Tapping into Egyptian Angst with Cairokee’s The Ugly Ducklings

At the height of Egypt’s 2011 revolution, indie pop band Cairokee captured both national and international attention with their singles “”صوت الحرية (The Sound of Freedom) and “الميدان” (The Square); songs made unforgettable after being adopted by protestors as hopeful, rallying cries. 8 years later, Cairokee are more cynical and electronic than idealistic and acoustic. Nevertheless, they continue to serve as catharsis for young Egyptians with the album “أبناء البطّة السوداء” (2019), translated by the band as The Ugly Ducklings.

The title itself evokes alienation, in that البطّة السوداء, literally “the black duck,” is a phrase used to describe an outcast in Egyptian Arabic. The album opens with “”بنخاف (We are Afraid), a dirge-like track that comments on the feelings of isolation inherent in modern living. In the same vein, the lyrics in “كان لك معايا” (You Have Lived with Me) seemingly decry the disconnect between the empty encouragement meted out by celebrities and the vast majority of Egyptians, who are still living under the thumb of the government: “Stars in the sky telling you how to live/Taking advantage of your tragedy.” The song also samples Umm Kulthum singing the original “كان لك معايا” (You Have Lived with Me), which could be interpreted as either nostalgia for a time when celebrities were genuine or a pointed reference to her political activity and governmental support. Overall, the song could also be a response to criticism aimed at the band for appearing in Coca Cola advertisements; a way of distancing themselves from other artists who have truly “sold out.” The following track, “يا أبيض يا أسواد” (Black or White) speaks to the uncertainty of living in contemporary Egypt. The narrator vents his frustration by recounting a series of failures and faults he finds in his society but is ultimately complacent in his place within it: “Either black or white is the story of my life and all my tales/Though I’m okay, okay living in the gray halfway.” This reflects the sentiment that many young Egyptians feel in living in the aftermath of an ultimately unproductive revolution. “أنا الصوت” (I Am the Voice) harkens back to Cairokee’s revolution days in its sound and lyrics, though the words take on a darker tone, warning oppressors that “I’m the one who’s hard to sedate.”

The band’s original Western indie rock-inspired sound has been replaced with an electronic exploration of Arabic musical genre. While songs such as “”بنخاف (We Are Afraid) and “هاتلنا بالباقي لبان” (Give Us Some Gum for the Change) are largely Western in their style, songs like “يا أبيض يا أسواد” (Black or White) and “”أنا السيجارة (I Am the Cigar) clearly draw from Egyptian shaabi music. Their use of this urban folk genre sound communicates their national pride and commonalities they share with their audience. Journalist Amira El-Noshokaty writes that the western style of Cairokee’s revolution-era music undermined the patriotism of its lyrical content, though their continued blending of shaabi sound with indie pop in their more recent albums sends an obvious message to the contrary. “يلا نغنّي” (Let’s Sing) is a rap, which to writer N.A. Mansour is perhaps, as a Black American genre, not a sound that can truly resonate with Arab audiences. However, Palestinian hip-hop group DAM and others have adopted this style of music to voice their social struggles, and the topics they and Cairokee use fit very well with the traditional content of rap.

For the future of Cairokee, the sky is the limit. By releasing their music on YouTube, they are able to circumvent the censorship they have faced with past albums and reach a worldwide audience. Continued marriage of Arabic and Western genres is sure to yield new and exciting musical styles, and the band’s meaningful lyrics ensure that they will stay relevant to Egyptian youth.

 

Cairokee. (2019). The Ugly Ducklings. Takwene.

 

Charrier, Ali. (2013). Two years on, the revolution still sells. Kalimat. https://web.archive.org/web/20140203164135/http://www.kalimatmagazine.com/culture/tag/music

 

El-Noshokaty, Amira. (2011). True, passionate and popular. Al-Ahram, (1078). https://web.archive.org/web/20120213032714/http://weekly.ahram.org.eg/2011/1078/ee1.htm#

 

Goodyear, Amina. (2009). The History of Shaabi Music. Aswan Dancers.org. https://www.aswandancers.org/shaabi-history

 

Lughtana. (n.d.). بطَّة. In livingarabic.com dictionaries. Retrieved April 20, 2021, from https://www.livingarabic.com/dictionaries?q=%D8%A8%D8%B7%D8%A9&dc%5B%5D=egyptian&st=1&new_google_recaptcha_token=03AGdBq25pdSG3Xlm8TgzQuA4m4FmLBgAV8Svx4G5esvkAhttjPBymnQ0OjSu9-vtcDKB56waahEZFXERDJq8BXwRZEOYmOEY1JOUehP_HFSeqifMEivVE3aavvLbmQxdOKrwFoblRYmpZ0877fipTCgOAfqbku03eeN67yRv3DEk-zOvDIvNes9rm9EhgK9WKUcq_TzReDepgZ87mY48hFgPODbhtelLf_xp3I3xKHoD55iOww2CNjc3UqCTNit5fT7rRR3jWrdh4_MquX_rfzjwl612GPRzFOGXaCfcvNw1F–zXLtQVSVxSCwocsdhIXrWEQjfgNorW_c1tDc24sQHHVabJeHqwbCnFFX6b_OZS0FnMwGrweAcj_7ejsXnZZwdQFz-lwoOrPDIOnImqF9wNJj5mB6RoRejFmwLYvSJVO-Nf_keTzG3faLredatV_XzlSH-HFoq7E8fq289aVN3F5Q0hWXPu3g

 

Mansour, N.A. (2020). Cairokee and its Audience: How an Egyptian Band Stays Relevant. Maydan: Islamic Thought. https://themaydan.com/2020/01/cairokee-and-its-audience-how-an-egyptian-band-stays-relevant/

 

 

Salah, Hend. (2015). 12 Years & Counting: An Interview with Cairokee Ahead of the Band’s Huge Galleria40 Gig. Cairo360. https://www.cairo360.com/article/music/12-years-counting-an-interview-with-cairokee-ahead-of-the-bands-huge-galleria40-gig/

Omar Film Review: “Trust No One But Thyself”—The New Norm of The Occupied West Bank

Trust and whom to trust is a difficult issue for many people. It means that you can always count on or rely on whomever you trust, and it is the basis of every healthy relationship. However, when placed in the context of a larger society, it can very well be the key to life or death for many people when put into question. For the 2013 Palestinian film Omar directed by Hany Abu-Assad, trust and its antithesis—betrayal— takes the center stage as it explores the complicated life of a young man in the Occupied West Bank. It makes plenty of sense why trust is at the heart of the film as Palestinians have been betrayed in every way manner possible by their politicians, the international community, its neighboring nations, and unfortunately, from members of their community. The Israeli-West Bank barrier known for its dark and looming structure which runs through occupied Palestinian territories is depicted in the earlier scenes of the film as the epitome of distrust. It further fragments a society along sectarian lines. The protagonist Omar played by Adam Bakri is seen jumping over this Israeli-West Bank barrier repeatedly from his neighborhood to that of where his bakery is located and to visit his girlfriend Nadia. Freedom of movement is an issue addressed in the film as it is not only about security but affects every aspect of the lives of Palestinians. As reported by the United Kingdom’s Home Office Fact-finding Team, the issue of freedom of movement affects who is able to marry who and where is able to work which is why “it touches the very heart of the Palestinian culture and collective identity” (EU FFT, 102). These scenes are then followed by his illegal past-time whereby he and his friends Amjad and Tarek engage in carrying out attacks against Israeli soldiers, the root cause of all the disasters that follow. Following this, Omar is captured and brutally beaten in a humiliating manner during an encounter by Israeli soldiers at a checkpoint.

Incensed by this experience, Omar alongside Amjad is determined to deliver retribution against those who seek to make their lives and others increasingly difficult just by existing and actually contribute to the Palestinian Resistance Movement. Thus, the two carry out a night attack against Israeli soldiers at a checkpoint and Amjad shoots a soldier leaving him dead. After running for their lives, Omar is captured by the Israeli authorities after someone tips them off. To make matters even more complex, Omar is involved in a relationship with Nadia—Tarek’s younger sister— and must deal with the Arab taboos associated with fraternizing with a friend’s sister. Cornwall Professor Christine Leuenberger highlights the detrimental social impacts of the Israeli-West Bank barrier and notes “the barrier drives Palestinian immigrants into urban centers, where overcrowding, violence, and criminal activity are creating a new generation of deracinated young people with few economic prospects” (Cornell Chronicle). It leads young people like Omar and Amjad —frustrated by their respective situations —into dangerous activities on behalf of justice. Furthermore, it crushes the dreams and aspirations of the Palestinian youth like Omar who at the start of the film is preoccupied with youthful problems such as where to go for his honeymoon, to grow up rather quickly, and figure out their immediate routes to survival. Abu-Assad captures exactly this, young characters in limbo as they navigate the detrimental consequences of living in an occupied society.

The issues at the center of the film which concerns his relationship and how Tarek will respond to the potential relationship dramatically shifts to a matter of his freedom from the web of Israeli control. He is restlessly tortured while naked in an Israeli detention cell whereby he later gets duped into confessing his role in the attack by stating “I’ll never confess” which is a legitimate confession under Israeli law. The Israeli Agent Rami offers him two options at his arrest, cooperate with them to be a double agent and find Tarek or face a ninety-year sentencing; Omar cooperates. However, his release does not end with happiness as others like Nadia grow suspicious of him since released prisoners mean one thing: betrayal. The rest of the film surrounds life after prison and adapting to a community that has potentially turned on him. As a viewer, it is difficult for one not to sympathize with Omar forced into a tight corner which is reminiscent of the daily experience of all Palestinians in the crowded Occupied West Bank, often compelled to make tight and difficult decisions for survival.

A Defining Moment

Beirut: War Generation is a documentary that depicts different lives of individuals living in Lebanon during the Lebanese war. It was made in 1988 by Jean Chamoun and Mai Masri, a Lebanese- Palestinian couple. This documentary was able to capture many different perspectives as well as showcase the undeniable effect the war has had on the country and its people. It shows how painful it is for anyone to live in a warzone. The famous Lebanese singer Fairuz described her beloved country in her song “for Beirut”, “She tastes of fire and smoke/ Beirut’s ashes are witness to her glory/ Now my city has turned out her lights/ With the blood of children on her hands”. One scene from the documentary showed a large group of young boys outside playing. Normally, if you think of young boys playing, you do not think of them pretending to be in a warzone, but that is exactly what they did. They had made make-shift rifles and guns out of sticks and soda cans and they were running around pretending to be fighting. They had fake blood drawn on their skin and while some of the boys were pretending to be dead or injured, the others were picking up their bodies and putting into a wheelbarrow to be rolled away. That scene really made me think about how much of an impact these experiences can have on children. And how those experience shape the lives of the people living in Lebanon at the time as well as future generations. It reminded me of a book called Limbo Beirut. One of the characters, Hassan, was an adult who had experienced the Lebanese war as a child, and still held those traumatic memories with him. The documentary really wanted to bring to light the struggles that everyone faced because of the war. It delved into the life of one of the militia men at the time. He was 19 and had been training since he was 13. He had become so desensitized to his job he compared shooting his gun to “eating a sweet or kissing a girl” and said it was nothing special. This reminded me of another character named Rami in Limbo Beirut, he was also a militia man and he said that he could not remember why he was still fighting. How much war and fighting can one person or country really take without being completely changed afterwards? A very memorable scene in the documentary is when one side of young men called out to
the opposing side asking, “Are you throwing away that gun or not?”, he replied, “I’m ready” and later goes on to say to him “when the border reopens, we’ll embrace each other, god willing”. They stated in the documentary that the people that they were beginning to fight against were people whom they knew, they were neighbors, but war had blurred these connections. The documentary also touched on the massacre that happened in Lebanon in 1982 in the Sabra and Shatilla camps for the Palestinian refugees. They talked directly to some of the victims of this horrible event. One man, a Palestinian who was born in these camps, talked about how the revolution that was occurring in Palestine effected his life in Lebanon. How at first, they were treated very badly, but when the revolution began the Lebanese people sympathized with the victims in Palestine and started to show more support for the Palestinian refugees living in Lebanon as well as the ones fighting in Palestine. This showed how powerful it is when Arab nations or countries come together in solidarity for a cause worth fighting for. It shows how just a small spark of hope can ignite a people wanting change.

A Palestinian Song

Palestinian history is documented through music, arts, and other sorts of humanities to include dancing and singing. The song Jafra w Zareef is an old Palestinian folklore song still played in many events and festive occasions. The beautiful art behind this song is that it can come in different melodies and lyrics performed by different artists. The one I chose, performed by Mahmoud Badawiya and Manal Moussa,represents the Palestinian struggle through a music video that includes a Debke, a traditional Levantine folk dance shared across Palestine, Lebanon, Syria, and Jordan. The Debke has unique similaries and differences across the Levant based on the village, town, and city. The singers and dancers express their longing for homeland by using metaphoric examples such food, soil, money, and gold and how these are priceless compared to living away. The choice of words: “Whatever money being collected, and jars filled with gold, soil of the homeland will only be my eye liner”, symbolize the weight of living in exile and that even if being away from their homeland ‘was covered in honey, it will never be sweet’, meaning that nothing can compensate for the dread of living alienation and despite how comfortable or wealthy their lives may be in diaspora, it will never be as sweet as living in Palestine.

They perform this not only to express their emotions but as a form of struggle for their homeland, by representing their culture and way of life through peaceful protest to Zionist colonialism. They do it in such a way that people from across the world can understand the reason of their sadness without having to do extensive background research on the conflict dating back to the early 20th century.
The song usually has a fast beat when it is played and performed by a Debke group or a band. Although sometimes it has a slower beat and melody to it when it is played solo by a person using a flute or Oud, a short-neck lute-type that resembled an American guitar. The style of the song usually fits the scene of where the song is being played, so if the song is performed by someone sitting under an olive tree, or in their land somewhere near the countryside, the melody usually has a nostalgic feel and rhythm to it as well as the lyrics. In other ways, like the example of this music video performed by Mahmoud Badawiya and Manal Moussa, the song is also performed in events, particularly ones that involve solidarity with the Palestinian cause as a way of showing resistance and the style differs in a sense that it is more upbeat and motivating. For those like myself who are deeply invested in seeing change for the Palestinian people, this song is a reminder of what we live for.
Qaisjamal. (2015, May 02). Palestinian DABKA_PALESTINIAN folk dance and song. Retrieved April 21, 2021, from https://www.youtube.com/watch?v=thMWT80djYcAugust 10, 2., May 17, 2., May 10, 2., December 15, 2., September 19, 2., & September 18, 2. (2012, July 10). Palestine: Art & History: Jafra. Retrieved April 21, 2021, from https://beyondcompromisedotcom.wordpress.com/2012/07/10/palestine-art-history-jafra/

Dabke Dance: A Shared Tradition of the Levant

Dabke (also spelled as Dabka) is an Arabic folk dance which originated in the mountains of the Levantine region. This region in the Middle East includes the countries of Palestine, Lebanon, Jordan, and Syria. Dabke is derived from the Levantine Arabic word dabaka (Arabic: دبكة‎) meaning “stamping of the feet” or “to make a noise”. The Dabke is a dance where everyone stands in a line holding hands facing outwards or to the audience, if there is an audience. There are many versions of dabke, but the most common one is when the dancers step with the left foot and right foot and then cross the left foot and right foot over. These steps require a small hop as they are done. The dance begins with a song that has a slow introduction in the background, and the dancers start to move together very slowly. When the music begins to speed up, the dancers increase their speed and their footwork becomes more intense. It can get tricky for beginners as the dancers must maintain a synchronized movement- all while keeping up with the same speed as the rest of the group. Usually, the lead person in the dabke is expected to be one of the most skilled in the group of dancers- as he/she is responsible for maintaining the synchronized footsteps and the pace of the group. The leader usually directs the dancers to slow down or speed up and helps keep the energy of the dance. It is very common for the leader to break out of the line by him/herself to do other skilled dances. If you have joined a dabke dance or ever watched a dabke performance, you would see something recurring amongst the people in the dabke dance and those around them. Because dabke is a unifying dance, you will always see people randomly joining (breaking a pairs hands to make room for themselves to join) or someone trying to get other members to join. There are many stories on how dabke began. When first created, the Dabke dance was practiced by people of the villages and towns of Lebanon, Syria, Palestine, and Jordan. During those times, the people in these small villages made the roofs of their houses with tree branches and mud. Any weather changes lead to cracking in the mud- often causing leaks and other issues. When this happened, family and community members would come and help patch it by forming a line and joining hands and stomping the mud into place. Over time, the dabka dance was recognized to make the roof work fun. The union of the family and community members was considered a joyful way to keep things in sync and effective. This tradition was passed through generations as a reminder of the importance of family, community, and tradition. We see dabke performances at weddings, and even in the middle of a protest- which is what makes it so special to the hearts of Arabs. As mentioned earlier, dabke is considered a tradition in the Levantine countries. However, the Palestinian people have adopted it into other aspects of their lives. Dabke signifies hope, struggles, and history of the Palestinian people- making it one of the most important cultural forms of art in their culture. During Palestinian dabke, women wear ‘thobes’ (embroidered long dresses) and men wear pants with wide belts and leather shoes. Men cover their heads with a “keffiyeh” (a scarf), and women cover their heads with a veil hanging loose down their backs. Dabke not only joins us in times of happiness and celebration, but also in times of struggle and political resistance. The core origin of dabke is community and family bonding- which is why we get more family members or audience members to join the line as well. A simple message of locking arms together, stomping to the ground, and singing or chanting has left a deep mark in the culture. Palestinians have taken this to war zones and in the middle of protests because it unifies us against our oppressor. Even when there is a struggle, the dabke dance has given us a chance to look past the political struggle and focus on our traditions and where we come from. The occupation can take the land beneath our feet, but they cannot take the traditions and culture that lives within our hearts. Although the purpose of dabke originated from just repairing the roof of one’s house or a neighbor’s house, it has revolutionized into a symbol of love, life, and struggle.

Bordello of Hope

 

The 1998 film West Beirut by Ziad Doueiri starts off with the West showing its superiority complex, through protagonist Tarek’s French teacher essentially demeaning Lebanon and its people, telling the students that France created their country and civilization. The civil war begins, and everyone has to adjust to their new life; Tarek’s school closes, his mom gets sent home from her job, and tensions are at an all time high. Tarek takes to running around town with his friend Omar, and the boys indulge in smoking, listening to music, and films to pass the time. They secretly film a beautiful woman, showcasing how rampant ignorance and misogyny are among teenage boys. Also displayed is men’s toxic masculinity, as Tarek runs out into the street in front of a car, and the two get into a screaming match and nearly a physical fight as well, each trying to act tough and threatening to the other. This masculinity is a product of socialization by society that teaches men that they need to be hardened and strong, and this pressure is especially intense during times of conflict, when men are expected to be the ones on the frontlines of the war but also the ones at home not letting their emotions or worries be visible.

The main women in the film each take on a different role and stereotype. Tarek’s mom is a lawyer, and is portrayed as the one who always has to be a tough killjoy; the one to cook and clean and be frustrated when everyone isn’t in order. One of their neighbors is portrayed as the one who has a permanent chip on her shoulder, taking any opportunity to yell at someone, always ready to fight and hurl out insults. Tarek and Omar, both Muslim, befriend May, a Christian girl, and she’s not given much personality beyond tagging along on the boys’ adventures. However, the fact that she’s Christian and the boys are Muslim, the groups fighting and being pitted against each other not only in battle but in everyday socialization too, speaks to the rationale of this polarization in the first place, and elite manipulation of this divide to further their war interests.

Despite the negative portrayals of these women, May does help get her and her friends through a dangerous area unharmed, and it’s shown how much Tarek’s mom cares about him. His mom and dad express affection freely and openly, which might sometimes be considered taboo given the time period of the mid 1970s. Tarek serves as some comedic relief, as he’s always joking in and making light of difficult situations, as is common among some Arab cultures. He makes references to popular American figures such as Paul Anka and Steve McQueen, showing the West’s worldwide cultural influence, specifically its soft power.

Signs of war such as bombs and guns loom around every corner, and one day, when Tarek and Omar are marching, gunfire begins, and while he’s hiding Tarek accidentally stumbles across a brothel owned by a woman named Oum Walid. She explains that she believe her people brought war to Lebanon, as one of her girls went to bed with two men of different religions. The polarization of Christianity and Islam plays a major role in the film, even though none of the characters are particularly zealous. The brothel can represent hope to Tarek, who struggles with the war around him, while also seeing everyone laughing and dancing and having a good time in a shared space. Tarek vulnerably opens up to Omar about his fears regarding the situation, and they both cry then embrace affectionately, showing that not all their masculinity is toxic.

In addition to religion, cultural identity plays a key role in the film as well. A man who sells food whom Tarek has befriended tells him, “If anyone asks about your religion, say you’re Lebanese.” Tarek’s dad has him recite a French play, exhibiting the importance that’s placed on literature, then negating the racism that his French teacher earlier spouted, by telling his son that he should be proud of his heritage because Europeans lived in caves while Arabs invented math and physics. Tarek replies by saying that he’s not Arab, he’s Lebanese. While his dad takes pride in being Arab, he’s especially connected to his country of Lebanon, consistently refusing his wife’s pleas to leave. The identities of religion, nationality, and cultural group all coexist and intermingle as the characters navigate the obstacles of warfare while trying to find their own way.

 

 

 

My experience at an Arabic wedding

A good friend of mine named Alekhya have known each other since our freshman year of high school track. Our junior year Alekhya’s brother Hammad was set to be married and they were having aa big celebration for Hammad and his bride. Something I had known about Alekhya was that she and her family were Arabic. Throughout the whole entire time I had known Alekhya she had always worn a hijab even during track and her family had many celebrations with food and family. Finally, after the long wait it was time for Hammad and Malaak’s wedding. Being Alekhya’s friend and often spending time with the family I was invited to the wedding.When I walked into the ceremony there were many different very extravagant and had red and gold accents. I noticed a lot of their family was there as this was a big celebration for their family and in Arabic culture they valued family and loyalty to their family very strongly. This was a suit and tie kind of event, many of the men wore suits and ties while most the women wore dresses to their ankles, and many had hijabs on. I also noticed many colorful dresses, I noticed 1 of Alekhya’s cousin’s did not have a hijab on and her dress was quite colorful and different but very pretty. The ceremony was very short and sweet, Malaak wore a white long gown with incrusted stones on the dress with a vail that covered her head. The person who wed them spoke in Arabic language so I didn’t know what he was saying but I followed along. The reception was a very big experience for me, the family had many foods I never saw but I knew they were traditional meals in their culture for celebrations. They did traditional dances throughout the wedding to show the joy of adding a new family member to the group. Although their was no alcohol present at the reception. I didn’t think this was strange because all my years of knowing the family I had never seen them drink or even have a bottle of alcohol in their home. The reception lasted for hours, just dancing, talking, and having a good time, I am glad I got to experience what it was like to celebrate in Arabic culture. They used the dances and food as a symbol of their celebration of having a new family member added to the family as they have big family values.

T

The Prophet: Poetry for the Longest Year

Written in 1923, Kahlil Gibran’s most popular poetry collection still transcends culture almost a century later. In the past year, the world has undergone many changes, and the pandemic served to undermine our sense of peace and security. A year of loss has warped our perceptions. The Prophet serves as a balm against these turbulent times, and the words of Gibran reach across time to deliver a sense of hope and comfort to the reader.

As one of the most prominent of the mahjar writers, Gibran’s universality is likely what has kept The Prophet so popular across many cultures and time periods. The mahjar writers represented a literary movement created from their experiences as part of the Arab Diaspora. These writers and poets represented a turning point in Arabic literature. A resurgence in Arabic literature turned away from the rigid style of the past and introduced Romanticism.  Though The Prophet was written in English, Gibran’s experiences as an Arab-American are reflected in both his poetry and art.

The Prophet focuses on the sayings and wisdom of a prophet called Al-Mustafa. As he is departing the city of Orphalese, people from all walks of life ask him questions on love, freedom, children, justice, and more. His words on the concept of time are especially relevant to our current situation. At the beginning of the pandemic, time seemed to slow down and accelerate with no rhyme or reason; a year without parties or coffee dates or study sessions with friends has been the longest year of my life. Isolation from friends and family further loosened my grip on time. Gibran’s words showed me how time was not meant to be fastened by the hands of men. In a year without seeing my friends, I was reminded that there would be better days ahead; that “in the sweetness of friendship let there be laughter, and the sharing of pleasures. For in the dew of little things the heart finds its morning and is refreshed.”

Gibran’s genius and universality are the key to The Prophet’s continuing success. While rooted in the experiences of the Arab Diaspora, Gibran’s poetry manages to transcend both time and culture. At the time of writing, the mahjar poets had the challenge of creating works that appealed to an Arab audience that had for so long enjoyed poetry in a more rigid structure. While looking to the past, authors such as Gibran also had to face the future; blending elements of the Romantic era of poetry with centuries-old tradition was no easy feat. Yet, his work remains both popular and relevant in the 21st century. For anyone looking to find hope and beauty in what feels like the longest year of our lives, The Prophet serves as a reminder that this dark period will end, and that

yesterday is but today’s memory and tomorrow is today’s dream.

 

 

References:

Muglia, Caroline, and Name. “Khayrallah Center for Lebanese Diaspora Studies News.” Khayrallah Center for Lebanese Diaspora Studies News Transforming Arabic 20th Century Lebanese Authors in the US Comments, 19 Feb. 2015, lebanesestudies.news.chass.ncsu.edu/2015/02/19/transforming-arabic-20th-century-lebanese-authors-in-the-u-s/.

Reynolds, Dwight. The Cambridge Companion to Modern Arab Culture. Cambridge University Press, 2016.

 

What’s Behind the Suit?

The Suit or El Badla, directed by Mohammad Adel, is an Egyptian romantic comedy that follows two men who pretend to be police officers and get involved in an investigation to find a Spanish assassin who killed a prominent Egyptian scientist.
As discussed in Andrew Hammond’s essay on cinema and television, Egyptian cinema has long been at the forefront of cinema in the Arab world (Reynolds, 2016). Even when France tried to set up studios to counter Egypt’s nationalist cinema, Egypt’s stronghold on cinema remained (Reynolds, 2016). This film was a testament to Egypt’s maintenance of their standing as a leader of film in the Middle East. In 2018, the film was the first Arabic movie to be screened in Saudi Arabia in the kingdom’s history which further emphasizes the film’s prominence (‘El Badla’: First Arabic movie to screen in Saudi Arabia, 2018).
One of the interesting aspects of the film was that while it was a romantic comedy, there were not many truly romantic components in the movie. This seems to align with what is described in Hammond’s essay in the section about censorship. Egypt is known for being more conservative with romantic scenes even though they are okay with films including political statements (Reynolds, 2016). This is to satisfy the interest of conservative Islamists in Egypt whose interests were brought even more to the forefront with the uprisings in 2011 (Reynolds, 2016). I find this trend particularly interesting when comparing film trends in the west. Movies in western countries tend to have moved towards having more open risky romantic scenes, so it Is interesting to see how large of an impact the political arena has on the conservative nature of film on Egypt.
While the film is comedic, it takes a serious look at respectability politics in Egypt. The two main characters are framed initially as lazy, stupid, and unsuccessful men who no one had much respect for. When the two men are mistaken as police officers, public opinion on them changes completely, and they become widely respected by strangers. Nothing changed about the characters except their outfits. I believe the movie may be commenting on how some people can have unfounded respect for status symbols that are disconnected from the true character of an individual. This theme is seen particularly with the romantic relationship between Walid and Rim, two of the main characters in the film. If Walid had not come to Rim’s the party in the police suit, Rim probably would not have noticed him or had the same respect for him that caused her to agree to a date with him. Once Rim gets to know Walid better and finds out he is not actually a police officer, she still finds herself in love with him. Through this story line, the viewer can clearly see that Walid’s character is in no way linked to the arbitrary status symbol of the suit.
Overall, El Badla was a very enjoyable movie that contextualized many aspects of Egyptian film culture. The use of humor to convey an important critique of respectability politics was also skillful and added depth to the movie’s comedic plot. If you are looking for a comedic movie that will make you think a little, El Badla should be on your must-watch list. References‘El Badla’: First Arabic movie to screen in Saudi Arabia. Egypt Today. (2018, September 16).
https://www.egypttoday.com/Article/4/57603/%E2%80%98El-Badla%E2%80%99-First-Arabic-movie-to-screen-in-Saudi-Arabia. Reynolds, D. (2016). The Cambridge Companion to modern Arab culture. Cambridge University Press.

Big Fish in a Small Pond

Mahmoud Hosny is an Egyptian writer and translator who is pursuing a PhD in comparative literature at the University of Southern California in his first year. He translated Ernest Hemingway’s Old Man and the Sea (2016) and John Steinbeck’s The Pearl (2016) into Arabic, and in 2018, he published his first book, Maps of Yunus, with the help of an Arab Fund for Arts and Culture grant.
Big fish in a small pond. As I kept reading this story, the phrase kept coming to my head. It revolves around a boy who is stuck in a place that he cannot seem to leave no matter how hard he tried. He had a vision of a young boy who dreamt of what is on the other side of the gulf, where does the ship disappear after the reef. With the excitement he shows as he is talking about the weekend he will be spending to visits the sea.
The reason they called the gulf the illusion of the sea id because of how little the water is at the gulf. This symbolizes how little thing can excite a child when they are not curious but as they grow up, they start questioning everything around them. “Those white salty lines uncovered our lies when the mothers asked us: Why are you late? Those white salty lines uncovered our lies after we’d convinced our mothers that we would never “visit” the sea.” Their curiosity of knowing what is beyond the salty white lines and why they cannot go over there makes them even long more for it. They start watching the place more longingly not with the same excitement but now a desire to visit the beyond.
Comparing the sun setting as the sun stabbing the horizon and the being awaken from their childhood innocence by the scent from the petrol factories, this shows how they are forced to face their harsh reality early on and in those moment the excitement of going to the gulf died down and now the thought of excitement settled.The main theme of this short story is very courageous and ambition of a young kid who aspires to be different. With the way he questions why everyone is his village always go the same direction and the fear of being the same makes him want to escape more often. It is courageous because his thinking was way of the box that he was raised in. He did not have the same mentality as his peers and had an independent perspective. “The voice comes back: When you go back home, you will find you father dead. Don’t leave the place just yet!” The voice here might refer to his inner voice that is telling him once he is free of the shackles of the people around him, he might escape. The father represents the society in general.
Reference.Hosny, M. (2021, February 21). New fiction in Translation: ‘The illusion of Sea’. Retrieved April 22, 2021, from https://arablit.org/2021/02/22/new-fiction-in-translation-the-illusion-of-sea/ Accessed April 22, 2021