About twenty minutes into the concert, frontman Mahamadou Souleymane stopped the music. In solemn and simple words, he stated “Africa suffers. We are suffering.” This interlude was a stark reminder that what we, the crowd, had gathered to listen to was not simply music, but a political demonstration. < Back Renowned Tuareg Rock Group Mdou Moctar: Where Politics and Music Collide By Saoirse Aherne April 30, 2022 If you had walked down Avenue de Saint-Ouen this past Saturday, you might have heard a distant cacophony of noise. You would have caught the audible wail of a classic electric guitar, but layered on a rhythm that was not quite rock, not quite funk, not quite blues. The genre bending noise that flooded Paris’ 18th Arrondissement this weekend was all thanks to Mdou Moctar – a four-piece Tuareg musical act that took the stage of “Le Hasard Ludique” by storm, clad in daraa and tagelmusts, armed with electric guitars, and biting political lyrics in Tamasheq. About twenty minutes into the concert, frontman Mahamadou Souleymane stopped the music. In solemn and simple words, he stated “Africa suffers. We are suffering.” He continued, demanding an explanation for the deployment of French and American troops in numerous African nations, stating “it is not the 15th century.” Yet, according to Souleymane, colonial practices prevail. Souleymane described the extraction of resources from his home country of Niger at the hands of French mining companies, underlining how his people had seen no profit from their own nation's riches. Souelymane called on the audience to inform themselves on what the French government was doing in nations across the continent of Africa, and to condemn their leaders for the practice of imperialism. Leaving his words to settle in the humid air of the cramped concert hall, Souleymane stepped back, raised his guitar, and launched into a whining guitar lick. As the rest of the band joined, the song took the form of a typical Mdou Moctar ballad – rife with rhythm and spirit, a soul-catching groove layered with melodic vocals and lively drums. This interlude was a stark reminder that what we, the crowd, had gathered to listen to was not simply music, but a political demonstration. Such has always been the case of desert blues – a genre born in Libyan military training camps in the 1970s, an intricate fusion of rock, blues, and traditional Tuareg sounds. The Tuareg, a historically nomadic sub-group of the Amazigh residing in the Sahara-Sahel region, have long faced subjugation in the nations across which their people reside. There is a strong separatist movement within the Tuareg community, which has acted as a significant source of conflict since the Saharan-Sahel nations gained independence. In the 1980s, Gaddafi opened the Libyan borders to Tuareg refugees fleeing persecution and began recruiting them into his army. Libyan military camps flooded with young Tuareg men, fueling a number of insurrections and rebellions across the Sahara in the 1990s. However, another unexpected outcome emerged from these training camps, a different manifestation of the Tuareg desire for emancipation and autonomy: Desert Blues. It was a band by the name of Tinariwen that pioneered this genre. Front man Ibrahim Ag Alhabib met his bandmates in a guerrilla training camp in Libya. The young men began to write songs about their struggles, the horrors that had forced them to flee their homes, and the subjugation of Tuareg people. They formed a musical group, playing at weddings and parties, speaking to the longing and suffering of their fellow Tuareg exiles. Soon they came to be known as “Kel Tinariwen,” which translates to “The Desert Boys” in Tamasheq. And so began Tinariwen, the first Desert Blues group, which expertly combined traditional Tuareg sounds with bluesy guitar riffs and unfalteringly political lyrics. In 1985, Tinariwen set up a makeshift studio where they wrote and recorded songs. They offered these recordings for free to all who could provide a blank cassette tape. These tapes were exchanged and dispersed across the Sahara by rebel groups fighting for Tuareg independence throughout the 1990s. Tinariwen were the first of many bands from the Sahara-Sahel region to use music as a tool both in support of their own people’s spirit and to draw the eyes of the world to their suffering. Mdou Moctar in many ways is inspired by Tinariwen’s model. Especially with regards to their most recent album, “Afrique Victime,” Mdou Moctar’s lyrics are harshly anti-imperialist. Although distinctly Tuareg in musical style, “Afrique Victime” speaks for the continent of Africa as a whole, using music to condemn its exploitation and violation by Western powers. Mahamadou Souleymane is Tuareg, born in a small village in the mid-80s in Niger. Due to resistance from his parents, Souleymane took up guitar, first by fashioning bike wires to a piece of wood and teaching himself to play in secret on this makeshift instrument. Inspired by music emerging from the neighboring country of Nigeria, Solelymane fused traditional Tuareg sounds with drum machine tracks and autotune. His creations began to circulate, and somehow made their way to American music blogger Chris Kirkley. Awestruck by the musical innovations Souleymane was creating, Kirkley departed to Niger to attempt to find the mysterious musician behind these haunting tracks. After successfully locating Souleymane, Kirkley’s label, Sahel sounds, helped to produce a number of albums for Souleymane’s band– Mdou Moctar– which have garnered increasing international recognition. But music for Souleymane is merely an accessory to his central mission of bettering the lives of those within his community. Each time Mdou Moctar releases an album, he builds a well, a vital resource in Niger where access to water is a continual issue. Souleymane lives and works for the most part in Tahoua, as do the rest of the band. He knows the community, plays at local weddings, and rents out his car for a small fee – that is, when he’s not touring the world. In recent years, the fame achieved by Mdou Moctar has provided Souleymane with a platform to propagate his message to Western audiences. In an interview with Dazed magazine in 2021, Souleymane stated “[French] companies have extracted all the uranium and gold in Niger but help none of our problems. I’ve seen it since I was a small child. It’s modern slavery, racism, and colonialism combined.” He continued in this interview, proclaiming “I am calling the whole world to stand up and revolt against the conditions we face. We don’t have the technology here in Niger to manufacture weapons, so how are they entering the country? Why are other nations storing tools of war on our land? France, the US, NATO — they’re all complicit. Why are they here? Why?” Souleymane offered a damning final sentiment: “They’re playing with my people.” Mdou Moctar utilizes its music to dissolve the simplistic portrait of the marginalized as weak and miserable. It draws attention to the evils of imperialism through a medium which showcases the beauty of Tuareg culture. Souleymane is shockingly talented, a compelling speaker, and an internationally recognized artist, all the while remaining an integral part of his community. He advocates for his people from within. The music of Mdou Moctar is not only a stunning auditory experience, but also deeply powerful and moving. Such is the nature of political music, for it is from conflict and marginalization that the most compelling art arises. Desert blues have provided the Tuareg with a means to document their unique struggle, to draw the eyes of the world to their needs. And Mdou Moctar, in its embrace of this genre, has extended its political demands to represent all those that suffer beneath the burden of imperialism.

From a New York block party in 1973 to a world-renowned genre, hip-hop has branched out to become one of the most prominent and versatile music genres. < Back Dr Dre and the Rise of Mainstream Rap By Anna Halpern February 29, 2024 Last year officially marked 50 years of hip-hop. From a New York block party in 1973 to a world-renowned genre, hip-hop has branched out to become one of the most prominent and versatile music genres. In this context, I wanted to look back at one of the key figures that shaped our vision of hip-hop and more specifically, rap. Dr. Dre is the man in the shadows producing world-famous artists such as Eminem, 50 Cent, Kendrick Lamar and many more. His impact on mainstreaming rap cannot be highlighted enough. Throughout his career, he was a founding member of the group N.W.A. ( Niggaz Wit Attitudes) as well as a co-founder of Death Row Records where he discovered Snoop Dogg, who went on to become one of the most acclaimed rappers alive. Both N.W.A. and Death Row Records were major symbols of the 1990s West Coast rap and crucial players in mainstreaming gangsta rap and specifically G-Funk. In a time of deadly East-West rivalry, he created his own label Aftermath Entertainment in 1996 which signed some of the biggest names in rap history such as Eminem, 50 Cent, The Game and Kendrick Lamar and produced the likes of Jay-Z. His impact on the industry has made him one of The Rolling Stone ’s 100 Greatest Artists, in spot 56. His deep impact on West Coast Rapm especially on mainstreaming G-Funk, was crucial through his production of the 1988 N.W.A. album Straight Outta Compton and his 1992 album The Chronic which featured his protege Snoop Dogg (known at the time as Snoop Doggy Dogg) on nearly every track. It was deeply inspired by the 1992 LA riots which many Death Row Records members, including Snoop Dogg, had taken part in, deeply criticizing police brutality and giving an insight into life in the Los Angeles ghettos. Death Row Records was a crucial element to the album’s success. Despite the critical and popular acclaim gained by the N.W.A. album, mainstream record labels still feared the idea of getting involved with Dr Dre due to the legal problems with his previous label (Easy-E and Jerry Heller’s Ruthless Records) and The Chronic was rejected by many labels before finally being released by Death Row . Moreover, the cop killer controversy pushed him to remove the song “Mr. Officer '' due to the line “ Mr Officer, I wanna see you layin’ in a coffin, sir ” in the chorus, leaving him in a controversial position politically and legally. However, despite such rocky grounds, the album was a hit and its success skyrocketed G-Funk and Death Row Records to fame and served as a launching pad for Snoop Dogg’s solo career. However, this success was short-lived as the East-West feud raged, a brutal competition dividing the hip-hop world between New York based Bad Boy Records ’ golden age rap and L.A. based Death Row Records’s G-Funk , causing rising tensions . The culmination of the violence due to this conflict led to the loss of two of hip-hop’s greatest talents — 2Pac and Notorious B.I.G. in 1996 and 1997 respectively. This pushed Dr. Dre to leave Death Row Records and form his own label Aftermath Entertainment in 1996. He did not distinguish between East and West talents, evident through his producing and appearing on albums of New York artists such as Nas, LL Cool J and Jay-Z, as well as discovering artists ranging from Detroit-based Eminem in 1998 to Compton-born Kendrick Lamar in 2012. He was more recently recognized for his performance with Snoop Dog, Eminem, Mary J. Blige and Kendrick Lamar at the Super Bowl LVI halftime show. It was the first Super Bowl halftime show to win the Primetime Emmy Award for Outstanding Variety Special (Live). It also won Outstanding Production Design for a Variety Special and Outstanding Music Direction. Finally, in 2023, he was awarded the inaugural Dr. Dre Global Impact Award for his career achievements in light of the celebration of the 50th anniversary of Hip-Hop. From the 1980s to the 2020s, his decades-long career is studded with achievements and awards for his impact on redefining rap as we know it. Kanye West’s tribute to him in the Rolling Stone's 100 Greatest Artists sums it all up “ Dre feels like God placed him here to make music, and no matter what forces are aligned against him, he always ends up on the mountaintop. ”

By largely ignoring women or portraying them in stereotypical roles of victim or consumer, the mass media has symbolically annihilated women. < Back Women’s Annihilation by the Mass Media: How Words and Language Help Shape Our Reality and Perpetuate Power Dynamics By Francesca Di Muro January 31, 2024 Words are more than simple combinations of letters displayed on a blank piece of paper. Words are woven into our social and political lives. Words can be weapons wielded by the powerful or tools for social resistance and change. As stated by linguist Sally McConnell-Ginet, " Words (and meaningful silences) matter enormously in our lives. They enable us to cooperate, collaborate, and ally with one another and exclude, exploit, and subordinate one another. They script our performances as certain kinds of people in certain social locations. They are politically powerful, both as dominating weapons that help oppress and as effective tools that can resist oppression’’. Violence against women, femicide, and gender discrimination pervade every area of contemporary society without geographical and cultural limits. Even today, an alarming number of women are targets of physical and psychological violence at the hands of their male counterparts. Direct violence, often fatal, is accompanied by linguistic violence, which is more hidden and spread implicitly at multiple levels. Media framing plays a pivotal role in the social construction of reality and, consequently, in the reproduction of power dynamics and imbalances. Browsing the pages of national and international newspapers, one can see that many, if not all, newspapers that report on violence against women employ a lexical and discursive structure that indirectly justifies the executioner and blames the victim, in a scheme s based on the concurrence of blame and distorts the real nature of the crime. Violence is multifaceted, and the ways it can be reproduced, expanded, and extended are so. Language is one. ‘How can the media be changed? How can we free women from the tyranny of media messages limiting their lives to hearth and home?’ This is how sociologist and feminist philosopher Gaye Tuchman ends her celebrated essay “The Symbolic Annihilation Of Women By The Mass Media,” encapsulating the concerns that continue to drive much feminist media analysis worldwide. Despite enormous transformations in national and global media landscapes, the fundamental issues that preoccupied Gaye Tuchman in 1978 are still prevalent: power, violence, and hegemony in the narration of violence itself. By largely ignoring women or portraying them in stereotypical roles of victim or consumer, the mass media has symbolically annihilated women. This destruction has further strengthened the patriarchal vision that classifies women as dependent and incapable of living their own lives without male ‘guidance’. Women’s magazines once focused on domestic pursuits such as marriage, household chores, and childcare. What made this pattern even more problematic was the media's role in shaping young girls’ wants and aspirations. Media coverage has created expected roles and perpetuated inequality through the reproduction of stereotyped discourses and sexist narratives and a mediated invisibility that is achieved not simply through the non-representation of women’s points of view or perspectives. Even though this narration has slightly changed nowadays, where women are ‘visible’ in media content, their representation still reflects the biases and assumptions of those who define the public agenda and, consequently, the mediatic one: men. Even when covering cases of femicide, specific language and discourses chosen by the media obscure the gendered and sexist basis of the violence taken out on women's bodies, portraying it as a mere homicide. A dominant patriarchal discourse implicit in newspaper coverage and a representation of femicides that ignores its structural and ideological foundations have been prevalent, as well as the recurrent use of a psychiatric discourse to label the femicide as an act of pure madness of the man, reducing such phenomenon within the predictable framework of a normal homicide, caused by mental illnesses, emotivity or monstrous impulses. Here, redefining language and recreating it in feminist terms can be a form of resistance. To conclude, it is not enough for the media to report how the femicide dynamics developed and focus on turbid details to feel like they satisfied one’s duty of informing the public. It is not enough to represent only those legal and political institutions that want to treat femicide as an isolated case. It is not enough to give an account to friends and relatives of the killer who claimed he loved the woman he just assassinated. It is not enough and never will be to address the system of oppression and latent subjugation that women experience in their daily lives, even in the narrations of violence themselves. The media helps shape society’s perception and public opinion of victims and offenders. Femicide is the result of a deeply embedded and rooted ideological structure, which shapes one’s beliefs and one’s behaviors, not only in femicide itself but also in the narration of it. As Sally McConnell-Ginet once stated, ‘words matter so much precisely because so little matter is firmly attached to them,’ and they do matter — especially when they have the power to annihilate, violate and underpin one’s safety, and, consequently, one’s empowerment.

In Palestine, threads carry stories. Each stitch of tatreez — the traditional Palestinian embroidery — embodies memory, identity, and resilience. On a quiet afternoon, an elderly woman sits with fabric in her lap, weaving patterns passed down through generations. < Back Threads of Memory: The Story of Palestinian Tatreez Mariam Mahamid September 28, 2025 In Palestine, threads carry stories. Each stitch of tatreez — the traditional Palestinian embroidery — embodies memory, identity, and resilience. On a quiet afternoon, an elderly woman sits with fabric in her lap, weaving patterns passed down through generations. The colors and motifs are never random; they are symbols of home, heritage, and a history too often silenced. The art of tatreez dates back centuries, rooted in daily life across Palestinian villages. Each region developed its own style: Ramallah with rich red geometric shapes, and Bethlehem with elaborate silk embroidery in deep purples and gold. A woman’s thobe (traditional dress) told her life story: her village, her marital status, and even whether she was expecting a child [Skinner, 2008]. Embroidery was passed down from mother to daughter, ensuring that traditions endured through every generation. Even as modern fabrics and fashions arrived, tatreez remained a cultural anchor, quietly affirming: “This is who we are, and this is where we belong.” Palestinian embroidery forms a visual language. Olive branches symbolize peace and connection to the land; cypress trees represent endurance; birds signal freedom and hope. Colors carry meaning too—red for life and strength, black for resilience, and indigo blue to protect against the evil eye [Kawar & Nasir, 1992]. The stitches themselves vary: cross-stitch dominates, but other techniques like couching and satin stitch also appear in regional dresses [Skinner, 2008]. Motifs were not merely decorative: the fish-eye offered protection, the tree of life stood for continuity, and grapevines symbolized fertility and abundance. These designs, evolving across centuries, became markers of cultural geography and personal identity [Vogelsang-Eastwood, 2010]. More than craft, embroidery was storytelling. Women stitched at weddings, family gatherings, and in the evenings at home, turning fabric into wearable memory. Beyond colors and stitches, tatreez carries meaning through its motifs — a visual lexicon that reflects Palestinian life, beliefs, and environment. Some of the most recognizable patterns include the Tree of Life, symbolizing continuity and rootedness; the Fish Eye, protecting the wearer from envy; the Bunch of Grapes, representing abundance and fertility, especially in Hebron; the Damascus Rose, a mark of beauty and elegance in bridal thobes; and the Moon of Bethlehem, evoking guidance and spirituality. These motifs function not only as decoration but also as cultural memory, weaving personal stories into garments that served as wearable archives of Palestinian identity [Skinner, 2008; Kawar & Nasir, 1992]. Before 1948, embroidery flourished in thriving Palestinian textile centers. Al-Majdal, north of Gaza, was the most important weaving hub, producing fabrics that were exported regionally [Weir, 1989]. Bethlehem became known as the “Paris of Palestinian fashion” for its luxurious couching embroidery and distinctive thobes [Vogelsang-Eastwood, 2010]. The Metropolitan Museum of Art, Wikimedia Commons During the late Ottoman and British Mandate periods, European photographers and travelers frequently misrepresented Palestinian dress. Commercial postcards and staged studio photographs circulated widely in Europe, where tatreez was rebranded as an exotic “Oriental costume” rather than a living cultural practice. These images detached embroidery from its social, political, and economic contexts, reinforcing colonial narratives that imagined Palestine as timeless and primitive [Dedman, 2016]. At the same time, European collectors began acquiring Palestinian thobes for museums, treating them as ethnographic curiosities rather than as objects of cultural continuity [Weir, 1989]. Such practices not only distorted the meanings of tatreez but also contributed to its appropriation and decontextualization in the global imagination. Nadar, Wikimedia Commons The Nakba of 1948 disrupted this continuity. Over 700,000 Palestinians were displaced, and many women, now in refugee camps, temporarily set aside embroidery as they assumed new roles to sustain their families. Weaving centers were destroyed, and a generation grew up without learning the craft [Kawar & Nasir, 1992]. Yet by the 1960s, embroidery re-emerged, adapted for survival. Women’s cooperatives, such as INAASH in Lebanon, began training refugee women to produce embroidered dresses, cushions, and wall hangings for income. What had once been a village craft became a national symbol and a lifeline for displaced communities [Kawar & Nasir, 1992]. In refugee camps, tatreez shifted from regional patterns to shared symbols of identity. The Six Branch dress, for example, represented all of Palestine, uniting diverse designs in a single garment. Tiamat, Wikimedia Commons During the First Intifada (1987–1993), embroidery became explicitly political. With the Palestinian flag banned, women stitched its colors and motifs into dresses as subtle but powerful acts of resistance [Dedman, 2021; UNESCO, 2021]. Embroidery had moved from being a regional folk art to a collective expression of national survival. Far from fading, tatreez thrives today. Young Palestinian designers integrate traditional motifs into jackets, handbags, and sneakers, bridging heritage with modern fashion. This revival extends across borders: workshops in Ramallah, Gaza, and refugee camps teach embroidery both as cultural preservation and as economic empowerment. Diaspora initiatives, like Tatreez & Tea in the United States, connect younger generations to their roots [Wafa Ghnaim, 2020]. Social media amplifies this renaissance, sharing tutorials, motifs, and stories with global audiences. What was once a village tradition has become a worldwide movement of heritage and pride. Contemporary motifs even include watermelons—now a symbol of Palestinian resistance—woven alongside ancestral patterns. Mariam Mahamid In recent years, tatreez has also entered the global fashion industry. International brands, including both luxury houses and fast fashion labels, have incorporated Palestinian embroidery motifs into their designs without acknowledgment, sparking debates about cultural appropriation and erasure. For Palestinians, however, contemporary designers consciously reclaim tatreez: figures like Suzy Tamimi, Natalie Tahhan, and labels highlighted in Vogue Arabia reinterpret traditional motifs on modern garments, presenting them not as exotic decoration but as bold declarations of identity. By situating tatreez within both heritage and innovation, these designers challenge the fashion world to respect indigenous cultural knowledge while affirming embroidery as a living practice of resilience [Vogue Arabia, 2020; Museum of the Palestinian People, 2021]. Tatreez is a memory stitched into fabric, a map of Palestine worn on the body, and a testimony of resilience. Each stitch tells a story of women who turned needle and thread into tools of continuity and identity. As many Palestinian grandmothers describe it, tatreez carries the memory of the family and ensures that heritage survives across generations. Bibliography Gillian Vogelsang-Eastwood (2010), Encyclopedia of Embroidery of the Arab World. Margarita Skinner (2008), Palestinian Embroidery Motifs: A Treasury of Stitches 1850–1950. Museum of the Palestinian People (2021), Tatreez and Palestinian Identity. Rachel Dedman (2016), At the Seams: A Political History of Palestinian Embroidery, Palestinian Museum Exhibition Catalogue. Rachel Dedman (2021), Seamstress of Survival: Palestinian Embroidery and Identity. Shelagh Weir (1989), Palestinian Costumes. UNESCO (2021), Art of Embroidery in Palestine – Intangible Cultural Heritage. Vogue Arabia (2020), “Palestinian Designer Using Clothes to Preserve Indigenous Culture.” Wafa Ghnaim (2020), Tatreez & Tea Institute. Widad Kawar & Tania Tamari Nasir (1992), Palestinian Embroidery: Traditional Fallahi Cross-Stitch.

On a tranquil Mentonnais weekend, two weeks before the midterms rush, I boarded a train bound for Antibes. As I wandered through its cobbled streets, the Mediterranean shimmered next to me, breathing light into every corner of the city; a scene not so different from that of my hometown in Alexandria, Egypt. Apparently, this feeling of familiarity with this vast blue sea is nothing new—a feeling shared by many people no matter on which shore one is standing. < Back The Mediterranean Charm: Why Writers and Painters Keep Coming Back to This Sea Amena Elkayal November 13, 2025 On a tranquil Mentonnais weekend, two weeks before the midterms rush, I boarded a train bound for Antibes. As I wandered through its cobbled streets, the Mediterranean shimmered next to me, breathing light into every corner of the city; a scene not so different from that of my hometown in Alexandria, Egypt. Apparently, this feeling of familiarity with this vast blue sea is nothing new—a feeling shared by many people no matter on which shore one is standing . Back in Alexandria, when we used to drive along the Corniche, my father always spoke of how deeply he loved this sea, and I thought I already understood. But I only realized the depth of his feeling later, when I saw the words of Hugo, Fitzgerald, Matisse, Picasso and Monet scattered across Antibes' corners, showing the attachment they all had with the Mediterranean. Their words and brushstrokes still linger on the city’s walls, testament to an endless fascination of the Mediterranean and the solace it brings to their hearts and their arts. I found myself wondering: what is it about this exact sea; what is really that mesmerizing about this luminous expanse binding continents and cultures, continuously calling artists back? From Mahmoud Darwish, Albert Camus and Mahmoud Saïd to Monet and Picasso, the Mediterranean has been both a muse and a mirror, reflecting the spirit of those who gaze upon it. So let us drift along its shores to see why its beauty has never ceased to inspire. I’ll be biased and start with two of my personal favorite writers: Khalil Gibran and Mahmoud Darwish, two Levantines whose work was carried by the same Mediterranean wind. The Lebanese-American poet Khalil Gibran found a wellspring of poetic and spiritual inspiration in the Mediterranean landscape of his native Lebanon. Themes of sea and nature prevailed in the seemingly Mediterranean setting of “The Prophet,” his best known work. For Gibran, the sea was not just a body of water, but a restless companion, mirroring the human soul’s search for meaning. In his poem “ Revelation ” from (Prose Poems, 1934), he writes , “The sea never sleeps and the wakefulness of the sea brings comfort to a sleepless soul.” For Gibran, the sea became a sacred metaphor and an ever-living symbol through which he expressed humanity’s ceaseless yearning for spirituality, looking to a landscape that seems infinite. For Mahmoud Darwish, on the other hand, the water and the sea took on a more haunting symbolism. They were both a promise and a wound: a mirror of exile itself. To look at the sea was to remember a wounded present of migration, departure and displacement, but also to imagine a promised future: one of freedom and return. The strong link between the sea and exile was crystal clear in his poem “Without Exile, Who Am I?” What will we do … what will we do without exile, and a long night that stares at the water? Water binds me to your name ... The Mediterranean sea forms a central metaphor in Darwish’s poetry, symbolizing both exile and the aspirations for Palestine’s rebirth. In his eyes, the endlessly rolling waves mirror the uncertain lives of Palestinians displaced from their home, while the horizon reflects the trauma of those unable to envision a future. In his prose poems “Memory for Forgetfulness” (1986), written after the poet’s forced departure from Beirut during the Israeli invasion of 1982, Darwish describes the sea simultaneously as a space of annihilation and potential creation. He states : “The sea walks in the streets. The sea hangs from the windows and the branches of dried out trees. The sea descends from the sky and enters the room. Blue.. White.. Foam.. Waves. I do not love the sea.. I do not want the sea, because I do not see a shore, or a dove. I do not see anything in the sea except the sea. I do not see a shore. I do not see a dove.” As the Mediterranean floods the streets of Beirut, it represents not only the collapse of Arab unity and postcolonial dreams but also the primordial chaos from which new meaning can emerge. Between Algiers and metropolitan France, Albert Camus’s thought was molded by the Mediterranean world that defined his life. Born in colonial Algeria to French parents, he inhabited the uneasy space between colony and metropole. From this tension and in-betweenness he forged what he called the “Mediterranean spirit.” For Camus, this spirit was not about geography but about the harmony of living in rhythm with the world’s beauty and absurdity. The Mediterranean and its simplicity offered him a moral compass, a refuge and a rhythm, a place where time slows and life is measured not by productivity, but by presence. The sea and the sun are fundamental motifs in his literary works, like “The Stranger.” Camus’ “Mediterranean spirit" was a conscious cultural and political stance. In an article about this notion of a mediterranean spirit, the author states : … Camus overcame his strangerhood by calling the entire Mediterranean his home – not France, not Algeria. “I understand what it means to belong to a climate, rather than a country: a home shaped by the sun, the sea and the play of light. That home is also mine.” F. Scott Fitzgerald, was an outsider to the Mediterranean, but nonetheless found himself enchanted by it. In 1926, he and his wife Zelda settled in Antibes, renting what is now the Hôtel Belles Rives, where he began writing “Tender Is the Night.” In a 1926 letter to Hemingway, he wrote : “With our being back in a nice villa on my beloved Riviera… I’m happier than I’ve been for years. It’s one of those strange, precious and all too transitory moments when everything in one’s life seems to be going well.” That joy, fragile and fleeting, lives on in his fiction, where the Mediterranean became a stage for both beauty and tragedy. In “How to Live on Practically Nothing a Year”, published in The Saturday Evening Post in 1942, Fitzgerald states : “When your eyes first fall upon the Mediterranean you know at once why it was here that man first stood erect and stretched out his arms toward the sun. It is a blue sea; or rather it is too blue for that hackneyed phrase which has described every muddy pool from pole to pole. It is the fairy blue of Maxfield Parrish’s pictures, blue like blue books, blue oil, blue eyes, and in the shadow of the mountains a green belt of land runs along the coast for a hundred miles and makes a playground for the world.” From the page to the canvas, the Mediterranean also inspired painters. If Fitzgerald came to the Mediterranean seeking joy, Pablo Picasso’s art was shaped by it. Born on the Spanish coast, Picasso spent decades in the South of France, drawn to the Côte d’Azur’s light and familiarity. He often drew on his Mediterranean surroundings for inspiration, and once commented : "It’s strange; in Paris I never drew fauns, centaurs or mythological heroes. They always seem to live in these parts." In Antibes, Picasso painted “La Joie de Vivre” (1946) – a vibrant hymn to life, dance and the sea’s timeless energy. His Mediterranean was exotic and playful, filled with ancient echoes of Greek and Roman myths. It wasn’t just a landscape to him; it was a civilisation painted in color. His vision transformed the Mediterranean from a mere geography into an enduring symbol of artistic renewal. Artist Henri Matisse has also always been tremendously inspired by the Mediterranean. In 1917, Henri Matisse arrived in Nice and immediately fell under the spell of the Mediterranean light, which was brighter, softer and more consoling than Paris’s grey. This light revived his artistic spirit, giving his canvases new warmth and radiance. “When I realized that every morning I would see this light again, I couldn’t believe how lucky I was,” he confessed. The Mediterranean light reinvigorated his artistic style with his bold use of colors and sculptural lines. He didn’t just seek to paint the Mediterranean as it appeared, but as it felt: a place both lived and dreamed. His vivid palette captured the region’s warmth, sunlight and sensuous vitality— the rhythm of daily life by the sea. Yet through his simplified forms and unreal, luminous colors, Matisse transformed that lived reality into a dreamlike vision of harmony and timeless beauty. This fascination is evident in many of his works, such as “The Open Window” and “ Intérieur à la boîte à violon. ” Matisse’s fascination with the Mediterranean Sea endured throughout his life. From his first stay in Corsica in 1898 to his long, luminous years in Nice between 1917 and 1954, as well as his journeys across Algeria, Spain, Italy and Morocco. Matisse, in a conversation with Pierre Courthion, once said : “ I’m a northerner… so it’s the Mediterranean that made the biggest impression on me.” For Matisse, the Mediterranean was more than a landscape: it was a revelation. Its radiant light and rich artistic traditions shaped his visual language, linking him deeply to the ancient cultures of the Near East. Through this connection, he explored not mere representation but his own perception of place — a sea both real and imagined, lived and dreamed. As the poet Paul Valéry once described , the Mediterranean is a “machine for making civilization.” For Matisse, it was precisely that: an endless muse—a source of color, beauty and renewal. There was also Claude Monet, who came to the Riviera unsure whether he could ever paint it. In letters to his beloved Alice Hoschedé, he confessed both awe and doubt on whether he could really capture its exotic essence: Between 1884 and 1888, Monet painted the coasts of Bordighera and Antibes, producing dozens of works that shimmered with new colors and light. The fort, sea, mountains and rocks of Antibes inspired Claude Monet. In 1888, he came to the Riviera from Paris and, although he only stayed four months, completed 39 paintings. Each of Monet's three long stays in the Mediterranean were an opportunity for him to radically transform his work. Each wave, each reflection was a proof that even for an artist of his stature, the Mediterranean could still teach wonder. On the southern shore, in Alexandria, Egypt, Mahmoud Saïd, the pioneering Egyptian modernist, found great artistic inspiration in Alexandria, with its beautiful Mediterranean shore and people. His paintings, from “Le Port d’Alexandrie” (1919) to “Les Falaises à Marsa Matrouh” (1948), captured the Mediterranean’s unique light and the quiet lives of its people. Through Saïd’s eyes, the sea became Egyptian, familiar and deeply human—portrayed with the same artistic mastery as in the works of Matisse or Monet, only from the other shore. His work also extended to portraying the Mediterranean in other countries like Crete Island and Lebanon, showing his interest in the sea as a cultural and artistic continuum rather than a national boundary. As the train carried me back to Menton that evening, the sun dipped low over the horizon, ornamenting the sea with light. I thought of all the writers and painters whose wisdom I experienced wandering around Antibes, the exiles and dreamers who had stood before this same sea, searching for meaning, beauty or simply a sense of belonging. Big words scattered around the city but not at all far or unfamiliar from what my dad, me or even Mahmoud Said experienced in Alexandria. Perhaps that is the secret of the Mediterranean charm: it does not belong to anyone, yet it makes everyone who looks at it feel at home. Its rhythm speaks a universal language, one of lightful souls loving to live, one of longing and one of shared experiences. The Mediterranean, after all, is not just a sea. It is a mirror of civilization, of exile and of the human spirit, one I will always carry whether in Alexandria or Menton. Photo Source: Author's Own

If the campus is about 70% female and 30% male, and of the women, 75% are available and heterosexual, and of the men, about half are gay and maybe 25% are in a relationship, how many available, straight men does that leave for the single women, keen and looking? No need to do the math. We are not all EcoSoc majors. To put it simply, the answer is not a lot. < Back Love is in the Air? Une Lutte Contre le Vent Maia Zasler and Maria Eirini Liodi March 31, 2025 February 14th. A day marked in red on calendars around the globe. For better or worse, we prepare roses for our partner, bottles of wine for our “Galentine’s” soirées or gather stocks of chocolate for company in bed. Amidst the swirling romance and ka-ching! of capitalist cash flows, somewhere in the Côte d’Azur, some 400 students ponder their life decisions. Menton, nestled in the nook of Southern France, is but a blip in the grand scheme of life and love—a microcosm resembling normality. Well, dear readers, Valentine’s Day has passed. Although remnants of love (and receipts from Société Générale ) linger over a month later, there persists a pressing matter. In such a tight-knit academic environment, we may appreciate the privilege of exchanging ideas on constitutional law and climate policy with familiar faces, but navigating the same dating pool gets tedious to say the least . This got us thinking: In a limited (dried-up?) dating pool, is there hope for romantic dalliances in Menton? With an unbalanced male-to-female ratio, could those yearning for a man even find (catch, and then hold on to) one? Then we thought some more, and we configured a little word problem: If the campus is about 70% female and 30% male, and of the women, 75% are available and heterosexual, and of the men, about half are gay and maybe 25% are in a relationship, how many available, straight men does that leave for the single women, keen and looking? No need to do the math. We are not all EcoSoc majors. To put it simply, the answer is not a lot. And as it has been pointed out, this unequal dating capital has fostered an environment in which “straight men are aware that they have too many options and choose to either ‘play around sexually’ or emotionally manipulate” ( Articulate Survey Respondent #1 ). Is “hookup” culture, then, even a viable option? In such a small community, any sort of relation (wink, wink) is bound to get around. Gossip—a natural form of extending platonic intimacy—is inevitable. Thus, as eloquent as we Sciences Po students are, stories spread. Unless you don’t care about your personal business being aired, entering into any kind of relationship brands you with a respectable scarlet letter of sorts. With all of these obstacles in mind, we had to ask: Did the Sciences Pistes spend Valentine’s Day alone? From “Dry January Extended to Dry February” and “Eating Chocolate Alone in Bed” to “Galentine’s Drinks” and beyond, Sciences Po students were getting busy. Some of the ladies channeled Miley Cyrus and bought their own flowers, while others replaced love with a few rounds of poker. About 30% of respondents were even lucky enough to go on a date (although a couple were restricted to the virtual realm). Even if ‘alone,’ it seems that the mentonnais had no trouble occupying their time. Our very professional—very halal—survey shone light on more than just February 14th-related activities. Be it perceptions of the dating scene, fear of judgement, or just difficulty navigating a multicultural dating scene, a plethora of factors seem to block Sciences Pistes in their pursuit of a fulfilled love life. Maybe hookup culture isn’t the problem. People could be standing in the way of their own happiness, afraid of being the victims of dating gossip. Or maybe everyone is actually in a long-distance relationship (LDRs) and we just don’t know: 67% of those in relationships qualified as LDRs. At 40 responses, we cannot claim that the distribution of survey results is entirely reflected in the Menton campus as a whole (but it is statistically significant!). It seems that the majority of those surveyed perceive a solution to the relationship drought as opening up perspectives, becoming more “progressive.” It is in fact “difficult to date when two people have the same circle, same habits, we know the same persons and are always gonna see each other again on campus.” Others were very candid in their thinking, with one respondent asserting: “Not enough hookups in Menton, the parties need to be spicier!!” ( BDE, take notes. ) But does it have to be that deep? Human beings seek connection—romantic connections are just some in a wider umbrella. If we are mature enough to uproot our lives and move to this far-off place, find our own apartments, sustain ourselves with food (even if it is just pesto pasta), don’t we have the adult-ness to handle interactions with a past hookup or relationship with grace? This could be too much to ask for in a big city. But Menton is different. Things tend to be bigger in our heads (no pun intended). It seems that over 60% of our respondents perceive the Menton relationship culture to be heavily dominated by hookups, while another 30% of respondents view dating culture as pervasive. A few argued that Menton is a mix. What we found to be most accurate was the perception of the 2.5%. These individuals argued that the predominant culture persists as “ gossiping about who everyone else is seeing?” and “complaining about the lack of options.” Yet, the vast majority of respondents indicated that the issue with relationships in general in Menton is that everyone is going to find out, and there’s almost shame … but the ummah is not hooking up very often. Less than a third of respondents reported having sex on a weekly basis—but 40% are in a relationship. And only 30% of respondents are more content with their sex life here, at Sciences Po, than before arriving in Menton… perhaps this response pool overlaps. It most likely does. Don’t despair if you are not content vis-à-vis your “relationship” status. “Ppl [may] suck,” but our time here in this little lemon town is so short. A mere blip in a hopefully long and fruitful life. Although we can’t help the respondent who stated, “the girls here aren’t like her” (that’s tough, man), we may be able to provide some insight into the query: “Why date when you know you’re going to break up?” Doesn’t this extend to every relationship at all points in our lives? When with people from all over the world, the time together becomes all that more precious (even if just for a night). We don’t mean to romanticize ephemeral interest, but if people were more communicative, more open with their interests and wants, less conscientious of speculative judgement at (few and far between) parties, maybe the satisfaction rates would be higher! Who knows, maybe for you 1As, your Valentine’s date for next year just gave a presentation on sanctions in Iraq.

“There’s nothing like the Arab world’s hatred of the truth.” < Back Arab Netflix: To Stream or not to Stream? By Lara-Nour Walton April 30, 2022 My cousin Zeina delighted in the sprawling array of Egyptian films before her. In years past we had shared halwa over Charlie and the Chocolate Factory, camped out in front of Black Mirror for hours, and swooned over Baz Luhrmann’s expert castings of Dicaprio. She introduced me to “Gone Girl,” “Eternal Sunshine of the Spotless Mind,” “Inglorious Bastards.” Zeina has always loved her cinema, always reveled in good television. But, I’d never known her to be a connoisseur of Arabic programs until I visited her over this past winter break. She enthusiastically scrolled through Netflix’s seemingly never-ending queue of movies and shows from the Arab world, explaining the summary of each. I asked her why she’d never exposed me to this passion of hers, and she shrugged her shoulders: “I suppose I’ve never known how to show you.” On December 9th, Netflix launched an Arab cinema catalog comprising 58 films by 47 different filmmakers. The American streaming service titled this release “Celebrating Arab Cinema” and aimed to “explore the breadth and beauty” of the region and culture with the collection. Now, a large variety of Arab movies are accessible to anyone with a Netflix subscription, permitting Zeina to finally show me her Arabic favorites. While the “Celebrating Arab Cinema” launch was largely welcomed by the South West Asian and North African (SWANA) and international community alike, Netflix’s other Arabic initiatives have experienced cooler receptions. On January 20, the release of the first Arabic Netflix original, “Ashab Wala A’azz,” sparked mass controversy in the Arab world. A remake of the hit Italian box office hit “Perfect Strangers,” “Ashab Wala A’azz” implicates SWANA audiences in discussions about queer identity, infidelity, and premarital sex. However, many Netflix users from the region worry that the movie’s themes do not mesh with Arab society, some asserting that Western films cannot be made into SWANA adaptations due to insurmountable cultural differences. Lebanese English track 1A Angela Saab Saade repudiates this sentiment. “I don’t think it’s a matter of whether or not the Arab world is ready for this type of movie. I think it is imperative that we acknowledge that these things exist in Arab society. It is not a crime to address reality,” she said. However, Saab Saade’s perspective is purely normative. Broaching contentious subject matter in the Middle East should not be a crime, but it is certainly still condemned. According to Lebanese journalist Rabih Farran, “There’s nothing like the Arab world’s hatred of the truth.” This antipathy for candor, this cultural reluctance to recognize what happens behind closed doors, has been made all the more visible by the audience response to “Ashab Wala A’azz.” However, the public’s reaction raises questions that transcend Netflix’s scope. It reveals the heated duel between social sensitivities and artistic freedom in the Arab world — a battle that seems to have no end in sight.

“Sweet Caroline, Good times never felt so good” are the words that personify the pub, but as reality hits, how much longer will the croons of Neil Diamond sound true? < Back Pouring One Out for the Pub Rebecca Canton February 28, 2025 Over the Christmas break, I went to Germany and during my stay there I went to a self-proclaimed ‘Irish’ pub. Being honest, growing up in England, I had high expectations. Despite our differences, Germany is one of the few countries that has just as big of an established beer culture. Further, one thing the Germans do better is the time the pubs close. In England? Midnight strikes and you're out the door. In Germany? You have at least two more hours before bedtime. Unfortunately, that is where my praises end. I was with friends and they suggested we order the monstrosity that is a pitcher of Guinness. Guinness, the holy grail of the British Isles, is a notoriously difficult drink to pour. It is not a normal drink, neither a lager nor an ale. It is a stout: beer brewed with roasted malt. Favored by men of the same description, what sets Guinness apart from other drinks is the use of gas. It uses a nitrogen carbon dioxide, mix composed of 75% nitrogen to a 25% carbon dioxide ratio. What is also important is the use of the correct glass, a “tulip glass” and must have “Guinness” inscribed. Alongside this, there’s a sort of ritual associated with drinking Guinness. Known as “splitting the G”, the aim is to sip the beer until the level of the drink stops in the middle of the G of Guinness. How can you split a G when you’re drinking from a watering can? To make matters worse, it’s not like anyone drinks from the jug, it’s poured into another glass. What a waste of beer for such a disgrace. It thus becomes evident that you negate the delicate art of Guinness pouring, by chucking it into a glass jug. It is a crime. It is blasphemy. Yet, regardless of my rather loud complaining to my German companions who simply laughed at me, one thing struck me. In between my half-hearted groans, somewhere nestled in my disgust, I realized something—I felt warm. Not just from the alcohol mind you, but from the company I was with. I felt content basking in the dim dingy pub lights. Satisfied against the backdrop of the conversations of strangers. What becomes obvious is that, regardless of tradition, or attempts to humiliate Ireland, irrespective of language and culture, one thing remains the same: The pub is universal as a place for togetherness. A birthday party celebrating the friend you’ve known since you were 10 years old, cheers of joy and promises to never grow apart. Drinks after work with your coworkers, complaining about your boss, or that one customer determined to get you fired. A beer with a stranger who supports the same football team as you, who, by the end of the game, 3-0 up, you dedicate the role of best man to. One common theme becomes clear, the pub is more than just a building. It’s a place for awkward first dates, rekindling lost friendships, or a roast with your grandparents. A place for darts, pub quizzes and being taken home by your neighbour. Perhaps most importantly though, it is a place for socialization. My best friend lives back in the United Kingdom, over 1,000km away. Whenever I come back home, we always meet at the pub. Why? Where else can you sit as long as you like, with a beer and sausages for the grand total of £12? The relaxed atmosphere of our local Wetherspoons serves as an informal atmosphere for conversation to flourish. The best thing? No one has to host, no cleaning up or wondering when the night will end. It’s not just with close friends that pubs are useful, many places are local gathering spots. As an example, my local Farmers Union often meets at a pub. Such an institution, often overlooked as just a drinking house, becomes more. It creates a sense of belonging coupled with the opportunity to catch up with friends and local events. Yet this opportunity is steadily vanishing. In the United Kingdom, more than one pub a day closed its doors in 2024. Pub closures rose by 6.7% as opposed to 2023. At this alarming rate, this meeting point for generations will be irreparably damaged. It’s not just pints and chips being sacrificed, but history too. On 2nd February 2025, it was announced that the historic “Ye Olde Swiss Cottage” in London was set to close. It had been in business for nearly two centuries and the nearby tube station “Swiss Cottage” was named after it. Pubs or the “Public House” have been a part of English culture for centuries, with its history being traced back to taverns in Roman Britain and alehouses in Anglo-Saxon times. Although it was with the turn of the 19th century that pubs began to resemble their modern counterparts, in his diary written in the 17th century, Samuel Pepys claimed the pub was “the heart of England.” In lieu of sounding too patriotic, Pepys’ words hold truth. The British values of democracy, rule of law, respect, tolerance and individual liberty, are exemplified in the pub. You do not need to be a lord to drink, a musician to enjoy “ Mr Brightside”, or a Michelin star chef to enjoy a pub lunch. Such closure of public spaces damages culture that has been prominent for centuries. The major question, really, is why pubs are facing closure. Half of the closures of English pubs since 1980 have occurred since 2006. According to a report from the Institute of Economic Affairs, there are several reasons for this consistent demise. Contrary to popular belief, the United Kingdom does not hold the coveted title for the highest consumption of alcohol worldwide. We are not the shirtless beer-bellied football hooligans like how the rest of the world sees us. Countries like Romania, Austria, even the Seychelles all have higher recorded annual consumption of alcohol, with the United Kingdom sitting at a rather measly 22nd place. In fact, alcohol consumption is actually decreasing. The average literage consumed per person in 2016 was 11.4 compared to 10.8 in 2019. Such a number is only further declining, something that has severe consequences for the future of the pub. Perhaps more importantly, the drink falling out of favor is beer, also the most popular drink served at pubs. It’s relatively simple—people don’t drink beer, pubs die. Alongside this, there is the dreaded “cozzy livs” or the cost of living crisis. A UKHospitality survey found that businesses, including institutions like the pub, should expect an 82% rise in energy bills. Further, due to this prolonged cost of living crisis, fewer people can afford to go out to the pub on a regular basis, condemning an already struggling business towards financial ruin. The sad reality is that nothing changes if nothing changes. Many of these institutions of joy, companionship and laughter will soon be derelict. The United Kingdom’s long-standing culture of pub-going will be reduced to mere memories of times long gone. Yet it doesn’t have to be that way. To keep it English, sometimes all we need to get by is a little help from our friends. What most of these pubs need is more support to keep afloat, so that they can continue to be the stage for well-needed social interaction in an increasingly disconnected society. So, next time you’re out, raise a glass to the roof over your head. Pour one out for the pub, for if not, your last sip may come sooner than you think. Photo credits: Kamal H. on Flickr

Cannes is for the living, Monaco for the playing, and Menton for the dying < Back Ghosts of Menton By Saoirse Aherne October 30, 2021 Beyond the colourful facades of Menton’s old town lies a morbidly fascinating history. Transport yourself back to the 19th century, when the cobblestone streets of Menton were filled with the sound of coughing — perhaps not an unfamiliar scene. However, the hacking and spluttering in the 1860s was not caused by a wave of integrationitis ripping through SciencesPistes. Instead, the cheerful Riviera town we now call home was a fashionable winter resort frequented by aristocrats — many of whom suffered from tuberculosis. If you have ever sworn that Mentonese air is special, you might be onto something. Doctors from the 19th century certainly thought so, most notably James Henry Bennet. We can thank this Briton for putting Menton on the map by recommending it to his tuberculosis-afflicted patients. Bennet believed Menton’s temperate winters and warm dry climate could help to cure tuberculosis. He travelled first to Menton in 1859 after contracting the disease, seeking “to die in a quiet place.” Instead, Bennet experienced a miraculous improvement in his health. He subsequently started a medical practice in Menton, though he would return to Britain during the summers to see patients. Bennet published a number of books in the 1860s and 1870s exploring the role of climate in the treatment of pulmonary diseases, heralding Menton for its rejuvenating weather. By 1882, even Queen Victoria herself had caught Menton fever. In search of a cure for her sickly son Leopold, the monarch spent two months here. Although Leopold did not survive, Menton’s legacy prevailed and by the turn of the century, this little commune was saturated with ailing aristocrats from Britain, Germany, and Russia. Menton came to be known amongst Britons as a town “for the dying”: its beauty and charm drew in famous folks looking for a place to spend their final years, while its reputation for restoring health made it desirable to the sickly. To this day, spirits continue to roam the streets of Menton, and are especially noticeable at this time of year. So let us embark on an exploration of our most interesting local ghosts, their lives, their deaths, and their legacies... William Webb Ellis (1806-1872) Perhaps the most famous of Menton’s deceased, William Webb Ellis grew up in the town of Rugby, England. In 1823, during a game of soccer, Ellis picked up the ball in his hands and ran with it. This bold violation of traditional soccer rules sparked the development of “rugby” style play. Ellis has since been recognized as the inventor of rugby. In 1987, the International Rugby Board decided to honor Ellis by engraving his name into the Rugby World Cup. Ellis went on to become a pastor and then a minister in London. At some point towards the end of his life, Ellis moved to Menton, though it is unclear whether this was due to illness. He died on the 24th of January in 1872 and was buried in le Cimetière du Vieux Château. Next time the ball drifts in an unexpected way during a Mentonese game of rugby, don't be so quick to blame the wind. It just might be the spirit of William Webb Ellis, trying once again to partake in the sport he created. Pyotr Petrovich Troubetzkoy (1822-1892) This former aide-de-camp to the Tzar was a Russian diplomat, administrator and general. His first marriage was to Princess Varvara Yourievna Trubetskoy who was also, coincidentally, his cousin. However, in 1865, he went to Florence on a diplomatic mission and met Ada Winans, an American opera singer. He promptly divorced Yourievna and moved to Ghiffa, Italy with Winans. After a financial disaster owing to the Panama Canal crisis, Troubetzkoy was forced to sell his villa in Ghiffa and relocate to Menton. His love for botany drew him to Menton’s temperate climate and diverse flora. He died here in 1892 and is buried in le Cimetière du Vieux Château. His resting place is hard to miss; it is an ornate Russian orthodox funeral chapel overlooking the city. Some swear that if you venture to the cemetery late at night, you might catch a glimpse of a wispy form, draped in the tattered remains of an Imperial Russian diplomatic uniform. And if you listen very carefully, you might even hear a quiet operatic tune drifting through the tombstones. Though we may never know for certain, perhaps it is the voice of Ada Winans, serenading her husband in death just as she did in life... Ivan Grigorovich (1853-1930) Everyone’s favorite Russian naval minister is indeed a former resident of Menton! Serving from 1911 to 1917, Grigorovich established himself as a competent leader during the Russo-Japanese war of 1904-05, where he served as commander of the besieged Port Arthur. Following this military defeat, Grigorovich set about expanding and reforming Russia’s navy, leading to his appointment as naval minister in 1911. He maintained healthy relations with naval interests in the Duma and remained popular with Tsar Nicholas II. However, the February Revolution brought about naval unrest, and Grigorovich was dismissed from office in 1917. Grigorovich suffered from frequent bouts of pneumonia and requested to seek medical treatment abroad. In 1923, he was granted permission to leave Russia and seek exile in France, where he lived in relative poverty and made a living by selling his oil paintings. When Grigorovich died in 1930, he was buried in le Cimetière du Vieux Château in Menton. Anatoly Lunacharsky (1875-1933) This Marxist revolutionary was the first Soviet people’s commissar for education. He was also a playwright, critic and journalist. Lunacharsky’s brilliant skills as an orator and position as editor of the first Bolshevik newspaper Vpered solidified his position as one of Lenin’s most active collaborators. He played an important role in persuading the industrial workers of Petrograd to support the October revolution. As commissar for education, Lunacharsky was able to preserve many historic buildings and artwork from destruction over the course of the Russian Civil War. He also introduced a system for subsidizing the arts and attempted to reform the Russian education system. Lunacharsky was responsible for the Soviet Government’s campaign against adult illiteracy, and by the time he left office, virtually zero percent of the adult population in Russia was illiterate. In 1930, he represented the Soviet Union at the league of Nations in Geneva. In 1933, he was appointed Soviet ambassador of Spain. En route to Spain, Lunacharsky stopped in Menton, but he never managed to leave... On the 26th of December, 1933, Lunacharsky died, failing to ever officially take up the post of Ambassador to Spain. Once again, the anecdote of British aristocrats rings true, Menton really is “for the dying.” Lunacharsky’s name was erased from Soviet history and his memoirs were banned during the Great Purge, however his legacy underwent a revival in the 1950s and 1960s. During this time, Lunacharsky came to be viewed as an educated and tolerant Soviet politician. Today, Lunacharsky has had many institutions and even an Asteroid named in his honor. William Butler Yeats (1865-1939) The cherry on top of this morbid milieu: old W.B., one of the foremost figures of 20th century literature. Born in Sandymount Ireland, this wonderful wordsmith developed a fascination for Irish legends and the occult as a child. These themes certainly translated to his poems, which were frequently based on Irish folklore and ballads. His later work explored the cycles of life, death, prophecy, and history. In spite of his Anglo-Protestant roots, our man of the hour Mr. Yeats was a fervent Irish nationalist and one of the first senators of the Irish Free State in 1922. One year later, Yeats received a Nobel Prize in literature “for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation.” Yeats retired from the Irish senate in 1928 due to illness, but regained vigor in 1934 following a Steinach operation. He lived out his golden years engaging in relationships with much younger women (classic), and in 1936 he travelled to Majorca with Shri Purohit Swami where the two worked to translate the Principal Upanishad from Sanskrit to English. Yeats spent his last two winters in Menton, attempting to escape the cold which aggravated his heart condition. Yeats died at the Hotel Ideal Séjour in Menton on January 28, 1939, and was buried in Roquebrune-Cap-Martin. In 1948, his body was dug up and returned to Ireland… or maybe it wasn’t. There is quite a bit of controversy over exactly whose remains were returned to Ireland. You see, Yeats’ body was initially buried in a communal grave in Roquebrune, and though a forensic doctor reconstituted a skeleton presenting all of the characteristics of dear William, it is quite likely that bits and pieces of this beloved poet may still be hanging around the Riviera. Indeed, Bernard Cailloux, the French diplomat tasked with returning Yeats to Ireland stated that it was “impossible to return [his] full and authentic remains.” So if you notice a dark haired bespeckled man wandering along Rue Longue and reciting prose this October 31, it might just be the ghost of Ireland’s pride and joy: William Butler Yeats.

But what do I consider anomie in city life? A lack of disruption from daily routines and rigid adherence to rules almost renders life austere and unbendable, this strict regulation leaves any rule breaker into a lawless reality. < Back Anomie in Urban Life (A Rant from Amsterdam to Athens) By Rosie Betrosian January 31, 2024 I recently had the opportunity to explore Amsterdam, and when asked about my impressions, I found myself wrestling with the urge to rant about the inescapable canals, marijuana-smelling corners, or the labyrinth layout of the city. I tried to find the closest square for a view of the city, perhaps catch a glimpse of a mountaintop, but that was impossible. I knew the city's structure lacks open spaces; instead, streets are simply connected to each other with no square or notable monument in sight. I suddenly felt like Fran Leibowitz – a major cynic about urban culture. "One day I heard that the subway had been closed due to a sewage smell. Seriously? Can the subway smell worse than usual?..." “If I complain about the things I complain about, will they change? Not so far” – Fran Leibowitz That only proved to me that I am not alone in nagging about urbanism; a whole field is dedicated to the analysis of city structure and its relative effects on social and cultural life. Stereotypically, I marvel at the fast-paced environments where everyone seems to be fully immersed and appears to run on efficiency. People in fast paced cities remind me of “The Wolf of Wall Street,” which left me wondering about the effects of urban structure on daily life and people’s mental health; can people truly keep up with a fast paced environment without becoming outsiders? Often, such cities entail “neighborhood elements” such as social cohesion, pleasantness, and safety, which are associated with lower levels of depression. Specifically green spaces, active spaces, social spaces (e.g., benches), and safe spaces (i.e., with reduced crime rates). According to a study by Rebecca Johnson in “Main Street: How a City’s Heart Connects Us All,” these public places ameliorate mental health and communal living. This is validated and repeatedly corroborated through science. Exercise is essential for producing serotonin, boosting self-esteem and stress resilience. However, I have found that even perfect cities following Johnson's list stimulate a feeling of anxiety and loneliness. One may wonder what prevents anomie-inducing feelings. Living in a city entails the elements of anonymity and community. Anonymity permits movement in public settings without scrutiny from a tight-knit community; this independence might be liberating, or the absence of a close-knit community might be isolating. Anonymity is preserved in public places through the right to be forgotten, etc. Cities are primarily hubs of social relations and social cohesion where communities form this expectation and, together with the danger of loneliness, render cities susceptible to anomie. But what do I consider anomie in city life? A lack of disruption from daily routines and rigid adherence to rules almost renders life austere and unbendable, this strict regulation leaves any rule breaker into a lawless reality. I find that cities, planned with town squares and cultural centers, help combat feelings of anomie, a sense of normlessness, or disconnection that arises in urban environments. Town squares and cultural centers serve as vital components in mitigating anomie by fostering social cohesion, community engagement, and a sense of identity. It would be the height of hubris to disregard Athens from my analysis of cities. I have heard people claim “there is no place like Greece.'' This is arguably biased coming from Greek people. This statement, however, does not refer to the Greek mountains, sea or architecture. It refers to a very specific way that Greeks lead their 9 to 5 lives… Commonly ruled by messiness and instability, these elements themselves make Greek urban life less anomic. Disruptions in the metro, traffic, and buses full of people, as well as inaccurate public transport schedules, all create a lively day to day– which some may call chaos. This chaos adds some excitement to each day and allows for more interaction between people in public. This liveliness is also reflected in the city structure, organized around churches and public spaces indicating the prioritization of a community avoiding anomie. Overall, urban life is influenced by factors beyond the visible cityscape, it includes complexities of city life such latent socialization, commuting, work schedule and all details that account for daily working life that can often lead one to feel anomic.

It is inconceivable to imagine any Holocaust movie that is not controversial. Even The Zone of Interest in its minimal narrative storytelling has failed to escape the debates – is it fair to exclude the victims when discussing the Holocaust? Is the movie adding anything, really, to the construction of our knowledge of the events? The questions are not up for me to answer, and yet I find them crucial. < Back Zone of Conflict: Controversies and Dilemmas in Holocaust-Cinema By Pedro Meerbaum March 30, 2024 The Zone of Interest follows a historical family drama. The mother, played by Sandra Hüller, wants to raise her family in their current house — outside of the big city where she can grow her garden and spend Sundays by the lake with the children. Meanwhile, the father, played by Christian Friedel, is forced into a personal dilemma as he is promoted in his military career and must now move to Berlin. Except Friedel's character wasn't just any military personnel and the house wasn't in any city. They lived in Auschwitz, Poland, and the father, Herr Höss, is the commandant of the concentration camp that shares its walls with the family garden. Director Jonathan Glazer takes an unconventional approach to portraying the Holocaust: he expects his audience to be aware of what is happening in the backgrounds of his passive landscapes without explicitly showing the violence of the concentration camps. Unlike other movies on the same topic, including Schindler's List or The Boy in the Striped Pajamas , Glazer spends no time exploring or dramatizing the struggles of the victims, he rather focuses completely on the routine of this specific family. The movie's ability to discuss such a weighted historical event has been a heated topic as award season continues to highlight the mastery of Glazer, leading it to be considered "controversial" in online discussions. But what is clear is that it once again brings up an important question: how can one produce a movie about the Holocaust? The risk of trivializing, minimizing or even abusing real stories haunts filmmakers whenever they are tasked with producing art on one of history's biggest regrets. Austrian director Michael Haneke, famous for works like "Funny Games" and "Piano Teacher," posed a scathing critique of Spielberg's Schindler's List in an interview with the Hollywood Times : "The idea, the mere idea, of trying to draw and create suspense out of the question of whether out of the shower head, gas is going to come or water — that to me is unspeakable." He then proceeds to describe the 1994 Oscar-winning movie as a film with "24 lies per second at the service of truth, or the service of the attempt to find truth.” It is difficult to accuse Spielberg's movie of being exploitative of the Holocaust when its production surrounded a conversation with real victims and an attempt to rejuvenate the popular memory of the event. At the same time, it is not possible to distance Spielberg's production from the mere fact that it is a Hollywood production, a movie bonded by the economic and ideological needs of the culture industry and the necessity to keep the work entertaining to its audience. Thus, when Spielberg creates a Hollywoodian adaptation of Schindler's List, there is a legitimate concern about whether he has, like in his classic Jurassic Park, made the Holocaust into a theme park . It is true, however, that newer generations have been socialized through these works. As we distance ourselves, chronologically, from the 1940s, and as the memories of older generations begin to fade, the role of transmitting Holocaust-related stories lies within movies. The Boy in the Striped Pajamas has become a staple in Western education systems and a necessary addendum in history classes. Understanding, then, that Holocaust-related movies go beyond their statuses as films and transcend into a tool for public memory, another question is raised: What should be the aim of Holocaust cinema? The Zone of Interest engages with this dilemma and focuses instead on the other side of the wall. Sandra Hüller mentions to W magazine that during the filming process, the actors had to stay void – even as they played with kids in the garden they had to actively demonstrate little to no dramatization. A direct response to traditional Hollywoodian cinema, where the directors attempt to juice out drama out of all scenes and create entertainment above all. This is reflective of Glazer's attempt to produce a movie that showcases the ordinary aspects of a Nazi family. It is contradictory to decades of film-making where Nazis were portrayed as "cardboard villains," with no characteristics but their evilness – a portrayal that is both fair and counterproductive. The audience is led to believe that the evil present in the Holocaust was an exceptional case. The Nazis are presented to them as nothing more than villains, as individuals who are so distanced from the viewers that their lives become unfathomable in the 21st century. The Zone of Interest reminds viewers that this is not true. As Glazer puts it himself: "I wanted to dismantle the idea of them as anomalies, as almost supernatural. You know, the idea that they came from the skies and ran amok, but thank God that’s not us and it’s never going to happen again. I wanted to show that these were crimes committed by Mr. and Mrs. Smith at No. 26.” Glazer reminds the viewers of just how dangerous movies on the Holocaust can be. They are, ultimately, vessels for narratives on the event, shaping how we view this piece of history and how we understand the processes that lead to it. Once it becomes enthralled by the culture of entertainment, Holocaust cinema turns itself into a counteractive tool – it distances us from what happened even further. It makes us forget that Auschwitz is not only a museum. It is inconceivable to imagine any Holocaust movie that is not controversial. Even The Zone of Interest in its minimal narrative storytelling has failed to escape the debates – is it fair to exclude the victims when discussing the Holocaust? Is the movie adding anything, really, to the construction of our knowledge of the events? The questions are not up for me to answer, and yet I find them crucial. Holocaust cinema only works when it poses questions, rather than answers – when it leads the audience into the uncomfortable position of questioning: "What would I have done," or more importantly "What am I not doing now."

‘’We must experience everything. Not just the good, but degradation, horror, sadness. This makes us whole, Bella. It makes us people of substance. Not flighty, untouched children. Then we can know the world. And when we know the world, the world is ours.’’ < Back Poor Things By Francesca di Muro February 29, 2024 ‘’We must experience everything. Not just the good, but degradation, horror, sadness. This makes us whole, Bella. It makes us people of substance. Not flighty, untouched children. Then we can know the world. And when we know the world, the world is ours.’’ This is one of the quotes uttered by the protagonist of the film “Poor Things,” directed by Yorgos Lanthimos and released in cinemas in January 2024. Inspired by the homonymous novel written by Alasdair Gray, “Poor Things” can be considered a postmodern revision of Frankenstein It replaces the classic monster with Bella Baxter, a woman who committed suicide and was then brought back to life thanks to a brain transplant of the child she was carrying at the time of her death. Defined as a hilarious political allegory; a raw and self-deprecating portrait of society and its contradictions, of human desires and their most animalistic instincts; between patriarchal visions of society, female independence, and sexual awakening. “ Poor Things” is nothing more than a visual bildungsroman depicting the growth and development of a woman who navigates in a society strongly dominated by sharp moral judgments, which chases her being in a continuous process of self-determination and affirmation. What is particularly striking is how Lanthimos pushes interpersonal relationships to their extreme; boiling down individuals to their inner desires, bodies, and smells. In short, Bella Baxter represents what is a child’s vision of society and its contradictions, far from its conventions and norms. The result is a true portrait of the development of post-enlightenment philosophical thought: from the Scientific Revolution's rationalism to the emotional liberation of Romanticism, transcendentalism, Marxism, and, finally, the Absurdist acceptance of the flawed yet fulfilling lives we lead. By transcending the boundaries of conventional storytelling and delving into philosophical inquiries that challenge the audience's perception of morality, identity, and societal constructs, Lanthimos presents a compelling exploration of the nature of humanity and consciousness. Central to the philosophical underpinnings of "Poor Things" is the concept of agency and autonomy. Upon her revival, Bella navigates a world where her agency is both constrained and manipulated by the forces around her, particularly by Dr. Baxter. Her journey prompts viewers to reflect on the nature of free will and the extent to which external influences govern individuals. Through Bella's struggles and choices, Lanthimos invites audiences to ponder the complexities of human autonomy and the ethical responsibilities that come with wielding power over others. Moreover, "Poor Things" offers a trenchant critique of societal norms and structures. Lanthimos uses the absurdity of Bella's situation to satirize the conventions of Victorian society, exposing the hypocrisy and moral bankruptcy that underpin its facades. Through the characters' interactions and the absurd situations they find themselves in, the film invites viewers to question the arbitrary rules and hierarchies that govern society and consider alternative modes of existence. Furthermore, the film engages with philosophical themes of identity and selfhood. Bella's resurrection results in a fragmented sense of self, as she grapples with memories and experiences that may not entirely belong to her. This exploration of identity raises profound questions about the stability of the self and the extent to which external influences shape it. Lanthimos challenges viewers to interrogate their own sense of identity and consider the fluidity of the self in the face of external forces. In addition to its thematic richness, "Poor Things" is characterized by Lanthimos's distinct visual style and narrative approach. The film's deadpan humor and surreal imagery create an atmosphere that is both disconcerting and captivating, drawing viewers into its philosophical inquiries through unconventional means. Lanthimos's masterful direction imbues every frame with symbolic resonance, inviting audiences to decipher the deeper layers of meaning beneath the surface. And, to conclude, according to Lanthimos, we are all changeable, facing the overwhelming struggle to live under precise norms and customs. And at the same time, we are all poor things. This consciousness can break us or, on the contrary, evoke a sense of empathy for humanity, leading us to dance in an uncoordinated and childish way like Bella Baxter in a Victorian dining room. “I am a changeable feast, as are all of us.”

How does watching strangers fall in love on national television reflect the most complicated parts of our emotional lives – dating? The transition from heartful romcoms to dating shows such as Love Island, Love is Blind or Too Hot to Handle perhaps indicate romance has died. < Back Is Romance Dead?: How Reality TV Shows Reflect Modern Dating Nil Celik October 5, 2025 How does watching strangers fall in love on national television reflect the most complicated parts of our emotional lives – dating? The transition from heartful romcoms to dating shows such as Love Island , Love is Blind or Too Hot to Handle perhaps indicate romance has died. Yet, for others, it could show that the idea of “romance” has shifted from a sacred concept to a performance which lacks sincerity. “Romance” now could be designed to entertain rather than inspire. Most of the time, reality dating shows reduce love to a competition where shocking twists and viral moments are preferred over genuine connections. This shift continues to reshape how we view romance by framing intimacy as a competition in which there is a winner and a loser. Such reality shows normalize performative relationships, quick judgement and constant surveillance as typical parts of modern dating culture. Love is seen as transactional and subject to public approval instead of being a genuine connection. Romantic comedies used to dominate pop culture and they offered a very specific, ideal view of love. Movies like “ When Harry Met Sally ” , “ Notting Hill ” or “ 10 Things I Hate About You ” made us feel like romance was magical, sometimes messy, but always worth it in the end. The characters were awkward, funny and flawed, but the message was the same. Love had the power to transform them for the better. These stories usually ended with a big romantic gesture such as a kiss, a reunion, or a heartfelt confession, reminding us to keep believing in happy endings. Love, according to these movies, was meant to inspire us. Reality dating shows changed that idea completely. Instead of two people slowly figuring each other out, we now watch entire casts of strangers thrown into intense situations where they have to couple up, compete and entertain. Whether it’s “ The Bachelor ” handing out roses, or “ Love Island” forcing contestants to “re-couple” every week, or “ Too Hot to Handle ” penalizing contestants for kissing, these shows turn romance into a game. There’s always a prize. From proposals, to money, to followers, always ending with someone who “wins” and someone who goes home heartbroken. These actions make love feel less like a natural connection and more like a challenge you can either pass or fail. Of course, reality dating shows thrive on drama. Shocking twists, betrayals and viral arguments are what keep people watching. The editing is designed to create cliffhangers and amplify conflict, so that we can’t wait to see what happens next. Genuine connection often takes a backseat to the wildest moments. Contestants know that being dramatic gets more screen time, and more screen time means more fame after the show. Viewers, meanwhile, get used to seeing love as something that’s big, loud and full of drama which can make real-life dating feel boring by comparison. Another huge part of these shows is surveillance. On “ Love Island ”, cameras are everywhere, even in the bedrooms and nothing stays private. Every kiss, every argument, every tear is filmed and shown to millions of viewers. Contestants aren’t just thinking about who they like – they’re thinking about how they look on camera and what the audience will think of them. Romance becomes something to manage carefully, like a brand. That also changes how we, as viewers, think about dating. It trains us to see relationships as something public, something that needs constant outside validation which changes this genuine connection from being about two people to a whole community. It also makes love feel transactional. On “ The Bachelor ”, contestants compete for one person’s attention, hoping to get a rose and stay another week. On “ Too Hot to Handle ”, the contestants literally lose money if they kiss or get too close physically. Love becomes part of the strategy, not just a feeling, but a move in the game. When you think about it, this isn’t that different from dating apps, where swipes and matches turn romance into a numbers game. Reality shows just take that idea to the extreme and put it on display for everyone to watch. Some might say this is just being honest about what dating is really like. In the end, when we go on a first date, we put on a performance – we dress up, we choose our words carefully, we try to make a good impression. But these shows make that performance the main event. The actual impressive work of getting to know someone, including the funny awkward silences, the boring parts, the little private moments, they all get cut out and what we are left with is a performance full of tweaks and adaptation. So that might make us forget that real relationships are built in those ordinary moments, not just the dramatic ones. These shows also shape what we think is “normal” in dating. They often reinforce old-fashioned ideas about who gets to choose and who gets chosen, or what kinds of people are seen as desirable. Even when they include more diverse casting or same-sex couples, the basic idea stays the same, which is that love is a contest and someone has to win. That message sticks with us and can make real-life dating feel like a competition too. This can lead to us always having to prove ourselves worthy of being picked. And yet, people keep watching. I’m guilty as well, it wouldn’t be a lie if I told you that I spend hours in front of the TV rooting for my favorite couple. There’s something addictive about seeing love play out in real time, even if it’s messy and over-the-top. Maybe it’s because we see a bit of ourselves in the contestants such as their jealousy, their insecurities, their excitement. We tend to root for the people who mirror ourselves or the people who we aspire to be. These shows might be exaggerated, but they still capture something true about how vulnerable dating makes us feel. They let us root for happy endings and feel the thrill of drama without having to live through it ourselves. However, we have to ask what these shows are teaching us about love. If we start to think that love should always be dramatic, public and exciting, we might miss out on the more genuine side of romance such as the part that isn’t made for TV which is usually cut or tweaked. The most meaningful moments in a relationship are the ones no one else sees. However, that wouldn’t make for good television, since people like to see drama, not a wholesome reaction. Watching strangers fall in love on national television tells us a lot about where we are as a culture. It shows that romance hasn’t disappeared, but its shape has changed. It has become something we watch, something we judge and something that has to entertain us. Reality dating shows are fun, but they also make us see love as a competition, a performance and a public event. Whether that’s good or bad depends on how much we let it shape the way we approach our own relationships. What’s evident is that these shows have changed the way we think about romance and maybe even the way we experience it. Pavels Dunaicevs, Flickr

In a democratic society we willingly submit power to governing institutions to be wielded toward the greater good, and when that isn’t the case, and other measures fail to address injustices, Fo’s tale suggests that civil disobedience may be the only route left to take. < Back Navigating Corrupt Realities: The Timelessness of Dario Fo’s ‘Accidental Death of an Anarchist’ By Maria Eirini Liodi December 31, 2023 In a world torn by conflict, poverty, and displacement; where every event is live broadcasted to us 24/7, reality seems to be a nightmarish loop. Especially with the wartime atrocities we have observed this past year, notions of fairness and justice have been prevalent topics of discussion, as has been the issue of civil disobedience in light of injustice. Is deviating from the norm and going to extreme measures to make one’s voice heard justifiable? What civil disobedience is justified in the name of fairness? While this article will not delve into these political topics directly, they do provide a basis of my discussion of theatre and the role of political plays today, with the spotlight on a recent favourite of mine, Dario Fo’s play, ‘The Accidental Death of an Anarchist.’ Recently while in Athens, I was able to see this incredible play brought to life. An amalgamation of movement, song and wit, the interpretation brought by the Greek actors, namely the protagonist Panos Vlahos, is a must watch for anyone in the area. A woeful tale woven in webs of lies, injustice and violence, the protagonist, a mad trickster, unveils the distorted reality one finds when dealing with powerful and corrupted state bodies. This lively satire unfolds a tale based on the 1969 Piazza Fontana bombing and death of anarchist Giuseppe Pinelli. In a period where Italy was struck by intense waves of social unrest, radical calls from the left for societal reform and anarchist groups mobilising to destabilise the status quo, the government was cornered in a challenging position. Pinelli was arrested for an alleged anarchist bombing, however like everything in the play, Fo sheds light on the ambiguity of the events, from the arrest, to the unfortunate, ‘accidental’ death. Pinelli’s death was labelled a suicide, an ‘accident,’ but many members of the public weren’t convinced. As all Gossip Girl fans and perhaps governments will know, even the best hidden secrets come out eventually. Well this one didn’t exactly ‘come out.’ It was just whispers of the corrupt core of the police, alleged brutal methods of interrogation and even rumours of the police planting intelligence members disguised as leftists to plant bombs to destroy their credibility and political standing. Fo illustrates this confusion through an absurd reality of a protagonist with a fast-talking, skillful eloquence and underlying revolutionary zeal. Assuming the semblance of a psychiatrist and later an investigating judge, the protagonist infiltrates the police department, seamlessly unraveling the inconsistencies of the anarchist’s case and revealing through the impeccable “appearance-versus-reality" trope the deceptive, corrupt actions of the police force. As audiences immerse themselves in the narrative, the play subtly urges contemplation on the challenging of authority and resisting oppressive systems. Amidst the protagonist's journey through the absurdity of corrupt institutions, the narrative quietly champions the notion that civil disobedience, rooted in anarchist values, can wield significant influence in the battle against societal injustice. If we were to look practically anywhere in our modern day society, we could see these ideas entrenched around us. Modern media yields growing power in dominating the narratives upon which not only our interpretations of the world are based, but society itself is based. Done in parallel with the growing tools of misinformation and misrepresentation of information, as tools of social division and exclusion of justice, Fo’s political drama serves as a cautionary tale. We ought to be critical about what we read–where was it published? When? By whom? Is there proof? If so, then what is it? And when it comes to institutions of power, be it universities, companies or governments–we ought to be critical of them too. In a democratic society we willingly submit power to governing institutions to be wielded toward the greater good, and when that isn’t the case, and other measures fail to address injustices, Fo’s tale suggests that civil disobedience may be the only route left to take. Disclaimer: This is by no means an article written to promote anarchy, just critical thinking.

BRAT was summer. BRAT was coming to terms with your suppressed desires, the hate you bore and the complicated friendships you were a part of. The fun, the ugly and the embarrassing. It was about the euphoria of partying into the light of early summer mornings and the walks of shame back home. Drug abuse, sex, and all other kinds of highs of life was what BRAT encompassed. It encouraged difficult conversations about fertility and friendship, revealing that fame doesn’t equate feelings getting spared or receiving grace. < Back Is being a Virgin as Cool as Being a BRAT? : A Review of Lorde’s Latest Studio Album Melissa Çevikel October 23, 2025 Brat : More Than an Album BRAT was summer. BRAT was coming to terms with your suppressed desires, the hate you bore and the complicated friendships you were a part of. The fun, the ugly and the embarrassing. It was about the euphoria of partying into the light of early summer mornings and the walks of shame back home. Drug abuse, sex, and all other kinds of highs of life was what BRAT encompassed. It encouraged difficult conversations about fertility and friendship, revealing that fame doesn’t equate feelings getting spared or receiving grace. Besides shaping a big majority of the summer 2024 trends and, arguably, vibes, Charli xcx’s sixth studio album BRAT created a long lasting — and ongoing— cultural phenomenon of “BRAT Summer” . In her Menton Times article dating september last year titled “Becoming Brat” Ema spoke on the impact BRAT Summer had on society saying: “Charli XCX reminded us, in her blunt and unhinged way, that we can be confident and vulnerable and there is in fact nothing wrong with our imperfect, complicated personalities.” This summer, however, following Charli xcx’s official declaration of the end of BRAT summer , a new era began. Although the target audience for this new “ era ” was the exact same as BRAT Summers , it could not even come close to the commercial success brat had achieved. Charli xcx and Lorde’s relationship has had complications which were publicly known and exploited by the mass media. The two artists have oftentimes been compared to each other due to their similar physical appearance and success in the mid 2010s music industry. While the intricate details of their relationship weren’t shared withthe public, the remix of Charli xcx’s Girl so Confusing which featured Lorde not only revealed the underlying hostility the two had towards each other but also “resolved” the conflict with the final lines of the song being: “ Girl, girl, girl, girl // You know I ride for you, too// (It's so confusing-ing)” As Lorde hadn’t released music since her 2021 album Solar Power , this feature was also regarded as her return to music, which meant that by the time she announced that she would be releasing Virgin everyone was already hyped for her comeback. Yet, despite this initial excitement, Virgin wasn't nearly as successful commercially as BRAT was, with some users even comparing it to Taylor Swift's widely hated and criticized album The Life of a Showgirl. But does this lack of commercial success have anything to do with the quality of Lorde’s Virgin, or is it simply a manifestation of the change of consumer preferences? Virgin : Thoughts Virgin consists of eleven songs. The album was written and produced in 2023, around the same time as Brat. Lorde describes this album as her “rebirth,” discussing numerous themes and both regressing to the past and reflecting on the present. All the songs featured are not only content heavy but also in classic Lorde style, quite poetic. Hence why, analyzing them in a way that would do them justice would be impossible. However, I will try my best to present a very short rundown of the songs that stood out for me from the album and their main themes, just to have a better idea of Virgin as a whole. The selected songs are based on nothing more than my personal preference. The opening track Hammer was first released as a single for the album, and is considered to be the most accurate embodiment of the album's main theme: self discovery and identity. Lorde talks about identity in all its forms, including gender identity when she says: “ Some days, I'm a woman, some days, I'm a man, oh ” . The second song of the album is What Was That, which, being the second single for the album, was highly criticized prior to the album's release. Arguably, some of the most criticized lyrics of the album are from What Was That. Some of the lyrics leading to heavy internet discourse were: MDMA in the back garden, blow our pupils up We kissed for hours straight, well, baby, what was that? I remember saying then, "This is the best cigarette of my life" Well, I want you just like that Indio haze, we're in a sandstorm and it knocks me out I didn't know then that you'd never be enough, oh Since l was seventeen, I gave you everything Now we wake from a dream, well, baby, what was that? What struck many listeners was the clear allusion to Lorde’s early career, and the years of the release of her first album, Pure Heroine. More than the content, Lorde’s writing was criticized, with users being unhappy with the lack of imagery she integrated into the song. Users said they were not able to see Lorde taking MDMA, she wasn’t able to get through to them. In Shapeshifter Lorde discusses all the roles that have been projected onto her throughout her career and how she was able to adapt to all of them. She expresses her desire to simply “be herself” again, something that she no longer knows how to do. Man of the Year is another song focusing on Lorde’s gender identity. Whether it's the “masculine” Fight Club reference in the line “You met me at a really strange time in my life”, or Lorde talking about her transformation saying: “ My babe can't believe I've become someone else// Someone more like myself,”, Man of the Year is a composition of multiple aspects of Lorde’s gender identity and her coming to terms with it. The title of the song is an allusion to the GQ Man of the Year Awards which the singer says was an event she attended in 2023 which was, in part, the inspiration behind the song . This “rebirth of hers doesn’t come without concerns. She sings “ Who's gon' love me like this?// Oh, who could give me lightness?” expressing her anxiety, and even desire to be accepted. Current Affairs is , in my opinion, one of the most powerful songs in the album. The song discusses feeling out of control, and being lost in the chaotic flow of life, holding an almost absent stance. Mama, I'm so scared Don't know how to come back Once I get out on the edge He spit in my mouth like He's sayin' a prayer But now I'm cryin' on the phone Swearing nothing's wrong The contrast between the sexual imagery, yearning for parental support and coping all brought together in the pre-chorus embodies what “rebirth” feels like for Lorde. Trying to navigate through your identity while simultaneously, in its simplest form, continuing to live a life and cope with current affairs, accurately represents the complexity and weight of living a multi dimensional life. Finally, David is, in my opinion, the ultimate closing track for an album like Virgin. The song's main theme is vulnerability, and gives the album an almost chronological feeling since it’s set in the present and connects the journey she has gone through with the destination where she has arrived. The lyrics: “ At the Sunset Tower, you said, "Open your mouth" I did// And what came spillin' out that day was the truth// If I'd had virginity, I would have given that too” present an almost separate attachment to truth, whether it’s her true identity or the truth about her relationship. It’s so important to her that the next thing up would be something she no longer even has. The pre chorus, “ And once I could sing again, I swore I'd never lеt// Let myself sing again for you” sets the timeline of the song and is a reflection of her career. The time when she can sing again is today on Virgin, and is her declaring her autonomy and rebirth with this album. The Virality of Virgin, or the Lack There of Despite the vulnerable themes BRAT covered and reflected on Charli’s personal relationships with herself and the world, the “hype” beat and persistent party and club references made them seem much less intimidating than they were. Virgin on the other hand presents similar issues in a much more rawer way. Charli wanted her listeners to recognize these issues as a part of life and learn to live with and embrace them, while Lorde is keen on emphasizing and focusing on them rather than brushing over them. Regardless of whether Virgin Summer happened or not, we should be thankful that it didn't have the impact Brat had because it would’ve been a very depressing summer to have to go through. Call it a recession indicator if you want, but themes of depression and sadness are no longer glamorized and consumed on the internet the way they were in the 2010s and early 2020s, and people are much more inclined to consuming hyper-pop and upbeat “party” music such as that of BRAT. Though there is an undeniable aspect of seasonal impacts on trends ( sad girl autumn popularizing Taylor Swift’s albums Evermore and Folklore) , we haven’t seen similar, and recent, examples of mainstream “sad”, not only lyrics but also beat wise, music becoming as trendy as BRAT. Lorde’s rebirth, hopefully, is a happier and new chapter in her life, and we have had the chance to witness the emergence of it. Photo Source: Erin Mc, flickr

Since the end of January, the issue of the Iranian regime has slowly been consuming more dialogue within the European Union bloc. < Back Sanctions: Relations Between the West and Iran Continue To Intensify By Leo Gerza February 28, 2023 Since the end of January, the issue of the Iranian regime has slowly been consuming more dialogue within the European Union bloc. On the one hand, the discussion on how and to what extent the union needs to act against the regime is driven by the latter’s continued brutality against its civilian population. On the other hand, concerns over Iran stem much closer to home on the Ukrainian battlefront, where Iran has been exporting drones to assist Russia in its illegal invasion and occupation of Ukrainian territory. The discussion on how to address these actions has developed into a practical debate on how to most effectively sanction Iran to limit and deter exports. It has once again underscored differences in how far European Union leaders are willing to go to assist widespread retaliation against authoritarian repression. Simultaneously, sharpened rhetoric directed against Iran within these debates has contributed to escalating tensions between both sides. On Jan. 19, the European Parliament passed a resolution calling for the union to recognize Iran’s elite forces and its subsidiaries as “terrorist organizations,” mainly in response to the regime’s lethal repression of civilian protesters. The resolution, however, is not binding, and the European Union’s chief of foreign policy, Josep Borrell, made clear that “you cannot say I consider you a terrorist because I don’t like you.” Therefore, the proposed designation will not be introduced until it has gone through the correct legal process. In retaliation, Iran claimed that it would vote on whether to designate European armed forces as terrorist organizations in a tit-for-tat move. Iran also threatened that negotiations to restore its 2015 nuclear deal would be entirely off the table. While both of these largely symbolic moves are unlikely to materialize, it demonstrates renewed tension in the verbal dialogue between both sides which will likely be reflected in more aggressive policy toward each other soon. However, the European Union and the United States acted decisively to implement new sanctions on Iran. The union voted to add 37 Iranian officials and organizations to the sanctions list. Those targeted by sanctions cannot travel to the European Union, and their assets can be frozen. On the same day, the U.S. Treasury announced it would join by targeting the Islamic Revolutionary Guard Corps (IRGC), a large group of its senior members and Iran’s Deputy Minister of Intelligence and Security Naser Rashedi. “Along with our partners, we will continue to hold the Iranian regime accountable so long as it relies upon violence, sham trials, and the execution of protestors,” said the Treasury Department. In a rare moment of synchronization, the U.K. acted in step with the union and the United States, also acting to sanction Iranian individuals and organizations. Notably, the list of sanctioned individuals included Deputy Prosecutor General Ahmad Fazelian because he weaponized the judicial system for political purposes. The British foreign minister, James Cleverly, said, “judicial figures using the death penalty for political ends… are at the heart of the regime’s brutal repression of the Iranian people.” In retaliation to the series of coordinated sanctions from the West, Iran blacklisted 34 individuals and organizations in the European Union and the United Kingdom. The list of blacklisted individuals covers members of the European parliament, military commanders, city officials, and three executives at the French Magazine Charlie Hebdo, who had been accused of publishing a series of satirical caricatures depicting the elite of the Iranian regime. In the U.K., individuals blacklisted included legal officials such as the Prosecutor General and several intelligence officers. Amidst the 44th anniversary of the regime, President Ebrahim Raisi targeted the West in an invigorated speech where he was met with chants of “death to America” and “death to Israel.” This continued aggressive rhetoric comes at the same time that relations between Iran and Russia are coming ever closer together. On Feb. 8, the Central Bank of Iran (CBI) claimed that it connected Iran and Russia’s financial messaging services to facilitate an expansion in bilateral economic relations. This will undoubtedly further solidify the alliance between both countries and will need to be met by continued cooperation on foreign policy between member countries within the union and between Europe, the United States and the United Kingdom.

The trend of "sassy-man politics" shows a shift in politics, where personality and showmanship often take priority over serious policy discussions. Politicians using humor, boldness, and sarcasm to connect with the public are gaining attention, especially on platforms like TikTok, which favor short, attention-grabbing clips over deeper conversations. < Back Sassy Man in Politics Nil Çelik October 31, 2024 Donald Trump infamously stated in the course of his 2016 presidential campaign: “I could stand in the middle of Fifth Avenue and shoot somebody, and I wouldn’t lose voters.” This audacious assertion explicitly exemplifies what has come to be known as the “sassy-man in politics.” In this approach, male politicians shift away from profound, thoughtful debate and instead depend on arrogance, sarcasm and stage performance, leading to significant social and cultural changes. The rise of media-influenced political leaders is often seen as the root cause, starting with television and later amplified by social media platforms. These platforms award politicians who amuse viewers and provoke controversy instead of concentrating on significant issues with screen time. Political figures such as Trump and British statesman Boris Johnson have evolved into the symbols of this initiative. This transition in political discussion indicates a concerning deviation from established principles of leadership like skill, morality and responsibility. With it, the priority has shifted to politicians who behave in a manner resembling performers who strive to gain “likes” and “shares” instead of the trust of the public. The social media platform TikTok, renowned for its short and entertaining videos, has contributed greatly to this transition. The TikTok phenomenon “ Sassy Man Apocalypse ” is a projection of men who are often referred to as flamboyant and emotional, accepting and celebrating their “sassy” characteristics. The term “sassy” was originally utilized to ridicule men who displayed non-traditional masculine manners. Nevertheless, TikTok creators such as Prayag Mishra have begun to reshape it, shifting being sassy toward a more positive demonstration of self-confidence, and emotionality. These characteristics are now established as acceptable, instead of being seen as a weakness. Although this development has led to crucial debates about toxic masculinity, critics argue that trends alone do not lead to actual social change. Even though the “sassy-man apocalypse” began as a joke on the internet, it has now impacted real-world politics, with male politicians integrating this demeanor to relate to meme-loving younger viewers. A relevant example is Mustafa Sarigul, who is currently serving as the member of parliament in Erzincan, who used a playful and non-traditional style of campaigning during the 2023 elections. Sarigul posted several theatrical and entertaining videos on his TikTok and Instagram, including one where he drove a tractor on the Erzincan fields, addressing local voters while combining political messages with everyday life. His over the top delivery where he humorously, combined with relatable humor led to the videos going viral, allowing him to connect to younger audiences. His social media presence through this approach led to him being erected for parliament. This approach shows Mustafa Sarigul utilizing internet culture to remain relevant in Turkish politics. However, young viewers have also utilized this internet phenomenon to ridicule the bold statements that male politicians make. The result of this change has been consequential. Sassy-man politics decreases the importance of governance, downplaying substantial subjects in the interest of self-centered acts. This action resonates with a public that concentrates more on personality than policy. This produces a series of politicians who must constantly outperform each other with controversial arguments to stay relevant. Since social media platforms gradually change the cultural environment, this manner of politics may continue, drawing concern about whether future leaders will be determined by their skills to lead or by their skills to entertain the public. As politics becomes more about spectacle, there’s a danger that the focus on governance and long-term solutions will be replaced by short-term popularity contests, potentially leading to leaders who lack the necessary expertise to effectively manage public affairs. The 2024 presidential debate between President Joe Biden and former President Donald Trump openly displayed the concept of sassy-man politics, characterized by sharp discussions, interruptions and sarcastic remarks. Trump didn’t withhold from delivering sarcastic and offensive statements. At a particular moment, he stated , “Biden doesn't even know that he’s running for president.” This mocked both Biden’s age and cognitive capabilities. Biden retaliated, claiming, “I’ve been doing this longer than you’ve been making money off bankruptcies.” These sassy remarks entertained some viewers but transitioned the debate from profound policy discussions to personal insults. This led to viewers seeing viral moments of the debate instead of having a concrete understanding of the candidates plans for governance. The overall result of this “sassy” back-and-forth was a debate that was concentrated more on personal drama instead of real policy issues. Short clips of this debate circulated on social media platforms such as TikTok and Instagram, strengthening the view that sassiness in politics is seen as a main way to achieve the attention of the public. Likewise, the 2024 presidential debate between Vice President Kamala and Former President Trump followed a similar sassy style. Trump stated that “Harris was the worst Vice President in history” and that “she’s so good at being invisible, I forget she’s even on the ticket.” These indicated Trumps’ strategy of attacking Harris by using sharp and repeatedly mocking comments. Although his sassy attitude and remarks resonate with his fan base, it demonstrates the more profound issue of how women, specifically women of color, are treated in political debate. This pattern becomes even more distinct when political figures face attacks that question their competence and authority through demeaning humor or stereotypes. While these tactics may rally Trump's base, they also serve to reinforce harmful gender and racial stereotypes, diminishing the legitimacy of women, particularly women of color, in positions of power. This evolution in Trump's approach signals a broader issue of how women in politics are not only undermined in their capacity as leaders but also weaponized as subjects of ridicule, demonstrating the intersections of misogyny and racism in modern political discourse. Harris rebutted his statements firmly, but it was difficult to overcome Trump’s offensive language. This trend of shifting political discourses into witty interactions is altering American politics, promoting entertainment instead of profound debates, and influencing political norms and gender roles. The trend of “sassy-man politics” has also affected the Governor of Florida Ron DeSantis , who has become a primary target on TikTok after the phenomenon of the “sassy- man apocalypse.” While the TikTok trend didn’t start politically, DeSantis has been the topic of millions of views on TikTok, as users developed and shared content ridiculing his character. Recently videos of an irritated reply from DeSantis concerning a Guantanamo question have led to hundreds of viral contents, gathering over two million views. His aggressive standpoint as a savior of traditional values, especially with the anti-LGBTQ+ legislation such as the “Don’t Say Gay” bill, has made him a figure of mockery for young progressive Americans. Polls in the beginning of the year showed that DeSantis had one of the most negative ratings among Republican candidates between the voter age group from 18 to 34. The given age group could be said to respect diversity and expression of gender and sexuality more, driving DeSantis to be a primary target for critics due to his policies. As he is known for being defensive and sensitive, this leads to the creation of the “sassy man” and “short king panic” memes that are commented on posts that involve him. However, Ioana Literat, an associate professor at Teachers College Columbia University who studies the civic engagement of young people, stated that these videos indicate a more comprehensive critique on what acceptable actions are in today’s politics. The trend of "sassy-man politics" shows a shift in politics, where personality and showmanship often take priority over serious policy discussions. Politicians using humor, boldness, and sarcasm to connect with the public are gaining attention, especially on platforms like TikTok, which favor short, attention-grabbing clips over deeper conversations. Leaders like Donald Trump, Boris Johnson, and Mustafa Sarigul show how this entertaining style appeals to certain groups, but it can also distract from real issues. This trend has also highlighted stereotypes and, at times, undermined the authority of women and people of color in leadership. Overall, "sassy-man politics" raises concerns about whether leaders are more focused on gaining popularity than effectively addressing important problems, potentially weakening trust in the political system.

Aux allures hollywoodiennes, “Afrita Hanem” nous emporte avec légèreté dans le riche univers qu’est la comédie musicale. < Back “Afrita Hanem” ou l’Âge d’Or du Cinéma Égyptien! By Morgane Abbas January 30, 2022 Amour et humour ! Voilà donc les deux élixirs utilisés par Henry Barakat qui, ensemble, forment la potion magique d’un succès mérité. Avec dans son casting une admirable Samia Gamal au sourire aussi radieux que malicieux, ainsi qu’un Farid Al-Atrache dont la prodigiosité musicale et artistique n’est plus à prouver, l’âge d’or du cinéma égyptien est bien en marche. Aux allures hollywoodiennes, “Afrita Hanem” nous emporte avec légèreté dans le riche univers qu’est la comédie musicale. Une comédie qui, certes, est loin de divertir Asfour, l’élégant chanteur gratifié par son talent et son sens du romantisme, mais infortuné par le poids de sa place dans l’échelle sociale… D’ailleurs, l’amour et la musique s’entremêlent divinement, comme en témoignent les nombreuses scènes où le brio de Farid al-Atrache est mis en avant. Il s’y livre à ce que nous pourrions qualifier une exaltation du sentiment amoureux, presque hyperbolique, dans toutes ses dimensions. Sa voix divine est mise en avant tout au long du film à travers des pièces musicales qu’il écrit lui-même, ce qui peut parfaitement s’apparenter au chant d’un oiseau qui prend son envol, d’où le choix non anodin du prénom “Asfour” (oiseau en arabe). Un amour passionnel, douloureux ou nostalgique… Ainsi, ce prénom, c’est aussi l’allusion, comme le montre l’une des dernières scènes du film, à un oiseau prisonnier d’une cage, d’un amour impossible... “يا حبيبي” (“ya habibi”, “ô mon amour”) est répété un nombre incalculable de fois, et est d’ailleurs le miroir de cette omniprésence. Certaines scènes possèdent même une dimension shakespearienne: l’un récitant ses paroles d'amour, l’autre l’écoutant passionnément du haut de son balcon, comme le feraient Roméo et Juliette, ou encore Cyrano de Bergerac et Roxanne ! Cependant, comme nous n’avons pas omis de le mentionner plus haut, cet amour, sous toutes ses facettes, est toujours accompagné par l’humour, comme s’ils étaient intrinsèquement liés. D’abord, c’est le scénario en lui-même qui est comique, notamment grâce à la dimension imaginaire et fantastique que Henry Barakat introduit dans son film, ce qui lui donne une grande originalité. Ainsi, l’invisible Kahramana use de ses pouvoirs magiques pour rendre la vie impossible à Asfour, par jalousie de son amour, bien que non réciproque, pour Alia. Mais ce côté humoristique est également présent à travers d’autres personnages, comme Boqo, notamment parce que nous pouvons observer que son jeu d’acteur est presque théâtral ! Parfois excessif et démesuré, nous nous attachons rapidement à sa nature presque niaise. D’autres scènes sont également très divertissantes, comme celles où Alia, en parlant à ses deux amants en même temps, fait croire à Asfour qu’elle accepte son mariage avec elle, de quoi faire tourner la tête à ce dernier… D’ailleurs, au début du film, nous pourrions même croire que la “Afrita”, la “diablesse”, c’était elle, avant que n’émerge le personnage de Kahramana. Pourtant, nous devons nous tenir d’affirmer que parce que l’humour joue un rôle central dans le film, ce dernier est seulement au service de notre divertissement, loin de là ! En y prêtant attention, beaucoup de messages sous-jacents peuvent être interprétés. D’abord, un questionnement d’ordre philosophique est notamment incarné par le mystérieux vieil homme, synonyme de sagesse et d’expérience de vie : qu’est-ce que le vrai bonheur et en existe-t-il un? Comment l’atteindre ? La question de la valeur de l’amour est également abordée. A travers les personnages de Asfour et Mimi Bey qui représentent des idéaux complètement opposés, et Alia au centre qui joue sur deux tableaux, nous relevons la vision dichotomique entre un amour loyal et sincère d’un côté, et de l’autre un amour fallacieux motivé par une avidité d’argent. L’esquisse d’une critique matérialiste ainsi que du poids des classes sociales dans la configuration des relations peut être aperçue. Additionnellement, il est clair que le réalisateur offre une vision du monde oriental et de la société égyptienne qui diffère grandement du cinéma colonial des décennies précédentes. Affirmons-le, il s’agit de mettre en avant les spécificités orientales, pas de les dénigrer ! Comparons seulement ce type de film à ceux du genre colonial ! D’abord, d’un point de vue du genre, on assiste à une redéfinition de la masculinité, notamment à travers Asfour, présenté comme un homme raffiné, séducteur, élégant, romantique et respectueux avec la gente féminine. L’émotion, la sensibilité et la fibre artistique sont valorisées. L’image de la femme arabe elle-même est en parfaite opposition avec celle présentée par les films occidentaux précédents. Elle est émancipée, nous la voyons par exemple jouer aux cartes avec les hommes sans difficulté. Cependant, nous pourrions nous demander s’il ne s’est pas opéré une régression des mœurs qui paraissent à cette époque plus ouvertes que celles de la société égyptienne contemporaine. Ainsi, à maintes reprises, le réalisateur ne se gêne pas à exposer des scènes de baisers, ce qui serait plus tabou aujourd’hui. Le cinéma arabe, notamment égyptien, a su manier de manière extrêmement subtile les outils cinématographiques d’abord développés en Occident au service des sociétés arabes. Ce film en est le parfait exemple, en témoignent les effets d’optique et de transition plutôt réalistes qui accompagnent l’apparition du fantastique et de l’imaginaire. Ces outils, ce sont aussi les codes de la comédie musicale à l’hollywoodienne. Si l’on retrouve beaucoup de similitude de cette dernière à travers les danseurs, les costumes, les mises en scènes, et même certains schèmes musicaux, c’est néanmoins les spécificités de l’art arabe qui sont mises en avant, notamment avec la mise en lumière d’instruments comme le Qanûn et sa sonorité si particulière et raffinée ! Il s’agit donc réellement de s’approprier les outils les plus modernes du cinéma de l’époque à des fins revendicatives et artistiques propres au cinéma arabe, et égyptien dans ce cas plus précis. Si l’on associe cela avec la popularité des acteurs, qui comme Farid al-Atrach sont des icônes de la musique dans la vraie vie, tous les éléments sont rassemblés pour que “Afrita Hanem” soit une des pièces maîtresses du cinéma égyptien !

On quitte rarement le Liban, on s’en sépare, souvent contre sa volonté. Et pourtant, dans cette séparation, une étrange alchimie se crée: plus le pays sombre dans le chaos, plus il semble s’effondrer sous les poids du temps et de la guerre, et plus l’attachement et le patriotisme de ses enfants, même à l’autre bout du monde, se fait viscéral. Ce phénomène est particulièrement visible parmi les étudiants libanais en France, pour qui ce patriotisme se nourrit de la résistance face à un contexte tendu, marqué par les tensions et les conflits internes. < Back Loin des yeux, près du coeur: les Libanais de la diaspora face au chaos Christy Ghosn December 31, 2024 « Si le Liban n’était pas mon pays, je l’aurais choisi pour pays. » Gibran n’est pas mort, il vit à travers chaque mot, chaque pensée, de ceux qui, loin de leur terre natale, l’embrassent encore dans leur âme. On quitte rarement le Liban, on s’en sépare, souvent contre sa volonté. Et pourtant, dans cette séparation, une étrange alchimie se crée: plus le pays sombre dans le chaos, plus il semble s’effondrer sous les poids du temps et de la guerre, et plus l’attachement et le patriotisme de ses enfants, même à l’autre bout du monde, se fait viscéral. Ce phénomène est particulièrement visible parmi les étudiants libanais en France, pour qui ce patriotisme se nourrit de la résistance face à un contexte tendu, marqué par les tensions et les conflits internes. Des interviews avec de jeunes expatriés ont permis de comprendre ce paradoxe et comment le patriotisme, loin des frontières du Liban, devient un acte de résistance, comme une promesse de ne jamais oublier ceux qui sont restés. Un patriotisme renforcé par la distance Avant de quitter le Liban, une grande majorité des Libanais interrogés ressentaient une relation ambivalente avec leur pays. L’amour pour leurs proches était entaché par une frustration intense face à la situation politique et économique. Quitter le pays était souvent perçu comme un soulagement, une échappatoire au danger quotidien, mais ce choix était aussi teinté de culpabilité: partir signifiait abandonner un foyer en crise et laisser derrière des proches plongés dans l’incertitude. Une fois à l’étranger, la distance géographique semble paradoxalement rapprocher émotionnellement les expatriés de leur pays d'origine. L’une des étudiantes interrogées a partagé son expérience: bien qu’étant partie très jeune, elle n’avait jamais ressenti un lien aussi fort avec le Liban qu’à la suite des récents affrontements entre le Hezbollah et Israël. Ces événements ont ravivé un sentiment d’appartenance malgré la distance, un sentiment alimenté par la solidarité partagée avec d’autres Libanais dans la même situation. Ensemble, c’est comme s’ils avaient formé une sorte groupe émotionnel de support. De plus, face à la pression d’intégrer les valeurs françaises, beaucoup ont éprouvé un besoin urgent de se rattacher à leur identité libanaise, comme une manière de se réapproprier une partie essentielle et profonde d’eux-mêmes qu’ils sentent parfois menacée. La diffusion et la promotion de la culture libanaise Ce besoin se traduit par une redécouverte de leur culture et une fierté renouvelée d’être Libanais. En effet, les étudiants libanais à l’étranger deviennent souvent des ambassadeurs de leur culture. De la poésie libanaise à Fairuz, en passant par le houmous ou la dabke, ils partagent activement leurs traditions et contribuent à façonner une image positive du Liban, malgré les crises. Cette diffusion culturelle est perçue comme un acte de résistance morale: dans un contexte où leur identité est menacée, préserver et promouvoir leur culture devient une manière de la protéger. Ce sentiment se renforce notamment à Sciences Po où, face au conflit, beaucoup ressentent la nécessité de se positionner et de défendre leurs valeurs. Comme le résume une étudiante, « Le simple fait d’exister, de vivre, devient une forme de résistance. » Des événements culturels organisés par les étudiants libanais illustrent cet engagement, suscitant souvent l’admiration de leurs camarades internationaux, qui se disent inspirés par les récits et les valeurs partagés. Alors que certains, touchés par ces portraits envisagent de visiter le Liban, d’autres, déjà influencés par le temps qu’ils passent avec leurs amis libanais, intègrent inconsciemment des éléments de cette culture dans leur quotidien, ponctuant leurs phrases de mots comme "Saraha" (Honnêtement) ou "Chou?” (Quoi?). Le rôle de la diaspora dans l’avenir du Liban La diaspora libanaise a toujours été un pilier économique et social pour le pays. En 2023, la diaspora a envoyé 6,7 milliards de dollars au Liban selon la Banque mondiale . Ces transferts représentent 30,7 % du PIB libanais, soit le troisième ratio le plus élevé au monde. Les envois d’argent soutiennent des familles entières. Cependant, il ne s’agit pas seulement de contributions économiques pour soutenir le Liban; depuis la révolution de 2019 jusqu'à aujourd'hui, la voix des expatriés libanais a permis de sensibiliser la communauté internationale à la crise libanaise. Pour les Libanais, il ne s’agit plus de se reposer sur un gouvernement, qui s’est déjà montré incapable de répondre à la crise, mais de compter sur le soutien de la communauté internationale. Toutefois, peu de Libanais vivant à l’étranger envisagent un retour au pays. L’absence d’opportunités, combinée à l’instabilité persistante, empêche beaucoup d’imaginer un avenir viable au Liban. Pourtant, ils continuent d’espérer que leur engagement culturel, intellectuel, voire même émotionnel contribuera, à long terme, à un renouveau du pays. A présent, permettez-moi de me glisser dans le rôle de ma propre interviewée, et de conclure par cette réflexion. Être un Libanais étudiant à l’étranger, c’est avant tout un mélange d’émotions: une colère sourde face à la détresse de notre pays, mais aussi une impuissance déchirante, celle de ne pouvoir rien changer—pire—de ne même pas pouvoir être là, physiquement. C’est souffrir face à cette pile incessante de nouvelles, se sentir pris au piège face à cette sensation écrasante de n’être qu’un observateur distant. Et pourtant, malgré cette distance qui déchire, vivre loin de chez soi, c’est porter chaque jour en nous une parcelle du Liban, et s’efforcer de la garder vivante.

In this digital age, violence against women is not limited to the physical world. It is spreading at alarming rates online through the creation of deepfake sexual content that can only be considered as a violence to the existence and integrity of women and girls. < Back Digital Sexual Exploitation: the Deepfake Epidemic in South Korea Lydia Ntourountou November 30, 2024 “If a deep fake video version of me is more attractive, how can I bridge the gap between that and the real me? " Finalists of the 2024 Miss Korea beauty pageant were expected to answer this question. Despite the controversies surrounding pageants—whose sole purpose is for women competing to showcase their physical beauty—comparing a deep fake version of a woman to the way she actually looks had previously been completely unheard of. Amidst a period in which women and girls in South Korea have fallen victim to the technology using AI in order to create fake videos depicting mostly sexual content and acts, this has caused outcries and severe criticism. Deep fakes , or “images or recordings that have been convincingly altered and manipulated to misrepresent someone as doing or saying something that was not actually done or said” made using Artificial Intelligence, have been around since 2017. They were used mostly to insert celebrities' faces in pornographic videos. However, the recent surge in AI popularity has made it extremely accessible for anyone to insert a photo of a person to a bot, with the purpose of changing their face or body and creating a fake version of the person who could be nude or performing a sexual act. Sexualization of women is not a recent phenomenon; it dates back to centuries of gender inequality and the stereotypes associated with them. Women are molded to fit into specific categories and their physical beauty is constantly scrutinized, especially on social media where objectifying a person becomes simple, hiding behind the protection of anonymity: nowadays, one only needs to scroll through the comment section of a woman’s post to find degrading comments regarding her appearance. Unfortunately, hyper-sexualization does not stop there. It has managed to become even more complex and disturbing with the creation of deep fakes. The main problem with deep fakes is not necessarily the fact that they depict explicit content, but rather that the people shown in these videos or images are mostly women and young girls who have not consented for their photos to be used for such purposes. This explicit non-consensual deep fake content (“ non consensual intimate image abuse”) is becoming increasingly concerning, especially given how accessible it is. One can simply find an online bot—there are more than 50 bots whose purpose is to create deepfake content after all—and provide the image of their preference, whether that be a friend, a celebrity or a child, asking it to create this type of illicit content. And what better platform to host these types of bots than Telegram? It could be argued that this application constitutes the ideal platform for these videos and images to circulate, because of the minimal restrictions that it imposes on its users, allowing them to connect and share illegal sexual and pornographic content developed by the bots. The purpose of these bots is not cryptic, but rather hidden in plain sight: “I can do anything you want about the face or clothes of the photo you give me” is what a creator of one bot wrote. While the “deepfake crisis” is worldwide and impacts thousands of women, women and girls in South Korea have been some of its main targets. Research conducted by the newspaper Hankyoreh has uncovered horrific results about the reality that Korean women and children experience due to the use of their images for deepfakes; they are stripped of their fundamental rights and experience a traumatic shock that could stigmatize them for the rest of their life. Women are rendered objects, classified according to the university they are attending and their major, tainted by images of themselves distributed in Telegram chat rooms called “friends of friends.” These are later divided into sub-groups where their members chat about these women—usually their classmates—and share their images to produce pornographic deepfakes. These chat rooms are not limited to university students, but go all the way to high school, exploiting minors and young girls—who are already sexualized in the media—but this time actually using their photos to create such “content.” It is needless to mention the horror that women and children victims of such acts might experience. They are not only forced to deal with deepfake videos of themselves, but also rarely find justice. The protection of South Korean women by the legal system has heavily been criticized, due to the lack of efficient legislation concerning crimes such as illegal filming and digital crimes. The current crisis called for a ban of creation, distribution and consumption of deepfakes, which seems to be an important step towards change, but its concrete enforcement is rather unrealistic. The convenience of using Telegram is not limited to the lack of restrictions concerning the production of such content, but extends to the challenge for authorities to investigate and prosecute criminals using the application for illegal purposes. The application is infamous for its lack of communication and cooperation with authorities, making it difficult to identify suspects and render justice to the victims. Its founder, Pavel Durov, was even arrested in September on charges relating to a lack of content moderation on Telegram, as well as his refusal to cooperate with police investigations. So, where does this leave women in South Korea? In between fighting against the proliferation of illegal spy cams in public restrooms, the Burning Sun case —in which several celebrities and police officials were responsible for sexually assaulting women in a famous Gangnam nightclub—and the rise of deepfakes, women are forced to to remain in a constant defense position to protect their fundamental rights and freedoms. In this digital age, violence against women is not limited to the physical world. It is spreading at alarming rates online through the creation of deepfake sexual content that can only be considered as a violence to the existence and integrity of women and girls. In order to combat this disturbing situation, feminists in South Korea have taken on the heavy responsibility of defending women’s rights by adding pressure on the government to pass more strict legislation, aiming to create a more secure environment. However, the creation and circulation of deepfakes is not a matter that should only concern women, but rather society as a whole. And it might be easy, or even convenient, to let the blame fall on AI, instead of letting ourselves acknowledge that human beings are responsible for the creation of such dangerous and apaling “content”, or worse that they are rarely held accountable for the severe damage and trauma they have caused to victims.