The Fabulous Career of Colonel Ahmed – Theater ImpresarioPosted: July 23, 2018
During the waning days of 2011, when the dwindling revolutionary left engaged in pointless and futile street battles with the Egyptian security services, retired Colonel Ahmed Hamroush , age 90, breathed his last. It had been a fabulous life. He was a member of the Egyptian army and a second tier “Free Officer”. But he was also a communist and a member of the “Haraka”, Democratic Movement for National Liberation, a far left organization, ecumenical in every sense. It numbered among its members committed democrats and Stalinists. It included intellectuals and street activists. It had Muslims, Jews and Copts. It garnered support from Egyptian citizens and foreign residents. It proclaimed itself uniquely Egyptian but kept far flung connections in Baghdad, Damascus and Paris. At its largest, the DMNL numbered fewer than 1000 members, but they were committed to the cause and punched above their weight, at least until they were punched down by the young officers. The first blood was drawn in September 1952, barely a few weeks after the coup. Additional blows came in 1954 and on New Year’s day 1959. The officers who were members of the movement were all sidelined. Youssef Siddiq, the man most responsible for the success of the coup, was arrested and then released into pointless idleness. Khaled Mohieddin drifted in and out of Nasser’s favor. Other less known officers saw their careers stagnate or worse. But Ahmed Hambroush thrived. His task during the coup was to secure the person of the King. Afterwards, he assigned himself the task of the historian of the revolution. At first, it was journalism that attracted his attention, but ultimately Nasser detailed him to the task of running Egypt’s theater productions. The announcement of the 1952 coup promised that once the nation’s politics were cleaned up the men in uniform would return to the barracks. They never did, and in many cases they took over jobs that had been normally the province of civilians. It was this phenomenon that prompted Anouar Abdel Malak, a colleague of Hamroush in the DMNL, to write his famous book “Egypt: Military Society”. The two men were typical of the denouement of the Egyptian leftists. Some became dissidents, in prison or exiles, while others became officials and indirectly the jailers of their erstwhile colleagues.
Hamroush was to lead a life closely linked to fables – first in official journalism, then as the man in charge of most of the theatrical productions, and finally as a self-appointed historian of the revolution. Hamroush was an energetic producer – in a different world he would have had a corner table at Sardi’s. His productions were always well attended. He favored realism and avoided modernist work. The productions were drills by another name. School children, some as young as 7 were brought to matinees during the 1960s. The children were instructed to sit patiently while the actors played out Brecht or some other such fare. There is no question Hamroush cared about the wretched of the earth, and like many in his generation, felt that a strong hand at the top was necessary to accomplish the desired transformations. At his death he was largely unknown to most Egyptians, including revolutionaries, the majority of whom favored talking over listening and protest over culture. But it was the discipline and commitment of men such as Ahmed that turned the 1952 coup into a revolution by reorganizing the power relationships in Egypt. In contrast, the 2011 events, which proclaimed themselves as a “revolution”, quickly became a coup against a sitting president. Hamroush thus represents an intermediate stage in Egyptian governance, when authoritarianism was purposeful and instrumental before it turned into an end onto itself, a tick of the ruling class.
— Maged Atiya