Educational Media Reviews Online

This documentary explores how Egypt’s fine and performing arts scenes changed after the 2011 revolution that ousted longtime president Ḥusnī Mubārak. The film is filled with examples of street and studio art, clips of dance and theatrical performances, and footage of concerts in alleyways. Most of the art that is shown is directly related to or reflective of the revolution. For example, we’re treated to footage of the first dance number that the choreographer—an independent artist who is not supported by the state—has been able to show in Egypt since 2004. In this piece two dancers appear to nearly spar with each other in slow motion while other dancers sway, mechanical and docile, in the background. Eventually their attitudes change and they begin to dance together, joyfully. Perhaps more impressive than the art itself, however, are the interviews and testimonies from the artists—highbrow, lowbrow, and everyone in-between.

We hear from protestors on the street who claim that it is a new Egypt where the people are free to express their opinions. As an artist drops off paintings depicting street art at the Safar Kahn Gallery, owner Sherwet Shafei claims that a new way of expression has come since the revolution. The film also features lengthy interviews with Keizer, an anonymous street artist and Cairo’s Banksy, whose work has become prolific and notable since the revolution. Keizer states that since censorship has gone away, people have been trying to release as much as they can, which accounts for the high volume of street art. An older gentleman comments that youth might not litter streets that are adorned with calming, colorful art; he would like to think the art gives them hope and they might take care of it. A painter, probably in his 40s, claims that his generation is programmed, that they did not know how to demonstrate in public when Mubarak was in power, but they did know how to express themselves in their studios. He also comments that the revolution has changed how he teaches; he used to not encourage his students to push the boundaries of government censorship. Now that he no longer has to worry about that, he has to deprogram himself, and the best lesson he has learned from the revolution is that he can go out and express himself as a citizen. Artist Hany Rashed recalls a project he did in 2005 in which he was painting Egyptian policemen standing by and not assisting people in need, and he was brought in by authorities and told to stop. Rashed is naturally interested in political activist issues inside and outside his country, but could not express himself for fear of state security. There are extended interviews with singer Ramy Essam, who discusses his lyrics and how they insinuate corruption in the system. Those lyrics got him arrested, detained, and beaten by the army during a well-attended concert in Tahrir Square not long after Mubarak’s removal. One performer states that the revolution wasn’t so much about removing a president as it was about giving people hope that they could change something. That sentiment is very clear throughout this film, which is a thorough, thoughtful, and inspiring glimpse into the past, present, and future of the arts in Egypt.