[Frank Lloyd Wright accompanied by his wife at the time in the center of a group of architects and the head of the Architects Society, as well as the head of public buildings at the Ministry of Rural and Urban Affairs.]
In May 1957 Frank Lloyd Wright, 89 at the time, visited Cairo on his way back to the United States from Iraq where he spent a week. FLW was in Baghdad, the site of his proposed building for a new opera house as part of the “Plan for Greater Baghdad.” The plan was in the service of the ruling regime during its final days, an attempt by power to create a new public image for itself using its oil money and with the service of world renowned architects. Upon closer inspection the plan includes many entertaining details such as decorative themes derived from the 1001 Nights and a large statue of Haroun ar-Rachid with a good sprinkle of camels and other orientalist motifs. For FLW this was the Iraq he knew and given a blank check to create his master plan and architectural designs he must have thought he was digging deep into the historical treasure trove of the Iraqi past recovering “vernacular” and local references and images.
[Schematic drawing of the Greater Baghdad Plan, the Opera House is seen on an Island in the Euphrates given to wright to design a cultural complex that will put Baghdad on the international cultural map. At the bottom of the image and on the tip of the island is Wright’s monument topped by Haroun ar-Rachid.]
There were a few Egyptian architects who traveled to the US to study in FLW’s Studio including architect Kamal Amin. Wright’s trip to Egypt was part curiosity and part research, wanting to see more of the Middle East before building his first project in the region. The visit was organized by the Architects’ Society which together with Egypt’s Society of Engineers organized a reception at its main building on Ramses Street near Cairo’s downtown. The reception was attended by many of the country’s practicing architects and their wives to entertain Wright and his wife.
Prior to the reception Wright was given a tour of Cairo, which apparently was off putting as the city’s buildings did not conform to Wright’s expectations. During the reception Wright made a speech in which he was quoted in the press as saying:
It saddens me to tell you that what I have seen of your work in the streets of Cairo, and this is my first time in this city, was far beyond my expectations. I never expected that Egypt, which taught humanity the meaning of civilization, would be home to such cheap architecture built by its own architects and engineers. The many examples of your work I have seen during my speedy tour have no spirit, artistry or dignity. These structures are commercial and pedestrian, never have I seen such architecture for profit as I have seen in Cairo, except perhaps in Johannesburg.
Dear architects and engineers, you are responsible for the architecture of this and future generations. Where in your work is the collaboration between the architect and the structural engineer, between the architect and the artist and artisan, between the architect and the sculptor? Building must result from all these collaborations, otherwise architecture becomes what you have built here, empty, cheap and single-note show pieces. If your architecture shows anything it shows that you built with your minds but not with your hearts. Architecture is not only physics and science, it is life, hope and feelings.*
He then turned his back to his audience and said, “this is enough, I have given Cairo a lesson you should never forget.”
[Frank Lloyd Wright at the residence of one of his former students Salah Zaitoun, looking at images of recent projects]
It is not clear from the published report on the visit what buildings exactly triggered Wright’s disappointment. Nor is it clear where in Cairo exactly he toured, although given that the reception was at the Society of Engineers building, it is most likely that Wright’s tour was mainly around the city’s downtown area with its many early twentieth century blocks and a smattering of more recent buildings.
There is much to be said about Wright’s observations of architecture in Cairo but for the purpose of this blog post here are a couple of points. First, Wright was seen in Egypt as the father of العمارة العضوية or “Organic Architecture.” However, this approach to architecture had little reverberation in Egypt where a structural modernist idiom was dominant. Second, underpinning Wright’s critique of architectural design in Cairo is Wright’s expectation of local practice in Egypt to be informed by tradition or, to use a less loaded term, local references. This is clear in Wright’s own work such as the Imperial Hotel in Japan, in which local architectural references were incorporated, although perhaps only in an additive fashion and in ornamentation, into his design. Egypt, like Japan, is an ancient place with layers of historical architectural traditions that for Wright would have been necessary elements in his view of a modern Egyptian architecture. This was of course not the case as the prevailing architectural aesthetic in Egypt for several decades already before Wright’s visit was what is known as the “International Style,” preceded by a period of eclecticism drawing decorative references from a wide variety of sources. Third, if indeed much of what Wright saw was the architecture of downtown’s early twentieth century overlaid on a 19th century “Parisian” city plan of radial squares, then Wright must have been shocked by what looked to him nothing like the “east” he expected. This might explain his comment that many of the buildings he saw were “commercial.” Whether Wright’s dismay was pointed at ornamental downtown “Belle Époque” buildings or plain modernist buildings, both of these architectures must have looked out of place for wright. Egypt must have had its own Haroun ar-Rachid to dig up, dust off and put on a pedestal.
The following day after the reception, Wright was taken by a group of architects on an excursion north of Cairo to the Qanater, an area of Nile-side gardens and famous barrages which opened to the public in 1868. This excursion was led by the head of the Architects Society at the time, Tawfiq Ahmed Abdel Gawad, who wanted to show Wright one of the most admired works of architecture and engineering, the barrages. During the trip, it is reported, Wright told Abdel Gawad that he had visited the Egyptian Museum earlier that morning. The museum, Wright said, was more of a storage facility that is not suitable for the display of the treasures of ancient Egypt. Wright then proceeded, in the business fashion of a true global architect, to lobby the head of the Architects Society to get him a commission to build Egypt a new museum so that “he can leave his mark on the East.”
* Cairobserver’s translation of the quote originally published in Arabic.
Cairo is full of excellent examples of modernist architecture, many landmark buildings hidden in plain sight. Months ago Cairobserver highlighted one such building, the Ingi Zada building in Ghamra. Here is another modernist landmark, the Ouzonian building on Talaat Harb Street (formally Soliman Pasha Street), built around 1950 and designed by architect Sayed Karim.
The Ouzonian Building is located directly next to the famous art deco Metro Cinema and is flanked on the other side by a six-story early 20th century beaux art/classical apartment block. The building occupies 800 sq/m out of the 980 sq/m plot. The first nine floors equate in their total height to the six floors of the classical building next door, however from the ninth floor upwards the floor area shrinks as the building sets back incrementally until it reaches a floor area of 270 sq/m on the seventeenth floor. The seventeenth and eighteenth floors are together the villa designed for the owner of the Ouzonian Building.
The building’s program is varied, it is a great example of Sayed Karim’s mixed use building designs. The basement floors include a garage as well as mechanical and storage spaces in addition to a laundromat. The ground floor consists of 8 shops fronting Talaat Harb Street with the entrance to the building tucked to the far left and through a corridor away from the busy traffic of the street. The building was designed to be occupied by various functions, including office spaces (ranging in size from one room offices to seven room offices each with service spaces including an “archive room”) as well as an 80 room hotel (with 50 rooms with bathroom and the rest with shared bathrooms), serviced apartments (these one or two-bedroom apartments each have a bath and small kitchen and they were meant to be managed by the hotel), a terrace on top of the hotel floors with a restaurant and bar, as well as other reception and salon spaces functioning as common area for the entire building and finally the owner’s villa on top with views over Cairo from all directions.
The building’s main facade is designed with concrete Brise Soleil to reduce direct sunlight, create visual rhythm and to distinguish between the lower floors occupied by offices and hotel from the upper floors with the serviced apartments and the villa. The top three floors are accentuated by a vertical volume with extruded lines which contrasts with the horizontality of the several floors below occupied by the serviced apartments.
It is not clear if the hotel component of the design is still in use, however by the appearances of the external facade today it seems that most of the building is occupied by offices with perhaps a few apartments still used by residents.
The Ouzonian Building is one of several downtown buildings designed by Sayed Karim from the same period sharing many architectural features such as the setback and the contrast between horizontal sweeping lines and vertical accentuations above.
Resident Perspective is a series of standardized interviews with Cairo residents to get their views on the city and their neighborhoods.
Where in Cairo do you live?
I live in Abdeen. Located down the street from the Ministry of Interior, it is just past the pseudo cosmopolitanism of downtown, edging into the more “popular” neighborhoods of Lazoghly and Sayeda Zeinab, where prices are cheaper and the area is more, but not exclusively, working class. Its proximity to Ministry of Interior means there are always police everywhere, in every shop and cafe.
List the most positive and the most negative aspects of living there.
Positive -close to downtown/Bab el Loq, where I spend most of my time Negative- too many police.
How do you move around Cairo (modes of transport) and what would you like to see different regarding the future of transport in the city?
Metro and taxi mostly, sometimes microbus or bus. I’d like to see more and free public transportation, dozens more metro lines, reducing the number of cars and the amount they can pollute, changing abuse of car horns.
How does your district fit within Cairo? What would you like to see changed in that relationship between your neighborhood and the city?
Central, if the Ministry of Interior and its pigs and walls were gone it would be perfectly on the edge of Bab el Loq and Sayeda with all both neighborhoods have to offer.
What are your top complaints about Cairo and what would you suggest to solve those problems?
Traffic, pollution, corruption. The city needs free mass public transport, a “revolution.”
What do you like the most about Cairo and what are your favorite places in the city.
Feeling of community in places like the ahwa (cafe), the popular ahwas and bars in Bab el Loq. Favorite places are the corniche in Manial, the ahwa by bayt el oud, Sudanese restaurant in downtown.
Do you relate to the historic heritage of your district or of Cairo in general? Do you think you have a good sense of history of the city? Would you say you are have “civic pride” or are proud to live in Cairo?
Somehow, the romanticized cosmopolitan Cairo of old haunts you through the decaying architecture, and somehow feels connected to the middle class artist types, halfway intellectuals, revolutionaries, and expats that are always around, in Bab el Loq at least. But other areas that have the same architecture, Mohamed Naguib for example, don’t have that same feeling. I don’t have much of a sense of its history, despite having studied it! I could say that (I have civic pride), maybe.
Do you understand how the city is governed/managed? Do you think your community/district would be better or worst if residents from the community/district were involved in local government (محليات)?
No idea. (it would be) 1000 times better (if community was involved in urban management)!
In the context of Cairo, what comes to mind when you think of these keywords?
Public Space: Crowds, suffocation, stress.
Green Space/Parks: How some streets in Bab el Loq actually have a lot of trees and are beautiful in those rare moments when no cars are on the streets, but that rarely happens so we never notice, it feels like the trees aren’t there.
Gated communities: Fuck ‘em.
Museums: Not interested.
Informal areas: Still don’t know where those start and end, I like how narrow streets move, the feeling of walking in them, something organic, not cold (thinking of area in Bulaq).
Downtown: Love, hopelessness, lost people, nice bars, good conversations.
If you could move to another district in Cairo where would you move to?
I would not move, but thought about Manial because it is close to downtown and very quiet, nice standard of living but not too expensive.
*If you would like to tell us about where you live and share your views on Cairo, fill the survey by clicking here.
Cairo, like many cities across the globe, underwent a significant process of urban transformation in the mid-19th century. At the core of these transformations, which can be traced in cities from Latin America, Europe, and Asia, are sewage systems, street lighting, and drinking water systems. Most of these major infrastructural changes happen below street level, which explains why commentators on the 19th century often look up at what is visible, buildings, and rarely look below their feet. Also important to note that contrary to the dual city narrative 19th century infrastructural changes were implemented in both new and old parts of the city, with varying difficulty and speed for obvious reasons. Cairo has fallen victim to urban history that has elided the complexity of the city’s urban transformation during that time. I have already argued before that Paris was never along the Nile. On a recent trip to Paris I walked down the uniform apartment blocks of Haussmann’s Paris and stayed in one such building where behind the homogeneous facades are often small apartments reached by rickety small wooden stairs. Cairo’s 19th century (and early twentieth century) apartments were often dismissed as hastily-built Parisian simulacra in analysis obsessed by reductive East/West dichotomies and which privilege the eye. A closer investigation of Cairo’s “Parisian” architecture beyond reducing architectural history to facade reading, reveals a different set of socio-economic constructs that produced these buildings.
The focus on the above-mentioned aspect of 19th century urban development in Cairo has kept the major changes of that era in the footnotes of the official narrative. Today, as the city is desperately in need of comprehensive urban transformation and upgrading it is important to highlight the less visible but major projects carried out 150 years ago around the reign of Ismail that continue to shape the city today in ways more fundamental than mere aesthetics. Here are 7 major 19th century projects that reshaped Cairo:
1. Stabilizing the Nile Banks: The Nile in Cairo shifted with season which made the prospect of urbanization Nile-side a difficult one. Stabilizing the banks of the river, completed by 1865 and filling the adjacent areas that previously flooded made urban development possible and added riverside properties to the city’s real estate. However before the prospect of real estate the first large Nile-side building erected along the newly stabilized river were the new barracks of the Egyptian army (1865-68) known as Qasr el Nil. Tahrir Square would have been underwater if it wasn’t for this major infrastructural project. Qasr el Nil Bridge was also erected following the stabilization of the river and was opened in 1871.
2. The Northern boundaries: The areas north of historic Cairo near the recently built train station (1854) consisted of small hills which were flattened and and used in the draining and filling of the city’s lakes further south. Near by there were fields of radish فجل which were removed to make way for a new neighborhood named Faggala فجالة and Sakakini further north. A square was planned fronting the train station as the city’s northern entrance and Shubra street (tree-lined and extending north to Muhammad Ali’s Shubra palace) was connected to this area directly.
3. Abdeen Area: To the west of the old city was a small lake fronted by the estate of Abdeen Bek. The area was surrounded by marches to the west and slums to the east. The estate became the location for a new royal palace (moving the seat of power from the citadel down to the level of the city) and the new palace was built in 1863. The lake and marches were filled and a city square and new streets extending from the new palace were planned. The neighborhood of Abdeen was born.
4. Azbakiyya: Another area that was radically transformed was the posh district of Azbakiyya which overlooked a lake. The lake was filled and transformed into a garden during the rule of Muhammad Ali and the garden was redesigned again during the rule of Khedive Ismail. The transformation of Azbakiyya included the creation of several small public squares such as Khazindar and Attaba as well as Opera Square. The famed Cairo Opera House (1869) was built along side the public garden and several hotels were erected on the west side of the garden which was a linking space between the edge of the old city and the westward urban expansion that became downtown.
5. The East Bank: Major avenues were planned to crisscross the city connecting the western edge of the old city to the Nile. Such new streets were Emmaddidin, Muhammad Farid Bek, Almalika (Ramsis), Merit Pasha and Qasr el Aini. Ismailia Square (Tahrir) began to take shape by the 1870s as well as surrounding squares such as Bab el Louk and neighborhoods such as Mounira, Dawaween. These newly planned areas were paved with water systems underground, sidewalks and trees above and street lighting installed before building lots were developed by individuals.
6. The West Bank: Also following the stabilization of the river the west bank, which was raised two meters above water level, was available for development. Although it largely remained agricultural several new projects were implemented: The Orman Botanical Garden and the Giza Zoo as well as the Pyramids Road. A new Giza palace was erected as well.
7. Gezira Island: Known today as Zamalek, the island was consolidated out of several smaller islands and was largely left as a retreat with a palace and garden erected to host the French queen during her visit (today’s Marriott). With the exception of the palace the island was meant as an escape, a natural landscape dotted with wooden shacks/huts which gave the island its name. Eventually parts of the landscape were formalized into gardens and later streets were implemented such as Gezira St., Gabalaya St., Nile St., and eventually Foad St. (26th July).
These major projects were initiated during the reign of Khedive Ismail, however earlier projects took place during his grandfather’s rule such as the opening of several streets through the old city and the legislation of Tanzim laws for urban management. Also other major transformation took place later in the 19th century such as the filling of Khalij al-Masri (1890s) and the creation of Cairo’s first tram line in its route on what became today’s Port Said St.
Last December the Geothe Institute hosted a panel discussion titled “Artists as Urban Catalysts in Downtown Cairo.” The event was organized by Beth Stryker and Omar Nagati (Cluster) and supported by the Ford Foundation. Invited panelists represented two types of stakeholders in downtown: property owners (Karim Shafei, CEO of Al Ismaelia Real Estate Development, and Bruce Ferguson, Dean of the School of Humanities representing the American University in Cairo), and representatives of cultural organizations (founding member of the Contemporary Image Collective Heba Farid, Townhouse Curator Ania Szremski, filmmaker and co-founder of Cimateque Tamer El Said). The panel was moderated by Mohamed Elshahed (Cairobserver).
The panel aimed to bring together the above mentioned representatives in an open public discussion to re-examine what the organizers called “the classic appropriation of artists as catalysts for urban regeneration by real-estate developers seeking future gentrification,” asking how things might play out differently in Cairo. However, a key word in that sentence is difficult to translate into Arabic: Gentrification. Although the discussion was held in English (with Arabic translation available), it was important to note the untransability of the conversation’s central concept. The unavailability of a direct translation of the term/concept doesn’t mean the processes of gentrification do not exist in Cairo but it points to the need for analysis and theorization grounded in the Egyptian context.
AUC’s downtown campus, much of which is no longer in use, could potentially act as an anchor for cultural activity downtown and provide much needed space for independent artist organizations as well as to its own students to maintain the link between the now suburban university and its downtown urban past. The university has not taken an active role in realizing that potential, however it has made its Falaki Theater available for public performances and events. Al-Ismailia on the other hand is actively engaged with arts and culture in downtown; not only do several arts organizations rent space from the company, Al-Ismailia is also the main sponsor and organizer of the Downtown Contemporary Arts Festival.
The three arts spaces represented (CIC, Cimateque and Townhouse) while they rent the spaces they presently occupy, their relatively short-term leases mean insecurity and potentially being forced out of their premises due a variety of economic factors. In other cities, particularly in Europe, similar arts organizations were able to negotiate deals with municipalities in which long-term leases were granted, sometimes with no rent, which has helped such organizations thrive by focusing their funds into their creative activities while catalyzing the regeneration of their urban contexts (which municipalities are interested in). Such a process is not possible in Cairo as the state; the governorate (the closest Cairo has to a municipality) does not seek artists as catalysts for areas it manages where underused buildings could be transformed into cultural centers. Nor does the Cairo governorate have a development plan or vision in which independent culture plays a key role in transforming the city. Thus, Cairo’s independent artists and the cultural organizations they establish depend on their relationship to private property owners when it comes to establishing a space. The three speakers on this side of the debate explicated the opportunities and challenges they face in this matter.
It is important to note that Egypt has a massive centralized Culture Ministry with an immense budget and numerous spaces including nearby downtown at the campus of the Opera and in downtown such as the National Theater. However these spaces are often inactive and unwelcoming not only to audiences but also to artists. The ministry’s budgets mostly go into paying wages, not into programming.
Two competing voices emerged from the audience; on one hand some applauded the work of Al Ismailia and its support for the arts in downtown. One audience member argued that as artists “no one owes us anything” and that artists must find ways to establish their spaces without relying on support from private interests. On the other hand, others voiced concern with those sentiments and argued that in the Egyptian context when contemporary art lacks cohesive institutional support, private developers and property owners have an increased responsibility to support artists with affordable spaces.
The panel discussion revealed the need for a mediating entity between the various and sometimes conflicting interests of stakeholders. As moderator I suggested the need to establish a “Downtown Arts Council,” an independent body that incorporates members of the various stakeholders on its board and which acts as a mediator, organizer, advocate and promoter of the arts in the district. Such councils have been established as non-profit organizations in cities around the world for several decades and they have had a key role in the stimulation of cultural and artistic life in those cities. An arts council for downtown Cairo will allow artists to focus on their creative work and not be burdened with logistics while acting as a buffer between the two co-dependent yet unequal (in financial terms) main players in this scene: the artists and the property owners/developers. The institutional structure of arts councils differ around the world and their relationships to the states and ministries of culture also differ and range from direct support by the state to parallel operations and autonomy. Cairo’s downtown arts community and other stakeholders will need to sit down on many occasions besides this panel to decide on which model works best for Cairo’s context.
To this end the organizers staged the panel around the critical questions: “How is Cairo different from other cities, such as New York and Beirut, where such cycles of gentrification have taken place? What role may the underutilized AUC campus play in providing a cultural anchor Downtown? What are the advantages and downsides of private sector partnerships between real estate stakeholders and independent artists and arts organizations?” They created this initial forum seeking “to explore potential local strategies for sustaining artists’ access to the generative contributions they make to urban development.”
The arts can be an engine for urban regeneration and development while urban development and investment can enrich the arts, but striking this balance without repeating the mistakes of other “creative city” experiments will be difficult. This panel discussion was an important first step in starting a meaningful conversation. Cluster organized the panel discussion as the first in what they are developing as an ongoing series of stakeholder meetings related to the arts and urban development in Downtown Cairo. Maintaining that conversation, evolving it and reaching useful conclusions and outcomes will be work that the stakeholders will have to carryout for themselves and in cooperation with one another, otherwise such panel discussions risk becoming ephemeral one off events with little tangible impact on the issues discussed therein.
For more information and for a video of the discussion click here.
Mantiqti is a free newspaper issued by Egypt Media Development Program (EMDP) dedicated to the Borsa area of downtown Cairo. Publisher Tarek Atia moved his office to the area nine months ago and quickly he and his staff became an integral part of the community, the neighborhood. “For some Borsa is the financial district with the stock exchange the central bank and the headquarters of the national bank, for others it is the café district with 34 cafés all within an area delimited by three major streets,” says Attia in his publisher’s note in the inaugural issue.
Borsa is an area that falls within three streets, which are Sherif, Qasr el Nil and Sabry Abu Alam, forming the triangle of mostly pedestrian streets. Within this area are three major pedestrian streets: Elwy, Sherifeen and El-Qadi El-Fadel. EMDP presents a new perspective on community engagement which bridges the activities of the company with its local physical context, the neighborhood, producing a new kind of media product that hasn’t been experimented with in Egypt, the hyperlocal newspaper.
Within its 16 pages the paper includes a variety of content ranging from investigative reporting to editorials and opinions. Advertisements for local businesses such as the popular yet hidden hole in the wall restaurant fas7et somaya emphasize the hyperlocal focus of the paper. A calendar provides information for daily events throughout the month ranging from festival events part of Hal Badeel or D-Caf or events in near by venues such as theaters and galleries.
A map with landmarks in the area with historical anecdotes serves a double function, it highlights the historic quality of the area by providing brief but interesting factual information while providing an easy to read representation of the area too small to get this kind of detail in other conventional maps. The scale of the area of focus is the strength of this project. The stories that will emerge from these few blocks in the city center will have relevance in areas across the city, but the scale of investigation here will hopefully produce clearer more direct observations, questions and solutions that will help Cairenes think of issues such as trash collection, parking, street vendors among others in a fresh new way.
While Cairo deserves a city-focused free daily or weekly newspaper that makes the city the core focus of its journalistic endeavor, the neighborhood is another scale that is often neglected by existing national newspapers. Downtown, Zamalek, Imbaba, Sayyeda Zeynab, Maadi, Heliopolis, these are all parts of Cairo with their own sense of place and community despite the absence of the governance and media infrastructure needed to engender this sense of locality. In these and other neighborhoods a sense community and belonging continues to define individuals’ identity. We’ve seen this sense of local/neighborhood-based identity play out in other recent initiatives such as the Heliopolis community efforts to safeguard the area’s architectural heritage or in new initiatives such as Nassya. Cairo will only become a better city when these locally-rooted community initiatives become stronger and eventually infiltrate governance structures and local decision-making processes. One of the necessary steps to do this is creating a media sense of awareness of locality. Mantiqti could potentially pave the way towards helping other communities formulate their own locally-specific community-driven newspapers. Mantiqti is both a development project and a purely commercial enterprise at the same time positioned between the past and future of local media in Egypt.
Despite covering a small geographical area, Mantiqti faces a big challenge: its focus is a subpart of a neighborhood, a particular part of the larger downtown area is an area of complex relations dominated by passersby (the users of the cafés), rather than a stable residential core. Perhaps this explains why in the first issue of Mantiqti editor Alia Hamed wrote “Borsa Constitution,” a kind of proposal for a set of six points for all users of the area to abide by and agree upon, ultimately for the public good of the community (residents, passersby and shop owners alike). The Borsa constitution, a citizen’s charter, is an EMDP initiative signed by over 50 local business owners and residents.
The second issue of Mantiqti will be out in May, look for a copy when you’re in the Borsa area. Hopefully other hyperlocal newspapers will emerge across the city, building the sense of community and cohesion that has been missing for so long.
This post was updated on May 1, 2013.
The second edition of the Downtown Contemporary Arts Festival (D-CAF) kicked off earlier this month. The program lasting over three weeks includes performing arts, visual arts, music, film, edutainment and “urban visions,” a program of free contemporary dance and theater events in public spaces. Festival organizer Ahmed El Attar is clear about his intentions: “to highlight that public space is the space for the exchange of values and practices between people, and that while politics and protest have paved the way in the last two years, art is another legitimate means of engaging with the world.” This is not just another urban renewal cultural event; there are specificities here that make this seemingly familiar concept of employing culture as a driver for urban development different in Cairo in 2013. The Downtown Contemporary Arts Festival is making space “for ideas to be discussed and projects to be planned, for audiences to be inspired and provoked.” While the political landscape continues to be illegible, and while clashes continue to sporadically erupt and while many are waiting by the sidelines to decide their next move, and while questions surround the future of the arts and freedom of expression D-CAF rushes in to actively become part of the conversation and of the process shaping the future of downtown Cairo and beyond.
One of the most successful aspects of the festival is the appropriation of space in downtown in new ways (dancing, theater and performance in public space), reusing spaces that have been closed for years (film screenings in Cinema Radio), or reimagining the uses of already functional spaces (concerts in Shahrazade Cabaret).
[The Great War by Hotel Modern (The Netherlands) - April 16 - Falaki Theatre - Photo by Mostafa Abdel Aty]
One of the performances we attended was The Great War by Hotel Modern, a Dutch visual arts group (four persons) that combines puppets, theater, music, film and performance. The group performed twice in Falaki Theater, part of the downtown AUC campus. Using miniature sets placed on stage with small cameras transmitting images onto a projection, the group narrates World War I in less than an hour combining top down narrative (using a map of Europe with symbols for monarchs and armies) to the scale of individuals taking part in the war and a detailed retelling of soldier’s experiences on the war field. The stage set included various miniature sets for different scenes including a water tank for the scene of a sinking ship and another with dirt, herbs and paper cutouts for scenes involving distant cityscapes and battlefield fighting. All the sets, including the dirt, were shipped from the Netherlands. Making such a performance available in Egypt to a public audience is in itself new. The entry ticket for this event was 20 LE (Students: 10 LE).
[SADAT (Egypt) - April 18 - Shahrazade - Photo by Mohamed Elshahed]
Another event we attended was a concert by SADAT (Egypt-Shaabi) and El Rass & Munma (Lebanon-Hiphop) at the famed Shahrazade nightclub on Alfi Street. SADAT is a popular Shaabi singer; a genre that crossed into the mainstream in new ways after the revolution and which now has an expanding audience crossing through Egyptian society. The concert was electric. The venue made for a perfect location for this kind of event. On most nights Shahrazade, one of downtown’s older nightlife establishments, hosts belly dance performances with a few tables for a predominantly male audience. The audience at the concert was diverse across the spectrum and the place was full. Currently there are few venues in downtown that host concerts or dance parties regularly; such events are often located in more exclusive venues with strict monitoring of those entering (males must be accompanied by females, or if you look not “classy” enough you may be denied entry, and often there is a high minimum charge). None of these obstacles were in place for this party/concert, which may explain the genuine fun that was visibly had by the audience. The entry ticket for this event was 30 LE.
The majority of the festival events are free of charge such as the play Alice by Sawsan Bou Khaled and Hussein Baydoun (Lebanon), which was performed in the Viennoise Hotel. The building, once a hotel but closed for decades, has been used recently by a variety of art events such as the recent photo exhibition Studio Viennoise and the annual Cairo Documenta, adding a new and different kind of venue to the geography of arts and culture in Cairo.
Other free events include the InterLAB/Tele-exhibition hosted in Hotel Viennoise and Medrar Space in neighboring Garden City. Augmented Airspace is another free visual arts installation by Dia Hamed (Egypt) and Lot Amoros (Spain) located in Elwi St, behind the Egyptian Stock Exchange. Face the Vitrine is an installation by Ganzeer & Yasmin Elayat (Egypt), which takes place in a public storefront on Mahmoud Bassiouni St.
The festival’s film program focused on contemporary West African Cinema, an important contribution to the context of Cairo where arts and culture, including cinema, typically look north to Europe and North America, creating a bilnd spot that encompasses the artistic and filmic expressions of the rest of the world including African cinema. The film program is entirely free of charge and the screenings are hosted in the Goethe Institute and Radio Cinema. Films include Blind Ambition by Hassan Khan (Egypt, 2012), Underground/On the Surface (Egypt, 2013), Ai Weiwei: Never sorry (USA, 2012), Burn It Up Djassa (Ivory Coast, 2012), and Hope Travels (Burkina Faso, 2011).
[100Hands (The Netherlands) - April 5 - Borsa - Photo by Mostafa Abdel Aty]
A particularly important aspect of the festival is its Urban Visions program which brings contemporary performances to public spaces and buildings in downtown Cairo but also to Hadaeq El Nil Club, El Badrasheen, Giza and the Ahmed Bahaa el Din Cultural Center in El Doweir Village in Assiut. The program’s performances use “non-traditional sites such as historical buildings, storefronts and alleyways as sites for performances, thus engaging audiences and performers with the city in a new way.” All performances in Urban Visions are free of charge.
Overall this festival is an important intervention in Cairo’s spatial and intellectual public space and it comes at a critical time when questions over arts, expression, and public space are most pertinent. In the absence of a coordinated effort by the state to use its infrastructure, its finances and its institutions such as the Culture Ministry to promote arts and culture, D-CAF contributes to adding to the complexity of downtown’s and Cairo’s arts and culture landscape. The learning curve the organizers have shown since last year’s edition of the festival is commendable.
[TRAFFIC by Tomeo Verges (France) - April 5 - Mahmoud Basiouny - Photo by Mostafa Abdel Aty]
There are critics out there who choose to not take part in these activities, or complain that some events require ticketing or that there are too many corporate sponsors, some are even complaining they don’t like the name because it brings to mind the kind of coffee pointless in drinking. However, self-righteous sentiments such as these might be cool in Brooklyn or East London where other options might be available and where a variety of independent institutions often with sizable budgets organize events, concerts and festivals year round. D-CAF is creating space for Egyptian artists and audiences and providing Egyptian audiences access to international artists who otherwise would not perform in the country. While there are alternative events taking place such as Hal Badeel Festival, they are not competing events rather they are complementary and belong to different calibers.
The Downtown Contemporary Arts Festival goes on until 28 April; catch a show before you have to wait for next year’s festival. You can find the program here.
A visible City: The tangible and intangible Heritage of Downtown Cairo
SUMMER SCHOOL in CAIRO 15-26 June 2013
APPLY NOW! until the 10th of May
IF YOU WANT TO…
Get in touch with the real DOWNTOWN
Discover (your) CAIRO
Learn how to recognize a plan typology
Learn about oral history methods
Learn how to deal with interviews
Eat the best chocolate dates in town
Produce the first architectural guide of Downtown
Work in an intercultural/intergender group
Get in touch with other students
Listen to the most updated researchers
BE WITH US!
THE SUMMER SCHOOL IS OPEN TO
> 10 students from Germany from the faculties of Architecture, Urban Design, Urban Planning, Landscape architecture.
> 10 students from the Architecture and Urban Design Program of the German University in Cairo (GUC).
> 8 students from Cairo from the faculties of Architecture, Urban Design, Urban Planning, Landscape architecture. Particular attention will be given to choose students from different Universities.
WHO CAN APPLY:
Students who already completed the fourth semester of Architecture, Urban Planning or Landscape Architecture studies.
HOW TO APPLY:
With a short cv, a letter of motivation and a selection of three previous projects (6 pages A4, pdf-file, max.10 MB). It is not mandatory that the projects are related to architecture. Language of the application is English.
Please send your application via email to:
Deadline is the 10th of May 2013.
The selected participants will be informed at beginning of May.
Join us on facebook: summer school_DOWNTOWN
The grants will cover flight costs and accommodation for the 10 students coming from Germany. Infrastructure and food for all students will be assured. All students will work both at the GUC Campus and on field.
AIMS and CONTENT
The summer school aims at raising awareness for the tangible and intangible heritage of Downtown Cairo, initiating and reinforcing the link between students, academics and inhabitants towards the histories and the built heritage of the old quarter of Ismaelia. This link will reinforce the feeling of proud towards the city, which is the necessary basis for any action of maintenance and restoration.
In mixed groups, students will implement schematic plans of the standard floor of different buildings; analysing it and classifying them in typologies. At the same time, they will interview the inhabitants, to collect their histories related to the buildings. A guide on the tangible and intangible heritage of Downtown will be published.
> German University Cairo – GUC
Prof. Barbara Pampe, architect
Prof. Vittoria Capresi, architect
> University of Stuttgart, D
Prof. Arno Lederer, architect
Carla Schwarz, architect
Leonie Weber, architect
> DAAD (Cairo University) / German Archaeological Institute DAI, Cairo
> Alia Mossallam, historian
> Studio Matthias Görlich
Matthias Görlich, graphic designer
and the participation of :
> Ahmed el Bindari, CULTNAT, Cairo
> Omar Nagati, CLUSTER, Cairo
> Xenia Nikolskaya, Freelance Photograph, Cairo
> Yasmine El Dorghamy, Al Rawi, Egypt Heritage Review, Cairo
> Karim Ibrahim, Takween Integrated Community Development, Cairo
> May al-Ibrashy, Megawra, Cairo
> Mohamed Elshahed, Cairobserver, Cairo
IN COOPERATION WITH
Al Ismaelia for Real Estate Investments
German Archaeological Institute – DAI, Cairo
Takween Integrated Community Development, Cairo
The Summer School is initialised and organised by the Architecture and Urban Design Program of the German University Cairo GUC in cooperation with the Faculty of Architecture of the Technical University Stuttgart and fully financed by the German Academic Exchange Service DAAD.
CONCEPT: BALADILAB 2012
By Samah Selim
Mara Naaman, Urban Space in Contemporary Egyptian Literature: Portraits of Cairo. New York: Palgrave Macmillan, 2011.
In January and February of 2011, Egyptians descended upon public squares throughout the country to bring an end to the thirty-year regime of Husni Mubarak. For those eighteen days—and on many other occasions throughout the following year—the people of Egypt wrested control of public space from the physical and discursive grip of Mubarak’s police state and reconfigured the material and symbolic spaces of their cities to express a revolutionary vision of subjectivity, community, and citizenship. Cairo’s Tahrir square—and its downtown environs—was of course the most visible and most symbolically charged center of these insurgent acts of occupation and celebration, and the whole world watched in wonder and trepidation as Egyptians struggled to forge a new and radical language of being-in-the-world.
Mara Naaman’s timely book, Urban Space in Contemporary Egyptian Literature: Portraits of Cairo, was published during that heady year (and includes a brief postscript referring to the events of the revolution). The book addresses the production of urban space in the modern Egyptian literary imagination and offers the reader an erudite and engaging analysis of four acclaimed novels that all take Cairo’s downtown as their main setting. Naaman’s exploration of the sometimes utopian, sometimes brutal and bloody history of dreams, desires, and struggles that have shaped this seminal space in modern fiction and architectural practice subtly and persistently evokes the ghost of a future become the present. The book is thus important reading for anyone seeking to understand the affective power of “Liberation Square” within the context of modern Egyptian history and cultural production.
The book includes a preface, introduction, five chapters, and a conclusion. The preface, introduction, and chapter one set out the main conceptual and historical framework within which Naaman situates her literary readings. Chapters two through five each deal with a contemporary novel by a leading Egyptian author—Radwa ‘Ashur’s A Piece of Europe (2003), Khayri Shalabi’s Salih Hisa (2000), Idris ‘Ali’s Poor (2005), and Alaa al-Aswany’s The Yacoubian Building (2002)—while the conclusion, “Wust al-Balad as Neo-Bohemia: Writing in Defense of a Vanishing Public Sphere,” raises some very interesting questions about location and the relevance of national narratives to the contemporary political imagination.
In the preface, Naaman takes note of the political impetus underlying modern Arab fiction as a whole, tying this impetus to the framing and contestation of real and imagined spaces: “Contemporary Arab authors,” she writes, “have used fiction as a way of responding to crucial, and often traumatic, historical moments…where questions of political authority and power are largely enacted through struggles over public space” (xx). She then sets out the framework for her reading of her chosen novels against the background of a broad range of disciplinary and theoretical interests and concerns—urban and postcolonial studies, architecture and art history, and globalization theory:
I hope to show the way in which the notion of the modern Egyptian subject has evolved in direct relationship to the changes manifest in the space of the downtown….Ultimately I hope to show how the contested nature of the downtown—as a spectacular imitation of European modernity, as Egyptian public sphere, as a site for staging revolution, and as a modernist ruin—was and continues to be central to the notion of what it means to be Egyptian. (xxi)
Naaman goes on to reflect on Cairo as an “oscillating landscape” whose neighborhoods are situated as “allegorical spaces through which we can read the history of the nation” (xxv). Through the accumulated passage of time and the imprints of generations, streets and neighborhoods take on the phantom nature of the palimpsest; “home” is constantly rewritten as part of an uncertain yet imperative project of liberation. The downtown, she writes in a poignant assessment, “remains a contingent space, marked by traces of the past and spaces of familiarity, but never offering a sense of a secure present” (xxv).
Naaman uses the Arabic term “Wust al-Balad” (center city; downtown) throughout the book rather than an English translation to signal the iconic status of this particular space in modern fiction as well as national history. She weaves a careful account of the area’s dramatic architectural and political history into her literary analysis of the way in which the four novels inscribe questions of agency, identity, language, critique, and nostalgia in spatial terms. The famous history of Khedive Isma‘il’s new city, Isma‘iliyya, or “Paris on the Nile,” and the great Cairo Fire of 1952 (during which furious crowds burnt a large chunk of this new city to the ground) are thus both major leitmotifs that recur at key points in the book. Naaman’s description of the process by which the novels’ characters engage in revisionist “mappings” of these histories in space is thus also an apt description of her own critical method (7). The bulk of this critical method is presented in the book’s introduction, “The Urban as Critical Frame,” and covers a broad cross-section of works and authors: the Cairo School of Urban Studies; Gwendolyn Wright’s work on French colonial design; Chicano border studies; and the work of Timothy Mitchell, Arjun Appadurai, and Sabry Hafez on (respectively) colonial modernity, global flows, and the “new novel” in Egypt.
At times, Naaman’s theoretical framing sits uneasily with her evocative and subtle readings of the novels themselves. Naaman closely follows a certain strand of postcolonial studies that proposes a spectacular, Western-authored (colonial) modernity as the presumed antithesis of a kind of authentic or antediluvian local identity and where points of contact or relationship are somehow inevitably defined by suspicion, corruption, or violation. Isma‘il’s new city is offered as “a spectacular imitation of European modernity,” a place that has “internalize[ed] the gaze of the West” (xxi, 1). In such a place, the circulation of capital takes the primary form of staged spectacles of consumption and public entertainment (the lavish department stores, clubs, and cafés of Cairo’s rich). Modernity then becomes an ontology: a fixed and external object (of desire or refusal) rather than a social habitus shot through with contradiction and struggle. The notion that “Egyptians [were] mere spectators in the staging of their own modernity” leads Naaman at times to problematic culturalist readings of political events (Timothy Mitchell quoted in Naaman, 12). For example, the Cairo Fire of 1952 becomes “a debate over what it meant to be modern” rather than a violent rejection of the political and economic structures of a collapsing colonial regime (16). She further argues that “the ‘Urabi rebellion of 1881-2, the revolution of 1919, the workers’ protest in 1946, and the fires and subsequent revolution in July 1952” were all a result of “the Khedive’s complete indifference to the older districts of Cairo (in terms of their architectural and infrastructural neglect)”—or more simply put, to “colonial modernity” (23, 32).
Naaman’s capable and sensitive close readings, however, point to the limits—if not the inadequacy—of this theoretical staging to describe and elicit the rich and complex texture of the novels themselves in their reflections on agency, identity, and loss in the modern Egyptian context. In chapters one and two (“Specter of Paris: The Staging of Cairo’s Modern City Center” and “Reconstructing a National Past: Radwa ‘Ashur’s Revisionist History of Downtown”), Naaman beautifully captures the way in which both the urban-architectural and the textual function as narrative acts that produce legibility and meaning for subjects and readers alike. She further builds on this insight in the next chapter, “The Indigenous Modernism of Khayri Shalabi: Popular Intellectuals and the Neighborhood Ghurza,” by elaborating on Michel de Certeau’s poetics of walking as a form of pedestrian enunciation and Jonathon Shannon’s exploration of modernity and musical improvisation in Syria. In her reading, the palimpsest of the city—the downtown and its “shadow thoroughfare[s]” (77)—is metaphorically composed by the active handling or use of its material structures (‘Ashur’s narrator, The Gazer, “re-members” the downtown by walking its streets and visually summoning its ghostly monuments) or by the continual crossing and re-crossing of porous, shadow borders inscribed into the urban landscape (Salih Hisa’s celebration of multiple social identities and languages; The Yacoubian Building’s crumbling vertical hierarchies). Ultimately, the book’s greatest strength lies here: in its compelling, engaged, and almost tender attention to the materiality of urban space as a lens that brings a whole history of collective desire, aspiration, and struggle into focus through the medium of fiction.
Toward the end of the book’s final chapter, “The Nation Recast through a National Bestseller: Alaa al-Aswany’s Ode to Downtown Cairo,” Naaman tentatively suggests the possibility of claiming this history-in-fiction as a living portrait of the imagined nation—“a master-narrative” as she puts it, “for the Egyptian experience” (167). Meanwhile, the resurgent “neo-bohemian” public sphere of the downtown that she describes in the book’s conclusion has once again metamorphosed into a fully insurgent space of struggle and contestation (169). In this moment of exhilarating and dizzyingly unreadable futures, Urban Space in Contemporary Egyptian Literature does an admirable job of underlining the ways in which “a reworking of the past vis-à-vis our cities is an important part of the process in determining who we are (and want to be) in the present” (176).
Samah Selim is assistant professor of Arabic literature at Rutgers University and the author of The Novel and the Rural Imaginary in Egypt 1880-1985 (Routledge, 2004).
[This review was originally published in the Spring 2012 issue of Arab Studies Journal. For more information on the issue, or to subscribe to ASJ, click here. This review was also published in Jadaliyya]
Learning from Cairo seeks to engage the current political and urban transformation unfolding in Cairo as a critical context for examining relevant international case studies and best practices in areas ranging from housing, transportation, public space, and local governance to informality. Learning from Cairo emphasizes a comparative and interdisciplinary approach bringing practitioners, academics, officials and local stakeholders into dialogue, with the objective of generating an ongoing critical urban discourse, and future visions for Cairo.
Friday, April 12th, 2013
Public Plenary sessions
9:00 a.m. - 6:00 p.m.
Oriental Hall, Palace Building
American University in Cairo
(Arabic and English translation will be provided)
9:00 - 9:30 am Coffee and Registration
9:30 - 10:00 am Opening Remarks
Urban Political Change: Southern Perspectives
10:00 am - 12:00 pm
Khaled Fahmy, Department of History, AUC
Gautam Bhan, Indian Institute for Human Settlements, Delhi
Mokena Makeka, Makeka Design Lab
Mohamed Elshahed, Cairobserver
12:00 - 1:30 pm Lunch and Prayer
Right to the City: Emergent Practices in Latin America
1:30 - 3:30 pm
Heba Raouf Ezzat, Cairo University
Jennifer Bremer, Department of Public Policy and Administration, School of Global Affairs and Public Policy, AUC
Lindsey Sherman, Urban-Think Tank, Caracas/ Zurich
Diane Singerman, Department of Government, American University, Washington D.C.; Tadamun: Cairo Urban Solidarity Initiative
3:30 - 4:00 pm Coffee Break
Cities in Transition: Public Engagement and Civic Design
4:00 - 6:00 pm
David Sims, Author of Understanding Cairo: The Logic of a City Out of Control
Damon Rich, Division of Planning and Community Development, Newark, NJ
Gregers Tang Thomsen and Selva Gürdogan, Superpool, Istanbul
Ayman Ismail, Department of Management, School of Business, AUC
Saturday, April 13th, 2013
(please register for one tour only)
9:00 a.m.-4:00 p.m.
Tour 1. Urban Core
Led by: May Al-Ibrashy, Megawra
Mohamed Elshahed, Cairobserver
Tour 2: Desert Cities
Nabil Elhady, Cairo University
Rick Tutwiler, Desert Development Center, AUC
Tour 3: Informal Settlements
Yahia Shawkat, Shadow Ministry of Housing
Khaled Abdel Halim, Department of Public Policy and Administration, School of Global Affairs and Public Policy, AUC
Kareem Ibrahim, Urban Development Consultant | Co-Founder of Takween ICD
Tours end with a joint lunch in Al-Azhar Park
Sunday, April 14th, 2013
9:00 a.m.-6:00 p.m.
Parallel Working Sessions
9:00 a.m.-3:30 p.m.
Falaki Academic Center, American University in Cairo
24 El Falaki Street, Bab El Louk
Coffee and Registration:
9:00 a.m.-9:30 a.m.
Morning parallel sessions:
9:30 a.m.-12:00 p.m.
Session 1. Mapping Informality
Omar Nagati and Beth Stryker, CLUSTER
Gregers Tang Thomsen and Selva Gürdogan, Superpool
Discussant: Mohamed Elshahed, Cairobserver
Session 2. Evictions and Urban Citizenship
Gautam Bhan, Indian Institute for Human Settlements, Delhi
Yahia Shawkat, Shadow Ministry of Housing, Cairo
Discussant: Joseph Schechla, Housing and Land Rights Network, Cairo
Session 3. Design Innovation and Urban Development
Mokena Makeka, Makeka Design Lab, Cape Town
Mohamad Abotera and Ahmed Zaazaa, MADD Platform
Discussant: Amr Abdelkawi, Department of Construction and Architectural Engineering, School of Sciences and Engineering, AUC
12:00 p.m.-1:00 p.m.
Afternoon parallel sessions:
1:00 p.m.-3:30 p.m.
Session 4. Community Activism and Avenues of Participation
Kareem Ibrahim and Diane Singerman, Tadamun
Damon Rich, Chief Urban Designer, Division of Planning & Community Development, Newark, NJ and Founder, Center for Urban Pedagogy (CUP)
Discussant: Khaled Abdel Halim, Department of Public Policy and Administration, School of Global Affairs and Public Policy, AUC
Session 5. Security, Segregation and Borders
Aida Elkashef, Filmmaker
Lara Baladi, Artist
Omnia Khalil, Urban Action
Video presentations and panel discussion
Discussant: Samia Mehrez, The Center for Translation Studies, AUC
Session 6. Research/Design Interventions and the Informal City
Lindsey Sherman, Urban-Think Tank, Caracas/Zurich; Chair of Architecture and Urban Design, ETH Zurich
Dina Shehayeb, Shehayeb Consult
Discussant: Magda Mostafa, Department of Construction and Architectural Engineering, School of Sciences and Engineering, AUC
Closing Session, Oriental Hall
Oriental Hall, Palace Building
American University in Cairo
4:00 p.m. - 6:00 p.m.
More information to come.
With support from the Ford Foundation
and the American University of Cairo
Department of Construction and Architectural Engineering, School of Sciences and Engineering
School of Humanities and Social Sciences
School of Global Affairs and Public Policy
School of Business
The Architecture Students Association (AA)
Additional sponsorship by
D-CAF is coming back to Downtown Cairo,
opening its doors to the public from 4-28 April 2013
Egyptian contemporary artists and performers will be joined by leading international names in a month-long calendar of independent music, performing arts, film, visual arts, street performances and workshops.
For information on D-CAF 2013 program please visit: www.d-caf.org
and d-caf blog: www.d-caf.org/blog
[Alice, a play presented as a world premiere in this year’s D-CAF, by the Lebanese Sawsan Bou Khaled and Hussein Baydoun]
The Downtown Contemporary Arts Festival (D-CAF) opens its doors to the public for the second year, from 4-28 April 2013. After the successful launch of the festival last year, D-CAF is back with a rich program of contemporary performances and visual arts to be shown in historic locations and outdoor spaces in downtown Cairo. D-CAF is currently Egypt’s largest international contemporary multi-disciplinary festival and, throughout the month of April, Cairo audiences will enjoy a wide variety of independent theatre and dance performances, music concerts, visual arts exhibitions, film screenings and workshops.
D-CAF 2013 will feature some of Europe’s leading independent acts who will perform in Cairo - many for the very first time - alongside artists from Egypt and the region. For organisers this broad diversity of art forms and performers is what makes this festival unique: ” At D-CAF, we’re not presenting a single art form or a single trend. Rather, we’re trying to give Cairo audiences a snapshot of what is available, worldwide, in contemporary art today,” says Festival Director, Ahmed El Attar. “We’re trying to make the experience as varied as possible to cater to the widest possible audience”.
As a result of this focus, D-CAF’s month-long program of events will this year encompass around 130 international and Egyptian artists presenting work in a variety of art forms: this includes the D-CAF performing arts program which will include several internationally acclaimed acts such as Algerian Director, Kheireddine Lardjam’s play “End/Igne” performed by Compagnie El Ajoud and Anatomia Publica, a contemporary dance piece choreographed by renowned French choreographer, Tomeo Verges, who will also stage two original dance creations with Egyptian performers specially created for D-CAF. Dutch Theater Group, Hotel Modern, is also among acts featured and will bring their iconic theater piece “The Great War” to Egypt and the Arab world for the very first time. The D-CAF music program this year celebrates modern sounds representative of the streets and the revolution in a series of Thursday night concerts, throughout the duration of the festival. A star-studded line up of music acts will include America’s celebrity DJ Khadafi Dub, Tunisia’s Emel Mathlouthi and Egypt’s Dina el Wedidi and SADAT.
[The Dutch company Hotel Modern’s piece: The Great War.]
Building on the success of last year, D-CAF will once again present its Urban Visions program, a rich calendar of contemporary dance and performances taking place in the streets around Tahrir Square. These include the Netherlands Dance Group, 100 Hands who will be performing in Egypt for the very first time.
The festival’s visual arts program is this year curated by Cairo-based independent arts institution, Medrar for Contemporary Art, who will be exploring the digital frontier of contemporary visual arts through a series of collaborations between Egyptian and international artists. The D-CAF film program will explore underground and resistance cinema with a special focus on Contemporary West African Cinema. Meanwhile, the Edutainment program will offer a series of public seminars and workshops, including workshops for artists and for children delivered by Britain’s renowned Bootworks Theater Collective.
According to Ahmed El Attar: “We want to use D-CAF as a platform to attract, into Egypt, regional and international performers who are shaping the world of contemporary art but whom Egyptian audiences rarely get to see. The Festival also hopes to create opportunities for collaboration and cross-fertilisation between these international names and Egypt’s own thriving independent arts scene.”