Умм Күлтім: Мысыр даусының тарихы мен мұрасы

Egyptian singer songwriter, actress (1904–1975)
the Egyptian singer

Umm Kulthum (4 May 1904 In her native Egypt, Kulthum is a national icon; she has been dubbed as "The Voice of Egypt" and "Egypt's Fourth Pyramid". In 2023, Rolling Stone ranked Kulthum at number 61 on its list of the 200 Greatest Singers of All Time.

Umm Kulthum was born in the village of Tamay e Zahayra, belonging to the city of Senbellawein, Dakahlia Governorate, in the Nile Delta She learned how to sing by listening to her father teach her older brother, Khalid. From a young age, she showed exceptional singing talent. Through her father, she learned to recite the Qur'an, and she reportedly memorized the entire book. When she was 12 years old, having noticed her strength in singing, her father asked her to join the family ensemble, upon which she joined as a supporting voice, at the beginning just repeating what the others sang. On stage, she wore a boy's cloak and bedouin head covering in order to alleviate her father's anxiety about her reputation and public performance. Her father would only change his mind upon the persuasive arguments of Amin Al Mahdi. In 1923 she struck a contract with Odeon records which by 1926 would pay her more than any other Egyptian musical artist per record.

Amin El Mahdi invited her into the cultural circles in Cairo. In 1924, she was introduced to the poet Ahmed Rami, who was to write 137 songs for her and also introduced her to French literature eventually becoming her head mentor in Arabic literature and literary analysis. In 1926, she left Odeon records for Gramophone records who would pay her about double per record and even an additional $10,000 salary. By 1930, she was so well known to the public, that she was the example to follow for several young female singers. From then on onwards, she performed at a concert on every first Thursday of a month for forty years. Later, Nasser would schedule his speeches so they would not interfere with the radio performances of Umm Kulthum. Some claim that Umm Kulthum's popularity helped Nasser's political agenda. For example, Nasser's speeches and other government messages were frequently broadcast immediately after Umm Kulthum's monthly radio concerts. She sang many songs in support of Nasser, with whom she developed a close friendship. One of her songs associated with Nasser—"Wallāhi Zamān, Yā Silāḥī" ("It's Been a Long Time, O Weapon of Mine")—was adopted as the Egyptian national anthem from 1960 to 1979, when President Sadat revoked it because of the peace negotiations with Israel and replaced it by the less militant "Bilady, Bilady, Bilady", which continues to be Egypt's anthem today. Umm Kulthum was also known for her continuous contributions to works supporting the Egyptian military efforts. Umm Kulthum's monthly concerts were renowned for their ability to clear the streets of some of the world's most populous cities as people rushed home to tune in. During her career, she would act in five more movies, of which four would be directed by Ahmad Badrakhan

Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The lover's heart softens"), one of her most popular, intricate, and high caliber songs. The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie Aida, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera. Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Syria and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944. Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad Al Sunbati. While Sonbati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sonbati and al Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience. In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic. Salou Qalbi ["Ask My Heart"] was written by Ahmad Shawqi and composed by Ryad Al Sunbati. Another source mentions the creation of a song of war. Laura Lohman has identified several other war songs created for her in that same period. In 1969 it was followed by another, Asbaha al Ana 'indi Bunduqiyyah ["I now have a rifle"]. Her songs took on more a soul searching quality in 1967 following the defeat of Egypt during the Six Day War. Hadeeth el Rouh ["sermon of the soul"], which is a translation from the poet Mohammad Iqbal's "Shikwa", set up a very reflective tone. Generals in the audience are said to have been left in tears. Following the formation of the United Arab Emirates (UAE) in 1971, she staged several concerts upon invitation of its first president Zayed bin Sultan Al Nahyan to celebrate the event. Umm Kulthum also sang for composers Mohammad El Mougi, Sayed Mekawy, and Baligh Hamdi.

Umm Kulthum died on 3 February 1975 aged 70, from kidney failure before she could finish and sing her two songs ''Awkaty btehlaw ma'aak wa hyaty btekmal b'redak'' and another song that she asked for the poet Saleh Goudet to write for her to sing to commemorate the victory of Egypt in the October War (also known as: Yom kippur war) against Israel. She died before she was able to perform it on the second anniversary of the war. Her funeral procession was held at the Omar Makram mosque and became a national event, with around 4 million Egyptians lining the streets to catch a glimpse as her cortège passed. In the area where the funeral procession took place, traffic was cut off two hours ahead of the procession. The mourners would also wrest the casket from the shoulders of its bearers, force the procession to change its direction with significant influence on a number of musicians, both in the Arab World and beyond. Jah Wobble has cited her as a significant influence on his work, and Bob Dylan has been quoted praising her as well. Maria Callas, Marie Laforêt, Bono, among many other artists, are also known admirers of Kulthum's music. Youssou N'Dour, a fan of hers since childhood, recorded his 2004 album Egypt with an Egyptian orchestra in homage to her legacy. One of her best known songs, "Enta Omri", has been covered and reinterpreted numerous times. "Alf Leila wa Leila" was translated into jazz on French Lebanese trumpeter Ibrahim Maalouf's 2015 album Kalthoum. She was referred to as "the Lady" by Charles de Gaulle and is regarded as the "Incomparable Voice" by Maria Callas. It is difficult to accurately measure her vocal range at its peak, as most of her songs were recorded live. Even today, she has retained a near mythical status among young Egyptians and the whole of the Arabic World. In 2001, the Egyptian government opened the Kawkab al Sharq ("Star of the East") Museum in the singer's memory. Housed in a pavilion on the grounds of Cairo's Manesterly Palace, the collection includes a range of Umm Kulthum's personal possessions, including her trademark sunglasses and scarves, along with photographs, recordings, and other archival material. Her performances combined raw emotion and political rhetoric; she was greatly influential and spoke about politics through her music. An example of this is seen in her music performed after World War II. The theme at the surface was love, yet a deeper interpretation of the lyrics – for example in the song "Salue Qalbi" – reveals questioning of political motives in times of political tension.

Umm Kulthum was a contralto. Contralto singers are uncommon and sing in the lowest register of the female voice. According to some, she had the ability to sing as low as the second octave and as high as the eighth octave at her vocal peak. Her incredible vocal strength, with the ability to produce 14,000 vibrations per second with her vocal chords, required her to stand three feet away from the microphone. She was known to be able to improvise and it was said that she would not sing a line the same way twice.

She is referenced at length in the lyrics of the central ballad "Omar Sharif" in the musical The Band's Visit. A pearl necklace with 1,888 pearls, which she received from Zayed bin Sultan Al Nahyan, is exhibited at the Louvre in Abu Dhabi. Hologram concerts featuring her have been organized also by the Egyptian Minister of Culture Inas Abde Dayem in Cairo Opera and the Dubai Opera