{"id":4382,"date":"2021-08-24T15:35:31","date_gmt":"2021-08-24T15:35:31","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=4382"},"modified":"2021-08-24T15:35:31","modified_gmt":"2021-08-24T15:35:31","slug":"reading-egypt-from-the-outside-in-youssef-rakhas-baraa-and-zaman","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/reading-egypt-from-the-outside-in-youssef-rakhas-baraa-and-zaman\/","title":{"rendered":"Reading Egypt from the Outside In, Youssef Rakha\u2019s \u201cBaraa and Zaman\u201d"},"content":{"rendered":"
\"\"
Director Shadi Abdel Salam (r) instructing lead actor Ahmed Marei in The Mummy<\/em><\/figcaption><\/figure>\n

Baraa and Zaman:\u00a0 Reading Egyptian Modernity in Shadi Abdel Salam\u2019s The Mummy<\/em> , by Youssef Rakha
\nPalgrave<\/a> 2020
\nISBN 9783030613532<\/p>\n

Sherifa Zuhur<\/h4>\n

Baraa and Zaman:\u00a0 Reading Egyptian Modernity in Shadi Abdel Salam\u2019s The Mummy<\/em> by Youssef Rakha is a surprising book, constructed as a series of separate paragraphs, like prose haiku. \u00a0The author calls our attention to the 1969 film, which like other productions of Egypt\u2019s golden age of cinema, 1940s-1960s, interroga<\/p>\n

\"barra<\/a>
An insightful volume in Palgrave\u2019s Arab cinema series<\/a>.<\/figcaption><\/figure>\n

tes the country\u2019s identity. \u00a0Thus, an adventure into cinematic history provides a methodology for interpreting Egypt and its internal and external relationships, and sheds light on Egypt\u2019s trajectory.<\/p>\n

Rakha is the author of The Book of the Sultan\u2019s Seal<\/em>: Strange Incidents from History in the City of Mars<\/em>\u00a0 (Kitab at-Tugra: Gharaib at-Tarikh fi Madinat al-Marrikh<\/em>, Cairo: Dar Al-Shorouk, 2011) which has been translated to English and French, and other novels, essays, and poems. His lengthy experience as a culturally-oriented journalist, editor, and photographer\/writer, as well as his introductions of other important younger poets, writers and cultural figures on his website, sultansseal.com<\/a>, position him in the current Egyptian scene. He is part of a generation of Egyptian writers who often explore topics through a personal and historical lens. In this new work, he, like The Mummy<\/em>, invokes the past, zaman<\/em> (an age) as a key principle, relying on legacy and authenticity.\u00a0 Contrasting this, we learn of a contrasting condition, baraa<\/em>, (literally, outside, barra<\/em> in my transliteration) \u2014 externality, colonialism, neocolonialism, and perhaps even Occidentalism.<\/p>\n

The barra<\/em>-first rule in Egypt is that one must attain recognition, fame or success in the outside world, to matter, or to have influence. \u00a0One needs a foreign language education. One must publish in foreign languages and foreign contacts are useful. Opera singers and actors should gain renown abroad. Rakha also explains that the ideas of the Arab Spring were barra<\/em>-derived at the expense of the local. (69) Barra<\/em>-oriented personages important to the ill-fated January 25th Revolution were the Godfather of the Revolution, Mohamed El Baradei and comedian Bassem Yousef, both of whom had, ironically, to escape barra <\/em>(from Egypt).<\/p>\n

Egypt\u2019s modernity goes back to struggles between Egypt\u2019s rulers and foreign powers. The exploits and achievements of Khedive Isma\u2019il Pasha (1830 \u2013 1895), the grandson of Muhammad \u2018Ali Pasha who modernized Cairo, and enabled the construction of the Suez canal, and 8,000 miles of irrigation canals, as well as thousands of miles of railroads, telegraph lines, 400 bridges, and 4,500 schools, exemplified a barra<\/em>-orientation which justified Egypt\u2019s use of European models, and designs.\u00a0 In these efforts, Khedive Isma\u2019il accrued enormous debts leading to his downfall, British military seizure of Egypt and to Isma\u2019il\u2019s exile. All this is significant as The Mummy<\/em> is set in the year 1881.<\/p>\n

In this period, the archaeological collection at Azbakiyya was handed over to the Archduke Maximillian of Austria, and ended up in Vienna. So too, at the outset of the film The Mummy<\/em>, French Egyptologist, Gaston Camille Maspero who can translate Egyptian hieroglyphics is juxtaposed to Ahmed Effendi, the young Egyptian Egyptologist. Both of these men \u2014 Westerner and Egyptian \u2014 have pharaohphilia (love of the pharaohs) at the heart of their pursuit of zaman<\/em>, here representing antiquity, authenticity and tradition. \u201cEgyptology turned Egyptianness into an object of European scrutiny, also avarice, marginalizing (indeed criminalizing some Egyptians)\u00a0 but also a hitherto nonexistent subject for a collective sense of self\u201d writes Rakha (73).<\/p>\n

Italian filmmaker Roberto Rosselini\u2019s discovery of Shadi\u2019s script helped to propel the film\u2019s creation. \u201cJust as ancient Egypt cannot exist without European intervention, so Shadi\u2019s career cannot kick off until an Italian approaches the Egyptian state,\u201d (68) because of the barra<\/em>-first principle. In this way, the Muslim Brotherhood\u2019s so-called \u2018moderate Islam\u2019 gained traction through American think tanks (barra<\/em>) and Mohammed ElBaradei gaining fame by succeeding Hans Blix in the IAEA, Bassem Youssef by being called the \u201cEgyptian Jon Stewart,\u201d or the late feminist Nawal El Saadawi being labeled the \u201cEgyptian Simone de Beauvoir.\u201d These unequal cultural valuations, considered barra<\/em> as compliments,<\/em> grate domestically.<\/p>\n

Can one read the book without having viewed The Mummy<\/em>? Baraa and Zaman<\/em> is worth reading without having seen the film, though it will speak more distinctly to those with some, or a good deal of background knowledge of Egypt.\u00a0 Rakha is not merely rendering an homage to The Mummy<\/em>; he recognizes that it is fascinating without being a very good film, and irreverently asks why? As the story of the discovery of a cache of mummies by the Abd al-Rasul gang, the film addresses greed, and the past and present theme of corruption. Rakha points out the illogic in the script \u2014 that the younger generation would be so revolted by the desecration of tombs that they would risk their lives and give up their family legacy (44).\u00a0 This isn\u2019t merely a lack of logic, it centers morality in modernity, as if the younger generation would, through sheer will, break with the past, and, therefore be cursed by the Mother, the Lady of the House.<\/p>\n

Rakha explores the nationalism and near deification of Gamal abd al-Nasser involved in the making of this film, explaining Salah Jahine\u2019s \u00a0(poet, lyricist cartoonist, editor) \u201cpathological relationship to Nasser,\u201d an extreme patriotism \u00a0actualized in songs of that era, including those by composer Kamal al-Tawil with Jahine and sung by Abd al-Halim Hafez. \u00a0Egypt\u2019s golden age of cinema included singer\/actor Soad Hosny (1942\u20132001), superstar comedian Adel Imam (b. 1940) and Shadi Abdel Salam, who eventually made The Mummy<\/em> \u2014 a graduate of Victoria College, an architect and aspiring filmmaker who apprenticed himself to filmmaker, Salah Abu Seif. \u00a0In many ways Abdel Salam was like filmmaker Youssef Chahine, but his roots were in Upper Egypt.\u00a0 Abdel Salam told an interviewer in 1975 that he was inspired in Mallawi, his mother\u2019s town in Minya, to investigate \u201cthe meaning and the life of being Egyptian…\u201d (40).\u00a0 Rakha also explains how the Naksa, Egypt\u2019s defeat by Israel in 1967, powerfully impacted Abdel Salam who admitted that the film might be his way of asserting both Egypt\u2019s continuity and the pain of its decline.\u00a0 Rakha associates the grieving at the opening and ending of the film, at the death of the patriarch, celebrated in rural Egypt with the firing of weapons, with the grief for Egypt-the-father or Egypt\u2019s father (Nasser) in the Naksa. (47)<\/p>\n

Rakha describes the visual beauty of the film, and its odd and unexplained symbolism, as that of the eye \u2014 the Eye of Horus, and the viewer\u2019s eye gazing at the film\u2019s spectacle, \u201cseeing past aesthetics into history.\u201d (51) Rakha reminds us of the popularity of ancient Egyptian themes in literature, as in Naguib Mahfouz\u2019 first three novels, and in Tawfiq al-Hakim\u2019s quest for revival and an \u2018idol\u2019 in his 1933 novel, Return of the Spirit<\/em>, each volume of which begins with citations from the Book of the Dead.<\/p>\n

Of the many other meaningful insights in this book, among them the mummy portraits fulfilling their function of providing eternal life, I enjoyed Rakha\u2019s discussion of the mawawil,<\/em> the often lamenting, vocal improvisations on folk texts.\u00a0 He connects the deep emotionalism of the mawwal <\/em>to the mortuary tradition in upper Egypt.\u00a0 In one mawwal<\/em> from Minya, a singer implores the boat\u2019s captain to carry him to the West Bank of the Nile, where he can meet his deceased loved ones.\u00a0 This example of an ancient tradition living on in folk music is Rakha\u2019s insight, not The Mummy<\/em>\u2019s, but it\u2019s emblematic of the film\u2019s goals.\u00a0 Whilst riling against taboo breakers, the discovery of the mummies was a \u201cresurrection spell,\u201d and also a national liberation slogan\u201d (94) that Rakha claims for modern Egypt.<\/p>\n

The authenticity vs. modernity dynamic that I myself encountered in my twenties in Cairo, was a more primitive version of the baraa-zaman<\/em> polarity.\u00a0 It was always framed from barra<\/em> \u2014 on the edifices created by Western scholars.\u00a0 Rakha writes, \u201cIt is not as if you can choose to relinquish modernity however attached to tradition you might be. But it is not as if you can forget that, rather than growing out of it or being organically grafted onto it, modernity was suddenly imposed on your history, overtaking your sense of self in demeaning ways.\u201d (89)<\/p>\n

The story of The Mummy<\/em>, then, is perhaps not what director Shadi Abdel Salam intended to tell, but with Rakha\u2019s examination, its underlying truth emerges.\u00a0 It seems that an Egyptian, like Rakha, may indirectly address equality, justice and freedom (the goals of the January 25th revolution) and focus on the barra-zaman<\/em> dialectic (103) at present, in order to perceive the likely future.<\/p>\n","protected":false},"excerpt":{"rendered":"

Baraa and Zaman:\u00a0 Reading Egyptian Modernity in Shadi Abdel Salam\u2019s The Mummy , by Youssef Rakha Palgrave 2020 ISBN 9783030613532 Sherifa Zuhur Baraa and Zaman:\u00a0 Reading Egyptian Modernity in Shadi… Continue reading Reading Egypt from the Outside In, Youssef Rakha\u2019s \u201cBaraa and Zaman\u201d<\/span><\/a><\/p>\n","protected":false},"author":65,"featured_media":4385,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[51],"tags":[374,556,558,560,1467,1849],"coauthors":[2145],"class_list":["post-4382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tmr-weekly","tag-cairo","tag-egypts-golden-age","tag-egyptian-cinema","tag-egyptian-directors","tag-review","tag-youssef-chahine","entry"],"acf":[],"yoast_head":"\nReading Egypt from the Outside In, Youssef Rakha\u2019s \u201cBaraa and Zaman\u201d - 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