La scène électro égyptienne est traversée par des dynamiques plurielles, qui s’expriment tant à travers des usages différenciés des outils numériques, que par la disparité socioculturelle de ses acteurs. En interrogeant le matériau musical, cette intervention reviendra sur ces différents usages. L’étude s’appuie sur l’exemple d’Abu Sahar, musicien de Haute-Égypte proclamé The King of Trobby Music par les médias égyptiens.
Son parcours, ses techniques de production, sa démarche esthétique et le contexte socioculturel dans lequel Abu Sahar évolue, seront présentés et resitués dans l’histoire culturelle de l’Égypte. À partir de ce cas singulier, S. Gabry-Thienpont questionnera les stratégies des producteurs et musiciens dans l’entrelacs des bouleversements politiques, sociaux et culturels liés aux reconfigurations politiques actuelles.
Son parcours, ses techniques de production, sa démarche esthétique et le contexte socioculturel dans lequel Abu Sahar évolue, seront présentés et resitués dans l’histoire culturelle de l’Égypte. À partir de ce cas singulier, S. Gabry-Thienpont questionnera les stratégies des producteurs et musiciens dans l’entrelacs des bouleversements politiques, sociaux et culturels liés aux reconfigurations politiques actuelles.
Yunis is an experimental musician interested in traditional/trance music and rituals. He is based in the Egyptian western Delta province of Kafr El-Dauwar where he co-founded Kafr El-Dauwar Records (KDR), an independent digital record label working to nurture, support and release his hometown’s contemporary and experimental music.
In his working method, Yunis values an approach of cross-pollination, syncretism, and experimentation.
While genre-bending is at the root of his artistic method, he believes in the acredness of the traditional musical forms he draws from.
In his working method, Yunis values an approach of cross-pollination, syncretism, and experimentation.
While genre-bending is at the root of his artistic method, he believes in the acredness of the traditional musical forms he draws from.
Moreover, a prominent issue throughout his work is the characterization of “cultural revival.” In speaking about his work -or various musical genres such as Shaa’bi, Zār, Mouled, and Takhmir – musicians, artists, critics, and writers often characterize the practice as “cultural revival.”
However, Yunis sees that his work subverts this characterization, as he treats these traditional genres as living, evolving, artistic forms, as opposed to stagnant, historical, artifacts that need to be “revived.”
However, Yunis sees that his work subverts this characterization, as he treats these traditional genres as living, evolving, artistic forms, as opposed to stagnant, historical, artifacts that need to be “revived.”
ASWAT is a series of music meetings and performances focusing on culture(s) of music that seeks to explore a range of musical practices across Egypt, and Arab World, through academic speakers and music makers, followed by concerts. The meetings deepen historical, religious, social and musicological aspects that interwoven in, and from, the music heritage, addressing creation, performance and reception practice. The project is curated by Kawkab Tawfik (IFAO-CEDEJ).
