< Previous70 Harper’s Bazaar Saudi Summer 2021 راﻮﺣ ﺔﻄﻘﻧ Determined and destined to be an artist from a young age, Abdulrahman Hamdi has used colour and texture to translate his thoughts and emotions for as long as he can recall. After encountering a near-death experience almost six years ago which tragically led to a coma, his calling as an artist was solidifi ed. “When it happened, there was a voice in my head to not give up, to let the artist in me speak,” he expresses, opening up about a life-changing car accident. “I have been through so many struggles in my life.” In his hometown of Jeddah, Abdulrahman never felt accepted as an artist – viewers didn’t appreciate the beauty in his art and the word ‘no’ was an everyday utterance towards him. And then, seemingly by a miracle, his world took a turn. He found a home in Los Angeles in 2019, crossing paths with many other creatives fi ghting to make a name for themselves. “Here, I met Maxime Jacquet, who they call the bad boy of design,” he smiles. Rapidly gaining recognition in the interior-design scene, Maxime moved to LA six years ago to work with none other than Rihanna’s design team, and since then, built a celebrity clientele including the likes of Beyoncé and Diana Madison. “Maxime told me that I am bringing something new to LA,” recalls Abdulrahman, proudly. “When he said that, I actually started to realise that I am on the right path and I am not going to give up. I’m going to just do whatever it takes.” The artist’s latest project involved hanging ten of his paintings in a hillside house worth $14 million located in Los Feliz, one of LA’s most celebrity-studded areas. An evocative dance of bright hues and clashing textures, his artworks exude a sense of calm, prompting the viewer to interact and engage with the vibrant yet meditative energy of the colour palette and every hand-painted line. “I believe that my art is just space of mind,” says Abdulrahman. “I will never allow someone to force their opinion on me, because I’m the artist.” One of the challenges he faced, devastatingly, was also disapproval from his father. “My father is a judge,” he shares. “He would always say, ‘my son will never go to art classes because they are for women’. This was one of the struggles that I had as a Middle Eastern man who came from a religious family. I had so many obstacles, I cried many nights.” But this is exactly what made him who he is today. Each composition is guided by the heartbreaking memories from the traumas he endured in his life, which are converted into positive, uplifting works of art. ﻊــﻓﺪﺗو ،ﺔﻨﻴﻜــﺴﻟاو ءﺎــﻔﺼﻟا ﻦــﻣ ًارﻮﻌــﺷ ﻲــﻔﻀﺗ تﺎــﺣﻮﻟ ﰲ تﺎــﺟرﺪﺘﻟا ﻞــﻣﺄﺗو ﺔــﻳﻮﻴﺤﻟا ﺔــﻗﺎﻄﻟا ﻊــﻣ ﻞــﻋﺎﻔﺘﻟا ﱃإ ﺪﻫﺎــﺸﳌا ﻮــﻫ ﻲــﻨﻓ نأ ﺪــﻘﺘﻋأ" :ًﺎــﻳوﺪﻳ ﺔﻣﻮــﺳﺮﳌا طﻮــﻄﺨﻟاو ﺔــﻴﻧﻮﻠﻟا يﻷ ًاﺪــﺑأ ﺢﻤــﺳأ ﻦــﻟو ،يرﺎﻜــﻓأ ﻦــﻋ يرــﺒﻌﺘﻠﻟ ﺔﺣﺎــﺴﻣ دﺮــﺠﻣ ." ّﲇــﻋ ﻪــﺋارآ ضﺮــﻔﻳ نأ ﺺﺨــﺷ ﺖــﺿﱰﻋا ﻲــﺘﻟا تﺎــﻳﺪﺤﺘﻟا زﺮــﺑأ ﻦــﻣ هﺪــﻟاو ﺔــﺿرﺎﻌﻣ ﺖــﻧﺎﻛ ﺢﻤــﺳأ ﻦــﻟ :ددﺮــﻳ نﺎﻛو ﴈﺎــﻗ يﺪــﻟاو" :ﻦــﻔﻟا لمﺎــﻋ ﰲ ﻪــﻘﻳﺮﻃ هﺬــﻫ ﺖــﻧﺎﻛ ،تاﺪﻴــﺴﻟا ﺺــﺼﺨﺗ ﺎــﻬﻧﻷ نﻮــﻨﻔﻟا سرﺪــﻳ نأ ﻲــﻨﺑﻻ ﺔــﻠﺋﺎﻋ ﻦــﻣ رﺪــﺤﻨﻳ ﻲــﻗﴍ ﻞــﺟﺮﻛ ﺎــﻬُﺘﻬﺟاو ﻲــﺘﻟا تﺎــﺒﻘﻌﻟا ىﺪــﺣإ ﻦــﻣ يرــﺜﻜﻟا ﰲ ﺖــﻴﻜﺑو تﺎــﺑﻮﻌﺼﻟا ﻦــﻣ يرــﺜﻜﻟﺎﺑ ترﺮــﻣ ،ﺔــﻨﻳﺪﺘﻣ ﺚــﻴﺣ ،ﻪﺘﻴﺼﺨــﺷ ﻦــﻳﻮﻜﺗ ﰲ ﻢﻫﺎــﺳ ﺎــﻣ ﻂــﺒﻀﻟﺎﺑ اﺬــﻫ ﻦــﻜﻟ ،"مﺎــﻳﻷا ﺔــﻤﻬﻠﳌا ﺔــﻴﻨﻔﻟا ﻪــﻟماﻋأ ﲆــﻋ ﺔــﳌﺆﳌا ﻪــﺗﺎﻳﺮﻛذ ﻞــﻴﺻﺎﻔﺗ ﺲــﻜﻌﻨﺗ .ةﺰــﻴﻤﳌاو ًﻼــﺟﺎﻋ ﻪﻔــﺸﺘﻜﻴﺳ ةﺎــﻴﺤﻟا ﰲ دﺪــﺤﻣ فﺪــﻫ ﺺﺨــﺷ ﻞﻜــﻟ نأ ﺮﻌــﺷأ" لﻮــﻗأ ﺖــﻨﻛ ،تيﺎــﺣﻮﻟ ءارو ﺐﺒــﺴﻟا ﻦــﻋ لﺄــﺳُأ ﺎــﻣﺪﻨﻌﻓ ،ًﻼــﺟآ مأ كﺎــﻨﻬﻓ ،ﺔــﻘﻴﻘﺤﻟا ﺖــﺴﻴﻟ هﺬــﻫ ﻦــﻜﻟ .ﻢــﺳﺮﻟا ﺐــﺣأ ﻲــﻨﻧأ ﺔﻃﺎــﺴﺒﺑ ."ﺔــﻔﻠﺘﺨﻣ ﺔــﺼﻗ ﻢــﻬﻨﻣ ﺪــﺣاو ﻞﻜــﻟو لمﺎــﻌﻟا ﰲ ينﻣﺎــﺳﺮﻟا ﻦــﻣ ينــﻳﻼﳌا ينــﺗﺮﻣ ﻦــﻤﺣﺮﻟا ﺪــﺒﻋ لماــﻋأ ﺖــﺿﺮﻋ ،ﺮــﻫﺎﺒﻟا ﻪــﺣﺎﺠﻧ ﲆــﻋ ﺪﻫﺎــﺸﻛو دﺮﻔﻨﻣ ٍ ضﺮــﻌﻣ ﱃإ ﺔــﻓﺎﺿﻹﺎﺑ ،ﺔــﻴﺤﺑﺮﻟا يرــﻏ ﺔــﻳيرﺨﻟا ﻚــﺴﻣ ﺔــﺴﺳﺆﻣ ﰲ “Every one of us has a purpose in this life. You may not know what yours is yet, but you will” An artwork by Abdulrahman Hamdi ﺪﺒﻋ نﺎﻨﻔﻟا لﺎﻤﻋأ ﻦﻣ يﺪﻤﺣ ﻦﻤﺣﺮﻟا This picture and below: Artist Abdulrahman Hamdi. Photo by Bobby McGowan يﺪﻤﺣ ﻦﻤﺣﺮﻟا ﺪﺒﻋ نﺎﻨﻔﻟا HBSA_002_058to071_hollywood_11718556.indd 7004/07/2021 04:37:47 PM The TALKING POINT 71 Harper’s Bazaar Saudi Summer 2021 يﺪﻤﺣ ﻦﻤﺣﺮﻟا ﺪﺒﻋ نﺎﻨﻔﻟا PHOTOGRAPHY BY BOBBY MCGOW AN, ANTHONY BARCELO, ABDULLAH AL-MUSHARRAF , Y ANIN GONZALEZ, MARAM HASSAN 71 Harper’s Bazaar Saudi Summer 2021 AB DU LR AH MAN ' S AR T W O R K S Bipolar Acrylic on canvas The good bye Acrylic on canvas Unknown Direction Acrylic on canvas No more fear Acrylic on canvas 20192019201920182019 Missing Pieces Acrylic on canvas Young me Acrylic on canvas 2019 “I feel like every one of us has a purpose in this life,” he says, pensive. “You might not know it yet, but you will. When anyone asked me what the reason was behind my paintings, I would simply say that I love painting. But no, that is not the truth. There are millions of painters in the world, right? Everyone has a story.” A testament to his well-deserved success, Abdulrahman’s large-scale works have been exhibited twice at non-profi t MiSK Foundation, and a solo show at Madinah Art Center is also under way. Likening art to music, every painting is linked with an emotion. “I feel it’s like a melody,” he smiles. “When you feel sad, you want to listen to a particular genre of music so that you can relate. And with a painting, sometimes you just want to see it because it reminds you of something beautiful.” After facing so many struggles and rejections, there is not a single obstacle the artist couldn’t defeat. Admirably, coming so close to death was actually what liberated him the most. “This is my story, and I’m going to share my story. I’m going to say what I feel. I’m going to debate, and I’m going to be an artist,” he says, adding three words that have changed his perspective on life forever as an artist and made him unstoppable: “I’m free now.” abdulrahmanhamdi.com ﻪــﺜﻳﺪﺣ ﰲو ،نﻮــﻨﻔﻠﻟ ﺔــﻨﻳﺪﳌا ﺰــﻛﺮﻣ ﰲ ًﺎــﻴﻟﺎﺣ ﻪــﻟ يرــﻀﺤﺘﻟا يﺮــﺠﻳ ،ﺮﻋﺎــﺸﳌﺎﺑ تﺎــﺣﻮﻠﻟا طﺎــﺒﺗراو ﻰﻘﻴــﺳﻮﳌاو ﻦــﻔﻟا ينــﺑ ﺔــﻗﻼﻌﻟا ﻦــﻋ ﺎــﻣﺪﻨﻌﻓ ،ﺔﻴﻘﻴــﺳﻮﻣ ﺔــﻋﻮﻄﻘبم ﻪﺒــﺷأ ﺔــﻗﻼﻌﻟا هﺬــﻫ" :ًﻼــﺋﺎﻗ ﻢــﺴﺘﺒﻳ ينــﻌﻣ ﻲﻘﻴــﺳﻮﻣ عﻮــﻧ عماــﺴﻟ ﺔــﺟﺎﺤﻟﺎﺑ ﺮﻌــﺸﻧ ،نﺰــﺤﻟﺎﺑ ﺮﻌــﺸﻧ ﻞــﻣﺄﺗ ﰲ ﺐــﻏﺮﻧ ،نﺎــﻴﺣﻷا ﺾــﻌﺑ ﰲو ،ﺔﻴــﺴﻔﻨﻟا ﺎــﻨﺘﻟﺎﺣ كيﺎــﺤﻳ ."ﻞــﻴﻤﺟ ءﴚــﺑ ﺎــﻧﺮﻛﺬﻳ ﻪــﻧﻷ ﻦــﻔﻟا نأ ﻦــﻜيم ءﳾ ﻻ نأ وﺪــﺒﻳ ،تﺎــﺒﻘﻌﻟاو ﺐــﻋﺎﺼﳌا هﺬــﻫ ﻞﻛ ﻊــﻣو ﻦــﻣ ةﺎــﺠﻨﻟا ﺔــﺑﺮﺠﺗ ﻰــﺘﺣ ،عﺪــﺒﳌا نﺎــﻨﻔﻟا اﺬــﻫ ﻖــﻳﺮﻃ ﰲ ﻒــﻘﻳ :دﻮــﻴﻘﻟا ﻦــﻣ هرﺮــﺤﺗو ﻪــﺘﻗﻼﻄﻧﻻ ًﺎــﻌﻓاد ﺖــﻧﺎﻛ ﺎــﻣ ﻲــﻫو تﻮــﳌا ئيارآو يﺮﻋﺎــﺸﻣ ﻦــﻋ ّﱪﻋﺄــﺳ ،ﺎــﻬﻳإ ﻢﻜﻛرﺎــﺷأ ﻲــﺘﻟا ﻲــﺘﺼﻗ هﺬــﻫ" ت ّيرــﻏ ﺪــﻗ تماــﻠﻛ ﺔــﺛﻼﺛ ﻒــﻴﻀﻴﻟ ،"ﺔــﻤﻠﻜﻟا ﻰــﻨﻌبم ًﺎــﻧﺎﻨﻓ نﻮــﻛﻷ ﺎــﻧأ" :ﻞﻴﺤﺘــﺴﳌا فﺮــﻌﻳ ﻻ نﺎــﻨﻓ ﱃإ ﻪــﺘﻟﻮﺣو لمﺎــﻌﻟا ﱃإ ﻪــﺗﺮﻈﻧ abdulrahmanhamdi.com ."ّﺮــﺣ نﻵا Artist Abdulrahman Hamdi. Photo by Bobby McGowan HBSA_002_058to071_hollywood_11718556.indd 7104/07/2021 04:38:11 PM ةﺮﻫﺎﻘﻟا ﻲﻓ MID N I G H T IN CAIRO ﻞﻴﻠﻟا ﻒﺼﺘﻨﻣ HBSA_002_072to079_midnightCairo_11717554.indd 7204/07/2021 02:57:46 PM73 Harper’s Bazaar Saudi Summer 2021 The TALKING POINT Meet Egypt’s 1920s Dance Hall Divas – the Arab world’s fi rst feminists Words by DEVINDER BAINS The Roaring Twenties instantly conjures up images of New York, Chicago, Paris or London in a heyday of interwar prosperity and social change – a cultural celebration fi lled with jazz, dancing ladies and fl apper-style fashion. What might be lesser known is that at the same time, Egypt was experiencing its own post-revolution transformation – embracing it in an equally glamorous and lavish style. And in the heart of Cairo, in the dancehalls and cabaret theatres that enjoyed excess and the arts as much as any Western city, was an unlikely group of Arabic-speaking women who were challenging traditional gender roles. Here, in the buzzing nightlife area of Ezbekiyya, women didn’t only work the clubs and theatres as dancers, singers and actresses, the women were also the troupe leaders, the talent scouts, the club owners, the magazine publishers, the theatre landlords and, in turn, the Arab world’s fi rst celebrities. Here, within the thriving music halls of Emad al-Din street was the birthplace of Egypt’s underground feminist movement. “There had been a revolution against British rule which had brought the country together, there was a real cultural confidence with people willing to try new things out and questioning the religious and political establishments,” explains British author Raphael Cormack, whose new book Midnight in Cairo: The Divas of Egypt’s Roaring ’20s tells the colourful stories of the women at the helm of these theatres and music halls. “For women in general, there were no political rights, for example there was no right to vote and no real participation in mainstream politics,” writes Raphael. This doesn’t mean women weren’t campaigning for reform – but success was limited. “There was a more educated and elite feminist movement, encouraging female education and pushing for legislation around raising the marriage age, but it had not really been able to put women into mainstream politics,” he continues. “That’s why the story of these dancehall women is so exceptional, because they don’t come from that background but were the ones changing gender roles, by and large they came from poverty. For many, their fathers had died, others had run away from their families and this was one of the only ways to support themselves fi nancially as a woman in the 1920s.” ﻦﻣ ةﺰﻴﻤﻣ ﺪﻫﺎﺸبم تﺎﻴﻨﻳﴩﻌﻟا ةﱰﻓ ﺖﻘﻟﺄـ ةورذ ﰲ نﺪﻨﻟ وأ ﺲﻳرﺎﺑ وأ ﻮﻏﺎﻜﻴﺷ وأ كرﻮﻳﻮﻴﻧ ﺲﻜﻌﺘﻟ ،بﺮﺤﻟا ﺪﻌﺑ ﻲﻋماﺘﺟﻻا رّﻮﻄﺘﻟاو رﺎﻫدزﻻا تاﺪﻴﺴﻟاو زﺎﺠﻟا مﻮﺠﻨﺑ ﺔﺌﻴﻠﻣ ﺔﻴﻓﺎﻘﺛ ﺔﺣﻮﻟ ﺪﻬﺸﺗ ﴫﻣ ﺖﻧﺎﻛ ماﻨﻴﺑ ،ﺔﺑﻼﺨﻟا ءﺎﻳزﻷاو تﺎﺼﻗاﺮﻟا ﺚﻴﺣ ،ةرﻮﺜﻟا ﺪﻌﺑ ﻦﻔﻟاو ﻖﻟﺄﺘﻟا ﻪﻧاﻮﻨﻋ ًﺎ ّﺻﺎﺧ ًﻻّﻮﺤﺗ ةأﺮﳌاو ﻞﺟﺮﻠﻟ ﺔﻴﻄﻤﻨﻟا راودﻷا ﻦﻳﺪﺤﺘﻳ ءﺎﺴﻨﻟا ﻦﻣ ﺔﻋﻮﻤﺠﻣ تﺮﻬﻇ ﻦﻔﻟا ﺐﺤﺑ ﺔﻴﺑﺮﻐﻟا نﺪﳌا ﺲﻓﺎﻨﺗ ﺖﻧﺎﻛ ﻲﺘﻟا ةﺮﻫﺎﻘﻟا تﻻﺎﺻ ﻦﻣ .ةﺎﻴﺤﻟاو ﴫﺘﻘﺗ لم ،ﺔﻀﺑﺎﻨﻟا ﺔّﻴﻠﻴﻠﻟا ﺎﻬﺗﺎﻴﺤﺑ ةيرﻬﺸﻟا ﺔﻴﻜﺑزﻷا ﺔﻘﻄﻨﻣ ﰲ ﺎﻨﻫو ﻞﺑ ،ﻞﻴﺜﻤﺘﻟاو ءﺎﻨﻐﻟاو ﺺﻗﺮﻟا ﲆﻋ حرﺎﺴﳌاو يداﻮﻨﻟا ﰲ ءﺎﺴﻨﻟا راودأ يداﻮﻧ تﺎﺒﺣﺎﺻو ﺐﻫاﻮﻤﻠﻟ تﺎﻔﺸﺘﻜﻣو قﺮﻔﻠﻟ تاﺪﺋﺎﻗ ًﺎﻀﻳأ ّﻦﻛ ﻞﺋاوﺄﻛ ﻦﻬﻧﺎﻜﻣ نﺰﺠﺤﻴﻟ ،حرﺎﺴﻣ تﺎﺒﺣﺎﺻو تﻼﺠﻣ تاﴍﺎﻧو ﰲ ةﺮﻫدﺰﳌا ﻰﻘﻴﺳﻮﳌا تﺎﻋﺎﻗ ﻞﺧاد ﻦﻣو ،بيﺮﻌﻟا لمﺎﻌﻟا ﰲ يرﻫﺎﺸﳌا .ﴫﻣ ﰲ ﺔﻳﴪﻟا ﺔﻳﻮﺴﻨﻟا ﺔﻛﺮﺤﻟا تﺪﻟو ،ﻦﻳﺪﻟا دماﻋ عرﺎﺷ رﺪﺻأ يﺬﻟا كﺎﻣرﻮﻛ ﻞﻴﺋﺎﻓار نيﺎﻄﻳﱪﻟا خّرﺆﳌاو ﻒّﻟﺆﳌا ﺢﺿﻮﻳو ةرﻮﺜﻠﻟ نﺎﻛ” :“ةﺮﻫﺎﻘﻟا ﰲ ﻞﻴﻠﻟا ﻒﺼﺘﻨﻣ” ناﻮﻨﻌﺑ ﺪﻳﺪﺠﻟا ﻪﺑﺎﺘﻛ ةﺪﻳﺪﺠﻟا برﺎﺠﺘﻟا ﺎﻬﻓﺪﻫ ،ﰲﺎﻘﺛ ﻊﺑﺎﻃ نيﺎﻄﻳﱪﻟا ﻢﻜﺤﻟا ﺪﺿ ﺔﻴﺳﺎﻴﺴﻟا يوﺮﻳو .“ﺔﻴﺳﺎﻴﺴﻟاو ﺔﻴﻨﻳﺪﻟا تﺎﺴﺳﺆﳌا راودأ ﰲ ﺮﻈﻨﻟا ةدﺎﻋإو تﻻﺎﺼﻟاو حرﺎﺴﳌا هﺬﻫ تماﺠﻧ ﺎﻬﺘﻘﻘﺣ تﺎﺣﺎﺠﻧ ﺺﺼﻗ بﺎﺘﻜﻟا قﻮﻘﺣ يأ ءﺎﺴﻨﻠﻟ ﻦﻜﺗ لم” :ﴈﺎﳌا نﺮﻘﻟا تﺎﻴﻨﻳﴩﻋ لﻼﺧ ﺔﻴﻘﻴﺳﻮﳌا ﰲ ﺔﻠﻋﺎﻔﻟا ﺔﻛرﺎﺸﳌا وأ ﻦﻬﺗاﻮﺻﺄﺑ ءﻻدﻹا ﻦﻬﻧﺎﻜﻣﺈﺑ ﻦﻜﻳ لمو ،ﺔﻴﺳﺎﻴﺳ .“ﺔﻴﺳﺎﻴﺴﻟا ﻞﻓﺎﺤﳌا نأ ﻞﺑ ،حﻼﺻﻹا ﻞﻴﺒﺳ ﰲ ﻞﺿﺎﻨﺗ ﻦﻜﺗ لم ةأﺮﳌا نأ ﻲﻨﻌﻳ ﻻ اﺬﻫو ﺔﺒﺨﻨﻟا ةدﺎﻴﻘﺑ ﺔﻳﻮﺴﻧ ﺔﻛﺮﺣ ﺖﻠﻜﺸﺗ” :ﻊﺑﺎﺘﻳو ،ًادوﺪﺤﻣ نﺎﻛ ﺎﻬﺣﺎﺠﻧ ﰲ ﺢﺠﻨﺗ لم ﺎﻬﻨﻜﻟ ،جاوﺰﻟا ﻦﺳ ﻊﻓرو ثﺎﻧﻹا ﻢﻴﻠﻌﺗ ﻊﻴﺠﺸﺘﻟ ﺔﻔّﻘﺜﳌا تاﺪﻴﺳ ﺔﺼﻗ ﺐﺴﺘﻜﺗ اﺬﻟ ،ﳼﺎﻴﺴﻟا ﺪﻬﺸﳌا ﰲ ةأﺮﳌا رﻮﻀﺣ ﺰﻳﺰﻌﺗ ﲆﻋ ﺔﻴﻄﻤﻨﻟا راودﻷا يرﻴﻐﺗ ﰲ ﻦﻫروﺪﻟ ًاﺮﻈﻧ ﺔﺻﺎﺧ ﺔﻴﻤﻫأ ﻦﻔﻟا بﻷا تماﻴﺘﻳ ﻦﻬﻨﻣ تايرﺜﻜﻟا ﺖﻧﺎﻜﻓ ،ﺔﻌﺿاﻮﺘﳌا ﻦﻬﺘﻴﻔﻠﺧ ﻦﻣ ﻢﻏﺮﻟا ةﺪﻴﺣﻮﻟا ﺔﻘﻳﺮﻄﻟا هﺬﻫ ﺖﻧﺎﻛو ،ﻦﻬﺗﻼﺋﺎﻋ ﻦﻣ تﺎﻳﺮﺧﻷا ﺖﺑﺮﻫ ماﻨﻴﺑ .“ﴈﺎﳌا نﺮﻘﻟا تﺎﻴﻨﻳﴩﻋ ﰲ ءﺎﺴﻨﻛ ﻦﻬﺸﻴﻋ ﺐﺴﻜﻟ ﺔﻳاﺪﺒﻟا ﰲ سردو ،ةدﺪﻌﺘﻣ تاﱰﻓ لﻼﺧ ةﺮﻫﺎﻘﻟا ﰲ ﻞﻴﺋﺎﻓار شﺎﻋ ﴣﻣأو ،يﴫﳌا حﴪﳌا ﰲ هارﻮﺘﻛد ﲆﻋ ﻞﺼﺣ ﻢﺛ ﺔﻴﺑﺮﻌﻟا ﺔﻐﻠﻟا ﺺﺼﺧو ،ﻦﻔﻟا تاﺪﻴﺳ زﺮﺑأو تﺎﺼﻗاﺮﻟا ةﺎﻴﺣ ﰲ ﺚﺤﺒﻳ تاﻮﻨﺳ ثﻼﺛ ةيرﻨﻣ ﺔﻴﻨﻐﳌا ﺖﻧﺎﻛ تاﺰﻴﻤﳌا تماﺠﻨﻟا ﻦﻣو .ﻦﻬﻨﻣ ةﺪﺣاو ﻞﻜﻟ ًﻼﺼﻓ ﺎﻬﺗﺎﻴﺣ ةيرﻨﻣ تأﺪﺑ” :ﻦﻔﻟا لمﺎﻋ شﺮﻋ ﲆﻋ ﺖﻌّﺑﺮﺗ ﻲﺘﻟا ﺔﻳﺪﻬﳌا ،ينﻧﺎﻨﻔﻟا ﻦﻣ لوﻷا ﻞﻴﺠﻟا ﺔﻳﺎﻬﻧ ﻊﻣ ﻦﻳﴩﻌﻟا نﺮﻘﻟا ﻞﺋاوأ ﰲ ﺔﻴﻨﻬﳌا لﻠﺎﺧ ﺮﺼﻣ ﻲﻓ ءﺎﻨﻐﻟاو ﺺﻗﺮﻟا تﺎﻤﺠﻧ رود ﺢﻣﻠﺎﻣ ﻢﺳر ﻲﻓ ﻲﺿﺎﻤﻟا نﺮﻘﻟا تﺎﻴﻨﻳﺮﺸﻋ ﻲﺑﺮﻌﻟا ﻢﻟﺎﻌﻟا ﻲﻓ ﺔﻳﻮﺴﻨﻟا ﺔﻛﺮﺤﻟا .ﺔﻳﺪﻬﳌا ةﲑﻨﻣ ،ةﲑﻬﺸﻟا ﺔﻤﺠﻨﻟا :ﲔﻤﻴﻟا ﱃإ Right: Pioneer of the scene, Mounira al-Mahdiyya HBSA_002_072to079_midnightCairo_11717554.indd 7304/07/2021 02:58:11 PM74 Harper’s Bazaar Saudi Summer 2021 ﺎﻣ نﺎﻋﴎو ، 1915 ﺔﻳﺎﻐﻟو 1905 مﺎﻋ ﻦﻣ ﺺﻗﺮﻟا تﻻﺎﺻ ﰲ ﺖﻠﻤﻋو ﰲ لﻼﻘﺘﺳﻻاو ةﺮﻬﺸﻟا ﻖﻴﻘﺤﺗ ﻦﻣ ﺖﻨﻜتم ةيرﺒﻛ ﺔﻧﺎﻨﻔﻛ ﺎﻬﻤﺠﻧ ﻊﳌ .“ﺔﻴﻨﻬﳌا ﺎﻬﺗﺎﻴﺣ ﺎﻬﺗوﺮﺛ ﻊﻤﺠﺑ تأﺪﺑو ﺔﻴﺑﺮﻌﻟا ﺔﻘﻄﻨﳌا ﰲ ﺔﻴﺋﺎﻨﻏ ﺔﻟﻮﺠﺑ ةيرﻨﻣ ﺖﻣﺎﻗ كﻮﻠﺴﻟا ﻒﻗﻮﻟ ﺺﻗﺮﻟا تﻻﺎﺻ قﻼﻏﺈﺑ نﻮﻴﻧﺎﻄﻳﱪﻟا أﺪﺑ ﺎﻣﺪﻨﻋو ،ةيرﻐﺼﻟا ﺎﻬﺘﺻﺮﻓ تزﺮﺑ ،ﺔﻴﻣﻮﻘﻟا نيﺎﻏﻷا رﺎﺸﺘﻧا ﻊﻨﻣ ﺔﺠﺤﺑ ﻢﻫدﻮﻨﺠﻟ ﺐﺧﺎﺼﻟا ،ﻞﻴﺜﻤﺘﻟا ﰲ ﺔﻌﺿاﻮﺘﳌا ﺎﻬﺗاﱪﺧ ﻦﻣ ﻢﻏﺮﻟا ﲆﻋو ،حﴪﳌا ﱃإ لﺎﻘﺘﻧﻼﻟ ﺔ ّﺻﺎﺨﻟا ﺔﻴﺣﴪﳌا ﺎﻬﺘﻗﺮﻓ ﺲﻴﺳﺄﺘﻟ ﺔﻴﻓﺎﻜﻟا لاﻮﻣﻷا ﲆﻋ ﺖﻠﺼﺣ ﺎﻬﻧأ ﻻإ ﺖﻨﻜتمو ،ﺎﻬﻟ ﺔﺻﺎﺧ تﺎﻴﺣﴪﻣ ﲆﻋ ﻞﻤﻌﻠﻟ ﻮﻳرﺎﻨﻴﺳ ﺐﺗﺎﻛ ﻒﻴﻇﻮﺗو ﺎﻬﺗﻼﻴﺜﻣو ﺔﻤﺠﻨﻟا ﻚﻠﺗ رود ﻞﻴﺋﺎﻓار ﺢﺿﻮﻳو .راودﻷا ﻞﻀﻓأ رﺎﻜﺘﺣا ﻦﻣ ﺎﻬﺗيرﺴﻣ تأﺪﺑ ﺎﻣﺪﻨﻋ” :ةأﺮﻤﻠﻟ ﺔﻴﻄﻤﻨﻟا راودﻷا ﲆﻋ ءﻮﻀﻟا ﻂﻴﻠﺴﺗ ﰲ ،ةيرﻨﻣ ﺖﻣﺎﻗو ،راودﻷا ﻞﻀﻓأ ﲆﻋ نﻮﻠﺼﺤﻳ لﺎﺟﺮﻟا نﺎﻛ ﺔﻴﻠﻴﺜﻤﺘﻟا ﺔﻴﻟﺎﺟر ءﺎﻳزﺄﺑ رﻮﺼﻟا طﺎﻘﺘﻟﺎﺑ ،تﺎﻴﻨﻳﴩﻌﻟا لﻼﺧ تﻼﺜﻤﳌا ﻦﻣ يرﺜﻜﻟﺎﻛ ةﱰﻔﻟا هﺬﻫ تﺪﻬﺷ ﺚﻴﺣ ،ﺔﻴﻬﻴﻓﱰﻟا تﻼﺠﳌاو ﻒﺤﺼﻟا ﱃإ ﺎﻬﻟﺎﺳرإو تﻼﺜﻤﳌا ﺖﺒﻌﻟو ،ينﺴﻨﺠﻠﻟ ﺔﻴﻄﻤﻨﻟا راودﻷا لﻮﺣ لﺪﺠﻟا ﻦﻣ يرﺜﻜﻟا .“ةأﺮﳌاو ﻞﺟﺮﻟا رودو ﺔﻧﺎﻜبم ﺮﻈﻨﻟا ةدﺎﻋإ ﰲ ًايرﺒﻛ ًارود ﰲ لَوُﻷا لماﻋﻷا تاﺪﺋار ﻦﻋ ﺮﺧآ ًﻻﺎﺜﻣ ﻲﻨﺑﺎﺼﻣ ﺔﻌﻳﺪﺑ ﺪ ّﺴﺠﺗو ﺔﻴﻨﻐﻤﻛ ﺎﻬﺣﺎﺠﻧ ﺎﻬﻟ حﺎﺗأو ةيرﻨﻣ حﺎﺠﻧ ﺎﻬﻤﻬﻟأ ﺚﻴﺣ ،لﺎﺠﳌا اﺬﻫ .صﺎﺨﻟا ﺎﻬﻳدﺎﻧ ءاﴩﻟ ﺔﻄﻠﺴﻟاو لﺎﳌا ﲆﻋ لﻮﺼﺤﻟا ﺔﻠﺜﻤﻣو ءﺎﺴﻨﻟا ﱃوأ ﻦﻣ ًﺎﻀﻳأ ﺖﻧﺎﻛ ﻲﺘﻟا ﺔﻌﻳﺪﺑ ﻦﻋ ﻞﻴﺋﺎﻓار لﻮﻘﻳو ﺔﻠﺜﻤﻤﻛ ﻞﻤﻌﺗ ﺖﻧﺎﻛ” :ةﺮﺋﺎﻃ تنﻣ ﲆﻋ نﺮﻓﺎﺳ تياﻮﻠﻟا تﺎﻴﺑﺮﻌﻟا ﺎﻣنﺎﻋﴎو ، 1915 ﺔﻳﺎﻐﻟو 190 تﻻﺎﺻ ﻞﺧاد ﺎﻨﻫ” ةﺮﻫدﺰﻤﻟا ﻰﻘﻴﺳﻮﻤﻟا دﺎﻤﻋ عرﺎﺷ ﻲﻓ ﺔﻛﺮﺤﻟا تﺪﻟو ﻦﻳﺪﻟا ﺔﻳﺮﺴﻟا ﺔﻳﻮﺴﻨﻟا تأﺪﺑو ،ﺮﺼﻣ ﻲﻓ يﺪﺤﺘﺑ ءﺎﺴﻨﻟا ﻦﻴﺑ ةاوﺎﺴﻤﻟا ماﺪﻌﻧا .“ﻦﻴﺴﻨﺠﻟا ﱵﻟا ﺔﻠﺜﻤﳌا ،ﻒﺳﻮﻴﻟا زور ﺔﻠﺠﻣ ةرﺮﺤﻣ ﺖﺤﺒﺻأ Rose al-Youssef, actress- turned-magazine Editor ﰲ ﺎﻬﻟماﻋأ تﺪﻫﺎﺷ نأ ﺪﻌﺑ ةيرﻨﻣ لماﻋأ ﻲﻨﻐﺗ تأﺪﺑو ،تويرﺑ ﰲ يداﻮﻨﻟا ﺮﻬﺷأ ﺪﺣأ ﺖﺴﺳأو ﺔﻳﴫﳌا ﺔﻤﺻﺎﻌﻟا ﱃإ تدﺎﻋ ﻢﺛ .ةﺮﻫﺎﻘﻟا ﺖﻧﺎﻛو ،لمﺎﻌﻟا ءﺎﺤﻧأ ﻊﻴﻤﺟ ﰲ ضوﺮﻋ ﺔﻳدﺄﺘﺑ ﺔﻌﻳﺪﺑ تﺮﻬﺘﺷاو .ﺎﻬﻴﻓ .“ﺎﻬﺗﻼﻄﻋ لﻼﺧ قﴩﳌاو ﺎﺑوروأ لﻮﺣ تﻻﻮﺠﺑ مﻮﻘﺗ ﰲ تﺎﻴﺴﻣﻷا ﺖﻧﺎﻛ” :ﻞﻴﺋﺎﻓار ﺐﻴﺠﻳ ؟رﻮﻬﻤﺠﻟا ﺮﻈﺘﻨﻳ نﺎﻛ اذﺎﻣو اﱰﺴﻛروأ ﱃإ ﺔﻓﺎﺿﻹﺎﺑ ،ﺔﺼﻗاﺮﻟاو ﺔﻴﺋﺎﻨﻐﻟا ﺎﻬﺿوﺮﻌﺑ ﺞﻀﺗ ﺔﻌﻳﺪﺑ يدﺎﻧ تﺎﻛرﺎﺸﻣو ءﺎﻨﻐﻟاو ﺺﻗﺮﻟا ﻦﻣ ﺔﻔﻠﺘﺨﻣ ﺔﻴﻬﻴﻓﺮﺗ ضوﺮﻋو ﺔﻴﻘﻴﺳﻮﻣ .“ﺔﺻﺎﺨﻟا تارﺎﻬﳌا يوذ وأ لﺎﻘﺛﻷا ﻲﻌﻓار ﻦﻣ ﺔﻋﻮﻨﺘﻣ ﻻ ﺎبمر” :ةﺮﻫﺎﻘﻟا ﰲ ءﺎﺴﻨﻟا ﺢﺠﻧأ ﻦﻣ ﺔﻌﻳﺪﺑ ﺖﺤﺒﺻأ ﺎﻣ نﺎﻋﴎو تﻼﺜﻤﳌا ﻢﻈﻌﻣو ،لﺎﳌا ﻦﻣ يرﺜﻜﻟا ﺔﻳدﺎﻌﻟا ﺔﻟﺎﺤﻟﺎﺑ تﺎﺼﻗاﺮﻟا ﻲﻨﺠﺗ ﺔﻌﻳﺪﺑ ﻞﺜﻣ بﺎﺘﻜﻟا تماﺠﻧ ﺾﻌﺑ نأ ﻻإ ،تاﺮﺧ ّﺪﻣ يأ ﻦﻬﻳﺪﻟ ﻦﻜﻳ لم ًاﺪّﻴﺟ ًارﺪﺼﻣ ءﺎﻨﻐﻟا ﺔﻨﻬﻣ ﺖﻧﺎﻛ ﺚﻴﺣ ،لﺎﳌا ﻦﻣ يرﺜﻜﻟا بنﺴﻛ ﺎﻫيرﻏو ﻊﻴﻤﺟ ﰲ ضوﺮﻌﻟاو تﻻﻮﺠﻟاو نيﺎﻏﻷا ﻞﻴﺠﺴﺗ ﺐﺒﺴﺑ ﺔﻴﻟﺎﳌا ﺐﺳﺎﻜﻤﻠﻟ ﺖﻤﻜﺤﺗ ﺚﻴﺣ ،ًﺎﻴﺋﺎﻨﺜﺘﺳا ًﻻﺎﺜﻣ ﺔﻌﻳﺪﺑ ﺖﻧﺎﻛ ماﻛ ،بيﺮﻌﻟا لمﺎﻌﻟا ءﺎﺤﻧأ ﺎﻬﻳدﺎﻧ ﻢﻀﻳ نﺎﻛ يﺬﻟا ﻰﻨﺒﳌا ﺖﻜﻠﺘﻣاو ﺔﻳرﺎﺠﺘﻟا ﺎﻬﻟماﻋأ ﻞﻣﺎﻜﺑ ﲆﻋ ،ﺮﻛاﺬﺘﻟا تﺎﻌﻴﺒﻣ ﻦﻣ لاﻮﻣﻷا ﻦﻣ يرﺜﻜﻟا ﻲﻨﺠﺗ ﺖﻧﺎﻛو ،صﺎﺨﻟا ءﻻﺆﻫ ﺖﺤﺒﺻأو .ﺖﻗﻮﻟا ﻚﻟذ ﰲ ينﺤﺟﺎﻨﻟا ينﻧﺎﻨﻔﻟا ﻦﻣ يرﺜﻜﻟا ﺲﻜﻋ ﻦﻣ ﻢﻏﺮﻟا ﲆﻋ ،لماﻋﻷا لمﺎﻋ ﰲ ﻦﻬﺣﺎﺠﻧ ﺐﺒﺴﺑ ٍتاﺪﺋار تاﺪﻴﺴﻟا .“ﺪﻴﻟﺎﻘﺘﻟاو فاﺮﻋﻸﻟ ًازوﺎﺠﺗ ﻦﻬﺗازﺎﺠﻧإ ىﺮﺗ ﺖﻧﺎﻛ ﻲﺘﻟا ﻊﻤﺘﺠﳌا ةﺮﻈﻧ ًﺎﺿوﺮﻋ ﺖﻣﺪﻗو ،ﻂﻘﻓ تاﺪﻴﺴﻠﻟ ًﺎﺼﺼﺨﻣ ًﺎﺿﺮﻋ ﺔﻌﻳﺪﺑ ﺖﻘﻠﻃأ ماﻛ ﺖﻧﺎﻛ ﻲﺘﻟا ﺺﻗﺮﻟا يداﻮﻧ ةرﺎﻳز ﻦﻌﻧﺎيم لم تياﻮﻠﻟا ءﺎﺴﻨﻟا ﻦﻣ ﺔﻋﻮﻤﺠﳌ HBSA_002_072to079_midnightCairo_11717554.indd 7404/07/2021 03:00:31 PM75 Harper’s Bazaar Saudi Summer 2021 Raphael, who has lived in Cairo a number of times, fi rst to study Arabic and then for his PhD in Egyptian Theatre, spent three years researching the lives of the most prominent of these dancehall divas, dedicating a chapter to each of his ‘leading ladies’. One of these women and the real veteran of the scene was singer Mounira al-Mahdiyya. “She started her career in the very early 20th century near the end of the fi rst generation of these dancers,” explains Raphael. “So she worked in the dancehalls from 1905 to about 1915, she quickly became this enormous star, a big recording artist, and managed to make herself a celebrity and exert a lot of control over her career.” Mounira toured the Arab region as a singer and started accumulating a small fortune and when the British started closing the dancehalls in attempt to curb the spread of nationalist songs and indeed to stop the raucous behaviour of their own soldiers, she was able to move into theatre. She had little acting experience but had the funds to set up her own touring theatre troupe and hire a scriptwriter to work on plays for her – and the power to pick the best roles for herself. “She was at the very beginning of her acting career and a lot of the best roles were for men – so she took them,” explains Raphael, who believes this stemmed the conversation around traditional female roles. “Also, during the 1920s off the stage, what Mounira and a lot of actresses were doing was having photos taken dressed up as men and sending them to bf ifi “W I T HIN T HE TH R I V I N G M U SIC H A L L S O F E M A D A L -D I N S T R E E T W A S TH E BI R TH P L A C E O F E G Y P T ’ S UN DE R G R O UN D F E MIN I S T M O V E ME N T … WH E R E WO M E N C H A LLEN G E D TR A D ITION A L GE N D E R R O L E S” the entertainment press who would print them,” he explains. “What’s going on in this period is that the questions about gender roles are being asked and explored, and actresses are a big part of this. It’s a mixture of asking what is a man’s place and what is a woman’s place – what does it mean to be a man or mean to be a woman.” Inspired by Mounira’s success was Badia Masabni, another of these early female entrepreneurs, whose success as a singer and actress meant she had the money and power to buy her own cabaret. “She was an actress in Beirut, and after seeing Mounira’s repertoires in Cairo, Badia started singing Mounira’s songs back in Beirut,” reveals Raphael of Badia, who was one of the fi rst Arab women to fl y in an aeroplane. “Then Badia came back to Cairo and set up one of the best known cabarets in the city. Badia was famous for getting in acts from all over the world, she would tour Europe and the Levant in the off season – that was her trademark.” And what would the audiences have seen? “A night at Badia’s cabaret would have included her singing and dancing, there would have been a music orchestra and various other cabaret performances including dancing, singing and variety acts of people who could lift a lot of weight or quick-change artists who could change costumes really quickly,” tells Raphael. Badia would soon become one of the most successful The TALKING POINT HBSA_002_072to079_midnightCairo_11717554.indd 7504/07/2021 03:01:53 PM76 Harper’s Bazaar Saudi Summer 2021 راﻮﺣ تﺎﺴﻠﺟ Aziza Amir, pioneer of Egyptian cinema, who produced silent drama Laila in 1927 – the fi rst ever Egyptian fi lm ﺎﻤﻨﻴﺴﻟا ةﺪﺋار ،ﲑﻣأ ةﺰﻳﺰﻋ ﺎﻣارﺪﻟا ﺖﺠﺘﻧأ ﱵﻟا ﺔﻳﴫﳌا مﺎﻋ ﰲ ﲆﻴﻟ ناﻮﻨﻌﺑ ﺔﺘﻣﺎﺼﻟا يﴫﻣ ﻢﻠﻴﻓ لوأ ﻮﻫو ،1927 قﻼﻃﻹا ﲆﻋ HBSA_002_072to079_midnightCairo_11717554.indd 7604/07/2021 03:02:04 PM77 Harper’s Bazaar Saudi Summer 2021 women in Cairo. “The average dancer is probably not making much money, most actresses didn’t have any savings, but people like Badia and a few of the others in the book were making a lot of money,” explains Raphael. “If you were a singer, it would be from recording and touring around the Arab world as they were paid quite a lot of money per show, Badia is exceptional in that she had fi nancial control over her business and she owned the building where her cabaret was, she was taking in a lot of the money from ticket sales which wasn’t true of the other successful artists at the time. These women were pioneers in that they were women that owned businesses, although people look at it as a time of debauchery that these women were pushing boundaries.” Badia also launched a women’s-only matinee, putting on shows for a mixture of women who didn’t mind being seen at a cabaret, which was considered a bit less respectable than the theatre. And what were women like Badia and Mounira spending their hard-earned money on? “The sensible ones were spending money on houses. Mounira was more fl amboyant and spent it on a big house boat on the Nile, which she did up in a very lavish style and would throw big parties,” says Raphael of the women who would often be seen in the latest 1920s fl apper fashions. “They were spending money on clothes and costumes too, Mounira had a costume that was studded in gold coins which she kept in a safe between performances because she was so worried about it being stolen,” he continues. Alongside their fi nancial success came fame. “These women were the fi rst real pan-Arab celebrities,” says Raphael. “There were male celebs at the time but they didn’t get the same coverage, they wouldn’t get the covers.” And with media coverage came levels of backlash from the press. “This was a counter-culture so in the press and in the ﺔﻌﻳﺪﺑ ﻞﺜﻣ تاﺪﻴﺴﻟا ﺖﻧﺎﻛ ﻒﻴﻛ ﻦﻜﻟو .حﴪﳌا ﻦﻣ ًﺎﻴﻗر ﻞﻗأ ﱪﺘﻌﺗ تﺎﻳثرﻟا ءﺎﺴﻨﻟا ﺖﻧﺎﻛ” ؟ﺔﺑﻮﻌﺼﺑ ﺎﻬﻨﺒﺴﻛ ﻲﺘﻟا ﻦﻬﻟاﻮﻣأ ﻦﻘﻔﻨﺗ ةيرﻨﻣو تﱰﺷاو ًﺎﺧﺬﺑ ثرﻛأ ﺖﻧﺎﻛ ةيرﻨﻣ ﻦﻜﻟ ،لزﺎﻨﳌا ﲆﻋ لاﻮﻣﻷا ﻦﻘﻔﻨﻳ تﻼﻔﺤﻟا ﻢﻴﻘﺗ ﺖﻧﺎﻛ ﺚﻴﺣ ،ﻞﻴﻨﻟا ﺮﻬﻧ ﲆﻋ ًاﺮﺧﺎﻓو ًايرﺒﻛ ًﺎئمﺎﻋ ًﻻﺰﻨﻣ ثﺪﺣﺄﺑ ﻦﻘﻟﺄﺘﻳ ﻦﻛ تيﻼﻟا تاﺪﻴﺴﻟا ﻦﻋ ﻞﻴﺋﺎﻓار ثﺪﺤﺘﻳو .“ةيرﺒﻜﻟا ﲆﻋ لﺎﳌا نﻮﻘﻔﻨﻳ ءﺎﻳﺮﺛﻷا نﺎﻛ” :تﺎﻴﻨﻳﴩﻌﻟا ﰲ ءﺎﻳزﻷا تﺎﺤﻴﺻ ﺔﻌ ّﺻﺮﻣ ءﺎﻳزﺄﺑ ﻖﻟﺄﺘﺗ ةيرﻨﻣ ﺖﻧﺎﻛو ،ًﺎﻀﻳأ ﺔﻳﺮﻜﻨﺘﻟا ءﺎﻳزﻷاو ﺲﺑﻼﳌا ًﺎﻓﻮﺧ ضوﺮﻌﻟا ينﺑ ﺔﻨﻣآ ﻦﻛﺎﻣأ ﰲ ﺎﻬﺑ ﻆﻔﺘﺤﺗ ﺖﻧﺎﻛ ﺔﻴﺒﻫذ تﻼﻤﻌﺑ .“ﺎﻬﺘﻗﴎ ﻦﻣ ﻚﻠﺗ ﺖﻧﺎﻛ” :ﻞﻴﺋﺎﻓار لﻮﻘﻳو ،ةﺮﻬﺸﻟا تءﺎﺟ ﱄﺎﳌا حﺎﺠﻨﻟا ﻊﻣو ﲆﻋ ﻦﻠﺼﺣو ،بيﺮﻌﻟا لمﺎﻌﻟا ىﻮﺘﺴﻣ ﲆﻋ يرﻫﺎﺸﳌا ﻞﺋاوأ ﻦﻣ تاﺪﻴﺴﻟا .“لﺎﺟﺮﻟا ﻦﻣ يرﻫﺎﺸﳌا ﻪﻴﻠﻋ ﻞﺼﺤﻳ ﺎﻣ ﻦﻣ ثرﻛأ ﻲﻔﺤﺻ مماﺘﻫا ذإ ،ﺔﻓﺎﺤﺼﻟا ﻦﻣ ﺔﻴﺒﻠﺴﻟا لﺎﻌﻓﻷا دودر ﺖﻧﺎﻛ ةﺮﻬﺸﻟا ﺔﺒﻳﴐ نأ ﻻإ نﺎﺠﻬﺘﺳﻻا ﻦﻣ يرﺜﻜﻟﺎﺑ ﺔﻳرﻮﺜﻟا ﺔﻛﺮﺤﻟا هﺬﻫ ﺖﻠﺑﻮﻗ” :ﻞﻴﺋﺎﻓار لﻮﻘﻳ ﻒﺳﻮﻴﻟا زور ﺔﻠﺜﻤﳌا ترﺮﻗ اﺬﻟ ،“ﺔﻴﻨﻳﺪﻟا تﺎﺴﺳﺆﳌاو ﺔﻓﺎﺤﺼﻟا ﻦﻣ ﰲ ﺔﻠﺜﻤﻤﻛ ﺎﻬﺘﻳاﺪﺑ ﺖﻧﺎﻛ” :ﺔﻴﺒﻠﺴﻟا ﺔﻴﻣﻼﻋﻹا دودﺮﻟا ﻪﺟو ﰲ كﺮﺤﺘﻟا ﺖﻠﻤﺣ ﺔﻴﺴﻧﺮﻓ ﺔﻴﺣﴪﻣ ﰲ ﺖﻛرﺎﺷو ﻞﻴﻓدﻮﻔﻟا تﺎﻴﺣﴪﻣ ﻦﻣ ﺪﻳﺪﻌﻟا [ﻖﺋﻻ يرﻏ ٍﻞﻜﺸﺑ تﺮﻬﻇ] زور نأ ﺖﺒﺘﻛ ﻲﺘﻟا ﺔﻓﺎﺤﺼﻟا ﺰﻔﺘﺳا ًﺎﻧاﻮﻨﻋ ًﺎﺒﻟﺎﻏ ءﺎﺴﻨﻟا ﻞﺼﺤﺗ ،يرﻫﺎﺸﳌا لمﺎﻋ ﰲ لﺎﺤﻟا ﻮﻫ ماﻛو ،ﺔﻴﺣﴪﳌا ﰲ ﻞﺑﺎﻘﳌﺎﺑ ﻦﻬﺟاﻮﻳ ﻦﻬﻨﻜﻟو ،ﺔﻴﻣﻼﻋﻹا ﺔﻴﻄﻐﺘﻟا ﻦﻣ ﱪﻛﻷا ﻢﺴﻘﻟا ﲆﻋ .“ﺔﻴﺼﺨﺸﻟا ﻦﻬﺗﺎﻴﺣ ﰲ تﻼﺧﺪﺘﻟا ﻦﻣ يرﺜﻜﻟا ﺔﺌﻳﺮﺟ ةﻮﻄﺧ زور تﺬﺨﺗا ،ﺔﻓﺎﺤﺼﻟا لﺎﻌﻓأ دودر ﺐﺒﺴﺑو ﺔﻠﺠﳌا ﻦﻋ ﻞﻴﺋﺎﻓار ثﺪﺤﺘﻳو .1925 مﺎﻋ ﰲ ﺔﺻﺎﺨﻟا ﺎﻬﺘﻠﺠﻣ قﻼﻃﺈﺑ لاﻮﻣﻷا ﻦﻘﻔﻨﻳ تﺎﻳﺮﺜﻟا ءﺎﺴﻨﻟا ﺖﻧﺎﻛ” ﺮﺜﻛأ ﺖﻧﺎﻛ ةﺮﻴﻨﻣ ﻦﻜﻟ ،لزﺎﻨﻤﻟا ﻰﻠﻋ ًاﺮﺧﺎﻓو ًاﺮﻴﺒﻛ ًﺎﻤﺋﺎﻋ ًﻻﺰﻨﻣ تﺮﺘﺷاو ً ﺎﺧﺬﺑ ﻢﻴﻘﺗ ﺖﻧﺎﻛ ﺚﻴﺣ ،ﻞﻴﻨﻟا ﺮﻬﻧ ﻰﻠﻋ .“ةﺮﻴﺒﻜﻟا تﻼﻔﺤﻟا “ T H E S E N S I B L E W O M E N W E R E SP E N D I NG MON E Y ON HOU S E S . M O U N I R A W A S M O R E F L A M BO YA N T A N D S P E N T I T O N A B I G H O US E BO AT O N T H E N I L E W H I C H S H E D I D U P I N V E R Y L A V I S H S T Y L E A N D W O U L D T H RO W B I G P A R T I E S ” A postcard of the famous Emad Al Din street in Cairo’s Ezbekiyya دﺎﻤﻋ عرﺎﺸﻟ ﺔﻳﺪﻳﺮﺑ ﺔﻗﺎﻄﺑ ﻲﺣ ﰲ ﲑﻬﺸﻟا ﻦﻳﺪﻟا ةﺮﻫﺎﻘﻟﺎﺑ ﺔﻴﻜﺑزﻷا HBSA_002_072to079_midnightCairo_11717554.indd 7704/07/2021 03:02:17 PM78 Harper’s Bazaar Saudi Summer 2021 ةﺎﻓو ﻦﻣ ﻢﻏﺮﻟا ﲆﻋ مﻮﻴﻟا ﻰﺘﺣ رﺪﺼﺗ لاﺰﺗ ﻻ ﻲﺘﻟا ،ﺔﻴﻋﻮﺒﺳﻷا ةرﻮﻈﺤﳌا ﻊﻴﺿاﻮﳌا ﻦﻣ ﺪﻳﺪﻌﻟا ﺖﻟوﺎﻨﺗ ﻲﺘﻟاو ،1958 مﺎﻋ ﺬﻨﻣ زور ﻞﻤﺤﺗ ﻲﺘﻟا ﺔﻠﺠﳌا ﺖﻧﺎﻛ” :ثﺎﻧﻹا ﻒﺤﺼﻟا تﺎﻌﺋﺎﺑ ﺖﻔﻇوو ﲆﻋ صﺎﺧ ٍﺰﻴﻛﺮﺗ ﻊﻣ ﴏﺎﻌﳌا بدﻷاو حﴪﳌﺎﺑ ﺔﺼﺼﺨﺘﻣ ﺎﻬﻤﺳا ﺎﻬﻨﻴﺑ ﻦﻣ ىﺮﺧﻷا ﺔﻳﻮﺴﻨﻟا ﺎﻬﻌﻳرﺎﺸﻣ ﺖﻨﻤﻀﺗو .“ةأﺮﳌا ﺎﻳﺎﻀﻗ ﻦﻣ ٍةيرﺴﳌ ﺎﻬﺗدﺎﻴﻗو ،ﺖﻳﻮﺼﺘﻟا ﰲ ةأﺮﳌا ﻖﺤﺑ ﺔﺒﻟﺎﻄﻤﻠﻟ ٍتﻼﻤﺣ .ﻞﻴﻄﻋو نﻮﻴﻠﺑﺎﻧ ءﺎﻳزأ نوﺪﺗﺮﻳ اﻮﻧﺎﻛ ﻦﻳﺬﻟا ينﻧﺎﻨﻔﻟا ءماﺳﻷا ﻦﻣ ،ﺔﻳﴫﳌا ماﻨﻴﺴﻟا ةﺪﺋار ،يرﻣأ ةﺰﻳﺰﻋ ﱪﺘﻌﺗو حرﺎﺴﻣ ﻦﻣ ﺔﻴﻨﻬﳌا ﺎﻬﺗيرﺴﻣ ﺖﻘﻠﻄﻧا ﻲﺘﻟا ىﺮﺧﻷا ةيرﻬﺸﻟا ، 1927 مﺎﻋ ﰲ ﲆﻴﻟ ناﻮﻨﻌﺑ ﺔﺘﻣﺎﺼﻟا ﺎﻣارﺪﻟا ﺖﺠﺘﻧأو ،ةﺮﻫﺎﻘﻟا يﺪﺷر ﺔﻤﻃﺎﻓ ﱃإ ﺔﻓﺎﺿﻹﺎﺑ ،قﻼﻃﻹا ﲆﻋ يﴫﻣ ﻢﻠﻴﻓ لوأ ﻮﻫو ﻢﻳﺪﻘﺗو رﺎﻴﺘﺧا ﻦﻣ ﻦﻜﻤﺘﺘﻟ ﺔﻴﺣﴪﳌا ﺎﻬﺘﻗﺮﻓ ﺖﺴﺳأ ﻲﺘﻟا روﺪﺑ تﺮﻬﺘﺷاو ،لﺎﺟﺮﻟا ﺢﻟﺎﺼﻟ ﻞﻤﻌﻠﻟ ﺮﻄﻀﺗ ﻻو راودﻷا ﻞﻀﻓأ .ينﻠﺼﻔﻨﻣ ينﻠﻤﻋ ﰲ اﺮﺗﺎﺑﻮﻴﻠﻛو نيﻮﻄﻧأ ﻲﻫو ،مﻮﺜﻠﻛ مأ ﺔﻳرﻮﻄﺳﻷا ﺔﺑﺮﻄﻤﻠﻟ ﺮﻬﺷﻷا ﻢﺳﻻا ﻰﻘﺒﻳو ،ﻦﻣﺰﻟا ﱪﻋ ﻦﻬﺘﻤﺼﺑ ﻦﻛﺮﺗ تياﻮﻠﻟا ﻞﺋﻼﻘﻟا تﺎﻧﺎﻨﻔﻟا ﻦﻣ ةﺪﺣاو ﰲ ﺔﻴﻘﻴﺳﻮﳌا ﺎﻬﻟماﻋﺄﺑ مﻮﺜﻠﻛ مأ تﺮﻬﺘﺷا” :ﻞﻴﺋﺎﻓار ﺢﺿﻮﻳ ﺚﻴﺣ ﺔﻴﻨﻬﳌا ﺎﻬﺗيرﺴﻣ ﻦﻜﻟ ،تﺎﻴﻨﻴﺘﺴﻟاو تﺎﻴﻨﻴﺴﻤﺨﻟاو تﺎﻴﻨﻴﻌﺑرﻷا ﺔﻗﺮﻔﻟا ﺔﺴﺳﺆﻣ :ﲆﻋﻷا ﻦﻣ يﺪﺷر ﺔﻤﻃﺎﻓ ،ﺔﻴﺣﴪﳌا Above: theatrical troupe founder, Fatma Rushdi HBSA_002_072to079_midnightCairo_11717554.indd 7804/07/2021 03:02:55 PM79 Harper’s Bazaar Saudi Summer 2021 “ةﺮﻫﺎﻘﻟا ﰲ ﻞﻴﻠﻟا ﻒﺼﺘﻨﻣ” بﺎﺘﻛ ﻒﺸﻜﻳ تﺎﻳﴫﳌا تﺎﻤﺠﻨﻟا ﺮﴲأ ةﺎﻴﺣ ﻦﻋ رﺎﺘﺴﻟا .ﴈﺎﳌا نﺮﻘﻟا تﺎﻴﻨﻳﴩﻋ ﰲ New book Midnight In Cairo unearths the stories of the fascinating women on the fringes in 1920s Egypt religious establishment there was a lot of push back against it,” says Raphael. One actress who decided to do something about the negative and salacious coverage was Rose al-Youssef. “She started off as an actress in various vaudeville plays and performed in an adapted French play – the press took its rather provocative title and suggested that she [did something taboo] in the play,” tells Raphael. “Like in all celebrity culture – women are the ones who get most of the coverage but they are also the ones who face all the scrutiny and are asked questions of their personal life.” Unhappy with the way the press were treating her, Rose took the bold step of starting her own magazine in 1925. “It would be a magazine that took theatre and contemporary literature seriously and she named the magazine after herself – it was very female-driven,” explains Raphael of the weekly publication that tackled taboo subjects, hired female newspaper sellers, and is still going today despite Rose’s death in 1958. Her other feminist ventures included campaigning for women’s rights to vote – which culminated in her leading a march of performers who were dressed up as Napoleon and Othello. Other famous names whose career origins stem from treading the stages of Cairo’s many theatres include Aziza Amir – the pioneer of Egyptian cinema, who produced silent drama Laila in 1927 – the fi rst ever Egyptian fi lm. There was also Fatima Rushdi, who grew sick of working for men and formed her own theatrical troupe so she could give herself the best roles – famously playing the roles of both Anthony and Cleopatra – in two separate productions. The most famous name is defi nitely that of legendary singer Oum Kalthoum, one of very few women from the scene whose career and legacy stood the test of time. “She is more remembered for her work in ’40s, ’50s and ’60s, but her career starts in the 1920s and is a product of this time,” explains Raphael. “She goes on to sing on Egyptian state television and radio in the ’60s but she started here like everyone else. She managed to keep her career going for much longer by painting herself as an embodiment of the Egyptian people – something the others didn’t manage to do. She played with the press in a very different way, whereas Mounira played up by dressing up as men and throwing lavish parties. Oum Kalthoum was more restrained and reserved, she didn’t give many interviews.” And whereas Oum Kalthoum was given a public funeral in 1975, and mourned by a million people, many of the other women saw their careers and fi nances nosedive after the 1930s. “There was a big global crash which meant people weren’t going out as much,” explains Raphael. “And then it morphed into the cinema industry, and in the ’40s and ’50s, men dominated fi lm – even though the fi rst fi lmmakers were women. There’s still a vibrant dance scene in Egypt but not in that area – which has lost some of its glory. There’s still some cabaret but maybe it’s more seedy, you wouldn’t go for the quality of the dancing.” The dancehalls might be a thing of the past but Midnight in Cairo brings the stories of its most colourful characters back to life – and what a read they make. Midnight in Cairo by Raphael Cormack is on sale now ﻢﻟﺎﻋ ﻲﻓ لﺎﺤﻟا ﻮﻫ ﺎﻤﻛ” ًﺎﺒﻟﺎﻏ ءﺎﺴﻨﻟا ﻞﺼﺤﺗ ،ﺮﻴﻫﺎﺸﻤﻟا تﺎﻴﻄﻐﺘﻟا ﻦﻣ ﺮﺒﻛﻷا ﻢﺴﻘﻟا ﻰﻠﻋ ﻦﻬﺟاﻮﻳ ﻦﻬﻨﻜﻟو ،ﺔﻴﻣﻼﻋﻹا ﻲﻓ تﻼﺧﺪﺘﻟا ﻦﻣ ﺮﻴﺜﻜﻟا ﻞﺑﺎﻘﻤﻟﺎﺑ .“ﺔﻴﺼﺨﺸﻟا ﻦﻬﺗﺎﻴﺣ PHOTOGRAPHY : COUR TESY OF THE ABUSHÂ DY ARCHIVE AND LUCIE R YZOV A ﰲ ءﺎﻨﻐﻟا ﺖﻠﺻاو ﺚﻴﺣ ،ﴈﺎﳌا نﺮﻘﻟا تﺎﻴﻨﻳﴩﻋ ﰲ تأﺪﺑ ﺎﻬﺘﻳاﺪﺑ ﻦﻜﻟ ،تﺎﻴﻨﻴﺘﺴﻟا ﰲ ﺔﻴﻤﺳﺮﻟا ﺔﻳﴫﳌا ﺔﻋاذﻹاو نﻮﻳﺰﻔﻠﺘﻟا ﺎﻬﺗيرﺴﻣ ﲆﻋ ظﺎﻔﺤﻟا ﻦﻣ ﺖﻨﻜتمو .ﺮﺧآ ﺺﺨﺷ يأ ﻞﺜﻣ ﺖﻧﺎﻛ ،يﴫﳌا ﺐﻌﺸﻟا ﻞﻴﺜﻤﺘﻟ ﺎﻫدﻮﻬﺟ لﻼﺧ ﻦﻣ لﻮﻃأ ةﱰﻔﻟ ﺔﻴﻨﻬﳌا ءﺎﻳزأ ءاﺪﺗرﻻ ةيرﻨﻣ تﺄﺠﻟ ماﻨﻴﺒﻓ ،تﺎﻳﺮﺧﻷا تﺎﻧﺎﻨﻔﻟا فﻼﺧ ﲆﻋ ﺔﻓﺎﺤﺼﻟا ﻊﻣ مﻮﺜﻠﻛ مأ ﺖﻠﻣﺎﻌﺗ ،ﺔﺧذﺎﺒﻟا تﻼﻔﺤﻟا ﺔﻣﺎﻗإو لﺎﺟﺮﻟا ﻦﻋ دﺎﻌﺘﺑﻻا ﺖﻟوﺎﺣو ًﺎﻈﻔﺤﺗ ثرﻛأ ﺖﻧﺎﻛ ،ًﺎﻴﻠﻛ ﺔﻔﻠﺘﺨﻣ ﺔﻘﻳﺮﻄﺑ .ﺔﻴﻣﻼﻋﻹا تﻼﺑﺎﻘﳌا ﺎﻬﻴﻠﻋ نﺰﺣو 1975 مﺎﻋ ﰲ ﺔﻣﺎﻋ ةزﺎﻨﺟ مﻮﺜﻠﻛ مﻷ ﺖﻤﻴﻗأ ًﺎﻌﺟاﺮﺗ تﺎﻳﺮﺧﻷا ءﺎﺴﻨﻟا ﻦﻣ ﺪﻳﺪﻌﻟا تﺪﻬﺷ ماﻨﻴﺑ ،ﺺﺨﺷ نﻮﻴﻠﻣ ﺚﻴﺣ ،تﺎﻴﻨﻴﺛﻼﺜﻟا ﺪﻌﺑ ﻦﻣ ﺔﻴﻟﺎﳌا ﻦﻫرﻮﻣأو ﺔﻴﻨﻬﳌا ﻦﻬﺗﺎﻴﺣ ﰲ رﻮﻫﺪﺗ ﱃإ ىدأ يرﺒﻛ ﻲﳌﺎﻋ دﺎﺴﻛ كﺎﻨﻫ نﺎﻛ” :ﻞﻴﺋﺎﻓار ﺢﺿﻮﻳ لﺎﺟﺮﻟا ﺮﻄﻴﺳو ،ماﻨﻴﺴﻟا ﺔﻋﺎﻨﺻ ﲆﻋ هرﺎﺛآ كﺮﺗو ﻊﻴﻤﺠﻟا لﺎﺣ نأ ﻦﻣ ﻢﻏﺮﻟا ﲆﻋ ،تﺎﻴﻨﻴﺴﻤﺨﻟاو تﺎﻴﻨﻴﻌﺑرﻷا ﰲ ماﻨﻴﺴﻟا ﲆﻋ ﺐﻫاﻮﳌﺎﺑ ﺮﻬﺘﺸﺗ ﴫﻣ لاﺰﺗ ﻻو .ءﺎﺴﻨﻟا ﻦﻣ اﻮﻧﺎﻛ ﻞﺋاوﻷا ينﺟﺮﺨﳌا ﻦﻣ ًﺎﻀﻌﺑ ﺪﻘﻓ يﺬﻟا لﺎﺠﳌا اﺬﻫ ﰲ ﺲﻴﻟ ﻦﻜﻟو ،ﺔﺼﻗاﺮﻟاو ﺔﻴﻨﻔﻟا ﻲﻘﺗﺮﺗ ﻻ ﺪﻴﻛﺄﺘﻟﺎﺑ ﺎﻬﻧأ ﻻإ ﺔﻴﻠﻴﻠﻟا يداﻮﻨﻟا ﺾﻌﺑ دﻮﺟو ﻢﻏر ،ﻪﻘﻳﺮﺑ .“ﻪﺗاذ ىﻮﺘﺴﳌا ﱃإ بﺎﺘﻛ ﻦﻜﻟ ،ﴈﺎﳌا ﻦﻣ ىﺮﻛذ ﺺﻗﺮﻟا يداﻮﻧ ﺖﺤﺒﺻأ ﺎبمر تﺎﻴﺼﺨﺸﻟا ﺮﻬﺷأ ةﺮﻛاﺬﻟا ﱃإ ﺪﻴﻌﻳ “ةﺮﻫﺎﻘﻟا ﰲ ﻞﻴﻠﻟا ﻒﺼﺘﻨﻣ” .أﺮﻘُﺗ نأ ﺎﻬﺼﺼﻗ ﻖﺤﺘﺴﺗ ﻲﺘﻟا ًﺎﻴﻟﺎﺣ ﻊﻴﺒﻠﻟ كﺎﻣرﻮﻛ ﻞﻴﺋﺎﻓﺮﻟ ةﺮﻫﺎﻘﻟا ﰲ ﻞﻴﻠﻟا ﻒﺼﺘﻨﻣ بﺎﺘﻛ ﺮﻓاﻮﺘﻳ The TALKING POINT HBSA_002_072to079_midnightCairo_11717554.indd 7905/07/2021 12:54:25 PMNext >