Showing posts with label Arab Youth. Show all posts
Showing posts with label Arab Youth. Show all posts

Wednesday, December 10, 2014

AUD Professor Contributes to Interfaith Dialogue: Dr. Chrabieh prominent voice on religious and political tolerance in the Middle East




The AUD School of Arts and Sciences was prominently showcased recently during the Christians Academic Forum for Citizenship in the Arab World (CAFCAW) academic conference as one of its notable faculty members, Dr. Pamela Chrabieh - Assistant Professor of Middle Eastern Studies, gave a presentation on ‘Major Current Challenges in the Middle East’.

The goal of the conference is to bring together Middle Eastern scholars, peacebuilding and interfaith organizations, and political and media figures, to assess the current situation of Christians in the Middle East and Interfaith Dialogue, as well as propose alternative worldviews, narratives and projects facing the culture of violence. To initiate a regional dialogue among academicians from diverse backgrounds and identities and launch a common platform of thought renewal and applied research.

As a founding member of CAFCAW and member of its executive committee, Dr. Chrabieh presented an overview of major current challenges facing most Middle Eastern countries and Middle Easterners, including the lack of balanced politics-religions relations, of pluralistic social-political systems and human/natural resources’ management; youth unemployment and emigration; obstacles to the effective realization of human rights/women’s rights; extremisms and the culture of violence.

The academic event followed three previous conferences in 2014 (Amman, Istanbul) where Middle Eastern Christian and Muslim scholars, religious leaders, media figures and politicians gathered to tackle and debate issues related to religions-politics’ relations, Interfaith Dialogue, Christians’ roles and situations and theology/fiqh[1] of public life.

Thursday, November 06, 2014

More than Ebola or ISIS (Da3ech), the Past would become “the Lash with which Yesterday flogs Tomorrow”!


Dr. Pamela Chrabieh (2014) – Dubai
500 students’ narratives of war and visions of peace were collected during storytelling sessions and art workshops from 2007 till 2014 in my classrooms at Holy Spirit University (USEK), St Josef University and Notre Dame University in Lebanon. This qualitative research with young people born in the 1990s, from different religious/sectarian, political  and social-economic affiliations, revealed the following: 
30% of students portrayed peace as the elimination, deportation or destruction of the ‘other’, perceived as an enemy. During one of the art workshops, a student drew a map of Lebanon in which he indicated with an arrow and a caption “Palestinians and Syrians back to their country” while other ones indicated “Israel to the sea”. According to this student, peace could not be achieved in the presence of these foreign elements, but only with their elimination or deportation. Another student argued: “Two people with their own different beliefs and perspectives concerning life, and life goals, can never unify and become one in a same country, especially if one people dominate the other by the use of force (i.e. Muslims and Christians)”.  A student drew all of the major political leaders and warlords looking down on Lebanon from the clouds with halos above their head. When asked to explain his caricature, the student said he thought Lebanon could only have peace when all of them would be dead.
25% of students think peace will be implemented when sectarianism is abolished, or even religions. A student drew a coffin in which a cross, a moon crescent and a Star of David were lying. The caption “R.I.P” was engraved on the coffin. “Rest in Peace” has a double meaning; also signifying people can also finally live in peace through the “death” of religion. Another student drew two separate identical boxes. In one of the boxes, she drew a Qur’an and a Bible. In the other box, she drew the Lebanese constitution. The student explained she thought both boxes were a gift from God, but that they needed to remain separate no matter what for peace to be achieved.
45% of students had positive attitudes toward others. Positive war memories were being shared in the classroom, especially stories of interreligious/inter-sectarian dialogue and conviviality. A Druze student recounted the story of her family who was able to pass through various checkpoints with the help of their childhood Christian friends to access a hospital during the Israeli invasion of Beirut in 1982. A student argued that peace comes with “the acceptance of the fact that I am a rock among many other rocks, here to stay, but nonetheless working in harmony with other rocks to allow the structure to stand”. One of the students drew a musical key with the caption “we are all part of the symphony!”. Another student used a famous juice ad slogan. He drew a carton can of juice, and then added all the different denominations which form Lebanon as if they were the main ingredients, with the slogan “There is a little bit of Lebanon in all fruits!”.
40% of the 500 students were not able to tell stories of the past. Many of these students’ parents were not affiliated to political parties, or they were ex-militia who never raised the war subject at home. Still, some were seeking ways to cope with the memory of past violence in order not to repeat it. According to one student: “If parents do not talk about the past, it does not mean that they did not communicate to their children a chronic fear, even if the original threat does not exist anymore. This fear leads to a culture of silence and makes people unable to handle any new conflict”. Many of these students living in a culture of silence at home were interested in digging into the past, trying to extract acknowledgement of wrongdoings and recognition of their identities. Others chose to rally with determined collective narratives – political parties’, sectarian narratives -, believing that they are the victims of ‘the other side’, that their actions are morally imperative toward the other side, that their dispositions are ‘moderate’ and they are willing to ‘sacrifice’ themselves for the sake of the nation, unlike ‘the other side’.
There were also students who preferred to follow the ‘blank page’ approach, believing the prospects of ending conflict were bleak, blaming the media, the political leaders, foreign powers and other elements for Lebanon’s misfortune and the improbability of an end to conflict. A student wrote “To be Lebanese, in my opinion, is to be in a constant state of wait. Lebanon is a project, nothing more, nothing less.” A Lebanese-born American student noted: “Do I believe my generation will be the one to finally live in peace? No, I do not. They all say the right things, advocate a homogeneous society, and speak of togetherness, but when it comes down to concrete actions, I believe most would side with their religion and-or political party in a time of conflict”. As part of an exercise where students were asked to define what it means to be Lebanese, a student wrote “To live here with my family with my minimum basic rights.” This disturbing thought reflects the student’s hopelessness through their acceptance of a life in sub-optimal conditions, as well as an inherent sense of pessimism in their ability to change Lebanon’s situation, and a lack of belief in their own agency.
Young people born years after the initial traumatizing events become part of the traumatic process. New generations inherit trauma from the previous generations. 60% of students told stories about how their parents and neighbors experienced physical war in the 1970s and 1980s. One of the students recounted a childhood memory: “My father taught me the basics of shooting guns when I was a child. He never clearly explained why he thought it was important for me to be trained, until the events of May 7, 2008 (when inter-sectarian clashes in Beirut occurred). He told me then ‘Do you see why I taught you how to fight?’”. A large part of this generation inherited the experience of violence as still living memory, molding and converting this remembrance into some form of fixed collective memory or historical knowledge.
It is in this crucial interval that the cycles of revenge can be perpetuated or interrupted. The moment of transmission is important to dwell on, because it is a moment of genuine hope and possibility, but also, a moment of real danger, with the past posing a threat to present and future stability.
More than Ebola or ISIS (Da3ech), the past would become “the lash with which yesterday flogs tomorrow”!
Photo: More than Ebola or ISIS (Da3ech), the Past would become “the Lash with which Yesterday flogs Tomorrow”! By Dr. Pamela Chrabieh on Red Lips High Heels' blog.</p>
<p>(...) " Young people born years after the initial traumatizing events become part of the traumatic process. New generations inherit trauma from the previous generations. 60% of students told stories about how their parents and neighbors experienced physical war in the 1970s and 1980s. One of the students recounted a childhood memory: “My father taught me the basics of shooting guns when I was a child. He never clearly explained why he thought it was important for me to be trained, until the events of May 7, 2008 (when inter-sectarian clashes in Beirut occurred). He told me then ‘Do you see why I taught you how to fight?’”. A large part of this generation inherited the experience of violence as still living memory, molding and converting this remembrance into some form of fixed collective memory or historical knowledge.</p>
<p>It is in this crucial interval that the cycles of revenge can be perpetuated or interrupted. The moment of transmission is important to dwell on, because it is a moment of genuine hope and possibility, but also, a moment of real danger, with the past posing a threat to present and future stability". </p>
<p>READ THE ARTICLE: http://www.redlipshighheels.com/more-than-ebola-or-isis-da3ech-the-past-would-become-the-lash-with-which-yesterday-flogs-tomorrow/
————————————————————————————————————————
This short article presents a summary of the results of this qualitative research. Other details were displayed in Oxford (2010) and in Balamand (2014). For more information, contact Dr. Pamela Chrabieh.
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Tuesday, September 23, 2014

Dr. Pamela Chrabieh - AUD profile

SOURCE: http://www.aud.edu/About_AUD/directory.asp



DR. PAMELA CHRABIEH
Assistant Professor of Middle Eastern Studies
Ph.D., Theology-Sciences of Religions, University of Montreal, Canada
M.A., Theology, Religions and Cultures, University of Montreal, Canada
Higher Diploma (DES) , Plastic Arts-Religious Arts and Icons’ Restoration, ALBA-University of Balamand, Lebanon

Dr. Chrabieh completed her doctoral dissertation in 2005 at the University of Montreal on sectarianism, interfaith dialogue and religions-politics relations in Lebanon, followed by two post-doctoral researches from 2005 till 2008 on war memory, youth and peacebuilding, financed by the University of Montreal and the Social Sciences and Humanities Research Council of Canada.
She taught undergraduate and graduate courses/seminars in English, Arabic and French, from 2004 till 2014, in Canada (University of Montreal) and Lebanon (St Josef University, Holy Spirit University and Notre Dame University). She joined AUD in Fall 2014.
Dr. Chrabieh has also been an academic researcher since 2001, conducting individual researches and participating in local, regional and international collective researches - including Canada, Lebanon, France and Denmark. She was Associate-Researcher and Director of International Relations at the Canada Research Chair – Islam, Pluralism and Globalization (University of Montreal) from 2007 till 2012, and currently acts as Senior-Expert at the same chair.

Research interests

 War memory and peacebuilding, interfaith/Intercultural relations, diversity management, politics-religions relations in the Middle East, theology of dialogue, youth and new media, women’s rights in Western Asia, migration studies, religious arts in the Middle East, etc.
Artist-painter since 1995, Dr. Chrabieh’s artwork has been mainly exhibited in Canada and Lebanon. Activist for peacebuilding and human rights/women’s rights since 1995, she has been a member of several local and international organizations. She founded in 2012 an online platform for Middle Eastern authors named ‘Red Lips High Heels’ (blog and Facebook page), intellectually engaged for peace and human rights/women’s rights.
Selected as one of the 100 most influential women in Lebanon (Women Leaders Directory 2013, Smart Center and Women in Front, Beirut), and ‘Most Exceptional Teaching Fellow’ in 2008 (University of Montreal), Dr. Chrabieh won several national and regional prizes in Canada (Forces Avenir Université de Montréal, Forces Avenir Québec, Prix Lieutenant-Gouverneur du Québec).
Dr. Chrabieh is the author of several academic papers, online articles and of the following books and book chapters.
 Books
  • المرأة في غرب آسيا، رحلة إلى الماضي. دار المشرق، 'دراسات في الأديان'، بيروت، ٢٠١٣
    Womanhood in Western Asia, A Journey to the Past (Beirut: Dar el-Machreq, 2013).
  • Quelle gestion des diversités au Liban ? Du confessionnalisme au pluralisme médiateur (Sarrebruck, Allemagne : Editions Universitaires Européennes, 2010).
  • Pamela Chrabieh Badine, Salim Daccache s.j. (ed.), La gestion de la diversité religieuse (Liban-Québec). Perspectives comparatives dans les secteurs juridique, politique et éducatif (Beyrouth : Publications de la Faculté des Sciences Religieuses, Institut d’études islamo-chrétiennes, Université Saint-Joseph, 2010).
  • La gestion de la diversité au Liban. Visions de jeunes du secondaire (Beyrouth : Dar el-Machreq, collection ‘Interaction islamo-chrétienne ’- Institut d’études islamo-chrétiennes de l’Université Saint-Joseph de Beyrouth, 2009).
  • Voix-es de paix au Liban. Contribution de jeunes de 25-40 ans à la reconstruction nationale (Beyrouth : Dar el-Machreq, collection ‘Interaction islamo-chrétienne’- Institut d’études islamo-chrétiennes de l’Université Saint-Joseph de Beyrouth, 2008).
  • A la rencontre de l’Islam. Itinéraire d’une spiritualité composite et engagée (Montréal : Médiaspaul, Collection ‘Spiritualités en dialogue’, 2006).
  • Icônes du Liban, au carrefour du dialogue des cultures (Montréal : Carte Blanche, 2003).

Book Chapters
  • ‘Youth, New Media and Peace in the Middle East’, with Charlotte Karagheuzian, in Anthropology of the Middle East and North Africa, Sherine Hafez & Susan Slyomovics (ed.), Indiana University Press, 2013.
  • ‘Youth and Peace: Alternative Voices in Lebanon’, The Metamorphosis of War. Plaw, Avery (Ed.) Rodopi, Amsterdam/New York, NY, 2012, XVIII, p.149-165.
  • ‘Civil and Human Rights in the Muslim World’, Modern Muslim Societies, Florian Pohl (ed.), New York (United States), Marshall Cavendish, 2010, p.168-187 (Chapter 8).
  • ‘Contributions of young Lebanese Canadians to Peacebuilding in Lebanon’, Politics, Culture and the Lebanese Diaspora, Paul Tabar and Jennifer Skulte-Ouaiss (ed.), United Kingdom, Cambridge Scholars Publishing, 2010, p.176-192.
  • ‘Mémoires de guerre et blogosphère libanaise’, Mémoires de guerres au Liban (1975-1990), Franck Mermier et Christophe Varin (dir.), Arles, IFPO/Sindbad/Actes Sud, 2010, p.165-183.
  • ‘Dialogues islamo-chrétiens au Liban’/ Islamic-Christian Dialogues in Lebanon’, Trait d’union Islam-Christianisme/ Hyphen Islam-Christianity, ed. By Nada Raphael, Electrochocks Productions - Editions (Montreal, Canada) and Arab Printing Press (Lebanon), 2009, p. 646-655.
  • ‘Peut-on penser la fin de l’extrémisme islamique au Liban ?’, La religion à l’extrême, Martin Geoffroy et Jean-Guy Vaillancourt (dir.), Montréal, Médiaspaul, 2009, p.197-228.
  • ‘Is it still relevant to talk about Religion, Democracy and Human Rights in Lebanon?’, The World’s Religions after September 11, ed. By Arvind Sharma (4 volumes, 996 p.), Santa Barbara (California, USA), Praeger Publishers, volume 1, chapter 8, 2008.
  • ‘Breaking the Vicious Circle! Contributions of the 25-35 Lebanese Age Group’, Breaking the Cycle. Civil Wars in Lebanon, ed. By Youssef Choueiri, Center for Lebanese Studies (Oxford University) - Stacey International (London, United Kingdom), 2007, p.69-88.
  • 'Le 11 septembre 2001 ou l’inauguration de l’ère du choc des identités?’, La mondialisation du phénomène religieux, Michel Gardaz, Martin Geoffroy, Jean-Guy Vaillancourt (dir.), Montréal, Médiaspaul, 2007, p.91-105.
  • ‘L’engagement pour la réconciliation et la paix : actualisations de la pensée de Gibran Khalil Gibran’, Gibran K. Gibran, Pionnier de la Renaissance à venir (10 avril 1931- 10 avril 2006), Kaslik (Liban), Publications de l’Université Saint-Esprit de Kaslik, Faculté des Lettres, 11, 2006, p.89-94.

Wednesday, July 02, 2014

Séminaire à Istanbul

Je te remercie Maya Khadra de tout coeur pour ce beau compte-rendu de notre conférence à Istanbul. Je tiens à remercier également les organisateurs, Rev. Mitri Raheb et Victor Makari. Aussi, je souligne que ton intervention sur la jeunesse libanaise fut des plus pertinentes 



Comme tu le dis si bien à la fin de ton article, restons convaincus-es que « Mieux vaut allumer
une bougie que maudire l'obscurité ». "Une lueur d'espoir pourra, malgré tout, briller dans un Moyen-Orient meurtri par les hégémonies des néo-islamistes et les alliances douteuses des minorités paranoïaques".






Wednesday, April 11, 2012

Anthropology of the Middle East and North Africa

Anthropology of the Middle East and North Africa

Edited by Sherine Hafez and Susan Slyomovics

INDIANA UNIVERSITY PRESS
Publication date: 1/2/2013


SOON TO BE PUBLISHED!

This volume combines ethnographic accounts of fieldwork with overviews of recent anthropological literature about the region on topics such as Islam, gender, youth, and new media that are of particular relevance for understanding the “Arab Spring” of 2011. It addresses contemporary debates about modernity, nation building, and the link between the ideology of power and the production of knowledge. Contributors include established and emerging scholars known for the depth and quality of their ethnographic writing and for their interventions in current theory.

Table of Contents

Introduction: Power and Knowledge in the Anthropology of the Middle East and North Africa Sherine Hafez and Susan Slyomovics

Part I. Knowledge Production in Middle East and North Africa Anthropology 
1. State of the State of the Art Studies: An Introduction to the Anthropology of the Middle East and North Africa Susan Slyomovics
2. Identity and Difference in the Middle East and North Africa: A Review Essay Seteney Shami and Nefissa Naguib
3. Anthropology’s Middle Eastern Prehistory: An Archaeology of Knowledge Jon W. Anderson
4. The Pragmatics and Politics of Anthropological Collaboration on the North African Frontier Paul A. Silverstein
5. Post-Cold War Politics of Middle East Anthropology: Insights from a Transitional Generation Confronting the War on Terror Lara Deeb and Jessica Winegar

Part II. Subjectivities: Youth, Gender, Family and Tribe in the Middle East and North African Nation-State
6. Anthropology of the Future: Arab Youth and the State of the State Suad Joseph
7. The Memory Work of Anthropologists: Gendered Studies of Conflicts and the “Heroic Life” in Middle East and North Africa Sondra Hale
8. Rejecting Authenticity in the Desert Landscapes of the Modern Middle East: Development Processes in the Jiddat il-Harasiis, Oman Dawn Chatty
9. Notable Families and Capitalist Parasites in Egypt’s Former Free Zone: Law, Trade, and Uncertainty Christine Hegel-Cantarella

Part III: Anthropology of Religion and Secularism in the Middle East and North Africa 
10. Will the Rational Religious Subject Please Stand Up? Muslim Subjects and the Analytics of Religion Sherine Hafez
11. Defining and Enforcing Islam in Secular Turkey Kim Shively
12. Sharia in Diaspora: Displacement, Exclusion and Anthropology of the Displaced Middle East Susanne Dahlgren
13. A Place to Belong: Colonial Pasts, Modern Discourses, and Contraceptive Practices in Morocco Cortney L. Hughes

Part IV: Anthropology and New Media in the Virtual Middle East and North Africa 
14. “Our Master’s Call”: Mass Media and the People in Morocco’s 1975 Green March Emilio Spadola
15. The Construction of Virtual Identities: On-line Tribalism in Saudi Arabia and Beyond Sebastian Maisel
16. Youth, Peace, and New Media in the Middle East Charlotte Karagueuzian and Pamela Chrabieh Badine

Thursday, March 22, 2012

Comment penser la paix dans un contexte de guerre ?



Par Dr. Pamela Chrabieh Badine (L'Orient-le-Jour, Beyrouth, 23-3-2012)

Lors d’un colloque sur la paix auquel j’étais invitée les 17-18 mars à Paris, j’avais présenté une conférence sur ma vision de la paix au Liban. En voici quelques extraits que j’aimerais partager avec les lecteurs et les lectrices de L’Orient-Le Jour : 
« Vivant depuis treize ans entre le Liban et le Canada, je fais partie de la génération des enfants de la guerre du Liban en sa période la plus sanglante, étant née et ayant grandi dans son cadre. La mémoire chargée de souffrances et d’une quête incessante de survie, je cherche constamment un sens au tumulte de mon existence et de celle de mes proches ; en fait, de celle de tous les Libanais. Pourquoi sommes-nous pris dans un cercle vicieux duquel nous n’arrivons pas à nous échapper ? Pourquoi la haine, les tensions, la discorde, l’exclusion de tout ce qui est “autre” ? Qui sont les responsables ? Sommes-nous tous responsables ? Comment définir ce “nous” ? Faut-il s’engager pour un meilleur avenir en assumant les déboires du passé ou faut-il tourner la page ? Faut-il oublier ou ne pas oublier ? Sommes-nous tous des morts en sursis, vivant dans l’angoisse de la prochaine explosion ? Ou pouvons-nous croire à l’émergence d’une aube lumineuse, ou du moins à la mise en place d’un processus réformateur ? Quelles seraient les stratégies à adopter ? Quels seraient les chantiers à entreprendre ? Quelles seraient les forces de changement capables de mettre en route ce processus ? 

« Ces questions tournant autour de la guerre et de la paix, de la mémoire, de l’identité, qui émanent d’expériences et d’interrogations personnelles, d’un vécu personnel, sont à la base de mes travaux académiques, sociocommunautaires et artistiques, et en constituent le moteur. Ce sont ces mêmes questions, doublées d’un vécu de rencontres de diversités, de la découverte de leurs richesses et de la convivialité, qui me poussent à m’engager à plusieurs niveaux, en combinant la théorie et la pratique, la réflexion et l’action. Je me situe en quelque sorte dans un mouvement plus large qu’on nomme communément celui des “intellectuels engagés”, tels Pierre Bourdieu, Edward Saïd, Samir Kassir, et bien d’autres encore, qui analysent une société pour lui donner des outils lui permettant de se transformer, tout en osant agir sur le terrain.
« Mon cheminement est en lui-même un processus de mise en mémoire, qui chante un Liban avec ses dilemmes et sa beauté, ses souffrances, ses drames individuels et collectifs, ses conflits et ses rêves, ses islams et ses christianismes, ses diverses autres cultures et spiritualités, son “manque” et son “peuplé” ; un Liban qui semble a priori perdu, sombrant dans l’aliénation, mais qui porte en son sein les semences du renouvellement. Mon récit est celui d’une résistance face au bâillonnement de la mémoire et, comme le dit si bien le journaliste et poète Fady Noun, une “insurrection des mots”, tout aussi politique et publique que personnelle.
(...) « Le Liban est plus que jamais frappé par une crise multiforme – crise sociopolitique et économique, crise de la gestion de la diversité (confessionnalisme), corruption endémique, dysfonctionnement d’une administration étatique pléthorique, crise de mémoire, crise identitaire – et d’énormes carences au niveau du processus de réconciliation nationale. Le romancier Amin Maalouf le compare à un “rosier sauvage” souffrant de maladies qui s’attaquent aux vignes, servant donc de “sentinelle” aux vignerons lesquels souvent ne comprennent pas le message. “Certains, par paresse, par ignorance, par aveuglement, lorsqu’ils voient apparaître des taches sur les feuilles, se disent que le rosier est, de toute manière, une plante fragile, délicate, frivole, et que leur vigne ne risque rien.” 
« Ce rosier se meurt jour après jour. Un atroce virus le ravage et l’antidote tarde à être découvert et administré. Un virus qu’on croyait pourtant affaibli. La croyance en un vécu au sein d’un contexte de “post-guerre” semblait s’ancrer de plus en plus dans la conscience collective libanaise. La violence meurtrière, les bourreaux, les boucs-émissaires, les destructions massives, les fosses communes et les charniers apparaissaient faire partie d’un lointain passé. La reconstruction du centre-ville de Beyrouth au cours des années 1990 et l’afflux annuel de centaines de milliers de touristes annonçaient une ère prospère.
« Toutefois, les événements dramatiques qui se sont succédé depuis le vote de la résolution 1559 le 2 septembre 2004 au Conseil de sécurité des Nations unies, et surtout depuis l’assassinat de l’ex-Premier ministre libanais Rafic Hariri en février 2005, ainsi que l’offensive israélienne d’envergure massive lors de l’été 2006, marquèrent la reprise de la violence meurtrière et de la quête de survie. Le constat fut dévastateur à bien des égards : les Libanais ne s’étaient pas débarrassés du virus qui les ronge continuellement. Le Liban n’était et n’est pas en paix. De plus, la situation conflictuelle actuelle dans les pays avoisinants, notamment en Syrie, ajoute l’huile au feu et enflamme les relations internes. Un contexte qui appelle à un sérieux examen de conscience ; un contexte où la plupart des victimes et des bourreaux, acteurs de la tragédie libanaise, persistent à se murer dans le silence afin de préserver la “fragile entente”.
Comment, dans ce contexte de guerre psychologique et physique continue, penser la paix ? 
Il est évident qu’un processus politique de paix au niveau régional devrait advenir afin de stopper l’effusion de sang. Toutefois, la haine qui sévit dans les cœurs et les esprits aurait besoin de plus qu’un cessez-le-feu (Peacemaking) et un maintien de la sécurité (Peacekeeping). En anglais, le terme suivant est utilisé, Peacebuilding, que je traduis ainsi : la construction de la paix au sein de la société, basée notamment sur l’édification d’une mémoire nationale de la guerre, d’une identité commune et d’une convivialité interhumaine qui incluerait et dépasserait la convivialité interreligieuse/interconfessionnelle. 
(...) « Il s’agit de quelques défis parmi tant d’autres que les Libanais pourraient à mon avis relever ; d’autant plus qu’on occulte très souvent le fait que le Liban ne se réduit pas à un espace de conflits et de polémologies, mais qu’il présente aussi de multiples lieux où s’inventent et se réinventent des visions et pratiques de paix. La société libanaise est en partie bien dynamique, et surtout la jeunesse engagée pour les droits humains, le statut personnel civique, l’équité, la justice, la liberté d’opinion, etc. Les luttes de ces individus et collectivités transforment les rapports sociopolitiques et constituent le socle sur lequel peut être construit un autre avenir, plus équitable, plus égalitaire, plus libérateur. 
« Pour ma part, en tant que Libano-Canadienne luttant pour survivre à la guerre mais connaissant aussi des “lieux” de dialogues et de convivialité, tant au Liban qu’au Canada, je porte en moi un refus de la fatalité et l’espérance d’un monde meilleur qui ne peut se construire tout seul et sûrement pas sans un réel travail de mémoire, et donc de deuil et de réconciliation. C’est la flamme qui m’anime, et c’est le défi que je tente de relever : penser l’altérité, mais surtout, construire des lieux qui reconnaissent l’identité non comme une page blanche, ni comme déjà écrite, mais comme partiellement écrite et appelant à la poursuite de l’écriture ; une identité comme une somme de diverses appartenances en cheminement, au carrefour de multiples chemins, de plusieurs aventures, médiatrice, non confondue avec une appartenance érigée en appartenance suprême et unique, en une fin en soi et “en un instrument d’exclusion”, parfois en “un instrument de guerre”. »

Dr Pamela CHRABIEH BADINE 
Chercheuse associée et directrice des relations internationales, Université de Montréal 

Friday, March 02, 2012

Blogs et liberté d'expression

L'extrait de mon article 'Blogs et liberté d'expression', paru dans:
La nouvelle revue de presse, dossier 'Printemps arabe' (NRP, juin 2011, no.8)

L’Internet est devenu un instrument essentiel de construction et de diffusion de l’information au niveau mondial, garantissant un certain niveau de liberté d’expression, même lorsque le contrôle règne comme dans la plupart des pays arabes – hormis le Liban. Lors du premier colloque des blogueurs du monde arabe organisé par la fondation allemande Heinrich Böll Stiftung (Zicco House, Beyrouth, Liban, août 2008), auquel nous avons participé, la conquête/reconquête de la liberté d’expression constitua un sujet majeur de préoccupation. Plus de trente blogueurs et blogueuses du Liban, de l’Égypte, du Maroc, de la Tunisie, de l’Arabie saoudite, de Bahreïn, de la Palestine, de l’Irak et de la Syrie partagèrent leurs visions et pratiques édificatrices, mais aussi leurs amères expériences avec les autorités de leurs pays respectifs. Certains blogueurs voient leurs sites arrêtés ou sont emprisonnés, voire contraints à l’exil. Toutefois, dans d’innombrables situations, les blogueurs remplacent les journalistes dans leur rôle de témoins.

POUR LA SUITE: SUIVEZ CE LIEN!



Sunday, December 18, 2011

SHANKABOOT, OR THE UNPRECEDENTED SUCCESS OF A WEB DRAMA IN THE ARAB WORLD


Picture of Shankaboot filming
A veritable first in the Arab world, Shankaboot is an interactive series aired only on the Web. It forms part of the Web drama concept that is all the rage in the USA and UK.

By Dr. Pamela Chrabieh Badine



Shankaboot is the first interactive Web drama in the Arab world. It recently took first prize in the “Digital programme – fiction” category at the sixth International Emmy Awards (April 2011). Produced in the Lebanese Arab dialect, it handles social topics that are taboo in the Arab world and opens the gates to an exchange of opinions amongst young Web users in the region.
WEB DRAMA DEVELOPMENT AND FEATURES

Shankaboot forms part of the Web drama concept that has been developing for more than a decade, particularly in the USA and the UK. Web dramas began in 1995 with the airing of the American series The Spot, and appear in various formats – series, serials, one-offs. They are growing in importance with the dissemination of video blogs, or vlogs, on Youtube and other platforms like Dailymotion and Kewego. Amongst the most successful examples are Lonelygirl115Quarterlife, Battlestar Galactica, Doctor Who: Dreamland (video), or even Girl Number Nine.

These series highlight togetherness and local community. They make use of a specific camera style, close-ups or frequent direct-in-the-face shots. Some are produced using the traditional tools of story- writing; others rely on interactivity with the public and can take many forms via the channels they use (videos, blogs, appearance of characters on social networks, etc.) exploiting transmedia deployment of the story. Examples from the work of the American Lance Weiler as story-architect, and the French projects Faits Divers Paranormaux (Orange Ciné Choc) and Clem (TF1) are noteworthy examples of this.

In other words, Web dramas emerge largely from the interaction between the narrator and his or her audience. The audience imagines the story and appreciates being both a witness to the characters and the events described as well as being an actor, unlike traditional theatre or film. This is a new narrative technique known as Digital Interactive Storytelling.

According to British photographer Daniel Meadows, Digital Storytelling consists of brief personal multimedia stories told by individuals of all appearances and identities, on a multitude of topics and split between electronic formats. According to theCenter for Digital Storytelling, the digital story is a short video created by an individual combining sound, still and moving images, music and dialogue in a personalised narrative. The subjects handled are varied, ranging from fiction to past memories (e.g. wars, historic events) together with real life in a community or crossing national borders.

Digital interactive storytelling commonly encourages the listener or user to become a joint creator via amateur contribution to enrich the narrative universe, beyond simply pasting on comments and photos. This is particularly what the Shankaboot project, the first Web drama series in the Arab world, has to offer.

SHANKABOOT: A DYNAMIC WEB SERIES MADE IN BEIRUT! 
Shankaboot is an interactive video series on the Web or a Web series filmed in Beirut, the Lebanese capital. Produced byBatoota Films[+], financed by the BBC World Service Trust[+] thanks to the expertise of the Welded Tandem Picture Company[+]it scored a swift success among Web users and gained some prestigious awards, like Cinema Tous EcransBest Web Series 2010 and International Digital Emmys 2011.

Presentation of Shankaboot
Presentation of Shankaboot.

This series was launched in March 2010 and portrays the daily life of young Beirut residents like Sleimane, a 15-year-old courier who roams Beirut and its suburbs on his scooter, called Shankaboot; Roueida, a young woman who fled a violent husband and is trying to become a singing star; Chadi, her best friend with a shady background, etc. These characters and many others, whose roles are played by professionals and amateurs alike, find themselves caught up in adventures blending comedy and tragedy, reflecting the daily life of the Lebanese capital with all of its contradictions: tension and friendship, traditionalism and modernism, chadors and mini-skirts, luxury and poverty.
The five seasons available online comprise some thirty episodes, each 4-5 minutes long. The production house bore in mind the unsatisfactory Internet connections currently available in Lebanon for quick and effective downloading of the episodes. These have been dynamically edited with a realistic screenplay and music composed by various young Lebanese artists likeRayess BekMashrou3 LeilaZeid Hamdane, and Tania Saleh. The dialogues are in Lebanese dialect and the plots attract an audience of young people keen to get away from locally-produced televised series and imported series – Turkish and Mexican particularly – dubbed into literary Arabic. In fact, Shankaboot shuns artificiality and features familiarity and naturalistic interpretation so as to better encourage identification of viewers with the characters in the series. One of the fans of the series commented on Facebook: “This is the first Lebanese and Arabic series with realistic dialogue, screenplay and acting”.
Each episode is accompanied by a short comedy show, Waheed El-Booz, which presents the twists and turns in the life of a Beiruti electrician named Booz. The interactive features on the Shankaboot Website are in Arabic and English, both games (point and click) and the sharing sites of Web users eager to propose new ideas for future episodes, or even Shankactive, a platform that allows users of the Shankaboot site to create their own stories using a variety of audiovisual tools. The most successful of these is Srilankieté Libnanié, which reverses the roles of a Lebanese woman and her Sri Lankan housekeeper. It should noted that the principle of interactivity was also recently used in an online cartoon, along the lines of Sarab, the first Arabic cartoon production whose hero inhabits a fantastic imaginary world and has the course of his life decided by the Web viewers. The project won the 2011 prize for best online content in the Arab world in the entertainment and games category of the World Summit Award, an initiative of the United Nations.
During an interview at Batoota Films in Acrafieh (Beirut, Lebanon) in June 2011, Tony Ovry, the director of the Shankaboot project, said: “Shankaboot is relayed via Twitter, Facebook and YouTube and by other information sites and social networks (…). The project is well received both by the local audience (the Lebanese represent at least 65% of the visitors) with an average age of 16-40 years, and by the regional (Egyptians and Jordanians mainly) and international public (especially North America and France). […] Less than two months after we started broadcasting, the 11 episodes of season 1 had been viewed more than 24,000 times on YouTube. To date, we have had more than 800,000 viewings on Youtube and more than 24,000 fans on  Facebook. The most popular has been viewed over 60,000 times. The site shankaboot.com has already received more than 130,000 hits – at an average of 3,000 per day. At the Digital Emmys 2011, it was awarded the top digital fiction prize in the category Digital Program: Fiction – in competition with high quality multimedia productions from the UK, the Netherlands and Brazil."


 BREAKING TABOOS, ONE OF SHANKABOOT'S AIMS

For the fans talking mainly on Facebook, Shankaboot is also “a series that deals with sensitive subjects of great importance in the Arab world”. In fact, for the project’s producers, one of the major objectives is to break a range of taboos at both local and regional level, topics that are not debated – or only rarely – on the radio and television: prostitution, corruption, poverty, drugs, denominationalism, discrimination against foreign workers, sexism, violence towards women, etc. The debate on women and the adherence to particular faiths, addressed by Web users on the Shankaboot Facebook page, reveals the existence of many stereotypes, and the consequent urgency of promoting respect for religious and cultural diversity and creating conditions conducive to greater dialogue.
Moreover, one of the messages carried by the Shankaboot project is the importance of information and communication technologies in constructing a climate for dialogue and building bridges for understanding. In these terms, the project aims at fostering freedom of expression and human rights, and encouraging young people to use new technologies, and the Internet in particular, to promote their world view and peaceful practices. Alongside the project, offline activities are organised around the “Shankactive” concept, such as storytelling workshops and digital audiovisual projects for young people, school visits and cultural events – in Lebanon, Syria and Jordan.

 The project aims at fostering freedom of expression and human rights and encouraging young people to use new technologies and the Internet to promote their world view and peaceful practices. 
Accordingly, Shankaboot forms part of the social network movement like Facebook, Twitter, YouTube, etc., which are increasingly used in the Arab world as platforms for fighting for democracy and  fundamental freedoms, accompanying the cultural and political revolutions taking place in the societies of the region.
OBSTACLES AND FUTURE PROSPECTS

Web dramas and the Shankaboot project in particular face a number of obstacles in the Arab world, such as the slowness of Internet connections compared to international standards, hacking attacks, censorship and the lack of funding for local productions. As a result, the sluggishness of the Internet connection in Lebanon, for example, does not allow for the development of episodes lasting more than five minutes each.  In a recent interview, the former minister of Telecommunications, Charbel Nahas, looked forward to an upsurge in  the digital and telecommunications fields, thanks to the completion in the near future of fibre optic projects and 3G technology. While the shortcomings of the network will be dealt with imminently, in the meantime, the Lebanese Web has become a primary means for political, economic and media players, and particularly young Lebanese and Arabs, to promote their individual institutions and initiatives and achieve their objectives in terms of democratisation, social justice and the respect for fundamental freedoms.
As for censorship, it is still practised by several governments in the Arab world and the Middle East. Nevertheless, it is often circumvented, as was the case in the recent uprisings in the region, based partly on the use of social networks, mainly Facebook and Twitter. Indeed, the producers of Shankaboot, who have faced attempts at censorship from certain government authorities – beyond Lebanon – as well as hacking attacks, have managed to cope, according to Tony Ovry, by relying on “their imagination”. This includes broadcasting episodes on several platforms, such as YouTube and across the blogosphere, anti-hacking techniques, and adapting the content of workshops for young people to the standards of the countries concerned.
Furthermore, imagination, even creativity, constitute – according to the producers of Shankaboot and many other young Lebanese and Arabs up to speed on digital storytelling – a major challenge to the Turkish and South American programmes for which the cost of dubbing into Arabic remains below that of a local quality production. This is also the case with reality TV programmes, particularly popular programmes which, like Super Star and Star Academy, are imported and broadcast by satellite to viewers from Morocco to Iraq.


 
Leading actor of the series, Assan Akil (Suleiman).
Photo taken during a shoot.
The question of financing independent local productions remains unsolved. An alliance with major Arab media groups ready to invest in projects that for them represent a great marketing lever for capturing new audiences would not come about without a loss of independence and freedom of expression. Consequently, what is to be feared is a loss of values in terms of narrative innovation and editorial input, as is the case with digital storytelling when produced by brands whose primary objective is to serve their own interests – unless they are not the originators of the creative process, but associate their image with the transmedia experience proposed to the public.
According to Toni Ovry, “despite all these obstacles, the future of Web dramas in the Arab world looks promising, as is borne out by the success of the Shankaboot project and the outstanding sociocultural impact it has had. However, the movement is only just beginning, and we will have to prove that there is potential for the long-term survival of the local transmedia productions and new storytelling genres up against the traditional mentality of the entertainment and media industry. One thing is sure: storytelling has a great future ahead of it given the abundance of stories to tell in the Arab world”. 


Translated from the French by Christopher Edwards.

To go further:    
- Video presenting the Shankaboot project : "Shankaboot in a Nutshell";
The Shankaboot project team, including:
       • Katia Saleh: producer;
       • Amin Dora: director.

--
 Illustration credits:
- Shooting photos, 
Batoota Films;
- Poster presenting Shankaboot, 
Shankaboot.com.

Sunday, December 11, 2011

A Revolution of Mentalities in the Arab World?



Dr. Pamela Chrabieh Badine 
('Revolution', Oil and Acrylic on Canvas, 2011)

Am I denying what is defined as the 'Arab Spring'? In a way, definitely! Especially following the Tunisian and Egyptian recent elections (Autumn 2011). There are individuals and groups of activists who are truly fighting for equality, justice, conviviality and pluralistic nations... Unfortunately, a minority in a sea of fundamentalism and extremism.

Changing the political regime isn't the solution to a nation's crisis. A revolution must happen in mentalities,  world-views or ethos ('visions du monde') and in practices. How can it be possible when a 'certificate' of doctrinal allegiance takes the place of a genuine 'diploma' of culture? How can the development of audacious and autonomous minds not be impeded by the pressures of ignorance and hatred? 


A vibrant intellectual and political intelligentsia is a must... However, it easily collapses when it seeks power and uses the same techniques/approaches as the 'oppressors'. It disintegrates when it is not founded on sustainable basis. Its influence fades when its core message isn't properly shared.  

The revolution of mentalities is not essentially a political phenomenon, but a spiritual and psychological one, though its field of expression and its fundamental instrument is political action. When it occurs, individuals are capable of remodeling societies. They become agents or bearers of a better future, without considering themselves to be above all judgement by present or past humanity - or being accountable only to the 'court of History'. 

The revolution of mentalities doesn't mean a totalitarian and universally expansive phenomenon. It doesn't intend to submit all aspects of human life to its power. It doesn't only mean 'coming out of the status quo to a better or worst status'. It isn't only 'the change that a people can make through its tools such as the armed forces or through some historical characters so as to meet the ambitions of changing a regime incapable of meeting these ambitions'. It aims at a progressive change in visions, practices and relational dynamics while recognizing  the plurality of differences within a nation; it aims at building bridges in order to implement unity in diversity.

The miracle still has to happen...

Friday, September 02, 2011

LA JEUNESSE CHRETIENNE MOYEN-ORIENTALE: ARTISANE DE PAIX



Jeunes universitaires (USEK, Liban, Hiver 2011) - Atelier 'Construction de la paix'
Cours de Dr. Pamela Chrabieh Badine

Le Moyen-Orient ne se réduit pas à un espace de conflits et de polémologies, mais il présente aussi de multiples lieux où s’inventent et se réinventent des protocoles de paix, de négociations, d’ententes et de convivialité. Une partie de ces lieux est investie par les initiatives de jeunes chrétiens : artistes, journalistes, internautes, écrivains, activistes au sein d’organismes non-gouvernementaux, membres de groupes de dialogue interreligieux et interculturel, membres de pastorales universitaires… Les luttes de ces jeunes démontrent que les sociétés civiles moyen-orientales ne sont pas faites que de désespoir et d’affaissement socio-politique, mais aussi de volontarisme social et politique et de capacité d’agir sur soi-même et sur l’environnement.
Toutefois, et afin d’élargir ces lieux de paix, l’ensemble de la jeunesse chrétienne est appelé à tirer les leçons des guerres successives qui ont marqué l’histoire du Moyen-Orient, à briser la culture de la guerre, à créer des lieux de réconciliation entre une diversité d’appartenances, qu’elles soient ethniques, religieuses, politiques ou sociales. Cette jeunesse est appelée à opérer un retournement d’attitude de la victime à celle d’une responsabilité partagée qui favorise une citoyenneté actrice de paix. Elle est donc appelée à témoigner de sa foi en devenant artisane de paix.
En ce sens, elle contribuerait à assigner au fait religieux - le fait chrétien au Moyen-Orient -  sa fécondité culturelle et ses apports pertinents dans la définition et le fonctionnement de la dette de sens. Il serait ainsi possible d’édifier un vivre ensemble en tant que communion qui proviendrait de l’intérieur des espaces confessionnels-religieux (intra-catholique en particulier et intra-chrétien en général), et qui s’élargirait à l’interhumain; une communion qui permettrait de désapprendre ce qui fut inculqué. Désapprendre n’implique pas d’être en rupture totale, ni d’adopter une pédagogie libertaire, mais de favoriser des lieux de questionnement, et de là, de création suivant une démarche critique et ouverte.
Dans l’Apocalypse de Jean, Jésus-Christ ouvre la voie au Salut. Pour l’apocalypse moyen-oriental, c’est en fonction de la communion plurielle que pourraient se dessiner les multiples visions de l’avenir portées par des sociétés complexes, changeantes et traversées par des dynamiques identitaires polymorphes. En d’autres termes, seule cette communion serait capable de prolonger l’itinéraire humain à voix multiples, en tenant compte du flou des frontières, et cet autre encore à advenir, qui nous échappe. Grâce à cette communion, il serait possible de construire et de renforcer au Moyen-Orient des espaces communs, des intelligibilités communes, sans nier les spécificités, ni ériger celles-ci en singularités absolues. 

Monday, August 22, 2011

SHANKABOOT OU LE SUCCÈS DU WEB DRAMA, UNE PREMIÈRE DANS LE MONDE ARABE

Mon article sur Inaglobal!


Photo du tournage de Shankaboot
Véritable première dans le monde arabe, Shankaboot est une série interactive diffusée uniquement sur le Web. Elle s’inscrit dans le concept du Web Drama (Web-série) qui fait déjà fureur aux États-Unis et en Angleterre.


Shankaboot est la première Web-série interactive dans le monde arabe. Elle a récemment remporté le premier prix dans la catégorie « Programme numérique - fiction » aux sixièmes International Emmy Awards, en avril 2011. Produite en arabe dialectal – le libanais –, elle traite de problèmes sociaux tabous dans le monde arabe et ouvre les portes de l'échange d'opinions parmi les jeunes internautes de la région.
lire la suite sur inaglobal...