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Biographie :
Everyone knows Adawiya. Many have strong feelings against him; most of them have never heard him sing. "It's enough to look at him," they claim. Well, the man is no beauty king: short, swarthy, coarse blow-dried hair, a lopsided mouth, and shiny suits. Many men, however, would break a leg to master the effect he has on a crowd -- especially on women. Once Adawiya is on stage, spectators instantly lose their elegant, arrogant poise and climb on the very tables for lack of space on the dance floor -- at any five-star hotel. Yes, he comes from the pits and, yes, his original trade was plumbing. But no, he is not an imbecile.
Where exactly he was born is irrelevant: one hara is as good as the next. It all began during primary school. He would skip classes and go to Mohamed Ali Street, where he listened in awe; listened, and sometimes joined "the masters of saltana." He eventually quit school altogether and moved to "that magic street," where he embarked on his own career. "My brothers were ashamed of me -- my family is from Upper Egypt, remember -- because they could not accept that a man would sing, especially among belly-dancers. But I liked to sing, what could I do? I felt it was a gift from God that I simply had to make use of."
But what precisely is saltana? To most people the word evokes derogatory connotations of a drugged state, the very state they imagine Adawiya to be in all his waking hours ("I could have a nice loaded shisha in the privacy of my home or among friends, but does that really matter?"). Adawiya clarifies at length: "I am a saltangi. Saltana is my thing -- I can sing, and alternate between, different Oriental maqamat: from the rasd, I can slide into nahawand, then into higaz; I can play with sika and move to bayati, to saba. This is saltana -- it's all in the maqam. That, I have achieved after a tough and tempestuous life. I have, basically, seen the depth of the pits when I started from the very bottom of the ladder -- Ahmed Adawiya has really scraped the rocks with his bare hands. It is my singing experience in mulids and tents that founded my entire career. My own talent, combined with such a life, has qualified me for the equivalent of a PhD in music. I never studied music, except through feeling, listening and a tough life. Many musicians have reached top academic degrees in music, but they do not have saltana; they turn to someone like me and seek my experience in saltana. The mawwal is my game. Adawiya does it right. I sing all maqamat in the mawwal. This is history. I am a whole history."
He sounds awfully conceited, yet his spontaneous simplicity and innate charm somehow manage to tone down his self-referential praise. He looks you in the eye (how many people can still do that?), denies statements he made earlier if they sound too pompous and, with the same sincerity, repeats the exact same words after uttering the absolving formula: "God spare me the evils of vanity." Adawiya once claimed he was Sadat's favourite singer. "Anis Mansour loves me," he retorts. "I never saw a man love another like Abdel-Halim loved me." The mention of Abdel-Halim sets him off singing Hafez's favourite Adawiya song.
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