Art is emotive; subsequently, it is expected to be used in revolutions and

movements alike—to whichever political degree they lie, almost dogmatically. The most

common type of art form used in said movements is music. Fundamentally, chanting is

simple and powerful. Once again, incredibly emotive. It is simple enough to have people

participate effortlessly, and yet have them remain focused on their message which drives

their aim forward, as it is never neglected through music, but only emphasized and

amplified. Interestingly, this was put into practice in the infamous and highly criticized

Egyptian Revolution which occurred in 2011. Previous Egyptian Revolutions have

always been violent. Incorporating music into the 2011 revolution not only made it more

peaceful, but it also aided the Egyptian people in achieving their motive and sending a

memorable message across to the government, the rest of the world, and, ultimately,

anyone who would listen.  

Music, for centuries, has been used to communicate messages. The fusion of right

lyrics, rhythm, and instruments can create a form of identity, stir strong emotions, and

mobilize people to indulge in a collective duty, making music a great tool for social

change. Luckily, historians rapidly realized how significant music was during the

treacherous period of the movement. To some people, music carried an aspect of

courage. This courage was important in keeping a keen eye on the ultimate goal — the

liberation of African Americans from the yoke of oppression. To keep up the fight
against discrimination and ensure laws such as those that enforced segregation were

abolished, the protestors had to remain courageous in the face of all

possible persecutions. 

As Eyerman and Jamison state in their book, Music and Social Movements:

Mobilizing Traditions in the Twentieth Century, the discovery of radio recorded music,

and other forms of music such as jazz was critical of collective will change in the new

generation. The politically charged music was instrumental in creating a new vision for

American society, one that is felt to the present day. Musicians are carriers of influence.

The sound and messages they produce directly influence people in significant ways.

Music, politics, and culture have long been related.  Throughout history, specifically, the

20th and 21st centuries, musicians have played a critical role in progressive change,

impacting various aspects of humanity such as race, culture, and politics. Musicians

have always used their platforms to express political and social dissatisfaction as a

means of highlighting the plight of those who are marginalized in society so that their

cries may be heard. 

Similarly in Egypt, the 2011 revolution was the first to include any means of

peaceful protesting from the Egyptian people. Past Egyptian, and generally Arab,

revolutions have been always known to include violence. Fortunately, it worked in the

protestors’ favors, for their main objective was removing the president and replacing

him with a new one — which they got the chance to democratically vote on which was

not the case for the 30 years prior. After 30 years, people got what they asked for. This
was achieved by the peaceful protests, in which music played a crucial in delivering

their objective. The short, rhythmic chants were loud and allowed their demands to

finally get heard. It showed other oppressed countries (mainly Arab) that violent protests

are not always the most successful.  

The function of the art in public expression is common and effective. When

executed well, it can speak for many at times of conflict. The unanimous emotions

people feel at times of uncertainty and hardship is comforting. Expression through the

arts helps people become aware 

that others are in a similar place. Besides comforting those who view the art, it also

relieves artists who are expressing their personal thoughts through an artistic medium. It

works as a platform for the artists and, simultaneously, for the audience. When it comes

to music and its use in revolutions, the audience frequently participate in the chats which

then allows them the aforementioned relief of the artists. Though this practice of using

arts in protests is common elsewhere, it still remains significant in Egyptian history since

it was successful even though it was the first time the Egyptian people used it, so it was a

foreign and unexpected tactic to the government, which possibly made it that much more

effective. 

During the revolution, to bring down former Egyptian president Hosni Mubarak,

Egyptian musicians were not silent. Being referred to as “The King” by the Egyptian

people, Mohamed Mounir released a song that would go on to become the anthem of

the Egyptian revolution. He became one of the first voices of the January 25th, 2011,
revolution, through his song “Ezzay”, which translates to “How” in English. Due to the

Egyptian government trying to disseminate the message of revolution to the Egyptians,

his song was not played on Egyptian state radio. However, being eager to release his

song to the Egyptian people, he uploaded his song on YouTube and got over 2 million

views. In his song, Mounir sings to Egypt as an unfaithful partner.  

“How do you accept this for me my love? 

To be in adoration of your name 

When you continue to confuse me 

And you don’t even feel my goodness, how? 

I have no motive in my love for you 

But my faithful love has brought me no salvation

How can I be the one to hold your head up high? 

When you continue to hold my head down low 

How?”  

Egypt is personified as the beloved and questions her love for the Egyptian people and

him. The central idea of this song is found in its sorrow in Egypt’s ability to comfort and

love her people.  In the lyrics, Mounir emphasizes the loving relationship between the
citizens and the country.  Consequently, this song acted as a motive to Egyptians, to

participate in the revolution.  

There were also other Egyptian musicians that released powerful songs during

the revolution. In contrast to Mohamed Mounir’s online song, Ramy Essam’s song

“IrHal”, which translates to “Leave” in English, was played in Tahrir Square (where the

protests took place). In addition to being played live in Tahrir Square, it was also

recorded live on YouTube for the people at home to listen, as it was not allowed to be

shown on national T.V. Essam mainly used Egyptian jokes and chants to write his song

“IrHal”. 

All of us, one hand, our demand, one stand: Get out! Get out! Get out!

Get out! All of us, one hand, our demand, one stand: Get out! Get out!

Get out! Get out! All of us, one hand, our demand, one stand: Get out!

Get out! Get out! Get out! All of us, one hand, our demand, one stand:

Get out! Get out! Get out! Get out! Down with, down with Hosni

Mubarak! 

Down with, down with Hosni Mubarak! 

Down with, down with Hosni Mubarak! 

Down with, down with Hosni Mubarak! 

The people demand the downfall of the regime 

The people demand the downfall of the regime

 The people demand the downfall of the regime 

We won’t leave, he’s gonna leave! 

We won’t leave, he’s gonna leave! 

The use of ‘ammiya’ (form of Egyptian language) in the lyrics, played a huge role in

the spreading of the song among the Egyptian people. It made the lyrics easier to

understand and easier to memorize. The core of this song is in the meaning and rhythm

chants that make up the song. By using phrases like “all of us”, “one hand”, the

Egyptian people felt more determined and more motivated to participate in the

revolution.  

The years between the 2011 Revolution and the 2013 Revolution were years of

oppression and confusion for the Egyptian people. Initially hopeful for having a newly

elected president, their attitude was quickly changed once they realized that not much

changed compared to the 30 years prior during the rule of Hosni Mubarak. Because of

this, no patriotic music was being produced and music, which was what freed them in

2011, became suppressed. This left the Egyptian people to question whether the

Revolution was ultimately purposeless, which is what drove them to another Revolution

in 2013.  

In 2013, Egyptian song writer and singer, Mostafa Kamal released his top hit song

“Teslam El-Ayadi” (“Bless Your Hands” or “May the Hands be safe”). “Teslam El-

Ayadi was performed by 8 different musicians: Mostafa Kamal, Ahmed Kamel, Khaled
Aggag, Soma, Ehab Tawfik, Hakim, Ghada Raghab, and Hesham Abbas. If there is a

song that would express the joy and freedom Egyptians felt after the oppression and

hardship they were living in before the 2013 military coup, then it is “Teslam EL-Ayadi”.

The song is a homage to the Egyptian army for bringing down the Muslim Brotherhood

government. In addition, the song celebrates the accomplishments done by the Egyptian

army throughout history.

This is the hero who gave up his life 

Who carried the name of my country 

The one who protects our honor 

May the military of my country be safe. 

Ask the sand of Sinai. 

Which blood irrigated it? 

Is it the blood of my nephew and relative? 

Or is it that of my friend? 

As life took us in a loop 

A voice filled with kindness said: 

May our hands be cut 

 If they touch Egyptians. 

May the military of my country be safe. 

The song begins with the words “this is the hero who sacrificed his life” while

showing, in the music video, a group of soldiers walking towards the camera. Then, a clip

of (at the time field marshal, now president) Abdel Fattah-El Sisi wearing a military

uniform a giving orders to a group of soldiers. Between the different clips, the Egyptian

flag is seen flashing and fluttering. Throughout the music video, the military theme is

evident, mixed with clips of the artists in the studio recording the song, while holding the

Egyptian flag. The song also contains grateful and thankful lyrics to Abdel Fattah-El Sisi

and the fallen soldiers who made the 2013 military coup possible and fought for the

freedom of the country.

“The song has become larger than life. To the majority of Egyptians, it became the

synonym of ‘salvation’, ‘resuscitation’, ‘ending of a nightmare’, ‘restoring a stolen

nation’, ‘twist of fate’,  and last but not least Defense Minister Field Marshall Abdel

Fattah El Sisi a charisma that has  been lost for decades and found at last.” (Khairy,

2014) 

The following year on May 16, 2014, Emirati singer Hussain Al Jassmi and

Egyptian singer Ayman Qamar, released “Boshret Kheir”, which translates to “Good

Omen” in English.  The song was released on YouTube and ever since amassed over 500

million views. The music video shows clips of Egyptians dancing and singing, to unite

people and make them to vote for a new president after the revolution. The video was
filmed in 8 different Egyptian cities, and most of the Egyptians in the music video were

holding posters saying “Vote”. The song achieved huge success among Egyptians and

went on to become the most played song of the year in Egypt. It made people dance and

sing, making the population forget about the hardships they went through during the

revolution.  

The relationship between politics and music in Egypt is deep-rooted and

thorough. The peak of the use of music in Egypt, was measured to be in the last decade.

This is no surprise, seeing the significant events that took place between 2011-2013. In

2011, protest songs played an essential part in removing Hosni Mubarak from his role as

president. However, in 2013, protest songs were replaced by ‘counter revolutionary’

songs like “Teslam El-Ayadi”. The use of music in Egypt between 2011-2013, was one of

the few times where art represented the Egyptian people’s thoughts and emotions.

What made music effective and representing the population in the 2011 protests, was

its ability to unite diverse people from different cities in Egypt. It was the music’s ability

to move the people’s emotions, making them commit to the movement. Music between

2011-2013 in Egypt was seen to be used in two different ways. In 2011, the song “Irhal”

was used in Tahrir Square against the president and his government, demanding they

should step down. While, in 2013, songs like “Teslam El-Ayadi” were used in supporting

the rule of the military.