Egypt tunes into nostalgia for golden age of Arab song
STA NDING before a rapt c rowd, A h med Adel oozes charm with h i s pa s sionate perfor ma nc e of a n Eg y pt ia n cla ssic, evok i ng a romant ic nosta lgia for Arabic songs of t he 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 l e g e n d Mohamed Ab d e l Wahab.
With cheers of “Allah!” the mesmerised audience shows its appreciation.
“Modern songs are a hit for a day or two, a month, or maybe a year, but then we do not hear about them anymore.
“But Abdel 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 Kulthum, Wahab and another Egyptian, Abdel 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 company is currently owned by businessman and Saudi prince Al Walid bin Talal.
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.
Ever y day, in local cafes and homes the melancholic songs of Sy rian-born star Asmahan and the tender rhythmic melodies of Egyptian singer Najat al-Saghira mix with animated conversat ions, 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.
Luring the young
During events such as the “Khulthumiat” (the music of Kulthum) or “Wahabiyat” (the music of 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.
A nd to soa r above Cairo’s 2 4 -h ou r c a c ophony, s h e doesn’t just look to golden oldies.
“I bring [pop stars like] Angham, Saber El-Robai, Wael Jassar. They are beautiful voices that have an audience among the youth,” said Morsi.
Music production companies are a lso seek ing to preser ve t he cou nt r y ’s music her it a ge t h roug h you nger generations.
Sawt al-Qahira, or Sono Cairo, a historic record company, is betting on the internet despite financial setbacks and ongoing legal battles over the copyright to Umm Kulthum songs.
Known as the “Star of the Orient,” Kulthum’s voice is still considered the Arab world’s finest, more than four decades after her death.
And with its wide variety of classics, the record label has struck deals with YouTube and other mobile application companies to keep this heritage alive.
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 that this has prompted many fans to dig out the original versions.
Classic black and white music video clips struggle, however, to compete against today’s torrent of slick, ultramodern videos.
Rising artists from such places as Lebanon, Morocco and the UAE harness millions of views on YouTube, usually singing in their own dialects.
Egypt’s music scene remains vibrant, including electro Shaabi music, an exuberant popular blend seen by purists as too raucous.
And there is a new genre known as al t er native, 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 Ahmed Hafiz. “After every era, something new appears – these are phases.”
The ba nd, whose st yle its g uita r ist a nd voca l ist Hani el-Da k k a k de s c r ibes a s a blend of Dar wish a nd rock band Pink Floyd, is a lso tr yi ng t o d i s t i ng u i s h i t s e l f through its message.
“We tr y in our ly rics to ta lk a bout s oc ia l problem s or t hings t hat nobody else will speak about,” said El-Dakkak.