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Arts Post Revolution
The 25th Revolution and the fall of former Egyptian President, Hosni Mubarak, in February 2011 ushered a new era of Arts that reflects new social and political environment. "The revolution triggered a new public culture" From the beginning of the Revolution, artists played a significant role in the protests. Likewise, many genres of arts emerged such as street art, music and what so called 'electro sha'bi' or 'Techno sha'bi'. Artists used arts to document and capture the essence of the revolution. They also distribute their arts through on- line and physical social networks. Graffiti and music are among the most powerful tools in the new public culture.

Graffiti
Graffiti is a Greek term "Graphien," which means "to write." Nowadays it has been defined as "the act of inscribing or drawing on walls for the purpose of communicating a message to the general public." In Egypt, graffiti is dating back to the Pharonic period when the Egyptians used to document their daily life on the temple walls. In modern day Egypt, and during Mubarak era, graffiti was illegal and classified as a "misdemeanor."

Before the revolution, graffiti was mostly featured religious entreaties, advertisements or romantic declarations. The birth of "revolutionary graffiti" in Egypt took place during the first days of the revolution when Egyptians protesters convey and obvious political messages against Mubarak's regime without censorship. Since the toppling of Mubarak, graffiti has become an alternative media channel, documenting the different political events taking place in the country and paying homage to activists who died. And some streets inside and outside Cairo turned into graffiti hubs such as Mohamed Mahmoud Street and Al Gomhuria in Assiut.

Meanwhile graffiti reflects the controversial political debate in Egypt post revolution and during Muslim Brotherhood ruling era. On one hand, the streets around Tahrir square have become a graffiti gallery of opposing the current regime of Mohamed Morsi Mursi who is accused of failing to reform post-revolution Egypt while consolidating power in the hands of his Muslim Brotherhood. On the other hand, in some districts inside Cairo and Assiut, only pro- Morsi graffiti exist in streets' walls.

Music
The Revolution also produces distinguished music. A guitar-wielding troubadour named Ramy Essam set protesters’ chants to a melody and rocked Tahrir Square. Just before Mubarak fell, two pop rockers, Amir Eid and Hani Adel, recorded a triumphant anthem, “Sawt el Hourreya (The Voice of Freedom),” and that too went viral globally, as did a video of the song “Ezzay? (How)” by Mohamed Mounir, a rare voice of conscience among Egypt’s perennial pop stars.

The other rising genre of Egyptian music also comes from poor neighborhoods, and has also received no support from media or industry. It evolved from sha’bi, literally “folk,” but more precisely, a genre of colloquial urban pop that rose to fame in the ‘70s. Mix that with homegrown DJ technology, and you get “electro-sha’bi,” laptop-brewed sonic mixes with Egyptian beats and heavily Auto-Tuned vocals. This sound has been animating weddings in Cairo ghettos for at least five years.

Electro-sha’bi mixes by DJs like Figo, Haha, Weza, and Ortega are now all over the internet, but initially — unlike hip-hop and heavy metal — the music circulated offline, on cassettes and MP3 CDs, played in taxis and minibuses where everyone could hear it, not just the Facebook elite.