Overcoming the colonial and religious oppressions of women, Saadawi was able to attending the University of Cairo to obtain her degree in psychiatry. Despite these traditional beliefs, her parents encouraged their children to be educated. She grew up with eight brothers and sisters in a traditional family who had her circumcised at the age of six.

Saadawi was born in 1931, in a small village of Kafr Tahla just outside of Cairo. However, Saadawi was not always so different in her beliefs and lifestyle. Saadawi is known as one of the most widely translated Egyptian writers, with works known in over 12 different languages. She still continues her activist movements for women rights, emphasizing the effects of rape, domestic violence, prostitution, and religious fundamentalism. Trained as a doctor, worked as a psychiatrist, then as a university lecturer, and on top of all these successes has written over 50 novels, short stories and plays, also been imprisoned for her political beliefs. At the age of 79, she is considered to be one of the few writers that “grows more angry with age, rather than milder.” By deciding to live as much as she can, Saadawi has been exposed to more life experience than any one can imagine. The Shubbak festival of contemporary Arab culture continues in London until 16 July.“Decide not to die young, but live as much as I can.” is Nawal El Saadawi’s response when asked if she could be any more radical with her activism. It was thrilling to see so much diversity in such a bastion of western music as St Luke’s, and more should be made of the biennial Shubbak and its artists – it is clear they have much to say. Now in its fourth incarnation, the Shubbak festival of contemporary Arab culture embraces both local and international artists, often smashing them together at high speed to create original – if temperamental – interdisciplinary events. But such are the risks with so many new elements in a festival context. The first half would have been better served with three instead of four pieces, as the event overran by some 30 minutes. The evening did suffer from insecure pacing and too much material. The opera has yet to address how telling one’s story at death’s door affects the act of storytelling itself, but overall this was a privileged first look at an arresting new piece of music theatre.

Photograph: Merass SadekĪlthough a character still in development, Stephanos embodied Firdaus’s rawness with authenticity and conviction. An east-meets-west conversation of chamber music.

Saadawi woman at point zero