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Nour El-Sherif: Timeless Star of Ramadan Drama, Master of Meaningful Art

Nour El-Sherif: Timeless Star of Ramadan Drama, Master of Meaningful Art

When discussing Ramadan drama in the history of Egyptian and Arab television, one name inevitably stands out—Nour El-Sherif. More than just an actor performing scripted roles, he was a visionary storyteller, a seeker of human values, and a mirror reflecting society's realities with sincerity and depth. His presence during the holy month was not just expected; it was essential. His works became deeply ingrained in the collective memory of audiences, shaping Ramadan viewing traditions for generations.
From the outset of his distinguished career, El-Sherif approached drama with an artistic sensibility that set him apart. He was never drawn to superficial or commercially driven projects. Instead, he sought stories with depth—works that combined entertainment with enlightenment, captivating storytelling with profound social commentary. His television productions, particularly his Ramadan series, exemplified this philosophy, making them some of the most highly anticipated works each year.
A Journey Through Ramadan Drama
El-Sherif's early Ramadan appearances were marked by historical and religious dramas, a genre that once dominated Egyptian television. One of his most memorable performances was his portrayal of the just Caliph in Omar bin Abdul Aziz. His ability to embody historical figures with a rare blend of solemnity and humanity turned the series into a dramatic masterpiece—breathing life into the legacy of a revered leader without falling into the trap of dry narration.
As his career evolved, he shifted towards socially driven dramas with philosophical undertones. His role in Lan A'ish Fi Gilbab Aby was more than just a success story of a self-made man; it was a deep psychological exploration of father-son dynamics and the intersection of ambition and fate. Through his portrayal of Abdel Ghafour El-Borai, El-Sherif created an enduring cultural icon—one that resonated across generations as a symbol of perseverance in the face of adversity.
His brilliance continued in Aelat Al-Hajj Metwalli, where he masterfully depicted the struggles of an Eastern man navigating complex family and marital relationships. Far from being a simple tale of polygamy, the series explored shifting societal values and generational changes with depth and nuance.
Throughout his Ramadan career, El-Sherif's works went beyond traditional social narratives; they served as reflections of Egypt's evolving society. In Al-Attar We Al-Sab'a Banat, he played Abdel-Hamid Al-Attar, a merchant from Upper Egypt grappling with the challenges of raising seven daughters alone after his wife's passing. The series delved into the delicate balance of fatherhood in a conservative society, portraying the tension between love and discipline, protection and independence. With his restrained yet deeply emotional performance, El-Sherif made Al-Attar one of the most beloved father figures in Egyptian television.
In Hadrat Al-Motaham Aby, he tackled one of his most emotionally charged roles, portraying Mahmoud, a schoolteacher caught in a desperate battle against corruption when his son is falsely accused of a crime. More than just a father fighting for his child's innocence, he became a voice against the moral decay of society. His performance—brimming with raw intensity—turned the series into a powerful critique of corruption and injustice.
With Arafa Al-Bahr, he returned to portraying the struggles of the working class, this time as a humble fisherman standing against the forces of corruption threatening his livelihood and that of his fellow seafarers. Arafa was no traditional hero wielding weapons; his strength lay in his unbreakable will, representing the timeless battle between good and evil. El-Sherif infused the role with philosophical depth, transforming Arafa into a symbol of resilience and resistance.
In Saad El-Daly, he delved into the world of business and politics, portraying a powerful tycoon whose empire is threatened by conspiracies and betrayals. More than just a drama about wealth and power, the series reflected Egypt's socio-political and economic landscape. El-Sherif delivered a layered performance, balancing wisdom and cunning, ruthlessness and humanity—solidifying Saad El-Daly as one of his most unforgettable characters.
Perhaps one of his most intricate roles came in Al-Ragol Al-Akhar, a psychological thriller in which he played Yehia, a businessman who loses his memory and wakes up to an entirely different life. This role required him to transition between two starkly different personas, a challenge he met with remarkable finesse. His gripping performance elevated Al-Ragol Al-Akhar to one of his most celebrated Ramadan series, reaffirming his reputation as an actor who didn't just portray characters but completely embodied them.
Why El-Sherif's Ramadan Works Remain Timeless?
El-Sherif's works were never just seasonal dramas that faded over time; they remained imprinted in the hearts and minds of viewers. His legacy was not solely built on high production values or compelling scripts but on his ability to breathe life into his characters, making them feel real. He didn't act—he lived his roles, infusing them with authenticity that made audiences connect with them on a profound level.
His choices were always deliberate. He avoided one-dimensional characters, opting for roles that reflected society's complexities. This artistic integrity elevated his work beyond mere entertainment, turning it into a thought-provoking medium for change.
El-Sherif's ability to collaborate with Egypt's finest screenwriters and directors further cemented his status as a true artist. Working with legends like Osama Anwar Okasha, Mahfouz Abdel Rahman, and Ahmed Abdel Rahman, he ensured that his projects carried not only strong narratives but also deep intellectual and emotional weight.
A Star with Many Faces
What truly set El-Sherif apart in the world of Ramadan drama was his remarkable versatility. He was the just ruler, the humble self-made man, the determined father, the shrewd businessman, and the fearless fighter against fate. His ability to seamlessly transition between historical, social, and political narratives made him a star audiences never tired of watching. Each new project was a challenge he embraced, continuously pushing the boundaries of television drama.
A Lasting Legacy
Even after his passing, El-Sherif's works remain a cornerstone of Ramadan television, replayed year after year as part of the holy month's cultural fabric. His contributions to drama stand as a testament to the power of authenticity, masterful storytelling, and meaningful artistic expression.
He was not just an actor—he was a school of performance, a beacon of artistic integrity, and a pioneer who understood that drama was more than just entertainment; it was a force for influence and change. His Ramadan works will forever shine in the annals of television history, and his characters will live on in the hearts of audiences—just as he lived for his art and gave it his all.
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Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly
Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly

Al-Ahram Weekly

time6 hours ago

  • Al-Ahram Weekly

Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly

Once, an artist from Jerusalem who was staying with me insisted that we go and see him. I called his home number. That may have changed more recently but, till the last time I saw him, Sonallah never owned a mobile phone. His hallowed answering machine came on and once I gave my name, I could hear his own perky, welcoming voice as he picked up… That must've been 2006. Sonallah was already a recipient of the prestigious Al-Owais Award (in 1993), a major literary figure by any count, but he was still—always—eminently approachable. A few months shy of seventy, he was so energetic he came across as much younger. I remember being lost, driving from Maadi to Sonallah's sixth-floor apartment in Heliopolis. I had been there before, but my state of mind was wrecking navigational havoc. This was a difficult time for me, with anxiety attacks and premonitions of doom marring almost every interaction. I remember Sonallah noticing how jittery I was, advising me against self-medicating. He was a reticent, measured, drily humorous interlocutor, but he managed to be among the warmest, most deeply empathetic people I knew. Above all I remember the awe with which my artist friend regarded the small, spiky figure as he bustled about, serving us hot drinks. What drew Palestinians to his work so much? Even among other paragons of the Generation of the Sixties—the literary movement that followed Naguib Mahfouz and others whose careers had started in the first half of the 20th century, and included many celebrated figures—Palestinians found no one as compelling as Sonallah. In 2007, the late novelist Gamal Al-Ghitani (1945-2015) told me there were only two original achievements in the Generation of the Sixties: his own return to canonical storytelling; and Sonallah's hyperrealism. Both novelists believed in the Sixties ethos, that mixture of socialism, Arab nationalism, and secularism that emerged out of Gamal Abdel-Nasser's revolutionary dictatorship (1954-1970). Both had been imprisoned for political activities. Sonallah had it harder, though: while a law student at Cairo University, in 1959, the Nasser regime arrested him for belonging to a communist organisation. He was barely 20, and he spent what would've been his university years in prison, five years in total. Still, Sonallah remained loyal, if not to the regime's repressive practices, then to Nasser's vision for national liberation: pan-Arab, anti-colonial, and devoted to the most dispossessed sectors of the population… Ghitani fought for these values from within the establishment. In 1993, under Nasser's neoliberal heir Hosni Mubarak, he founded the state's most successful cultural publication, Akhbar Al-Adab, a weekly. He not only edited Akhbar Al-Adab but, through this and other roles, gathered enough influence and visibility to function as a kind shadow culture minister. For his part Sonallah never accepted an official—or indeed any—position in his life. He never worked with private-sector publishers, either, preferring the independent Dar Al- Mustaqbal Al-Arabi for the most part. In retrospect I can see he was not just fiercely guarding his independence, since his work often dealt explicitly with political issues, but also living out the Sixties ethos as faithfully as possible. After his release in 1964, Sonallah was badly off and isolated, unsure how to proceed. As he later avowed, a diary in which he noted down what was happening to him in short, terse, verb-driven sentences helped to keep him sane. He was working on short stories at the time, more involved narratives in the vein of socialist realism. But it was this straightforward record of everyday suffering—freed not just of the strictures of socialist realism, which as a young, committed communist he felt he had to follow, but of any conscious attempt at artifice at all—that eventually commanded his attention. The diary gradually morphed into That Smell, a novella that—along with the Moroccan writer Mohamed Choukri's 1972 For Bread Alone—would form the core of my own literary aesthetic and sense of modern Arabic. By general consensus it is a seminal work, evidencing the kind of quiet, spare, first-person lyricism that would not resurface in Sonallah's writing until 2007 (in Stealth). That Smell exposed the horrors and hypocrisies of a world headed for resounding collapse: within a few years, indeed, the 1967 defeat to Israel would serve as a rude awakening from the Nasserist dream of dignity and development, arguably debilitating the young republic long-term. Completed in 1964, That Smell first appeared in 1966, enthusiastically introduced by the great short story writer Youssef Idris (1927-1991), a household name at the time. Several small editions followed, some appeared cut, others were banned on publication, not because the text contained political polemic but because its minute descriptions of masturbation, for example, were deemed offensive. Here was a narrator for the times, however: a figure who was neither hero nor antihero but simply frugal witness, able to evoke the full gamut of reality by sticking with the most basic, physical information, entertaining no emotional or intellectual flights. That Smell turned Sonallah into the voice of an era. And, like any writer who produces a truly original first book, he wasn't sure what to do next. In reality he wouldn't write anything like That Smell until Stealth, when he felt compelled to return to his childhood at the age of seventy. If Sonallah marked the end of Nasser's world with a whimper in That Smell, for some three decades after that he delivered a series of bangs: long, complex, inventive satires on specific topics. Sonallah had managed to get a job at the state Middle East News Agency, but by 1968 he was in Beirut dabbling in literary translation and editing. He worked as a journalist in the German Democratic Republic for three years, studying screenwriting at the Gerasimov Institute of Cinematography (VGIK) in Moscow as of 1971. There he met the famed Syrian filmmaker Mohamed Malas, appearing in Malas' VGIK graduation project. Sonallah never worked in film, however, and by 1975—back in Cairo—he had freed himself of all journalistic commitments too. Soon his hyperrealist bangs, novels that incorporated found material—newspaper archives, personal letters, official documents—and experimented with structure, had already begun to appear: August Star (about the building of the High Dam, which he also documented in the 1967 book High Dam Human) in 1974, The Committee (a Kafkaesque critique of the ideological about-face Nasser's successor Anwar Al-Sadat undertook, allying himself with Washington and introducing 'open-door' economics) in 1981, and Beirut Beirut (an early reckoning with the Lebanese Civil War of 1975-1990 and its regional implications, drawing on Sonallah's earlier stay in the country) in 1984. Through this, even when there was no direct mention of Palestine, Sonallah dramatised and satirised the reality of Arab helplessness: not only occupation and ethnic cleansing without but Civil War, repression, and corruption within. In 2004, he became a founding member of Kefaya, the Egyptian movement for Change, which brought dissidents together in protest of the Mubarak regime. The previous year, he had spectacularly turned down the 2003 Award of the Conference on the Novel, an initiative of the government's Higher Council of Culture. For weeks after being notified he had won the EGP 100,000 honour, he kept his decision to decline it secret so that he could appear at the awards ceremony and read out a deeply moving speech turning down 'the honour of a government that does not have the credibility to bestow it.' In his statement, often remembered during the 2011 January Revolution, Sonallah made some points that have sounded truly prophetic since October 2023. 'At this moment, while we gather here, the Israeli forces are invading what remains of Palestinian territory, killing pregnant women and children and making thousands homeless, carrying out with obvious systematic precision the genocide of the Palestinian people and their displacement out of their land. Yet Arab capitals receive Israeli leaders with open arms, and only steps away from here,' that is, the Opera House grounds, where the ceremony was taking place, 'the Israeli ambassador resides, secure. And only steps away in another direction, the American ambassador occupies an entire neighbourhood while his troops spread into every corner of a homeland that was once Arab.' After Beirut Beirut, Sonallah published Zaat (1992) and Sharaf (1997)—about women and LGBTQ people in Egypt, respectively—as well as Warda (2000), a reckoning with the 1963-1976 Marxist revolution of Dhofar, Oman. The year he declined the Novel Award, he published another topical satire, Amri-kan-li (the title is a pun on 'American' and 'I am master of my affairs'). A hyperrealist response to his term as a guest lecturer at the University of California at Berkeley in 1999, its message chimed perfectly with his oppositional gesture at the Higher Council of Culture, reconfirming his commitment to speaking the political truth: a basic Sixties principle by which few had abided. Ten years later, in 2013, Zaat was made into a phenomenally popular TV show that finally turned Sonallah into a kind of household name, giving him some of the social kudos he had willingly forsaken for so long. In 2015 I ran into Sonallah at Cairo Airport. We were both on our way to the Abu Dhabi Book Fair, and before either of us knew I would end up moderating one of his panels, he greeted me like an old friend. At the event itself—reiterating his 2013 position against the Muslim Brotherhood—Sonallah spoke provocatively against unthinking religiosity, insisting we cannot take the alleged traditions of the Prophet Mohamed at face value, without understanding the political context in which they were cited (or, as he kept saying, made up in return for money). Many in the audience were visibly offended, but his tirade was hilarious. And I was incredibly proud to be sitting next to him. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:

Falak 369's gallery miscellaneous group exhibition is not to be missed
Falak 369's gallery miscellaneous group exhibition is not to be missed

Al-Ahram Weekly

time9 hours ago

  • Al-Ahram Weekly

Falak 369's gallery miscellaneous group exhibition is not to be missed

Aisha Fahmy Palace 1 Aziz Abaza St, Zamalek, Tel 02 2735 8211 The Complex of Arts 'Egypt's Voice' exhibition showcases the works of 25 Egyptian artists from different generations, influenced by the voice of the Umm Kolthoum, who created works of art that spanned photography and sculpture. It also explores the life of Umm Kolthoum through Egyptian journalism spanning nearly 100 years, and includes original newspaper and magazine pages from throughout her artistic career. In collaboration between the Fine Arts Sector and the Cultural Development Fund, the exhibition showcases many of Umm Kolthoum's belongings from her museum in El Manial (18 August- 15 November). Falak 369 7 Gamal El-Din Abou El-Mahasen St, ground floor, Garden City, Cairo, Tel 0155 7861779 'Summer Collection' miscellaneous group exhibition by the likes of Bassam El-Zoghby, Mervat Shazly, Shaimaa Kamel, and Rasha Suleiman (closing 1 September). Italian/Egyptian Centre for Restoration and Antiquities (CIERA) 31 Al Suyuffeya St, Al Helmeya, Cairo, visitors are welcomed by appointments so contact the manager Mr. Salah Ramadan 0100 8716067 Architectural complex of the Mevlevi Dervish 'Samaa Khana, Restorations and Restorers' permanent exhibition of the activities of the working/formation sites for the restoration and recovery of the monuments. Visitors are welcomed during the opening hours determined by the Ministry of Antiquities. Mashrabia Gallery of Contemporary Art 15 Mahmoud Bassiouny St, Downtown, Cairo, Tel 02 2578 4494, open daily from 11am to 8pm except Fridays 'Echoes and Currents: 35 Years of Contemporary Art' exhibition is stressing the gallery's pioneering role in Cairo's contemporary art scene, the exhibition opens a dialogue between established and emerging artists who have shaped its journey. Since its founding, Mashrabia has supported young talent, amplified women's voices, and fostered connections between local and international art communities. Rather than a retrospective, this exhibition offers an open, evolving archive formed by memory, conversations, and the relationships that continue to grow around the gallery (29 June - 11 September, closed in August). Safarkhan 6 Brazil St, Zamalek, Tel 012 70169291 The second edition of the gallery's 'Anthology' series. Anthology 2025 is as usual headlined by some of the gallery's marquee resident talents, as well as some of its familiar guest names and features a pair of new ones that are being unveiled to the art loving community here in Egypt for the very first time. This collection sees an impressive assortment of mediums too, with the inclusion of various artforms spanning; sculpture, photography, fabric appliqué, mosaics, and various forms of painting. This year's anthology gathers new works from established Safarkhan artists: Ibrahim Khattab, Ahmed Saber, Karim Abd Elmalak, Katherine Bakhoum, Neama El-Sanhoury, Omar Abdel-Zaher and Tasneem El-Meshad (1 June and running throughout summer). Swailam 14 El-Saleh Ayoub St, Zamalek, Tel 02 2735 8900/0111232 4002 'Summer Radiance' exhibition showcases more than 30 captivating artworks by artists from Egypt, the Middle East, and Europe. This diverse collection celebrates a fusion of cultures, styles, and creative expressions (10 August - 18 September). Yassin art gallery 159, 26th July St, Behind Diwan Bookstore, Zamalek, Tel 01271170035 'Different Space 4th Edition' is a contemporary group visual art exhibition that celebrates the experiences of a select group of contemporary sculptors and painters. Their works reflect modern visual perspectives rooted deeply in the aesthetic and cultural references of ancient Egyptian art (17 June - 31 August). ALEXANDRIA Bibliotheca Alexandrina Port Said St, Chatby, Alexandria 21526, Tel (03) 4839999 Archeological Museum A permanent exhibition on the results of the Archaeological Mission of the University of Turin in Nelson Island. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:

​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly
​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly

Al-Ahram Weekly

time9 hours ago

  • Al-Ahram Weekly

​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly

American University in Cairo Tues 26, 7pm, (Cairo Time): Join a special virtual discussion of A History of Arab Graphic Design (Arabic edition), the first-ever book-length history of Arab graphic design, now available in Arabic, co-authored by Bahia Shehab and Haytham Nawar. Nawar, associate professor of design at the American University in Cairo, will be in conversation with Huda Smitshuijzen Abi Farès, Founder of the Khatt Foundation; Yasmine Nachabe Taan, associate professor of Art and Design History and Director of the Institute of Art in the Arab World at the Lebanese American University; and Mahmoud El-Hosseiny, designer, writer, and researcher. The event will be moderated by Al-Ahram nwespaper journalist Sayed Mahmoud. The conversation will be conducted in Arabic. Watch on the AUC Press Facebook page. Diwan Bookstore 159, 26th of July St, Zamalek, Tel 01222 40 7084 Tues 26, 7pm: August book discussion about the Japanese bestseller What You Are Looking For Is In The Library by Michiko Aoyama. The discussion will be moderated by Ohoud Saad. Diwan Magara, El-Sheikh Zayed Wed 27, 7pm: August book discussion presents Little Women book by Louisa May Alcott. It will be moderated by Noha Bassiouny. Misr Al-Gedida Public Library 42 Al-Oroba St, off Beirut St, Misr Al-Gedida, Tel 011 42464426 Mon 25, 5.30pm: To mark the birth anniversary of poet Wessam El-Dewek, professor of philosophy Emad El-Adly will present a reading in the entire works of El-Dewek. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:

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