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Ed Webb

Enough About You - Features - Utne Reader - 0 views

www.utne.com/print-article.aspx

US USA opinion analysis society media psychology

shared by Ed Webb on 21 Apr 11 - No Cached
  • Economic man . . . has given way to the psychological man of our times—the final product of bourgeois individualism. The new narcissist is haunted not by guilt but by anxiety. His sexual attitudes are permissive rather than puritanical, even though his emancipation from ancient taboos brings him no sexual peace. He extols cooperation and teamwork while harboring deeply antisocial impulses. He praises respect for rules and regulations in the secret belief that they do not apply to himself. Acquisitive in the sense that his cravings have no limits, he does not accumulate goods and provisions against the future, in the manner of the acquisitive individualist of 19th-century political economy, but demands immediate gratification and lives in a state of restless, perpetually unsatisfied desire.
  • The contemporary climate is therapeutic, not religious. People today hunger not for personal salvation, let alone for the restoration of an earlier golden age, but for the feeling, the momentary illusion, of personal well-being, health, and psychic security.
  • Today Americans are overcome not by the sense of endless possibility but by the banality of the social order they have erected against it. People nowadays complain of an inability to feel. They cultivate more vivid experiences, seek to beat sluggish flesh to life, attempt to revive jaded appetites. Outwardly bland, submissive, and sociable, they seethe with an inner anger for which a dense, overpopulated bureaucratic society can devise few legitimate outlets.
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  • The mass media, with their cult of celebrity and their attempt to surround it with glamour and excitement, have made America a nation of fans and moviegoers. The media give substance to and thus intensify narcissistic dreams of fame and glory, encourage common people to identify themselves with the stars and to hate the “herd,” and make it more and more difficult for them to accept the banality of everyday existence.
  • The modern propaganda of commodities and the good life has sanctioned impulse gratification and made it unnecessary for the id to apologize for its wishes or disguise their grandiose proportions. But this same propaganda has made failure and loss unsupportable.
  • The proliferation of recorded images undermines our sense of reality. We distrust our perceptions until the camera verifies them. Photographic images provide us with the proof of our existence, without which we would find it difficult even to reconstruct a personal history.
  • On the one hand, the degradation of work makes skill and competence increasingly irrelevant to material success and thus encourages the presentation of the self as a commodity; on the other hand, it discourages commitment to the job and drives people, as the only alternative to boredom and despair, to view work with self-critical detachment.
  • The ideology of personal growth, superficially optimistic, radiates a profound despair and resignation. It is the faith of those without faith.
  • The modern prince does not much care that “there’s a job to be done”—the slogan of American capitalism at an earlier and more enterprising stage of its development; what interests him is that “relevant audiences,” in the language of the Pentagon Papers, have to be cajoled, won over, seduced.
  • At the same time that public life and even private life take on the qualities of spectacle, a countermovement seeks to model spectacle, theater, all forms of life, on reality—to obliterate the very distinction between art and life. Both developments popularize a sense of the absurd, that hallmark of the contemporary sensibility. Overexposure to manufactured illusions soon destroys their representational power. The illusion of reality dissolves, not in a heightened sense of reality as we might expect, but in a remarkable indifference to reality.
  • To the performing self, the only reality is the identity he can construct out of materials furnished by advertising and mass culture, themes of popular film and fiction, and fragments torn from a vast range of cultural traditions. In order to polish and perfect the part he has devised for himself, the new Narcissus gazes at his own reflection, not so much in admiration as in unremitting search of flaws, signs of fatigue, decay.
  • Our over-organized society, in which large-scale organizations predominate but have lost the capacity to command allegiance, in some respects more nearly approximates a condition of universal animosity than did the primitive capitalism on which Hobbes modeled his state of nature.
  • Excerpted from The Culture of Narcissism: American Life in An Age of Diminishing Expectations, by Christopher Lasch. Copyright © 1979 by Christopher Lasch. Used by permission of the publisher, W. W. Norton & Company, Inc. 
Ed Webb

Culture minister attends conference in solidarity with jailed novelist Ahmed Naji | Mad... - 0 views

www.madamasr.com/...ity-jailed-novelist-ahmed-naji

Egypt censorship rights novels journalists activists politics Sisi

shared by Ed Webb on 26 Feb 16 - No Cached
  • Culture Minister Helmy al-Namnam attended a press conference Thursday held in solidarity with novelist Ahmed Naji, who was sentenced to two years in prison this week on charges of harming public morality.
  • Namnam said that laws conflicting with constitutional guarantees for the freedom of expression need to be confronted, explaining that the case sets a precedent extending far beyond Naji's novel. Even if a literary work is challenging to social norms, he added, this is not a criminal offense justifying imprisonment.It wasn’t Naji that harmed public morality, Namnam argued, but whoever filed the lawsuit against him.
  • Thursday's conference was held at the Journalists Syndicate and brought together nine rights organizations as well as several public figures.Khaled al-Balshy, a Journalists Syndicate board member, jokingly said the conference should be called “Don’t listen to anyone but me,” referring to a speech given by President Abdel Fattah al-Sisi on Wednesday.
Ed Webb

Looking backwards at Muslims in Spain - Al Jazeera English - 0 views

www.aljazeera.com/...ims-spain-151004085759468.html

Spain media Morocco orientalism Arabs Muslims Islam Islamophobia stereotypes minorities television TV

shared by Ed Webb on 28 Feb 16 - No Cached
  • 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.
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  • It often seems that the clean-shaven Morey was sent to Spain's North African colony not to investigate corruption, but to liberate its Muslim women from tradition and patriarchy; to show them that their freedom lies not in allegiance to family, but in loyalty to the Spanish state (ie the modernity that Morey represents). But, of course, Morey's romance with Fatima recycles the most vulgar, racist fantasies that white men have of Arab women. In one episode, Fatima spends five long minutes disrobing for Capitan Morey, her veil falling to the floor in slow motion.
  • "The series doesn't address any of these policy issues and makes it seem that the problems in El Principe are all because of our culture and religion - as always." 
  • Of course, this hyper-nationalist turns out to be a jihadist and a double agent. The message to Spanish viewers is clear: even your most patriotic Muslim neighbour might be a terrorist. This is irresponsible. El Principe is perpetuating injurious stereotypes of Spanish Muslims at a time when the PP government is passing draconian security laws targeting minorities in Spain.
  • The history of Muslims in Ceuta is rarely represented in Spanish media. There are streets named after colonial leaders like Enrique El Navegante - who killed thousands of us - but little about our contributions. And when a series finally talks about us, we're moros and terroristas
Ed Webb

Jewish Horror, Monotheism, and the Origins of Evil - Tablet Magazine - 0 views

www.tabletmag.com/...jewish-horror

film horror Israel Judaism analysis

shared by Ed Webb on 23 Feb 19 - Cached
  • the new horror film The Golem, from directors Doron and Yoav Paz
  • The directors of The Golem, who are Israeli brothers
  • Reasons for the dearth of Jewish horror fiction are varied, ranging from producers possibly fearing that the ethnic particularism of these themes wouldn’t draw in as wide an audience, to the (incorrect) sense that Judaism doesn’t offer the same baroque supernatural possibilities that Christianity does.
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  • The theme of the golem, after all, has been explored several times before, from the silent film era of Paul Wegener’s expressionist Der Golem (1916) until today, including in The X-Files and The Simpsons’ annual “Tree House of Horror” Halloween episodes. There have also been a small number of horror films that explore Jewish folklore, such as Ole Bornedal’s The Possession (2012), which in lieu of The Exorcist’s Pazuzu features the malicious spirit of legend known as a dybbuk, an entity which also appears in David Goyer’s The Unborn (2009), and even in the Coen brothers’ A Serious Man (2009). Yet despite a preponderance of Jewish horror directors from Curt Siodmak, creator of The Wolf Man (1941) to Polanski, Hollywood has tended not to explore explicitly Jewish themes in horror.
  • the sense of the terrors of the real world is fundamental to monotheistic horror, for it asks what the ultimate origin of evil is.
  • The Franco-Bulgarian philosopher Tzvetan Todorov in The Fantastic: A Structural Approach to a Literary Genre distinguished between what he called the “uncanny,” whereby the supernaturalism of a story can be ultimately explained by rational recourse, and the “marvelous” in what’s been depicted is to be understood as genuinely supernatural. For Todorov, that which is fantastic in literature exists in the ambiguity between the uncanny and the marvelous, where the characters in a story (and the reader) are unsure as to whether events witnessed are genuinely supernatural or not. Todorov writes: “The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.”
  • what I’ve termed “monotheistic horror” in contrast to “dualistic horror.” The latter is any work which posits supernatural evil as somehow separate in agency from God, while the former steadfastly holds to all things—even evil things—as having their origin in the Lord. I’d argue that Jewish horror fiction, for all of its diversity, must be resolutely defined by an overpowering sense of monotheism, and that it is that sense of the fundamental unity of reality that makes those works terrifying. Ghosts, goblins, and ghouls can exist in both types of horror, but in dualistic horror God is either configured as explicitly separate from those evil things, or mention of Him is passed over.
  • The Paz brothers’ film is an example of Jewish horror not because it takes place in a 17th-century shtetl, or because its story deals with that most Jewish of monsters, but rather because there is no sense that anything that happens doesn’t occur due to the power and sovereignty of God.
  • in The Golem the creature is fashioned in adherence to God’s reality. Hanna’s creation is not demonic, but rather divine—if still capable of malevolence.
  • Any fiction that presents the malevolence experienced in reality as integral to the unity of that very same reality is monotheistic horror. In this way, I’d argue that Franz Kafka is one of the greatest horror writers of the 20th century, with a dark perspective that rivals that of H.P. Lovecraft. The latter thought the world meaningless, but Kafka never fell into that error. The result is paradoxically a horror all the more disturbing for what it implies about evil’s derivation.
  • For Kafka the deep wisdom of reality is even darker than Lovecraft’s nihilism, for his horror is based on the type of irony that can only be born from the most radical of monotheisms. The author could tell his friend Max Brod that here is “Plenty of hope—for God—no end of hope—only not for us,” a succinct summation of the major themes of Jewish horror, where what is fully externalized is a theodicy that recognizes evil exists in the world while also acknowledging that God must be its author.
  • The ur-text of Jewish horror, and what I would argue is perhaps the most terrifying story every told, is the biblical Book of Job. Few narratives can match Job in the sheer awful implications of what’s been recounted, of the upstanding man of Uz who “was perfect and upright, and one that feared God,” but who nevertheless was struck down by the Lord with a deluge of afflictions. So many details of Job’s story, often associated with the fatalism of Greek tragedy to which it bears some similarity, have a gothic sensibility. There is Satan who talks of “roving about in the earth and … walking about in it,” and of Job cursing himself by asking, “Why did I not perish at birth, and die as I came from the womb?” Then there is the pyrotechnic impressiveness of God himself, who “answered Job out of the whirlwind, and said who is this that darkeneth counsel by words without knowledge?”
  • Monotheistic horror should not be interpreted as the logical culmination of monotheism itself, rather it should be seen as the dark undercurrent, the nagging anxiety, of what it means if there is only one Lord but we’re uncertain as to if He is always benevolent, for as Miles observes “all of God’s actions could actually have been the devil’s.” There is the upsetting ambiguity of monotheistic horror—not that God’s actions are the devil’s, but that they could be.
  • one of the most potent lessons of Jewish horror fiction: that there is a permeable membrane between civilization and anarchy, where those who claim to protect us one day can cast us aside the next. The “friends” of Job are among the most callous of monsters in the book. What makes Jewish horror so frightening is its entirely accurate understanding that all evil ultimately must have its origin not in devils, but in the two most frightening things in our sublime universe: God and his creations.
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

An industry under threat: Ramadan 2019, brought to you by Egyptian Media Group | MadaMasr - 0 views

madamasr.com/...to-you-by-egyptian-media-group

Egypt intelligence propaganda TV television ownership Ramadan monopoly

shared by Ed Webb on 24 Jan 19 - Cached
  • This time of year, the offices of TV production companies are usually bustling with stars conducting meetings in preparation for the upcoming Ramadan television season (which falls in May this year)
  • The local television scene is rife with talk about the implications of recent developments in the field, which entail an effective halt in almost all TV drama production
  • What we’re witnessing this year is not a marketing crisis, or a weakness in screenplays, or any of the other issues that have ailed the drama industry in the past; rather, the very existence of the industry is under unprecedented threat. The number of series being produced has plummeted, and is expected to amount to 18 series at most, the majority of which are  to be produced by Synergy, the production house owned by Tamer Morsy, head of the intelligence-affiliated Egyptian Media Group (EMG). It is the newest step in the state’s ongoing bid to monopolize all forms of media and artistic production in Egypt.
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  • one must go back to the outset of the crisis, nearly three years ago. Back then, there were over 30 series released every season, produced under a diverse range of production houses and addressing a wide array of subjects. The industry cycle was more or less stable, starting with producers in competition with each other, to satellite channels racing to purchase the best series’ screening rights and advertising revenues being the central source of profit. The main issues concerned increasing production budgets and the skyrocketing salaries of certain stars.
  • the state was preparing a plan to exert control over the entire market. The first signs of this plan emerged in June 2017, with statements by the president and a number of government officials voicing their displeasure with the content offered on Ramadan TV series, and their desire to remedy the situation. This remedy manifested in the form of extreme censorship measures, including the establishment of the Drama Committee within the Supreme Meda Regulatory Council, designed to monitor the TV drama industry.
  • The effects of these directives became apparent last year in the striking similarity of the content of the series released, as well as the ubiquity of police and army officers as characters in most of them
  • satellite channels, many of which — including ONtv and Al Hayah — are currently controlled by EMG, owned by Eagle Capital for Financial Investment, a private equity fund founded by Egypt’s General Intelligence Services (GIS)
  • Television channels, sources say, will fill up the remaining airtime — previously overflowing with series — with variety television shows, including talk and game shows, instead. Tawfiq Okasha, the controversial media personality who made his comeback in March — courtesy of  Synergy Productions and EMG — recently dedicated a segment on his show (which airs on Al Hayah) to criticizing actors and “the obscene sums of money they demand.” Okasha then proceeded to discuss a plan to bring down the number of series airing this Ramadan to 18, with each television channel airing only three.
  • as a result of this monopoly, many producers are out of work this year, including Beelink’s Mohamed Mashish, El Adl Group’s Maha Selim, and producer Ahmed Al Sobky, when the three of them combined had eight series screening last Ramadan
  • most seem to attribute it to the president, who appears to be irked by the scale the industry had come to operate on and the high salaries paid to TV stars
  • difficulties the company faced when filming last year’s Eagle of the South, as a result of excessive military intervention in the series’ content and production process. Members of the Armed Forces were often present on set and would interfere in most details during the shoot, not to mention that the show’s star, Mohamed Ramadan, would often miss shoots because his military conscription service overlapped with shooting times. Sometimes, he would arrive to the shooting location in a military vehicle
  • Shaaban believes that the current setback in television production has been primarily brought on by declining economic conditions, which have led to a decrease in advertising budgets. The industry, he says, is built on the flow of money from advertising agencies to satellite channels to production companies. If channels were reaping advertising revenues, they would be able to buy series from producers, who in turn would be able to produce more series, and so on. However, given the current economic climate, corporations haven’t been spending as much on advertising as they used to, and this has definitely affected the production cycle.
  • prominent actor Adel Imam, who could potentially miss his first Ramadan season in seven years, due to alleged censorial objections to the subject matter of his new series, in which he was reportedly set to play the president’s physician
  • The initial outcome of Morsy’s monopoly over the Egyptian drama market became clear last year with the elimination of certain series from Egypt’s Ramadan season, including El Adl Group’s We Have Other Statements (starring Youssra) and Land of Hypocrisy (starring Mohamed Heneidy), which were only aired on non-Egyptian channels, as well as Beelink Productions’ What Came to Pass (starring Ruby), which was not broadcast at all. Now, with Morsy’s newly acquired control over more channels, in addition to EMG’s acquisition of shares in the CBC television network and Morsy’s partnership with D Media, it appears that other producers will no longer have access to air their series in Egypt. Both D Media and DMC, another prominent television network, are owned by the GIS.
  • It is possible that, for the first time in history, the Egyptian drama sector will produce less work than its counterparts in Lebanon, Syria and Kuwait, who produce 10 to 20 works on average each Ramadan season.
  • 2 million Egyptian workers of all stripes who contribute to and depend upon this industry, patiently waiting for the Ramadan season from year to year
  • Medhat estimates that the industry spends about LE2 billion annually and brings in about LE4 billion in revenue — all of which, in the 2019 season, will go almost entirely to one entity
  • One interpretation of these recent developments is that the Egyptian state — nostalgic for the heyday of state television, when the state alone was in control of all television productions — is planning a comeback under new terms, tailored to fit the demands of the current moment. After exerting its control over satellite TV channels, it now seeks to control production as well, in order to keep the media and entertainment sectors securely under its wing, only for the state to emerge once again as the only player on the local scene.
Ed Webb

Memes: A gamechanger in Egyptian politics - Focus - Weekly - Ahram Online - 0 views

english.ahram.org.eg/...nger-in-Egyptian-politics.aspx

media Egypt socialmedia culture

shared by Ed Webb on 31 Aug 19 - Cached
  • How has the political culture changed in Egypt due to the emergence of political memes and the influencers behind them?
  • President Abdel-Fattah Al-Sisi also recently laughed when he was shown some of the memes referencing the most recent spike in petrol prices, telling the first session of the seventh National Youth Conference held in the New Administrative Capital last month that when the government tackles vital issues it takes into consideration the reaction of people on social media. He said that the government routinely gauges the possible reaction of the people before taking difficult decisions. This demonstrates how the country’s political culture has evolved in the digital age, since physical banners, such as those that were once used in demonstrations, have now often been replaced by digital memes, with the government closely monitoring the Internet in order to gauge the state of public opinion.
  • Khaled Al-Baramawi, a media commentator, said that Egyptians had always been known for their wit and satire, particularly on political issues. “With the rise of social media, Egyptians have become top producers of digital content,” he said. “When you combine Egyptian humour and online activity, you can understand why digital satire is so popular among Egyptians, including on Facebook, Twitter, WhatsApp and other platforms. Politics is a conversation staple, and memes are often produced based on statements by officials.”
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  • “Nationalist Memes” is a Facebook page with 11,000 followers and one administrator who advocates for Egyptian nationalism and promotes this idea to the public, for example. The aim is to instill patriotism into a generation that may be sceptical of it and to respond to rumours on social media.
  • “opposition political parties are very weak in Egypt and have no impact on the streets. People do not care to hear about them or know what they are doing. Memes, however, are followed by many Egyptians, especially young people who may sign up to several meme pages and interact with them all the time. Their impact is so great that many of the ideas doing the rounds of young people in Egypt have their origin in a meme on the Internet.”
    • Ed Webb
      Ed Webb on 31 Aug 19
       
      Opposition parties have been weak for decades in Egypt. This speculation about memes is weakly supported.
Ed Webb

Tunisia's Dying Jazz | Foreign Policy - 0 views

foreignpolicy.com/...ng-jazz-stambeli-chedli-bidali

Tunisia politics transition religion music art censorship Salafism

shared by Ed Webb on 28 Sep 17 - No Cached
  • Bidali is one of the last living practitioners of stambeli, a uniquely Tunisian hybrid of musical genre, healing practice, and religious ceremony. It’s deeply rooted in the history of a specific community: the descendants of slaves brought to the region from sub-Saharan Africa during the eighteenth and nineteenth centuries. It also has close links to Sufism, an ancient form of Islamic mysticism that uses music, dance, and rhythm to induce trance-like states that are supposed to bring listeners closer to the essence of the divine
  • President Habib Bourguiba, Tunisia’s first postcolonial leader, gave state support to many forms of art, but stambeli wasn’t among them; it didn’t fit the modern image of the country he was trying to shape
  • while subsequent police crackdowns have landed Salafists of all stripes in jail, some of the trends they promoted, such as moral self-policing and austere interpretations of Islamic cultural heritage, have taken root in society. With its unorthodox religious associations, stambeli has found itself in the firing line
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  • because of the rising influence of orthodox interpretations of the faith, stambeli artists are careful to stress the monotheistic, Islamic essence of their practice
  • The origins of stambeli music resemble those of American jazz (even though the two genres don’t sound alike). In both cases, the musical traditions of former slaves combined with the diverse cultural influences of their new environments to create something radically new. Whereas slaves arriving in Louisiana mixed their music and practices with European, Caribbean, and American ingredients, slaves arriving in Tunis during the same period fused their animist practices with North African versions of mystical Sufism and orthodox Islam. Mounir Argui, a theater director and music producer who works with Bidali, says that the metal castanets that play such a prominent role in stambeli performances evoke “the sounds of chains and shackles” that the slaves once wore, while the chanting recalls the “moaning.”
  • the Tunisian state never prioritized the preservation of stambeli, focusing instead on the art and culture it considered highbrow
  • Many Tunisians see stambeli as an alien phenomenon associated with blacks, who are already widely viewed as not quite Tunisian. In post-revolutionary Tunisia, where asserting the Islamic character of the country has become an important political symbol for some, the pagan origins of stambeli also cause suspicion
  • As long as some Tunisians continue to see freedom of religion and freedom of art as mutually exclusive, the rare traditions like stambeli that manage to straddle both will find little space
Ed Webb

A life in Jaffa, shared through dance - 0 views

www.972mag.com/arabli-palestinian-dance-jaffa

Israel Palestine israelpalestine dance

shared by Ed Webb on 12 Dec 21 - Cached
  • “I know everything about Israeli culture, about the customs and holidays, but the other side knows nothing about me,”
  • Garabli’s act is titled “HaKovshim,” Hebrew for “The Conquerors” or “The Occupiers.” The inspiration for the name came to her when she passed a street of the same name on her way to college in Tel Aviv. “I could not believe my eyes,” she exclaimed. “There is actually a street with this name.”
  • Though Garabli tackles the political weight of her identity in her work, she does not see her participation in Israeli institutions as a problem. She has previously been involved with projects at the Suzanne Dellal Center, a leading cultural center in Tel Aviv; following her success with “The Occupiers” in Acre, Tmu-na, a community theater in Tel Aviv, invited Garabli to perform on its stage. “I pay taxes like everyone else, and so I deserve to enjoy budgets as every artist does,” she said.
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  • Garabli grew up in the Ajami neighborhood of Jaffa. The city made headlines this year after residents organized mass demonstrations to protest increasing gentrification, which has taken on an ethnic dimension as Jewish buyers displace Palestinian families who can no longer afford the rent on the homes they’ve been living in for generations.
  • In Jaffa, dance lessons were a privilege that not everyone could afford, she noted. There was also a social imbalance to the classes: the teachers were Jewish Israelis who did not speak Arabic or understand local norms, whereas most of the students were Palestinian citizens.
  • According to Garabli, who comes from a traditional Muslim family that prays and fasts during the holy month of Ramadan, many among the Palestinian community in Jaffa do not approve of dancing as a profession. Dance is considered a temptation, and women moving their bodies in such a free way can “damage” their reputations. Moreover, given that the community is heavily focused on its survival, advocating for affordable housing, and mobilizing against gun violence and police brutality, many Palestinian residents view artistic activities as an indulgence, Garabli explained. This, she added, is why relatively few Palestinians attend cultural events like hers.
Ed Webb

An Iraqi Actress to Sue The Economist Over 'Fat' Photo - New Lines Magazine - 0 views

newlinesmag.com/...e-the-economist-over-fat-photo

economist media Arabs Iraq women health patriarchy

shared by Ed Webb on 09 Aug 22 - Cached
  • On July 28, The Economist ran a story on what it said is why women are so much “fatter” than men in Arab countries. The story, titled “Why women are fatter than men in the Arab world,” laid the blame primarily on cultural restrictions on women that hinder their access to exercise and outdoor spaces. To accompany the short report, The Economist chose a photo of Enas Taleb during her performance at Iraq’s annual cultural Babylon Festival, thus portraying Taleb as an example of such overweight.
  • Taleb, 42, is a veteran of Iraqi TV dramas who began her career in locally produced shows at the age of 16. From 1996 to 2002, there were hardly any TV shows that did not include her as one of the main protagonists. She has appeared in ads and music videos in Iraq over the past two decades and is admired and respected among audiences and peers alike for her highly praised on screen performances and down-to-earth offscreen persona. Until The Economist used her image depicting “fat” Arab women, Taleb had largely remained distant from controversies, be they political, social or religious, unlike many other artists in Iraq’s entertainment scene. Also unlike many in the entertainment business, the married mother of two adolescent daughters has hardly changed her appearance over the years, eschewing the usual plastic surgeries that have become commonplace throughout the Arab world.
  • Also not properly examined in The Economist piece are other influences, like a culinary culture that encourages the overconsumption of carbohydrates, especially sweets and refined sugar, as exemplified by a rise of imported trends like junk food and sugary soda drinks that are not properly condemned by local health authorities. A general predilection for staying up late at night, which is common behavior throughout the Arab world, could also be an understudied factor contributing to the epidemic in the region.
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  • “Audiences have loved me for many years. It was disappointing to see an international outlet label me as if all my accomplishments mean nothing. I am healthy and happy with the way I look, and to me that is all that matters,”
Ed Webb

'Three Thousand Years' and the History of Middle East Tales - New Lines Magazine - 0 views

newlinesmag.com/...e-history-of-middle-east-tales

film media Turkey MiddleEast MENA review orientalism

shared by Ed Webb on 30 Aug 22 - Cached
  • a film based on “The 1,001 Arabian Nights” is a risky venture. On the one hand, Hollywood Golden Age standards like “The Thief of Baghdad” (1924) and “Ali Baba and the Forty Thieves” (1944) get applause even from someone like Jack Shaheen, who in his book “Reel Bad Arabs” tries very hard to sniff out anti-Arab sentiment. On the other hand, Disney rolled the dice in 1992 and wound up with “Aladdin,” one of the most scandalous films ever made. This was thanks to an ill-advised song lyric about the Middle East: “Where they cut off your ear if they don’t like your face.” (The 1993 VHS version tossed out this carbuncle but kept the phrase “It’s barbaric, but hey it’s home.”) The 2019 Will Smith reboot of the same name, one of that year’s highest-grossing films, didn’t do much in the eyes of critics to update Orientalist caricatures. Teachers still use the 1992 version to show what not to say about Arabs and Islam. Another Disney production, 2010’s “Prince of Persia: The Sands of Time,” which was based on the Persian national epic “Shahnameh,” got panned for casting Jake Gyllenhaal, a white actor, to play a Persian character. And the list goes on.
  • both Byatt and Miller get much of the folklore right. Viewers learn that djinn come in many varieties, including those who fear God, like Alithea’s djinn insists he does, and those who don’t. Djinn are made of “smokeless fire” while humans are made from dust, based on the Quran’s chapter 55, “The Merciful.” Djinn can live for thousands of years, change size and shape, make love, eat and sleep (the djinn in the movie says his kind don’t do the latter). All this and more, drawn from Islamic folklore through Byatt’s story, makes Robin Williams’ blue meanie from the 1992 “Aladdin” look like the cardboard cutout he is
  • at a time of heightened sensitivity to who gets to tell stories, can Hollywood still celebrate the Middle East?
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  • these tales don’t come from fantasies like “The 1,001 Arabian Nights” but instead Middle Eastern history, especially Ottoman history. Anyone familiar with the region’s culture and storytelling will be struck by how thoughtful the film is, despite its kooky, over-the-top vaudeville
  • Miller’s location, cast and music celebrate rather than lampoon the Middle East, above all the wonders of Turkey. Shot on location in Istanbul, the film pans over Topkapi Palace, the Hagia Sophia and other iconic hotspots. Turkish actors fill most of the minor roles and speak Turkish throughout (Elba gives it his best college try). “Chesm-i bulbul,” or “the nightingale’s eye,” the name for the djinn’s bottle and hence of Byatt’s story, is in fact a beloved style of glasswork. The film credits roll to a Turkish love song.
  • “Three Thousand Years,” billed as “Aladdin for adults” and based on the 1994 short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt for The Paris Review
  • he adds a scene that’s unjustified by the plot and which mainly serves the demands of cultural sensitivity, in deference to viewers who don’t know enough about the Middle East to see how much care Miller has taken. Back in London and close to the finale, Alithea greets two neighbor ladies who ask why Alithea wastes time with “ethnics.” She fires back that she can’t abide people — like them — with knee-jerk reactions against anyone different. “Fuckface,” one of them spits at Alithea, who ducks back into her house.
  • This scene’s welcome jab at xenophobia is not what annoys; it is rather the non sequitur. It’s the one and only time we meet these neighbors, though they later stand aghast while Alithea explains her enormous ebony djinn will be staying for a while. It’s the one time we hear their views. Their struggle to grasp the Middle East has not shaped us in any way, nor does the script humanize them beyond political caricature. “OK, boomer,” says the movie with a sneer. Miller could have stood on his thoughtfulness toward the Middle East without pandering, but in fairness, he’s less to blame than a culture industry that makes directors like him think that pandering is the price of keeping their skin.
  • Byatt’s story is nothing if not highly sexed, and Miller’s retelling can’t do it justice.
  • That both the djinn and Alithea are trapped by their own gigantic emotions produces one of the film’s loveliest sentiments, spoken by Alithea as part of her wish for the djinn’s affections: “I want our solitudes to be together.”
Ed Webb

Despite Limits on Freedom, Foreign Campuses Retain Value, Speakers Say - Global - The C... - 0 views

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GCC UAE dubai education universities freedom academia

shared by Ed Webb on 12 Mar 13 - No Cached
  • Dubai, one of the seven principalities that make up the small, oil-rich United Arab Emirates, is a growing destination for students from the Middle East, India, and China, making it a logical host for the Going Global conference, said the British Council, the British government's cultural and educational arm and the event's organizer. But recently the Emirates have been better known as the site of an academic controversy.
  • countries of the Gulf Cooperation Council, of which the U.A.E. is a member, are at the "cutting edge" of efforts to internationalize higher education, and that holding the conference in Dubai "contributes to the sterling efforts being made in countries like the U.A.E. and Qatar to open their societies to international debates."
  • Foreign universities are guests in the United Arab Emirates and need to be "aware of the environment they're entering," said Warren Fox, executive director for higher education at the Knowledge and Human Development Authority, a Dubai government agency that accredits and regulates foreign higher-education institutions. "If universities decided they could only go to countries with the same cultural and political values, they wouldn't go abroad at all," said Mr. Fox. "And I think they should, because of the benefits to students and to universities."
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  • The United Arab Emirates is home to 37 international branch campuses, which serve its large expatriate population. The government of Abu Dhabi, part of the U.A.E., is also financing lavish new campuses for New York University and the Sorbonne.
  • universities here must also obtain security clearances to hire academics, organize conferences, and invite speakers. In the wake of the Arab Spring, authorities have tightened restrictions on freedom of expression and arrested nearly a hundred human-rights activists and Islamists they accuse of plotting to overthrow the state
  • Dubai International Academic City, a "free zone" that is home to dozens of foreign universities
  • our subject is engineering. We don't teach politics
Ed Webb

Inside Kannywood: Nigeria's Muslim film industry - Al Jazeera English - 0 views

www.aljazeera.com/...-industry-160304135629131.html

Nigeria Africa film women gender Islam media

shared by Ed Webb on 16 Mar 16 - No Cached
  • This film industry has been coined Kannywood, after the city it originated in. According to statistics from the National Film and Video Censors Board, its movies make up about 30 percent of the films produced by the Nigerian-based film industry popularly called Nollywood, which is often portrayed as the third-largest in the world, after Hollywood and Bollywood. Kannywood even has its own TV channel, Africa Magic Hausa, showing Hausa-language movies on satellite TV.
  • Kannywood treats the viewer to a mishmash of cultural influences. Before the local film industry came into existence in the 1990s, northerners watched Hindi language films from India. The glamour of the Bollywood musicals has rubbed off on the Hausa movies, some of which feature singing and dancing.
  • Their tone is devoutly Muslim, though, and quite often the very last line of the end credits is "Glory be to God". Many of these movies also denounce the hypocrisy of the ruling classes who preach piousness in public while sinning in private.
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  • They don't shy away from the problems women face in everyday life, such as forced marriage, sexual molestation, the lack of female education, and domestic violence - matters this society is not accustomed to discussing openly.
  • It is hardly surprising that women, who for the first time see their own experiences reflected in the public domain, form a significant part of Kannywood's audience. They also play a considerable role in the industry itself. According to the Motion Pictures Practitioners Association of Nigeria, 75 percent of the Hausa movie actors are female, as is the case for two-thirds of the association's members - from singers and producers to actors and make-up artists.
  • the Kano-based film industry is providing jobs and business to the city, something that went a long way towards improving public opinion of the profession.
  • not more than 10 years ago, a moralistic backlash triggered by a sex scandal almost destroyed the local film industry. As is often the case in public fights about morality, the female body was the battleground.
  • The Censorship Board came into existence before the scandal in 2001, and is a combined initiative of the local film industry and the state government. It was a response to the adoption of Islamic law in Kano a year earlier. Under the law, filmmaking was under threat of being abolished altogether. In order to avoid that, Kannywood voluntarily subjected itself to stricter censorship.
  • stricter guidelines, such as the banning of married women from acting, while also requiring all women in the industry to have a male guardian who would be legally responsible if their ward broke the rules
  • The overly zealous KSCB executive lost his moral authority when the police caught him in a compromising situation with a young girl in his car, and Kannywood celebrated when, in 2011, the newly elected governor appointed a new head of the Censorship Board.
  • He describes the task of the board as "preserving Hausa culture".
  • "We don't like to see body contact between men and women. No handshaking, let alone kissing," he says. "And no nudity or transparent dresses." The general secretary explains how things such as prostitution, lesbianism and adultery may be portrayed, as long as it is clear to the audience that they are unacceptable. Song and dance are permissible, as long as there is no physical contact between the sexes.
  • "Filmmakers themselves understand they have a task to educate people and cannot go against society,"
  • Kannywood movies do transmit empowering messages to a female audience
  • "It's the masses who watch Kannywood movies, not the elite. The general public is more ready for social change than political and religious leaders."
  • female producers are rare, let alone female directors
  • most female producers work with a male assistant to get things done on the ground
Ed Webb

THE DAILY STAR :: Culture :: Art :: Syrian cartoonist Ali Farzat named journalist of th... - 0 views

www.dailystar.com.lb/...ed-journalist-of-the-year.ashx

Syria cartoons journalists censorship

shared by Ed Webb on 09 Dec 11 - No Cached
  • Syrian cartoonist Ali Farzat was named journalist of the year at the 2011 Prize for Press Freedom for his defense of press freedom. “This year we are honoring a courageous journalist who has been the victim of brutal repression by an obsolete government,” Reporters Without Borders secretary general Jean-François Julliard said. Reporters Without Borders awarded the prize along with the French newspaper Le Monde. “Ali Farzat fully deserves this award. His cartoons target the abuses of a desperate regime with its back to the wall and encourage Syrians to demand their rights and to express themselves freely.”
  • “I dedicate this award to the martyrs, to those who have been injured and to those who struggle for freedom. May thanks be given to all those who have turned the Arab Spring into a victory over darkness and repression.”
  • This October, Farzat received the Sakharov prize from the European parliament, which is awarded to campaigners for freedom.
Ed Webb

Tunisia's embattled artists speak out - Features - Al Jazeera English - 0 views

www.aljazeera.com/...2012615111819112421.html

Tunisia censorship Salafists ennahda religion art

shared by Ed Webb on 19 Jun 12 - No Cached
  • Members of the Ennahdha party, the dominant group in the coalition government, were among those calling for renewed protests. Odalisque 2.0 by Héla Ammar, was part of the exhibition The movement's leader, Rachid Ghannouchi, said in a statement on Friday that he condemned all violence against individuals or property. Yet he also restated his opposition to "attacks on the beliefs of Tunisians" and of the need to protect "sacred symbols".
  • Rachid Ghannouchi, said in a statement on Friday that he condemned all violence against individuals or property. Yet he also restated his opposition to "attacks on the beliefs of Tunisians" and of the need to protect "sacred symbols".
  • The concept of national or sacred values is just a pretext to muzzle artists and creativity. These concepts can be interpreted in many different ways, especially the most restrictive, which will ultimately result in Tunisia having official art and dissident art
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  • Artists, intellectuals and journalists have routinely been cast as elitist and non-believers, they say, not only by the ultra-conservative fringe, but also by members of the coalition government.
  • We are in the middle of a war between several political movements, with the Salafists and other reactionary movements which are pressuring the present government against moderation and appeasement
  • the personal details of some artists have been published on extremist [Facebook] pages which have thousands of fans. They are calling for the murder of these artists
  • we don't have any protection, and even the cultural ministry, which should be defending us, has abandoned us. The minister [of culture] put out a statement condemning the violence and the calls for murder - but that is far from enough, because he has never expressly spoken up in support of artists
  • Under Ben Ali, we suffered most of all from self-censorship when it came to tackling political subjects. Now, the censorship is based on religious and moral questions, which has made things even worse. These latest developments are a windfall for conservative supporters, who are already proposing to incriminate any attack on the sacred. If that happens, all artists and intellectuals will be affected
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