Exclusive Interview | Artist Hanan Adel Opens Her Vault of Memories, Revealing Secrets of Absence and Return

Cairo – Mostafa El Masry:

In the realm of arts, some stars are born under the glare of cameras, while others are fashioned by beautiful coincidences.

Yet, only a few succeed in transforming that serendipity into an extraordinary journey that spans decades and leaves an indelible mark on the public’s collective memory.

Among these rare figures is Hanan Adel—an artist who began her career as a young child, unaware of her latent vocal or acting talents, before destiny led her to the corridors of the Egyptian Radio and Television Union (Maspero), where she became one of the most iconic voices of childhood for an entire generation and a familiar face in Egyptian cinema and drama.

Hanan Adel’s trajectory is not merely a conventional artistic biography; it is the narrative of a woman who tasted success at an early age, then made the courageous decision to retreat from the limelight to prioritize her home and family. She later re-emerged in a different capacity—as an instructor and founder of artistic projects for children, and as a pivotal support system for a new generation led by her son, the actor Ahmed Abdel Hamid, who has distinguished himself as one of the most prominent performers of his peers.

In this exclusive interview, Hanan Adel speaks with candor and nostalgia about her childhood, the behind-the-scenes of her entry into the arts, the milestones of her career, her decision to retire, the journey of motherhood, and how she discovered her son’s talent. She also reveals her professional perspective on Ahmed’s craft and recounts poignant human details about family, loss, and her eventual comeback.

The Genesis of a Talent

*Q: If we were to begin the story from the first page… how was your talent discovered as a young child?

As a young girl, the thought of possessing a talent—whether in singing or acting—never crossed my mind. However, during primary school, the music teacher asked all the children to perform a group song before testing each child individually. It was then that he noticed the unique quality of my voice. He spoke with my father and requested that I perform a solo for the Mother’s Day celebration. That was the first pivotal turning point.

At that celebration, an influential radio director, Mr. Mohamed Abdel Salam Shaaban, was in attendance. He invited me to the Radio Union to participate in a program.

When we arrived, we couldn’t find him, so the staff suggested I audition for the children’s competition hosted by the legendary “Abla Fadila.” She asked if I could read—I was only in first grade at the time—and I told her I couldn’t. When she asked what I *could* do, I told her I could sing. I sang immediately, and from that day forward, I began recording with her.

Q: How would you describe your relationship with Abla Fadila and your early days within the Maspero building?

Abla Fadila was a true launching pad. I recorded with her on the program *”Ghenwa wa Hadouta”* (A Song and a Story), and soon I was recording songs weekly. Once I learned to read, I began participating in the storytelling segments as well.

My constant presence in the building allowed me to meet numerous directors and producers, and the doors of the artistic world swung open rapidly. I practically lived within the Radio and Television Union; between children’s programming, singing, and filming series, I rarely spent time at home.

**Milestones and Artistic Heritage

Q: What are the most significant works you consider landmarks of your early career?

I participated in many works that I hold dear, including the film *”An Egyptian Story”* (Hadouta Misriya) directed by Youssef Chahine, *”The Rooftop”* (Al-Sotouh) with Farid Shawqi and Shweikar, and *”The Manager is the Building Porter”* with Nadia El Gendy and Adel Adham.

In television drama, I appeared in series such as *”The Age of Love,”* *”Zahra of Andalusia,”* and all four parts of the epic *”There is No God but Allah.”* I also conducted significant televised interviews at the age of nine with intellectual giants like Tawfiq al-Hakim, Naguib Mahfouz, and Kamal El-Mallakh.

Q: Regarding your singing career, your voice is synonymous with the childhood memories of many generations…

consider myself a daughter of Abla Fadila and, musically, a daughter of the great composer Ammar El Sherei. I provided the vocals for countless children’s songs; almost the entire generation of the 1980s and 90s grew up listening to my voice, often without knowing the singer’s identity. Among my favorites is “The Teapot”(Ibreeq Al-Shay).

I also contributed to the children’s choruses in works like *”Helwa Ya Zouba,””The Girls, The Girls,”* and *”The Recess Bell.”* I was also among the first children to release cassette tapes dedicated to kids during that era.

Q: You also participated in the iconic series “The Conscience of Abla Hikmat.” What do you recall from that experience?

It was a very significant experience. I played the character of “Sahar Jaber,” a girl facing school troubles and a father who wanted her married off prematurely. I was always drawn to roles that offered dramatic depth, emotion, and human nuance. That is why I consider it a major milestone in my journey.

The Choice of Domestic Life

Q: How did you meet your late husband, Mohamed Abdel Hamid, and why did you decide to retire so early?

I met my husband through work, and we became engaged when I was eighteen. He never asked me to retire; the decision was entirely mine. I wanted to be a devoted wife and mother, and I believed that a family required absolute focus. Furthermore, having witnessed my parents’ divorce, I was determined not to allow any tension within my own home. I preferred to leave the field at my own discretion to give my full time to my children, Ahmed and Aya.

Q: What was life like away from the spotlight after years of fame?

It was an incredibly difficult period. From the age of six to eighteen, I was constantly in front of a camera. Suddenly, I was outside that world. I felt a profound void, as if the camera was still there, but I could no longer see it. I tried to inhabit my daily roles—wife, mother—with the same spirit, but the art remained within me; it never truly left.

A New Chapter: Mentorship and Legacy

Q: How did you discover the talent of your son, actor Ahmed Abdel Hamid?

I didn’t talk to my children much about my artistic past. One day, Ahmed returned from school singing one of my old children’s songs. I smiled and told him the lyrics should be phrased differently, and I helped him memorize it. Later, the school discovered my history, and through that, Ahmed learned the details of my career.

Over time, I noticed him watching films and plays far beyond his years, discussing them with sharp intelligence and a remarkable critical sense. I didn’t push him toward the arts—I feared the instability of the profession—but when I saw his persistence in attending acting workshops, I began to support him.

Q: And how did your own return to the field come about?

Accompanying Ahmed to acting workshops reignited an old passion within me. I decided to study the craft professionally. I traveled to the United States with my daughter, Aya; she studied makeup artistry while I studied acting. Upon our return, I began conducting workshops for children, believing that children need imagination and art to escape the confines of screens. I also founded a children’s performance troupe that showcases musical tableaus from Egypt’s artistic heritage.

Q: What can you tell us about your daughter, Aya?

I am immensely proud of her. She has become a leading specialist in makeup and special effects, participating in major productions like *”Halawat Al-Dunya,””Kira & El Gin,” and *”The Blue Elephant,”* as well as high-profile events like the inauguration of the Grand Egyptian Museum.

Reflections on the Present

Q: As a mother and an acting coach, what distinguishes Ahmed Abdel Hamid’s craft in your view?

Ahmed is an incredibly diligent actor; he inhabits his roles with his whole being. He doesn’t just memorize lines; he researches body language, tone, and character psychology. He might even observe the movements of animals to inspire a character’s gait or energy. The role I loved most recently was in “Sawa Sawa,” because of the immense effort he invested and the sincere emotions that truly resonated with the audience.

*Q: How do you view his current journey after everything he has endured personally?

He has faced very difficult circumstances and painful loss, but he is resilient and possesses genuine talent. I am confident he will return stronger. A true artist transmutes pain into creative energy, and I wish him nothing but success and peace.

Q: Finally, what does Hanan Adel say about herself today?

I say that I am grateful for everything I’ve experienced: the child who sang by chance, the star who retired by choice, the mother who sees her children succeeding, and the woman who still believes that art is a true message. Life has taken things from me, but it has given me things far more beautiful.