Helene Fischer releases an album with 25 children’s songs – and in the end only one of them makes the headlines. What’s behind the alleged excitement?
Helene Fischer wanted to take the “logical next step” in her career with her latest album, the singer said a few weeks ago. “The most beautiful children’s songs” is the name of the record, which has been on the market since last Friday and which Fischer describes as her “heart project”. The 40-year-old continued that it was a special motivation for her as a mother to reinterpret classics such as “Bake, bake cake” or “La-Le-Lu”.
Only the song “Aramsamsam” attracts attention outside of the normal album PR. You can read about “trouble because of your children’s song album” in some media, the “Berliner Kurier” writes about a “shitstorm PR” and the portal “Schlager.de” headlines an article on the topic: “Now is the language police are after her.”
But is that true? Things are relatively quiet on Helene Fischer’s Instagram account. Because of the reporting, a fan even asks: “Where are all the critical comments that my daily newspaper mentioned?” Other commentators agree that they cannot understand the excitement.
So what’s behind it? It is true that the song “Aramsamsam” has sparked discussions in the past. Because of its origins, it promotes racist stereotypes, according to the accusation. “Aramsamsam” is an Arabic song that is sung in the Moroccan dialect, according to the work “Islam between self-image and cliché, a religion in the Austrian textbook”. In it you learn that the phrase “ram sam sam” has no discernible meaning, but other words do. So the line “Guli guli guli” could be translated as “tell me, tell me, tell me.” In addition, the word “A rafiq” means something like “a friend, a companion”.
However, he was referring to songs like “The monkeys are racing through the forest” or “Three Chinese with the double bass”. Two songs that are not included on Helene Fischer’s album. Riva did not explicitly mention “Aramsamsam” in this interview. However, he later stated in another conversation with “Deutsche Welle” that the onomatopoeic song, which imitates the Arabic language and also includes prayer gestures from Muslims in the accompanying dance, was definitely problematic.
“This imitation of a language or fantasizing about a foreign culture was perhaps still understandable in times when there was little direct exchange,” argued ethnomusicologist Riva in February 2022. Today there are children with Asian, Arab or African parents in almost every daycare center and primary school . “They are later teased or bullied with these songs, there are so many examples,” says Riva.
However, many parents and especially many small children are not even aware that the song “Aramsamsam” is controversial. In contrast to more obvious examples, no controversial background was apparently suspected for a long time behind the onomatopoeic language of the song. The fact that critics see the song as a corruption of the Arabic language and the dance as an amusement about Islamic prayer gestures is now becoming more noticeable with Hel
ene Fischer’s new interpretation - and is subsequently leading to increased media coverage.
Time.news Editor: Welcome to Time.news! Today, we have the pleasure of speaking with Dr. Maria Kahn, an expert in musicology and cultural studies, to delve into the recent release by one of Germany’s biggest pop stars, Helene Fischer. Her new album, “The Most Beautiful Children’s Songs,” has sparked quite a conversation, particularly around the song “Aramsamsam.” Maria, thank you for joining us!
Dr. Maria Kahn: Thank you for having me! I’m excited to discuss this intriguing topic.
Time.news Editor: So, Michal, Fischer describes this album as her “heart project,” ensuring she interpreted classic children’s songs through a personal lens, especially as a mother. What do you think are the implications of an artist taking such a step in their career?
Dr. Maria Kahn: It’s really fascinating. Artists like Fischer are often perceived as role models, especially when they tap into childhood nostalgia. By reinterpreting these songs, she aims to forge a deeper connection with her audience, especially parents. However, navigating that path means considering how cultural interpretations can resonate—or clash—with current societal values.
Time.news Editor: And yet, despite the album containing 25 tracks, it seems that “Aramsamsam” is the only song stirring controversy. According to reports, it’s under scrutiny for promoting racist stereotypes. How did this song become the focal point of the discussion?
Dr. Maria Kahn: “Aramsamsam” has a complex history. Originally an Arabic children’s song, it has been interpreted through a western lens that, unfortunately, perpetuates stereotypes. The backlash suggests there’s a growing awareness and sensitivity towards cultural appropriation and the potential harm of misrepresenting cultural elements. This song, due to its lyrics and origins, stands at the intersection of children’s entertainment and deeper societal issues.
Time.news Editor: You mention cultural sensitivity. The media has caught on to what they term a “shitstorm PR” surrounding Fischer. Is this heightened feedback a reflection of the current cultural climate?
Dr. Maria Kahn: Absolutely! We’re living in a time where societal values are rapidly evolving. Audiences are more vocal about issues of representation, racism, and cultural appropriation. The media often amplifies these conversations, sometimes leading to sensational headlines that overshadow the actual discourse, which can lead to misunderstandings of what’s happening on social media, such as on Fischer’s Instagram account, which seems relatively calm.
Time.news Editor: So, despite the alleged backlash, it appears many fans are not as critical as the headlines suggest. Why might that be?
Dr. Maria Kahn: Many fans likely appreciate Fischer’s efforts to engage with childhood themes, especially in a light-hearted manner. The disconnect between media portrayal and public sentiment often arises because not all criticisms resonate with fans’ experiences. Some may see the attention given to “Aramsamsam” as overblown, especially if they don’t share the same concerns.
Time.news Editor: It seems there’s a split between media narratives and audience reactions. Moving forward, how do you think Fischer and similar artists should approach cultural content, especially when it involves sensitive themes?
Dr. Maria Kahn: Artists should strive for authenticity while being mindful of the cultural implications of their work. Engaging with cultural consultants or diversifying their artistic teams can help prevent missteps. Transparency and openness to critique are crucial in fostering a respectful dialogue between artists and their audience.
Time.news Editor: Thank you, Dr. Kahn, for your insights on this pressing topic. The conversation around Helene Fischer’s album certainly opens up a broader talk about cultural representation in music and the arts. We appreciate your expertise!
Dr. Maria Kahn: Thank you for having me! It’s always a pleasure to discuss the intersections of culture and music.