{"id":28192,"date":"2020-11-23T17:46:01","date_gmt":"2020-11-23T17:46:01","guid":{"rendered":"https:\/\/revistaidees.cat\/?p=28192"},"modified":"2021-01-14T14:21:05","modified_gmt":"2021-01-14T14:21:05","slug":"vientos-de-transformacion-a-lomo-del-comic-arabe","status":"publish","type":"post","link":"https:\/\/revistaidees.cat\/en\/vientos-de-transformacion-a-lomo-del-comic-arabe\/","title":{"rendered":"Winds of change riding the arab comic"},"content":{"rendered":"\n

Although during the 19th century publications that already included graphic narratives from the comic strip that were developing in the West, such as the Egyptian Rawdat al-Madaris<\/em> [1]<\/a>1 \u2014 Elisabeth Kendall, Literature,Journalism and the Avant-Garde. Intersection in Egypt, New York et Londres, Routledge\n<\/span><\/span>, it was not until the middle of the 20th century that there was a greater spread of the 9th art in the Arab world, focused on the Maghreb and Mashreq areas [2]<\/a>2 \u2014 De Blasio, E. (2020): Comics in the Arab world. Birth and spread of a new literary genre, at Anaquel de Estudios \u00c1rabes 31, 117-126.\n<\/span><\/span>. The comic developed in these times is fundamentally for children, with great success led by publications such as Sindbad or Samir<\/em>, but still far from an approximation to adult comics that would arrive in the 80s with works like Carnaval and Freud<\/em>, by George Khoury (JAD). A still tentative appearance of the adult comic that was to have a parallel reflection with the growing importance of political graphic humour [3]<\/a>3 \u2014 Douglas, Allen y Matli-Douglas, Fedwa (1994) Arab Comics Strips: Politics of an emerging Class Culture. Bloomington: Indiana University Press\n<\/span><\/span>, but that would not be fully recognised until 2007 (except for the comic showing prison experiences by the Moroccan Abdelaziz Muride On affame bien les rats<\/em> and Le coiffeur<\/em> at the beginning of the 21st century) with the appearance of the choral magazine Samandal in Lebanon. The appearance of the collection that creates this pioneering magazine is a reflection of an era, of a very young generation growing up in the age of the internet, but also of the disbelief of the ideals of pan-Arabism and the confrontations that the Cold War had fuelled in the Arab world. They are a generation that grew up in countries emerging from bloody civil wars, such as Lebanon or Algeria, or extremely controlling dictatorships like Syria under Hafez el Assad or Morocco under Hassan II [4]<\/a>4 \u2014 VV.AA. (2018) Nouvelle g\u00e9n\u00e9ration : la bande dessin\u00e9e arabe aujourd\u2019hui, Marsella, Alfibata Ed.\n<\/span><\/span>. Disillusionment with their own political reality does not prevent these young artists from being closely linked to their social reality. A reality that passes through distinctly urban environments, linked to the chaotic growth of cities such as Cairo, Casablanca or Beirut where a large part of the stories of its protagonists takes place [5]<\/a>5 \u2014 Rojo, Pedro (2017) El c\u00f3mic \u00e1rabe, de la propaganda estatal del panarabismo a la irreverencia actual, Quaderns de la mediterr\u00e0nia, 24, 239-245\n<\/span><\/span>. Graphic novels such as Le guide Casablancaies<\/em> by Mohamed Amine Bellaoui (known as Rebel Spiri<\/em>t), which portrays the humour and stark pop style of a whole range of characters that live in the poorest districts of the economic capital of Morocco, or the Algerian Fatma N’parapli<\/em> by Mahmoud Benameur, with a script by Soumia and Safia Ouarezki, are a reflection of the magical space and their network of relationships and contradictions that is the life of the Kasbah of Algiers, a timeless story carefully drawn so that it could be located in Algeria at the beginning of the last century or today. <\/p>\n\n\n\n