such examples. Egypt also hosts a similar production in the El Geneina
theatre for a variety of indie artists from around the region in Cairo’s Al
Azhar Park. As for war-torn Syria, the creation of a safe hub is not
possible under the rules of the regime, but Syrian artists are still in the
country, recording and sharing their work on the Internet: their virtual
safe space. Some of these musicians include the off-kilter Hello
Psychaleppo, the eclectic Omar Souleyman, who has collaborated with
Western electronic musicians like Four Tet and Björk, and rap artist
AlDarwish, who brings dystopian beats to his poetry about the strife of his
country.
This new wave of music is emblematic of a wider break from tradition and
an archaic way of doing things. Indie music looks to fulfil the purpose of
rattling the soul into awakening and speaking to a wider variety of people
and issues. It suggests a future where differences are accepted and
where the youth speak out against the corruption and injustice and
control and censorship rife in current political systems. A new hope is
blooming through these cultural productions and capturing the hunger
and interest of a generation that is turning away from stagnant,
commodified mainstream Arabic music and entering the world of the
musical unknown. Dr. Salti describes it as something that has “come out
of the box” and cannot be contained to any one category. It “informs and
empowers people” and is continuing to spread.
“Music cannot be underestimated [in] that way. No matter what you’re
going through, it can give you hope… that the future doesn’t have to be
this way.”