Egyptian singer Ali El Haggar, joined by composer Omar Khairat, is reopening the archives of Arabic song through the “100 Years of Singing” project. It revisits works and musical milestones from different eras, highlights the role of poets and composers alongside singers, and presents a number of songs in new orchestral arrangements.
Mohamed Attia calls for a reshuffling of Arabic music history
Music critic Mohamed Attia says the project reorders priorities in discussions of Arabic music history by highlighting songmakers who have remained outside much of the public spotlight. He pointed to Mohamed al-Qasabji as one of the musicians who deserve more space in accounts of the changes Arabic song has undergone.
According to Attia, the Arab musical memory can still recover old works and present them to a new audience. He cited the return of Umm Kulthum’s muwashshah “Binoor Mahyak” to circulation on social media platforms.
He said the project could revive works the public has forgotten, although in its current form it is closer to reworking music in a more modern style than to offering a completely different artistic reading. Attia called for broader choices to include names such as Mahmoud al-Sharif, Abdel Azim Abdel Haq and Ahmed Sedky, rather than focusing only on the widely circulated works of major artists.
Old songs test heritage’s ability to endure
He cited Eman El Bahr Darwish’s re-presentations of works by Sayed Darwish, saying that new arrangements can draw attention again to works that have been neglected or are close to being forgotten. He described Omar Khairat’s participation as a musical addition to the project, drawing on his previous experience of re-presenting works by Mohamed Abdel Wahab.
He believes Khairat’s arranging experience may give some old songs new energy through orchestral treatments that were not possible with the same resources when they first appeared. Regarding El Haggar’s performances, Attia said his independent artistic identity means the works will not be presented in their original form, pointing to his previous experiences with “Dari al-Uyun” and “Jafnah Allama al-Ghazal”.
New versions preserve the original and give songs new life
He added that the existence of the original recording preserves a song’s identity, while later versions allow it to continue in different forms and voices without erasing the original. Music critic Mohamed al-Aswani said reviving works by late singers and composers at concerts is not a new trend, but considered Omar Khairat’s presence a factor giving “100 Years of Singing” a different dimension.
He called for the project not to be limited to live performances but to extend to recordings of old works, particularly lesser-known ones, in contemporary audio versions that can be heard outside concerts. Al-Aswani believes involving young artists in presenting heritage could strengthen its reach among new generations, as they can perform the songs through their current artistic styles.
He also called for collaborations bringing Omar Khairat together with young voices alongside artists from the classical school. Al-Aswani said preserving a song’s spirit does not depend solely on its arrangement but can also draw on its lyrics, melody or performance.
He called for combining respect for the original work with freedom to experiment and add to it, stressing that new versions may prompt audiences to return to the first recordings and compare them with modern treatments.
The two critics agree that expanding the project to include lesser-known works and names that contributed to the development of music would give it greater documentary and artistic value, while bringing together different schools and generations to present heritage to contemporary audiences.
