Background
The Arab region faces today what many would see as major challenges that will define the future of the region’s peoples and their position in the world. While they are commonly apprehended as political and economical ones, on a deeper level these challenges involve intrinsically cultural concerns such as formations of self-image, expressions of identity and freedom of cultural expression.  Across the region, policy makers, thinkers, intellectuals and artists are struggling with the process of finding answers and solutions.
 
Cultural expressions in the forms of literature, film, performing and visual arts are at the center of these efforts. They are essential tools for examining elements of identity, commenting on realities and communicating criticism and visionary thought with the wider public.
 
The Arab world is witnessing a slow decrease in full state control over cultural activities.Economic liberalization policies coupled with the emergence of a few semi-independent TV satellite channels, produced a relatively free atmosphere for cultural expression. This opening inspired a kind of Arab cultural “renaissance’ with the establishment of independent theatre and performing arts companies, music groups, publishing houses, galleries, cultural organizations and research centers; all of which share a common desire to venture into the realm of experimentation and innovation.

As progress was being made on the cultural front access to state funding decreased and the increasingly commercialized cultural environment has placed dedicated Arab artists and organizations in a precarious financial position. Although these independent artists continue to grow in number and public visibility, they are deprived of substantial access to public resources. And, with the exception of a few devoted foundations in the Gulf sub-region, philanthropic funding is mainly directed towards solving immediate social problems related to poverty and health.

Today, the independent cultural sector owes its survival to a small handful of international donors such as the Swedish International Development Authority (SIDA), the Danish agency for development policy (DANIDA), The Norwegian Agency for Development Cooperation (NORAD), the European Union delegations in the region, the Dutch Government, the Ford Foundation and the Open Society Institute (OSI). These donors support the arts because they recognize the social and political importance of an independent cultural practice.

However, Grant recipients must often defend themselves against claims that they are delivering “a foreign agenda” and “westernizing” the culture. In addition, due to a general decrease in arts funding and the turbulent political climate of the Middle East, the future of these financial resources might be in question.