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.
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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.
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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.
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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.
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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.
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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.
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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.
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Photo Credit: Iman Al-Junaidi&rsquo;s official page

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