Expressions of the Arab Spring
Spanning
the last 3 odd years, the Arab Spring has witnessed wave after wave
of protests, riots, and all out civil war, leaving large regions in
turmoil. The effects of the movement have been met with different
results in different areas, but one one common factor can be seen.
Throughout the Middle East, independent creativity and self
expression has blossomed as a means to fight back against the
violence and chaos. In Tunisia we see an explosion on a once
underground type of music, a decimated Libya has seen a return to
poetic freedom after years of oppression, while in Egypt the people
use public spaces to visually depict their hopes and objections.
While these may be specific instances, all of these mediums took form
across the Arab Spring countries.
The
most direct and simple way to convey a message is visually. Even from
the earliest cave drawings, we can decipher what the creator was
trying to convey. Accordingly, the Arab Spring has seen an
incredible amount of visual art and graffiti that would have never
been possible under Regime rule. Quite literally, “Street Art is an
unsanctioned visual practice in public places that questions the
existing environment about socially relevant themes”(Dawn). It acts
as a catalyst and a motivator to question your surroundings and those
in charge. This is an world-shaking thought to introduce to the
public mentality. Art itself is nothing new to the Arab world. Arabic
art is an ancient and treasured style. Even in recent times Arab
elites have been know to spent an inconceivable amount of money on
the medium. In once instance, a single painting was bought by the
Emirs daughter in Qatar. She spent $250 Million on it (Feldman) But
this is not the art of influence. In fact, this type of practice has
the direct opposite effect. Such outlandish displays of carefree
wealth only serve to add fuel to the fire.
Nowhere
is this theme more present than in Libya and Egypt. Within days of
Tripoli falling to the revolution, caricatures of Gaddafi as as a
rat, ape or vampire began springing up on the city walls (Dawn). This
“new” Gaddafi spread with the revolution, and can still be seen
across the country.
Egyptian
protesters, for the most part, have taken a more storied approach to
their visual revolution. Instead of attacking authority directly
through defamation and insult, (although there is that too) Egyptian
street artists have chosen to displayed their legacy of struggle.
More times than not, these pieces showcase violent action and
oppressive rule through witty, angry, and solemn imagery. A great
example of this can be seen in the picture provided below. The faces
of all the security force personnel appear to be Mubarak. To the
right an artist uses his brush and easel to fight back against a
shield and baton. These types of pieces are almost always done in
public spaces, to capture the widest audience. This is in itself
groundbreaking, as historically such spaces were closely guarded and
cut off, specifically to prevent such revolutionary acts that have
taken place (Kimball). In effect, these street artists have become
causes of social change and development, coercing masses through
easily graspable but incredibly important messages.
 |
| Tahrir Square |
The
thought provoking and often restless Arab hip-hop which has blossomed
in the Arab Spring is a far cry from the harmless folk music and love
songs the area has known for so long. What has developed is a musical
expression of corruption, poverty, and struggle. It is raw in the
truest sense. While the genre is still in its infancy in the Middle
East, it has finally found a solid and respectable place with a
growing number of fans. However, it was not always so direct and
accusatory. In its early stages, especially in Tunisia, lyrics where
often times changed to provide a more subtle position. For example,
27 year old artist El Deeb would say things such as “them” or
“the big guys” instead of directly referring to the the
government (Hebblethwaite). However, this all changed with the
strength of the protests. The revolution was effective in destroying
the fear and silence of the people, allowing for a more centralized
message to be created. Another aspect of this institution is its
complete lack of corporate structure, as “for the most part there
are no managers, no record labels, and no copyright on the music”
(Hebblethwaite). There is quite literally no other influence on the
message other than what the artist wants to say. That is an
incredibly powerful and pure position to hold, and one absolutely
unheard of under regime rule. Most notably because these messages
have been broadcast globally through international and social media,
which in turn forges “a more unified, vibrant, and coherent Arab
hip-hop movement” (RAR).
Nonetheless,
such a pristine medium of expression can go both ways. In Syria where
the Assad government still has millions of supporters, pro-regime
groups are creating their own hip-hop songs praising support of the
regime and downplaying the Rebels. At the same time, lyrics are being
written in support of the rebels cause against Assad. Overall though,
hip-hop has generally began to be more openly accepted in the Middle
East. It has shown its strength and has been a powerful pull on
public influence. But on a deeper level, “hip-hop is close to
Arabic culture in a way- it's based on poetry and Arabs are very fond
of poetry” (Hebblethwaite).
Due
to this fondness of poetry, it has play a momentous role not only in
the Arab Spring, but in Arab culture as a whole. In fact, many of the
most influential poems from the Arab Spring were written in
pre-revolution years. One poem, written by an early Tunisian poet,
goes “If the people want life, destiny will have to obey.” This
was translated and shouted by protesters as “The people want the
fall of the regime”, as in Arabic the wording for both phrases is
quite similar. Some very serious poets even took a problem with the
poems used by protesters. They felt that exploiting poetry as a
political medium is merely propaganda, no different from that of the
governments (Rashad). While this is a minority opinion, you can see
the connection of influence and motivation. However in this case it
could be argued such propaganda is certainly for the greater good.
Historically,
poets have played a dangerous game in the Middle East. Especially in
Libya, where basically a whole generation of poets and writers where
thrown in jail in the 1970's, most of whom where in their 20's at the
time. By the time they were released in their late 30's, the Gaddafi
regime tried to promote their own poets and writers. There were few
takers. To settle the tension, the government warranted them freedom
to write. However they could only write about abstract and
inconsequential matters. The real problems that needed to be
addressed were off limits (Brown). Finally though, with Gaddafi gone,
the writers and poets of Libya were free to embrace their medium to
its fullest extent, targeting real concerns and unprecedented
optimism for the future.
Undoubtedly,
in recent years the people of the Middle East have shed their fear
and silence of their oppressive governments. While this chaotic
process has created more issues and dangers to deal with, the
optimism and energy of the people has proven the Arab Spring was
inevitable. While only time will tell the true outcome of the
revolutions, one thing has been apparent from the beginning. The
people have had enough suppression of their expression and will
finally be heard, seen and read. Their feelings and hopes can finally
be created and displayed to the world, thus solidifying their
achievements.
WORKS CITED
"(BLOG) Светот врамен во слики." (VOA NEWS)Светот врамен во слики. EGYPT GRAFFITI PHOTO, 10 Dec. 2012. Web. 17 Apr. 2014.
Brown, Jeffery. "Conversation: Libyan Poet Khaled Mattawa." PBS Newshour. PBS, 1 Mar. 2011. Web. 17 Apr. 2014.
Feldman, Noah. "Taking It to the Streets." The Wall Street Journal. Dow Jones & Company, 25 Oct. 2012. Web. 17 Apr. 2014.
"Graffiti: Street Art and the Arab Spring." Dawn.com. Inpapermagazine, 20 May 2012. Web. 17 Apr. 2014.
Hebblethwaite, Cordelia. "Rappers' Role in the Arab Spring." BBC News Middle East. BBC, 24 July 2011. Web. 17 Apr. 2014.
Kimball, Sam. "Rapping the Arab Spring." World Policy Institute. N.p., Dec. 2013. Web. 17 Apr. 2014.
Rashad, Jonathan. "Poetry and the Arab Spring." Granta Magazine And Blog. Granta, 11 Feb. 2011. Web. 17 Apr. 2014.
"Revolutionary Arab Rap الراب العربي الثوري." : How Has the "Arab Spring" Changed Arabic Hip Hop? N.p., 22 Feb. 2012. Web. 17 Apr. 2014.
Unkown. Rat Gaddafi. 2012. N/A, Tripoli. Wikipedia. Web. 15 Apr. 2014.
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