Islamic art is a term that has been strongly promoted with the Islamic movements taking power in Egypt. Despite the assurances made by highly merited artists, vis-à-vis the impossibility of changing the shape of Egyptian cinema and drama, some Islamic groups have strongly rejected the form and content of present art in Egypt, stressing that many artistic works are inconsistent with the principles of Islamic religion and are not in line with the customs and traditions of Egyptian society. Will dramatic art in Egypt turn into Islamic art? What will be its features?

Islamic art is a term that has been strongly promoted with the Islamic movements taking power in Egypt. Despite the assurances made by highly merited artists, vis-à-vis the impossibility of changing the shape of Egyptian cinema and drama, some Islamic groups have strongly rejected the form and content of present art in Egypt, stressing that many artistic works are inconsistent with the principles of Islamic religion and are not in line with the customs and traditions of Egyptian society. Will dramatic art in Egypt turn into Islamic art? What will be its features? And, what is the attitude of creative artists towards such a change?

Brotherhood’s artistic background dates back to the 1940s

One may think that the Islamic movements have no experience in the domain of drama production. But, producer Mohsen Radi, who is in charge of cinema within the Brotherhood, believes the Brotherhood presented many dramatic works, like ‘Saladin’ in the 1940s.  And during the 1980s, Brotherhood students presented many performances at the Egyptian universities, including Somersault; Harafish Dream; Moth, My country!; Bloods at the Kaaba curtains; and The Island Crown. Radi adds that the Brotherhood has produced highly merited artists like Ibrahim Saafan, Ibrahim al-Shami, Abbas Fares, Mohammed El-Sabea, and others.

Radi openly criticizes Egyptian cinema works. “Nudity movies have ended,” he says, “we will not accept this kind of artwork that takes us back to the past, and promotes immoralities. I believe people would not agree on these films again.”

He revealed that the Brotherhood was preparing to produce a number of movies and drama series “to elevate citizens’ mindsets. We are fully prepared to cooperate and work with all artists who are committed to Egypt’s values, traditions and identity.”

Radi denied that his group was against cinema in the art industry, expressing his denunciation of the recent attack on art, or the demands made for closing the cinema theaters in Egypt, assuring that this would never happen. “But, having said that, we will not remain silent if erotic movies or works of art found to be incompatible with the principles of Islamic religion, or the abuse or mocking of faiths are presented,” he added.

“Current cinema encourages immorality”

Former actor and current film producer Mohsen Mohieddin agrees with Radi, and stresses the desire to transform art into an Islamic art. He has decided to produce many religious social films, aimed to combat films that “encourage vice and are based on nudity”. It should be noted that Mohieddin began his career in the 1980s as a promising actor. Internationally recognized film director, Youssef Chahine, acclaimed him and introduced him in a number of his films. Mohieddin later quit artistic life because it clashed with religion, as it was said at the time, and switched to production.

Mohieddin believes the currently raised clamor that demands Islamization of art in Egypt has nothing to do with the coming to power of Islamic currents, but with the fact that “people have already been disgusted by the spread of nudity scenes in art works. Although many Muslim clerics assure that art is permissible (‘halal’), some merited artists are determined to distort art and turn it into something forbidden through promoting erotic scenes and presenting artwork that encourages young people to abuse drugs and practice many other forbidden actions.”

Audience the final judge

Author and scenarist Mahfouz Abdulrahman admits that some artists have made many mistakes against art. “Unfortunately, the mistakes made by some artists through converting film industry into a business dominated by scenes of nudity and kisses that excite people and harm our community have prompted some parties to attack art altogether. However, I would like to send a message to those parties that every profession has bad and good people and that no one is inerrant”, he said.

On the other hand, Abdulrahman has ruled out a quick and complete turnaround in dramatic art, given that Egypt produces tens of films and drama series every year. “No production company can change the situation of Egyptian art, but I think the recently established Islamic companies will project a new concept about art, and will enter into competition with other production companies”, said Abdulrahman, adding that “as regards the fears held by some filmmakers and artists from the ruling Islamic currents’ imposition of views on art, and setting restrictions on their artwork, such a thing is impossible, and no one will accept it. And the audience must be the final judge..

God’s limits

What are the features of the much discussed Islamic art? Radi says: “Our approach is clear and simple, completely avoiding dissolute works that may cause viewers to slide into crimes.” He adds that the Brotherhood’s future efforts will focus on producing religious drama that “will improve the audience’s mental attitude, fall in line with the information technology era, try to probe the prevailing conditions of society and concentrate on its concerns and problems.”

Mohieddin has gone even further when he expressed desire to produce works of art that “abide by God’s limits”, without explaining it. He however says he would produce works that avoid satisfying certain recipients’ desires just for achieving financial gains. The produced works, he promised, will respect the traditions of Egyptian society and elevate the audience’s mindset.

 Insulting artists

Director Adel El-A’ssar, for his part, has rejected the term ‘Islamic art’, believing it causes a considerable insult for art creators. “This term rouses my anger because it means we are infidels, and that all what we have produced throughout the past years stands against Islamic faith. Therefore I express my outright rejection of this term, and think it is impossible for any party to impose their views on Egyptian art, or cause it to be a tool of a particular group”, he said.

El-A’ssar says he is not against Islamic production companies’ contribution to art, explaining that this will benefit art as a whole. These views have been also shared by producer Mohamed Hassan Ramzi who has expressed willingness to cooperate with Islamic production companies so long as they present meaningful and serious art. “I have no objections”, Ramzi said, “to cooperation with these companies if they plan to make respectable movies and produce decent nudity-free cinematic works, but, at the same time, I don’t accept to impose restrictions on other people’s freedom because every party is free to present what it likes so long as it does not harm the community.”

Despite their rejection of any attempt to restrict freedom of creativity, film makers welcome competition and call for making the audience the final judge. Islamic art advocates, on the other hand, have yet to submit a substantive concept about this artistic genre.