The epic rise of Baybars, the Panther Sultan
You must also remember the super-long Egyptian movie by the same name produced in 1961 starring Ahmed Mazhar and Lubna Abdul Aziz (while researching this article I discovered that this movie was directed by two directors: Italian Enrico Bomba - who was also the writer and the producer - and Hungarian-American Andrew Marton.
It had two names, La Spada del'Islam and Oh Islam. The movie follows the story of the Mamluk Sultan Saif Al Deen Qutuz from birth to his death in 1260. As for the novel, I wasn't a fan as I found the romance between Sultan Qutuz and princess Julnar tedious.
However, the side character that always fascinated me was the Sultan's friend Baybars - another Mamluk from a humble background - who ruled after his sudden death. As I'm now in the phase of catching up with Arabic historical series on YouTube that I either missed or never heard of, I came across a Ramadhan series by the name Al Zahir Baybars that was broadcasted in Ramadhan of 2005 (unfortunately no English subtitles provided).
The series talks about the rise of Baybars (1223/1228-1277 AD) from a Mamluk slave to becoming the Sultan of Egypt. Baybars was a Kipchak (a tribe form the north of the Black Sea) whose name meant great panther.
As a young boy, his parents were massacred by the Mongols and he was sold into slavery. When reaching Egypt, he's bought by Alaa Al Deen al Bunuduqdari, a high rank official who when losing favour with the Ayyubid Sultan Al Saleh Ayub ends up fleeing, leaving behind all his possessions.
Under the new Sultan, Baybars joins the Bahari Mamluks headed by Faris Al Deen Aktai and meets his new comrades: Izz Al Deen Aybak and Qutuz. After the death of the Sultan, his wife Shajar Al Durr decides to marry Aybak to maintain her status quo.
The power-loving wife manipulates Aybak and orders him to assassinate Aktai when she senses his dissatisfaction with her decisions and fears a future military coup lead by him.
Consequently, Baybars flees to Levant with his deputy Qalawun and a few loyal soldiers where he keeps travelling for years between different countries trying to convince rulers to help him invade Egypt. However, things change after Qutuz come to power and asks Baybars to return to Egypt and under his command, the Mongols are defeated in the battle of Ain Jalut in 1260.
When Qutuz is assassinated, Baybars becomes the first Sultan of the Bahri Mamluk Dynasty and entitles himself Al Zahir (the discernible). During his 17 years of reign, he ends the presence of the Crusaders in Levant, develops Cairo's infrastructure, builds mosques, libraries, and funds scientific research.
He also establishes the first waqf garden that provides food and shelter for stray cats. The series highlights the political and military side of Baybars life which made it interesting.
Abid Fahad who plays Baybars was convincing but this can't be said about the rest of the cast who were struggling to speak in Classic Arabic, especially Aybak and Qutuz. Besides, director Mohammed Aziziya's signature battle scenes were too long at times (with close shots of smiling extras supposedly facing death) and some historical facts were tampered with like the death of Aybak and his wife Shajar Al Durr.
The fun part was the opening song lyrics that sent viewers on heated discussions in different forums trying to decipher the lyrics and the language used.
Rasha Al Raisi
The writer is the author of 'The World According to Bahja'
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Observer
11-07-2025
- Observer
The epic rise of Baybars, the Panther Sultan
If you're a 90's high school graduate, you must remember the novel 'Wa Islamah' written by Yemeni author Ali Ahmed Ba'katheer and read in Arabic classes. You must also remember the super-long Egyptian movie by the same name produced in 1961 starring Ahmed Mazhar and Lubna Abdul Aziz (while researching this article I discovered that this movie was directed by two directors: Italian Enrico Bomba - who was also the writer and the producer - and Hungarian-American Andrew Marton. It had two names, La Spada del'Islam and Oh Islam. The movie follows the story of the Mamluk Sultan Saif Al Deen Qutuz from birth to his death in 1260. As for the novel, I wasn't a fan as I found the romance between Sultan Qutuz and princess Julnar tedious. However, the side character that always fascinated me was the Sultan's friend Baybars - another Mamluk from a humble background - who ruled after his sudden death. As I'm now in the phase of catching up with Arabic historical series on YouTube that I either missed or never heard of, I came across a Ramadhan series by the name Al Zahir Baybars that was broadcasted in Ramadhan of 2005 (unfortunately no English subtitles provided). The series talks about the rise of Baybars (1223/1228-1277 AD) from a Mamluk slave to becoming the Sultan of Egypt. Baybars was a Kipchak (a tribe form the north of the Black Sea) whose name meant great panther. As a young boy, his parents were massacred by the Mongols and he was sold into slavery. When reaching Egypt, he's bought by Alaa Al Deen al Bunuduqdari, a high rank official who when losing favour with the Ayyubid Sultan Al Saleh Ayub ends up fleeing, leaving behind all his possessions. Under the new Sultan, Baybars joins the Bahari Mamluks headed by Faris Al Deen Aktai and meets his new comrades: Izz Al Deen Aybak and Qutuz. After the death of the Sultan, his wife Shajar Al Durr decides to marry Aybak to maintain her status quo. The power-loving wife manipulates Aybak and orders him to assassinate Aktai when she senses his dissatisfaction with her decisions and fears a future military coup lead by him. Consequently, Baybars flees to Levant with his deputy Qalawun and a few loyal soldiers where he keeps travelling for years between different countries trying to convince rulers to help him invade Egypt. However, things change after Qutuz come to power and asks Baybars to return to Egypt and under his command, the Mongols are defeated in the battle of Ain Jalut in 1260. When Qutuz is assassinated, Baybars becomes the first Sultan of the Bahri Mamluk Dynasty and entitles himself Al Zahir (the discernible). During his 17 years of reign, he ends the presence of the Crusaders in Levant, develops Cairo's infrastructure, builds mosques, libraries, and funds scientific research. He also establishes the first waqf garden that provides food and shelter for stray cats. The series highlights the political and military side of Baybars life which made it interesting. Abid Fahad who plays Baybars was convincing but this can't be said about the rest of the cast who were struggling to speak in Classic Arabic, especially Aybak and Qutuz. Besides, director Mohammed Aziziya's signature battle scenes were too long at times (with close shots of smiling extras supposedly facing death) and some historical facts were tampered with like the death of Aybak and his wife Shajar Al Durr. The fun part was the opening song lyrics that sent viewers on heated discussions in different forums trying to decipher the lyrics and the language used. Rasha Al Raisi The writer is the author of 'The World According to Bahja'
Observer
03-07-2025
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Short-Form Supremacy: How TikTok, Reels, and YouTube Shorts Changed Storytelling
In the age of information overload, brevity is power. The meteoric rise of short-form video platforms—TikTok, Instagram Reels, and YouTube Shorts—has reshaped not only how we consume content but also how we tell stories. Once, a compelling narrative demanded time and attention; now, it must compete for a swipe, a like, and a few precious seconds of someone's scrolling. This shift has had seismic effects on storytelling, from how creators engage audiences to how legacy institutions like newspapers and broadcasters reconsider their roles in the digital age. TikTok's global dominance is supported by figures: as of January 2024, TikTok had over 1.56 billion monthly active users worldwide, according to Statista (2024). The average user spends around 95 minutes a day on the app (DataReportal, 2024), a staggering amount of screen time that has prompted creators to distil their stories into fast, engaging formats. Its success has led Instagram and YouTube to prioritise short-form videos through Reels and Shorts, respectively. YouTube Shorts, for example, exceeded 70 billion daily views by mid-2023 (Google, 2023). Renowned local influencer Sultan Al Balushi explained, 'Social media plays a huge role nowadays; people read less and watch more. There's a trust that comes from seeing something visually. With platforms like TikTok and Instagram Reels, storytelling needs to be more immediate and relatable. You're not just telling a story any more; you're showing it. That shift has changed how we connect with audiences — attention spans are shorter, but the emotional impact can be greater if you get it right.' In the Gulf, the rise is equally notable. In Oman, TikTok had approximately 1.1 million active users by early 2024, accounting for nearly 20% of the population (DataReportal, Oman 2024). In Saudi Arabia, over 26 million TikTok users have been recorded, with a penetration rate of 73% — making it one of the platform's strongest markets globally (Statista, 2024). Instagram Reels and YouTube Shorts are also thriving, especially among users aged 18–34, who form the digital core of the GCC's population. Short-form video has redefined storytelling. Traditional narrative arcs have been condensed or reimagined, replaced by bursts of mood, visuals, and relatability. A 15-second skit in an Omani dialect or a drone shot of a remote wadi can now convey a richer sense of place than lengthy travel articles. These micro-narratives thrive on aesthetic and emotional resonance, rather than conventional structure. Equally transformative is who gets to tell the story. In Oman, social creators and a new generation of local influencers have built digital communities showcasing humour, nature, and regional pride, often in both Arabic and English. Their success reflects a wider regional trend, where democratisation of content creation has allowed voices from small towns to reach a global audience without institutional backing. According to a Statista Global Consumer Survey (2023), more than 50% of Gen Z users in the MENA region prefer discovering content via TikTok or Instagram over traditional media channels. These platforms are becoming entry points not just for entertainment but also for awareness, activism, and community-building. In Oman, initiatives such as turtle conservation, local crafts, and anti-plastic campaigns have gained traction through Reels and Shorts, often reaching audiences that traditional outreach cannot. Short-form video is particularly suited to our distracted, mobile-first lifestyles. A study by Microsoft Canada suggested that the average human attention span has fallen to around 8 seconds in the digital age (Microsoft, 2015). TikTok's internal data supports this trend: videos under 30 seconds consistently perform better in terms of completion and sharing (TikTok for Business, 2023). The format also bridges linguistic and cultural divides. In Oman and the wider Gulf, creators often alternate between Arabic and English, with subtitles making content more inclusive. This fluidity helps local stories resonate globally. For example, traditional Omani music or fashion becomes viral, not just as cultural heritage, but as part of global trend cycles—remixed, duetted, and restaged by users worldwide. Long-form journalism, however, faces growing challenges. Traditional media outlets are contending with a new wave of content creators who can break down complex stories in under a minute. According to the Reuters Institute Digital News Report (2023), over 60% of users under 35 prefer to consume news via video—especially short formats—rather than lengthy articles or traditional broadcasts. In Oman, this trend is reflected by younger audiences turning more to platforms like TikTok for explanations and Instagram for quick headline updates. This doesn't mean long-form journalism is obsolete. Deep investigations, policy analysis, and multi-source reporting still matter — perhaps more than ever. But the path to engaging audiences now often begins on platforms designed for short, visual bursts. Newsrooms are adapting their strategies accordingly. International examples such as The Washington Post's TikTok account (which now has over 1.6 million followers) demonstrate that it's possible to tell substantial stories in playful, digestible formats. Similar initiatives are emerging in the Gulf, involving Arabic-language explainers and cross-platform storytelling strategies to reach younger, digital-savvy audiences. However, short-form content also introduces risks. Misinformation can spread rapidly, exploiting the speed and emotional appeal of these platforms. 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Audiences—especially the youth—are not disengaged; they are simply consuming content in ways that reflect their lifestyles: on the move, socially embedded, and visually oriented. The challenge for storytellers is not whether storytelling still matters, but how quickly they can deliver compelling narratives—and whether those stories leave an impact once the scroll stops. In conclusion, short-form video has revolutionised storytelling in the Gulf and beyond, matching our increasingly fast-paced and digitally connected lives. While it brings new opportunities for engagement and diversity of voices, it also demands responsibility and innovation. Embracing hybrid storytelling models and upholding journalistic integrity can ensure that the power of storytelling continues to thrive amid the rapid currents of digital change.
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The 12th edition of The Correspondent explores Media Now: Power, Platform and Possibilities, offering a fascinating look at how the media landscape is transforming and what it means for us all. Packed with insightful stories, it's a must-read for anyone wanting to understand these changes. The magazine begins by examining the global media ecosystem, showing how traditional TV and radio are making way for streaming giants like Netflix and Disney+. It also highlights how international news agencies are using data and AI to deliver news faster across borders, illustrating the rapid evolution of news gathering and sharing worldwide. This edition also focuses on how technology is reshaping media. Stories explore how AI-powered chatbots and deepfakes are raising ethical questions for newsrooms, while algorithms decide which stories get seen, influencing public discourse. The rise of short-form videos on TikTok, Reels and Shorts demonstrates how storytelling is becoming quicker and more viral, challenging long-form journalism formats. Regional stories from the Middle East, particularly Oman, reveal how traditional values are blending with digital innovation, transforming media outlets. Arabic content, from Netflix to TikTok, is gaining prominence globally, opening new cultural avenues. The magazine also tackles serious issues such as misinformation, censorship and the crucial role of community journalism in maintaining trust and democracy. It discusses how careers are evolving with influencer culture, changes in journalism education and increased women's representation in Arab media. Overall, this edition offers vital insights into the power, platforms and future of media.
