The enduring magic of Umm Kulthum, Star of the Orient

Picture dated 16 December 2001 shows a collection of Umm Kulthum's personal belongings at the Manesterly Place which is going to be opened soon as Um Kalthoum museum in Cairo. (AFP)
Updated 24 July 2018
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The enduring magic of Umm Kulthum, Star of the Orient

  • Over the course of almost 50 years, her voice had captured the collective imagination and become a powerful symbol of Arab nationalism
  • Now, 48 years later, her music is to grace the festival’s stage once again, with a 90-minute homage to the Star

When the Egyptian singer Umm Kulthum took to the stage at Lebanon’s Baalbeck International Festival for the last time in 1970, she was at the end of a career that had enraptured the Arab world. Over the course of almost 50 years, her voice had captured the collective imagination, brought pleasure to millions, and become a powerful symbol of Arab nationalism.

Now, 48 years later, her music is to grace the festival’s stage once again, with this year’s program kicking off on Friday, July 20 with “Baalbeck Remembers Umm Kulthum,” a 90-minute homage to the ‘Star of the Orient.’

“Everything about Umm Kulthum stands out,” says the Egyptian composer and conductor Hisham Gabr, who is to lead the celebrations. “Her voice, her mastery, her ability to improvise, and the way that she uses this incredible array of nuances in her voice to express the tiniest and slightest details of the words that she’s singing. She reincarnates melody, reinvents it in so many ways that are quite stunning and amazing. And yet she never loses track of what those words mean and how she can convey and augment those meanings to her listeners.”

The music of Umm Kulthum was formed in what is now an unrecognizable era — a golden age of Arab musical endeavor epitomized by Umm Kulthum and other greats including Mohammed Abdel Wahab and Abdel Halim Hafez. She mesmerized audiences, singing songs such as “Enta Omri” and “Al Atlal” with such raw emotional power that they continue to hold sway over great swathes of the Arab world. 

She was blessed with great range and virtuosity, and had the ability to link musical improvisation with the lyrics she was singing. During her live radio broadcasts, which traditionally took place on Thursday evenings, she would often sing the same melody in a variety of different ways, performing three or four songs over the course of a few hours and bringing cities to a standstill.




Egyptian composer and conductor Hisham Gabr

These songs covered universal themes of love, loss and desire, although it was her early religious training that enabled such immaculate and nuanced diction.

“I had a very distant admiration of Umm Kulthum and didn’t really connect to her and what she represents until later in life,” admits Gabr. “I was more of a normal Egyptian fan of Umm Kulthum who would listen to her in cafés and stuff like that.

“She didn’t become a part of my life until later on, when I started studying her work to orchestrate it. And I was completely blown away with my new finding — this Umm Kulthum and her music — and felt that she really talked to me, and talks about me. I think she owns her listeners in a way that no artist has ever achieved in their life.”

Despite his admiration for the singer, however, the fact that this year’s Baalbeck concert is happening at all is as much down to fate as anything else. As Gabr says, he “bumped into it” by chance, having met the festival’s deputy director, Maya Halabi, in China last November. Halabi told Gabr that the festival was looking to produce a tribute to Umm Kulthum, but in a way that had not been done before.

“I suggested that Umm Kulthum’s legacy has been dealt with in so many ways, but until today she has never been put into an orchestral form,” says Gabr. “Why don’t we try to do that?”

So they did. An array of talent has been assembled, including the Egyptian singers Mai Farouk and Marwa Nagy, and the Lebanese National Orchestra for Oriental-Arabic Music. They will perform two medleys of Umm Kulthum’s most famous songs, including “Aghadan Alkak,” “Inta El Hob” and “Alf Layla Wa Layla.”

Umm Kulthum was born in the village of Tamay e-Zahayra in the Nile Delta. The daughter of an Imam, she was taught to recite the Quran and sang with her father at village weddings before heading to Cairo, where she would find worldwide fame. Even Western singers such as Bob Dylan and Maria Callas have proclaimed to be admirers.




Singer-songwriter Tania Saleh

For the Lebanese singer Tania Saleh, who has been a lifelong fan of Umm Kulthum, the Egyptian icon represents more than just artistic greatness. She is a representative of female empowerment and revolution.

“Even though she was raised in an extremely poor family, she succeeded in imposing her talent in her native town (as a religious chants singer, accompanied by her father, who started her career disguised as a boy) and later in Cairo where she took matters into her own hands,” says Saleh. “She was self-taught, but very soon she had the ability to choose the poems of the best songwriters of her time, and of historical masters from the region, also discovering creative composers from her generation and the younger generations as well. 

“She and Abdel Wahab carried the legacy of Sayed Darwish, who gave Egyptian song a new dimension by making it about the real stories of people’s everyday realities, and by introducing the orchestra to the traditional unison of oud and voice. She put her listeners in a trance and kept them ‘msaltanin’, as we say in Arabic, until her last breath in 1975.”

Umm Kulthum performed at Baalbeck on two other occasions, in 1966 and 1968. All three of her appearances were understandably sold out. This year’s concert is to be held on the steps of the Temple of Bacchus and limited-edition posters of her 1970 performance will be on sale.

“Umm Kulthum’s is a timeless and eternal legacy,” says Gabr. “She was present, is present, and will always be present as long as there are people speaking Arabic. Her legacy is unique and unparalleled and I don’t think I would be exaggerating if I said that Umm Kulthum’s legacy alone, in so many ways, surpasses all other singers combined.”


Ramadan routines around the Kingdom 

Updated 26 February 2026
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Ramadan routines around the Kingdom 

RIYADH: Saudi Arabia is home to a diverse array of Ramadan customs, with each region boasting time-honored traditions. Here  is how the holy month is celebrated in various parts of Saudi Arabia.

NAJD 

One of the most significant Ramadan traditions in parts of Najd is Isha Al-Walidayn (the ‘parents’ dinner’), in which families prepare meals that are shared with relatives, neighbors and those in need. Often organized by neighborhood groups, the gatherings take place during iftar or after taraweeh. Families either invite relatives, neighbors and passersby to share the meal at home or send dishes to surrounding households and those in need. 

While rooted in charity, the tradition is equally about memory and community, offering a way to honor loved ones while strengthening social ties.  

In places including Qassim, the practice may be repeated several times throughout the month. The custom has been passed down through generations and remains part of Najd’s social fabric, reflecting the family-centered rhythm of Ramadan in the area.  

Hajar Alqusayer 

HIJAZ 

For more than a century, the chant of “Sidi Shaheen” has echoed through the narrow alleys of Madinah, marking the approach of Ramadan and signaling one of Hijaz’s most cherished folk traditions. Observed in the second half of Sha’ban — the month preceding Ramadan — the custom sees groups of boys walking through neighborhoods, singing traditional verses in celebration of the holy month’s imminent arrival. The practice remains particularly strong in Madinah, though it is also known across the wider Hijaz region. 

As part of the tradition, children carry a small container known as a quff, used to collect sweets, nuts and coins offered by households they visit. Moving from door to door, they chant in unison, their songs met with open doors and generous smiles. 

In preparation, families stock up on treats — particularly nuts and traditional sweets such as mushabak (pictured) — ensuring they are ready to share in the joy. 

Nada Hameed 

EASTERN PROVINCE 

Gargee’an is a traditional festival which is primarily celebrated mid-Ramadan in Gulf countries; specifically Kuwait, Bahrain, Iraq, the UAE, and in Saudi Arabia’s Eastern Province. It is not commonly observed in other parts of the Kingdom.  

Traditionally, boys in crisp white thobes and girls adorned in intricate jalabiyas go door-to-door in their neighborhoods and collect sweets and goodies in their handwoven baskets. It is a chance for them to reconnect with the community and spread colorful cheer. 

In recent years, however, the King Abdulaziz Center for World Culture (Ithra) in Dhahran has staged its own Gargee’an, providing candies for the kids as well as numerous indoor and outdoor activities for youngsters of all ages — including the young at heart — alongside performances of traditional folk songs and other live shows. 

The main plaza at Ithra, the Library and Energy Exhibit will each have Instagram-worthy moments. Entry to the center is free, though certain events — such as those at The Children’s Museum — require you to purchase tickets on the premises. 

Jasmine Bager 

JAZAN 

In Jazan, Ramadan is scented with wood smoke and freshly baked bread. Across villages and coastal towns, families still use the traditional mifa — a clay oven — to prepare corn and millet breads to eat at iftar. A staple of the season is mafalt (pictured), a creamy mixture of flour and milk often eaten at suhoor, valued for its simplicity and ability to sustain you through long fasting hours.  

Another distinctive feature of Ramadan in Jazan is the communal spirit of preparation. Neighbors exchange dishes before sunset, ensuring no table is without the region’s signature flavors. Evenings often extend into open-air gatherings where stories are shared and elders recount how Ramadan was observed generations ago. In Jazan, the holy month is less about extravagance and more about preserving culinary heritage and close-knit community bonds.  

Rahaf Jambi 

HAIL 

Since Ramadan this year is taking place while the weather in Hail is still relatively cool, it has been common to see dozens of people gathering along the banks and beds of nearby valleys — particularly in Mashar, Tuwaren, and Naqbin in the late afternoon, setting up seating and making arrangements for iftar. 

Coffee and tea are typically brewed over a fire, and participants often bring homemade dishes including lamb or chicken soups, vegetable or meat pastries, and Hail-style keubaiba —square-folded vine leaves filled with rice and a blend of spices, including cumin, black pepper, and dried lime. Sometimes, participants pool resources to buy a young lamb to eat. The liver is seasoned and cooked with onions, while the rest of the meat is prepared with rice for consumption at suhoor. 

Between iftar and suhoor, people socialize or play volleyball — a favorite activity for many Saudis during Ramadan. 

Hebshi Alshammari 

QATIF 

On the fifteenth night of Sha’ban, and again in the middle of Ramadan, children run through the streets of Qatif in traditional dress, going from house to house in celebration of Nasfa, a holiday celebrated in cities across the Arab world, but, in Saudi Arabia, only in Qatif (although it is practically identical to Gargee’an).  

“This celebration is not a fleeting ritual; it is a collective memory, a bridge connecting past to present,” Ismail Hejles, a Saudi researcher of traditional architecture from Qatif, told Arab News. “It teaches that religion was never meant to be stern, and that joy can be part of worship when it is pure.” 

Historians suggest the custom of children going door to door to receive gifts developed in tightly knit urban neighborhoods, where strong community bonds allowed the practice to flourish. And Nasfa is not just a distribution of sweets; it is a distribution of joy.  

“On that night, homes are equal,” Hejles said. “The rich give, and the poor give. The child is not asked who they are or which family they belong to.” 

Tamara Aboalsaud