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Ed Webb

Morsi's Win is Al Jazeera's Loss - Al-Monitor: the Pulse of the Middle East - 2 views

  • Al Jazeera Arabic’s pro-Brotherhood methodology is two-pronged. First, it predominantly hosts guests that it can be fairly certain would be gentle in their criticism of the Muslim Brotherhood, and second, its anchors refrain from asking Muslim Brotherhood members and spokesmen embarrassing questions.
  • The alliance between Qatar, the host and backer of Al Jazeera, with Egypt’s Muslim Brotherhood is no secret.
  • Al Jazeera Arabic’s love affair with the Muslim Brotherhood has done damage to more than one country’s revolutionary cause. In Syria, Al Jazeera Arabic’s championing of the Muslim Brotherhood-dominated and highly ineffective opposition Syrian National Council has cost the channel much credibility. Al Jazeera Arabic refrains from criticising the group or highlighting its repeated failures. It also instructs its reporters to follow a certain narrative, prompting numerous resignations. 
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  • Based on Al Jazeera Arabic’s online narrative, Morsi is depicted as an Egyptian warrior, born destined to fight the Egyptian army into submission and championed by oppressed Arabs while at once terrifying their archenemy, Israel. The channel, of course, neglects to mention that President Morsi repeatedly vowed to honor international treaties, in reference to the Israeli-Egyptian peace accord, not to mention his repeated praise of the army
  • in Palestine, Al Jazeera Arabic scores major coups in uncovering the rampant corruption of the Palestinian Authority but neglects to mention democratic setbacks in the Hamas Muslim Brotherhood-controlled Gaza strip
  • there is no other single channel to carry the mantle that Al Jazeera Arabic has so readily done away with. The best Arabic-language speakers can do now is to flip between two or more channels that carry a different narrative in order to arrive as close as possible to the truth
  • the same narrative does not plague Al Jazeera’s English-language version of the station
Ed Webb

Liberal Islamophobia: Anti-Muslim hostility is not just a conservative phenomenon | Mid... - 1 views

  • it would be wrong to view Islamophobia as a strictly conservative phenomenon. Polling data indicate that 49 percent of Democrats hold unfavourable views of Islam. Also, Brookings Institution scholar Shadi Hamid has argued that US President Barack Obama, a Democrat, holds views that amount to “Islamic exceptionalism”. Hamid argues that Obama’s statements about Muslims suggest that he is “frustrated by Islam” and that he has bought into Samuel Huntington’s “clash of civilizations” thesis
  • American news media, including liberal outlets, have done a poor job contextualising stories about Muslims and Islam. A growing body of empirical research into American news media coverage of Islam reveals deeply problematic patterns - negative, stereotypical portrayals, almost no Muslim sources, and few mention of Muslims or Islam in the context of positive news. That American news outlets apply the “terrorism” description almost exclusively to Muslim-perpetrated violence cannot be lost on anyone paying attention
  • while denunciations of terrorism by Muslim groups generally go unreported, Islamophobic statements drive news narratives
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  • Glaringly absent from American news media are opinion polls showing that Muslims are no more likely to accept violence than other groups. For instance, a 2011 Gallup World Violence poll showed that Muslims were just as likely as non-Muslims to reject vigilante acts of violence against civilians
  • A 2011 Gallup poll found that American Muslims were the least likely of all polled American religious groups to accept vigilante violence against civilians. In all, 26 percent of American Protestants, 27 percent of Catholics, 22 percent of Jews, 19 percent of Mormons, 23 percent of atheists, but just 11 percent percent of Muslims said that it is “sometimes justified” for an “individual person or a small group of persons to target and kill civilians”.
  • the CIA estimates that there are around 30,000 Muslim jihadists in the entire world. A Kurdish leader has suggested that the CIA underestimates the jihadist threat, and claims that the total number is closer to 200,000. Even assuming the larger figure, jihadists represent a grand total of 0.01 percent of the world’s 1.8 billion Muslims
  • Media scholar Jack Shaheen carried out a content analysis of more than 900 Hollywood movies featuring Arab or Muslim characters. Shaheen found Muslim characters are almost never cast in positive or neutral roles. The overwhelming majority of films that feature Arab or Muslim characters cast them as enemies, terrorists, violent, savage or backwards
  • compared to other threats of violence, Muslim terrorism garners exaggerated attention in American news and politics.
  • In the 14 years since 1 January, 2002, Muslim terrorists have killed 45 Americans in the United States, a smaller number than right-wing conservative terrorists have killed during the same time period. Also, since the start of 2002, there have been more than 200,000 firearm-related homicides in the United States
  • More realistic, proportionate presentations would greatly improve American political life. However, given the extent to which the Islamophobia industry is funded, people shouldn’t hold their breath waiting for fairer, less sensational presentations.
Ed Webb

The New Hybridities of Arab Musical Intifadas - www.jadaliyya.com - Readability - 1 views

  • Both extreme metal and hardcore rap have long featured dissonant, even jarring music that is often marked in equal measure by the sophistication of and difficulty in listening to it. Lyrically, the grittiness, anger and themes such as poverty, unemployment, police brutality, and lack of life opportunities—were at the heart of American hip hop culture before it wase taken over by bling. Similarly, extreme metal’s focus on war, corruption, and chaos played a major role in the genre’s increasing popularity with young people across the Middle East and North Africa in the last twenty years.
  • During the last twenty years in which both heavy metal and hiphop have developed in the Arab and larger Muslim majority worlds, the closed nature of the political spheres in the region helped encourage these scenes to become sites of subcultural and even countercultural production. The music they have produced is the very antithesis of the far more popular, hyper-commercialized and corporatized (or “Rotana-ized”) Arab pop, whose European and American predecessors Adorno so thoroughly despised. They also stand in opposition to the largely depoliticized and musically unchallenging religious pop of stars like Sami Yusuf and Ali Gohar, who as Walter Armbrust points out, tend not merely to leave unchallenged and even reinforce patriarchal values, but offer aesthetic endorsement of the existing system through the themes and locations of their videos
  • whether Adorno would accept it or not, the self-reflexivity and willingness to critique society by its own referents that have characterized the best exemplars of extreme metal and political hip-hop are legitimate heirs of the tradition of critical engagement that have defined Adorno's oeuvre and that of his Frankfurt School colleagues. While critics have long labeled both metal and rap as juvenile, hedonistic, and even nihilistic forms of music, this interpretation is far off the mark when it comes to the more political forms of both genres. They function not merely as the CNN—or in the case of the Arab world, al-Jazeera—of the streets, but as their oped page as well, both educating their audience about political and social realities in their societies and the possibility of creating more positive futures
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  • The best rap and metal in the region succeeds because it manages to avoid both the kind of “extreme consciousness of doom” that leads to aesthetic nihilism, hyper-stylized violence and other forms of artistic “idle chatter,” while also avoiding the kind of surrender to the culture industry which leads even the most well-intentioned of mainstream artists to “collaborate with culture as its salaried and honoured nuisance” rather than challenge it directly from the margins.
  • the ultimate function of immanent criticism: to enable a positive synthesis, or irreducible hybridization of identities. Such identities can not be subsumed under any dominant ideology or political and economic narrative and therefore cannot serve to reinforce them
  • in the Middle East and North Africa region, in the years leading up to the current revolutionary moment, the growing popularity of metal and rap music represents a return of the aura to local music scenes. Both Benjamin and Adorno believed that a remnant, or perhaps better, specter of the original aura remained within works of art even in the mechanical/industrial age. This spector becomes visible in the kind of critical art represented by the groups discussed here, contributing to the continued “excessiveness”, “aesthetic deviance”, and “pointing elsewhere” towards cultural difference and a different future that characterize the best exemplars of the music
  • As Moe Hamzeh, leader of one of the most talented and successful Arab rock/metal groups, Beriut's The Kordz6, explains, while Arab rock or rap artists obviously want to be successful, the relative lack of interest in the two genres by Rotana and other Arab media conglomerates has been a blessing from an aesthetic perspective. It has saved them from the inevitable fate of all commercialized popular music, whether American hiphop and hair metal to Arab video-clip driven pop. At the same time, the lack of commercialization has made the public performance of the music, usually in small group settings or festivals geared specifically to fans of the genres, the crucial means of creating audiences and building solidarity among their communities of fans.
  • singers and rappers were actually smiling as they performed their music. And so were the crowds surrounding them. This is likely not the vibe Adorno imagined would surround the kind of immanently critical music he felt was necessary to wake people up to the false consciousness they had been mindlessly inhabiting. But it points to a crucial problem with Adorno’s musical aesthetic, at least form the standpoint of reception. The more abstract, atonal, and devoid of recognizable harmonies or rhythmic pulse a piece of music is, the harder it will be for it to inspire a large number of people. Once people are actually on the streets protesting rather than in their smaller subcultural gatherings, they need something catchier and more uplifting to sing along to than brutal vocals and rapid fire rhymes
  • Adorno did not think much of the aesthetic and political potential of folk music, which he tied both to nationalist and fascist sentiments. In its then present-day form (rather than traditional-historical form), he believed it to foster little more than a “pseudo-folk community,” particularly in its cultural and aesthetic historical trajectory in Germany. But in Egypt as in the United States, the music has played a more critical political role in struggles for political freedom and social justice.
  • the band’s popularity is inseparable from its dual role as a voice of protest and a regenerator of traditional styles of music that recently were in danger of disappearing completely because of a combination of market forces and government censorship
  • What the kind of joyful hybridity exemplified by the production style of Armada Bizerta and myriad other rap groups around the Arab and larger Muslim worlds (and across Africa) reveal is that even within one genre of music, such as hip hop, talented artists can create innumerable sonic tapestries to match, and help shape, the national mood—from dissonant anger to joyful creativity—as the political and cultural situation on the ground changes. Their flexibility is key to their function as the kind immanent critique Adorno and other critical theorists hoped would be able to “reliquify” the “congealed” ideologically bounded identities imposed by authoritarian regimes on their citizens
  • The joyful aesthetics of groups such as Amarda Bizerta, Emel Mathlouthi, Ramy Essam, and other artists at the heart of youth-inspired revolutions challenges Adorno’s belief that critical music in the age of mass reproduction and consumption has to be, essentially, hard to listen to in order to make the listener think and perhaps even motivated to take some form of action. It seems that while in the pre-Revolutionary period, when cultural expression was still heavily policed, this indeed was the case—thus the power and popularity of genres like metal and hardcore rap. But with the explosion of political, cultural, and artistic energy of the protests a new aesthetic dynamic was born that, at least as of the time of this writing, remains quite powerful. As important, by drawing people literally closer together, the music brings them closer to its critical and transformational aura, closing a circle that was broken, according to Benjamin, with the mechanical reproduction and commodification of musi a century ago
  • It remains to be seen whether Americans and Europeans, so used to providing the “original” music and culture which others have long sampled, will prove as adept as the “new generation” of Arab revolutionaries in adapting the tools and ideas of others to create their own cultural, political, and economic hybrids. But if the experience of the last year is any indication, without doing so there is little chance of the current wave of protests across the West producing the kind of large-scale transformation now underway, however problematically, in the Arab world.
Ed Webb

Iranian Police Seizing Dissidents Get Aid Of Western Companies - Bloomberg - 0 views

  • About half the political prisoners he met in jail told him police had tracked their communications and movements through their cell phones
  • Stockholm-based Ericsson AB, Creativity Software Ltd. of the U.K. and Dublin-based AdaptiveMobile Security Ltd. marketed or provided gear over the past two years that Iran’s law enforcement or state security agencies would have access to, according to more than 100 documents and interviews with more than two dozen technicians and managers who worked on the systems.
  • When Iranian security officers needed to locate a target one night in late 2009, one former Ericsson employee says he got an emergency call to come into the office to fix a glitch in an Ericsson positioning center.
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  • AdaptiveMobile, backed by the investment arm of Intel Corp. (INTC), proposed a system in partnership with Ericsson for Iran’s largest mobile provider in 2010 that would filter, block and store cell phone text messages, according to two people familiar with the discussions. An Ericsson spokesman confirmed the proposal. The Irish company still services commercial gear for a similar system it sold in 2008 to Irancell. Police have access to the system, say two former Irancell managers.
  • Texting has become the predominant means of digital communications because more than 70 percent of Iranian households have a mobile phone -- four-times greater than the percentage with internet access.
  • Hundreds of people have been convicted by Iranian courts for offenses related to election protests, according to New York-based nonprofit group Human Rights Watch.
  • “My mobile phone was my enemy, my laptop was my enemy, my landline was my enemy,” says Shojaee, who turned to using pay phones.
  • Iran is one of many authoritarian countries across the Mideast and North Africa employing Western surveillance tools for political repression. In Bahrain, for instance, communications monitoring centers sold by Siemens AG (SIE), and maintained by Espoo, Finland-based Nokia Siemens Networks and then its divested unit, Trovicor GmbH, have been used to track and arrest activists, according to a Bloomberg News investigation.
  • Much of NSN’s gear in Iran has since been swapped out in favor of China’s Huawei Technologies Co.
  • The 3.9 million-euro ($5.5 million) system AdaptiveMobile proposed could handle more than 10,000 messages per second and archive them for a period of 180 days, according to a company proposal. The archive would contain 54 terabytes of storage, according to the document. That’s big enough for all the data gathered by the Hubble Space Telescope over 20 years.
  • A rapidly growing global business, the “lawful interception” and information intelligence market now generates more than $3 billion in annual sales
  • “Ultimately, telecom is a force for good in society,”
  • Police arrested him on the outskirts of a rally that December, beating him with fists and a baton and jailing him for 52 days. Security agents interrogated him 14 times, presenting transcripts of text messages plus an elaborate diagram showing all the people he’d called -- and then everyone they’d called.
  • The system can record a person’s location every 15 seconds -- eight times more frequently than a similar system the company sold in Yemen, according to company documents. A tool called “geofences” triggers an alarm when two targets come in close proximity to each other. The system also stores the data and can generate reports of a person’s movements. A former Creativity Software manager said the Iran system was far more sophisticated than any other systems the company had sold in the Middle East.
  • “A lot of people were not happy they were working on a project in Iran,” he says. “They were worried about how the product was going to be used.” Gokaram says he worked only on commercial products and didn’t share those concerns. He declined to discuss specifics about any technology deployed in Iran. Creativity Software, which is privately-held and partly funded by London-based venture capital firm MMC Ventures, announced last November that it had made four sales in six months in the Middle East for law enforcement purposes without identifying the mobile operator clients. Saul Olivares, market development director at Creativity Software, declined to discuss sales of law enforcement technology, but in an e-mail he pointed to its practical benefits, such as locating individuals during disasters, for ambulance crews and in other emergencies.
  • The European Union took aim at Iran’s growing surveillance capabilities in October 2010, enacting new sanctions that include prohibitions for goods that can be used for “internal repression.” The regulations, however, focused mostly on low- tech items, such as vehicles equipped with water cannons and razor barbed wire. In September, the European Parliament broadened its surveillance concerns beyond Iran, voting for a block on exports of systems if the purchasing country uses the gear “in connection with a violation of human rights.”
  • After his arrest early last year, Pourheydar, the opposition journalist, says police accused him of speaking to foreign media such as BBC and Voice of America. Their evidence: unbroadcast mobile phone calls captured, recorded and transcribed, he says. They also had transcripts of his e-mails and text messages. He never learned which companies provided the technology that made it possible.
  • “All these companies, which sell telecommunications services and listening devices to Iran, directly have roles in keeping this regime in power,”
Ed Webb

Veteran US diplomat tackles Middle East 'mess' - Al-Monitor: the Pulse of the Middle East - 0 views

  • Al-Monitor:  In the old days, the Iranians and the Saudis used to talk to each other and resolve issues. Now, this is a missing piece. Patterson:  It goes back 20 years [to Lebanon]. This is a missing piece. And so the proxy war has gotten a lot worse and you see it all over now in frankly scary dimensions. But it wasn’t that long ago when they had some kind of relationship. … They never liked each other, but they weren’t at this level of animosity.
  • Al-Monitor:  Let’s turn to Egypt. General, now Field Marshal [Abdel Fattah] al-Sisi seems on his way to becoming Egypt’s next president. How would you characterize our relationship with him and the Egyptian government at this point? Patterson:  Personal relationships with him have been good — certainly with ambassadors, including me and with [Defense] Secretary [Chuck] Hagel and with Secretary Kerry and a lot of people on the Hill. But it’s certainly no secret that we’re concerned about freedom of the press, freedom of association, all the fundamentals that are being thrown into question right now in Egypt, not to mention the huge economic issues.
  • Al-Monitor:  There have been some incredibly anti-American statements lately in Egypt. [Former parliament member and current Al-Osboa editor] Mustafa Bakri openly called last week for attacks against Americans. What are we doing to counter this? Patterson:  We complain to the government. Mr. Bakri did sort of back off that statement. But now there has been a rash of hugely anti-American stuff in the press. This ebbs and flows, … [but] it’s really a quite dangerous game, because you fan up public opinion and then you’re hostage to public opinion.
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  • It’s like 1979. The Arab Spring has changed the situation entirely in the region all at once. … It looks like a mess … but if some of this can be successful, … it will change the chessboard. … So let’s hold out hope that some of this will work.
Ed Webb

Anthropology, Reporters and the Middle East | DINING WITH AL-QAEDA - 0 views

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    Sounds like Pope and Luyendijk had a great encounter. Good insights.
Ed Webb

The State of Reporting on the Middle East: A STATUS/الوضع Conversation with C... - 0 views

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    Well worth listening to the conversation between experienced observers of the region, and of those reporting on it.
Ed Webb

Khaled and the myth of rai | The Middle East Channel - 0 views

  • it was not the opposition of "fundamentalists" that kept rai music (not just Khaled's) off of Algerian state radio. It was rather the Algerian (secular) regime's cultural policies. The state promoted classical Arabic culture and language and denied Algeria's multi-cultural nature. Expressive culture in Arabic dialect or Berber was therefore mostly excluded from the state-controlled media. Rai is sung in the distinctive colloquial Arabic of Wahran, which is not only very different from "classical" or literary Arabic but is also full of borrowings from Spanish, French and Berber. This official national-cultural politics, which was particularly severe during the regime of Houari Boumediene (1965-1978), began to loosen during Chadly Benjadid's regime (1979-1992). In his 1998 autobiography, "Derrière la sourire," Khaled recounts how he managed to break the official embargo in the early 1980s. He was invited to appear on a television show in Algiers, which he knew couldn't be censored because it was to be broadcast live. Khaled was warned ahead of time: no vulgarities, no sex. So he sang three songs: the first, about the Prophet Muhammad; the second, a "poetic" song, one that was artistically acceptable; and the third, about alcohol and women.
  • Khaled, and other rai stars, came to play at this festival due to the efforts of the "liberal" wing of the Algerian regime -- and particularly to Lieutenant-Colonel Hosni Snoussi, director of the state-supported arts and culture organization, Office Riadh el Feth in Algiers, who had taken Cheb Khaled under his wing. The regime's liberal wing became interested in promoting rai in the wake of a spate of unrest that erupted during the early 1980s. Most notably, the 1980 riots in Tizi Ouzou, Kabylia (the "Berber Spring"); the 1985 riots in Algiers, which broke out following rumors that housing being built for the poor would be allocated to state bureaucrats; and the 1986 student riots in Constantine that resulted in the deaths of four protesters and spread to other cities. Young Algerians played a leading role in all these protests. The liberal wing of the regime determined that, to deter further unrest, the state should focus on promoting the interests of youth and on developing the market economy. Rai was very popular with Algerian youth, and so the "liberals" determined that promoting it was to be an important element of these reform efforts. It was changes in state policy toward rai, pushed by Snoussi, that got Khaled and other rai stars onto the stage in Algiers in 1985.
  • The French government had a stake in trying to control and channel the energies of the rai scene.
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  • Khaled opened his set at Bobigny with a religious song, "Sallou 'ala al-Nabi" (Blessings on the Prophet). This is also how he typically opened concerts in Algeria. This is important to underscore because standard accounts of rai music (like Eyre's) typically give the impression that there is a kind of inherent antagonism between rai artists and Islam.
  • Because rai was a badge of cultural pride for young Beurs, the French state determined that its interests lay in promoting North African Arab culture in France, rather than being an antagonist. Not just Khaled, but an array of top Algerian rai artists performed at Bobigny in 1986. Clearly the tab for transporting and putting up these stars was an expensive proposition for the French government. Moreover, because Khaled had been avoiding his military service, Col. Snoussi had to intervene with the Algerian military authorities in order to secure him a passport to travel to France.
  • That liberal elements of the Algerian state played a major role in initiating and underwriting the process whereby rai music became known around the world, and whereby Khaled became the world's best-known Arab singer, deserves to be much more widely known. (Government sponsorship and subsidies for rai came to an end, after the bloody riots of October 1988 and the state's launching of a movement toward reform and democratization.) It is remarkable success story, with significant political and cultural implications, in both France and Algeria. Col. Snoussi and his liberal associates deserve credit, as do key French actors like Martin Meissonier and Jack Lang.
  • Khaled met some criticism after recording the John Lennon song "Imagine" with Israeli artist Noa (for the European release of his 1999 album Kenza) and after performing the song with Noa at a "peace" concert called "Time for Life" in Rome in May, 2002. Khaled subsequently toured the Middle East with Palestinian-American 'ud and violin maestro Simon Shaheen and Egyptian shaabi singer Hakim. In Lebanon and Jordan he encountered campaigns to boycott his concert, on the grounds that he had engaged in "normalization" with Israel by performing with an Israeli artist and in the presence of Israeli Foreign Minister Shimon Peres. Khaled responded that Palestinian singer Nabil Khouri had also performed at the concert and that Yasir Arafat's adviser Mohammed Rashid was in attendance. The Lebanon and Jordan concerts were well-attended, despite the protests. Khaled also recorded with the Algerian Jewish pianist Maurice El Medioni on his 2004 album Ya-Rayi, but I'm not aware that any criticism was leveled against him for working with Medioni or with U.S. musicians
  • It makes more sense to speak of Khaled as a European artist who has done much to promote Arab culture in the West, rather than to frame him as an Algerian artist, the thrust of whose work is against Islamic intolerance.
Ed Webb

Middle East press on the settlements: What the Middle East papers say | The Economist - 0 views

  • commentary in the Arab and Israeli media showed little optimism for the future of negotiations
  • Opposition to settlement building is widespread in opinion columns, with a prominent exception in Michael Freund's "Rev Up the Bulldozers," published on Arutz Sheva, a right-wing news site. Mr Freund, expressing a view widely held by settlement supporters, argues that:...settlements are not the obstacle to peace. They never have been. The true obstacle to peace remains what it has always been: the Palestinian refusal to accept a permanent and sovereign Jewish presence in the land of Israel. In the right-of-the-centre Jerusalem Post, however, David Newman argues that as the settlements grow, evacuating them as part of a two-state solution becomes increasingly difficult, writing that "every additional house, family and road make a peace agreement less plausible." He continues, condemning Netanyahu's decision:Israel is the stronger side in this ongoing conflict and, as such, is the one able to make the critical concessions and lead the way. They should be seen as concessions from a position of strength and not, as the right wing argues, a sign of surrender. [...] Back to square one. No settlement freeze, no significant peace talks. All of us, Israelis and Palestinians alike, will suffer the consequences.
  • To read full translations and further commentary, please go to Meedan.net
Michael Fisher

The Self: Understanding What and Who We Are - 0 views

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    Although it doesn't pertain to the Middle East, this is an interesting primer on "the self" that relates to our discussions on identity. This writer also has piece on Cognitive Dissonance, which may be of interest to some of you.
Michael Fisher

Israel Launches New 'Soft War' - Middle East Times - 0 views

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    Israeli PR after the Gaza conflict. Seems pretty elaborate with posts in the U.S.
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