In this episode of Quartertones, we're joined by Barbara Lebrun, the author of "Dalida: Mythe et Mémoire." We explore the remarkable career of Dalida, the iconic singer who rose to fame in the mid-20th century. Born in Cairo to an Italian family, Yolanda Gigliotti's journey to stardom began when she moved to France in 1954. Initially adopting an Italian persona to navigate the complexities of the French music industry, she later embraced her Egyptian roots, becoming a symbol of Franco-Arab friendship. The episode delves into her rise as a Mediterranean sensation, her multi-lingual career spanning various languages including Arabic, and her tragic end in 1987. We also discuss the scholarly perspective on her impact and how her posthumous recognition has evolved over the years.
00:00 Introduction: The Challenges of an Egyptian Artist in France
01:30 Early Life and Career Beginnings
01:46 Rise to Fame in France
03:15 Cultural Identity and Multilingualism
03:48 Personal Tragedies and Their Impact
05:02 Scholarly Interest and Changing Perspectives
06:20 Navigating the French Music Industry
11:06 Embracing Egyptian Roots and Arabic Music
29:29 The Miss Egypt Controversy
34:29 Transnational Success and Limitations
01:05:12 Final Years and Legacy
Barbara Lebrun has been a Senior Lecturer in French Cultural Studies, at the University of Manchester since 2002. Her teaching covers the history, politics and culture of modern and contemporary French society, from the 19th century to the present. Her research is more narrowly focused on French popular music since the 1950s, with special interests in the representation of cultural identities (ethnicity, race, gender, generation...) and their relative commercial success and critical prestige. Her two monographs, "Protest Music in France" (Ashgate 2009; re-ed Routledge 2016) and "Dalida: Mythe et Mémoire" (Le Mot et le reste, 2020), examine contemporary popular music in France from the distinct but complementary perspectives of "alternative" and "mainstream" cultures, with forays into audience research, music festivals, posthumous fame, elitism, and the representation of whiteness, exoticism and cosmopolitanism in metropolitan France. Cautiously, from the self-conscious perspective of white scholarship, she is currently developing a new project on musical representations of racial and other types of diversity in French variétés (mainstream pop), from the 1960s to the late 1980s.
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