MofA Week 10.

Music and Politics: hegemony, and resistance

General considerations

Distinguish:

• music of hegemony and music of resistance
  • national anthems
  • revolutionary songs
• explicitly political and implicitly political music
  • overt, literal statements, with political intent (e.g. Shaykh Imam)
  • covert, symbolic statements, with political intent (e.g. Ahmed Adawiyya, Idir)
  • music that takes on political valences, without overt political intent (e.g. Saudi Qur'anic recitation signifying conservative Islam; Lebanese female singers' clips signifying liberalism/globalization)
• the music of politics and the politics of music

Music...

• ...encodes political messages (explicit or implicit) regarding
  • political values (general, abstract)
  • political situations (specific individuals, structures of power)
• ...helps shape the broader political landscape
  • Music is relatively limited form of discourse
    • Produced slowly, by specialists
    • Hard to engage in musical dialogs, discourses
    • Much of music's social force is non-referential
  • but lyrics contain referential content
  • factors compensating for discursive limitations:
    • music's affective power, imbuing a felt sense of truth
    • music's social power, gathering people in groups (live or mediated), nucleating subcultures
  • and non-discursivity is perhaps a form of coercive power (as Marxist anthropologist Maurice Bloch famously wrote: "you can't argue with a song")

Music and politics in the pre-Islamic Arab period

Various pre-Islamic poetic genres--chanted and sung, quickly memorized and disseminated-- effected political functions:

• Hija': poetry of critique (for one's enemies)
• Madih: poetry of praise (for one's rulers)
• Ritha': elegy
• Mufakhara: inter-tribal poetic competitions, enabling inter-tribal dialogs, and helping unify polities

The Arabs of pre-Islamic Northern Arabia formed what scholar von Grunebaum termed a Kulturnation; only with Islam would they unite to become a Staatsnation. Public poetic recitation (inshad, nashid, tartil) in a heightened voice may have played a significant role in creating and sustaining the Arab Kulturnation within such a mobile society. Poetry also served to delineate inter-tribal political boundaries, to support one's own tribal leadership (especially the shaykh al-qabila) and denounce the enemy.

Music and politics in the golden age of Islamicate civilization

• panegyrics (praise) written by the most famous Arab poet, al-Mutanabbi, for his patron, the Emir (prince) Sayf al-Dawla (916-967, r. 945-967) of Aleppo, ruler of northern Syria under the Hamdanid dynasty (al-Farabi was another prominent figure in Sayf al-Dawla's intellectual circle)

Music and nationalisms: in support of the state

The patriotic song was generally known as nashid watani and occurred with increasing frequency following the success of independence movements. Some sang for the state out of personal feeling, others for economic advantage, sometimes with state sanctions, and sometimes without.

• Umm Kulthum: sang for the king; criticized post-revolution (1952) and was withdrawn from radio, before returning to sing for Egypt and the Arab nation.

• Muhammad Fawzy: personal/economic vs. state patriotism (read Frishkopf article)

National anthem of Algeria, composed by the Egyptian Muhammad Fawzy.

Text for Algeria's national anthem

• Abdel Halim Hafez: adopted as voice of Gamal Abdel Nasser in the 1950s

Sura Sura

• Mohamed Abdel Wahab: pan-Arab nationalist song (1960, composed to celebrate the short-lived union of Egypt and Syria as the United Arab Republic)

Watani habibi watani al-akbar (my beloved homeland, my greatest homeland)

• al-Hulm al-`Arabi (1998) (contemporary pan-Arab nationalist song, with lots of cynical comments logged on youtube. Includes singers from nearly every Arab country; funded by Prince Walid bin Talal)

Generation after generation will live in the hope of realizing our dream
As what we say today we will be called to account for
throughout our lifetime
It is possible that the darkness of night
May render us far from one another, but
The beam of light can
Reach the farthest of skies
This has been our dream
All of our lives:
An embrace that will contain us all together

Music and resistance

Sayed Darwish

Shaykh Sayed Darwish (1892-1923), Egypt's most acclaimed composer, created much of what is now considered turath - new muwashshahat and adwar in the old elevated style centered on idealized love and longing expressed in classical Arabic and featuring sinuous melodies (e.g. Ya Shadi al-Alhan, oh singer of songs).

At the same time, he trained his colloquial songwriting talent upon Egyptian daily life, expressed in many songs written for the musical theater. Il Hilwa Di is one of Sayed Darwish's most popular songs, calling attention to the downtrodden working class, with implicit political messaging.

In addition, he composed more explicitly nationalistic songs (anashid wataniyya) such as Biladi biladi, which became Egypt's National Anthem in 1979, with text taken from a speech by Egyptian nationalist Mustafa Kamil. Though this song is perhaps hegemonic today (sung in every classroom at the start of the school day), formerly it was a song of resistance.

Biladi biladi (modern version)

Biladi biladi (Sayed Darwish himself performing)

Egyptian government presentation of the song

Another famous patriotic song is Rise oh Egyptian! (Oum ya masri) Here's a version by our own Amr Eid.

Shaykh Imam

Imam Mohammad Ahmad Eissa or Sheikh Imam (1918-1995), raised in the singer-shaykh tradition, became Egypt's most well-known political singer after 1962. Collaborating with poet Ahmed Fu'ad Negm, he became renowned for singing on behalf of the poor and working classes.

Bio

Article

• Song: "Guevara Died"

(composed 1967: Ahmed Fu'ad Negm and Shaykh Imam).

Text for Guevara Died

Performed by contemporary revival group Eskanderalla.Performed by Ahmed Ismail

• Song: Nixon Baba (mocking Arab leaders for reception of Richard Nixon)

• Song: Masr Yamma ya Bahiya

Mohamed Nuh

Madad (performed after the 1967 defeat, asking for help to rally Egypt once again)

Berber nationalism

• Hamid Cheriet, aka Idir ("to live") (b. 1949 in Aït Lahcène, Algeria)is a Kabyle (Berber, Amazigh) singer from Algeria. His songs, gentle evocations of Kabyle folklore and sung in the Berber language, stir feeling for Berber identity. Idir is considered a global ambassador of Kabyle Berber culture.

A Vava Inouva(youtube) (1973)

Narratively, this remarkable song, with its folk-guitar style and complex metrical structure, draws upon storytelling traditions of Berber Kabylia, in the Algerian highlands. After its release in 1973 the song became exceedingly popular, not only in Algeria, where it served as an emotional emblem of Berber identity, but throughout Europe as well (and especially in France).

• Lounes Matoub (1956 – 1998). Kabyle singer, outspoken confrontational advocate for Berber rights and Algerian secularism, opposing government policies of Arabization. Began singing under tutelage of Idir. Assassinated in 1998, whether by the regime or Islamists remains unclear. His song Allahu Akbar mocks the use of Islam to justify hegemony of the Arabic language.

Text for Allahu Akbar

Marcel Khalife

Musical activism, musical controversy

Marcel Khalife (b. 1950) is a Lebanese composer, oud virtuoso and singer specializing in the poetry of acclaimed Palestinian poet Mahmoud Darwish. His music reinvents the Arab turath, uniquely combining old and new. Much of his output--though certainly not all--thus takes on a political cast, sometimes in explicit reference to the Palestinian cause, via musical style, poetry (especially that of Darwish) or his persona on the Arab nationalist left. At the same time, as a secular artist, he's become embroiled in controversy regarding references to religion (singing the Qur'an), and uninhibited artistic expression (accused of lewdness in Bahrain); the former case went to trial. Khalife was exonerated.

Collaborations with Mahmoud Darwish (see documentary film Voyageur). Example: Jawaz al-Safar (Passport) Text of Jawaz al-Safar

Marcel Khalife's music and freedom of expression

Criticism from the left: politics of musical aesthetics (Colla, Elliott and Robert Blecher. (1996) A New World Order, a New Marcel Khalife. Middle East Report, No. 199, Turkey: Insolvent Ideologies, Fractured State. (Apr. - Jun., 1996), pp. 43-44.)

Other songs in support of Palestinian cause

• O Palestinians - Shaykh Imam (1968) Text for O Palestinians
• Oh Jerusalem - Fayruz (b. 1935)
• Marcel Khalife (see below)

Politics and Egyptian shaabi music

• Ahmed Adawiya was the original shaabi star of the 1970s; his songs contain implicit political messages in the guise of working class expressions, e.g. "Zahma" (Crowded world)

How crowded is the world
Crowded and friends lose their way
Crowded and merciless
A free-for-all
("moulid wa sahbu ghayib")

• Shaaban Abdel Rahim became famous in the early 2000s as an ironer ("makwagi") whose stage presence and self-deprecating humor, together with clever lyrics, struck a campy chord with audiences. The real genius behind his singing is his lyricist, Islam Khalil. Songs attack Israel and the USA, but also strike closer to home, and some are merely humorous. He also recorded an advertisement for Macdonalds!

Shaaban Abdel Rahim

http://www.youtube.com/watch?v=qZ5Xk3pmqgI

http://www.youtube.com/watch?v=Hh91s-7wwNw

Political rap

• Palestinian rap group DAM and their most famous song, Meen Erhabi (Who's the Terrorist?)

Censorship in Egypt

The Raqaba ala al-Musannafat al-Fanniyya (an administrative division of the Ministry of Culture)

Politics of the music business: nationalism vs. profit

The case of Funoon and Rotana, vs Muhsin Gaber and Mazzika.

Politics and videoclips (your input here)

Politics of Arab videoclips