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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.

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 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 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 paper discusses the opening that the 2011 Egyptian Revolution had on the discussion of women's right. Various platforms such as social media, art performance and graffiti have opened up a small dialog regarding this social issue.

I thought this article was interesting in contrast to today's viewings on women's rights in Egypt. Women in ancient Egypt had similar and nearly all the same rights as men, which is quite the opposite today.

This article talks about how women were in ancient Egypt. Women were given rights although a little disproportionate but they were treated well. Women had rights to own property, divorce their husbands, and inherit the property their deceased husbands owned.

Women in ancient Egypt were on the same level as men as pictured by art and contemporary manuscripts. The division was found within socioeconomic status, not gender.

This article follows a cartoonist from Al-Masry Al-Youm a private newspaper in Egypt 

This article was basically an interview that talked with suzeeinthecity, a blogger whom I already have talked about in a previous blog. She talks about womens role in the graffiti art revolution and that they do not have a different message than men, but their presence on the street is what is important.

In this Facebook page, the focus is mainly the graffiti during the revolution. This is helpful because not only does it give me more photograph of the art but it shows how the social media was involved.

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.

When the people of Cairo took to Tahrir Square in January 2011 to oust Egypt's longtime ruler, Hosni Mubarak, the streets exploded with murals and graffiti that both mirrored the revolutionary spirit of the movement and propelled it forward. A young graphic designer joined the fray, working under the pseudonym Ganzeer, or "bicycle chain."

When the people of Cairo took to Tahrir Square in January 2011 to oust Egypt's longtime ruler, Hosni Mubarak, the streets exploded with murals and graffiti that both mirrored the revolutionary spirit of the movement and propelled it forward.