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Qatar's cultural diplomacy as a global platform

Qatar's cultural diplomacy as a global platform

Arab News10-06-2025
https://arab.news/2vuwv
As Qatar's 'Years of Culture' initiative marks its 15th partnership in 2025 — partnering with two countries, Argentina and Chile, in a single year for the first time — the program's evolution reflects a broader shift in how the nation views culture as a form of international exchange. Initially a bilateral initiative designed to introduce the world to Qatar in the lead-up to the 2022 FIFA World Cup — the first ever held in the Arab world — Years of Culture has grown into a major pillar of Qatar's cultural diplomacy. Today, the initiative embodies a global outlook that bridges cultures, fosters long-term relationships and generates dialogue across disciplines.
What began as a means to welcome the world to the Arab region's first World Cup has evolved into a dynamic framework for international collaboration. From street art in Sao Paulo to film workshops in Tangier, from Qatar Philharmonic Orchestra concerts to permanent public art installations, the program illustrates how culture can forge lasting connections. These include public art, participation in Qatar's key economic forums and trade fairs, and social development initiatives.
The acclaimed 'On the Move' exhibition, first presented during the Qatar-Middle East, North Africa and South Asia region 2022 Year of Culture, was later showcased in China — a legacy partner from the Qatar-China 2016 Year of Culture. Likewise, Paris-based Moroccan glass artist Sara Ouhaddou, who first collaborated with Qatar as part of 'Our World is Burning' at the Palais de Tokyo in Paris for the Qatar-France 2020 Year of Culture, later participated in the 'Qatar | Morocco: Crafting Design Futures' residency as part of the Qatar-Morocco 2024 Year of Culture.
Several major national initiatives have emerged from the relationships forged during earlier Years of Culture.
Lolwah Al Khater
Several major national initiatives have also emerged from the relationships forged during earlier Years of Culture. Most recently, Qatar and France announced a comprehensive memorandum of understanding that builds on the foundations laid during Qatar-France 2020. This wide-ranging agreement focuses on capacity building, collaborative exhibitions, professional training, joint research and digitization — demonstrating the enduring impact of cultural exchange.
Qatar's approach is distinctive in how it intertwines formal diplomacy with grassroots engagement. Cultural diplomacy in Qatar extends beyond formal institutions. While embassies and cultural ministries play key roles, contributions also come from chefs, archaeologists, economists, volunteers and students. Programming includes high-profile museum exhibitions — such as this year's 'LATINOAMERICANO,' co-curated by MALBA, the Museum of Latin American Art of Buenos Aires, and Qatar Museums — as well as community workshops, library exchanges, trade fairs and initiatives grounded in social development.
The transformative impact of the initiative is strengthened by its decentralized and collaborative structure. Each cultural year is co-developed with the partner country, encouraging mutual ownership and cultural authenticity. Over time, this has produced a robust network of connections that organizers now draw upon to create multicountry programming. In 2024, for example, the National Museum of Qatar hosted a fashion exhibition spotlighting Moroccan designer Mohammed Benchellal, whose collection was produced using materials found in Doha's car shops and created at the Liwan Design Studios and Labs.
The transformative impact of the initiative is strengthened by its decentralized and collaborative structure.
Lolwah Al Khater
This is an initiative that is well-suited to today's interconnected world — and to a generation of young people who come from multicultural backgrounds, travel more freely than ever before and embrace opportunities for cultural exploration and exchange.
The layering of cultural years has also allowed the initiative to deepen thematically. Today, topics such as environmental storytelling, youth engagement and design futures are explored through joint residencies, academic symposia and museum exhibitions.
Yet Qatar's broader vision for global engagement remains central. As it shapes its post-World Cup identity, Qatar has embraced cultural diplomacy as a vital expression of its international role — rooted in dialogue and intellectual exchange. For participants, particularly creatives from the Global South, Years of Culture offers a rare platform for visibility, resources and mutual learning.
It is not about exporting Qatari culture or importing others. It is about rewriting how culture can move — collaboratively, respectfully and without hierarchy. This ethos is exemplified by the contemporary Qatari art exhibitions that travel to former partner countries such as Germany, China and Russia, showcasing the work of young Qatari artists.
Once seen as a rising player on the global cultural scene, Qatar is now establishing itself as a hub of ideas, people, perspectives and possibilities. In the years ahead, Years of Culture may shift from a model of annual partnerships to one of ongoing, intersecting global dialogues — born in Doha but resonating far beyond.
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Lalo Schifrin, Composer of the ‘Mission: Impossible' Theme, Dies at 93
Lalo Schifrin, Composer of the ‘Mission: Impossible' Theme, Dies at 93

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Lalo Schifrin, Composer of the ‘Mission: Impossible' Theme, Dies at 93

Lalo Schifrin, the composer who wrote the endlessly catchy theme for 'Mission: Impossible' and more than 100 other arrangements for film and television, died Thursday. He was 93. Schifrin's sons William and Ryan confirmed his death to trade outlets. The Associated Press' messages to Schifrin's publicist and representatives for either brother were not immediately returned. The Argentine won four Grammys and was nominated for six Oscars, including five for original score for 'Cool Hand Luke,' 'The Fox,' 'Voyage of the Damned,' 'The Amityville Horror' and 'The Sting II.' 'Every movie has its own personality. There are no rules to write music for movies,' Schifrin told The Associated Press in 2018. 'The movie dictates what the music will be.' He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors — Plácido Domingo, Luciano Pavarotti and José Carreras — sang together for the first time. The work became one of the biggest sellers in the history of classical music. 'The most contagious tune ever heard' Schifrin, also a jazz pianist and classical conductor, had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan. But perhaps his biggest contribution was the instantly recognizable score to television's 'Mission: Impossible,' which fueled the just-wrapped, decades-spanning feature film franchise led by Tom Cruise. Written in the unusual 5/4 time signature, the theme — Dum-dum DUM DUM dum-dum DUM DUM — was married to an on-screen self-destruct clock that kicked off the TV show, which ran from 1966 to 1973. It was described as 'only the most contagious tune ever heard by mortal ears' by New Yorker film critic Anthony Lane and even hit No. 41 on the Billboard Hot 100 in 1968. Schifrin originally wrote a different piece of music for the theme song, but series creator Bruce Geller liked another arrangement Schifrin had composed for an action sequence. 'The producer called me and told me, 'You're going to have to write something exciting, almost like a logo, something that will be a signature, and it's going to start with a fuse,'' Schifrin told the AP in 2006. 'So I did it and there was nothing on the screen. And maybe the fact that I was so free and I had no images to catch, maybe that's why this thing has become so successful because I wrote something that came from inside me.' When director Brian De Palma was asked to take the series to the silver screen, he wanted to bring the theme along with him, leading to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. Out went Williams and in came Danny Elfman, who agreed to retain Schifrin's music. Hans Zimmer took over scoring for the second film, and Michael Giacchino scored the next two. Giacchino told NPR he was hesitant to take it on, because Schifrin's music was one of his favorite themes of all time. 'I remember calling Lalo and asking if we could meet for lunch,' Giacchino told NPR. 'And I was very nervous — I felt like someone asking a father if I could marry their daughter or something. And he said, 'Just have fun with it.' And I did.' 'Mission: Impossible' won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame. U2 members Adam Clayton and Larry Mullen Jr. covered the theme while making the soundtrack to 1996's first installment; that version peaked at No. 16 on the Billboard 200 with a Grammy nomination. A 2010 commercial for Lipton tea depicted a young Schifrin composing the theme at his piano while gaining inspiration through sips of the brand's Lipton Yellow Label. Musicians dropped from the sky as he added elements. Early life filled with music Born Boris Claudio Schifrin to a Jewish family in Buenos Aires, where his father was the concertmaster of the philharmonic orchestra, Schifrin was classically trained in music, in addition to studying law. After studying at the Paris Conservatory, where he learned about harmony and composition from the legendary Olivier Messiaen, Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie's quintet in 1960-62 and composing the acclaimed 'Gillespiana.' The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. 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It was Eastwood who handed him his honorary Oscar. 'Receiving this honorary Oscar is the culmination of a dream,' Schifrin said at the time. 'It is mission accomplished.' Beyond film and TV Among Schifrin's conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California's Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for 'Christmas in Vienna' in 1992, a concert featuring Diana Ross, Carreras and Domingo. He also combined tango, folk and classical genres when he recorded 'Letters from Argentina,' nominated for a Latin Grammy for best tango album in 2006. 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Arab storytelling tradition makes region ideal for filmmaking: Katara executive
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Qatar's cultural diplomacy as a global platform
Qatar's cultural diplomacy as a global platform

Arab News

time10-06-2025

  • Arab News

Qatar's cultural diplomacy as a global platform

As Qatar's 'Years of Culture' initiative marks its 15th partnership in 2025 — partnering with two countries, Argentina and Chile, in a single year for the first time — the program's evolution reflects a broader shift in how the nation views culture as a form of international exchange. Initially a bilateral initiative designed to introduce the world to Qatar in the lead-up to the 2022 FIFA World Cup — the first ever held in the Arab world — Years of Culture has grown into a major pillar of Qatar's cultural diplomacy. Today, the initiative embodies a global outlook that bridges cultures, fosters long-term relationships and generates dialogue across disciplines. What began as a means to welcome the world to the Arab region's first World Cup has evolved into a dynamic framework for international collaboration. From street art in Sao Paulo to film workshops in Tangier, from Qatar Philharmonic Orchestra concerts to permanent public art installations, the program illustrates how culture can forge lasting connections. These include public art, participation in Qatar's key economic forums and trade fairs, and social development initiatives. The acclaimed 'On the Move' exhibition, first presented during the Qatar-Middle East, North Africa and South Asia region 2022 Year of Culture, was later showcased in China — a legacy partner from the Qatar-China 2016 Year of Culture. Likewise, Paris-based Moroccan glass artist Sara Ouhaddou, who first collaborated with Qatar as part of 'Our World is Burning' at the Palais de Tokyo in Paris for the Qatar-France 2020 Year of Culture, later participated in the 'Qatar | Morocco: Crafting Design Futures' residency as part of the Qatar-Morocco 2024 Year of Culture. Several major national initiatives have emerged from the relationships forged during earlier Years of Culture. Lolwah Al Khater Several major national initiatives have also emerged from the relationships forged during earlier Years of Culture. Most recently, Qatar and France announced a comprehensive memorandum of understanding that builds on the foundations laid during Qatar-France 2020. This wide-ranging agreement focuses on capacity building, collaborative exhibitions, professional training, joint research and digitization — demonstrating the enduring impact of cultural exchange. Qatar's approach is distinctive in how it intertwines formal diplomacy with grassroots engagement. Cultural diplomacy in Qatar extends beyond formal institutions. While embassies and cultural ministries play key roles, contributions also come from chefs, archaeologists, economists, volunteers and students. Programming includes high-profile museum exhibitions — such as this year's 'LATINOAMERICANO,' co-curated by MALBA, the Museum of Latin American Art of Buenos Aires, and Qatar Museums — as well as community workshops, library exchanges, trade fairs and initiatives grounded in social development. The transformative impact of the initiative is strengthened by its decentralized and collaborative structure. Each cultural year is co-developed with the partner country, encouraging mutual ownership and cultural authenticity. Over time, this has produced a robust network of connections that organizers now draw upon to create multicountry programming. In 2024, for example, the National Museum of Qatar hosted a fashion exhibition spotlighting Moroccan designer Mohammed Benchellal, whose collection was produced using materials found in Doha's car shops and created at the Liwan Design Studios and Labs. The transformative impact of the initiative is strengthened by its decentralized and collaborative structure. Lolwah Al Khater This is an initiative that is well-suited to today's interconnected world — and to a generation of young people who come from multicultural backgrounds, travel more freely than ever before and embrace opportunities for cultural exploration and exchange. The layering of cultural years has also allowed the initiative to deepen thematically. Today, topics such as environmental storytelling, youth engagement and design futures are explored through joint residencies, academic symposia and museum exhibitions. Yet Qatar's broader vision for global engagement remains central. As it shapes its post-World Cup identity, Qatar has embraced cultural diplomacy as a vital expression of its international role — rooted in dialogue and intellectual exchange. For participants, particularly creatives from the Global South, Years of Culture offers a rare platform for visibility, resources and mutual learning. It is not about exporting Qatari culture or importing others. It is about rewriting how culture can move — collaboratively, respectfully and without hierarchy. This ethos is exemplified by the contemporary Qatari art exhibitions that travel to former partner countries such as Germany, China and Russia, showcasing the work of young Qatari artists. Once seen as a rising player on the global cultural scene, Qatar is now establishing itself as a hub of ideas, people, perspectives and possibilities. In the years ahead, Years of Culture may shift from a model of annual partnerships to one of ongoing, intersecting global dialogues — born in Doha but resonating far beyond.

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