The Parts That Travel Between Projects.

The tone changes with the account. The instinct doesn’t. AFAC is a serious institution funding serious art, so the writing has to hold both at once: credible enough for a grants committee, alive enough that people stop and read. On a reel about missing supporting documents I put the entire joke in the wrapper, because AFAC hands out real money and the instruction itself has to stay plain and useful. The eye-roll carries the personality, aimed at the mistake and never at the applicant.

Jeem’s readers came for work on gender, body and labour, not a lecture, so the caption has to sound like someone who means it rather than an organisation performing concern. On a Labor Day carousel I open with a direct ‘how are you’ before any of the substance, because that is what earns the right to be taken seriously later on.

At Jeem I consulted on a podcast launch, taking the visual, marketing and several of the editorial calls. I named it, and every other decision followed from the name: visual identity, episode sequence, content plan, audience targeting, announcement strategy. Four episodes across a summer. There is editorial work in naming something well, and in deciding what comes first.

Alongside that, freelance marketing work for smaller cultural clients, and the standing advisory role any artist manager ends up playing on other people’s releases.

Institutional newsletters at AFAC, membership digests at Mada Masr, and letter-style newsletters at Jeem. For a training programme on city-making in Egypt I turned the announcement copy into a piece of architectural criticism rather than a sales pitch, because the audience for that programme would have seen through the pitch.

Campaign strategy, audience segmentation and targeting, conversion and reach campaigns, media buying and budget management. Ticket sales for the Mass Production concerts, and application drives including a Gulf-focused push for AFAC’s Netflix Women in Film programme, built to address low representation from the region.

Video shoots managed end to end: directors, DoPs, stylists, post-production and crew, across simultaneous productions. Live visual direction from ideation through to the show, and VJing sets at BRED Abu Dhabi, XP, Amman Music Festival, Mass Production, TikTok Summit Cairo and Red Bull Jukebox.

Tools: Adobe Creative Suite, Premiere Pro, Final Cut Pro.

Scenario-based annual budgeting against quarterly KPI checkpoints, monthly operating budgets, revenue-share models, rights allocation and production costs. Built the financial backbone of a membership programme and the commercial operations of a sync unit.

At Contemporary Image Collective I ran communications and Digital Lab marketing for a contemporary art institution, growing digital audiences past 25,000 and launching the De*Sync film club for young filmmakers.

At Raise Your Voice, a Goethe Institut Cairo incubated project, I led communications and regional outreach for gender-based documentary films, securing screening partnerships with Chouftouhonna Festival in Tunisia, Cine-Delta and Aswan International Film Festival.

And across four summers with the Arab Digital Expression Foundation I trained teenagers and young adults in filmmaking and media literacy at camps in Egypt and Lebanon.