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A British Artist’s Ode to the Egyptian Revolution

by Roland Prime

It was 25 January 2011 and the Egyptian Revolution began; to some completely unexpectedly, to others it was time. Living here in Cairo, little did I know that the events of that day would change the course of Egyptian history. This was the date of the first mass protest in the now famous Tahrir Square, or more correctly Midan Tahrir (Square of Liberation). Twice I had the privilege of visiting the square during important days of the protests. 

Everyone knew something had to change; the oppression and hopelessness that existed was too great. I recall privately saying two years prior, that the only way I could see the country change its direction was through a mass uprising of all the peoples: little did I think I would actually experience it. We witnessed history. Egyptians can take much pride and their example encourages others throughout the Arab world.

I felt I needed to paint my own version of Midan Tahrir and all that it has come to symbolise.  Looking at my painting, which I have titled Unity, on first glance the observer believes they are looking at Midan Tahrir, but then realises that they are looking into a scene that contains symbols and scenes of events that took place and are still taking place in the square.

Certain aspects of the square then become familiar: the huge advertising boards that bedeck the surrounding buildings but lack any advertisements, symbolising the sudden disappearance of wealth and disruption to business; the buildings adorned with the arrays of communication (satellites and mobile phones were turned off for a few days whilst the eaves dropping equipment from the state continued to function). Looking closely, a flight of pigeons are unaware of what unfolds around them - for the peace will soon be disturbed. The viewer also sees the famous Egyptian Museum at the head of the square protected by the army's tanks, the burnt out remains of the National Democratic Party's headquarters: both representations of their former selves. Behind them the transmission mast of the state controlled television is larger than life to emphasise the control and mistruths they transmitted. The lamp's position in the picture is balanced by the image of the Mosque of Mohamed Ali in the Citadel representing the unity between Muslims and Christians. The lamp can be seen as the Christian symbol of the cross, and more so as the fusion of a lamp-post and a fanouus (Ramadan lamp) radiating the light of hope and unity.

The crowd is unified, together as one, with flags flying in mass celebration. At its head are a Muslim Imam and a Coptic priest in prayer together as one. They touch heads, an important part of an Eastern marriage ceremony, symbolises the Cross and the Qur'an together. The buildings are symbolic of both those that are on the square, such as the Hotel Cleopatra, and of the mass corrupt development seen across the whole city.  As we turn the corner, we see in the distance the Citadel's mosque, symbolising Islam, and observe the massive crowds reaching beyond Tahrir to the famous Talat Harb square. The viewer sees the people stopping for prayer, and the religious leaders together. Also, the funeral procession of The Martyrs is portrayed (over 600 people died in the Egyptian revolution). As I do not know how many from each religion died for the cause of their country, I chose to symbolise them with the unifying graphic of the Islamic Crescent embracing the Cross of Christianity, which has been featured on many flags during the revolution. In the foreground, the cameras of the State are watching and recording; the anti-climb barbwire prevents interference, making them untouchable.  

Roland Prime is a British artist living in Cairo and the visual arts curator of CARAVAN Festival of the Arts (www.freewebs.com/rolandprime  & www.oncaravan.org )

For a preview on CARAVAN, visit http://www.canvasguide.net/en/articles/building-bridges-in-cairo.html

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