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Yemeni street artists are daubing the capital's walls with haunting images of war and starving children in an effort to highlight the impact conflict is having on the country's population.The graffiti, including a malnourished child locked in a blood-red coffin, is turning heads in a country where more than two thirds of the population are in need of some form of humanitarian aid, according to the United Nations.

The once-embattled ancien regime is back with full force. Not only to consolidate its power in the present, but also to control the past. Yet, since the outbreak of the January 25 Revolution, besides the Islamists, two distinct communities were – and still are – in conflict, among other things, over the revolution’s nature and principles: the regime and the revolutionary activists. What follows is an exploration of these communities’ strategies to permeate the people’s collective consciousness and to enforce their own narratives of the revolution and its memory, across three different domains: Egypt’s public space; Egypt’s online sphere; and outside Egypt.

in the revolution’s early years, Egypt’s public space was representative of the young activists’ creativity and rebellion

Through graffiti on walls, images, texts and structures, the activists created from the country’s streets and squares memorials to keep the memory of the brave martyrs as well as the revolution’s ideals alive. Walls of Freedom, a 2014 book by Hamdy and Stone, offers thorough insights into the revolution and its artistic works. Young Egyptians’ independent cultural activities, including concerts and exhibitions, played a role in enhancing the historical narrative of the pro-revolution community.

Many were too immersed in the daily struggles to tolerate criticism or contradictory points of view. Many others welcomed observations and comments coming from participants who were able to make connections with other historical moments, and to discern patterns or conjunctions that helped to shed light on current events. Enthusiasm, rigorous analysis, heightened emotions, tears, serious reflections, and “a feel of the revolutionary spirit,” in the words of one participant, permeated the proceedings.

Amongst the objections voiced was that it was Euro-centric because it framed the protests with reference to a European precedent, the Prague spring; it implied Arab stasis preceding the coming of spring; it predicted imminent decline as spring is bound to be followed by autumn. Debates over the phrase “Arab spring” encapsulate the overriding theme of the conference: the conflicting narratives of and about the Arab revolutions and the geopolitics of these narratives were put at the centre of debates and analysis.

“Peacefulness” is fetishised reinforcing the premise that the state is the sole legitimate entity entitled to the use of violence, a premise challenged by the revolutionary project.

Hand in Hand operates four bilingual schools across Israel and two kindergartens. Jaffa’s primary school classes are the most recent addition.The idea of children from different cultural backgrounds learning together and speaking each other’s language may seem uncontroversial. But it has prompted a fierce backlash from right-wing Jewish groups in Israel.In late 2014 Hand in Hand’s flagship school in Jerusalem was torched by activists from Lehava, an organisation that opposes integration between Jewish and Palestinian citizens. Graffiti daubed on the walls read “Death to the Arabs” and “There can be no coexistence with cancer”.Three of the group’s members were jailed last year. In January Israel’s high court increased the sentences of two brothers involved in the arson attack.Although Lehava is a fringe group, it draws on ideas that have found favour with much larger numbers of Israeli Jews, especially over the past 15 years as the country has lurched to the right.A survey by the Pew polling organisation this month found that half of Israeli Jews wanted Arabs expelled from the state, and 79 percent believed Jews should have more rights than their Palestinian compatriots.

1,350 children are currently in bilingual education, out of a total Israeli school population of some 1.5 million children.

The Jaffa parents argue that their coastal city of 50,000 residents, which is incorporated into the Tel Aviv municipal area, is the natural location for a bilingual school.A third of Jaffa’s residents are Palestinian, reflecting the fact that, before Israel’s creation in 1948, it was Palestine’s commercial centre.Although Israelis mostly live in separate communities, based on their ethnicity, Jaffa is one of half a dozen urban areas where Jewish and Palestinian citizens live close to each other.

A young man in his twenties wanted to express his gratitude about the victories the youth of 25th of January have achieved and chose to express it in the form of naming his firstborn girl “Facebook” Jamal Ibrahim

While the baby girl could just have easily been called “YouTube,” “Twitter” “Google” or even “Cellphone Camera,” it seems like Facebook has become the umbrella symbol for how social media can spread the message of freedom. There are countless manefestation of this, the above graffiti in Cairo, “Thank you Facebook” protest sign, and Wael Ghonim himself personally expressing his gratitude to Mark Zuckerberg on CNN.

In 2013 Sana Yazigi, a Syrian graphic designer from Damascus, launched the online archive The Creative Memory of the Syrian Revolution, consisting of works created by Syrian artists during the uprising

"From the early days of the revolution," Yazigi says, "I was amazed to witness an incredible outpouring of artworks. I didn’t want them all to disappear, to be forgotten. I wanted to keep a record. There was a sense of urgency, a need to document what was going on."

The website documents paintings, music, graffiti, videos and cartoons among others, constituting an exceptional wartime archive. 

“I just wanted to pitch-in but I wasn't sure how,” says the 37-year-old street artist, who made his name in Cairo during the 2011 revolution against Hosni Mubarak.

“If I would were in Cairo now, I would have taken to the streets with graffiti, like I did in 2011. I kept on wondering: how can I participate in a concrete and positive way, and make it useful?"

On the morning of 20 September, Ganzeer woke up anxious. During the next few hours he drew the image that has quickly come to define a new wave of protests against the sitting president. In the illustration, Sisi is dressed in a striped jacket and tie, but drawn as a cartoonish cat burglar.