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The renaissance of Islam is above all the task of young Afghan people, who make up nearly 70 percent of the country's population. Such a renaissance is not historically alien to Afghan culture: Avicena's rationalism and Rumi's mystic philosophy are, after all, part of this tradition, much more so than the practice of suicide bombing.

the relative freedom of the media in Afghanistan

Abolhassan Bani-Sadr was the first elected president of the Islamic Republic of Iran after the 1979 revolution. He has lived in exile outside Paris since 1981, when he fell out with his former ally Ayatollah Khomeini. In exile, he has continued to develop his idea of Islam as a "discourse of freedom."

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

Due to her gender identity, Malak is at increased risk of torture by the police, including rape and sexual violence, as well as assault by other detainees

Malak al-Kashef is a transgender woman who is undergoing gender affirming surgery. However, she has not yet managed to have her gender identity officially recognized and is therefore registered as male in official documents

the May release of Te’rafy Teskoty by Medhat Saleh. It translates to Do You Know How to Shut Up? and the veteran Egyptian singer released a complementary video where he and partner get into a heated argument in an elevator. The reason behind the row is that she became jealous of Saleh taking selfies with young female fans. Saleh’s face is full of controlled rage throughout the elevator scene. He almost spits out the lyrics, which begin from the relatively benign – “Do you know how to shut up, stop getting ideas” – to the more unpleasant – “Do you know how to shut up or should I shut you up?”

“This is something new. Arabic songs never really had songs with such hurtful meanings,” stated the Jordanian novelist Fadi Zaghmout on his popular Arabic popular-culture blog The Arab Observer.

“This only popped up in the past few years, where men seem to feel they have the right to be vocal about women’s behaviour, stating what seems to them be social criticism and disapproval on how modern women are claiming their independence and equal status.”

a growing list of patriarchal pop songs – let’s call it pat-pop

Mohamed Eskander’s 2010 hit Joumhoureyet Alby, in which he scuttles the notion of his wife (or daughter) getting a job: “Your work is my heart and my emotions/ You’re not going to have time for anything else/ It’s enough that you are the president of my heart.”

Lebanese bad-boy pop star Fares Karem has always had a more-direct approach. His testosterone-filled brand of thumping Lebanese folk is best exemplified in his 2005 hit El Tanoura (The Skirt), with lyrics that border on verbal stalking: “Her skirt is very short, a hand span and a half/ And her blouse is see-through.” Karam, who is no stranger to criticism regarding a body of work that includes other alpha-male anthems Neswanji (Player) and Shefta (I Saw Her), says that his songs merely reflect the conversations being conducted in society. “It is because I am talking about daring issues,” he told The National in May. “With respect to my peers, none of them are as direct as me. I talk about real-life situations that people face, but in a way they identify with.”

Ghazi is not surprised by the seeming glut of misogynist Arabic pop songs. The notions expressed in these songs were always there, she says, but the explosion of privately owned television and radio stations have allowed these songs to find a home.

“You are seeing such misogyny also in western songs from pop to hip-hop music. But what happened in the region [is] before you only had access to state-run media. Now there are so many privately owned channels. “The fact that these songs are shown on these channels, which are for profit and with no regulation, points that there is a whole industry regarding these songs.”

the latest salvo in an ongoing struggle for gender equality in the region that came to the fore during the demonstrations

“What we seen from the Arab Spring is that when women are on the streets calling for change, they don’t just talk about politics. Everything is out in the open, from systemic privileges, marginalisations and all kinds of challenges. That’s because social diseases and politics are a reflection of each other,”

an added responsibility that Arab songwriters must now bring to their work, says Lebanese artist Tania Saleh. The indie singer-songwriter is one of the small contingent of female lyricists working in the Arabic music industry; her list of collaborations includes songs for Egyptian-Belgian singer Natacha Atlas and the soundtrack to Lebanese films Caramel (2007) and Where Do We Go Now (2011). Her five albums of Oriental folk have evocative lyrics dealing with societal issues from a female perspective, in songs such as Hal Ouyoun, Lezim and Reda.

the lack of artistic integrity caused by the demands of a profit-driven Arabic pop industry

decades ago during the apogee of the Arabic song, the 50s and 60s – you would never think about writing such things. Think of the classic songs of Umm Kalthoum and Mohammed Abdel Wahab. They sang about deep and sensitive emotions. And who wrote those songs: men.

Before pouring all that ugliness into society, artists should think about what they are producing and to whom.

a long tradition of exploiting the most painful, brutal moments of those in geopolitical locations that the West continues to regard in a condescending, paternalistic manner - particularly those in Africa, the Middle East and Asia. Others  shared examples of The New York Times' past reports on atrocities and terror attacks in the West, which did not include any gruesome images, to disprove the editors' claim that they would "show reality…wherever in the world" in a similar fashion.

Kenyans compared The New York Times' coverage of this story - without photos of dead, white, American bodies - to its coverage of the attack in Nairobi and pointed out the newspaper's hypocrisy

In response to the charges that Kenyans are engaging in "anti-democratic" behaviour, many pointed out that such lectures on media freedom smack of a smug, "First World" brand of racist superiority. It is a defensive reaction that also allows powerful, privileged news organisations and their foreign correspondents to deflect attention from legitimate criticism of their practices by focusing on "irrational" "mob reactions"

"freedom of the press really needs to be distinguished from the foreign press…do[ing] whatever they like. One is about critiquing state excesses and advancing democracy. The other is not necessarily that." 

there is ample evidence showing that mainstream media in the US routinely treats black victims of violence differently, that "black people's lives are valued less than whites' in the US". Given that context, she argued, "#RiversideAttack photos are not an isolated incidence. They continue a long tradition of presenting white grief as important and black grief as irrelevant." 

Sentilles argued that this discrepancy - and "the very fact of visual access to the dead" from regions that we have historically positioned as "other" - creates and maintains a hierarchy. It encourages those in the geopolitical West to objectify the victims of terror and disaster in "other" lands as lesser beings who do not require the same level of dignity with which we would approach our own. Those others' lives in those far-away locations are less valued, their deaths less impactful, and thus less respect needs to be shown around their deaths. Moreover, "publishing some images while suppressing others sends the message that the visible bodies are somehow less consequential than the bodies granted the privilege of privacy."

it remains important that foreign journalists operating in Africa remember to examine and critique their positionality as they report on events in countries into which they have just "parachuted". Members of the foreign press should know that, as representatives of powerful news organisations, they have enormous power to influence the ways in which those in the "West" view "Africa" and "Africans". However, their reports often lack this necessary self-awareness and critique. Instead, their work reflects the lineages of power that come with Western news institutions and the fact of being in a "Western" body (which, no doubt, also depends on how a particular reporter is read as a "racialised" and gendered body) in a particular setting and context.

Most Western media outlets' reports on Africa continue to offer their readers predictable, contemporary versions of deeply problematic colonial images of "Africa" that allows them to safely imagine themselves as "civilised", and "Africans" as…well, you know the rest

Africans are no longer staying silent

A former military intelligence officer, who was also an armed forces spokesman, took charge of Al Asema TV in January.

ONTV, a popular TV channel that supported the government while occasionally broadcasting critical comments, was taken over in May 2016 by Ahmed Abu Hashima, a powerful multi-millionaire steel magnate said to be close to military intelligence and to President Abdel- Fattah al-Sisi. A month after the acquisition, the authorities expelled Liliane Daoud, a well-known ONTV programme presenter with a reputation for journalistic integrity. She was deportable because she has British and Lebanese dual nationality.

Hashima bought two other TV channels, Al Nahar and CBC, and four newspapers, Sout Al Omma, Ain, Dot Masr and Al Youm al Sabea, in 2016.

the editor had told that that “President Sisi is the newspaper’s new owner” and that it could therefore not continue to employ critical journalists

the government’s influence over the broadcast media landscape was also significantly enhanced in 2016 by the creation of a DMC, a major new TV network with a range of news, sports and entertainment channels. Dubbed “the mouthpiece of the intelligence services” by some journalists and launched with a patriotic anthem and Koranic chants, DMC gets permission to film where other privately-owned TV channels are denied access. It is also known to broadcast interviews that are presented as exclusives but just reiterate the regime’s pro-security, anti-Muslim Brotherhood dogma

The effects of these suspensions was not just hiding a set of tweets critical of the government, but completely disabling the influence network of Egypt’s dissidents. This is potentially the first documented politically motivated mass shutdown of twitter accounts at a time when online interaction was high and translated to possible action on the ground

accusations are not limited to Egypt but the entire region who have a sense that being critical of their governments was met with punitive measures by Twitter against them

many of those suspensions had a common denominator: being critical of the Egyptian government

suspensions seemed to have happened around late September and lasted from one day to a few days. In many cases Twitter had responded that they had suspended the accounts by mistake. The accounts affected varied from having a few followers to hundreds of thousands

a trending anti-Sisi hashtag disappeared suddenly in July 2018, and then later on in 2019. It didn’t help either to find that an officer in the British Army information warfare unit was head of editorial in Twitter for the MENA region.

I interviewed @OfficialAmro1, a user affected by mass suspensions with over 265K followers and 115K tweets. He was suspended without cause and added, “I don’t even curse.”To which I foolishly replied, “Cursing would not suspend your account, particularly if directed against a public figure. Incitement will.”“No, now it does,” he replied. He also added that if you criticize a figure loyal to the Arab regimes, you can get your account locked or suspended.

The 'hateful conduct' policy as defined by Twitter states: You may not promote violence against or directly attack or threaten other people on the basis of race, ethnicity, national origin, sexual orientation, gender, gender identity, religious affiliation, age, disability, or serious disease.Analyzing the message contents that were flagged for hateful conduct I saw that most did not violate Twitter’s rules. Soon I began to discover that what @OfficialAmro1 had told me was true. The content I was seeing contained profanity. But that wasn’t the whole story.Arabic curse words are used often. I sampled around a little under 50 claims, with over 30 screenshots that contain Twitter’s email identifying the violating tweet. It was clear that profanity alone was not causing the suspensions.

Tragically funnier still are those who were joking around with their friends using their usual language that has profanities @ism3lawy_ ended up cursing Egypt’s Zamalek football club and for that his account was suspended permanently along with that of one of his friends. In a separate conversation, his friend @EHAB_M0 was also joking around with his friends and eventually got a permanent suspension.

Within seconds of my post, the algorithm identified the curse words and locked my account for 12 hours. It was my first violation ever. The irony of documenting this as a reply to the platform’s account is probably lost on them.

the most dangerous and disconcerting of my findings is that the appeal system in Twitter for MENA is broken.

Even things like talking about prostitution can get you banned

There is an element of guardianship that is present in despotic Arab regimes, and that moral guardianship is reflected in the algorithm by Twitter as was shown through the numerous examples above.

With my limited access to Twitter’s data, I have found nearly 20 accounts probably wrongfully and permanently suspended. I imagine hundreds or even thousands more have been kicked off the platform.

“Thank you for trying to help make Twitter a free space once again.”

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.”

rights groups say the community is still vulnerable, with as little as a photo on a telephone potentially leading to arrest, physical violence and anal examinations.

The NGO also organised Tunisia's first queer cinema festival in 2018.

Tunisia is seen as relatively liberal on social issues compared with other Arab countries, but nevertheless imposes sentences of up to three years in prison for "sodomy" for both men and women

Rights groups are continuing to campaign for an end to Article 230, first introduced by French colonial administrators in 1913.

United Nations Committee Against Torture has condemned Tunisia's use of anal tests

The country in 2017 committed to ending the practice, but it has continued nonetheless.In December, two men were found guilty of same-sex acts after they refused to undergo such examinations -- seen by judges as proof of their guilt.

The Tunisian president, whose July power grab allowed him to issue laws and seize control of the judiciary, has said he is opposed to jail terms based on sexual orientation -- but also to the full decriminalisation of homosexuality.

MAM’s deference to expertise and social capital was also evident in its reliance on individuals with prior NDP credentials; that is, people who had the knowledge and connections to run a political machine. While some of the cofounders of MAM fit that bill, All-MAM was in some ways an NDP reunion.

Nothing symbolized Sisi’s embrace of Mubarak’s political machine more than All-MAM’s pick for secretary general, Mohamed Heiba, the former NDP Secretary of Youth. Under the leadership of Gamal Mubarak, Heiba was once at the forefront of the NDP’s youth mobilization efforts

Besides leaning on the seasoned political organizers of the NDP, All-MAM was also relying on the former ruling party’s big business politicians who brought to the table not only experience, but also money. The most emblematic example was mogul and former NDP lawmaker Mohamed Aboul Enein, an icon of the business clique that dominated politics during Mubarak’s final decade. Up until that point, the Sisi regime kept a largely cordial orientation toward the likes of Aboul Enein. Certainly, Sisi may have worked to politically disempower such oligarchs, but he steered clear of expropriating their assets, as Amr Adly notes. Thus, high-profile business NDPers such as Aboul Enein survived, and may have even thrived to some degree, but they were not encouraged to play politics.[4] For Aboul Enein specifically, the tide began to turn in 2018 in the lead-up to the presidential election, as he became a visible figure in the marketing of the Sisi campaign. The regime was not simply tolerating the former NDPer, as was previously the case. It was awarding him a political role, while proudly showcasing his support for the president. On a deeper level, Sisi was essentially indulging the NDP’s deep pockets, hoping they could bankroll the big campaigns the regime was about to embark upon. Sisi may hold a grudge or two against the Mubarakists, but he will always hold a place for those who pay.

MAM proved to be a useful instrument for coopting NDPers and deploying their resources and expertise on behalf of Sisi. Also, it kept these Mubarakists loyal to the president and away from the likes of Shafik and other presidential hopefuls eyeing the Mubarakist networks.

by early 2021, MWP looked much less like the youth-led party of 2014 and much more like MAM, with many of the association’s founders, including Mandhour, holding senior posts inside the party. Likewise, the NDPers made themselves quite comfortable inside MWP, as exemplified by Mohamed Aboul Enein, who became vice president of the party, not to mention deputy speaker of the House of Representatives following his return to parliament after the 2020 election.

Today, MWP controls parliament and serves as a vehicle for advancing Sisi’s political agenda. Yet, the president holds no affiliation with it and neither do most senior members of the government and the state apparatus. There has been no clear effort to encourage officials to affiliate with the party either. In other words, the president has kept MWP in this ambiguous space akin to a political “friendzone.”

the NYP (or, at least, the “wisdom” behind it) was essential in facilitating Sisi’s accommodation with NDP-tied families. Many such families capitalized on the president’s NYP discourse, prodding their own younger members to enter the political stage under the guise of youth empowerment. It may be hard to believe, but longtime political families managed to gaslight Sisi right back: “You want youth? We’ll give you youth.” This strategy was evident in MWP to the extent that it featured young affiliates of NDP families. But it was more than just MWP. By the time the 2020 elections were over, the phenomenon of relatives of former lawmakers entering parliament became more visible across parties and regions, as Amr Hashem Rabee noted. Outside legislative chambers and Mustaqbal Watan, other parties jumped on the same bandwagon, recruiting and showing off young figures from politically prominent families. In other words, every establishment party is now cutting two carrots with one knife: get on Sisi’s good graces by checking off the youth empowerment box, and, at the same time, solidify alliances with politically distinguished families

Whereas between 2014 and 2018, the regime’s principal aim was keeping civilian politics weak, fragmented, and inconducive to collective action, its approach became more interventionist beginning 2018. This is because the president now had a clearer vision for political outcomes he needed to generate, majorities he wanted to manufacture, and allies he needed to coopt and reward.

the regime’s aggression had surpassed those rejecting the post-2013 political order and that the security apparatus was just as predatory in targeting opposition actors who have accepted the political system and agreed to work from within it

as Sisi began reorganizing his own political apparatus and putting his own ducks in a row, he embarked on an effort to sabotage his competitors and wreak havoc on their organizations and networks at an unusually broad scale

In contrast to 2015 when it sought to engineer a fragmented parliament, this time around, the regime wanted a majority for its own political arm and was adamant to stack the cards in favor of that outcome. Not only that, but the regime was also keen on dictating the candidate rosters of other independent parties participating on its own list, “The National List for the Sake of Egypt.” Indeed, Sisi was that determined not to leave anything to chance.

the 2020 election marked the reintroduction of parliament’s upper chamber. As a body devoid of any meaningful legislative powers, the Senate provided Sisi with a low-cost method of rewarding political allies with “certificates of prestige.” Certainly, this was not unique to Sisi’s reign. This same tradition was prevalent under previous rulers. But that Sisi is now conforming to this same template shows that he has finally succumbed into resurrecting his predecessors’ cooptation and clientelistic practices after years of eschewing them in his dealing with civilian politics. The details might differ, but the overall story is a familiar one: the initially timid officers instinctively avoid getting their hands dirty by civilian politics, until the imperative for survival draws them into the same “swamp” they once swore to drain

their entry into MWP captures Sisi’s post-2018 rapprochement with the interests and clientelistic networks that once occupied the Mubarak regime, as distinct from the cadre of younger politicians Sisi had been trying to cultivate through the NYP

Sisi’s refusal to grant MWP (or any party for that matter) the status (and privileges) of a ruling party arguably speaks to the persistence of his populist instincts and his own belief that he is in fact capable of ruling without the mediation of any political class.

for Sisi, turning MWP into an actual ruling party would be ceding power and access to the very political forces he has been trying to contain. If the NDP (along with all its missteps) was the reason for Mubarak’s demise, why give its descendants the chance to grow and gain more influence through MWP? Therein lies the source of the paradox: Sisi needs the NDPers’ expertise and resources, but he is aware their support cannot take for granted. Thus, despite Sisi’s accommodation with the Mubarak regime’s networks and their presence in MWP, the president’s propaganda machine remains discursively hostile to NDP remnants, especially more recently with growing chatter about a Gamal Mubarak presidential bid.

The president may believe that his investment in this project will someday bear fruit, contributing to a new reality actualizing his vision for the ideal civilian politician—that is, the politician who will blindly defer to the men in the uniform, accept their supremacy, and respect their economic privileges (with all the corrupt practices they entail).

The regime’s continued inability to assert its hegemony over the formal political sphere, its dependency on political intermediaries it does not trust, and the shutting out of credible competitors from politics, have all limited Sisi’s political options for managing the ongoing economic crisis

the realm of formal politics has become so discredited that the regime itself is aware that it will not provide its international audiences a sufficiently persuasive façade of democratic politics

Sisi’s long struggle to invent the politics he dreams of through his political grooming projects, while evading the politics he actually faces by gaslighting his allies and critics, alike