Al-Shaykh Imâm fî ‘asr al-thawra wa-l-ghadab [Shaykh Imâm in the Age of Revolution and Anger]
Amîr al-‘Amrî, Al-Shaykh Imâm fî ‘asr al-thawra wa-l-ghadab [Shaykh Imâm in the Age of Revolution and Anger] 2nd edition. Cairo: Dar el Maraya, 2021, 218 p., ISBN: 9789776648968
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1Shaykh Imâm ‘Îsâ (1918-1995) is arguably the Arab world’s best-known political singer. He rose to prominence in late 1960s Egypt and found favor with the Arab left. This book, by Egyptian writer and film critic Amîr al-‘Amrî, is a fascinating account of the time the author spent with Shaykh Imâm while a student in 1970s Cairo. Al-‘Amrî offers reflections on the singer’s enduring power and his relationship to revolutionary politics, situating his songs in their broader social context. Originally published in 2010 by Maktabat Madbouly and reissued here by Dar El Maraya, this second edition benefits from a new preface which considers the renewal of interest in Shaykh Imâm since the 2011 revolution; an additional chapter providing testimonies from others who knew Imâm; and some clarifications based on newly available audio and textual materials.
2The author is upfront about what the book is and is not. It is not, he tells us, intended to be “a complete, comprehensive book about Shaykh Imâm from all angles and perspectives” (13) and it makes no claims to objectivity. Rather, it was intended to “express my personal vision, and a faithful record of my own memories of Shaykh Imâm” (13), situated within the context of the titular era of revolution and anger. Research for the book was not conducted “with the mentality of a researcher, but rather with the enthusiasm of a lover infatuated with Shaykh Imâm and his songs” (27). Al-‘Amrî’s primary intention was to introduce Shaykh Imâm, a “prominent part of Egyptian vocal heritage and popular/folkloric [sha‘bî] art”, to a wider audience, in particular younger generations who might not have come across him otherwise (16).
3Over the course of 15 chapters, al-‘Amrî walks readers through how he got to know Shaykh Imâm and his music, beginning with his initial introduction to the singer as a yet-to-be-politicized medical student at ‘Ayn Shams University in 1971. Al-‘Amrî recounts a richly entwined cultural and political scene within the university, despite the authorities’ increasing attacks on leftist student politics (Chapter 1 and Chapter 2). Chapter 3 (“In Hosh Qadam”) reflects on time the author spent with Shaykh Imâm and his artistic partner, poet Ahmad Fu’âd Nigm, at their modest apartment in the Hosh Qadam neighborhood in al-Ghuriyya. Chapters 4 (“Dreaming of Revolution”), 5 (“With Abdel Nasser”), and 8 (“A Decisive Year”), meanwhile, consider Shaykh Imâm’s relationship to the ruling regimes of Nasser and Sadat, from attempts to tame the singer to his arrest under both leaders. Interspersed throughout this chronological account are some more analytical chapters, such as Chapter 10, “Who Made Who?”, which reflects on Shaykh Imâm’s partnership with poet Ahmad Fu’âd Nigm, and Chapter 11, “The Genius of Shaykh Imâm”, which comments on his musical abilities.
4Two aspects make the book a particularly enjoyable read. First is the way that al-‘Amrî weaves songs throughout the text. Topical songs such as “Al-Hamdullilah” (1967), “Guevara Died” (1968) and “The Students Returned” (1972) are situated within their broader socio-political context. Al-‘Amrî analyses not only the lyrics, but the performative aspects of the songs, like Shaykh Imâm’s famed ability to imitate accents, which is what gave them such power when performed live. Especially valuable are the author’s observations about the creation and transformation of songs over time, either because the duo’s political targets changed, thus did the lyrics (76; 51), or as a result of other artists offering creative input (34; 56). Numerous versions of the songs discussed are available online thanks to the dedicated archiving efforts of individuals like Dr. Esmat al-Nimr, making it possible to listen along while reading.
5The second major strength of the book is the author’s reflective approach. While making clear his enduring love for Shaykh Imâm, he doesn’t shy away from highlighting contractions in the singer’s story and his fans’ relationship to him. The first time he heard Shaykh Imâm, for example, he “listened in ecstasy, but there were many questions running through [his] mind” (25). Al-‘Amrî expresses skepticism regarding several aspects of how Shaykh Imâm is typically remembered. For example, despite oft-repeated claims that Shaykh Imâm moved the masses to revolt, the author admits that his songs did not reach those beyond “a certain section of society, mainly students and intellectuals” (54). He notes the irony of this: his songs were “supposed to be directed at the class most susceptible to revolution, that is, workers, peasants and the poor […], yet received the greatest response from intellectuals of the ‘bourgeoisie’, the class that he was mocking in his songs” (57). Reflecting on such paradoxes is quite rare in writing about Shaykh Imâm (and biographies of Egyptian singers more broadly), which tend towards the hagiographic. Al-‘Amrî questions widespread tropes surrounding Imâm, while maintaining a deep respect and admiration for him. He shows that highlighting the inconsistencies and contradictions in a singer’s life/biography need not be seen as being critical of them; the opposite in fact, as it allows for a more nuanced understanding of their life and impact.
6There are a couple of occasions where the author’s stance was less critically reflective. His claim that peasants would not like Shaykh Imâm’s music because they had not reached the “state of ‘revolutionary readiness’” necessary to “fully understand” his political songs comes across as somewhat condescending, for example (154-5). And Chapter 14 (“‘Abd al-Wahhâb and Shaykh Imâm”) felt like an unnecessary addition. Getting the approval of golden-era greats Umm Kulthûm and ‘Abd al-Wahhâb is often used to legitimize newer singers, but it feels strange that the author seemingly wanted the validate his love of Shaykh Imâm by ascertaining that master musician ‘Abd al-Wahhâb approved of him. Why did ‘Abd al-Wahhâb’s positive words about Shaykh Imâm come as “a healing balm” (184) for al-‘Amrî? Why the need to conclude the book by getting an establishment singer’s approval for this icon of dissent?
7Nonetheless, this book, which is quite unique among the growing list of titles on Shaykh Imâm for its personal yet critical reflections, comes highly recommended. It will be of value to people interested in popular culture and music of the Middle East, as well as those interested in leftist movements and student politics.
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Référence électronique
Sophie Frankford, « Al-Shaykh Imâm fî ‘asr al-thawra wa-l-ghadab [Shaykh Imâm in the Age of Revolution and Anger] », Égypte Soudan mondes arabes [En ligne], 25 | 2024, mis en ligne le 10 janvier 2025, consulté le 07 juin 2026. URL : http://journals.openedition.org/esma/3722 ; DOI : https://doi.org/10.4000/134ax
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