A Compound in Common: The Case of “Little Duweiqa,” Haram City

[Empty homes in Haram City. Photo Nicholas Simcik Arese] [Empty homes in Haram City. Photo Nicholas Simcik Arese]

A Compound in Common: The Case of “Little Duweiqa,” Haram City

By : Nicholas Simcik Arese

While the eyes of the world focused on the intermittent occupations of Cairo’s Tahrir Square, in the four years since the Egyptian uprising of 2011, a different kind of social action has persisted at the city’s periphery. On 13 August 2010 and in February 2011, during the eighteen days leading to Hosni Mubarak’s fall, a group of 231 resettled slum dweller families from the impoverished Duweiqa district of Cairo abandoned their allocated twenty three square-meter homes to squat liveable ones in Haram City, a budget gated-community marketed by developers and development practitioners as a new best-practice “cooperative” public-private partnerships for low-income housing. Angered that publicly subsidized, but privately controlled, low-income housing was being sold to the middle classes, they joined families from all over central Cairo to claim several hundred flats, bringing water, electricity technicians, and microbus stands to coordinate transport to the city center. The Egyptian Army promptly intervened, and most squatters were evicted. The original Duweiqa 231 families, however, have managed to fight off all authorities and remain in Haram City to this day, bringing an economy and urban condition unprecedented for gated spaces in Egypt. 

\"\"
A purchased home in Haram City (Photo: Nicholas Simcik Arese).

Public-Private Partnership as Promise

A cornerstone project of Hosni Mubarak’s National Housing Initiative, Haram City was one scheme of the supposed million homes to be constructed between 2005 and 2010 to address Egypt’s much-discussed “housing crisis.” Completed in 2007, Haram City is majority owned and operated by Orascom Housing Communities, belonging to Samih Sawiris, one of three brothers in Egypt’s richest family.[1] On the premise of building a “fully integrated sustainable low income community,” Orascom purchased 4.8 Million square-meters of land in the desert behind the pyramids of Giza at a heavily subsidized rate of about 10EGP ($1.31) per square meter.[2] A minority share of Orascom Housing Communities is owned by US-based Equity International, an investment vehicle for Chicago billionaire and property magnate Sam Zell. Formerly the largest private real estate owner in the US, it is one of the companies most closely linked to the predatory mortgages of the US housing bubble. Since selling the majority of US real-estate holdings in 2007, six months before the crash, Zell promptly shifted focus to housing in emerging markets. Promoted by the UNDP Growing Inclusive Markets initiative as a best-practice public-private partnership and by the World Bank as part of its new low-income mortgage drive, Haram City copies are in discussion with the governments of Morocco, Romania, Turkey, Pakistan, Algeria, Ethiopia, Yemen, and Ukraine under the UN rubric of the human right to adequate housing.[3] In reality, with houses priced between 140,000 and 200,000 EGP ($18,360--$26,220), the scheme is entirely out of reach for Egypt’s lower two/three income quintiles, with a customer base that can be more accurately described as an aspirational middle class searching for a budget “compound” lifestyle, the Egyptian term for gated-community.

\"\"
Occupied homes (Photo Nicholas Simcik Arese).

From Tragedy to “Unsafe Areas”

Duweiqa is popularly understood by Cairenes as a quintessential case of slum crisis, a globally mediatized and circulated depiction of urban plight produced by the Egyptian government, Amnesty International, and various urban development organizations for the consumption of electorates and donors to advance both a range of anti-poverty agendas and grand urban revitalization schemes.[4] In 2007, Duweiqa suffered a catastrophic rockslide that killed more than 119 people and displaced several thousands. To this day, images of the crumbling site are on the front pages and front lines of designating entire swaths of central Cairo as “Unsafe Areas” requiring eviction to the city periphery.[5] The Duweiqa rockslide occurred just a few months before Haram City’s construction. Publicity and outrage around the incident, coinciding with the electoral populism of Mubarak’s Million Home initiative, compelled now-indicted housing minister Ahmed Al-Maghrebi to convince Orascom to take some families on board. This circumstantial compromise resulted in resettling families of an average size between five and ten people in twenty-three square-meter flats. Two years later, during Mubarak’s overthrow, Duweiqa residents who the governorate had deemed “undeserving” for resettlement either led or entered and defended against the squatter invasion, depending on who you ask.[6] In the process the original resettled group joined in to replace twenty-three square-meter homes for sixty-three square-meter ones, which they still squat together with relatives from the group of invaders who managed to evade getting cleared. Currently, Haram City contains about 30,000 inhabitants, approximately six thousand of which are a combination of resettled slum-dweller—the result of subsequent evictions from the Manshiet Nasr area in response to the Duweiqa rockslide—or resettled-turned-squatter and just squatter, as well as a few hundred Syrian refugees. The effort to stretch the definition of “low-income” by Zell and Sawiris to basically account for a market more accurately described as “budget gated lifestyle,” while benefiting from World Bank boosterism, has been turned inside-out.

\"\"
A self-run youth club and home of “Haram City F.C.” in the resettled and occupied quarter (Photo Nicholas Simcik Arese).  

\"\"
A garden is transformed into a gym in the occupied quarter (Photo Nicholas Simcik Arese).

\"\"
Members of the squatter community celebrating "youm al tangeed" (day of upholstery), where family of the prospective
bride publically display furniture offered to the new couple (Photo Nicholas Simcik Arese).

\"\"
Elaborate refurbishment of a purchased home (Photo Nicholas Simcik Arese).

A Slum in the Gated-Community

As homes are taken and secured, squatters regularly question who the real thief is in this situation. Indeed, between the cronyism that led to many of the land allocations under Mubarak, and duplicitous promotion of an affordable cooperative as pretext for state subsidies, relative scales of theft and their comparative moral legitimacy must be publically confronted by any of the compound’s residents and management. Central to interaction across the class divide is the question: what and who is truly illegal urbanism here?

It is a viscerally acknowledged irony by the squatters themselves that the 10-15 EGP a day used to take three microbuses each way to work or school amounts to the same total as their pre-rock slide rent (200-300 EGP), minus three hours of good working time. Some have managed to find work gardening for wealthier residents, or constructing ornate walls for their overtly private domains. A few have found positions as security guards. Inevitably, though, an entire economy—and thus urban form—has begun to flourish within the occupied quarter. Houses are dismantled and reassembled, walls are knocked down between flats, picket fence front lawns are walled in and replaced with commercial spaces selling bread or clothing or a small gym, teetering pigeon coops jut from many roofs, goats and cows roam in certain lawns that operate as butchers with the freshest meat for miles, utilities infrastructure is hijacked and rewired, and a proper popular market of tin and repurposed timber has been constructed in what was planned to be a park. Across town, this area has acquired the name “Little Duweiqa,” as if a kind of ethnic enclave. Crossing the road between A1/A2 districts to B2 that delineates “Little Duweiqa” from the rest reveals the true formal difference as one walks by identical houses but in their original form, with neat ornate lawn walls and elaborate landscaping. The livelihood imperative for Little Duweiqa to shift, intertwine, and expand as it attempts to invent an economy for itself has been labeled by many home-owners as the “slumification” (ba’a ‘ashwaa’ee) of the gated community. The Haram City Activists Association, a group of home-owners that meets bi-monthly to discuss the matter, runs several Facebook groups deriding and lamenting the gaze of “Egyptian crowds” (al zahma masreea) outside of the law as the very raison d’être behind fleeing to the desert.

\"\"
A self-built mobile-phone shop in the occupied quarter (Photo Nicholas Simcik Arese).

\"\"
"Souq Duweiqa," a fully functional market constructed by squatters (Photo Nicholas Simcik Arese).

\"\"
An occupied home for sale (Photo Nicholas Simcik Arese). 

Why Haram City Matters

Amidst a tabula rasa project, residents are forced to reconcile their expectations and perceptions of the new Egyptian city with daily confrontation. Many of the expected ownership patterns of Cairene life are deeply altered, with homeowners only controlling long-term usufruct rights (including severe regulations on any construction/modification) and squatters seizing pre-built homes. With only ten percent of real property registered in 2006, low expectations over the protection of home ownership might be assumed. Yet, contrary to the overwhelmingly dominant form of informal construction and land occupation, or wad’ al yad (literally ‘put a hand on’), the Haram City occupation is not an illegal subdivision, nor is it a construction without permit or a violation of land use ordinances; it does not violate the Urban Planning Land Act (Law No. 3 of 1982), the Building Code (Law No. 106 of 1976), the Status Law (Military Decree No. 7 of 1996) regarding subdivision and construction, or Law No. 53 of 1966 and Military Order No. 1 of 1996 regarding land use regulation like ninety per cent of new constructions in Cairo. The invasion and occupation of pre-existing vacant homes is extremely rare and unprecedented in the context of a fully private enclave.

To this day, all charges brought upon the squatters have been presented as “breaking and entering,” the destruction of private property (furniture and doors), and vague accusations of “criminal activity” beyond the space of the house, never mentioning illegal construction or occupation of lands. As property scholar Carol Rose notes “visibility runs through property law as perhaps no other legal area,” and in this sense the squatted homes may not be welcome but are perceptually not irregular.[7] Indeed, in walling in the gardens of their squatted homes, the Duweiqa community rigorously respects Orascom’s regulations on wall heights (seventy five centimeters of cement or brick from the ground, with anything above in light metal or plants), in stark contrast to many titled home-owners by purchase, who often have walls well over two meters. Struggles over the rights (and rights for whom) that will define ownership are immediately consequential and publicly disputed.

\"\"
Two purchased homes refurbished and joined into one property (Photo Nicholas Simcik Arese).

\"\"
A resettled resident transforms his front lawn into a couch shop (Photo Nicholas Simcik Arese).

Even if out of reach to Egypt’s bottom three income quintiles, Haram City is the first major suburban gated residence affordable to the aspirational middle class – what many of the compound’s youth in-turn label as exemplary of the Hizb al Kanaba (literally “the Couch Party) for their explicit political ambivalence prioritizing stability. For the first time, one can compare the expectations, disappointments, and narratives of Egypt’s new middle class finally able to move to the suburb with its everyday lived reality. On the other hand, the Duweiqa squatters may represent a proto-movement, largely disconnected from contemporaneous revolutionary activity in the country. Understanding how the poor identify or reject social-justice struggles, even as they carry them out through practices more generally dismissed as “informal,” is central to understanding the extent of inclusivity and pluralism of dominant activism.

In a more global sense, Haram City is one of the flagship projects for new UNDP/World Bank drives to securitize lower-middle income potential homeowners in the Global South through subsidized mortgages. Most major real-estate conventions now devote entire sections to the vast uncharted opportunity for public-private partnership housing across the South, and numerous US property speculators closely linked to the housing bubble have shifted towards this opportunity in light of their own struggling markets. The rise of cheap housing loans in the Global South is unprecedented and, as testing-ground for numerous plans globally, “affordability” in Haram City interacts with social vectors—such as the relationship between housing, masculinity, and marriage—in understudied, but prescient, ways.

\"\"
Children from the squatter community sell children’s goods to residents of purchased homes (Photo Nicholas Simcik Arese).

\"\"
Squatters watch the news at a cafe in “Souq Duwieqa” (Photo Nicholas Simcik Arese).

Conclusion

As activists lament that the social justice aims of the 2011 Egyptian Revolution feel increasingly like an illusion, research is necessary on the documentation of ongoing social-justice struggles in Cairo, though they may not be framed as revolutionary by the participants themselves. Despite a strong clamp-down on improvised livelihoods in Egypt, “quiet encroachments” on the material and legal status-quo have taken new forms, in some cases out-in-the-open.[8] Haram City and the Duweiqa squatters within present a peculiar case study. Here one finds the greatest binary tropes of urbanism in the South—the slum and the gated-community, the formal and the informal, protest and “quiet encroachment,” the precarious urban core and elite periphery, completely intertwined. As such, Haram City has become a locus for broad public dialogue on how the urban poor in Cairo think about rights, ownership, and protest in the city.

A similar version of this article was originally posted on Cairobserver

---------------------------------------

Notes

[1] For a depiction of Haram City as it is explicitly marketed to soon-to-be-married youth, see one of the first advertisements for the compound “Your dreams before you.”
[2] Shawkat, Y. (2014). Mubarak’s Promise. Social justice and the National Housing Programme: affordable homes or political gain? Égypte/Monde Arabe, 3(11).
[3] For the range of expansion plans in discussion see: Orascom Housing Communities. (2007). Annual Business Plan (pp. 1–26). and UN-HABITAT. (2014). The State of African Cities 2014: Re-imagining sustainable urban transitions (p. 273).
[4] Amnesty International. (2011). “We are not Dirt”: Forced Evictions in Egypt’s Informal Settlements (p. 113). London.
GTZ. (2009). Cairo’s Informal Areas: Between Urban Challenges and Hidden Potentials (p. 224).
[5] see: General Organization for Physical Planning, Ministry of Housing, & UN-HABITAT. (2010). Cairo 2050: Greater Cairo Region Urban Development Strategy Cairo. (p. 188).
[6] Given ongoing legal proceedings against the squatters, the specific order of invasion and role played by the Duweiqa squatters remains highly contentious and disputed. In interviews, Haram City management contend that squatters invaded and encouraged others to do so. The Duweiqa community, on the other hand, distinguishes their invasion as legitimate given their history of resettlement and therefore the self-evident imperative to protect against other invaders to reinforce their claims.
[7] Rose, C. M. (1994). Property & Persuasion: Essays on the History, Theory, and Rhetoric of Ownership. Westview Press. (pp. 267, 269).
[8] Bayat, A. (2000). From `Dangerous Classes’ to `Quiet Rebels`: Politics of the Urban Subaltern in the Global South. International Sociology, 15(3), 533 –557.

Jan 25, 2013 Lebanon

The Dramaturgy of A Street Corner

Much like the ongoing revolutionary struggle in Egypt, this short piece is part of an in-progress work to chronicle the evolution of revolutionary art on Mohamed Mahmoud Street, also known as the “street of the eyes of freedom”—nicknamed as such since many protesters lost their eyes on that same street after being targeted by professional snipers during protests in 2011. (See previous articles on this subject by clicking here, here, here, here, and here. Also see interview with artist Alaa Awad on the subject by clicking here).

For a second consecutive year, Mohammed Mahmud Street witnessed intensive turmoil, and chronic violent clashes between demonstrators and security forces. Clashes ensued again in November 2012, ironically in the context of demonstrations that were organized to commemorate the previous year’s clashes of 19-24 November 2011, known as the Mohamed Mahdmoud Street battles. The clashes seemed like a farcical reenactment of those of the previous year, much like the Mohamed Morsi presidency and the Muslim Brotherhood, for many revolutionaries, are farcically reenacting the same policies, mindset, and discourse of the Hosni Mubarak regime.

Repertoire here might perhaps be one key concept that can help explain why the regular use of violence by authorities, and the recycling of the old regime’s discourses by the perpetrators of such violence have become dominant elements in the apparent counter-revolution led by the Muslim Brotherhood. Many anticipate that 2013 will be a decisive year for the wielders of power in their (recurrently violent) confrontations with the large segments of the population that are growingly losing faith in the Muslim Brotherhood. The hastily drafted constitution, and the overt threat it poses to basic principles of human rights and citizenship, perhaps underscore the Brotherhood’s desperation and angst over their faltering efforts to assert their control over—or as some call it, to “Brotherhoodize”—the state.

             \"\"
                                                       [Photo by Mona Abaza (Captured 2 November 2012)]

             \"\"
                                                      [Photo by Mona Abaza (Captured 26 September 2012)]

Anticipation through repertoires is perhaps why many foresee a serious escalation of violence in the country after the “militias” of the Muslim Brotherhood fiercely attacked and tortured protesters opposed to Morsi by the presidential palace on 5 December 2012.

Repertoire once again, might explain too the insistence of revolutionary artists to repaint the same murals time and again, most notably the half-Mubarak-half-Mohamed Hussein Tantawi image discussed below. Based on the same language of the repertoire, one can view this corner (where Mohamed Mahmoud Street meets Tahrir Sqaure) as the site of an unfolding continuous dramaturgical performance that visually narrates the history of the revolution. Of equal importance is the public’s interaction with graffiti and murals [1].

During the second half of 2011 and early 2012, military authorities erected concrete walls to block protesters from entering the streets leading to the Ministry of Interior, which has been (and continues to be) the target of popular anger directed at police brutality and abusive practices.  Many of these walls were later destroyed by protesters. But even when they existed, they were quickly filled by fantastic mutating graffiti and large murals. The incessant erasure of the paintings on the walls of Mohamed Mahmoud Street never stopped revolutionary artists from repainting them, sometimes with abundant displays of insults directed against the internal security, the Supreme Council of the Armed Forces (SCAF), and the symbols of the old regime. This phenomenon has been met with a tremendous amount of interest by photographers and bloggers. As Egyptian authorities kept erasing the art by whitening the walls, artists responded with elaborated and sometimes improved versions of the previous paintings, until they excelled at the art of resisting, challenging, and insulting the counterrevolutionaries among with the wielders of power and their allies. Colloquial Arabic was often prominently displayed on the walls. No one within the centers of power was spared from sardonic jokes and mocking paintings. The internal security apparatus, the SCAF, the associates of the former regime, Muslim Brotherhood leaders, and President Morsi, all got their share of insults and satire.

Street art became one main ways to reinforce and document the battlefields and street wars that occurred during the entire year. Such art offered its audiences one way of “being there” at these important events. In September 2012, Islamists tried their luck in the highly competitive field of street art. This was precisely after a highly controversial video insulting the Prophet Muhammed began circulating on social networking sites, sparking widespread protests throughout the Arab world, particularly in Egypt. In the wake of these protests, pro-Islamist activists attempted to conquer the walls with “Islamic graffiti”. Very quickly sardonic anti-Islamist graffiti spread throughout the area surrounding Tahrir Square.

              \"\"
              [Islamic paintings on Mohamed Mahmoud Street walls. Photo by Mona Abaza (Captured 3 October 2012)]

              \"\"
           [Islamic paintings on Mohamed Mahmoud Street walls. Photo by Mona Abaza (Captured 28 September 2012)]

The rest of this essay examines a number of snapshots that together form a brief diary of the intersection of Mohamed Mahmoud Street and Tahrir Square.

In many ways, this corner has become a crucial central nerve for Tahrir Square, being one of the main gates or entrances to the square and the site of numerous contentious confrontations and street fights.

After the outbreak of the revolution, almost all the corners of the streets in the area, including the intersection of Mohamed Mahmoud Street and Tahrir Square, became filled with easily mobile plastic chairs such that the space was quickly turned into a “street café” for the poor. For several months, it seemed that that those who sat at these cafes, gazing for hours at the life of Tahrir Square while sipping their tea, were watching a performance free-of-charge.

The Mohamed Mahmoud-Tahrir Square corner is also the site of a major metro station exit, which has become a sleeping area for the street children and old homeless men and women. During the winter, it is not uncommon to see several homeless children sleeping on the floor, seeking shelter by the wall of the metro station exit.

              \"\"
                                                      [Photo by Mona Abaza (Captured 29 August 2012)]

              \"\"
                                                            [Photo by Mona Abaza (Captured 8 June 2012)]

The Half Tantawi-Half Mubarak Renewable Portraits

The Mohamed Mahmoud Street corner famously featured successive series of portraits, showing half the face of Mubarak combined with a variety of different political figures, evoking parallels between the deposed president and his successors. The portraits, which were produced by rabitat fanani al-thawrah (“The association of the artists of the revolution”), kept on being erased on a regular basis, presumably because the government must have felt utterly humiliated by such a negative portrayal. Yet despite successive attempts by Egyptian authorities to erase the paintings, the wall never stayed empty more than a few hours before it was repainted with the same images, usually with more detailed additions and variations. It is interesting to note that the same graffiti was later replicated on the walls of the Itihadiyya presidential palace in Heliopolis after the eruption of the massive demonstrations against Morsi’s controversial constitutional declaration, as well as the constitutional referendum that was hastily convened last December.

             \"\"
                                                  [Photo by Mona Abaza. Captured 21 February 2012)]

              \"\"
                                                         [Photo by Mona Abaza (Captured 25 March 2012)]

The half-Mubarak-half-Tantawi portrait, featured in the second photograph above, was captured in March 2012. On top of the painting are the words “The revolution continues.” The statement at the bottom reads illi kallif ma matsh, meaning “one [i.e. Mubarak] who delegated authority to someone [i.e. Tantawi] has not died.” This phrase rhymes with the popular saying illi khalif ma matsh, or “one who produced off-springs has not died.” Below the phrase is the following sentence: “A [military] council of shame and a lying Field Marshal.” Painted by Alaa Awad, the black panthers on the right hand side of the portraits symbolize the defenders of the revolution, who are ready to attack at any moment (see my interview with Alaa Awad). This same image has been erased and subsequently repainted several times in exactly the same size.

              \"\"
                                                         [Photo by Mona Abaza (Captured 31 May 2012)]

Half-portraits of presidential hopefuls and former Mubarak aides, Amr Moussa and Ahmed Shafiq were later added to the same painting. To left of the image is a statement that reads: “I will never grant you any trust, neither will you rule me one more day.”

             \"\"
                                                              [Photo by Mona Abaza (26 September 2012)]

The photograph featured above was taken in September 2012 after that the wall was once again erased. The half-Mubarak-half-Tantawi portrait was repainted in a smaller size, with the addition of a portrait of Muslim Brotherhood General Guide Mohamed Badie. Below it is an image of a painter using his brush fresh with dripping paint as a weapon in confronting a policeman’s stick. A poem at the bottom reads:

“You, a regime scared of a brush and a pen

You were unjust and crushed those who suffered injustice

If you were honest, you would have not been fearful of painting

The best you can do is conduct a war on walls, and exert your power over lines and colors

Inside, you are a coward who can never build what was destroyed”

 The Martyrs of the Revolution

              \"\"
                [Clashes between security forces and protesters in Tahrir Square area. Photo by Mona Abaza (Captured
                                                                               23 November 2012)]

              \"\"
                                                     [Photo by Mona Abaza (Captured 30 November 2012)]

              \"\"
                                                        [Photo by Mona Abaza (Captured 30 November 2012)]

The photos above were captured on 30 November 2012, when Mohamed Mahmoud Street was deserted in the aftermath of the aforementioned clashes between security forces and protesters. The photographs on the floor are of the martyrs who died in the previous year in the November 2011 clashes that happened on that same street. The display of the martyrs did not last for long, and was removed a few days later.

The display appeared during the height of days-long confrontations on Mohamed Mahmoud Street between protesters and the police. The clashes had quickly escalated after seventeen-year old Gaber Salah, (famously nicknamed Jika) was shot dead. At the outset of these confrontations, revolutionaries put up a large sign at the entrance of the street clearly stating: “The entry of the [Muslim] Brothers is forbidden.”

              \"\"
                           [“The entry of [Muslim] Brothers is forbidden.” Photo by Mona Abaza (23 November 2012)]

              \"\"
              [Clashes between security forces and protesters in Tahrir Square area. Photo by Mona Abaza (Captured 23
                                                                                    November 2012)]

 Three New Black Plaques on the Street Corner

              \"\"
                          [Paintings featuring anti-regime poem. Photo by Mona Abaza (Captured 8 December 2012)]

              \"\"
                        [Plaque featuring poem by Amal Dunqul. Photo by Mona Abaza (Captured 7 December 2012)]

              \"\"
                                                       [Photo by Mona Abaza (Captured 7 December 2012)]

              \"\"
                                                     [Photo by Mona Abaza (Captured 7 December 2012)]

On 7 December 2012 I met a man at the corner of the street who had used tiles and sand to create a protected space for plants in front of the Mohamed Mahmoud Street wall. Insisting on keeping anonymity and identifying himself as a “simple citizen of Egypt,” he told me that he was trying to create “a memorial space” for the martyrs of Mohamed Mahmoud Street battles by placing in that area on a daily basis plants and icons commemorating the martyrs of the revolution. Together with a group of people, he decided to hang on the wall three plaques of black marble. The small plaque beneath the plants read: “From the people of Egypt”. On top of the half-Tantawi-half-Badie-half-Mubarak portraits, another black stone displayed a Quranic verse. Another black plaque was nailed to the other side of the wall. Dedicated to the martyrs of the January 25 Revolution, it contained a poem by the late Amal Dunqul. The poem described the harshness of walls that paradoxically inspire and generate hope for finally seeing the light of freedom. 

              \"\"
                                                        [Photo by Mona Abaza (Captured 8 December 2012)]

              \"\"
                                                      [Photo by Mona Abaza (Captured 8 December 2012)]

              \"\"
                                                        [Photo by Mona Abaza (Captured 8 December 2012)]

In the spirit of the inconclusiveness of Egypt’s ongoing revolution, I will refrain from offering a conclusion to this essay. However, I would like to close by saying that, as long as Egypt’s wielders of power continue to undermine calls for revolutionary change in the country, the walls of Mohamed Mahmoud Street, and many others, will continue to offer an arena for the lively expression of political dissent and resistance. The dramaturgical performance that Mohamed Mahmoud Street is witnessing today will continue to unfold. The play is far from over.

___________________
[1] For an interesting reading of the revolution as a “performance” and as dramaturgy, see Amira Taha and Christopher Combs “ Of Drama and Performance: Transformative Discourses of the Revolution” in Translating Egypt´s Revolution, The Language of Tahrir, Edited By Samia Mehrez (AUC Press, 2012), and Jeffrey C. Alexander Performative Revolution in Egypt: An Essay in Cultural Power (Bloomsbury Academic, London, New York, 2011).