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One passage of the song reflects on the Hirak protest movement in Morocco's impoverished Rif mountain region.

Most shockingly to many Moroccans, the song also directly criticises Morocco's king and his adviser, a criminal offence.

Young people make up one-third of Morocco's 35 million population. A quarter of those aged between 15 and 24 are unemployed and out of school, according to official figures.

Decades ago, Iranian law required women to take off headscarves in line with modernization plans, with police sometimes forcing women to do so. But hijab wearing became compulsory in 1979 when the country became a theocracy.

Iran’s government has monitored social media to identify opponents of the regime for years, Grothe says, but if government claims about the use of face recognition are true, it’s the first instance she knows of a government using the technology to enforce gender-related dress law.

Some face recognition in use in Iran today comes from Chinese camera and artificial intelligence company Tiandy. Its dealings in Iran were featured in a December 2021 report from IPVM, a company that tracks the surveillance and security industry.

US Department of Commerce placed sanctions on Tiandy, citing its role in the repression of Uyghur Muslims in China and the provision of technology originating in the US to Iran’s Revolutionary Guard. The company previously used components from Intel, but the US chipmaker told NBC last month that it had ceased working with the Chinese company.

When Steven Feldstein, a former US State Department surveillance expert, surveyed 179 countries between 2012 and 2020, he found that 77 now use some form of AI-driven surveillance. Face recognition is used in 61 countries, more than any other form of digital surveillance technology, he says.

Tunisians have witnessed many Africans taking part in pro-Saied rallies in the past months.

Tunisia has always formally rejected calls to host migrants and refugees on a permanent basis

Migrants in these overpopulated, mostly working-class neighbourhoods “now have a sort of autonomous, independent communities. They have their own laws,” Zarzis-based activist Jihad A. told The New Arab, adding “migrants have strained ties with local communities. Clashes, sometimes violent, have often taken place in the past year."

“Unemployed, uneducated, and rebellious Tunisian youth have constituted a big challenge to the regime, since the Ben Ali era”, believes T.J., a blogger and civil society activist. “To get rid of these young people, mainly in the poor southern towns of the country, Saied’s authorities are shutting their eyes to the massive daily migration journeys from the south-eastern coasts of Zarzis, Jerba and Sfax to Italy”

more Tunisians sail to Europe from Tunisia than Africans

On August 1st, Italy’s Interior ministry revealed that the biggest numbers of irregular migrants who arrived in Italy from January to July 2022 are Tunisians, which is more than Bangladeshis, Sub-Saharan Africans, Iranians and others.

in Tataouine, there’s a flourishing network of migration for Tunisians to western Europe, via Turkey and Serbia.

individuals and families fly regularly to Istanbul. There, a Tunisian official sells them the official security document, which states that a person is ‘clean’, and not prosecuted in any legal cases in Tunisia. That document, which is never delivered in Tunisia because it is supposed to contain “classified” information, is strictly required by Serbia to allow Tunisians in

Medenine and Tataouine, two key regions for fuel smuggling and human trafficking, have remained without senior officials for months after President Saied sacked their old governors.

“Mayors can play a major role in monitoring irregular migration and in the hosting of migrants”, explains Boubaker Souid, Mayor of Tataouine. “But they are now left without any prerogative and who knows how Saied’s regime will get rid of them”.   

“It seems that one of the tactics of the Tunisian authorities is to empty the country of young people, who have always been the main source of contest and revolt”, says M.B., a civil society activist from Medenine.

On February 24, 2022, Kais Saied announced that he wanted to ban foreign funding for associations. For him, associations applying for or receiving foreign funding are “suspicious activities”. Consequently, the civil society ceased to play its role in monitoring and reporting migration issues and in delivering credible information and data about it.

he hoped that his prosecution would “throw the spotlight on the cases of others unjustly detained in Egypt, especially the jailed journalists." Since the military takeover of the country in July 2013, tens of thousands of political opposition figures have been arrested and detained as part of a sweeping security crackdown on dissent that has targeted Muslim Brotherhood members and supporters as well as secular activists, researchers, journalists and intellectuals

Balshy on April 4 published a list of some 40 journalists in Egypt who were either imprisoned or under threat of being detained

While there has hardly been any noise over the jailing of journalists with alleged links to the Muslim Brotherhood, the verdicts against Naaot and Nagy and the arrest warrant against Balshy provoked outrage in Egypt. After an outcry in Egyptian media over the conviction of Naaot, President Abdel Fattah al-Sisi last week urged parliament to review the country’s blasphemy laws, which critics have denounced as outdated and harmful. Meanwhile, in an outpouring of anger on social media over Nagy’s conviction, activists have campaigned for the novelist’s release using the Arabic hashtag that translates into #CreativityOnTrial.

Twenty-two rights organizations, six political parties and nearly 100 individuals signed a strongly worded petition condemning the warrant for Balshy’s arrest as “an attack on the media.”

Until recently, much of the Egyptian media and the majority of Egyptians had also rejected international criticism of the restrictions on the media in Egypt, perceiving the criticism as “part of the foreign conspiracy to destroy Egypt.” Lately however, there has been an almost abrupt turnabout with more journalists — including regime loyalists and those who had previously practiced self-censorship — becoming increasingly vocal in their criticism of “the muzzling of journalists through intimidation tactics” and “the unfair detention of writers and researchers.”

The regime clearly has not learned the lesson from Mubarak’s unplugging of the Internet during the 2011 uprising — a move that fueled the anger against the former dictator, leading to his ultimate overthrow. The government must acknowledge that the right to information and freedom of expression are basic human rights.

Long committed to a free media, Mustafa Amin was imprisoned for six months in 1939 for an article in Akher sa‘a (Last Hour) magazine deemed critical of King Faruq. An advocate of democracy and Western liberalism, he was arrested in 1965, tried secretly in 1966, and convicted of being a spy for America and smuggling funds. Sentenced to a life sentence, he spent nine years in prison before being pardoned by Nasser’s successor, President Anwar Sadat. Ali Amin, accused by Heikal of working for British and Saudi intelligence, went into exile in 1965.

Room for expression existed mainly in the literary pages of al-Ahram, where writers under Heikal’s wings, like Naguib Mahfouz, could publish works of fiction that could be read as challenges to the status quo.[5] As far as the press was concerned, censorship was directed at politically oriented news and commentary rather than the literary sections

During the conflict, as the Egyptian army, under Field Marshal Abd al-Hakim Amer’s command, was hastily retreating from Sinai, broadcast outlets aired invented reports of fabulous victories against the Zionist foe. At no other moment did the state media prove so woefully deficient, contributing to a deep sense of public betrayal.

The speech was written for him by prominent journalist Mohamed Hassanein Heikal and tactfully framed a romp of Arab armies as a “setback,” displaying Heikal’s knack for being both a propagandist and political powerbroker.   It was a moment that brilliantly served to shore up Nasser’s support. Egyptians took to the streets demanding that their leader stay in power. “The People Say ‘No,’” declared Akhbar al-youm (News of the Day) in large red writing. In smaller black lettering the headline read, “The Leader Discloses the Whole Truth to the People.” It is difficult to say how populist and genuine the appeal was and how much of the public display of support for Nasser was behind-the-scenes political machinations of the regime and its media. While Nasser did stay in power, it was only later that Egyptians could comprehend the true extent of the defeat—especially in light of official propaganda—and the institutional failures that placed the whole of Sinai under Israeli control.

slogans shouted and scrawled on building walls that demanded: “Stop the Rule of the Intelligence,” “Down with the Police State,” and “Down with Heikal’s Lying Press.”

Student periodicals posted on the walls of the campuses emerged as the freest press in Egypt. Nasser for the first time became the object of direct criticism in the public space. A campaign against student unrest was waged in the state-owned media, which labeled the activists as provocateurs and counter-revolutionaries goaded by foreign elements

“A centralized editorial secretariat, called the Desk, was founded, as well as the Center for Strategic Studies and the Information Division. To his detractors, these innovations appeared to be spying sessions of an extensive empire dedicated to intelligence gathering

Nasser appointed Heikal to the post of minister of information and national guidance, a role he assumed for six months in 1970 until Nasser’s death. Yet the self-described journalist confided his frustration of being assigned a ministerial post, perhaps intended to distance him from the publishing empire he built, to a colleague, the leftist writer Lutfi al-Khouli, at his home. The encounter was surreptitiously recorded by the secret police, leading to the arrest and brief imprisonment of al-Khouli, and Heikal’s secretary and her husband, who were also present. “Now, Nasser’s regime had two aspects: it had great achievements to its credit but also it had a repressive side. I do not myself believe that the achievements . . . could have been carried out without some degree of enforcement,” Heikal wrote in The Road to Ramadan. “But after the 1967 defeat the positive achievements came to an end, because all resources were geared to the coming battle, while repression became more obvious. When Nasser died the executants of repression took it on themselves to be the ideologues of the new regime as well. They held almost all the key posts in the country. The people resented this and came to hate what they saw as their oppressors.”

after his increasing criticism of Sadat’s handling of the October 1973 War and appeals to the United States to address the impasse, Heikal was removed from al-Ahram in 1974. He remained a prolific author. In May 1978, Heikal was one of dozens of writers accused by the state prosecutor of defaming Egypt and weakening social peace and was subject to an interrogation that extended three months

Sadat attempted to bring the dissident cacophony into line through the mass arrest in September 1981 of more than 1,500 intellectuals, writers, journalists, and opposition elements of every stripe. Among those arrested were leading members of the Journalists’ Syndicate and prominent figures like the political writer Muhammad Hassanein Heikal and novelist Nawal El Saadawi. Sadat’s crackdown against his opponents culminated in his assassination by Islamic militants on October 6, 1981 during a military parade to commemorate the start of the 1973 War. Soon after Hosni Mubarak assumed power, Heikal was released from prison

When Dream aired the lecture Heikal gave at the American University in Cairo, direct pressure was placed on the owner’s business interests, and the veteran journalist found a new forum on pan-Arab satellite broadcasting. The influential writer has made opposition to Gamal Mubarak’s succession a staple of his newspaper columns.

With the rise of satellite television, Qatar’s Al Jazeera commanded audiences not only with news but with popular discussion programmed, like Ma‘ Heikal (With Heikal), a program by Heikal that began the year after the 2003 invasion of Iraq, and which was watched by the Arab public with eager interest. Seated behind a desk and looking into the camera, Heikal gave his narrative of historical events and commentary on Middle Eastern and world affairs, exposing the intrigues of regional and global powers from his perch, having privileged access to leaders, diplomats, and decision makers. He has been a critic of Saudi diplomacy, its ballooning regional influence given the power of petrodollars, and its confrontation with Iran. Saudi pundits have consistently taken potshots at Heikal.

A couple of months before Morsi’s ouster on July 3, 2013, Heikal was contacted by Morsi’s defense minister Abd al-Fattah al-Sisi for a meeting, which had led to speculation that the Heikal devised the behind-the-scenes scenarios for an elected president’s removal as the dominant political player, the Muslim Brotherhood, was sinking in popularity. After Morsi was expelled from office, Heikal suggested to the military leader that he seek a popular mandate to lead the country, mirroring Nasser-style populism. Attired in full military regalia, al-Sisi at a July 24, 2013 graduation ceremony of the naval and air defence academies, broadcast live, warned that national security was in peril and summoned nationwide rallies two days later. Heikal supported al-Sisi’s bid for the presidency viewing him as the candidate born of necessity.

media reform, like the reform of the police and justice, is not considered a major issue in the democratic transition. Right now, the debate about a media sector reform is polarized between the journalists (the journalists’ syndicate SNJT and some individual initiatives) and the government. Strangely, the question of the journalists’ “responsibility” is debated in the same words as before the revolution. The issue normally comes up when the story of journalists differs from the official version, especially when police and army are concerned.

the new law from February 2011, which regulates the establishment and function of the INRIC, is reminiscent of the one that established the High Council of Communication, the advisory body of the former president Ben Ali. There are “private” discussions between INRIC and the High Council of Political Reforms to propose new laws to regulate the media sector before the parliamentary elections. These discussions neither go along with public hearings nor are they reported by the media.

In the Press Institute, the unique academic institution for teaching journalism, a tiny reform was decided in April on a two-days meeting. None of the professional bodies or NGOs engaged in the fight for freedom of expression was involved in this reform.

the Tunisian Agency of External Communication (ATCE) that had managed the propaganda system outside of, but also inside Tunisia for the last 20 years

The fall of the sophisticated system of surveillance and censorship allowed a renewal of the blogosphere and news websites. Even the traditional media are trying to make their websites interactive or to create their electronic versions. Nevertheless, there is no significant shift in terms of production transparency and responsiveness. Critical articles about media often look more like reckoning between journalists than attempts to make media more accountable. In addition, the authoritarian temptation came back with the decision of the military court to ban four websites which were accused of offending the army.

Background: MA in Pre-Revolutionary Tunisia Under Ben Ali’s rule most broadcasters and newspapers were owned by one of Ben Ali’s relatives or remained close to the official political agenda either because of press freedom restrictions or for economic reasons. These structures had far reaching consequences for the formation of the journalistic field in general and media accountability practices in particular. Though media accountability recurred in the professional discourse, it did not develop a systematic opposition to the governmental discourse, which mainly focused on responsibility towards the regime. Institutions such as a media council (Conseil Supèrieur de la Communication, CSC) or a Journalists’ Association (Association des Journalists Tunesiens, AJT), that might have played a role in holding the media accountable to ALL media stakeholders, were co-opted by the regime. Yet, some initiatives online like boudourou.blogspot.com took the chance of the Internet as a slightly freer space to remind Tunisian media of their accountability towards the people, though with little impact due to hard Internet censorship and repression of cyber activists

The collective formed in the days following the January 2011 uprising when it set up a "human rights media tent" in Tahrir Square as "a point to collect footage that people had of police abuses".

Asked whether they see themselves as activists or journalists, Hamilton explained how they have a "definite journalistic push". "We have a decentralised approach. We don't have an editorial policy, we don't have an editorial meeting at the beginning of the day to tell people where to go." Anyone can contribute footage, creating an "almost infinite number of camera people" who can be out filming, using mobile phones, DSLRs and hand-held video cameras.

"We are both attacking state media and trying to push traditional media outlets into taking a stronger stance and backing them up in being able to show things that perhaps felt they were unable to show. "We are also empowering everyone that has a camera phone to make them feel like they can contribute to a wider narrative rather than just uploading it to YouTube."

Mosireen is therefore reaching out to those without internet access, which is "one of the big, big, big challenges". "It's very easy to forget how hyper-connected we are compared to most of the world," Hamilton said

The citizen journalists have licensed footage under creative commons on YouTube and Vimeo, where others can download the films. These can be used by broadcasters.

It is not the international audience the activists are focused on. "We are in a fight that is going to be settled, or won or lost, here [in Egypt], so we don't need to spend too much time talking to or addressing international audiences. "It's really much more about Egyptian public opinion and the narrative within Egypt that is important, and helping people get access to the truth."

The best rap and metal in the region succeeds because it manages to avoid both the kind of “extreme consciousness of doom” that leads to aesthetic nihilism, hyper-stylized violence and other forms of artistic “idle chatter,” while also avoiding the kind of surrender to the culture industry which leads even the most well-intentioned of mainstream artists to “collaborate with culture as its salaried and honoured nuisance” rather than challenge it directly from the margins.

the ultimate function of immanent criticism: to enable a positive synthesis, or irreducible hybridization of identities. Such identities can not be subsumed under any dominant ideology or political and economic narrative and therefore cannot serve to reinforce them

in the Middle East and North Africa region, in the years leading up to the current revolutionary moment, the growing popularity of metal and rap music represents a return of the aura to local music scenes. Both Benjamin and Adorno believed that a remnant, or perhaps better, specter of the original aura remained within works of art even in the mechanical/industrial age. This spector becomes visible in the kind of critical art represented by the groups discussed here, contributing to the continued “excessiveness”, “aesthetic deviance”, and “pointing elsewhere” towards cultural difference and a different future that characterize the best exemplars of the music

As Moe Hamzeh, leader of one of the most talented and successful Arab rock/metal groups, Beriut's The Kordz6, explains, while Arab rock or rap artists obviously want to be successful, the relative lack of interest in the two genres by Rotana and other Arab media conglomerates has been a blessing from an aesthetic perspective. It has saved them from the inevitable fate of all commercialized popular music, whether American hiphop and hair metal to Arab video-clip driven pop. At the same time, the lack of commercialization has made the public performance of the music, usually in small group settings or festivals geared specifically to fans of the genres, the crucial means of creating audiences and building solidarity among their communities of fans.

singers and rappers were actually smiling as they performed their music. And so were the crowds surrounding them. This is likely not the vibe Adorno imagined would surround the kind of immanently critical music he felt was necessary to wake people up to the false consciousness they had been mindlessly inhabiting. But it points to a crucial problem with Adorno’s musical aesthetic, at least form the standpoint of reception. The more abstract, atonal, and devoid of recognizable harmonies or rhythmic pulse a piece of music is, the harder it will be for it to inspire a large number of people. Once people are actually on the streets protesting rather than in their smaller subcultural gatherings, they need something catchier and more uplifting to sing along to than brutal vocals and rapid fire rhymes

Adorno did not think much of the aesthetic and political potential of folk music, which he tied both to nationalist and fascist sentiments. In its then present-day form (rather than traditional-historical form), he believed it to foster little more than a “pseudo-folk community,” particularly in its cultural and aesthetic historical trajectory in Germany. But in Egypt as in the United States, the music has played a more critical political role in struggles for political freedom and social justice.

the band’s popularity is inseparable from its dual role as a voice of protest and a regenerator of traditional styles of music that recently were in danger of disappearing completely because of a combination of market forces and government censorship

What the kind of joyful hybridity exemplified by the production style of Armada Bizerta and myriad other rap groups around the Arab and larger Muslim worlds (and across Africa) reveal is that even within one genre of music, such as hip hop, talented artists can create innumerable sonic tapestries to match, and help shape, the national mood—from dissonant anger to joyful creativity—as the political and cultural situation on the ground changes. Their flexibility is key to their function as the kind immanent critique Adorno and other critical theorists hoped would be able to “reliquify” the “congealed” ideologically bounded identities imposed by authoritarian regimes on their citizens

The joyful aesthetics of groups such as Amarda Bizerta, Emel Mathlouthi, Ramy Essam, and other artists at the heart of youth-inspired revolutions challenges Adorno’s belief that critical music in the age of mass reproduction and consumption has to be, essentially, hard to listen to in order to make the listener think and perhaps even motivated to take some form of action. It seems that while in the pre-Revolutionary period, when cultural expression was still heavily policed, this indeed was the case—thus the power and popularity of genres like metal and hardcore rap. But with the explosion of political, cultural, and artistic energy of the protests a new aesthetic dynamic was born that, at least as of the time of this writing, remains quite powerful. As important, by drawing people literally closer together, the music brings them closer to its critical and transformational aura, closing a circle that was broken, according to Benjamin, with the mechanical reproduction and commodification of musi a century ago

It remains to be seen whether Americans and Europeans, so used to providing the “original” music and culture which others have long sampled, will prove as adept as the “new generation” of Arab revolutionaries in adapting the tools and ideas of others to create their own cultural, political, and economic hybrids. But if the experience of the last year is any indication, without doing so there is little chance of the current wave of protests across the West producing the kind of large-scale transformation now underway, however problematically, in the Arab world.

According to a statement issued by the Rebel campaign, of which three of its members attended Tuesday's meeting, Mansour has slammed the media attack against revolutionaries as "political stupidity," saying a media code of ethics will soon be issued in collaboration with media figures and the National Council for Human Rights

The meeting also tackled the role of the police, with many of the attendees accusing it of enforcing what they saw as "systematic measures" similar to the notorious ones practiced by the apparatus prior to the revolution. Mansour, however, ruled out that any violence practiced by the police is systematic. He also requested a list of those claimed to have been randomly arrested without charges.

Mansour went on to urge those present to engage with society through political activities to ensure that no force solely dominate the political scene. "You [the youth] should work on preserving the gains of the revolution that no one from the corrupt regimes should be allowed to obtain," said Mansour, who added that the differences between political groups, lack of organisation and failure to interact with the population could give a chance to "the unworthy to win the coming parliamentary elections."