CAIRO, known as the “Hollywood of the Orient” is struggling to revive its artistic film industry and also maintain the quality of its popular entertainment. Egyptian cinema and television production were, for many years, the ‘cultural cement’ that united the Arab world. In the last decade, other countries have been seriously encroaching upon Egypt’s reputation as cultural capital of the Arab world. Dubai has excellent post-production facilities, Syria is producing high quality serials and the Lebanese have specialized in filming music videos.
However, this has given rise to a flurry of creativity. Innovative trends in the field of cinema, painting, sculpture, theater and music are shaking up the cultural scene in Cairo. A new generation of talented filmmakers, writers and musicians are trying, through their work, to reconnect with the people.
The Opera, a prestigious venue, hosts cultural events, which no longer reflect the reality of Egypt’s population. Moreover, an increasing number of people cannot afford to go to the Opera. On the other hand, the phenomenal success of the Culture Wheel, known in Arabic as ‘Sakia’ reflects the evolution of popular culture in Egypt. The brainchild of Mohamed El-Sawy, the Culture Wheel is a multi-purpose cultural center which gives adults, adolescents and children not only what they need but also what they want. The price of the tickets is very reasonable — the cheapest is less than $3 — while many events are free.
The musical scene in Cairo is exceptionally lively nowadays. In Egypt, as in other Arab countries, the music industry has gone through changes mainly due to the power of the Internet, digital downloading and a growing distaste for low-quality Arabic, as well as Americanized, pop music. An increasing number of people yearn for a new kind of Arabic music. Many young bands, playing a fresh sound, have emerged in Cairo over the last decade. However, despite enthusiastic audiences, these bands face hard times because they receive no financial support.
The success story of Wust El-Balad, is, a case in point. Founded in Cairo in 1999 by two of its eight current members, Ahmed Omran and Hany Adel, Wust El-Balad, means “Downtown.” The group made its first public appearances in galleries and cultural centers situated in downtown Cairo. They were even the first band to play live in the streets of Cairo in order to reach the local community, the people who could not afford to hear their music in a cultural center or a gallery. Wust El-Balad is considered the most successful rock band in the Arab world, yet it struggled for a long time. It took the group nine years before it released its first album ‘Wust El-Balad’ in 2007 followed by ‘Koo’ in 2008.
Music fans in Egypt are mainly interested in non-commercial music and especially enjoy improvisations. In this respect, it should be said that young Arab musicians play mostly without any written music. They have a quasi-innate talent for handling harmonies and chord structures whereas in the West, musicians generally need to write down any complex musical arrangement.
Innovative Arab music integrates Western instruments and genres: Such as jazz, rock, electronic dance music and even R&B, reggae and hip hop. Arabic jazz is immensely popular. This fusion of jazz with Arabian music is regularly performed at the Cairo Jazz Club in front of regular and enthusiastic audiences.
Music in Egypt has also been largely influenced by rock. The more innovative bands use rock as a musical feature, creating endless fusion of styles. Music fans have shown a marked preference for Arabian style music composed in Arabic.
In recent years, Nesma Abdel-Aziz, a talented musician has made a name for herself playing a little known instrument known as “marimba”. This instrument from the percussion family, originated in Africa a hundred of years ago. It resembles a xylophone made of strips of wood of different lengths with tuned resonators underneath, the whole body fixed on a frame and struck with drumsticks.
Nesma’s presence on the music scene in Egypt, has been described as stylish and classy. While ‘Tick-Tico’ remains one of her most popular tunes, Nesma plays Arabic classics such as Umm Kulthoum’s famous “Inta Omry” as well as versions of songs by Abdel-Wahab and Abdel-Halim Hafez. She also willingly plays along with traditional Arabic musical instruments such as the “tabla” and the “mizmar” and performs pieces of music by the famous Oud player Nasir Shamma, Omar Khairat and other Egyptian musicians. During her live concerts, she is now abandoning her South American-inspired program, and offers Arabic music which is more popular with the public.
An increasing number of people are growing weary of the choice of commercial pop songs dictated by an elite and shown endlessly on Arabic TV channels. The Arab audience, which now has access to satellite television, has awakened to the fact that the music business needs creative minds and more talented artists. Arab youth yearns for musical genres that reflect the reality and the problems being faced in the Middle East.
