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Before the pandemic spread, a number of countries in the Middle East and North Africa had been experiencing a wave of public protests for more democratic and accountable rule akin to the so-called Arab Spring of 2011. "The crackdown started several months before the pandemic, but has been exacerbated by the emergency laws and extrajudicial tools regimes are employing under the guise of the pandemic," Sarah Yerkes, a senior fellow at the Carnegie Endowment for Peace Middle East Program. 

"Regimes across North Africa are exploiting the pandemic to crackdown on activists, journalists, and anyone critical of the regime, particularly those using social media."

In Algeria, with the popular anti-government protest movement known as the Hirak put on hold for safety reasons since March, the repressive climate, arguably the worst in North Africa, has worsened with the continued arrests of journalists and activists, which has been a maintained pattern since President Abdelmadjid Tebboune took office in December.

Reporting of these events has been sparse, to say the least. The Tunisian press, of course, is strictly controlled and international news organisations have shown little interest: the "not many dead" syndrome, perhaps. But in the context of Tunisia they are momentous events. It's a police state, after all, where riots and demonstrations don't normally happen – and certainly not simultaneously in towns and cities up and down the country.So, what we are seeing, firstly, is the failure of a system constructed by the regime over many years to prevent people from organising, communicating and agitating.Secondly, we are seeing relatively large numbers of people casting off their fear of the regime. Despite the very real risk of arrest and torture, they are refusing to be intimidated.

Ben Ali may try to cling on, but his regime now has a fin de siècle air about it. He came to power in 1987 by declaring President Bourguiba unfit for office. It's probably just a matter of time before someone else delivers that same message to Ben Ali.

international news organisations have shown little interest: the "not many dead" syndrome, No, that's not the reason. The reason is that this SOB is one of our SOBs. We must be absolutely sure that we don't risk letting let any nasty Islamists or not-compliant folk near the levers of power before we start to fan the flames of democracy.

Police believe they had been in contact over the internet with people linked to al-Qaeda in the Islamic Maghreb, and had been planning attacks in France.

the researcher, whom it did not identify, was working for an outside institute and had no contact with anything that could have been used for terrorism.

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.