This artifact is from Syrian writer, Mohamed Raouf Bachir, and discusses the the feelings a refugee experiences when fleeing from the hellish Middle East into a place where there is uncertainty of acceptance, but somewhere that still feels like freedom.

This is a transcript of a video talking about Amal Kassir, a young Syrian-American poet who uses her poetry to talk about the revolutions that are going on in Syria.

This article also focuses on the Sad Panda, specifically on one art work where it shows a solider throwing a baby into a fire. The piece garnered a lot of attention. Attached to this article is a video, talk about where the artist got the inspiration from.

This article is about the anonymous artist who has created the Sad Panda, a character who is splashed onto the walls of Egypt to depict the experience of loss and mourning for those who have given up their lives.

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.

This artifact is a picture of an article titled "The Writings on the Wall," a piece about Hend Kheera, an Egyptian street artist, who grew in popularity during the revolution. She speaks about the focus of her work and what it means for the future.

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."

This artifact focuses on Aya Tarek, a 24 year old Egyptian graffiti artist, who discusses how she began her journey into the art scene and what she believes in. An avid supporter of the revolution, Tarek also talks about how important it is to fight not only for the causes you believe in, but also for who you are.

This article talks about how poetry is similar to the revolution because of the way it has transformed the people; the revolution has changed common moments and common people into inspiring times the way poetry changes common words into something extraordinary. It talks about how both poetry and revolution have been able to seek justice and tear down symbols of powers. For these revolution, poetry has been able to keep the needs and wants of the people alive and real.

This article, written by Mohammed Kheir, discusses how poetry during the revolution was used to empower the people but became attributed to popular revolutionary poets because of fear of being accosted. So, while stanzas were popularized and while they may be remembered, the actual poets behind them may not be.

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 artifact is a reading of Ahmed Fouad Negm's poem, "Who Are They and Who Are We?" This poem was written in light of the Egyptian revolution and is used to compare and contrast the lives of the ruling class with the working class citizens in order to inspire a sense of hope that the working class can over throw the ruling class.

In this article Andy Young discusses the multiple ways poetry has shaped and formed itself in Egypt because of revolutions. Young brings up multiple poems that became the voice of the people in the 1952 revolutions and again in the 2011 revolutions.

In this article, Barbara Pollack tells the reader about Ganzeer, an Egyptian artist who was influential in the days of the January 25th revolution. Ganzeer has had the government single him out and labeled him "a recruit of the Muslim Brotherhood." This forced him to move for a long stay in the United States where he continues to work at bringing awareness to Western people and hopes to change the way America supports the Egyptian government.

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.

"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.

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 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.