Weekly UAE museum and gallery guide: Must-see exhibitions by Sama Alshaibi and Shilpa Gupta
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Sharjah 24
10 hours ago
- Sharjah 24
Sharjah panel explores directing styles in Emirati theatre
Opening remarks: celebrating a dedicated critic Magdy Mahfouz introduced Said Ahmed as one of the most dedicated observers of Emirati theatre, known for his consistent presence at festivals and performances. He noted that Said Ahmed's longstanding involvement in theatrical critique has given him deep insight into the evolution of theatre in the UAE, particularly in the field of directing, which Mahfouz described as the foundation of any successful performance. Early stages of Emirati theatre directing Mahfouz outlined that theatrical direction in the UAE began in the 1970s with the founding of clubs and theatre troupes. In its early days, Arab directors and trainers played a key role in developing the local scene by training young Emiratis and guiding them from amateur productions to professional theatre. Defining a directing style Mohamed Said Ahmed began his talk by defining a director's style as a personal, recognisable approach that emerges through experience. He explained that such a style is shaped by a fusion of influences from various directing schools and methodologies. The challenge, he added, lies in synthesising these influences into a cohesive artistic language that balances inspiration with originality. Pioneers and early contributors Said Ahmed paid tribute to Arab theatre pioneers who laid the foundation for directing in the UAE, including Saqr Al-Rashoud, Ibrahim Jallal, Yahya Al-Hajj, Youssef Eidabi, Abdelilah Fouad Al-Shatti, Youssef Khalil, Al-Moncef Al-Souissi, and Zaki Tulaimat. Abdullah Al Mannaei and the 'theatre of image' He highlighted Abdullah Al Mannaei as a founding figure in Emirati theatre directing, known for his 'theatre of image' style. Al Mannaei prioritised non-verbal storytelling through gesture, movement, and visual composition. His legacy paved the way for his students and younger directors to explore new artistic directions. Three leading Emirati directors Mohammed Al Ameri: visual imagination and collaborative writing Said Ahmed described Mohammed Al Ameri's directing style as visually driven, where the director imagines scenes as individual images and then weaves them together through the story. Al Ameri places strong emphasis on scenography, group dynamics, and actor performance. He often develops scripts through a workshop approach, working closely with playwrights to shape both the text and the visual concept before staging. Naji Al Hai: human-centred and minimalist direction Naji Al Hai, a distinguished playwright and director, is known for his emotionally resonant, socially rooted works such as A Grain of Sand, Zacharia My Love, and Bab Al Baraha. His minimalist aesthetic focuses on the actor as the central element, supported by simple sets and costumes. Despite the local themes, his work carries a broader humanist message. He was the first Emirati director to present plays in Europe, including in France and Spain. Hassan Rajab: academic discipline and visual appeal The third director profiled was Hassan Rajab, whose academic training at the Higher Institute of Dramatic Arts in Kuwait influenced his structured and visually rich directing style. His productions, such as Red Dust, Father for Sale or Rent, and Ashoofak, show a blend of directorial schools, a controlled rhythm, and a strong sense of visual design. Rajab often employs innovative staging devices and integrates humour drawn from the Emirati dialect. Experimentation and innovation in stagecraft Said Ahmed praised Rajab's inventive techniques, such as using spotlights to signal scenes before they begin, or seating an actor on a fixed chair to represent theatre within theatre. In Hamiha Haramiha, he placed actors in symbolic wooden boxes representing social hierarchy, illustrating his creative approach to stage composition. Closing reflections and tributes Mohammed Al Ameri concluded the session with a heartfelt message of thanks to His Highness Sheikh Dr Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah, for his unwavering support of theatre and the arts. He also confirmed many of the observations made by Said Ahmed about his own directing approach—particularly his focus on image, scenography, and integration of digital and natural elements. Al Ameri paid tribute to the Arab directors who helped lay the foundations for theatre in the UAE, including Al-Moncef Al-Souissi, Saqr Al-Rashoud, Fouad Al-Shatti, Yahya Al-Hajj, Ahmed Abdel Halim, and Qasim Mohammed, acknowledging their lasting influence on the local scene.
Sharjah 24
16 hours ago
- Sharjah 24
Shadow theatre and story art bring classics to life for children
Classics reimagined through shadow theatre A key highlight of the programme is a weekly shadow theatre series hosted under the title Kalila wa Dimna Summer Camp, held every Tuesday from 10:00 to 11:00 AM at House of Wisdom. These storytelling sessions introduce children aged 8 to 12 to selected tales from the classic Kalila wa Dimna, presented through shadow puppetry and live narration. Designed to spark curiosity and convey values such as wisdom, courage, and cooperation, the performances invite children to reflect and engage directly with the stories. Emirati and Arab storytellers including Mohammed Dashti and Samia Ayish lead the sessions, each presenting a new tale every week. Children are encouraged to take part in retelling and reconstructing the narratives in their own way, promoting active learning through creativity and imagination. A timeless book with modern appeal The book Kalila wa Dimna is a cornerstone of classical world literature, known for its enduring wisdom told through animal fables. Translated into dozens of languages and deeply rooted in Arab cultural heritage since the 8th century, its symbolic tales deliver life lessons in a simple, impactful style. The stories remain a valuable educational reference for promoting moral thinking and ethical decision-making among young readers. Art workshop in Abu Dhabi sparks creative dreams In Abu Dhabi, the board marked World Youth Skills Day with an art workshop titled A Ship Towards Dreams, held at the Abu Dhabi Children's Library. Led by Fatima Al Ameri, the session invited children aged 6 to 14 to design symbolic ships that reflect their dreams, personal values, and aspirations. Through guided artistic exploration, participants were encouraged to visualise their goals in a creative, supportive setting. Fostering imagination through learning and play These initiatives are part of the board's broader commitment to creating safe, enriching learning environments where children can explore their identities, imagine freely, and develop important life skills. By combining literature with hands-on artistic tools, the programme reconnects young audiences with the values of storytelling, wisdom, and creativity in a way that is both fun and transformative.
The National
a day ago
- The National
'Alnisyan': How the Arabic word for forgetfulness is a poetic shorthand for sorrow
Tunisian author Mahmoud Messadi published a novel in 1945 titled Mawlid Alnisyan, which translates as Birth of Oblivion. The book is a philosophical and symbolic work that explores the tension between memory, identity and the desire to escape history. As the protagonist confronts questions of time and the human condition, the novel probes whether forgetting is a form of liberation or a path to self-erasure. Our Arabic word of the week is alnisyan, which translates to forgetfulness and oblivion. Rooted in the triliteral Arabic root noon, seen, yaa, which means to forget, it conveys a graceful nuance, evoking the gentle slipping of memories into the mists of time. Unlike the term nisyan, which simply means forgetting, alnisyan conjures a poetic surrender: the embrace of forgetting, the dissolving of events, people, even entire eras from collective memory, descending into complete oblivion. It sits alongside expressing solace or emotional release, captured by a second meaning of silwan, which translates to consolation through forgetting. The word can be seen in poetic Arabic phrases such as dakhal fee ghumrat alnisyan, which translates to 'he descended into the depths of oblivion', or alnisyan ahhab teeb, which translates to 'forgetfulness is the best healing'. Alnisyan can also carry a warning. It can hint at a culture losing touch with its roots, or a society willing to forget injustice for the sake of comfort. Alnisyan could also become a path to finding oneself and breaking the shackles of the past. In the Sufi concept of al fana, practitioners are encouraged to annihilate the self in pursuit of divine truth. Here, forgetting is not a fault but a virtue, a surrendering of ego that brings one closer to enlightenment. In Arabic music, the word is often used to express sorrow. In Libyan singer Ahmed Fakroun's 1977 song Nisyan, he describes a relationship that has faded away, exemplified by the looks of forgetfulness in his former lover's eyes. In 2021, Lebanese singer Assi El Hallani released a song titled Keif Ansak, which translates to 'how to forget you'. In it, he asks himself and his former lover how to forget all the times they spent together, the good and the bad. In today's fast-moving world, where memory often feels fleeting, alnisyan reminds us that forgetting is not always passive. Sometimes, it is deliberate. Sometimes, it is essential. And sometimes, it is what allows us to move on.
