The “Sky News Arabia” website polled the opinions of some officials of the Syndicate of Musical Professions, poets, composers, and art critics about the feasibility of the ban, and whether the decision was in the interest of the lyrical and musical movement or not.
Failed the tests
An official source with the Egyptian Syndicate of Musical Professions commented, saying that the 19 singers who are banned from singing, are not because of anything other than that they never passed the syndicate’s exams and did not have membership cards.
And the source, who declined to be named, continued: “All the parties are now asking the union to draw up a list of names of the members officially registered with the union until they agree to work with them in the facility or parties, so an official statement was necessary that includes the names of the singers present in the singing arena who have no connection with the union of professions. Musical”.
Regarding the decision to prevent the Egyptian artist, Hassan Abu Al-Roos, from singing, he indicated that the union will issue a clarification statement in the coming hours.
And he added, “Hassan Abu Al-Roos was transferred to the investigation, and he was not permanently dismissed, and he will appear for questioning at the Syndicate of Musical Professions, next Sunday morning, for not complying with the Syndicate’s decisions.
He added: “His singing while wearing the robes, his singing with (Flash Memory), and the lack of censorship over his lyrics, all of these reasons necessitated his referral for investigation for not implementing the union’s decision that the singer must sing with at least 8 musicians.”
Last September, the Syndicate of Musical Professions issued a decision banning any artist or artist from playing on flash memory, and for him to be accompanied by a band of no less than 8 musicians, and the decision applies to all halls, nightclubs and public parties.
And he added, “We previously contacted Hassan Abu Al-Roos’ business manager more than once to tell him to go to the union to investigate him, but he did not tell him, and said that he only learned of his summons today after the decision to stop him was issued.”
Does not address reality
The Egyptian singer, Ali Al-Hajjar, criticized the popular festivals, stressing that they are a color imposed on the Egyptian people, criticizing those who claim, as he put it, that they address reality.
He continued, “Art does not address reality. When we walk in the streets, we hear some people saying foreign words. Is it correct to say these words in art?”
Al-Hajjar pointed out that he “hears about festivals out of knowledge,” explaining that they are not the art he was raised in, and this type of singing should not be called art, as art is a talent and study and has basic rules.
And about the musicians’ union’s permanent attack on them, he explained that the union’s role is to select the talented among them, and conduct tests for them, and the good of them do not mind singing it, criticizing “those who say the ban on the grounds that he is a festival singer.”
disciplinary purpose
On the other hand, The lyric poet, Ahmed Al-Maliki, considered that the purpose of the decision was “disciplinary,” as he put it, stressing that there is no authority for anyone to prevent another from presenting any art as long as this color has an audience and is required.
Al-Maliki believed that the reasons for the ban were “the quarrel that took place recently with outward words between festival singers Hassan Shakoush and Reda Al-Bahrawi,” criticizing this behavior of them.
He stresses that he does not support the idea of banning festival singers from singing, and that they have a wide audience, and no one should be restricted to anyone’s taste, but he stressed the need to morally correct them.
He concluded that, “It is not necessary to call art for everything they offer, as all parts of the world have different types and colors of singing,” and he continued, “I do not like festival songs, but I sometimes hear them.”
The score is zero
The Egyptian composer, Aziz El-Shafei, expressed his opinion, saying: “The Syndicate of Musical Professions is responsible for regulating the music market,” stressing that he does not object to any type of music, stressing that he “does not agree with the type of words presented in festival songs.”
Al-Shafei considered that the decision to ban at the present time will not produce any results, “he does not like the ban and does not see it as an appropriate solution,” as he put it, explaining that “with any decision that improves the image of Egyptian art in the Arab world.”
He stressed that “whether the decision of the Egyptian Syndicate of Musical Professions is right or wrong, the matter should not be left to whims,” hoping that “the decision will yield good results.”
Training courses
While the Egyptian art critic, Mohamed Abdel Rahman, argues that the ban always benefits the banned artist, saying: “We are in a changing world, it is the world of digitization that controls everything.”
Abdel-Rahman directed a number of questions to the Syndicate of Musical Professions, saying: “Did you dare prevent them from singing on (YouTube) or (SoundCloud)? .. Certainly this is impossible. Can you prevent them from singing outside Egypt? .. Certainly not because The syndicate’s work is limited only to Egypt.”
In a related context, Abdel Rahman says that the Syndicate’s recent decision makes many followers more sympathetic to festival singers and makes a greater spread even if they are prevented from singing at internal parties in Egypt.
He expressed his fears that the campaign would affect singers as well, wondering: “Will this decision prevent the public from playing the songs of those who are forbidden to sing in weddings?
He denounced the ban, saying: “There are many solutions proposed 5 years ago, that could have been taken before this decision, such as taking singing training courses, or at least controlling their words.”
He points out that there are some festival singers who appeared and disappeared after their spread because of a song, so the audience should be left to have their say, adding: “In this way, the syndicate has a role in development, rather than limiting its role only to service and organizational activity.”
He concluded by “training these singers and giving them the necessary training courses for them to come from the popular areas to the audience directly, so an attempt must be made with them, and whoever responds to this development, obtains the membership of the union.”
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