By: Yomna Walid
He stepped into the music scene with a unique style, setting his own rules and surprising audiences every time he performs. This Thursday, DJ Saify will be NileFM&rsquo;s DJ of the Week, bringing his signature sound to listeners at 10:00 PM.
DJ Saify lives between two worlds, each shaping the music he delivers. Drawing from these influences, he creates sets that blend emotion, rhythm, and energy. From his early days with The Disc Jockeys to his current project Zabadi Khalat, Saify has steadily built a sound that tells a story as much as it gets people moving.
NileFM spoke to DJ Saify to explore his journey and the surprises he has in store for this special night.
Let&rsquo;s start from the beginning. Tell us about yourself. How did your journey into DJing begin?
My name is Ahmad, also known as Saify. I live between two worlds: my daytime reality and my true self at night behind the decks. Music has always been my escape and my main form of expression.
My journey started about ten years ago at a club, when I saw DJ Mohasseb perform. The way he controlled the energy and connected with the crowd completely shifted something in me. That night, I knew I wanted to do this.
<a href="https://ibb.co/LzhFH07p"><img src="https://i.ibb.co/KjzPS5vy/1.png" alt="1" border="0" /></a>&nbsp;
You often describe your music as a blend of Afro house and melodic house. What drew you to these genres?
I&rsquo;ve always been drawn to music that evokes deeper feelings. Afro house has raw groove and rhythm, while melodic house brings emotion and storytelling.
Blending both allows me to balance energy and feeling. It&rsquo;s not just about dancing; it&rsquo;s about losing yourself in the moment.
Take us behind the decks. How do you build a DJ set from start to finish?
I approach every set as a journey. I usually start by creating a subtle mood to pull people in, then gradually raise the energy.
Reading the crowd is everything. I adapt in real time, creating tension and release. A good set should feel like a story you don&rsquo;t want to end.
<a href="https://ibb.co/Psf45mjp"><img src="https://i.ibb.co/twWcbmKf/2.png" alt="2" border="0" /></a>&nbsp;
Which event stands out most in your career?
Playing at Amsterdam Dance Event was a defining moment. Being part of such a global platform, surrounded by different sounds and cultures, was unforgettable. It pushed me to think bigger and refine my identity as an artist.
What is the most memorable feedback you&rsquo;ve received?
Someone once told me after a set, &ldquo;You didn&rsquo;t just play music, you made us feel something.&rdquo; That stuck with me. My goal has always been to create a real emotional connection, not just a party.
Do you remember the moment you realised you wanted to be a DJ?
It grew on me over time. I used to watch Armin van Buuren and Ti&euml;sto sets, especially big events like Sensation White. The energy, lights, and crowd felt like another world, and I knew I wanted to be part of it.
You&rsquo;re involved in several collaborative projects. How do they enhance creativity?
I&rsquo;m one half of two projects that shaped my journey. The Disc Jockeys was an early chapter that built my foundation and experience.
Right now, I focus on Zabadi Khalat. It&rsquo;s growing steadily and reflects where I am creatively today. Collaborations push you to think differently when there&rsquo;s mutual understanding and shared vision, the result is always stronger than working solo.
Looking ahead, what are you exploring?
I&rsquo;m refining my sound in Afro and melodic house, aiming to create a signature identity. I&rsquo;m also working on upcoming collaborations and concepts to bring fresh twists to my sets.
What have been some of the biggest challenges?
Balancing my &ldquo;daytime life&rdquo; with my passion for music has been one of the biggest challenges. It requires discipline and consistency. Over time, I&rsquo;ve learned to manage both, and the contrast fuels me creatively.
You were recently selected as DJ of the Week on NileFM. How did it feel?
It felt amazing. Being recognised on a platform like NileFM is a big step. Listeners can expect a set that represents my sound; emotional, energetic, and crafted as a journey from start to finish.
<a href="https://ibb.co/BHn8fJNd"><img src="https://i.ibb.co/LDN40y5b/3.png" alt="3" border="0" /></a>&nbsp;
Photo Credit: DJ Saify&rsquo;s official page
&nbsp;

Exclusive | DJ Saify Talks Afro House, Inspiration, and Being NileFM’s DJ of The Week

By: Yomna Walid
The night before one of the defining moments of her career, Iman Al-Junaidi had not slept. She had arrived from Alexandria, studied an unfamiliar score until dawn, prepared herself, and walked into a room full of 120 musicians she had never met, a full symphony orchestra, performing a Western operatic repertoire. None of it was territory she had previously worked in.
She raised her baton anyway. That evening, as the Grand Egyptian Museum opened its doors to the world, it was Al-Junaidi standing at the front of the stage, not a name imported from a European conservatoire, not a celebrated veteran of Cairo&rsquo;s opera scene, but a woman who had spent decades conducting Arabic music ensembles in Beni Suef, building something from very little, in a governorate with no music college and forty conductors, thirty-nine of whom were men.
<iframe src="//www.youtube.com/embed/FoCcjm-agt4" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
She is, and remains, the first female maestro in Egypt and the Arab world. Recognition did not end there. She would later stand before President Abdel Fattah el-Sisi at a ceremony honouring Egyptian women; another room, another moment she had not entirely expected to find herself in.
Alongside her work in the concert hall, she runs the Wajdan Egypt Foundation for Arts and Culture, sits on the Culture Committee at the National Council for Childhood and Motherhood, and quietly builds programmes for young talents and people with disabilities who might otherwise never find their way into a rehearsal room.
<iframe style="border: none; overflow: hidden;" src="https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Fphoto.php%3Ffbid%3D907742028766970%26set%3Da.108945135313334%26type%3D3&amp;show_text=true&amp;width=500" width="500" height="723" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe>&nbsp;
NileFM spoke to Al-Junaidi to trace her journey from Upper Egypt to the presidential palace. What she built, what it cost, and what she is still working towards.
If we go back to the beginning of your journey, from your first steps in music to becoming the first female maestro in Egypt and the Arab world, tell us about that journey and the challenges you faced.
It was a difficult journey. After graduating from college, I worked in several Arab countries, leading music groups in arts centres and within Ministries of Education. After returning to Egypt, I settled in Beni Suef, where I was assigned to lead the Beni Suef University music team and also became the conductor of the National Arabic Music Ensemble.
I love my work, and I always strive to lead. I constantly study and explore new developments in music. Over time, I won seven or eight awards and participated in many Arabic music festivals, as well as university creativity competitions.
It was a difficult journey, but also a beautiful one that taught me a lot. Through it, I discovered I was the first female maestro in Upper Egypt. At that time, there were about 40 conductors in Upper Egypt working in Arabic music at Cultural Palaces; 39 were men, and I was the only woman.
One of the biggest challenges was that there were no girls in the bands. People criticised me, saying, &ldquo;Why are you doing this? You&rsquo;re a woman leaving your home and children.&rdquo; But that never mattered to me because I believe art lives in the soul, and I love giving my best through it.
Each stage had its own challenges. At first, it was hard to find musicians in Beni Suef, because there was no music college or Arabic music institute there. If, for example, a flute player was absent, I could not find a replacement. Instruments were also limited, so I often had to bring musicians from Cairo for concerts.
Finding female singers was also difficult. Even when I found one, I often had to convince her family to allow her to sing. Sometimes, if she couldn&rsquo;t attend a concert, the performance could not happen.
During the revolution period, I formed my own private band, &ldquo;Al Maestro.&rdquo; I started in Beni Suef, bringing together talented musicians and singers I knew. We recorded videos and presented them in Cairo at venues such as the Opera House and El Sawy Culturewheel. The reception was very positive, and I began travelling constantly between Cairo and Beni Suef.&nbsp;
Eventually, I decided to settle in Cairo to access more musicians. I formed a band there, expanded its repertoire, incorporated folklore elements, and presented new shows. Initially, the audience was small, but over time I built a following.
My first major recognition came in 2010 when I was honoured as one of the creative women by the Cultural Palaces Organization at Cairo Opera House. Later, after forming my band, I received the &ldquo;First Lady of Egypt&rdquo; award in 2021 at Qubba Palace, celebrating successful Egyptian women. That moment was a lifelong dream.
Receiving that recognition carried a huge responsibility to work harder, expand my projects, and further develop the band. I later founded the Wajdan Egypt Foundation for Arts and Culture, focusing on talented individuals and how to showcase their abilities. Because I struggled early in my career, I always try to support amateur artists. In every concert, I try to highlight two or three new talents to give them a stronger push. The foundation supports talents in all forms of art because art is a message.
<a href="https://ibb.co/TqgY9S1V"><img src="https://i.ibb.co/6JWrjx83/1.png" alt="1" border="0" /></a>&nbsp;
You recently participated in International Women&rsquo;s Day celebrations attended by President Abdel Fattah el-Sisi. What did that moment feel like?
It was a huge honour. I never expected to be recognised by the president, to sit beside him, speak, and express my opinion. For me, it was truly a lifelong dream.
That day was also emotionally difficult, as my brother had passed away the day before. Despite my grief, I felt it was important to attend and meet the president. Thanks to God, I managed to speak about important topics related to children and young talents.
<a href="https://ibb.co/HT3yfhPC"><img src="https://i.ibb.co/QvtV3DHk/2.png" alt="2" border="0" /></a>&nbsp;
You have met President Abdel Fattah el-Sisi more than once. What is the most influential advice or message he gave you?
He emphasised three important points: the role and recognition of Egyptian women, the care of people with disabilities, and the importance of art and talent.
He spoke about creating a &ldquo;State of Arts,&rdquo; similar to the State of "Quranic Recitation," to support and nurture artistic talent. I appreciated how he pays attention to details and supports Upper Egypt. I thanked him for supporting Egyptian women, Upper Egyptian women, and the arts; this honours Egypt as a whole.
Before the Grand Egyptian Museum opening, what were the most important behind-the-scenes moments during preparation?
The invitation was a complete surprise. I had never expected to lead the symphony orchestra at the museum&rsquo;s opening, especially since I run an independent foundation.
The recording took place over just two days, and I had only just received the score. It was an opera performance, Western music, all new to me. I did not sleep that night, studying the music intensely. I did not know any of the 120 musicians in the orchestra, but I was determined to succeed.
During filming, I felt dizzy from exhaustion and had to sit for a moment. But after finishing, I felt immense happiness; I had honoured Egypt.
In the Wajdan Foundation, you focus on teaching music to people with disabilities. Tell us more about that experience.
From the beginning, the foundation welcomed all forms of art, including for people with disabilities. We teach skills such as drawing, writing, and handicrafts, and organise &ldquo;Happiness Days&rdquo; for singing, poetry, and performances.
Some participants have learned to sing and play instruments. I also involve mothers in workshops so they can continue support at home. Our aim is to provide comprehensive artistic education to empower everyone.
<a href="https://ibb.co/5W5r6sqb"><img src="https://i.ibb.co/BVgytT80/3.png" alt="3" border="0" /></a>&nbsp;
As the first female maestro in Egypt and the Arab world, did you ever feel you had to work harder to prove yourself?
Every stage has challenges, and every stage makes your dreams grow bigger. Even now, I feel I have many dreams I have yet to achieve. I told the president about my artistic and cultural projects, and I hope to see them realised.
You worked teaching music in Kuwait and Oman. How did teaching abroad differ from teaching in Egypt?
Egypt is the country of civilisation and art. Abroad, I taught singing at youth and sports arts centres for people aged 18&ndash;35. In Egypt, I teach all ages, even those over 70, and cover music more broadly: instruments, religious chanting, musical modes; all aspects of music.
You have spoken about a &ldquo;State of Creativity and Art.&rdquo; Can you explain this vision?
The idea is to discover talents, nurture them, and showcase them. Many talented people lack opportunities. The president suggested creating a &lsquo;State of Arts and Creativity&rsquo;, similar to the &lsquo;State of Quranic Recitation&rsquo;, which would support artistic talent, particularly in Upper Egypt, and highlight even the smallest talents.
When you meet a new musical talent, what makes you feel this person could become a real artist?
At first, most talented people are shy and unsure. I listen carefully, whether they sing or play an instrument. Training and practice are key. I guide them on pronunciation, technique, and improvement.
What distinguishes Egyptian music from the rest of the world, and how can it reach global audiences?
Egyptian music has a very long history. Anyone who wants to become famous or compose music often comes to Egypt. Once you succeed here, you can reach the world.
<a href="https://ibb.co/CKHwq6gj"><img src="https://i.ibb.co/chryPw0W/4.png" alt="4" border="0" /></a>&nbsp;
What is the most important message you deliver through your artistic work?
My message is to promote true artistic creativity; honest, respectful, and elegant art that honours our culture. We aim to combat low-quality art, starting with children, introducing them to great artists like Umm Kulthum and Warda, and helping them reconnect with Egypt&rsquo;s artistic heritage.
<a href="https://ibb.co/SDBJM8vK"><img src="https://i.ibb.co/My79t4NR/5.png" alt="5" border="0" /></a>&nbsp;
Photo Credit: Iman Al-Junaidi&rsquo;s official page

Exclusive | Iman Al-Junaidi, Egypt’s First Female Maestro on Breaking Barriers, The Grand Egyptian Museum, and a Meeting with President El-Sisi

Born on June 21, 1929, in El-Halawat village in Sharqia, Abdel Halim Ali Shabana came into the world already marked by loss. His mother died shortly after his birth, and his father passed away before his first birthday. Raised as an orphan by his uncle, he grew up knowing grief intimately; a pain that would later find its way into every note he sang. He joined the Arabic Music Institute in Cairo, specializing in the oboe, graduating in 1948 before beginning his career as a music teacher.
Turning Point
He left teaching to join the Egyptian Radio Orchestra as an oboe player, where he met broadcaster Hafez Abdel Wahab, who gave him his now-iconic stage name &ldquo;Hafez&rdquo; in place of Shabana. It was a small moment that carried enormous weight and so, a legend was born.
Ahwak
Composed by Mohamed Abdel Wahab with lyrics by Hussein El-Sayed, &ldquo;Ahwak&rdquo; became one of the defining songs of Abdel Halim&rsquo;s career. Abdel Wahab created a melody that blended classical Arabic music with modern orchestration, giving Abdel Halim the space to deliver an intimate and deeply emotional vocal performance. The simplicity of the lyrics, &ldquo;I love you and wish I could forget you&rdquo;, made the song instantly relatable, resonating across generations long after it was first recorded.
<iframe src="//www.youtube.com/embed/Od6LJhVvNOI" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
Tkhonoh
According to Monte Carlo International, &ldquo;Tkhonoh&rdquo; was not originally intended for Abdel Halim. The song was composed by his close friend Baligh Hamdi, who had been developing it for the legendary Layla Mourad. When Abdel Halim heard it, he was immediately captivated and expressed deep admiration for the melody. In a gesture of warmth and generosity, Layla Mourad willingly handed the song over to him, encouraging him to make it his own. What followed was one of the most tender and enduring recordings of his career.
<iframe src="//www.youtube.com/embed/ZhSRg3Qcywc" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
Ala Hesb Wedad
One of Abdel Halim&rsquo;s most beloved folk-inspired recordings, &ldquo;Ala Hesb Wedad&rdquo; was composed by Baligh Hamdi and was among the first songs to weave Upper Egyptian folklore into a romantic musical framework. The story behind it centers on a famous Upper Egyptian dancer named Widad Al-Ghaziya, who was loved by a wealthy pasha but gave her heart to someone from her own social class, a tale that gave rise to the popular saying: &ldquo;According to my heart&rsquo;s desire, oh father.&rdquo; In Abdel Halim&rsquo;s hands, the song became a celebration of authentic emotion over social expectation and remains a staple of Egyptian folk memory.
<iframe src="//www.youtube.com/embed/p8geoEgdrr0" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
Voice of a Nation
Following Egypt&rsquo;s defeat in the 1967 war, Abdel Halim became the voice of a wounded nation, channeling collective grief, resilience, and hope through his music. He delivered a series of immortal patriotic songs, most notably &ldquo;Adda El Nahar&rdquo; and &ldquo;Ahlef Be Samaha,&rdquo; giving the Egyptian people a way to process their sorrow and hold onto their dreams. His willingness to bear the nation&rsquo;s pain in his voice elevated him beyond the role of singer, he became a symbol of the Egyptian spirit.
Qareat Al Fengan
In 1973, Syrian poet Nizar Qabbani wrote one of his most celebrated poems and sent it directly to Abdel Halim Hafez, believing it would reach a new dimension if set to music. When Abdel Halim read the lyrics, he felt the poem spoke directly to his own emotional life. He brought it to composer Mohamed El Mougy, and the process of setting it to music took an entire year, reflecting its complexity and depth. &ldquo;Qareat Al Fengan&rdquo; stands as one of the most sophisticated songs ever recorded in the Arabic musical canon, and it would be the last song Abdel Halim recorded before his death.
<iframe src="//www.youtube.com/embed/gHCGzsefZJU" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
On the Silver Screen
Abdel Halim Hafez made his cinema debut in 1955 with &ldquo;Lahn Al-Wafa&rdquo; (Tune of Loyalty), starring alongside Shadia. Over the course of his career, he appeared in 16 films, including &ldquo;Days and Nights,&rdquo; &ldquo;Girls of Today,&rdquo; &ldquo;Love Story,&rdquo; &ldquo;Sins,&rdquo; and &ldquo;My Father on the Tree,&rdquo; each showcasing his natural charisma and ability to carry both song and story with equal grace.
The Nightingale Falls Silent
Today, March 30, 2026, marks exactly 49 years since the Arab world lost one of its greatest artists. Abdel Halim Hafez passed away on March 30, 1977, in London at the age of 47 after a long illness. The news sent shockwaves across Egypt and the wider Arab world, and millions mourned him in a funeral that reflected the scale of his impact. He left behind not just songs, but a living legacy; one that continues to move, comfort, and inspire with every listen.
On June 21, 2011, Google marked what would have been his 82nd birthday with a special commemorative logo, a fitting tribute to a man whose voice, decades after his passing, still feels very much alive.
Photo Credit: Abdel Halim Hafez&rsquo;s official page
&nbsp;

49 Years On: Why Abdel Halim Hafez Still Moves The Arab World

Since its release as a single in January 1982, Golden Brown by The Stranglers has never really gone away. More than four decades on, the song continues to find new listeners, contexts, and meaning, a quiet achievement for a track that was always hiding something.
Lifted from the band&rsquo;s 1981 album La Folie, Golden Brown reached number two on the UK charts and quickly became The Stranglers&rsquo; signature song. Built around a distinctive harpsichord melody and an unusual waltz-time signature, it sounded like nothing else in the charts at the time and that strangeness turned out to be its greatest strength.
A Song With Two Faces
Golden Brown is not quite what it seems. For years, listeners sensed there was something more to its hazy, drifting lyrics, and rumours of a hidden meaning related to heroin use followed the song wherever it went. The Stranglers never confirmed or denied it, with Hugh Cornwell often saying the song meant whatever the listener wanted it to mean.
Cairo and the Road East
The song&rsquo;s music video adds another dimension to its identity. Shot with a distinctly Arabian aesthetic, it takes viewers on a journey through some of the ancient world&rsquo;s most striking landscapes. The Pyramids of Giza appear as a backdrop, with Cornwell portrayed broadcasting from a Cairo radio station overlooking the iconic skyline. Additional scenes were filmed at the Mir-i-Arab Madrasah in Bukhara, the Shah Mosque in Isfahan, and among Bedouin riders in the UAE.
The visual language of the video reinforces the song&rsquo;s themes of drift, peace, and escape, a traveller moving through golden light and ancient stone, far from wherever trouble lives.
<iframe src="//www.youtube.com/embed/z-GUjA67mdc" width="560" height="314" allowfullscreen="allowfullscreen"></iframe>&nbsp;
A Second Life Online
Decades after its original release, Golden Brown found an entirely new audience on social media. Its atmospheric, emotionally ambiguous quality made it an unlikely but perfect fit for a wide range of content, wedding photographs, sporting defeats, melancholic film scenes, and nostalgic personal montages. Users discovered that the song could hold grief and joy in equal measure, much like the double meaning its writer built into it from the start.
Streaming numbers reflect that renewed appetite. As of February 2026, the original version has surpassed 490.6 million streams. A slowed-down version has added 78.3 million, and a sped-up version a further 7.6 million, bringing the combined total to more than 576 million streams across all versions.
The Band Behind It
The Stranglers formed in 1974, built around drummer Jet Black, bassist Jean-Jacques Burnell, and vocalist-guitarist Hugh Cornwell. Keyboardist Hans W&auml;rmling was an early member but departed after a year, replaced by Dave Greenfield, whose harpsichord playing would go on to define the band&rsquo;s most celebrated moment. The group became one of the most distinctive acts to emerge from the British punk and new wave era, outlasting many contemporaries and leaving behind a catalogue that continues to grow in reputation.
Golden Brown remains the centrepiece of that legacy. More than forty years later, it still hits.
Photo Credit: Stranglers&rsquo; official page

The Story Behind “Golden Brown” and Its Surprising Cairo Connection

By: Yomna Walid
After years of listening to &ldquo;DJ of the Week&rdquo; during his daily routines, DJ Lostboi now finds himself on the other side of the airwaves as this week&rsquo;s featured artist on NileFM.
His journey into music has been gradual, shaped by early experimentation with production and a growing fascination with how DJs influence the energy of a crowd. This Thursday at 10 PM, he brings that experience to radio, sharing both his sound and story.
In this interview, he reflects on his artistic approach, creative process, and what lies ahead.
How would you define DJ Lostboi as an artist, and what sets your sound apart in today&rsquo;s electronic music scene?
I see myself as someone who builds emotion on the dance floor, rather than simply playing tracks. My focus is on taking listeners on a journey through my selections and creating moments they can connect with. I also try to introduce audiences to sounds they may not expect, offering a glimpse into how I experience music.
<a href="https://ibb.co/fzWVc1RS"><img src="https://i.ibb.co/21r0bn26/1.png" alt="1" border="0" /></a>&nbsp;
What was the moment you decided to become a DJ and music producer?
It wasn&rsquo;t a single moment but a gradual process. I was always interested in music and began producing at a young age. Over time, watching DJs shape the atmosphere of a crowd made me want to take on that role myself.
Can you take us behind the scenes of one of your favourite tracks? What story or emotion shaped it?
One of my favourite projects is an upcoming remix titled &ldquo;FLIGHTLINE,&rdquo; created in collaboration with Cairo-based producer Giggs. The lyrics of the original track played a key role in shaping our interpretation.
<a href="https://ibb.co/S7dpmNpC"><img src="https://i.ibb.co/Z1YCgdCD/2.png" alt="2" border="0" /></a>&nbsp;
If you had to choose one set or mix that truly represents you as an artist, which would it be, and why?
A recent set at The Rec Room stands out. It was performed without preparation, relying entirely on instinct and interaction with the audience. That spontaneity made it a strong reflection of my approach as an artist.
How does it feel to be featured as DJ of the Week on NileFM?
It feels significant. I have followed the programme for some time, so being featured now marks an important moment for me. It suggests that the work I&rsquo;ve been doing is moving in the right direction.
<a href="https://ibb.co/MxSJ6bW1"><img src="https://i.ibb.co/jPfjRdBw/3.png" alt="3" border="0" /></a>&nbsp;
What&rsquo;s next for you? Are there any upcoming releases or collaborations your audience should look out for?
The &ldquo;FLIGHTLINE&rdquo; remix will be released soon, and there are additional projects currently in development. I&rsquo;m looking forward to sharing more soon.
Photo Credit: Lostboi's official page&nbsp;
&nbsp;

Exclusive | DJ Lostboi Reflects on His Rise Ahead of NileFM DJ of The Week Feature

By: Yomna Walid&nbsp;
Never failing to surprise audiences with her performances, Egyptian actress Hana Ghoneim continues to leave a strong impression every time she appears on screen.
This Ramadan season, Ghoneim delivers a remarkable performance in the series &ldquo;Kan Ya Makan,&rdquo; starring Maged El Kedwany and Yosra El Lozy. She portrays Maya, a kind-hearted chef who finds herself in a toxic relationship after unknowingly falling in love with a married man. The character quickly became one of the most talked-about storylines in the series, which explores the emotional complexities of life after divorce.
But acting is only one side of Ghoneim&rsquo;s artistic journey. She is also an Egyptian singer and performing artist whose career path took an unexpected turn.
Although she initially began her career as an athlete specializing in the high jump and dreamed of representing Egypt at the Olympic Games, a severe foot injury during training ended her sporting ambitions. That turning point redirected her life toward the world of music and performing arts.
Before &ldquo;Kan Ya Makan,&rdquo; Ghoneim appeared in several television projects, including &ldquo;Tel3et Rohi,&rdquo; &ldquo;Wanesni,&rdquo; and &ldquo;Mystery Box.&rdquo;
In an exclusive interview with NileFM, Ghoneim opens about portraying Maya, navigating emotionally intense roles, and her new original music.
1. Your role as Maya in "Kan Ya Makan" is emotionally intense and complex. What made you say yes to this character from the beginning?
I loved Maya the minute I read the audition scenes. She&rsquo;s so full of life, so unapologetically herself, and she goes through life doing what she loves. She&rsquo;s driven by passion.
She kind of reminds me of me, or maybe the version of myself I aspire to be more like. When I read the full script, I fell even more in love with her motives and what drives her. She reminds me of the version of myself I want to be, someone who lives honestly, passionately, and fully.
<a href="https://ibb.co/dJkct7L3"><img src="https://i.ibb.co/1JRnMbdp/1.png" alt="1" border="0" /></a>&nbsp;
2. Maya goes through betrayal and emotional shock after discovering Seif&rsquo;s secret marriage. As a woman, how did you emotionally prepare yourself to portray that pain authentically?
When preparing a character, you must build their entire world, their morals, motives, intentions, and emotional logic. So, I had to understand Maya as a person first, and then draw from my own experiences as Hana, from different kinds of betrayals or emotional disappointments.
It&rsquo;s never easy to tap into those feelings, but unfortunately, these situations happen so often around us that you almost become familiar with the emotional landscape of it and how differently people react to betrayal.
Maya, to me, is the type of person who, when betrayed, would obviously be devastated, but at the same time would feel a responsibility to protect the other woman who is also a victim in the situation and warn her.
3. The series highlights toxic relationships. If Maya met someone like Seif in real life, what signs should she look for to recognize toxicity early?
Sometimes, unfortunately, it&rsquo;s almost impossible to detect early on. But I do believe it&rsquo;s always important in relationships to take things slow and steady. Really get to know the person before taking bigger steps.
You need to go through life situations together and observe how they act because actions always speak louder than words. Meet their friends as well, because that often gives you a mirror of the person&rsquo;s personality and values.
In Maya&rsquo;s case, the relationship was still quite new, and she had mostly spent time with Seif alone. In a way, it&rsquo;s good that she discovered the truth before things got even more serious between them.
<a href="https://ibb.co/LdYRncbL"><img src="https://i.ibb.co/MkZSMtWY/2.png" alt="2" border="0" /></a>&nbsp;
4. Many viewers expressed support and sympathy for Maya&rsquo;s journey. Why do you think the audience connected so strongly with her story?
I believe it&rsquo;s because she represents a big portion of girls. She&rsquo;s very relatable, just a sweet girl going about her life and falling for someone who is concealing the truth from her.
What was interesting, though, was that the audience was quite divided when it came to Maya&rsquo;s reaction. Some people really connected with her pain and supported her decision to warn her wife, especially considering the wife was pregnant and completely unaware.
But others called Maya a home wrecker simply for telling the wife the truth, even though Seif had already made it clear he wasn&rsquo;t ending things, even after finding out his wife was pregnant.
That reaction honestly shocked me a little bit. Blaming the victim woman instead of assigning responsibility to the actual perpetrator, which is Seif, is unfair. He alone is responsible for his actions.
I think this reaction reflects a larger societal issue, where, unfortunately, the woman is often blamed in relationship dynamics. &ldquo;She stole him,&rdquo; &ldquo;she seduced him,&rdquo; &ldquo;she told the wife because she wants him for herself.&rdquo; In Maya&rsquo;s case, none of that was true, but some people still chose to see it that way.
5. You moved from musical theatre to intense drama. What part of you had to grow up to carry a role like this?
Honestly, I believe art is art. Musical theatre can also be extremely emotionally intense; it&rsquo;s just expressed through a different medium.
So, for me, it wasn&rsquo;t about &ldquo;growing up&rdquo; as much as it was about expressing emotions differently. Of course, over the years I&rsquo;ve lived through experiences that gave me more perspective on life, and that naturally deepens you as an artist.
I&rsquo;ve matured as a person, and I think that maturity will reflect in whatever project I participate in, whether it&rsquo;s a musical or a drama series.
6. What were the biggest challenges you faced transitioning from musical theatre to television drama?
Just to give a bit of context, &ldquo;Kan Ya Makan&rdquo; isn&rsquo;t my first TV acting experience. I was previously cast in &ldquo;Tel3et Rohi,&rdquo; &ldquo;Wanesni,&rdquo; and &ldquo;Mystery Box,&rdquo; so I do have some experience with television.
Over the years, I&rsquo;ve also been consistently taking acting workshops, and I truly believe they have helped prepare me for projects like this. Every role teaches you something new, and I feel like with each project I&rsquo;m refining my tools a little more.
<a href="https://ibb.co/m5ZBqm7c"><img src="https://i.ibb.co/RTrS01WD/3.png" alt="3" border="0" /></a>&nbsp;
7. The series tackles sensitive social issues such as marriage, divorce, family conflict, and the emotional impact on children. Which issue resonated with you the most personally, and why?
What resonated with me the most was the idea of how the actions of adults can deeply affect innocent people around them, especially children.
When relationships are built on lies, betrayal, or dishonesty, the damage rarely stays between just two people. It spreads outward and affects families and children who had nothing to do with the situation.
That ripple effect was something I found very powerful in the story, and it really stayed with me.
8. Working alongside Maged El Kedwany must have been a valuable experience. What did you learn from him on set?
Maged El Kedwany is honestly such a sweet and warm person. I truly loved him from the moment we started talking. He was very welcoming and encouraging of my participation, and he already knew that I sing and was complimenting me on that.
That kind of encouragement really gives you a boost of confidence as an artist, and it had a positive impact on my performance.
He&rsquo;s an example of an artist who is extremely grounded and down to earth, someone who clearly loves what he does and makes everyone around him feel seen and appreciated.
As an actor, he&rsquo;s incredibly disciplined, unbelievably talented, and very emotionally intelligent. He&rsquo;s very in tune with his emotions and aware of his surroundings, and I think that translates directly into the amazing actor we all know and admire.
<a href="https://ibb.co/6CvkT1Y"><img src="https://i.ibb.co/L7Q3cJS/4.png" alt="4" border="0" /></a>&nbsp;
9. Many scenes in the series are emotionally heavy. How do you disconnect from the character after filming intense moments?
It can be emotionally draining sometimes. But I try to remind myself that once the director says &ldquo;cut,&rdquo; the character stays on set.
What helps a lot is the atmosphere behind the scenes. Between takes, we were always laughing, chatting, and keeping things light, which helped balance the heaviness of some scenes.
I think having that separation between you and the character is important; it can become overwhelming.
10. Behind the scenes, what was the atmosphere like among the cast? Do you have a memorable moment from filming that you can share?
It was so much fun! The crew was amazing, super supportive, very helpful, and just fun to be around. There was always a lot of laughter on set.
Many of the crew members were already fans of Locken products, which made me so happy. I started bringing them some of our newest launches for them to try, and it became a fun little tradition while we were filming.
11. After your debut in Ramadan drama, what type of roles are you hoping to explore next? And do you have any upcoming projects you can tell us about?
I&rsquo;m really hoping to get more opportunities in television and explore more complex, emotionally charged characters, especially characters that are very different from my own personality. I love the challenge of stepping into someone else&rsquo;s world completely.
Now, I&rsquo;m continuing to work on myself and strengthen my acting tools through workshops and training.
And on the music side, I&rsquo;m currently working on new original music that I&rsquo;m really excited about and hoping to release soon.
<a href="https://ibb.co/M5fW7GJt"><img src="https://i.ibb.co/jZzBDWjQ/5.png" alt="5" border="0" /></a>&nbsp;
Photo Credit: Yango Play's Official Page&nbsp;

On Air Now

Non-Stop Music