2023-04-25 19:45:00
Ethey chose a graphic novel, Oum Kalthoum, birth of a diva*, to bring us into the history and universe of the Egyptian legend Oum Kalthoum. “They” are Nadia Hathroubi-Safsaf, editor-in-chief of the Atlas Mail, and Chadia Loueslati, illustrator and comic book writer. Together, they have chosen to share with us the key scenes of the diva’s life: a poor childhood in a colonized Egypt, the discovery of a “gift from god”, learning the Koran, public recitations made up as a boy … And then this voice which is essential in the Egyptian repertoire and at the first congress of Arab music in Cairo in 1936. A voice which then propelled the singer on the greatest stages of the world. Carried by the sublime line, kohl style, both realistic and poetic of Chadia Loueslati, the destiny of Oum Kalthoum, between desire for emancipation and infinite love for her family and her homeland, reveals a character who has become timeless.
Like Marilyn Monroe in mainstream culture, Oum Kalthoum is a monument in itself. His face that adorns the cover of the novel is now a mark that has stood the test of time. Her feminist commitments, the unfailing love she had for the Egyptian people, not to mention her avant-garde communication skills, will not fail to attract digital natives why XXIe dawning century. If the oldest evoke their memories of listening to these long songs with emotion, their children remember this voice associated with their childhood, with nostalgia. This makes the character modern and familiar, especially to French families from North African immigration like the two authors, Franco-Tunisians. Together, they confided in the Africa Point.
The Africa Point: What is the genesis of this first graphic novel on Oum Kalthoum?
Chadia Loueslati : We met on the occasion of an article that Nadia was writing for The Courier of the Atlasabout the release of my comics Big family et Our holidays in Bled. It matched between us and we decided to work together. It was I who proposed the character of Oum Kalthoum. When I hear this Egyptian diva, I see my father listening to her for hours and lots of memories come flooding back. Of nostalgia. For these same reasons, Nadia immediately joined.
Nadia Hathroubi-Safsaf : Yes, it was like a no-brainer. I was even very surprised that no one had had the brilliant idea beforehand of dedicating a comic strip to him. Oum Kalthoum is a character that brings together several generations. This project therefore spoke to me immediately, because my parents also listened to it a lot, but especially my father, in the car, on the road to the holidays in the bled. And then, I’m a big comic book reader and I’m a big fan of Chadia’s line.
Why does the Egyptian diva mark so much the memory of immigrants, as in your Tunisian families?
Chadia Loueslati : You have to put things in context. When our parents listened to it, there was no radio like Radio Maghreb, Radio Beur… The attachment to these cassettes was very important, it was a link with the country. When you come from immigration, on French television, on the radio too, there is only French news, the French language, the lack for our parents is understandable. This means that we were also lulled by Arabic music. And then the fact that Oum Kalthoum is recognized as singing the sacred and the love of God means that it remains classified apart. It sanctifies it in a way.
Nadia Hathroubi-Safsaf: Oum Kalthoum is the only great figure in the Arab world who goes beyond borders. He is an incomparable star as much in Morocco as in Algeria, as in Lebanon, and even beyond. She sings of love. This speaks to everyone, especially to immigrants who miss their family, their country of origin. It’s a bit like their Madeleine de Proust, or their Turkish delight…
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Is it also for this reason that the story begins with this legendary concert at the Olympia (Paris) in 1967?
Nadia Hathroubi-Safsaf: We wanted to immediately integrate the story into the French context. During this concert, there were personalities like Marie Laforêt, Omar Sharif, his wife… Through the eyes of the journalist from Monde who was discovering the diva, we wanted to show to what extent the French public was left speechless by the emotion aroused by her performance, her famous Talab. There were endless queues, it was unheard of. It is said that it was General de Gaulle himself who suggested the idea to Bruno Coquatrix, the director of the L’Olympia hall.
In any case, this is what the latter said during an interview. Indeed, we are six months from the Six Day War, the idea makes sense. Oum Kalthoum did soft power in a way!
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Oum Kalthoum is also nicknamed “the fourth pyramid of Egypt” for its patriotism. What was his political role?
Chadia Loueslati : His political engagement took place at a time when Egypt needed to bail out the coffers. She multiplied the concerts all over the world and donated everything to the State. She was in the hearts of Egyptians too because she entered homes every Thursday, on the occasion of a free concert she offered via radio broadcast. She deeply loved the Egyptian people, whom she wanted to support even after her death. After protecting her family, she bequeathed everything to her country.
Nadia Hathroubi-Safsaf: We can clearly see in the comics that she entered politics out of social conscience. She knew the little people, she saw up close the great misery of the Egyptian people. Nor is it blind to the consequences of English colonization and its share of injustices. She nevertheless agreed to sing for the enthronement of King Farouk, which will be reproached to her and will even be at the origin of a boycott once the king has fallen. Fortunately, she shared a strong friendship with a certain Gamal Abdel Nasser, the father of Arab nationalism. This will save her and restore her to the place we know today.
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Oum Kalthoum was also a free woman, who imposed her choices and her way of life. A very modern feminist message…
Chadia Loueslati : I knew the artist and his songs, but while working on this graphic novel, I discovered an impressive life journey. For an Arab woman born at the end of the 19th centurye century, she was very avant-garde in her choices. First through her battle to go to school, then to impose her style of dress as a diva, let’s even mention the marriage contract that she imposed on her husband, giving him the right to divorce if she wished…
When the famous women of her time wore make-up, to accentuate the femme fatale side, she played on the opposite register, remaining quite sober: covered elbows, skirt below the knees… She imposed herself by her talent. It’s very modern when you see all these hyper-sexualized girls today, especially on social networks.
Nadia Hathroubi-Safsaf: She made a promise to her father with whom she learned to recite the Koran. After years of reciting in disguise as a boy, she had managed to convince him to dress as a woman for more secular performances. She didn’t want to disappoint him. His style was also a very clever way of remaining accessible to the people, but at the same time inaccessible to everyone, constantly remaining in the background.
*”Oum Kalthoum, birth of a diva” – Ed JC Lattès with Organized Bands edition – March 2023. 22.90 euros
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