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Regards

Announcements

Call for Contributions – "Regards" Journal, Issue 35

FILMIC DIARIES, SOUND DIARIES: INTIMATE AND COLLECTIVE DOCUMENTARY ESSAYS

The "diaries" discussed here may consist of assemblages of filmic and/or sound fragments. They take the form of documentary essays, sometimes personal, and sketch out ideas based on things seen, heard, and experienced. Diaries can resemble either an intimate filmic and/or sound journal or a chronicle, particularly when created within the anti-democratic contexts of the first quarter of the 21st century. However, proposals for collective initiatives in documentary essays are also highly encouraged. The diaries form lies between the spontaneity of lived experience and long-term reflexivity. From a pluralistic perspective, they oscillate between shared momentum, societal assessment, and the importance of preserving collective memory. For sound diaries, as well as filmic essay diaries, this issue of Regards will pay special attention to works that are genuinely engaged both artistically and politically. Whether individual or group-based, proposals must align with the journal's editorial focus on the diversity of the Middle East, North Africa, and Mediterranean countries. Contributions are not limited to the examples and suggestions mentioned in this call for submissions.

The Diaries as a Form of Documentary Essay

While written diaries are often individual, filmic and sound forms embrace plurality. This is especially true in authoritarian or repressive contexts, where the right to speech and image is controlled by a minority. Consider, for instance, the popular uprisings of the 2010s and their ongoing sociopolitical echoes, which have reignited the question of citizens' self-representation. As members of Bidayyat wrote in their collective's introductory text during the Syrian revolution, "ordinary people found themselves face-to-face with images they had filmed with their own hands." But what collective realities are these diaries meant to represent? From revolt and demands to siege, occupation, and destruction, the spectrum of resistance is vast. At the heart of intensity or the rhythm of daily life, documentary resistance diaries capture presences that defy normalization and indifference. Recording becomes the last possible political gesture, offering a counter-visuality, resisting erasure, affirming presence through images, and demanding visibility to be recognized as full human subjects.

However, we are also interested in proposals that question the dynamics of these vernacular images of daily life. Media transformations and the supposed democratic qualities of new self-narration tools remain to be interrogated. Social media and the internet compel us to rethink the very form of the filmic and sound "diaries," which borders on the virtual journal. For example, the work of the Syrian collective Abounaddara shifts the discourse on missing images and complicates the notion of the right to image for vulnerable individuals by demanding respect for the dignity of victims of the Bashar al-Assad regime. Against the glorification of amateur testimony (images filmed on mobile phones and posted on social media), the collective has championed, since 2011, a representation of Syrian society by itself, in all its complexity.

This research axis around collective approaches invites exploration of both the sustained work of specific collectives, serving as long-term chronicles (e.g., Mosireen in Egypt or the filmmakers of Still Recording in Syria), and composite filmic forms that creatively gather the work of multiple filmmakers (From Ground Zero, a film coordinated by Rashid Masharawi, composed of 22 short films by displaced Palestinian filmmakers in Gaza, or Letters, 17 filmic letters by Lebanese filmmakers assembled by Josef Khallouf). Contributions may engage with historical approaches, studying past collective practices, or focus on ultra-contemporary filmic and sound production, as well as the interplay of temporalities.

In the context of this issue dedicated to documentary diaries, we will also emphasize reflexive approaches and temporal perspectives. While the diaries form often embodies spontaneity and is rooted in the present, it evolves over time and can also reflect in the long term. It may therefore be worthwhile to explore the role of archives, current practices surrounding them, and their retroactive impact when compiling a logbook. The comprehensive work of Subversive Film, a research and film production collective focused on Palestine, exemplifies this by combining preservation, programming, and creation.

Among the most notable examples of "personal" filmic diaries at the forefront of contemporary experimentation is Contre temps (Al nahar howa al layl; 2024, 345 min.). The director, Ghassan Salhab, describes the essayistic dimension of his filmography as "videos," recalling the Latin meaning of the verb video—the first-person singular present indicative of the Latin infinitive videre: "I see." Other possible translations, worth noting, include "I perceive," "I witness," or even "I am contemporary with." Ghassan Salhab's video takes the form of an extensive filmic diaries, entirely shot on a mobile phone. Contre temps serves as a chronicle of five years of Lebanon's political history, beginning on October 17, 2019, with the start of uprisings in the form of popular urban marches and protests (particularly in Beirut and Tripoli), interspersed with struggles against the financial powers that led the country to ruin, the powers of elected political representatives, and patriarchal forces. The film concludes with a moment from November 2023, poetically transcribing a final phone exchange with a friend in Gaza. Contre temps is both individual diaries and an archive of the search for a refractory commonality. The film also dialogues with diaries of photographs and texts titled À contre-jour (depuis Beyrouth), published in 2021.

The diaries forms can also embody clandestinity, emerging in contexts of censorship or through strategies of self-censorship. In the field of filmic documentary, The Silent Majority Speaks by Bani Khoshnoudi is a particularly significant example, transitioning from filmic diaries to a historical fresco. Filmed in Tehran in 2009 during the Green Movement, it was distributed clandestinely under the pseudonym "The Silent Collective" until 2013.

Paths of Sound Documentary

Alongside proposals for articles on filmic essays, this call also welcomes exclusively sound diaries. Among notable works is the radio creation workshop titled Je vous parle de la Syrie by Charlotte Rouault (produced by Irène Omélianenko), with the participation of Benoît Bories (the two artists currently form the collective "Faïdos sonore"). This sound documentary is built from testimonies of Syrian women recounting the personal and collective daily life of war and their involvement in the revolution. The sound diaries, whether a trace of the here and now or a (re)montage of voices or places, prove to be a documentary medium conducive to innovative gestures.

Also noteworthy are the soundscapes of Beirut recorded by Rana Eid over several decades, spanning the civil war, reconstruction, the 2006 war, the 2019 civil revolution, the August 4, 2020, port explosion, and Lebanon's economic collapse. Marine Vlahovic, known for her "correspondent's diaries" (from her work as a correspondent between 2016 and 2019 for Francophone public radios in Palestine), invited Rana Eid to comment on her sound archives in the piece titled Le Souffle de Beyrouth. Une histoire du Liban racontée par le son (2021, Arte Radio). Most recently, with Calling Gaza (2024, Arte Radio) and before her passing in November 2024, Marine Vlahovic completed the epilogue of her correspondent's diaries by compiling thousands of messages and hundreds of hours of rushes, notably from social media to document daily life in Gaza.

For sound creations, this call seeks to avoid privileging normative styles of intimate podcasts while remaining attentive to proposals from younger generations, especially those involving multilingual sound diaries (such as the work conducted by "L’île aux podcasts" with and by young Algerians, for example).

Fragments, Research, Creations

The diaries form is also widely used in research-creation contexts. We therefore welcome contributions from researchers who employ these modalities in film and sound creation. The status of these diaries, beyond being mere preparatory elements, sketches, or creation journals, warrants further exploration.

Responding to institutional commissions e.g., for the "Où en êtes-vous?" collection at the Centre Pompidou, featuring works by Amir Naderi, Jafar Panahi, or Tariq Teguia or creating provisional essays—work stages not necessarily meant for public disclosure—filmmakers produce filmic diaries in the sense of test diaries.

Among creation diaries or composite logbooks, partly composed of filmic fragments not intended for the finished film, those published by David Yon on the website Dérives.tv are particularly intriguing. They include annotations and several essays begun during the development of his films Les Oiseaux d’Arabie (2009) and La Nuit et l’Enfant (2015), both centered on the Algerian city of Djelfa, as well as Ne me guéris jamais (2023). Creation thus becomes research; it would be equally fascinating to explore whether such provisional and often highly fragmentary works (which resemble essays more than teasers) are employed by sound documentarians.

The mention of these examples calls to mind many others, potentially similar or markedly different in their approaches. Contributors are also encouraged to discuss, revise, and critique the notion of the diaries as proposed here for film and sound creation.

Submission guidelines

Authors wishing to submit an abstract in French, English or Arabic are invited to send it to the following email address: regards@usj.edu.lb, before April 30, 2025.

Authors should provide the following information:

  • An abstract of the article – approx. 500 words
  • 5-10 keywords
  • A short, indicative bibliography
  • A mini biography – approx. 100 words

The abstracts will be examined by the editorial committee, and the authors will receive an answer before May 15, 2025.

The submission deadline for the final article (approx. 5000 words) is scheduled for September 15, 2025.

Scientific committee

  • Hamid Aidouni, PR – Université Abdelmalek Essaadi, Maroc
  • Karl Akiki, MCF – Université Saint-Joseph de Beyrouth, Liban
  • Riccardo Bocco, PR – Graduate Institute of International and Development Studies Genève, IHEID, Suisse
  • Fabien Boully, MCF – Université Paris Nanterre, France
  • André Habib, PR – Université de Montréal, Canada
  • Dalia Mostafa, MCF – University of Manchester, Angleterre
  • José Moure, PR – Université Paris Panthéon Sorbonne – Paris 1, France
  • Jacqueline Nacache, PR – Université de Paris, France
  • Ghada Sayegh, MCF – IESAV, Université Saint-Joseph de Beyrouth, Liban
  • Kirsten Scheid, Associate PR – American University of Beirut, Liban

Editor-in-chief: Joseph Korkmaz (Professor, Université Saint-Joseph de Beyrouth)

Issue editors:

  • Robert Bonamy – Professeur des universités – Université de Poitiers – UR 15076 FoReLLIS
  • Aude Fourel – Maîtresse de conférences, Réalisatrice – Université Grenoble Alpes – UMR 5316 Litt&Arts
  • Bahia Bencheikh El Fegoun – Doctorante, Réalisatrice – Université de Poitiers – ED “Humanités” - UR 15076 FoReLLIS
  • Eve Le Fessant Coussonneau – Doctorante, Réalisatrice – Université de Poitiers – ED “Humanités” – UR 15076 FoReLLIS

Bibliography

  • Abounaddara Collective, Dignity has never been photographed », sur Documenta14, 24 mars 2017.
  • Bidayyat Collective, « Background », s.d.
  • Baiblé Claude, Nouel Thierry, Filmer seul·e, Paris, La Revue Documentaires, n° 26-27, 2016.
  • Bonamy Robert, Cinéma réfractaire – essais documentaires, Cherbourg-en-Cotentin, de l’incidence éditeur, 2025.
  • Brenez Nicole, Khoshnoudi Bani, « Une éthique de la question. Entretien avec Bani Khoshnoudi », paru dans le cadre de l’ensemble « Each Dawn a Censor Dies », sur le site de la Galerie nationale du Jeu de Paume, en septembre 2016.
  • « À bruits secrets (l'artiste iconographe et l'archive : images, documents, sons) », Revue Critique 879-880, « Faire collecte. Archives et création », Paris, Éditions de Minuit, 2020.
  • Cassagnau Pascale, Une idée du nord. Une excursion dans la création sonore contemporaine, Beaux-arts de Paris éditions, 2014.
  • Chatelet Claire, Savelli Julie, Récits de soi. Le JE(U) à l'écran, Toulouse, revue Entrelacs, n° 15, 2018.
  • Dabashi Hamid, Dreams of a nation, London New York, Verso, 2006.
  • Delbard Nathalie, « Tordre le cou à l'éloquence. À propos d'Au fil de la révolution d'Abounaddara », Paris, Trafic n°110, POL, juin 2019.
  • Gambetti Zeynep, Leticia Sabsay et Judith Butler, Vulnerability in resistance, Durham, (N.C.), Duke University Press, 2016.
  • Gerts Nurit et George Khleifi, Palestinian Cinema: Landscape, Trauma and Memory, Edinburgh, Edinburgh University Press, coll. « Traditions in World Cinema TWC », 2022.
  • Honneth Axel, La lutte pour la reconnaissance, Pierre Rusch (trad.), Paris, Gallimard, coll. « Folio », no 576, 2013.
  • Leprince Camille, « Usages du ciné-tract dans le film Demande à ton ombre », revue Regards, n°27, 2022.
  • Mirzoeff Nicholas, The Right to Look: A Counterhistory of Visuality, Duke University Press, 2011.
  • Riboni Ulrike Lune, Vidéoactivismes : contestation audiovisuelle et politisation des images, Paris, Éditions Amsterdam, 2023.
  • Salhab Ghassan, À contre-jour (depuis Beyrouth), Cherbourg-en-Cotentin, de l’incidence éditeur, 2021.
  • Sayegh Ghada, « La fin du monde a déjà eu lieu », revue hors champ, octobre 2024.
  • Sfeir Jihane, « Mémoires vives palestiniennes », dans Christine Jungen, Jihane Sfeir, dir., Archiver au Moyen-Orient. Fabriques documentaires contemporaines, Paris, Karthala, 2019
  • Snowdon Peter, The people are not an image: vernacular video after the Arab Spring, London ; New York, Verso, 2020.
  • Snowdon Peter, « The Revolution Will be Uploaded: Vernacular Video and the Arab Spring », Culture Unbound, vol. 6, no 2, 17 avril 2014, p. 401-429
  • Yaqub Nadia G., Palestinian cinema in the days of revolution, First ed, Austin, [Texas], University of Texas press, 2018.
  • Yon David, « Les Oiseaux d’Arabie, Journal de bord », « La Nuit et L’Enfant, Journal de bord » et « Ne me guéris jamais, Journal de bord », Dérives.tv, www.derives.tv
  • Zabunyan Dork, L’insistance des luttes. Images, soulèvements, contre-révolutions, 2e édition augmentée, Cherbourg-en-Cotentin, de l’Incidence éditeur, 2024.

    • Call for papers - Revue Regards Issue 34:

    Music in the Middle East after the digital revolution

    Issue coordinated by :

    Nicolas Puig IRD nicolas.puig@ird.fr

    Amr Abdelrahim sciencespo.fr

    Thomas Michel thomas.michel1999@hotmail.com

    At the turning point of the 2000s, musical production and creation were reshaped by technological developments in different regions of the world, including the Near East, marking the advent of a "digital regime" (Olivier, 2017) for music. A new organization of artistic production in the Middle East, from Egypt to Iraq, via the Palestinian Territories, Syria, Jordan and Lebanon, is taking place. It is the result of innovations linked to new forms of expression, communication and production of contemporary music, leading to a plurality of musical knowledges and practices that manifest within national and regional dynamics (De Blasio 2020, 2021, Johannsen 2017, Rasmussen 1996).

    This issue of the journal Regards Université Saint-Joseph de Beyrouth proposes to investigate the dynamics of musical production and forms of dissemination in the contemporary Near East, particularly through the do it yourself practices that have emerged with the advent of home studios (Péneau 2023) and low-cost listening platforms. The challenge of such a study is thus to confront the different aesthetics of today's music, blending diverse intellectual and cultural heritages, mobilizing the affects of nostalgia (Dauncey & Tinker 2014) and those linked to the historical realities shared by the region's inhabitants (Fahmy 2013). The question of understanding the articulation of musical dynamics with social, political and state boundaries and different contexts of conflict will be explored.

    This issue will also focus on the complex systems of communication, recording and accumulation of knowledge and practices of Near Eastern artists, following different approaches linked to popular music studies (Hesmondhalgh & Meier 2014, Nowak 2013), science and technology studies (Olivier 2017, Shafiee 2019) and contemporary ethnomusicological currents (Olivier 2022, Stokes 2022). The aim is to shed light on the modes of legitimacy and authenticity (Guillard & Sonnette 2020) of Near Eastern music. Practices such as featuring (Roquebert 2020) and the arrival of streaming platforms like SoundCloud (Allington, Dueck & Jordanous 2015, Hesmondhalgh, Jones & Rauh 2019) also enable artists, despite physical borders, to create collectively around shared aesthetics and share their creations. The growing intensity of these flows has led to the emergence of new economic players around a "new transnational Arab pop" (France 2020), distinct from the traditional pop industry organized around a Beirut-Riyad axis (Kraidy 2007). Moreover, the Middle East region is increasingly integrated into a global system, even if exchanges between the center and the margins are still characterized by a structural "mismatch" (Sprengel 2023).

    Contributions may focus on the situation of a particular country, since studies of music in the Near East are still very much marked by national roots. Egypt, in the first instance, has been the target of a major commitment by music researchers to examine sacred music (Gabry-Thienpont 2015), popular music such as Shaabi (Puig, Frankfort 2006, 2022) and Mahragan (Puig 2020), and independent music (Sprengel 2018, 2020, El Chazli and Gabry-Thienpont 2020) such as rap (Mangialardi 2016, Weiss 2016, Williams 2010). Other countries in the region have also been the subject of more or less recent or updated research (Shannon on Syria, 2006, Bukhalter and Puig on Lebanon, 2007, McDonald on Palestine, 2010, 2013, 2019). By way of illustration, some authors have taken an interest in Jordanian music through the fields of diaspora in music (Thibdeau 2020) as well as via studies on youth, underground culture (Munk 2021), traditional Dabke music (Al Bakri & Mallah 2020) and popular music (Galakhova 2008). Palestinian music is also the subject of studies that focus on the discourse of resistance in the context of Israeli occupation (Belkind 2021, El Sakka 2010, Eqeiq 2012) or attempt to approach the subjectivations of Palestinian youth through and by means of music (Karkabi 2013, 2020, Sunaina 2008, Withers 2021, Zielinska 2018)

    In this context, studies on music in the region are always in a state of tension between a transversal logic (Arab music) and national approaches (music from Egypt, Lebanon, Syria, etc.).

    For this issue, we are expecting proposals based on situated ethnographies of musical creation, production and dissemination, both nationally and regionally, in a transversal and/or cross-cutting manner within the contemporary Near East.

    Submission guidelines

    Authors wishing to submit an abstract (in French, English or Arabic) are invited to send it to the following email address before September 10 2024: regards@usj.edu.lb.

    Authors should provide the following information:

    • An abstract of the article (approx. 500 words)
    • 5–10 keywords
    • A short, indicative bibliography
    • A mini biography (approx. 100 words)

    The abstracts will be examined by the editorial committee, and the authors will receive an answer by the end of September 2024. The articles should be submitted before January 15 2024.

    Scientific Committee

    • Hamid Aidouni, PR (Université Abdelmalek Essaadi, Maroc)
    • Karl Akiki, MCF (Université Saint-Joseph de Beyrouth, Liban)
    • Riccardo Bocco, PR (Graduate Institute of International and Development Studies Genève, IHEID, Suisse)
    • Fabien Boully, MCF (Université Paris Nanterre, France)
    • André Habib, PR (Université de Montréal, Canada)
    • Dalia Mostafa, MCF (University of Manchester, Angleterre)
    • José Moure, PR (Université Paris Panthéon Sorbonne – Paris 1, France)
    • Jacqueline Nacache, PR (Université de Paris, France)
    • Ghada Sayegh, MCF (IESAV, Université Saint-Joseph de Beyrouth, Liban)
    • Kirsten Scheid, Associate PR (American University of Beirut, Liban)

    Editor-in-chief: Joseph Korkmaz, PR (Université Saint-Joseph de Beyrouth, Liban)

    Edition Editor:

    Nicolas Puig (Université Paris Cité) – Amr Abdelrahim (Sciences Po, Paris) – Thomas Michel (IRD, Université Paris Cité).

    Bibliography

    • Al Bakri, T., & Mallah, M. (2020). Dabkeh al Djoufieh: Exploring the Sustainability of Jordanian Folklore. Conservation Science in Cultural Heritage, 20(1), 227–245 ;
    • Allington D., Dueck, B. & Jordanous A. (2015). Networks of Value in Electronic Music : SoundCloud, London, and the Importance of Place. In: Cultural Trends, vol. 24, no 3, p. 211-222.
    • Belkind, N. (2021). Music in conflict. Palestine, Israel and the politics of aesthetic production. SOAS studies in Music, Routledge (ed.), 282p ;
    • Bukhalter, T. (2007) Mapping Out the Sound Memory of Beirut. A survey of the music of a war generation, In : N. Puig, F. Mermier, Itinéraires esthétiques et scènes culturelles au Proche-Orient, IFPO, p. 103-125 ;
    • Dauncey, H. & Tinker, C. (2014). La Nostalgie dans les musiques populaires. In: Volume !, 11 : 1 | 2014, 7-17 ;
    • De Blasio, E. (2020). Rap in the Arab World: Between Innovation and Tradition. In : G. Mion (Ed.), Mediterranean Contaminations: Middle East, North Africa, and Europe in Contact (pp. 219-231). Berlin, Boston: De Gruyter. https://doi.org/10.1515/9783112209363-009 ;
    • De Blasio, E. (2021). Poetry in the Era of Social Networks: The Case of Faraḥ Šammā. In : Annali di ca’ foscari: eerie orientale, Vol. 57, no. 1 ;
    • El Chazli, Y. et Gabry-Thienpont, S. (2020). Rap, Rock, Électro... Les musiques indépendantes et l’État. In : Montas, A (dir.). Droit(s) et Hip Hop. Paris : Mare et Martin, 2020.
    • El Sakka, A. (2010). Revendication identitaire été représentations sociales : émergence d’un nouveau mode d’expression artistique de groupes de jeunes Palestiniens. In : Cahiers de recherche sociologique, (49), pp. 47-62. https://doi.org/10.7202/1001411ar ;
    • Eqeiq, A. (2012) Music: Hip-Hop, Spoken Word and Rap: Israel/Palestine. In : Encyclopedia of Women & Islamic Cultures, edited by Suad Joseph, Afsaneh Najmabadi, Julie Peteet, Seteney Shami, Jacqueline Siapno and, and Jane I. Smith ;
    • Fahmy, Z. (2013). Coming to our Senses: Historicizing Sound and Noise in the Middle East. In: History Compass 11 (4): 305–15 ;
    • Frankford, S. (2022). Shaʿbi music and struggles over ‘the popular’: class, space and emotion in contemporary Cairo, Ph.D. thesis, University of Oxford ;
    • France, P. (2020). Stream Poker 1 : Pourquoi le streaming n’a pas (encore) bouleversé la musique dans le monde arabe. OrientXXI, 12 juin ;
    • France, P. (2020). Stream Poker 2 : Vers une nouvelle pop arabe ? OrientXXI, 19 juin ;
    • Johannsen Igor, J. (2017). Keepin’ It Real : Arabic Rap and the Re-Creation of Hip Hop’s Founding Myth. In : Middle East Topics & Arguments, 7:2017 ;
    • Galakhova, A. E. (2008). Popular music in jordanian schools: a clash of cultures or a necessary progression ? University of Kent (United Kingdom) ProQuest Dissertation & Theses ;
    • Guillard S. & Sonnette M. (2020). Légitimité et authenticité du hip-hop : rapports sociaux, espaces et temporalités de musiques en recomposition. In : Volume! : Le Monde ou rien ? 17 : 2 | 2020 ;
    • Hesmondhalgh D. & Meier L. M. (2014). Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism. In : Bennett James & Strange Niki (eds.), Media independence : Working with freedom or working for free, Londres, Routledge, p. 94-116 ;
    • Hesmondhalgh, D., Jones, E. & Rauh A. (2019). SoundCloud and Bandcamp as Alternative Music Platforms. In : Social Media + Society, vol. 5, no 4, p. 1-13 ;
    • Karkabi , N. (2013). Staging Particular Difference : Politics of Space in the Palestinian Alternative Music Scene. SOAS, University of London, UK ;
    • Karkabi, N. (2020). Self-Liberated Citizens : Unproductive Pleasures, Loss of Self, and Playful Subjectivities in Palestinian Raves. In : Anthropological Quarterly, Volume 93, Number 4, Fall 2020, pp. 679-708 ;
    • Kraidy, M. (2007). Saudi Arabia, Lebanon and the Changing Arab Information Order. International Journal of Communication, 1 (2007), 139-156 ;
    • Mangialardi, N. (2016). Deciphering Egyptian Rap Ciphers. In : Middle East Journal of Culture and Communication, 12, 2016, p. 68-87.
    • Mc Donald, D. A. (2010). Geographies of the Body: Music, Violence, and Manhood in Palestine. In: Ethnomusicology Forum 19 (2): 191–14 ;
    • McDonald, D. A. (2013). Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop. In: TDR (1988-) , Fall 2013, Vol. 57, No. 3 (Fall 2013), pp. 69-87 ;
    • McDonald, D.A. (2019). Framing the "Arab Spring": Hip Hop, Social Media, and the American News Media. In: Journal of Folklore Research 56(1), 105-130. https://www.muse.jhu.edu/article/719129 ;
    • Munk, L. (2021). “Don’t Tell Me Underground”: The Politics of Joy and Melancholy in Jordan’s Alternative Arabic Music. UC Santa Barbara ;
    • Nowak, R. (2013). Consommer la musique à l’ère du numérique : vers une analyse des environnements sonores. In : Volume ! La revue des musiques populaires, n° 10-1, p. 227-228 ;
    • Olivier, E. (2017). Les opérateurs téléphoniques comme nouveaux opérateurs culturels politiques de la musique au Mali. In : Politiques de communication, 2017, Hors série n° 1, HS, p. 179-208 ;
    • Olivier, E. (2022). Des cultures enregistrées aux cultures de l’enregistrement : l’ethnomusicologie à un tournant épistémologique ?. Volume, 19:2, 17-38 ;
    • Puig, N. (2006). « Sha’abî, « populaire » : usages et significations d’une notion ambiguë dans le monde de la musique en Égypte », Civilisations, n° 1-2, p. 23-44. https://hal.archives-ouvertes.fr/halshs-00003944v1 ;
    • Puig, N. (2007). « Bienvenue dans les camps ! ». L’émergence d’un rap palestinien au Liban : une nouvelle chanson sociale et politique, In : N. Puig, F. Mermier, Itinéraires esthétiques et scènes culturelles au Proche-Orient, IFPO, p. 103-125 ;
    • Puig, N.(2020). « De quoi le mahragān est-il le son ? Compositions et circulations musicales en Égypte », In R. Jacquemont et F. Lagrange, Culture pop en Égypte. Entre mainstream et contestations, Riveneuve, p. 387-422 https://hal.archives-ouvertes.fr/hal-02094943v2 ;
    • Rasmussen, A. K. (1996). Theory and practice at the ‘Arabic org’: digital technology in contemporary Arab music performance. In : Popular Music, octobre 1996, vol. 15, no 3, p. 345-365 ;
    • Péneau, M. (2023). Le beatmaking à Dakar : savoirs, pratiques et cultures du numérique. Thèse en musique, histoire et société soutenue auprès de l’EHESS et du Centre Georg Simmel.
    • Roquebert, C. (2020). Le capital social des rappeurs : les featurings entre gain de légitimités et démarche d’authentification professionnelle. In : Volume ! : Le Monde ou rien ? 17 : 2 | 2020 ;
    • Shafiee, K. (2019). Science and Technology Studies (STS), modern Middle East History, and the infrastructural turn. In;: History Compas. 2019:17e12598 ;
    • Shannon, Jonathan H. (2006). Among the Jasmine Trees: Music and Modernity in Contemporary Syria. Middletown, Conn.: Wesleyan University Press ;
    • Sprengel, D. (2018). Challenging the Narrative of “Arab Decline”: Independent Music as Traces of Alexandrian Futurity. In : Égypte/Monde arabe, 2018/1 (n° 17), p. 135 à 155 ;
    • Sprengel, D. (2020). Neoliberal Expansion and Aesthetic Innovation: The Egyptian Independent Music Scene Ten Years After. In : International Journal of Middle East Studies, 2020, 52(3), p. 545-55 ;
    • Sprengel, D. (2023) Imperial lag: some spatial-temporal politics of music streaming’s global expansion. Communication, Culture and Critique, Volume 16, Issue 4, p. 243–249 ;
    • Stokes, M. (2022). De l’ethnographie, à l’heure où nous sommes « tous (ethno)musicologues ». Volume, 19:2, 133-151;
    • Sunaina, M. (2008). « We Ain’t Missing ». Palestinian Hip Hop — A Transnational Youth Movement. In : The New Centennial Review, Vol. 8, No. 2, 2008, pp. 161 -192 ;
    • Thibdeau, K. M. (2020). Becoming Diaspora: A Performative History of Circassian-Jordanian Culture and Politics. University of Colorado at Boulder ProQuest Dissertations Publishing ;
    • Weis, E. R. (2016). Egyptian Hip-Hop: Expressions from the Underground. Le Caire : American University in Cairo Press, 2016 ;
    • Williams, A. (2010) We Ain’t Terrorists but We Droppin’ Bombs’: Language Use and Localization in Egyptian Hip Hop. In : Terkourafi, M. Languages of Global Hip Hop : 67-95 ;
    • Withers, P. (2021). Ramallah ravers and Haifa hipsters: gender, class, and nation in Palestinian popular culture. In : British Journal of Middle Eastern Studies, 48:1, 94-113, DOI: 10.1080/13530194.2021.1885852 ;
    • Zielinska, A. C. (2018). La disparition de la politique : le rap entre Israël et la Palestine, entre Juifs et Arabes. In: Mouvements, 2018/4 (N°96), pp. 102-110 ;