How Individuals, Social Media and Al Jazeera Are Changing Pakistan, Egypt and Tunisia
This book explores social media as an alternative channel of communication and resistance in Pakistan, Tunisia and Egypt, and argues that the term "Arab Spring" limits the scope of acknowledgement for the ongoing online and offline political uprisings in the Muslim World, which started beyond the geographical boundaries of the Middle East. Beginning with an exploration of the pivotal role of Al Jazeera and how it used social media content from protestors to make the uprisings a global conversation, this book takes readers through an overview of creative political protests in each of the three case countries, before delving into an in-depth examination of a specific icon that sparked each revolution in question, and an overview of social movements and the politico-cultural context in each country. In closing, this book offers an understanding on how the new collective memories of nations using social media to protest will affect future generations who are striving to rise against authoritarian regimes, including the Algerian Spring that is ongoing in 2019.
This book can appeal to a wide range of audiences, both inside and outside the academic world. Within academia, courses covering topics such as social media, social movements, comparative politics, Middle Eastern studies and global communication could use this book as a learning tool. In non-academic settings, journalism practitioners could benefit from this book to examine how social media can be an alternate media in the absence of traditional media, and how traditional news media outlets can collaborate with and utilize social media to perform their journalistic duty in oppressive regimes.
2 Creative Protests
Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man’s emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity. (Leo Tolstoy, in his essay “What is art?” as quoted by Popova, 2012)
Creative protests in media and communication studies are relatively new phenomena that has opened a unique window of opportunity for mass media scholars to better understand the political power of the arts when studying the role of communication in social movements. The rise of social media and the ability of protesters to produce, publish and share their creative messages with wide audiences has spurred the growth of creative protests in several parts of the world, including Pakistan, Egypt and Tunisia. This chapter presents three case studies, one from each of the aforementioned countries. It examines how the artists in question became a voice of protest in their respective settings, as well as how social media contributed to these artists’ ability to share their messages of creative protest and thus gain more recognition.
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