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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

Oman's national unity racks up high cultural costs as local languages fall silent - Al-... - 0 views

www.al-monitor.com/...-under-risk-of-extinction.html

Oman language languages culture identities nationalism

shared by Ed Webb on 26 May 21 - Cached
  • In Oman, the Gulf Cooperation Council country with the greatest linguistic diversity, eight of the country’s 10 languages are threatened or dying
  • the minority languages in Oman belong to three families: the Indo-Iranian Kumzari, Lawati (also known as Khojki), Zadjali and Balochi; the Modern South Arabian Harsusi, Bathari, Hobyot, Mehri and Jabbali; and the Bantu language Swahili. Only Balochi and Swahili have enough world speakers to be considered safe from extinction.
  • Some of the risks these languages face are due to the structural reforms — mainly in the field of education — instigated by Sultan Qaboos bin Said for the last five decades to promote national unity over a constellation of identities scattered across the state, with an emphasis on language. Ever since a coup orchestrated by British intelligence in July 1970 overthrew Sultan Qaboos’s father, Sultan Said bin Taimur, the state's official language, Arabic, has been a key element of this newly crafted Omani identity. 
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  • Oman's efforts to increase literacy rates have further strengthened the use of Arabic as the language of education. Other mother tongues were not included in the curricula, even as secondary languages, in the regions where they were widely used. It hastened the decline of local languages, as their use became limited to the family and local community. As the number of public schools has grown steadily from one in 1951 to more than 1,100 in 2017, Al Jahdhami reports an "intense exposure to Arabic" among the youth and a shift toward the language.
  • the young generations simply ask, “What would I learn this for?” because outside of the home, Arabic is the predominant means of communication
  • Across Oman's Dhofar mountain range, between 25,000 and 50,000 people who belong to different tribes and clans speak Jabbali (or Shehri), which literally means "the language of the mountain." However, although the youth are proud of having a language of their own, with its colorful vocabulary for nature and the mountains, their language proficiency is much lower than that of the older generations. This is partly because the young generation, educated in Arabic, employs a mixture of Jabbali and Arabic. Furthermore, the internet and TV — whose content is predominantly if not exclusively in Arabic — are aggravating the loss of linguistic skills among young Omanis. 
  • In the north, the tribal community in the village of Kumzar tries to hold on to its language, Kumzari. At 5,000 speakers, UNESCO considers Kumzari severely endangered. It is a Southwestern Iranian language that is heavily influenced by Arabic, Persian, Urdu, Hindi and English.
  • To save ancestral traditions and reach out to Kanim’s tech-savvy generation, a Dhofar-born singer has chosen to broadcast his Jabbali music on YouTube.
  • a project led by the Ministry of Heritage and Culture is researching the languages ​​spoken in the sultanate and another, by the Department of Culture at Oman’s Royal Court, is working on Oman's dead languages — ones that no longer have any speakers
  • Local and international academics are working to document those languages before their remains disappear entirely, mainly in Dhofar and in the mountainous peninsula of Musandam, which overlooks the Strait of Hormuz.
Ed Webb

The Death of the Palestinian Cause Has Been Greatly Exaggerated | Newlines Magazine - 0 views

newlinesmag.com/...e-has-been-greatly-exaggerated

Israel Palestine israelpalestine KSA Saudi UAE Morocco Sudan Egypt Jordan Syria media diplomacy analysis nationalism

shared by Ed Webb on 22 May 21 - No Cached
  • For the last 10 years, Western (and even Arab) pundits have repeatedly questioned the place of Palestine in the pan-Arab psyche. They surmised that the Arab Spring had refocused Arab minds on their problems at home. They assumed that battling tyrannical regimes and their security apparatuses, reforming corrupt polities and decrepit health care and education systems, combating terrorism and religious extremism, whittling back the power of the military, and overcoming economic challenges like corruption and unemployment would take precedence over an unsolved and apparently unsolvable cause.
  • reforming the Arab world’s political systems and the security and patronage networks that keep them in power and allow them to dominate their populations appears to be just as arduous a task as resolving the Israeli-Palestinian conflict
  • The difference now is not that Arab populaces have abandoned Palestine. Western and regional observers say the muted outrage over affronts like American support for the annexation of the Golan Heights or recognition of Jerusalem as Israel’s capital, or even the Abraham Accords and the subsequent sycophantic embrace of Israel in the Gulf is an indicator of Arab public opinion, that it signals a loss of interest in the cause.It is not. Arabs are of course not of a single mind on any particular issue, nor is it possible to gauge public opinion under tyrannical regimes. But it is indicative of the fact that these authoritarians no longer see the pan-Arab Palestinian cause and supporting it as vital to their survival. They have discovered that inward-looking, nationalistic pride is the key to enduring in perpetuity. It is the final step in the dismantling of pan-Arabism as a political force, one that will shape the region’s fortunes and its states’ alliances in the years and decades to come.
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  • Nowhere is this shift in attitude more abjectly transparent than in the Gulf states’ media outlets, which hew closely to the state line and even go beyond it in an attempt to out-hawk official policy, which by comparison appears reasonable and measured.
  • an obvious and transparent outgrowth of the Gulf states’ normalization deals with Israel, though it is curious to me why they feel the need to amplify Israel’s narrative of the conflict if they did not think public opinion was already on the side of normalization
  • Jordan violently suppressed demonstrators protesting the attacks on Gaza, who apparently did not receive the memo that 27 years should have been enough time to accept Israel’s position on the conflict. In Egypt, despite its testy relationship with Hamas and its participation in the blockade of Gaza, it is still political and social suicide to publicly embrace normalization as a concept.
  • There was great presumption and folly in the grandiose naming of a convenient political deal between unelected monarchs and a premier accused of bribery and corruption, which was brokered by an American president who paid hush money to a porn star, after the patriarch of the prophets of Israel and Islam.
  • few Arab leaders have ever actually done anything for the Palestinians beyond rhetorical support for the cause, but they were happy to use the prospect of Palestine to keep their populations in check. The late former President Hafez al-Assad imposed a multi-decade state of emergency and mobilization to justify his tyrannical hold over Syria while awaiting the mother of all battles with the enemy, all without firing a single shot across the border since 1973. The leader of the beating heart of Arabism intervened in Lebanon’s civil war and had no qualms massacring pan-Arab nationalists and their Palestinian allies, or to recruit his Amal militia allies to starve Palestinian refugee camps in Lebanon. His son and successor, President Bashar al-Assad, negotiated with Israel via intermediaries, ready to sell out his allies in Iran and Hezbollah, even as he declared his fealty to the resistance.
  • The Gulf states have long had backchannels and secret dealings with the Israelis and developed a penchant for Israeli digital surveillance tools. Egypt needed Israel to destroy extremist militants in Sinai. And Morocco, Oman, and Qatar all had different levels of diplomatic ties.
  • We don’t know broadly whether a majority of Arabs care about Palestine or not, though every indicator points to the fact that they still do
  • Riyadh’s media outlets have taken on a prominent role in expressing public sympathy for Israel and its positions
  • In Saudi Arabia, a monumental shift is underway to neuter the power of the clerical establishment in favor of a more nationalistic vision of progress that gives primacy to Saudi identity. According to Mohammed bin Salman, the crown prince, in a recent interview, this identity derives from religious heritage but also from cultural and historic traditions. MBS has defanged the hated Committee for the Promotion of Virtue and Prevention of Vice, introduced social reforms that dismantle some of the restrictions on women, detained numerous clerics who criticized his policies, both foreign and domestic, and has been elevated by his surrogates into an almost messianic figure sent to renew the faith and empower Saudi identity through KPI-infused economic progress initiatives like Vision 2030. He has also, of course, arrested those who sought to pursue activism and reform and those who criticized the pace and manner of his revolution.
  • where nationalist pride is intermingled with the quality of life and performance metrics of a technocratic capitalist state, albeit one where the reins are held by only a handful of families
Ed Webb

Why Iran's grand ayatollahs are fighting over Rumi - 0 views

www.al-monitor.com/...yatollahs-fight-over-rumi.html

Iran Turkey movies movie Rumi Mysticism

shared by Ed Webb on 21 Oct 19 - No Cached
  • Plans to make a movie about Rumi, a 13th-century Persian Sufi poet, have once again revived an old quarrel between two currents among Iranian clerics — one that celebrates him as a great mystic and another that opposes his teachings as deviation and heresy.
  • nearly 750 years after Rumi's death, award-winning Iranian director Hassan Fathi, known in Iran for the hit series “Shahrzad,” announced Sept. 22 that he would produce a movie titled “Drunk on Love” about the much-speculated relationship between Rumi and Shams.
  • The project is to be an Iranian-Turkish production.
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  • two powerful ayatollahs in Iran would like to see the project nipped in the bud, saying Sufism is a deviation from Shiite Islam and any attempt to promote or spread it with a movie would be "haram"
  • Part of the opposition to the film is based on the fact that it is a co-production with Turkey. A group of experts and journalists stated their opposition to the Rumi and Shams movie owing to the presence of a Turkish producer behind the film, implying that the two countries — both of which claim the heritage of Rumi — have different interpretations on the life and works of the mystic poet.
  • Members of the hadith current have issued fatwas against mystics repeatedly. For example, a summit in Qom in 2007 declared Rumi a heretic.
  • The country’s culture minister, Abbas Salehi, a cleric who doesn’t wear a turban, told reporters after the Sept. 25 Cabinet meeting that while the opinions of marjas — the highest Shiite authorities — should be respected, “the country has its own laws.” This was taken to mean that the making of the film would not be prohibited because of the objections. So far, there are no indications that the movie is being obstructed by Tehran.
  • “Drunk on Love” is not the only controversy in Iran over films that deal with religious figures. In September, member of parliament Ali Motahari called on authorities to permit the movie “Hussein Who Said No” to be screened in cinema and theaters across the country. The movie, which has been banned for seven years, narrates the story of battle of Karbala in the year 680, where the third imam of the Shiites, Hussein ibn Ali, and 72 male companions were killed by Caliph Yazid ibn Muawiya’s army. “The main obstacle [in the way] of receiving the screening permit has been the portrayal of the face of ‘Abbas’ that I believe has no religious problem,” Motahari wrote on his Instagram page Sept. 23. Motahari said Abbas ibn Ali — the half-brother of Hussein — is not one of the sacred Shiite imams, which means the portrayal of his face should not be prohibited.
Ed Webb

'The End': Anti-normalisation, Islamofuturism and the erasure of Palestine - Middle Eas... - 0 views

www.middleeastmonitor.com/m-and-the-erasure-of-palestine

media TV television Ramadan Egypt Palestine

shared by Ed Webb on 20 May 20 - Cached
  • The End (El-Nehaya), the Egyptian dystopian science fiction thriller series, has captured the imagination of audiences throughout the Arab world this Ramadan TV season. It is ranked the third most popular series this season, and has generated a lot of discussion in social media about its futuristic technology and debt to Hollywood science fiction and dystopian films.The End was also lumped into the debate over normalisation in this year’s Ramadanic TV programming and was attacked by the Israeli Foreign Ministry for its anti-normalisation stance. The End is premised on the fictional idea that the Arab world would become a superpower and that Israel would be destroyed less than a century into its establishment — that is, in less than thirty years. In its place, Al-Quds conglomerate will be created and will be under total Arab control.
  • Some contrasted the daring futuristic scenario with the utter impotence of the Arab world today, to offer any viable solution to the Palestinian struggle for freedom and the ongoing Nakba. Others thought it was enough that the series managed to provoke and infuriate Israel.
  • The series does not only substitute one form of domination in Al-Quds conglomerate for another. More importantly, the Palestinians are completely erased from Al-Quds conglomerate itself.
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  • Ironically, the liquidation of Israel in The End did not bring an end to the oppression in Palestine or the Arab world in general.  Around 2090, Al-Quds conglomerate became the main site for a robocide, the genocide in which humans eliminated all robots after one of them terminated its owner. Consequently, laws were passed to ban the production of robots and the development of AI. The series merely substitutes one form of domination and apartheid for another.After the elimination of the majority of the robots, the all-powerful Energy Co. was established in Al-Quds conglomerate. The corporation employs algorithmic governance, using surveillance technology, facial recognition software and military drones to track and control citizens. Its security forces regularly attack and brutalise citizens. One form of oppression is gone, but Palestine and the Arab world do not live in liberty yet.
  • The most bewildering aspect about this triumphalist history of the liberation of Al-Quds conglomerate in the dystopian world of the series, is the absence of any trace of the Palestinians or Palestinian culture. The obverse side of the obliteration of Israel seems to be the erasure of the Palestinians.
  • The people who live in Al-Quds conglomerate speak Egyptian colloquial Arabic, and no one seems to be taking pride in their Arabic cultural heritage or Palestinian identity.
  • The other noticeable feature about the representation of life in Al-Quds conglomerate is its patriarchal gender politics. Women and men follow a rigid division of labour, even professional women who have careers. Radwa, the protagonist’s wife, works as the principal (agricultural) engineer at Green Co., the company responsible for providing food supplies to Al-Quds conglomerate, but she has to perform the domestic chores in the house.
  • the dystopian world of the series is deeply steeped in Islamic culture and traditions. If Afrofuturism, for example, is “rooted in and unapologetically celebrate[s] the uniqueness and innovation of black culture,” this series is clearly grounded in Islamofuturism.
  • The series illuminates and raises questions about these significant matters that have affected humanity in the last few decades. These issues include not only the polarisation of wealth and the cupola created in the global apartheid, but also neoliberal algorithmic governance, the naturalisation of AI (as both human surrogates and sex bots), the rise of megalopolis cities as corporations, renewable energy and ecological sustainability.
  • it is not clear where the series positions itself on the question of the state and the military.
  • the series itself is produced by Synergy, a mega-entertainment production house that has monopolised the Egyptian media sector and has ties to Egyptian intelligence.
Ed Webb

Dune: An accomplished escape into the realm of cinematic Arab appropriation - 0 views

english.alaraby.co.uk/...ealm-cinematic-arab-subversion

media film MENA culture representation

shared by Ed Webb on 18 Oct 21 - Cached
  • the most overriding issue, for this critic at least, is the total lack of significant Middle Eastern and North African representation in the cast despite the very clear influence of MENA, Islamic and Arab culture on the desert planet and this universe in the original book and this film. I’ve written before about the importance of Fremen characters being played by MENA actors not least because their language is mostly made up of Arabic words, like “Mahdi'' (‘the rightly guided one”) and “Lisan al Gaib” (“the voice from the outer world”), respectively. Though it's notable that jihad, the phrase frequently used in the book, has now been replaced with "crusade" and "holy war". 
  • One can easily observe the Bedouin and Amazigh inspiration behind this nomadic community on the page and the screen, through the Fremen’s penchant for Keffiyeh, group feeling unity and strength in their ability to survive in such a dangerous environment. These ideas, as well as the cyclical nature of dynasties and civilisations, were reflected in Tunisian sociologist, philosopher and historian Ibn Khaldun’s 14th Century book of Islamic History, “The Muqaddimah”, which underpinned much of Herbert’s sci-fi series.
  • Jordan’s Wadi Rum and Abu Dhabi in the UAE provided the vast beauty and brutality of this fictional desert planet landscape. The pale, flat-roofed buildings of Arrakeen, the planet’s seat of power which, in the book, was transferred from the city of Carthag (sound familiar?) under Harkonnen rule, is reminiscent of North African architecture. If the overarching storyline about Imperialist colonisers stealing a powerful fuel from the native population doesn't remind you of a certain 20th Century Western conflict with the Middle East, the Knights Templar colour scheme of the Sardaukar certainly hints at a 12th Century one. A holy war no less!
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  • With all this rich, Maghrebi and Middle Eastern culture, aesthetic and historical references on display, once again I must ask: where are the significant MENA actors?
  • What an opportunity it would have been to cast the likes of Egyptian actor Amr Waked or French-Algerian actress Lyna Khoudri in these roles. Instead, we get Javier Bardem doing whatever the Arab version of Blackface is.
  • The rest of the Fremen - those whose faces aren't masked and have speaking roles - are made up of actors of Guyanese, West or East African heritage. This wouldn’t be a problem at all if there were at least some MENA actors to reflect the diversity of that region which Villeunueve claims to care so much about and admitted to using as inspiration: “I feel true that I’m right in doing it this way. It feels authentic, it feels honest and true to the book.”
  • We’re used to being vilified, maligned or erased on screen. We’re used to having most of our representation in Hollywood limited to plane hijacking or suicide bombing or perverted sheikhs or refugees or having non-MENA actors replacing us in our own stories. Like Dwayne Johnson who is playing Black Adam, the first MENA superhero character to get his own solo movie. Can you imagine the outrage if The Rock was cast as Black Panther? Or Shang-Chi? People wouldn’t stand for it.
  • But in a post-9/11 world where Arabs and Islam are still considered too dangerous and foreign to pass the racial profiling in studio boardrooms and casting call discrimination, too taboo to be given the same equal opportunities for positive or nuanced representation as other ethnic minorities are now slowly beginning to benefit from, must we continue to wait and bittersweetly watch films like Dune that take but do not give back?
Ed Webb

NEIL MACKAY'S BIG READ: 'Scotland didn't have empire done to it, Scotland did empire to... - 0 views

www.heraldscotland.com/...pt-fighting-decolonise-history

UK Britain history museum heritage Egypt orientalism empire

shared by Ed Webb on 04 May 22 - No Cached
  • 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.
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  • “There’s this conceit,” he says, “that archaeologists - gung-ho western, bearded, white, elite, cis-gendered, ostensibly heterosexual - go to Egypt and ‘discover’ Ancient Egypt because the people, ordinary Egyptians, are too stupid.” He adds: “Ancient Egypt was never ‘lost’.”
  • The “standard colonial narrative”, he says, portrays Egypt as “brilliant - a proto-British empire”. Egyptologists used terms like ‘empire’ and ‘viceroy’ to describe the government of the Pharaohs. Students were taught that “the Ancient Egyptians had a ‘Viceroy of Nubia’ - where the hell is the term ‘viceroy’ coming from?” Price asks. “It’s from the British experience of empire”. This explains why many British academics put Egypt on a pedestal as the greatest of all ancient civilisations.
  • in the imperial age when Britons were travelling to India they would go through the Suez Canal. “You might take a few days and go and visit Egypt. So it’s colonial high noon,”
  • British archaeologist Howard Carter led the dig that opened Tutankhamun’s tomb in 1922 - an event which turbo-charged interest in Egyptology and had a huge cultural impact on world, even leading to the creation of movies like The Mummy starring Boris Karloff in 1932. “Some early exhibitions quite literally feel like the spoils of empire,” says Price. “In some cases, it’s literally the spoils - like the Rosetta Stone which was seized from the French.”
  • Price is chair of the board of trustees with the Egypt Exploration Society (EES) - an organisation, he says, which is “doing a lot of work of self-criticism, self-reflection and self-critique”. The EES, which was established in 1882 at the height of empire and just prior to the British invasion, is now “attempting to unpack colonialism in Egypt”.
  • “the British and French cooked up a system” called ‘finds-division’ or ‘partage’. “Notionally,” he says, “the best 50% of things that come out of the ground go to the National Collection in Cairo, but then up to 50% of what is thought to be ‘surplus to requirements’ or duplicate can leave with archaeologists. So that’s how Manchester has 18,000 objects from Egypt and Sudan - mostly through finds-division.
  • It was legal between the 1880s and 1970s, but it was at a time when mostly the Egyptian government was controlled by the British and French, and the Egyptian government had to repay the massive debt of building the Suez Canal.
  • “some people will tell you, some well known Egyptologists, that you should burn copies of ‘A Thousand Miles Up the Nile’ because it contains racist material. But the society is actually working on a critical re-edition, where there’s a new introduction to put the book in context. I firmly believe, and the trustees firmly believe, you can’t just bury the past. You’ve got to try and face it and constructively critique it. I’m not arguing for cancelling anyone. I’m not arguing for trying to ignore it. I’m saying ‘let’s have a conversation’.”
  • Unlike many nations which had art looted by western powers, Egypt “isn’t particularly interested” in the repatriation debate except when it comes to “a few very exceptional objects like Nefertiti’s Bust and the Rosetta Stone”. Price adds: “Repatriation can sometimes be a bit of an echo chamber for western [people]. It doesn’t necessarily relate always to the concerns of indigenous groups, or people who live in places like Egypt.”
  • There’s a funny attitude, where Scots kind of distance themselves and say, ‘oh well, you know, we were colonised first. The English came in, and we’re the victims’. Based on my work on the history of colonialism in Egypt, Scottish people are more than well-represented. They are disproportionately represented in the cogs of the imperial project with Scottish diplomats, engineers and soldiers … There’s a sense that empire was ‘done to’ Scotland, when in fact Scotland ‘did’ empire to other people … We put this stuff on the English and say it was the English … Scots appear surprisingly commonly in the imperial machinery in Egypt.
  • Price has little time for the use of the word ‘woke’ as an insult, as to him it simply means trying to do the right thing professionally. He adds that he feels “fortunate” that Manchester Museum, where he works, is also having the same “conversations” about confronting the legacy of the past.
  • British egyptology is “more open” to change, Price says than most other western nations with a history of the discipline. “We’re on the winning side of the argument. The tide has turned. You cannot pretend you can enjoy your secluded cocktail terrace in the middle of Cairo and not expect to hear critical evaluation of colonial experiences.”
  • Most of the workers who built the pyramids weren’t slaves - they were paid for their efforts, he points out. The slave stories of the Bible, though, lead to “another form of colonialism - Orientalism”, which depicts the rulers of the east as either exotic and mysterious or brutal and cruel. The notion of “the Oriental despot comes from the Bible: Pharaoh as a despot … The way in the Bible, that the pharaoh is cast as a baddie, reverberates”.
  • Price is also incensed by the current pseudo-science trend for conspiracy theories claiming that aliens built the pyramids - the type of unfounded material aired on over-the-top documentaries like ‘Ancient Aliens’. “It’s racist,” he says, “very racist.” He notes that there’s a hashtag on Twitter called ‘CancelAncientAliens’. The wild alien theory is “based on the assumption that ancient people were too stupid to have [built the pyramids] themselves and so it had to be some outside force. So to be clear in the interests of global parity and justice: the ancient Egyptians were an African people who built absolutely stunning monuments. Get over it.”
  • There is no simple answer, or history - and I think we insult museum audiences if we assume they want an overly simplified story. ‘Ancient Egypt’ is undoubtedly one of the most popular parts of a museum. By asking questions about how colonialism formed our idea of what ‘Ancient Egypt’ was, not just how it got to be in cities like Glasgow and Manchester, I think we can begin to address questions of global inequality.
  • “Egypt more than Greece, Rome or other parts of the world, has existed as both ‘Oriental other’ and ‘western ancestor’ - that is why the colonial dialogue is so intense - and Egyptology is, in a sense, the exemplary ‘colonial discipline’, just as the British Consul Lord Cromer [consul-general in Egypt from 1883] said Egypt should be the exemplary colony.
Ed Webb

Tunisia: Attack on Djerba synagogue was premeditated by national guard member - Al-Moni... - 0 views

www.al-monitor.com/...editated-national-guard-member

Tunisia minority minorities Jews saied terrorism Israel France violence

shared by Ed Webb on 12 May 23 - No Cached
  • Tunisia’s Interior Ministry has identified the man behind an attack that killed five people earlier this week, saying Thursday that he intentionally targeted a synagogue on the Mediterranean island of Djerba in a premeditated act. The ministry described the shooting as a “cowardly criminal attack” but refrained from calling it an act of terrorism.
  • The French National Terrorism Prosecution Office has launched its own probe into the attack. Benjamin Haddad, who was French, was killed in the attack along with his cousin Aviel Haddad, who held dual Tunisian and Israeli citizenship.
  • The shooting coincided with the annual Jewish pilgrimage that is part of Lag Ba’omer celebration. Thousands of Jews from around the world gather at El-Ghriba synagogue, believed to be the oldest in Africa dating back 2,500 years.
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  • Djerba’s Jewish population is one of North Africa’s biggest, although in recent years it declined to 1,500, down from 100,000 in the 1960s
  • Tunisia and Israel do not have formal diplomatic relations, but Israelis can apply for a visa to travel to Djerba for the pilgrimage.
  • During his electoral campaign in 2019, Saied, who has since cemented his one-man rule, labeled normalization with Israel “high treason.”
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