Egypt is one of the Arab world’s literary centres and has produced many of modern Arabic literature’s foremost writers. The impact of the West is one of the recurring themes in the modern Egyptian novel, as in Tawfīq Ḥakīm’s Bird of the East (1943) and Yaḥyā Ḥaqqī’s novella The Lamp of Umm Hashim (1944). A further theme is that of the Egyptian countryside—depicted romantically at first, as in Muḥammad Ḥusayn Haykal’s Zaynab (1913), and later realistically, as in ʿAbd al-Raḥmān al-Sharqāwī’s The Land (1954) and The Peasant (1968) and in Yūsuf Idrīs’s Al-Ḥarām (1959; “The Forbidden”). A capacity to catch the colour of life among the urban poor is a characteristic quality of the early and middle work of Egypt’s greatest modern novelist, Naguib Mahfouz (Najīb Maḥfūẓ), notably in Midaq Alley (1947). Mahfouz later won the Nobel Prize for Literature for The Cairo Trilogy (1956–57). Egyptian novelists continued to enjoy critical and popular success in the late 20th and early 21st centuries, with authors such as Sonallah Ibrahim, Nawal El Saadawi, Bahaa Taher, and Alaa Al Aswany rising to international prominence.

The modern theatre in Egypt is a European importation—the first Arabic-language plays were performed in 1870. Two dramatists, both born at the turn of the 20th century, dominated its development—Maḥmūd Taymūr and Tawfīq al-Ḥakīm. The latter, a versatile and cerebral playwright, has reflected in his themes not only the development of the modern theatre but also, in embryo, the cultural and social history of modern Egypt. The changes in Egyptian society are reflected in the themes adopted by younger dramatists.

With the country’s low rates of literacy, electronic media have played an important role in spreading mass popular culture. Egyptian television has had a powerful influence on regional tastes, and viewers throughout the Arab world tune in to Egyptian programs. The country’s most popular actors enjoy wide recognition abroad.

There is a relatively long tradition of filmmaking in Egypt dating to World War I, but it was the founding of Miṣr Studios in 1934 that stimulated the growth of the Arabic-language cinema. Modern Egyptian films are shown to audiences throughout the Arab world and are also distributed in Asian and African countries. The industry is owned privately and by the state—there are many private film-production companies, as well as the Ministry of Culture’s Egyptian General Cinema Corporation. Outside Egypt, the best-known Egyptian director is Youssef Chahine, whose career as a film director spanned more than 50 years. Others include Salah Abu Sayf and Muhammad Khan. Actor Omar Sharif, who was well known among Western moviegoers of the 1960s and ’70s, first emerged as an Egyptian film celebrity in 1954 and continued to star in Egyptian films into the 21st century. Prominent singers and composers such as Umm Kulthūm, Layla Murad, Farid al-Atrash, and Muhammad Abd al-Wahhab also earned immense sums for their movie acting. Notable films include Flirtation of Girls (1949), Cairo Station (1958), Terrorism and the Kebab (1993), and Nasser 56 (1996).

Music and dance have long played an important part in Egyptian culture. Given the country’s ethnic heterogeneity, traditional Egyptian musical styles are quite diverse. Yet the types of instruments found throughout the country are similar to those used elsewhere in the Middle East and North Africa. They include the ʿūd, qānūn (a type of zither), nāy (flute), riqq (tambourine), and rabāb (type of two-string fiddle). Although much Egyptian music might suggest a minor key to the Western ear, numerous genres and repertoires employing an array of scales (or melodic frameworks) in fact yield great musical variety. Many religious groups technically eschew music, but musical traditions are ubiquitous. Muslims of the Sufi branch, for instance, are noted for their dhikr, communal repetition of the names of God, often with instrumental accompaniment and dancing. Especially in the rural south, the zār is a common purification ceremony involving singing, dancing, and playing of musical instruments. Although the muezzin’s call to prayer and the recitation of the Qurʾān have obvious melodic qualities, these practices stand in a category separate from, and not to be confused with, that of music. Nevertheless, famous Qurʾān reciters frequently have mass followings similar to those of pop stars. A variety of martial dances have been practiced by groups throughout the country, particularly among Bedouin tribes, and in earlier generations, a class of female singers known as ʿawālim (singular ʿālimah, “learned”) thrived in urban areas, performing in private venues and in the salons of the elite. During this same period, bawdy female street dancers known as ghawāzī (singular ghāziyyah) were seen as disreputable, yet that term today is often applied with much less disapprobation to women who practice rural dances. The art of raqs sharqī (“eastern dance”)—or belly dancing, as it is known in the West—thrives among a class of professional dancers who entertain at weddings, birthdays, and other holidays.

Contemporary Egyptian music embraces indigenous forms, traditional Arab music, and Western-style music. The revival of traditional Arab music, both vocal and instrumental, owes much to state sponsorship. The advent of musical recordings and, later, of radio and motion pictures fueled the rise of popular stars. The first of these was Sayyid Darwīsh (1892–1923). Muḥammad ʿAbd al-Wahhāb (c. 1900–91) was one of the leading figures in the development of this genre, as both a composer and a singer. Umm Kulthūm (1904–75) was the leading female vocalist not only of Egypt but also of the whole Arab world for almost 50 years. ʿAbd al-Ḥalīm Ḥāfiẓ (1929–77) had a successful career as both a singer and an actor. Western-style music has been a familiar component in Egyptian musical culture since the 19th century. Pioneers such as Yūsuf Greiss (1905–61) and Abū Bakr Khayrat (1910–63) succeeded in incorporating Arab elements into their Western-style compositions to give them a national colour.

A return to local lore as a source of inspiration for the arts is a generalized phenomenon in modern Egyptian culture. It has resulted in a revived interest in traditional crafts, in the collection of indigenous music, and the maintaining, with government sponsorship, of two folkloric dance ensembles—the Riḍā Troupe and the National Folk Dance Ensemble. In the visual arts the innovative and striking use of local themes gave rise to an active school of Egyptian painting and sculpture. An early product of the new aesthetic was The Awakening of Egypt (1928), a statue by Maḥmūd Mukhtār, which stands in front of Cairo University.

Egypt has one of the richest architectural traditions in the world, one that spans thousands of years and includes edifices from the Pharaonic, Hellenistic, Roman and Byzantine, Islamic, and European traditions. Numerous locations in the country have been designated UNESCO World Heritage sites for both their historic and architectural significance. From the ancient world, these locations include the ruins of the ancient city of Memphis and its necropolis, located south of Cairo, and adjacent pyramid fields—including the Pyramids of Giza and the stepped pyramid at Dahshūr; the city and necropolis at Thebes in Upper Egypt, including such prominent features as the nearby villages of Karnak and Luxor and the many tombs and ruins associated with the Valley of the Kings and the Valley of the Queens; and a series of monuments running from the ones at Abu Simbel to the Nile island of Philae in far southern Egypt. Sites from the Roman and Byzantine periods include the early Christian church of St. Menas (Abū Mīnā) near Alexandria and the Byzantine monastery of Saint Catherine’s on Mount Sinai. From the Islamic period, the old city of Cairo—often termed Islamic Cairo—is replete with prominent mosques, citadels, madrasahs, and bathhouses and fountains.

Contemporary European influences can be seen, particularly in Alexandria and Cairo, where sections of each city’s corniche are fronted by townhouses, hotels, and mansions of a distinctly European design. In all of the major cities, there are sections where such styles are dominant. Western influence can also be seen in many public buildings—particularly those from the colonial period—such as the Egyptian Museum in Cairo (1900). Ultramodern structures include the new incarnation of the ancient Library of Alexandria, Bibliotheca Alexandrina (opened 2002). There has also been a movement, beginning in the late 20th century, to combine European and Islamic architectural styles in new construction.