Voices of the (arab) nation : Arabism, songs and linguistic adaptability

In the days of the triumphant Arabism, when Cairo was not only the unchallenged political capital of the area but also its cultural one, there was no question about it: Arab stars had to express themselves in colloquial Egyptian even if classical Arabic was used from time to time for “higher” (or less popular) forms of cultural expression.

It was thus a real symbolic turn when the famous Abdel-Halim Hafez decided in the late 60’s, dressed in the local garment, to sing various pieces from the Kuwaiti traditions (see this interesting article, in Arabic, in the daily Al-Quds al-arabi.)

Today, it’s nobody’s surprise when an Arab singer, from whatever country of the area, uses another variety of colloquial Arabic: Egyptian stars sing in a so-called “Arabic of the Gulf” (a mere fiction as there is of course a fair amount of local variations), Lebanese or Iraqui starlets whisper in Egyptian colloquial, to say nothing of many popular voices from the various Maghreb countries who sing either in Egyptian or or forms of colloquial arabic.

During the three or four last decades, the Arab linguistic map has greatly changed thanks to the always growing cultural industries with their transnational media. Indeed, the new generations have probably lost some proficiency in “classical” Arabic, but they have developed new linguistic skills, especially an unprecedented adaptability to cross-over boundaries of all local variations of the Arabic language.

Many times, this linguistic ability is a mere gimmick in order for a singer to gain the favours of a special audience. But the shifting from a vernacular to another can also be used in very conscious way, as a political gesture. Latifa for instance was born in Tunisia and has worked, among others, with the Lebanese composer Ziad Rahbani and the Iraqi singer Kadhem al-Saher, after she has become a panarab star when she left her country for Egypt.

She is now promoting her new CD with songs in “Arabic from the Gulf,” a decision in line with the political stand she took in various circumstances, for instance at the 2004 Music Awards in Los Angeles when she declared that her happiness wont be complete without the liberation of the Palestine and the Iraqi people. When asked about the issuing of her new record with songs in the colloquial Arabic used in the Gulf area, Latifa explained, according to the Lebanese daily Al-Akhbar), that singing in another vernacular than you native one, when you are from the Maghreb or whatever other part of the Arab world, is a way to brake the borders drawn between the Arabs by colonialism (أحبّوا ذلك أم كرهوا، لا بدّ من كسر الحدود المرسومة بين العرب جغرافياً، فنياً وفكرياً. لأن هذه الحدود من ركائز الاستعمار).

And with the usual link to the original post in French, a rare video of the “brown nightingale” in a Kuwaiti song.

Arabîzî : the Romanisation of Arabic

Even if Arabizi means nothing to you, you may use it everyday when you work on your laptop or send messages from your cell-phone. Arabizi is one of the expressions for what is also called ‘arabiyyat al-dardasha, i.e. the more or less phonetic Arabic written with Roman characters in order to use various IT applications when an Arabic keyboard is not available and/or easy to employ.

‘Arabizi – or Aralish, or Franco (for franco-arabe in the Maghreb countries) – is not anymore an absolute necessity in order to communicate in Arabic as it was in the early ‘90s with the very beginning of a widespread Internet but it remains useful at times. Above all, it has become a funny way, now adopted by many young Arabs (and marketed by advertising agencies) to express oneself with the too serious and intimidating written Arabic.

It is worth mentioning that the mere existence of Arabizi gives some credit to those who think that something like a “common Arab culture” still exists! Indeed, Arabizi has appeared and developed itself as an accepted code among all IT Arab users, without any interference of any kind from any official body.

Arabisi may be understood as a new lingua franca (the "lingua franca" was a kind of pidgin, mainly a mixture of Arabic and various Roman languages, which was still in use around the Mediterranean shores at the end of the 19th century). Promoted by the more dynamic and globalised segments of the society, Arabizi is the language of the youth, a language which has absolutely no respect for the older elites and for their command of the (difficult) written Arabic used as a tool for their “symbolic domination”.

Indeed, many (grown-up) people will condemn such a “foolish” attitude toward the Arabic language which is considered to be the core symbol of the Arabic and/or Islamic community. And sometimes they could not be blamed when you watch ads like the one which promotes Maren, one of the tools developed to type Arabic from an English keyboard: it gives the impression that nobody had never typed in Arabic before Microsoft software!

Even more, the ones who are afraid of the spread of these news tools which make easier the shift from the Arabic to the Latin alphabet remember that if the use of the Arabic alphabet in order to transcript other languages like Berber, Persian, Urdu and many others has been historically the rule, in modern times, the first example which comes to mind is, on the contrary, the romanisation of the Turkish language in 1928, shortly after another very symbolic decision by Kamal Atatürk, the abolition of the Califate in 1924.


Links to the some softwares for a “romanised” writing of Arabic to be found in the original post in French.