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President Emmanuel Macron’s administration has just released a new report on the memory of colonization and the Algerian War, firmly placing the presidential seal of approval on a woefully one-sided document.

The report is already hugely controversial because of what it has failed to recommend: an apology. Despite losing the jewel in their empire following more than a century of lethal subjugation, including nonstop crimes against humanity, the French apparently do not think they were barbaric enough to show any contrition.

Introducing the new 146-page document, a spokesman for Macron was adamant that there would be “no repentance, nor apologies.” The express political purpose of this statement was ostensibly to prevent history being used to open up further division. But in reality, it allows France to evade responsibility.

Going back 10 years to the Arab Spring and eight years before that to the invasion of Iraq, much of the region has experienced terrible loss not only on a human scale, but also of its archaeological heritage. The culmination of both came in 2015 with the brutal murder of the 82-year-old archaeologist Khaled al-Asaad — who had been in charge of the Syrian UNESCO World Heritage site of Palmyra for 40 years — and the destruction of part of the 2,000-year-old site by the Islamic State group

Three countries — Iraq, Syria and Libya — have an extraordinary heritage of ancient archaeological sites, many of them now endangered, and had in common long-standing dictators, (although in the case of Syria, of course, the Assad regime continues), all of whom used their cultural heritage in various ways to define how they saw their nation

That dictators draw inspiration from ancient history to shape their nations is nothing new — Mussolini looked back to the Roman empire, while Hitler and the Nazi party developed their mythical, ancient “Aryan” race. The last shah of Iran, Mohammad Reza Pahlavi, threw one of the most lavish parties in history at Persepolis in 1971 during national celebrations to illustrate the grandeur of the 2,500-year-old Persian empire founded by Cyrus the Great in the sixth century B.C.

In 1927, at a meeting of the Academy of Medicine in Paris, a French-trained Tunisian doctor, Béchir Dinguizli, sounded the alarm about a “new social scourge” spreading like an “oil stain” across Tunisia. It had “entered our morals with lightning speed,” he warned, and if not stopped by French authorities, it had the power to paralyze Tunisian society. The alarming threat? Drinking tea.

Although practically unknown before World War I, tea imports nevertheless shot up from 100,000 kilos in 1917 to 1,100,000 in 1926. The catalyst appears to have been the Italo-Turkish War of 1911-1912, which sent an influx of tea-drinking refugees from Tripolitania (modern-day Libya) into Tunisia.

Among these French administrators, there was real fear that the colonized population was turning into tea addicts, with medical, social, and economic consequences for France’s mission civilisatrice.

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.

The West does, of course, face challenges in an age when movements of people happen far more quickly across vast distances than ever before; an age in which the notions of meaning and virtue are more contested; an age where technological advancements and their corresponding impacts on society develop more rapidly. All of that has understandable impacts on how communities and societies think of themselves and conceptualize their common bonds. The question is, how do societies address these challenges and find answers that are likely to heal the rifts that exist rather than exacerbate them on the altar of “saving ourselves,” when the notion of “ourselves” is a wholly mythical construct?

When it comes to conceptualizing themselves as a Western “us,” European Christendom has historically done so by positioning itself against the Muslims of the Mediterranean, be they Ottomans or Arabs

a form of Christianity that focuses on solidarity with the oppressed, rather than promoting tribalistic hate against the “other,” is precisely what Europe needs more of

The Westphalian order refers to the conception of global politics as a system of independent sovereign states, all of which are equal to each other under law. The most popular story about this political system traces its birth to the Peace of Westphalia in 1648, follows its strengthening in Europe and gradual expansion worldwide, and finally, near the end of the twentieth century, begins to identify signs of its imminent decline. On this view, much of the power that states once possessed has been redistributed to a variety of non-state institutions and organizations—from well-known international organizations such as the UN, the EU, and the African Union to violent non-state actors such as ISIS, Boko Haram, and the Taliban along with corporations with global economic influence such as Facebook, Google, and Amazon. This situation, the story often goes, will result in an international political order that resembles medieval Europe more than the global political system of the twentieth century.

Over the last two decades, scholars working on the history of the global order have painstakingly shown the complete mismatch between the story of Westphalia and the historical evidence. The nation-state is not so old as we are often told, nor has it come to be quite so naturally. Getting this history right means telling a different story about where our international political order has come from—which in turn points the way to an alternative future.

Generations of international relations students have absorbed the idea of the 1648 Peace of Westphalia as a pan-European charter that created the political structure that now spans the entire globe: a system of legally (if not materially) equal sovereign states. Along with this political structure, this story goes, came other important features, from the doctrine of non-intervention, respect of territorial integrity, and religious tolerance to the enshrinement of the concept of the balance of power and the rise of multilateral European diplomacy. In this light, the Peace of Westphalia constitutes not just a chronological benchmark but a sort of anchor for our modern world. With Westphalia, Europe broke into political modernity and provided a model for the rest of the world.

French President Emmanuel Macron apologized Monday to Algerians who fought alongside French colonial forces in Algeria’s war for independence, and were then massacred and ostracized as traitors.In a solemn ceremony interrupted by the cries of one fighter’s daughter, Macron also promised a law guaranteeing reparations for the contingent known as the harkis. The distraught woman, who said she grew up in a camp where France sequestered harkis after the war, argued that the law wouldn’t go far enough to fix the damage.

Around 200,000 fought against fellow Algerians in the 1954-1962 war, and tens of thousands of harkis were killed after the French withdrawal.

It’s a difficult issue for Macron, who has sought to confront France’s colonial past — notably in Algeria, the most prized of France’s former overseas conquests. In Algeria, the harkis are widely seen as traitors, and wounds from the colonial era slice deep. Algerians today want their own apology from France for its actions during the war.