Culture Resource is pleased to announce the grantees of the 2024 round of the Production Awards which aims to promote and encourage a new generation of artists and writers from the Arab region by supporting their first creative projects in music, cinema, literature, visual arts and performing arts. The program team received 386 applications of which the jury selected 28.
Literature
Amira Badawy, Egypt / Writer
Publishing of the novel “Margins from the Subaltern Records”
The novel weaves together three journeys from Subaltern Records, where playing the Nay instrument serves as their connecting thread during three distinct times in Egypt’s history, aiming to unveil the untold stories of those marginalized. The first journey unfolds at the beginning of the 21st century with a rural girl, whose innocent eyes bear witness to a groom who has publicly exposed his bride’s hymen on a napkin. Moving to a slave ship from the 19th century, we follow the escape journey of the bondmaid “Khaleda” then the story of a peasant’s rebellion against the soldiers of Muhammad Ali Pasha escaping conscription in his army. Afterward, we learn about the story of laborers riding a trailer, their service in the army during the October War in 1973, and how they survived it. Because it is a never-ending story of escape, we return to the rural girl, now matured on the threshold of Tahrir Square in 2011.
Hana Metwaly, Egypt / Writer
Publishing of the novel “Fleas’s Village”
The novel employs modern and innovative narrative methods to shed light on an important period in Egyptian history between the First and Second World Wars; the period that witnessed the English occupation of the country, and how it worked on distorting the identity of Egyptians and dispelling their cultural and moral heritage through acts of impoverishment, addiction and the provision of drugs and alcohol.
The novel also highlights the prevalent issue of prostitution and the exploitation and degradation of women, which was normalized by society.
Judy Al Rashi, Syria / Writer and actress
Publishing of the narrative text “The Father”
A narrative text, presented in both classical Arabic and Syrian dialect, blends narrative writing and playwriting and delves into the acting profession across three generations of a single family. Judy holds the thread of the story as she discusses career, family, memory, and politics with her father, the actor Mohammed Al Rashi, during her exile in Marseille. Judy embarks on a reflective exploration of her decision to pursue an acting career through a gradual journey to the past and back to Syria, leading her to reminisce about the Syrian theater during the 1960s, when her grandfather, Abdul Rahman Al Rashi, decided to enter the realm of theater before becoming one of Syria’s most renowned actors.
Rasha Shehadeh, Jordan / Writer and researcher
Publishing of the pocketbook “User Guide: How to find the Ghouls, then – not – Kill Them”
The book contains game instructions inspired by folktales and their narration style, exploring the genesis, transmission, and continuity of oral tales. We actively participate in the story as we embark on a quest for both identity and the story itself, navigating between the realms of fantasy and reality. Our overreaching mission is to search for the ghouls who are well hidden in the peripheries of the story. The writer provides instructions about the guide: “I will ask you to take steps to plunge into the story and look for the ghoul yourself. Be brave, do not be afraid. You have all the necessary knowledge to find and kill it. Upon completing your research journey, share your experience with us. Where did you choose to wait for the ghoul? How did you detect its presence? What did the ghoul look like and what did you talk about? Who helped you? And what was your strategy to eliminate it? Don’t forget to start your story with a labyrinth and end it with: «I have shared my story with you, and now it’s yours to carry.» Whoever seizes it shall weave their own story”.
Samir Skayni, Lebanon / Journalist and writer
Publishing of the book “The Grave Beneath the Sidewalk”
This study follows the trajectory of the “atrocious” as it manifests in contemporary society, tracing it from its eruption and spread during the civil war in Lebanon to its recalling in the present time of collapse. The project is a crossover between a journalistic, historical, and theoretical study, with some novel features. It engages testimonies and oral histories, literature of war and peace in Lebanon, as well as contributions by other writers. The project’s main contribution is not its review of the war, but the vantage point it adopts to look at history and the present. Namely, the perspective of someone writing about this period from the outside, not as a witness of war, but as someone living in Lebanon in the present and witnessing the atrocities, massacres, collapses, and revolutions happening in close proximity. The generational standpoint is central to this approach. As such, the book reviews a past massacre while trying to anticipate an imminent one.
Jury
Kadhem Khanjar, Iraq / University professor
Liana Badr, Palestine / Writer, director, and journalist in the field of cultural criticism
Yassin Adnan, Morocco / Writer and university professor
“Profound projects that balance between subjectivity and objectivity in analyzing the current Arab landscape. They strive to devise innovative methods and techniques that foster contemporary cultural and literary expression.”
– Kadhem Khanjar
“Certain joys are intertwined with moments of anguish. Among them is the satisfaction of engaging with remarkable literary and artistic projects crafted by Arab talents, whose works resonate deeply with us. Projects that are filled with promises and aspirations. Yet, choosing among them is difficult and daunting (…) There’s nothing more agonizing than being compelled to choose within narrow confines, between aspirations that are as expansive as the universe for motivated creatives at the peak of their potential.”
– Yassin Adnan
Cinema/Video
Anhar Salem, Yemen / Multidisciplinary artist
Production of the hybrid documentary “Will We Grow Old Together?”
The film tells the story of a long-distance relationship between Vladimir and Anhar in Saudi Arabia. Through their shared love for cinema, they connect online to watch films together. This shared passion leads to the development of an intimate relationship, where they share reflections about their existence, bodies, and identities. In the film, Vladimir and Anhar recreate their first online encounter through phone calls, texts, and video letters.
Aya Debes, Lebanon / Fine artist and animated film producer
Production of the short animated film “Beirut on the Balcony”
A short 2D animated film depicting an unexpected relationship between an elderly woman and a young girl on two parallel balconies in Beirut. For the elderly woman, the balcony serves as her gateway to the outside world, as she is trapped inside her house because of the power outage that prevents the operation of the elevator in the building. Meanwhile, the young girl’s balcony serves as a space to take care of her mental health by growing flowers and plants.
Dilpak Majeed, Iraq / Writer and director
Production of the full-length documentary “My Mother & I”
In a war-ravaged village, a woman in her seventies defies societal expectations and clings to her isolated life alongside her mother and her sheep, with whom she shares an exceptional bond. But when her mother falls ill, she sets out on a journey to rediscover her courage amidst the challenges of loss, isolation, and the pursuit of a new beginning.
Firas El Hallak, Lebanon / Audiovisual artist
Post-production of the full-length experimental documentary “The Dome Sessions”
The experimental documentary focuses on the unfinished dome of the Rachid Karame International Fair in Tripoli, Lebanon, conceived and designed by renowned Brazilian architect Oscar Niemeyer in 1962. Filmed across 5 days and featuring over 8 acoustic performances recorded inside the dome, the film is an experimental essay on the interplay of dualities between architecture and sound, past and present, life and death, adaptation and rejection. The film evokes implicit similarities and parallels between the fate of the dome as an abandoned, unfinished structure and the fate of Lebanon as a failed state in crisis, both requiring a certain level of adaptation for continuity and survival.
Hussein Hussam, Egypt / Writer and director
Production of the short feature film “The Day I Lost My Name”
Two fourteen-year-old twins, Mahmoud and Sayed, go out fishing in a secluded area on the banks of the Mediterranean. Mahmoud catches a fish using his father’s fishing rod, sparking a violent fight between the twins, as each hopes to offer it to their father. The fight ends with Sayed drowning, leaving Mahmoud forced to break the news to his family. Upon hearing the news, the boys’ father goes into shock, consumed by complex grief, deliriously convinced that it was Mahmoud who drowned, not Sayed. The boy and his grandmother fail to convince him otherwise, and Mahmoud is left to grapple with the reality of his father’s preference for his twin Sayed. The father calls Mahmoud by his brother’s name, which leaves Mahmoud struggling to accept his new identity. However, when he feels the warmth of his father’s exclusive love, he takes extreme measures to embrace it in order to secure his father’s affection.
Nicolas Khoury, Lebanon / Documentary filmmaker and editor
Production of the full-length documentary “Souraya Mon Amour”
Souraya Mon Amour dives into the world of Souraya Baghdadi and her relationship to her late husband director Maroun Baghdadi thirty years after his death. Drawing on footage from the film where the two first met, Little Wars (1982), personal archives, and interviews, the film explores the relationship Souraya has established with her body after years of dancing and meditation, questions the concept of mourning and resumes its main focus’s interrupted conversations with Maroun.
Rama Abdi, Syria / Director
Production of the full-length documentary “House Number 7”
After fleeing their abusive family homes and conservative societies, three girls meet and rent rooms in an old Damascene house located in one of the most progressive parts of Damascus, the Bab Touma neighborhood. House number 7 – isolated from reality – witnesses the everyday lives of the girls and their journey of self-discovery as they experience a sense of freedom for the first time in this place. However, their peace begins to be increasingly disturbed due to events that occur outside their home, thus protecting their fragile space becomes a challenge.
Jury
Amal Ramsis, Egypt / Filmmaker
Nejib Belkadhi, Tunisia / Filmmaker and producer
Rania Stephan, Lebanon / Artist and independent filmmaker
“We were amazed and delighted by the remarkable boldness evident in numerous projects, both in their content and cinematic expression. This shows the emergence of a new generation of Arab filmmakers, demonstrating their efforts to shape a cinematic language that defies conventional norms.”
– Amal Ramsis
“I’ve been extremely pleased by the quality of the submitted projects. I’m looking forward to watching these films and meeting with their amazing creators.”
– Nejib Belkadhi
“As a filmmaker, I’m always interested and curious to see what the younger generation’s concerns and approaches to images and cinema are. And as a jury, I was taken aback this year, to see how extensively our youth, in the majority of the Arab world, has now gone through violence, war, exile and trauma. At the same time, despite our cataclysmic region, there is a dynamic will to do something about our harsh realities, through different creative means and visual forms that are rich and impressive.”
– Rania Stephan
Visual Arts
Ahmed Merzagui, Algeria / Visual artist
Production of the photography book “Your Life Is A Career (The Boutefteens)”
Ahmed Merzagui belongs to what is called the “Real” Generation that lived in Algeria during the Dark Decade, in the middle of gunshots, fateful fear, riffles, blood, and fratricide. It is the generation of the 80s and 90s, Algeria’s millennials who missed out on their childhood or adolescence and lived through the “terrorism era” without truly understanding it. Their collective memory is marked by horrors, and their Algerian identity is forged by a bloody and dark chapter of history. The new generation in Algeria was born in an era of peace and stability; Abdelaziz Bouteflika’s presidency. It is the Algerian Gen Z or the “Boutefteens”, as the artist likes to call them. Boutefteens were utterly disconnected from politics and decision-making and lived their whole life under the same regime until 2019, when a will for change exploded; The Hirak movement. For “Boutefteens”, an entire life in peace was ironically just a presidential career. The book is a journey and an exploration of young people’s emotions and ways of thinking. It is a study of the emerging Algerian identity, a look at the differences, a transmission of facts, and a link to political events and future viewpoints.
Ali Zaraay, Egypt / Visual artist and photographer
Production of the multimedia documentary project “Crawling on Dust”
An interactive exhibition and web documentary that maps an eight years long journey with Haj Hani Salim – the artist’s befriended gate to the Nomadic Bedouins in Egypt’s Delta – where they collaboratively explore how new roads and bridges not only demolished what he knows of the city but also ironically blocked the nomad’s centuries-old movement in the Delta. The project looks into the urban memory of the Nomads to counter-map and express an alternative narrative of “the road” and the “home”. Both Hani and the artist “crawl on dust” and follow dreams and meanings that are as unstable and uncertain as dust, and they both become suffocated by the sprawl of urbanization. Through photography, maps, sound, texts, and archival materials, this project reimagines a different relationship between static photography and performance.
Amina Kadous, Egypt / Visual artist
Production of the photography book “White Gold”
As part of a multilayered, long-term search for identity amidst Egypt’s changing socio-political and economic landscapes, the artist interweaves her personal, familial, and national histories with the history of Egyptian cotton. She documents the fading fabrics, traditions, culture, and symbols of the past, offering a lens through which we can shape how we view ourselves. Amina tells the story by incorporating her grandfather’s archive and her photographs, to go back to her roots and family tree, to her land, her grandparents’ house, and her hometown El Mehalla Al Kobra city that was once called the Castle of Industry. Her story aims to open up discourses around origin, memory, personal trauma, abandoned history, land use and preservation, and the battles we fight within us as we try to place ourselves in a constantly ever-changing world.
Diyae Bourhim, Morocco / Visual artist
Production of the video installation “O Blossom in My Mind”
“O Blossom in My Mind” is a video art installation that demonstrates the process of archiving the vernacular and the perpetual reinterpretation of familial histories. With the artist’s aunt, Zoubida, and other family members, the work unfolds collective methodologies to understand the essence of archiving. The house is carefully transformed into a resonating chamber of remembrance that captures the essence of family constellations, intimacy, love, conflict, belonging, and resilience. It invites us to take part in the act of archiving, remembering, dismantling, and reassembling our narratives, to perceive the archive through the kaleidoscopic lens of multiplicity.
Huda Zikry, Egypt / Visual artist and researcher in Art History
Production of the research book “How to Be Together?” (Working title)
The project stems from extensive research questioning the nature of artists groups/collectives. Through a series of interviews with collectives from various social and economic contexts, Huda proposes the artist collective as a viable and radical alternative with the potential to overcome the obstacles facing cultural production.
Khaled Al Attar, Syria / Fine artist
Production of the illustrations book “Marat-sade in gayle”
A book of illustrations inspired by the play Marat-Sade by Peter Weiss. The book presents the civil war between the two armies of the revolutionary Marat and the anarchic Sade, who lead the war not to achieve victory, but to profit from the conflict without the intention of ending it.
Jury
Huda Lutfi, Egypt / Contemporary visual artist and historian specializing in Arab-Islamic civilization
Vartan Avakian, Lebanon / Visual artist
Zied Ben Romdhane, Tunisia / Photographer
“One of the points that I have observed in the applications is the description of the artist’s project, many of these lack how the artist is going to execute the idea described for the project intended. While we cannot judge the artists by their writing, they may seek help in writing about their ideas and how they will execute them.”
– Huda Lutfi
“The evaluation process carefully examined the concept, process, methodology, and form of each project, alongside its social and political relevance. While we considered the quality and feasibility of the applications, the artists’ practice, rigor and dedication also guided our decision. We hope the selection reflects the richness of the art scene in the Arab world, across generations, genders, geographies, artistic practices, as well as the fundamental inquiries and genuine interests that motivate it. Personally, experiencing these projects both individually, and collectively through group deliberation, was incredibly enriching. I look forward to encountering these projects again in public settings, where they can be appreciated by a wider audience.”
– Vartan Avakian
“The projects’ diversity is considered a positive aspect during this round, showcasing a multitude of ideas and experiences. However, applicants should be more clear when describing and detailing their projects while avoiding generalities to ensure their success.”
– Zied Ben Romdhane
Music
Fatma Hamed (Dada), Libya / Singer, songwriter, guitarist, and multidisciplinary artist
Production of the music video, visual artwork, and album “Wanessny” (Working title)
The project involves producing an album consisting of six to eight songs, along with a music video and a visual work that simulates and expresses the themes discussed in the album. The topics revolve around displacement resulting from wars and recent disasters in North Africa, particularly in Libya, and their impact on society, mental health, gender, and culture, with a particular focus on women. The project involves collaborations with music producers and highlights local artists, especially Libyan female artists, as well as other Arab female artists, showcasing their stories, perspectives, and empowerment in the artistic field through artistic production and financial support. This project aims to enrich the Libyan music archive and provide an opportunity for Libyan and Arab music production. The project will incorporate different music genres such as jazz and R&B, and blend elements of Libyan culture, such as Tuareg and Amazigh music, with the aim of creating a valuable and diverse album.
Omar Rahbany, Lebanon / Composer and producer
Production of the album “Piano Concerto No.2”
Piano Concerto No.2 is a composition incorporating diverse musical styles, rooted in classical music, harmony, and melodic Lebanese/Arabic phrasing with modern grooves. The outcome is an application designed for listeners to dynamically engage with the composition.
Salwa Jaradat, Palestine / Music researcher
Production and launch of the album “Tajawor Sufi”
“Tajawor Sufi” draws inspiration from female theosophists and poets in the Arab region and features a blend of experimental and improvised music. The project focuses on fostering spiritual harmony within the ensemble, as the musicians crafted finely-tuned and experimental music during their artistic residency at the “Hammana Artist House” in Lebanon. The group consists of five talented musicians: Salwa Jaradat (vocals, composition, and project management), Sham Salloum (Oud and composition), Makram Aboul Hosn (double bass and composition), Ali El Hout (percussion), and Rafaeel Haddad (Oud, soprano, violin, and composition). Their creative process commenced by reading poetry and understanding the mystical state and led to 7 poems ready to be launched following an experimental performance.
Sarah & Ismael, Morocco / Music band
Production of the album “NEKKI”
The album “NEKKI” celebrates the unique Amazigh language and cultural heritage by employing acoustic instruments. It delves deep into the inner self, discovering a range of emotions and experiences that Sarah and Ismael went through over the years.
Toni Geitani, Lebanon / Sound designer, music producer, singer, and composer
Production of the album “All That Remains is Vanishing”
In the haunting echoes of Beirut, “All That Remains is Vanishing” emerges as an electronic experimental album, offering 17 evocative pieces that paint an eerie yet compelling sonic portrait. Oscillating between deep and apocalyptic undertones and their lingering echoes, the music seamlessly intertwines Arabic vocals with contemporary digital processing. This journey captures the essence of hauntology, a concept that explores the ghostly and the spectral. The album incorporates repurposed regional samples, processed classical instruments, and non-linear rhythms to craft its evocative soundscapes. The album invites listeners into a sonic realm that traverses the liminal spaces of a once-thriving city. It juxtaposes the spectral remnants of its vibrant past with the ominous specter of an impending apocalyptic future.
Jury
Feriel Bouhdiba, Tunisia / Composer and Oud player
Hasan Hujairi, Bahrain / Music composer, artist, and writer
Yara Mekawei, Egypt / Sound researcher and electronic music composer
“To all the grantees of this round, I extend my heartfelt wishes for success in realizing their projects with consciousness and dedication. And to those who were not selected, I offer them my full encouragement, especially considering the high quality of many submitted projects deserving completion.”
– Feriel Bouhdiba
“This round’s applications reflect the diverse musical landscape across various parts of the Arab region and its diaspora. It’s remarkable to see the diversity of musical genres, with a notable presence of women in music production. I hope to see further experimentation at both the conceptual and production levels in music and audio arts. I would like to thank all those who applied for the grant and wish everyone continued success and innovation.”
– Hasan Hujairi
“In the intricate tapestry of artistic creation, the journey of selection often leads us through myriad expressions of talent and vision. As a jury member, navigating the vast expanse of applications from the vibrant landscape of the Middle East, it becomes evident that each submission is a testament to the rich reservoir of creativity within our region. While only a select few projects receive the embrace of our support, let it be known that the decision-making process is guided by a quest for innovation, depth, and transformative impact. To all the applicants whose proposals did not find their place among this year’s recipients, know that your artistic endeavors are cherished and valued. Crafting proposals is in itself an art form, a canvas upon which dreams are sketched and visions take shape. May your dedication and passion continue to fuel the ever-evolving narrative of Arab arts and culture. To the deserving recipients, congratulations on your achievement, may your projects be the catalysts for new horizons of creativity and inspiration. As we chart the course of our artistic journey, let us remember that the past informs our present, guiding the currents of change that shape our collective future. Wishing all participants the very best in their ongoing pursuit of artistic excellence and cultural enrichment.”
– Yara Mekawei
Performing Arts
Ismail Erahhali, Morocco / Artist-clown
Production of the clown performance “Can You See the Boat Clearly?”
“Can You See the Boat Clearly?” is a contemporary clown project initiated by the artist-clown Ismail Erahhali and is a continuation of his collaboration with the scenographer Manon Terranova. They had previously worked together during the preparation of his final project at the Shems’y National Circus School in 2022. The project specifically focuses on the eye vision problems that both artists have shared since childhood, which have become the fundamental elements of this project, thus interconnecting their personal stories. The goal is to explore the concept of childhood through clowning to highlight how this period influenced their identities.
Lori Kharpoutlian, Lebanon / Dancer and architect
Production of the performance and installation “Looping, loading, falling out of time”
The project is a performance and audiovisual installation that presents a set of musings into the politics of waiting, as it manifests in digital algorithms, economic and political strategies, and the design of everyday objects and services. Through a process of sampling and juxtaposition, the work explores the temporal, psychological, and spatial tensions this bodily state creates, the state of waiting.
Motasem Abu Hasan, Palestine / Director, writer, and theater actor
Production of the theatrical performance “In Front of the Fire Line”
The project seeks to create a theatrical piece inspired by the personal story of the Palestinian journalist Bakr Abdel Haq. It highlights the intellectual development of Palestinian youth amid recent struggles, spanning from the Second Intifada to the present. The narrative delves into the contradictions experienced by the protagonist, exploring questions about patriotism, heroism, and the relevance of resistance. The play takes a whimsical approach to raising questions while offering realistic answers. It also examines corruption and personal interests versus the common good. The project employs an experimental approach and integrates theater, video art, and visual arts to build a historical memory of the Palestinian cause and deepen cultural awareness.
Mousa Nazzal, Palestine / Theater practitioner and director
Production of the theatrical performance “In Between”
“In Between” is a theatrical performance that looks into the world of former Palestinian prisoners who were freed from Israeli prisons. The work adopts a collaborative methodology, allowing participants to move between past, present, and future, delving into their memories to unveil the most prominent stories to share with their societies. The work explores grey areas between “freedom” and “captivity”, heroism, physical and psychological meanings of prisons and cells in Palestinian lives. By engaging the voices and experiences of the prisoners’ families, the project provides a more coherent picture of the collective experiences of the prisoners in Palestine.
Razan Alsayed, Palestine / Writer, dramaturge, and director
Production of the theatrical performance “A Very Light House”
The performance tells the story of “R” who decides to visit her wrecked house in a war-torn area. The performance starts with “X” preparing the rope to hang himself. He then hears the noise of something collapsing inside the building. “R” walks in, surprised to find him there, she tells him that the building’s stairs have fallen apart, and together they’re now trapped inside the house. They start fearing one another and begin to fabricate facts about their identities. “R” will claim that she is a municipality engineer who came to inspect the building, while “X” insists he is the owner of the place.
Jury
Laila Soliman, Egypt / Writer and theater director
Oussama Ghanam, Syria / Professor at the Higher Institute of Dramatic Arts in Damascus and director of Damascus Theatre Lab
Radouan Mriziga, Morocco / Choreographer and artistic manager at A7la5 organization
“Within these difficult times in the Arab World, it was very refreshing to see so many interesting applications. It confirmed that there is a very active younger scene who is challenging all the political chaos and ugliness.”
– Laila Soliman
“The Arab theater and youth production will greatly benefit if they can achieve a rich and creative balance between their contemporary performance practices, with all their variations and diversity, and the legacy of universal theatrical literature. This can be accomplished through authentic practices of dialogue, questioning the status quo, appropriation, adaptation, transcendence, and creativity.”
– Oussama Ghanam
“It’s important to highlight that the diverse and innovative projects revealed a deep social and artistic awareness. I would like to share with you the significance of embracing the beauty of unexpected simplicity and the value of partial freedom from predefined expectations of what we should produce, what forms our works should take, and how we should work. I invite you to break free from the constraints of our assigned roles and join me in drawing maps that do not always lead us to the conventional confines of the black box theater.”
– Radouan Mriziga
*Photo from the exhibition “Life Beyond the Self” by visual artist Christine Saftaly (Lebanon), supported by the #ProductionAwards program 2023.
