Sidewalk Salon Cairo –Preview

cairo

‫القاهرة‬

‫صالون الرصيف‬

sidewalk salon

This publication has been generously supported by:

SIDEWALK SALON Manar Moursi and David Puig, 2015

Photos: All photos by Manar Moursi and David Puig, except images on p. 177 (Reuters), p. 178 (AP), p. 183 (Reuters), p. 185 (AP), p. 186 (AFP).

Design: Sandra Kassenaar Texts: Manar Moursi and David Puig, Yasser Abdel Latif, Mohamed al-Fakhrany, Taher el-Sharkawy, Maged Zaher, Amira Hanafi Translations from Arabic to English: Adam Talib (texts by Yasser Abdel Latif, Mohamed al-Fakhrany and Taher el-Sharkawy), Elisabeth Jacquette (interviews) Special thanks to: Karam Youssef, Yasser Abdel Latif, Ehab AbdelHamid, Joseph Rizk, Mark Gamal, Mia Jankowicz, Maged Zaher, Wiam el Tamami, Marielle Morin, Jeaninne Diego, Ahmed Shokr, Miguel D. Mena, Rana El Nemr, Nadia Mounir, Suhail Malik, Rajni George, Felipe Herrera, Basma Hamdy, Hadeer Ahmed Ali, Emad Ryan, Sayem Mehmood, Hatim el Bouhairi.

Translations from English to Arabic: Ehab Abdel-Hamid (texts by David Puig and Manar Moursi) Copy editing English: Rajni George Copy editing Arabic: Hassan Ragab and Ashraf El Shazly No part of this book may be reproduced in any form or by any electro­ nic or mechanical means without prior permission from the copyright holders.

Printed in Cairo, Egypt

p. 111 elderly company preferred Al-Taher Sharkawy p. 119

contents

the soul-crushing cafĂŠ Yasser Abd al-Latif p. 129 Dictionary of the Revolution Amira Hanafi p. 134 POEM Maged Zaher

p. 5 Introduction

p. 137 SERIES & interviews

p. 11 a confedracy of chairs Manar Moursi & David Puig p. 27 SERIES & interviews p. 103 Ward and Mazzika Mohamed Al-Fakharany

introduction

In one of the many sidewalk coffeehouses which dot the city of Cairo, we met in the winter of 2010. Surrounded by a thin film of rumor and gossip, our first meeting was infused with discussions about the magnetic appeal of the capital of Egypt. A few days later, we met for a walk, and soon, walking in different parts of the city became a regular fixture in our weekend routines.

We first took notice of the street chairs of Cairo in one of these walks on Port Said Avenue, which straddles the city from North to South. “A funny thing about a chair: you hardly ever think it’s there”, the American poet Theodore Roethke once wrote. And yet that day, all of a sudden, those street chairs were there. Not one or two of them, isolated, but one after the other creating some kind of invisible thread along the sidewalk.

Chairs arrive to the streets of Cairo brand new or used, after having 5

served time in an apartment, an office or a school. Repaired, stitched and embellished, those chairs age graciously despite being constantly on duty outdoors.

The curiosity triggered by these ubiquitous sidewalk objects made us realize how essential they were to the everyday life of people who spend a considerable part of their time in the pavement, and to understand the rhythms and the dynamics at play in the sidewalks of the city.

Thus began our “sidewalk botany”, our three-year journey documenting, with a Polaroid camera and a voice recorder, the street chairs of Cairo and the stories of their users.

This was in 2011. Since then, we’ve completed more than fifty walks all over Cairo, each one lasting between one and five hours. Our walks would start at a point identified on the map and wander wherever the chairs we found on the way led us. Typically, people on the street did not understand what we were doing. Were we sure we wanted to take a picture of an empty chair and not a portrait of them? As friends or neighbors gathered, they would sometimes explain to each other half-jokingly that we were taking a picture of the jinns, afreets or the spirits of the chair. “Better looking” chairs were pulled out in place of the ones we wanted to photograph.

Once we explained that we liked how they fixed and improved their chairs, that we just wanted to document their innovative design solutions, they generally agreed.

Our first pictures were shot with a digital camera. We found the images too glossy and bright, so we tried different options; we concluded that the subtle, slightly washed-out look of the Polaroid images corresponded well to the dusty and unkempt nature of the sidewalks of Cairo. We also liked the idea of having a formal element running

introduction

5

through the images, and this was made possible by the Polaroid frame. Finally and more importantly, the Polaroid camera helped to break the ice and dispel people’s suspicion. Once they saw how the camera printed instant images, they asked to keep a portrait of themselves with friends or family. This gift helped to balance our request and facilitated the exchange. *** Sidewalk Salon introduces the reader to a carefully selected assortment of Cairo street chairs curated from our archives.

This collection aims to bring to the fore the creative practices of street design and unplanned interventions in public space that give Cairo its distinctive character. A varied set of texts—interviews, fiction, poetry and essays— intend to complement the catalogue of photographs, allowing the reader a more a nuanced view of the sidewalk.

The images of this book are organized into two sections: walks and thematic series. The walks give a glimpse into our method of urban empiricism and our excursions on foot through the city, in which we documented street chairs by indexing on maps the locations of the seats photographed.

The unpredicted paths we followed can be seen as threads binding prayer beads of chairs, in which each chair is part of a sequence and an original part of that ensemble. We chose to highlight three of our walks that covered the neighborhoods of 1) Shubra-Shubra El Kheima, 2) Old Cairo-Zahraa-Dar El Salam-Maadi-Khalifa and 3) New Cairo.

We selected these areas to reflect the diverse urban fabrics we encountered in a city that revealed itself as a patchwork of contrasting parts bound together: green islands, cliff-side settlements, 6

cemeteries transformed into residential areas, old neighborhoods in medieval Islamic quarters, endless rows of raw red brick buildings developed along striped agricultural land, and gated communities with malls and wide highways sprouting out of the desert onto the outskirts.

Going through our archive of images, we began to notice families of chairs. The thematic series of the book are organized around these families, which reveal common formal elements in the structure of the chairs and shed a light on the multiple ways they are utilized on the sidewalk. Some of those sequences put together particular types of seats widespread on the streets of Cairo, like armchairs and sofas, or curious pairs of twin chairs also found regularly on the pavement. Other series focus on the life cycle of chairs, showing different phases of their decay—from their amputations to their final collapse— or the miracle of their recovery with the help of various prostheses. Diverse interventions to make street chairs more comfortable were also studied and classified by the kinds of material used: cartons, fabrics and cushions. Symbolic uses of chairs were also recorded; as signs of power and revolutionary struggle, chairs have appeared since 2011 in graffiti, stickers and advertisements plastered on the walls of the city.

Though the bulk of the material collected is visual, we also conducted several interviews with the street chair users. From fruit sellers to poets sitting in Tahrir Square, each revealed their own perspective of the city in flux. For the security guard of the Russian Airlines office, the most moving memory from his archive of observations is a woman who feeds the street cats every day. Her care for other living creatures speaks to his feeling of connection to everything

‫مقدمة‬

6

living, extending to the very dust of the city. For others, spending time with women on the sidewalk is a source of shame that must be concealed. For the younger crowd, women passing by are merely a source of entertainment, to be called at from their privileged sidewalk stoops. For Mohamed in Dar El Salam, spending time on the sidewalk was how he got to first lay eyes on his wife.

The pieces of fiction and the poems inspired by street chairs, commissioned for this project, also seek to bring us closer to the occupants and owners of street chairs. Writing about a passageway café in Downtown Cairo, Yasser Abdel-Latif recreates the atmosphere of one of the arteries of the city that brings the scale of the typical alleyways of Cairo to the wide avenues of Downtown. It speaks also of the forlornness of the nineties and the time spent on coffeehouses by wanna-be artists and creatives. Al Taher Sharkawy’s “Elderly Company Preferred”, brings to life a bus stop seat located in front of the popular Horreya bar that any visitor or resident of Cairo has surely passed by but never taken notice of. Mohamed Al Fakharany reveals how informal vendors create makeshift seats with the elements at hand in order to allow increased mobility and flexibility:

“Ward comes out every morning, carrying a chair and a set of scales... The chair: Not a chair as such. It's a piece of foam, square-shaped, that rests on a small crate. It doesn't always rest on the crate, however, so in a way one could say that the square-shaped piece of foam is the chair itself.”

Maged Zaher’s personal reflection on stillness and withering away while drinking tea on the sidewalk really offers a pulse of the times, and Amira Hanafy’s “Qamos El Thawra” inexorably ties chairs, couches and the culture 7

of sitting outside to recent political developments.

Meanwhile our own essay, like the walls and the pavements that frame the images of chairs presented in Sidewalk Salon, can be read as the background against which to interpret the visual material of this book. It uses the prism of street chairs to reflect on Cairo and examine socio-economic, gender, design and political dynamics, and the relationship between these issues and the use of public space in the city.

While this project allowed us to pursue some of our personal interests—walking, mapping, collecting—and to grasp the dimensions of the endless city, we also hoped to shed light on the unique point of view held from Cairo's streets and sidewalks. The perspective of the guards, doormen, street sellers and café goers who spend a significant part of their day in the intermediate layer of the city located between heavily transited roads and buildings acted as a thermometer held—albeit accidentally— against the capital of a country facing a definitive turning point in its history.

introduction

7

‫‪29‬‬

‫‪series‬‬

‫‪29‬‬ ‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪30‬‬

‫تيمات‬

‫‪30‬‬

31

series

31

‫‪32‬‬

‫تيمات‬

‫‪32‬‬

‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪33‬‬

‫‪series‬‬

‫‪33‬‬ ‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪36‬‬

‫تيمات‬

‫‪36‬‬

‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

12 january 2014 mohammed Dar el Salam

street – I met her here. She was walking by, I got to know her and we started dating.

I

Interviewer What’s your name?

How so?

I Do you live here in this neighborhood?

M I liked her, and talked to her, and got to know her, and we started going out, and got engaged, and after that we got married. That’s the best thing that’s happened in my life on this street.

M No not here, I come here to visit my friends.

I I want to know more, how did you get to know her?

I

M In Maadi.

M There’s nothing to it. When you like something, don’t you go and buy it?

I What do you do for a living?

I

M I’ve worked in artistic games for seven years.

M Me, when I like something, I like to get it too.

I What’s your favorite area in Cairo, here or Maadi?

I Do you know everyone here in the neighborhood?

M Mohandessin, Gameat el Dowel.

I like to sit there. Everything I love and want, I find there. When I feel like going out, I feel comfortable hanging out there.

M Yes, of course; my work has been here for ages.

I

Mohammed

But where do you live?

Yes.

I So, you talk to anyone who stops by?

Do you sit here often?

M My work is here, and my friends are here.

I How long do you sit here with them?

M For work, maybe nine hours.

I build pool tables and I also do their finishing. If there’s nothing I need to do, I sit here outside and drink Pepsi or something.

I What’s the most impressive thing that happened, or that you saw while sitting here?

M A wonderful surprise is that I fell in love with my wife on this

37

interview

37

M Of course, haven’t you stopped by and I’m talking to you?

M Yes, there are women that sit here.

I Where did you get this chair?

I

M This chair was new, and then it broke, and we reconstructed it.

M Before I got married, I might have catcalled girls, but in a nice way, to make them laugh. But I’ve stopped catcalling now, because I’ve got a little girl now named Hana.

I

How long have you had it for?

M This chair, oh for about ten years.

Abu Alela (a work colleague)

You liar, you weren’t even born then.

M A metal chair, how long does that last? How many years? Where does it come from, Abu Alela?

AA It came from the steel factory.

M But we made a base and a back rest for it out of wood several times, and each time we put it together with screws. But the metal structure is solid, it’s good.

M I’ll leave that question up to you. What do you think? To be honest, it’s not comfortable. I only like big plastic chairs.

I So, did you guys fix this other chair? Are you the ones who put the two chairs together like this?

M Yes, we merged these two chairs with each other. With this piece of wood we wanted to hold the plastic together. It works now and we can sit on it. As for the chair that the old woman is sitting on, it’s also two chairs, a broken one joined with another one. It’s also good to sit on; it works.

I Are there any women other than the old woman who sit with you, or not?

38

I When do you think you’ll throw this chair out?

M When it’s completely broken and you can’t fix it up again. Sometimes there’s nothing you can do. I mean, here we put two chairs on top of each other – if all the legs broke it would be done with, but if just one leg broke we could put it on top of another chair and both of them would hold together. Do you know about the pharaohs?

I

Yes.

M We’re pharaohs.

I

I Is this chair comfortable? Do you like sitting on it?

Do they get catcalled?

How so?

M The pharaohs put up with a lot, things happened to them, and tragedies befell them. They lived through that all and dealt with it, and they still had hope for tomorrow. Us Egyptians, we’re true pharaohs. I swear, I’m serious here, we’re like the pharaohs, we can put up with anything. And this chair, as long as it’s with us, it can put up with things too.

I When you hear the word ‘chair’, what’s the first thing you think of?

M That I’m sitting.

I You don’t think about politics.

You don’t think about the president’s chair?

M You’re the one who started talking about politics. I’m not going to talk about it. I’m sick of politics.

‫مقابلة‬

38

‫‪ .‬الكراسى دى كانت جاية‬ ‫م‪.‬د ‬ ‫جديدة واتكسرت وإحنا عملناها‬ ‫تانى بس إحنا عملنا لها خشب‬ ‫كذا مرة وركبناهم بمسامير لكن‬ ‫الحديد كويس‬

‫م‬ ‫ ‬

‫آه‬

‫‪ .‬إحنا الفراعنة‬ ‫م‪.‬د ‬ ‫م‬ ‫ ‬

‫الكراسى دى مريحة؟ بتحب‬ ‫م‬ ‫ ‬ ‫تقعد عليها؟‬

‫يعنى إيه؟‬

‫‪ .‬الفراعنة دول إللى هما‬ ‫م‪.‬د ‬ ‫بيستحملوا‪ ،‬وبتعدى عليهم حاجات‬ ‫ومآسى وبيعيشوها وبيستحملوا‬ ‫وعندهم أمل فى بكرة‪ .‬إحنا‬ ‫المصريين إحنا الفراعنة حقيقى‪.‬‬ ‫والله العظيم باكلمك بجد إحنا‬ ‫زى الفراعنة بنستحمل أى حاجة‪.‬‬ ‫والكراسى دى طالما معانا‬ ‫هتستحمل‬

‫‪ .‬هاسيب السؤال ده ليكى‬ ‫م‪.‬د ‬ ‫انتى‪ .‬أنتى شايفة إيه؟ هى على‬ ‫فكرة مش مريحة‪ .‬أنا مابحبش إال‬ ‫الكراسى البالستيك الكبيرة‬ ‫يعنى انتوا إللى مصلحين‬ ‫م‬ ‫ ‬ ‫الكرسى ده؟ انتوا إللى حاطين‬ ‫كرسين فى بعض كده؟‬ ‫‪ .‬آه حطينا كرسين والخشبة‬ ‫م‪.‬د ‬ ‫دى علشان تمسك البالستيك تانى‬ ‫واشتغل وبيتقعد عليه‪ .‬والكرسى‬ ‫إللى "الحاجة" قاعدة عليه فيه‬ ‫واحد مكسور وحاطين الكرسين فوق‬ ‫بعض وقاعدة عليه برضه وكويس‬ ‫وشغال‬ ‫طب غير "الحاجة" فى بنات‬ ‫م‬ ‫ ‬ ‫بيقعدوا معاكم وال أل ؟‬

‫طب لما تسمع كلمة كرسى‬ ‫م‬ ‫ ‬ ‫إيه أول حاجة بتفكر فيها؟‬ ‫‪ .‬إن أنا أقعد‬ ‫م‪.‬د ‬ ‫مابتفكرش فى السياسة‪.‬‬ ‫م‬ ‫ ‬ ‫مابتفكرش فى كرسى الرئيس؟‬ ‫‪ .‬انتى دخلتى فى السياسة‬ ‫م‪.‬د ‬ ‫بقى‪ .‬بالنسبة للسياسة أنا مش‬ ‫هاتكلم فى السياسة علشان أنا‬ ‫تعبت من السياسة‬

‫‪ .‬آه فى بنات بتقعد‬ ‫م‪.‬د ‬ ‫م‬ ‫ ‬

‫فى معاكسات؟‬

‫‪ .‬أنا قبل الجواز كنت ممكن‬ ‫م‪.‬د ‬ ‫أعاكس بس بطريقة حلوة إللى هى‬ ‫ممكن تضحك لكن دلوقتى بطلت‬ ‫أعاكس ألن بقى عندى بنوتة اسمها‬ ‫"جنة"‪ .‬إيه رأيك فى اسم "جنة" ؟‬ ‫اسم جميل ‪.‬طب انت إمتى‬ ‫م‬ ‫ ‬ ‫ممكن ترمى الكرسى ده؟‬ ‫‪ .‬لما يبوظ خالص وماينفعش‬ ‫م‪.‬د ‬ ‫تانى فى وقت ماينفعش خالص فيه‪.‬‬ ‫يعنى ده إحنا حاطين كرسين فوق‬ ‫بعض ولو الرجلين اتكسروا يبقى‬ ‫خالص لكن لو رجل واحدة اتكسرت‬ ‫إحنا ممكن نحطه فوق كرسى تانى‬ ‫واالتنين يمسكوا بعض لكن لو‬ ‫الرجلين اتكسروا عمره ماهيقف‬ ‫تانى‬ ‫‪ .‬تعرفى الفراعنة؟‬ ‫م‪.‬د ‬ ‫‪39‬‬

‫‪interview‬‬

‫‪39‬‬

‫‪14/01/Xx12‬‬ ‫ ‬ ‫محمد دسوقي ‬ ‫دار السالم‬ ‫ر‬ ‫المحاو ‬

‫اسمك إيه؟‬

‫محمد محمد دسوقي‬ ‫م‬ ‫ ‬ ‫دى؟‬

‫انت ساكن هنا فى المنطقة‬

‫‪ .‬أل مش هنا أنا بأجى هنا‬ ‫م‪.‬د ‬ ‫ألصدقائى‬ ‫م‬ ‫ ‬

‫لكن انت ساكن فين؟‬

‫‪ .‬فى المعادى‬ ‫م‪.‬د ‬ ‫م‬ ‫ ‬

‫بتشتغل فين؟‬

‫‪ .‬بأشتغل فى األلعاب الفنية‬ ‫م‪.‬د ‬ ‫بقالى ‪ 7‬سنين‬

‫م‬ ‫ ‬

‫إيه منطقتك المفضلة فى‬ ‫م‬ ‫ ‬ ‫القاهرة هنا وال المعادى؟‬ ‫‪ .‬المهندسين جامعة الدول‪.‬‬ ‫م‪.‬د ‬ ‫بأحب أقعد هناك‪ .‬كل حاجة بأحبها‬ ‫وبأعوزها بأالقيها‪ .‬يعنى لما أحب‬ ‫أخرج باستريح هناك ‬ ‫م‬ ‫ ‬

‫إزاى؟‬

‫‪ .‬عجبتنى وكلمتها وعرفتها‬ ‫م‪.‬د ‬ ‫وارتبطت بيها وكان فى فترة‬ ‫خطوبة وبعد كده اتجوزت‪ .‬ده أحلى‬ ‫موقف فى حياتى فى الشارع ده‬ ‫هو عاوز يعرف أكتر إزاى‬ ‫م‬ ‫ ‬ ‫اتعرفت عليها؟‬ ‫‪ .‬عادى يعنى‪ ..‬مش انتى لما‬ ‫م‪.‬د ‬ ‫يعجبك حاجة بتشتريها؟‬

‫انت بتقعد هنا كتير؟‬

‫‪ .‬أنا شغلى هنا وأصدقائى‬ ‫م‪.‬د ‬ ‫هنا‬

‫م‬ ‫ ‬

‫يعنى انت بتقعد قد إيه‬ ‫م‬ ‫ ‬ ‫هنا معاهم؟‬

‫‪ .‬وأنا لما يعجبنى حاجة أحب‬ ‫م‪.‬د ‬ ‫أجيبها‬

‫‪ .‬كشغل ممكن ‪ 9‬ساعات‪ .‬آه‬ ‫م‪.‬د ‬ ‫بأعمل ترابيزات البلياردو‬ ‫وأقفلها‪ .‬ولو مش ورايا حاجة‬ ‫بأقعد هنا بره أشرب بيبسى أو أى‬ ‫حاجة‬

‫انت عارف كل الناس إللى‬ ‫م‬ ‫ ‬ ‫هنا فى المنطقة؟‬ ‫‪ .‬آه أكيد علشان متربى‬ ‫م‪.‬د ‬ ‫بقالى كتير هنا من زمان‬

‫إيه أكتر قصة حصلت وانت‬ ‫م‬ ‫ ‬ ‫شفتها وانت قاعد هنا ؟‬

‫يعنى انت بتكلم أى حد‬ ‫م‬ ‫ ‬ ‫بيمر عليك؟‬

‫‪ .‬أكتر مفاجأة حلوة أنا‬ ‫م‪.‬د ‬ ‫حبيتها فى الشارع ده إن أنا‬ ‫عرفت مراتى من هنا‪ .‬وهى معدية‬ ‫عرفتها وارتبطت بيها‬

‫‪ .‬آه أكيد مش انتى مريتى‬ ‫م‪.‬د ‬ ‫عليه وأنا أتكلمت معاكى‬

‫‪40‬‬

‫م‬ ‫ ‬ ‫مقابلة‬

‫آه‬

‫الكراسى دى جبتها منين؟‬

‫‪40‬‬

41

series

41

‫‪42‬‬

‫تيمات‬

‫‪42‬‬

43

series

43

‫‪44‬‬

‫تيمات‬

‫‪44‬‬

45

series

45

‫‪46‬‬

‫تيمات‬

‫‪46‬‬

‫‪47‬‬

‫‪series‬‬

‫‪47‬‬ ‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪48‬‬

‫تيمات‬

‫‪48‬‬

‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

03 july 2013 Bassem, Mamdouh and Youssef Zamalek

M

Zamalek is pretty, and quiet.

Y It’s a bit boring. A bit boring with how quiet it is.

Interviewer What are your names?

I Well, what’s your favorite neighborhood in Cairo?

Bassem.

Mamdouh.

M For me, my favorite neighborhood is Imbaba, and I never go elsewhere.

Youssef.

Y My favorite neighborhood is Boulaq Abul-Ela.

I Where are you from?

B

B I’m from Imbaba.

M

I Do you feel like this neighborhood has changed in the past couple of years?

From Haram.

Y I was born here in Zamalek.

I What do you do for work here?

And why this sitting area with the chairs?

B We're drivers, and a driver’s job is mostly to wait.

I You mean you’re waiting for you bosses?

Y

Shobra.

Y This neighborhood was more upscale before, and the people who work here have ruined it, not the people who live here. The people who come here to work are from a lower social and intellectual level. The neighborhood is no longer the same especially after the revolution.

Yes, until they come down.

M Four, five, six hours or something, it depends how long they’re out for in a day. So we’re used to sitting.

I How long have you been working as drivers?

B

For me, it’s been a year.

M

For me, twelve years.

Y And I sit here all the time.

B Until his hair turns white, look at that! (laughs) I So, let me ask each one of you, what do you think about this neighborhood?

49

interview

49

M Yes it’s changed. The previous regime relied on people who were active and up on their feet. Now there’s “freedom”.

I What do you feel is the most striking thing that you’ve seen here on the street?

M The best thing for us is the time we spend sitting here together.

B But we sit here and teach each other things, we don’t just sit and that’s it.

Y I mean, we sit and talk about social issues and personal things.

I So, do you feel like you know everyone in the neighborhood?

M

Yes, all the men and women.

I

Does anyone come and sit?

Y

Yes.

I So, do you put this chair somewhere safe at night?

M No one could take it. They’d be afraid, but the chair, it’s not afraid anyone will take it! (laughs) I Would you fix this if something happened to it? I mean, I notice it’s got three legs.

M Yes, that one’s going in for warranty services! (laughs) B No, this one’s going to the dealership ( more laughter) I Thank you for your time.

I Are there any women who come and sit with you?

B No. We just catcall them! (laughs) M They like to sit, but we don’t sit with them.

I So, I want to ask you a bit about your chair. Let’s start with this one. Who did it first belong to?

B It belongs to Youssef on the other side of the street, but I’m the one who repaired it and attached it back together by the way.

I And this chair?

B It belongs to Uncle Mahmoud.

I How long have you had this chair?

M

For fifteen years.

50

‫مقابلة‬

50

‫يعنى بنقعد نتكلم فى‬ ‫ي‬ ‫ ‬ ‫حاجات اجتماعية وحاجات شخصية‬ ‫طب انت حاسس إن انت عارف‬ ‫م‬ ‫ ‬ ‫كل الناس إللى فى المنطقة دى؟‬ ‫ آه كلهم نسوان ورجالة‬ ‫ممدوح‬ ‫طب فى مثال ناس بتعدى زينا‬ ‫م‬ ‫ ‬ ‫كده تتكلم معاكم؟‬ ‫ي‬ ‫ ‬

‫آه‬

‫طب هل فى مثال ستات بيقعدوا‬ ‫م‬ ‫ ‬ ‫معاكم؟‬ ‫ب‬ ‫ ‬

‫م‬ ‫ ‬

‫طب والكرسى ده؟‬

‫ب‬ ‫ ‬

‫بتاع عم محمود‬

‫م‬ ‫ ‬ ‫عندك؟‬

‫الكرسى ده بقاله قد إيه‬

‫محمود ‬

‫بقاله ‪ 15‬سنة‬

‫طب انت بتحط الكرسى ده فى‬ ‫م‬ ‫ ‬ ‫مكان آمن بالليل؟‬ ‫ ماحدش يقدر ياخده‪ .‬هما‬ ‫محمود‬ ‫يخافوا ياخدوه لكن هو مايخافش‬ ‫حد ياخده )ضحك(‬ ‫ده بتصلحه مثال لو حصل له‬ ‫م‬ ‫ ‬ ‫حاجة؟ أنا مالحظة يعنى أنه بـ ‪3‬‬ ‫أرجل‬

‫أل‪ .‬إحنا بنعاكس بس (ضحك)‬

‫ هما بيحبوا يقعدوا بس‬ ‫ممدوح‬ ‫إحنا مانقعدش معاهم‬ ‫طب عاوزين نسألك شوية عن‬ ‫م‬ ‫ ‬ ‫الكراسى بتاعتك‪ ..‬نبدأ بالكرسى‬ ‫ده بتاع مين أصالً؟‬

‫ ده بيروح الصيانة (ضحك)‬ ‫محمود‬ ‫ب‬ ‫ ‬

‫أل ده بيروح التوكيل )ضحك(‬

‫بتاع يوسف الناحية التانية‬ ‫ب‬ ‫ ‬ ‫بس أنا إللى ملزقه على فكرة‬

‫‪51‬‬

‫‪interview‬‬

‫‪51‬‬

‫‪13/07/03‬‬ ‫ ‬ ‫باسم‪ .‬ممدوح‪ .‬يوسف‬ ‫ ‬ ‫الزمالك‬ ‫أنا "منار" وهو‬ ‫ر‬ ‫المحاو ‬ ‫"مانويل"‪..‬انتوا أساميكم إيه؟‬ ‫باسم‪ .‬ممدوح‪ .‬يوسف‬

‫ ‬ ‫م‬ ‫ ‬

‫انتوا منين؟‬

‫ب‬ ‫ ‬

‫أنا من إمبابة‬

‫ من الهرم‬ ‫ممدوح‬ ‫ي‬ ‫ ‬

‫مولود هنا فى الزمالك‬

‫انتوا بتشتغلوا إيه هنا؟‬ ‫م‬ ‫ ‬ ‫وليه قعدة الكراسى‪ ،‬وإيه السبب؟‬ ‫إحنا سواقين والسواق عامة‬ ‫ب‬ ‫ ‬ ‫شغله انتظار‬ ‫م‬ ‫ ‬

‫يعنى انتوا بتنتظروهم؟‬

‫ي‬ ‫ ‬

‫آه لحد ما ينزلوا‬

‫ أنا منطقتى إمبابة‬ ‫ممدوح‬ ‫وماأعرفش أخرج منها أبدا‬ ‫ب‬ ‫ ‬

‫ اربع خمس ست ساعات يعنى‬ ‫ممدوح‬ ‫على حسب النزول‪ .‬فإحنا اتعودنا‬ ‫على القاعدة‬

‫انت حاسس إن المنطقة دى‬ ‫م‬ ‫ ‬ ‫اتغيرت فى السنين إللى فاتت؟‬

‫م‬ ‫ ‬ ‫كده؟‬

‫طب بقالكم قد إيه بتشتغلوا‬

‫ب‬ ‫ ‬

‫أنا بقالى سنة‬

‫م‬ ‫ ‬

‫وأنا ‪ 12‬سنة‬

‫ي‬ ‫ ‬

‫أنا قاعد هنا على طول‬

‫لغاية ماشاء الله ما شعره‬ ‫ب‬ ‫ ‬ ‫أبيض أهو (ضحك)‬ ‫طب أسأل كل واحد فيكم إيه‬ ‫م‬ ‫ ‬ ‫رأيكم فى المنطقة دى؟‬ ‫ منطقة جميلة طبعا‬ ‫ممدوح‬ ‫مملة شوية‪ .‬مملة فى‬ ‫ي‬ ‫ ‬ ‫هدوئها‬ ‫طب إيه منطقتك المفضلة فى‬ ‫م‬ ‫ ‬ ‫القاهرة؟‬ ‫‪52‬‬

‫شبرا‬

‫المنطقة دى كانت راقية‬ ‫ي‬ ‫ ‬ ‫أكتر من كده وإللى بوظ المنطقة‬ ‫دى الناس إللى شغالة فيها مش‬ ‫الساكنين‪ .‬الناس إللى بتيجى‬ ‫تشتغل من بره من مستوى ثقافى‬ ‫أقل‪ .‬المنطقة مابقتش زى األول‬ ‫وخصوصا بعد الثورة‬ ‫ح آه اتغيرت‪ .‬أيام النظام‬ ‫ممدو ‬ ‫إللى فات كان بيقوم على الناس‬ ‫إللى ماشية على رجلها إنما‬ ‫دلوقتى حرية‬ ‫انتوا إيه أكتر حاجة حيوية‬ ‫م‬ ‫ ‬ ‫بتحسوها بتحصل ومهمة ومحورية‬ ‫هنا فى الشارع؟‬ ‫ أحسن حاجة لينا إحنا فى‬ ‫ممدوح‬ ‫الشغل قعدتنا دى مع بعض‬ ‫بس إحنا بنقعد بنتثقف مع‬ ‫ب‬ ‫ ‬ ‫بعض يعنى مش بنقعد وخالص‬

‫مقابلة‬

‫‪52‬‬

‫‪53‬‬

‫‪series‬‬

‫‪53‬‬ ‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪54‬‬

‫تيمات‬

‫‪54‬‬

‫‪55‬‬

‫‪series‬‬

‫‪55‬‬ ‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

‫‪56‬‬

‫تيمات‬

‫‪56‬‬

57

series

57

‫‪58‬‬

‫تيمات‬

‫‪58‬‬

‫‪##/##/#### Date and place of chair‬‬ ‫‪ 03/05/2012‬لرصيف‪ ،‬يتجاوزونه بخطوات سريعة فى‬

59

series

59

Dictionary of the Revolution Amira Hanafi

25 January 25 January 30 June 30 June events events referendum referendum clashes clashes strike strike sit-in sit-in constitutional declaration constitutional declaration elections elections harassment harassment torture torture ouster ouster Friday of Rage Friday of Rage dark alley dark alley campaign campaign dialogue dialogue Raba’a Al Adaweya Raba’a Al Adaweya tests clearing of the protests Itihadeya Palace Itihadeya Palace unrest unrest repression repression virginity test virginity test Maspero Maspero Cabinet Cabinet military trial military trial Mohamed Mahmoud Mohamed Mahmoud massacre massacre transitional period transitional period hospital in the Square hospital in the Square march march reconciliation reconciliation demonstration demonstration million man march million man march Battle of the Camel Battle of the Camel Tahrir Square Tahrir Square Al-Nahda Al-Nahda

50 dollars agenda ambulance motorcycle ambulance

133

50 dollars agenda

poem

‫أخونة‬ ‫ارحل‬ ‫إرهاب‬ ‫استقرار‬ ‫إسقاط النظام‬ ‫أصابع خارجية‬ ‫أمان‬ ‫أمل‬ ‫انزل‬ ‫انقلاب‬ ‫ايد واحدة‬ ‫باطل‬ ‫بكره‬ ‫تطهير‬ ‫تغيير‬ ‫ثورة‬ ‫ثورة المضادة‬ ‫ثورة مستمرة‬ ‫حرب أهلية‬ ‫حرية‬ ‫حظر التجول‬ ‫حقوق اإلنسان‬ ‫حكم‬ ‫الداخلية‬ ‫الدولة العميقة‬ ‫ديمقراطية‬ ‫رابعة‬ ‫شرعية‬ ‫الطرف الثالث‬ ‫ظلم‬ ‫عجلة اإلنتاج‬ ‫عدالة اجتماعية‬ ‫عيش‬ ‫فوضى‬ ‫قانون الطوارئ‬ ‫قصاص‬ ‫كرامة‬ ‫محاكمة‬

‫أخونة‬ ‫ارحل‬ ‫إرهاب‬ ‫استقرار‬ ‫إسقاط النظام‬ ‫أصابع خارجية‬ ‫أمان‬ ‫أمل‬ ‫انزل‬ ‫انقلاب‬ ‫ايد واحدة‬ ‫باطل‬ ‫بكره‬ ‫تطهير‬ ‫تغيير‬ ‫ثورة‬ ‫ثورة المضادة‬ ‫ثورة مستمرة‬ ‫حرب أهلية‬ ‫حرية‬ ‫حظر التجول‬ ‫حقوق اإلنسان‬ ‫حكم‬ ‫الداخلية‬ ‫الدولة العميقة‬ ‫ديمقراطية‬ ‫رابعة‬ ‫شرعية‬ ‫الطرف الثالث‬ ‫ظلم‬ ‫عجلة اإلنتاج‬ ‫عدالة اجتماعية‬ ‫عيش‬ ‫فوضى‬ ‫قانون الطوارئ‬ ‫قصاص‬ ‫كرامة‬ ‫محاكمة‬ 133

‫إسلاميين‬ ‫اإلعلام‬ ‫األلتراس‬ ‫امن‬ ‫بلطجية‬ ‫تمرد‬ ‫ثوار‬ ‫جاسوس‬ ‫الجيش‬ ‫حراس الميدان‬ ‫حركة‬ ‫حزب‬ ‫حزب الكنبة‬ ‫حكومة انتقالية‬ ‫خرفان‬ ‫خيانة‬ ‫رئيس‬ ‫ست البنات‬ ‫شباب‬ ‫شرطة‬ ‫الشعب‬ ‫شهداء‬ ‫صندوق النقد‬ ‫علمانيين‬ ‫فلول‬ ‫قلة مندسة‬ ‫قناصة‬ ‫كافر‬ ‫لجنة شعبية‬ ‫ليبراليين‬ ‫مؤيدين‬ ‫متظاهرين‬ ‫المجلس العسكري‬ ‫مجلس رئاسي‬ ‫مجلس مدني‬ ‫مخبر‬ ‫مرشد‬ ‫معارضين‬ ‫مواطن‬ ‫ناشط‬ ‫اليسار‬ ‫‪134‬‬

‫إسلاميين‬ ‫اإلعلام‬ ‫األلتراس‬ ‫امن‬ ‫بلطجية‬ ‫تمرد‬ ‫ثوار‬ ‫جاسوس‬ ‫الجيش‬ ‫حراس الميدان‬ ‫حركة‬ ‫حزب‬ ‫حزب الكنبة‬ ‫حكومة انتقالية‬ ‫خرفان‬ ‫خيانة‬ ‫رئيس‬ ‫ست البنات‬ ‫شباب‬ ‫شرطة‬ ‫الشعب‬ ‫شهداء‬ ‫صندوق النقد‬ ‫علمانيين‬ ‫فلول‬ ‫قلة مندسة‬ ‫قناصة‬ ‫كافر‬ ‫لجنة شعبية‬ ‫ليبراليين‬ ‫مؤيدين‬ ‫متظاهرين‬ ‫المجلس العسكري‬ ‫مجلس رئاسي‬ ‫مجلس مدني‬ ‫مرشد‬ ‫معارضين‬ ‫مواطن‬ ‫ناشط‬ ‫اليسار‬ ‫قصيدة‬

‫‪onion‬‬ ‫‪banners‬‬ ‫‪boot‬‬ ‫‪Nesto Cheese‬‬ ‫‪graffiti‬‬ ‫‪shoe‬‬ ‫‪birdshot‬‬ ‫‪vinegar‬‬ ‫‪tank‬‬ ‫‪shield‬‬ ‫‪constitution‬‬ ‫‪blood‬‬ ‫‪machine gun‬‬ ‫‪bullets‬‬ ‫‪wall‬‬ ‫‪stick‬‬ ‫‪vote‬‬ ‫‪gunfire‬‬ ‫‪stone‬‬ ‫‪abaya with snaps‬‬ ‫‪paddy wagon‬‬ ‫‪gas‬‬ ‫‪homemade gun‬‬ ‫‪World Bank loan‬‬ ‫‪tear gas canister‬‬ ‫‪gas mask‬‬ ‫‪Vendetta mask‬‬ ‫‪Carina‬‬ ‫‪the seat‬‬ ‫‪surgical mask‬‬ ‫‪KFC‬‬ ‫‪kuffeya‬‬ ‫‪armored vehicle‬‬ ‫‪flyers‬‬ ‫‪Molotov cocktail‬‬ ‫‪goggles‬‬ ‫‪coalition‬‬ ‫‪Muslim Brothers‬‬ ‫‪terrorists‬‬ ‫‪Islamists‬‬ ‫‪the media‬‬ ‫‪Ultras‬‬ ‫‪security‬‬ ‫‪thugs‬‬ ‫‪Tamarod‬‬ ‫‪revolutionaries‬‬

‫‪134‬‬

‫إسعاف‬ ‫إسعاف طائر‬ ‫بصل‬ ‫بنرات‬ ‫بيادة‬ ‫جبنة نستو‬ ‫جرافيتي‬ ‫جزمة‬ ‫خرطوش‬ ‫خل‬ ‫دبابة‬ ‫درع‬ ‫دستور‬ ‫دم‬ ‫رشاش الى‬ ‫رصاص‬ ‫سور‬ ‫شومة‬ ‫صوت‬ ‫ضرب نار‬ ‫طوب‬ ‫عباية بكابسين‬ ‫عربية الترحيلات‬ ‫غاز‬ ‫فرد بلدي‬ ‫قرض البنك الدولي‬ ‫قنابل غاز‬ ‫قناع الغاز‬ ‫قناع فانديتا‬ ‫كارينا‬ ‫الكرسي‬ ‫كمامة‬ ‫كنتاكي‬ ‫كوفية‬ ‫مدرعة‬ ‫منشورات‬ ‫مولوتوف‬ ‫نظارة غاز‬

‫إسعاف‬ ‫إسعاف طائر‬ ‫بصل‬ ‫بنرات‬ ‫بيادة‬ ‫جبنة نستو‬ ‫جرافيتي‬ ‫جزمة‬ ‫خرطوش‬ ‫خل‬ ‫دبابة‬ ‫درع‬ ‫دستور‬ ‫دم‬ ‫رشاش الى‬ ‫رصاص‬ ‫سور‬ ‫شومة‬ ‫صوت‬ ‫ضرب نار‬ ‫طوب‬ ‫عباية بكابسين‬ ‫عربية الترحيلات‬ ‫غاز‬ ‫فرد بلدي‬ ‫قرض البنك الدولي‬ ‫قنابل غاز‬ ‫قناع الغاز‬ ‫قناع فانديت‬ ‫كارين‬ ‫الكرسي‬ ‫كمامة‬ ‫كنتاكي‬ ‫كوفية‬ ‫مدرعة‬ ‫منشورات‬ ‫مولوتوف‬ ‫نظارة غاز‬

‫ائتلاف‬ ‫إخوان المسلمين‬ ‫إرهابيين‬

‫ائتلاف‬ ‫إخوان المسلمين‬ ‫إرهابيين‬

‫‪135‬‬

‫‪poem‬‬

‫‪spy‬‬ ‫‪army‬‬ ‫‪guards of the Square‬‬ ‫‪movement‬‬ ‫‪party‬‬ ‫‪couch party‬‬ ‫‪interim government‬‬ ‫‪sheep‬‬ ‫‪traitor‬‬ ‫‪dictator‬‬ ‫‪president‬‬ ‫‪Sit al-Banat‬‬ ‫‪youth‬‬ ‫‪police‬‬ ‫‪the people‬‬ ‫‪martyrs‬‬ ‫‪IMF‬‬ ‫‪secularists‬‬ ‫‪remnants of the old re‬‬‫‪gime‬‬ ‫‪a few infiltrators‬‬ ‫‪sniper‬‬ ‫‪infidel‬‬ ‫‪Council of 50‬‬ ‫‪popular council‬‬ ‫‪liberals‬‬ ‫‪supporters‬‬ ‫‪protesters‬‬ ‫‪SCAF‬‬ ‫‪presidential council‬‬ ‫‪civil council‬‬ ‫‪informant‬‬ ‫‪Supreme Guide‬‬ ‫‪opposers‬‬ ‫‪citizen‬‬ ‫‪activist‬‬ ‫‪the left‬‬ ‫‪Brotherhoodization‬‬ ‫‪get out‬‬ ‫‪terrorism‬‬ ‫‪stability‬‬ ‫‪fall of the regime‬‬ ‫‪foreign fingers‬‬ ‫‪security‬‬ ‫‪hope‬‬ ‫‪go down‬‬

‫‪135‬‬

‫قاموس الثروة‬ ‫اميرة حنفي‬ ‫‪ ٣٠‬يونيو‬ ‫أحداث‬ ‫استفتاء‬ ‫اشتباكات‬ ‫إضراب‬

‫‪ ٣٠‬يونيو‬ ‫أحداث‬ ‫استفتاء‬ ‫اشتباكات‬ ‫إضراب‬ ‫اعتصام‬ ‫إعلان دستوري‬ ‫انتخابات‬ ‫تحرش‬ ‫تعذيب‬ ‫التنحي‬ ‫جمعة الغضب‬ ‫حارة مزنوقة‬ ‫حملة‬ ‫حوار‬ ‫رابعة العدوية‬ ‫فض االعتصام‬ ‫قصر االتحادية‬ ‫قلق‬ ‫قمع‬ ‫كشف عذرية‬ ‫ماسبيرو‬ ‫مجلس الوزراء‬ ‫محاكمة عسكرية‬ ‫محمد محمود‬ ‫مذبحة‬ ‫مرحلة انتقالية‬ ‫مستشفى ميداني‬ ‫مسيرة‬ ‫مصالحة‬ ‫مظاهرة‬ ‫مليونية‬ ‫موقعة الجمل‬ ‫ميدان التحرير‬ ‫نهضة‬

‫إعلان دستوري‬ ‫انتخابات‬ ‫تحرش‬ ‫تعذيب‬ ‫التنحي‬ ‫جمعة الغضب‬ ‫حارة مزنوقة‬ ‫حملة‬ ‫حوار‬ ‫رابعة العدوية‬ ‫فض االعتصام‬ ‫قصر االتحادية‬ ‫قلق‬ ‫قمع‬ ‫كشف عذرية‬ ‫ماسبيرو‬ ‫مجلس الوزراء‬ ‫محاكمة عسكرية‬ ‫محمد محمود‬ ‫مذبحة‬ ‫مرحلة انتقالية‬ ‫مستشفى ميداني‬ ‫مسيرة‬ ‫مصالحة‬ ‫مظاهرة‬ ‫مليونية‬ ‫موقعة الجمل‬ ‫ميدان التحرير‬ ‫نهضة‬

‫‪ ٥٠‬دوالر‬ ‫أجندة‬

‫‪ ٥٠‬دوالر‬ ‫أجندة‬

‫‪136‬‬

‫‪coup‬‬ ‫‪one hand‬‬ ‫‪illegitimate‬‬ ‫‪tomorrow‬‬ ‫‪cleansing‬‬ ‫‪change‬‬ ‫‪revolution‬‬ ‫‪counterrevolution‬‬ ‫‪the revolution continues‬‬ ‫‪freedom‬‬ ‫‪curfew‬‬ ‫‪human rights‬‬ ‫‪rule‬‬ ‫‪Ministry of the Interior‬‬ ‫‪the deep state‬‬ ‫‪democracy‬‬ ‫‪Rabaa‬‬ ‫‪legitimacy‬‬ ‫‪the third hand‬‬ ‫‪oppression‬‬ ‫‪wheel of production‬‬ ‫‪social justice‬‬ ‫‪bread‬‬ ‫‪chaos‬‬ ‫‪emergency law‬‬ ‫‪retribution‬‬ ‫‪dignity‬‬ ‫‪trial‬‬ ‫‪future‬‬ ‫‪the regime‬‬

‫قصيدة‬

‫‪136‬‬

To pretend to be alive During class war On a desolate chair Watching average street fights And getting constructed By love from a radio love From a broken radio To exchange ourselves With ourselves For the benefit of stillness Sipping milk tea And withering

‫التظاهر بانك على قيد الحياة‬ ‫خلال الحرب الطبقية‬ ‫على كرسي مقفر‬ ‫تشاهد معارك متوسطة في الشوارع‬ ‫بينما يتم بناء مخيلتك بواسطة الحب من الراديو الحب‬ ‫من راديو مكسور‬ ‫نتبادل أنفسنا‬ ‫مع أنفسنا‬ ‫لصالح السكون‬ ‫نشرب الشاي بالحليب‬ ‫ونذوي‬

Maged Zaher

‫ماجد زاهر‬

138

‫قصيدة‬

138

‫ص‪١١١.‬‬ ‫مقعد يفضل صداقة العجائز‬ ‫الطاهر الشرقاوي‬ ‫ص‪١١٩.‬‬ ‫مقهى تحطيم االرواح‬ ‫ياسر عبد اللطيف‬

‫المحتويات‬ ‫ص‪١٢٩.‬‬

‫قاموس الثورة‬ ‫اميرة حنفي‬ ‫ص‪١٣٤.‬‬

‫ص‪٥.‬‬ ‫المقدمة‬ ‫ص‪١١.‬‬ ‫اتحاد الكراسي‬ ‫منار مرسي و ديفيد بويغ‬ ‫ص‪٢٧.‬‬ ‫التيمات و المقابالت‬ ‫ص‪١٠٣.‬‬ ‫ورد ومزيكا‬ ‫محمد الفخراني‬

‫قصيدة‬ ‫ماجد زاهر‬ ‫ص‪١٣٧.‬‬ ‫التيمات و المقابالت‬

‫‪.‬نتقدم بشكر خاص لجميع ال ُك َّتاب الذين‬ ‫اسهموا في هذا المشروع والصحاب االلف‬ ‫كرسي وكرسي في شوارع القاهرة ونهدي‬ ‫لهم هذا المشروع‬ ‫صدر هذا الكتاب بدعم كريم من المركز‬ ‫الثقافي البريطاني في القاهرة و سفارة‬ ‫المملكة الهولندية في القاهرة والصندوق‬ ‫العربي للثقافة والفنون آفاق‬

‫صالون الرصيف‬ ‫منار مرسي وديفيد بويغ‪ ،‬بويج‬ ‫التصوير‪ :‬كل صور الكتاب لمنار مرسي و‬ ‫ديفيد بويغ باستثتاء الصور ص (ا ف ب )‪،‬‬ ‫ص‪ ( .‬رويترز)‪ ،‬ص‬ ‫تصميم الكتاب‪ :‬سندرا كاسينار‬ ‫النصوص‪ :‬منار مرسي وديفيد بويغ‪ ،‬ياسر‬ ‫عبد اللطيف‪ ،‬محمد الفخرانى‪ ،‬طاهر‬ ‫الشرقاوي‪ ،‬ماجد زاهر‪ ،‬أميرة حنفي‬ ‫(ترجمة من العربية إلى اإلنجليزية‪ :‬آدم‬ ‫طالب (نصوص ياسر عبد اللطيف‪ ،‬إيهاب‬ ‫عبد الحميد‪ ،‬محمد الفخرانى)‪ ،‬إليزابيث‬ ‫جاكيت (المقابالت‬ ‫ترجمة من اإلنجليزية إلى العربية‪ :‬إيهاب‬ ‫عبد الحميد‬ ‫مراجعة اللغة اإلنجليزية‪ :‬راجني جورج‬ ‫مراجعة اللغة العربية‪ :‬حسن رجب و‬ ‫اشرق الشازلي‬

‫نتقدم بشكر خاص لجميع ال ُك َّتاب الذين‬ ‫ونتقدم بجزيل الشكر لكل من عاون و‬ ‫عمل والهم هذا المشروع‪:‬‬ ‫ميا يانكوفيتش‪ ،‬كرم يوسف‪ ،‬ياسر عبد‬ ‫اللطيف‪ ،‬إيهاب عبد الحميد‪ ،‬مارك جمال‪،‬‬ ‫ماجد زاهر‪ ،‬وئام التميمي‪ ،‬ماريل موران‪،‬‬ ‫جنين دييجو‪ ،‬ميجيل دي مينا‪ ،‬أحمد‬ ‫شكر‪ ،‬رنا النمر‪ ،‬نادية منير‪ ،‬سهيل‬ ‫مالك‪ ،‬هدير احمد علي‪ ،‬عماد ريان‪،‬‬ ‫صايم محمود‪ ،‬حاتم البحيري‪.‬‬

‫حقوق الطبع محفوظة‬ ‫‪2015‬طبع في القاهرة‪ ،‬مصر‬

‫القاهرة‬ cairo

‫صالون‬ ‫الرصيف‬

sidewalk salon