer focuses mainly on the Arab Film
Competition and emphasises the importance of honouring
and promoting contemporary and artistic modes of Middle
Eastern self-expression in a region currently gripped by a
historic revolutionary fervour. We welcome you, she writes,
to be moved by laughter, tears and debate by flms that speak
to a region and world in the midst of prolifc and epochal
change. But inexplicably, it is these independent, Middle
Eastern flms that the festival claims to celebrate which were
effectively snubbed - shoved out of the way to make room
for Western flms like The Help. Even the awards ceremony
for the Arab Film Competition was put together haphazardly
and, once again, without notifying the press whose role it is
to help spread the word about these lesser known regional
flms greatly deserving of international attention especially
at this most signifcant of historical moments.
In actuality, the festival hosted a wonderful selection
of Middle Eastern flms, making it even more tragic that they
were overshadowed by a marketing campaign aimed at gearing
both press and audience towards mediocre but more internation-
ally known productions.
I cant see how any lives might have been changed or
even slightly dented by the festivals spotlight flm and DFIs
frst international co-production, Black Gold. The flm frst came
to my attention weeks before the festival, as I drove past four
recognisable faces plastered across a massive black and white
billboard that cupped part of Qatara the cultural village that
houses DFI. Antonio Banderas, Frieda Pinto, Mark Strong and
Tahar Rahim poised contemplatively for the on-going stream of
cars, creating an air of seriousness and depth to envelop their
anticipated flm, described as: a sweeping historical epic set
against the dramatic backdrop of the Arabian Peninsula in the
1930sThe tale of two rival Emirs, the oil that came between them and
the young, dynamic leader who rose to unite the desert tribes.
What excited me most about that billboard was its least known
face: Tahar Rahim. Still fresh in my mind was the memory of his capti-
vating performance in Jacques Adriards 2009 French flm, Un Prophte.
Unfortunately, not even an actor as promising as Rahim could redeem the
mediocre Black Gold. The flm can best be described as a caricature of the
Arab world. It tells the story of two Emirs somewhere in Arabia one
desperate for modernity and the wealth and prosperity it promises, the
other clinging to tradition and the ways of his ancestors the discovery
of oil that catapulted them and their opposing ideals into war, and the
shy Librarian-Prince who emerges as a leader capable of striking a balance
between modernity and tradition.
During the press conference with the flms cast and crew, pro-
ducer Tarek Ben Ammar proudly emphasized the fact that the Tunisian
revolution broke out in the midst of flming. The flm, he claimed, was
partially inspired by the momentum of the Arab Spring. It was a cin-
ematic nod in solidarity with this historic moment. But contrary to such
statements, the flm felt more like an homage to Hollywood flms of the
1950s and 60s set in the exotic Orient and saturated with problematic
over-simplifcations and stereotypes.
My issue with Black Gold is not that it portrays Arabs in a
negative light on the contrary, it makes a concerted effort to do the
opposite. But, a flm about the Arab world should not be judged based
on how positively it portrays Arabs, despite how tempting this might
be in a world where the spectre of the Angry Arab looms large. Rather,
a flm about this much-misunderstood region should be judged on its
ability to communicate complexity and nuance, and on its willingness to
raise questions rather than provide clear-cut answers. Black Gold gives
us Tahar Rahims benevolent Prince Awda who is intelligent, educated
and gentle with his wife. However, it also takes complex issues that have
a contemporary resonance in the Arab world such as the relationship
between Islam and modernity, the socio-political and economic role of
oil in the region, Arab-Western relations, and the dynamics of gender in
the area and strips them of their nuances, contradictions and detailed
historical contexts. It simplifes them to such a degree that it rids them
of substance and modern relevance, transforming them into stick fgure
versions of the real thing.
Ben Ammar explained that they wanted to address elements
that continue to be central to the modern Arab world. But, in trying so
hard to abstract these issues, in giving us Arabia rather than a specifc
Arab locale, in breaking the signifcant historical moment that was the
early twentieth century down to someone found oil and not everybody
liked it, in whittling the colonial context down to one lone American,
in providing us with an Islam for dummies version of the religion and
an image of the harem as Frieda Pinto dressed like Jasmine peering out a
window at the world beyond, the flm comes off more like a Disney-type
fairy tale than a serious period piece. The aim of the flm, I think, is to
provide an entertaining story one with a suspenseful climax and a happy
ending, villains and heroes - to be presented to a mainstream Western audi-
ence assumed to be curious about the Arab world but not willing or ready
to be seriously challenged and made to feel the emotional discomfort that
comes with a flm that deals with a historical moment and its conditions of
possibility masterfully.
During the press conference, I hoped to hear a convincing reason as
to why, at a moment when the region is bursting at the seams with cinematic
talent, Ben Ammar and the flms director Jean-Jacques Annaud, chose to
cast primarily non-Arab actors in the lead roles. Ben Ammar tried hard to
sell the idea that this was done for qualitys sake. When he frst saw British
actor Mark Strong, he explained, playing the Jordanian chief of police in
Body of lies, he turned to a friend and asked, who is this wonderful Arab
actor? He was so impressed with Strongs apparently convincing perfor-
mance as an Arab that he had to cast him as Ammar, Awdas father and the
Emir fghting to keep the Westerners out of Arabia. Strong is a more than
adequate actor and did the best he could with the mediocre lines assigned
to him. But, to say that he was cast because he makes such a convincing
Arab or that Antonio Banderas was the ideal choice for the greedy Emir
Nassib because of his Andalusian roots, and so forth, is taking it a little
too far. After all, Arabs also make convincing Arabs and have slightly more
recent ties to the region than Banderas ancestral ones. For a producer who
spent a good portion of the press conference discussing the importance of
turning the Arab world into a cinematic hub and fostering regional talent,
Ben Ammar failed to deliver, giving us instead a Western flm about the
region, not a Middle Eastern epic, complete with A-list names to draw in
audiences and big bucks, not artistic legitimacy.
Rather than being swept away by the epic Black Gold, I found
myself taken with much more localised and parochial flms. In being lim-
ited to small villages, alleys, and the particularities of a given family, these
flms spoke more to me about the societies and historical contexts in which
their narratives are entrenched than Black Gold, with its abstract tropes, did.
For example, How Big is your love, an Algerian flm by Fatma Zohra
Zamoum, follows Adel, a young boy in modern day Algiers, as he adjusts to
his parents separation while being awkwardly comforted by his grandparents,
with whom he has been sent to live. The flms charm lies in its focus on the
mundane activities of everyday life through which familial relationships are
nurtured. It is, in a sense, these collective, routine activities that make up
the most intimate aspects of familial life: repetitive bodily practices that we
fow through alongside those we feel most comfortable around, momentarily
free from the social layers we parade around in publicly and the neurotic
thoughts that guide so many of us awkwardly through
this modern, fast-paced world. We watch Adel and his
grandparents adjust to one another and navigate the new
dynamics of their relationship as they carefully prepare
lunches, buy new wallpaper for Adels room, take trips to
the zoo and make couscous from scratch. Sharing these
private, everyday moments with the viewer communicates
wonderfully the kind of affectionate bond that is unique
to familial, cross-generational relations.
Like most people I thoroughly enjoyed Nadine
Labakis, Where do we go from here? Her flm pushed all
the right buttons: I cried; I laughed heartily; and I felt
simultaneously proud and ashamed to be Lebanese happy
to see such great work coming out of my country, and
frustrated with the sectarian reality the flm poignantly
highlights. I think one of the marks of an exceptional artist
is the ability to take a topic that has been discussed ad
nauseam and do something original and unexpected with
it, highlighting it in a refreshingly new light and in so
doing, shaking those of us who have become desensitised
to it out of our grogginess. Nothing quite like a musical
about sectarianism in which hash plays the role of peace-
broker to do just that.
Two other flms that left quite an impression on
me were Khaled El Hagars, lust and Yasemin Samderelis,
Almanya Welcome to Germany. Lust is set in an impov-
erished neighbourhood in Alexandria. It tells the story of
one womans desperate attempt to yank her family out of
squalor. The flm tries, explained El Hagar during a press
by SOPHIE cHaMaS
Left Nadine labaki at the she is film panel riGHt Jean-Jacques Annaud
6 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 6 3
conference, to communicate a universal message through
a very local story. And indeed, the very particular tale of
Sawsan Badrs Imm Shooq does quake with an unsettling
universal relevance. El Hagar takes the most benevolent of
archetypes, the mother, and shows us how unfortunate cir-
cumstances can eat away at her humanity, transforming her
into something unrecognisable and horrifying. She starts off
as a victim of a State that, while not directly addressed in
the flm, lingers in the background like a kind of invisible
puppet master, setting up the conditions of possibility for
the plots devastating progression. We watch as Imm Shooq,
one example of millions of neglected Egyptians, loses her son
to kidney failure after being unable to afford his dialysis,
triggering a descent into darkness. Accompanied by a trail
of chilling music, we watch what began as innocent begging
meant to raise money for her dying son, slowly consume her.
Gradually we see the money she gathers corrupt her. Her
original desire to help her family evolves into a yearning to
control all those around her by buying their submission. Her
obsession leads to her tragic end. To El Hagar, Imm Shooq is
a personifcation of the Egyptian government and the hor-
rifying consequences that accompany the misuse of power.
The flm shows us how appalling living circumstances, such
as those in which Imm Shooq and her family are mired,
can enable behaviour that those of us leading comfortable
existences are incapable of fathoming. I walked away from
this flm with its footprint sitting heavy on my chest, a
reminder of its powerful message.
Samderelis Almanya also deals with an issue of
global resonance on the much smaller scale of one family. This
heart-warming flm begins with a Turkish family in present-day
Germany whose roots in the country begin with the elderly
Patriarch and thread down to his young, third-generation, half-
Turkish grandson. It is the story of the charming idiosyncrasies
that colour multi-generational immigrant families and the dif-
fculty involved in trying to keep ones heritage and culture
alive in a foreign country, as the links to the motherland are
gradually watered down with every new generation. We join
the young grandson in listening to his grandfather recount
his hilarious tale of immigration his frst encounter with a
Western toilet, his initial horror at the idea of domesticated
dogs, etc. And we follow the whole family to Turkey where the
grandfather introduces the young toddler to that Anatolia hed
heard so much about. The flm serves as a thoughtful meditation
on the way heritage and culture get translated from genera-
tion to generation, increasingly blending with others in this
globalised world of hybrids - never dying, as it is often said,
but transforming, adjusting and being constantly reborn as
something not quite the same, but not entirely different either.
In the end, I would label the festival a success in terms
of the majority of the flms it screened, and misguided in what
it chose to spotlight. It is a young festival in a country that
only recently dipped a toe into the arena of arts and cultural
development, so its errors are understandable. I hope that, in
the future, it does a better job of sticking to its stated purpose:
supporting regional talent.
toP eshooq BottoM Left Antonio Banderas BottoM riGHt Tarek Ben Ammar
THE fIRST LaDY Of

text and photos RAWAN RIsHeQ
cuLTuRE
Meet Shadia Mansour. Dubbed the frst lady of Arabic hip hop,
she is a UK-born artist of Palestinian origin who has chosen to express her
identity and protect the culture of her displaced nation through her lyrics.
The frst time I saw her was when a friend sent me the music video of her
hit track Il Kuffyeh Il Arabiyeh (The Arabic Scarf), and even through the
video she made my hairs stand on end. The second time was at the Toronto
Palestine Film Festivals (TPFF) screening of her sisters documentary entitled
Hip Hop is Bigger than the Occupation, which followed Shadia and fellow
hip hop artists as they toured Palestine to perform, conduct workshops for
children under occupation, and interact with the local communities. Following
the flm, she stepped onto the stage in sweatpants and a t-shirt that read
Same shit, different Saddam. From that moment, her presence captured
me for the rest of the night; her humble appearance was refreshing, and her
commanding words are worth sharing although I have yet to engage with
her. Her frst statement was in response to a request to analyse the Arabic
hip-hop scene inside Palestine:
SM: When I frst started, there wasnt really a strong female presence, but
every time I go back, its growing and growing and growing. Its not just the
females, its the new generation out there thats really growing and getting
stronger. Its a revolution and for me, I consider Arabic hip hop the CNN of
our generation. What you saw in the flm is not something that just happened
a year ago, its something thats growing every day, and its an idea, its not
just hip-hop, its bigger than music, its an idea. Julian Mer Khamis was,
as you might know, murdered in April. He was also an idea; they killed
a person, but there are millions of Juliano Mer Khamises - were three
of them standing here on this stage. So, you cant just kill one person,
you dont even know what youre killing. That also goes for Vittorio Ar-
rigoni, the Italian activist who was murdered in Gaza in the same week
as Juliano. I just came from Rome a few days ago, and there is a huge
hip hop scene in Italy as well, a very revolutionary spirit - not just in
Rome, but because I was there that was the impression that I got. Re-
ally, as I said, there are a million other Vittorio Arrigonis, so you can
kill one person but you can never kill an idea. Thats really my analysis
on Arabic hip hop. The Canadian audience members (AM) then went on
to address her with issues of their own personal experiences related to
their various backgrounds, and posed questions on how to strengthen
their solidarity.
AM: Im from Somalia so we too have been victims of US foreign policy
- the solidarity is there. I wanted to know, just from watching the
movie, how do you move beyond the anger you feel towards Israel into
something more productive, or what can people here in Canada do to
alleviate the pain?
SM: I think its really important that now people in Palestine are aware
of their own situation. When you go there youll see for yourself - youll
witness everything youve ever read about, youve ever heard about go-
ing on there. But really, now were in a different phase of awareness, of
enlightenment. I think now its a global revolution. Its the revolution
of the mind - you need to spread the message, in any profession, it
doesnt have to be music. If youre a painter, a writer, whatever you do,
I think that you should channel whatever is going on in Palestine into
what you do, and that may be a contribution. I believe in any way - it
doesnt have to be music, it doesnt have be as vocal as what we are
doing - any kind of expression. You know what is even scarier for the
Zionist ideology and culture? What you see in the flm - this is the
Third Intifada. Weve been talking about the Third Intifada, and its not
a battlefeld with guns and weapons, this is the Third Intifada. This is
an element of the Third Intifada.
AM: I once wrote a paper on Israel/Palestine in my last year of high
school. At that time, I was neutral in a school with a Muslim majority,
which is not easy to say or do in that perspective, but I tried to research
it from both sides. To tell you the truth, theres a lot going on inside
Israel itself, I dont believe that Israelis themselves want the occupation;
Ive seen a lot of them go against the Netanyahu government in terms of
protests against the occupation of Palestine. I dont think we should see
the Israelis as enemies themselves, but we should look at the government
who are being the oppressors and not look at the people as a source of
confict. Im talking from experience, being from a Muslim country as
well. Im from Malaysia, and that country itself has a lot of oppression
against the Indian and Chinese populations who have been living there
for generations. We make up 6% of the population, but we basically get
segregated, so thats what Im trying to say; its a whole problem there.
SM: About how we shouldnt think that Israelis are the enemies, thats
not the impression that was intended in the documentary. Yes, there are
people in Israel, there are Israelis, who are joining the anti-apartheid
demonstrations against the government, but its not enough. There arent
enough people. There were over 300,000 Israelis the other month who
6 4 D O S S I E R K A L I MAT
were protesting against the govern-
ment because they were disadvantaged
and they were inconvenienced. They
would protest for social reforms, but
their country is still an occupying
force. I dont understand how within
a month 300,000 people can come
out and protest and completely oc-
cupy streets, with tents and bring
out their families, but they cant do
that against the apartheid wall. So,
the intention isnt to say Israelis are
the enemies, the intention is to say
that we need more Israelis to stand on
the other side of the wall and protest
against the occupation. Maybe from
my anger in my music it may come off
that way, but at the end of the day
I live in Haifa, my parents are from
Haifa, Palestine. So when I go there
I have to pledge allegiance, which I
dont, but I am expected to pledge
allegiance to the Israeli government.
My parents were born under the Brit-
ish Mandate of Palestine, my parents
have Palestinian passports, so how can
I ever call Haifa Israel? How can I ever
call Haifa Israel? Id be insulting my
parents. I also know Israelis within 48
territories; there are a lot who are not
standing with the apartheid govern-
ment, but theyre also not standing
against, because they want to stay
neutral and keep their house and keep
their garden there. There are so many
different types of people just like all
around the world. Its not a very big
place, its very overpopulated, and
there are enough Arab Israelis - I dont
like to call them that, Palestinians
living under the Israeli government;
they dominate the Jewish popula-
tion in the 1948 territories. Obviously,
were asking more Israelis to come out
and so youll see more Arabs out too.
The Jews youre talking about who are
standing with us, I know them; there
are a lot of Jews that want peace, thats
a natural thing for a human to feel, but
over there at the end of the day, there
just arent enough people standing on
the right side of the wall. My music can
give that impression because I can get
emotional, but Im part of the Palestin-
ian diaspora; its even more frustrating
for me to see Israelis in London doing
counter-protests on the days when we are
trying to commemorate nine murdered
Turkish activists who were slaughtered
on the fotilla in May 2009. That makes
me sick, and I think no, they need to
understand, even if its in a harsh man-
ner, that were coming with facts and
statistics, especially artists like Marcel
Cartier and Lowkey, and that should be
enough to enlighten more Israelis.
AM: First of all thank you, this has been
really amazing. Id like to welcome you to
the land that the settlers call Canada.
Im from Moose Creek First Nation. Im an
indigenous Canadian. This is not my land
specifcally this area, but I guess what
I wanted to ask was - well, frst a com-
ment: I started learning about Palestine
about three or four years ago, I didnt
really understand what the big deal was.
I started reading more and more and I
have a lot of friends teaching me on this
learning path. Something I came to tell
myself was, oh my god, they gave them
fake borders, they gave them Palestinians
cards and said that this is the only way
you can be Palestinians, they gave us the
same kind of fake borders, they gave us
cards and said this is the only way that
you can be an Indian. So, it just makes
sense to me; how can you not support
Palestinian people as an indigenous per-
son in Canada? How can you not support
Palestinian people as someone living in
a colonised land? So I guess my actual
question is how do you think we can
strengthen the bridge from Turtle Island
(the original name of North and South
America by its indigenous inhabitants
before colonisation) to Palestine?
SM: When I go to a country I always like
to pay my respect to the natives. So,
when I went to Montreal in June I went
to Kahnawake, I went to visit Mohawk
nation, and I met the real Montrealers
there. I just want to share my experience
with you because it was amazing. The
frst house belonged to - I dont know if
you guys have heard of Clifton Nicolas,
hes a comrade. I went with a group of
people and when I walked into his liv-
ing room he had a huge Palestinian fag
hanging down from his front room ceil-
ing, and he gave me their tribal fag as
well. When I arrived in Toronto today,
I asked where there is a reservation,
but we couldnt arrange it quick enough
because were only here for a few hours.
So, I think if you ever come to Israel,
if you come to Palestine as an Indian,
Id advise you to visit the West Bank,
48 (territories), and Jerusalem, all of
Palestine. And thats really how I see
us bridging the gap: its getting hands-
on with the situation. Its not enough
to go to protests, put up a banner and
shout Free Free Palestine. I think we
talk about revolution, but really being a
revolutionary is something you do, just
like hip hop, and we have to exercise it.
Thats my advice really - its to actually
go and visit and leave a mark, you know,
mark your territory, not in a colonising
way. The third time I saw Shadia had
the most impact: I shyly asked her if
she would mind doing a short interview
with Kalimat before she had to perform
as part of the closing night ceremonies.
We huddled into the staircase of the Pi-
lot bar with music sneaking in through
the gap under the closed door. There, I
turned on my recorder, despite her ini-
tial apprehension on being recorded, she
seemed to have quickly warmed up to me
after I explained what we at Kalimat were
all about, and mentioned that I too was
originally from Haifa.
RR: How was it breaking into the Arabic
hip hop scene as a woman and into the
international scene as an Arab? Which
was harder or what were some of the
challenges you faced?
SM: I guess breaking into the Arabic hip
hop scene as a woman wasnt really as
big of a challenge for me because I had
a lot of support from the male MCs - just
because it was predominantly male Arabic
hip hop artists. I was motivated by them,
and that really was my boost into Arabic
hip hop. It wasnt until I started going
to Arab countries and performing, con-
fronting more conservative communities,
that the challenges began for me. Being
a female hip hop artist and trying to be
accepted in our own communities Id say
is harder than trying to be accepted in
the international community. Its not so
much just being a female, its about the
type of subjects that youre presenting
as well; politics seems quite a masculine
subject to most conservative communities,
and breaking that barrier, yes, Id say its
slightly harder than breaking into Western hip hop.
RR: How and when did you know that music was your
form of expression about Palestinian oppression?
SM: It didnt start with music - I come from a revo-
lutionary family, a humanitarian background - it
started at protests, it started in personal family
discussions, it started defnitely at protests in London
and I started singing at these protests, you know,
I was a one-woman band. That kind of escalated
into spoken word hip hop, and when I was a teen-
ager 9/11 happened and then everyone knew where
Palestine was on the map, everyone knew what an
Arab was, everyone was familiar with the word. So,
I felt like our image was being distorted and I kind
of injected my own pride into my music. Thats really
the message behind my music: defending our culture,
defending our identity. Especially me, someone like
me who was brought up in the West, who can easily
lose their culture and their identity because were
forcefully integrated into a Western society. For me,
Im Arab, my name is Arab, I feel Arab, I think Arab,
so I choose to express myself in Arabic.
On that note, I had the privilege of then
witnessing Shadia in her element as she sang and
rapped in Arabic, shaking me to my core. In her
voice, I heard my own, and felt fnally like someone
understood me.
6 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 6 7
cuLTuRE
cELEbRaTIng
SaMIRa
by fARIs HABAYeB
H
er voice is unmistakably dogmatic, soaring for many
a decade of Arabic song. Her look and sound is a
tradition of relentless trend - yet she is a classic act
in her own right, a presence that is flled with a unique femi-
ninity and a strapping vocal range that has pervaded through
time. At her simplest, Samira Said can be characterised as a
diva. Her lengthy dossier can position her along the ranks
of the ostentatious, perhaps landing her a two-year, 70-show
contract in the Arab regions Las Vegasotherwise known as
Dubai. But this is Saids worst-case scenario, and frankly, that
sort of arrangement would be better suited to someone belong-
ing to Rotanas army of insipid artists.
When celebrated, Said is an ambassador of the ballad
and the anthem. Her voice can be a wet ripple, deeply rever-
berant in the most sombre of tunes, or, shatteringly assertive
and modern, unleashing gusto unexpected from a singer in
her ffties. Redefning the contemporary Arabic song, Said has
continued to break the music grid in her discography that now
spans more than 30 years in the making. Said has jazz, show
tunes, dance, and oriental, all cinched under her Moroccan
belt. Yet she is always evolving, shifting the Arabic song in its
structure and exhibition.
A realist, Said has nullifed the fairy tale hymns of
everlasting love, a musical rhetoric that is forever engrained in
the Arabic song. Ezzay Aheb (How Am I Supposed to Love?) is
a jaded hip-hop ditty that indulges in Saids inability to devote
and love like others do. This sensibility has contributed to a
rising number of Arab female artists bringing forth a form of
street-smart credence. Call it a mild form of feminism if you will,
but Said is not strictly angry and man hating. When Arabic pop
bores the listener with a humdrum habibi (my love) refrain, Said
reconstructs the experience with scat and a vivacious employ-
ment of her voice as percussion.
Said has come a long way from her iconic pan-Arab
debut in the eighties. Iconically recalled in a pink-layered dress
with magenta lips, singing Moch Atnazel Annak (I Wont Give
You Up), Saids artistic journey began almost a decade prior. She
represented her native Morocco in the Eurovision Song Contest
with Bitaqat Hob (Love Card). The only Arabic song entered thus
far into the competition. A detonating frework, she was ushered
into Cairo, conquering the music scene with Abdul Halim Hafez
and Baligh Hamdis backing.
In the past decade Said has released three records, a
humble achievement in comparison to counterparts in the Arab
music industry. Her most recent, Ayam Hayati (Days of My Life)
(2008) concluded a contract with Mohsen Jabers label Alam El
Phan. Seemingly in artistic purgatory, she is yet to be signed
to a label. Nonetheless, in the past year, a collaboration with
Marrakesh hip-hop trio Fnare brought forth a notable ripple
in her musical CV. Saids music is often discredited for almost
exclusively being Egyptian in its lyrical delivery. The single,
Be a Winner is an urban ode to self-empowerment, infusing
English and Moroccan rap alongside Saids arabesque trilling.
Amidst heavy rumours circulating that the next re-
cord will be personally sponsored, Said has graced the stages of
Star Academy and a few Arab summer music festivals this year,
mildly satiating fans of her presence. Said maintains a presence
on Facebook and I follow her on Twitter.
cuLTuRE
KInSHIP In aRab
cINeMA:


by RAWAN HADID
RH: This three-part programme aims to map the largely
unknown heritage of personal, artistic and experimental
cinema from the Arab world. Could you very briefy discuss
the different facets you have focused on for the three years,
and what your overall curatorial intent has been?
RS: Extensive research preceded the selection of the pro-
gram. We had to celebrate the plurality of voices, as well as
highlight or privilege kinships between works/flmmakers
across generations and countries. If you think of our three-
part programme as a platform, the idea was to showcase
as diverse, plural and yet cogent a programme as possible.
Besides deciding to articulate the programme in three edi-
tions, we also organised within each edition clusters, or
series of flms and videos that seemed to be in a conversa-
tion, or share an interesting kinship. The curatorial intent
is very much what the programmes title spells out, namely
to map how flmmakers have articulated their subjectivity
in flm and video.
RH: I look at this years programme, and while found footage, archives and icons are absolutely running
themes, I sense a lot of revolutionary undertones. For example, the programme opened with Waqai Sanawat
al-Jamr (Chronicles of the Years of Embers). I cant help but wonder if this is a coincidence or if the Arab
Spring played a role in your selection? Is this meant to challenge prevailing views about revolution and
push people to revisit how they think about Arab revolutions in the same way that the rest of the program-
ming tries to propose an alternative artistic historical map?
RS: You are absolutely right in making a connection between the Arab Spring and Chronicles of the Years
of Embers. Like every programmer looking at Arab cinema in 2011, we could neither dispel the attraction,
nor the expectation of addressing the Arab Spring. While by the time we
were locking this years programme, there were flms aboutand fromthe
Arab spring circulating in festivals We did not feel these works ft the
purview of Mapping Subjectivity. In fact we sensed it was too soon in
time and in relation to the events for us to expect a strongly subjective
take on such overwhelming historic moments. We were in Algeria and we
looked at Chronicleit was after all the seminal flm, that told the
story of the frst revolution in the Arab world, from within. The Battle
of Algiers has received more attention of late, and with all due respect
to Gilo Pontecorvos magnifcent effort, Chronicle had established the
canon. Moreover, we learned that in spite of the fact that the flm won the
Palme dOr it had only screened in New York once, in 1996. So it seemed to
make sense that we render our homage to the Arab spring and inaugurate
our second edition with the flm. You are also absolutely right in seeing
that the rest of the programme invites to consider an alternative history,
using video and flm that engage with archival footage of all kind. Its
wonderful to see that our curatorial approach is so decipherable!
TWITTER: @Samira_Said
FACEBOOK: www.facebook.com/samirasaid
6 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 6 9
RH: Would you say that experimentation in cinema is in itself
a form of revolt or revolution?
RS: Defnitely. If the word revolution is excessive, certainly re-
volt or insurgency are appropriate. It is important to note that
these flms were each produced in a specifc context, informed
and enriched by other artistic felds: poetry, visual art, theatre,
music and literature. In some of the flms, like Tahya Ya Didou,
you can see the intimate connection to poetry because Momo,
one of the main protagonists, recites poetry all the time, and
his verse seem to drive the flms narrative. Ahmed Bouanani
was also very inspired from poetry and literature, he wrote and
published verse and short stories himself. And fnally a number
of the short flms we included in this edition are also video in-
stallation works. In other words, their authors/makers straddle
both worlds of cinema and contemporary art.
RH: At the MOMA panel, you mentioned that you hope crit-
ics and scholars will revisit and rethink prevailing theories or
the way we are taught to think about Arab Cinema. Could you
expand on that a little bit?
RS: So far, chroniclers and scholars of Arab cinema have tended
to draw more North-South connections; for instance, there is a
mapping of how the French New Wave and Italian Neo-Realist
schools inspired Arab flmmakers, and these are true. They are
based on narratives of flmmakers testifying to what or how
they were infuenced. There are practically no South-South
connections that are acknowledged or taken into account, for
instance how the nascent African cinema impacted Algerian,
Egyptian or Syrian flmmakers, or how Brazils Cinema Novo
infuenced North African cinema. Even the infuence of the
VGIK (the flm school in Moscow) is barely acknowledged. I
say this because while flmmakers have told their stories, the
places where the most exciting encounters took place, even by
their own account, were neither Paris, nor Cannes, nor Rome.
They were the Algiers Cinmathque, or the Pan-African Film
Festival in 1969 in Algeria, FESPACO, the Cairo International
Film Festival, the Journes Cinmatographiques of Carthage,
Assila Festival in Morocco, etc. In other words, flm historians
and theorists have not tried to investigate how the encounters
and the conversations that took place there have inspired works.
In Mapping Subjectivity we wanted to draw attention to kinships
in style, form, approach and motif that might not be explained
in a straightforward interpretive framework of a transmission
across generations and geography. Arab cinema is not acces-
sible to Arabs across time and space. That is one of its biggest
tragedies. The Cinmathque of Algiers holds close to 10,000
flms. What of these have Algerians seen in the past decade?
Extremely few. What of these have Egyptians seen? None. Not
only is the exchange between two archives in neighbouring Arab
countries practically non-existent, there is no cinmathque in
Cairo (the capital of Arab cinema), and defnitely not a single
art house cinema. The same goes for Damascus. Non-mainstream
flms are not available on DVD. Very, very few are available on
the market of pirated flms. Even fewer are broadcast on satel-
lite TV stations that screen flms 24 hours on 24. All this to say,
that due to structural reasons, the theory of how generations of
Arab flmmakers develop an acquaintance with their regions flm
legacy does not quite hold. And yet there are tangible kinships,
recurring motifs, a shared poetics. Film historians and theorists
of Arab cinema have to engage them one way or another.
RH: Again, at the panel, you discussed the national moment
and post-national moment, the modern moment and the post-
modern moment. The programme tries to challenge traditional
theorisations about these moments in Arab cultural production,
by fnding parallels and insisting on an artistic kinship between
generations of flmmakers. Could you tell our readers a little
bit more about this?
RS: There is an overwhelming notion of a rupture between gen-
erations of artists, the modernists and the post-modernists. This
notion comes from artists own narratives. The post-modernists
were rejected by their fathers or predecessors, the modernists.
Established critics contributed to that rift as well, and did not
take the post-modernists seriously enough, quickly enough.
The reasons for this rupture has to do with a complex and
multi-layered set of circumstances, factors, situations, changing
conditions of production, modes of dissemination and concep-
tion. The painters have taken a great deal of time to accept
video, installation and conceptual art as art, and vice versa,
the conceptual, installation and video artists have taken a
great deal of time to accept painting as a valid contemporary
artistic practice. The same rift existed in cinema. The advent
of digital technology and Final Cut Pro enabled a generation
to make flms at a tenth of the cost of a 16mm or 35mm. For
instance, in Egypt, the Cairo International Film Festival was not
able to include Egyptian digitally-shot flms under the category
of flms, and opted to institute a section in their programme
titled digital cinema rather than revisit the defnition of
cinema. The question of medium is, ultimately, superfcial
in itself, but it is everything else that comes with the digital
medium that instigated tension. Video art is lightweight and
speaks a language that painting does not for the most part. It
also exhibits, communicates and disseminates in an entirely
different manner. To some, it was undecipherable, and to others
it was authentically contemporary. The lack of communication
between generations of artists was experienced as contempt,
disregard, a radical rupture in transmission from one tradition
to another. In Mapping Subjectivity, we proposed a programme
that did not take into consideration this rupture. We basically
gave primacy to the works, and our readings of the works and
assembled flms made in Algeria in the 1970s with video art
works made in Lebanon in the 1990s, or in Morocco this year.
As to the national and post-national moments I identifed
in that presentation, they are remarks on distinctions between
flmmakers using the frst person, those who speak in the plural
form (the national we or us) and those who use the singular
(the post-national I or me). While I hate to impose a linear
chronology, my remark was that the generations working in the
1960s and 1970s used the frst person plural, speaking in the
voice of a collective or community hence challenging offcial
discourse or rewriting a history in the name of society whereas
the generations working in the 1990s and 2000s use the frst
person singular, underscoring the breakdown of a possible we
or society, political parties...
RH: You also said that it was more natural to have Goddard
visit Syria in the 70s than to have a Syrian in Cannes today - a
commentary on the changes in the North/South conversation
in the last 40 or 50 years. I think such changes are paralleled
in activist/revolutionary. Could you comment on this? Do you
perceive any new shifts? Does the Mapping Subjectivity flm
programme consider this divide?
RS: North-South relations have not been operating on an even
keel since the North developed colonial ambitions towards the
South. My remark was really about how modern artistsnot sure
about the activistssaw themselves in the world. Since the end
of WWII, or more precisely the 1950s and until the end of the
1970s, the understanding of modern art in our region was that it
was a project where everyone could contribute equally because
our traditions had held the keys or were the inspiration to,
cubism, abstraction, etc. By the admission of such masters of
modernism as Picasso, Gauguin, Matisse, and so many others,
Islamic art (whether calligraphy or miniatures), African art and
Japanese art had opened their eyes to possibilities of rendering
and representation they had never imagined before. Modernism
had a universalist tenor, and a belief/idealism that a new world,
equitable, just and prosperous was possible with technological
progress, modern sovereign state structures, etc. Artists from
the Arab world imagined themselves in a conversation with
their western peers, as well as with their eastern peers. That
illusion or fction was shattered in the 1970s. Today, the terms
of engagement are openly uneven, and these translate to how
structures in the west engage with contemporary artists. I am
generalising of course, but lets say that a city like Munich will
not engage with Arab artists unless there is a specifc grant to
dialogue or host artists from Islamic societies or explore
contemporary art from Islamic societies. The purview is much
too often geo-cultural. In fact, some artists see themselves on an
even keel with western artists and see their artistic practice not
to be strictly an epiphenomena of their political-social-cultural
environment, and turn down invitations that acknowledge the
geo-cultural framing of Arab or Muslim worlds.
The Mapping Subjectivity flm programme grappled
with that problem because it only engages the Arab world, and
acknowledges that geo-cultural framing in its title. In a few
instances we have had to convince artists and flmmakers that
our curatorial vision was to challenging geo-cultural framing by
undermining the canons, proposing alternative histories and
theorising of Arab cinema and including in the third and fnal
edition flms by non-Arab flmmakers on the Arab world... Our
arguments have been convincing so far.
7 0 D O S S I E R K A L I MAT
Current
AffAirs

ReVIeW Of
nagHaM MaSRYS
MESH MOHEM
by NAIRA BADAWI
I
think its safe to say that Im pretty uptight when it comes
to music. Ill listen to all kinds, but I admit its almost
physically impossible for me to utter the words, That was
perfect. As far as I can remember, the most recent bit of music
I thought was perfect was Mohammed Mounirs Etkalemy,
and that came out in 1983 before I was even born. Dont get me
wrong; there have been some absolutely genius musical creations
in the last 20 years. To me, an extremely miniscule portion of
it could even remotely be classifed as perfect.
And to me, Mesh Mohem (Not Important), by Nagham
Masry, is perfect.
Nagham Masrys oriental-jazz fusion is tremendously
refreshing; the minute its played, you cant help but wonder
where has this group been all my life? Well, apparently the group
was originally and haphazardly formed in 1999. However, band
members come and go like money and, in the end only, some
stick around for the long haul. The group currently consists of
eight members, Ousso and Sherbini being the front-runners of
the group. Ousso told me that the entire project was started in
an effort to, Showcase very Egyptian melodies and words with
some serious and honest music! Whats remarkable about this
band is that theyve managed to fabricate a perfectly-balanced
combination of Egyptian folklore, classical Arab sounds, and
modern jazzy, almost funkifed beats. Qanoun (zither) and oud
(lute), played by Sherif Kamal and Shady Sharaf, beautifully
complement the drums, keyboard, bass and percussion played
by Amr Khairy, Faisal Fouad, Samer George and Hany Bedair,
respectively. Each and every member contributes greatly to the
beautiful soundscape surrounding Sherbinis raw, yet refned,
guttural vocals.
Noting that the album took eleven years to complete
is defnitely Mohem. Thanks to the less than despicable nature
of the mainstream music industry in not just Egypt, but the
entire Arab region, Ousso took it upon himself to do absolutely
everything to ensure the record was released exactly the way the
group had envisioned it. When I say he did almost everything, I
mean it: The production, arrangement, recording, mixing and
mastering was all done at my humble home studio. Ousso and
the band really wanted to create music that was free of any
consideration to the mainstream or what Egyptians are used to,
like the tabla (drum) and [the] maksoum (beat), even going
as far as to say that mainstream Arabic music is cheesy and
stupid. I didnt really care about what people would think
when they heard a rock guitar solo right after Salah Jahin lyr-
ics! he said with indifference. Well, the people love it, man.
The title may give off the notion of nonchalance but
the album is actually dripping in positive messages. You got
problems? Mesh Mohem (its not important), you can get past
it. Makes me smile.
These guys stuffed the album with some of the most
beautiful poetry written by some of the most celebrated Egyp-
tian poets to ever hold a pen.
The album starts off with a quite a bang. Salah Jahins
perfectly put words are supported and put to life by intricate
and beautifully played guitar chords. Sherbinis voice carries
our beloved poets lines wonderfully and adds a much-needed
Egyptian fare to the listeners day. Pay close attention: if you
want a bona fde eargasm, listen carefully to the golden nugget
of sound in the opening tracks second minute. The fact that
qanoun is my all-time favourite instrument makes this sound
snippet that much more self-indulgent in my perspective, but
you dont have to be as obsessed with the qanoun as I am to
appreciate the depth of those few seconds. I could write about
how beautiful 2 Sabahan from here til 2 AM.
Im a sucker for anything Ahmed Fouad Negm, a poet
famous for his stark depictions of anything relating to Egypt.
Allah Hai is another memorable track off of the thirteen-track
album. The Dervish aesthetic is heightened with every Allah
hai rhythmically kneaded into the instrumental. I dont know
which is better, the qanoun solo or the guitar solo. They are
both executed with sublime fnesse and you wont be able to
get enough of either. I guarantee the song will have you invol-
untarily swaying your head from side to side.
In line with Allah Hai, Hereb el Khasees possesses
almost the same warmth. That back home feel to it is just
too good to be true. Songs like Hereb el Khasees, with the
clapping and the male vocals in unison, are reminiscent of icons
such as Mohamed Roshdi or Said Darwish. To some, these lyrics
and classic folkloric styles seem outdated, but thats exactly the
reason why mainstream Arabic music today is so atrocious; it
steers clear from who we are instead of embracing it. Each track
on Mesh Mohem pays tribute to the pure roots of the genius of
Arabic music and reminds us of where we came from. Yet they
do all this while still keeping their sound fresh and modern.
Our Oriental (sharqi) origin and heritage is fur-
ther preserved in songs like Istanbul, a track dripping in
magnifcent cultural imagery that is made even more vivid
with the help of Sherbinis strong voice.
I assure you, Nagham Masrys music will forever
remain relevant due to the fact that the group tackles uni-
versally relevant topics, such as oppression and tyranny.
Qoulo laa was likely written for Hosni Mubarak. Expressive
and poignant, the hollow sounding melody perfectly seems
to allude to the emptiness felt by citizens of Egypt during
the ousted dictators reign. Qoulo laa essentially applies
to any oppressed mass and a song that can achieve such
universality has classic written all over it. Nagham Masry
did not just ride the wave that most quasi-revolutionary
musicians were so eager to be a part of. In fact, long before
the usurpation of Mubaraks regime, theyve been attempt-
ing to incite revolution through their lyrics. We were the
only band since 99 singing revolutionary songs against the
regime, Ousso said, And while everyone else was hiding,
we were facing a lot of problems with Amn el Dawla (State
Security). When the revolution started, I refused to play
or ride the wave, I decided that its time to fght and stand
for our rights. Unlike some of the musicians who played
in Tahrir Square during the revolution, Nagham Masry had
always been adamant about a regime change. Theyve been
urging people to rise up long before January 25th, 2011.
I believe the pice de rsistance of Mesh Mohem is
El Qala. Perfection can come in degrees and this, to me,
is the most perfect of all their songs! If I had heard this
song without knowing who performed, I would think it was
from a different era. They do justice to Ahmed Fouad Negm,
and I think Sheikh Imam wouldve been proud. I feel Bahia
(a name for Egypt coined by Ahmed Fouad Negm) in this,
its a true distillation of el nagham el Masry (the songs
and melodies of Egypt).
From start to fnish, the album successfully man-
ages to bring back the tried and true folkloric sounds of
Egypt while throwing in some jazz, funk and even blues.
Mesh Mohem is free for all to enjoy and can be found on
www.egy-bands.blogspot.com. Grab a cup of Turkish coffee,
sit in your room alone and take it all in!
www.naghammasry.com
cuLTuRE
Pay close attention: if you want a bona fde
eargasm, listen carefully to the golden nugget
of sound in the opening tracks second minute.
7 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 7 3
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caIRO
by HEba ELKaYaL
T
ry as one might, its quite diffcult to be able to claim
to know the city of Cairo thoroughly, regardless of
how long one lives here.
There are too many neighbourhoods, ever changing,
sprawled across the seemingly infnite area that composes Cairo.
Assorted alleyways, avenues and narrow streets can lead you from
one adventure to another across the neighbourhoods of Giza,
Abasseya, Zamalek or Old Fatimid Cairo. Whatever it is one might
be in search of, whether its visiting old Islamic sites, listening
to some music played on a oud, an exhibition of contemporary
Egyptian art, or a meal with a view of the Nile theres something
to be enjoyed by everyone here in Cairo.
Attempting to explore the city of Cairo in one day is
ambitious, yet ultimately it can be done if only to get a taste
and feel for the myriad of offerings the city has to present.
Its best to start your day early. Aiming to leave your
home or hotel by 7am to get to the Giza Pyramids by 8am is
necessary so as to avoid one of Cairos ghastliest traffc jams on
Haram Street on your way back downtown.
Enjoy walking around the pyramids for an hour or
so - dont linger too much, but promise yourself youll return
for a properly organised tour of the pyramids, or else a ride on
horseback during sunset. Both experiences are worth the time
and trouble of making it out to Giza again and testing your
skills at bartering with the men who hire out horses and camels
to visitors.
If youd like to stop for a cup of tea or quick breakfast,
the old Mena House Oberoi is right by the foot of the Pyramids.
Built in 1869 as a hunting lodge for King Ismail Pasha, it has
since been converted into one of Egypts grandest hotels, bearing
witness to historic events and historic guests. The interiors are
fashioned in an Orientalist manner, some pomp and circumstance
abound in the long hallways and dining rooms, but regardless,
its well worth a quick visit.
Head back into town and visit the Saladin Citadel.
Once a medieval fortifcation, the complex has expanded on
its current location perching over the city since it was frst
built in 1183. Fantastic views from above of Fatimid Cairo, the
centre of Islamic Cairo with Al Azhar Mosque and the Khan il
Khalili bazaar below, make for great pictures. You can explore
the Mohamed Ali Mosque or walk around the various courtyards.
The noise of the city below is dim, and one can clearly
make out Al Azhar park to the right. It will perhaps be your last
moment of serenity and calm before exploring the charmingly
chaotic Khan il Khalili bazaar.
Catch a cab to Khan il Khalili and if shopping is on
your mind, the rule is always to barter with the vendors for
the best price. Bartering, as tiring as it can be, can be half the
fun. Brass lanterns, copper ornaments, hand blown tableware
and other trinkets make for great gifts and easy home decorat-
ing additions, but the beauty and fun of the bazaar is to walk
around with eyes open.
Ask for directions to El Fishawy Caf and recuperate
for a short while. Though not the caf at which Egyptian writer
and Nobel Laureate once sat daily to observe characters and
gather stories for his writings, it would have been a very similar
experience to Naguib Mahfouzs who lived in the neighbourhood
Gamalayya, adjacent to the bazaar.
At El Fishawy, waiting staff brusquely make space for
you amongst the tourists and locals sipping on tea, gathering
chairs and setting up a squat copper topped table to perch
your tea or hibiscus juice on it. Once seated make sure to look
above: taxidermied stuffed crocodiles, large gilded mirrors and
various characters passing through make El Fishawy a bizarre
and entertaining experience. You can smoke a hookah pipe as
you people watch or else save your shisha for dinner time.
From El Fishawy, ask for directions to El Muizz street.
One of the oldest streets in Cairo, it is dense with Islamic monu-
ments along its one kilometre stretch stretching from Bab El
Futuh to Bab Zuweila, two historic gates that once guarded a
Mamluk-era city of palaces and homes.
Having recently undergone extensive renovations, El
Muizz street, a strictly pedestrian zone, is now an open air mu-
seum rivalling Luxor or Rome. The present blends into the past
on this street of grand mosques, old houses and schools where
once Koran was taught, and small shops sell spices and assorted
bazaar wares. If any of the mosques are open, walk inside, and
again, look up. The craftsmanship and work executed on the
walls and ceilings are exquisite, and its easy to lose track of
time admiring the craftsmanship and art of calligraphy engraved
in stone and wood, and fne stucco borders.
Walk to a main street and hail a cab to the island of
Zamalek. An affuent neighbourhood, Cairenes familiar with New
York will explain that Zamalek is to Cairo what Manhattan is
to New York City. A neighbourhood with galleries, restaurants
and residential areas, theres much to do and see in Zamalek
on any given evening.
Check out Safar Khan Art Gallery, a gallery run by a
mother and daughter team who have a fne eye for great artwork.
Showing and representing established Egyptian artists as well
as young up and coming artists, Safar Khan is worth a visit to
get a feel for how the art scene in Egypt is.
It would probably be time for dinner, so head to
Sequoia, a restaurant and dining experience that is uniquely
Cairene. Located on the southern tip of the island of Zamalek,
Sequoia is part lounge and part restaurant, all set outdoors with
seating directly on the Nile. The 270 view of the neighbourhoods
of Imbaba and Beaulac, and the Imbaba bridge, are calming.
What makes Sequoia so special is the simplicity of
both its dining interior design concepts: unwind and enjoy
dinner under the white canopies which hang over Sequoia. The
setting is relaxing and candles are lit to add a warm glow to the
canopies and overall setting.
The menu is a mlange of Egyptian and international
mezzes, appetizers and dishes. Alcohol is served, as is shisha,
and the quality of the food and service is very good. Its a
great place to people watch as well, everyone comes to Sequoia
for the food, the setting, and of course, a lot of laughs and a
bit of gossip.
Safar Khan Gallery: 6 Brazil Street, Zamalek, Cairo. Tele-
phone: (002) 0123-127-002
Sequoia: 53 Abou El Feda Street, Zamalek, Cairo. Telephone:
(02) 2735-0014, (002) 0100-366-7000
oLD MaN oN MUeZZ Street iN oLD
fatiMiD Cairo. Omar Hikal
Right: MUeZZ Street Lit UP at NiGHt. Omar Hikal
left: SeqUoia, a LoUNGe aND reStaUraNt LoCateD oN tHe NiLe. Photo courtesy of sequoia.
HaND BLowN GLaSS CUPS SoLD iN CairoS
KHaN iL KHaLiLi BaZaar Omar Hikal
7 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 7 5
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S
ome call her Bint Battuta in reference to the 14th century
Moroccan traveller. She has indeed Ibn Battutas passion for
travels as well as the wisdom of Gandhi, her namesake. Leila
Ghandi has been travelling around the world with her backpack since
she was 15 years old. From Thailand to Peru, Iraq to China, Leila is
always on the hunt for human interaction - she is interested in meet-
ing people, living like them, and being one of them.
A writer, flmmaker and photographer, Leila has won several
prizes and distinctions throughout the years for her work. Leila, who
works with the United Nations (UN) programme Alliance of Civilisations,
was named Thought Leader in the Middle East and North Africa by
the UN programme Search for Common Ground.
She recently settled down in Casablanca but continues to
travel the world for specifc projects. At the time of this interview,
Leila recently returned from Brazil where she was working on a new
project. Between two trips, she accepted to share her story and proj-
ects with Kalimat.
RE: Where does your passion for travel come from?
LG: Its a family story actually. My dad himself is a traveller. He was
a scout leader at a time when very few people travelled, especially
Moroccans. He travelled across Morocco with very little money in his
pocket. My parents also initiated me to travel and discover through
several journeys outside touristic circuits. So its really a family heri-
tage. At the age of 15, I travelled on my own for the frst time, and
later on I decided to make it my job.
RE: Can you tell us more about that frst trip you did when you were 15?
LG: It was kind of a test for me. I went to England for a month and
I wanted to see if Id be able to cope on my own, if I could manage
a budget, get around with no diffculties. It was also an opportunity
for me to improve my English. I realised during that trip that I had
no reason to fear solo travels. The next year I went to Australia, and
then, every year, I went to a new country. But at the time I still de-
pended on my parents to fnance my trips. I began fnancing my trips
when I became a college student, from my personal savings and jobs.
RE: What about your frst trip where you intended on discovering and
learning from a new culture? When was that?
LG: My frst discovery trip was in Thailand when I was 18, and my frst
extended journey was in South America, where I spent eight months.
This trip really affected me and infuenced the decisions I took later
on. I frst worked at the French Embassy in Chile, and then I travelled
for fve months through Peru, Chile, Bolivia, and Argentina. It was
a very signifcant journey because it was a long trip, and because I
hopped from one country to another and also because I mixed my
professional career with leisure travel. I was alone for a long period
for the frst time in my life and it made me think things through. It
was a sort of introspection, a personal adventure that enabled me to
know what I wanted to do with my life.
RE: In 2006, you decided to dedicate yourself completely to your
passion. What triggered that? And what were the sacrifces you
had to make?
LG: In hindsight, I dont think that there was one specifc moment
that triggered that decision; it was a whole process that started when
I was 14, it didnt happen overnight. I have always been interested
not only in travelling, but also in encountering new cultures. As
for photography, I received my frst camera at 15 and I started
experimenting with movie cameras during my trip to Thailand. My
journey in South America was, as I said, a moment of introspec-
tion. Then in 2004, I travelled to China, Tibet and Mongolia. And
its during this journey that I was able to make my decision, but
I wasnt able to make it happen until 2006. It took me two years
to put things in place, to save money before making the big step.
I worked for a year at the Chamber of Commerce in Paris, in the
international relations department. Having studied international
trade and political science, I used to think that this was the feld I
wanted to pursue my career in. I had a very good job but I realised
that offce life is not made for me, even if it has all the international
and political aspects within it. Concerning the diffculties, the most
challenging one was to fnally take the plunge, especially that I
didnt have any established network or a degree related to what I
was planning to do. I had only my determination, my experience
and my artistry. It was a leap into the unknown at a time when I
had social, psychological and economic stability.
RE: Many people travel and have no interest in getting to know or
adapting to local cultures. How do you prepare for your trips? Do
you try to learn about the country youll visit beforehand or do
you prefer discovering it as youre travelling?
LG: I try not to prepare for my travels in order to accept and em-
brace the culture as I experience it. However, since it became my
job, I now have specifc projects to achieve during each one of my
trips and so I must gather information before I travel. My inten-
tion is to avoid clichs and touristic locations. As a matter of fact,
I just came back from Brazil where I lived with the people in the
favelas. I try to live with the people so that I can immerse myself
in the culture and not be just another tourist. This way, I can bring
sincere testimonies from the countries I visit. My approach is not
journalistic but more documentative, and also a humanist one.
RE: From your experience, what are the advantages and disadvan-
tages of travelling alone?
LG: One of the major advantages of travelling alone is that youre
more open-minded, more accessible to the other and more inclined
to adapt. Unlike when you travel in a group, being alone attracts
new encounters. Besides, when you travel on your own, you dont
depend on anyone, there are no compromises. You can adapt your
schedule without depending on someone else and you follow your
own intuition. Its not selfshness, its simply living your journey
to the fullest. But then, the disadvantage is loneliness. Sometimes
you need to talk to someone who understands your language and
your culture. Sometimes you also need a witness or an accomplice. I
dont always travel alone, especially when I go for specifc projects,
theres always a cameraman with me.
RE: Being a woman who travels alone, arent you sometimes afraid?
LG: Well, yes and no. A woman alone is always considered easy prey,
more vulnerable than a man on his own. Still, nothing bad has ever
happened to me. But being a woman also has its advantages. People,
especially women, open their doors easily to another woman. They
trust her easily without any apprehension.
RE: How do you balance between your travels and your family?
LG: My travels evolve as my projects and my personal life evolve. Im
not saying that Ill be travelling at the age of 45 the same way I do
now, but I think that theres a time for each thing. Now my travels
are shorter, more oriented, and more professional. In the past, I
used to travel to discover a new culture and to discover myself.
Now I travel for a project: either a movie, an exhibition or a book.
RE: In 2010, French intellectual Gilles Kepel commissioned you to
portray Arab societies. Can you tell us more about this experience?
LG: It was a very interesting experience especially that I didnt
know this region at all. Working with Gilles Kepel was also very
enriching because hes a specialist in the region. This experience
enabled me to discover the Arab-Muslim countries, which are a
totally different world from ours, especially Saudi Arabia. From a
photography perspective, I discovered a world where the woman has
a very specifc status. It was very diffcult for me to meet women in
Saudi Arabia. I couldnt encounter them in the streets, as in other
places in the world. It was hard for me to get testimonies and to
take pictures. Saudi Arabia was also a spiritual journey as I did the
Umrah (lesser pilgrimage) while I was there. Overall it was a very
diverse journey. I went from wearing the 3abbaya (full-length robe
worn by some Muslim women) in Saudi Arabia to shorts in Dubai,
to body armour in Iraq. The Arab region is very rich in diversity
and very different contexts.
RE: Can you tell us about your work in Morocco?
LG: I travelled a lot in Morocco too. I recently worked on a project
for national television, a documentary on Moroccan children. And
I came back to live here two years ago, after living in Paris for a
while, because I felt the need to get closer to my country, and to
travel more here.
RE: Who are the people who have made a mark on you the most
during your travels?
LG: Its usually very simple people who make a mark on me. Trav-
elling is an excuse. What interests me is the lifestyle, the human
aspect, how people live, either in Tibet or in Morocco. The people
who made a mark on me are the children I met in India, Nepalese
grandparents who were extreme hospitable, and of course the
Dalai-Lama!
RE: You are a role model for many Moroccans. What advice would
you give to young people who are scared to take the step and
pursue their passion?
LG: My frst advice would be: know yourself. Know who you truly
are, and what you want to do. For me, it took me years to fgure
out who I was. I think its the longest and the hardest step in
fulflling ones dream. My second advice would be to give yourself
the means of achieving your dream, once you know what it is
you want. As Mark Twain once said: They did not know it was
impossible, so they did it! I believe we all have a mission in life,
something important to achieve. Its not necessarily something
big and at an international scale, but rather something at the
personal level. Each one of us has their own path. And remember,
nothing is impossible!
RE: What are your plans for the future?
LG: I work with local NGOs, like Bayti (A Moroccan NGO that
works with street children). I represent Morocco at international
conferences related to intercultural dialogue. I plan to work more
with Moroccan media in the future; I have a documentary project
that will be aired on 2M (Moroccan national television). I am also
preparing an exhibition and I am currently fnishing my new book.
My aim is to share with the world how people live. I also want to
be involved in the Moroccan civil society as much as I can.
Ya MSafER
WAHDAk

by RIME EL-JaDIDI
7 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 7 7
cuLTuRE
DREaMIng Of
agaTHa
T
o avenge the death of three year old Daisy Armstrong,
twelve people took it upon themselves to bring her justice.
On board the Orient Express, the twelve passengers affected
by her death stabbed Mr. Rachett, Daisys kidnapper, who had killed
her three years earlier despite having received her ransom. It was the
perfect crime. Had the shrewd Belgian detective, Hercule Poirot, not
boarded the Orient Express in Istanbul at the last minute, the mystery
of the murder would never have been solved.
Murder on the Orient Express was one of the frst of
Agatha Christies books I read. Her own experience travelling on board
the lavish train inspired the setting and some of the characters of this
thriller. Ms. Christies magic spellbound me; enchanted by the plot,
I travelled along with her characters. In my imagination, I walked
through the compartments, savoured the buffet of desserts in the
dining car, and followed Monsieur Poirot. As an eight year old child,
arriving in Istanbul on board the Orient Express became my ultimate
dream.
Some dreams are engraved in our memories, waiting
for the right circumstances to be brought to life. Many decades later,
and after spending a weekend in Thessaloniki, Greece, I knew that
the chance to recreate my childhood dream was knocking on my door;
after all, Istanbul was just next door. I grabbed this opportunity
without hesitation and convinced my husband that the fourteen-
hour train ride would be a memorable experience. Before he knew it,
we were sitting in Thessaloniki train station waiting for the evening
train to Constantinople. In that part of the world, the name Istanbul
is taboo since Constantinople had been the capital of the Byzantine
Empire before it fell into the hands of the Ottomans who not only
changed the name, but also converted the church of the Agia Sophia,
the Byzantine crown jewel, to a mosque. After the formation of the
Turkish republic in 1923, the name of the city was formally changed
to Istanbul, but the Greeks never acknowledged this name given to
their precious city by their adversaries.
Thessaloniki is the hub for passengers travelling to
East European countries. While waiting inside the coffee shop of the
train station, I nibbled my hot, melted Kasseri cheese sandwich and
watched Meet the Kardashians playing on the television screen.
Algerian Ra music played in the background. I love globalisation.
On 5th June, 1883, the frst Express dOrient left
Paris for Vienna and in 1891 was offcially renamed Orient Express.
Though the route changed many times, Istanbul remained a destina-
tion until 1977 when the train stopped operating. After this, the
city continued to be in the limelight through movies, books and
songs. Since Turkey is outside the Eurozone, commuting back and
forth between Turkey and Greece depends on local trains. The train
we were waiting for arrived on time. Crescents were printed all over
it, an indication that it was Turkish. After we boarded, three shaggy
men in grey uniforms appeared at the compartment door. The frst
one counted the passengers, the second handed us bed sheets and
the third was pillowcase custodian.
The compartment had a sink and two beds, the upper
bed dangling from the ceiling by leather straps attached to each side.
Overwhelmed with excitement, I wandered around to explore my dream
train. Two cars were taken over by Japanese tourists who transformed
the night into day with their camera fashes and another car was
crammed with excited backpackers. I imagined the chefs on board the
trains maiden journey preparing dinner: oysters, soup with Italian
pasta, turbot with green sauce, chicken la chasseur, fllet of beef
with chteau potatoes, chaud-froid of game animals, chocolate
pudding and a buffet of desserts. I wondered how big their kitchen
was.
However, my dinner fantasies evaporated when, to
my dismay, I found that the train didnt even have a dining car.
The three shaggy conductors showed up again. The frst one pushed
a shopping cart loaded with soft drinks down the compartments,
yelling to sell his merchandise as if he was in a bazar. The second
conductor followed holding a tray to serve the passengers the drinks
they ordered. Both men were tailed by their supervisor who col-
lected the money; a live demonstration of what bureaucracy means.
The mobile cafeteria closed at midnight with no food to offer the
starving passengers. As the voice of the yelling conductor faded into
the night, the sounds of the excited backpackers partying on board
blended with the rattling of the train and I wondered how such a
group of loud young people would have inspired Agatha Christie
had she been on that trip.
In spite of the uncomfortable vibration of the train
as it raced on its tracks, I eventually fell asleep while trying to
fgure out a survival plan, should the supporting straps of the up-
per berth break. My sleep was soon interrupted by the conductors
continuous knocking on the doors at three in the morning calling
for passports. An hour later, the train stopped. We had no idea where
we were, the sign being hidden by another train on the opposite
track. A sleep deprived, unshaven passport offcer in a blue shirt,
buttons struggling to contain his bulging beer belly, showed up in
the doorway and collected our passports to register them. The train
on the opposite tracks left and in the dim street light, I read the
sign of Pythion, a small border village a few kilometres north of
the border city of Alexandroupolis. The faint streetlight refected
off peeling grey paint on the wooden shacks forming the police sta-
tion and passport control offces. The Greek fag futtered on a pole
on the platform. A middle-aged offcer walked out of the passport
control offce and whistled. A brown dog came running, lunged at
him and wagged his tail. After they shared a sandwich, the offcer
returned to his offce. I was immersed in a scene from a black and
white, Eastern European movie when the train roared away from
the station.
Fifteen minutes later, the conductor knocked on our
door, announcing that it was passport control, again. Amidst our
confusion, we discovered that we had already crossed the border
into Turkey. At the frst stop, we had checked out of Greece and
now it was time to check into Turkey. The train braked in the town
of Uzunkopru and I was overcome with a sense of dj vu; the dim
street light, wooden shacks with peeling paint, a police station
with the Turkish fag hanging on a pole and another shaggy, sleep
deprived passport control offcer collecting passports. However, before
he disappeared he instructed us to follow him to buy entry visas -
ffteen Euros each. In no time, the train was flled with mosquitos.
In spite of the military aid Turkey receives from
the United States, American citizens are required to have a visa
to enter the country, a practice that European passport holders
are exempted from. While waiting for the passport control of-
fcers to fnish their procedures, the customs control offcer in
civilian clothes boarded the train to inspect the luggage. Dawn
was already crawling over the horizon and all the passengers
were up and on full alert. The fashes of the Japanese tourists
cameras glowed in the dark and the backpackers were loud and
bubbly. Unexpectedly, the dawn prayer call echoed in the sky
of the little village in the middle of nowhere. It sounded like
it came from another planet and, for a brief moment, I was
disoriented.
Finally, we were given back our passports with
their visa stamps and the train thundered on towards its des-
tination. Voices had faded, eyes were red and passengers were
worn out. Istanbul was still six hours away. In a delirious state
of mind and with a stomach growling from hunger, I yearned for
sleep and collapsed, but in less than half an hour, the conductors
loud voice accompanied by extra knocking on the doors woke
everybody up again. He wished passengers a good morning in
multiple languages and asked if anyone wanted coffee or tea
in his multilingual tongues. The situation was anything but
humorous, but all I could do was laugh because the alternative
would have been deadly. At this point, other passengers were
also ready for bloody revenge. It was easy to read their body
language and it wouldnt have been hard even for Monsieur
Poirot to solve this murder case. Before too long, we found out
that the coffee and tea operation was a ruse; the real motive
behind waking up the passengers was to collect the bed sheets
and pillowcases before they left the train. At any rate, the sun
was already out and sleep was no longer attainable. The Turkish
countryside was pretty with miles of cheerful sunfowers, their
faces swivelled towards the sun. When we reached the outskirts
of Istanbul, the conductor tucked in the beds, removed the
sheets and pillowcases and took them away. He checked the
cupboards and counted the three plastic hangers on the wall. I
watched him in amusement and wondered how I had ended up
on this train.
In Istanbul, the Orient Express restaurant, as well as the
statue of Ataturk, welcomed us as we stepped out of the train. In
desperate need of a meal and coffee, we walked into the restaurant
that was opened in the late 19th century to serve passengers arriving
on the lavish train. In order to enjoy the moment, I pretended the
previous fourteen hours hadnt happened. I also made a mental note
not to think of the return journey for the following days.
I had promised my husband a memorable journey and
indeed it was, even though I will not attempt to repeat it or recom-
mend it to anyone. The trip was triggered by nostalgia for the belle
poque, an era long gone. This fascination must have been induced
by the simplicity, elegance, romance and dialogues of black and white
movies. However, after actually having travelled for fourteen hours
in the sleeping compartment of a train, I no longer wished to live in
any time but the present. I will not trade the Internet, cell phones,
Facebook, Twitter, iPods and Kindles to relive the era of telegrams.
Nonetheless, it was thrilling to have breakfast in the place where
Agatha Christie had sat and ate. As I sipped my coffee, I wondered
if future generations, who will travel in fying trains, will ever look
back at our times with nostalgia too. It is unfortunate that I wont
be around to fnd out.
text and photos aLEXanDRa KInIaS
7 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 7 9
Current
AffAirs
feTIsH sYsTeMs:

TeTA Alf MARRA:

I
t was the writer Italo Calvino that suggested a writing
thatrather than pointing at or recreating an object
or characterenvelops, surrounds like a fne mist. This
suggests their existence rather than attempts to simply recre-
ate them, allowing the reader a measure of engagement and
creation with the text. The writing in Fetish Systems, a new
written work by multi-talented Lebanese author Raafat Majzoub,
warrants this comparison. His bio alone which adorns this slim
volume is merely suggestive: he is trained as an architect, yet
refuses the title he is currently working on several construction
projects, a few books, something that might be a painting, a table
and would like this bio to end with an et cetera.
To live in Beirut, is to know that one must accept
circumstance. We have become numball of usnumbin
a state of trance, where elastic would describe our functional
execution of our everyday
The work begins with curious jump-starts into a loosely
shaped narrative that can be described as extremely subjective.
There is no clear and formal introduction of characters or plot,
but rather the text quickly makes it clear to the reader that
this is more akin to the highly personal literary experiments of
the past century than anything else. The language resembles
somewhat the erotic poetic sketches of Georges Bataille, although
more cohesive, more drawn out, but similar enough in near-
destructive exploratory eroticism to draw the comparison. The
fragmented fow of the narrative often times resembles poetry,
with alliterative furries of words provide rough outlines of
occurrences that bring to mind a defective photography which
only hints at shapes, colours and movement, with the Majzoubs
Beirut always vaguely in the background.
It has become instinct to absorb, shock, absorb, trau-
ma, react, trauma, shock, absorb shock. It is something, a trait
that we containfor sowe all are nothingWe claim that we
have lost our identity, we claim the right to construct a holistic
monotone remedy to unite usto homogenize us.
This work is certainly not for the casual reader; there
is no quick drawing-up and resolution of characters and plot.
Rather, this work has something intensely therapeutic, describ-
ing personal relationships with mysterious others and places
in intimate detail in a way that is, once again, acutely subjec-
tive. One gets the impression that even the most innocent of
exchanges between the narrator and a lover will show up on the
page as darkly dissatisfed, anxious graspings for understanding
and rejection of understanding, spiralling outward and inward
simultaneously. Majzoubs language, word choice, and cadence
is curiously playful, vacillating within single sentences between
the vulgar and the academic, sometimes with seeming deliberate
focus on the rhythm and the sound of the passage rather than
the written meaning, making it somehow visceral and physical
and something that attempts to refuses rational deliberation.
We are only afraid of our naked bodies in the mirror.
We defne our curves from our audiences point of view, from
their eyes, from between their eyelashesso we struggle to title
us, to make it easier for them to comprehend, easier for us to
make them believefor our actions and wordsnot the same.
The success of Majzoubs experiment is diffcult to
gauge. Yet as a text, the sustained formal and subjective effort
makes this author one to keep an eye on in the coming years.
cuLTuRE
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by KaRIM SuLTan
by RAWAN HADID
The success of Majzoubs experiment is diffcult to gauge. Yet
as a text, the sustained formal and subjective effort makes
this author one to keep an eye on in the coming years.
Ive been following Teta Alf Marra (Grandma, a thou-
sand times) since the 2010 Doha Tribeca Film Festival (DTFF);
this is a long, protracted story. My mother called to tell me
she had watched this great flm and that I had to see it. She
said it was about a Teta (grandmother) and I was, understand-
ably, confused...She assumed it would play at TriBeCa in New
York, and it did. I had read about the flm and was absolutely
interested in seeing it. I bought my tickets the minute they
went on sale, excited for the premiere, and I even blocked off
my schedule that day!
My tonsillitis was so bad at an hour before the pre-
miere, that I was at health services being given steroids as the
doctor told me that if I waited any longer, my tonsils were going
to block my breathing. I still considered going, but was sent to
an ear, nose and throat specialist for further tests... Meanwhile,
I was most upset about missing the flm.
Then, this past summer, I was in Montreal and found
out that the flm would be screened at the Montreal World Film
Festival. Again, I got really excited to see it, but had to go back
to Doha and missed it by one day. At this point I was beginning
to think that my relationship with Teta was cursed. I fol-
lowed it on Facebook, and saw announcements for international
screenings with a sense of defeat- everyone on earth was going
to see this flm before I did. Every review talked about how cute
it was. Cute. I needed to see Mahmoud Kaabours Teta. I needed
a cute flm about a teta. I already felt like I knew her! Was it
ever going to come back to New York?
In early December, it fnally did. I told all of my
friends, bought my tickets in advance and was at the IFC theatre
twenty minutes early.
This is a cute flm. Super cute. His Teta is my Teta
and your Teta and all our Tetas. When Mahmoud introduces his
blonde fance Eva for the frst time to Teta, she is very nice to
her - but doesnt shy from reminding him that Arab girls are
prettier. Shes mildly placated that Eva can speak Arabic and
tells him that Eva has a nice fgure, as consolation. I told you,
she is all our Tetas!
Kaabour allows us to mourn the passing of our older
family members, their impact on family ties, and their his-
tory, while shining an affectionate light on their quirkiness.
Together, Mahmoud and Teta Fatima conjure distant memories
that screen on the window behind them. We see a Beirut of a
different time, when successful violinists wore tarabeesh (an
Ottoman red felt hat, or fez, worn by men) and strolled the
black and white streets.
Teta Fatima is now 85, so she spends most of her time
at home - smoking a lot of argilleh (shisha, hookah), reminisc-
ing about her house full of children, and her beloved deceased
husband, who Mahmoud not only looks like but is also named
after. In the flm, his love, awe and respect for his grandmother
shine through vibrantly and transfers through to the viewer; you
almost want to visit her in Beirut to share an argilleh with her
while she tells you about her life. The flm is only 48 minutes
long, and the viewer is absolutely left wanting for more time
with the inhabitant of that sun-drenched Beirut apartment, with
its windows open to the sounds coming from the street below.
The New York Times called it delightful while Variety
gave the flm a terrifc review. The Huffngton Post reviewed
it under the title Magicalalthough the rest of the review
did discuss the need for a Western understanding of the Arab
spirit
1
- sorry, Huff Po, a little confused about what that is and
where to fnd that? More importantly, the shared humanity and
delight in loving your Teta enough to make a flm in tribute to
her is beyond endearing without being overly sentimental. His
Teta is delightful!
I came out of the flm vowing to call my own Tetas
more often. Maybe theyll tell me about how pretty Arab girls
are? A confdence boost never hurt.
1 http://www.huffngtonpost.com/e-nina-rothe/magical-df-presents-mahm_b_854692.html
8 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 8 1
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photography DEEna DOuaRa
8 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 8 3
8 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 8 5
8 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 8 7
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AN ODe TO WOMeN
In fILM text and photos RAWAN RIsHeQ
T
o communicate, two men stand on two neighbouring
hillsides, shouting through megaphones and catching
up on their families news. This is the closest they can
get to one another, with a border separating the occupied man
from the one in his homeland. This scene out of the flm Shout
symbolised the struggle of all those under oppression trying to
get their expression heard. The Toronto Palestine Film Festival
(TPFF) amplifed the indigenous voices of that land in that way
precisely, like our super sized megaphone. And in its fourth
annual showcase, it proved just how loud it was growing to be.
In 2008, I attended the frst opening, held at the grassroots
Bloor Cinema between two shawarma spots. This year, the To-
ronto International Film Festival (TIFF) BELL Light Box was the
location for the opening and closing of the festival, with the
bulk of the flms screened at the Art Gallery of Ontario (AGO).
On opening night, the crowds were buzzing with excitement.
Seated in the lush red theatre I paused, impressed at just how
organised this event really is. We were introduced with a brief
history, and an acknowledgement of the volunteers who toiled
tirelessly to make this festival happen. The message at hand:
that there is no wall too high to contain the stories of Pales-
tine. The flms presented fragmented pieces of that one story,
with this years focus illuminating the strength of woman. The
selection of strong fctional characters, directors and real life
representations, was diverse and truly empowering.
The frst of those fctional characters was Kamar (Yas-
mine Al-Masri) of Pomegranates and Myrrh, the epitome of a
strong willed, free spirited Palestinian woman. Palestinian female
director Najwa Najjar takes us on a personal journey with Ka-
mar, through her blooming love-flled marriage to Zaid (Ashraf
Farah) and into her migration to her husbands olive farm, until
he is arrested for resisting the confscation of his land. While
he is imprisoned, Kamar grapples with the confict between her
dancing soul and her rooted identity. We witness her internal
struggle, resisting the lure of an alternative dance teacher who
tempts her to live for today and coping with the longing and
confusion caused by her husbands detainment. We then come
to see her resilience peak through the darkness as she picks
up a shovel and works the feld across from the Israeli settlers
who have set up a tent on her property. This only manifests
after she fnally accepts her Zaids warning as truth: If we
lose the land, we lose everything and becomes dedicated to
protecting that which is sacred, even if it means threatening
her life. Noha (Nadine Labaki) of the Lebanese flm Stray Bullet
radiated the same type of independent minded and beautifully
powerful woman. Although her tale is tangled in civil war, it
remains as personal as Kamars, In Nohas case, it is that of a
woman torn between expectations to be wed and wrestling with
the traumatic unrest of her motherland and family. Just before
she ushers in her happy ending, Kamars climax of intimacy
with the soil beneath her feet comes in a poetic scene of her
dancing barefoot on the land. Her feet scratch and bleed as she
picks up her spinning speed, and her passion rises under the
moonlight. Under the light of Luna, clinging onto an old dark
tree, Noha also comes to face her destiny, in true flm-noire
style, the flm crackles in its vivid vintage capture of a tragic
moment where she watches her mother get killed and loses her
sanity instantaneously. It was the only happy end possible,
said director George Hachim when he spoke to Kalimat, she
did not want to be married and she is not, all the country is
in hell, the house is burned, and shes in a beautiful area. A
harsh reminder washed over the crowd - that in the reality of
the situation, strength alone does not warrant freedom.
Before we came face to face with the real-life women
to be highlighted in the festival, Kalimat had the chance to ask
Toronto based Palestinian scholar Nahla Abdo during the panel
discussion on Representation of Arab Women in Film and Media,
why she thought there werent enough flms on these types of
strong women throughout history. In general I think women
are, to begin with, rarely or scarcely represented in flms all
togethermainstream Arab media is male-stream, flmmaking
is the same thing. The emergence of women in flmmaking with
the perspective of women is a relatively recent phenomenonI
would also second your why? by saying that I would like to
see more flms about Arab women in history and their historical
role. For example, right now Im working on a new project; which
is women political prisoners. My focus is Palestinian woman de-
tainees in Israel. However, I do comparisons with other women
all over the world. And my question is until now, we have not
seen a single flm looking at the lives of women before, during
and after prison. Yes, they share the same type of torture, racist
torture, not just physical, and mental, etc. but in addition, they
also share something gendered, namely sexual torture by the
prison authority. I would like to see a flm on that kind of, and
Palestinians have produced tens of thousands of women who
have entered jail, Algeria the same thing, I mean throughout the
Arab world you have women who have suffered that and built
history throughout, so why are those women not out there?
The panel ran for three hours, discussing topics ranging from
history, to politics, to gender issues, flmmaking and the media,
including the challenges facing female flmmakers in the indus-
try. Ruba Nada, a Toronto based Palestinian-Syrian flmmaker,
touched on this by responding to the same question as Nahla
and adding that, its very diffcult in my experience and Ive
heard stories as well, to fnance a movie about women, where
the female heroine is the hero and thats the main storyline.
Its very diffcult to get fnancing from the West and from the
Arab world.
Although Nahlas desire to hear the female prisoners
tale has yet to be addressed in flm, for the remainder of the
festival she attended the majority of flms and actively expressed
her appreciation of the women depicted throughout. Of the
two documentary accounts focused on the female perspective
of this plight, Kingdom of Women left its audience in awe. The
bleeding ink off of Naji Al-Alis cartoons interlocked narratives
of women in pain in the same style as the flms weaving of
a unifed story of the resistant women of Ein Il Hilweh refugee
camp in southern Lebanon. Forced to fend for themselves when
their husbands and sons are rounded up in a mass arrest, these
women embodied a phrase uttered by one of them, necessity is
the mother of invention. They burnt down the tents provided by
Israelis in compensation for their demolished homes, and rebuilt
with their own hands from the rubble up. One schoolteacher was
even able to drive out Israeli Defence Forces (IDF) camped out
on the roof of the kinder garden with the purposeful screams
of children. The second documentary was focused on a family
story through the eyes of Zahara, a great grandmother who
has endured and persevered in keeping her Palestinian lineage
alive and well, inside of her occupied homeland since the Nakba
(catastrophe) in 1948 - a tale, as director Mohammad Bakri puts
it, of history repeating itself.
Children of the Revolution, the last documentary to
illustrate the strength of woman as the focus, was a-typical of
any others at the festival. The two women in question were not
of Arab origin per say, but their roles in creating and imple-
menting revolutionary acts were undeniable on the world scale.
From their daughters eyes we were able to gain insight into
what their terrorist mothers really underwent behind closed
doors. May Shigenobus account of her experience alongside her
mother Fusako, founder and former leader of the Japanese Red
Army, was fascinating. Fusako moved to Lebanon as part of the
International Revolutionary Solidarity, and worked alongside
the Popular Front for the Liberation of Palestine (PFLP) to
consolidate the international revolutionary alliance against
the imperialists of the world, as she put it in her writings.
While residing there, she became pregnant with the child of a
Palestinian guerrilla fghter and May was her blessed gift. Nahla
even went on to praise May during the question and answer
period for her courage and positive outlook, having endured
28 years without a national identity, living in hiding to pro-
tect her mother, in avid support of her cause. After watching
Enemy Alien, another a-typical documentary by Konrad Aderer,
a Japanese-American who joined a 2 year campaign to free
Palestinian prisoner Farouk Abdel-Mahti, Kalimat asked May
Shigenobu to refect on her realisations concerning freedom
of speech and she said, No. I dont think we have freedom
of speech even in developed countries with private media. We
have freedom of speech when were talking to each other as
individuals, but we dont have it in a scale that affects society
and can be freely found in the mainstream media. We still have
censorship, perhaps not through state censorship as in the past,
but self-censorship that comes from the fear of losing sponsors
and advertisements, as well as from political pressure. This is a
burden mainstream media will have as long as it operates and
fnances itself through subsidies, funds, sponsors, and advertise-
ments. If freedom of speech really existed in the US or Japan or
most democratic countries, we would have more critical in-depth
discussions and see thinkers like Noam Chomsky and Norman
Finkelstein on mainstream media. If we had freedom of speech,
Octavia Nasr and Helen Thomas would not be fred from CNN
and the White House Press corps for saying what they said. Of
course we do have alternative media, but it is still not strong
enough to have an impact on the general understanding of what
is going on in the world.
Konrad emphasised with Farouk due to his own experi-
ence as a Japanese-American post WWII - hearing echoes of his
own familys internment in the struggle of Muslims rounded up
in mass arrests post 9/11. Farouk was a man who utilised his
voice, without the need for a megaphone. He was outspoken
about global injustices, including the one taking place in Pal-
estine, and his goal was to enrich international solidarity for
all oppressed peoples. This flm was compiled largely of stock
footage, documents and interviews, resulting in a captivating
truth that left the audience churning with enlivened curiosity.
Kalimat caught up with Konrad and when we asked him if he
felt any less helpless following the release and hastened death
of Farouq, he answered I dont know, its so funny, you know if
I look at it rationally, I guess I should feel even more helpless
about all this, but I think through making the flm and even
an event like this, through joining with people and keeping
the narratives going and sharing the narratives of people and
joining up with more communities, I still feel basically like
what they always say, the people united can never be defeated.
Even though it seems like it never comes [this victory], I still
feel like theres so many people working towards victory and
securing the rights of people no matter where they come from
and not using the state as this fetish to oppress people. So
just through learning what I learned and getting to know the
people that Ive known through the flm and responses that
Ive gotten, has given me hope, maybe its not rational, but it
makes me feel active.
Through Konrads feelings it is evident that the festi-
val not only amplifed the voices of Palestinians, but of others
who have undergone similar strife and come to understand the
meaning of international solidarity. In addition, it is important
to mention that TPFF did not solely cover the perspective of
women, there were a great number of flms that merited to be
shown. The audience was transported into the mind of a Pales-
tinian child in the exquisitely crafted short tragedy Checkpoint,
into an underground tunnel with a young man residing in Gaza
as he smuggles humanitarian supplies in Into The Belly of the
Whale, into the last run-down factory in Hebron that struggles
to continue producing the national symbol in Kuffyeh: Made
in Palestine, and all the way into the eyes of Israeli youth in
Occupation Has No Future. All of these flms were impeccably
made, moving to the core, and the last of which was revolution-
ary in its information sharing. Listening to the Israeli youth in
Occupation Has No Future as they share their worldview and
indoctrination into believing they are defending themselves
BottoM Left George Hachim and Afrah farah riGHt TPff Art show
8 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 8 9
against violent Palestinians, and how
that bubble was burst by the pursuit
for truth, was exhilarating. Watching
them act, as people part of a larger
human family in which all deserve a
dignifed life, was refreshing. From
refusing conscription to serving as
human shields for Palestinian farm-
ers, these people truly redefned the
meaning of international solidarity to
be inclusive of those living locally.
Alongside the gravity of
the heavy subjects tackled in the
flms, there were two aspects of the
festival which one cant go with-
out mentioning art and music! A
traveling art show accompanied the
screenings at the AGO and Kalimat
asked Nadeen Khoury what her objec-
tive was when curating the show, I
wanted to have a well-rounded show
so I selected print making, collages,
painting and photography, which will
change every day. Theyre not all Arab,
there are some Palestinians, Lebanese,
Pakistanis and Canadians, all from
Toronto. And as for music, Sahtain!
the Palestinian Brunch held at Beit Za-
toun featured the brilliant composer
and pianist John Kameel Farah, and
an array of delicious traditional food.
The musical performances
arrived just in time to aid in the sweet
surrender that was the closing of the
flm festival. After the screening of
Hip Hop is Bigger Than The Occupa-
tion, a documentary following several
spoken word artists and musicians as
they tour the Palestinian territories
and inspire children to speak out,
the crowd rushed to the Pilot for the
party featuring Marcel Cartier, Mazzi
S.O.U.L Purpose, Yaseen from Ivoice,
and the frst lady of Arabic hip-hop,
Shadia Mansour. Before the perfor-
mance, Kalimat caught up with Shadia
to ask her what she would advise young Palestinian females
in the territories who face obstacles to expressing themselves
through art due to traditional settings, she blew us away by
answering that, You know these girls, like Mariam that you
saw in the documentary, theyre already strong, girls, theyre
already fuelled with will power because they know that they
need to. They dont even look at it from like a female-male
perspective, its more about the need to multiply the numbers
and the need to consolidate each other, because at the end of
the day, women make up half the society. So even in a hip hop
society or a dance society or a theatrical society, women make
up half that society, it wouldnt be whole without women so
I think people like Mariam also get support from her male co-
actors, and thats really kind of the foundation that she has.
For me, she inspires me to be honest, people like her inspire
me, because I think in a way they are actually breaking barriers
for us, the females that are coming from the Diaspora, coming
into the conservative, coming into the refugee camps. At the
end of the day, she has to live with that and she has to wake up
the next day and face whatever consequences. Theyre the real
heroes, you know the women living in those camps over there
who are trying to pursue their dreams. And Shadia took that
inspiration and tore the roof off of the place with her Arabic
lyrical genius and powerful presence, there could not have been
a more perfect way to say goodbye than by standing inches away
from a powerhouse of a Palestinian woman.
LE DERnIER cOMbaT
Du caPTaIn nIMaT
I
ts a rainy day in Ifrane. Im stuck in the library, procrasti-
nating for over an hour. I decide to take a look at the new
acquisitions shelves, and thats when I fnd, in the place I
least expected, Le dernier combat du Captain Nimat by Mohamed
Leftah. Ive heard a lot about this book: it is censored in Morocco
and no one can fnd it in bookstores. Ive also heard that its about
homosexuality, but now that I have read it, I think its more than
that. Prohibition doubles the pleasure of reading a book, as it does
for many other things. And while Im usually a very slow reader,
I fnished this novel in less than a day.
So whats the controversy behind the story? Le dernier du
combat du Captain Nimat is the story of Captain Nimat, a former
Egyptian military offcer that participated in the Six Day War in
1967. When he is much older and after having a life-changing
dream, he discovers his homosexuality and begins to acknowledge
his penchant for men. He then has an affair with his Nubian
domestic, Islam. In the story, the Captain Nimat is a man who
accepts his defeats, in war as in masculinity.
After reading the book, the question remains: why is
this book banned in Morocco while other books about homo-
sexuality written by Moroccans are circulating legally? No one
has the answer yet. A good guess would be that some might fnd
controversial that the Captain is sleeping with a man named
Islam, and Islam is seen as sodomising the Captain. Not only
is the name of the character problematic here, but there are also
other issues related to this relationship. There are of course the
differences in age and in social classes, and the fact that Islam is
Nubian while Nimat is Egyptian. Yet one of the most problematic
aspects is one that the Captain himself raises in the story is the
passive homosexuality. In the novel, the main character expresses
the difference in which Egyptian society perceives homosexuals:
active homosexuals do not suffer prejudice; its the passive ones
who do. Active homosexuals are regarded as manly, sometimes
even more than straight men. The author describes active homo-
sexuals as sodomisers and the passive homosexuals as the ones
being sodomised. Another potential danger represented by
this book is its critique of masculinity, which is very often - if
not always - understood as strength and violence towards the
opposite sex. The Last Battle of the Captain Nimat also has a
political aspect, related to the defeat suffered during the Six
Day War. Unlike many of his friends, Nimat didnt participate
in the Yom Kippur war (1973), and didnt get the chance to
experience victory - even though he considers the 1973 victory
as incomplete, but would never voice this, fearing the judgment
of his surroundings.
But beyond all this, its the social aspect of the novel
that makes it, to me at least, very interesting. The ending draws
the Captain to a life-changing dilemma and his series of defeats
to his last.The battle here is that of assuming ones individuality
and leading ones own life, a battle that many in the Arab world
are confronted with everyday. And in this sense, the book is
not only about homosexuals but about everyone who was ever
considered a social outcast or slightly different and people who
want to assume their individuality in a communitarian society.
The story happens in Egypt, the characters are Egyptians, but
we can transplant it anywhere in the Arab world. As the Cap-
tain asks himself: When will we reach the status of individuals
enjoying inalienable rights, among which, frst, the freedom of
conscience and the right to dispose of our bodies and of our
sexual orientation?
Through the character of Captain Nimat, Leftah raises
the challenging issue of being an individual in a society that
is not always accepting of difference. As the character of Cap-
tain Nimat represents a threat to the high-society of Cairo and
to the male chauvinistic society of Egypt, Mohamed Leftahs
book represents the same threat: a threat to masculinity and
to communitarianism. Whether Captain Nimat won or lost his
last battle, well thats for the reader to decide.
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by RIMe el-JADIDI
9 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 9 1
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THERES MuSIc
OuTSIDE Of DaVE
MATTHeWs?
cELEbRaTIng
ELIa, SaID anD
REVOLuTIOnS
by kARIM sulTAN
W
e managed to have a short back-and-forth with Rashad Rash
Radio, a talented young singer-songwriter and guitar player
from Cairos small but bustling underground music scene. His
emotive vocals and melodic guitar have been catching the attention of many,
and his abrupt and witty responses may amuse others.
KS: How would you describe your music?
RR: I think its a mish-mash of every genre, every sound and every rhythm
I encounter. Theres no solid body to it I can describe. Its fuid and ever
changing.
KS: Why the guitar? What drew you to it?
RR: Seemed cool, theres no deeper reason behind it. I think what initially
drew me to it was noticing that girls liked it! Very douchie of me, I know!
KS: What was the story of your singing? And was it something you always
did, or something you kept to yourself at frst?
RR: No, the singing part came vey late actually. I kept it to myself for quite
sometime, until I got relatively good at it and had a couple of original songs
done.
KS: What do you recall listening to growing up? What were the different types
of music and sound (i.e. family, city, television) that formed the backdrop?
RR: Most of time, it was incredibly shitty Arabic pop music, but my dad always
had on classical music and good ol Arabic music (i.e. 3ammar el Shreey,
Fairouz, Abdel Halim, Om Kulthoum, Ke$ha, etc.) on long car drives, so I
think that helped with the detox process.
KS: How did family and friends react or deal with music
as a part of your life?
RR: Everyone has been extremely supportive since the
beginning.
KS: Do you actively search for music outside your com-
fort zone, or do you tend to stick with one set of sounds?
RR: Theres music other than Dave Matthews?
KS: Does Egypt as a setting, a place, its people, etc.
have an impact on your music?
RR: Cant really say it has any. Theres no oriental or
Egyptian infuence in my music. But Im certainly in-
fuenced by some of the underground local bands and
artists here.
KS: What do you think of the Cairo scene? What are
its strengths or the things that make it exciting or
fresh, and what is it lacking?
RR: The Cairo scene is currently in very bad shape. The
only strength would be the amazing bands and artists
that we have here, but unfortunately the venues and
festivals available dont provide the suitable soil for any artist to grow.
KS: Do you relate to the other music scenes in Beirut, Amman, and
other cities in the region and in the diaspora?
RR: I dont really follow up on the scene in the region, but Ive heard
some great stuff on sites like triplew.me. Theres a lot of good music I
hear that really needs the support to be heard worldwide.
KS: Your sound can be classifed as pretty internationalis this a
natural extension of younger Egyptian music?
RR: I can only speak for myself. I still hear the typical clich of Arabic
pop all around. But I think some of the artists in the underground scene
have developed a real original sound, one you can call international
KS: What do you think of Arabic music? What does that mean to you?
RR: Like any other genre, certainly has its bad and good. Im not really
into Arabic music so it doesnt mean much to me.
RR: Whats your dream/ideal project? Is there anything you would
absolutely love to do musically or artistically, or beyond? (Your imagi-
nation is the limit).
KS: Well since my imagination is the limit, and since Im a Dave Mat-
thews fanatic, it would be mind blowing if I was ever able to get in
the studio with the Dave Matthews Bandgranted that I wont be
doing much music with me being busy saying Oh My God its Dave
Matthews! but that would be awesome!
T
he Boston Palestine Film Festival (BPFF), co-presented
with the Museum of Fine Arts, Boston (MFA), cel-
ebrated its ffth anniversary this year. From Octo-
ber 21-30, BPFF screened over 50 Palestine-related flms by
Palestinian, American, Israeli and international flmmakers at
various venues across the city. This years festival had a num-
ber of thematic threads including the work of Elia Suleiman,
celebrating the legacy of the late Edward Said, an homage to
past and present revolutions, challenging the status quo and
women making movies. This years programme also showcased
a burgeoning number of young emerging flmmakers who are
focusing their talents on Palestine-related narratives. Along-
side the many flms it screened, BPFF featured numerous live
music shows, an art show and several distinguished guests in
attendance including Elia Suleiman, Osama Zatar, Sameh Zoabi,
Dahna Abourahme, Roger Brown and many more.
Opening night featured Elia Suleimans The Time That
Remains (2009). The highly acclaimed and award-winning flm
is a semi-biographical black comedy flm written and directed
by Suleiman in which he also plays a leading role. BPFF also
screened Suleimans other flms Chronicle of a Disappearance
(1996) and Divine Intervention (2002), discussions with the
director followed every screening. At the reception following
the opening night Film, BPFF presented Shusmo (Whatchama-
callit in Arabic), an eclectic NY-based band that has created
a unique mlange of alternative Arabic music.
The festival closed with Man Without a Cell Phone
(2009), a feature debut by Sameh Zoabi, a Palestinian director
who is a citizen of Israel. Zoabi, who attended the screening,
was named one of the top 25 new faces of independent cin-
ema by Filmmaker Magazine. The flm is a humorous, sharp
take on the social milieu of a Palestinian village inside Israel.
The flm was the winner of this years BPFF Audience Award.
BPFF hosted a two-part event called The Gift of a
Music Education: Celebrating the Legacy of Edward Said. The
special event celebrates the legacy of the late Edward Said
in facilitating access to music education and involvement for
Palestinian youth, and promoting interaction and coexistence
among cultures through music. The event began with a screen-
ing of the award-winning flm Knowledge is the Beginning,
which chronicles the West-Eastern Divan Orchestra (WEDO),
established in 1999 by Edward Said and Israeli conductor Daniel
Barenboim with the aim of bringing together young musicians
from Israel, Palestine, and various Arab countries, supported by
Spanish musicians. Edward Said called it the most important
thing he had done in his life. Following the flm, a reception
and concert honoured the on-going efforts of Berklee College,
building on Saids legacy and in collaboration with the local
Arab-American community, to collaborate with the Edward
Said National Music Conservatory in Ramallah to identify and
recruit gifted Palestinian students. Professor Adel Iskandar of
Georgetown University contextualised the legacy of Edward
Said for the audience, followed by Berklee President Roger
Brown, who spoke about how Berklee benefts from having
Palestinian students, why the school will continue reaching
out to recruit more, and the power of music to transcend
deeply entrenched stereotypes, something that he said he
frst experienced growing up in the Deep South.
Under the musical direction of Palestinian qanunist
and Berklee student Ali Amr, four Palestinian students from
the College brought together about 15 international students
for a smashing and culturally diverse musical programme along
with remarks about what the gift of a Berklee music education
means to them.
BPFF also featured the art exhibit A Childs View
from Gaza accompanied to the flm Gazastrophe. The exhibit,
curated by artist Rajie Cook, featured drawings created shortly
after Operation Cast Lead by children in Gaza. This years fes-
tival also featured a university flm series in conjunction with
student groups. The programme culminated with a series of hip
hop events including a hip hop concert featuring DAM, Shadia
Mansour, Mazzi of S.O.U.L., M1, Yusuf Abdul Mateen, Foundation
Movement, and Ahmad Awad.
9 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 9 3
aRT &
DESIgn
sTATe Of DesIGN:




by sAllY el-sABBAHY
C
hances are if youve spent any time living in or visiting
Egypt, youve been exposed to the work of its ambi-
tious designers without even realising it. Although
still growing in size and reach, the infuence of Egypts design
community can already be seen around the country; from private
homes to bars to coffee shops and offces, these designers are
leaving their mark in a multitude of ways.
But beyond the notable individual impacts that these
designers have made, the larger scope of design in Egypt usually
goes undiscussed. This includes anything from the education
offered to future Egyptians designers to the untapped problem-
solving potential of wider design utilisation in Egypt. For a
sharper insight into these issues, we spoke to Cherif Morsi of
Cherif Morsi Design, Dina El Khachab of Eklego Design, Shahira
Fahmy of Shahira Fahmy Architects and Mona Hussein of Temple
of Light. The result was a varied and no-frills look at the current
nature of the Egyptian design scene.
SALLY: First of all, was it a challenge to become established in
the design community in Egypt?
SHAHIRA: There is almost no community (laughs), its very small
and tight-knit. I think this is primarily because it is so hard
to succeed as a designer in Egypt, and one of the reasons for
that was the Mubarak era. Everybody left the country, including
many potentially good designers, because not everyone could
afford to open their own offce or could manage to get a job in
one. Even the cultural environment made it very hard; when I
started my company in 2005, I had two or three commissions
for architecture, and they were never built because the clients
rejected them, even though they had said that they wanted to
work with me. They just couldnt bring themselves to accept
the designs I was producing although when I submitted these
same designs in international competitions, they won awards.
In 2007, I fnally got my frst paid commissions in architecture,
but much of the work I had previously produced from 2004 up
to 2007 was sitting in drawers because no one wanted to act on
it. The corruption also makes it hard to succeed as a designer
here, and thats why a lot of people are underground. By that,
I mean that there are a lot of designers that do great work, but
because they dont have the right connections theyre still not
widely known. Generally, in every feld in the country you had
a few people who were the so-called stars of that feld, whether
it was culture, politics, education or medicine. They didnt get
those positions because they were the best at what they did! So,
you have all the talented and hardworking people at the very
bottom and the system continues to put unqualifed people at
the top because of who they know, and this has killed so many
things, including the growth of the felds of design and archi-
tecture. Things are improving though, the design community
has really grown over the years and I think, if things go well,
within the next two years well fnd many designers who are
currently underground begin to really blossom.
SALLY: Why do you think that the boundaries of the Egyptian
design community have succeeded in expanding, in spite of the
obvious obstacles?
DINA: I think its a function of the way the city and the country
have been growing, in the sense that were more exposed. More
products come into the country now and people are exposed to
much more and they can appreciate a design service a lot more.
In the past that wasnt the case, but its like that in any country
at the beginning of the development of a service industry be-
cause services are always undervalued; it takes time to nurture
the value of the service and have people learn to appreciate it
or understand why theyre paying for it.
SALLY: Can design in Egypt be construed as sort of an elitist
niche?
CHERIF: In the end, what I or any other designer do may end
up looking very elitist, and thats because the design com-
munity in Egypt is sort of stuck in this elite niche right now.
Its not because we choose to be, but its because what we do
is still kind of new, and companies and clients are still slowly
realising that design isnt so much about fexing muscle as it is
a way to offer real alternatives to ways of living and problem
solving. I do think design should be much more available, but
unfortunately the majority of people or companies who currently
commission designers to do something for them are, by default,
the companies or people that can afford to take that risk. But
its getting better, in the last 2-4 years design has become much
more available and popular.
DINA: I think so sometimes, especially among the smaller, private
clients. With corporate clients I think design is understood as
more of a basic necessity because it ends up saving costs and
the project itself is operating under such a big budget that it
ends up being more effcient and alternatively, actually costs
less. So, while design may be viewed as elite for the time being,
I think its only because its still not properly defned in the
M chalet SHaHira faHMy
Top SHaHira faHMy
Bottom inside-out tea Set by SHaHira faHMy
aPeritivo Bar & reStaUraNt,
iNteriorS By eKLeGo DeSiGN.
Photo faouzi Massrali.
artiCULate BaBooN art GaLLery,
iNteriorS By eKLeGo DeSiGN.
Photo faouzi Massrali.
9 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 9 5
majority of the population. If you look at Egyptians from lower socio-economic
classes, you fnd huge amounts of innovation and creativity and design just be-
cause of a lack of physical resources and space. About ten years ago I went to a
very isolated site we were working on and the construction workers there were
living on-site. They had been sleeping there for almost a year and they really had
nothing with them; there were no facilities and nothing to do and they couldnt
get around because there was no transportation in the area. So they had made all
these gadgets, like a shisha pipe from scrap metal and a bed structure that could
be converted into a sitting space during the day. That, for me, is design, its just
not labelled among these people as design, because they see no value in that.
SALLY: So, could design be better embedded into popular culture in Egypt, as it
is in countries like the United States, for example?
SHAHIRA: Yes, but actually I also think it has changed dramatically for the bet-
ter. A client that rejected my work back in 2003 bumped into me recently and
told me that my latest work was incredible and that he loved it. But at the time
he couldnt see that. The awareness has just totally changed. Whatever happened
in other Arab cities like Beirut and Dubai with the participation of international
designers in those markets although this has its pros and cons has given people
a different view of how things can look and has increased peoples tolerance. So,
I think a really dramatic shift has happened. At the beginning if I didnt think
on the same wavelength of a client then they would just perceive me as being
not educated enough about design simply because I didnt think like them. I also
frmly believe that the majority of the population is actually more open to design
than the very top percentile. This is because they themselves are so creative, even
in the way they build their houses. I am so inspired by what Egyptians do. Even
if everybody wants to label an area as a slum, I still love it, because the people
living there have found ways to overcome space and resource issues to make these
areas liveable. Theyve got adaptability and fexibility and are very open to new
things and I believe that they are much more tolerant to design than the higher
socio-economic minority.
CHERIF: Design in Egypt is still very much like a fashion statement,
because people who are interested in it choose to go after the brand
more than the design itself. But I do think this is normal, and its
a step that we have to go through at the beginning. Once design
stops being new in the sense that the general culture gets more
used to it, then well be able to appreciate the core of design more, without
requiring a brand behind it to make it interesting.
SALLY: What are your takes on the education that is currently available to
future designers in Egypt?
MONA: Generally speaking, the design education in Egypt remains quite
conventional in that it focuses mainly on the major disciplines, such as
architecture and interior design, but with a traditional, static curriculum.
It usually churns out idealistic, textbook qualifed people who are eager
to begin their careers but are usually lacking real-life experiences and are
unaware of the intricacies involved in realising conceptual designs. Since
the focus during their education is usually based on hypothetical projects,
the essential link between conceptualising a design and then actually imple-
menting it is usually non-existent. However, the surge in new universities in
recent years has seen an introduction to newer subjects such as product and
lighting design as well as a new approach to teaching, whereby students are
no longer confned to the classroom but are able to go out to meet suppliers,
to discuss matters with them and to understand the production process.
All of this has created an environment that is much more conducive to the
development of good and progressive design than it was the past.
DINA: I really dont like to be negative, but I think so far the people coming
out of universities, in terms of architecture and interior design, are not com-
ing out as designers. I think that is partly because they have a very narrow
education; its not holistic and it doesnt include artistic and creative ways of
thinking, which should really be pushed on these kids from a younger age
so they can learn how to think in ways that can have nothing to do with
science. A lot of what is being taught today is very scientifcally geared or
is based on memorisation, so you may have a student who comes out very
strong in architecture or AutoCAD, but not necessarily in design. Theres a
lack of creative and critical thinking, generally.
aLLeGria HoUSe, arCHiteCtUre By
eKLeGo DeSiGN Photo eklego Design
LunIQuE TabLE By CHerif MorSi
Right: baRTEn By CHerif MorSi
left: DESIgnOPOLIS By MoNa HUSSeiN
JOTun EnVIROnMEnT
By CHerif MorSi
CHERIF: When I was in university, I was really unhappy
with the gap between what we were being taught and
what we saw on the ground. The ways of thinking in
design education abroad are much more interesting and
there were design movements that coincided with that.
Here, the main problem is that designers are taught
certain approaches and methods at university and then
theyre stuck with that select knowledge because theyre
not encouraged to develop on their own and to pursue
alternative ways of thinking. This is why youll see a
lot of the same thought processes in the designs that
are created here. Im not saying that the designs are
not interesting; its just that theyre not different or
varied. We have to improve design education a lot, of
course, but there is also another problem tied to that,
which is to realistically fgure out how to improve it,
and that is a whole other huge topic. I think that the
moment that there is a more general interest in culture
and an understanding of what the culture can produce
for its people is when well have an opportunity to
develop design education. Under those kind of condi-
tions the government will be more inclined to invest in
educating designers and even things
like design project initiatives would
occur more frequently. But there are
some pretty good Egyptian designers
out there, regardless.
SALLY: What about the uses of design
in urban public spaces in Egypt?
MONA: The unprecedented expansion
of Cairo during the last few decades
has created a megalopolis with no
clear urban planning or any structure
or uniformity in design, as well as
the creation of satellite shanty towns
within the city and on its peripheries.
Within this context, the potential for
improvement is limitless. The transfor-
mation of the urban landscape in Cairo,
through the collaboration of designers
from various disciplines such as architec-
ture, interior designer, landscape design,
lighting design and so forth, is not only
a possibility but should be a necessity.
The introduction of minor elements, such
as well designed signage systems, uni-
form street lighting, taking advantage
of the weather and focusing on outdoor
spaces for cafes and restaurants, even
the planting of bougainvillea to grow on
lesser buildings would go a long way in
improving the urban landscape in Egypt.
JoUBaL SiGNatUre aPartMeNtS, iNteriorS By
eKLeGo DeSiGN. Photo Orascom Developments
[...] the majority of the population is actually more open
to design than the very top percentile. [...] Theyve got
adaptability and fexibility and are very open to new
things and I believe that they are much more tolerant
to design than the higher socio-economic minority.
9 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 9 7
SHAHIRA: I genuinely believe that design could
really have an impact on the urban structure of
cities like Cairo more than it ever had before
since designers may potentially now have more
of a say in how their city and their country can
look and function. After the revolution, people
are fnally getting their cities back and develop-
ing a sense of ownership. Even the experience
of the revolution was about that; walking from
Zamalek to Tahrir Square was an experience in
itself, because I had never walked on Kasr al Nil
Bridge before. Weve been living here for so many
years and yet we always felt like we didnt own
anything; it was as if we were all foreigners. Now
that we feel like we own the country again, we
can make it better in terms of design. This will
take years, but it will happen.
SALLY: Where do you see the future of Egypts
design community heading?
SHAHIRA: I mostly hope that education will
improve, for designers and in general. When I
think about design education in Egypt my heart
really hurts because its such a huge issue and
it will take a lot of time to improve it. Devel-
oping more competition and opportunities for
designers would also have a huge impact for the
community, because such things will challenge
the current criteria, push for the improvement of
cairopolis By CHerif MorSi
toP Left: Block 36 Westown By SHaHira faHMy toP riGHt: residential interiors By MoNa HUSSeiN
BottoM Left: cherif Morsi BottoM riGHt: Mona Hussein
education and also drive young potential design-
ers because the environment will be tougher. I
think were at the beginning of that already. I
meet so many young designers who have amazing
ideas, thanks in part to the new media age that
were living in. Young architects and designers in
Egypt know that the system is not giving them
the experience that it should, so they work on
themselves by researching on the internet and
exposing themselves to more things. They can
even post their work online. These opportuni-
ties werent there when I was a student, and the
young designers I meet really do give me a lot
of hope and inspiration.
CHERIF: The local design community has no-
where to go except forward. It wont be easy
though, as design will have to be re-thought
in the way it is actually taught and sold. Uni-
versities will have to rely on an eclectic mix of
established designers to give workshops to ex-
change knowledge with future design students,
but there also needs to be a big shift in the
cultural policies on the state level too. There are
good initiatives already operating and making
a great effort but these initiatives should start
getting more support and have more diversifed
and carefully planned design events.
eKLeGoS PartNerS; from left, Dina el Khachab, Hala
Said, Hedayat islam and Heba el Gabaly
DINA: I think the design community has a lot of
roles to play, especially with creating competitions,
whether they are local or international. For example,
the memorial competition that was held for the World
Trade Centre was an international competition and
any designer could participate and in the end I think
the chosen design was one of the most beautiful
architectural pieces I have ever seen. Events like
these raise awareness, they create a public space and
they commemorate an event and we could have this
same thing here, especially given the events since
last January. We have a lot of spaces that could
beneft from something like this. I think with more
of these kinds of efforts, such as the creation of the
Egyptian Design Forum, we can really make a huge
difference in the country.
MONA: With an increased interest in the feld of
design by professionals and individuals alike, Im
certain that the local design community will con-
tinue to expand and infuence future generations
of designers. One direction Id like the design scene
to take would be to move towards creating a design
trademark for Egypt whereby different elements
of our culture and heritage are refected in all the
disciplines of design, from architecture to interiors,
furniture design and more, rather than focusing on
Western approaches to design and importing them
into the local context.
Tamarai lounge and Restaurant By
SHaHira faHMy
9 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 9 9
RaS EL KHEIMa By
MoNa HUSSeiN
forty weSt aPartMeNtS, iNteriorS By
eKLeGo DeSiGN Photo sodic
aRT &
DESIgn
cOMMunIcaTIng THE

by KaRIM MEKHTIgIan
Only if consciousness is radically altered and
transmuted from ordinary level of everyday
perception to a subtle level of perception, so
that every object is perceived in its perfect
archetypal form, which is contained within the
absolute.- Stanislas Klossowski de Rola.
T
hinking about the nature of our society and the mul-
tilayered reality of our culture, it became evident that
in order to change peoples perception in such a diverse
environment, one needs a certain medium to effectively reach/
touch people. While some might argue that the power to change
may be in the power to communicate, I fnd comfort in knowing
that design can be a great tool of self-expression and story telling.
For years, I have been trying to translate, through de-
sign, certain elements inspired from our culture. In an attempt to
express consciousness about Egypt and to speak a language that
is universal, I decided to adopt an alerted defnition of Alchemy
and make it my own.
Although some choose defne Alchemy as the medieval
chemistry and speculative philosophy aimed at transforming base
metal into gold, for me it has a deeper meaning rooted in our
own culture, where the defnition of the word is derived from
Al-Kymia (Arabic for chemistry), which in turn is derived from
Kyme (Egypt)- known as the black land. However, the black land,
which despite all the beauty within its diversity also encounters
considerable challenges.
In a country where cultural diversity is embedded in
the multilayered nature of its society, sometimes we get lost in
translation and we accordingly fnd ourselves in an inevitable
communication crisis. While this archetypal disadvantage goes
against the nature of our collective consciousness, I cant help
but notice its affect on our daily life. Therefore, in the light of
the Revolution, Arab Spring and latest uprisings, I fnd my-
self thinking about the origin of the current situation and I am
faced with the following conclusion: the problem is that we are
unable/incapable to effectively communicate on every level. But
the question remains, how does design ft into all of this chaos?
On that thought, I am tempted to think that design
serves as a tool to create guidelines or methods that allow us
to communicate a certain code of harmony. Through adopting a
certain precision and order, this code addresses the beauty and
serenity that are emerging from the apparent chaos within our
culture. As a result, sacred proportions and standard forms are
used as instruments to help balance and adjust our perception
in an attempt to communicate the incommunicable.
On another level, design also acts as a catalyst that
allows us to explore our cultural diversity with all its different
layers. From its geographical location to its historic background,
Egypt was destined to have a multifaceted identity, one that
could be described as the perfect African, Arab, Mediterranean,
Pharaonic, Coptic, Islamic without forgetting Ottoman, French
and British mille-feuille. Analysing this description, it became
apparent that this unconventional reference suggests how Egypts
layers would coexist in the absolute.
Unfortunately, in spite of all of these notions I am
still left wondering if I should be talking about design. So I
leave with this fnal thought: If contemporary designers should
not only provide function, form and meaning but also draft the
scripts that allow people and objects to develop and improvise
a discourse; should we (design professionals) speak now? Or
should we forever hold our peace in the midst of the current
social/political/intellectual crisis?
VOODOO aSHTRaY By CHerif MorSi
K A L I MAT D O S S I E R 1 0 1
bOHME
photography PHOTO bOuTIQuE
designer AMINA kHAlIl
1 0 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 0 3
1 0 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 0 5
Left: tee witH a friNGe; riGHt: friNGe 2SL
1 0 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 0 7
Left: tee witH a friNGe; riGHt: friNGe 2SL
1 0 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 0 9
1 1 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 1 1
1 1 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 1 3
aRT &
DESIgn
THIS IS nOT
gRaffITI,



by angIE baLaTa
If you take graffti off a street wall and put it inside
a confned space, is it still graffti? Does street art maintain
its value when you remove the noise, the faces, and the life of
the streets and put it on a safe wall? These are the questions
posed by Soraya Morayef, managing editor at Cairo360.com and
the blogger-turned graffti groupie-turned amateur curator of
the Townhouse Gallerys September exhibition of This Is Not
Graffti. The show brought together nine of Cairos most prolifc
post-January 25 artists: Keizer, Sad Panda, El Teneen, Adham
Bakry, Dokhan, Hend Kheera, Hany Khaled, and Charles Akl
and Amr Gamal. The artists were given the dream offer for any
street Michelangelo: unlimited access to a large space, paid re-
sources, and complete freedom to express whatever their minds
desires. A pretty sweet offer, especially for a group of artists
just starting to fnd themselvesit would be foolish to reject.
One such artist did and I suspect it has a lot to do with the basic
argument of the entire exhibit, does graffti retain any sense of
legitimacy when not only is it brought indoors, but shown in
a gallery space that has gone so far as to create false sense of
street. These are the issues Morayef and I discussed when I
interviewed her about the exhibition.
Sitting in an outdoor caf in one of Cairos posh areas,
not far away from some of the frst pieces of graffti in Cairo,
Morayef meets me for the interview. She walks in with confdence
and sits comfortably waiting for me to introduce myself and my
mission. The interview, I explain, will be more like a conversa-
tion to discuss different aspects of the exhibition, but mainly
focusing on the concept, the administration and implementation,
the general publics reaction and the artists reaction. Out of
curiosity, I ask how Morayef got into graffti in the frst place.
She tells me that her blog, Suzee in the city, which is mostly
dedicated to graffti, began after a conversation with a friend
about the new rise and transience of graffti in Cairo and the
need to document it. According to Morayef, this spiralled into
a series of blog posts due to the positive reaction from people
and social media allowed the access to, and connections with
other artists and documenters. All of this gave her the necessary
foundation about the local scene to approach the Townhouse
Gallery in search of funding for a book project she wanted to
do on the subject. As she gave her pitch to Townhouse, she
mentioned in passing the idea of holding an exhibition as part
of the book project. The hard-to-please owner of the Townhouse,
William Wells, saw a unique opportunity in the moment and,
well, the idea became a show. Wells and Morayef agreed on the
basic framework, including dedicating the gallerys entire mas-
sive factory space to the project and giving artists free reign to
do what they will with the pieces allotted to them. But there
was always uncertainty about whether the ever-elusive majority
of Cairene graffti artists would agree, especially in light of the
institutional aspect of the art space.
Drawing up a list of the key artists based her own
profling, interviews and/or actual connections she had made
with them, Morayef approached the artists. The focus was art-
ists in Cairo, which she explained was largely a result of feeling
like Cairo was the space she most understood and had the most
contacts in. Except for the prolifc and eclectic Ganzeer, all had
agreed and some suggested others to join. Surprisingly, as many
of the artists have been notorious about not appearing publicly
in any way outside of the pieces they stealthily and quietly
create on Cairos streets, many of the artists agreed to do the
exhibition. I asked her about her opinion for the impetus behind
the artists participating and she explained that each came in
with their own agenda. Adham Bakry and Sad Panda, she told
me, wanted to send a message whereas Hany Khaled and Hend
Kheera were both excited by the fact of having a large space and
complete freedom to paint what they wanted without interfer-
ence from the street. She explained that El Teneen, a friend of
hers, supported the idea, but struggled with the concept until
the fnal stages. All in all, it seems that the each artist wanted
what every artist dreams offa piece in a gallery.
And this is where the conversation got more interest-
ing. The graffti I grew up with and saw around the world was
always in the street, the only available space for those segre-
gated and excluded from the circles of high art. The gallery
art world used to be the arch-rival of graffti art, refusing to
accept the former as an art form. Moreover, graffti is illegal in
most countries, consequently, creating a unique environment
in which the art form fourished--so now to put it indoors, and
in a gallery of all places, seemed blasphemous and a selling
out of sorts on the part of the artists. How do we as the avid
observers and long time supporters of the art form reconcile
ourselves with that? Never mind us, how do the artists? In
the days prior to the event, Morayef sets up the exhibition as
social experiment of sorts, writing on her blog: The cool thing
about graffti is that there are no rules and nothing off limit;
this experimentation at Townhouse will leave viewers to decide
if the art they see on the wall is graffti or not, if it incites the
same reactions as it would out on the streets. There is no right
answer or easy conclusion; its up to you to fgure it out. Also,
if youre a graffti fan like me, its a pretty cool exhibition to
check out.
1
However, the entire thing seems contradictory,
especially when you consider that the exhibition is described
as not graffti yet providing a space with walls similar in look
1 http://suzeeinthecity.wordpress.com/2011/09/10/this-is-not-graffti-group-exhibition-at-
townhouse-gallery-of-contemporary-art/
EnTRY
EL TEnEEn
cHaRLES aKL & aMR gaMaL
---
and touch as those on the street, in addition to having graffti
artists do actual graffti on these walls seemed very much like
an attempt to recreate graffti, indoors.
In discussing this with Morayef, it was clear that the
contradiction depends largely on how you see graffti and art
in the public space. The name for the exhibition, according to
her, was a result of a debate with artists and with others about
whether graffti inside a space would actually be graffti. She
began with her own view that graffti inside or outside would be
still considered graffti and the concept was developed around a
series of questions posed to the audience and the expectation was
that each person would fgure it out for themselves. The artists
were working under what she felt were the perfect conditions:
lots of time, considerable space, resources and a threat free
environment. Moreover, she insisted on the Townhouse Gallery
agreeing to no censorship and no control. She discovered that
many struggled with the idea and their responses to it. But some,
like Adham Bakry and Sad Panda had simple messages and were
done quickly. She also discovered that the solitary experiences
of each artist began to transform into one of community and
interaction. She believes that graffti can be graffti as long as
there is no imposition on the artist. For her, it can be inside
or outside, the location is not important, as long as the artists
retain their full freedoms to express. For her, the environmen-
tal factor, including the street itself, the differing textures of
walls, the noise and all that comes with it, is secondary to the
1 1 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 1 5
absolute freedom crucial to the authenticity of the art form.
So, were there any problems of interference from the
art establishment? Morayef describes an instance where the
establishment via Wells began to cross boundaries. Illustratively,
she says that the Sad Panda piece was a point of concern for Wells
as he thought Sad Panda could have done better and suggested
that perhaps that particular piece could have been reworked.
For Morayef, when Wells entered the conversation it became
an issue of the art institution and its imposition of what can
and cant be considered art. While Sad Panda himself responded
positively to the idea of reworking his piece, Townhouse did not
want to pick up the bill for the additional resources.
So, was it successful? Morayef originally chose to do
this because it was a crazy opportunity that she was given as
an amateur who just took pictures of graffti. The opportunity
allowed her to meet other artists and take a private debate more
publiclythus, a personal success, especially in light of the
turnout. For many of the newspapers reporting on that night,
the exhibition was problematic. Among the many negative
critiques, The Daily News headline announced the exhibition
as a pretend display of Egyptian graffti at a disappointing
Townhouse exhibit and expressed that the disappointment in
this project is evident upon entry, when ones expecting that
given the legitimacy of the space and therefore the unlimited
time, comfort and lack of need for a getaway plan that graffti
artists have to deal with in public spaces the work would be
provocative, raw and outstanding. When I asked her about this,
she shrugged indifferently and explained that these reactions
were reactions of the art critics. The chatter regardless of posi-
tive or negative, is great because the discussion is interesting as
there is no right or wrong answer. When it comes to the actual
graffti produced, she had expected something but the artists
produced something completely different. She learned that you
cant force anyone to do what you expect or hope you can only
stand back and watch the process unfold. The crowning glory
for her was that in the end, one person had responded to the
entire event by spraying a stencil outside the exhibition space
that said howwa dah ba2a graffti ya habiby (that is graffti,
of course, my dear) and Sad Panda tagged his signature Panda
on one of the outer walls of the exhibitionveritable proof
that graffti can exist inside.
On the part of the artists and audience, the reaction
was lukewarm at best. One artist viewed the gallery represen-
tation of an art form that belonged in the street to be juvenile
and attention seeking. Two of the artists, Adham Bakry and
Sad Panda, outright insulted both the idea and the Townhouse
Gallery. Morayef points out that the artists participated freely
and many of the people who came were well known underground
graffti artists who had originally told her the idea was ridiculous
and the Townhouse was crap for doing this, but came anyway.
She feels this was a small accomplishment. She thinks people,
particularly the artists, came out because the graffti scene is
competitive, but still one with amiable interaction. So likely
those who showed up came out to support friends and/or see
what was being produced. And returning back to the institu-
tional aspect of it, Morayef points out that a well-established
graffti artist was brought recently from Spain to do graffti at
the Townhouse, and so would this not also be considered graf-
fti? As long as there is no imposition and it is still raw, then
it is graffti, she adds.
In another conversation with two of the artists who
participated, the project fulflled their expectations and more.
Hend Kheera explained that the space was amazing, there were
no restrictions and all had complete freedom to do what they
want. Both felt that the Townhouse may have, in fact, been
too hands off and would have appreciated more administrative
support from the gallery. For Hend, the project intrigued her
because of not only the complete creative freedom she had, but,
also the physical freedom to move and paint without harass-
ment. Hany added that the idea of graffti is not whether it
is indoors or outdoors, but it is the art itself. Hend explained:
Grafft is a matter of breaking rules, so why dont I break the
rules of where graffti should be or is expected to be and do it
in a gallery space? They both felt that they might repeat it
again as long as the same degree of freedom is made available.
For what its worth, I attended the exhibition with the
sure feeling that I would hate it thoroughly. And I did. On an
artistic level, the pieces were interesting but clearly the work of
art of a generation still trying to fnd itself. As one artist friend
recently pointed out, the exhibition was set up for icons that
are nowhere near the experience necessary for this kind of show
and have yet to prove that status. Adham Bakry and Sad Panda
defnitely achieved the shock status and the bitter response to
the gallery world, but one that is falsely contrived the moment
they agreed to this exhibitiontheir pieces might have seemed
more natural had they been painted outside of the gallery. Some
of the artists, for all the bravado and secrecy which they guard
closely, came short of offering anything worth a second look.
Charles Akl and Amr Gamal made slight modifcations to the
unoriginal Pulp Fiction piece they had previously painted on
an actual street and El Teneen, for the effort he has put into
tagging replica around what he views as imitative work by
Keizer, himself produced a copied image of the barcode zebra
and unexcitingly, and seemingly out of place, added Qaddafs
head. Hend Kheeras bold piece and Hany Khaleds signature
colour piece offered anything close to originality and art. All in
all, it was abundantly clear that the artists, for the most part,
produced pieces that said mostly nothing about them as artists.
More broadly, the exhibition itself was a complete
hoax and contradiction in terms. As a prolifc German graffti
artist friend of mine mused: This is no graffti as a title is
misleading because it doesnt really remain true to the art form
displayed, which is graffti, and doesnt give credit to the hard
work of the artists that are graffti artists. The title should have
been given to refect that the gallery was an exhibition of art
that began with graffti but moved to something beyond. Unlike
my friend, Im an avid believer in the essential street aspect for
graffti. Having seen it in different places around the world
and followed some of the greats, its hard to be convinced that
graffti inside is anything worth seeing. There is something great
and utterly unique about passing under a bridge or alleyway or
a side street and seeing the pieces of art that someone has left
for you to fnd. The exhibition made this impossible by exclud-
ing everyone but the friends of artists and that small number of
people who would have heard about it from even smaller circles
of communication. Once you enter the gallery world, as admit-
tedly many graffti artists have done, the art itself changesit
must in some way as you are no longer producing in the street.
I dont like the idea of seeing art, especially street art,
inside because of the exclusionary aspect, but I can understand
the need for the high culture world as represented by galleries
to acknowledge street art as a viable form of art. The problem is
that this exhibition refects a larger issue in Egyptian society, one
that the Revolution has unfortunately not affected, and that is
the issue of accessibility to space. Graffti historically responded
to the counter need to having accessible space for those not
heard, not seen and not allowed to join the circles. It was the
art form of the oppressed and the segregated. The problem in
Egypt is we have a tendency to want to own things, we want
to take things over and make it our contribution to society
and, often, it is surrounded by large fanfares and chatter among
the inner circles of the elites, the Westernised, the activists,
and other cliques. We appropriate, we segregate, and we display
to and within our circles. We do not engage, interact, or invite
the outside world. And in that lies a sad whisper of hypocrisy.
The beauty of graffti is not the rawness or the environment,
which without a doubt are fundamental to aesthetic quality. No,
the beauty of graffti is in its social aspectsthe quiet conversa-
tion between the artist and audience. It is a silent conversation
that invites everyone to participate, no matter what social or
political class, no matter what age or gender. Ive been on a
couple of graffti runs with some artists and the engagement
with the street, the interest that passerbys show and the need
to want to see and know what art is all abouta conversation
and a bridge between people. When we segregate ourselves, that
conversation stops and those bridges are not built.
SaD PanDa reads Graffiti is in the street,
and this is not graffiti you sons of scum/dirt
aDHaM baKRY
Hk (HANY kHAleD) - piece was
unfinished
HEnD KHEERa
1 1 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 1 7
aRT &
DESIgn
THe cReATIVe sPAce:


by RanIM HaDID
I
nspired by an idea, Sarah Hermez is one of the very few
people who have been able to implement her dream into a
reality. After completing her studies at Parsons/New School
in New York City with a double major in Fashion and Media and
Culture, Sarah moved to Lebanon to start her dream.
Hermez is the founder of The Creative Space, a fashion
programme committed to providing fashion education to designers
from various backgrounds that work together in order to create an
haute-couture collection. The signifcance of the name Creative
Space comes from the idea of not limiting the organisation in
the future, as they would like to expand into more than just a
fashion design programme. We were thinking about a name for a
while, but this one just seemed to suit it most, it really is a space
for people to be creative, Hermez said.
Born and raised in Kuwait, Hermez, who is of Lebanese-
Armenian origin, wanted to give back to the Lebanese people and
moved to Lebanon in order to start this project. Where else can
someone feel most free to give back other than their own coun-
try? It was time for me to learn about the country I am from,
Hermez said.
After working with Unite Lebanons Youth, a local
NGO, she was able to circle refugee camps and womens institutes
to fnd potential candidates who would be interested in her
idea. I had no credibility at frst, it was just me and my teacher
from New York, but I really believed in it and thats what got
the girls to believe in me, Hermez said. Rania Dalloul, Hermezs
childhood friend, joined the team to help with advertising and
marketing. Dalloul runs the website and Facebook page which
surprised them by the attention it garnered, People wanted
to know more, so I started updating more often, Dalloul said.
Dallouls contribution isnt limited to marketing, advertising and
website maintenance, she also teaches the fve students English
classes three times a week. They wanted to learn English, so
they just asked me, Dalloul said. My Arabic is very weak so
its always an exchange, she continued.
The requirements for the girls who want to join
the Creative Space are very basic: passion is their priority. An-
other important qualifcation is to have previous creative work
done, whether it involves sketching or drawing. The girls, aged
17-23 are talented and had previous experience in fashion design.
In order for the dresses to be of top quality, Donna Karen New
York (DKNY) donated the fabrics that are currently being used
for the designs. They are hoping to receive a second shipment
and more fabrics will also be sent from Parsons.
Baraa Al Abdullah, a 20-year-old Palestinian
born in Saida (Sidon), attended UNRWAs Sibleen training centre
to learn about fashion design. Hermez discovered Al Abdullah
after she contacted the school to fnd students who would be
interested in her idea. My parents were frst against the idea
and were worried about me fnding a job later on but I believe
that I have a future in this industry, Al Abdullah said. At frst,
some girls had diffculty leaving the camps because it was not
considered a successful feld to enter by their families.
Al Abdullah is inspired by her passion and doesnt
enforce any rules in what the girls must design in order to
enhance their creativity. Sometimes I start by making a top
and I end up with a dress, our ideas develop as we design, Al
Abdullah says.
Eman Aswad, a 19-year-old Palestinian who previously
attended MDM Technical College, felt as though she could not use
her design skills to the best of her ability. When I met Sarah,
I felt more comfortable with my work, I was doing what I was
feeling and not what I was told, Aswad said. Aswad felt that
working with the Creative Space would allow her to grow as a
designer. Unlike most fashion institutes in Lebanon, the Creative
Space does not apply rules about design to the students. I have
so much freedom with my designs, when Im done with them, I
really feel like its my work and not someone elses, Aswad said.
Nourhan Abdellatif, a 17-year-old Palestinian
born in Shatila and the last one to join the programme, never
thought that fashion design would be her feld of study: In
my family, design is not really liked, although my parents fully
support me.
The two other students in the Creative Space are So-
phie Youssef, a 20-year-old Lebanese and Carmen Havatian, a
23-year-old Lebanese-Armenian. Youssef received all her support
from her father and enrolled in Graphic Design until Hermez
discovered her and she joined the Creative Space. Havatian is
studying Graphic Design at the Lebanese University but has
always been interested in fashion design and hopes to create
her own line.
For Hermez and Dalloul, the Creative Space is a place
for students to feel a connection with their designs: We want
to expand in terms of not just being fashion design, the idea
of this is that its an education where youre producing, Her-
mez says. The project is sustainable, the more we produce,
we generate income which is advantageous for the students,
Hermez continues.
Whats next for the Creative Space? Dalloul hopes to
grow, into different forms of creative expression.
www.creativespacebeirut.com
K A L I MAT D O S S I E R 1 1 9
aRT &
DESIgn
AcclAIMeD:



by KaRIM SuLTan
A
French designer and
architect, Christophe
Pillet has had a his-
tory of collaboration with the
Egyptian design scene for some
time now. He recalls his experi-
ences and some of the challenges
that were encountered in what
could be called an early pe-
riod. The many conversations
that took place shaped things
until the present day, and the
lessons learned remain fruitful
for Egyptianand Arabcre-
atives now more than ever.
KS: How would you introduce
yourself?
CP: I am a designer, and as a
designer my activity goes into
designing [consumer] prod-
ucts, furniture, and industrial
products. On the other hand, I
gradually became an interior ar-
chitect, then an architect prop-
er, working on hotels, fashion
shops, and private residence. I
am based in Paris, but I am working, as you would say, around.
KS: Working internationally, around, was there anything that
made you decide to collaborate with Egyptian companies, or did
or sort of happen by chance?
CP: It happened by chance. On my job, I wasnt pretending to
be a designer at frst, it just happened very randomly. I decided,
when I became a designer, that I would follow that adventure
of going here and there, and having good collaborations with
people. I didnt then, and still dont now, have any professional
goals of doing things that are cool and nice or what not. I dont
feel like I have any specifc mission or goals; I am just spending
good times with people. Being in Egypt was the same kind of
opportunity. I had a good friend there, Karim Mekhtigian, whom
I met in Paris, who asked me if I wanted to spend some time
in doing projects with him and his friends. My interaction with
the Egyptian industry and Egyptian companies started more as
friends Sunday hobby, even while doing it very precisely and
professionally. It was a very nice opportunity being in Egypt
and trying to set up a few things.
KS: That sounds fantastic actually.
CP: It was. There were obligations, no rulesit was like doing
music, you know. I was a musician when I was young, that is
what I wanted to do, and I still consider that my job should be
like that, with no constraints of answering to specifc industrial
questions, just expressing what we have in mind, our vision,
our desires, being very free.
KS: On a side note, what kind of music were you making?
CP: I was playing rock and funk music, and I was a keyboard
player. I sang as well.
KS: That sounds like a lot of fun.
CP: It was, actually.
KS: You mentioned you were in touch with Karim Mekhtegian.
Were you mostly working with Alchemy when you were in Egypt,
or did you establish other links with other organisations in the
design scene there?
CP: It was more than ten or twelve years ago, and the design
scene was not that big, not the way it is today with so many
talented designers and strong companies. It was mostly a few
friends who, together, trying to compete with, or trying to belong
to the international design scene. It was just a few designers
(who we are still in touch with today), and we started making
prototypes with Alchemy. Slowly we had the opportunity to
make connections with other companies as well.
KS: You mentioned a sort of friendly atmosphere when working
with Karim and other collaborators there. What were the more
enjoyable, and the most challenging things you had to encounter?
CP: The most enjoyable was the pressure those men and women
had to reach that international design scene. They were spend-
ing a lot of time working, considering themselves challengers in
a way. Whats good about that is the attempt to fnd your own
way, doing things alternatively. You dont reach the international
scene doing the same things that have already been done. We had
a lot of discussions about the Egyptian way of doing things,
the local aspects of culture, all these discussions and debates
that were very interesting. That was more than just doing chairs
and sofas. There was that goal of expressing something differ-
ent, that pride of being a challenger, and the pride of coming
from a small design nation. Not a small country, because Egypt
is not at all a small country, but in terms of design and the
industry there. There werent a lot of companies, and not a lot
of international experience with specifc, technical know-how.
This aspect, which could sound negative, was for us something
very positive. As you know, the industry of furniture is not a
very technological one: its still craftsmen making things. In Italy,
for example, there are people working metals with
theirs hands. Its not like the cosmetic industry, or
the automotive industry in that aspectits still
connected to the craft and the craftsmen.
KS: What were some of the inspirations of this
time, and how did it refect in the designs that
came of it?
CP: I would say mostly the energy of people. I
cant say that there was a main source of inspira-
tion. Im not the kind of guy saying, I have read
this book yesterday, and dedicating the rest of
my life to work on it. No, it was more being a
group of challengers and trying to fnd out how
to compete with people from Italy and the UK
and so on. It was more looking to what had been
accomplished elsewhere, and also look inward to
see what distinct thing could be brought out in
the work. There were also talks about traditional
culture and craftsmanship, which was fun, because
I dont believe that traditional culture, in its repli-
cation, makes a difference in contemporary design
culture. Its more feeling, emotion, its more the
philosophical, the political, the ideological. The
difference is not where you come from in terms
of the quantity of references to traditional crafts-
manship, its more the enthusiasm that makes the
difference. Sorry this answer is somewhat abstract!
They were looking for patterns as ingredients in
the local, traditional culture. I said to them, Who
cares about that! You are Egyptian, so if you are
designing you will be an Egyptian designer; thats
it. Just put your enthusiasm and desires into it.
You dont need to put what I call exotic refer-
ences. We must take the local craftsmanship and
industries for the qualities and fexibility: this is
giving you an identity, and its not putting pat-
terns of ancient Egypt that will make a difference.
KS: Did you fnd that you had to change your work-
fow or design process being in Egypt in this col-
laborative context? Or did things come naturally?
CP: It was a little bit of both. In terms of time,
things were going pretty slowly in coming up
with prototypes and pieces of furniture. It was
giving us enough time to think about how a de-
sign could be done differently. You know, usually
when you are working you have you project and
its done. Here it was complex. Im used to work-
ing with big industries, which are fast and there
is a lot of embedded knowledge with the tooling
and particular techniques. That was not the case
here. The idea was how to fnally take advantage
of the very particular craftsmanship in Egypt, to
make things, not different, but with a certain
fragrance? It might look the same, but you know
that there is something different. Not dry, being
tooled by machines, but made with a lot of pas-
sion, and with a desire to learn.
KS: Are there any anecdotes that refect this pro-
cess? Or was it sort of a blur?
CP: No, I remember something specifc, that while
working with wood, the craftsmen were trying to
reproduce a very smooth, plastic effect. I remem-
ber fghting with them, telling them, You are
working on wood; dont reproduce plastic, just
express whats wood. They had the desire of doing
the absolute best they could, the best was to
reproduce aspects of industrially produced objects.
I said to them We dont care about thatif its
not perfect its good, which I love. I love those
differences. They were working with metal by hand,
but attempted to reproduce the perfect fnishes
of something produced by big tools or moulds,
and they were surprised when I said to them that
I like the errors, the traces of handmade things
by humans.
KS: What do you attribute this attitude to?
CP: It was a sort of shyness, I suppose. They were
aware of their position, and expecting to be part
of the international scene, taking the main models
of products and were trying to replicate them. Its
like trying to belong to a club, and dressing like
the regularsit could come across as fake. But we
learned not to care about copying those models.
You dont have to dressand of course, its an
analogyyou dont have to dress like those people.
Dress the way you want! You have to enhance your
particularities instead of erasing them. I would even
say that it was being ashamed of their knowledge
and their lack of knowledge, which was not at
all a lack of knowledge, simply not having those
industrial machines, of replicating things by hand
that others were doing by machine. We should do
the best with our tools and our knowledge, even
if things look like theyre handmade or whatever.
Its like if you are making music: If you are French
or German, and try to imitate American groups or
UK groups, youll just sound, well, fake. Dont be
ashamed to sing in French or German. But theres
always this fear if you express your local language
and culture not to be on the level of the models.
KS: Especially if there is something else out there
thats much more established.
CP: Thats exactly the problem, looking towards
establishments. And they were, mostly in this
case Italian companies. But we must not. We can
be part of a successful establishment if we are an
alternative to it; but you must compete with it,
show your own direction, your own way.
KS: There have been a few initiatives in the past
few years in terms of Egyptian design. How do you
see where things are going, especially in light of
your involvement? What do you as the future of
the work you were part of?
CP: At the very beginning, there was a lot of energy
there, with a limited capacity to express, but still
this attitude of We are really going to get into
those other Western countries with our designs.
There have been a lot of inviting back and forth
as well in the industry with international design-
ers and architects, to where there was a sort of
cross-contamination, taking and sharing experi-
ence and skills, not only to the growing Egyptian
design scene, but to the international designers
as well. After twenty years of an international
style, people became very bored and looked after
something more particular, expressing more local
points of view. In that sense, Egyptand Im
not being fattering in any waybelongs to the
rising countries of design with Brazil, Korea, and
countries like Sweden which are more established,
but are known as having a very specifc, and in-
ternationally recognisable for having certain ways
of doing design. Since Ive been living this life for
a while, and Ive seen, more than once, people
coming to Egypt with the idea that it was sort of
a third world design country and being surprised
by level of work produced there. Imagine, arrogant,
larger Italian companies thinking they were going
to teach them something and seeing young companies
and young protagonists being able to produce things
at a top level, reconsidering their point of view on
the quality of what is produced.
KS: Is it getting to a point where that initial com-
petitiveness is paying off?
CP: As far as Europe, as design countries we are old
countries. There is no input; we have said what we
have to say. We have everything we need and we are
not fghting to exist. For me, in the cultural dimen-
sion, whats new comes from the desire to fght for
things, and not just being established. Defnitely,
if you are looking to the world panorama of design,
what is good isnt coming from Europe, it is coming
from those small design countries, and Egypt is
defnitely a part of it.
KS: There are defnitely many stories to tell, and
design is a medium for telling them, exploring them.
CP: Certainly. The international panorama is expect-
ing new stories, and we as Western people, have no
stories; we are always singing the same songs. We can
come up with new interpretations of those songs, but
in the end its nothing new.
KS: Is there anything new you are excited about?
CP: Personally, there are many projects. I am actually
fnding far more freedom and perspective with clients
outside of France or Europe. I still have my clients
in Europe, but it is still with projects that are very
established, not with as much curiosity in doing them.
KS: So it seems that it is more open to new ideas
outside of Europe?
CP: The future is something that no longer belongs
to Europe or Western countries. When I work with
European clients there is a great anxiety about, say,
the economic situation, the future, that there is no
positive or fresh energy. When youre working with
others, you feel that there is a sort of potential, in
the quality of experimentation and things you can
explore.
KS: Speaking of exploration, as many of our readers
tend to be developing creatives and at the beginnings
of their careers, what would you want to tell them?
CP: Dont go too fast and leave us established people
some space! [laughs] I would say what I was saying
earlier: dont trust the other too much, just trust
yourself and go ahead. The world is expecting new
things, not expecting the same, established things.
Many times young people, and young energy, will
reproduce existing things to exist, but things are
changing. The world is expecting new models; you
have to be confdent in yourself and not in the old.
www.christophepillet.com
christophe Pillet photo Romain
cabon
1 2 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 2 1
Francesco Rota started his own design studio in 1998.
Ever since, the Italian designer has worked in different felds
of design ranging from products, furniture to corporate and
residential interior as well as events. He has been awarded two
honourable mentions for the Compasso dOro with the Linea
Chaise Longue and Island Collection for Paola Lenti, which are
today in the Historical Collection of the ADI Compasso dOro
Award. In addition to taking part in several exhibitions held at
Triennale di Milano and Royal Academy of Arts in London among
others, he has been teaching since 2004 in the Master Research
Study Programme in Industrial Design at the Istituto Europeo
di Design in Milan in collaboration with Magis.
As international designers, what made you decide to col-
laborate with Egyptian companies? Which companies have
you worked with?
I met Karim Mekhtigian, owner of Alchemy Design Studio, a
few years ago in Tokyo through my friend Shimpei Tominaga
and we immediately hit it off. He asked me if I wanted to de-
sign some products for his company and I agreed, even though
it took quite some time before I started to work. Finally, he
decided to come and visit me in Italy, then we chose together
some of the designs I had developed for Alchemy Cairo. The
Gouna Collection as well as the Hexagon Tables created for
Alchemy was my frst collaboration in the country, however, I
still hope to work on more projects with other companies within
the Arab region. Hopefully, Ill get the chance to build other
long lasting professional relationships like the ones I have with
international brands such as Paola Lenti, Lema, Living Divani,
O luce, Moroso, Archetipo, Frag and many others.
Having worked with local manufacturers, what would you
say was the most enjoyable and challenging parts of their
collaborations?
I really enjoyed the super-hospitality of my Karim. I really love
how he tried to bring everyone together, and of course, the par-
ties at his place! It was a great experience to work with a big
crowd of collaborators that share this beautiful project with him.
While designing for local companies, what were your sources
of inspiration? And how were they refected in your designs?
I think that my curiosity and my fantasy are big contributors
in my projects, however, different aspects contaminate each
projects process during the development phase. The fact that
I travel a lot for business and pleasure defnitely allows me to
constantly absorb information related to different cultures. For
example, if we take food and all the elements related to nutri-
tion, the way it is prepared, presented and consumed, is a factor
that strongly distinguishes different cultures. Only thinking
about Italy, you can notice that every 50/100 km the scenery
changes, as well as the cuisine and the dialect amongst other
things. On the other hand, peoples behaviour and lifestyle also
change according to the climate zone they live in. In brief, for
me travelling represents a fascinating way of nurturing creativ-
ity and it always infuences the development of my projects.
Working within a foreign culture, did you have to change
or adjust your regular work/design process?
No, I just fne-tune it a little bit to meet the expectations.
Given the different initiatives that were done during the
past few years, how do you see the future of the Egyptian
Design Industry?
I think that in the near future, when Egypt will be more stable,
there will hopefully be such a desire of redemption that the
Egyptian industry will have a great opportunity to satisfy the
needs and the desires of the entire Arab population!
www.francescorota.com
francesco Rota photo www.woont.com
Harry&Camila, these Creators of Signs are known
for their mysterious objects, exemplars of vibrant design of the
21st century. The futuristic shapes of their designs are remi-
niscent of technologies applied to high speed. Their imagery
draws from aeronautical performances, with fantasies of aircraft
wings, space travel and spaceships. Their resulting design ap-
proach concentrates on experimentation with materials and
topologies. This dynamic duo has been working with different
international design brands such as Living Divani, Kristalia,
Dedon and Casamania among others.
As international designers, what made you decide to col-
laborate with Egyptian companies? Which companies have
you worked with?
It all started in 2008, when we got invited to be a part of an
initiative organised by the Egyptian Furniture Export Council
(EFEC) and the IED Centro Ricerche of Milan. During the 1st
Design + Industry Workshop, we got the chance to work on
developing different furniture pieces for local manufacturers.
The purpose was to create products that come out the Egyptian
culture, so we came up with the E-Walk Seating Collection for
Karassi + Karassi and Sun Stools for mohm, which were all
exhibited at Kyme, the Egyptian stand at Salone Internazionale
del Mobile. Then in 2010, we collaborated with Alchemy Cairo
and designed the Satellite Collection for their offcial collec-
tion, launched last year.
Having worked with local manufacturers, what would you
say was the most enjoyable and challenging parts of the
collaborations?
Well it would have to be the artisanal and handcraft way in
which they handle an industrial project. However, we do have
an experimental design approach so it was quiet interesting.
While designing for local companies, what were your sources
of inspiration? And how were they refected in your designs?
Our main source of inspiration was the countrys rich history
and the present. The local culture defnitely had an infuence;
we usually put great interest in personal seeking and free ex-
pressions so we like to concentrate on the analysis of identities
and human behaviour.
Working within a foreign culture, did you have to change
or adjust your regular work/design process?
No and we never will We only work with foreign cultures and
we take it as a challenge and learn from the experience. At this
point we would be taking a turn to our designs, as we initially
put great interest in personal seeking and free expressions,
therefore we would rather like to concentrate our interest in
the analysis of the current identities and human behaviour.
Given the different initiatives in the past few years, how do
you see the future of the Egyptian Design Industry?
The Egyptian Design Industry still has a long way to go!
www.harrycamila.com
Harry&camila photo Rainer Hosch
[...]Ive seen, more than once, people coming to Egypt with
the idea that it was sort of a third world design country
and being surprised by level of work produced there.
AlCHEMY DESIGN STUDIO (THE OFFICE)
How does the Egyptian context ft into the design process?
Throughout the years, we have been trying to incorporate
the nature of the Egyptian lifestyle within the spaces that we
have created. We usually do our best to analyse the different
layers of the Egyptian way of living that are embedded in
our culture in order to come up with design solutions that
also serve our clients individual needs. There are certain
common traits that we fnd in most of our clients, which
is a true representation of our collective memory. Most of
the time, the living areas are the most important parts of
the house because as Egyptians, we have an innate desire
to gather during events to share and communicate. It also
exudes a key aspect of Cairene life, where a certain culture
of warmth brings people together in social gatherings. This
warmth can also be represented in the selection of certain
materials or colour schemes that refects perfectly the nature
of the people inhabiting our interiors. At the end, it is about
understanding where people come from and tell their stories
through what we call narrative environments or spaces.
There is a distinct style that ties much of the work to-
getherhow involved is the client in determining the
fnished result, or is your process mostly independent?
We believe that our profession is about elevating the quality
of life; therefore we do our best to make sure that clients are
involved in their projects. We try to understand each clients
lifestyle, needs and requirements, as well as aesthetic prefer-
ences among other things, in order to avoid creating imper-
sonal spaces that lack character.However, our clients come to
us for our professional opinion therefore, through our designs, we provide
them with our version of their own story. It is like making a movie, where
you have a script, characters, location and a director - you use your own
methods to mix all these different elements and tell the story with your
own creative vision. Working under the same design studio, we decided
a long time ago that we needed to create a distinct design identity. We
wanted the work to be recognised in order to build the companys name
and reputation, which resulted into a certain familiar style that links our
work together.
Is there a specifc and unifed sense intended to be evoked with
the interior work, or is it dependent on the space and the client?
If so, attempt to illuminate that process.
Usually spaces dictate what is the best technique to
translate a certain concept into interiors. We try to take a com-
prehensive approach towards designing a project; in a way it is
like coming up with the most adequate equation combining the
volume, the clients demands and our vision to reach the best
solution. If we really have to pin it all down to one element, it
will be what we like to call human-tech.
There is a diverse set of educational and practical backgrounds
to each memberwhat is the importance of the educational
aspect? What recommendations are there for design-based
education in Egypt and the region?
We do our best to use our diversity positively; in a way
we complement each other. However, nowadays it is important
to have a more diversifed design education. Unfortunately the
concept of designed-based education is still new in our country so
it is diffcult to fnd this diversity. On the other hand, there are
some private universities that are trying to focus on this type of
education in order to fll a certain market gap but it will take time
until this profession is fully backed up with a well-established,
design-oriented education system.
Is there the notion that design or design-based thinking can
play a larger role (i.e. socially)?
Some people consider design to be a glamorous industry,
however we believe that there is bigger purpose behind it and it
can play a larger role in different aspects of a country, whether
social, economical or environmental. Over the years, we have seen
some designers use their skills to improve living conditions or to
support certain causesdesign is not only about creating good
looking interiors and comfortable chairs, it is about the process
of thinking behind it.
AlCHEMY CAIRO (THE BRAND)
How has the response been so far, locally and internationally?
Well, the feedback has been mainly positive. We think
it is because as long as you have the intention to come up with
true authentic stories and try to communicate them to people,
and as a result, they tend to react with a welcoming attitude.
How do the design concepts emerge? Is there a pool of infu-
ences that are dipped into regularly, or does each piece emerge
as a unique or independent process?
We all agreed early on that we wanted Alchemy Cairo
to be an Egyptian furniture brand. By Egyptian, we dont only
mean manufactured in Egypt but also inspired from our local
culture. For more than a decade, we have been designing individual
pieces of furniture for our projects so when we decided to fnally
launch our frst offcial collection we wanted to communicate the
concept behind the brand through our designs.
There is defnitely a general design concept that refects
the story behind Alchemy Cairo, so when we started working
with different designers it was to create different dialogues where
each one is refecting his individual vision of that common story.
AlCHEMY DESIGNOPOlIS (THE SHOWROOM)
Given that Designopolis is a consumer-oriented design destination
in Cairo, what are the projected effects on the Cairo contextnot
just for consumers, but also for (potential) designers and design
afcionados?
It is an important station. It is a good platform that
allows the brands to create a certain design-oriented community.
It is supposed to have great potential.
What is the projected future of the brand?
We have always described the brand to be emerging
out of chaos. Therefore, generally as Alchemy Cairo, a furniture
brand based on the Egyptian culture, we have decided to readjust
to the current transitional period in our country. This quote
by Jimmy Dean sums it up I cant change the direction of the
wind, but I can adjust my sails to always reach my destination.
www.alchemy01.com
Most of the time, the living areas
are the most important parts of the
house because as Egyptians, we have
an innate desire to gather during
events to share and communicate.
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aLcHEMY
text kARIM sulTAN
infographic DANAH ABDullA
Top: HaCieNDa DUPLex - roof PooL (design Mohamed
fares)
Bottom: HaCieNDa wHite HoUSe (design by Mohamed
fares and Rania loutfi, photos Hussein shaaban)
HaCieNDa wHite HoUSe (design Mohamed fares and Rania
loutfi, photos Hussein shaaban)
Top: HaCieNDa HoUSe (design Mohamed fares)
Bottom: HexaGoN taBLeS (design francesco Rota) photos
Hussein shaaban
aRT &
DESIgn
SateLLite CoLLeCtioN (design
Harry&camila) photo Hussein shaaban
SoHeiMi LoUNGe Seat (design karim
Mekhtigian) photo Hussein shaaban
MaaDi Loft BeDrooM SHot (design
karim Mekhtigian, photo sherif Tamim)
1 2 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 2 5
2006
JUNE
The Core- Furnex Exhibi-
tion (Cairo, Egypt)
DECEMBER
Karim Rashid and
EFEC collaboration
[EGYPTIAN] PRODUCT DESIGN EVENT TIMELINE
2008
APRIL
Timeless Stories,
Salone Internzionale del
Mobile (Milan, Italy)
JUNE
The Home, Furnex
Exhibition (Cairo, Egypt)
DECEMBER
The 1st Design +
Industry workshop
(Cairo, Egypt)
2007
JANUARY
Obelisk, Plante
Meuble (Paris, France)
FEBRUARY
Karim Rashid lecture on
design (Cairo, Egypt)
APRIL
Egyptian Stand, Salone
Internazionale del
Mobile (Milan, Italy)
JUNE
The Platform,
Furnex Exhibition
(Cairo, Egypt)
2009
APRIL
Kyme, Salone
Internzionale del Mobile
(Milan, Italy)
JUNE
Kyme, Furnex Exhibition
(Cairo, Egypt)
DECEMBER
The 2nd Design +
Industry workshop
(Cairo, Egypt)
2010
JANUARY
Design Management
Courses (Cairo, Egypt)
JUNE
+20 Egypt Design, 1st Cairo
Design Week (Cairo, Egypt)
1 2 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 2 7
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SubLIMELY
eGYPTIAN:

text by HeBA elkAYAl

I
t is thanks to Azza Fahmy that we in Egypt can now claim
to have a jewellery brand with an aesthetic that is sublimely
Egyptian.
What is so Egyptian, in the purest sense of the word
about Azza Fahmys jewellery, is that it was a brand born from the
very workshops of Egypts famed Khan il Khalili bazaar.
It was there in the late 1960s and early 70s in the
workshops located above the stalls and stores of famed jewellers of
the bazaar that Fahmy learned her craft. She was the only woman
at that time, learning directly from the men who taught her old
techniques working with silver and gold, before setting up her
own brand.
Forty years later, the brand has expanded to become
internationally recognised, selling jewellery that combines gold
and silver with gems decorated and engraved with patterns, script,
calligraphy or motifs that are inspired by Egyptian jewellery and
culture. Yet, Fahmys designs are never staid or repeated. Her pieces
always celebrate our past as much as they do highlight how once
reworked with more contemporary ideas, can result in a new form
of Egyptian jewellery and design.
The brand is composed of several lines that Fahmy, along
with her daughter Amina Ghali, co-design. Fahmys other daughter
Fatma is CEO of the company. The lines include seasonal holiday
lines for Valentines Day and Mothers Day but also a fashion line,
culture line and exclusive collection line that offers more couture
like statement pieces that incorporate precious gems including
rubies, emeralds and diamonds.
Each year, Azza Fahmy debuts a culture line that is in-
spired by one particular element or facet of Egyptian culture. One
year it was traditional proverbs while another it was talismans. This
year, it was a grand collection that took three years of production
from research to design and production: the Pharoanic Collection.
One of the greatest accomplishments of her design career
thus far, it is a collection that draws upon imagery and motifs
from the walls of tombs, from matters as simple as the reeds and
water lilies of the Nile to grand breast plates the likes of which
decorate the coffn of Tutankhamun. Grand multi-layered chokers
incorporating blue lapis stones with silver, Horus wings strung
from a necklace of scarabs, rings inspired by the pattern of woven
baskets, and cuffs (the likes of which would have made Cleopatra
proud to wear) offer clients a variety of visually and technically
stunning pieces.
The collection is both a design and commercial success:
considering that luxury retail in Egypt has taken a dive since the
onset of the revolution, the collection is being sold like hot cakes
and women all over town are proudly faunting their purchase.
Fahmy has done Egypt a cultural service for producing pieces that
pays homage to one of the greatest time periods in Egyptian history
in a manner that is contemporary and easily wearable.
Her other designs deserve to be as equally celebrated:
no stone or aspect of Egyptian culture has been left untouched.
Over the years Fahmy has explored even the most underappreciated
elements of Egyptian life such as the beauty of Nubian architecture
found around Aswan. Even something as complex as physical
structures could be translated by Fahmy into jewellery: small
model Nubian homes with the most precise details of palm trees
and fgures have been set on rings and the effect is beyond
charming.
Yet she has attributed her more recent modern designs
to Amina who joined her mother after studying at Florences
Alchimia School of Contemporary Jewellery. The duality of mother
and daughter as designers has changed the course of the brand.
Now, even the most classical themes have been infused with
something fresh and contemporary to their designs.
This move towards the exploration of using classic
techniques of handmade silver and gold jewellery with modern
designs has resulted in Azza Fahmy attracting the attention
of other designers, notably Julien McDonald and duo Justin
Thornton and Thea Bregazzi of the hip British brand PREEN.
With McDonald and PREEN, collections in collaboration with
the designers were made to compliment the designers clothes.
With McDonald, Fahmy channelled Bedouin cuffs, a
few long necklaces and some fantastic earrings were made to
compliment McDonalds famous knitwear that required some-
thing eye catching when set upon his chunky wools. Though
Azza Fahmy was gaining grounds as a popular and appreciated
jewellery brand by fashionistas, celebrities and even royals in
the Arab region, it was a collaboration that placed the brand
on the international design map.
Following the Julien McDonald Autumn Winter
2007/2008 collaboration, Azza Fahmy and PREEN presented
a stunning line of chokers, cuffs, necklaces, rings, and even a
silver belt meant to compliment PREENs Spring/Summer 2010
collection. Fahmy worked with Thornton and Thea to produce
pieces that would be harmonious with the silks, lace and designs
of the collection. Working particularly with the lace, Fahmy cre-
ated hand pierced silver chockers, the foral pattern somewhat
Orientalist, and the silhouette of the chocker somewhat sci-f
and modern without the sense of it being costume like or even
kitsch.
The pieces are meant to born with the clothes, adding
to the clothes. A high collared satin dress has a choker peek out,
long black sleeves are adorned with the gold and silver tribal-
inspired cuff, and bracelets are big and with sharp cut angles.
Suzy Menkes, Style Editor of the International Herald Tribune,
had much to praise about the PREEN show during New York
Fashion Week when PREEN and Azza Fahmy sent their designs
down the runway. And how could anyone doubt the judgment
of Menkes on such fashion matters?
Fahmy is to be respected for many other efforts and
work she does to preserve Egyptian culture and craft heritage. A
collector of jewellery, Fahmy has taken it upon herself to record
her collection and the extensive research she has done since her
frst days of training in Khan il Khalili. A book entitled Enchanted
Jewellery of Egypt is an incredible tome of information on the
history, craftsmanship and beauty of Egyptian jewellery from
all corners of the country be it Bedouin or otherwise.
As the brand evolves with each passing year, surpris-
ing clients and admirers with the originality and functionality
of each new collection, Azza Fahmy has become more than just
an Egyptian brand but one that serves globally as an example
of how a small family business reliant on the familiar could
become a brand about heritage and the present.
1 2 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 2 9
M
ost gallery art has the unfortunate distinction of
being passive. Despite the numerous subtle things
composition, colour, subject matter, material, and
the individual technique and vision of an artist will do to us, it
can be diffcult for some to see the multitude of objects resid-
ing in art galleries, whatever the medium, unless our undivided
attention, seemingly by chance, passes over them. Yet amongst
other contemporary mediums (i.e. flm or installation works),
video games have not seen a high level of serious attention from
the art world. Given their ubiquity and incredible market domi-
nance as a consumer product, this lack of attention to a highly
relevant form of cultural production is somewhat disastrous. Yet
a few artists are exploring this medium for its dense emotional
impact and ability to deal with the most personal of personal
signifcances and political circumstances, all of which can be
diffcult to deal with or decipher in language or in traditional
forms of art making.
Blown Up: Gaming and War at the InterAccess gallery
in Toronto, Canada, known for its unique contribution in the
emerging world of electronic media art, featured work by three
artistsHarun Farocki, Wafaa Bilal, and Mohammed Mohsenand the mediums shown instantly and, almost aggressively, seized
attention. Harun Farocki and Wafaa Bilal are established artists. The former, hailing from the Czech Republic, is described as
one of the most important artists of contemporary flm and documentary, and the latter is an infamous Iraqi artist and New
York-based academic who has gained attention and notoriety as a producer of engaging performative and interactive works.
Yet it was Mohammed Mohsen, a Toronto-based Palestinian artist, whose enigmatic work stood out.
Mohsen, whose work Weak debuted at this showing, drew the largest crowds, and with good reason. The installation
itself, a monolithic refective black cube-like structure in which a screen is housed, with a small similarly shaped stool on which
to sit, had a single means of user interaction: a small, red joystick through which the viewer engaged with the game. Rather
than, as Bilals work did, exploring the post-9/11 video game phenomenon of the frst-person shooter, Mohsens workpro-
grammed from the ground up by the artistrecalled the raw, nostalgic images of 1980s games. But something is different.
Rather than jumping to the clear, colourful characters and levels that one may recall when we think of the video game
classics, Weak begins with labyrinthine screen composed of a dark, dizzying palette with a number of distorted, unidentifable
objects roaming the screen. The character one is able to con-
trol is not stable by any means, and often times is a fragment
of something recognisable. As though falling deeper into some
dream (nightmare) reconstruction of learning to play the early
video games in youth, the impetus behind the game becomes
clear. The delicately confusing youthful alliance of a burgeoning
Arab awareness with the almost universal benignly militaristic
American-ness of the 1980s and early 1990s comes together
in nearly frightening ways on the screena digitised scene
of murder by American troops is seemingly cushioned by Om
Kulthoums bittersweet lessa Faker (You Still Remember?).
Absurd and ridiculous error screens appear at random in the
game (whose randomness is carefully calculated into the archi-
tecture of the game, which is meticulously designed to allow
for multiple paths to be taken based on how the user reacts at
certain points), and at one point, in a screen depicting a low-
bit snow furry, the user fnds that their character has control
of a single snowfake, which can only move aimlessly until the
next, harrowing screen is reached.
The aggressive capacity of almost every video game
is altogether missing, and (strangely enough) the result is
thoroughly unsettling. Often, the cues that allow a game player
to move and almost instinctively know what to do next are
there, but only in a false, misleading, and almost frustrating
way. Only trial and error allows the character to move from one
screen to the next, but there is never any real progress, only
further, circular descent into a unique representation of that
shared exile feeling that has characterised many recorded and
unrecorded experiences of the artists generation. The feeling
of displacement, misplacement, exile and forceful loss of self
into a game-constructed fantasy is ever present. It is a diffcult
thing to characterise and this is where, for the most part, Weak
succeeded.
aRT &
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BlOWN TO BITs:




by KaRIM SuLTan
1 3 0 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 3 1
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MulTIDIscIPlINeD:

by NAIRA BADAWI
Marwan Shahin has yet to graduate from Alexandria
University where he is currently completing his studies and hes
already on his way to becoming a pivotal fgure within the arts
community of Alexandria. The motivated and imaginative young
man who was born and raised in the coastal city, works effort-
lessly everyday to hone his skill and cultivate his natural talent
for designing vivid images that possess an interesting balance
of funk and profundity. I recently hit up the well-spoken and
opinionated Marwan to ask him a few questions.
NB: What led you into graphic arts?
MS: You know, Ive been drawing my whole life, just sketching
and doodling and stuff. When I got older, I got into (Adobe)
Photoshop and started illustrating. I began posting my artwork
on the internet and was contacted by DJ September 7th; he
was looking for a graphic artist. He had seen a cover I designed
and he really liked it. I showed him some more stuff and he
eventually asked me to design all the artwork for his album.
I actually do way more than just graphic design. I paint, sketch
illustrations, I even do graffti. But, my strongest skill is graphic
design. When I started experimenting with Photoshop at the
age of 15, I thought it was limitless! You can go as far as you
want with your creativity. With the typography and illustration,
there is no end to what you can do.
NB: Cool! So who are your main infuences? Are any of them
Arab or even Egyptian? Do you have a favorite graphic designer?
MS: Unfortunately, none of them are Egyptian or even Arab.
My major infuences are like, Shepard Fairey, Salvador Dali,
Andy Warhol.
NB: So what is it about their pieces that makes you wanna
emulate their artistic style?
MS: Well, Salvador Dali created such amazing pieces. I mean, he
lived in his own mind. He made stuff that normal people cant
ever possibly THINK of more or less create; thats what I love
about him. Warhol, for example, he takes stuff that supposedly
means nothing and turns it into art. Like the Campbells Chicken
Noodle Soup painting; you might think its really nothing,
but (I think) its amazing. The meaning he created for it is
amazing. A guy like Shepard Fairey; all his work on propoganda
infuenced me tremendously. It deals with revolution, you know?
NB: So what does the revolution mean to you? How have the
events affected your artwork?
MS: Its mind blowing. Experiencing what we went through is
crazy; the protests, those cold nights when we used to stay
out protecting our homes. It defnitely changed me as a person
and inspired me as an artist. My best work was done during
and after the revolution.
NB: In your opinion, what was the coolest post-revolution piece
youve created thus far?
MS: There was The Dictator piece I did, which was featured in
African Digital Art, but I think my favourite was The 2Vth. Its
a King Tutankhamens bust with a V for Vendetta Anonymous
mask on the pharaohs face. I designed it then did a graffti
stencil of it in Loran, Alexandria. People have really responded
to it! I think thats my most popular image so far. Its been
photographed a lot and it was even featured on Al-Jazeera!
(laughs) So yeah, I thought that was pretty cool!
NB: That certainly counts as being pretty cool! So, living
in Alexandria must help you out a lot artistically, right? Does
any of the culture, vivid scenery, elements of Alexandrian life
inspire you at all?
MS: Theres a lot of things going on, you know? I think what
inspires me a lot is those little bits of Egyptian culture you see
here and there. Classical statues you see in Alexandria; you see
this stuff and you go Wow, I need to be making pieces like that!.
I really hope to even come close to what they made back then.
NB: I noticed you have a ton of designs made for Americans!
From designing that huge series of mixtape covers for the Nevada-
based producer, DJ September 7th, to being the art director
of a sports magazine in Arizona, youve practically done it all.
But, it doesnt really seem like youve done too much within
the Arab region, am I correct?
MS: Actually, Ive done a little bit in Egypt. The problem in Egypt
is that yeah, people do like my style of artwork, but only to a
certain extent. They like it but dont fully appreciate it. They
just want me to play it safe. They look at it for a few seconds
and dont bother to look any deeper to fnd the meaning; they
dont access it as if it is real art, and dont appreciate the product
or its creative aspect. Well, maybe its because Ive worked in
small agencies. You know, Im still a student, so I cant get a
full-time job in the industry yet. Maybe If I did some work for
a major agency they would actually see my work for what it is
and look deeper into it to understand it.
NB: Why is that the response youre getting from Egyptian
employers? Why do you think these smaller scale mainstream
Egyptian businesses youve worked with dont appreciate your
form of art?
MS: Most employers only worry about the cheapest and fastest
way of getting their point across. They arent concerned with
the deeper aspect of our creativity and such. They want you
to understand the image straight away.
NB: So they dont try to understand it, really? They just want
simple, almost meaningless pieces to represent their brand?
MS: Yeah, exactly. Every artist intends to place a certain meaning
into any piece he creates. They (Egyptian employers) only wanted
and cared about the simplest forms of art. The businesses want
pretty and simple. Thats it. Nothing too different. You know,
I dont want anyone to look at my stuff and say Hey, theres
no meaning to that. Like, cmon, think about it for a minute!
NB: You were just saying that you dont like the general manner
in which art is perceived in Egypt by certain employers, at least
for graphic arts. Do you think were doing poorly right now in
Egypt when it comes to putting out material into the graphic
arts world, so to speak?
MS: You know, Ive never heard of an artistic fgure like Shepard
Fairey come out of Egypt; someone whos had so much of an impact.
Im trying to be the frst (laughs). We have a lot of people creat-
ing art in Egypt, but their stuff doesnt have any sort of massive
global impact. You know, you see their stuff and you hear stories
about them, but they dont create their own vision.
NB: But theres some really great art being put out in Egypt!
MS: Yeah, there is, but people are scared of criticism. Some art-
ists want to be told that their stuff is great and nothing more.
Theyre scared of doing something different. Their fear of criticism
is stopping them from putting stuff out.
NB: So the reason were doing somewhat poorly, according to your
opinion, is because the artists are scared of criticism?
MS: We have great artists in Egypt, just no impact. We do
everything really well. But again, theres no impactno
shock behind it. Thats what leaves a mark and theyre
too scared to show their stuff off in fear of this criti-
cism. So, were not leaving our mark on the artworld.
NB: From what I gather, yourre all about achieving
uniqueness, hence the title of your trippy yet poignant
blog, AchieveUniquness. Tell us a bit about this unique
project of yours
MS: Its all about inspiration. People need it; I need it!
Sometimes Im just looking at images on the internet
and I think, I need theseI need them all in one place!
So I kind of wanted to create a blog for myself that
would be very inspirational.
NB: The blog has a really cool collection of quirky and
unique images. So you just throw on all these images
that inspire you in order to inspire other people? I was
perusing through it and it really inspired me to write.
MS: Thats the point! Whether you write or draw or make music, you always
need a source of inspiration to push you to create. I wanted to just have
an array, the most unique things that can be seen so that people look at it
instantly and aspire to achieve uniqueness. Its like Im the curator of my
own very unique art collection the internet! (laughs)
NB: Its sort of like visual hashish
MS: (laughs) People enjoy it!
NB: Well, youve pretty much dabbled in all the realms of design, youve
designed album covers, magazine covers, graffti, you even started your own
line of funky and cleverly-designed t-shirts (Sparx); where do you wanna
go from here?
MS: I wanna go as far as I can. Regarding the clothing line, its still in its
early stages. I have to formulate a brand for myself and know exactly what
I want the line to consist of.
www.marwanshahin.com
achieveuniqueness.tumblr.com
twitter @mrmarwanshahin
1 3 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 3 3
aRT &
DESIgn
TRaDITIOnaL
text and photos AlI suleIMAN
T
radition encompasses a secret and unempirical force that com-
municates to an entire civilisation, infuencing the arts and
crafts. Manifested as limitless love, art is essentially founded
on wisdom. In 1998, His Royal Highness Prince Gazzi Bin Mohammad
ordered the establishment of the Institute of Traditional Islamic Art and
Architecture (ITIAA) in Al Balqa University in Jordan as a response to the
lack of such institutions in the Arab region. ITIAA aims to:
reform higher education and the cultural understanding of arts and crafts
encourage an appreciation of the universal values of the traditional arts
help students and young professionals to understand and rediscover their
cultural heritage within todays modern world
promote the idea that beauty of form manifested in the traditional arts
is not only aesthetically pleasing, but is representative of a more profound
universal order
reduce unemployment and create new opportunities for young graduates
through vocational training and vocational courses to teach craft skills,
which are no longer taught in the Arab and Muslim world.
encourage local market development and create non-governmental work
opportunities
establish a permanent gallery within the institute where young artists
can display and sell their works
Islamic wisdom has had a direct effect on the Muslim mental-
ity, leading Muslims to innovate great and exquisite creation in Islamic
art. This was frst manifested in Arabic calligraphy, then in the arts of
illumination and foliation, geometry, and biomorphic ornamentations,
and thereafter in all other artistic crafts, including wood-work and zil-
lij - gypsum work dovetailed with coloured glass and brass. The institute
offers the following academic degrees:
1. BA in Islamic Art, Interior Design, Projects Management
2. MA in Islamic Art, Interior Design, Islamic Architecture
3. PhDs are being developed and will be initiated within a year
In addition, the institute constructs training courses in all its
majoring areas for both professionals and non-professionals. The ITIAA
is located in Amman, Jordan. It holds various seminars and conferences
on Islamic art, and promotes active research in the feld.
www.itiaa.edu.jo
* All photos presented are the work of the institutes students.
** I would like to thank Randa Otaibi for her help in producing this piece.
To know the truth, To love the beautiful, To will the good.
1 3 4 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 3 5
aRT &
DESIgn
We ARe YOuNG,

text sAIf AlNuWeIRI
SHIBSHIBI
Shibshibi is another venture led by Sara
Hamza, Nadia Ahmed and Dina Naguib. Recreating the
shibshib, as fip-fops are called in Egypt, the trio started
working on creating new designs for the iconic footwear.
The shibshib and similar footwear, has
been worn by numerous societies that have inhabited the
shores of the Nile for over 5,000 years. Several statues of
various pharaohs can be found bearing the same footwear
that Egyptians still wear to this day.
The shibshib is a product that is very involved
in our culture and has been for as far as our grandparents
can remember. Back then, there were only two colours or
designs available called zanouba and khaduga, said Hamza.
The group released their frst set of designs
in January 2010 and their sandals were on the market
six months later in June. Since then, their products have
been sold in the Arab region and Europe. Hamza said she
was very satisfed with the success of her and her friends
works, even though its a simple idea.
Despite the continuing turmoil in Egypt,
Hamza and her colleagues plan to remain in Egypt, hop-
ing that the political turbulence comes to a close in the
near future.
www.facebook.com/people/Shibshibi-Flip-
Flops/100001071084279
MASHROU3 Al MAREEKH
Mariam El Quessny, a graduate of the Pratt Institute
in New York, started the forum Mashrou3 al Mareekh (The Mars
Project) in 2009. Starting up the forum was simply an act of
perseverance for her. Writing a short story late one night she
realised, I dont want to just post this on Facebook and have
people read it two hours, two days or two years from the time.
I want people to hear it, feel it and react to it in real time.
From there she developed the idea of the forum, a
place for people to express themselves with the hope that each
visitor will reveal their true self amongst others, in the hopes
of igniting compassion which leads to the understanding of true
equality amongst human beings. At the Cellar Door Bistro in
Cairo with a crowd of 40 people, Mashrou3 al Mareekh has its
frst of many sessions, in which the objective she set out with
was satisfed.
Since that frst night, the forum has toured across
Egypt, holding 40 self-expression sessions with over 1,100
people attending. In the spirit of the post-revolution Egypt,
the former student said, We aim to break social boundaries,
allow for human understanding, decentralise cultural points,
empower individuals and spread love.
However, El Quessny also said, we do not want to
envision a future, we keep it open and allow the people to
determine what this project will be and where it will go. [It
is] an experiment of breaking with the norms society forces
upon its youth.
www.mashrou3almareekh.com
RAMI MAKRAM
Renowned in Egypt for his work on a variety of projects,
Rami Makram is an interior designer and founder of design studio
D-Evo, established three years ago. Having originally pursued
a degree in communications, Makram changed his mind while
in college to follow his passion, interior design.
I didnt want to limit myself into only one type of
design so I tried working on different kinds of projects ranging
from commercial to residential, Makram said.
After seven years in the feld, Makram had a hard
time choosing what he would consider to be his best work. To
be honest, I fnd it hard to choose a certain project and label it
as my best work, he said. Every project is special in its own
way. However, I believe that our standards evolve with time
therefore, we always need to challenge ourselves and push our
limits to come up with new concepts and new ideas.
Nevertheless, he said the Amici Bar and Restaurant
and the Utchat Stool would be his favourite works. The stool
was chosen for display in the Egyptian stand of the 2009 Salone
Internazionale del Mobile.
The Amici Bar and Restaurant in Egypt succeeded in transforming an 80
square metre space into a popular Zamalek nightspot. Strikingly different from other
nightspots, the bars heavy use of wood paneling combined with minimalist European
design and warm lighting created an ambience rarely found in Cairo.
Working with his brother, Makram has also started a new furniture brand,
&Cairo. Planning on displaying an upcoming collection in the IMM Exposition in
Cologne, Makram plans on staying in Egypt, I am planning on expanding my little
offce.
(FOBS)
Both raised and educated in the United States, Shahana Helal and Noha
Ghany are two Egyptian fashion designers who head (fobs), an emerging brand
paying homage to Arab culture. Playing off the usually derogatory term fresh off
the boat, the two Ohio State University graduates have infused Western styles and
Arabic infuences into their designs.
HUSSeiN SHaaBaN
[foBS]
SHiBSHiBi
raMi MaKraM
1 3 6 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 3 7
Growing up glued to our TVs
and memorizing the flms of classic
Egyptian cinema, the two wanted to
revive the images of the women that
were idolised by the Arab world in past
decades. We never considered ourselves
fashion designers. It came unintention-
ally, they explained, despite Shahanas
work for Tommy Hilfger.
Constantly nostalgic of their
home, Egypt, the two embarked on a
plan to design and make t-shirts remi-
niscent of their culture. Our focus was
to shout out to our very own culture,
they said. They also sought inspiration
from the American culture they adapted
to as they looked to the ways Americans
paid homage to sports teams, universities
and home states as a way of garnering
attention to their work. We wanted to
connect both worlds as Arab Americans.
The duos current work has
focused primarily on classic Egyptian
cinema with famed actresses such as
Soad Hosny and Hend Rostom fouting
the fronts of their unconventional t-shirt
designs. But they see all things iconic
of Middle Eastern culture as a source of
inspiration for their work and a way of
promoting the creation of more designs.
www.facebook.com/pages/
fobs/144104065664690
HUSSEIN SHAABAN
Despite his skilled work,
Hussein Shaaban fnds working as a
photographer in Egypt frustrating. I
havent done what I wanted to do or what
Im capable of doing, he said. Neverthe-
less, the job has been rewarding, mostly
due to his perseverance.
He picked up his frst camera at
14, a Zenith that was a gift from his father
to encourage him to follow a similar path
as him in the visual arts.
Having wanted to change his
major to photography, Makram approached
his father, a flm director in Egypt. His
father refused and encouraged him to enrol
in flm school in Cairo instead.
He continued to pursue photog-
raphy however, and took part in non-stop
photography, workshops, exhibitions and
contests, I was exhibiting my photography
in the Goethe Institute in Cairo, he said.
Then in 2003, the Cairo Times
requested an interview with him and show-
cased his work. A few months later, they
called me again asking if I would like to
shoot for them.
From there he started shooting
portraits for the magazine and photo-
graphed author Dr. Edward El Kharat in
his frst shoot. In the following weeks he
photographed the actor Amr Waked and
Khaled Abol Naga.
Inspired by the work of famed
British portrait photographer Harry Bor-
den, Shaaban prefers shooting in black
and white. It has its own magical touch,
he said.
Despite the opportunities,
working as a photographer in Egypt
is really hard, he said. Photography is
not treated as an art form and it is not
experimental enough,
he complained.
A n y o n e
feels they can be a
photographer, You
fnd anyone with a
$500 camera calling it
a professional camera
just because he can
mount the lens to
the body. Then they
shoot a photo with a
shallow depth of feld
and feel they are now
photographers, he
said, criticising the
little skill that most
so-called photogra-
phers actually have in Egypt.
The difference between him
and other photographers is that they
dont read, browse websites, study or
[try to] educate themselvesand then
right away they prong a business card
with the word photographer, he said.
Its more than the camera that makes
someone a photographer, he said.
Even so, Hussein Shaabans
passion for the misunderstood art of
photography has allowed him to make
a name for himself in Egypt. Never-
theless, his work has attracted the
attention of many photo afcionados.
www.husseinshaaban.com
HUSSeiN SHaaBaN
aRT &
DESIgn
WelcOMe TO THe
sHANksPOT:

text angIE baLaTa

H
is work is unique and easily identifable from his
signature quirky and rainbow colours. He is an il-
lustrator, a fashion designer, a graffti artist and a
sketch masterthere is almost no art challenge he is unwilling to
take and, often, exceeds expectations. Offcially, he is a graphic
designer for the advertising giant, Leo Burnettbut, this is the
least interesting detail about this eclectic enigma born Mohamed
Fathy, also known as Shank.
Id frst seen his work on his Behance Network page
while in the midst of serious hunt for imaginative and original
graffti artists. After hours of internet stalking, I came across his
signature image, realising then that Id actually frst seen his
work under a bridge in one of Cairos affuent suburbs before ever
connecting that unusual graffti with the enigma of Shank. Too
intimidated by the astoundingly creative level of work I saw on his
page and fully expecting that any email of mine would be quickly
discarded in the trash bin, I moved on. Never did I imagine that
months later I would meet the very man whose bizarre imagina-
tive side resulted in both the creation of a genius online design
battle page, GanShank Redemption, with another Cairene design
hero, Ganzeer and, simultaneously, my regretting not having been
born with any artistic gene (I thoroughly blame my parents for
not nursing the clearly nascent talent I exhibited when I decided
to unleash my inner Picasso on their freshly painted walls instead
of the proper Arab beating I receivedbut I digress). The Shank
as youd expect has a reputation: he is the prince of sketch with
a Midas touchan artist in every sense of the word. He is able to
create commercial designs to make your head spin and his own
personal art sets him in a league of his own. He moves fuidly
between his different worlds and is able to go from drafting the
Win a Cherokee campaign for the telecom giant MOBINIL which
infused graffti art to going out into the street and spraying im-
ages to promote his own brand of social awareness. As I was to
discover after some proper virtual tracking, Shank is ranked among
Egypts small elite circle of greats that include the likes of Aya
Tarek Hassan and Adham Bakry.
After being forewarned by close friends on how dif-
fcult it would be to fnd him, I prepared a rigorous plan to stalk
him into submission. Unexpectedly, as Im sure for him as well,
he answered my call after only the fourth ring. Stuttering and
completely thrown off by his down to earth kindness, I gave him
my specialty sales pitch that went something along the lines of
I need an interview, you are extremely talented and I would love
to showcase you in a foreign magazine, I know you are busy but
if you give me an hour I promise to make it interesting and worst
case scenario you get a free cup of coffee perhaps laugh a little
at my, sometimes, funny jokes. And.he agreed! (I wont lie,
but it was a small victory that I celebrated with my signature
fat duck happy dance in the hallways of my offce).
So we fnally meet 24 hours later. As per my usual
habit, I show up latea common infraction that he jokingly
berates me for having realised the ease by which I become fus-
tered. The plan is for us to meet up, and then try to fnd a quiet
place to talk. I show up at the pickup spot and there waiting
is a young man who looked like he walked straight out of an
H&M commercialskinny jeans, Keds-like shoes, plaid sweater,
and a pair of nerdy-cool black plastic glasses. He looked too
fashionable to be part of the usual Cairene artsy crew and, for a
moment, I contemplated backing out thinking this was going to
be a yuppie interview with a wannabe artistthere was nothing
struggling about him. But then he gets in the car and starts
telling me about his day, and Im completely captivated. In a
matter of seconds, he bridged all boundaries and any possibility
of awkwardness was gone. Completely at ease with himself and
the world, he emanated comfortableness. In addition, he was
hilarious-funny and swung between his artist side and mimick-
ing typical old Egyptian aunties when he wanted to illustrate
the ludicrousness of a situation. We fnally agree on a caf and
the conversation fows easily about a plethora of things before
I pick up my pen and feign serious journalist.
When we start talking, he is excited and happy, but
tired. He had just come back from selling some of his pieces at
the wealthy design wonderland, Designopolis. He doesnt say
it, but he recognises he has come a long way from that pro-
vincial town boy who failed to get into art school. Before he
became Shank, Mohamed Fathy, a native of the seaside town of
Ismailia, worked in his fathers import/export business. He is
a true child of this revolution in every sense. Like many young
people, his dreams were stunted in large part due to a system
that promoted mediocrity and killed individuality. As a direc-
tor friend of mine perfectly explained: Mubarak had created a
society that refected him, bland and without any source of life.
In this system, young kids with dreams like Fathy were certain
to failthey just did not ft the mass mould of the completely
dull average. The regime refused to allow his sort of individual-
ity to grow and prosper creatively. His frst experience with the
system was being denied entry to Cairos prestigious College of
Fine Arts. Refusing to draw what was asked of him on the entry
exams and, rather, drawing what he wanted, Fathy immediately
failed the exams. But refusing to be shut out of the art world
and realising that this was his passion, he looked for ways to
get in and fell into fashion design completely by accident. It
was not his original intention, but one that he found he loved.
But as with many artists, the industry, which he hated, is
what fnally made him leave. In an effort to catch up with other
artists his age, but likely a personal challenge he took on for
himself, Fathy began to teach himself about the different forms
of graphic art. As he quickly found out, the system was not
the only obstacle for him.
The transformation from Mohamed Fathy to Shank,
however, was more than just about his overcoming the obstacles of
a corrupt and rotting education system aimed at mass producing
shit. As well, the tight knit and extremely cliquish circles that
artists roamed in made it very hard for an outsider like him to
easily enter. So, he bought books ranging from graphic design
to graffti and pushed himself to learn a little about everything.
The game plan was to try different forms of graphic design and
excel in each, thus expanding not only his skill sets, but, also
his networks. And that he did. He worked his way up the graphic
design ladder until he landed the job with Leo Burnett. This not
only gave him the offcial experience he sought, but as well
the connections that are so vital to success in Egyptian society.
Beyond his corporate side, Shank has maintained his
art, doing everything from graffti to puppet making. The other
stuff that he does is what, for me, is most interesting about
himit is where you fnd out about who Shank is. We talk a
bit about graffti and the conversation spins to the This is
not Graffti exhibition. As a graffti artist, I ask him about his
own views on the show and the pieces. He tells me that graffti
cant be indoors and if it is done indoors, as Banksy and other
big artists have done, then it must be at a level of art that is
iconic. Banksy, he explains, is able to do these type of shows
because he is an icon and when he does a show the graffti he
produces for the inside is different than what he does on the
street. The problem with the exhibition is that none of the
pieces were at a standard for a gallery exhibition. He says this
not in any condescending way, quite the contrary he speaks
highly about many of the artists who participated. But the
discussion was on the idea of setting art to a standard that one
would go and attend a gallery and feel that he/she has walked
away changed, inspired, or, even, repulsed. For him, the artists
participated at a point when they many not have been ready
to exhibit art. Keizer, whom he likes, demonstrates excellence
in technique, but, still lacks the kind of creativity to capture
despite being one of the most prolifc artists in the scene. For
Shank, El Teneen, on the other hand, was not original and his
piece seemed to fuse different fgures and designs that lacked
a clear insight. Sad Panda and Adham Bakry both swore at the
gallery and exhibition, perhaps a bit too contradictory in light
of the fact that they also both participated. In this way,
for him, the exhibition was not appealing. Shank believes
that graffti need not always have a message as it is frst
and foremost about the art. It can be displayed inside at
a certain point when it is displayed as art and at the level
of art. As an artist who has done graffti himself, he has
admitted to not being as prolifc as he should. Shank
pushes himself to different spheres. In May 2011, along
with nine other artists from the around the Arab world,
Shank participated in a workshop on Puppet-making for
animation. The result was the unbelievable minute and a
half animation video.
As we come close to the end of our discussion,
and almost as an afterthought, I ask him about being an
artist during a time of revolution. He tells me that un-
like many others the world of politics has not affected
his life. He participates in the revolution as a citizen, but
not an artist. So whats next for the Shank? In the long
term, he dreams of opening a design school to give kids
opportunities that he did not have. Likely, the advertising
world will not be one he wants to reside in for a long time
and he hopes to be able to move into art as his full time
preoccupation. He dreams of doing a gallery, but doesnt
feel like its time now. He believes that the society in
Egypt is also not ready for it. As he explains, the right
time would be when he feels that he can give back in a
way that will help raise the standard of art in the city,
but, also, when he can come out as an artist and have
his pieces express and refect who he is.
The harsh experiences he endured not only gave
him the drive to become one of Egypts most talented
artists, but, more importantly, taught him a crucial les-
son: everything is fuid and one must always be open to
different ideas and experiences. As a feeting fnal ques-
tion, I ask him how he is able to reconcile the different,
and often contradictory, worlds of art and design. With
a degree of self-assurance that can only be a product of
many years of obstacles, he tells me: Art elevates design.
Design is often boring and operates very much according
to plan and formulabut art allows one the freedom to
create, without plan, without formula. Beyond his cre-
ative gift, it is this ease and certainty by which he both
approaches and understands different worlds that allow
for not many to know Mohamed Fathy personally, but for
everyone to know Shank.
www.behance.net/shankspot
Make sure to visit New Media extras at www.kalimatmagazine.com/new-media-extras2 to watch a video accompanying this article.
1 4 0 D O S S I E R K A L I MAT
cuLTuRE
THE
IngREDIEnTS Of

K
uala Lumpur Design Week (KLDW) is a massive
event viewed worldwide and you were a featured
designer. Give us some details on your presence
there and the designs featured.
It was my frst participation in the Asian design scene.
KLDW was such a great experience, and it was rewarding to attend
this design festival where skilled and qualifed creative people meet
and interact. There, they were able to showcase the latest knowl-
edge and expertise through a series of lectures by international
designers and face-to-face exhibitions, all bringing international
and regional designers together to share their experience. Kuala
Lumpur took the initiative to be an upcoming creative city through
adopting a universal idea in the region to stimulate, magnify and
promote the countrys creative resources internationally.
When in an international space such as KLDW, are you con-
scious of yourself as an Egyptian or Arab designer (with the
responsibility or need to represent the country or region)? Or
do you feel that national or regional affliations are second-
ary to an event that is marketed as a meeting of creatives?
Well, the organisers of the event were very keen on
having guest speakers from various regions as well as featuring
professionals with different design backgrounds. This was the main
reason why I was approached to give a lecture to present my work
and my company Alchemy Design Studio.
Being the frst Egyptian to be invited to KLDW since it
started in 2009 was defnitely a big responsibility. While I was
trying to fgure out what exactly I was going to present, I kept
thinking that, due to the events of the past year, there was so much
attention on Egypt that resulted in mixed reviews and opinions
about the country. I wanted my presentation to initially explain
the different layers in our culture, their effect on our thinking
process, and how they could inspire professionals within the design
or creative industries.
Taking the form of small stories, my team and I decided
that the focus would not be to display our projects but to tell the
endless stories that built my personality and formed my design
process. However, when you speak in front of an audience for 40
minutes, how do you ft an entire culture without being boring?
So we knew that we needed to creatively grab their attention!
We came up with an introductory movie, a teaser to highlight
the different layers in our culture and how different elements
like nature, food and emotions sometimes act as ingredients that
affect our thinking process.
What is unique to KLDW?
KLDW is a platform that allows creative communities
and industries to meet and the event cleverly grouped different
disciplines ranging from architecture, interior, art, advertising,
flm, music, media, web design and publishing. This was the key
to what makes it unique.
The event emphasises encouraging young creative en-
trepreneurs and presenting them as the upcoming players in the
creative scene while also giving them a chance to showcase their
passion, energy and optimism. It showed how their talents can
diffuse throughout the globe and how their minds can power
the new economy.
What stood out to you most about the featured designs at
KLDW?
There were so many great designs and inspirations;
you could see the potential of their talent and skills in the Asian
industry. I was particularly struck by their approach towards
advertising and the creative industries around graphics, music
and flming. Also, I was really surprised by their way of think-
ing to promote brands and production, which incorporated a
glimpse of their culture.
If I have to choose something, I would say that I
was specifcally surprised by their fascination with characters;
it was the most striking thing for me. It was really impressive
to see the imagination that is required to come up with these
creative illustrations and how they were able to turn it into a
complete industry.
Did you have a chance to explore the design scene in Ma-
laysia? Are there any parallels to design in Egypt (not nec-
essarily aesthetically, but perhaps in approach, initiative,
culture, etc.)?
After the event, I was struck by the similarities not
within the process but in the nature of our backgrounds. The
rituals and traditions embedded in Asian and Arab cultures date
so far back that it has become infused within our identities
and lifestyle. I would say that Malaysia and Egypt both have
very particular cultures, which might be diffcult to understand
if you are an outsider. I think that the layers within the two
cultures give a new dimension to our thinking process; it gives
it a certain depth that makes it more unique.
Is design a wholly global phenomenon? Or do you feel that
it is tied to geography, culture, politics, and so on?
I would say yes and no. Let me explain, I think that
design is design regardless of my national or regional affliation.
I personally see it as a set of rules that allow me to create differ-
ent concepts, which vary in form according to my interpretation
of these guidelines.
Design and culture have always been somehow closely
interrelated, however, sometimes design is faunted as the true
measure of culture rather than belonging to a part of a certain
cultural context within our society. I think that design has
become the embodiment of a larger process with a countrys
creative culture; it is becoming a means to capture innovation,
communicate ideas, and refect a cultural identity.
Lately, it has been more diffcult to express culture
through the medium of design due to other factors like time,
technology and globalisation. Surprisingly, despite the general
confusion and fusion of cultural identities there have been some
recent attempts where new cultural strands are being revived
and reappearing. While, some of these initiatives are intended
aRT &
DESIgn
and strategically driven, others are indirect reactions to a de-
sire of reclaiming a more long lasting cultural integrity. This
recent type of cultural fundamentalism has been prompted by
a reconsideration of roots of national design like in Europe, a
number of countries have been leading this movement resulting
in their recognisable design identities, as seen in the Dutch and
Scandinavian industries.
It is all about how you work with what you have, if
we take Italians for example they emphasised on innovation
and discovery, while Scandinavians capitalised on the less is
more concept through minimal/sleek designs. However, you
also have countries like Brazil, who are heavily stressing on the
social or environmental aspect of design. It is taking a global
concept and communicating it in a local dialogue, as a result
making it GlOCAl.
The opening text to your website reads: The designers suc-
cess lies in his ability to dig beneath the surface in order
to draw out a secret subject to use. Explain this further,
and what do you usually fnd yourself looking to?
Well this quote sums up my design philosophy. Let me
explain: I really believe that each designers success depends
on his ability to come up his own secret ingredients. These
ingredients are the result of a constant research that starts
long before he/she works on the design process of any project
or product. They are not on the surface; I think they are on a
deeper level, therefore, each designer has to search for them and
dig within himself in order to identify them to create different
stories. This process makes each designers work more unique,
as it embeds his own signature within every project yet allows
him to mark it with its personalised story.
1 4 2 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 4 3
aRT &
DESIgn
aRT &
DESIgn
El Banhawi st
Salah Salem
El M
uiz st
El M
on
sou
r st
M
o
h
am
ed
Farid
st
El Kasr El A
in
i st
C
orniche El N
il
C
o
r n
i c h
e E l N
i l
Port Said st
Port Said st
Salah El D
in st
El Saad Barany st
Abd El Megeed
El Geish st
El Azhar st
Ahmed
El Q
alaa st
Ram
sis st
Adly st
Opera
Square Khalek Tharwat st
Abdel
Talaat H
arb st
Talaat Harb
Square
Tahrir
Square
Kasr El Nil st
Mohamed Mahmud st
Ezz El Arab st
26th of July st
El Labban st
Maher St.
El Tahrir st
S a l a h
S a l e m
El M
uiz st
6th of Oct Bridge
6
th of Oct Bridge
6
th of Oct Bridge
6th of Oct Bridge
Kasr El Nil
Square
to th
e airp
ort
to FU
RN
EX
EL MANIAL
GARDENCITY
DOWNTOWN
SHUBRA
RAMSIS
ZAMALEK
TAHRIR
CITADEL
Dr. Ragabs
Papyrus
Institute
MohamedM.
Khalil Museum
Manial Palace
EL Horreya
Garden
Museumof Modern
EgyptianArt
Opera House
CairoTower
Rare Books
Library
Egyptian
Museum Kekhia
Mosque
Gayer
Anderson
Museum
SalahEl Din
Citadel
IbnTulun
Mosque
Islamic
Ceramics
Museum
Faculty of
Fine Arts
Arabic
Music
Institute
BabZuwayla
Mosque
Magra
El Eyoun
Sawy
Cultural wheel
Hanging
Church
El Fustat Market
andRuins
El Fustat
Crafts Center
about 3,6 km
Azhar
Park
El Hussein
Mosque
KhanEl Khalili
Market
El Ghouri
Complex Al Azhar
Mosque
Cairo
Sheraton
Pyramisa
Hotel
Grans Hyatt
CairoHotel
Felucca
Ride Spot
Shepheard
Hotel
Semiramis
InterContinental
Caf Riche
Ramses
Hilton
WorldTrade
Center
ConradHotel
Golden
Flamenco
Hotel
Nile
Maxim
Restaurant s
Sotel
El Gezirah
Fairmont Hotel
Nile City
Restaurants
Le Pasha
Restaurants
Four Seasons
Hotel
El Kababgi
Restaurant
Marriot
Hotel
Koshary
El Tahrir
Restaurant
Koshary
AbuTarek
Restaurant
Abul seed
Restaurant
Arabesk
Restaurant
Resident
Hotel
Sangria
Restaurant
StudioMisr
Restaurant
Taboula
Restaurant
DonQuichotte
Restaurant
After Eight
Restaurant
MAIN
ENTRANCE
PLACES OF INTEREST
EVENT AREA
FACILITIES
DESIGNHOTSPOTS CULTURAL PLACES CAIROAIRPORT ENTERTAINMENT PLACES
Cairo
airport
FURNEX
Naguib
Mahfouz
Caf

E
l M
u
iz S
t.
CAIRO- CITYCENTER MAP
Babal-Futuh
Fatimid
Northern
Walls
Al-Hakim Mosque
Wikalat
Qaytbay
Amir El Guyushi St.
Hotel Le Riad
Amir
Bashtak
Palace
Textile
Museum
Uthman
Kathuda
House
Qalawun
Complex
Madrasah
Mausoleum
andMosque
Ashraf
Barsbay
School
Khan el-Khalili
Market
Spice
Market
Sheikh
Mutahhar
Mosque
Perfume Market
El Azhar st
Gohar El KaiedSt.
Ghuriya
Complex Wikalet
al-Ghuri
Hasanal Sharawi
Kathuda Mosque
Sabil-Kuttab
of KhusrawPasha
Aqmar
Mosque
Babal-Nasr
InfoPoint
Sabil-Katkhuda
Bait El Shaer
HamamInal
Sabil
Al Silihdar
CAIRO
Suhaymi
EVENT AREAMAP
+20 eGYPT DesIGN
by sAIf AlNuWeIRI
ORDInaRY
by naSSRa aL buaInaIn
O
n June 7, 2011, +20Egypt De-
sign, an initiative marketing
Egypts unique furniture and
design industry, was concluded with much
fanfare and enthusiasm. With over 3,000
individuals visiting the exposition over
its three-day run, +20Egypt Designs frst
event has been a success.
Starting as a home grown effort
by the Egyptian Furniture Export Council
(EFEC) and the Industrial Modernization
Centre and curated by renowned designer
Paola Navone, +20Egypt Design showcased
the works of several well-known foreign
names such as Lucy Salamanca and Pieran-
drei Associati as well as local establish-
ments such as Al Cazar Fine Woods and
Asal. These local designers followed old
traditions with a modern twist, as seen
in such work as Dina Shoukrys ironic
looking shisha legs.
Ahmed Helmy, Chairman of the
EFEC, said, It has created an amazing
positive atmosphere where different cul-
tures and experiences materialise into
forms of architecture, design and visual
communication. +20Egypt Design has
brought a new way of communication
in Egypt and from Egypt to the rest of
the world.
Given the recent events and
years of economic stagnation in Egypt, the
event came at a crucial time; +20 Egypt
Design provided an important outlet for
the creative works of local artisans and
manufactures. And given Egypts cultural
and economic preponderance in the Arab
region, the events planners believe the
initiative will put Cairo and Egypt onto
the international design map.
www.20egyptdesign.com
F
atima Al Mazrouei is the type of artist that can turn any subject before her into an art piece. The frst thing you
will notice when you meet her is that she adds her artistic touch in everything that surrounds her.
An artist from the United Arab Emirates (UAE), Fatima obtained her Bachelor of Fine Arts from Zayed University
in Abu Dhabi. But her artistic journey started long before university: she has been developing her talent since she was
very young. Fatimas art is a collection of diverse conversations that invites us to discover a new perspective of what is
ordinary around us.
1 4 4 D O S S I E R K A L I MAT
aRT &
DESIgn
THe TOWNHOuse
by REEM fEKRI
I
ts almost been a year since Hosni Mubarak was overthrown,
a time where artists focked to Tahrir Square and docu-
mented the uprising, creating strong pieces of work a
revolutionary art movement per say, corresponding to that
of Egypts change. It is questionable what the future holds
for the feld of contemporary arts in Egypt, but one can only
hope it will be positive. During Mubaraks regime, artists had
to masquerade the conceptualisation of their work and refrain
from anything overtly political. Editor of Bidoun magazine,
Negar Azmy, once asserted that the state would continuously
play a role in what is decidedly shown at galleries, and politics
would remain intimately tied to the arts, Townhouse Gallery
particularly, due to its curatorial rather than commercial focus,
is undeniably pulled into this.
And its no secret that the state controls what is
shown. Cultural development in Egypt was offcially ruled by
the Ministry of Culture, established in 1952 (following the rise
of Gamal Abdel Nassers military takeover), the body decided on
what would be funded due to its appropriateness and therefore
exhibited. Despite this, there have been a handful of independent
spaces that emerged, such as The Townhouse Gallery.
Historically, contemporary art spaces tend to be lo-
cated in more affuent parts of cities, with sleek white walls
and shiny windows for collectors to gaze into, contemplating
potential purchases. But nestled within an industrial neighbour-
hood of Cairos mechanic district lays the Townhouse Gallery,
one of Egypts leading contemporary art spaces. A pioneer in
the development of the art scene as well as partaking in many
international events, the Townhouse Gallery plays an important
function in the cultural development of not only Egypt, but also
within the Arab region.
Established in 1998, at a time where most galleries
in Cairo where either run by governments or commercially
orientated, William Wells, the director, saw the need for an
independent space that worked with artists in a socio-political
context. Fast forward four years later to 2002, the Townhouse
Gallery increased its physical space, which includes a library,
work studios (holding countless workshops and lectures, often
for free or by donation) as well as a living space for their resi-
dency programme. Perhaps it is this lack of a traditional white
wall gallery space that makes Townhouse so appealing to artists,
curators, and the community within its surroundings.
Townhouse gallery also initiated many large scale
events such as PhotoCairo, Open Studio Project and Nitaq (al-
beit short lived), all of which were successful initiatives that
worked in transforming Cairo into a cultural hub, working with
the inclusion of the public rather than the art elite, giving great
importance to the social conditions of the community. Perhaps
this is what is to enthralling about the way the gallery operates
it draws in practitioners from all disciplines, from photography,
to performance, theatre and of course, visual artists, creating a
kind of accessibility that is rare in the art world.
William Wells asserts that has the Townhouse works
with three different felds: contemporary practices, development
and education, and, as a gallery, they relate more towards artists
that have a relationship with the society and culture they are
surrounded by, whether its through honouring the diversity of
their region or to critique and underline the diffculties faced.
Furthermore, Wells agrees that Cairo itself has taken up a major
artistic role within the MENASA sphere, because of cooperation
between independent spaces and Egypts role facilitates rela-
tionships between different countries, and formalises them in
a non-contractual way.
Even though, in previous years, projects have been af-
fected by the governments control over what can and cannot be
shown, the Townhouse Gallery has continuously strived to show
that artists can still speak through aesthetic dialogue. Lectures,
workshops, outside projects, residency programmes and much
more continued to fourish and develop, despite being under
such authority. Now with Mubarak gone, we can only hope for
a freedom of expression that was previously so cautiously felt.
As we all witnessed, in the news and within social
media, one of the most spectacular details of the uprising was
the production of visual art at last, freedom of expression
was tolerated. The Townhouse Gallery, going into its fourteenth
year of operation, can now be devoid of any holds or restrictions
placed on it. Even though the gallery, despite being situated in
a controlled environment, has always acted relatively freely
and for the public rather than for the market of elite collectors.
One can only hope that they continue to show work that is en-
gaging and that continues to critique the world that we live in.
www.thetownhousegallery.com
YOuR AD W
OulD
LOOK M
IgHTY fInE
HeRe.
Yes...Yes IT W
OulD.
gET In TOucH fOR OuR RaTES
www.kalimatmagazine.com
rawanhadid@kalimatmagazine.com
1 4 6 D O S S I E R K A L I MAT
NeW
MEDIa
IsMA3OO
THE OffIcIaL PODcaST
Make sure to visit New Media extras at www.kalimatmagazine.com/isma3oo-no-4-winter-2012 to download this podcast.
This time we made sure you can get to our podcast in as many ways as possible, through iTunes (fnally!), SoundCloud
(www.soundcloud.com/kalimat), or from our own site at www.kalimatmagazine.com/isma3oo.
In this edition, we features a talk by Creative Director and Editor Danah Abdulla given at the Artistic Arabs in America event
in Washington DC on issues with education and cultural production (particularly in the Arab region); an exploration and commentary
of issues of nostalgia, technology, and what was lost and gained in recent developments with Arab music; a song by an artist featured
in this issue (Rash Radio), and a sneak preview of an upcoming project by Kalimat (which promises to be a lot of fun): Remixaat.
As before, if you have any content of your own to submit for future editions of Isma3oo (new music, interviews with inter-
esting people, good ideas that need to be shared), reach out to karimsultan@kalimatmagazine.com.
Karim Sultan
NeW
MEDIa
WHAT sHOulD
We DO?
Ah, yes, the most infamous question that many people hate to answer. Well, weve found a [pseudo] solution to your problem - lets hope
we covered your area! Want to post your event? Send us the details to info@kalimatmagazine.com. Just remember, we publish quarterly.
JanuaRY fEbRuaRY MaRcH
CHASING MIRRORS: MY
PORTRAIT, SHAPE BY
SHAPE
National Portrait Gallery, Saint Martins
Place City of London
London, United Kingdom
Until January 8, 2012
www.npg.org.uk/index.php?id=8625
AHDAF SOUEIF
CAIRO: MY CITY, OUR
REVOLUTION
The Mosaic Rooms, Tower House, 226
Cromwell Road
London, United Kingdom
January 20, 2012, 7pm
www.mosaicrooms.org
ARAB WINTER
EXHIBITION
Fresh Paint Gallery
180 St Catherine East
Montreal, Qubec, Canada
Until January 30, 2012
www.arabwinter.tumblr.com
THE 3RD INTERNATIONAL
FESTIVAL OF
CONTEMPORARY ART OF
ALGIERS
Museum of Modern and Contemporary
Art in Algiers (MAMA)
Until February 3, 2012
www.universes-in-universe.org/eng/
nafas/articles/2011/fac_algiers
ATHLETES AND SCIENCE
EXHIBITION AT SOUq
WAqIF
Souq Waqif
Doha Qatar
Until March 10, 2012
www.qma.org.qa
LITTLE ME LITTLE
YOU INTERNATIONAL
CHILDRENS FESTIVAL
Beirut. Lebanon
March 20 - April 20, 2012
www.kadmusarts.com
MARCH MEETING 2012
WORKING WITH
ARTISTS & AUDIENCES
ON COMMISSIONS &
RESIDENCIES
Sharjah Art Museum
Sharjah, United Arab Emirates
March 17-19, 2012
www.sharjahart.org
THE NEW YORK ARABIC
ORCHESTRA WINTER
CONCERT & FUNDRAISER
Florence Gould Hall French Institute-
Alliance Francaise
New York City, New York, USA
February 16, 2012
www.newyorkarabicorchestra.org
ZAHA HADID: FORM IN
MOTION
Philadelphia Art Museum
Philadelphia, Pennsylvania, USA
Until March 25, 2012
www.philamuseum.org/exhibitions/750.html
A TRIBUTE TO ADONIS
LITERARY EVENTS
The Mosaic Rooms, Tower House, 226
Cromwell Road
London, United Kingdom
February 3-February 8, 2012
www.mosaicrooms.org
www.wegottickets.com/event/148193
Memorable Memo Board
Made with four different cotton
fabrics and a simple wooden frame,
this board can display just about
anything (to dos, photos, etc), in a
stylish manner.
www.keswah.com
Off the Wall: Political
Posters of the Lebanese
Civil War
Graphic design at its fnest - propagan-
da posters. Zeina Maasris Off the Wall
visually illustrates, through posters,
the Lebanese Civil [Poster] war.
www.amazon.com
Alexandra card by Rami
Kashou
Beautiful runway couture on a
limited edition birthday card
embellished with metallic fabric,
gems and delicate black feathers,
designed by Rami Kashou. Each card
comes in a custom design drawer.
www.papyrusonline.com
Egyptian Laptop Case
More than anything, were featur-
ing this Egyptian laptop case not
because this issue is dedicated to
Egyptian design, no, because we
love its kitschiness. Perfect for your
extremely proud Egyptian friend, or
one who have recently found them-
selves (post-Revolution) admitting
to being Egyptian. Whats more is
this product is made by El Horreya,
an ongoing dynamic design project
created to support humanitarian
organisations in need across the
Arab region. Each piece is carefully
hand-crafted in Egypt.
www.store.arteeast.org
Nazareth and Upper
Galilee
A tribute to her hometown of
Nazareth, Baltimore-based Architect
Elaine Asal started photographing
the area for the beneft of family
and friends. The result is a stun-
ning photography book perfect for
your coffee table.
www.blurb.com/books/1166760
Fashionista on the Freej
tshirt
So what if I wear my heels to the
desert? Arabulous, a Bahraini tshirt
company, aims is to conserve and
popularise Arabian culture in the
Arabian Gulf by merging media and
fashion, East and West to create
quirky and funny graphics.
arabulous@gmail.com
www.arabulous.blogspot.com
1 4 8 D O S S I E R K A L I MAT K A L I MAT D O S S I E R 1 4 9
Probe AP Wall Light by
Studio Italia - design Karim
Rashid
You didnt think wed dedicate an entire
issue to Egyptian design and not refer to
Karim Rashid did you? This wall light can
be mounted and adjusted for direct light-
ing. It comes in an assortment of colours.
www.moderndesignoutlet.com
Art of the Middle
East: Modern and
Contemporary Art of the
Arab World and Iran
A great resource for anyone inter-
ested in art from the Arab world
and Iran. Art of the Middle East
is an accessible overview of modern
and contemporary art of the Arab
world and Iran from 1945 to the
present. Divided into literature,
portraiture and the body, and
politics, confict and war, it also
provides an engaging commentary
on each artwork and the artist.
www.amazon.com
NeW
MEDIa
AsHYAA2/THINGs
Freedom and Life Poster
Latin type on posters is in abun-
dance, we recommend decorating
your wall with Celines Freedom and
Life posters.
www.celinek.blogspot.com
celinekh@yahoo.com
Have an old school colouring book you want to share? Get in touch: info@kalimatmagazine.com
KALIMAT MAGAZINE
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