Drama 1882
(Egypt, 45 min.)
Dir. Wael Shawky
Programme: Wavelengths (North American premiere)
Representing Egypt at the Venice Biennale, Wael Shawky presented an exhibition depicting the Urabi Revolution, a nationalist uprising led by Egyptian Colonel Ahmed Urabi and his army against the Egyptian monarch. The conflict persisted from 1879 until 1882 following the Anglo-Egyptian War, marking the beginning of Britain’s 72-year occupation of Egypt. The exhibition included sculptures, paintings, drawings, a mirror relief made in Murano, Italy, and a 45-minute musical film entitled Drama 1882.
The film contains eight chapters that takes audiences through key moments of the revolution and considers the human dynamics among those involved. Shawky visualizes the uprising and subsequent war through vibrantly coloured staging and stunning music. The film’s entire narrative is sung in classical Arabic by professional performers with layered harmonies that create an immensely rich musical experience. The velvety tones and lyrics work in perfect tandem with the storybook-like set design and come together as a teaching aid of historical significance.
A lot can be impressively unpacked, philosophically, historically, and socially from this mid-length work. One of the most thought-provoking aspects of the film comes from its title and the tone it sets before the first chapter. When taking a modern lens towards “Drama 1882,” there exists almost a flippancy. Internet culture has diminished the word “drama” to a punch-line or a word said in excess, so to consider something as significant as the Urabi Revolution and Britain’s occupation in the same vein can feel borderline trite.
However, as the film unfolds and the events play out, it’s clear Shawky’s intention resides in one’s understanding of the literal drama that caused catastrophe and dramatic fall out. The title also acknowledges drama as entertainment: it evokes idea that it’s easy to view turbulence in episodic wonder when there is space and/or time between us and the conflict.
Shawky’s use of layers in the set design and choreography also metaphorically speaks to the nuances that exist within the subjects of the film, namely, nationalism, revolution, and corruption. Set pieces and groups of people move across the stage towards one another and away from each other without stealing focus to centre stage.
With revolutionary cries heard around the world and heightened political tensions at every turn, Drama 1882 comes at a poignant time. A time in which citizens have considered (and re-considered) their countries’ histories and the knock-on effects times of subjugation and occupation, as colonizers and those colonized, continue to have on their communities. In recalling the familiar circumstances that led to the Urabi Revolution and how ego and a desire for authority influenced those fighting and in power, Shawky’s Drama 1882 feels like an educated call to arms — rather than simply repeat history, we learn and grow from it.
