Two Ways into Bara, by Zahreddine: Speaker of the Baran Tribe

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Go to the street, ask for anything, it will be given to you.

BARA will have seized the monarchies and set their palaces ablaze.

There is a fellow population suffering.

To have lived it, later generations will assume it caused great conflict of the heart.

But, take my trials, they are too good for me.

Remember, the videos passed around.

am guilty.

There is nothing left to say.

White sheets compound the pavement.

Chemicals in the territory.

The revolution is a farce.

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Youssef Rakha: Three Times Cairo

One: Instagram Dreams

Sleep-deprivation is like being high. I know because I was high for a long time, then I started sleeping irregularly. It’s supposed to have something to do with lack of sugar in the brain, which is also the theory of what LSD does to consciousness. Things grow fluid and dreamlike, but at the same time there is a paranoid awareness of motion and a heaviness in the heart. Colour and sound become a lot sharper, and time feels totally irrelevant. Normal speed is fast but fast can pass for normal. A moment lasts for days, days can fit in a moment. Talking and laughing are far more involving, especially laughing. The grotesque animal implicit in each person comes out, sometimes messing up the conversation. And then it’s as if you have no body. As in the best music, an uncanny lightness balances the overriding melancholy. There is joy in flying when you don’t need to move. All through this, what’s more, every passing emotion turns into an epic experience.

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Omneia Naguib: The Simpsons in Cairo

And yet your shadow isn’t following you anymore. At some point your shadow has quietly slipped away. You pretend you don’t notice, but you have, you’re missing your fucking shadow, though there are plenty of ways to explain it, the angle of the sun, the degree of oblivion induced by the sun beating down on hatless heads, the quantity of alcohol ingested, the movement of something like subterranean tanks of pain, the fear of more contingent things, a disease that begins to become apparent, wounded vanity, the desire just for once in your life to be on time. – Collages

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Shayma Aziz: A State of Body | أجساد شيماء عزيز

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Always a Place for the Still Frame: David Degner on Practice, Vision, and the Future of Photojournalism

David Degner is a Cairo-based freelance photographer represented by Getty Reportage and the co-editor of the Egyptian photo story magazine, Panorama by Mada Masr

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In an age when video journalism is increasinly paramount and printing is arguably no longer necessary, how do you feel the still image is still pertinent to documentary or news work?

Video journalism serves its purpose and is growing as it is easier to create and distribute, but photos haven’t lost their power in this new environment. A single strong image can be viewed and summarize a situation in seconds. In our fast paced world there will always be a place for the still frame.

Do you think documentary and art photography are important for the development of photo journalism? Is there enough of that going on in Egypt (with the Cairo Image Collective, for example) to create a photographic culture?

As a photojournalist I often steal style from art and commercial photography.  We must be aware of their modern visual language in our work to stay relevant and interesting.  But even though the internet has broken down barriers it can be impossible to find many documentary or art photo books in Cairo.  While in the west you can pick up a thick fashion magazine at almost any store and get inspired by the commercial portraiture it takes conscious effort for photographers to suss out inspiration in Egypt.

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“Egypt before the Revolution”: Per Munther’s Leica

Cairo, 15 January 1850

[…] Here we are then, in Egypt, the land of the Pharoahs, the land of the Ptolemies, the kingdom of Cleopatra (as they say in the grand style). Here we are, and here we abide, with our heads shaven as clean as your knee, smoking long pipes and drinking our coffee lying on divans. What can I say? How can I write to you about it? I have scarcely recovered from my initial astonishment.

 

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Cover Art for FLICK, the Cairo International Film Festival 2014 Bulletin by Youssef Rakha

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