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Glasgow’s Dr Campbell Price is British TV’s go-to guy when it comes to ancient Egypt. But the study is riddled with racism and he wants to drag the world of mummies into the 21st century … and he doesn’t care if you call him ‘woke’.

Price is at the forefront of the fight to ‘decolonise’ the study of Ancient Egypt and drag it into the 21st century. He wants the discipline to confront its history of racism and empire, and he’s not shy about apportioning a fair amount of blame on Scotland and its own role in Britain’s colonial adventures.

the study of Ancient Egypt was founded by colonialists from Britain and France in the early 1800s and it still hasn’t shaken off the baggage of the past. There’s a lingering sense that Egyptians are considered unable or incapable of studying their own history without the assistance of white, western academics who are really the people best suited to the discipline. The whiff of racism and a “white saviour narrative” still hangs in the air, he feels.

Architecture has been part of that work. The unspoken assumption was that houses should fit together along alleys and streets, that no private house should be so ostentatious as to stand higher than the mosque or the church, and that the city should be a compact and unified place, built with local materials according to a shared vocabulary of forms. Thick walls of stone created interiors that would be cool in summer and warm in winter with the minimum use of energy. The souk was conceived as a public place, embellished appropriately so as to represent the heart of the city, the place where the free trade of goods expressed the free mingling of the communities.

The old souk of Aleppo, tragically destroyed in the current Syrian conflict, was a perfect example of this, the delicate and life-affirming center of a city that has been in continuous habitation for a longer time than any other. That city rose to eminence as the final station on the Silk Road, the place where treasures were unloaded from the backs of camels coming from Mesopotamia onto the carts that would take them to the Mediterranean ports. The fate of this city, which has, in the 21st century, faced destruction for the first time in 5,000 years, is a fitting emblem of what is happening to the Middle East today.

it is not only civil conflict that has threatened the ancient cities of the Middle East. Long before the current crisis there arrived new ways of building, which showed scant respect for the old experience of settlement and disregarded the unwritten law of the Arab city that no building should reach higher than the mosque, it being the first need of the visitor to spy out the minaret, and so to find the place of prayer. These new ways of building came, like so much else, from the West, first through colonial administration and then through foreign “advisors,” often taking advantage of the insecure land-law of the region, introduced by the Ottoman land code of 1858. By the time France had been granted the mandate to govern Syria in 1923, modernist building types, the mania for roads and motorized “circulation,” the idea that cities should be disaggregated into “zones”—residential, commercial, industrial, and so on—and the obsession with hygiene had all made their destructive mark on the urban fabric

A battered plaque in a rundown hospital and a crackly, black-and-white newsreel are all that remain of Queen Elizabeth II's 1954 visit to Aden, the war-torn Yemeni city whose troubles are a reminder of Britain's complicated legacy in the Middle East.

mildew, emaciated children and the stench of urine, as the under-equipped facility grapples with an impossible workload in the face of a long-running conflict.

British colonialism is inextricably linked with the Middle East partly because of the 1916 Sykes-Picot agreement, when Britain and France carved up much of the region between them amid the collapse of Ottoman rule during World War I. Many Arab leaders remain close to British royalty, however. After the queen's death this month at 96, sombre tributes were offered by monarchies that thrived under British protection.

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.

El Principe is a curious mix between a US terrorism series like "24" and a steamy Mexican or Brazilian telenovela. The series is entertaining, until one realises that this show is actually shaping public perceptions of Islam and Spain's Muslims, and that the six million Spanish viewers who tune in every Tuesday night take the show quite seriously.

Viewers don't see it as a comical, distorted depiction of North Africa, but as a reliable source of information on Islamic culture and Muslim family life. In reality, El Principe is evidence of just how backwards Spain's discourse on diversity and immigration is.

If the aim of the series was to show that being Spanish and Muslim is not a contradiction, El Principe has not been successful. The Muslim men are in effect cultural monsters. With his Armani suits and Caribbean accent, Farouk tries to portray a domineering Muslim patriarch - even ordering his sister Fatima to obey him instead of the police. This ultra-macho character, we find out, is actually sterile, yet instead of seeing a doctor, he blames his wife Leila for their infertility.

Liao Liang's mission in the Kenyan capital is hardly confidential: As a senior editor of the China Global Television Network (CGTN), a subsidiary of Chinese state television, his task is that of shining a positive light on his country's ambitious activities -- particularly those in Africa, where China's reputation has suffered as its footprint has grown.

"It's an apartheid system," he says, with the Chinese at the top, then the whites, then the blacks and at the very bottom are the Kenyans. "We have to let the Chinese go first in the restrooms and we're only allowed to eat in the cafeteria after 1 p.m., after they have eaten. They treat us like their inferiors." Sometimes, James M. says, he only receives half of his contractual editor's salary of 2,000 euros per month. He says he is penalized 2,000 shillings - around 17 euros - for every mistake in his stories, including typos.

CGTN journalists aren't just there to ward off criticism of China's expansion in Africa but also to break the West's media dominance. The broadcaster has a similar mission in Africa as Russia's state broadcaster RT does in Europe.

Rather than simply serving as crude propaganda for Erdoğan’s regime, Contemporary Turkish and World History aspires to do something more ambitious: embed Turkey’s dominant ideology in a whole new nationalist narrative. Taken in its entirety, the book synthesizes diverse strands of Turkish anti-imperialism to offer an all-too-coherent, which is not to say accurate, account of the last hundred years. It celebrates Atatürk and Erdoğan, a century apart, for their struggles against Western hegemony. It praises Cemal Gürsel and Necmettin Erbakan, on abutting pages, for their efforts to promote Turkish industrial independence. And it explains what the works of both John Steinbeck [Con Şıtaynbek] and 50 Cent [Fifti Sent] have to say about the shortcomings of American society.

Turkey has long had competing strains of anti-Western, anti-Imperialist and anti-American thought. In the foreign policy realm, Erdogan’s embrace of the Mavi Vatan doctrine showed how his right-wing religious nationalism could make common cause with the left-wing Ulusalcı variety.[5] This book represents a similar alliance in the historiographic realm, demonstrating how the 20th century can be rewritten as a consistent quest for a fully independent Turkey.

Ankara is currently being praised for sending indigenously developed drones to Ukraine and simultaneously criticized for holding up Sweden and Finland’s NATO membership. Contemporary Turkish and World History sheds light on the intellectual origins of both these policies

while offering condolences is part of the Islamic faith, a question remains as to what motivates both the need to issue these statements as well as the urgency with which they were thrust into the public domain. For British Muslims, as we know, citizenship has always been conditional. And now, counter-terror and anti-extremism measures such as Prevent work hard to ensure that Muslims stay in line. So an occasion such as the Queen’s death isn’t an opportunity for sincere reflection or honesty – rather it serves as a test of loyalty.

maybe the effect of Prevent’s surveillance and thought-criminalisation is so insidious that Muslims have internalised it, causing them to believe unquestioningly that these are their true feelings

Prevent, and the associated fear of counter-terror surveillance, has caused a throttling of Muslims’ collective and individual voices. Britain wants Muslim immigrants to embrace being British, but without allowing them the rights and freedoms to which white British people have a claim, including freedom of speech

Journalists have rarely done justice to indigenous communities because the language of journalism has rarely done justice to indigenous peoples.

Indigenous people know that their representation has failed before they've even begun speaking, because the medium through which they are represented - a hard, sharp language rooted in ideas rather than feeling - has rarely granted them territory.

The language that media uses today does not heed silence and self-interpretation. It does not respect the power of conjured stories. It does not favour the collective over the individual. And this does not fit with indigenous perspectives.

the film also shows a Cairo unknown to many in the West, and it is filled with scenes depicting prostitution, class divisions, and agnosticism over the political milieu

“Believe me, nobody wants to be a refugee. I am here, but I am not here,” he said, referring to his thoughts being scattered between London and Baghdad.

“We want people to come away with a feel for the diversity in Arab cinema, as well as Arabic literature.”

not necessary for a newspaper to run images of the dead and injured in a manner that seemed blatantly disrespectful and dehumanising

Part of the issue people had with the editorial response was that it seemed to imply that the images were published because the attack in Nairobi was a "special" isolated incident, one that required especially gruesome images to depict "the truth" of what happened. 

Kenyans were neither fooled nor placated. Many others in the Global South agreed, as they, too, had experienced - many times over - how powerful news organisations from the geopolitical West present what happens in their communities and countries in two-dimensional ways, often with little regard for how their words and images would affect those who were depicted

Rarely has mainstream sci-fi attempted to grapple with the complexities of the Arab world. As Lebanese Canadian sci-fi writer Amal el-Mohtar explained, the mainstream sci-fi she grew up with was "very, very white... except for the aliens, of course." Though it might at times have featured characters from ethnic minorities, rarely did it seek to positively engage with other cultures beyond exoticisation or fear-mongering.

It might come as a surprise that one of the first sci-fi novels written was not, in fact, Shelley's Frankenstein or HG Wells' The Time Machine, but the work of 13th Century Baghdad-based writer and physician, Zakariya al-Qazwini.

Awaj bin Anfaq is the story of a curious alien who arrives on planet Earth to observe human behaviour and finds himself perplexed by the oddities of this apparently sophisticated species. Neither is Mr Qazwini's work a regional anomaly. There are numerous examples of early Islamic sci-fi or fantasy fiction from the Arab world, not least of course, the fabulous Arabian Nights, replete with flying carpets, mystical jinn and even a little intergalactic travel.

In 1992, Mazrui had a proposal: “The French once examined their special relationship to Africa and came up with the concept EURAFRICA as a basis of special cooperation. We in turn should examine the even older special relationship between Africa and the Arab World and call it AFRABIA.”

The project of “Afrabia,” as I interpret, would allow Africans to revisit a long history of the Islamic empire in Africa, its intersecting points with colonial projects subcontracted to Arab and South-Asian masters, as well as a shared history of decolonial struggles and anti-capitalist ambitions. For Arabs, it would mean a much-needed and long-overdue revision of their history, as well as of language and artistic expression that deal with Africa, blackness, and Afro-Arabs in reactionary, racist, and apolitical terms

Arabs, like their western teachers, when discussing anti-black racism and black issues, seem fixated on skin color, ideals of beauty, and visual representations; in a sense they express their own racial anxiety. It is as if anti-black racism has no history, trajectory, or realities beyond the stigma assigned to it, or the rhetoric surrounding it.

Adel Abdullah cultivates a subsistence living off of six acres of peppers, eggplants, cucumbers, tomatoes, wheat, corn, and pomegranates. He is one of millions of smallholder farmers working in the Delta. He walks barefoot in his farm as a show of reverence to the land. The soil is pale and thin, almost as sandy as the beach, and choked by mounting concentrations of salt, left behind by periodic coastal flooding and pushed into underground aquifers by the rising sea.“This is the first place to be affected by climate change,” Abdullah says. “The barriers help a bit with flooding, but the salty soil is still really killing us.”

he takes irrigation water from the nearby Kitchener Drain, one of the largest and most polluted canals in Egypt that aggregates wastewater from the farms, businesses, and households of an estimated 11 million people in the Delta. By the time water reaches Abdullah’s farm, it may have been reused half a dozen times since entering Egypt in the Nile, each time accumulating more salts and pollutants and losing beneficial nutrients.

Abdullah is forced to douse the farm in fertilizers, pesticides, and salt-suppressing chemicals, all of which further degrade the soil. Those inputs, on top of the rising costs of irrigation systems and machinery, eat up any potential income Abdullah might earn

It's the first queer play to be staged in Tunisia -- director Essia Jaibi's latest work aims to challenge conservative attitudes in a country where same-sex acts are punishable by prison terms.

The work, co-produced by LGBTQ rights group Mawjoudin (translating to "we exist"), is played by six mostly amateur actors aged between 23 and 71, reflecting a decades-long struggle for gay rights in the North African country

other problems facing all Tunisians: police and judicial corruption, impunity and the brain drain as people leave to seek better economic prospects in Europe and elsewhere.

The British government ran a secret “black propaganda” campaign for decades, targeting Africa, the Middle East and parts of Asia with leaflets and reports from fake sources aimed at destabilising cold war enemies by encouraging racial tensions, sowing chaos, inciting violence and reinforcing anti-communist ideas, newly declassified documents have revealed.

The campaign also sought to mobilise Muslims against Moscow, promoting greater religious conservatism and radical ideas. To appear authentic, documents encouraged hatred of Israel.

The Information Research Department (IRD) was set up by the post-second world war Labour government to counter Soviet propaganda attacks on Britain. Its activities mirrored the CIA’s cold war propaganda operations and the extensive efforts of the USSR and its satellites.

the most severe and sustained political upheaval ever faced by the Islamist regime in Iran. Waves of protests, led mostly by women, broke out immediately, sending some two-million people into the streets of 160 cities and small towns, inspiring extraordinary international support. The Twitter hashtag #MahsaAmini broke the world record of 284 million tweets, and the UN Human Rights Commission voted on November 24 to investigate the regime’s deadly repression, which has claimed five-hundred lives and put thousands of people under arrest and eleven hundred on trial.

This is neither a “feminist revolution” per se, nor simply the revolt of generation Z, nor merely a protest against the mandatory hijab. This is a movement to reclaim life, a struggle to liberate free and dignified existence from an internal colonization. As the primary objects of this colonization, women have become the major protagonists of the liberation movement.

Since its establishment in 1979, the Islamic Republic has been a battlefield between hard-line Islamists who wished to enforce theocracy in the form of clerical rule (velayat-e faqih), and those who believed in popular will and emphasized the republican tenets of the constitution.