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Ed Webb

Lessons from an ex-British MP who stood on a street corner in Beirut | Middle East Eye - 0 views

www.middleeasteye.net/...who-stood-street-corner-beirut

empire orientalism Lebanon Beirut UK Britain media opinion

shared by Ed Webb on 26 Apr 19 - No Cached
  • Matthew Parris - South African-British columnist and former Conservative member of the British Parliament - treats us to an account of “What you learn standing on a street corner in Beirut.” The corner in question is located on Rue Qobaiyat in the trendy Mar Mikhael neighbourhood, which Parris incorrectly identifies as Beirut’s “Armenian quarter”. So much for learning things.
  • the role of spontaneous sociocultural analyst
  • To be sure, the trope of the unpredictable and irrationally violent Arab is a mainstay of Orientalist discourse, and visitors to Lebanon from the oh-so-civilised West often can’t resist the temptation to detect in every trivial occurrence a potential throwback to the brutal civil war of 1975-90 - an affair which, it bears mentioning, took place with plenty of outside interference, including from the West itself.
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  • Parris’ foray into the realm of Orientalist lecture would appear to be relatively benign compared to those of contemporaries such as, say, the British travel writer who penned “Boobs, Botox and the Babes of Beirut” - in which we learn that “in Lebanon the women look like Cleopatra” but that plastic surgery fiascos can result in a situation in which “some look as if a drunken Picasso has drawn a face on to a balloon”.
  • The Orientalist eye, it seems, is keen to imbue the landscape with greater enigmatic significance - and Parris concludes his street-corner musings with the melodramatic lines: “Everywhere the concrete was gashed with black mould. But that’s how concrete does stain, in the rain. Visitors to Beirut must learn to love the stains.”
  • Thomas Friedman’s determinations that Israel’s bombing of Lebanese civilians is “logical”, that Palestinians are “gripped by a collective madness”, or that Iraqis need to “suck on this”.
  • the West’s ongoing addiction to Orientalism
  • Nowadays, there are increasing efforts among reductionist Orientalist circles to market Beirut as the resurgent “Paris of the Middle East”, a glamorous hub of hedonism boasting all manner of extravagant money-spending opportunities - yet one that still retains the requisite exotic elements, such as the ever-astounding coexistence of miniskirts and hijabs, Hezbollah and billboard lingerie ads. 
  • the glorification of elite excess and materialism directly serves the interests of a global neoliberal order predicated on obscene socioeconomic inequality
Ed Webb

'The Insult,' Lebanon's first Oscar-nominated film, examines a country's deepest wounds... - 0 views

www.pbs.org/...ines-a-countrys-deepest-wounds

Lebanon film media war identities sectarianism

shared by Ed Webb on 05 Mar 18 - No Cached
  • The film follows Yasser, a Palestinian construction worker who becomes embroiled in conflict with Toni, a right-wing Lebanese Christian, over a leaking water pipe. When Yasser confronts Toni about his grievances, Toni hurls back an insult that strikes sharply at the heart of the Palestinian struggle. The film examines the many forms our personal truths can take, how they collide, and the consequences of words in a polarized world.
  • It could happen like that in Lebanon. You could have a very silly incident that could develop into a national case.
  • we were fought because some people thought that we’re opening old wounds, and then all the people felt that, you know, we were defaming the Palestinians. Other people said we were attacking the Christians. Anytime you make a movie that is a bit sensitive — this one is a little bit more than a bit sensitive — people go up in arms. You know, they look at the film and then they immediately start projecting themselves and projecting their prejudices against it
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  • The subject came out of something I lived through, growing up in a war. Something that my co-screenwriter Joelle also lived through. It’s not like we read a book or based it on a TV interview on CNN. It’s something that we lived through, all the dynamics that you saw in the film, we are very familiar with it. You know, the Palestinian point of view, the Christian point of view. These are things that are so familiar to us. You know it’s this thing that we grew up eating and drinking and living. We were stopped at checkpoints, we hid under the bombs, we lived in shelters in Beirut in the 70s and the 80s and the 90s
  • We could have been such a lighthouse in the midst of all these other places around because we’re so interesting. Lebanon so interesting. But it’s sad that it does not fully use its potential. You know Christians, Muslims, Shiites, Sunni, liberal, it has all the potential of making a very, very interesting place
  • I had a lot of prejudice towards the Christians growing up. Like incredible. My parents were very left wing pro-Palestinian. And anybody from the Christian camp, from East Beirut, was considered a traitor, the enemy. And then you meet people from East Beirut, Christians, who were part of the Christian camp, and then you sit down and they work on your movie and and then you go have a drink and then you suddenly say, “Their story’s like mine, they suffered as much as [me].”
  • “The Insult” is about reexamining the other side. The woman who co-wrote the film with me who became my wife — we wrote four films together — she comes from the Christian camp. I come from [Muslim] West Beirut. She wrote all the scenes of the Palestinian. And I wrote the scenes of the Christians. We swapped.
  • every screening we do in the states, in Los Angeles in Telluride, in Toronto people were like so emotional about it. And then they said, “We totally identified because of what’s going on in the States today. We are living in America at a period where it feels like this entire society is tearing apart a bit.” And they look at the film and suddenly it’s speaking to them, even though that was not the intention.
  • Sometimes the country needs to go through a tear in order to heal better.
Ed Webb

Bank 'Robberies' Are a Symptom of Deeper Crises in Lebanon - New Lines Magazine - 4 views

newlinesmag.com/...om-of-deeper-crises-in-lebanon

Lebanon politics opinion corruption economy

shared by Ed Webb on 19 Sep 22 - Cached
  • After decades of war, occupation and factional feuding, the Lebanese began suffering through compounding crises in 2019: fiscal, monetary, financial and economic. Since then, though they weren’t exactly living in paradise before, people in Lebanon have been “sinking” through one of the 10 (perhaps even three) worst collapses in the world since the 1800s.
  • At least 80 percent of Lebanese are poor. About 90 percent of the Syrians and Palestinians living in Lebanon, regardless of whether they are registered and how the Lebanese state and international organizations classify them, need (additional) assistance to cope with these crises. So, too, do hundreds of thousands of migrants from Asia and Africa who have also suffered while living in Lebanon.
  • Time and again, people have taken matters into their own hands because — much like people who have played by the rules, however warped in principle and skewed in practice — they have no good options. They have done so peacefully, such as when they protested in Beirut and across the country for months in late 2019 and early 2020. They have done so violently, such as when they’ve rioted, blocked roads, burned tires, or attacked business owners — from prominent bankers holed up in pilfered palaces, to gas station owners in north Lebanon, to shopkeepers in Beirut and the Bekaa Valley. They have done so spontaneously, or at least without political direction, while struggling day after day — like when a woman rammed her sports-utility vehicle into a pharmacy. They have done so as instruments of factional bosses, each adept at initiating, escalating, managing, or diffusing conflict as they deem necessary or useful — like when gunmen clashed in Khaldeh, a town south of Beirut, in August 2020 and August 2021, or fought in Beirut skirmishes in October 2021.
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  • Of course, soldiers and police have been trying to bend instead of breaking — as is the Lebanese way. They understand who the real crooks are, have been and will long be: those who rule, and rob, the republic.
  • The response to serial, obscene injustice and indignity will not forever be the peaceful protest, the polite disagreement or the manipulated ballot box. This is a lesson from Lebanon’s own past, never mind neighboring states and societies in recent decades. 
  • Paragons of injustice sit atop the political order, as they have throughout this new era of independence, which has now lasted longer than each of the Lebanese civil war and the concurrent occupations by Syrian and Israeli forces. Unnamed assailants — always unnamed — have assassinated leaders, officers and officials left, right and center. Leaders and bankers have pilfered, or presided over the pilfering of, billions of dollars. Bosses have created overlapping constitutional crises, bouts of political paralysis and institutional voids. And so on.
  • here, the impotent and innocent continue to wait on the indifferent to do the impossible
Ed Webb

The Perils of the Past | The Point Magazine - 0 views

thepointmag.com/...the-perils-of-the-past

Lebanon archives research politics opinion analysis history sectarianism

shared by Ed Webb on 28 Oct 22 - Cached
  • hough the Centre des Archives Nationales possesses the administrative prerogative to house and archive all state documents, it lacks the power to enforce its interests. It’s not just cultural institutions that are jousting over Lebanon’s archival legacy, however. The country is riddled with small bookshops run by collectors, each of which has a basement or closet where the owner hides a personal stash of archival documents, collected over decades, to be sold on the private market. Bookshops in small alleys of Ashrafiyeh and Basta dominate this trade, where everything is priced by the dollar. At a time when the national currency has lost 95 percent of its pre-crisis value, private markets have become a lucrative source of profit.
  • According to Shehab, future sectarian violence could be avoided if socioeconomic parity could be established between sects and regions. Development planning in Lebanon—directed both by outsider experts and Shehab himself—began as a response to the deep divisions in Lebanese society and politics laid bare by the civil war. To this day, political power and resources continue to be allocated along confessional lines.
  • During the 1960s, the state intervened on behalf of many: establishing a social security system modeled after America’s own Social Security Act of 1935, building hundreds of miles of roads connecting rural villages with the country’s main highway system, and rehabilitating thousands of acres of farmland while also undertaking massive affordable public housing projects. Many Lebanese people, from various confessions, still characterize the Sixties as the country’s golden period.
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  • A network of decentralized activist groups and NGOs provided food, medicine and care for the victims of the blast. These were the same people who provided mutual aid during the pandemic and economic collapse and formed the nucleus for various legal and advocacy cooperatives that challenged the state’s austerity measures and defended protesters in court. A nascent, decentralized movement of self-governance quietly emerged from the cracks of the decaying sectarian state. Yet even this failed to mature into an ambitious political project. When it came to national politics, many activists retreated into the Shehabist default position of expecting the state to serve as guarantor of national unity, the only viable safeguard against sectarian disintegration. 
  • I became politically active during the early days of the Arab Spring, radicalized by fellow—predominantly leftist—anti-sectarian activists and organizers. These people, many of whom I call my colleagues today, strongly believed that the system of political sectarianism in Lebanon could be dismantled if we could only somehow reach the levers of power and enforce some form of social democracy—a vision of political life where state resources and services would be allocated equitably across the country, regardless of any confessional affiliation
  • the rationale of many vocal opponents of sectarianism eerily mimics the basic idea that took hold within Shehab’s administration—that fixing the country’s problems was a matter of having the right competent people manning rehabilitated state institutions.
  • The reality is that we—the anti-sectarian, broadly progressive political activists—have been consistently losing battles for more than a decade. In 2013 and 2014 we failed to prevent parliament from unconstitutionally extending its mandate. In 2015, when Beirut sank in trash, our protests shook the government’s resolve but ultimately stopped short of achieving any concrete long-term solutions. The Syrian revolution next door, which many of us saw as our own, escalated into a bloody civil conflict where Lebanese, Iranian and Russian forces killed thousands of Syrians to help keep Bashar al-Assad in power. The defeat of the Arab Spring nearby reverberated negatively in Beirut as spaces of protest, contention and civil liberties shrank, particularly as political elites and the Lebanese police state went after journalists and activists. In 2018, despite a somewhat more organized presence, opposition groups failed to break through in the parliamentary elections. And finally, our own uprising, which erupted in October of 2019, hastily hailed by many as the “end of the civil war,” was crushed only a few months later under the weight of state repression and sectarian militia violence. These disappointments were then followed by a global pandemic that crippled any form of organizing, the Beirut port explosion of August 2020 and an economic collapse that wiped out most people’s savings.
  • this was not a uniquely Lebanese story, but one that rippled out across the postcolonial world. The head of the French think tank that Shehab hired to draw up Lebanese development plans was a Dominican priest and former naval officer named Louis-Joseph Lebret, who had earned his developmentalist pedigree designing similar schemes in Senegal and Brazil. The United Nation’s Food and Agriculture Organization (FAO) sent a statistician to help reorganize the Lebanese Ministry of Agriculture’s statistics department in 1959, who not long after left for a similar mission in Peru. The FAO then chose Lebanon as their Near East headquarters, where agricultural experts from around the region would gather for training. For a brief period in the mid-twentieth century, Beirut had become a crucible and testing ground of global development.
  • Many of the state’s institutions and agencies remain barely staffed today, which has driven governmental function—already crippled by negligence and rampant corruption—to a halt.
  • Everyday urban life has turned into a struggle to provide for basic needs. Informal strategies have proliferated to meet those needs, and all across the country regional markets for goods and services—not just gas but also food, medicine and other essentials—have sprouted and disseminated through word of mouth, social media websites, texting services and local gatekeepers. In the vacuum left by a state no longer capable of guaranteeing security for its citizens or regulating the distribution of necessities, a space has opened up for reconfiguring social and political ties, particularly among city-dwellers, away from the established sectarian status quo
  • I was living in a place and a moment where everything seemed ad hoc, where a travesty lurked at every corner and the existing social contract was lit aflame. A country? More like a set of elements somehow still stitched together, decaying into oblivion.
  • for the year I’ve spent back home, I’ve been witnessing things cease to exist, fully aware that the worst is still to come. I find myself mourning something that isn’t quite dead yet, but that was never actually alive either.
  • On May 15, 2022, Lebanon held its most recent round of parliamentary elections. Just 49 percent of eligible voters cast a ballot, according to the Ministry of Interior. Buoyed by diaspora voters seeking to punish Lebanon’s rulers, low voter turnout and a political class reviled for causing the worst economic crisis since the country’s founding, thirteen anti-sectarian candidates won, unseating established sectarian politicians and household names. Though their success was a bright spot in a dark time, it remains to be seen what this heterogeneous opposition bloc can achieve in a deadlocked parliament.
  • Any oppositional political incursion in Lebanon will have to be resoundingly inclusive, democratic and respectful of the agency of everyone involved, not solely because this is the most morally correct approach but, more importantly, because this might be the only way for us to start imagining a political movement robust enough to challenge sectarianism.
Ed Webb

Beirut's draq queen scene is starting to flourish, inspired by Ru Paul - The Washington... - 0 views

www.washingtonpost.com/...8-a17e-162b712e8fc2_story.html

Beirut Lebanon drag LGBT LGBTQ

shared by Ed Webb on 28 Jan 19 - Cached
  • Beirut’s drag-queen scene
  • The Middle East is known for its conservatism, but with its febrile nightlife and more liberal mores, Beirut has long been hailed as a relative haven for the region’s LGBTQ community, though not without challenges.
  • Performers usually turn up in their street clothes, transform into a whole new character, then shed their costumes again before slipping back outside. Anissa, though, will be making an entrance tonight. A car to the venue has been organized, and she wants to enjoy the reactions of her fellow passengers. 
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  • Many here who became drag performers grew up watching Bassem Feghali, a comedian who gained popularity in the early 2000s by impersonating female singers. In 2015, Evita Kedavra, a Palestinian Armenian drag queen, took the stage, and one by one, the circle grew. 
  • With dozens having taken the plunge since last year’s Grand Ball, the artists credit one celebrity above all: RuPaul and his wildly successful talent show “RuPaul’s Drag Race.” “That made a huge difference,” said Narcissa, another drag queen, of the Emmy-winning U.S. television series. “Suddenly everyone was watching it, and you just thought, ‘Wow, I could do that, too.’ Those artists taught us a lot.”
  • a scene that blends an homage to American drag culture with something distinctively, and irreverently, Lebanese. Anissa Krana and Narcissa exude Hollywood glamour, all tumbling curls and dresses with jewels. Performers like Kawkab Zuhal set kohl liner on dramatic lashes for acts lip-syncing to Arabic music or telling sharp jokes about Lebanon’s crumbling political system. 
  • The Grand Ball earlier this month was to be at one of the biggest, with some 30 contestants competing in front of an exuberant, tightly packed crowd
  • In October, to almost everyone’s surprise, “RuPaul’s Drag Race” star Sasha Velour strode through one of Beirut’s most famous civil war landmarks, a brutalist-style cinema still riddled with bullets known as the Egg
  • “My drag is what I couldn’t be when I was young,” said one performer, who spoke on the condition of anonymity out of fear for his safety. He said he had started trying on his mother’s heels and makeup in secret, years before coming out as gay. When his parents found out, they barred him from their house and his friends turned on him. He lives with other drag queens now. “They’re like my family,” he said. “We help each other with food, with makeup, money — everything.”
  • Although the Lebanese state is more tolerant of homosexuality than other Arab governments, the penal code can still be invoked to make arrests
  • “We don’t have stable laws here,” said Narcissa. “One minute, the state is looking one way; the next, it’s staring right at us.”
  • Only a small number of venues are recognized as “safe spaces” for the drag and broader LGBTQ community, and owners must have strong ties to local authorities to ensure the police won’t turn up and harass attendees
Ed Webb

Mapping the Journeys of Syria's Artists | The New Yorker - 0 views

www.newyorker.com/...the-journeys-of-syrias-artists

Syria art artists film media Germany France Lebanon refugees

shared by Ed Webb on 24 Mar 18 - No Cached
  • Last year, wondering what it means to be a Syrian artist when Syria in many ways no longer exists, I began to map the journeys of a hundred artists from the country. As I discovered, a large portion of the older guard of artists has ended up in Paris, thanks to visas issued by the French Embassy in Beirut. Many of the younger generation headed for the creative haven of Berlin, where rent is relatively cheap. Only a scant few remained in the Middle East, which proved expensive or unwelcoming.
  • A few artists remain loyal to the Assad regime, which has long seen itself as a great patron of the arts. Some of the artists who were still in Syria asked not to be mapped, even anonymously, for fear that the regime would perceive them as disloyal and punish their families. A few took issue with the label “Syrian artist” altogether. “I don’t want to become part of the Syrian-refugee industry,” Sulafa Hijazi, a visual artist now living in Berlin, told me
  • the Syria Cultural Index, “an alternative map connecting the Syrian artistic community around the globe and showcasing their work to the world.”
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  • With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia
  • For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris
  • in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”
  • Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”
  • Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”
Ed Webb

Lebanon: Is Politics a Social Media Taboo? · Global Voices - 1 views

globalvoicesonline.org/...-politics-a-social-media-taboo

blogging politics Lebanon bloggers media socialmedia publicsphere

shared by Ed Webb on 18 Mar 11 - No Cached
  • Bloggers stopped writing about politics because they are becoming Twitter friends, and they are realizing that their sharp divisions are making it awkward to write their real point of view in polite social media company
  • the people DO NOT know how to talk, or accept, the opinions of others
  • there is a thriving online Lebanese political blogosphere, with renowned political bloggers such as Qifa Nabki, Angry Arab,  Nadine Moawad, Land and People, and Beirut Spring himself. The bloggers themselves are not only an indication of an active political discussion. One simply needs to look at the number of comments their posts generate to capture a greater sense of the conversation. Easier to avoid debate There is, however, the counter to this argument - as put forward by Beirut Drive By - that only political bloggers are free to post their opinions, thus making a distinction between political and apolitical blogs: Politics is largely off-limits unless you are a political commentator/blogger. There are a few political angles, women’s rights, or palestinian rights that seem to be acceptable to talk about, that is as long as you agree with what’s being said. It’s just easier to avoid politics and just stick to talking about ads or restaurants or what the traffic is like today.
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  • social media compels users to flock to the most popular point of view for fear of exclusion
  • an element of caution exists on the Lebanese blogosphere when it concerns political debate
  • to argue that Lebanese bloggers generally avoid debating Lebanese politics is to narrow the definition of what is deemed political
  • Social media may have constrained political debate in some corners, but overall it has expanded discourse and given new meaning to what is considered political in Lebanon. Political debate is no longer confined to the daily ritual of politicians insulting each other for a greater slice of the pie, whilst the country wallows in corruption, high unemployment, and a lack of basic services. Indeed, Lebanese citizen journalists have broken the limits of political discourse originally defined by politically engineered mass media and the country's sectarian system. Lebanese bloggers may not be responding to Hariri's rally as they have moved beyond the sectarian nature of Lebanese political life, and have grown increasingly cynical of local leaders who evoke the universal slogans of freedom, reform and democracy. Liliane's and @frencheagle's responses reflect the widespread disappointment in the failure of the 2005 “Cedar Revolution” to engender real change, and have thus lost faith in the political system altogether. A positive development out of the failed Cedar Revolution has been the emergence of online activism in tackling the issues Lebanon's sectarian elites refuse to entertain. There are blogs now on a plethora of issues ranging from migrant workers, gay rights, and women's rights, to local governance and poor basic services.
  • perhaps it is indeed an indication that the Lebanese blogosphere has fallen deaf to old-fashioned Lebanese political rhetoric, and is in the process of defining a new political landscape that transcends sectarianism and nepotism
  • Ed Webb on 18 Mar 11
     
    Apathy? Social pressure to conform? Politics moving to a different level/site?
Ed Webb

Cinema and the Arab spring: the revolution starts here | Film | The Guardian - 1 views

www.guardian.co.uk/...cinema-and-arab-spring-ica

film Islam Muslims Arab arabspring Iran Turkey

shared by Ed Webb on 21 Sep 11 - No Cached
  • "If you want to understand the emotive universe from which the Arab spring arose, cinema is a good place to start. Look at a film like Elia Suleiman's Divine Intervention: there the director spits out an apricot pit at an Israeli tank and blows it up. The scene is both fantasy and prophecy."
  • I don't think the idea of Islamic cinema even exists in the west. Islam is presumed not to have a modern culture. I'd argue it's important that these films don't insist on any kind of stylistic unity – and that in nearly all of them Islam is portrayed as quite marginal. They argue against religiosity as a determining force. They're all about change, too, about modernity, which neocons like Francis Fukuyama say the Islamic world is incapable of
  • "If you want to be thought of as an auteur, you don't want to be categorised according to ethnicity or religion," Ahmad says. "By calling someone 'Islamic', you're meant to be taking away from their universal appeal."
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  • Some of the most provocative films owe more to pulp and lo-fi subcultures than to mainstream cinema: look at Omar Ali Khan's anti-yuppie, anti-fundamentalist horror flick Hell's Ground (2007), Halil Uysal's Tirej (2002), a mesmerising film about – and made by – Kurdish guerrilla soldiers, and Omar Majeed's Taqwacore (2009), about a bunch of dope-smoking Muslim punks in the US.
  • An alternative canon, curated by the Middle Eastern art magazine Bidoun, points to gems such as Peggy Ahwesh's Beirut Outtakes (2007), made up of film scraps from an abandoned cinema in the Lebanese capital; its combination of colour and decay, Hollywood and local celluloid, high and low culture captures the city's vivid history with panache.
  • Because the Arab spring was a revolution spread (if not created) by digital media such as mobile phones, Twitter and amateur video, it could be argued that more Muslims than ever before now associate political freedom with the moving image – rather than the printed word. What's more, the speed and sophistication of image-production by canny campaigners may also help to dispel some of the orientalist stereotypes that still circulate in the west.
  • "A lot of British Muslim kids are very keen to see themselves represented," he says. "They want to see they have a great culture. But often they go back to a glorious, nostalgic version of Islam that offers them only a narrative of cultural degeneration since the middle ages. Winds of Change should remind us that we have powerful and well-established critiques of religion from within our societies."
Ed Webb

The right to resist is universal: A farewell to Al Akhbar and Assad's apologists - 0 views

maxblumenthal.com/...l-akhbar-and-assads-apologists

Syria Lebanon politics media Assad propaganda journalists

shared by Ed Webb on 20 Jun 12 - No Cached
  • the mere existence of Western meddling does not automatically make Assad a subaltern anti-imperial hero at the helm of a “frontline resisting state,” as Ghorayeb has sought to paint him. Nor does it offer any legitimate grounds for nickel-and-diming civilian casualty counts, blaming the victims of his regime, or hyping the Muslim Threat Factor to delegitimize the internal opposition
  • The long history of sacrifice and courage by the Lebanese and Syrian people in support of the Palestinian struggle — and in defiance of self-interested autocrats — crystallizes an important fact that should not have to be repeated: Palestine will never be free as long as the Arab world lives under the control of dictators.
  • In his address to the Syrian People’s Assembly on June 3, the dictator tried to hammer the theme home by using the term “terrorists” or “terrorism” a whopping 43 times. That is a full ten times more than George W. Bush during his speech to Congress in the immediate aftermath of 9/11
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  • In joining the Assad regime’s campaign to delegitimize the Syrian opposition by casting it as a bunch of irrational jihadis (ironically, they seem to have little problem with Hezbollah’s core Islamist values), Assad’s apologists have unwittingly adopted the “war on terror” lexicon introduced by George W. Bush, Ariel Sharon, and the neocon cabal after 9-11. Not only have they invoked the scary specter of The Terrorists (gasp!) to justify morally indefensible acts of violent repression, like pro-Israel hasbarists, they have resorted to rhetorical sophistry to dismiss the regime’s atrocities as necessary evils, unfortunate accidents (what al-Amin called “mistakes”), or fabrications of the regime’s opponents (see Ghorayeb on “unsubstantiated allegations of war crimes.”)
  • Like the neocon chickenhawks who cheered on America’s invasion of Iraq from the offices of Washington’s American Enterprise Institute, none of Assad’s apologists appear to have done any journalistic fieldwork to support their opinions. Ghorayeb and Narwani seem to have confined themselves to Beirut, where Ghorayeb consults the writings of V.I. Lenin and Paulo Freire to back up her hallucinatory portrayal of Assad as a subaltern freedom fighter, while Narwani cobbles together a scattershot of YouTube clips and hearsay from journalists she hangs out with to justify the regime’s very own “war on terror.”
  • As a Christian who fiercely rejected sectarianism, Shehadeh’s very presence shook the Syrian regime. After he was killed, the army shelled the Christian neighborhood of Hamidyeh to prevent his funeral, then a gang of shabiha attacked a memorial service for him in Damascus that would have presented a rare display of Christian-Sunni solidarity. It was this sense of solidarity that appeared to threaten the regime the most. As Shehadeh’s mother reportedly said, “They feared him in life, and they feared him in death.”
  • A few years ago, while visiting the offices of the Nation Magazine, a publication I frequently write for, I reflected on what it might have been like to be working there during the 1930’s when its editorial leadership supported Stalin and willfully ignored his crimes. What were the internal debates like, I wondered, and how would I have reacted? The past few weeks at Al Akhbar have brought those questions back into my thoughts, and they are no longer hypothetical. The paper’s opinion pages have become a playpen for dictator enablers, but unlike the 1930’s-era Nation Magazine, there is less excuse for their apologia. Indeed, given the easy accessibility of online media produced by Syrian activists and journalists, there is no way for Assad’s apologists to claim they did not know about the regime’s crimes
Ed Webb

The Media Line - 0 views

www.themedialine.org/...news_detail.asp

hamas gaza telephones

shared by Ed Webb on 28 Dec 09 - Cached
  • accused
  • The project is reportedly an emulation of the independent telephone network Hezbollah set up in South Lebanon and the southern suburbs of Beirut in 2007. The alternative phone system was dubbed illegal by Lebanon’s government and a violation of Lebanon’s sovereignty. Revelation of the network sparked street riots as many Lebanese saw it as evidence of Hezbollah creating a ‘state within a state.’
  • “Anything Hamas does now is illegal,”
Ed Webb

MERIA: The Coming Transformation of the Muslim World - 0 views

eduwebb.pbwiki.com/...meria99_eid01.html

shared by Ed Webb on 06 Apr 09 - No Cached
  • what they think
    • Ed Webb
      Ed Webb on 06 Apr 09
       
      To what extent has this ever really been possible? To the extent that it has, are things really so different now?
  • Today, the major impetus for change in religious and political values comes from below
  • Distinctive to the modern era is that discourse and debate about Muslim tradition involves people on a mass scale. It also necessarily involves an awareness of other Muslim and non-Muslim traditions. Mass education and mass communication in the modern world facilitate an awareness of the new and unconventional. In changing the style and scale of possible discourse, they reconfigure the nature of religious thought and action, create new forms of public space, and encourage debate over meaning.
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  • We are still in the early stages of understanding how different media — including print, television, radio, cassettes, and music — influence groups and individuals, encouraging unity in some contexts and fragmentation in others,
    • Ed Webb
      Ed Webb on 06 Apr 09
       
      Indeed - this has been a theme we have encountered more than once during this course.
  • the secularist Sadiq Jalal al-'Azm, debated Shaykh Yusifal-Qaradawi, a conservative religious intellectual, on Qatar’s al-Jazira Satellite TV in May 1997. For the first time in the memory of many viewers, the religious conservative came across as the weaker, more defensive voice.
    • Ed Webb
      Ed Webb on 06 Apr 09
       
      I met Sadiq in Beirut - interesting person, protected somewhat by belonging to one of the prestigious old Damascus families.
  • Fethullah Glen
    • Ed Webb
      Ed Webb on 06 Apr 09
       
      Gülen, not Glen
  • The result is a collapse of earlier, hierarchical notions of religious authority based on claims to the mastery of fixed bodies of religious texts. Even when there are state-appointed religious authorities-as in Oman, Saudi Arabia, Iran, and Egypt-there no longer is any guarantee that their word will be heeded, or even that they themselves will follow the lead of the regime. No one group or type of leader in contemporary Muslim societies possesses a monopoly on the management of the sacred.
  • Publicly shared ideas of community, identity, and leadership take new shapes in such engagements, even as many communities and authorities claim an unchanged continuity with the past. Mass education, so important in the development of nationalism in an earlier era, and a proliferation of media and means of communication have multiplied the possibilities for creating communities and networks among them, dissolving prior barriers of space and distance and opening new grounds for interaction and mutual recognition.
Ed Webb

Egyptian satellite stops broadcasting Hezbollah-controlled TV station | Reuters - 0 views

www.reuters.com/...ebanon-satellite-idUSKCN0X323N

Egypt Lebanon KSA Saudi hezbollah satellite TV television censorship

shared by Ed Webb on 08 Apr 16 - No Cached
  • Egyptian satellite company NileSat has stopped broadcasting Hezbollah-controlled Lebanese television channel Al Manar, an official said on Wednesday, a move the Iranian-backed group condemned as part of a campaign by Gulf Arab states against it.
  • On Friday, the Saudi-owned television news channel Al Arabiya shut its offices in Lebanon. On the same day, protesters attacked the Beirut office of Saudi-owned newspaper Asharq al-Awsat in response to a cartoon published by the paper criticizing the Lebanese state.
  • Saudi Arabia has lavished aid on Egypt since its military overthrew an Islamist government in 2013, and while ties have been strained over the past year, Cairo has broadly followed Riyadh's lead on regional politics. NileSat stopped broadcasting Al Manar to subscribers late on Tuesday, although the channel can be received in Lebanon through other broadcast media.
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  • "The usual terms (of the company) prohibit the use of satellite media to broadcast programs which call for violence or racism or incite sectarianism."
  • "NileSat is trading in flimsy excuses and its claims of inciting discord do not fool anyone."
Ed Webb

Freelancing abroad in a world obsessed with Trump - Columbia Journalism Review - 0 views

www.cjr.org/...p-impact-foreign-reporting.php

journalism journalists journalist media MENA US USA

shared by Ed Webb on 25 Mar 18 - No Cached
  • “I can’t make a living reporting from the Middle East anymore,” said Sulome in mid-December. “I just can’t justify doing this to myself.” The day we spoke, she heard that Foreign Policy, one of the most reliable destinations for freelancers writing on-the-ground, deeply reported international pieces, would be closing its foreign bureaus. (CJR independently confirmed this, though it has not been publicly announced.) “They are one of the only publications that publish these kinds of stories,” she said, letting out a defeated sigh.
  • Sulome blames a news cycle dominated by Donald Trump. Newspapers, magazines, and TV news programs simply have less space for freelance international stories than before—unless, of course, they directly involve Trump.
  • Trump was the focus of 41 percent of American news coverage in his first 100 days in office. That’s three times the amount of coverage showered on previous presidents
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  • Foreign news coverage has been taking a hit for decades. According to a 2014 Pew report, American newspapers even then had cut their international reporting staff by 24 percent in less than a decade. Network news coverage of stories with a foreign dateline averaged 500 minutes per year in 2016, compared to an average 1,500 minutes in 1988, according to a study by Tyndall. “Clearly it’s harder for international stories to end up on front pages now,” says Ben Pauker, who served as the executive editor of Foreign Policy for seven years until the end of 2017. He is now a managing editor at Vox. From his own experience, Pauker says, it’s simply an issue of editorial bandwidth. “There’s only so much content an editorial team can process.”
  • In October 2017, Sulome thought she had landed the story of her career. The US had just announced a $7 million reward for a Hezbollah operative believed to be scouting locations for terror attacks on American soil—something it had never done before. Having interviewed Hezbollah fighters for the last six years, Sulome had unique access to the upper echelons of its militants, including that specific operative’s family members. Over the course of her reporting, Hezbollah members told her they had contingency plans to strike government and military targets on US soil and that they had surface-to-air missiles, which had not been reported before. Convinced she had struck gold, she was elated when the piece was commissioned by a dream publication she’d never written for before. But days later, that publication rescinded its decision, saying that Sulome had done too much of the reporting before she was commissioned. Sulome was in shock. She went on to pitch the story to eight other publications, and no one was interested.
  • The divestment from foreign news coverage, she believes, has forced journalists to risk their lives to tell stories they feel are important. Now, some publications are refusing to commission stories in which the reporter already took the risk of doing the reporting on spec. Believing that this will discourage freelancers from putting their lives in danger, this policy adds to the problem more than it solves it.
  • According to Nathalie Applewhite, managing director of the Pulitzer Center on Crisis Reporting, the lack of international coverage has become a real problem for Pulitzer grant recipients. Those grants, she says, were established to address the earlier crisis in which news organizations were closing foreign bureaus and could no longer fund big foreign reporting projects. “Now we’re seeing an even bigger challenge,” she says. “We’re providing the monetary support, but the problem is finding the space for it.” Grant applicants, Applewhite adds, are finding it harder to get commitments from editors to publish their work upon completion of their reporting. And stories that already have commitments are sitting on the shelf much longer, as they are continuously postponed for breaking Trump news.
  • As the daughter of two former Middle East-based journalists, Sulome knows what it used to be like for people like her. “I grew up surrounded by foreign correspondents, and it was a very different time. There was a healthy foreign press, and most of them were staff. The Chicago Tribune had a Beirut bureau for example. So when people say we’re in a golden age of journalism today, I’m like, Really?”
  • I’ll go back to the Middle East on trips if I find someone who wants a story, but I’m not going to live there and do this full-time, because it’s really taking a toll on me
  • “When people lose sight of what’s going on around the world, we allow our government to make foreign policy decisions that don’t benefit us. It makes it so much easier for them to do that when we don’t have the facts. Like if we don’t know that the crisis in Yemen is killing and starving so many people and making Yemenis more extremist, how will people know not to support a policy in which we are attacking Yemenis?”
  • “Whether it’s environmental, ethnic or religious conflict, these are issues that may seem far away, but if we ignore them they can have a very real impact on us at home. International security issues, global health scares, and environmental crises know no borders, and I think we ignore them at our own peril.”
Ed Webb

Hip Hop Finds Its Groove in North Africa | Newlines Magazine - 0 views

newlinesmag.com/...nds-its-groove-in-north-africa

music hiphop Maghreb MENA Morocco Tunisia Algeria Egypt France Italy Belgium language colonialism identity identities

shared by Ed Webb on 24 May 21 - No Cached
  • 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.
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  • Many emcees, more so than their Levantine or Khaleeji counterparts, utilize Afropop and Afro-fusion rhythms in their music as a nod to their home continent.
  • Dialect and slang are important in rap, Boubaker stressed, because “it is a question of using a popular spoken language in constant evolution and which incorporates foreign influences.”
  • French colonial policy in Algeria, she explained, aimed to violently prevent and suppress the teaching of Indigenous languages like Tamazight. France intentionally stoked tensions between Indigenous Imazighen and ethnic Arabs by implementing unjust laws seeking to tear at the societal fabric of the country and destroy Algerian identity.France implemented similar policies in other North African countries as well, actively working to create sectarian tensions that led to ethnic and linguistic divides that, in turn, led to brutal, violent conflicts and suppression of Indigenous culture.
  • Afrobeats is a fusion of hip-hop, dancehall, soca, and other Black genres that can be identified by its use of African drums and a 3/2 time signature — different from a Western 4/4 time signature — that gives the genre its trademark dance tempo
  • For North African artists, use of these rhythms can be traced back to Black North Africans and Indigenous communities who are descendants of the slave trade. Boubaker shared that the different genres, namely gnawa in Morocco, diwan in Algeria, and stambali in Tunisia, are the result of a distinct weaving between the musicalities of North Africa, sub-Saharan Africa, and Black Sufi tradition that can lead to a state of trance.
  • The stambali genre, Boubaker elaborated, is sung in a language derived from a mixture of Tunisian Arabic and the Houassa language spoken by the Hausas, a people of the Sahel, mainly in northern Nigeria and southern Niger who were part of the slave trade to Tunisia.
  • “Moroccan artists, early on, primarily referenced Malcolm X as a way to make the connection between race, Blackness, and Islam in the U.S. and embraced their own African identity through their music,” Almeida said. “The African theme has been going on for a while now.”
  • While Moroccan and Egyptian emcees found early opportunities, Tunisian and in particular Algerian artists did not have that initial access.
  • In Algeria, however, while the rap scene was up and coming, Almeida said the government actively worked to shut it down, which, she said, “really crushed everything.”That now looks different, with Algerian rappers even drawing influences from raï music and sampling prominent Algerian artists in their music.
  • Algerian artists of the 1990s and up to the present day are now primarily recording their music in France, Spain, and other European countries to then broadcast back to Algeria and the rest of North Africa. This is a subtle but noticeable diversion away from seeking opportunities in the traditional Middle East/North Africa hubs of music and culture such as Cairo, Beirut, and Baghdad.
  • “We just have to go back to our history, and we need to start loving ourselves and we need to recognize who we truly are because we’re not Arabs. 100% being Egyptian and being Moroccan is straight up being African and straight up being proud. And this is why I never have any issue representing mahraganat in my music because this is Egyptian music. I’m proud of my double cultures. I’m proud of my continent, and I really want to showcase it everywhere.”
  • North African rappers today are using hip-hop to express what it means to be who they are in the context of their country, their continent, and their lived experiences. And while there is a deep and painful colonial history associated with this music, the artistic yield has been profound not just for the region but the world.
Ed Webb

Al Saqi's landmark London bookshop to close its doors this month - L'Orient Today - 0 views

today.lorientlejour.com/...sing-its-doors-this-month.html

media books UK Britain London Arab ArabWorld publishing publishers

shared by Ed Webb on 05 Dec 22 - Cached
  • Al Saqi Books, the largest European bookstore specialized in Middle Eastern books, is closing its doors at the end of the month due to financial difficulties.
  • In 1983 and 1991, respectively, the team expanded their operations with two publishing houses — the English-language Saqi Books and Arabic-language Dar al Saqi, the latter headquartered in Beirut. Both publishers will remain in business after the bookstore closure.
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