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Testimonial narratives are an essential feature of intellectual life in post-totalitarian societies. Post-Soviet Eastern Europe, post-dictatorial Latin America, and post-Apartheid South Africa all witnessed a proliferation of autobiographical accounts by victims of the ancien régime, seeking to reclaim their public voice. Currently, post-Ben Ali Tunisia is witnessing the same phenomenon. More and more activists and intellectuals have begun reflecting on the past, in order to forge the country’s future. What is remarkable about this wave is the increasing number of women, including both activists and intellectuals, who have written autobiographical accounts of the uprising and its aftermath

For Tunisian activists and intellectuals, the urgency of remembering the past, in order to make sense of it, has been driven by the realization that authoritarianism can easily return in a different form

As violence was increasing on the religious right, politicians on the secular left were encumbered by internal disagreements and unable to muster an appropriate response. As a result, the “old left’s” weakness and concomitant rise of the Islamist right have figured prominently in the testimonies of Tunisian women activists and intellectuals. Indeed, the testimonies published so far have mostly been triggered by a fear of an Islamist takeover of Tunisia’s newly-liberated public sphere

“The Journal has done a lot of good work in covering the Trump administration, but not nearly as much as it should have,” another recent departee said. “I lay almost all of that at Gerry’s doorstep. Political editors and reporters find themselves either directly stymied by Gerry’s interference or shave the edges off their stories in advance to try to please him (and, by extension, Murdoch).”

“This is the most access he has had to a sitting president ever – that is something he’s tried to do and has done in other countries particularly with British prime ministers,” Ellison said. “He’s choosing his own personal access over having any journalistic clout.” Murdoch bought the newspaper in 2007, but initially it was thought to be one of the few outlets in his portfolio impervious to his political influence. In the Trump era, some staff fear that seems to be changing fast.

Throughout the campaign, Ivanka was a trustee of the $300m fortune allocated to Murdoch’s daughters with Deng, stepping down only after the financial connection became public.

The Avant TV video, released on social media five days after protests erupted in Iran, which have thus far spread to dozens of cities and almost every province, carefully stitches together an emotional array of interviews of people unhappy with the economic situation and President Hassan Rouhani’s policies. With scarce public information available about Avant TV, and with the great pains its producers have taken to present it as an independent station, the video is intended to appear to be transparent, a true representation of the will of the Iranian people. Glaringly absent from the video are any criticism of the political establishment as a whole, which has been one of the main themes of the current demonstrations. Avant TV is in fact not independent at all. Al-Monitor has not been able to contact it, but two pro-regime media producers confirmed that it is only the latest example of a new media outlet backed by the Islamic Revolutionary Guard Corps (IRGC) seeking to reinforce the narrative of the supreme leader above the politics of Iran.

Avant TV stems from the media wars at the heart of political factionalism both inside and outside Iran

The tactic that producers developed was to move away from content solely made for state television — which potential audiences almost automatically consider regime propaganda — to creating small production studios that develop content not easily identifiable as pro-regime. These ad hoc production studios receive funding from the IRGC and the government's cultural budget, but they remain small and unidentifiable on purpose.

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.

Today, Twitter has a different story, and it is not one of speaking truth to power. Twitter is no longer empowering its users. Its platform cannot be considered neutral. Twitter’s actions suggest it is systematically suppressing voices in the Middle East and North Africa (MENA) region.

What started out as an investigation into the mass suspension of accounts of Egyptian dissidents, uncovered a mass censorship algorithm that targeted users who use Arabic flagging their text as hateful conduct. This story is still unfolding. As you read this, mass and unjustified systemic locking and suspension of Twitter Arabic accounts continues. Users are angry and bewildered.

draconian yet lazy algorithms have systematically shut down voices of dissent – and pulled unsuspecting social media users down with them

An evangelical broadcaster who boasted of miraculously securing a TV license in Israel now risks being taken off the air over suspicions of trying to convert Jews to Christianity. The controversy over “GOD TV” has put both Israel and its evangelical Christian supporters in an awkward position, exposing tensions the two sides have long papered over.

Israel has long welcomed evangelicals’ political and financial support, especially as their influence over the White House has risen during the Trump era, and it has largely shrugged off concerns about any hidden religious agenda.

When GOD TV, an international Christian broadcaster, reached a seven-year contract earlier this year with HOT, Israel’s main cable provider, it presented itself as producing content for Christians. But in a video message that has since been taken down, GOD TV CEO Ward Simpson suggested its real aim was to convince Jews to accept Jesus as their messiah. The channel, known as “Shelanu,” broadcast in Hebrew even though most Christians in the Holy Land speak Arabic.

Badani is part of a network of at least 19 fake personas that has spent the past year placing more than 90 opinion pieces in 46 different publications. The articles heaped praise on the United Arab Emirates and advocated for a tougher approach to Qatar, Turkey, Iran and its proxy groups in Iraq and Lebanon. 

“This vast influence operation highlights the ease with which malicious actors can exploit the identity of real people, dupe international news outlets, and have propaganda of unknown provenance legitimized through reputable media,” Marc Owen Jones, an assistant professor at Hamad Bin Khalifa University in Qatar who first noticed suspicious posts by members of the network, told The Daily Beast. “It’s not just fake news we need to be wary of, but fake journalists.”

placed articles critical of Qatar and supportive of tougher sanctions on Iran in conservative North American outlets like Human Events and conservative writer Andy Ngo’s The Post Millennial, as well as Israeli and Middle Eastern newspapers like The Jerusalem Post and Al Arabiya, and Asian newspapers like the South China Morning Post.

Taub’s article was published in 2019, slightly more than four years after Salahi himself published his best-selling Guantánamo Diary, which notably did not win a Pulitzer Prize. Large parts of “Guantánamo’s Darkest Secret”—awarded a Pulitzer this week in the Feature Writing category—particularly those that deal with Salahi, rehash with the customary “he wrote” what had already been written. Yet while the content may be mostly the same, the purpose is different. Taub, unlike Salahi, is out to deliver absolution to his American reader: casting Steve Wood as an integral player is one part of this; leaving the still-constrained reality of Salahi’s present (he cannot leave tiny Mauritania) to the very end of the piece is another.

Credibility and journalistic heroism, as each year’s prizes show, reside in the pages of prestige publications; the New York Times and the Washington Post are mainstays, and since the prizes were first opened up to include magazines in 2015, The New Yorker is as well. No truth is really a truth, particularly a courageous truth, until it appears in their pages. The brown man, the accused terrorist, the actual torture survivor Mohamedou Ould Salahi may have written a great book. But the definitive story about “Guantánamo’s Darkest Secret” is the one penned by Taub.

Such hefty institutional backing has a relationship to truth-telling and to truth creation. It doesn’t matter that Taub, per his own admission, did not speak Arabic, that he seems to have rehashed a large chunk of his Pulitzer-winning article from an already published book, or even that he spent only a week in Mauritania where Salahi now lives. His article legitimizes a process through which the Western liberal frame is conflated with the lack of any frame at all and applied to foreign places or people through the roving foreign correspondent. Ben Taub is not the problem, of course. It’s just that the edifices of elite journalism consistently elevate the voices of those like him. In a story about how a system of silencing allowed the most shameful cruelties to happen, considering the architecture of truth and silence seems important.

Arabpop the magazine found a home in the Neapolitan indie publishing house Tamu — the Italian South has always been more ready to embrace its Arab culture, often being mocked by right-wing Italian politicians and their supporters, who openly dream about dividing Italy into North and South and often refer to the South as ‘Africa’, ‘Morocco’ or something along those lines.

While the team of editors is fully Italian, some contributing journalists are Italians with an Arab background while most of the writers are Arabs.

while there is a wealth of academic texts to be found, little is written about Arab culture that is suitable for the general public

Although I was the target of this latest assault — no doubt because I regularly present critical reporting about Saudi Arabia and the UAE — the message to journalists across the Middle East is very clear: Don’t criticize the crown princes.

There has been a disturbing rise in gender-related harassment and threats against female public figures. The movement for women’s rights in Saudi Arabia has terrified the government, which has insisted on doling out reforms on its own terms while detaining the female activists behind the movement. Loujain al-Hathloul, the most prominent of the Saudi women campaigners, and several others remain behind bars.

Last Friday, a Turkish court began hearings on Post contributing columnist Jamal Khashoggi’s murder — a stark reminder that justice has still not been served two years on. Jamal himself once warned me to ignore and block these Twitter accounts. Even though the man widely believed to be responsible for Jamal’s murder may never be held to account, we must not let him and those who work for him imperil one of the fundamental pillars of a free society — a free press.

Adel Abdullah cultivates a subsistence living off of six acres of peppers, eggplants, cucumbers, tomatoes, wheat, corn, and pomegranates. He is one of millions of smallholder farmers working in the Delta. He walks barefoot in his farm as a show of reverence to the land. The soil is pale and thin, almost as sandy as the beach, and choked by mounting concentrations of salt, left behind by periodic coastal flooding and pushed into underground aquifers by the rising sea.“This is the first place to be affected by climate change,” Abdullah says. “The barriers help a bit with flooding, but the salty soil is still really killing us.”

he takes irrigation water from the nearby Kitchener Drain, one of the largest and most polluted canals in Egypt that aggregates wastewater from the farms, businesses, and households of an estimated 11 million people in the Delta. By the time water reaches Abdullah’s farm, it may have been reused half a dozen times since entering Egypt in the Nile, each time accumulating more salts and pollutants and losing beneficial nutrients.

Abdullah is forced to douse the farm in fertilizers, pesticides, and salt-suppressing chemicals, all of which further degrade the soil. Those inputs, on top of the rising costs of irrigation systems and machinery, eat up any potential income Abdullah might earn

CPJ could not meet with Hajji at the Al-Jazeera office because it has remained closed since police raided the bureau on July 26, 2021, confiscating all broadcasting equipment and forcing all staff to leave the building. The raid came less than 24 hours after Tunisia President Kais Saied fired Prime Minister Hichem Mechichi and suspended parliament, granting himself sole executive power. A new constitution, approved by a largely boycotted voter referendum nearly a year later, on July 25, 2022, codified Saied’s nearly unchecked power, upending the checks and balances between the president, prime minister, and parliament provided by the 2014 constitution.

at least four journalists have been arrested, and two were sentenced to several months in prison by military courts. Many others have been attacked by security forces while covering protests.

“We found that 2022 was one of the worst years in terms of press freedom violations since we began monitoring them six years ago,” Khawla Chabbeh, coordinator of the documentation and monitoring unit at the National Syndicate of Tunisian Journalists (SNJT), a local trade union, told CPJ in a meeting. On July 25, 2022, the day of the constitutional referendum, “we monitored the most violations against journalists that has occurred in a single day,”