Circumstances led me to watch a truly remarkable artistic encounter: the programme Sahr El Layali, directed by Jameel Moghazi. This show brought together giants of the art world such as Sid Makkawi, Ahmed Adawiya, Najah El-Mogi, Mohamed Fouad, Nadia Mustafa, Otabah, Erkan Fouad, and Mohamed Tharoat.
The episode felt like a vibrant, living canvas. The harmonious blend of refined voices, thoughtful conversations, and spontaneous interactions made viewers feel as though they were part of the creative process. It represented a golden era for artistic programmes that aimed to educate society and elevate public taste.
Artistic programmes once reflected the true pulse of society, serving as elevated platforms that combined both education and entertainment. Presented with a spirit that mirrored the depth of culture and art, these programmes thrived in an era when creativity intertwined with public taste and noble values.
In this particular episode, Ahmed Adawiya enchanted with his distinctive folk voice, while Najah El-Mogi delivered her refined humour with a balance of laughter and meaning. Mohamed Fouad excelled with his emotional songs that resonated with the audience, and Nadia Mustafa added a touch of classic elegance with her graceful voice. Otabah brought her authentic Gulf style, while Erkan Fouad entertained with a fusion of tradition and innovation. Sid Makkawi’s commanding presence filled the stage with warmth and simplicity, while Mohamed Tharoat offered a touch of purity with his meaningful songs.
This type of programming reflected a unity of art and humanity, fostering values of beauty and tolerance. It connected the audience to both their past and present in a uniquely artistic way. Viewers left the episode feeling enriched culturally and artistically.
These programmes served as comprehensive cultural and artistic gatherings, blending music, acting, literature, and poetry. They mirrored the heartbeat of society and expressed its aspirations, offering viewers the chance to engage in deep discussions on artistic and cultural issues while enjoying live performances from the stars.
Such programmes were more than just entertainment; they carried a noble educational message. They highlighted values of beauty, tolerance, and intellectual openness, serving as effective tools for fostering meaningful societal dialogue.
Today, however, artistic programmes often lack this depth. A superficial intellectual approach has become widespread, with many programmes prioritizing spectacle over substantial cultural content. The spirit of deep interaction between artists and audiences has faded, replaced by a race for viewership and quick profits. Many contemporary programmes aim to draw attention with controversial topics or shallow performances, without providing a clear educational or aesthetic message.
The gap between the past and the present goes beyond differences in form and style; it touches the core message conveyed by artistic media. In the past, the goal was to positively influence public taste, while today, the focus has shifted to rapid consumption, as though viewers are mere numbers to add to ratings.
Reviving the spirit of programmes like Sahr El Layali is not just a nostalgic wish—it is a societal need driven by the demands of our time. It reminds us that art is a mirror of the soul, and that media, when used wisely, can be a powerful tool for elevating both individuals and society.
