Saudi generosity is flooding Egypt's cultural scene, but reception is mixed. Some welcome the new “cooperation” between two regional powers, while others fear a hostile Riyadh takeover.
In Cairo, historically the cultural capital of the Arab world, Minister of Culture Nevin Al-Kilani recently hosted Turki Al-Sheikh, head of the Saudi General Entertainment Authority.
The deep-pocketed sheikh has emerged as a Medici-like patron of Egypt's cultural elite, courted by Cairo's best talent to produce a slew of upcoming films.
A new tripartite agreement between Sheikh and Kilani and United Media Services – a multimedia group linked to state intelligence that owns much of Egypt's media and entertainment industry – will see “cooperation in a range of fields” including “theatre, cinema and music”, the culture ministry said. .
Cultural critic Magda Khairallah believes that this is another example of “Saudi Arabia’s desire to change the stereotype about its relationship with art.”
On Egyptian television, the sheikh defended the agreement as beneficial for everyone.
He said: “Egypt is teeming with talent and professionals, and the Kingdom of Saudi Arabia is witnessing a great renaissance.”
“By complementing each other, we can make a great leap forward together.”
The conservative Gulf kingdom has moved away from its taboo reputation for several years, opening mixed music festivals and cinemas while relaxing social rules.
“But you cannot create an artistic scene overnight,” Khairallah told AFP, and this is where Egyptian talent comes into play.
– Art “for a price” –
For a century, Cairo has been known as the “Hollywood of the Arab World,” with its films hugely popular and its stars known throughout the region.
But with Egypt facing the worst economic crisis in its modern history — including in the media industry — Khairallah warns that Saudi benevolence is generating an unequal power dynamic of buy-out more than partnership.
Khairallah said: “There is a difference between cooperation and financing. In cooperation, both sides create and produce art, but this is not what Saudi Arabia does.”
“They get our art, our stars and our music for a price.”
Indeed, Saudi Arabia's growing film festival circuit – part of the kingdom's plan to attract 30 million tourists a year by 2030 – is packed with Egyptian artists, actors and musicians.
But despite Riyadh's rise as a new cultural hub for Arab talent, all has not gone smoothly.
Last month, the first “Saudi-Egyptian Night” – a musical event at the Cairo Opera House – caused a stir among Egypt’s culture critics.
The evening was attended by Egyptian stars, including maestro Omar Khairat and singers Mohamed Mounir and Sherine Abdel Wahab, and was attended by Cairo stars and their actor, Turki Al-Sheikh, who was the guest of honor.
According to Hend Salama, who leads theater news coverage for the Egyptian magazine Rose Al-Youssef, “there was no respect” for the opera house as an institution.
She said, “It is a symbol of Egyptian art, not a private theater,” adding, “The Saudi Entertainment Authority alone is responsible for invitations and choosing celebrities. How can we call this cooperation?”
Egyptian critic Mohamed Abdel Khaleq said the event also violates the Culture Ministry's de facto decision to suspend all ceremonies and celebrations in solidarity with Palestinians who have been under Israeli attack in the neighboring Gaza Strip since October.
“We canceled the Cairo Film Festival and canceled the Arab Music Festival. What happened now? Have the massacres stopped?” Abdul Khaleq asked.
– 'Big Time' Fund –
Riyadh is accelerating its charm offensive as part of de facto ruler Crown Prince Mohammed bin Salman's strategy to divert Saudi oil wealth into movies, sports, video games and tourism, while overseeing major domestic social change.
In a rare move, the Kingdom has already granted Saudi citizenship to a number of celebrities, including Egyptian comedian Mohamed Henedy and talk show host Amr Adeeb.
The sheikh also announced his “Big Time” Fund for Arab Cinema, which is set to produce 10 Egyptian films this year.
The endeavor, worth four billion Egyptian pounds ($84 million), represents a major boost to an industry that has a wealth of talent but an economic landscape that has hampered production capacity.
In the 1950s, when the industry was nationalized in the early days of the republic, Egypt was the third largest film producer in the world.
Now, despite producing three-quarters of all Arab films, only 21 films will be released in 2022.
While Saudi Arabia is trying to build “its own cultural archive,” Abdel Khaleq told Agence France-Presse that “it is natural for it to rely on Egyptian artists and technicians for the sake of the Saudi artistic renaissance.”
This wave of Saudi-funded production directly benefits Egyptian artists, including theater directors and actors who are now staging plays in the kingdom.
But Khairallah warns that this could be a double-edged sword.
She said: “Obtaining funding is wonderful, as long as it does not come with imposing ideas on the Egyptian artist.”
“Then it's just a way to exert control.”
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