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This article focuses on the graffiti on the streets of Cairo and how the graffiti has started to stand for more than just an expression of tagging, but rather art and a way of the revolution. The artists use graffiti as a way to communicate to others that they are seeing the injustices that are going on. This street art also binds together the artists of this city and their ideologies.

In this article, the Smithsonian presents Egypt's murals more than just art but as a part of the revolution.

This article was a great introductory to what graffiti art has become in Egypt, what it stands for and the meaning behind the paint. It explains that around 2011 individual people and other artistic groups began documenting the wrong doings, brutality and cruelty of the Egyptian regime. The author interviewed artist Ahmed Naguib, and he said, " people singing revolutionary slogans come and go, but the graffiti remains and keeps our spirits alive."

This article discusses the way the revolutionary uprisings from January 25th have shaped the art community. It focuses not just on street art (which is used as an act of defiance), but also on film, literature (mainly non-fiction works, but poetry as well). Lindsey discusses how the uprisings have shaped all of the art forms that "demonstrate a support for the uprising through cultural activism."

This article explores both the street and the formal art scene after the events of January 25. It discusses how these scenes have had both positive and negative signs (positive: the concept of social art "seems to be winning grounds in the fabric of social enterprises"/negative: the art scene is still "underdeveloped, fragmented and alien to the majority of its own people.").

Egyptian art historian and graffiti artist, Bahia Shehab, discusses how she was first commissioned for an art piece in 2010 called "A Thousand Times No" that consisted of the way the word "no" had been represented in history over different continents in different art works. This later translated into her graffitiing the word all over Egypt as a way to speak out again the dictators and the violence that she witnessed.

This article, written by Joana Saba, talks about Aya Tarek's life and explores her reasons for becoming a part of the art scene in Egypt. While Tarek did not originally consider herself (or her art) a part of the revolution, she discuss how her ideas of politics has changed and how it can be as simple as "walking down the street."

Every inner city area has its fair share of buildings tattooed with layers of colorful graffiti and gang symbols. Given the stigma attached to graffiti, one would not expect to find true art on cracking walls, between trash cans, and on street signs. However, a more advanced form of graffiti-street art-conveys a deeper expression of the artist.

An interview with Omar Khouri, a political artist/cartoonist. The interview goes in depth of what Khouri mainly draws/paints and where his inspirations come from. 

This article from BBC showcases how Egyptian street art is a new voice among Egyptian protestors. In response to events, artists have filled the walls with murals and slogans in response to events such as the Maspero Massacre in 2011. Some of the reoccurring images are of a tank aiming its cannon at a boy on a bicycle carrying bread on his head as well as a melancholy panda. Other artists have integrated some of Egypt's history in their murals showcasing Egyptian pride amongst the rebellion.

More than two years after protesters toppled Hosni Mubarak, Cairo is still ablaze with fiery visual reminders of Egypt's revolution. On the edge of Tahrir Square - the nerve centre of dissent - the burned-out tower block that once housed the headquarters of Mubarak's National Democratic Party stands blackened and empty.

On August 26th, a "symposium on culture and the arts in Muslim Brotherhood thought" was held. The individuals that attended discussed different views. Some argued that the brotherhood had not reviewed or made a statement in over 70 years. Others believed that the stance regarding art was clear. "Asem Shalaby said... its (The Muslim Brotherhood's) refusal of any prior censorship on creativity, and suggested that the idea be integrated into the country's constitution as a fundamental principle."

This article talks about a form of art that was born out of the revolution. It discusses how artists in Egypt use street art to make public statements.

The dreams, hopes and anger of the Egyptian uprising after 2011 found their most direct and emotional expression through graffiti art, a Swedish journalist based in Cairo told a Duke audience Wednesday.

This was is an article that describes some of the most important graffiti art in great detail, along with some inside news. Ms. Grondahl talks about the mural that was made after the soccer massacre in Port Said, as well as a specific piece of art that was altered by some pro-military artists who erased the original message, although it was repainted over again.

Since the overthrow of Hosni Mubarak sent Egypt into turmoil in 2011, Egypt has been home to a street-art movement of unprecedented vitality. A living record of Egypt's mercurial political situation, these murals have once again proliferated in the wake of the recent coup d'état.

In this article, it present different graffiti art in egypt and tunsia. Since my research digital project is on the graffiti art during the revolution, most of my blog post and diigo posts will be emphasis on different pieces of art.

Faculty of Arts - Cairo University (+2)(0)122 344 1334 fspc@popular-culture.org "People say graffiti is ugly, irresponsible and childish... but that's only if it's done properly."

Faculty of Arts - Cairo University (+2)(0)122 344 1334 fspc@popular-culture.org "People say graffiti is ugly, irresponsible and childish... but that's only if it's done properly."

Faculty of Arts - Cairo University (+2)(0)122 344 1334 fspc@popular-culture.org "People say graffiti is ugly, irresponsible and childish... but that's only if it's done properly."

In an exhibition titled Im Not a Doll, Palestinian artist Rima El-Mozayyen displays paintings evoking a panorama of women's issues, on display in Art Lounge until 27 February

This article discusses the issue of censorship. By talking with Egyptian novelist Khaled al-Berry, presented is the idea of a strong hope for less censorship because the January 25th revolutions had opened up a future of possibilities and challenges for Egyptian literature. While in previous years there had been no actual direct political censorship, publishers would attempt both religious and moral censorship as a means to protect people. While the article does discuss that there will always be censorship, they also look forward to a culture that values art and reading that will change the perspective of the culture.

This article describe how cartoonists are the first to depict the new president, Abdel Sisi, and the important role cartoonists have in society. The main cartoonists the article follows are Mohamed Anwar and Andeel who work for Al-Masry Al-Youm in Egypt.