** The reinvention of an icon: the show “Sound and Image” in Cairo **
The “Sound and Image” show is preparing to make its debut in Cairo, marking a significant step in the exploration and celebration of Arab music. After a resounding success during the Riyadh season in Saudi Arabia, this ambitious project highlights the emblematic figure of Umm Kulthum, often nicknamed the “Eastern Star”. This initiative draws attention not only for its artistic character, but also for its involvement in Egyptian culture and identity.
The show will be held at the Qasr El-Nil cinema, a place steeped in history, where Umm Kulthum has itself gave its latest performances in 1973. By choosing such a symbolic framework, the production team highlights the importance of the cultural and musical heritage that the singer left behind. This presentation aims to transcend the simple tribute, by turning towards an immersive experience which integrates live song, dramatic narration and visual effects.
Under the direction of Mostafa Abdel-Salam and with a text by Mohamed Zaki, the show promises to relive the greatness of Arab music through the performance of Marwa Nagy. This will interpret not only the classics of Umm Kulthum, but also a new composition created specifically for the occasion. This approach raises several questions about how the contemporary artist can dialogue with the past musical heritage, while bringing his own sensitivity to it.
This reinterpretation process is particularly complex. On the one hand, there is a desire to pay tribute to an icon whose voice has resonated beyond the Arab borders, arousing deep emotions and affecting entire generations. On the other, the initiative of a show such as “sound and image” could arouse questions about authenticity and the place of reinterpretation in the preservation of cultural heritage. Can we really reproduce the essence of such a singular artist? What challenges are linked to the valuation of its image and its repertoire in a contemporary context?
Marwa Nagy, as a interpreter, evokes a desire to transcend the simple tribute to offer a “visual musical experience” which would pay justice to the life and career of Umm Kulthum. In her declaration, she insists that the show is not limited to replying the aesthetics of the singer, but also seeks to capture the mind of her time. This requires reflection on the role of today’s artists in the construction of collective memory, and on the way in which they can contribute to the redefinition of cultural heritage in the face of modern challenges.
By facilitating an experience that evokes the “fragrance of the past”, the spectacle could encourage young generations to engage more deeply with the richness of their own culture while reflecting on the developments of current society. However, it is crucial that this celebration is not transformed into a simple nostalgia, but that it opens up tracks of reflection on the future of Arab music and its integration into contemporary stories.
It remains essential to consider how events as “sound and image” can serve as a meeting point between various generations, while raising the question of what it means for artists and the public. In the end, this event turns out to be a window on the past, but also a mirror of the current issues of Arab culture.
The debate around the reinterpretation of historical musical figures is far from closed, but “sound and image” could be a step towards the promotion of a constructive dialogue around culture, identity and musical heritage in the modern world. At a time when rediscovery and redefinition continue to play a fundamental role in the arts, this spectacle invites reflection on the way in which we preserve, transform and celebrate our heritage.