Sherifa Zuhur – författare

The great Arab singer Asmahan was the toast of Cairo song and cinema in the late 1930s and early 1940s, as World War II approached. She remained a figure of glamour and intrigue throughout her life and lives on today in legend as one of the shaping forces in the development of Egyptian popular culture. In this biography, author Sherifa Zuhur does a thorough study of the music and film of Asmahan and her historical setting. A Druze princess actually named Amal al-Atrash, Asmahan came from an important clan in the mountains of Syria but broke free from her traditional family background, left her husband, and became a public performer, a role frowned upon for women of the time. This unique biography of the controversial Asmahan focuses on her public as well as her private life. She was a much sought-after guest in the homes of Egypt's rich and famous, but she was also rumored to be an agent for the Allied forces during World War II. Through the story of Asmahan, the reader glimpses not only aspects of the cultural and political history of Egypt and Syria between the two world wars, but also the change in attitude in the Arab world toward women as public performers on stage. Life in wartime Cairo comes alive in this illustrated account of one of the great singers of the Arab world, a woman who played an important role in history.

Explores the history of Muslim women and debates over gender, which have developed since the golden age of Islam.In modern Egypt, the pace of Islamic resurgence has increased as in other Muslim societies. Throughout the twentieth century, Egyptian women have fought fiercely for political participation and for legal and educational reform to improve their status. To many of them, the adoption of a new form of the veil seemed retrogressive and ominous. This book explores the history of Muslim women and the debates over gender, which have developed since the golden age of Islam. It considers the opinions, goals, and ideals of fifty Egyptian women, veiled and unveiled, and compares their views to the gender ideology of the contemporary Islamists. Women's social backgrounds are examined in the context of the Egyptian state and its social policies.

The great Arab singer, Asmahan was the toast of Cairo song and cinema in the 1930s, as World War II approached. A Druze princess actually named Amal al-Atrash, she came from an important clan in the mountains of Syria, but broke free from her traditional family background, left her husband, and became a public performer, a role frowned upon for women of the time. She was also rumored to be an agent for the allied forces during WWII. Through the story of Asmahan and her musical career, the reader glimpses not only aspects of the cultural and political history of Egypt and Syria between the two world wars, but also the change in attitude in the Arab world toward women as public performers on stage.

This book is an exploration into the history, aesthetics, social reality, regulation, and transformation of dance and dance music in Egypt. It covers Oriental dance, known as belly dance or danse du ventre, regional or group-specific dances and rituals, sha'bi (lower-class urban music and dance style), mulid (drawing on Sufi tradition and saints' day festivals) and mahraganat (youth-created, primarily electronic music with lively rhythms and biting lyrics). The chapters discuss genres and sub-genres and their evolution, the demeanor of dancers, trends old and new, and social and political criticism that use the imagery of dance or a dancer. Also considered are the globalization of Egyptian dance, the replication or fantasies of raqs sharqi outside of Egypt, as well as the dance as a hobby, competitive dance form, and focus of international dance festivals.