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This article describes stories around the world about street harassment. There are groups out there trying to help stop street harassment. One of these groups is called Stop Street Harassment

Filmmakers are filming a film that talks about the sexual harassment issue that occurring in Egypt. Ninety-nine percent of women in Egypt have faced sexual harassment. It also shares the common misbeliefs that people believe due to American news. 

This article in 2015, describes what women face everyday on Egypt streets. Eman Helal often wears a gas mask and helmet when she photographs protests. She knowns that this protective gear provides her an extra level of security from men in public. It has been said that physical attacks on women by groups of men have increased in Egypt since the start of the Arab Spring.

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.

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 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.").

This article explores an exhibition called "This Is Not Graffiti" that was opened in 2011 and had the work of many major street artists. Steven Viney, the writer, talks about the different pieces displayed and the way the authors felt about their works.

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.

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.

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 was an article that informed the reader of how these Egyptian artists are forced to get creative after the governmental backlash on street art. The government knows that these murals are inspiring hope, so they do not like or encourage the art. The artists are now doing things like drawing massive murals, and than making a small portion of the mural what they are trying to say, or doing their street art quickly because it is dangerous to be doing.

The kid in the dock could be auditioning for a starring role in the global psychodrama The Little Guy Versus the State. Pale, thin and dwarfed by two enormous security guards in London's Westminster Magistrates' Court, Jake Davis speaks in a whisper, and only to confirm his name.

This article written by Hillary E. Crawford explains to us some ways we can help Egyptian women fight for equality. She continues to explain that Egypt, on their own, are making small strides. "In September 2014, Egypt's parliament acknowledged the prevalence of sexual violence toward women by creating an Interior Ministry unit that installed street cameras to better monitor and prevent sexual attacks."

"The Poetry of Revolution" discusses the ideas behind the street chants shouted out by the Egyptian people in their times of revolution. It focuses on the history of Egypt's uprisings and how they have changed before. This article was written a few days after the initial January 25th uprisings and attempts to explain how the chants take on a greater meaning to the protesters. Because they are given words to yell and shout, they are able to bind together and announce the same goals. Colla discusses how if the people did not have these chants, they would be too afraid to stand for their revolutions.