Afropop's 5-part, Hip Deep series on Egypt concludes with a look back at the songs that fueled the Tahrir Square uprising in 2011, and ahead at where music is headed in post-revolutionary Egypt. We meet Dylanesque Tahrir Square troubadour Ramy Essam, silenced political singer Azza Balba who rediscovered her art in the midst of revolution, and Karim Rush of Egypt's leading hip hop group Arabian Knightz. We hear new work from emerging artists: Eskenderella, Dina el Wadidi, the Choir Project, and rapper Ashraf el Samman. Egyptian ethnomusicologist Mina Girgis provides up-to-date commmentary from Cairo, and predicts that--whatever happens in the political sphere--newly empowered rappers and inspirational sha'bi DJs will join forces to create the new pop music of Egypt. - [Originally aired 04-27-2012. Produced Banning Eyre]
Bride and groom join the festivities at their wedding in Cairo. Egyptian weddings have previously relied on traditional shaabi music and belly dancers for entertainment, but these days, mahraganat's newcomers are swiftly replacing yesterday's stars. At such occasions, Mahraganat artists will be flexible, often changing the lyrics of their high-energy songs to reflect the married couple.
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Among ancient Egypt manuscripts, love songs survive from only one time and place: the Ramesside Period community of elite craftsmen working on the tomb of the king (Deir el-Medina, 13th-12th centuries BC). The contents of the songs have been taken to indicate an even more elite setting, the palace and court of the king: the centres of power of Ramesside Egypt were all in the north, at Per-Ramses, Memphis and the palace of the court women at Gurob. These may be the places where the songs were composed and sung originally. Although no manuscripts survive from the palace sites themselves, the songs seem to echo the figures of singing women on late Eighteenth Dynasty and Nineteenth Dynasty cosmetic equipment and vessels produced for the highest level of society.
There are three papyri with sets of long songs, and one fragmentary pottery jar covered in another set; in addition there are about twenty ostraca that bear compositions that have been identified as love songs (Mathieu 1996: 27, with list and reference to different opinions of modern commentators). The songs are written in the Late Egyptian phase of the Egyptian language, a formal version of the spoken language of New Kingdom Egypt. No Middle Egyptian equivalent survives, although parts of the Middle Egyptian composition now known as Kemyt seem to present a man justifying his absence to a griefstruck woman. There are no later manuscripts containing love songs, but other written sources indicate that the genre continued in use or was revived; the inscription on a stela of about 700 BC describes the owner, a woman named Mutirdis, in terms close to the Ramesside love songs (Mathieu 1996: 36 n.34, 87 n.276).
Perhaps the most elaborate series of songs is the cycle of seven stanze on the back of a papyrus roll now preserved in the Chester Beatty Library and Gallery, Dublin (Papyrus Chester Beatty I, verso, column 1 to column 5, line 2: other love songs follow the cycle). In alternate stanze, a young man and a young woman sing of their love in separation. As in many cultures, they call one another 'brother' and 'sister' (Mathieu 1996: 26):
To explore the effect of the songs on their hearers, listen to the readings of stanze 1 and 7 (male voice) and 2 and 6 (female voice); for the female voice, two different readers were recorded, as a reminder of the variable of different speakers. These recordings were arranged for this website by Kenneth John, Outreach Officer for the Petrie Museum: the voices are those of Merlyn Gaye, Natalie Wright and Kenneth John.
And yet a great part of the excitement of electro chaabi can be traced, perhaps, to its culture of sharing. Recordings are made available on sites like Mediafire, rendered in low bit rates in order to facilitate easier transmission across dodgy internet connections. Just as importantly, though, there is a tradition of remixing and repurposing, in which artists seem to be encouraged to produce their own versions of songs, or make amendments. I ask Knaka to what degree he feels ownership over his songs, and whether he is happy with other artists producing their own interpretations. "They feel really proud when someone takes one of their songs and remixes it," the translator explains. "They're even happier when people add to the song and develop something new out of it."
Members of the Indian community gathered at the Ritz Carlton Hotel in Cairo to greet PM Modi with excitement. They waved the Indian flag and cheered with slogans like "Modi Modi" and "Vande Mataram". Children were also present among the crowd, whom Modi greeted. The Indian diaspora showcased its enthusiasm by singing Indian songs and presenting cultural performances to warmly welcome Modi.
Mahragant appeared around 2008, heard blasting out of stereos in the streets and at wedding afterparties. It was a very informal start, and only after the first few songs were released and randomly heard blaring out of tuk-tuks, did musicians begin to hire managers and take measures to claim their songs. Two of the original pioneers of mahraganat are Muhammad Salah and Ahmed Mustafa, known by their state names as Okka and Ortega (Hubbard 2013). Even then, mahraganat musicians relied on cheap technology and pirated software to produce their famous underground sound.
MES Cairo Seasonal Concert was filled with wonder and magic. A treat for all who attended as well as those who watched the live stream. The concert comprised of a delightful selection of songs beautifully performed by staff as well as students of all ages. We were thrilled to be joined this year by staff and student choirs from our sister school, GES Cairo. Warm Season's Greetings to all
Learning Egyptian Colloquial Arabic the fun way, through popular song
Songs are a great way to learn a language, and popular songs can reveal much about the culture and traditions of a country where the language is spoken. 20 Egyptian Songs to Learn and Sing brings together twenty songs performed by popular Egyptian singers, from iconic twentieth-century diva Umm Kulthum to present-day singing sensation Amr Diab. Following on the success of Kilma Hilwa: Egyptian Arabic through Popular Songs: Intermediate Level and Musiqa al-Kalimat: Modern Standard Arabic through Popular Songs: Intermediate to Advanced (AUC Press, 2015 and 2017), Bahaa Ed-Din Ossama and Tessa Grafen build a lively variety of language lessons around each song, accompanying them with notes on vocabulary, grammar and usage, and exercises. Aimed at beginner learners of Egyptian Colloquial Arabic and fans of Arab popular music, 20 Egyptian Songs to Learn and Sing is a motivational and highly enjoyable approach to learning Egyptian Arabic.
Suitable for use in the classroom or for self-study. Includes songs by: Dina El Wedidi, Amr Diab, Sayed Darwish, Shadia, Mohamed Monir, Umm Kulthum, Suad Hosni, Nancy Agram, Dalida, and Rema Kheshesh.
But now what you're starting to see is some Arab hip-hop artists, for example, they're sampling. They're sampling old songs, remaking it, making a rap beat, trap beat, or a drill beat out of it, and adding kind of their own flair to it, which is really interesting. 17dc91bb1f
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