Art in Revolution
Bahia Shehab
Bahia Shehab by Ämr Ezzeldinn
Bahia Shehab, a visual artist and professor at the American University in Cairo, was born and raised in Beirut during the war, which deeply shaped her personality and ideas. She studied at the American University of Beirut, influenced by her professors’ passion for building a new future for their homeland. After graduation, she pursued various professional opportunities before moving to Cairo to complete a master’s degree in Islamic art and architecture. Her studies were driven by questions of identity and the visual aesthetics of Arab culture, especially Arabic calligraphy. DIVAZ’s editor-in-chief sat down with Shehab to learn all about her brilliant mind.
How has your personal experience influenced your art?
I was born and raised in Beirut, growing up during the war, which had a profound impact on me because it was such a significant part of my daily life. The war ended during my early university years, and my professors were full of energy and hope. They instilled in me the belief that I could change the world.
Does your cultural identity appear in your work?
Absolutely. My master’s studies focused on Islamic architecture. Arabic calligraphy represents identity and language and is one of the most beautiful aspects of our culture. To me, the beauty of Arabic calligraphy lies not only in its artistic design but also in its role as an expression of our identity and culture as Arabs. I was deeply motivated to understand why art, in general, has declined in our region. To comprehend the present and plan for the future, you must understand your history.
Tell us about your experience teaching Islamic art.
Teaching at the university happened by chance. After completing my master’s, one of my professors asked me to teach a course. Over time, it evolved, and I was asked to design an entire four-year program. This required significant effort in gathering academic resources and identifying gaps in the materials studied by art students in the Arab region. I discovered that the biggest gap was in studying history. We lack specialized courses explaining the history of design and its evolution in Arab and Islamic art. As a result, I wrote three key courses: “The History of Arab Design,” “The History of Advertising in the Arab World,” and “The History of Arabic Calligraphy.” I believe these are the most important courses in the program I developed, thanks to guidance from my professors in Beirut, especially Leila Musfiyeh. These courses set the program apart from others in the region by focusing on our heritage and identity as Arab designers.
Does every Arab country need a book documenting its design history?
Yes, it’s essential to have a book for each Arab country because each has unique characteristics in design. I hope designers in these countries begin writing their own design histories.
Is there a specific type of art that defines you most?
There isn’t just one type, but I think the works I continuously create involve multiple mediums, such as video, sound, and large-scale works like murals. However, I’d say the Alf Laa (A Thousand No’s) project strongly represents my ideas. It combines documenting historical events with conveying the messages I wish to share.
Tell us about your “Alf Laa” project.
Alf Laa was a very significant project for me. I compiled it into a documentary book that records instances of the word “No” as it has been depicted by artists throughout history in Islamic and Arab countries. I documented every artwork that incorporated this word, noting its location, date, and materials used. The project was later showcased in an exhibition commemorating 100 years of Islamic art in Europe. I felt this work was a powerful expression of resistance against darkness and represented our rejection of negativity in the world.
Who is your diva?
My “divas” are the people who have inspired me throughout my life. I cannot choose just one person. Every individual who inspired me in a particular field played a significant role in shaping my path. The knowledge and inspiration I receive from others drive me to continue working in the arts.
Courtesy of the Artist