Performance | Marwan Anwer | TEDxMinia
The speaker argues that Egyptian music should authentically reflect the country's full spectrum of society rather than remaining overly sentimental or limited. He demonstrates this by detailing his transition from covering established artists like Amr Diab to creating original works like "Ishtiyaq" (Longing), which resonated deeply with listeners enough to prompt personal connections. The central principle he adopts is that one's only failure point is actual failure, urging listeners to develop their inherent talents while always remembering their humble beginnings to help others.
## Speakers & Context
- Speaker: Musician/Artist presenting his work.
- Audience: Assumed to be in an Egyptian cultural/artistic setting.
## Theses & Positions
- Egyptian music often lacks reflection of the full spectrum of Egyptian society.
- The speaker believes in developing an original artistic voice rather than relying solely on covers of established artists.
- The core life principle adopted is: "the only thing I'll fail at is if I actually fail."
- Art requires a realistic and objective perspective on the chosen path (music, poetry, painting, etc.).
- Having achieved blessings requires the duty to help those who are average or below average, "for God's sake, not for any other reason."
- Excessive praise or ego inflation should be avoided when pursuing any creative path.
## Concepts & Definitions
- **"Dust of the Past" state:** A musical concept representing a mix of Umm Kulthum, Abdel Wahab, and Abdel Wahab in a different period.
- **"Ishtiyaq" (Longing):** A track concept initially about missing army friends, which expanded to represent missing people (grandfather, father, brother) or past experiences.
- **"Sukkarak Sukkar" (Your Sugar is Sugar):** A forthcoming song about the beauty of the ordinary Upper Egyptian girl.
- **Golden Rule Principle:** The only thing that constitutes a failure is one that actually occurs.
- **Blessings:** Gifts from God that must be developed and utilized.
## Mechanisms & Processes
- **Marketability Strategy:** Initially covered established artists (Amr Diab, Mohamed Mounir) to gain support before moving to original material.
- **Inspiration Source:** Using experiences (like mandatory military service) to create deeply resonant art.
- **Digital Platform Utility:** Utilizing YouTube not just for "useless things," but as a tool to create life-changing art (e.g., prompting a call to a father after 15 years).
- **Development Path:** Going from covers $\rightarrow$ original concept ("Dust of the Past") $\rightarrow$ focused narrative ("Ishtiyaq") $\rightarrow$ regional focus ("Sukkarak Sukkar").
## Timeline & Sequence
- **Pre-Original Work:** Creating covers of Amr Diab, Mohamed Mounir, and other artists.
- **First Original Track:** "Dust of the Past," exploring a specific musical state.
- **Military Service:** Time spent in the army, leading to realizing the concept of connection among diverse groups (Cairo, Alexandria, Upper Egypt, Arabs, Bedouin).
- **Second Original Track:** "Ishtiyaq" (Longing), focusing on the feeling of longing, later broadened in scope.
- **Current Project:** Preparing album material, including "Sukkarak Sukkar," focusing on Upper Egyptian culture.
- **Observation:** Noted the recent rise and popularity of the violin in Egyptian streets over the last five years.
## Named Entities
- **Umm Kulthum, Abdel Wahab:** Artists whose styles influenced the speaker's early conceptual music.
- **Amr Diab, Mohamed Mounir:** Specific artists whose songs were covered initially.
- **Cairo, Alexandria, Upper Egypt, Arabs, Bedouin:** Geographical/group identifiers used to describe the shared experience in the army.
- **Mu'adh, Hatem Omar:** Musicians mentioned for accompanying the final music segment (Mu'adh on guitar, Hatem Omar on cajon).
## Numbers & Data
- Timeframe for difficulty in industry: The speaker faced obstacles "against our will."
- Emotional distance bridged by "Ishtiyaq": A listener was prompted to call her father after **15 years**.
## Examples & Cases
- **Early Success:** Initial covers of major artists were well-received, garnering "a lot of support from people in the wider field."
- **"Dust of the Past" Concept:** Used to create a feeling embodying a mix of three great eras/artists.
- **"Ishtiyaq" Impact:** A listener shared that the music inspired her to call her father after 15 years of silence.
- **Violin Popularity:** Observation that the violin has become "very popular" in Egypt over the last five years, seen on the streets.
- **Social Class Artistry:** Example that someone from a certain social class doesn't *have* to stick to only Western games; can incorporate Eastern elements or combine both.
## Tools, Tech & Products
- **YouTube:** Described as a platform capable of uploading both "useless things" and "things that change the course of our lives."
- **Violin:** An instrument noted for its increasing popularity in Egyptian streets.
- **Cajon:** Instrument played by Hatem Omar.
## References Cited
- None.
## Trade-offs & Alternatives
- **Musical Focus:** Trade-off between commercial viability (covers of popular artists) vs. artistic integrity (original material).
- **Artistic Scope:** Trade-off between specific, niche representation (Upper Egypt in music) and broader, universal themes (Longing).
- **Emotional vs. Literal:** Moving from expressing specific memories to abstract, transferable feelings.
## Counterarguments & Caveats
- Initial critique: Egyptian music was perceived as being *either* "extremely sentimental" or lacking representation of society's full spectrum.
- Self-correction: The speaker acknowledges that the initial material was derivative (covers) before developing his own voice.
- Warning: Must not become complacent; one must avoid falling into the trap of believing one is already fully realized, or becoming overly reliant on praise.
## Conclusions & Recommendations
- Cultivate originality while respecting one's roots; never forget how one started (the humble beginning).
- Focus on developing inherent talent ("God gives you blessings and sees what you'll do").
- A commitment to helping others ("It's their duty to help someone who is average or below average").
- The ultimate measure of art is its ability to prompt significant real-world human connection.
## Implications & Consequences
- Art has the power to overcome deep emotional rifts (e.g., decades of silence between family members).
- Recognizing and developing inherent talent leads to abundance ("If you develop them, He'll give you even more, and you'll achieve even more").
- Success requires humility: "No one should forget how they started."
## Verbatim Moments
- *"God gave me intelligence and the ability to utilize everything He has placed around me."*
- *"The only thing I'll fail at is if I actually fail."*
- *"if you go too high, that's the beginning of your downfall."*
- *"it's their duty to help someone who is average or below average, and to help them for God's sake, not for any other reason."*
- *"I wasn't an ordinary person already."*
- *"We're all different in every way."*
- *"If you don't develop them, He'll love them more."*
- *"Hey, Captain, can you play something for us on this oud?"* (Though it was a violin).
- *"Why is it that music in Egypt is either extremely sentimental or nothing truly reflects the spectrum of Egyptian society?"*