Toward a Class-Based Reading of Egyptian Music and Song

Published in 2009, the edited volume Music and the Play of Power in the Middle East, North Africa and Central Asia represents one of the most important English-language resources for the study of music’s entanglement in the workings of power and power struggles in the modern Middle East and beyond. In the introduction, the editing author and British Iranian ethnomusicologist Laudan Nooshin identifies three “axes of difference” that organize the production of social divisions and hierarchies in the region: (1) gender, (2) religion, and (3) nationhood. 1 Class, although stated as intersecting with these categories, is not explicitly listed. This absence is illustrative of a tendency that can be observed across much of contemporary scholarship on musical cultures in Egypt and the broader Middle East and North Africa (MENA)/Southwest Asia and North Africa (SWANA) region, in which class is regularly mentioned but, in contrast to questions of gender, religion, and nationhood, has remained underexplored.