From f3b450f576388c250a82050f277b97ba9ab0edfa Mon Sep 17 00:00:00 2001 From: Alexandros Tsakos Date: Thu, 5 Dec 2024 17:54:25 +0100 Subject: [PATCH] asmaaaaaaa --- content/article/asmaataha.md | 323 ++++++++++++++++------------------- 1 file changed, 148 insertions(+), 175 deletions(-) diff --git a/content/article/asmaataha.md b/content/article/asmaataha.md index 8c64387..0d02084 100644 --- a/content/article/asmaataha.md +++ b/content/article/asmaataha.md @@ -8,7 +8,7 @@ keywords: ["Egypt", "Nubians", "linguistics", "stigmatized", "indexicality", "id # Introduction -For generations, Nubians (both Fadija and Kenuz)[^1] have been +For generations, Nubians (both Fadija and Kenuz[^1]) have been stigmatized and ridiculed in the Egyptian media. Nubian speakers of the Fadija and Mattoki vernaculars in Egypt are associated with unintelligible or incompetent Arabic, dark-skinned people, working @@ -20,8 +20,8 @@ emphasized by the media. These constant negative indexes have compelled some Nubians to speak Arabic with their children to avoid mockery, prejudice, and discrimination. -Despite the stigmatized portrayals, there are Nubian speakers that have -a positive attitude to learn their mother tongues to preserve their +Despite the stigmatized portrayals, there are Nubian speakers who have +a positive attitude towards learning their mother tongues to preserve their languages, identities, and ideologies. The importance of learning Nubian languages at home is essential for preserving not only linguistic diversity, but also the cultural and ideological foundations that are @@ -77,15 +77,15 @@ Arabic, a skill that carries power and prestige in several domains such as education, religion, and public media, cannot be denied. However, public awareness and counterstereotypes are urgently needed among Egyptians---Nubians, and non-Nubians---to construct positive stances -and provide authentic representations of the Nubian language and +and provide fair and authentic representations of the Nubian language and culture. # Background This paper adopts the analytical framework of Bassiouney,[^3] a distinguished sociolinguist and award-winning novelist, to examine the -stereotypes of the stigmatized *Seʕidi*[^4] dialect (Arabic spoken in -the southern part of Egypt) in Egyptian media. The study explores how +stereotypes of the stigmatized *Seʕidi* dialect (Arabic spoken in +the southern part of Egypt[^4]) in Egyptian media. The study explores how visual, linguistic, and literary resources are used by media producers to construct these portrayals. Inspired by Bassiouney's analysis, I offer an analysis of the negative media portrayals of Nubians in Egypt @@ -125,10 +125,10 @@ children or refrain from teaching their native Nubian language. Yet even the Arabic of Nubian speakers is highly stigmatized and ridiculed due to the associated indexes utilized by media makers. However, there are Nubians who take pride in speaking both Arabic and Nubian languages. -Abou-Ras,[^6] a Nubian academic researcher, asserts that her +Abou-Ras, a Nubian academic researcher, asserts that her participants have positive attitudes towards both languages, yet they favor learning and using Nubian because it is the mother or heritage -language. Additionally, there is widespread awareness among Nubians of +language.[^6] Additionally, there is widespread awareness among Nubians of the importance of maintaining and reviving their language. Several initiatives, including educational centers and YouTube channels, exist to teach the Nubian language and highlight the culture. Just to name a @@ -151,11 +151,11 @@ misunderstandings, mockery, and discrimination. As Sánchez Macarro, a linguist, puts it "as individuals, we are all influenced, our opinions shaped, reinforced and altered by our exposure to the media."[^9] -In describing the media discourse, O\'Keeffe,[^10] a notable applied +In describing the media discourse, O\'Keeffe, a notable applied linguist, characterizes it as a "public, manufactured, on-record, form of interaction. It is not ad hoc or spontaneous (in the same way as causal speaking or writing is); it is neither private nor off the -record." The fact that media discourse is not spontaneous, but rather +record."[^10] The fact that media discourse is not spontaneous, but rather manufactured and purposefully chosen tells us that these negative images of Nubians are not random; they reflect specific ideologies as well as political and social stances. The fact that media production is public @@ -180,10 +180,10 @@ thirty-year-old female, stated that she felt the brunt of the media's negative indexes and experienced racist and teasing responses while at school.[^12] -The present author,[^13] a Nubian applied linguistic researcher, asserts that media in +The present author, a Nubian applied linguistic researcher, asserts that media in Egypt has played a significant role in perpetuating negative stereotypes, such as depicting Nubians as speaking incomprehensible -Arabic and occupying lower-class jobs. The case of Nubians\' portrayal +Arabic and occupying lower-class jobs.[^13] The case of Nubians\' portrayal in the media is not only associated with fluency and job opportunities, but with direct insults and affronts. As Nobiin, I myself experienced situations of mockery and teasing by non-Nubian classmates at schools in @@ -192,15 +192,15 @@ extensively used in soap operas when referring to Nubians. In addition to the constant prevalent images of Nubian characters as backward, less sophisticated, naïve, and slow. -Media influence people and their beliefs; conversely, the media itself +Media influences people and their beliefs; conversely, the media itself is being influenced by several social, political, economic, and social values. Particular ideologies are propagated in the media industry and these values or agendas are carefully chosen and play a crucial -influential role in public discourse. Fairclough,[^14] an emeritus +influential role in public discourse. Fairclough, an emeritus linguist and pioneer in Critical Discourse Analysis, asserts that "media output is very much under professional and institutional control, and in general it is those who already have other forms of economic, political -or cultural power that have the best access to the media." In other +or cultural power that have the best access to the media."[^14] In other words, the media industry is controlled by certain institutions that have political, cultural, and economic power and immense influence. According to Fairclough, the media is a powerful tool that can shape @@ -210,22 +210,22 @@ societal and cultural values and ideologies. # Data -This article\'s data spans seventy years, including movies, soap operas, -cartoons, music videos, and documentary movies. Notably, many of the -documentaries have been filmed in peoples' homes. I posit that +This article examines data spanning seventy years, including movies, soap operas, +cartoons, music video clips, and documentary movies. Notably, many of the +documentaries were filmed in peoples' homes, providing an intimate perspective on Nubian life. I posit that producers utilize three resources to portray Nubians in movies and soap operas: linguistic resources, visual resources, and literary resources. The examples in this article are derived from well-known Egyptian movies -and the Bakkar cartoon (an Egyptian production by the Radio and +and the *Bakkar* cartoon (an Egyptian production by the Radio and Television Union, broadcast on Channel One, following the adventures of a young Nubian boy, his pet goat, and his friends) where stereotypical linguistic errors pronounced by Nubian characters are prevalent. In addition to analyzing the metalinguistic discourse in movies and cartoons, the study includes insights from nine discussion sessions held -with twenty-two native Nobiin speakers. These discussions focus on how -Nubians themselves perceive and feel about the negative representations -and stereotypes in the Egyptian media. The discussion also reveals how -Nobiin speakers think about their Arabic fluency and proficiency and how +with twenty-two native Nobiin speakers. These discussions explore how +Nubians themselves perceive and respond to negative representations +and stereotypes in Egyptian media. The discussions also delve into +Nobiin speakers' reflections on their Arabic fluency and proficiency and how it is depicted in the media and by filmmakers and screenwriters. # Theory and Methodology @@ -248,16 +248,16 @@ thus reinforcing stereotypes and maintaining the status quo of social inequality. This analysis highlights the role of media in shaping perceptions and sustaining social hierarchies. -Ochs,[^16] a linguistic anthropologist, views indexicality as a spoken +Ochs, a linguistic anthropologist, views indexicality as a spoken property through which socio-cultural contexts (such as gender) and social activities (such as gossip) are formed by taking particular -stances that are indexed through the language chosen. In other words, +stances that are indexed through the language chosen.[^16] In other words, indexicality is interpreted in light of the semiotic associations between linguistic forms, social meanings, and identities. Ochs identifies two types of indexicality, direct and indirect, and each -performs different functions in discourse. According to Ochs,[^17] direct +performs different functions in discourse. According to Ochs, direct indexicality refers to interactional stances, including evaluative -stances, while indirect indexicality points to social stances. +stances, while indirect indexicality points to social stances.[^17] Among those who refer to an index as contextualization cues are Hughes and Tracy, discourse analysts, emphasizing that signaling context and @@ -269,9 +269,9 @@ Hughes and Tracy, indexicality is closely related to deixis and they could even type of indexicality, which helps participants navigate the oral or written discourse frame through understanding references. Indexical and cultural contextual cues are essential to properly interpret inferences -and understand the ideologies behind them Johnstone et al.,[^19] a group -of linguists, categorize indexes into two types; referential and -non-referential. On the one hand, referential indexes include pronouns +and understand the ideologies behind them Johnstone et al., a group +of linguists, categorize indexes into two types: referential and +non-referential.[^19] On the one hand, referential indexes include pronouns and demonstratives i.e., the term denotation is based on the utterance context. On the other hand, non-referential indexes are linguistic forms that convey or construct social meaning. They consider 'social meaning' @@ -291,7 +291,7 @@ indexes. In his seminal work, Silverstein, a leading linguistic anthropologist, explores the order of indexicality, distinguishing between first and -second-order indexes. He notes that the second- order indexes are +second-order indexes. He notes that the second-order indexes are "creative or effective" and potentially can have ethno-metapragmatically driven interpretation.[^21] This interpretation allows speakers to not only presuppose meanings based on existing social structures or @@ -300,7 +300,7 @@ in dynamic, context-specific ways. In other words, the presupposed indexical meanings align with a higher metapragmatic order and are "creatively" transformed to perpetuate new or existing social narratives. Silverstein's theory of indexicality offers a useful -framework for understanding how media represent Nubians both draw upon +framework for understanding how media representations of Nubians both draw upon and reshape existing social stereotypes. By focusing on second-order indexes, we gain a deeper understanding of how linguistic and visual elements---such as accents, racialized portrayals, or specific character @@ -322,10 +322,10 @@ from unnoticed linguistic markers to socially meaningful symbols is central to how media perpetuates harmful stereotypes and embeds them into the cultural imagination. -Eckert,[^22] a prominent sociolinguist, emphasizes the close connection +Eckert, a prominent sociolinguist, emphasizes the close connection between speakers' ideologies and stylistic practices (both linguistic and non-linguistic) utilized to construct worldwide views and social -meanings. I argue that the stylistic choices---such as dark skin +meanings.[^22] I argue that the stylistic choices---such as dark skin portrayals, costumes depicting servants and doorkeepers, bright clothing, heavily accented Arabic, and numerous fluency and accuracy errors---are deliberate and conscious decisions made by producers and @@ -349,7 +349,7 @@ direct and indirect negative indexes to reinforce these stereotypes. These social meanings are highly marked, deliberately crafted, and reinforced by the media\'s portrayal of Nubians in the Egyptian culture. However, Nubians have responded by creating positive personal and social -stances against these negative portrayals, speaking out in condemnation +stances against these negative portrayals, speaking out in condemnation, and initiating their own channels and venues to authentically represent their identity and culture. These efforts are discussed in detail later in the article, particularly in the \"Moving Forward: What Can Be @@ -379,7 +379,7 @@ to the marginalization of Nubians and perpetuate harmful stereotypes, underscoring ongoing issues with representation in the media. Two recent soap operas stand out as exceptions to the general portrayal -of Nubians. The first soap opera is *asʕdiqaa* 'Friends,' 29-episode +of Nubians. The first soap opera is *asʕdiqaa* 'Friends,' a 29-episode series streamed in 2002. In this show, the Nubian character was not treated as an equal by one of the friends, but rather as an outsider included only because of a mutual friend who did who does business with @@ -392,18 +392,18 @@ of Egyptians and showcasing a unique authentic tradition.[^23] Overall, two of the main characters spoke very highly of Nubians, expressing respect and appreciation for both the people and their culture. -The second soap opera, *il-muɣani* 'The Singer,' broadcasted in 2016, -features a famous Nubian actor, Mohamed Mounir, as the main character, -with the entire series revolving around him and his life. Although it -did not gain the widespread popularity of other soap operas, it stands -out for its authentic representation of Nubian culture. The series -showcases Nubian homescapes and daily life, including traditional Nubian -houses, the Nile River, typical Nubian songs, palm trees and dates, -boats, and musical instruments. These elements offer a rich and genuine +The second soap opera, *il-muɣani* 'The Singer,' which was aired in 2016, +features a famous Nubian actor as the main character, +with the entire storyline revolving around his life. Although it +did not achieve the widespread popularity of other soap operas, it stands +out for its authentic portrayal of Nubian culture. The series vivdily +depicts Nubian daily life and homescapes, showcasing traditional Nubian +houses, the Nile River, iconic songs, palm trees and dates, +boats, and musical instruments. These cultural elements offer a rich and genuine portrayal of Nubian heritage. For instance, episode 5 poignantly depicts the forced relocation of Nubians from their homeland villages, with characters dressed in traditional Nubian clothing, sorrowfully leaving -their own homes.[^24] This scene tries to emphasize both the cultural +their own homes.[^24] This moving depiction highlights the cultural and historical significance of the events, providing a glimpse into the struggles and resilience of the Nubian people, while grounding the narrative in real experiences and traditions. @@ -443,7 +443,7 @@ man in blackface. In one particularly offensive scene, the actor Ramez Galal addresses the Nubian character, saying, "Come on, you don't want your heart to be black, just like your face."[^26] This film contains numerous racist and discriminatory indexes, perpetuating harmful -stereotypes +stereotypes. ![The screenshot shows a non-Nubian actor named Soliman Eid in blackface pretending to be Nubian. Source: ʕija:l ħabiba 'love birds' (2005).](../static/images/taha/fig1.jpg "The screenshot shows a non-Nubian actor named Soliman Eid in blackface pretending to be Nubian. Source: ʕija:l ħabiba 'love birds' (2005).") **~~Figure 1. The screenshot shows a non-Nubian actor named Soliman Eid in blackface pretending to be Nubian. Source: ʕija:l ħabiba 'love birds' (2005).~~** @@ -468,7 +468,7 @@ face is as dark as the night."[^29] These examples highlight how media productions reinforce and perpetuate negative stereotypes about Nubians through both visual and literary elements. The use of blackface, derogatory language, and offensive -depictions further marginalizes Nubians, casting them in demeaning and +depictions further marginalize Nubians, casting them in demeaning and inferior roles. These portrayals are not isolated incidents but part of a broader @@ -478,7 +478,7 @@ misrepresentation embeds harmful stereotypes into popular culture, contributing to the wider social marginalization of Nubian communities. Having established the connection between the visual and literary -resources used to propagate these stereotypes, I will now turn to an +resources used to propagate these stereotypes, I will now turn to the analysis of linguistic resources and metalinguistic discourse. This next section will explore how specific linguistic choices, such as intentional grammatical or pronunciation errors portrayed by characters @@ -506,8 +506,8 @@ cartoons.[^30] In example 1a, a Nubian character is talking to a female character in Arabic, but he mistakenly addresses her using a masculine possessive -form, which indicates that his Arabic is poor.[^32] Similarly, in -example 1b the Nubian character shows his lack of accuracy by using a +form, highlighting his perceived poor command of Arabic.[^32] Similarly, in +example 1b the Nubian character demonstrates a lack of accuracy by using a feminine demonstrative with a masculine noun which is ungrammatical. ## Actors Gomaa Edriss and Ali Oraby[^33] @@ -515,16 +515,16 @@ feminine demonstrative with a masculine noun which is ungrammatical. ![Pronunciation error.](../static/images/taha/example2.jpg "Pronunciation error.") **~~Example 2. Pronunciation error.~~** -In addition to the gender agreement language error, there are sometimes -fluency errors i.e., pronunciation errors such as example 2a. In that -example, the Nubian character fails to produce the /x/ sound, so he -replaced it with the /h/ sound i.e., *il-ha:mes* 'fifth' instead of +Beyond gender agreement errors, the portrayal includes +fluency errors such as pronunciation mistakes. For instance, in example 2a, +the character fails to produce the /x/ sound, so he +replaces it with the /h/ sound i.e., *il-ha:mes* 'fifth' instead of *il-xa:mes*. Additionally, in the same example, the Nubian character -mispronounced the vowel in the word *il- shuʃt* 'section' instead of -*il-shoʃt.* In example 2b, there are multiple accuracy language errors. -First, the Nubian character addressed a group of people using a singular -masculine form *usta:z* 'sir'. Then, he switched to using a feminine -singular form, rather than a plural form. Examples 2c and 2d are +mispronounces the vowel in the word *il- shuʃt* 'section' instead of +*il-shoʃt.* In example 2b, multiple accuracy language errors are evident. +First, the Nubian character addresses a group of people using a singular +masculine form *usta:z* 'sir' before switching to a singular feminine +form instead of the appropriate plural. Examples 2c and 2d are ungrammatical as the Nubian character uses plural and third person masculine forms, respectively, when he refers to himself. @@ -536,21 +536,19 @@ masculine forms, respectively, when he refers to himself. In example 3a, the Nubian character is looking for his boss's cigarette and the lighter used a possessive marker that does not agree, gender-wise, with the noun it modifies. Similarly, in example 3b, the -same Nubian character talks to a female co-worker about the woman he -works for using masculine forms (masculine participles), and hence, +same Nubian character talks to a female co-worker about his employer who is a woman, +but uses masculine forms (masculine participles), and hence, there is gender disagreement. -The following examples show the gender disagreement between determiners, -quantifiers, and possessive markers and their modified nouns. +Further examples highlight systematic gender disagreement between determiners, +quantifiers, and possessive markers and their modified nouns. Examples 4a, 4b, and 4c show such ungrammatical usage. ## Actor Ali Oraby[^35] ![Disagreement between modifiers.](../static/images/taha/example4.jpg "Disagreement between modifiers.") **~~Example 4. Disagreement between modifiers.~~** -Example 4a, 4b, and 4c are ungrammatical because they show disagreement -between modifiers and the nouns that are being modified. These examples -purposefully demonstrate the Nubian character's lack of accuracy and +Examples 4a, 4b, and 4c purposefully demonstrate the Nubian character's lack of accuracy and proficiency. In 4a, *mawdʕuʕ di* 'this matter,' the feminine demonstrative does not agree with the masculine noun in gender. In contrast, in 4b, ʕaj*:la waħid* 'one family,' the masculine quantifier @@ -565,73 +563,55 @@ rather than the feminine using possessive markers *bita:ʕek* 'your'. Example 5a shows a case of noun-verb disagreement, whereby the Nubian character uses plural verb conjugation when referring to himself. On the -other hand, he chooses the wrong word i.e., using *rubatʕaja* 'gang' -instead of *rabtʕta* 'union' in example 5b as an example of his -intelligibility and incoherence. Example 5c shows an interesting case of -pronunciation in which the actor produces the word by mixing it between -*Seʕidi* dialect and Modern Standard Arabic, which makes it sound odd -and peculiar. +other hand, in example 5b, he chooses the wrong word i.e., using *rubatʕaja* 'gang' +instead of *rabtʕta* 'union' as an example of his +intelligibility and incoherence. Example 5c shows a grammatical error where the speaker uses the singular first person for the participle ‘want’ followed immediately by the plural form of the verb ‘know,’ creating an awkward and inconsistent structure. As we can see, all examples present syntactic disagreement (noun-adjective agreement, verb-noun agreement, demonstrative and pronoun disagreement) or phonological errors or idiosyncrasy, often accompanied by a heavy accent of Arabic. The question is, why these language errors in particular? There are two possible hypotheses or -scenarios to explain the media fixation on these intentional -metalinguistic discourse errors. The first postulation goes back to the -fact that the earliest Nubians, the monolingual speakers of Nubian, who +scenarios that explain the media fixation on these intentional +metalinguistic discourse errors. The first postulation is associated with +historical linguistic challenges. The earliest Nubians, often monolingual speakers of Nubian, who migrated to different areas in Egypt such as Cairo and Alexandria to look for job opportunities had some language difficulties when learning Arabic due to the influence of their mother tongue. For example, -Rouchdy, a linguistic researcher, noted in her research study in 1991, +Rouchdy, a linguistic researcher, noted in her 1991 study, that non-competent Fadija bilingual speakers had a tendency to add the suffix -a to borrowed Arabic words such as *aneeda* 'stubborn.'[^37] Nevertheless, do Nubians, considering all the generations that have -emerged since the early relocations because of the Aswan Dam construction in +emerged since the forced relocations because of the Aswan Dam construction in 1905, still face language proficiency and accuracy issues? Are Nubians -today merely monolingual speakers of Nubian? Do they still have the -stereotypical heavy accent of Arabic that is still portrayed in the -media? The majority of Nubians today are bilingual speakers of Arabic +today merely monolingual speakers of Nubian? Most Nubians today are bilingual speakers of Arabic and Nubian. Unfortunately, in some cases, they are monolinguals of -Arabic. The Arabic spoken by Nubians varies depending on their region; -for example, those living in Aswan or Luxor typically speak the *Seʕidi* -dialect, while those in Cairo tend to use the Cairene dialect. +Arabic. The Arabic spoken by Nubians varies regionally; +for example, those in Aswan or Luxor commonly speak the *Seʕidi* +dialect, while Cairo residents use the Cairene dialect. -That brings us to the second hypothesis regarding why the Arabic spoken -by Nubians is often portrayed as "broken," flawed, unintelligible, -faulty, incompetent, or defective in movies and soap operas. These -linguistic errors, along with the heavy accent, are more conspicuous and -serve to reinforce stigmas and propaganda surrounding these media -productions. Such errors are not random; they represent recurring -patterns in the language used by filmmakers and screenwriters. -Consequently, Nubians are unjustly associated with extensive mockery, -prejudice, and direct insults that are emphasized by the media. I -believe that this second hypothesis provides a plausible explanation for -the portrayal of problematic Arabic, as it is often reinforced by the -use of blackface and other associations that denote lower socioeconomic -status and perpetuate negative stereotypes. +The second hypothesis points to intentional stereotyping prevalent in the media. +The portrayal of Nubians as "broken," flawed, unintelligible, +faulty, or incompetent, coupled with a heavy accent, is deliberate and serves to reinforce stigmas and propaganda surrounding these media productions. These +linguistic inaccuracies are not random; they represent recurring patterns in the language used by filmmakers and screenwriters. Such portrayals often go hand-in-hand with blackface and visual tropes that depict Nubians as belonging to a lower socioeconomic status. I believe that the second hypothesis provides a compelling explanation for the persistence of these stereotypes in Egyptian media. By amplifying these intentional errors, the media perpetuates widespread mockery, prejudice, and harmful representations of Nubians, further entrenching societal stigmas. # Discussion data: Participants and Procedures -A discussion was held with native Nobiin speakers to show how they -perceive the negative indexes attributed to themselves and the Nubian -language in the Egyptian media. There were twenty-two participants in -this discussion: eight females and fourteen males with ages ranging from -twenty to seventy years old. All the participants are educated and hold -various higher education degrees (bachelor's, master's, and Ph.D.'s). -Responses were not anonymous, because it was unnecessary and it is -beneficial to know certain information for the data analysis, especially -for the social variables. The researcher recruited the participants -through social networks (family, friends, and community members). All -participants gave their consent before the discussion was conducted +A discussion was held with native Nobiin speakers to explore their +perception of the negative indexes associated with themselves and the Nubian +language in the Egyptian media. There were twenty-two participants: +eight females and fourteen males ranging in age from +twenty to seventy years old. All the participants were educated and held +various higher education degrees (bachelor's, master's, and Ph.D. qualifications). +Responses were not anonymous, as identifying information was deemed beneficial for analyzing social variables. Participants were recruited through the researcher’s social networks (family, friends, and community members). All participants provided consent prior to the discussion. -Most participants live in Egypt: eight in Aswan, nine in Cairo, and one -in Luxor. Three of the participants currently live in Saudi Arabia, -while one participant lives in the United States. The majority of the -participants are bilingual (speak both Arabic and Nobiin); seven -participants are heritage speakers of Nobiin (they understand the -language, but do not speak it) and native speakers of Arabic. Table 1 +Most participants reside in Egypt: eight in Aswan, nine in Cairo, and one +in Luxor. Three participants currently live in Saudi Arabia +and one participant lives in the United States. The majority of the +participants are bilingual (fluent in both Arabic and Nobiin). Seven +participants, however, are heritage speakers of Nobiin, meaning they understand +Nobiin, but primarily speak Arabic. Table 1 provides details about the participants' background information. ![A table showing the participants of this study.](../static/images/taha/table1.jpg "A table showing the participants of this study.") @@ -657,7 +637,7 @@ media. # Discussion: Results and findings summary -To analyze the discussion data, I coded the discussion data and then +To analyze the discussion data, I coded it and then created a graph for each question to organize and categorize the collected data visually. This section presents the study discussion results, their frequencies, and some of the participants' statements and @@ -666,7 +646,7 @@ opinions. ## Early Nubian representations in the Egyptian media The distribution of the first discussion question is presented in Graph 3. As -Figure 3 reveals there are twenty-one participants stating that the +Figure 3 reveals, there are twenty-one participants stating that the early representations of Nubians in the Egyptian media are discriminatory and prejudicial (95%), while one participant indicated that they were not intentionally belittling or undermining them (5%). @@ -715,8 +695,8 @@ All the participants are aware that portraying Nubians as underprivileged and low-paid workers is derived from the fact that these were typical professions occupied by those who migrated to Cairo and Alexandria in the early 20th century, particularly during the -significant relocations for High Dam construction between 1902 and 1964. -These early migrations were largely influenced by limited educational +significant relocations because of the High Dam construction between 1902 and 1964. +These early migrations were largely driven by limited educational opportunities and the well-earned reputation of Nubians as trustworthy, diligent, hardworking, honest, and faithful individuals. However, Nubians continue to be depicted primarily in lower-class jobs, overlooking the distinguished and reputable careers they hold today. @@ -782,6 +762,8 @@ reputations. ![The graph presents Nubians views regarding their portrayals in movies and soap operas.](../static/images/taha/fig5.jpg "The graph presents Nubians views regarding their portrayals in movies and soap operas.") **~~Figure 5. The graph presents Nubians views regarding their portrayals in movies and soap operas.~~** +## Depictions of Nubians in documentary movies + Alternatively, Nubian representations in documentary movies are very objective, as shown in Figure 6 below. The widespread consensus responses indicate that the documentary movies represent authentic @@ -795,35 +777,33 @@ available on YouTube, covering topics like food, the Nile River sacredness, handicrafts, weddings, homescapes, and customs. Notable examples include *aj-ga ʤilli* 'Remember me',[^39] uploaded in -2011 and *Sono* 'roots' in 2020,[^40] both of them offering viewers a +2011, and *Sono* 'roots' in 2020,[^40] both of them offering viewers a more accurate and respectful look at the richness of Nubian culture. -## Depictions of Nubians in documentary movies - -Similarly, music video clips have an essential and promising role in -maintaining the Nubian language and cultural heritage.[^41] These music -videos are also accessible on YouTube and discuss vital issues such as -migration, relocation, family bonds, solidarity, religion, and other -inspirational themes. Figure 7 presents question five discussion -results, and we can see that most participants agree that the Nubians -are genuinely represented in music videos (80%). The impartiality of -Nubian representations in music videos amounts to 18% compared to the -frequency of the ingenuine representations of Nubians in YouTube video -clips. - ![The graph exhibits objective Nubian portrayal in documentary movies.](../static/images/taha/fig6.jpg "The graph exhibits objective Nubian portrayal in documentary movies.") **~~Figure 6. The graph exhibits objective Nubian portrayal in documentary movies.~~** ## How are the Nubians portrayed in music video cips? +Similarly, music video clips have an essential and promising role in +maintaining the Nubian language and cultural heritage.[^41] These music +video clips are also accessible on YouTube and discuss vital issues such as +migration, relocation, family bonds, solidarity, religion, and other +inspirational themes. Figure 7 presents question five discussion +results, and we can see that most participants agree that the Nubians +are genuinely represented in music video clips (80%). The impartiality of +Nubian representations in music video clips amounts to 18% compared to the +frequency of the ingenuine representations of Nubians in YouTube video +clips. + Participant 22, a young male in his twenties, explained that Nubian -music videos have "Touched the hearts and souls of millions of +music video clips have "Touched the hearts and souls of millions of non-Nubian Egyptians and they know some songs by heart, even if they do not understand the Nubian language." Conversely, participant 13, a fifty- two-year-old female speaker, believes that most of the videotaped songs are not authentic as they are filmed exclusively in the Western part of Aswan and have several overgeneralized elements. She also noted -that "many people dancing in these music videos are not Nubians and +that "many people dancing in these music video clips are not Nubians and cannot dance as Nubians." Agreeing with the majority of the participants, I believe that Nubian songs, whether they are audio or video recorded, are powerful tools for portraying the real Nubian @@ -902,7 +882,7 @@ themes, which resonate with listeners across different backgrounds." The traditional Nubian clothing is white *galabia*, "a white garment" for males, and a black *gargaar*, "a black dress, usually colored clothing underneath it," for females, as shown in the picture below. -Throughout videotaped songs, and even documentaries, Nubian men are +Throughout videotaped songs and even documentaries, Nubian men are usually depicted wearing a *galabia*, while women wear *gargaar* and headscarves. Discussion question seven aimed to show how the participants feel about the recurring pattern of clothing authenticity @@ -918,7 +898,7 @@ clothing, and hence, it is an authentic visual representation that reflects reality and ethnic apparel. However, 23% of participants considered these garments as only partially authentic and realistic, noting that they are typically worn on special occasions, while regular -daily clothes are also common. Participant 16, a thirty-eight-year- old +daily clothes are also common. Participant 16, a thirty-eight-year-old male, stated that "there is nothing wrong with portraying traditional Nubian clothing, but it should be more diverse reflecting daily regular apparel too." On the contrary, participant 1 who is a seventy-year-old @@ -933,10 +913,10 @@ speakers of Nobiin. **~~Figure 11. The graph compares the distribution of the clothing authenticity utilized in music songs and documentaries.~~** Figure 11 shows the -frequency of participants' responses to the authenticity of Nubian -clothing representations in music videos and documentary movies. Interestingly, the age range of the five participants who believe that -clothing authenticity in music videos is partially true to life, -amounting to 23% of clothing authenticity in music videos data, is from +frequency of participants' responses to the distribution of the authenticity of Nubian +clothing representations in music video clips and documentary movies. Interestingly, the age range of the five participants who believe that +clothing authenticity in music video clips is partially true to life, +amounting to 23% of clothing authenticity in music video clips data, is from the twenties to forties and they are all heritage Nubian speakers, born and raised in Cairo. The traditional national Nubian clothing is still used nowadays and is a unique part of the Nubian culture, so visually @@ -1037,7 +1017,7 @@ representations of Nubians in the media, the prejudiced portrayal of Nubians in movies and soap operas, the positive depiction of Nubians in documentaries, and the unauthentic costumes used by musical bands. The second highest frequency, as indicated in discussion questions 5-7, is -the genuine presentation of Nubians in music videos, the crucial role +the genuine presentation of Nubians in music video clips, the crucial role played by Mounir in spreading awareness of the Nubian language and culture through his influential music and artistic vision, and the authenticity of apparel portrayed in documentaries and videotaped songs. @@ -1064,7 +1044,7 @@ their status as Egyptian citizens. Prominent Nubian singers such as Ahmed Mounib, Khedr El-Attar, Hamza El Din, Mohamed Mounir, and others play a significant role in preserving the language and culture. Their music often features traditional themes and rhythms, and several Nubian -music videos are translated into Arabic to raise awareness and make the +music video clips are translated into Arabic to raise awareness and make the language accessible to younger generations whose primary language may be Arabic. The influence of these artists extends beyond entertainment; it serves as a bridge, connecting diverse audiences to the rich tapestry of @@ -1124,7 +1104,7 @@ undergoing redesign. Similar to the Art of Nubia, NAPATA provides information on Nubian poetry, music, language, history, and heritage. As a non-profit organization, NAPATA is dedicated to serving the needs of rural Nubian communities and other regions, with a focus on promoting -Nubian heritage, culture, and language. Another Significant effort to +Nubian heritage, culture, and language. Another significant effort to counter negative stereotypes is the Nubian Cultural Center for Social Development in Aswan, Egypt. This organization works to preserve and promote Nubian heritage through educational programs, workshops, and @@ -1132,7 +1112,7 @@ cultural events. By offering classes in the Nubian language, organizing traditional music and dance performances, and hosting exhibitions on Nubian history, the center provides a platform for the Nubian community to express their identity and challenge stereotypes. It also fosters -dialogue between Nubians and non- Nubians, encouraging understanding and +dialogue between Nubians and non-Nubians, encouraging understanding and appreciation of Nubian culture. Through initiatives like these, Nubians not only work to preserve their heritage, but also actively counter the negative portrayals often propagated by media and mainstream narratives. @@ -1166,7 +1146,7 @@ resistance underscores a critical pushback against misrepresentation. The second part of the article reveals how native Nobiins perceive their portrayal in the media, revealing both their frustration with the negative stereotypes and their pride in positive representations, -especially in documentaries and music videos. Moving forward, it is +especially in documentaries and music video clips. Moving forward, it is imperative that these stereotypes be dismantled, and that awareness be raised among all Egyptians---both Nubians and non-Nubians---about the harmful impact of these depictions. Without such change, new generations @@ -1188,7 +1168,7 @@ Education: Age: -Place of Residence +Place of Residence: I have nine questions and I will start the discussion by showing you some pictures to help with our discussion and then we can talk about @@ -1199,7 +1179,7 @@ them and elaborate on the target questions. representations in the Egyptian media? 2. Now, look at these pictures from several soap operas. Have the - Nubian representation in the Egyptian media recently changed? Can + Nubian representations in the Egyptian media recently changed? Can you explain your opinion with some examples? 3. Could you tell me about the Nubian portrayals in the movies and soap @@ -1209,28 +1189,30 @@ them and elaborate on the target questions. representation in movies and soap operas? Please explain and provide some examples. -5. Now, let's move to music videos. How are Nubians portrayed in music - videos? What do you think about this representation in terms of how +5. Now, let's move to music video clips. How are Nubians portrayed in music + video clips? What do you think about this representation in terms of how genuine it is? 6. Mohamed Monir is one of the famous Nubian singers. Do you think he plays a role in promoting the Nubian culture and language? How so? If yes, how do you describe this role? -7. Now let's talk about Nubian clothing used in most music videos. How +7. Now let's talk about Nubian clothing used in most music video clips. How do you feel about the use of the white *galabia*, and the black *gargaar*? 8. How do the Nubian costumes used by music bands on TV shows and - YouTube differ from the clothes used in music videos? Are the + YouTube differ from the clothes used in music video clips? Are the costumes used by the music bands authentic? Please explain and provide some examples. -9. Have you heard of the cartoon Bakkar? What do you think about it? +9. Have you heard of the cartoon *Bakkar*? What do you think about it? How are Nubians represented in the cartoon? Do you believe that their representations are realistic? -# Appendix 2: IPA transcription of Arabic[^46] +# Appendix 2: IPA transcription of Arabic + +Appendix 2 provides a description of the Arabic IPA Arabic sounds used in this paper. ![Table with IPA transcription of Arabic.](../static/images/taha/appendix2.jpg "Table with IPA transcription of Arabic.") @@ -1297,7 +1279,7 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 [^4]: In this paper, International Phonetic Alphabets (IPA) transcription of Egyptian Colloquial Arabic is used. Please check - appendix 2 for details. + appendix 2 for details. This paper uses /j/, which can be represented as /y/ in other systems. [^5]: Bassiouney, *Constructing the Stereotype*, p. 7. @@ -1332,9 +1314,9 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 [^18]: Hughes and Tracy, "Indexicality," p. 1. [^19]: Johnstone et al., "Mobility, Indexicality, and the Enregisterment - of 'Pittsburghese'." + of 'Pittsburghese'," p. 81. -[^20]: PAGE NUMBERS +[^20]: Ibid. [^21]: Silverstein, "Indexical order and the Dialectics of Sociolinguistic Life," p. 194. @@ -1346,26 +1328,19 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 (accessed May 2021). [^24]: See - https://www.youtube.com/watch?v=vYfif7sAnpw&list=PL4ZQAyKFoBc-GzgfgRN8M9HJe152WYJ9D&index=5 + https://www.youtube.com/watch?v=vYfif7sAnpw&list=PL4ZQAyKFoBc-GzgfgRN8M9HJe152WYJ9D&index=5 (accessed May 2021). [^25]: See https://www.youtube.com/watch?v=vLW3gDcVzak - (accessed in May 2021). - -[^26]: See - https://www.youtube.com/watch?v=L7L8zMTxsYc - (accessed in June 2020). - -[^27]: See - https://www.youtube.com/watch?v=-G-5gKXOkNQ (accessed May 2021). -[^28]: See https://www.youtube.com/watch?v=ctImkHHP9x4 - (accessed August 2021). +[^26]: See https://www.youtube.com/watch?v=z9ViDzUnJUU (accessed November 2024). -[^29]: See - https://www.youtube.com/watch?v=_A90OVqQtSM - (accessed September 2021). +[^27]: See https://www.youtube.com/watch?v=-G-5gKXOkNQ (accessed May 2021). + +[^28]: See https://www.youtube.com/watch?v=irloGB1-N6A (accessed September 2024). + +[^29]: He was not a non-Nubian Egyptian actor born in 1887. He was one the earliest actors to stigmatize and grossly exaggerate Nubians in movies and plays. His style of portraying Nubians, that includes ridiculing their Arabic fluency and accuracy, is still used in Egypt. See https://www.youtube.com/watch?v=UAPYImuAK_g (accessed June 2021). [^30]: Glossing abbreviations used in this paper: 1- first person; 2- second person; 3- third person; IMP- imperative; PR- proper noun; @@ -1396,7 +1371,7 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 (accessed May 2021). [^35]: See - https://www.youtube.com/watch?v=PmgjwTZ6aRMfor + https://www.youtube.com/watch?v=PmgjwTZ6aRM for 4a; https://www.youtube.com/watch?v=ryWp_nqybmI for 4b, and @@ -1420,7 +1395,7 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 [^40]: See https://www.youtube.com/watch?v=AU0clu5ft-E (accessed in September 2021). -[^41]: In this study, music video refers to video recorded or filmed +[^41]: In this study, music video clips refer to recorded video clips or filmed performances usually accompanied by dancing, visual images, and musical instruments intended to promote and showcase artists and cultures and marketing for their albums. @@ -1430,12 +1405,10 @@ Arabic in Egypt." *Dotawo* 6 (2019): pp. 113--48 conducted the radio broadcasted interview with Mounir discussing the Egyptian revolution. -[^43]: See https://www.youtube.com/%40NubaTubeChannel (accessed September 2021) and http://www.youtube.com/%40%D9%82%D9%86%D8%A7%D8%A9%D8%A7%D9%84%D9%86%D9%88%D8%A8%D8%A9-%D8%B77%D8%B9 - (accessed September 2021) respectively. +[^43]: See https://www.youtube.com/%40NubaTubeChannel (accessed September 2024) and www.youtube.com/@قناةالنوبة-ط7ع + (accessed September 2024) respectively. [^44]: https://artofnubia.com/index.html [^45]: https://www.napata.org/language.html -[^46]: Appendix 2 provides a description of the Arabic IPA Arabic sounds - used in this paper.