Author: Hani Omar Khalil
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Scenes from the Status Quo Ante: Performing the Egypt that Was, and Is, and Might Have Been
If the reader will permit me to pierce the critical veil, for one brief instance, I’d like to relate a conversation that took place between myself and a friend at a bar in Chelsea, while watching a Jets playoff game in mid-January 2011. My friend had arrived wearing a red and white tracksuit, evocative of…
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Life During Wartime: “Holy Land’s” Permanent Gaza of the Soul
In the midst of its USA premier, French playwright Mohamed Kacimi’s Holy Land is a play with an awful lot to say – sometimes too much. It is, at times, loquacious to the point of obfuscation, and expository in a manner approaching pedantry. And yet, it is a play that definitely needs to be seen,…
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The Battle is in the Images: Egypt, “The Square,” and the Diegesis of Competing Media
Culturebot contributor Hani Omar Khalil
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The Disjunct Melodies of Memory and War
Culturebot contributor Hani Omar Khalil responds to Mohammed Fairouz’s Symphony No. 4, “In The Shadow of No Towers” which premiered on March 26, 2013 at Carnegie Hall.