Media in Middle East & North Africa

The absence of electrical power and the expense of access to the internet and mobile networks are among these obstacles. The Harvard Forum I Research ICT Africa demand-side survey estimates that the bottom 75% of mobile-phone users in Africa spend 11%-27% of their household income on mobile communications, far more than the equivalent in developed countries. This is one aspect of a digital divide that mirrors broader structural inequalities in many parts of the developing world, which works to “deepen the vicious circle between inequality and technology diffusion”.

development agencies implement technical solutions to problems while ignoring the political and structural dimensions which cause those problems

While researching democracy-promotion programmes in post-Soviet Armenia, I found that many of the foreign experts and trainers often possessed very little information about the country, its history, politics and culture, even though their training had aimed at changing its social, cultural and political attitudes, practices, and understandings. There were many inefficiencies and wasted opportunities as a result

Shaam News Network, which identifies itself as a "group of patriotic Syrian youth activists... supporting the Syrian people's efforts for democratic and peaceful change," has gained popularity for putting news and footage of the uprising online

But Assad's government has also launched a cold war on information and communications technology, with activists turning to satellite phones when Internet access is cut off and mobile phone networks jammed

Jasmine Revolution" report on protests and killings and sends it to journalists around the world

While in Tunisia, TMG members also attended a hearing by the appeals court in the southern town of Gafsa, in the case of journalist Fahem Boukadous, who had been charged following his coverage of labour unrest, including demonstrations against corruption, in southern Tunisia. Boukadous had been sentenced to four years in prison for “belonging to a criminal association” and “harming public order.” Boukadous had been hospitalized with breathing problems the day before the hearing. On the day this report was released, the Gafsa court upheld the sentence. Boukadous, a journalist with the Al-Hiwar Al-Tunisi satellite television station, went into hiding in July 2008 after discovering that he was wanted by the Tunisian authorities on charges sparked by his coverage of the demonstrations in Gafsa. He was sentenced to six years in prison in December 2008. Boukadous emerged to challenge the sentence in November 2009 on the basis that he had been tried in absentia. A court overturned the previous ruling, but said that Boukadous would again be tried on the same charges. In January of this year, the journalist was found guilty as charged and sentenced to four years in prison – upheld on 7 July.

Although the media is allowed to cover parliamentary debates, those outlets that are allowed in receive instructions about what kind of coverage to provide; Once a fortnight, state TV broadcasts from 9:00 am to 12:00 am questions and answers from parliament, live, but opposition members have to ask their questions after 12:00; Since stateowned media ignore questions asked by opposition MPs, political parties try to disseminate them through their affiliated newspapers or websites. The problem is that through those channels exposure is very limited.

Sometimes, people receive text messages warning them of the consequences of buying certain newspapers. Thus, most people who buy such newspapers are those affiliated with the papers’ stands politically. The editor said they have turned to the web in an effort to disseminate information through that route, but when we spoke to him he said the website was blocked.

Despite the dangers and claustrophobic environment, a number of independent journalists continue to attempt to carry out their profession. Often, they report on corruption – and the authorities react with redoubled wrath. In fact, it was a satirical mock interview with Tunisian President Zine El Abidine Ben Ali, in which he talks about his alleged nepotism, corruption and repression of political opponents, which renowned critical journalist Taoufik Ben Brik believes earned him a six-month jail sentence on fabricated charges of assaulting a woman in a car park.

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".

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.

"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

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.

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."

Tunisia’s Minister of Culture al-Mahdi Mabrouk told the conference. “You cannot expect to go from a media of propaganda to an independent media in just a few months, such a transition takes time,”

In Syria we resorted to a network of stringers who we trained over the phone

72 percent of those participating thought satellite news channels had contributed to the Arab Spring

“All the Arab regimes wanted to control the media, to impose restrictions on us and even to prevent us from working, as in Syria, which forced us to take positions,” said al-Jazeera presenter Jamil Azar

“The fact that there are a variety of means to get information does not necessarily mean quality journalism,”

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

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.

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

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

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.

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

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

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

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.