This introductory essay sets the stage for this special issue, which explores how online media has changed the Arabian Gulf region's politics, economies, and social norms.2 It provides an overview of the most important themes, arguments, and findings tackled in the four essays in this issue, as well as the intersections, overlaps, and divergences emerging from, and between, them. In doing so, it explains how the similarities and differences, as well as the most significant underlying themes, emerging from these four essays further our understanding of the online public sphere in the Gulf region as a space for contestation, creativity, and change. This introductory essay identifies three important, and overlapping, themes found in this special issue: techno-euphoria, cyberwars, and the public sphere. It concludes by proposing possible next steps and future research on the important, yet understudied, links between the online public sphere and the sociopolitical environment of the Gulf.

The online public sphere, and the ways in which its digital media platforms influence discourse, is a crucial but understudied area of research in the six Arab monarchies of the Persian Gulf. Through a case study of the ongoing Gulf diplomatic crisis, which began in June 2017, this essay draws on the disciplines of political science, communication, and digital media studies to analyze qualitative examples of digital discourse: the role of women, territorial boundaries, and the FIFA World Cup 2022. Linking these flash points to historical struggles between the countries, this essay suggests that the politicization of the online public sphere in the region does not represent a fundamental change in the diplomacy of the region but rather a new battleground for old regional rivalries.

“Social media,” Saudi artist Abdullah al-Shehri (known as Shaweesh) observes, is the “best tool we have available to showcase and express our art,” because it allows millions of Saudis to share and comment on a given work of art simultaneously. Building on this insight, this essay argues that Saudi artists, who have among the largest followings on the country's social media, have used the online public sphere to build a new social movement. They have adopted a role akin to Antonio Gramsci's concept of organic intellectuals – namely, men and women who are not part of the traditional intellectual elite, but who, through the language of culture, articulate feelings and experiences the masses cannot easily express. To paraphrase Ezra Pound, Saudi artists are the “antennae” of the kingdom's society, whose work is not “mere self-expression,” but, in the words of Marshall McLuhan, the “distant early warning system that can always be relied upon to tell the old culture what is beginning to happen to it.” As a leading Saudi artist Abdulnasser Gharem observed in June 2019, “people need to listen to the artist.”

Social media platforms like Facebook and Twitter were heralded circa 2009–2011 as ‘liberation technology’ that would facilitate mass mobilization against Middle Eastern authoritarians. In this article, however, we present evidence from the ongoing Gulf Crisis (2017-present) that regimes can now exploit Twitter as an outlet for political propaganda. Drawing in part on novel data collected by the authors, we present strong evidence of state actors manipulating discourse on Twitter through direct intervention, offline coercion or co-optation of existing social-media “influencers,” and the mass production of online statements via automated “bot” accounts. We further present evidence that this manipulation is aimed at securing organic participation from supportive publics.

Most research on the Gulf states focuses on oil and its impact on state power. The literature on rentier theory almost unanimously agrees that oil rents buy off citizens and lead to socio-political stagnation. Massive protests and government attempts to address citizen demands in Kuwait between 2011 and 2013 call into question that narrative. Since those protests, the Kuwaiti government has taken steps to increase its representation of public officials and accessibility in the public sphere, including by expanding the government's presence on Instagram. How have Kuwaiti citizens voiced their opinions to government accounts? And how has the government responded to online criticism?

This essay looks at the pattern of interactions between the state and Kuwaiti citizens on Twitter and Instagram using a content analysis of government accounts. The findings raise questions about the validity of the payoff thesis and understandings of consent and acquiescence. My analysis illustrates that there is a public dialogue that moves beyond the rigid structure of state and society by which the literature has traditionally understood Gulf rentier societies.

This article examines changes in Tunisian political and societal life that allowed the country's second attempt at political opening (beginning in 2011) to introduce deeper, more long-lasting changes in its political system as compared to the first attempt (beginning in 1987).1 The article argues that three such changes in particular—the increased role of regime moderates; the development of a network of civil society groups and political activists; and the use of inclusion, negotiation, and consensus—allowed the second attempt to unfold differently. The article also briefly discusses developments in the international context between the two attempts. The article contributes to existing studies of regime change and political transition as well as to historical considerations of Tunisian political developments more broadly.

Amal Kassir is a 23-year-old Syrian-American spoken word poet and artist. Kassir has performed in 10 countries and over 45 cities and has conducted workshops, given lectures, and recited her poetry in venues ranging from youth prisons to orphanages, refugee camps to universities, and churches to community spaces. She hopes to take part in the global effort to support literacy in war-struck areas and refugee camps and runs a project called More than Metaphors that focuses on helping to educate displaced Syrian children. Recipient of multiple awards, including the Grand Slam at the Brave New Voices International Youth Competition, Kassir has performed on the TED stage and been featured on the PBS NewsHour.

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