Zawaya

Conflict between talent and national pride is relative

By: Ahmed Aydoun

TV reality shows, especially those dedicated to singing contests, have usually the widest audience: an audience that’s hungry for entertainment and excitement, and which contributes through SMS voting.

By playing on proximity, entertainment, and dreams, such programs have become a real social phenomenon that firstly involves a few talented singers and many others who believe to be talented, and then it also mobilizes their families, friends and compatriots in a broader competition.

The more the program and primes advance, the more the remaining candidates have the numbers of their fans swell in their respective countries. The viewers of Star Academy Lebanon or Star Academy Maghreb do not vote for talent at advanced stages anymore, but rather to support the fellow candidate who represents them. When the final stage approaches, the rush to SMS and calls to vote increases, relegating common sense and objective assessment of talent to the background. How can talent be judged anyway?

The different juries formed around these programs face the impossibility of establishing endpoints that are totally objective. They mostly rely on the overall impression left by the candidates after their performance. The few technical remarks given maintain this illusion of an objective judgment, thus the real test for a beautiful voice is its ability to remain natural, while Star Academy expects singers to imitate others.

It is true that Star Academy was considered a large school of show business. Students learn in it the basics of the profession (singing, dancing, stage presence), allowing them to get onto the path of professionalism. The problem is that music is a serious matter, and that the skills it requires cannot be taught in such a short time. Those who succeed are those who have already developed strong practice before, and candidates who decide to participate in the program must already have a project in mind, that the presence in a program with a large audience can help to realize. In these circumstances, Star Academy may play the role of a career booster.

At the Arab level, there is generally little interest in serious music studies; theoretical and technical musical culture are not diffused into society. This situation promotes superficial judgments and established tastes and styles. The concept of talent is not well defined; hence the easy shift to subjective and chauvinistic support. It is the same criticism that was addressed to singing contests organized by the Union of Arab Radios, which – apart from a few exceptions – were complacent towards the host country.

However, this conflict between talent and national pride is relative. The public’s judgment is not totally subjective, as their national candidate could reach the final phases thanks to his/her efforts. I can’t imagine the majority of a national audience supporting a weak or average candidate, so the difference in talent between the one that they support and a candidate from another country does not deserve being taken into account, which justifies the unconditional support.