Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?

Bassma Reda Abou El Fadl, Mohamed Gamal Abdelmonem

    Research output: Contribution to journalArticle

    Abstract

    This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.
    Original languageEnglish
    Pages (from-to)444-470
    Number of pages17
    JournalGAU Journal of Social and Applied Sciences
    Volume6
    Issue number10
    Publication statusPublished - Aug 2014
    EventCAUMME II 2014 nternational Symposium on Architectural and Urban Research, Education, and Practice in the Era of ‘Post-Professionalism’ - Cyprus, Girne, United Kingdom
    Duration: 23 Oct 201425 Oct 2014

    Fingerprint

    art
    democracy
    Data storage equipment
    performance
    political group
    event
    faction
    collective memory
    social responsibility
    social stratum
    popular culture
    urban society
    recording
    social organization
    traffic
    narrative
    organization
    transform
    interview
    freedom

    Cite this

    Abou El Fadl, Bassma Reda ; Abdelmonem, Mohamed Gamal. / Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?. In: GAU Journal of Social and Applied Sciences. 2014 ; Vol. 6, No. 10. pp. 444-470.
    @article{8edd940bf39b4dde84c67f50e8021634,
    title = "Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?",
    abstract = "This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.",
    author = "{Abou El Fadl}, {Bassma Reda} and Abdelmonem, {Mohamed Gamal}",
    year = "2014",
    month = "8",
    language = "English",
    volume = "6",
    pages = "444--470",
    journal = "GAU Journal of Social and Applied Sciences",
    issn = "1305-9130",
    number = "10",

    }

    Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution? / Abou El Fadl, Bassma Reda; Abdelmonem, Mohamed Gamal.

    In: GAU Journal of Social and Applied Sciences, Vol. 6, No. 10, 08.2014, p. 444-470.

    Research output: Contribution to journalArticle

    TY - JOUR

    T1 - Revolting Arts or Spatial Democracy: Performances of popular arts during the Egyptian Revolution?

    AU - Abou El Fadl, Bassma Reda

    AU - Abdelmonem, Mohamed Gamal

    PY - 2014/8

    Y1 - 2014/8

    N2 - This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.

    AB - This paper investigates how spatial practices of Public art performance had transformed public space from being a congested traffic hub into an active and animated space for resistance that was equally accessible to different factions, social strata, media outlets and urban society, determined by popular culture and social responsibility. Tahrir Square was reproduced, in a process of “space adaptation” using Henri Lefebvre’s term, to accommodate forms of social organization and administration.205 Among the spatial patterns of activities detected and analyzed this paper focus on particular forms of mass practices of art and freedom of expression that succeeded to transform Tahrir square into performative space and commemorate its spatial events. It attempts to interrogate how the power of artistic interventions has recalled socio-cultural memory through spatial forms that have negotiated middle grounds between deeply segregated political and social groups in moments of utopian democracy. Through analytical surveys and decoding of media recordings of the events, direct interviews with involved actors and witnesses, this paper offers insight into the ways protesters lent their artistry capacity to the performance of resistance to become an act of spatial festivity or commemoration of events. The paper presents series of analytical maps tracing how the role of art has shifted significantly from traditional freedom of expression modes as narrative of resistance into more sophisticated spatial performative ones that take on a new spatial vibrancy and purpose.

    M3 - Article

    VL - 6

    SP - 444

    EP - 470

    JO - GAU Journal of Social and Applied Sciences

    JF - GAU Journal of Social and Applied Sciences

    SN - 1305-9130

    IS - 10

    ER -