Mr. Darwish … the victory of art for the revolution


The Arab musical memory has become more vulnerable to slackness and forgetfulness, due to the anemia of contemporary Arab music, which makes us always practice a kind of glamorous “nostalgia” with the past and its flags. Tall Arabic names made the glory of modern Arabic music, before and after colonialism. A rich musical history is a testament to a stage that has not yet healed.The salient feature that characterized Egyptian music, for example, since the turn of the twentieth century, is that at one point it seemed to be music specific to the life of the Egyptian people, aspirations, concerns, and simple daily concerns, as a tongue of its political and social condition, forming one of the manifestations of its liberation from the bond of British colonialism that imposed political and social restrictions Culturally, the Egyptian society at that time. However, the role that music played in serving the revolutionary conscience of people did not remain trapped in Egyptian music only, as it spread to different geographies and different arts influencing its pleading to express pains that have decayed society during the twentieth century.

The Egyptian singer and composer, Sayed Darwish (born 1892 in Alexandria), whose birthdays last week on March 17, is at the forefront of the Egyptian artists who founded a modern lyrical project in the service of the people and their unitary aspirations.

This poor artist Ibn Hay Kum Al-Dikka in Alexandria, who was deprived of studies due to the inability of his family to pay its costs, was initially obliged to enter some traditional schools to memorize chants, improve the Qur’an, and adjust its rules. He then worked in construction work to support his family, a boy who was less than 16 years old, before migrating towards Cairo and its charming nights, in order to begin his artistic career in singing the cafes and evening nights in which Egypt was pregnant at the time.

The cafes served as the true laboratory for discovering Darwish’s voice and voice in popular circles. This phenomenon has played a major role in raising awareness of popular music among the vulnerable in society, and it is an Egyptian artistic feature in the first place. It also showed that it is of great value and efficacy not only for the lyric field, but also on the level of politics, which greatly affected the singers who went to these cafes. The Arab singer at the time possessed a great culture, and the owner of a lyrical and societal project, and therefore the inclusion of politics in his songs is considered merely an aesthetic extension of his pure art project. The rise of Mr. Darwish also accompanied the wave of Egyptian national liberation against British colonialism. Therefore, it was impossible for Mr. Darwish, a lover of Cairo and Alexandria cafes, not to catch politics fever.

At one point, he changed his tunes towards the concerns of the 1919 revolution, with which Mr. Darwish will become a pioneer in Egyptian music, due to the renewal of his songs. Even more is his ability to satirize the satire of British colonialism and his followers. Darwish became, in a short period of the age of the revolution, the mouthpiece of the state of Egyptian society, sung with his sorrows and sorrows, working to revolutionize the imagination of the Egyptian citizen, and although he did not achieve much success at this stage, but he managed with some of his songs to penetrate the hearts and hearts of the simple. In fact, during this year, he became the leader of the demonstrations and slogans of the revolution, especially some songs such as: “People, Egyptian,” and “Oh, this is what happened,” in addition to his most famous song, “Ya Balah Zaghloul,” which he wrote after the leader of the “Wafd” party was exiled. The Egyptian Saad Zaghloul.


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