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undeterred by the overwhelming evidence that such policies are always destined to fail, governments continue to announce plans to block access to X-rated websites, often with large scale public support. In 2011, when many thought the days of Ben Ali-style censorship were coming to an end, a Tunisian court decreed that porn sites would henceforth be banned, as they “contravened the values of Arab Islamic society.” And just a few months before its overthrow, the Islamist government of Muhammad Morsi in Egypt thought nothing of dedicating endless hours to discussing a new $3.7 million anti-porn initiative. Clearly they didn’t think their country had bigger priorities

Put simply, porn is BIG in the Arab world. According to Google AdWords, the 22 Arab states account for over 10% of the world’s searches for “sex”; A total of 55.4 million unique monthly Google “sex” searchers in the 22 (ignoring a further 24 million searches for “sex” transliterated into Arabic) that matches both the United States and India, two countries often cited as world leaders in porn consumption

But how should we interpret these figures? In the West, where the Muslim world is often seen as a place that doesn’t “do” sex, stories that reveal supposedly traditional societies to be hotbeds of depravity gain wide traction in the media as amusing exposes. Religious conservatives in the Arab world meanwhile draw on evidence of a growing porn habit as proof of the “corrupting” influence of Western values, and the need to return to the supposedly pristine morals of the past. For example, the leading Saudi Internet “expert”, Dr Mishal bin Abdullah al-Qadhi, regularly warns that porn sites are part of an insidious Western plot. “The people of the West”, he wrote, in one particularly damning diatribe, “with their corrupt values, reprehensible principles and pernicious sicknesses, are not content to reveal their vices and sins […] to themselves alone, but continuously strive to spread these afflictions and sicknesses to the lands of Islam.”  In reality, both reactions rely on ahistorical ideas about the role of sex in Arab society. Instead, as the writer and academic Shereen El Feki, author of Sex and the Citadel, points out in a discussion with Raseef22, there really is nothing shocking about the revelation that Arabs watch porn. Before the twentieth century and the rise of the modern state, Arab culture had a long tradition of erotic imagery in literature and music. Medieval books such as The Perfumed Garden and the Encyclopaedia of Pleasure may have had a factual purpose, but they were also read for pleasure. “They are meant to arouse,” explains El Feki, “they are pornography. These notions of pornography as some sort of alien entity to Arab culture are completely untrue.”

There is no filtering by keywords if a user chooses another country (e.g., United States, Canada) as their location even if they are physically located in an Arab country. - One anomaly we found when probing filtering by keywords is that filtering does not work if a filtered Arabic keyword is used together with another non-filtered keyword. For example, a search using the Arabic word for “sex” is banned, but using the Arabic term for “sex stories” is not banned.

We found no evidence of filtering of keywords in Arabic or English that could return results in other content categories. We tested keywords that could yield politically sensitive content (e.g., “democracy”, “freedom”, “opposition”), content related to violence and terrorism (e.g., “torture”, terror”, “explosive”), Web sites related to minority and religious rights (e.g., “Shiite”, “Baha’i”, “Christian”, “Jews”), and content related to women’s rights (e.g., “gender”, “equality”). None of the tested keywords were found banned.

It is interesting that Microsoft’s implementation of this type of wholesale social content censorship for the entire “Arabian countries” region is in fact not being practiced by many of the Arab government censors themselves. That is, although political filtering is widespread in the MENA region, social filtering, including keyword filtering, is not practiced by all countries in MENA. ONI 2007-2008 and 2008-2009 testing and research found no evidence of social content filtering (e.g., sex, nudity, and homosexuality) at the national level in countries such as Algeria, Egypt, Iraq, Jordan, Lebanon, and Libya.10

The editor of Morocco's Al-Ahdath Al-Maghribia daily newspaper, Moktar el-Ghzioui, is living in fear for his life after he expressed support for pre-marital sex during a local television debate. "The next thing there was a cleric from Oujda releasing a fatwa that I should die," he says.

Critics of the Islamists argue that the strict sex laws merely increase the harassment of women.

Imam Hassan Ait Belaid who preaches at a mosque in the commercial capital Casablanca says article 490 is part of the culture of a non-Western society. "If the code is removed, we will become wild savages. Our society will become a disaster," he says.

This film industry has been coined Kannywood, after the city it originated in. According to statistics from the National Film and Video Censors Board, its movies make up about 30 percent of the films produced by the Nigerian-based film industry popularly called Nollywood, which is often portrayed as the third-largest in the world, after Hollywood and Bollywood. Kannywood even has its own TV channel, Africa Magic Hausa, showing Hausa-language movies on satellite TV.

Kannywood treats the viewer to a mishmash of cultural influences. Before the local film industry came into existence in the 1990s, northerners watched Hindi language films from India. The glamour of the Bollywood musicals has rubbed off on the Hausa movies, some of which feature singing and dancing.

Their tone is devoutly Muslim, though, and quite often the very last line of the end credits is "Glory be to God". Many of these movies also denounce the hypocrisy of the ruling classes who preach piousness in public while sinning in private.

The segment in question has been posted on the video-sharing site YouTube since its initial broadcast last month, and has been viewed hundreds of thousands of times.

It's the first queer play to be staged in Tunisia -- director Essia Jaibi's latest work aims to challenge conservative attitudes in a country where same-sex acts are punishable by prison terms.

The work, co-produced by LGBTQ rights group Mawjoudin (translating to "we exist"), is played by six mostly amateur actors aged between 23 and 71, reflecting a decades-long struggle for gay rights in the North African country

other problems facing all Tunisians: police and judicial corruption, impunity and the brain drain as people leave to seek better economic prospects in Europe and elsewhere.

The porn, in an odd way, has told the story of Iraq's security and political situation since Saddam Hussein's ouster in 2003. It emerged in the anything-goes atmosphere that erupted in the vacuum immediately following the U.S. invasion — then went back into hiding amid the anarchy when armed militias roamed the capital through 2008, targeting those they saw as immoral.Its reemergence since then reflects how security has improved but also how the fragile government is busy with more pressing issues than spicy videos.

it was not the opposition of "fundamentalists" that kept rai music (not just Khaled's) off of Algerian state radio. It was rather the Algerian (secular) regime's cultural policies. The state promoted classical Arabic culture and language and denied Algeria's multi-cultural nature. Expressive culture in Arabic dialect or Berber was therefore mostly excluded from the state-controlled media. Rai is sung in the distinctive colloquial Arabic of Wahran, which is not only very different from "classical" or literary Arabic but is also full of borrowings from Spanish, French and Berber. This official national-cultural politics, which was particularly severe during the regime of Houari Boumediene (1965-1978), began to loosen during Chadly Benjadid's regime (1979-1992). In his 1998 autobiography, "Derrière la sourire," Khaled recounts how he managed to break the official embargo in the early 1980s. He was invited to appear on a television show in Algiers, which he knew couldn't be censored because it was to be broadcast live. Khaled was warned ahead of time: no vulgarities, no sex. So he sang three songs: the first, about the Prophet Muhammad; the second, a "poetic" song, one that was artistically acceptable; and the third, about alcohol and women.

Khaled, and other rai stars, came to play at this festival due to the efforts of the "liberal" wing of the Algerian regime -- and particularly to Lieutenant-Colonel Hosni Snoussi, director of the state-supported arts and culture organization, Office Riadh el Feth in Algiers, who had taken Cheb Khaled under his wing. The regime's liberal wing became interested in promoting rai in the wake of a spate of unrest that erupted during the early 1980s. Most notably, the 1980 riots in Tizi Ouzou, Kabylia (the "Berber Spring"); the 1985 riots in Algiers, which broke out following rumors that housing being built for the poor would be allocated to state bureaucrats; and the 1986 student riots in Constantine that resulted in the deaths of four protesters and spread to other cities. Young Algerians played a leading role in all these protests. The liberal wing of the regime determined that, to deter further unrest, the state should focus on promoting the interests of youth and on developing the market economy. Rai was very popular with Algerian youth, and so the "liberals" determined that promoting it was to be an important element of these reform efforts. It was changes in state policy toward rai, pushed by Snoussi, that got Khaled and other rai stars onto the stage in Algiers in 1985.

The French government had a stake in trying to control and channel the energies of the rai scene.