Whilst celebrating the first week of the holy month of Ramadan, Al-Ahram Weekly looks back at the lives and artistic feats of two great Egyptian artists: poet Fouad Haddad and composer Sayed Mekkawi, who together made the unforgettable Al-Mesaharati radio and television programme Wake up, sleepyhead! Amira El-Noshokaty commemorates the renowned mesaharati of the celebrated poet Fouad Haddad In Egyptian tradition, the mesaharati is the night-caller whose mission is to wake fasting Muslims in time for them to eat their last meal, or Sohour, before the new day dawns. Together with his small drum, the baza, he roams the streets of Egypt throughout the month of Ramadan, a few hours prior to dawn and chants traditional verses to his beat. But the late vernacular poet Fouad Haddad's mesaharati called for much more than Sohour. Parting from straight Egyptian folklore, Haddad used the figure of the mesaharati as a symbol of resistance. " Al-Mesaharati was supposed to wake the people up, to help them become alert," remembers poet Amin Haddad, Fouad Haddad's son. The late poet used this figure as a method of criticism of bad social habits such as routine. He also strove to constantly remind people of their strength and Arab identity, Amin told Al-Ahram Weekly. " Al-Mesaharati 's lyrics were there to defy the 1967 defeat, and celebrate the 1973 victory. My father wanted to emphasise the value of our identity, to whoever was listening." Fouad Haddad (1927-1985) was born in Cairo to a mother with Syrian origins and a Lebanese college professor who first came to Egypt during World War II and who was later naturalised as an Egyptian. Though famous for his Al-Mesaharati lyrics, Haddad's talent is also manifested in his 32 other diwans, or poetry books. All written in colloquial Arabic, the diwans are considered gems of Egyptian-Arabic wit and heritage. His attention to detail is reflected in all his works, as he meticulously documents even the daily rituals of the Egyptian people. A member of the Communist Party, he was jailed alongside other Egyptian intellectuals during the years 1953-1956, and again from 1959 to 1964. "Soon after he was set free in 1964, the idea of a radio programme bearing the mesaharati as a main theme was first offered to prominent poet and close friend of Haddad's, Salah Jaheen. However, Jaheen declined and suggested that Haddad would be the best candidate," Amin said. Haddad then created 30 episodes with the beginning, middle and end unchanged, while the songs in between and those at the very end -- which usually carried the song's morale -- varied. National Radio held a competition which composer Sayed Mekkawi won, and hence got to compose and sing the lyrics. According to Amin, Haddad was very pleased he'd be working with Mekkawi's voice. He felt his performance helped enhance the lyrics. So it was that Al-Mesaharati was first broadcast on National Radio in Ramadan, 1964. It was a great success, recalled Amin, though he was barely seven when it was first broadcast -- at 3am nightly in a Ramadan that coincided with winter that year. Unfortunately, it was never re-played the morning after. "I remember once, my parents woke me up to listen to Al-Mesaharati on the radio while I ate. I was so happy to tune in," Amin told the Weekly. In light of the programme's resounding success, Mekkawi, Jaheen and the drummer who played the baza on the airwaves went over to the Haddad household and celebrated, said Amin. After the broadcasting of Al-Mesaharati in 1968, Mohamed Hassanein Heikal -- who was then the editor-in-chief of Al-Ahram daily newspaper -- published the lyrics. "It was the first time for me to see it in print. I remember memorising it with my neighbour," recalled Amin. Al-Mesaharati 's success flourished into more episodes that shadowed events of national significance, from the death of former Egyptian president Gamal Abdel-Nasser to the Egyptian victory against the Israelis in 1973. It wasn't until 1983 when the idea of switching from radio to national television was first introduced. Haddad worked directly from his old episodes, and the television show became a Ramadan hit. Though always referring to himself as a poet, Haddad was also a translator who had an excellent grip of the French and Arabic languages. He translated several books. "I never felt that there is much difference between his personality and his publications," explained Amin when asked about his father's personality. His great sense of humour was the same on air and off. Even when he used to joke at home he used to do so in rhyme or poetry. As such, his son told the Weekly, one could never forget who Haddad really was: a poet. His great talent, culture and rich life experience were the keys to his excellence, added Amin, as was his facility to improvise. But how much has Ramadan changed since then? According to Amin, the real taste of Ramadan remains strong, if only in popular districts, where the streets are not detached from the houses. The more bourgeois areas, on the other hand, value privacy over an affinity for the street. "When we lived in Al-Imam El-Shafei popular district, we'd find Ramadan celebrations on the streets -- from Ramadan delicacy sellers who open a special outlet in front of the pastry shops, to young children carrying Ramadan lanterns and singing the night away," Amin said. "There is also the sound of the Ramadan cannon that resounds at Iftar, located at Salaheddin's Citadel, and which is used to resound daily to announce the time to break the fast. But ever since we moved to the up-market district of Mohandessin, it has been quite different." Al-Mesaharati When you say that water is the loveliest Of worldly existence for the thirsty one; You are recognised as an Arab. When the storyteller exudes the smell of Oranges in Jaffa's gates; You are recognised as an Arab. When you say my son is born a refugee; You are recognised as an Arab. When you resume your struggle Against your kids' slaughterer; You are recognised as an Arab. * * * On seeing light when walking through The desert, I say Man. A hand is my entire window, Thanks for the palm of man. And I say, you presented me with Rostrums to glorify the throne. O, God! Your mercy enabled man to Change darkness, But light remains unchangeable.
