About the real artist and his place in the popular movement


Whether we like it or not, the artist will have a special and distinctive position above the daily direct line of events, wars, and global battlefields of various kinds and forms. As for the confusion occurring in the artist’s location and the special artistic cycle that may happen and may not happen as we wish or as we desire, and if it occurs interacting with this or that event, in an immediate or immediate and indirect way, then the artist’s location will always remain at a distance approaching or moving away. About the event, which calls for a necessary atmosphere, overlooking it from different and homogeneous angles. Each artist looks at reality in a different way than others, and from a variable height, this difference becomes clear from him. The artist monitors the features of the following as he changes through his artistic vision that is evidenced by the inspiration of his own artistic, and in what most people may not see, whether revolutionaries in Venice or journalists and revolutionary media in newspapers and media, students clash with demonstrations, workers and the vulnerable in the struggles demanding trade unions, or even the rest of the groups In jails and prisons. This paradox, which calls for understanding the artist’s real position linked to the artistic climate, will often deviate from direct framing, party statement, or any vision that claims the ability to define and capture its features. The artist is not responsible for this, nor for the frameworks of this relationship and the strangeness of its differentiation! The artist has his own parallel, intersecting or discontinuous revolution with the movement, and in his relationship to the features of each of its accumulated events, it never starts from the movement itself, neither at the time in which the movement began, nor the time in which it will end as well, whether in his awareness of these details or our awareness of our position The difference during the changing direction of the movement, profit or loss!
We have always found that the original revolutionary artist precedes the revolution by anticipating it and its events, perhaps many years before its occurrence. (The Rahbani brothers, in their great bidding, for example, their children as a different example later on from Ziad to Marwan Ghadi and Osama through Ghassan to their grandson Omar) There is the model of Marcel Khalife, Khaled Al-Habr, Ahmed Kaabour, as examples of varying art and party. There are many other examples in Lebanon, and other examples in Egypt that extend from the time of the popular artist Sayed Darwish to the artist of the homeland and the conquest and the detainees Sheikh Imam and Ahmed Fouad Negm. As an example of poets, there are many similar models, from Badr Shakir al-Sayyab and Nazik al-Malaika as renewed pioneers to Mahmoud Darwish, passing by Said Aql, Adonis, Khalil Hawi and many other poets who made different qualitative leaps that forever changed the structure of poetry and prose and their course of action. Often the artist predicts early on the details and minutes of the revolution or movement in art, intentionally or unintentionally. The artist may see far away and refer to him in rare cases, we see him predict events accurately, and among the brightest and brightest of these examples, comrade Ziad Rahbani was a stark example of creativity and prediction. As he continued the two brothers’ march in his unique revolutionary way, he transferred Mrs. Fairouz as an icon of a disobedient and Mansour generation to an icon for generations to come. Your cousins ​​come later and each of them says his artistic project and his answers to the question of art and creativity in its different ways. The artist’s artistic vision may mature through the development of his vision of himself and his artistic tools as they interact with the development of his parallel intellectual awareness over the accumulation of events of the movement or war, so that the artist’s relationship is parallel and intersected by the multiplicity of these factors and their connection with people, horizontally and vertically. This relationship may not necessarily be parallel, as the average citizen would never want, especially if he is a fanatic fighter for a partisan or religious vision that does not expand the diversity of the movement of history and life. Or if he was a gun fighter and the tasks of national liberation were intertwined with economic, social and class liberation (Lebanon or Palestine, for example).
As for the rest of the details of the link between this relationship and the achievements of the real artist, they do not mature until their time. It is definitely not subject to our desires, nor our will, nor the desire of the real artists themselves, nor is it in the hands of a third party who can never measure it. As for how we must understand the importance of the revolutionary artist in order to evaluate him in a practical and effective manner, this is a complex issue with its multiple measures, the most important of which is always and primarily its artistic aspect that needs to come first by necessity and first before every individual desire for something else. After clarifying this aspect, it becomes easier to clarify the other factors so that each artist emerges with the solidity of his bidding, which confirms with its art the ability of its human interaction, to celebrate its influence within the complex intellectual and spiritual process of the revolution or movement in terms of linking them to their awareness of the mystery of life and its reflection on the impact on human awareness and their reaction to his art! This relationship also reveals the extent of the artist’s interaction and commitment to the meanings of freedom and the artistic reflection of its political, social, and class forms on his understanding and applications that affect any attack on human dignity across the world, so the artist’s relationship with his artistic understanding becomes evident in what links artistic theory to its application to events to induce a change in the manifestations of human consciousness. What affects his art and his human commitment to it, develops him and his art and imposes respect for him honestly and efficiently for his accomplishments as an absolute aesthetic value that does not compromise on transparency and it links between originality and modernity as a decisive and necessary force to say and impose your solid artistic secret!
Art, in the end, is a spiritual, intellectual, mental, and material activity interlinked in a complex way, so that it touches creativity as much as it diverges in form and substance from the idea of ​​the elements of the party statement of the principle of “Be it,” or the order to implement before the objection, as in the military, ancient religious texts, or the descending discourse of Arab official policy, which is In other words, the artist continuously with this free trend will have accompanied the movement with all the requirements of sophistication, sublimity, honesty and craftsmanship in his inspiration for the values ​​of artistic expression that are not relegated to the highest standards of artistic internationalism committed to their national and local roots and reference. The artist’s relationship pulses and shines with the movement of her time and place, away from the blind school tradition of other global artistic identities that appeared with features and models specific to the stages of their ancient eras for the sounds and tasks of their time and circumstances. All this must be viewed objectively and away from our desires as individuals or parties. We must understand the importance and necessity of these facts as observers and critics in the movement arenas we love, but far from us with their geographic, political and national roots and traditions. As for the last, less complex issue, which is often the victim of the simple people of the movement, ordinary citizens and masses with ideological or chaotic partisan tendencies and religiously imposed such as sectarian councils and metaphysical rituals, it lies in the cunning of what he previously took them or that fairness and quarters of intellectuals and traditional believers would take them to inherit old genes. Obsolete, whether intentionally or unintentionally, in good faith or in bad faith, and it is the issue of progressive and reactionary art, and it is an issue that the people of the left suffer more than those of the right. Knowing that the scientific concept of the left and the right is a relative concept tinged with ambiguity and facilitates the lesson of diverting people’s efforts, ideas and struggles from their true common interests in order to pounce on them and tear apart their struggles and demands, just like political and sectarian sectarianism that divides them by herds and splits them, making it easier for rulers to ride them to take them to the slaughterhouses of the civil and religious wars that tore Europe apart For a hundred years! What the people of the national movement should know well about its relationship with art and artists is that the same previous ideas may be marketed and circulated to apply now to art and artists within the cliché of progressive and reactionary art. The truth is that there has never been, and neither now nor in the future will there be but good art and bad art. For ease of understanding, I can explain this by saying that a right-wing and reactionary artist in politics may write good, beautiful and sophisticated music, just as another left-wing socialist progressive artist may write bad music! The time has come for these facts to be revealed in their physical nudity and far from abstraction in front of everyone. In the end, only the correct history will remain in front of the people.


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