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The Orientalist eye, it seems, is keen to imbue the landscape with greater enigmatic significance - and Parris concludes his street-corner musings with the melodramatic lines: “Everywhere the concrete was gashed with black mould. But that’s how concrete does stain, in the rain. Visitors to Beirut must learn to love the stains.”

Parris’ foray into the realm of Orientalist lecture would appear to be relatively benign compared to those of contemporaries such as, say, the British travel writer who penned “Boobs, Botox and the Babes of Beirut” - in which we learn that “in Lebanon the women look like Cleopatra” but that plastic surgery fiascos can result in a situation in which “some look as if a drunken Picasso has drawn a face on to a balloon”.

Thomas Friedman’s determinations that Israel’s bombing of Lebanese civilians is “logical”, that Palestinians are “gripped by a collective madness”, or that Iraqis need to “suck on this”.

the West’s ongoing addiction to Orientalism

Nowadays, there are increasing efforts among reductionist Orientalist circles to market Beirut as the resurgent “Paris of the Middle East”, a glamorous hub of hedonism boasting all manner of extravagant money-spending opportunities - yet one that still retains the requisite exotic elements, such as the ever-astounding coexistence of miniskirts and hijabs, Hezbollah and billboard lingerie ads. 

the glorification of elite excess and materialism directly serves the interests of a global neoliberal order predicated on obscene socioeconomic inequality

the activists’ 2012 campaign: Askar Kazeebon (Lying Military) whose modus operandi was to broadcast videos and documentaries to pedestrians that falsify the military’s accounts of various events and expose the soldiers’ crimes and human rights violations that official and regime-friendly media ignored

the military, Egypt’s central power, endeavoured to restrict the public space and erase the memory of the January 25 revolution. For this power knows that while memories are linked to the past, they determine how many Egyptians will perceive the future. The military pursued 1984’s Orwellian prophecy: ‘he who controls the past controls the future’.

the walls of revolutionary graffiti were repainted, CCTV cameras were installed in central spaces, and governmental offices were relocated away from the heart of Cairo

in dismantling the revolutionary symbols, the regime intended to construct a collective memory that excludes rival interpretations of events to its own. That is reminiscent to the Bahraini government’s destruction of Pearl Roundabout, the rallying point of the 2011 mass anti-government protests.

In November 2013, a few hours after Prime Minister Beblawi inaugurated it, protesters vandalised a memorial that the government built for ‘the martyrs of the revolution’. In his inaugurating speech, Beblawi referred to January 25 and June 30 ‘revolutions’ as well as the martyrs of the police and the army. That was interpreted by the protesters as another attempt to conflate the meanings and disrupt the image and the perceptions of the January 25 Revolution in the Egyptians’ collective consciousness

The unprecedented crackdown on dissent and the draconian laws that reportedly imprisoned tens of thousands of activists had prompted many to surrender the public space. Some are silent out of fear or disappointment. Others tried to put the memory of the revolution aside, so that they can go on with their own personal lives

Since the 2013 military coup, state and private media outlets – mostly controlled by the regime’s clientele – have kept glorifying the military’s role in recent years as well as defaming the revolution and activists as tools of the west to destroy Egypt

tech-savvy young activists already utilised memorialisation to foment the democratic uprising. We Are All Khalid Said, a Facebook page created to commemorate the 28-year old Khalid Said who was brutally tortured and killed by police, in 2010, became the January 25 protests’ virtual rallying point and main coordinator.

there are many initiatives to resist forgetting the revolution and silencing its voices. The most recent of which is Mosireen Collective’s 858 archive of resistance. In the Collective’s own words, the archive includes raw photographs, videos and documents that ‘present thousands of histories of revolt told from hundreds of perspectives. While the regime is using every resource to clamp down on public space and public memory the time has come to excavate and remember and re-present our histories.’

Wiki-Thawra whose slogan is ‘so we don’t forget’; UCLA’s Tahrir Documents; AUC’s University on the Square; and MIT’s 18 Days in Egypt.

After the 2013 military takeover, thousands involuntarily left the country to live in exile abroad. A minority among the exiled are still engaged in telling stories of the revolution and protesting al-Sisi government’s human rights violations and destruction of Egypt’s democratic hopes. Using art and satire, they continue to disturb the regime’s hegemonic revolution-defaming narratives.

it is still uncertain whether the regime has successfully dominated the Egyptian collective memory of the January 25 Revolution. That is because collective memory is not a static realm but rather a fluid construct that shapes – and is shaped by – current conditions and future aspirations.

Hajar Harb was tried in her absence, while she was in Jordan receiving treatment for breast cancer. On 4 June 2017 she was convicted and sentenced to six months in prison and a fine of 1,000 ILS (276 USD). She appealed against the court’s decision.

As political in-fighting between Fatah and Hamas continues, authorities in the West Bank and Gaza have used threats and intimidation against activists and journalists to suppress peaceful expression, including reporting and criticism. 

According to the Palestinian Center for Development and Media Freedoms, a Ramallah-based NGO, in 2018 the Palestinian authorities in the West Bank were responsible for 77 attacks on media freedom during the year. These included arbitrary arrests, ill-treatment during interrogation, confiscation of equipment, physical assaults and bans on reporting. The Hamas authorities in Gaza were responsible for 37 such attacks.

“The violence of a certain capitalist economy makes a lot of life fragile, vulnerable, and empty of meaning. The film is about the beauty and innocence of love between two 20-year-olds, which is ruined and cut down by economic issues.”

This attention to material reality is another way that Atlantics thwarts our expectations about class. Many of the recent international films tend to make it legible and palatable to audiences in the West. The working classes are maids, nannies, drivers, tutors; in Parasite, the Korean upper-class family is easily replaced with a German one. I’d love to interview Americans leaving the theater after watching Atlantics. Are these Senegalese characters rich or poor? What class are they? The women have hair weaves and take selfies. They wear T-shirts, possibly second-hand, that say “Froot Loops” or “Chicago.” Everyone is black. Everyone has a cell phone. Ada casually sells hers on the side of a dirt road where a man in flashy sports gear goes for a run past horse-drawn carts. Her parents take her to a modern clinic for a doctor to test if she is a virgin.

We are the Atlantics. The sea is the sweat of the great majority trying to live, love, and work.

One striking difference between the Israeli state books on the one hand, and the ultra-Orthodox and Palestinian books on the other, is their willingness to engage in self-criticism. For the Israelis, this is an evolution that began in the late 1990s, after many historians began to re-evaluate early Israeli history, and a left-wing member of the Knesset became education minister. Israeli state textbooks began to admit that some Palestinians left their land within Israel because they were expelled. And they began to make reference to the Arabic name for Israel’s War of Independence in 1948: the Naqba, or Catastrophe. They also began ask Israeli Jewish students how they would have felt about Zionism if they’d been in the place of the Palestinians. There is still far less of this in either the ultra-Orthodox or Palestinian books. For example, the Palestinian texts don’t deal in any significant way with the Holocaust or its relationship to the founding of Israel.

just how politicized the teaching of history and geography has become for Israelis and Palestinians—with both sides at times quite literally wiping each other off the map. Not that Israelis and Palestinians are alone on this score. Think of Cyprus, where for decades Greek and Turk Cypriotes did not consider themselves part of a single people, or Northern Ireland, where even the name used to describe the territory continues to be highly charged. (Is it a province? A state? A region?) The process of ending such misrepresentations, the authors of the study find, is therefore “exceedingly difficult and requires deliberate and courageous effort.” It also takes time.

Palestinian textbooks are still in their first generation

Sociologist Sammy Smooha of Haifa University, who conducts an annual survey of Arab and Jewish relations, says that the goal now should be to write textbooks that do more to expose each side to the other’s narrative. “You have to engage with the other side’s arguments in a serious manner and not just build up a straw man in order to break it.” Eyal Naveh, a professor of history at Tel Aviv University and the author of several textbooks for middle-school and high-school students, agrees. “If you ignore it, it’s as if it doesn’t exist,” he said.

a book called Side By Side that included a “dual narrative” of all major events in the region since 1917, through the Second Intifada in 2000. Naveh calls the book “a successful failure:” Though it had been lauded by the international press and continues to sell abroad, the book was banned by both the Israeli and Palestinian education ministries. Naveh now believes that getting such a textbook to become part of the Israeli and Palestinian curricula is “impossible.”

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.

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

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.”

“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.

the government intends to implement an "insular nationwide intranet" isolated from the global internet and heavily regulated by the government. If successful, Iran will have accomplished something few other nations could: full control over its citizens' modern communications

If Iran were to insist on censoring obscenity, it could take different measures - like those employed by Saudi Arabia, which installed a sophisticated keyword filtering system. Though the kingdom's restrictions are severe and infringe on freedom of expression, its filtering system is at least more transparent than Iran’s. Or better yet, it would offer free home-filtering software free of charge to every family, as Jordan's Ministry of Information and Communications Technology recently did. Instead, the government seeks to tear its citizens away not only from the global internet, but from communicating with their families and friends abroad. Such a move will be damaging not only to citizens, but to the country's economy, unsustainable without global connectivity. Those with doubts need only look to Egypt: When that country cut off access to the internet in January 2011, the economy lost an estimated $18 million each day. 

From West to East, dozens of nations have found some reason or another to implement new restrictions. In the United States and Europe, it's copyright. In India, the world's largest democracy, the impetus is religious insults. Across Southeast Asia, the justifications vary, but, as in most of the world, the underlying reasoning appears to have more to do with controlling a nation's populace than with excuses given on the surface. Will Iran succeed in sequestering itself from the online world? For a time, perhaps. But as most authoritarian leaders eventually learn, there are red lines - some which may not seem so apparent at first - that the population won't let them cross. For Iranians, access to the internet may be that line.

Many of the region's most influential journalists have written their best stories for Lebanese newspapers, relishing the freedom to be critical that one could only dream of under other more oppressive governments.But the freedom was never complete.Some journalists have paid the ultimate price for their work, including An-Nahar's Samir Kassir and Gibran Tueini, who were both murdered as the Syrian army pulled out of Lebanon in 2005.As-Safir's Salman escaped an assassination attempt himself in 1984, when Lebanon was mired in civil war

long-standing reliance of Lebanese media on political financing from the Middle East's rival powers

advertising revenue slump

During the 1975-1990 Lebanese civil war, Libya's Muammar Gaddafi, Iraq's Saddam Hussein and the Palestine Liberation Organisation's Yasser Arafat were key financiers.As-Safir acted as the voice of Arab nationalists and defenders of the Palestinian cause, while An-Nahar stood for Lebanese pluralism.After the war, Saudi, Qatari and Iranian money took over, but a few years on, even Riyadh's oil-fuelled coffers ran dry.

regimes have taken to setting up newspapers on their own turf

The editors of An-Nahar, founded in 1933, have denied rumours that it may face closure, but its journalists have not been paid for seven months and several have been let go.Staff at the English-language Daily Star as well as the Al-Mustaqbal newspaper and television station owned by billionaire Sunni former Prime Minister Saad Hariri say they too are owed pay.

Ideologically, the president is trying to depose so-called mainstream media in favor of the media he likes — Breitbart News and the rest. Another way of making this point is to say that he’s trying to substitute news for propaganda, information for boosterism.

“Many people say” is what’s known as an argumentum ad populum. If we were a nation of logicians, we would dismiss the argument as dumb.We are not a nation of logicians.

The president is responding to a claim of fact not by denying the fact, but by denying the claim that facts are supposed to have on an argument

This is a version of Thrasymachus’s argument in Plato’s Republic that justice is the advantage of the stronger and that injustice “if it is on a large enough scale, is stronger, freer, and more masterly than justice.”

Truth is what you can get away with.

The interesting conversation concerns how we come to accept those lies.

If a public figure tells a whopping lie once in his life, it’ll haunt him into his grave. If he lies morning, noon and night, it will become almost impossible to remember any one particular lie. Outrage will fall victim to its own ubiquity. It’s the same truth contained in Stalin’s famous remark that the death of one man is a tragedy but the death of a million is a statistic.

explanation becomes rationalization, which in turn becomes justification

Here’s a simple truth about a politics of dishonesty, insult and scandal: It’s entertaining. Politics as we’ve had it for most of my life has, with just a few exceptions, been distant and dull.

it’s exhilarating. Haven’t all of us noticed that everything feels speeded up, more vivid, more intense and consequential? One of the benefits of an alternative-facts administration is that fiction can take you anywhere.

we adopt new metrics of judgment, in which politics becomes more about perceptions than performance—of how a given action is perceived as being perceived. If a reporter for the New York Times says that Trump’s press conference probably plays well in Peoria, then that increases the chances that it will play well in Peoria.

Some people became desensitized by the never-ending assaults on what was once quaintly known as “human decency.” Others seemed to positively admire the comments as refreshing examples of personal authenticity and political incorrectness.

anxiety and anger are their own justifications these days

In his 1953 masterpiece, “The Captive Mind,” the Polish poet and dissident Czeslaw Milosz analyzed the psychological and intellectual pathways through which some of his former colleagues in Poland’s post-war Communist regime allowed themselves to be converted into ardent Stalinists. In none of the cases that Milosz analyzed was coercion the main reason for the conversion.They wanted to believe. They were willing to adapt. They thought they could do more good from the inside. They convinced themselves that their former principles didn’t fit with the march of history, or that to hold fast to one’s beliefs was a sign of priggishness and pig-headedness. They felt that to reject the new order of things was to relegate themselves to irrelevance and oblivion. They mocked their former friends who refused to join the new order as morally vain reactionaries. They convinced themselves that, brutal and capricious as Stalinism might be, it couldn’t possibly be worse than the exploitative capitalism of the West.

I fear we are witnessing a similar process unfold among many conservative intellectuals on the right. It has been stunning to watch a movement that once believed in the benefits of free trade and free enterprise merrily give itself over to a champion of protectionism whose economic instincts recall the corporatism of 1930s Italy or 1950s Argentina. It is no less stunning to watch people once mocked Obama for being too soft on Russia suddenly discover the virtues of Trump’s “pragmatism” on the subject.

George Orwell wrote, “To see what is in front of one’s nose needs a constant struggle.”

Not to look around, or beyond, or away from the facts, but to look straight at them, to recognize and call them for what they are, nothing more or less. To see things as they are before we re-interpret them into what we’d like them to be. To believe in an epistemology that can distinguish between truth and falsity, facts and opinions, evidence and wishes. To defend habits of mind and institutions of society, above all a free press, which preserve that epistemology. To hold fast to a set of intellectual standards and moral convictions that won’t waver amid changes of political fashion or tides of unfavorable opinion. To speak the truth irrespective of what it means for our popularity or influence.

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.

Noah, who in the Bible's Book of Genesis built the ark that saved his family and many pairs of animals from a great flood, is revered by Judaism, Christianity and Islam. An entire chapter in the Koran is devoted to him.

Cairo's Al-Azhar, the highest authority of Sunni Islam and a main centre of Islamic teaching for over a millennium, issued a fatwa, or religious injunction, against the film on Thursday. "Al-Azhar ... renews its objection to any act depicting the messengers and prophets of God and the companions of the Prophet (Mohammad), peace be upon him,"

Mel Gibson's 2004 film "The Passion of the Christ" on Jesus's crucifixion was widely screened in the Arab World, despite a flurry of objections by Muslim clerics. A 2012 Arab miniseries "Omar" on the exploits of a seventh century Muslim ruler and companion of the Prophet Mohammad also managed to defy clerics' objections and air on a Gulf-based satellite television channel.

Just as Mr Rohani faces opposition to his recent diplomatic overtures toward the West, his social agenda, led in part by the seemingly reform-friendly culture minister, Ali Jannati, is raising the ire of conservatives.

Farhad Fakhreddini (pictured), the founder of the national symphony orchestra, quit his job in 2009 to protest against growing interference by Mr Ahmadinejad’s government. On March 4th the 76-year-old conducted his first concert in five years, fronting the privately funded Mehrnavazan Orchestra. In the first of four sold-out concerts in Tehran, Mr Fakhreddini felt emboldened enough to perform a muscular rendition of the old national anthem from the time of the Shah. As he spun around to conduct his audience’s singing, he was met with standing ovation.

censorship is more often a matter of personal judgment than government decrees. Such was the case in January when Pallett, a fusion band that mixes folk music with jazz and Western pop influences, performed on national television. For 35 years the state broadcasting monopoly has forbidden musical instruments to be shown on TV. To circumvent the rule the band performed in pantomime, pretending to play their instruments in the air

The video quickly went viral. “We had not expected this reaction from so many people who found it controversial,” says Rouzbeh Esfandarmaz, the band’s clarinettist. “Our music is not political.”Viewers on both sides saw it differently. While some lauded what they saw as a brave political statement, the producer of the show got a rap over the knuckles for allowing such an open mockery of a state institution.

there are signs of tightened censorship in other areas