Sam Lmeir: Musical professions have succeeded in bringing together singers and festival performers under the umbrella of art

The famous singer Ahmed Saqallah, Sam Lmeir , praised the distinguished role of the Egyptian Music Professions Syndicate during the recent period, especially after the great artist Matta Kamel took over the leadership of this ancient place, stressing that no matter how diverse the Egyptian arts are, including singers, festival performers, rappers, and others, everyone shines in their field and succeeds in their work, and in the end they are united. One umbrella called Egyptian Art.

Singer Sam Lmeir stressed the importance of the firm decisions and laws taken by the Musical Professions Syndicate regarding any violation by any singer or festival performer in order to preserve public taste and the continuity of the antiquity of Egyptian art. There must always be reward and punishment so that things do not go wrong and Egyptian art and the high taste of this ancient art decline. .

It is worth noting that the artist Sam Lmeir was able to attract the attention of many fans and followers through his songs that he published during the last period, and among these songs are the song.. “Everything is Accountable,” the song “They Wasted Years of My Life,” and the song “I Don’t Love You Anymore.” “Ridick.”

Egyptian folk festivals are a new type of popular music songs in Egypt, which began to become popular in the period between mid-2011 and the beginning of 2012. They are a mixture of rap, techno, or electro-pop music with a local flavor.

It began in late 2007 and developed until it took a form very close to rap songs performed by Egyptian folk before the January 25 Revolution in 2011. The content of mahraganat songs often talked about the problems of poverty, marginalization, drugs and friendship, but after the revolution these popular songs developed in terms of music and became More vocal and faster in pace, she also began speaking on political topics and criticizing the rulers with words inspired by the slogans of the revolution.

It began with the appearance in the city of Alexandria of the band (Al-Dakhlawya), consisting of Philo, Tony, and Mahmoud Nasser, where the “Al-Dakhlawya Festival” was the first festival to be released in Egypt, followed by several other festivals for the same band, then various bands appeared in all parts of the republic, and the first festival to be released in Cairo was (Al-Salam) Festival by Ahmed Figo and Alaa Fifty. After that, Egyptian production companies entered the festival industry and achieved great success.

Development in media appearance
At the beginning of the emergence of festival songs, they were created individually, as singers relied on computer programs related to sound effects to create their content. However, with the spread of social media, festivals achieved remarkable success and widespread spread, which prompted production companies to create content for festival songs, and after that, festival music appeared in many commercial advertisements on television. Its industry developed by composing melodies and lyrics, and festival songs became popular among taxi and minibus drivers and members of the poor classes. They quickly spread to all Egyptian social classes, and no wedding or engagement party was devoid of festival songs. These songs are accompanied by a type of folk dance that matches the loud musical rhythm, which is performed by young men and girls on special occasions.

In 2013, the first film whose events centered around festival singers was produced. The movie 8% was released, which is a comedy film that revolves around a band that sings popular festivals, including Oka, Ortega, and their third friend, Shehta. The three try to present their art through small concerts. In 2014, another film about Mahraganat songs was released, which is the Mahraganat film. The film deals with Mahraganat through the story of two Mahraganat singers, Fifty and Sadat, who live in one of the popular areas and find themselves facing many challenges in order to prove themselves in the world of Mahraganat music industry. .

With the widespread spread of the phenomenon of mahraganat songs in the Egyptian street, documentaries began to be released specifically to study the origin of this new musical genre, analyze it, and find out whether this is a new artistic genre or not. The majority of the opinions of artistic critics were against this art, and the minority of critics supported it on the pretext that it was a new type that expresses a certain class of people who did not know how to express themselves in the artistic medium.

As for the social aspect, most Egyptian youth and children accept festival songs from their various social classes. Recently, festival songs have become the favorite type of song for many young people and children, and special dances have appeared to suit them. As for the elderly, most of them described popular festivals as kitsch, and they also described it as a nuisance that has no purpose or meaning, and that there is a huge difference between festivals and authentic Egyptian singing. As for the bands that sing festival music, their opinion is that they are performing a new type of music that may be unacceptable to certain groups, and acceptable to other groups, especially young people.
Mahmoud Ayman
By : Mahmoud Ayman
Mahmoud Ayman is professional journalist and editor scine 2019 , graduated from Mansoura University in the Department of Journalism I write in several fields work - entertainment - sports - health - science
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