Skip to main content

Home/ Media in Middle East & North Africa/ Group items tagged visas

Rss Feed Group items tagged

Ed Webb

Pushed out of Egypt for COVID-19 reporting - Columbia Journalism Review - 0 views

  • “They just want to see your visa,” a British embassy official told me on March 18, passing on a message from Egyptian security officials at the country’s visa and immigration office. I knew what that meant: Other journalists had been called to the same authority to have their visas revoked. Later that day, the British official called me again as I sheltered in a hotel room, after a lawyer advised me to flee my apartment in case it was raided by police. The security services had spoken to the Egyptian Ministry of Foreign Affairs, which had passed a second message to the British embassy. “They’re asking you to leave,”
  • I dodged the meeting at the visa authority by sending a lawyer in my place, after officials at the German embassy in Cairo—I’m a dual national—warned me I could be arrested or deported there. We think it’s best you get on a plane, they said. 
  • The number of infected people has become a metric for evaluating the Egyptian government’s control of the disease; the possibility that more people could be infected has become almost blasphemous in the eyes of the authorities. Even now, as confirmed COVID-19 cases in Egypt top 7,000, the size of the outbreak remains an inflammatory subject, with fear and nationalist pride working alongside a state that is practiced at concealing information
  • ...12 more annotations...
  • I’d reported for the Guardian that Egypt likely had more coronavirus infections than the country’s official total
  • ranked 166th out of 180 countries on the Reporters Without Borders World Press Freedom Index
  • Citizens are routinely detained on charges of “spreading rumors and fake news,” including about COVID-19; the country’s public prosecutor recently warned that those accused of spreading “false news” about the virus face steep fines and up to five years in prison
  • Atef Hasballah, the editor of news site AlkararPress, who was bundled into the back of a police van and arrested on suspicion of “joining a terrorist organisation” after questioning the health ministry’s official infection count on his Facebook page
  • My story, and the University of Toronto study, sparked outrage. This was more than angry phone calls from government officials, or the smattering of threatening tweets I’d received in the past. It appeared to be a coordinated campaign, one where publicly condemning my journalism had a political purpose.  Egyptian media, dominated by pro-government talk-show hosts and columnists decried the reporting. An army of online trolls attacked the Guardian under the hashtag “lies of the Guardian.” Alaa Mubarak, the son of former president Hosni Mubarak, described what he termed the “Guardian virus” as “no less dangerous than the coronavirus.” 
  • “We’d be blind to ignore the overlap between public health, economics, and socio-political issues. We try to stay on the public health side as much as possible. But of course people standing more in the sociopolitical realm select data according to their beliefs.” 
  • I was summoned, along with Declan Walsh of the New York Times, to the headquarters of Egypt’s State Information Service, the main government organ that handles the media. During the course of a nearly four-hour meeting, Diaa Rashwan, the head of SIS, demanded repeatedly that the Guardian retract the story, and that I publish a personal apology. 
  • Rashwan accused us of “spreading panic” about COVID-19. The next day, SIS revoked my press card.
  • in undemocratic countries, amidst a desire to control information as much as the disease, scientists, doctors, and journalists are frequent targets. Authorities in Venezuela, Iran, and Belarus have detained journalists or prevented them from publishing due to their COVID-19 reporting. China expelled dozens of American reporters in an ongoing dispute with the Trump White House about journalism credentials, taking the opportunity to do so while the world is distracted with the virus. 
  • Accusations of “spreading panic,” or use of laws criminalising “fake news,” are also common, as in Egypt and Turkey, where citizens have been detained on these charges. A Chinese doctor was detained and reprimanded for “spreading false rumours” about the coronavirus; he was forced to sign a confession that he had “seriously disrupted social order,” shortly before he died of COVID-19. Turkmenistan went as far as to simply ban the word “coronavirus,” as though this alone could remove the spread of disease.
  • In Iraq, the government banned the Reuters news agency from operating in the country on April 3, after the outlet published reporting citing five sources including health ministry officials claiming that the country has a higher infection rate of COVID-19 than the official figure.  The government also issued a $21,000 fine while accusing the news agency of endangering public safety and hindering government efforts to prevent the spread of COVID-19. It demanded a public apology to the government and the people of Iraq. Reuters stood by the story, adding in a statement that the agency is “seeking to resolve the matter and…working to ensure we continue to deliver trusted news about Iraq.”
  • British officials attempted to negotiate with the Egyptian authorities. I understood that I had to leave, they explained, but with no more commercial flights I needed to wait until the airports reopened, allegedly in a few weeks’ time. Could they at least ensure I wasn’t arrested in the interim? The Egyptians offered no such reassurance, and continued to demand I show up at the visa office. They told my lawyer they were “offended” I hadn’t come in person. British officials offered for me to stay at the embassy in order to avoid detention.
Ed Webb

Three Films, One Spectator and A Polemic: Arab Documentaries and 'Global' Audiences - 0 views

  • The world is really not a global village. It is only so for those who are able to go anywhere without visas, have almost all the world’s knowledge production translated into their language, and the most important art institutions just around the corner from where they live. The rest only live under this pretense of globalism, internationalism and many other ism(s) that conceal the way power works in the world.
  • What exists is a hand-picking of a few films from all over the global south to be taken to world festivals to fulfill a quota of “world cinema,” African cinema, Arab cinema, Iranian cinema or whichever one is in vogue depending on the political climate.
  • with these exhibition circuits in mind, many filmmakers consciously or unconsciously tweak their narratives to appeal to the imaginary spectators located in this ambiguous global realm. Strategies deployed include explaining that which need not be explained if the film was targeted primarily to a familiar audience (including a phrase such as “Hosni Mubarak ruled Egypt for 30 years” is an example), having the film speak in a language other than its subjects’ native tongue rather than just adding subtitles, and opting for the consolidation of a narrative at the expense of maintaining the almost always deeply fragmented political nuances of their story. These strategies often result in films that are simplistic, clichéd, and politically problematic.
  • ...5 more annotations...
  • by being posited as films that inform, educate and explain what is going on here to audiences over there, these films become central to a pre-existing East-West dynamic—a sphere of knowledge production and image-making that tries to translate the orient to an elsewhere
  • These are discourses that seek to “save brown women from brown men” or brown liberal men from oppressive brown regimes, or basically to save the Arabs from their Arabness, with all the cultural stereotypes such a term entails.
  • The problem with these films is that they ignore the interconnectedness of “developed” and “developing” countries, of authoritarianism in the Middle East and liberal democracies in the west, of Islamic fundamentalism and the Cold War, and of metropolitan centers of global capitalism and the dispossession of millions all over the world. The problem gets even more complicated when entitlement and ability to represent becomes unquestioned.
  • These films portray living stereotypes of actual people, focusing on the elements of their lives that are ‘interesting’ only in so much as they tell us something about clichéd versions of Egypt, Tahrir, Islam, women, art and war, conflict, poverty, dispossession and resistance. These topics are not interesting for those who live in war, conflict, poverty and dispossession, those for whom Tahrir was not a spectacle and resistance is a complicated act. In such a context these issues might be relevant, but they are only interesting somewhere else.
  • I am skeptical of the act of representation itself, the provision of ready-made, easily translatable narratives about 2011 as if the revolution was a thing, and as if "Arabness" is also a thing. If postmodernism declared the death of the meta-narratives—teleogically oriented, totalizing worldviews that tend to put in a claim for the universal and promise utopian resolutions that are yet to occur—Arab Spring documentaries lie on the opposite side of the spectrum. The conditions of their existence, profitability, visibility and circulation depends first and foremost on their claims to a certain truth about “what really happened” over there. But neither the "Arab Spring" nor the "Arab World" can be explained through the sum of their parts. They are constructed, time and time again, through the very narratives that eclipse alternative imaginaries, historical renditions or analyses by foreclosing the realm of imagination all together.
Ed Webb

Driven down by debt, Dubai expats give new meaning to long-stay car park - Times Online - 0 views

  • Dubai is emptying out
  • Heading home 3.62 million expatriates in Dubai 864,000 nationals 8% population decline predicted this year, as expatriates leave 1,500 visas cancelled every day in Dubai 62% of homes occupied by expatriates 60% fall in property values predicted 50% slump in the price of luxury apartments on Palm Jumeirah 25% reduction in luxury spending among UAE expatriates
  •  
    Sign of the times.
Ed Webb

This Magazine: Libya: Is it me you're looking for? - 0 views

  • a preview of Poplak’s upcoming The Sheikh’s Batmobile: In Pursuit of American Pop Culture in the Muslim World (Penguin, 2009).
  • I thus broached the fact that I was in the country on false pretences with no small amount of trepidation. My reasons for being there sounded silly when I said them out loud, so I wasn’t sure how I’d explain that I’d travelled to Libya to confirm the story of a music video reenactment that had occurred in the Tripoli medina. But told him I did, bracing myself for a blow that never came. It was, in fact, remarkably easy convincing my chiselled praetorian to forgo the usual itinerary for some investigative work. “So, you don’t want to go with the Germans on a walking tour of the ruins?” asked Eder. “No,” I said. “I sort of lied about that on the visa application form.” “You want to find out about this music video?” “Yes. That’s why I’m here.” Eder shook his head. “Man, people come here and ask the weirdest shit. But what you are asking—this is not to fuck little boys or such.” I agreed. Vigorously. “But I warn you,” he said, presaging the fact that working in Libya was the journalistic equivalent of sculpting quicksilver, “the tour group will only allow you so much freedom before you make people suspicious. And people here don’t like to give information. They’re afraid, and maybe they should be.”
  • Eder felt more allegiance to East coast hip hop than he did to Middle-Eastern Arab culture. American popular culture was his popular culture.
  • ...11 more annotations...
  • The Tripolitan shore is, after all, where America’s centuries-long relationship with the Muslim world properly began. Operation El Dorado Canyon was but another in a long line of American military engagements with the variegated rulers of Libya, a legacy that dates back over 200 years. Within the DNA of those dusty, forgotten battles lies the code of enmity that continues unabated. But this concomitant history also hints at a lengthy cultural involvement— a mutual fascination that was tinged with both revulsion and wonder.
  • The stage darkens. Lights swing back and forth, illuminating the Hanna House. Then all goes quiet. An icon of the 1980s— onetime member of R’n’B supergroup the Commodores, 90 million solo records sold, over a dozen Top 10 singles on the Billboard charts—stalks up to the spotlight, a smile on his face, the velvety Mediterranean breeze fluttering his navy-blue shirt. He then belts out five of his most beloved hits in front of the enraptured guests, culminating in a rousing sing-along, accompanied by 40 angel-costumed children typical to this sort of proceeding, of the “We Are the World” anthem he co-wrote with Michael Jackson. “Hanna will be honoured tonight because of the fact that you’ve attached peace to her name,” Lionel Richie tells the crowd. “I love you Libya! I’ll be back.” Yes, but how did he come to be there in the first place?
  • The take-home message was that the man who wrote “Dancing on the Ceiling” was a greater nuncio for peace—or at least common ground—than any number of official envoys, roadmaps or summit meetings. But there was one item in the story that made me choke up, Beaches style. I played it again—just to make sure I hadn’t misheard. Then I made my way through the blustery autumnal day to the newsstand to purchase a copy of Gentlemen’s Quarterly. In print, the story hit me with a wallop I usually associate with passages from great literature (or first-edition comic books). Richie told GQ that when he visited the Tripoli medina, a contingent of Libyan children had massed around him, closed their eyes, made wavy gesticulations with their hands, and moaned “Hello.” This was not a séance, but rather a passable rendition of the “Hello” video clip (a staple on MTV in the station’s early years, and a landmark moment in the history of the music video), in which a gorgeous blind woman, who knows Richie only from his mellifluous voice, somehow sculpts a perfectly representative clay bust of his Jheri-curled visage. “What’s going on here? How do you know?” begged Lionel Richie of the Libyan children. “How do you know?” How did they know? Lionel Richie’s videos are prominent in the cultural memory of a generation of North Americans; a friend once described Richie’s “All Night Long” clip as “a profound piece of eschatological imagination.” Indeed, to a scion of the 1980s, the Richie oeuvre carries an almost oneiric weight. Like “All Night Long,” the “Hello” video was an indelible piece of my childhood, a kiln-fired shard of memory now flung into the quandary of the Muslim world.
  • popular culture as a binding force. Hundreds of millions of people in over a 100 countries know Lionel Richie’s music, and adore it. According to the GQ article, anti-Ba’athist residents of Baghdad had blasted “All Night Long” as the Shock ’n’ Awe™ commenced. “The only thing Shiite and Sunni now share, aside from their hatred of each other and their worship of Allah and his prophet, is their abiding love for Lionel Brockman Richie Jr.,” wrote Mr. Corsello.
  • Did hundreds of young Libyan children really have the “Hello” video downloaded onto their cognitive hard drives the same way a Westerner born of the 1980s did? In no way did I think that GQ or Lionel Richie had willfully fabricated these details. I just wondered if something had become garbled in the translation. I had to find out if that video reenactment had happened. Mr. Corsello put it perfectly: “We … have a strategic, even moral, obligation to know: What is the freakin’ deal with Lionel Richie?”
  • The Libyans I’d met so far were polite but reticent. “Such questions!” they’d remark, sounding like so many Peter Lorres in Casablanca. “Behind the questions, what do you hope to find, Mr. Richard? There is only darkness.” Indeed, it was impossible to get a peripheral sense of what was going on in Libya: I felt out of my depth, immersed in an ostensibly bright world that was defined by brutality. Securing an interview felt like pinning live butterfly specimens. I kept in mind the recent case of five Bulgarian nurses, sentenced to death on trumped-up charges of injecting the AIDS virus into poor Libyan children. They had been horribly mistreated; it took some filthy dealing on the part of European governments to secure their freedom. And I knew that any locals implicated in my quest could expect much worse.
  • maybe you think we’re backwards here
  • we spent our evenings haunting stores that sold bootleg DVDs of titles that had yet to be released stateside
  • in the vanguard of a new Libyan generation, surfing the demographic wave of a massive Middle Eastern birthrate, pulled west by the accident of his tribal affiliations, plugged in because of an unprecedented technological sea-change in how media were disseminated. And that put him as much at odds with the Libyan mainstream as I was.
  • One thing I was slowly learning in the Muslim world: There is no Muslim world. There is no monolithic, stand-alone Other.
  • Cultural critic Greil Marcus once described early rock and pop as “music that affirmed meaninglessness and in that affirmation contained every conceivable kind of meaning.” This stands as a testament to what popular culture does best: unite us in an indefinable, unrefined moment of merriment, sadness, sentiment, titillation. There are two great equalizers: Death and pop culture. That’s what Lionel Richie meant by his story. And that’s why his story meant so much.
  •  
    Essential reading.
Ed Webb

Turkey's media landscape shaken up by major foreign players | Middle East Eye - 0 views

  • At a time when press freedoms are regularly described as under threat and investment in the shaky Turkish economy is no sure bet, foreign media companies could be expected to avoid the country. Instead the opposite is true. A swathe of often state-backed foreign media outlets have begun expanding their output in Turkey, with Chinese, German, Russian and Azeri companies establishing radio stations, websites, online portals and even a news channel in recent years. 
  • Alper Gormus, a prominent Turkish media critic, said that the Turkish public depended on outlets such as Russia's Sputnik Turkiye, the UK's BBC Turkce or Deutsche Well Turkce because trust in government-controlled media was extremely low.
  • “The conditions are very similar to post-coup Turkey in the 1980s in the sense that the majority of the media is supporting the government,"
  • ...11 more annotations...
  • "Ironically, government supporters themselves don’t read pro-government newspapers. Best-selling newspapers lost their circulation after they were seized by government-friendly businesspeople."
  • Ismail Caglar, an analyst at Ankara-based conservative think tank SETA, says Turkey’s rising profile in the region attracts foreign interest. Foreign companies make media investments in Turkey to propagate their point of view and take part in domestic political debates, he said
  • A report by US government-funded think tank the Rand Corporation said last year that Sputnik Turkiye and other Russian media outlets were trying to undermine NATO by fomenting mutual suspicion between Turkey and its Western allies, enlisting Ankara’s support and impeding its opposition to Russian actions in the Middle East.
  • Sputnik Turkiye published an article on 2 December 2015 with the headline “Russia: Erdogan and His Family Directly Involved in ISIS’s Illegal Oil Shipment in Syria”. Turkey later banned Sputnik Turkiye’s website and revoked its bureau chief’s work permit and visa, but Sputnik Turkiye radio continued to broadcast. Following the rapprochement between two countries in 2016, Sputnik Turkiye’s website began to freely operate again. Its Twitter account has roughly 600,000 followers.
  • "As Turks look for fresh perspectives and alternate sources of information in a tightly controlled media environment, Sputnik Turkiye draws readers in through its shockingly open coverage on domestic issues,"
  • Other outlets, such as Germany's Deutsche Welle Turkce, have also taken a generally critical line. Prominent journalist Nevsin Mengu, whose newscasts on YouTube are watched by thousands of Turks, has recently joined its ranks.
  • BBC Turkce, which has been broadcasting since 1939, is known for an editorial style perceived to be critical of the current Turkish government. 
  • “There is this sense that stories edging on activist journalism have been regularly published because they think it will generate traffic,” 
  • BBC Turkce has more than 3 million followers on Twitter.
  • Caglar, the SETA analyst who is also preparing a report on the subject, criticised BBC Turkce for being opaque about its staffing and operational information. “They didn’t even want to acknowledge with how many people they have in their staff.”
  • Ali Duran Topuz, the editor-in-chief of independent news portal Gazete Duvar, told MEE that the current media structure in Turkey made it easier for foreign-owned outlets to operate. “It could be also financially profitable for the investors. Fox, for example, is mildly criticising the government and it posts profit. Because of large numbers of unemployed journalists, the labour cost is also very low,"
Ed Webb

Mapping the Journeys of Syria's Artists | The New Yorker - 0 views

  • Last year, wondering what it means to be a Syrian artist when Syria in many ways no longer exists, I began to map the journeys of a hundred artists from the country. As I discovered, a large portion of the older guard of artists has ended up in Paris, thanks to visas issued by the French Embassy in Beirut. Many of the younger generation headed for the creative haven of Berlin, where rent is relatively cheap. Only a scant few remained in the Middle East, which proved expensive or unwelcoming.
  • A few artists remain loyal to the Assad regime, which has long seen itself as a great patron of the arts. Some of the artists who were still in Syria asked not to be mapped, even anonymously, for fear that the regime would perceive them as disloyal and punish their families. A few took issue with the label “Syrian artist” altogether. “I don’t want to become part of the Syrian-refugee industry,” Sulafa Hijazi, a visual artist now living in Berlin, told me
  • the Syria Cultural Index, “an alternative map connecting the Syrian artistic community around the globe and showcasing their work to the world.”
  • ...5 more annotations...
  • With the war now entering its eighth year, Barakeh is unable to return to Syria. He has chosen to settle among his fellow-artists in Berlin, and is practicing what he calls “artivism.” Among the projects he is working on is the first Syrian Biennale, a mobile exhibition, currently in pre-production, that will follow the route of Syrian refugees from Lebanon to central Europe and Scandinavia
  • For Zeid, Lebanon was a terrifying experience. The child of Palestinian refugees, she had no passport. Her fear of being sent back to Syria manifested in intense anxiety. While Salman trekked to and from Aleppo to take pictures, Zeid began to have panic attacks. When she learned that Lebanese security forces were tracking her, she knew that she had to get out of the country or risk being deported. A friend told her that the French Consulate in Beirut was allowing artists to enter France as political refugees. She managed to secure safe passage for herself and Salman, and in April, 2014, they left for Paris
  • in Germany she found herself crippled with shame at leaving her family behind. She couldn’t sit in the grass without feeling such crushing grief that she had to go inside. Eventually, she went into denial. “You try to pretend that you don’t miss the country and you’re totally O.K. with the idea of not going back,” she said. In some ways, it has worked, but she has also found that leaving Syria has cost her some of her power as an artist. “I feel like I signed an unwritten contract where I gave up part of my skill in exchange for safety,”
  • Living in Berlin among the younger generation of artists, Beik is now concerned with a different kind of revolution. The opening credits of “The Sun’s Incubator” read, “The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last pennies into it and not let themselves be taken in by the material routines of the trade.”
  • Kaprealian, whose family survived the 1915 Armenian genocide by fleeing to Syria, left the country in 2014, soon after finishing “Houses Without Doors.” He saw no reason to stay; as an artist, he said, he was out of ways to work. He crossed the Lebanese border and now lives in Beirut. “All of my friends are in Europe, in America, or Canada,” he said. “Some of them went on boats. Some of them walked for ten days through Ukraine and other countries.” He added, “All of us are angry.”
Ed Webb

Egypt forces Guardian journalist to leave after coronavirus story | Egypt | The Guardian - 0 views

  • Egyptian authorities have forced a Guardian journalist to leave the country after she reported on a scientific study that said Egypt was likely to have many more coronavirus cases than have been officially confirmed.
  • She cited a study accepted for publication in the Lancet Infectious Diseases journal, which had analysed flight records, traveller data and infection rates to estimate that Egypt could have had 19,310 coronavirus cases by early March, with the lower end of the range about 6,000 cases. The Egyptian government’s official count at the time period covered by the data was that three people were infected.
  • On 17 March, Michaelson’s press accreditation was revoked. The Guardian offered the Egyptian authorities the chance to write a letter for publication rebutting its report or the Canadian study, but received no response to the offer.
  • ...7 more annotations...
  • British diplomatic officials and the SIS passed on the message to Michaelson that she needed to meet Egypt’s visa issuance authority.Michaelson, who is also a German citizen, said she was advised by German diplomatic officials in Cairo that she should not attend the meeting under any circumstances. “They said, ‘We do not believe it’s safe for you to go to this meeting. You’re at high risk of arrest and you should get on a plane,’”
  • “The national security agency told British diplomats that there was a plane one evening and they ‘wanted me on it’,”
  • Michaelson’s departure leaves the north African country with no full-time British newspaper correspondents. Bel Trew, a correspondent for the Times, was threatened with a military trial and expelled from Egypt in March 2018.
  • A spokesperson for the Foreign Office said: “The UK supports media freedom around the world. We have urged Egypt to guarantee freedom of expression. UK ministers have raised this case with the Egyptian authorities.”
  • Egypt had 366 confirmed cases of the virus by Monday with 19 deaths, according to the country’s health ministry.
  • Press freedom in Egypt has severely deteriorated since the military took power in 2013 and the former commander-in-chief of the armed forces, Abdel Fatah al-Sisi, became president the following year.
  • Domestic media has gradually come to be dominated by the state, which exercises widespread censorship. The office of the country’s last major independent news outlet, Mada Masr, was raided late last year. Access to its website from inside Egypt has been blocked.
Ed Webb

Qatar World Cup set to be major windfall for tourist-ready Dubai | Middle East Eye - 1 views

  • With little investment the UAE, and in particular Dubai, stands to gain if, as expected, supporters opt to stay in the tourism hotspot instead of tiny Gulf neighbour Qatar during the November-December tournament.
  • Dubai's more permissive environment - including a wider availability of alcohol - could entice fans
  • Budget airline flydubai will run at least 30 return flights a day to Doha, just an hour away, part of a daily airlift of 160 shuttle services from cities in the resource-rich Gulf.
  • ...4 more annotations...
  • Any economic windfall, and reflected glory from the first World Cup on Arab soil, will come less than two years after Doha and the UAE were at odds over a regional blockade that isolated Qatar from its neighbours.
  • The UAE is also offering multiple-entry visas at the nominal fee of 100 dirhams ($27) to people with tickets for World Cup matches.
  • One Dubai hotel, on the man-made, frond-shaped Palm island, will be given over entirely to football fans.
  • Shuttle flights will also run from Saudi Arabia, Kuwait and Oman to relieve pressure on accommodation in Doha, a city of 2.4 million. But "relative to other Gulf states, Dubai does hold an advantage with its standing as a major tourist destination already",
Ed Webb

Tunisia: Attack on Djerba synagogue was premeditated by national guard member - Al-Moni... - 0 views

  • Tunisia’s Interior Ministry has identified the man behind an attack that killed five people earlier this week, saying Thursday that he intentionally targeted a synagogue on the Mediterranean island of Djerba in a premeditated act. The ministry described the shooting as a “cowardly criminal attack” but refrained from calling it an act of terrorism.
  • The French National Terrorism Prosecution Office has launched its own probe into the attack. Benjamin Haddad, who was French, was killed in the attack along with his cousin Aviel Haddad, who held dual Tunisian and Israeli citizenship.
  • The shooting coincided with the annual Jewish pilgrimage that is part of Lag Ba’omer celebration. Thousands of Jews from around the world gather at El-Ghriba synagogue, believed to be the oldest in Africa dating back 2,500 years.
  • ...3 more annotations...
  • Djerba’s Jewish population is one of North Africa’s biggest, although in recent years it declined to 1,500, down from 100,000 in the 1960s
  • Tunisia and Israel do not have formal diplomatic relations, but Israelis can apply for a visa to travel to Djerba for the pilgrimage.
  • During his electoral campaign in 2019, Saied, who has since cemented his one-man rule, labeled normalization with Israel “high treason.”
1 - 11 of 11
Showing 20 items per page