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alonewiththemoonAfter picking up an album by the Syrian-Lebanese-popular in Egypt singer Asmahan (Amal Al Atrache, a Druze princess) and completely falling in love with her voice, I had to read Asmahan's Secrets: Woman, War, and Song by Sherifa Zuhur. It is astonishing how much history, both cultural and political, was packed into one woman's all too short life. She was born in turbulent times as her family fled the Greek advance on Syria during WWI (her father was an Ottoman-appointed governor), born actually on board a ship en route to Beirut. Her mother raised her and her two brothers (one of whom was Farid Al Atrache) in several different Middle Eastern cities, partly for political reasons and partly because her mother did not want to return to the culturally conservative Druze community in Syria from whence they came. This was to be a recurring theme in Asmahan's life as well, as she alternated between the cosmopolitan cities of Cairo and Beirut on the one hand, and the Druze dominated area of Jabal in Syria on the other. The tension between being a musical performer and a good woman was also a recurring theme in Asmahan's life. Nobody denied her talent, and as long as she performed at private parties only her conservative relatives could overlook her dishonorable behavior, but once she began to star in films, her status as a performer was undeniable. Her apparently well earned reputation in the media for drinking and having affairs made matters worse. She owned and drove her own car and generally behaved in a most unfeminine way. Her brother Farid had much the same reputation and also appeared in films, many more films in fact, but as a man his behavior was not so dishonorable. Death threats were issued against Asmahan by family members, and in fact she died under mysterious circumstances that seem unlikely not to have been deliberately engineered, a car accident in which she and a friend drowned but which the driver survived.
Meanwhile, World War II was profoundly impacting politics in the Middle East. It wasn't the point of the book, but I found it provided an excellent primer on who was doing what where in the Middle East during WWII. I had no idea that the Vichy regime and the Free French were engaged in war against each other in Syria and Lebanon, with the British also keeping in the action so as not to lose any colonial claims to whichever French might win. And then there were the Germans and Italians in Egypt, of which I was vaguely aware (I did watch Raiders of the Lost Ark, after all), but I had never really thought about the lasting effects of the Ottoman Empire and how that might have affected Arabic allegiance and sympathies to the various players, given Turkish alliances in WWII. Of course every European power made the most outrageously insincere promises to every last little tribal group in every nook and cranny of the Middle East (see: Lawrence of Arabia), all of which were promptly reneged upon at the end of the war, and thus we have the mess we have today. What does this have to do with Asmahan? As a woman comfortable walking in both European and Druze worlds, she became an important emissary between the British/Free French and the Druze, carrying information and pledges of support from one to the other. The Druze would require an entire book to explain, but suffice it to say that in that era, they were an important military consideration in Syria, and they were not political naifs. Asmahan's work as a courier brought her freedom to move around and financial reward, but she apparently felt quite strongly about ensuring that the Druze had the best deal possible. It is hypothesized that shortly before she died she may have been considering entertaining offers from the Axis powers to become their courier and exerting her influence to sway the Druze to their side--more fodder for speculation about the automobile accident which killed her. There is also speculation about a jealous ex-husband or lover or a female rival being responsible.
Sadly Asmahan herself left little record of her thoughts and feelings. All we have is her behavior as reported in the media and by her family and friends, and of course her music, which is tremendous. Her loss was a great one. Who is to say whether this dynamic, apparently fearless woman might not have become a force to reckon with in Middle Eastern politics in her older years, much as Umm Kulthum became an important figure for politicians to rally alongside? Might her example and forging of a new pathway for a woman have opened up doors for the young women to follow? As it is, her death enabled those who judged her to say, "See, this is what happens to bad women."
The book itself is an odd mix of academic speak combined with the exciting narrative of Asmahan's life. I think the author could not help but interject some novelistic tendencies into her account. But that does help to enliven what might sometimes be a rather dry analysis of musical styles or politics. For those interested in the technical aspects of Arabic music, there is a fair amount of discussion of that in here, along with a few pages of sheet music for the main melodies of some of her most famous songs.
All in all, strongly recommended for those interested in Arabic music, Middle Eastern political history and/or women's sociocultural history in the 20th century Arab world. I know I listen to her music differently now, hearing the very real woman behind the voice, and for that alone, the book was well worth the read.
Asmahan:
Meanwhile, World War II was profoundly impacting politics in the Middle East. It wasn't the point of the book, but I found it provided an excellent primer on who was doing what where in the Middle East during WWII. I had no idea that the Vichy regime and the Free French were engaged in war against each other in Syria and Lebanon, with the British also keeping in the action so as not to lose any colonial claims to whichever French might win. And then there were the Germans and Italians in Egypt, of which I was vaguely aware (I did watch Raiders of the Lost Ark, after all), but I had never really thought about the lasting effects of the Ottoman Empire and how that might have affected Arabic allegiance and sympathies to the various players, given Turkish alliances in WWII. Of course every European power made the most outrageously insincere promises to every last little tribal group in every nook and cranny of the Middle East (see: Lawrence of Arabia), all of which were promptly reneged upon at the end of the war, and thus we have the mess we have today. What does this have to do with Asmahan? As a woman comfortable walking in both European and Druze worlds, she became an important emissary between the British/Free French and the Druze, carrying information and pledges of support from one to the other. The Druze would require an entire book to explain, but suffice it to say that in that era, they were an important military consideration in Syria, and they were not political naifs. Asmahan's work as a courier brought her freedom to move around and financial reward, but she apparently felt quite strongly about ensuring that the Druze had the best deal possible. It is hypothesized that shortly before she died she may have been considering entertaining offers from the Axis powers to become their courier and exerting her influence to sway the Druze to their side--more fodder for speculation about the automobile accident which killed her. There is also speculation about a jealous ex-husband or lover or a female rival being responsible.
Sadly Asmahan herself left little record of her thoughts and feelings. All we have is her behavior as reported in the media and by her family and friends, and of course her music, which is tremendous. Her loss was a great one. Who is to say whether this dynamic, apparently fearless woman might not have become a force to reckon with in Middle Eastern politics in her older years, much as Umm Kulthum became an important figure for politicians to rally alongside? Might her example and forging of a new pathway for a woman have opened up doors for the young women to follow? As it is, her death enabled those who judged her to say, "See, this is what happens to bad women."
The book itself is an odd mix of academic speak combined with the exciting narrative of Asmahan's life. I think the author could not help but interject some novelistic tendencies into her account. But that does help to enliven what might sometimes be a rather dry analysis of musical styles or politics. For those interested in the technical aspects of Arabic music, there is a fair amount of discussion of that in here, along with a few pages of sheet music for the main melodies of some of her most famous songs.
All in all, strongly recommended for those interested in Arabic music, Middle Eastern political history and/or women's sociocultural history in the 20th century Arab world. I know I listen to her music differently now, hearing the very real woman behind the voice, and for that alone, the book was well worth the read.
Asmahan:
