
Samiha Ayoub (1932 – 2025) Iconic actress dies
'Her works will remain beacons lighting the path for future generations, and her memory will remain eternal in the hearts of her admirers.' With these words Egypt's Minister of Culture, Ahmed Fouad Hanno, mourned Ms Ayoub who died in her home in the Cairo upscale district of Zamalek on 3 June 2025 at the age of 93. She was a prolific actress who has to her credit the longest artistic career of a female actor in the history of Arab theatre and cinema. Her career spanned over 450 works, including 44 films, 220 TV series, and some 115 radio dramas. Her works varied from the classic to the modern, and from the tragic to the comic, each role played with legendary mastery. Throughout her life, she richly enhanced the cultural and artistic scene in Egypt and the Arab World.
'The late actress,' Mr Hanno read, 'was a dedicated, creative national artist who devoted her life to art and gifted her audience an exceptional journey of creativity and uniqueness.'
Mr Hanno offered his sincere condolences to her family, friends, and fans, praying that God grants her His mercy.
Samiha Ayoub was born in the middle-class Shubra district of Cairo in 1932 She studied at a Catholic girls' school in Cairo. Her first acting role came when she was only 15; she played Mary Magdalene in the 1938 Egyptian production ++The Life and Passion of the Lord Christ++.
Ms Ayoub became a member of the Zaky Tulaimat Theatre Group whose founder Tulaimat became pivotal in her acting career. Tulaimat was an Egyptian actor and director, and famously a pioneer of Egyptian theatre. He founded the School of Theatre and the Institute of Dramatic Arts in Cairo.
In 1947, Ms Ayoub played a role in Mohamed Abdel-Gawad's film ++al-Mutasharrida (The Homeless++ which marked an early breakthrough in her career.
Encouraged by Tulaimat, Ms Ayoub joined the Higher Institute of Dramatic Arts in 1949, where he continued to mentor her alongside other renowned Egyptian artists.
From 1972 to 1975, Ms Ayoub managed The Modern Theatre, and from 1975 to 1985, she was the director of Egypt's iconic al-Qawmy Theatre (The National Theatre).
In 2015, she received the Nile Award in the Arts, and in the same year, the large hall in the National Theater was named after her, in honour of her outstanding acting career and her contributions to the theatrical arts in Egypt. She continued to be active until her final years. Her name drew crowds of spectators to theatres, her acting moved hearts and her strong, warm voice carried faithful expression.
In 2021, Ms Ayoub was honoured at the Sharm al-Sheikh Theatre Festival for Youth, and remained honorary president throughout the following years.
'Deep inside me is this very humble person who feels she has not done much. When standing on stage, I find my strength; it is in front of the audience that I am alive; the presence of the audience allows me to create the true character that I portray,' she said during one of the symposiums in 2021.
Samiha Ayoub was married four timesShe leaves behind two sons: Alaa Mahmoud Mursi and Mahmoud Mohsen Sarhan, and one grandson Youssef Alaa Mursi.
Watani International
3 June 2025 Comments
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Few artists have shaped the cultural and political fabric of the Arab world quite like Ziad Rahbani, and his passing on 26 July registered among millions as a significant loss for the region's cultural heritage. A multi-talented composer, playwright and pianist as well as an outspoken political commentator, Ziad Rahbani was born in 1956 in Lebanon, in a home already marked by artistic greatness. The son of the legendary singer Fairuz (Nouhad Haddad), who turned 90 last year, and the late composer Assi Rahbani (1923–1986), Ziad inherited more than immense musical talent, he also absorbed an intense sensitivity, a sharp intellect, a critical eye, and a fearless voice for political dissent. His upbringing was steeped in the creative atmosphere shaped by the Rahbani Brothers — Assi and his brother Mansour Rahbani (1925–2009) — visionary composers from the town of Antelias, north of Beirut. Their legacy offered young Ziad not just influence and mentorship, but direct exposure to the intersection of music, theatre, and political thought from a staggeringly early age. No wonder Ziad started writing music so young; his first well-known public composition was Saalouni El-Nass (1973), performed by his mother Fairuz. From his early boundary-pushing, jazz-infused compositions to his provocative musical theatre, Rahbani emerged as the defining figure of a genre he referred to as 'Oriental jazz.' While he wasn't the first to use the label, his music transcended such classifications, fusing Eastern melodies and Lebanese folklore with Western structures in a way that was unmistakably his own. In doing so, he crafted a soundscape that was both rooted in tradition and daringly original. Rahbani's art defies creative perceptions and questions musical canons while his lyrics confront societal norms, all along capturing the pulse of Lebanese life during times of war, instability, change. Revolutionary and boldly visionary, he was also a romantic, with both qualities obvious throughout his creative life. Yet Rahbani was not so much a contradictory man but a deeply complex artist who carried within him a tangle of emotions: love and anger, clarity and confusion, tenderness and rebellion. He didn't resolve these tensions; he lived them, fully and unapologetically, channelling each into his music, theatre, writing. His work became a mirror of his inner world and the world that surrounded him; his creative voice was at times raw, at times refined, but always honest. His softer side shines through many of his songs. Who can find a more haunting and poetic piece than his over six-minute-long, slow-paced ballad Wahdon (On Their Own, 1979)? Performed by Fairuz, this meditation on solitude, memory, and loss, uses piano as protagonist, playing at the backdrop of a delicate fusion of Arabic music and jazz-influenced harmonic progressions. Is there anything more tender than Bala Wala Chi, an anthem of unconditional love so profoundly heartfelt in tone? Written with vulnerability and a quiet kind of longing, its music blends soft piano, jazz, and a minimal arrangement, to highlight the emotional weight. The song comes from Rahbani's iconic Houdou Nisbi (1985), an album that also features Khalas (It's Over), a soft adieu to love, wrapped in a ballad that drifts on soft airs of thoughtful jazz and Latin rhythms — his hallmark palette. Then there is Kifak Inta (How Are You, 1991), another emotionally charged classic among Fairuz's staple hits. While it may sound like a simple nostalgic air, many interpret its lyrics as an expression of Fairuz's pain over her son's departure. 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In his Brechtian musical theatre, Rahbani made his voice unmistakably heard through works such as Sahriyya (An Evening's Celebration, 1973), Nuzl El-Surour (Happiness Hotel, 1974), and Bennesbeh Labokra Chou? (As for Tomorrow, What?, 1978) — the latter including eponymous music that joins jazz with Arabic and bossa rhythms. All those works were created before he had even seen his 22nd spring, and they earned him recognition, especially among his peers, a generation deeply affected by the unrest and violence of war. Far more than artistic expressions, Lebanon heard the voice of a young man full of hope, fighting for change, shedding light on the war, sectarianism, the devastation caused by conflict, political corruption, authoritarian regimes, but also the evils of capitalism, hypocrisy, neglect of the marginalised, and class disparity. His alternative, socially grounded theatre turned into a powerful critique of Lebanese civil society. In doing so, Rahbani transformed music and theatre, as he experimented with genres and forms. He courted sarcasm and a deep sense of irony intertwined with absurdism, factors that gave birth to the Rahbani style of theatre. One of that performance genre's poignant examples is Film Ameriki Tawil (A Long American Film), a play that premiered at Beirut's iconic Piccadilly Theatre in 1980. Set in a psychiatric institution in West Beirut, the play is filled with paradoxical dialogues echoing Beckett and Ionesco, with the characters trapped in the country's chaos. Two addicts, a disillusioned leftist intellectual, a nationalist, a war-time maniac militiaman, a man obsessed with uncovering 'foreign conspiracies', another fearing sectarian divisions, are among the characters who mirror Lebanon's fractured and dysfunctional post-war society. 'The events depicted in this play take place in October 1980 or October 1979 or October 1978, given that the overall political situation has generally remained unchanged.' So Rahbani commented on Film Ameriki Tawil years after its premiere. How prophetic this statement becomes when we realise that, in many ways, it is still valid nearly half a century later. The revolutionary or rather humane Rahbani continued to use his talent, in music and playwriting, to voice his views. The years to come were to see Shi Fashil (Failure, 1983) together with several changes including severe personal turmoil that only compelled Rahbani into detachment. He returned with Bikhsous Al-Karameh Wal-Shaab Al-Aaneed (On Dignity and Stubborn People, 1993), and Loula Fis'het Al-Amal (Little Hope, 1994). It was a time of a more nuanced exploration of alienation, existential doubt and the human cost of enduring conflict. The sarcasm and theatrical absurdity that once defined his plays could no longer be seen as artistic exaggerations; they had become accurate, even understated, reflections on the absurdity of the human systems he opposed. It was a time when the volatile years of a young man influenced by Marxism, his alignment with the Lebanese Communist Party (LCP), began slowly shifting towards disillusionment as he became increasingly critical of the ideological dogmatism that characterised the Lebanese and Arab left. As time passed, themes of existential introspection and isolation began to permeate his creative work. His musical journey also greatly benefitted from this personal development. If it was not for this journey, we would not have had Ila Assi (For Assi), released in 1995, an album which Ziad Rahbani created as a tribute to his father, the renowned Lebanese composer Assi Rahbani. In it, Ziad breathes new life into 18 classic songs composed by the Rahbani brothers, many performed by Fairuz. Undeniably, this work is among the greatest testimonies to the artistic legacies and personal lives of his father, who passed away in 1986 (after a 1972 stroke that marred the rest of his life), and to the whole family. Ila Assi is also one of the clear bridges that Ziad created between the golden era of his parents' generation and contemporary Lebanese music and social commentary, and one of his countless musical collaborations with his mother. Equally, Fairuz's albums Wahdon (On Their Own, 1979) and Maarifti Feek (1987) are among the greatest examples of the mother-son duo, where the Lebanese icon is artistically revitalised by her son's innovative vision, always marking a transformative chapter in both their journeys. 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