Mahraganat's march into the mainstream

I'm doing a lot of reading and video and movie watching on the topic of mahraganat for a writing project, and I thought I'd share this nugget.

In 2012 mahraganat artist Sadat was asked to compose a song for the mainstream film Game Over, released in June, a remake of the Hollywood release Mother-In-Law (starring Jane Fonda and Jennifer Lopez). The song, “Haqqi Bi-raqabti” (my right to my neck? -- help, please!)  appears in a scene where Egyptian film stars Yousra and Mai Ezzedine lip-synch it. The scene looks pretty fairly ridiculous, especially Yousra (at age 61) dancing and singing to the autotuned vocals of Sadat. 

Here's the scene:

Sadat’s name does not appear in the movie credits. I learned this from watching Hind Meddeb's 2013 documentary, Electric Chaabi, which you can purchase from Amazon. I highly recommend it. 

Very soon thereafter it would be hard to imagine mahraganat artists not receiving credit or anyone other than the artists themselves performing their own songs. 

As a footnote, I love Yousra, especially in Mercedes and Al-Irhab wa al-Kebab.

Rihana Arabic Tat Reprise: "Numb"

"Numb" is a fantastic song. Let's just get that out there at the outset.



The video is great too. It's also an occasion to for Rihanna to show off all her tattoos as well as lots of flesh.

At 1:43 you can spot her tat which reads (though you can't in fact read it) in Arabic (roughly translated) "Freedom in Christ/the Messiah." Viewers might not have noticed because they were looking at something else. Or maybe at her new Isis tattoo. (For a better view of the Egyptian goddess Isis tat and the Arabic one, go here.) Another view of the Isis tat is: here.

I've blogged about these Arabic tats before. And about Rihanna's pro-imperialist vid, "Hard," too.

I just thought you Rihanna heads should know about this latest sighting. Don't forget to listen to the song. (I want to know who is rapping early on. Before Eminem kicks in.)

Kufiyas in the video for MIA's, "Born Free" -- and a note on my kufiya lecture

M.I.A, Born Free from ROMAIN-GAVRAS on Vimeo.
If you read this blog you were probably already aware of this video. In fact, you are probably one of the many people who wrote to me to tell me about it. And if you read this blog, you no doubt notice that I've really slacked off for the last few months. One of the things that has been going on is that I've been posting a lot to facebook. But I have realized that, while the social interaction of facebook is something I like, my posts there nonetheless are only seen by a few people, and they leave no permanent record. So, I've decided to re-commit to hawgblawg.

The video, directed by the son of the celebrated director Constantinos Costa-Gavras, shows male "gingers" (redheads) being rounded up and then forced to run through a minefield. It's clearly meant to be a kind of allegory for the persecution of ethnic minorities, and leaves itself open to a variety of interpretations. Is it meant to be about the persecution of Tamils in Sri Lanka? Of Mexicans without papers in Arizona? It seems to be up to the viewer. But there are two clear references. The mural that is seen while the bus carrying the prisoners drives through town looks very reminiscent of the kind that one might have seen in Belfast, especially given the look of the redheads it depicts. And the mural reads, "Our Day Will Come," which was in fact an IRA slogan.
And of course there are the kufiyas, with their unmistakable Palestine reference. Gingers garbed in red kufiyas, wrapped so as to partially disguise their faces, appear in the video at about 4:06.

They are hiding around a corner, waiting to make their assault on the armored bus carrying the prisoners.

They launch some stones and bottles, in a manner very reminiscent of the iconic Palestinian stone throwers of the two intifadas.

Their attack does no damage to the vehicles, and the drivers don't pay attention and do not slow down. The kufiya clad attackers, however, appear to be pleased that they at least made the effort. They raise their arms above their had, as if signaling victory, or perhaps solidarity with the prisoners. The prisoners make no visible response.

The video is quite bloody and graphic. I am not sure that it is particularly effective as a political allegory--but it sure did manage to attract a lot of comment and attention, both positive and negative.

I do quite like the MIA song. The lyrics, when you work them out, are really quite non-political and non-incendiary, and have really next to nothing to do with the video itself, whose purpose seems to have been more to gain publicity for the song rather than make any kind of explicit political point. The kufiya, then, seems to serve more as a kind of iconic sartorial item of struggle, in the vaguest of senses.

I gave a lecture entitled "Keffiyeh: From Resistance Symbol to Retail Item" at the Palestine Center on April 6, 2010. You can view the video here. Comments are welcome.

Footnotes on Rihanna

Courtesy of what I've learned from friends, some more commentary on Rihanna and her notorious "Hard" video.

First, and I found this rather astounding, among Rihanna's 13 tattoos (I think that the count is correct) is one written in Arabic script! It reads, as far as I can tell, al-hurriya fî masîh (الحرية في مسيح) or maybe al-hurriya fî al-masîh (the latter would be more correct), that is, "freedom in Christ" or more literally, "freedom in the messiah." Christ/masîh appears right under her left breast, so it's not seen all that often. These are the two shots I could find.


This looks like it says al-hurriya fi masîh.


This one, curiously, makes it look as though the original had been altered slightly, so that the article al- had been added. It doesn't show masîh (Christ), just al-hurriya fi-al.... Those of you who know Arabic will note that there should be no link between the fi and the al. So it's corrected incorrectly.

The statement of course is not one that you would probably want display when prancing around in your porno-military outfits on your invasion of Iraq/Afghanistan. It would make you appear as if your campaign for freedom/democracy was in fact a Crusade. But in fact, my friend Robin said that she thought she spotted an Arabic tattoo, in the late sequence where Rihanna carries the banner. (Here's the shot from my original post.) Given, Robin says, that the banner is black, might it be Shi'ite/Abbasid?!!

Keen eyes, Robin! Here's another shot, with the banner.


The friend who brought Rihanna's Arabic tattoo to my attention said that he had thought it might mean that Rihanna was not imperialistic in her views, in contrast with the very patriotic, and Walmart-friendly, Beyoncé. Turns out not to be so.

(Did Rihanna get the idea of an Arabic tattoo from Angelina Jolie, whose right arm is adorned with a tattoo that reads العزيمة, "al-'azeema" or determination?)

Second, Robin comments on the Arabic that appears on the wall of the house. 'The arabic graffiti on the wall reads: "li-llah [can't see] ilayhi raji'un," which is for some reason broken out from the expression "*inna* li-llah wa-inna ilayhi raji'un," "we belong to god & to him we return," from Surat al-Baqarah, verse 156 [the Qur'an], what you say when you hear that somebody has died. it's interesting in the context of the song; hard to believe that anybody involved in the production had thought it through that much, though maybe somebody had.'

Thanks to Robin and her keen eyes and superior (to my own) Qur'anic knowledge.

ADDENDUM, Jan. 7, 2010. Iraqiguy put up this comment on the original Rihanna post:

...the expression "انا لله و اتا اليه راجعون" meaning "we all belong to Allah and verily to him we shall return"

It's usually written on the walls of houses where people would have just passed away. It's arabic and islamic etiquette for what to say when you hear about a death.

this expression is ofcourse very prevalent in Iraq and Palestine and every arabic country involved in war or civil unrest, where death is a common occurrence.

Thanks! I would only add that, in the context of the vid, it's interesting that the soldier walks by that written on the wall. When the perpetrator of the death being commemorated may, in all likelihood, have been the US military.

Third, Geoff says: "the hat in the card-playing still looks VERY much like a WW2-era German military cap; note the eagle ... maybe Afrika Korps? Disturbing."

I think he's right, especially about the eagle. See here.

Rihanna's "Hard" Video: Supporting the Afghan Surge

Over the past year, I've heard my MERIP comrade Moustafa Bayoumi give the same, great, paper twice, at last year's MESA (Middle East Studies Association) conference, and at this year's American Studies Association (ASA) conference. It's entitled, "The Race is On: Muslims and Arabs in the American Imagination," and I hope it's published soon. He argues that, since 9/11, the formerly mostly invisible Arabs and Muslims in the US have become massively visible, and increasingly, racialized. And racialized in a particular way: associated with blackness, and hence, turned into a social problem.

At the same time, Bayoumi argues, "African Americans have emerged in popular culture in recent years as the leaders of an American nation and an American empire." Moreover, he says, " this image often revolves fundamentally around the idea of black friendship with Muslims and Arabs, a friendship not among equals but of a modified projection of American power." To simplify, then, the long and venerable tradition of African-Americans opposing US imperialism is increasingly abandoned in favor of a civil rights position of actively participating in all aspects of US life, including US imperialism. Colin Powell, Condoleezza Rice, Barack Obama: all faces designed, or used, to make our empire acceptable, at home, and abroad. (Of course it's not just "faces." It's active involvement and even policy determination.)

And so we come to Rihanna, whose new "Hard" video I found shocking, even though I was very familiar with Bayoumi's argument. But no doubt it's my residual and very out-of-date expectations that African-American popular culture should somehow be oppositional that makes me outraged at how pro-imperialist Rihanna's vid is. And how it deploys so many signs of "coolness" to push the imperial agenda.

I would like the song a lot if I had not seen the vid. Now I cannot listen without seeing it. Militaristic and battlefield scenes (which are made to look like they are shot in Iraq) serve as a kind of runway for Rihanna, where she can display various outfits and demonstrate her "hard"-ness. "Yeah yeah yeah, I'm so hard," she sings over and over again in the chorus.

Rihanna appears in various outfits and scenarios.

In bright red lipstick, in GI fatigues, as if on the set of a GI-themed porn shoot. Her mouth ready to receive...what?

More is revealed, and we see black tape over her nipples. At least that's what it looks like at first glance, but then we notice it's actually over a low-cut, skin-colored tank top. The tape over nipples stunt was done recently by Lady Gaga and Amy Winehouse. But I think it was Wendy O of the Plasmatics who was most famous for this look.

Rihanna is also shown as if she were the commander, inspecting her unit of (all-male) troops who are in formation. Here she looks like classic Grace Jones.

Later we see Cmdr Rihanna before "her" troops, shouldering a heavy weapon. If you watch the vid (and you must) you'll notice that this outfit includes a bikini bottom showing off a very shapely booty.

Here, she looks something like Nona Hendryx in '83-'84, when she was all about that sci-funk look. I saw Nona in concert back then but can't find a good photo of what she looked like. The outfits looked aluminum. This is more or less it.

Garbed in her sci-fi gear, "hard" Rihanna strolls through the desert, unconcerned by the explosions going off around her.

We also see Rihanna with bandoliers over either shoulder. And without them, but in the same outfit, atop a pink tank. Between her legs. Really hard, a for-sure phallic female here. I guess the pink tank makes it feminine. And the Mickey Mouse ears on her helmet--is that supposed to be funny? If so, it's about the only element of humor in the vid.

And there is the Madonna-esque outfit--the bronze bikini top. In which Rihanna is variously displayed strutting atop a sandbagged position with some GIs.

Or lying supine.

There are other outfits whose referents are less clear to me. Rihanna plays poker with the guys in this one. And she wins. Because she's hard. "And my runway looks so clear," she sings. "But the hottest bitch in heels right here."

Here, she's wearing a camouflage/net thing. And her weapon.

This outfit, which appears towards the end of the vid, also escapes me. A leopard-skin Prussian looking helmet? And the black banner she is waving?

Young Jeezy appears in the video with a guest rap. He's in GI gear, smoking a cigar, but he is much more relaxed in his poses. He's already hard, just puffing on the blunt.

In case it wasn't clear, the video also clues you into the fact that this is the Middle East, and probably Iraq, that we're in. The Arabic script is sort of passable. This last word here reads raj'iun, or 'returning.' An important slogan for the Palestinians.

As I read this vid, it all adds up to an articulation of support for the upcoming Afghanistan surge. The militaristic poses make Rihanna look hard. Alternatively, they help make her look freaky and kinky. At the same time, she, by her very presence on the battlefield, makes the US military invasion of Iraq/Afghanistan look sexy. And bloodless. There are no 'bad guys.' There are no civilians in the desert. No one gets injured. It's all fabulous.

The US military and African-American r'n'b and fashion and sex are all in synchrony here.

I cannot imagine Grace Jones ever performing in such a blatant display of support for US imperial adventure. In the run-up to the Iraq invasion, African-American musicians like Nas, Outkast, Mobb Deep, Jay-Z, Busta Rhymes, George Clinton, Raphael Saadiq, Missy Elliott and others came out to express their opposition, as part of Musicians United to Win Without War. (They signed an ad that appeared in the New York Times on Feb. 26, 2003, among other things.)

Where is the "cultural" opposition to the Afghan surge?

Indy Torture Film Festival: Cairo--NOT

Check out this AFP report. (I love it: the "Golden Whip" award!)

CAIRO - Egyptian bloggers, long at the forefront of exposing rights abuses, are planning an online festival of torture videos to run alongside the 31st Cairo Film Festival, local media reported today.

The parallel festival is the idea of a blogger named Walid, the Egyptian Mail reported, and will feature "controversial acts of torture allegedly committed by the security authorities". [I've been unable to track down the original article.]

Prizes, including a "Golden Whip", will be awarded to the best entrants.

Egypt's blogosphere has exposed numerous incidents of police torture, including that of minibus driver Imad al-Kabir who was shown being sodomised with a stick in widely distributed video footage shot on a police mobile phone.

Two policemen were jailed for three years earlier this month for that crime in a rare case of security forces members being sentenced for abusing detainees.

Rights groups say the use of torture is widespread in Egyptian jails and police stations, while the interior ministry says that those who carry out torture are always punished.

The Cairo Film Festival runs from November 27 to December 7.

UPDATE: One of those who first released torture videos denies any such "fringe" festival will take place. Khusara!