Egypt tunes in to nostalgia
Music production companies seek to preserve music heritage through younger generations
Standing before a rapt crowd, Ahmad Adel oozes charm with his passionate performance of an Egyptian classic, evoking a nostalgia for Arabic songs of the past.
After a melodious introduction on the Oud, the famed oriental lute, Adel croons his way through a Mawal, a traditional melody boasting long vowels.
Ya leil (O night), he sings, with the dreamy languor of the original performer, Egyptian legend Mohammad Abdul Wahab.
“Modern songs are a hit for a day or two, a month, or maybe a year, but then we do not hear about them any more.
“But Abdul Wahab and [Egyptian diva] Umm Kulthum have lasted until today,” said Adel, before his performance in the tiny Mamluk-era hall at the Arab Music Institute.
Egypt, a cultural powerhouse in the Arab world, has long enjoyed a booming music industry.
In the past, the rise of revered singers, such as Umm Kulthum, Abdul Wahab and another Egyptian Abdul Halim Hafiz among others, saw Cairo billed as the Hollywood of Arab song, attracting talent from across the region.
But in the 1990s, Gulf countries vying for cultural dominance emerged as rivals to Egypt’s music industry, and Rotana, the Arab world’s largest record label, was formed in 1987.
The 2011 uprising in Egypt that plunged the country into political and economic chaos also saw a downturn in the domestic music industry.
Yet the Egyptian metropolis remains alive with the sound of music.
Every day, in local cafés and homes the melancholic songs of Syrian-born star Asmahan and the tender rhythmic melodies of Egyptian singer Najat Al Saghira mix with animated conversations, modern pop music and Islamic chants.
Torn between stage fright and joy, Adel performs regularly at the Arab Music Institute paying tribute to his music idols.
During events such as the Khulthumiat (the music of Umm Kulthum) or Wahabiyat (the music of Abdul Wahab), organised by the 100-year old institute, Adel is often the lead singer with an entire troupe from the Cairo Opera House accompanying his powerful vocals.
“These events are very successful,” said Jihan Morsi, the seminal director of the opera’s Oriental Music department.
And to soar above Cairo’s 24-hour cacophony, she doesn’t just look to golden oldies.
“I bring [pop stars like] Angham, Saber Al Robai, Wael Jassar. They are beautiful voices that have an audience among the youth,” said Morsi.
Music production companies are also seeking to preserve the country’s music heritage through younger generations.
Sawt Al Qahira, or Sono Cairo, a historic record company, is betting on the internet. Younger generations have also shown a renewed interest in the classics thanks to popular televised talent shows.
“Arab Idol, The Voice and others show people singing old songs,” said Doaa Mamdouh, the company’s internet services head, adding this has prompted many fans to dig out the original versions.
And there is a new genre known as alternative, or “underground”, which has emerged in recent years.
The band Massar Egbari, which roughly translates as Compulsory Detour, rose to fame with a relaxed style of rock and a distinctive performance of classics, such as by Sayed Darwish often called “the father of modern Arab music”.
Although the rock stars say they are influenced by classics, they don’t want to live in the past.
“Nowadays you can record something at home at a low cost,” said bassist Ahmad Hafiz. “After every era, something new appears, these are phases.”