Arabic pop culture
Define cultural resistance and explain how arts and cultures are a means of resistance to the power block (political, patriarchal, religious, etc.)
Introduction
Cultural resistance is perceived as being the use of literature, arts, as well as conventional practices to challenge oppressive or unjust systems just within the context of peaceful movements, campaigns, or actions. Since cultural resistance is regarded as being the mechanism that is used to reclaim humanity, it in return aid in celebrating the Arabian culture. Within this context, it implies that some of the cultural resistance that is being utilized by the Arabian communities is relatively powerful since they serve numerous purposes (DeLaure & Fink, 2017). They have the propensity of inspiring the nation in terms of what the community could have invested in establishing the capacity of the entire community. Such creative as well as artistic offers a fun means of encouraging people to get involved.
Cultural resistance uses meanings and symbols to test and combat dominant powers. The practice is as old as history itself. It aims to construct a different vision of the world. The practice employs arts, literature, and traditional practices to counter oppressive and unjust power systems. It is a non-violent means of achieving community development. Arts and cultures can be a powerful form of resistance to the power blocks such as political, religious, and patriarchal (Hammond, 2007). The Arab wave of toppling oppressive and dictatorial regime as often employed the use of art and popular culture to express views and put across their message.
Analysis
The artists speak for themselves through their music becoming one of the most important expressions of contemporary art and culture. The cultural events are a way of people from other cultures to counter the perceptions of Arabs in other countries. The only other way of understanding Arab culture is through social media and accessible advertising. Before the export of the art and symbols to the outside world, the only other way of understanding the people was through the Arabian networks (Walid & Mounira, 2013). The oriental dance and Rai and shaabi dance is a new way of interacting with emerging culture from the Middle East. The result is people from outside the culture diversifying by consuming a variety of acts from the region.
Classical music, musical trends, and pop songs such as oriental dance have revolutionized the form of productions in the region. The forms of art now have an audience outside of the traditional arts and media structures. The political, patriarchal, social, and religious situations in the regions that the arts originate mean that they are a necessary form of expression. What this implies is the fact that such an establishment has sought to suppress these arts as they view them as dissent becoming necessary to export them to become sustainable. One problem noted in the arena is the lack of understanding and recognition by those outside the Arabic culture (Khalaf & Khalaf, 2012). Such forms of art do not even dominate television in the Arab world.
Unlike in the western world where bestseller lists are available, they are hard to come by in these regions. However, young artists are changing this narrative by embracing new avenues such as social media to express themselves. However, they have to contend with problems such as religious conservatism. Shaabi has a voice of the street that offers an authentic expression of Arabic culture combined with humor and joyfulness form that the outside world has not had the chance to view the regions (Frishkopf, 2010). Hence, art is an important form for the outside world to change their views about cultures they do not understand.
Conversely, the culture of the Arabian community indicates that cultural resistance is used as one of the fundamental means for ensuring that each person has collaborated with a diverse population to make them understand the circumstances being protested upon. In the process of building the community, classical music, pop songs, music trends, such as Rai and Shaabi as well as other oriental dances is used to foster dialogue between participants (Barry, 2015). The power of cultural and artistic expression regarding human rights is therefore championed to warn people about the establishment of inequality. As a result of that, it, therefore, suggests that this is a conscious and inclusive activity the challenges the privilege and power that is held by the leaders. To bridge the gaps that exist between the Arabian community and artists, it is emphasized that artists dedicate their time towards communicating to the community to understand the significance of equal participation (Gazzah, 2008). In return, it becomes possible to represent the sentiments and interests of the community in the best way.
With Arab uprising, artistic cultural resistance can take various forms in both small and large scale. Musical trends such as Rai and Shaabi is one of the mechanisms that educated people about the significance of solidarity. Within this context, it means that art and culture have the propensity of overcoming political, patriarchal, social, and religious ideologies that hinder the development of the community. The reason for that is because solidarity is one of the means that can be used to enhance creative resistance (Frishkopf, 2010). Such campaigns are also aimed at deconstructing some of the tensions that exist between leaders and their subjects. In return, it becomes easier to prevent the disastrous impacts of violence and foster cross-cultural understanding (Gazzah, 2008). In the process of promoting visibility to violation of human rights, artistic cultural resistance is used to support and protect art and culture based on the nature of the Arabian culture.
Promoting cultural resistance, networking, and discussions induce positive experiences amongst activists and artists. For instance, oriental dances are performed as an entertainment spectacle and a ritual to the community. Performative music, poetry recital, and storytelling are traits that still exist in Arabian history. Dabke and Belly dance are the main traditional dances that are best known. Despite that, the impact they have is that it assist the participant and the audience to identify some of the cultural differences that exist within the society (Barry, 2015). Some of the risks that are associated with the utilization of artistic tactics are regarded as being politically, socially, and religiously dangerous. Therefore, the height or presence of threats against Arabian cultural resistance relies on the relationship and the nature of cultural production. Such an understanding is also based on various identifiable norms and values of the community that dictates political and religious figures (Hammond, 2007). For example, in case the establishment of cultural resistance has the propensity of provoking or offending such authorities, it is the responsibility of the activists to ensure that they have used their art pieces to educate the community about the dangers that it has.
Even though participants might end up sharing creativity, the use of classical music, pop songs, music trends such as Rai and Shaabi as well as oriental dance enable the Arabian community to overcome any form of innovative cultural resistance. The use of visible, large, and beautiful props has the potential of sending certain information to the community particularly when authorities try to dismantle such an artwork (Khalaf & Khalaf, 2012). Activists in return take advantage of establishing a spectacle that aid in demonstrating the general tolerance of the community being protested. Since imaginative resistance has the likelihood of provoking opposing forces, it is paramount for activists or artists to be aware of the dangers they might face and take action quickly (Walid & Mounira, 2013). Such a strategy will take into account warning practitioners of innovative cultural resistance about the repercussions of their actions to the community.
Conclusion
As much as Arabian culture is concerned, the use of classical music, pop songs, music trends, such as Rai and Shaabi as well as other oriental dances is the primary means for airing individual vies regarding the political powers that reside only within few institutions. Since this is one of the means the community uses to make sense to the entire world, hegemony thus becomes a cultural and political process of emancipating the Arabian community. Taking into account the oppression that exists, cultural resistance can be argued as being one of the accessible artistic expressions of voice through the use of various mediums. Therefore, it focuses on raising the awareness of the Arabian community to call for integrity. Through communication and collaboration, it means that the Arabian community always enables art to advocate the significance of their culture to promote social, political, and religious development.
References
Barry, R. (2015). The Middle East: A Guide to Politics, Economics, Society and Culture. Routledge Press
Frishkopf, M. (2010). Music and media in the Arab world. Cairo: The American University in Cairo Press.
Gazzah, M. (2008). Rhythms and rhymes of life: Music and identification processes of Dutch-Moroccan youth. Plaats van uitgave niet vastgesteld] : [Uitgever niet vastgesteld
Hammond, A. (2007). Popular culture in the Arab world: Arts, politics and the media. El Cairo: American University in Cairo Press.
In DeLaure, M., & In Fink, M. (2017). Culture jamming: Activism and the art of cultural resistance. New York : New York University Press
Khalaf, S., & Khalaf, R. S. (2012). Arab Youth: Social Mobilisation in Times of Risk. New York: Saqi.
Walid, E.H & Mounira, S. (2013). Popular Culture in the Middle East and North Africa: A Postcolonial Outlook. Volume 46 of Routledge research in postcolonial literatures. Routledge Press
