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Figure skating is an integral part of Russian culture and identity. It is the amalgamation of Russian persistence in sacrifice, the current government’s propensity to reject all things Western, and above all, the pathway to repairing the fragmented prestige of years past. < Back Focusing on the Figures: Insight into the War in Ukraine Through the Lens of Figure Skating By Maia Zasler October 31, 2023 “Government,” “war,” “authoritarianism,” and “nationalism” are all terms with which you are likely familiar. “Axel,” “lutz,” “pairs performance,” and “spiral” probably evoke less of a confident visual. But what if I asserted that these jargon are intrinsically connected? Figure skating blends the intensity of sport and athletic training and the gracefulness and personal expression of the most enchanting art forms with the fascinating and complex realm of global politics. The first account of organized figure skating dates back to 1772 with Englishman Robert Jones’ A Treatise on Skating . Skating has significantly evolved since Jones outlined initial, rudimentary patterns and practical advice in his instructive handbook. Investment in and commitment to skating athletic achievement has also evolved. Figure skating plays a particularly important role in quotidian and political life in Russia. After 1864–when Czar Peter the Great introduced figure skating to Russians–figure skating became an emblem of national unity and a source of immense pride. Throughout the 20th century, skating represented an outlet for domination on a global scale; the Soviet skaters made up arguably the most competitive force at the international level. Skating was publicly funded in Soviet states and remains so in present-day Russia. From a young age, children were (and are) selected for a rigorous track involving intense physical training, dieting, and mental strain, culminating in a brief window of time where they actually compete—and frequently win. In the Soviet Union, children were often separated from their families, moved to distant cities to train with specific coaches or with an assigned pairs partner. In every case, they had to commit to 10 hours of training at the ice rink, six days a week. Additionally, there are documented cases of emotional and physical abuse, especially in pairs skating. Female skaters often have to adhere to strict dietary regimes to suppress hormonal development and weight gain. There has long been a history of sacrifice in the sport: sacrifice for the sake of athletic success during performance, but primarily for the sake of “Mother Russia.” Between 1964 and 1991, Soviet skaters won seven consecutive Olympic gold medals and 24 of the 26 World Figure Skating Championship events in pairs skating; Ukraine was the primary exporter of illustrious and talented pairs of skaters. Historically, the USSR relied on Ukraine for agricultural production, storage of nuclear arsenals, and a constantly developing defense sector. Thus, Ukraine has served as the cornerstone of the Soviet Union in more ways than one. The Soviet collapse occurred in December of 1991. Ukraine’s declaration of independence earlier that same year is often interpreted as the inception of Russia's impending demise. Funds for figure skaters dwindled. Throughout the following years, Russian skaters brought home fewer and fewer medals, and sought-after coaches took their expertise abroad. The shrinking of their skating world reflected Russia’s geopolitical position at the end of the 20th century. In both contexts, Russians were left grasping for prestige and pride that once shaped their national identity. There was a general anxiety over losing a spot on the international stage and an absence of answers on how to reclaim it. Enter Ukraine (again). Ukraine has increasingly aligned itself with the European Union and Western nations in the last three decades. After the 2014 annexation of Crimea, Ukraine became a battleground in defense of its right to position itself apart from Russia. More recently, Ukrainians have had to take up arms again to fend off Russian aggression since February 24, 2022. They have had to persevere through Russian leader Putin’s threats of nuclear weapon use. Further, there have been upwards of 21,900 Ukrainian civilian casualties, severe infrastructure damage, and insurmountable trauma to the Ukrainian people. To some extent, through its aggressive military operation, Russia aims to impose its authority to prove to the rest of the world–and to itself–that the nation remains just as strong as it was before the Soviet Union collapsed. This mentality is mirrored by the pressure levied onto Russian figure skaters and their stature in Russian society. Take the case of Kamila Valieva, an immensely talented skater whose artistic and athletic legacy was tainted by the 2022 Beijing Winter Olympics doping scandal. At just 15 years old, Valieva dominated the team event, representing the Russian Olympic Committee. She became the first woman to land a quad jump–rotating four times in the air before landing on a singular blade at an Olympic competition. But, before the women’s individual competition events, it came to light that Valieva had tested positive for a performance-enhancing drug: trimetazidine. Since she was a minor, she was allowed to compete in the women’s individual event. Although her short program was flawless, her free skate was riddled with falls, leaving her with a fourth-place finish. The International Olympic Committee announced they would not have hosted a medal ceremony if Valieva had finished among the top three. Amidst and following the scandal, Russian officials claimed that the illegal drug use accusation was a “Western conspiracy” and political issue in which Russia was the victim. Behind the scenes, Valieva’s coach, Eteri Tutberidze, scorned her: “Why did you let it go? Why did you stop fighting?” Once back home, Tutberidze received Russia’s most prestigious coaching award from none other than Russian President Vladimir Putin, and Valieva had a press photoshoot with him. How can we make sense of this? Russian figure skaters are forced to sacrifice a traditional childhood and healthy relationships (with people, food, and their bodies). They are subject to public scrutiny and private criticism from their coaches. They are scapegoats for paranoia surrounding the West. But, at the same time, they are celebrities. They are recognized across the country as national heroes, associated with the cult of personality that Putin has curated since he first took office in 2000. They are perceived as beacons of hope to propel Russia back to its position pre-Soviet collapse. Figure skating is an integral part of Russian culture and identity. It is the amalgamation of Russian persistence in sacrifice, the current government’s propensity to reject all things Western, and above all, the pathway to repairing the fragmented prestige of years past. American media personality Ted Turner said that “sport is like a war without the killing.” In the case of the war in Ukraine, sport may be a second military front and a valuable insight into Russia’s behavior.

La situation dans laquelle nous nous trouvons aujourd’hui alimente les peurs de certains que ce régime, où la figure du président est si forte, ne lui donne un pouvoir trop personnalisé; ce qui pourrait s’empirer avec l'avènement d’un ou une président.e populiste et autoritaire. < Back Vème République, une expérience défectueuse? Anna Halpern November 30, 2024 La France sous la Vème République est le porte-drapeau par excellence de son régime politique semi-présidentiel. Le pays de la Révolution française a longtemps été fier de porter haut les couleurs d’une démocratie parmi les plus fortes au monde—se plaçant en 23eme position sur l’index démocratique du classement EIU . Mais avec la fin du second mandat d’Emmanuel Macron, les critiques se multiplient, et il semble pertinent d'évaluer si ce régime est vraiment adapté aux demandes démocratiques de la société civile. Mais qu’est ce que le semi-présidentialisme? Il s’agit d’un régime hybride combinant une élection au suffrage universel du président, typique d’un régime présidentiel, et des éléments du système parlementaire tels que la responsabilité du gouvernement devant le parlement. Il est important de noter que ce système hybride a tendance à créer une surpuissance de l'exécutif; en France cela se manifeste par le chef d'Etat démocratique le plus puissant du monde, sauf en cas de cohabitation. En effet, le président préside le conseil des ministres, ce qui laisse douter de la séparation entre chef de gouvernement et chef d'Etat. En outre, il jouit d’une quasi irresponsabilité sauf en cas de « manquement à ses devoirs manifestement incompatible avec l’exercice de son mandat » ce qui justifierait une destitution, mais cela n’a encore jamais été le cas, bien qu’une tentative déposée par Mathilde Panot ait récemment été abandonnée . De plus, pour ce qui est de la responsabilité du gouvernement devant le parlement, une seule motion de censure spontanée a réussi depuis 1958, année de l’adoption de la Vème République, et aucune depuis 1962. Depuis, il est apparu que le gouvernement est devenu plus responsable devant le président, ce qui démontre un aspect unique de la culture politique française. Par ailleurs, en France, le Premier ministre est nommé par le président et non par l'Assemblée nationale, ce qui explique le fait qu’une figure telle que Michel Barnier, qui ne représente aucun des trois programmes ‘gagnantes’ de l'élection parlementaire, puisse former un gouvernement technocratique fortement critiqué par l'opposition pour son manque de légitimité au vu du résultat très bas de son parti LR. L'Assemblée nationale qui n’a donc que peu de pouvoir sur le gouvernement et qui peut être dissoute par le président semble très affaiblie. Néanmoins, il est possible d'espérer que grâce aux résultats divisés des élections législatives de 2024, le parlement reprenne de ses responsabilités en s’opposant plus fortement aux décisions présidentielles, une occasion qui ne s'était jamais présentée depuis le référendum de 2000 qui a écourté le mandat présidentiel à cinq ans et l’a fait concorder avec les élections législatives. De cette façon, les deux élections n’avaient que peu de chance de faire gagner un différend parti. Mais il est tout aussi possible qu’en choisissant un gouvernement bien a droite Barnier essaie de assurer l'acquiescement non seulement du parti présidentiel, mais du RN aussi et que la dynamique d’opposition reste un compromis entre chefs de partis et n’impliquent pas les députés de l'assemblée. Dans ce contexte, il n’est pas surprenant d'entendre des voix dissidentes. En effet, voir l'inégalité des pouvoirs entre l'Assemblée nationale et le Président dans un pays dont la tradition et les pays voisins sont majoritairement des régimes parlementaires peut faire douter de la viabilité de cette ‘exception’ française. Ce mécontentement a été très audible cette dernière décennie; cela a été mis en avant par les campagnes présidentielles de 2017 et 2022 où LFI a largement porté l'idée d’une VIe République. Cette proposition établirait un régime parlementaire stable rendant le pouvoir au peuple et mettant entre autres fin à la « monarchie présidentielle » et à l'utilisation de mesures de « vote forcé » tels que l’article 49.3. Mais les propositions concernant la VIème république existent dès 1961, avec l’article dans l’Express de Pierre Mendès France en faveur d’une VIème république, et ont fait l’objet de discussions jusqu'à nos jours. Mais à travers les mandats d’Emmanuel Macron, et surtout depuis son second mandat et la dissolution de l'Assemblée, les questions sont devenues encore plus pressantes, et se sont recentrées sur la figure du président. En effet, Macron a souffert d’une très mauvaise image avec une cote de popularité de 25% et se fait souvent caricaturer comme voulant être le nouveau Napoléon ou encore un « président jupitérien . » La nomination de Michel Barnier et la composition de son gouvernement n’ont fait qu’aggraver ces accusations, le faisant paraître d’autant plus sourd à ce que le peuple a exprimé par les votes. Après avoir choisi seul de dissoudre l'assemblée et ayant refusé de nommer Lucie Castets, candidate du NFP, à Matignon, le président semble avoir perdu tout contact avec le peuple. La situation dans laquelle nous nous trouvons aujourd’hui alimente les peurs de certains que ce régime, où la figure du président est si forte, ne lui donne un pouvoir trop personnalisé; ce qui pourrait s’empirer avec l'avènement d’un ou une président.e populiste et autoritaire. Il semble donc que la démocratie française se trouve à un moment critique où la légitimité de son ‘exception’ est mise en doute, et où l'on se demande si la désillusion et la « crise démocratique » que nous traversons ne viennent pas d’un régime créé à une époque où la stabilité manquait grandement. Il n’est plus adapté aux demandes démocratiques et à la société d’aujourd’hui.

At the start of the 1920s, although hard to imagine today, the Riviera was practically deserted during the summer months. Hotels and restaurants catering to the European elite would close shop after spring, as their wealthy patrons would leave for colder climates. The Murphys were the first to convince hotels in Antibes to stay open during the summer months, as a way to host their American friends. Thus beginning the transformation of the Riviera into the summer destination it is today. < Back Americans on the Riviera Kerem Demir Karahan September 28, 2025 The French Riviera may seem far too beautiful to inspire the Valley of Ashes , yet Scott Fitzgerald’s timeless classic “The Great Gatsby” was partially written here. Another one of his books, “Tender is the Night” is set in the French Riviera, around Cannes, telling a story far more dramatic than the feuds between modern movie stars who convene there every year. With the conclusion of American isolationism thanks to the American intervention in the First World War, members of the American gentry began to resettle in the Old World, especially Southern France. Brilliant mansions began to appear across the French Riviera, coupled with wonderful gardens, rivalling the splendor of British villas, such as Eilenroc in Antibes, dotting the shore from Cannes to Menton. The forerunners of American migration to the Riviera were Gerald and Sara Murphy. Their home in Antibes, Villa America , hosted parties and was the centerpiece of a social circle composed of not only Americans such as Ernest Hemingway, and Zelda and Scott Fitzgerald, but also European artists like Jean Cocteau and Pablo Picasso. They embodied what was the “Jazz Age” in the United States, importing the Charleston for the French “Années folles.” At the start of the 1920s, although hard to imagine today, the Riviera was practically deserted during the summer months. Hotels and restaurants catering to the European elite would close shop after spring, as their wealthy patrons would leave for colder climates. The Murphys were the first to convince hotels in Antibes to stay open during the summer months, as a way to host their American friends. Thus beginning the transformation of the Riviera into the summer destination it is today. With that, the “Lost Generation” , the group of authors who became adults during the First World War, found themselves a home on the French Riviera. Ernest Hemingway, the Fitzgeralds and John Dos Passos, among others, all took refuge on the Riviera from their personal woes that they hoped to leave behind in the States. Still, it is hard to say that the Riviera was without its share of the signature decadence of the Jazz Age . Fitzgerald does not shy away from showing the echoes of that decadence on the Riviera by telling the story of the lavish lives of his two main characters, based on the Murphys, in “Tender is the Night . ” On the other hand, Hemingway takes a contrasting approach, exhibiting the Lost Generation as more resilient than decadent in his book “The Sun Also Rises , ” telling stories of his Parisienne days. This convening of great minds in such a small region helped build relationships between flag-bearers of American literature and European art. They vacationed, ate, partied, and drank together for many years, influencing one another. Gerald Murphy’s time with Picasso even led Murphy to pick up painting as a pastime. The lives of the Murphys provided ample material for Fitzgerald and Hemingway when reflecting on their own experiences in France. Fitzgerald’s “Tender is the Night ” acknowledges the Murphys’ inspiration, beginning with the dedication “To Gerald and Sara, to many fêtes.” The American experiment on the Riviera was cut short in 1929, when the Great Depression hit stock markets across the world. At the same time, the secondborn child of the Murphys’ was diagnosed with tuberculosis, which proved to be the end of the Murphys’ time in the Riviera. They would then go to Switzerland and then back to the States. The Villa America, whose poolside sunbeds inspired Picasso, Fitzgerald, Cocteau, Hemingway and many more, would fall into disrepair during those years until its purchase by a Russian oligarch. The Riviera’s influence on American literature and art is hard to exaggerate. Both Hemingway and Fitzgerald, two of the most consequential writers of the 20th century, wrote arguably their most impressive works while at the Riviera. However, Americans were not the only ones savoring the Riviera. France’s vanguard of the avant-garde, Jean Cocteau, called Menton his home. Likewise, Pablo Picasso continued spending his summers on the Riviera long after the Murphys left. However, the allure of the Riviera didn’t end with the departure of Villa America ’s patrons. In 1960, perhaps the most influential author of the civil rights movement in the United States, James Baldwin, followed in the footsteps of the great writers before him and came to the Riviera to escape the social woes at home. Baldwin, like the Lost Generation, was on the lookout for a breath of fresh air. However, whereas the Lost Generation enjoyed the riches of life on the Riviera, Baldwin was there on a mission to continue his advocacy. Disillusioned by the way colored people were treated in the States, Baldwin found a much needed base in the Riviera where he could continue focusing on his commentary on American society. His time in France and the Riviera brought American social problems to the public's attention across Europe, and also helped him see America from an outsiders' lens. The Riviera is now more characterized by its famed and rich residents rather than the famed writers and painters it has inspired. Grace Kelly’s highly publicized marriage to the Prince of Monaco, Rainier the Third, brought the Riviera to the public consciousness across the world, identifying it with luxury. Similarly, Sean Connery, the first and most iconic of all James Bond characters, took up residence in the Riviera, purchasing a Belle Époque villa in Nice. Parties whose luxury would put Jay Gatsby to shame are held every summer in St. Tropez, showcasing how vacationing and residing on the Riviera turned into a status symbol. Still, the streets of Menton and the wider Riviera are filled with tiny ateliers with wonders inside, inspiring those who are willing to take on the challenge to match the beauty of the world around them. With its cosmopolitan SciencesPistes, vibrant BDA, and a breathtaking view of the Old City, perhaps 11 Place Saint Julien today embodies the spirit of Villa America: brave, unapologetic, and dangerously creative. Photo Source: Unknown Author, Wikimedia Commons

My Palestinian neighbors cannot, should not, and will not accept nor live with their indigenous food being increasingly appropriated by their occupiers. And nor should we — all of us reading this article today, studying on this campus and aware of the occupation of Palestine. < Back My Home is Not Your Property: Enough with Culinary Appropriation By Angela Saab Saade September 27, 2023 If I were to show my grandmother this TikTok video explaining how to make hummus from beans, she would probably yell at me for being disrespectful and idiotic. She would be just as nauseated if I suggested she try chocolate hummus . I will therefore spare myself from such criticism and protect my grandmother from this ridiculousness. Instead, through this article, I hope to shed light on a terrifying phenomenon — the appropriation of indigenous Levantine cuisine. Hummus, My Heart Hummus is authentically prepared by blending chickpeas, lemon juice, olive oil, tahini, garlic and salt. So the only major difference in the TikTok video criticized is the replacement of chickpeas with beans. From the outside, this may be positively viewed as the evolution and adaptation of recipes. But this is not about open-mindedness and the widening of culinary horizons — it is about the abuse of indigenous cuisine. In Arabic, Hummus means chickpeas (حمّص). In other words, when you make "hummus" with beans, you are quite literally not making hummus. Rather, you are spreading a recipe inspired by my traditional cuisine, incorrectly under its name, with zero respect for its origins. But I can survive in spite of the horrendous appropriation of scrumptious food cooked and enjoyed alongside family and friends in Lebanon. I can live — though in disgust and frustration — with the fact that my cuisine is ignorantly and insensitively being insulted. On the other hand, my Palestinian brothers and sisters cannot. Their food — like many of their other indigenous cultural practices — is constantly used for colonial domination. My Palestinian neighbors cannot, should not, and will not accept nor live with their indigenous food being increasingly appropriated by their occupiers. And nor should we — all of us reading this article today, studying on this campus and aware of the occupation of Palestine. The Occupation of Palestinian Cuisine Chef Kattan recalls in a L'Orient Le Jour article that Hummus "was the very first dish appropriated by the Israelis as early as 1948." Originally, he says, "the Zionist project was marked by European-style colonialism that denied the Arabness of Palestine and its land. But when they went to eat at the homes of Palestinians who survived the Nakba — during which 580 Palestinian villages were razed to the ground — they said to themselves, 'This chickpea puree is not bad!'" Today, multiple other dishes have fallen victims of appropriation. If you walk on the streets of occupied Palestine, unlawfully recognized as the state of Israel, you will find non-Arab Jewish Israeli street vendors claiming that Levantine Arabic cuisines like falafel, baba ganoush, and Arabic salad (سلطة عربيّة), also known as rural fallahi (farmer) salad, to be their own. Kunafa Nabulsia (كنافة نابلسيّة) — quite literally in the name showcasing that the cheese is from Nablus, West Bank — is also sold disrespectfully by Pizza Hut Israel as Israeli. While it is true that recipes develop and cross temporal and spatial boundaries, there is a strict difference between the deliberate theft from another culture for the purpose of a political agenda, as opposed to the inevitable integration of populations and their cultural influences. For instance, kafta is a common dish today that has become traditional to Lebanese, Syrian and other previous subjects of the Ottoman Empire. These countries did not steal Ottoman cuisine, but rather have inevitably integrated the customs adopted under the Empire into their own. Moreover, though it is true that Middle Eastern Jews used to eat Levantine indigenous cuisines before the creation of the apartheid Israeli state, so did the Christians and Muslims of the region. Hence, all three groups have every right to claim this food as their own on a national or regional basis, but neither one has the right to appropriate it and market it as their own at the expense of the others. Unfortunately, this is precisely what Israel does today — it appropriates and brands indigenous Palestinian Levantine cuisine as Jewish/Israeli. Denied Their Own Heritage Even more worrying is the denial of Palestinians' claim to their own food. As " hummus and other dishes that Palestinians share with their Levantine neighbors [are] gradually relabeled as Israeli," Palestinians are subject to harassment when they rightfully share their own food and heritage in the West — as is evident by the experience of this Palestinian restaurant in New York . Yet, restaurants claiming to be Israeli seem to have no objections, as can be seen with the thriving Israeli restaurant in Nice , which does a great job at stealing my cuisine and advertising it as "Israeli/ Mediterranean." Not only is food being branded to deny its Arab origins, but Palestinians also face heavy impediments with regards to exporting their agricultural products. In 2021, after a roughly 40-day suspension of all exports out of Gaza, " new restrictions were then imposed , including the demand that the green stem, the sprig, be removed from every single tomato before exiting Gaza," reducing the product's "quality and shelf life." The primary purpose of this mockery was to make Palestinian exports less desirable and profitable, further damaging their economy. In August of that year, 9,000 Palestinian olive trees were illegally bulldozed , contributing to the over 800,000 that have fallen victim to Israeli occupation since the second major ethnic cleansing moment of 1967. The production of olive oil from Palestinian trees is another cultural tradition that Israel is not happy about. In 2022, Amnesty International published a 277-page report explaining the Israeli system of apartheid against Palestinian Arabs — Muslims and Christians alike, living in or outside of the Occupied Palestinian Territories (OPT), with or without an Israeli passport. Here are just some of the atrocities with regards to agriculture and farming highlighted in the report: " According to OCHA , between 1 January and 19 October 2020, many of the 42 Israeli military incursions into the Gaza Strip included bulldozing agricultural land and destroying crops." (p.182) " Since 2014, the Israeli military has aerial-sprayed herbicides over Palestinian crops alongside the fence between Gaza and Israel." (p.184) "Palestinian farmers are forced to neglect their farmland or switch to less water-intensive crops because of Israel's discriminatory policies on Palestinians' access to water in the Jordan valley." (p.190) Therefore, Israel's occupation of Palestinians includes not only the appropriation of their land, property and cuisine, but equally their fundamental right to plant, cultivate and harvest their own crops to be self-sufficient and preserve their cultural practices. And it does not end there; Israel attempts to erase all and any aspects of Palestinian identity. Tatreez — Palestinian embroidery , traditionally taught by grandmothers to their granddaughters and daughters — is the art of "an exceptional amount of patience, dedication and precision" in the creation of artisanal goods, such as the traditional Palestinian apparel, the thobe , bags, shoes, and accessories. Disdainfully, organizers of Miss Universe Israel 2021 distributed this integral aspect of Palestinian heritage across the beauty pageant contestants, who wore Palestinian thobes that they claimed as Israeli and prepared wara' aanab (ورق عنب) stuffed grape leaves, a dish of Levantine Ottoman origin. They essentially all had a party of identity theft and heritage slander at the expense of Palestinians, negatively impacted in their day-to-day life by Israeli forces. A tweet by Palestinian-American rights activist Zeina Ashrawi Hutchison expresses, "it's horrible to participate and ignore the ethnic cleansing being committed by the host of the pageant, but it's another kind of ugly to promote the apartheid regime while wearing the traditional clothes of those being ethnically cleansed. Disgraceful, shameless and honestly painful." Reclaiming Identity Palestinian journalist Alhelou asserts that "Palestinian culture and life revolve around food in every aspect, whether it is an ordinary day or a special occasion. Food and national identity are tied together." Unfortunately, the theft of Palestinian cuisine by Israel continues and amplifies by the day. Palestinian culinary appropriation is just one manifestation, product and tool of the Israeli colonial project and apartheid against Palestinians. It is also an insult to my cuisine and my people, as we have Levantine dishes in common with our regional neighbors. In Salma Serry's online library committed to historical knowledge of indigenous cuisines to modern Southwest Asia and North Africa, she emphasizes the necessity of "remembering and re-patching traditions when they are in danger of erasure," to "decolonize Palestinian food." Haya's Kitchen — defining herself as "a tribute to Palestine, Tetas, and Traditions" — does precisely that. It is our duty to support the decolonization of Palestinians from Israel-imposed and Western-backed injustice by taking the steps we can. This starts by supporting such initiatives, denouncing "Israeli salad", differentiating between "hummus" and beans, donating to our campus' SciencesPalestine, writing about the Palestinian identity, and hearing the voices of Palestinians who must be given the space to express themselves, especially here, in Europe, where they are majorly silenced. As Alhelou rightfully states, "cultural appropriation is a denial to the existence and heritage of the owners of the land — the Palestinians in their millions inside the occupied Palestinian territories, in refugee camps in some Arab countries or in the diaspora worldwide." For justice to be served, we must normalize the reclamation of Palestinian identity and defeat those who want to see it wiped off the face of the Earth.

As this academic year draws to a close and Menton becomes more boring to most of us, I am increasingly surprised by how much I have yet to discover about this town's hidden gems. < Back Eats with Angela: Menton's Top Five Food Gems By Angela Saab Saade March 31, 2023 As this academic year draws to a close and Menton becomes more and more boring to most of us, I find myself increasingly surprised by how much I have yet to discover about this town's hidden gems. The other day, I was aimlessly wandering around the streets of Menton — bored, uninspired and exhausted by the town's familiarity. At some point, I saw a crowd of people waiting in line at one of the tiniest patisseries I have ever seen. A mother, persuading her child of a pastry he was not convinced of, said “I promise you, you are going to love it. It is moelleux, it is sweet, it has a unique taste and it is fulfilling.” The patisserie took me by surprise. I had never seen it before, though I was sure to have crossed that street at least once a week. So, I decided to try out the pastry that the mother was so keen to make her child eat. I thought, why not? What do I have to lose other than 2.90 euros of my money? I purchased what is called a Fougasse Mentonnaise and it tasted above any other (non-chocolate) pastry I had ever tried before. What made it more special though, was that this fougasse, new to me in this town of monotonous familiarity, represents the untouched opportunities left for us to explore in Menton, especially for the uninspired 2As among us. Moreover, I will share with you my top favorite places thus far in Menton that have not yet been swamped by the student body. We will go beyond the common places, like Café Italiano, Istanbul Kebab and Brioche Dorée. I sincerely hope at least one of the five places will be new to you and will provide you with an interesting setting to explore. Number 5 — L'OPEN Address: 11 Av. de Verdun, 06500 Menton Pub, bar, café, restaurant — call it what you want, but this place is absolutely the perfect hub for a great dinner, a late cocktail or even brunch. The ambiance is lively, especially in the evening, and the staff is friendly. If you enjoy music while studying, I would encourage you to sit in their upper floor, which, similarly to Café Italiano, their customers usually avoid. Thus, it is great for those of us who like studying with background music in an empty space. Top 4 — Mitron Bakery Addresse: 8 Rue Pieta, 06500 Menton There is no need to reiterate how much I appreciated the Fougasse from Mitron Bakery. A bonus to their yummy desserts is their small outdoor space in which you may get some work done. What I particularly like about Mitron is that they offer proper Mentonnese specialities, rather than regular pastries like other bakeries. This specialization makes them distinct while also allowing us to try new flavors unique to this part of the world and precious to our limited time experiencing it. Top 3 — Le Paradis de la Glace Address: 59 Av. Robert Schumann, 06190 Roquebrune-Cap-Martin Given my obsession with ice-cream, I think any glacerie is splendid, but my flatmates would have thrown me into the Mediterranean if I neglected to add this establishment. Le Paradis de la Glace's name is an understatement to the quality of ice-cream sold. This better-than-paradise ice cream may be found just at the border between Menton and Cap-Martin Roquebrune. It is fresh, creamy and superior to the Menton ice cream shops that stud Rue St Michel. It may be a bit of a walk, but the high quality treats and friendly service make the journey worth it. Especially at this time of the year, the spring's reappearing warm sun can soothe you as you enjoy their outdoor seating area and overlook the cerulean sea. Top 2 — Sini 7 Rue des Marins, 06500 Menton You have probably passed by this restaurant multiple times and thought, "oh, just another incredibly expensive restaurant in Menton." Well, think again, because Sini's is quite affordable and may even be considered underpriced for the quality of the food they offer. You may enjoy multiple pieces of their fresh Corsican focaccia with different toppings, such as truffle, artichoke and Mozzarella, with an aperol spritz on a late afternoon or evening. Or, you can also just have the slices with no cocktail on a regular weekday for lunch. Either way, you can anticipate a pleasant experience of great food and chill ambiance, while not going broke! Top 1 — Ideal Tacos When I first came to France and saw taco restaurants, I was extremely disappointed to realize that a taco here is not what it is in most parts of the world. However, one restaurant in particular shifted my perception of the demonized French taco and allowed me to befriend it, maybe even love it, and that is Ideal Tacos. They offer scrumptious tacos and burgers and equally have vegan and vegetarian options. My personal favorite is the vegan taco with white sauce — absolutely one of the most fulfilling and flavorsome meals I have had. Complement it with some fries, mozzarella sticks or nachos and a side drink, and there you have it, the best fast food meal you could wish for. And, the staff is the absolute nicest!

Il y a un siècle les Français et les Allemands se battaient pour déplacer leur frontière, aujourd’hui celle-ci ne semble même pas exister quand on la croise. » raconte Letta à l’ouverture de l’interview. Il faut trouver une histoire globale européenne, et comment cette institution bénéficie à tous les citoyens. < Back « Tombez amoureux de l’Europe ! » Le message d’espoir du président Enrico Letta Luca Palis and Zoé Isbled for the European Society x La Strada April 30, 2025 Près de 65 villes, 27 États et un continent. Enrico Letta, ancien Premier ministre italien, de 2013 à 2014, et président de l’Institut Jacques Delors, a réalisé un véritable tour d’Europe. Conseillé par l’ami et collègue Jacques Delors, il a voyagé en Europe pour rédiger le rapport sur le marché unique, « Beaucoup plus qu'un marché. » Cette recherche a été source de l’œuvre « Des idées nouvelles pour l’Europe. Avec les femmes et les hommes qui la font , » une publication du 30 octobre 2024, présentée par l’auteur à Sciences Po—Campus de Menton le 13 février 2025.Ainsi, La Strada, l’association de culture italienne, en partenariat avec European Society, son homologue européen, ont décidé d’interviewer monsieur Letta pour en découvrir plus sur l’avenir de l’Europe. « Il y a un siècle les Français et les Allemands se battaient pour déplacer leur frontière, aujourd’hui celle-ci ne semble même pas exister quand on la croise. » raconte Letta à l’ouverture de l’interview. Il faut trouver une histoire globale européenne, et comment cette institution bénéficie à tous les citoyens. Il commence par nous partager son histoire européenne de son adolescence à Strasbourg, en tant qu’étranger Italien en France, et son rapport avec la même ville frontalière post-Maastricht, il exhorte que « La beauté du projet européen doit devenir une expérience vécue » en citant sa publication. Toutefois, de nombreux citoyens ne se conforment pas à cette évidence (en 2024 43% étaient opposés). Selon Letta, l’UE est devenue un bouc émissaire dans le XXIème siècle, victime d’une ère de haine et de peur et synonyme de l’inefficacité et la lenteur de la démocratie. Mais il faut remarquer que concrètement tout cela est dû « au manque d’Europe », et à l’incomplétude de la vision des pères fondateurs. Le paysage économique a été bouleversé avec la montée rapide de géants économiques asiatiques. Le même Letta le rappelle, l’Italie dans les années 1980 à 1990 avait à elle seule le même poids économique que la Chine et l’Inde. Aujourd’hui, les puissances européennes sont comme des petits poissons dans « l'aquarium du monde . » Selon Letta, la solution pour faire face aux requins est de se réfugier dans la coopération commune, « bouclier face à la globalisation ». Letta nous invite ainsi à « tomber amoureux de notre marché unique et de notre Union Européenne . » Le programme Erasmus+, visant avant tout à connecter et unir la jeunesse d’un continent fragmenté en États-nations, générant dans les générations futures une conscience européenne enracinée. Toutefois, Letta raconte que l’Europe nous touche tous, en nous assurant le droit de se déplacer autant que de rester, en tant que défenseure de la paix. Cependant, le fait de ne pas « faire l’Europe , » spécialement dans des secteurs clés comme les finances, les télécoms, l'énergie et la défense, nous handicape en terme de compétitivité, explique-t-il en parlant du coût de la « non Europe. » La voie à poursuivre selon Letta serait celle de la coopération renforcée et de l’harmonisation des systèmes légaux dans les sujets au cœur de l’expérience européenne, notamment celui du droit commercial. Au lieu de 27 droits nationaux, il propose de créer un 28ème État virtuel comprenant un droit commercial valable partout en Europe. Cela permettra de diminuer les coûts et les temps de démarche pour les entreprises, tout en gardant une certaine souveraineté des droits nationaux. L’Europe ne peut et ne doit pas permettre le déroulement d’autres cas comme celui de Spotify. Un succès suédois qui, souffrant de la fragmentation du droit commercial en Europe, a immigré à New York à la recherche de fonds. De plus, Letta conseille la création de l’Union des épargnes et des investissements, nécessaire pour remporter les 300 milliards d’euros de capitaux nécessaires pour les grands investissements communs dans l’innovation, la crise climatique et la défense, essentiels pour le continent. Le continent a besoin d’une quantité énorme d’argent pour réussir dans le défi de l’autonomie. L’énergie était outsourced aux Russes, et la guerre en Ukraine a frappé, plongeant le continent dans le chaos énergétique. La finance aussi était outsourced aux États-uniens. La production aux Chinois. Letta se pose donc la question: « qu’est-ce que nous avons gardé en Europe? » La réponse, selon lui, est la créativité, mais dans le monde instable d’aujourd’hui elle n’est plus suffisante. Au sujet des réformes institutionnelles européennes, Mr Letta adopte une posture réfléchie. Il déclare être globalement en faveur de l’élimination de l’unanimité au Conseil de l’UE mais en constatant que « les autres font, et nous nous discutons , » il est clair que cela n’est pas une urgence pour l’Europe. Quand d’un côté un envahisseur impérialiste comme la Russie, mène une guerre féroce aux portes de l’Europe, et de l’autre Trump choque le monde avec sa façon théâtrale d’émettre des ordres exécutifs, en jouant avec les règles de la démocratie, l’Europe échoue sur des subtilités comme le véto. Il est essentiel de reconnaître que si les difficultés internes à l’UE sont à prendre en compte, le contexte international l’est également. Désormais, la lutte culturelle, entre différentes visions du bien vivre, s’est transformée en conflit politique pour ou contre les bases mêmes de la démocratie. La montée du populisme est le tueur de la démocratie, essence même de l’identité européenne. Le déchaînement de la haine détourne l’attention de la politique des problèmes concrets, en jouant avec les émotions, « parce que le populisme n’est jamais tendre » nous raconte Monsieur Letta. L’Europe est perturbée par ces dirigeants extrémistes, qui essayent de trouver leur place sur la scène internationale. Par exemple, Giorgia Meloni, actuelle Première ministre italienne, en profitant de sa proximité avec Donald Trump et Elon Musk et de la crise politique de l’axe franco-allemand, tente de s’imposer comme pont entre les deux rives de l’Atlantique. Le 4 janvier 2025, lors d’une visite de Meloni à Trump, avant l’investiture, le président a complimenté son homologue italienne comme « une femme fantastique, qui a conquis l’Europe, » exemple concret du rôle que l’Italie de Fratelli d’Italia voudrait jouer dans les nouvelles relations euro-américaines. Selon Letta, l’avenir de cette Union doit être celui de la fédération d’États nations , respectueuse de la multi-identité européenne et puissante de sa devise « in varietate concordia », « unie dans la diversité. » Il est remarquable que même si la démocratie du continent est sous pression et l’UE constamment attaquée, les souverainistes et les nationalistes, historiquement eurosceptiques, se sont redécouverts « souverainistes européens, » surtout au vu des conséquences du Brexit, en reconnaissant que l’UE est devenue incontournable. Pour clôturer l’échange, les équipes de La Strada et de European Society ont demandé des conseils pour un ou une jeune qui veut se rapprocher de l’Europe. Il conseille à la jeunesse de profiter de la chance de pouvoir étudier. Spécialement pour les élèves de Sciences Po, il nous exhorte à faire le maximum d’expériences possibles. Dans l’avenir, quand nous serons employés, les opportunités de voyager autant, de connaître et d’évoluer se développeront de manière différente et seront plus faibles, sous les poids des responsabilités croissantes. Un profond remerciement pour Monsieur Enrico Letta de nous avoir accordé ce temps d’échange ensemble et pour ses précieux mots sur l’avenir du Vieux Continent. Photo source: Wikimedia commons

“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 29, 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.

< Back L'Usine Pedro Meerbaum The historical landscape of Menton seemed immutable. Nowhere in townscapes from the midday Basilique ring of bells can one walk by the beach without being struck by the beauty of the old town with its 16th-century architecture. Even in its new town, Menton feels like a bubble wherein modernity is far-reaching. Yet, the new Cap D’ail style beach clubs and current constructions on the beachfront point to a new direction, one where Menton slowly tries to associate itself with the modern and luxurious audience of Monaco and St Tropez. Amidst Menton's path to total commodification, a little store is at the intersection of Rue de Brea and the Prom. Du Val de Menton protects the key to the authentic Côte d’Azur charm. Located at 3 Rue de Général Gallienie is one of Menton's most precious boutiques, L’Usine . Based on an old factory, as its name suggests, L’Usine is one of Menton's biggest antique stores. Amid its multiple floors, rooms, and charming garden, the family-owned business has cultivated a collection of regional items, from home decor to jewelry, that exist as an archive of a Côte d’Azur that is long lost. One does not need pictures to understand the originality and authenticity of life in the region 40 years ago; the various sofas, cutlery and collectibles of L’Usine tell the story of the region. They put into perspective how much this historical town has shifted. Even its wide door does not do justice to the magnitude of the store. Its side doors and stairs are dizzying and dazzling. One could spend hours going through the collection of objects on the various floors, observing from the smallest pins to the largest human-sized dolls. The owner, Allo, allowed us to carry out an interview with him. He has owned the business for 25 years with his wife, Michelle. He calls himself a proud collector, and before opening L’Usine, he traveled around Europe to acquire different pieces. It was then, almost at the turn of the century, when the couple got the opportunity to buy the estate and open a store. In harmony with an antique store, the place had to undergo a process of renovations and cleanings before they could open it to the public. There were simply too many residues. After everything was clean, Allo told me they had to buy and fill the rooms “little by little.” I carried out the interview accompanied by journalistic partner Anna Halpern, who meticulously asked Allo if all objects were from Menton itself. He confirmed that, indeed, a good part of the objects were from Menton, and while walking through the store, one repeatedly finds posters and objects that herald our town and its beauty. He assures, though, that most objects are from the Alpes-Maritimes region. He claimed that Menton, Nice and Cannes were all cities that received a great influx of tourists and immigrants in the last few centuries, who brought with them specific objects and furniture that now are crucial pieces of his enormous collection. Allo points out that the town is changing. He is not talking about the construction of the new beaches but rather about their taste. His selling point was classical furniture, sofas, closets and grandiose cabinets from the early 20th century. Now, people want a different sort of vintage. He has sold significantly more modernist furniture, pieces from the '60s or '80s, with considerably fewer sales on early 20th-century objects. His audience has also shifted. It is not the local Mentonnaise population that offers him the biggest source of income, despite an occasional SciencesPo student looking for a poster or a lamp, but rather tourists. He estimated that 10% of his clientele is Mentonnaise, 10% is Italian, and the rest are composed of transient Americans, Germans, Scandinavians, and more recently, Australians. He is not quite sure if the change in taste is also related to the change in clientele—in his opinion the Italians had the most dramatic shift of taste, but he has shown himself flexible and ready to adapt his store to the needs of his clients. Allo offered us a store tour, pointing to particular objects that interested him: dutch barrels, 20th-century possessions and even what he called “bizarre stuff.” Anna made a point about how the things he had there were simply mesmerizing and shockingly interesting. Allo, after a quick laugh, says, “Yes, but this is what I am looking for. That is what I aim to sell. It's no easy find, but we work!” He presents objects that remind us of the diversity of the South of France beyond the coast and even elements from the neighboring Italian north and Spanish Catalonia. A conversation with the store owners has led me to become further disbelieved. How was it possible that a couple could find so many particular objects and foster such a big collection of antiquities? When asked how he sees these things, Allo quickly responds with a simple “Je me lève tôt,” “I wake up early.” Every Sunday, when the store is closed, he wakes up at 4 am and ventures throughout the region to find objects for his collection in a tireless search. “It's not easy to find this stuff,” he told me, “it is easier to buy old furniture than to find something truly interesting.” Throughout the years, scavenging his products has been the most challenging aspect of his job. “The provision,” he puts it, “is the hardest part. It's more difficult to find stuff than to sell it.” He also discusses the prices of his stuff, saying that he has to put a price that gives him a profit, and some things end up being more expensive than expected. Yet, “it is not close to being more expensive than the boutique stores in Paris,” he says. “ Those are a steal. You have to put it in perspective.” My final question was the most difficult to answer. “What is your favorite piece?” It took him just a few seconds to answer, “The big window in the showcase!” He took us outside the store to look at the said mirror. It is a grandiose piece, covered by crystals, and so mesmerizing one has to see it for themselves to understand why Allo felt so attached to it. Finally, he told us: “When I find stuff like this, I am happy.” Previous Next

“Iran is spoken here through a glorious culture (...) hidden under the heavy dust of politics.” To me, this quote exemplifies the importance of Iranian cinema: it is the brush that cleans the political dust off of Iran, giving a glimpse into the culture, the interactions of the people, the food, the scenery, the good and also the bad. < Back Diving Into Iranian Cinema By Sarina Soleymani February 28, 2023 At the 84th celebration of the Academy Awards in 2012, Asghar Farhadi — a renowned Iranian director — walked up on the stage to receive his award for best foreign film and give his acceptance speech. He expressed, “Iran is spoken here through a glorious culture (...) hidden under the heavy dust of politics.” To me, this quote exemplifies the importance of Iranian cinema: it is the brush that cleans the political dust off of Iran, giving a glimpse into the culture, the interactions of the people, the food, the scenery, the good and also the bad. Within these representations, we still find snippets of the real political context that Iranians live in. Yet this time, these depictions come from Iranian people, as opposed to Western or Islamic media, with ulterior motives behind the narratives they choose to display. Iran is truly exceptional when it comes to cinema, with numerous brilliantly creative figures that push their way into mainstream media. Let us take a quick dip into some of my cherished recommendations in this ocean-deep world of Iranian cinema. My favorite film of all time, and the first mention on this list, is Asghar Farhadi’s “A Separation.” Winning the previously mentioned Best Foreign Film Oscar in 2012 gave international recognition not only to Farhadi, who continued to win various awards for his subsequent motion pictures, but also to Iranian cinema as a whole. Farhadi’s work generally focuses on human complexities and the varying web of interactions between people that create delicate situations in which the characters are being challenged. He aims to show human vulnerability, underscoring that oftentimes there is not an obvious answer, a distinct good or bad. He carefully uses naturalist camera work to make the storyline more real, using simplistic techniques and camera angles to follow the characters. This characteristic sets him apart in the film industry. While all of his work, including “About Elly,” “The Salesman,” and “A Hero,” all deserve their spotlight, the one film that was genuinely above and beyond is, in my eyes, “A Separation.” With one of the most complex yet easy-to-follow storylines, “A Separation” commences with the divorce of two of the main characters: Nader and Simin. Simin wishes to leave the country with their daughter, while Nader needs to stay to care for his father, battling Alzheimer’s. Their situation complicates itself after Nader hires a caretaker for his father, a pregnant lady named Razieh, who comes from a religious and lower-class background. Following a misunderstanding, Razieh and Nader get into an explosive argument, causing Razieh to have a miscarriage resulting in a trial against Nader. Here, the two families become intertwined, and every sentence they say and every frame that precedes this moment gets examined to reveal the truth. We empathize with both sides of the story and become emotionally invested while appreciating the rationale behind their actions respectively. It uses a subtle technique to portray its message. It even gives an accurate glimpse into modern Tehran, the varying lifestyles and the socio-political and economic conditions of the people living there. It is truly a masterpiece in which every frame matters and is a remarkable stepping stone to entering the world of Iranian cinema. My next recommendation comes from an undoubtedly noteworthy Iranian director, Jafar Panahi. His films bravely express the voice of the Iranian people, their restrictions and the systems they are trapped in. His phenomenal work, dealing with much of the political will of the Iranian population, is often deemed a threat by the regime resulting in his six-year sentence in Evin prison and a ban from film-making. This ban, however, did not stop Panahi as he continued to publish works such as “This is Not a Film,” “Taxi,” or “No Bears,” which would move on to win international awards. Yet, the piece that I would like to shed light on is “Offside” (2006). Following the 1979 Islamic Revolution, a strict practice forbade women from entering sports stadiums. The storyline follows six girls who, for various reasons, sneak into a football match dressed up as men. They each get caught, and we watch them spend the rest of the game in a detention section of the stadium before getting sent off to the police station accompanied by the men who detained them. The latter are young boys doing their mandatory military service and are thus forced to detain these girls even if they do not necessarily want to. What is so beautiful about his film is the humanization of these characters, the destigmatization of the people in Iran and how Panahi highlights that the people are not their government. The characters all end up bonding throughout the film: the girls and the military men befriend one another and show signs of mutual trust and care. By first commenting on the underlying hypocrisies and paradoxes within this law, Panahi uses football to comment on the society and Islamic regime, the restrictions it puts on the people and the people’s response to it. Here, the girls rebel even if they know the consequences, and the men comply, even if they do not wish to because they know the ramifications of disobeying. The ban on women in stadiums is a dominant issue in Iran, highlighting the discrimination in this gender apartheid regime. In 2019, Sahar Khodayari, unfortunately, set herself on fire after her trial in which she was prosecuted for entering a stadium. This ineffable outrage is depicted in films such as “Offside,” where one begins to understand the complex feelings of the people in this system. The film also subtly referenced Iranian social movements, including the White Hijab movement, where Iranian women would either wear a white hijab or take off their hijabs, generally on Wednesdays, to protest against the mandatory veil rule. This entrancing ended with the intriguing directorial choice of playing the old Iranian national anthem before the 1979 revolution while depicting the people’s celebration of the Iranian team winning the march and qualifying for the world cup. This was a strong yet subtle political statement, embodying the population’s disapproval of the regime even if they wish to celebrate their country’s win. This heart-wrenching and captivating story provokes smiles, laughs and tears in minutes and is certainly not a film to miss! On a more mundane and philosophical level, there is “Taste of Cherry” by Abbas Kiarostami. As one of the most renowned directors, Kiarostami set an important precedent for the film industry in Iran with several movies, including “Where is The Friends House?” or “Close Up.” He often depicts the Iranian countryside and uses his spectacular camera movements to illustrate its beauty. In this film, Kiarostami uses an intriguing storytelling technique where he keeps the main character a mystery. We know almost nothing of him, his family or his economic background. The extent of our knowledge is limited to his name, Mr. Badii, and that he is suicidal. Throughout the film, Mr. Badii takes a car stroll in the hills of Iran, picking up passengers who he hopes will carry out a job for him in exchange for money. He hopes to find someone who will go to where he wishes to be buried early in the morning and call his name twice. If he responds, that person will save him, take the money as a reward, and go back home. If he does not, that person should bury his body and take the money for themselves and return to their life. As he picks up these characters, they engage in conversations where they discuss the morality of suicide: the passengers try to discourage him using varying philosophies. The atypical storytelling is particularly compelling as it focuses on the concept and the message — brilliantly revealed in a plot twist that is communicated through just one sentence — as opposed to the main character and his reasons for wanting to commit this act. This film teaches us to appreciate the simple joys of life and highlights this with humble anecdotes and candid yet breathtaking camera shots portraying the scenery of Iran. Finally, a classic recommendation is the animation adaptation of Marjane Satrapi’s “Persepolis.” These delightful sketches give a historical overview of the Iranian revolution and the Iran-Iraq war, portraying a period of dramatic change in Iran through the eyes of the book’s author — Marji. It is astonishingly nostalgic, even relatable, despite being set in a different time frame. This authenticity is found through the transparency of Marji and her thoughts and feelings alongside the interactions she observes in her family and society at the larger level. Satrapi depicts how the revolution was transformed into something other than what it was intended and the uncertainties of the time. Persepolis is a digestible, genuine and open-minded account of Iranian history and culture, striving as an excellent starting point for those interested in grasping the Iranian perspective on these events. Artistic expression has always been central to preserving such a rich culture despite challenging conditions, and cinema does not fall short within this context. Indeed, these are just some of the many fascinating films in the kaleidoscope that is Iranian cinema that illustrates the reality of the Iranian experience.

Sports Recap – October 2022 < Back October Sports Recap By Arian Akrami October 31, 2022 Formula 1 Max Verstappen was officially crowned 2021 Formula 1 World Champion following the Japanese Grand Prix on Sunday Oct. 9. He became only the 11th driver to win back-to-back championships. With 12 victories already secured, and four races left, it remains entirely possible that the Dutchman could break the record for the most wins in a season (13 – Michael Schumacher with Ferrari in 2004, Sebastian Vettel with Red Bull in 2013). However, Red Bull has come under a barrage of criticism following statements that the team had exceeded the budget caps which were introduced at the beginning of the 2021 season. A Fédération Internationale de l'Automobile (FIA) statement announced that the team exceeded the $145 million budget cap by less than 5%, which constitutes a “minor” level breach. This level has come under criticism since it could still constitute a significant value of approximately seven million dollars. Ferrari team principal Mattia Binotto said: “five million dollars is about half a second, one to two million dollars is 0.1-0.2 seconds, which can be the difference between second on the grid to pole.” Potential repercussions include a deduction of championship points, financial reprimands and a reduction on the team’s budget cap. Tennis On Sunday Oct. 9, Novak Djokovic, recently championed at Wimbledon, defeated Stefanos Tsitsipas (6-3, 6-4) to clinch his 90th Association of Tennis Professionals title at the Astana Open in Kazakhstan. United States Open victor and world number one Carlos Alcaraz faced a major upset following defeat in the opening round Belgium’s David Goffin. Elsewhere on the Association of Tennis Professionals Tour, Taylor Fritz beat the United States Open runner up Francis Tiafoe (7-6, 7-6) in an all-American final at the Japan Open. This has allowed him to enter the world top 10 for the first time. Fritz was able to progress to the semifinals with a walkover due to the injury of Wimbledon finalist, Nick Kyrgios. On the Women's Tennis Association tour, the Polish world number one, Iga Swiatek, was stunned at the Ostrava Open final in the Czech Republic. She was defeated by Barbora Krejcikova, who managed to clinch her second successive Women's Tennis Association title on home soil (5-7, 7-6, 6-3). Football In the Premier League, as Arsenal continued their fine form, beating Leeds United away from home to remain top of the league, out-of-form Liverpool managed to defeat reigning champions and currently second place Manchester City, courtesy of a goal from Mohammed Salah. Manchester United Women thrashed Brighton and Hove Albion 4-0 to remain top of the Women’s Super League, level on nine points with Arsenal and Chelsea, who beat Everton and Reading, respectively. Manchester City picked up their first points of the season with another 4-0 scoreline against Leicester City, who remain rock bottom with zero points, alongside Reading. In Ligue 1, Neymar extended his excellent goal-scoring record so far this season in a crucial 1-0 victory for Paris Saint-Germain in the Classico against Olympique Marseille. The club now sit top of the table with a three-point lead over second place FC Lorient, who fell to a draw at home to Reims despite a 45th minute red card for their opponents. On the international front, Denmark’s kit manufacturer, Hummel, have hidden their logo, and Denmark’s emblem, on their World Cup apparel as a way to voice their disassociation with the Qatar tournament which has been criticized for its abhorrent treatment of migrant workers . Although their national colours are red and white, they have decided to release an all-back third kit, which Hummel described as “the color of mourning,” in solidarity with the thousands of lives lost during the construction of the stadiums.

Amid Egypt’s recent moves to assert itself as an eco-friendly regional power, it is fitting to explore key examples of green development initiatives spearheaded by the country in the last years. < Back Is Egypt a Model for Green Development? By Katie-Anne Harris November 30, 2022 Egypt’s national objectives for 2030, known as Vision 2030, have been implemented to meet the United Nation’s Sustainable Development Goals. One of this strategy’s major aims is to ensure that 15% of government investment goes into green development projects, and this figure is set to increase to 50% by 2025. This is not the first time Egypt has made its aspiration to be the voice of Africa clear. The country just hosted the United Nations Climate Change Conference — popularly referred to as COP27. In September, Egypt organized the meeting of African ministers of finance, economy, development and environment to formulate a unified vision for funding a transition to a greener economy. Amid Egypt’s recent moves to assert itself as an eco-friendly regional power, it seems fitting to explore key examples of green development initiatives spearheaded by the country in the last years. Renewable Energy in Egypt Egypt has invested in a multitude of renewable energy sources. The International Trade Administration reported that the government’s strategy is to make renewable energy generate 42% of energy by 2035, with wind energy making up 14%, hydroelectricity accounting for 2% and solar energy accounting for 25% of electricity generated by renewable resources. An example of a development project putting Egypt on track to meet these goals is the Benban Solar Park, which was completed in 2019. It has 32 solar plants with four substations, holding up to 1.65-gigawatt capacity, making the Benban plant one of the largest solar power sites in the world. This development project illustrates the Egyptian government’s capability and commitment to meet its sustainable development goals. Another example of successful green energy projects in Egypt is its biogas units which convert waste into electricity. Through this Fayoum-based project, biogas is obtained from the fermentation of organic waste. These units will provide a renewable energy source for household cooking and will also be used to produce organic fertilizer to improve soil properties in the region. Cairo’s Monorail Egypt is experiencing a rapid rate of urbanization, thus, augmenting the importance of transportation. To help prevent congestion and alleviate pollution, Egypt’s National Authority for Tunnels awarded a 4.5 billion dollar contract to UK Export Finance to build, operate, and maintain a monorail system for 30 years. It is set to become the world’s longest monorail while producing zero emissions and almost no noise. This project helps reduce emissions, lessen sound pollution and provide important public infrastructure for the population of Cairo. Green Cities Kharga has been declared the first green city in Egypt. There is no industrial pollution in the city due to the absence of industrial factories. Moreover, the city depends on renewable energy sources to generate government agencies, streetlights and places of worship and to extract water from irrigation wells and homes. There are monitoring stations for air quality, water quality, and noise pollution to ensure the city complies with environmental laws and legislation. Finally, the city holds many bike lanes to encourage zero-emission transportation. There has been a plan to build 45 new cities in Egypt to accommodate its growing population. These cities will be developed in line with the European Bank for Reconstruction and Development’s Green Cities Program. There is no doubt that Egypt can build new green cities when looking at the successful green transformation of Kharga. Green Bonds Egypt is the first country in the Middle East and North Africa region to issue green bonds. Green bonds are financial instruments that are used to fund new environmental projects while returning fixed income to investors. These bonds offer investors the opportunity to mitigate the climate emergency while receiving returns like those expected from traditional investments. A report by Crédit Agricole claims that there is 1.9 billion dollars in green bonds that can be used to fund green projects. 16% of these bonds are for renewable energy projects, 19% for clean transportation, 26% for water and wastewater management and 39% for pollution prevention and control. Takeaways These examples of green development projects indicate that Egypt is on track to reach its sustainable development goals in line with the goals set out by the United Nations. These projects not only contribute to ensuring environmental integrity but also help meet goals to improve the quality of life of Egyptian citizens. The economic and sustainable benefits of these development projects generate jobs, improve public infrastructure and help combat pollution, all of which contribute to the well-being of Egyptian citizens. It is essential to look back on successful development projects in Egypt to understand why the country is eligible to be the voice for other African nations during COP27.

After the release of this new Netflix series, we are seeing a widespread romanticization of South Indian women, and a newfound admiration for their culture, charm and allure. < Back The Success of Bridgerton: One Step Forward for South India By Lenora Dsouza April 29, 2022 Radiant greenery, the abundant culture and bewitching landscapes that make up the basis of South India. Recent years have seen an increased amount of South Asian representation and characters of color in the limelight of Hollywood. However, nothing quite sparked conversation like the new season of Bridgerton, which saw two main South Indian female leads. Bridgerton has surpassed Indian cinema — Bollywood — in all aspects of promoting women of color and shedding a different light on them than before. Bridgerton has placed them in a light of appreciation and beauty. After the release of this new Netflix series, we are seeing a widespread romanticization of South Indian women, and a newfound admiration for their culture, charm and allure. Bollywood, on the other hand has had a history of downplaying and even denigrating South Indian women, favoring fairer skin as the status quo. The constant advertising of ‘Fair & Lovely’ — a skin brightening cream — has made younger girls feel the need to lighten their skin tones in an unhealthy manner. Bridgerton, in that respect, broke past the long built up Indian stereotype of darker skin tones being unwanted and undesired. Yet, the insufficient research and awareness of Indian diversity in culture and time frame, takes away from what was achieved. The two leads Simone Ashley (Kate Sharma) and Charithra Chandran (Edwina Sharma) come from South India, but the specific region or location remains a mystery. The name ‘Sharma’ is typically a North Indian name that counterfeits their South Indian origins. The melange of languages used by the characters ranging from Hindi (‘didi,’ which means sister) to Tamil (‘appa,’ which means father) to Bengali (‘bon,’ which means sister) displays the lack of attention to detail from the playwrights. Additionally, the entrance line of ‘baap re’ (‘Oh Father’) by Kate Sharma is highly inaccurate for the regency era the series is set in. Such a phrase would not be used by a woman of high status. Whilst the distaste for British Tea was widely acclaimed, the ‘Masala Chai’ with its range of aromatic spices was only introduced long after the Indian Regency era which ended in the 1820s. Despite this lacking in detail and accuracy, we can focus on what Bridgerton got right. The integration of Indian culture into multiple scenes of the show presents a massive win for many. The ‘Haldi’ ceremony prior to the wedding, the jewellery, the details and colors of their gowns, the hair oil massage, and the use of Kate’s full name at the end of the season. All these factors mark success and wins for South Indian women. Whilst Bridgerton may not have proved perfect, it achieved more than Bollywood has in its past few decades. We could focus on the imperfections, but then we would completely miss the main point of the show and all that it does for South Indians. From a personal standpoint, Bridgerton’s second season made me feel proud. It didn't really matter whether the show denoted Indian culture down to a T, what really mattered was this interpretation and viewpoint that South Indian women are truly beautiful. It felt like magic to see women who shared similar if not the same skin color as me and I think that was the most powerful aspect of the show. Bridgerton renewed my appreciation for my culture and roots — a feat that not many shows have had the power to do.

Lauded for its clear waters and dream houses, the North Coast has gained immense popularity from Egyptian citizens and throughout the Arab world. < Back Urban Development Booms on Egypt’s North Coast By Joudi Arafa September 30, 2022 It is no surprise that pristine coasts along the Egyptian Mediterranean have undergone thorough urban transformations in recent years. It serves not only as a source of attraction for domestic and international tourists but for investors as well. The development runs precisely across Alexandria, Marsa Matrouh and the newest city of El Alamein. The longstanding interest in coastal tourism in Egypt proves to be transformational in the tourism sector. Until recently, Egypt relied on archaeological-centric tourism; nowadays, it is profiting far more from leisure attractions. In two decades, the number of visitors in the coastal region grew by an astonishing 76%. This boom can be explained by the expansion of the hotel and housing industries through furious infrastructural and architectural activity. In 2014, Egypt approved a reallocation of 2.4 million square meters of public-owned land to the New Urban Communities Authority (NUCA) to proceed with the construction of a new city in the North Coast area — El Alamein. The first phase of the project aims to house 20,000 people. Residents will be able to expect a tourism development area and a vast array of retail options. The conceptual plan is looking to incorporate industries such as logistics, agriculture, regional trade, tourism and education in hopes of attracting new investments to the fledgling coastal city. El Alamein even features skyscrapers in its layout, some of which are already completed and welcoming tourists and residents alike. Not only is all of this urban development along the North Coast bringing forth unprecedented revenues, but it is also creating employment opportunities for the growing youth population of Egypt. Serving as the most famous summer destination spot for Egyptians, the property market in the area has widened, and competition to attain a coveted seaside property, whether it be a multistory sea-view villa or a humble one-bedroom studio, has tensed. “Sahel,” as Egyptians call it, has set an image for itself as a hub for summer relaxation and family reunification. After years of saving, it is not uncommon for someone to hastily purchase a Sahel property that is either still under construction or a finished unit. They know that the return on their investment is worth the cash and that it is a destination to look forward to visiting when leaving their bustling hometowns of Cairo, Alexandria or Port Saïd. The urban distribution of the North Coast comes in the form of compounds or, more precisely, neighborhoods separated by a highway. Amwaj, Marassi, Mountain View, Golf Porto Marina, and Hacienda are just a few of the desirable development projects that can be found in Sahel. Each compound has its unique attractions — gated communities, sailing, spas, and playgrounds — to be enjoyed by residents. Lauded for its clear waters and dream houses, the North Coast has gained immense popularity from Egyptian citizens and throughout the Arab world.

Dans son ouvrage Arab Cinema : History and Cultural Identity (1998), Viola Shafik affirme que l’Egypte était le premier pays arabe à produire une industrie cinématographique dont la production était supérieure, en quantité, à celui des autres nations arabes. < Back Quand le Caire faisait rêver le monde arabe, l’âge d’or du cinéma égyptien. Habiba Lala November 11, 2025 Dans son ouvrage Arab Cinema : History and Cultural Identity (1998), Viola Shafik affirme que l’Egypte était le premier pays arabe à produire une industrie cinématographique dont la production était supérieure, en quantité, à celui des autres nations arabes. Surnommé le ‘Hollywood sur le Nil,’ le cinéma égyptien demeure, en termes de production et de popularité, le plus influent du monde arabe. Pendant trois décennies, du milieu des années 1930 à la fin des années 1960, les écrans du monde arabe étaient dominés par le cinéma cairote. D’Alger à Damas, les mélodrames, les chansons d’Oum Kalthoum, et les performances de Faten Hamama rythment le quotidien des spectateurs du monde arabe. Mais cette effervescence ne relevait pas d’un simple divertissement. Le cinéma égyptien joue un rôle à part entière dans la formation des imaginaires collectifs, dans la diffusion de valeurs sociales et dans la construction d’une identité arabe partagée. Une ambition nationale et industrielle L’essor du cinéma égyptien repose sur deux principales fondations. D’une part, elle s’explique par une volonté économique nationale de bâtir une industrie culturelle. D’autre part, elle incarne une aspiration panarabe pour rassembler le monde arabe autour d’un langage symbolique commun. En 1935, Talaat Harb, fondateur de la Banque Misr, crée le studio Misr, premier studio national qui vise à rompre avec la dépendance culturelle européenne et à rivaliser avec les importations hollywoodiennes afin d’affirmer la souveraineté culturelle de l'Egypte. Au-delà d’être un studio de production, Misr est une véritable école technique : Harb fait appel à des équipements et des techniciens allemands et français pour former les premières équipes locales tout en envoyant les jeunes Egyptiens étudier la cinématographie a l’étranger. Le premier film à être produit sera Wedad en 1936, dans lequel jouera la légendaire chanteuse Oum Kalthoum, déjà célèbre et qui instaurera la tradition égyptienne des stars cinéma au centre de l’intrigue, souvent bien plus importantes que l'histoire. C’est une tendance qui se poursuivra avec des chanteurs et chanteuses de renom qui seront placés au centre de l’intrigue tels que Abdel Halim Hafez, Asmahan, El Atrach… Dès la fin des années 1930, les réalisateurs souhaitent refléter une société égyptienne authentique. Le film fondateur de cette période est Al-Azima , considéré comme le premier film social réaliste du monde arabe. En décrivant la vie quotidienne d’un jeune couple de la classe moyenne cairote, il pose les bases d’un cinéma ancré dans la réalité sociale et porteur d' un idéal d'émancipation. Représenter de manière authentique l'Egypte passe également par la langue, c’est pourquoi le dialecte égyptien ( amiyya ) s’impose majoritairement dans le cinéma cairote. Son usage, en particulier dans sa forme cairote, conférait aux dialogues un ton naturel, familier pour une meilleure identification du public aux personnages afin de renforcer le réalisme recherché par les cinéastes. Par ailleurs, la musique constitue un lien culturel entre l’Egypte et le reste du monde arabe en facilitant l'exportation régionale des films égyptiens. Ainsi, dès les années 1940 et 1950, l'Egypte exporte ses films vers le Liban, la Syrie, la Tunisie et le Maroc, loin de viser un public européen. L’industrie est colossale : alors qu’elle produisait annuellement une vingtaine de films au début des années 40, à partir de 1948, avec la création de six nouveaux studios, la production moyenne s’élève désormais à environ 50 productions annuelles. Du miroir social à la conscience politique. La puissance industrielle est indissociable d’un projet civilisationnel : A travers ses films, l’Egypte diffuse une vision de la modernité arabe. Les personnages des films de Henry Barakat, Abou Seif et Kamal Selim, incarnent les tensions et les espoirs d’une société en mutation avec des motifs qui reviennent souvent : la mère qui symbolise la patrie, la femme moderne qui est le visage de la vertu, l’homme travailleur qui devient l’archétype de la dignité. L’écran devient alors un ou outil de formation morale et de fierté collective où l’identité arabe se pense et s'invente. Sous l'influence du néoréalisme italien et du climat révolutionnaire installé par Nasser, le cinéma égyptien devient un outil critique et politique. Dans Gare Centrale, Youssef Chahine raconte la vie d' un vendeur de journal handicapé et marginalisé qui est obsédé par une vendeuse de boissons dans une gare du Caire. Par ce drame intime, le réalisateur pointe du doigt la marginalité et la misère des classes populaires. Le cinéma de cette période met également en avant la figure du féminisme comme symbole de modernité. Par exemple, Doa Al Karawan , film de Henry Barjat dans lequel joue Faten Hanama, raconte la rebellion d’une femme contre l’ordre patriarcal. Ce récit incarne un tournant majeur du cinéma arabe où la femme n’est plus simplement un objet de désir ou une figure maternelle : elle est un sujet sensible, actrice de sa propre libération. Ces films participent à la construction d’une conscience collective arabe. Chahine y associe le mélodrame, genre populaire par excellence, à une réflexion idéologique sur la justice sociale, la nation, l’identité et le genre. Le cinéma de cette époque n’est pas neutre, il s’engage dans la représentation des luttes, des espoirs et des contradictions d’une société en pleine transformation. Quand l’art se heurte au pouvoir politique, la fin d’un rêve La révolution de 1952 et l’avènement du régime de Gamal Abdel Nasser ouvrent une nouvelle ère pour le cinéma égyptien. Conscient du pouvoir culturel de l’image, Nasser entreprend de faire du cinéma un instrument de cohésion et de rayonnement régional. Dès 1956, la nationalisation partielle du secteur bancaire, dont la banque Misr propriétaire du studio éponyme, permet à l'État de prendre le contrôle des principaux moyens de production cinématographique. Cette politique s'amplifie en 1961 avec la création de l’Organisation générale du cinéma qui centralise la production, la distribution et l’exploitation des films. Cette structure étatique absorbe également les studios tels que le Studio Misr, Al Ahram Studio et Giza studio qui sont intégrés dans un réseau placé sous tutelle du ministère de la culture. Cette intervention étatique garantissait une stabilité financière et culturelle mais elle imposait une censure préalable et un contrôle idéologique strict aligné sur les valeurs du socialisme arabe et du nationalisme nassérien. Face à ces nouvelles contraintes, les cinéastes apprennent donc à contourner la censure par la métaphore et le symbolique. Youssef Chahine est excellent dans cet art : avec Al-Asfour en 1972, il dépeint la désillusion d' une génération confrontée à la corruption et à la faillite morale du pouvoir à travers des plans symboliques (cafés, espaces clos, …) et des dialogues ambigus; les histoires intimes sont des allégories politiques… Ainsi, la censure conduit paradoxalement à l'enrichissement du langage cinématographique où les cinéastes doivent perfectionner l’art du sous-entendu. La guerre de 1967 marque un tournant. Le panarabisme s’effrite, la confiance en l'État décline et le cinéma égyptien, qui était autrefois le symbole d’unité, reflète désormais les fractures d’une société désenchantée. La bureaucratisation du secteur, la montée de la télévision et la fuite des capitaux privés entraînent un déclin progressif de la production. L’ouverture économique ( Infitah) lancée par Anouar el Sadate dans les années 1970, introduit de nouveaux modèles de financement. Il favorise surtout un cinéma commercial plus léger et moins engagé socialement. La grande époque du cinéma réaliste et politique s'achève et laisse place à une industrie davantage tournée vers la comédie et le divertissement populaire. Ainsi, ce que le Caire a offert au monde arabe n’a jamais été qu'un simple divertissement. Il s’agissait d'un véritable laboratoire culturel et politique. Durant cet âge d’or d'un Hollywood sur le Nil , le cinéma égyptien a su allier ambition industrielle, réalisme social et engagement idéologique pour donner naissance à des œuvres qui reflètent les espoirs, tensions et contradictions d’une société en mutation. Dans son ouvrage Popular Egyptian Cinema: Gender, Class, and Nation (2006) ,Viola Shafik affirme que c’est la capacité à produire des significations culturelles et sociopolitiques qui confère au cinéma un intérêt en tant que champ d’étude.C’est à travers les images, les stars, les musiques et les symboliques que le Caire a façonné une conscience collective arabe. Même confronté à la censure, à la bureaucratisation et au déclin du panarabisme, cet âge d'or laisse un héritage durable, celui du cinéma qui articule l'identité, la mémoire et la politique d'une nation. Photo Source: ل م يكن في الحسبان : flickr , author: Zeinab Mohamed

Le Vagina Show est revenu faire rayonner notre campus mentonnais le temps d’une soirée pour une quatrième année consécutive ! < Back Vagina Show: La Création d’un Espace Libre pour les Femmes… mais Également pour les Hommes! By Aicha Yahaya April 30, 2022 Si la journée du 8 mars est officiellement et internationalement reconnue comme la journée des droits des femmes, au sein de la Feminist Union, chaque jour est une bonne occasion pour représenter et célébrer l’expression de la féminité. C’est pourquoi nous vous avons retrouvés le 15 mars dernier pour une soirée exceptionnelle mêlant art et genre, durant laquelle tous les tabous ont été laissés au pas-de-porte. Vous l’aurez compris, le Vagina Show est revenu faire rayonner notre campus mentonnais le temps d’une soirée pour une quatrième année consécutive ! Pourquoi un Vagina Show? Inspiré de la pièce de théâtre “Les Monologues du vagin” de l’auteure new-yorkaise Eve Ensler, le Vagina Show a pour but principal la création d’un espace libre pour les femmes, mais également pour les hommes ! A l’image de cette référence du féminisme contemporain, l’idée est avant tout de prôner la libération de la parole, et ce, par divers moyens. En effet, si le monologue occupe une place centrale, le Vagina Show n’en est pas moins resté ouvert à des formes d’arts diverses et variées entre danse, notamment menée par le club de Belly Dance, des chants spécialement préparés le Bureau des Arts, des poèmes et autres performances en tout genre laissant à chacun l’opportunité de faire ressortir sa créativité et ses talents cachés. De quoi parle-t- on ? Le choix du sujet est tout aussi libre ! Il existe mille et une façons d’exprimer sa féminité/masculinité et la question du genre et de la sexualité de manière générale. Cette année, nos participant.e.s ont fait preuve d’inventivité et de toujours plus d’originalité dans leurs choix d'interprétation. Se réapproprier un monologue, créer un poème ou encore reprendre une chanson: tous les moyens étaient bons pour prendre la parole. Les thèmes furent tout aussi multiples, traiter de l’intersectionnalité, de la condition des femmes selon les pays et/ou parler de leurs corps, tout cela en suivant un même principe : au diable le politiquement correct ! Parce qu’évoquer ces différents sujets dans tout ce qu’ils ont de plus réel, et parfois de brutal, ne devrait pas être un tabou, le Vagina Show se veut être la scène qui offre à chacun et chacune le droit de porter sa voix à plus grande échelle, devenant ainsi le théâtre d’une ode à la liberté d’expression. Plus qu’un moyen de s’exprimer, un moyen de partager Si exprimer sa pensée a pu être libérateur pour nos artistes, du côté du public, l’expérience fut davantage instructive et enrichissante. Cette promenade artistique proposée par nos intervenants a en effet pu nous ouvrir à de nouvelles formes d’expression et à de nouvelles facettes de la féminité. Le Vagina Show, c’est donc aussi un événement d’échange et de découverte pour chacun et chacune, toujours dans une ambiance chaleureuse et vivante propre à la Feminist Union ! Ce qu’il faut donc retenir Cette année, le Vagina Show a pu se tenir en présentiel pour la première fois depuis 2019, nous offrant ainsi un grand moment de de partage dynamique, vivant et marqué par la sororité inhérente à cet évènement unique sur notre campus. Liberté, art et femmes formaient les maîtres-mots de cette soirée si spéciale, ne laissant aucune place à la gêne et la honte, prônant au contraire la parole libérée de toute censure et de tout blâme. Il apparaît tout naturellement important de remercier dans un premier temps toutes nos participant.e.s pour leurs présentations plus que remarquables ayant fait de cette soirée un événement inoubliable pour plus d’un. La vivacité et l’enthousiasme dont le public a fait preuve tout au long de la soirée ont aussi contribué à rendre le Vagina Show si agréable et en faire un véritable succès cette année encore.

In a small apartment on the outskirts of Marrakech, the close relatives of a wrongfully imprisoned man have gathered to share their story with a Swedish university student. The relatives are desperate to disseminate the circumstances of his imprisonment and hope their story will one day reach the public. < Back The Life of Mustapha Eddarja: A Wrongfully Imprisoned Man Fighting for the Independence of Western Sahara By Vanja Lerch Eriksson October 31, 2023 Mustapha Eddarja, a father of six and a strong believer in West Saharan independence, was arrested in a coffeehouse in central Marrakech late at night on January 10, 2017. He was brought to a secret location in Salé City and kept there for days, without being notified of the grounds for his arrest. During his time in Salé City, Eddarja was subjected to systematic physical torture with the purpose of forcing him to sign the police records which contained wrongful claims about his arrest. For a number of days, Eddarja refused to sign, but he had to give in after several days of electrical shocks, forced sleep deprivation and continuous beatings. After the torture, Eddarja was brought to Tangier Hospital to recover and the interrogation was therefore postponed. Instead of being brought back to Marrakech, Eddarja was kept in a prison in Tangier for months, unable to be visited by his family. The arrest warrant for Mustapha Eddarja was based on him allegedly being part of a drug smuggling operation. Eddarja has denied any connection to the drug trafficking group and his relatives support this claim. In court, Eddarja’s family complained about the lack of evidence of his connection to the crime. However, this was ignored by the judge. Evidently, Eddarja has been subject to a fabrication of accusations. Eddarja’s family and the Collective of Sahrawi Human Rights Defenders in Western Sahara (CODESA) interpret the arrest of Mustapha Eddarja as a retaliation to his support for the Gdeim Izik camp events in 2010. The Gdeim Izik protest started off peacefully but later developed into a violent confrontation when Moroccan security forces entered the camp. The camp was originally erected to protest human rights violations, discrimination and poverty inflicted by the Moroccan government on West Saharians. However, later, a part of the protesting group also claimed to be protesting against the Moroccan occupation of Western Sahara and demanded independence for the occupied territories. After the Gdeim Izik protests, Eddarja was subjected to continuous harassment by government agencies, both through physical encounters and through the constant surveillance of his movements. In addition, Eddarja’s name started to pop up in similar judicial cases to the one he was later accused and convicted of. Having his name reoccur in similar investigations provided the Moroccan Judiciary with sufficient reason to see his actions as premeditated, thereby making him eligible for a harsher punishment. This suggests that the Moroccan Judicial Police had made preparations for his arrest for several years before following through on his arrest. Eddarja was known for his support of the non-violent fight for the freedom of Western Sahara. He supported peaceful activists and protests financially as well as through moral and health support. He was deeply appreciated by his community and was regarded as a figure of high morale. According to CODESA, The Moroccan government has committed similar operations to stop supporters of this cause on numerous occasions. However, these discriminatory conditions prevailed when the persecuted individual received their sentence. After being sentenced to 10 to 15 years in prison, Eddarija was transferred numerous times between different prison facilities in northern Morocco but has now been transferred to what is seemingly his last location – the Oudaya prison in Marrakech. During their short visits, family members have learned that Eddarja is kept in a solitary cell and has been for the last two years. In Oudaya prison, Eddarja is held in the high-security wing, which is the most well-guarded one. According to his family, he suffers from the inhumane prison conditions. He is often handcuffed for no apparent reason; he is deprived of walks and outside activities and has been prohibited from seeing his family on several occasions, who have traveled 900 kilometers to visit him. A family member who was able to meet him said that he had gastro-intestinal pains, diseases connected to malnutrition and was in a poor mental state. The inhumane conditions have contributed to Eddarja’s health worsening, pushing him towards more radical means. Eddarja did, for weeks, go on a hunger strike in prison; however, this was met with indifference from the prison staff, and his health worsened even more. In 2021, Eddarja’s wife, child, and Eddaich Eddaf, a former political prisoner who has become a human rights defender for CODESA, and his partner attempted to visit Eddarja in jail. The group provided all the required documents to visit him, but only his daughter was allowed. She met him and could testify that his health had worsened even more. Unfortunately, the others were not allowed entry and made the 900-kilometer-long journey in vain. None of these circumstances align with international humanitarian law – they oppose the most basic human rights. Suppose one were to observe the framework of the 70/175. United Nations Standard Minimum Rules for the Treatment of Prisoners (the Nelson Mandela Rules) , one can distinguish that the treatment of Mustapha Eddarja does not comply with its requirements. Neither does it comply with the vital conditions proposed in the Convention against Torture and other Cruel, Inhuman and Degrading Treatment or Punishment , which the Kingdom of Morocco ratified in 1993. The 2nd and 11th Articles of this convention specify that torture should be non-existent in the countries that have ratified it, suggesting that the Kingdom of Morocco does not fulfil these obligations. Article 15 states that any statements made during torture shall not be invoked as evidence. This is, however, evidently not complied with in the case of Mustapha Eddarja and is thereby not fulfilled. Eddarja’s family demands that his human rights should be respected and thus also states that Eddarja deserves a new trial based upon a new independent and impartial investigation. They urge international actors to intervene to bring justice to Mustapha Eddarja and force the Moroccan government to stop using fabricated accusations. Mustafa Eddarja’s family is looking forward to his release in a couple of years but still hopes that the visibility from sharing their story might give them the opportunity to meet him sooner.

A warm welcome to the Menton Times 2022-2023! < Back A Warm Welcome From the Editor-in-Chief By Lara-Nour Walton July 26, 2022 Dear incoming Ummah, As I write this, we are scattered like confetti about the globe just anticipating our convergence. Sciences Po beckons us, and we draw nearer to her cautiously, maybe zealously, or perhaps not at all – denying, denying, denying, grasping onto summer’s last lights with a desperate grip. But alas, we must begin to heed her now, the time has come. To the rising 1A’s, it is with great pleasure that I welcome you to our idyllic town. My name is Lara-Nour Walton, and I am the editor-in-chief of The Menton Times, the campus newspaper. I joined as a timid first year, knowing that my love for journalism ran deep, but distrusting my ability to generate meaningful work. I had only briefly been a staff member of any conventional journalistic publication before. Everything was so new, and everything proved to be so wondrous. I owe my instant infatuation with this paper to the dynamic, welcoming, and worldly Menton Times community. Our team is composed of creators who cannot be described merely as staff. They are journalists who are famished for knowledge, craving to trace the political, economic, and social contours of the world around us, eager to serve their student body. We all share the unifying conviction that information should be accessible to everyone, and we put in great effort to meet this end. The paper covers campus and global news, arts and culture analysis, sports, and opinion. Moreover, the publication aims to celebrate the campus’ West Asian, North African, and Mediterranean specialization by emphasizing the region in our reporting. Our ultimate aim is to feature and disseminate the ideas of our brilliant Sciences Po Menton. Applications for the Menton Times open on August 1st, 2022 . We welcome all – the philosophers, football players, artists, computer scientists, and rookie writers among us. There is something that each one of you has to say, and we cannot wait to know what it is. In the interim, we encourage you to follow our Instagram, @thementontimes , for regular updates about the exciting plans we have in store for our newest generation of Sciences Pistes. And please peruse our all-new website for a taste of what we have to offer. Here’s to a great year ahead to all our readers and contributors - new and old. With great impatience for our imminent convergence, Lara-Nour Walton Editor-in-Chief The Menton Times 2022-2023 Chère Ummah entrante, Au moment où j'écris ces mots, nous sommes éparpillés comme des confettis autour du globe anticipant notre convergence. Sciences Po nous fait signe, et nous nous rapprochons d'elle avec précaution, peut-être avec zèle, ou peut-être pas du tout - niant de toutes nos forces, saisissant les dernières lueurs de l'été d'une poigne désespérée. Mais hélas, nous devons commencer à faire attention à elle maintenant, le moment est arrivé. Aux 1A montantes, c'est avec grand plaisir que je vous accueille dans notre ville idyllique. Je m'appelle Lara-Nour Walton et je suis la rédactrice en chef du Menton Times, le journal du campus. J'ai rejoint le Times en tant que timide étudiante en première année, sachant que mon amour pour le journalisme était profond, mais ne faisant pas confiance en ma capacité à générer un travail significatif. Je n'avais été que brièvement membre du personnel d’une publication journalistique conventionnelle auparavant. Tout était si nouveau, et tout s'est avéré si merveilleux. Je dois mon engouement immédiat pour ce journal à la communauté dynamique, accueillante et mondaine du Menton Times. Notre équipe est composée de créateurs qui ne peuvent pas être décrits uniquement comme constituant le personnel. Ce sont des journalistes affamés de savoir, avides de tracer les contours politiques, économiques et sociaux du monde qui nous entourent, désireux de servir leur corps étudiant. Nous partageons tous la conviction unificatrice que l'information doit être accessible à tous et nous nous efforçons d'atteindre cet objectif. Nous couvrons l'actualité du campus et du monde, les commentaires sur les arts et la culture, les reportages sportifs et les opinions. En outre, le journal vise à célébrer la spécialisation du campus en tout ce qui concerne l’Asie de l'Ouest, Afrique du Nord et Méditerranée en mettant l'accent sur cette région du monde dans nos reportages. Les candidatures pour le Menton Times ouvrent le 1er août 2022. Nous accueillons tout le monde - philosophes, footballeurs, artistes, informaticiens et écrivains débutants parmi nous. Chacun de vous a quelque chose à dire, et nous avons hâte de l’entendre. En attendant, nous vous encourageons à suivre notre Instagram, @thementontimes , pour des mises à jour régulières sur les projets passionnants que nous avons en réserve pour notre nouvelle génération de Sciences Pistes. Et nous vous prions de parcourir notre tout nouveau site Web pour un avant-goût de ce que nous avons à offrir. Je vous souhaite une superbe année à tous nos lecteurs et contributeurs - nouveaux et anciens. Avec grande impatience pour notre convergence imminente, Lara-Nour Walton Rédacteur en chef The Menton Times 2022-2023

Enfants de la débauche, amants de la culture, partisans de l'hédonisme, ce message vous est adressé. < Back Association Feature: Sciences Alcoolémique By Victor Wauters March 31, 2022 "Ô vous qui avez cru, les boissons enivrantes, les jeux d'argent, les stèles et les flèches divinatoires ne sont qu'une souillure, l’œuvre du diable. Écartez-vous de lui, afin que vous réussissiez." -Texte saint non défini "Boire du vin et étreindre la beauté vaut mieux que l'hypocrisie du dévot." -Omar Khayyam Enfants de la débauche, amants de la culture, partisans de l'hédonisme, ce message vous est adressé. Vous vous reconnaitrez car ces traits bousculent la conformité sociale qui règne et ne passent donc jamais inaperçus. Vous vous reconnaîtrez aussi car c’est le cœur qui parle et rien n’est plus fort que le lien entre deux âmes connectées. Nous ne sommes pas des alcoolistes radicaux, nous ne sommes pas non plus des fous inconscients, ni même des dangereux toxicomanes, mais plutôt des illuminés de la vie et de tout ce qu’il y a de plus beau, touchés par l’inspiration divine et éclairés par la lueur interne et éternelle de la folie carpe diemienne. L’alcool, pour reprendre les mots de Braudel, est “un voyageur clandestin infatigable”, qui parcourt un chemin accidenté, truffé de fanatisme, d’interdits, de morale hypocrite et accusatrice, qui abreuve les sillons qu’il trace de rêves et de comptes des milles et une nuits. Trop longtemps, ce mode de vie a été répudié, dénigré, traité de souillure par des pseudo-dévots aigris, mais safi , khalas , la reconquête titubante mais insoumise est en marche. Levez vous, bien droits, avec fierté! Ne vous cachez pas, nous savons qui vous êtes, cela serait de fuir le devoir qui vous appelle. Ne soyez pas des alcooliques anonymes mais plutôt des bon-vivants assumés! Vous savez aussi qui nous sommes, car les bruits courent et se répandent comme une traînée de poudre dans ce petit village perdu. Mais n’ayez pas peur, nous vous tendons la main, nous vous tendons un verre aussi, un verre de cette potion divine. La potion de tous les possibles. La grandeur et la décadence sont une science, alcoolémique, que nous explorerons ensemble et dont nous serons les pionniers. Que cet opium éthylique devienne la religion du peuple! Nous vous tendons la main, d’une main ferme et sûre d’elle, qui n’a de but que de lier les humains entre eux, de les faire se rejoindre pour former une communauté unie, un groupe d’illuminés heureux, pour danser entre nous, alcoolistes, la valse à trois temps des alcools de nos vies. Une équipe de 16 tarés, certains diront, ou de 16 personnes inspirées, passionnés, mais surtout 16 personnes unies par des liens indéchiffrables aux yeux de ces moralisateurs aigris et cyniques. Remontons à la source de cette fontaine de jouvence. Il fut un temps, à Menton, ou la conscience collective ne reconnaissait pas l’importance de ce Call of the Wild intrinsèque à l’humain, ou du moins, elle ne la reconnaissait pas à sa juste valeur. Voyez cela comme une Jahiliya de la sobriété. Il aura fallu que trois fous goûtent à ce liquide d’outre-monde, qu’ils s'imprègnent de ces effluves de rhum dans leurs voix qui chantent, qu’ils touchent à cette vision a mi-chemin entre le mirage alcoolisée et la rêverie mystique pour que le campus sème la voix de la raison en faveur du murmur de l’instinct. Il fallait transmettre ce message, impérativement, éclairer, émouvoir. D’abord avec les moyens du bord armés un petit appartement et un grand cœur, de petits groupes mais de grands verres, de petits moyens mais de grandes rencontres. A coups de pas de danses chaloupés, de discours biscornus et d’amour mutuel, ils ont entrepris ce projet. Un an plus tard, 13 personnes rejoignent le navire à la conquête de nouveaux horizons, des vignobles du sud de la France aux champs de citronniers de Campanie, en passant par la cuisine marocaine. Ces moussaillons des mers d’alcools sont là pour vous guider dans votre voyage sensoriel. L’idée n’est pas de libérer un déferlement de pulsions alcooliques, mais plutôt de vous faire découvrir l’amour de la vie, d’une autre manière. Les grands démagogues vous ont parlés de conquête de l’espace, inutile d’aller aussi loin, nous vous parlons de la conquête de vous mêmes, des sensations que votre corps vous procurera, des idées foudroyantes que votre esprit fera naître. Prenez le temps, ou plutôt trouvez le temps, de nous rejoindre, le temps d’un soir ou les temps de plusieurs verres, pour embrasser la vie et vous délecter de ce breuvage qui vous fera goûter au paradis. Ce liquide miraculeux de ceux qui vous donnent envie de vivre car oui, cette boisson c’est de l’eau de vie. Laissez nous vous guider sans crainte dans cet univers salvateur mais résolument pieux régi par une autre temporalité et une autre divinité, puisque le génie sort de la bouteille. Goûtez à une nouvelle réalité! Si nous ne pouvons pas arrêter la débauche, c’est qu’elle constitue un pilier fondamental de la nature humaine. C’est la victoire de l'éthanol sur l’obscurantisme car l’ivresse illumine! Vin sec et mat!

“Bab el Hadid” captures the commotion and emotion of the Cairo train station as a hub: a place where people reunite after years apart; where people say goodbye to their loved ones; where people are always in a rush to get to the next destination. < Back Reflecting on Egypt’s Youssef Chahine: Film Review of “Bab el Hadid” By Celeste Abourjeili November 29, 2021 The movie “Bab el Hadid” brings back memories of the notorious Grand Central station in New York City, where I grew up. It captures the commotion and emotion of the train station as a hub: a place where people reunite after years apart; where people say goodbye to their loved ones; where people are always in a rush to get to the next destination. The Cairo station, like all train stations, is inherently not a destination but simply a part of the journey. However, in “Bab el Hadid,” which focuses on the station’s daily functioning, the place is redefined as a destination of its own with a community of its own. This raw vision of the train station provides a nuanced commentary on class struggles because it exposes the station for what it is: a place for homeless people to take shelter, for the crazy to roam around, and for the lower class to make a spare buck by selling newspapers and fresh drinks. Throw in a street performer and lost tourists, and you have Grand Central. But this was not Grand Central — this was the 1958 Cairo station at the brink of an era of underclass mobilization and women’s emancipation. In its realism, the movie unravelled the themes of women’s rights activism, sexualization of women in the workplace, and unionization of laborers. The film’s honest and brutal commentary on these themes made it by far and away more real and relevant than many other Arab movies of that era. While it maintained the theme of a tragic love story that could never come to be due to class differences (i.e. Kenawi’s love for Hanuma), the context surrounding this plot is so much more nuanced that one could hardly call it a love story. Moreover, the extravagant decor of Egyptian films in the early 1900s was long forgotten in the production of this film, where the most commonly featured house decor was lewd magazine clippings of women pasted on the walls. The portrayal of Kenawi’s fixation on women provided insight into the truth of sexualization of women: in many cases, it is incredibly creepy. By featuring an insane man in this role, the film was more sympathetic to women in instances of catcalling and stalking. It exposed the ugly truth that women are frequently physically threatened simply for the act of rejecting a man. After the idealized films from the earlier era, the honesty in this film was welcome, familiar, and, in a way, homey to me. The portrayal of a woman like Hanuma, who was sexy and desirable, in a tough and rude connotation was also a welcome reality and break from the “femme fatale” prototype in previous films, at least in the beginning of the film. However, her attitude and disregard for Abu Serih’s instructions along with his violent reaction brought back the power imbalance between men and women. Hanuma’s seductive response was even worse and regressed her character back to the “femme fatale” prototype, disappointing the earlier characterization of Hanuma as a new kind of woman. The theme of insanity with Kenawi matched his disconnect with the hub of the train station. He talked about moving to his village, away from the noise and the people and the confusion, when he proposed to Hanuma. He was an outsider from the get go, not belonging in the train station community nor in the train station itself. Despite his violence and creepy behavior towards women, I could not help but feel for Kenawi in the moment when Madbouli talks to him at the end of the film because we saw that his desires were quite simple, like anybody else’s, after all. This film succeeded at making unlikely characters relatable and telling the stories of those whom society would never have considered or accepted before.

Here are recent environmental developments to help ease your climate anxiety. < Back These Six Environmental Developments Will Help Your Climate Anxiety By Lara Prakash and Titouan Huber September 24, 2022 Clean energy projects surge after Biden approves new climate bill. Since U.S. President Joe Biden signed the Inflation Reduction Act, a climate bill, this past August, large corporations have announced projects that promote sustainability. The bill provides financial incentives to companies that make their products more sustainable and accessible. In accordance with the act, Toyota will invest in a $2.5 billion electrical car parts factory. First Solar, a large solar manufacturing company, has pledged to build a factory in the United States. These initiatives will take a few years to come into fruition, and political leaders still want to “accelerate America’s transition away from fossil fuels and to reduce dependence on foreign suppliers, especially those in China.” As such, Biden aims to work on transmission projects in the meantime. These initiatives will be necessary for getting solar and wind power to states that want clean energy. With big corporations and political figures collaborating, slow but steady progress will be made in creating a more eco-friendly future for America. This summer, Solar power helped the European Union avoid €29 billion in gas imports. In the European Union, 12.2% of the electricity generated this summer was from solar power, the highest amount ever produced by this alternative power source. Natural-gas burning plants would have cost the EU approximately 29 billion euros, substantiating the claim that solar is beneficial for the environment and cost-effective. According to the think tank Ember, solar usage increased by 28% this summer compared to last year. The Netherlands and Germany were the two countries that used the most solar energy: 23% and 19% of the countries’ electricity expenditure, respectively. Between the rising gas prices and the increase in power costs due to the war between Russia and Ukraine, solar is greatly impacting the environment and helping citizens save money. Love coffee pods but hate the waste? This Swiss company has invented a green alternative. People all over the world say that drinking coffee is a central part of their morning routine. Many make their daily cup of coffee at home using single-serving coffee pods. Most coffee machines use aluminum and plastic pods, contributing to immense quantities of environmental waste. Migros, a Swiss company, has launched “Coffee Balls,” which are climate-friendly, dissolvable coffee grinds that will replace capsules. These coffee balls, known as Coffee-B, will work in a specific machine called the “Globe.” This innovative approach to making coffee may seem simple, but it will have a significant impact on the amount of waste produced if the majority of people using aluminum or plastic coffee pods make the transition. Marseille dévoile le premier ferry au monde n'émettant aucune particule polluante Lundi 5 Septembre, un engin très particulier à été dévoilé à Marseille: un ferry n’émettant aucune particule polluante! Cette première mondiale a vu le jour dans le but de faire face aux enjeux de protection de l'environnement, dans une ville où les habitants se plaignent souvent des résidus de pollution liés aux émissions des multiples ferrys circulant dans les eaux. Avec ce ferry, renommé le Piana, vous pouvez oublier la fumée noire et l’odeur de souffre des ferrys classiques qui détruisent l’environnement, Équipé d’un filtre à particules, unique au monde, il limite la pollution de l’air et de l’eau : une très belle avancée technologique. Et, cerise sur le gâteau, cette innovation révolutionnaire a lieu dans notre belle région. Google Maps veut faire économiser du carburant aux automobilistes français Depuis mercredi 7 Septembre, l’outil Google Maps a lancé une nouvelle fonctionnalité qui va réjouir de nombreuses personnes. Il est désormais possible de demander à l’application GPS un itinéraire “bis” pour se déplacer, permettant de faire des économies et de rejeter moins de CO2. Ces itinéraires, parfois plus longs de quelques minutes, seront le plus économe en essence possible, permettant de faire d’une pierre deux coups en réduisant notre empreinte carbone et en soulageant notre portefeuille. L'algorithme se base ainsi sur de nombreux facteurs comme la vitesse autorisée, les embouteillages, les côtes et les descentes ou encore le nombre de feux rouges. Testé depuis l’an dernier en Amérique du Nord et en Allemagne, la fonctionnalité aurait entraîné une réduction de plus de 500 000 tonnes d'émissions de CO2, soit l'équivalent de 100 000 voitures à moteur thermique retirées de la circulation. À Toulouse, 6 millions de litres d’eau récupérés dans une piscine pour arroser parcs et jardins Présenté comme le bassin le plus grand d’Europe avec ses 150 mètres de long et 50 mètres de large, la piscine Alfred-Nakache, construite dans les années 1930 à Toulouse, va servir d’exemple du changement que les “nouvelles” problématiques environnementales nous imposent. En effet, là où chaque année, en Septembre, la tradition voulait que le bassin soit vidangé, et où des millions de litres d’eau étaient gaspillés, une révolution s'amorce. Ces 6 millions de litres sont, cette année (et, on l’espère, pour les prochaines à venir), récupérés pour arroser les parcs et jardins de la ville, une grande première qui s’est mise en place dans le contexte de la sécheresse dont fait preuve le pays. Grâce à l’évaporation naturelle du chlore au contact de l’air, cette eau est totalement saine et va permettre de soulager de nombreux arbres victimes de la sécheresse. À l’avenir, la ville de Toulouse (et d’autres, on l’espère) renouvellera l’expérience et étendra son champ d’action à d’autres bassins.