Socio-Politics: Modern Art and Propaganda in the Middle East
How art sheds light on political issues in the Middle East
The Middle East, long renowned for its spectacular culture, beauty, and tranquillity, has served as a casualty of constant political and social upheavals. Though it never received the attention it deserved, social media has recently served as a channel for the public to grasp its concerns, and one of the most significant ways it has been acknowledged has been through art.
Art draws people into a visual discourse, fostering communication through multiple communities. It has the ability to sway and motivate viewers, leading them to fresh viewpoints on social and political topics as well as new thoughts and attitudes. For a very long time, artists have used many media platforms to remark on the political status of society, influencing the development of their visual languages. Political art has always been a part of the worldwide social scene, utilized to reflect the culture and bring current issues to light. It is disseminated to the general public as a tool for highlighting contemporary global challenges through sociopolitical art. Even if their artistic works do not necessarily reflect their political ideas, the artists frequently provide diverse points of view. Citizens have also used political art to protest against authoritarian states or to voice their dissatisfaction with how politicians handle specific issues.
Every artist would benefit from devoting a portion of their creation to the greater good; for this reason, I have chosen to contribute similarly. As I mentioned at the very beginning of this post, I produced a piece called “Red Revolution” to depict the continuous tensions in Iran.
The death of Mahsa Amini, a 22-year-old woman, imprisoned by police for breaching Iran’s stringent rules requiring women to cover their hair with a hijab, provoked widespread outrage in the country. Since then, about 14,000 demonstrators have been arrested, injured, sentenced, or beaten to death by the government (Le Monde 2022). I addressed this topic with a digital art piece featuring a hijabi woman. I emphasized red as a symbol of bravery, as proudly displayed on the Iranian flag. As a tribute, I merged this digital art piece with typography, layering the names of those who perished in the protest.
My inspiration for this digital artwork came from artist Meysam Azarzad, who said in a caption, “As Iranians saw her face, they rubbed their own faces to the ground.” (Hyperallergic 2022). The hijab symbolizes Islam, which the Iranian government fails to portray by forcing women to wear it. To me, the hijab means feminine strength and safety. It illustrates my religion beautifully and provides a way for a Muslim woman to carry herself and the faith she represents. Though it is mandatory in Islam, it is never enforced, especially under the Iranian government’s brutal and malicious methods.
I believe that the Arab world’s extremely young population’s strength has become increasingly apparent and acknowledged as a force that requires nurturing and foresight. Art requires a critical visual conversation, and it is gratifying to see that governments are becoming more interested in assisting this movement.
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