The Iranian occupation of Iraq did nothing but change the nature of the national identity of Mesopotamia. This profession dared everything. The worst thing is that he is currently succeeding in reformulating the cultural identity of this country. His last innovations were the fusion of the sacred with the profane, that is, religion with politics. And his exploitation of religion is of a hideous sectarian nature that breeds nothing but hatred and violence. The most dangerous is the attack on the cultural taste of the Iraqis.
Audacity reached a terrifying level with the exploitation of one of the wives of the Prophet, “Aisha”, to oppose the poet Saadi Youssef. Then came the targeting of the artist, Kazem El-Saher, for nothing but the latter’s patriotism and his refusal to sing under the shadows of pictures of Qassem Soleimani and Abu Mahdi Al-Muhandis.
When intellectuals join the public opinion fueled by the Iranian militias on the issue of the singer Kazem El Saher, it indicates that the Iraqi personality, who has not abandoned his brutality, has begun to program his aggressiveness in accordance with the requirements of the culture of the profession.
Sectarianism to insult intellectuals and poets
When Iraqis used to demand to burn the books of the great poet Saadi Youssef, most of them had not read his poetry and knew nothing of its value in contemporary Arab culture, but they believed the lies that were spread. by “intellectuals” who were aware of who Saadi was and the importance of his poetic achievement. . The patriotic stance that the poet clearly and openly took against the American occupation and its followers was what prompted those intellectuals to launch sectarian rumors that inflamed the feelings of the public, who recklessly rushed to insult the poet and many attributed indecent qualities to him when they considered him an enemy of the new Iraq, which is the Iraq of sects. The patriotic cover of that party was false.
Hate “Aisha” for stirring up discord
At that time, Aisha, the youngest of the wives of the Arab Prophet, was the title of the deception practiced by those intellectuals to entice the common public to join in their malicious protest against the poet. They used a poem he wrote about “Aisha” to accuse him of insulting the Islamic religion. Which is not equal to reality. This is because the influential religious establishment in Iraq does not hide its hatred towards it, and it calls on the general public to insult it, which most Shiite clerics do openly on the platforms. This is a lie that Iraqi intellectuals tried to expose the poet, which ended up embarrassing the Writers’ Union when it asked for a symposium on him after his death.
Silence is the enemy of truth
It is certain that there are Iraqi intellectuals who have realized the magnitude of the crime being committed against Iraq’s cultural reputation by promoting a vile attitude hostile to a great poet like Saadi Yusef, and after him the poet Sami Mahdi after his death, but their voices are lost in the noise, and they know that any battle they wage in confronting the Iranian militias will be asymmetrical. So they resorted to silence, which is the enemy of the truth, in an effort to preserve their lives.
When Al-Saher is surrounded by a party of Iraqi insults, for no other reason than that he objected to the Iranian occupation that dominates his country, it means that there is a problem, not with the people he calls their have not loved from the beginning, but rather with the cultural system that controls and moves those people.
Al-Saher will not sing in the shadows of Soleimani and the engineer
However, when intellectuals join the public opinion fueled by the Iranian militias on the issue of the singer Kazem El Saher, it indicates that the Iraqi personality, who did not abandon his brutality, began to program his aggressiveness in accordance with the requirements of the culture of the profession. Kazem Al-Saher previously stated, as is rumored in Iraq, that he will not sing in Basra unless pictures of Qassem Soleimani and his follower, Abu Mahdi Al-Muhandis, are removed from the streets and squares. In it he does not interfere in politics, but rather expresses a national opinion that should be respected by intellectuals, either because they demand respect for other opinions in the context of their democratic experience, or because they believe in freedom. And it’s a matter of them not being able to cross his barbed walls, it seems.
Kazem El Saher is not like Saadi Youssef. The latter, however popular and culturally high he may be, remains a prisoner of his elitism, in the sense of his limited readership. He is like al-Mutanabbi, al-Sayyab, Abu Nawas and al-Jawahiri. One will not find his books in every house. As for the vigilantes, he reached the bedrooms and established his voice there. It doesn’t matter whether you like him or not to acknowledge his existence. Your opinion about his voice, his melodies and his song lyrics will not be considered by anyone. Nobody used to metaphorically say that Al-Saher is the ambassador of the Iraqi song. Al-Saher created a new style in Arabic singing, which allowed him to compete with the great singers of his time and make them excel.
The “intellectuals of the Iranian occupation” and the clumsiness of thought
As for when Al-Saher is surrounded by a party of Iraqi insults, for nothing other than objecting to the Iranian occupation dominating his country, it means there is a problem, not with the people he loved from the beginning, but rather with the cultural system that controls and motivates those people. This means that the intellectuals of the occupation played a major role in shifting Iraqi public opinion from admiration, which involves a sense of superiority, to anger, which involves sloppy thinking.
No one attended the funeral of the great poet Sami Mahdi except his family members. In the future, Iraqis will relive that sad scene with an overwhelming sense of self-loathing. They used to cry in self-immolation. But when they read his poetry, they will know that they had little knowledge of their country. As for Saadi Youssef, he was more daring to face the hate campaigns because he lived far from the power of the professional intellectuals and their audience when he asked them not to approach him and his funeral. In both cases, there were false sectarian and partisan fronts in which those intellectuals covered up their true motives related to the occupier’s machine and its media agents. But in the case of Kazem El-Saher, who became a reminder of a mobile Arab conscience, they found themselves without a cover, so they revealed the fact that they were mere choirs charged with the occupation defend. Al-Saher was adept at expressing his patriotism. He didn’t say a word about politics and didn’t touch on the sects when he said “no” to the Iranian occupation and to the photos of his militia leaders.
Quoted from “Asas Media”
All published articles represent only the opinion of its authors.