Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles, Genres, and Available Recordings

Frishkopf, Michael

doi:10.1017/s0026318400040396

Cited by 12 publications

(9 citation statements)

References 8 publications

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“…awwuf often incorporates the arts 1 Several of the best general introductions to Sufism are by William Chittick (2000), Carl Ernst (1997), Alexander Knysh (2019), Martin Lings (1999), Annemarie Schimmel (1975), and J. Spencer Trimingham (1998). For Sufism in Egypt, see Frishkopf (1999Frishkopf ( , 2000Frishkopf ( , 2001aFrishkopf ( , 2001bFrishkopf ( , 2002Frishkopf ( , 2013, Gilsenan (1973), Hoffman (1995), Jong (1976Jong ( , 1978Jong ( , 2000, and Waugh (1989).…”

Section: Egyptian Sufism: Theology and Ritualmentioning

confidence: 99%

“…Besides traditional contexts in Egypt, since the latter 1990s he has also performed for a world-music crowd at festivals and concerts in Europe and the Middle East, and he has published many dozens of recordings, including a high-end production on the French Long Distance label (al-Tuhami 1998). Information about Shaykh Yasin, as well as recordings, is available on the internet as well as in scholarship (see Frishkopf 2000Frishkopf , 2001aFrishkopf , 2002Frishkopf , 2009Waugh 1989). 25 Egyptians consider Sidi Ahmad al-Rifaʿi (1106-1182) an "axial saint" (qut .…”

Section: Sufi Poetry In the Public H Ad Ramentioning

confidence: 99%

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Textual Dimensions of the Public Ḥaḍra in Egyptian Sufism

Frishkopf

2022

MusAn

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Section: Egyptian Sufism: Theology and Ritualmentioning

confidence: 99%

Section: Sufi Poetry In the Public H Ad Ramentioning

confidence: 99%

Textual Dimensions of the Public Ḥaḍra in Egyptian Sufism

Frishkopf

2022

MusAn

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“…Mostly, one or two frame drums of different sizes are added. In some regions, such as Egypt or Morocco, melody instruments are added (Frishkopf 2000;ter Laan 2016). Inshād comprises solo and group singing and rhythmic songs as well as the metrically free solo performance of poetry (qa‚īda).…”

Section: Mapping the Field: The Musical Domains Of N-sh-dmentioning

confidence: 99%

“…The audience engages in singing along or clapping their hands during selected parts. Often, they perform alternately with the ensemble in the form of refrains or callresponse sequences (Abdel-Malek 1995;Frishkopf 2000;Weinrich 2016). During the soloist recitations, the audience participates through verbal and non-verbal responses such as exclamations, shouted comments or sighing.…”

Section: Mapping the Field: The Musical Domains Of N-sh-dmentioning

confidence: 99%

Jihadi Audiovisuality and its Entanglements

2020

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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audio-visual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.

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“…Further, cassettes -of all kinds -were low-cost, easy to produce, and could be passed from person to person through informal networks of listeners. This ease of both production and transport allowed cassette culture to exist outside state control and censorship (Frishkopf 2000;2010, 16;Hirschkind 2006, 55). To this end, cassette culture was subversive.…”

Section: Arab Pop and Arab Politicsmentioning

confidence: 99%

The Politics of Arab Pop: Arab Pop Music, Popular Culture, and Gender Norms in Lebanon

Saleh¹

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On October 17, 2019, thousands of Lebanese flooded the streets to protest governmental corruption. Soon after, issues of gender inequality were added to the list of grievances and women began leading marches to oppose the socio-political and economic burdens faced by women. Rage quickly consumed the whole of Lebanon, including -perhaps surprisingly -many of the country's biggest pop music stars. They marched in the streets, sung nationalistic songs, and participated in the feminized re-writing of the national anthem. Using the case of pop music in Lebanon, this dissertation examines how forms of popular culture intersect with gender politics. More specifically, I argue that pop music is deeply connected to politics and that many pop music celebrities actively work to promote changes in (and awareness of) gender and sexuality norms in Lebanon. I also problematize cases where artists' actions actually reinforce and reproduce restrictive gender norms. In making these claims, however, I endeavour to remain mindful of the socio-political realities of the Lebanese context that work to impede efforts to promote and secure gender-based reforms. I am also attentive to my own heritage as a student researcher of Lebanese descent and reflect on how this 'insider' identity has come to shape my work. To guide my analysis, I rely on the insights of (feminist) intersectionality and highlight the need for nuanced understandings of power and agency. Given the seriousness of Lebanon's current political economic crisis, I also discuss how popular music celebrities have been eager participants in the 'Lebanese Revolution' since its outset. Finally, I discuss the COVID-19 pandemic and the Beirut Port explosion, arguing that some pop stars' social media posts work to reproduce harmful gendered discourses, while others worked to give voice to the feelings of frustrated Lebanese desperately seeking accountability from their government. This document may bear my name, but I owe its existence to all those who have believed in me... I would like to thank my PhD advisor, Dr. Mira Sucharov. I recall sending you an email in the Fall of 2012, inquiring if you would be interested in potentially supervising my research on Lebanon. The compassion and enthusiasm in your reply inspired me to begin studies at Carleton. Years later, as I think of all the support and opportunities you've given me, I am certain I made the right choice. This dissertation would not have come to life without your constant encouragement. You are truly a remarkable educator and I am so fortunate to call you a mentor and friend. Thank-you so much for everything, Mira.I also wish to thank my committee members, Dr. Gopika Solanki and Dr. Carolyn Ramzy. Thankyou both so much for your thoughtful feedback, patience, support, and kindness. I also wish to thank my external committee members, Dr. Azar Masoumi and Dr. Paul Kingston, for taking the time to read my work and offering incredibly helpful and thoughtful comments. Your insights have not only improved the quality of my work, ...

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Inshad Dini and Aghani Diniyya in Twentieth Century Egypt: A Review of Styles, Genres, and Available Recordings

Cited by 12 publications

References 8 publications

Textual Dimensions of the Public Ḥaḍra in Egyptian Sufism

Textual Dimensions of the Public Ḥaḍra in Egyptian Sufism

Jihadi Audiovisuality and its Entanglements

The Politics of Arab Pop: Arab Pop Music, Popular Culture, and Gender Norms in Lebanon

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