Review of Approaches to Arabic Popular Culture, edited by Peter Konerding, Felix Wiedemann, and Lale Behzadi

The volume offers a comprehensive and diversified analysis of popular artistic production in the Arab world, presenting a range of approaches and case studies aimed at deconstructing and redefining the very concept of “popular culture” within Arab countries. Through a series of heterogeneous contributions, the volume seeks to transcend traditional and monolithic conceptions of cultural phenomena in the region, emphasizing its complexity and relevance within the contemporary global context. Within the context of Arabic studies, “artefacts of popular culture have thus mainly been interpreted as proof for particular historical developments and less so as having their own aesthetic implications” (p. 29). For instance, the volume opens with a prologue underscoring the importance of an interdisciplinary approach to fully grasp the multifaceted nature of Arabic cultural activity. This introduction sets the stage for a series of contributions spanning literature, music, media analysis, and social and political dynamics. Central to the volume is the critique of the Western academic perspective, often prone to overlooking the aesthetic value of Arabic “pop-art” and “pop- culture” due to its perceived low status. This critique is articulated in the first chapter, where Peter Konerding challenges the social and political reductionism that limits the understanding of Arabic popular culture, suggesting an expansion of the analytical spectrum to fully embrace its complexity and scope. Through a series of case studies, the volume explores the various facets of popular culture in the Arab world. For example, Cristina Dozio examines the novels of Khayrī Shalabī and their interplay with humor and Egyptian mass culture, highlighting the fundamental role of language and local and global references in constructing a collective experience. Chapter 3, by Kurstin Gatt, explores the use of jihadi chants by the “Islamic State” for political communication. Gatt underscores the accessibility, catchiness, and traditionality of these chants within jihadi circles because they “latch onto mainstream Islamic traditions” (p. 64). The article sheds light on the potency of this oral, repetitive and mnemonic medium for conveying ideological messages. Similarly, the dynamics of music and contemporary cultural movements are explored by Gisela Kitzler and Felix Wiedemann, as in the case of the Mahraganāt music genre in Egypt or the online community dedicated to Arabic rap. Through these analyses, the complex interactions between popular culture, social and political identity, and the ability of such cultural forms to serve as instruments of expression and resistance within complex and evolving contexts emerge. In Chapter 6, Sabrina Zahren delves into Saudi Arabian YouTube influencers, illustrating industrially produced mass culture. Zahren explores the influencers’ strategic marketing, combining pop-cultural elements with individual authenticity. The chapter emphasizes the influencers as tools for the neoliberal marketing industry, attracting a vast viewership. Collectively, these articles provide a thorough examination of Arabic popular culture, exploring literature, music, and some of their diverse representations. Future research should focus on understanding the broader impact and reception of these cultural phenomena. A comparative analysis could shed light on the interconnectedness of different forms of popular culture in the Arab world, overcoming conventional perspectives. The volume successfully challenges established norms, fostering a deeper understanding of the complexities within the Arabic cultural landscape. It serves as a springboard for further research in studies of popular culture in Arabic-speaking contexts, emphasizing the need for an interdisciplinary approach. As we navigate the diverse landscape of cultural expressions in the region, this exploration expands our knowledge and sets the stage for future research endeavors.