Yusuf is not without his critics, some of whom love the music but object to its airing on « profane » channels such as Melody, and others who criticize the music itself, even though Yusuf purposefully limited the use of instruments to percussion on the al-Mu’allim album so as not to alienate Muslim audiences who consider the use of wind and string instruments illegal in the eyes of Islamic law. Current issue Previous issue Site map. A far cry from the world of song as we once knew it, it must be said at the outset, for this is all a video clip comprises. Yet when Elmessiri and other critics speak of the video clip in such general terms, they and their audiences know exactly what kind of video clip they are talking about, for the term « video clip, » or « porno clip » as it is sometimes referred to, has without doubt become a symbol of access via satellite television stations and the Internet to the previously inaccessible sexually explicit material that state-controlled television channels in the Middle East censored and continue to censor. Sami Yusuf’s art thus blends a religious worldview with a mainstream form of entertainment, and in doing so, Yusuf communicates a personable, accessible expression of the Islamic faith that is in harmony with the modern world and incorporated into the mundane activities of daily life. She currently lives in Cairo, where she is studying Arabic at the Center for Arabic Study Abroad and conducting research for her master’s thesis on the public debate in Egypt surrounding Arabic music video clips.
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Aired live on the Melody music channel, for the first time in the history of the pageant viewers from Egypt and Arab countries had a chance to vote for the contestant of their choice via SMS. Thus, a recent, fairly typical, critique by the Egyptian political analyst Abdel-Wahab M Elmessiri entitled « Ruby and the Chequered Heart » begins with the definition, « A video clip is a short movie comprising a jingle, a dance, and a dramatic theme. Are Ruby, Maria, Jad, and others of their ilk the Adawiyas of today? It was a night fraught with excitement and suspense as 22 contestants competed for the title. Their goal is not to enlighten us or deepen our understanding of our surroundings — it’s profit. Mass Culture and Modernism in Egypt.
In addition to the Egyptian intelligentsia of the kind present at the Opera-sponsored event, a good number of Egyptian viewers are quite sympathetic to Elmessiri’s line of thinking, and it is not the intention of this article to disagree with his analysis.
Set on the Qasr al-Nil bridge, one of Cairo’s favorite spots for young lovers to stroll, the video reflects the socio-economic realities of the majority of the city’s youth far more than the typical disco-theme videos that are set in fancy nightclubs, villas, or tourist resorts and feature crowds of dancing, scantily clad models.
Originally published in Arabic in the Egyptian government daily Al-Ahramthe article was translated for publication in the English Al-Ahram Weeklyfrom which this quote is taken. Among the embassies that put together tables and participated in the event were Palestine, Saudi Arabia, Yemen, Italy and India. The Arabic recordings of these lectures are posted on Amr Khaled’s website, along with translations into English and several other languages.
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Sami Yusuf’s admirers, like Habat and other critics of the video clip, all share an understanding of the role of art as ideally ideological, uplifting, and enlightening. During my conversion with al-Banna, he mentioned that Egyptian friends of his wondered if the video’s producers were attempting to capitalize on Sami Yusuf’s success at attracting mainstream audiences with Nsbat themes by exploiting the figure of the veiled young woman.
Nor are the grim and heartbreaking circumstances of the Tanat and the Iraqis completely absent, with video clips such as Ahibbini Love Me from Kazem al-Saher’s latest album, set against the backdrop of the war in Iraq. Pack of cards Click to view caption. Music as Message Sami Yusuf. Amr Khaled’s own official website is http: Thus, a recent, fairly typical, critique by the Tbat political analyst Abdel-Wahab M Elmessiri entitled « Ruby and the Chequered Heart » begins with the definition, « A video clip is a short movie comprising a jingle, a dance, and a dramatic theme.
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Not everyone is enthusiastic about this video. These young men objected to what they viewed as the video’s commodification of the veil and its nabag use to attract viewers despite the lack of any religious message or content in the song, whose lyrics and melody resemble those of any number of romantic video clips.
She currently lives in Cairo, where she nsbat studying Arabic at the Center for Arabic Study Abroad and conducting research for her master’s thesis on the public debate in Egypt surrounding Arabic music video clips.
This information was shared with me by Sharif Hasan Al-Banna, one of Sami Yusuf’s team of producers at the Awakening company, during an interview in Cairo on April 12, In this, more than one observer has noted his affinity with the Egyptian nxbat Amr Khaled, who in fact aired Yusuf’s videos on his popular show Sunnaa’ al-Hayah Life Makers. An example of an entry that rabat directly to this debate includes Asmaa from Morocco, who posted the following comment in the guestbook on April 7, »we like you so much you have a great voice but do you know the opinion of islam about music?
atbat In an episode entitled « Culture, Art, Media. For readers interested in further information in English on Sami Yusuf, Al Ahram Weekly published an article on the singer by Dena Rashed in the November edition of the paper http: Although we lack reliable, publicly available statistics that detail viewer nabag for certain channels and programs or for satellite channel profits from sources such as advertising, viewer calls, and SMS messages, it seems clear that after years of having little choice but to watch ideologically oriented broadcasts produced by government institutions, many audience members are basking in the opportunity to entertain themselves through viewing private satellite television channel programming — be it political, religious, or sexually tabbat — that is not sanctioned yabat the state.
Current issue Previous issue Site map. Rather, my aim is to juxtapose the discourse of critique surrounding the certain kind of tabzt video clip that Elmessiri and most critics are referring to when they make sweeping condemnations of « the video clip » as a genre, with reactions to a recent figure — Sami Yusuf — who successfully presents video clips that break out of the mold of « a jingle, a dance, and a dramatic theme.
Most viewers would agree that the majority of Arabic music video clips, as Elmessiri notes, do not aim at lecturing or morally uplifting their audiences, but rather exist simply for entertainment. A point of clarification is in order, however, because although Elmessiri refers to the video clip in such sweeping terms, he is no doubt aware that a degree of diversity and recognition of social and political realities does in fact exist in the video clip genre. Aired live on the Melody music channel, for the first time in the history of the pageant viewers from Egypt and Arab countries had tanat chance to vote for the contestant of their tqbat via SMS.
The corresponding article by Mohammed Faruq described Yusuf’s al-Mu’allim video, irrespective of its religious navat, as an ‘amaliyya fida’iyya resistance operation against the kind of performers and songs that usually fill the screens of Arab satellite music channels. Islamic religious singing, called inshad in Egypt, has a distinct cassette market, set of stars, and performance spaces of its own, and apart from a very few exceptions, the more recent generations of Egyptian pop singers rarely present religious material, nor do inshad singers make hip video clips.
Similarly, stores in Cairo tend to stock his album next to pop stars like Amr Diab and Sherine, rather than in the « religious » section next to lectures of preachers and recordings of more traditional forms of inshad 6.
The translation is my own. Umm Kulthum, Arabic song, and Egyptian society in the twentieth centurypublished by the University of Chicago Press in The intensity of attacks on the video clip appears to be influencing the genre, and it seems that a new nabst in Arabic pop music is emerging in which artists are consciously responding to these criticisms and promoting their songs as respectful of society’s values, message-oriented, and more in tune with their audience’s everyday social circumstances.