2023-04-20 15:35:33
Mawal – Ramadan Marouh – in its mass context
Researcher in folklore and popular culture
Ramadan is gone and brought us Eid, an Egyptian singer who excelled in his performance Mohamed taha The owner of the ten thousand mawal; he used to sing, arrange and compose the popular mawal art; He excelled in that art, as well as in improvisation, using the origins of the Sa’idi folk mawwal in its various colors. He excelled in singing and arranging the white, green and red mawwal, thus expressing many human meanings in a popular lyrical form that has a wide reputation among the Egyptians, using the art of singing mawal.
Muhammad Taha was born in the city of Tahta (Upper Egypt) and grew up in the estate of Atallah Suleiman in the village of Sandbis. Muhammad Taha excelled in the arts of folk mawwal, and he used to improvise and organize. He was also the owner of a popular musical group, and he used to tour Cairo with his art and his band until Zakaria Al-Hijjawi included him in the Peasants’ Band for Folklore, and then following that he was presented by Jalal Moawad on the radio. To revive the city lights ceremony in Gaza, and on the Revolution Day, Muhammad Taha sang many patriotic popular songs in front of President Gamal Abdel Nasser.
Then, Muhammad Taha formed his own band and called it the Golden Band for Folklore. The band dealt with many wind folk instruments such as the flute, the argoul, the Saidi oboe, and percussive instruments such as raq, tambourine, and darbuka, as well as stringed instruments such as the oud, violin, and rebab.
It is worth noting that the artist, Mohamed Taha, participated in many Egyptian films, and we enjoyed not a few authentic Egyptian folk songs. The artist, Mohamed Taha, passed away on November 12, 1996, but he still entertains us with his artistic works that expressed the people and discussed many of their visions and issues, in two contexts: the popular context and the mass context. .
In this article, we will shed light on one of the well-known Mawwils of Muhammad Taha, who is the Mawwil of Ramadan Marouh. It was shown in a public context on stage and was shown on Egyptian television in celebration of the blessed Eid al-Fitr in the sixties (1965). We have a feast (1) Come back, O nights, our God, the light of the Prophet, is his feast (2) And it returns to us and you with good health and well-being, and does not miss its appointments (3) And at the end of the day, O people, we rejoice on the day of his feast (4) O God, return the nights with all peace. Beauty, pampering, and roses are in vain, and sweetness is a role.”
Muhammad Taha opens the mawwal with the remembrance of the Prophet, and this custom took place in opening the mawwal with lyrical forms; He also relied on one rhyme in the four parts, relying also on the word (Eid), so he used it in the sense of Eid and in the sense of repetition, expressing the end of the holy month of Ramadan and the advent of the blessed Eid al-Fitr as one of the gifts of the month of Ramadan. Through Al-Mawal, he sends a congratulatory telegram on the occasion of the blessed Eid Al-Fitr, and prays to God that the nights of Ramadan will return on time, and at the end of it we rejoice in the feast, and that it will be days of peace and joy that explain the hearts of the listeners.
What distinguishes this lyrical singer is that he relied on simple, colloquial words, away from words whose meanings may not be known to the majority of the Cairo audience, as well as other social classes, and this certainly has a purpose. Hearing the mawwal and understanding its meanings easily, because the popular mawwal in the context of the popular has a psychological and functional purpose, as it is considered the mouthpiece of the popular group and an honest artistic translation of the social, economic, psychological and also political situation.
The popular mawwal has several types as well as colors. It is considered one of the most prominent verbal arts. It relies on the popular language and dialects, expressing a complete cultural system. It contains a poetic discourse that has several connotations closely related to the reality of popular life, including customs and traditions sent by the imagination of the popular artist to the recipient in the form of musical templates. The weight and this musical rhythm help in their inheritance and frequency orally and enhance their preservation in the memory of the popular community incubating this proverb. As for when the popular artist is exposed to displaying his art in a mass context, he is in front of the mass culture; There is a wide controversy between mass culture and folk culture, and there is a sharp distinction between the two cultures, and there are some opinions that clearly differentiate between the two cultures by describing that each of them is a reflection of a different spirit.
Which highlights the process of social change and between the cultures of the elite and popular culture, differentiations appear in their various variations within the overall cultural structure, and from here the dynamics of change and the relationships of influence and vulnerability occur when any popular literary art moves from the natural popular context, whether it is a social or religious occasion to a mass context in front of a different audience and also On a different occasion to be shown on the stage, it is subject to one degree or another to change, whether by deletion or addition, so the literary arts are separated from their original audience and also from their original function.
And it tries to get close to the official or intellectual work of art, and then there is a separation between the bearer of this original heritage and the artist who is called him – a popular media person, and this is a common mistake, he is a mass artist – so the mass artist begins to practice the element of choice until he signs a change or change, perhaps the cancellation of some elements of the work The original artist, the artist Muhammad Taha, was not limited to organizing the mawal that expresses the feast, but rather moved to another topic within this lyrical template and said:
Night, my eyes, night, we, my son, spoke to my country. I mean, we spoke to an Arab from a young age. I organized art on my country, and not everyone who used to say roles, nor everyone who used to say loyal to my country, and the Arab Union is victorious. Oh my country, I will get weapons for struggle and victory. ”
And the mawla opened at night, oh eye. This is also a lyrical tradition associated with the art of the mawla. It also relied on a single rhyme, as well as a single word with two meanings, away from words with dialects that are difficult for the public to understand, in order to avoid the ambiguity of the meaning. At that time, he first reviewed his skill in making the art of the authentic Egyptian mawal, and for the rest of the mawal, but we reviewed part of it focusing on the art of mawal in the context of the public show, and how Muhammad Taha excelled in organizing and employing the folk art of mawal to rise to the stage and modern means of presentation such as radio and television. There is a scientific study by Rushdie Salih also under the title of Popular Traditions and the Contemporary World 1972. This study focused on the issue of changing the elements of folklore due to the changes of modern life. He summarizes this complex process and says:
Many of the inherited popular proverbs are subject to extinction and modification, and many of them go through the processes of adaptation, rearranging elements, or modifying and adding to them, and successive folk maxims are born to meet the new conditions of life, expanding in technical uses, changing the features of the environment, generalizing education, and exposing the human mind and imagination to the power of profiling and the tyranny of the means of communication. Modern collectivism, all of this is tracked by researchers in the cultures of nations and warns of its impact on their originality.
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* Zainab Mohamed Abdel-Rahim, writer and researcher in folklore, popular culture and cultural heritage
Mawal – Ramadan Marouh – in his mass context Ramadan is Marouh, and he brought us the feast of an Egyptian mawal, a lyricist who excelled in his performance, the artist Mohamed Taha, the owner of the ten thousand mawals; he used to sing, arrange and compose the folk art of mawal; He excelled in that art, as well as in improvisation, using the origins of the Sa’idi folk mawwal in its various colors. He excelled in singing and arranging the white, green and red mawwal, thus expressing many human meanings in a popular lyrical form that has a wide reputation among the Egyptians, using the art of singing mawal. Muhammad Taha was born in the city of Tahta (Upper Egypt) and grew up in the estate of Atallah Suleiman in the village of Sandbis. Muhammad Taha excelled in the art of popular money, and he was…
Mawal – Ramadan Marouh – in its mass context
Mawal – Ramadan Marouh – in its mass context
2023-04-20
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