The Research on the Arts program (RAP) is a collaborative project between the ACSS and the Arab Fund for Arts and Culture (AFAC) that was launched in 2018. RAP encourages academics, artists and art practitioners – citizens and residents of Arab countries – to pursue research projects that empower the production of academic and artistic knowledge that adds value to the field of arts. It supports research that unpacks art as a subject of study, addresses the role of social, economic and political processes in shaping art practices, production and dissemination, and the role of art in impacting social change. RAP gives grants to individuals (up to $ 15,000), teams of researchers and collectives (up to $ 25,000) and institutions (up to $35,000).
Faten I. Morsy is a professor of comparative literature at Ain Shams University in Cairo. She is the editor of The Knotted Handkerchief: Essays on the Creative and Critical Works of Radwa Ashour and has recently finished a book on comparative literature. She has served as a judge for the Refaa Tahtawy Translation Award, the Egyptian State Literary Awards, Sawiris Cultural Awards, and the King Hamad Prize for translation. She has served on the advisory board of Thaqafat and Faculty of Arts Research Journal.
Kirsten Scheid is an associate professor of anthropology in the Department of Sociology, Anthropology, and Media Studies at American University of Beirut. She earned her PhD in Anthropology from Princeton University and her BA in Art History from Columbia University. Her research and teaching interests are the Anthropology of Art, Aesthetics, Art Historiography and Theory, Modernization and Cosmopolitanism, Affect, and Elites. She has conducted field and archival research since 1992 in Lebanon and Palestine. In 2009, Kirsten was a fellow at the Wissenschaftskolleg zu Berlin, with its research program, “Europe in the Middle East, the Middle East in Europe.” Her research has been supported by the Palestinian American Research Center, the Barakat Trust, and the Issam Fares Institute. Kirsten has also contributed extensively to the art community, curating, exhibiting, writing in art journals and popular media, and founding both a cultural resource center and an Arabic children’s books line.Tarek El Ariss, professor and chair of Middle Eastern Studies at Dartmouth College
Driss Ksikes is an award-winning Moroccan playwright, novelist, magazine editor, media and culture scholar. He has been called “one of the most innovative writers in Morocco today”, was named in 2012 “one of the six best African playwrights” by the National Studio Theatre in London and was nominated by SACD and Maison des Auteurs in 2017 for the prize of Best Francophone playwright. He is the Director of the Centre d’Etudes Sociales, Economiques et Managériales (Cesem-HEM) in Rabat, the editor in chief of the journal Economia, and the author of numerous plays and novels. His 2014 book, co-authored with political scientist Fatma Aït Mous, Le Métier d’Intellectuel: Dialogues avec Quinze Penseurs du Maroc (The Intellectual Profession: Interviews with 15 Moroccan Thinkers) won the 2015 Prix Grand Atlas, Morocco’s most prestigious book prize.
Yazid Anani born 1975, Ramallah, is the Director of the Public Programme at the A. M. Qattan Foundation, Ramallah. He was a professor at the Department of Architecture and the Master Program in Urban Planning and Landscape – Birzeit University, Palestine 2007 – 2016. He curated and co-curated several projects including: Outside the Archive, Subcontracted nations, Zalet Lisan, ‘The Facility’, ‘Weed Control’ and the 2nd- 6th editions of Cities Exhibition. Anani has lectured and published internationally on architecture, art and urban transformations, colonial spaces and power relations, public art and public spaces and art education.
Nationality: Egyptian
Project Title: Paintings’ Stories: The Forgotten Route
Nationality: Jordanian
Project Title: Hawran: As for the Rest of the Country
Nationality: Egyptian
Project Title: From the Archives: 100 Years of Culinary Ephemera
Nationality: Egyptian, Dutch, Lebanese, & Moroccan
Project Title: A Genealogy of Women Design Pioneers: Graphic Design from Southwest Asia to North Africa since the 1950s
Nationality: Egyptian, Egyptian, British
Project Title: Why We Write: Art Criticism in Cairo and Beirut at the Turn of the 21st Century
The Arab Fund for Arts and Culture – AFAC and the Arab Council for the Social Sciences – ACSS are pleased to announce the five research projects, which received support under their joint Research on the Arts Program (RAP) for the period 2021-2022. Following the closing of the program’s call that ran from June 1 to August 31, 2021, AFAC and ACSS received 61 research proposals from 13 Arab countries. The 2021 RAP jury committee comprised Dr. Faten Morsy, professor of Comparative Literature, Department of English at Ain Shams University, Dr. Kirsten Scheid, associate professor of Anthropology at the American University of Beirut; Dr. Tarek El Ariss, professor and chair of Middle Eastern Studies at Dartmouth College, Dr. Driss Ksikes, fiction and nonfiction writer, playwright and scholar; and Yazid Anani, Director of the Public Programme and Head Curator at the A. M. Qattan Foundation.The RAP jurors convened in a two-day meeting to select from the research proposals received. Their deliberations resulted in the selection of five research projects, covering the genres of History of Arts, Music, Graphic Design and Culinary Arts.
Following the meeting, the jurors issued the below jury statement:
The jury read a wide range of proposals delving into popular culture or non-canonical genres, such as 80s pop music in Cairo or Cheikhat singing in Morocco. Many proposals sought ways to research artistic and cultural expressions of marginality and to analyze how these disturb conventional aesthetic norms and defy mechanisms of autocratic oppression in various countries in the region. The proposals suggest that popular culture may provide a window through which marginalized ideologies, such as feminism, or tabooed sexualities can be seen as legitimate epistemes. The terms “resistance” and “resilience” were widely used in many proposals, indicating the role of cultural production within the anticipated winds of social and political change in the region. Working with media ranging from rap, graffiti, cartography and digital media, toexcavated histories, applicants attempted to reshape the links between culture, revolution and emancipation in the decade after the “Arab Spring.”
However, hampering many proposals was a reliance on unexamined categories of social analysis such as “center” and “periphery”, “subversion,” “heritage,” “the local,” or “the traditional.” A pattern of salvage anthropology dominated these, as if documenting, data-gathering, and story-telling simply shape multiplicities into inherited identities. Assumptions about organicity and the possibilities of a miraculous escape from the global market tended to obscure the complex relations between art, land, and social practices. A critical examination of the relations between cultural preservation and commercialization, or cultural reification and social exclusion, was often missing from many of the proposals that were evaluated. The jury would have liked to see a more rigorous engagement by Arab cultural and academic practitioners with the foundational transformations wrought in the Arab region by neoliberal capitalism and its various technologies, networks, culture, and products.
The best proposed projects employed the capabilities and features of our region’s multidisciplinary work and strived for social, artistic, and cultural development. The jury supported projects that demonstrated self-critical approaches and reflected on the subject of research while incorporating their participation in thoughtful and ethical ways. The jury also supported projects that created connections between research and art practice, such as mobile phone apps to teach art history or podcasts to reflect on the community of art critics in the region. In these cases, aesthetic media beautifully complement research questions. In other cases, applicants laid out a research methodology whose deep engagement with broad and varied local realities promised to learn from art practices how to think about knowledge.
Alia Mossallam is interested in songs that tell stories and stories that tell of popular struggles behind the better-known events that shape world history. She is currently a EUME fellow of the Alexander von Humboldt Foundation in Berlin, writing a book on the visual and musical archiving practices of the builders of the Aswan High Dam and the Nubian communities displaced by it. As a visiting Scholar at the Lautarchiv, she has also started a new project tracing the experiences of Egyptian and North African workers on the various fronts of World War I through the songs and memoires that recount their struggles. Some of her writings can be found in The Journal of Water History, The History Workshop Journal, the LSE Middle East Paper Series, Jadaliyya, Ma’azif, Bidayat and Mada Masr. She has tried her hand at playwriting with David Grieg, Hassan El-Geretly, Laila Soliman and written her first short-story “Rawi” with 60 Pages. An experimentative pedagogue, she founded the site-specific public history project “Ihky ya Tarikh”, as well as having taught at the American University in Cairo, CILAS, and the Freie Universität in Berlin.
Aseel Sawalha is an Associate Professor of Anthropology and the Co-Director of Women Gender and Sexuality Studies at Fordham University. Her research interests include: Urban anthropology, arts, gender, critical social theory, war and violence, globalization. In 2010, Dr. Sawalha published her book titled “Reconstructing Beirut: Memory and Space in a Postwar Arab City with University of Texas Press, Austin. Currently, she is completing a book about the emerging art scene Amman and the way it is shaped by the changes by regional and international geopolitics, refugees flow, and women’s agency.
Kirsten Scheid is an associate professor of anthropology in the Department of Sociology, Anthropology, and Media Studies at American University of Beirut. She earned her PhD in Anthropology from Princeton University and her BA in Art History from Columbia University. Her research and teaching interests are the Anthropology of Art, Aesthetics, Art Historiography and Theory, Modernization and Cosmopolitanism, Affect, and Elites. She has conducted field and archival research since 1992 in Lebanon and Palestine. In 2009, Kirsten was a fellow at the Wissenschaftskolleg zu Berlin, with its research program, “Europe in the Middle East, the Middle East in Europe.” Her research has been supported by the Palestinian American Research Center, the Barakat Trust, and the Issam Fares Institute. Kirsten has also contributed extensively to the art community, curating, exhibiting, writing in art journals and popular media, and founding both a cultural resource center and an Arabic children’s books line.
Omar Berrada is a writer and curator, and the director of Dar al-Ma’mûn, a library and artists residency in Marrakech. Previously, he organized public programs at Centre Pompidou and hosted shows on French national radio. His work focuses on the politics of translation and intergenerational transmission. He has curated exhibitions in Rabat, Marrakech, Rotterdam, Berlin, Dubai, and New York. Omar is the author of Clonal Hum, a book of poems on “invasive species” (2020), and the editor or co-editor of several books, including Album – Cinémathèque de Tanger, a multilingual volume about film in Tangier and Tangier on film (2012), The Africans, a book on migration and racial politics in Morocco (2016), and Ahmed Bouanani’s posthumous history of Moroccan cinema, La Septième Porte (2020). His writing was published in numerous exhibition catalogs, magazines and anthologies, including Frieze, Bidoun, Asymptote, and The University of California Book of North African Literature. Currently living in New York, he teaches at The Cooper Union where he co-organizes the IDS Lecture Series.
Tarek El Ariss is a Professor and Chair of Middle Eastern Studies at Dartmouth College. His work examines notions of modernity, nation, community, and technology in Arabic literature, culture, media, and art. His books include Trials of Arab Modernity: Literary Affects and the New Political (2013), The Arab Renaissance: A Bilingual Anthology of the Nahda (2018), and Leaks, Hacks, and Scandals: Arab Culture in the Digital Age (2019).
Nationality: Lebanese
Project Title: The Missing Centuries: Qur’an Manuscripts from the Central and Eastern Islamic Lands c. 950-1250 CE
Nationality: Jordanian
Project Title: Zaghareed
Nationality: Palestinian
Project Title: Documenting the History of the Contemporary Palestinian Theatre Movement 1967-Present: The Cases of Adel Tartir, Balalin Group and Sandouq El-Ajab Theatre
Nationality: Lebanese
Project Title: Arabic/Latin Bilingual Book Structures
Nationality: Iraqi
Project Title: Phoenix of Mesopotamia: Revitalising the Boatbuilding Heritage of Southern Iraq as a Living Art Form
Nationality: Egyptian
Project Title: Nafas: An Egyptian Literary Cookbook
Nationality: Egyptian, Egyptian, & Lebanese
Project Title: Arabic Cover Design Archive
Nationality: Moroccan, French, & Algerian
Project Title: Femme… Arabe… Et Cinéaste
Jessika Khazrik (Principal Investigator
Nationality: Lebanese
Project Title: Cartography of Darkness
Osama Adib Ghanam (Principal Investigator), & Dima Abazah (Co-Investigator)
Nationality: Syrian
Project Title: The Theatrical Learning Season
Khaldun Bshara (Principal Investigator), Dana Abbas (Co-Investigator), Mohammad Abualrob (Co-Investigator),& Benji Boyadgian (Co-Investigator)
Nationality: Palestinian, Palestinian, Palestinian, & Finnish
Project Title: The Absent Map: Rural Jerusalem in an Alternative Narrative
A multi-disciplinary Selection Committee convened in a two-day virtual jury meeting on December 8 and 9, 2020 to deliberate and evaluate the research proposals in order to select the winning projects. Commenting on this cycle and the applications pool, the jurors issued the following statement:
The jury members read applications that engaged with virtually all art forms and all fields of the humanities and social sciences. The projects came from all parts of the Arab region, with special concentration in Egypt and Morocco. It was instructive to receive applications from candidates of different generations and get a sense of where research in the region is headed. We were very pleased by the specificity of many projects, which presented a sound and precise framework.
We noticed an overwhelming interest in archiving and processes of documentation, in relation to handicrafts, musical traditions and other modes of cultural expression. Clearly, this points to a sense of impending loss felt by many artists and scholars when it comes to certain forms of art or social practices considered as “traditional”. While such impulses are understandable and welcome, we wish to highlight the importance of complicating documentation to go beyond archiving for archives’ sake and viewing it exclusively from the point of view of a lack that needs to be filled. Often, these approaches overlook the crucial step of analyzing how that sense of lack was produced in the first place. Hence, they end up perpetuating it. We encourage all current and future applicants to approach archiving with a critical eye.
Many projects involve fieldwork and close interactions with communities. From an ethical point of view, it seems crucial to stress the importance of listening to these communities and engaging with them as a fundamental component of the research, from beginning to end, in order to avoid two frequent pitfalls: 1/ treating community members as mere informants and producing knowledge that never returns to the community; 2/ producing knowledge according to pre-established categories instead of letting the field guide the theorization/taxonomy.
Overall, we were impressed by the quality and the variety of the projects, and by the readiness of many researchers to think with art and to learn through art, to approach art as a way of understanding the world rather than as a mere object of study. This appears most clearly in the passion and enthusiasm of some of the projects presented by applicants who do not shy away from proposing new methodologies that will, in time, hopefully redefine what we understand by “research on the arts”.
The eleven research projects selected by the RAP jurors hail from Palestine, Lebanon, Egypt, Morocco, Syria, Jordan, and Iraq, and cover an array of topics ranging from documentation and archiving, to mapping, in addition to feminist re-writing of history of cinema, and interdisciplinary research among others.
Jack Persekian is Founder and Director of Al-Ma’mal Foundation for Contemporary Art and Gallery Anadiel. Previously, held the position of Director and Head Curator of the Palestinian Museum (2012–2015); Director of the Sharjah Art Foundation (2009–2011); Artistic Director of the Sharjah Biennial (2007–2011); Head Curator of the Sharjah Biennial (2004–2007); Founder and Artistic Director of The Jerusalem Show (2007–present), and Qalandiya International (2012-2014). Exhibitions and projects include: Past Tense, Birzeit University Museum, and the Jerusalem Quarterly, Spring 2019 – Issue 77, Institute of Jerusalem Studies; at the Municipality of Ramallah and Mousa Afandi Center in Jerusalem, (2019); The Khalidi Library Jerusalem: Knowledge, Place and Time – Inaugural exhibition (2018); After Matson, Albright Institute, Jerusalem (2017); In the Presence of the Holy See, Bethlehem and Dheisheh Refugee Camp (2014); Nablus Soap performances (2010-12) at the Beirut Art Center; Abu Dhabi Art (with Tarek Atoui); ICA London; Hammer Museum – LA, MIT – Boston; MoMA – NY; The New Museum – NY; Rote Fabrik – Zurich; Darat Al Funun – Amman; Artspace – Sydney; the Adelaide Festival of Arts, Australia; Wall of Soap at the World Economic Forum, the Dead Sea Movenpick, Jordan (2004). Persekian is recipient of the Order of Culture, Science and Arts, Innovation level, from the State of Palestine (2016). Persekian lives and works in Jerusalem.
Driss Ksikes is an award-winning Moroccan playwright, novelist, magazine editor, media and culture scholar. He has been called “one of the most innovative writers in Morocco today”, was named in 2012 “one of the six best African playwrights” by the National Studio Theatre in London and was nominated by SACD and Maison des Auteurs in 2017 for the prize of Best Francophone playwright. He is the Director of the Centre d’Etudes Sociales, Economiques et Managériales (Cesem-HEM) in Rabat, the editor in chief of the journal Economia, and the author of numerous plays and novels. His 2014 book, co-authored with political scientist Fatma Aït Mous, Le Métier d’Intellectuel: Dialogues avec Quinze Penseurs du Maroc (The Intellectual Profession: Interviews with 15 Moroccan Thinkers) won the 2015 Prix Grand Atlas, Morocco’s most prestigious book prize.
Maha Maamoun is a Cairo-based Egyptian artist. Her work is generally interested in examining the form, function and currency of common cultural visual and literary images as an entry point to investigating the cultural fabric that we weave and are weaved into. She also works collaboratively on independent publishing and curatorial projects. She is a founding board member of the Contemporary Image Collective (CiC) – an independent non-profit space for art and culture founded in Cairo in 2004. She is also co-founder and co-director of the independent publishing platform Kayfa ta – an independent publishing initiative, book series and curatorial platform, that most recently curated How to reappear: Through the quivering leaves of independent publishing – an expansive show on independent publishing initiatives at the Beirut Art Center (BAC), Beirut.
Tarek El Ariss is Professor and Chair of Middle Eastern Studies at Dartmouth College. His work examines notions of modernity, nation, community, and technology in Arabic literature, culture, media, and art. His books include Trials of Arab Modernity: Literary Affects and the New Political (2013), The Arab Renaissance: A Bilingual Anthology of the Nahda (2018), and Leaks, Hacks, and Scandals: Arab Culture in the Digital Age (2019).
Walid Sadek is an artist and writer living in Beirut. He is Professor and currently chair of the department of Fine Arts and Art History at the American University of Beirut. He studied at the California State University of Long Beach (BFA 1990) and The Claremont Graduate School of Art (MFA 1992). His early work investigates the familial legacies of the Lebanese civil war. His later work proposes a theory for a post-war society disinclined to resume normative living. His artworks and written texts seek a poetics for a sociality governed by the logic of protracted war and search for eruptive temporalities to challenge that same protractedness. His more recent artworks and published texts propose a theory for a post-war society disinclined to resume normative living: Love is Blind at Modern Art Oxford, 2006; Dear Stephen in Rumours as Media, Istanbul, 2006; Knowledge of the Expelled at the Gwangju Biennial, 2007; Mourning in the Presence of the Corpse in the Lebanese Pavilion at the Venice Biennial, 2007; On Learning to See Less at HomeWorks IV, Beirut, 2009; Inside Mourning in the Presence of the Corpse at the Hordaland Art Centre, Norway, 2014; “From Image to Corpse” (Naked Punch, 2006); “Place at Last” (Art Journal, 2007); “Seeing Rude and Erudite” (Third Text, 2007); “Peddling time when standing still, art remains and the globalization that was” (Globalization and Contemporary Art, 2011); “Collecting the Uncanny and the Labor of Missing” (Collecting Practices in the Middle East: Alternative Visions of the Past, 2012); “In the Presence of the Corpse” (Third Text, 2012).
Nationality: Moroccan
Project Title: Traditional Performance Arts in the North of Morocco: Documentation, Study, and Presentation of Developmental and Artistic Investment Prospect
Nationality: Egyptian
Project Title: Memory of Sounds and Music, Ma’amal El Sukkar St. 18
Nationality: Tunisian
Project Title: Arabic Sources on Music
Aadel Essaadani (Principal Investigator), Mohamed Sammouni (Co-Investigator), & Dounia Benslimane (Co-Investigator)
Nationality: Moroccan
Project Title: Arts et Pouvoir : Recherche sur l’instrumentalisation de l’art et de la Culture au Maroc
Oumnia Shawkat (Principal Investigator), Ruba Musadag (Co-Investigator), Reem Abbas (Co-Investigator),& Tagwa Warrag (Co-Investigator)
Nationality: Sudanese
Project Title: Unpacking the #SudanUprising: Art, Artificial Intelligence & Grassroots Activism
Alia Mossallam is interested in songs that tell stories, and stories that tell of lesser-known struggles behind better known events that mark World History. Her PhD dissertation explored a popular history of Nasserist Egypt through stories told and songs sung by people who contributed to milestone events of the 1952 revolution (the building of the Aswan High Dam, and the 1956 and 1967 wars in the Canal area). She has taught at the American University in Cairo (AUC), the Cairo Institute for Liberal Arts and Sciences (CILAS), Freie Universität Berlin (FU) and held a series of history workshops ‘Ihky ya Tarikh’ with students, activists and artists in governorates all over Egypt, as an experiment in history-telling. She has also explored playwriting with Laila Soliman and Hassan El-Geretly as attempts to bring stories (and songs) of historical struggle unto the stage. Her publications include an article on youth activism in the volume Democratic Transition in the Middle East, a workers’ history of the Aswan High Dam in the Journal of Water History, and an article on history workshops in Egypt in the History Workshop Journal. She has also written for Mada Masr, Jadaliyya and Ma’azif. In 2017 and 2018, Mossallam is a EUME-FU Fellow of the Alexander von Humboldt Foundation, where she is working on a book on a popular history of the building of the Aswan High Dam, and starting a new project on the experience of the Egyptian Labour corps in World War I – mainly through songs, theatrics and cultural articulations of their experience on the home and war fronts.
Maya Issam Kesrouany is Assistant Professor of Modern Arabic Literature at New York University Abu Dhabi (NYUAD). Her book manuscript Prophetic Translation: The Making of Modern Egyptian Literature is forthcoming with Edinburgh University Press (December 2018). Her current project investigates cultural production in the Levant as a form of civil mobility. Her research interests include nationalism and political imaginaries; civil society formations and the public sphere; critical translation theory; the politics of language, literary form and genre. She has taught at New York University (New York), Emory University (Atlanta, GA), the American University of Beirut (Beirut, Lebanon) and the American University of Sharjah (Sharjah, UAE).
Ismail Nashef is an Associate Professor at the Anthropology and Sociology program, Doha Institute for Graduate Studies. He held academic positions in different universities in the Arab World and beyond. In addition to his academic career, he is a literary and art critic, and curator. He has been part of different cultural and academic initiatives and projects in the academia and elsewhere. His research focus is on materiality, language, and ideology. He explores these as they are expressed in literature and plastic art. His current research is on art and literature in the colonial contexts, with special attention to the Arab Islamic societies, generally, and the Palestinian one, particularly. His latest publications include: Arabic: A story of a colonial mask (2017); June’s Childhood: Dar al Fata al Arabi and the genres of tragedy (2016); Images of the Palestinian Death (2015); On Palestinian Abstraction: Zohdy Qadry and the Geometrical Melody of Late Modernism (2014).
Omar Fertat is a theater researcher and a faculty member and lecturer at Bordeaux-Montaigne University. He currently lectures on Arab cinema and theater in the Arab Studies department and the Performing Arts department. He also supervises the scientific program “L’Autre et ses représentations dans la culture arabo-musulmane” at the TELEM research center in the university. Several international conferences were organized as part of this program, in which numerous university researchers, writers and artists took part. His research interests include modern literature and performing arts in the Arab world. Omar Fertat manages the French theater magazine “Horizons/Théâtre”, which addresses world performing arts news and is issued twice a year. He also co-directs the collection “Monde Arabe/Monde Musulman”. His latest publications include “L’Autre et ses représentations dans la culture arabo-musulmane” (2016), and “Le théâtre marocain à l’épreuve du texte étranger: traduction, adaptation nouvelle dramaturgie” (2018).
Walid Sadek is an artist and writer living in Beirut. He is Professor and currently chair of the department of Fine Arts and Art History at the American University of Beirut. He studied at the California State University of Long Beach (BFA 1990) and The Claremont Graduate School of Art (MFA 1992). His early work investigates the familial legacies of the Lebanese civil war. His later work proposes a theory for a post-war society disinclined to resume normative living. His artworks and written texts seek a poetics for a sociality governed by the logic of protracted war and search for eruptive temporalities to challenge that same protractedness. His more recent artworks and published texts propose a theory for a post-war society disinclined to resume normative living: Love is Blind at Modern Art Oxford, 2006; Dear Stephen in Rumours as Media, Istanbul, 2006; Knowledge of the Expelled at the Gwangju Biennial, 2007; Mourning in the Presence of the Corpse in the Lebanese Pavilion at the Venice Biennial, 2007; On Learning to See Less at HomeWorks IV, Beirut, 2009; Inside Mourning in the Presence of the Corpse at the Hordaland Art Centre, Norway, 2014; “From Image to Corpse” (Naked Punch, 2006); “Place at Last” (Art Journal, 2007); “Seeing Rude and Erudite” (Third Text, 2007); “Peddling time when standing still, art remains and the globalization that was” (Globalization and Contemporary Art, 2011); “Collecting the Uncanny and the Labor of Missing” (Collecting Practices in the Middle East: Alternative Visions of the Past, 2012); “In the Presence of the Corpse” (Third Text, 2012).
Nationality: Egyptian
Project Title: Digital Arabs: A Brief History of Digitally – Conceived Architecture in the Arab World During the 1990s
Nationality: Sudanese
Project Title: Multiple Spaces, Continued Mobilizations: Conceptual and Stylistic Transformations in Visual and Spatial Arts in Sudan 1980-2010
Nationality: Lebanese
Project Title: The Muleteer in the Lebanese Novel: Social Transformation in the Era of Global Capital
Nationality: Palestinian
Project Title: A Genealogy of Palestinian Museums and Renegade Objects
Nationality: Lebanese
Project Title: We Felt Again That Everything is New
Nationality: Jordanian
Project Title: Sayed Darwish and Contemporary Youth Musical Practices in Egypt
Nationality: Moroccan
Project Title: Music Sociology in Morocco: Music Learning in Secondary Education as a Model
Nationality: Saudi Arabian
Project Title: Al-Tih
