feature - Dubai Women's College - Higher Colleges of Technology

DESERT DAWN
The Magazine of Dubai Women’s College
Volume 17 Issue 1, December 2007
EMBRACING ART
“Dubai is not just a commercial
and a business destination, but
has become a cultural and arts
centre for artists and intellectuals
from around the world.”
His Highness Sheikh Mohammed
bin Rashid Al Maktooum.
ءارحصلا رجف

01 > CONTENTS
02 DWC News & Views
04 Embracing international art
06 About Arabic typography
07 Financing local filmmakers
08 When theater flaunts
10 Art heals souls
12 Made in the UAE
15 Spectrum of talents
19 Lights..Camera..Action
22 ‘Reading’ Culture
23 Appreciating the Cartoonist
24 Architechtural identity
26 Embracing young artists
28 Rediscover literature
30 Empty chairs
32 Images and words
Editors:
Afra Atiq & Athija Thani
Cover Design:
Hafsa Al Mutawa
Production Manager:
Athija Thani
Advertising Coodrinators:
Shaikha Bukhashem & Hafsa Al Mutawa
Photo Editors:
Ayesha Al Muhairi & Sahar Al Khatib
Thanks:
Andrew O’Sullivan
Dr. Hanan Hairab
Eva Gajer
Fraser MacDonald
Ghassoub Mustafa
Hossam El Hadeka
Janet Hayes
Kevin Kempin
Marc Pelletreau
Margo Tummel
Nisreen Al Ali
Patti Grant-Byth
Sama Al Khaldi
Steve Bushill
Yomna Kamel
Publisher:
Dr. Howard Reed
Opinions do not necessarily represent the
views of Desert Dawn, the Communication
Technology Department, its faculty, DWC
or its officials. Desert Dawn welcomes
submissions from students. Not all
submissions may be printed, and submissions
may be edited for space, style and content.
Desert Dawn is produced by Dubai Women’s
College, Applied Communication studies and
printed by International Printing Press, IPP.
Desert Dawn welcome letters to the editor,
addressed to Desert Dawn, PO BOX 16062,
Dubai Copyright Dubai Women’s College,
HCT. Now online at:
www.dwc.hct.ac.ae/commtech/publications

00 > EDITORS NOTE
Dubai, the commercial hub of the region, will
host ‘Art and Antiques Dubai’, an international
art fair, early in 2008, promising to dazzle art
lovers with a selection of the world’s finest art
and antiques. Abu Dhabi, the fast growing
capital of the UAE, embraced the Middle East’s
most expensive art fair, ‘Art Paris Abu Dhabi’,
on November 26th to 29th, press reports
say. Every day, local and international media
carry the news of a new art exhibition, a new
film festival or an internationally recognized
performance coming to the UAE. The many
artistic activities, the UAE is witnessing these
days, are early signs of a healthy movement to
embrace art in a country stereotyped as a rich
oil-business based economy. In an attempt to
trace this new phenomenon, the new issue of
Desert Dawn has the theme ‘Embracing Art’.
‘Embracing Art’ is what we, Applied
Communication students from Dubai Women’s
College, are thriving to do. We are very
passionate about the theme and strongly believe
that it is important we highlight the growing
art and cultural movement in our country.
We believe it is important that we bring art to
the for-front and expand the horizons of those
with limited views towards this movement.
In this issue of Desert Dawn, our articles survey
the UAE art movement focusing on literature,
theater, painting, filmmaking and animation.
We talk to young talented artists and
filmmakers to highlight their achievements,
share their dreams and try to predict their
future. This issue also looks at another
interesting phenomenon the UAE is
witnessing, which is ‘embracing international
art’ through hosting international galleries
and branches of prestigious museums such
as Guggenheim and Louvre.
As senior students of Applied Communications
and this is our last year working on Desert
Dawn, it is our pleasure to be the editors for
this edition. We would like to thank our fellow
colleagues for their hard work and enthusiasm.
Also, many thanks go to our faculty, whom
without their guidance and support, none of
this would be happening. We hope our readers
will enjoy the new issue of Desert Dawn and
find it informative and interesting.
Afra Atiq Athija Thani
Afra Atiq Athija Thani Aisha Al Muhairi
Aisha Binhammad Amira Al Muathen Asma Ahmed
Eman Ghazal Hafsa Al Mutawa Moza Al Flasi
Nourah Abdullah Sahar Al Khatib Shaikha Bukhashem
Margo Tummel
Graphic Design
Shamma Abu Nawas
Yomna Kamel
Journalism
Dr. Hanan Hairab
Department Supervisor

Dubai Women’s College supports Dubai Cares
Paramedics student supporting Dubai Cares. Photo By: Wafa Al Marzouqi
In an effort to support the already successful Dubai Cares Campaign,Dubai Women’s College
held a number of activities to support the cause. The activities included food stalls, crafts stalls
and a poetry evening event.
DWC Students in MEIFF
On 16th October 2007, DWC’s Applied
Communication students attended the first
Middle East International Film Festival.
It was held in AbuDhabi at the Emirates Palace
Hotel. Filmmakers, producers and industry
professionals were taking part. MEIFF featured
a first of its kind in the Middle East, the Film
Financing Circle. The circle provided a platform
for up and coming filmmakers to meet people
who were interested in funding new projects.
Dear Dr. Reed,
Thank you for your letter dated June 2007, along with a complimentary copy of Desert Dawn
focusing on Development and Environment. The theme of the magazine concerns all of us and
the articleS are praiseworthy
Our compliments to you and the editorial and production team for bringing out such a well
written and researched pictorial magazine. I have enjoyed reading it and await for subsequent
issues as and when published.
With best wishes to all of you and kind regards,Mahendra K. Asher
Mahendra K. Asher & Co.,
Chartered Accountants
MEIFF Logo. Photo provided by the official website.

02 > NEWS AND VIEWS
DWC
NEWS AND VIEWS
Festival of Thinkers
H E Sheikh Nahayan Bin Mubarak Al Nahayan gives his
speech. Photo by: Ali Al Ghaz
McKinsey at DWC
DWC hosted Kito de Boer, Managing Director
of McKinsey & Company in the Middle East
on October 3rd 2007. He spoke about the
growing labor market in the Middle Mast and
the UAE and the quality of graduates desired
to meet employers’ expectations.
Dubai Women’s College students attended
the final day of the Festival of Thinkers, an
event that brought together Nobel Prize
Laureates and intellectuals alike. It was held
at Dubai Men’s College. Selected students
also took part in the session by interviewing
the Laureates. The Festival hosted 16 Nobel
Laureates and over 100 World Thinkers
together with students to try to find solutions
to global problems. Some of the issues
discussed were environment, women,
children and poverty.
Dubai Women’s College wins the Chancellor’s Award
DWC won the Chancellor’s Award for
Innovation in Teaching and three of Dubai
Women’s College faculty members, Pamela
Hawkswell, Tamir Mohamed, Maureen
Cocksedge, from the Business Department,
won the award for their innovative approach
in teaching. His Highness Sheikh Nahayan
Mubarak Al Nahayan, Minister of Higher
Education and Scientific Research, Chancellor
of the HCT, introduced the award for the first
time on August 30th, 2006, at the 19th Higher
Colleges of Technology Annual Conference.
DWC Director, Dr. Howard Reed, received the Chancellors
award. Photo By Bindu
Kito de Boer. speaks at DWC. Photo by Rajaa Abu Jabr.

The works will be housed in a huge flying
saucer-shaped museum designed by the French
Architect, Jean Nouvel, which will be erected
on the Abu Dhabi water front, opening
sometime after 2012.
Guggenheim- Abu Dhabi:
At 30,000 square meters, the Abu Dhabi-
Guggenheim museum will be the only
Guggenheim museum in the Middle East and
will be larger than any existing Guggenheim
worldwide. It is expected that the museum
will be constructed within five years.In a press
statement released by the New-York based
Guggenheim Foundation, the museum will
form its own major collection of contemporary
art and will also exhibit masterworks from the
Guggenheim Foundation’s global collections.
The museum will be built in the Cultural
District of Saadiyat Island — a natural island
lying 500 meters offshore the UAE capital,
which is being transformed into an
internationaltourism destination.
The Cultural District will also be home to
a national museum, classical art museum,
maritime museum, performing arts centre and
an expansive arts centre park. Thomas Krens,
Director of the Guggenheim Foundation,
says,“In Abu Dhabi, we have had the good
fortune to discover a partner that not only
shares our point of view, but expands upon it.
The plans for Saadiyat Island and the cultural
district, envisioned and developed by the Abu Dhabi
Government, are, quite simply, extraordinary.
When this comprehensive and inclusive
vision is realized, it will set a standard for
global culture that will resonate for decades
to come.” William Mack, Chairman of the
Guggenheim Foundation, who led a delegation
of Guggenheim trustees to Abu Dhabi for
the project launch, says he congratulates the
Government of Abu Dhabi for its foresight in
the redevelopment of Saadiyat Island and for
its realization that art and culture have a central
role to play in enhancing international relations
and understanding, and in encouraging greater
educational initiatives locally, regionally and
internationally.”
Survey
How do nationals and expatriates feel about the
country’s move to embrace international art?
Are they aware of the benefits it will bring to
Louvre Abu Dhabi model. Provided by: www.tdic.ae
the country’s economy and culture? Year Three
Applied Communications students conducted
a sample survey on 100 students and staff of
Dubai Women’s College. The goal of the survey
was to find out if the students and staff have
basic information on what might be the core
idea of bringing international art to the United
Arab Emirates and if they would consider
visiting the local branches of the international
museums.
According to the survey results, the idea of
importing international museums seems
to be a successful one whether the reasons
behind this idea were commercial purposes or
artistic purposes.The survey had two categories,
one was conducted on UAE nationals and
the other was on the expatriates. What was
conducted from the study is that most people
both, locals and expatriates, believe that the
international museums brought to the UAE
will enrich the art movement in the country,
then comes the enhancement of tourism,
which will generate revenue. The majority of
locals and expatriates surveyed said that they
have visited international museums and would
be willing to visit the UAE branches of the
Guggenheim and Louve, since most of them
are interested. Nearly everyone agreed that they
were most interested in visiting historical and
cultural museums, artistic museums followed
by scientific museums.
The Cultural District
of Saadiyat Island
will be home to five
major cultural
institutions designed
by internationally
renowned architects
and a Biennale Park
setting with pavilions
designed to host
international art
and cultural fairs
and events. It will
also boast a city-facing
quayside, an iconic
seven-star hotel,
exclusive villas and
hotel accommodation,
extensive retail
opportunities, harbours
and green parks. Five
Cultural Institutions:
* The Guggenheim
* The Louvre
* The Performing
Arts Centre
* The Maritime
Museum
* The Sheikh Zayed
National Museum
For further
information, please
visit: www.tdic.ae

04 > FEATURE
“While Dubai
is lined up as
a natural hub
to sell art, 100
miles away,
Abu Dhabi is
building itself
as the center
to exhibit it.
Here, French
architect, Jean
Nouvel has been
commissioned
to create the
Abu Dhabi
Louvre, which
will, controversially
for some,
house some
of the French
gallerys vast
collection. The
Guggenheim
Abu Dhabi, to
be designed by
internationally-
acclaimed
architect Frank
Gehry, will
be devoted to
modern and
contemporary
art,” reported
cnn.com.
EMBRACING
International Art
TEXT > Jawaher Bufaroosha & Shahd Khaled
A new world-class cultural destination that will encompass
international museums and performing art centers will soon be
a major tourist attraction and a place where our society can be
enlightened by different cultures. Those fascinating museums that
are brought to us will be located on Saadiyat Island lying just
offshore the Emirate of Abu Dhabi.
Guggenheim Abu Dhabi model. Provided by: www.tdic.ae
The United Arab Emirates is trying to diversify
the ways of delivering art and culture into
its society, through the mean of opening
international museum branches here on its
land. The intention of bridging cultures via
embracing international museums is to have a
cultural and artistic district, which will become
an intercontinental cultural hub for the Middle
East. Through embracing arts, it is creating a
cultivated cultural channel of communication
between the East and West. The future of the
art museums, which enhance cultural and
artistic connections between regions, maybe
found not in America or Europe, but in the
United Arab Emirates.
Louvre - Abu Dhabi:
The ‘Louvre’ branch in Abu Dhabi is part of
a fundamental project by France to develop its
global influence through its cultural and artistic
heritage and assets. It is offering a number of
its ultimate cultural and artistic names and
possessions to the Emirate of Abu Dhabi.
The reimbursement to this is to give access
to Western art to this part of the world.
On the other hand Abu Dhabi is seeking
for the history and reputation behind such
organizations. According to media reports,
Sheikh Sultan Bin Tahnoon Al Nahyan opens
the way for the louver Abu Dhabi to display
thousands of works: some of France’s best
museums, such as the lourve, the Gorges
pompideu, the Musee D’orsay, and Versailles.

FINANCING LOCAL
Filmmakers
TEXT > Athija Thani
The cinematic scene in the United Arab
Emirates has witnessed a great change lately.
Many filmmakers have brought in new ideas
and concepts, yet the local audience is denied
from having the right to watch these ideas on
the big screen. However, some filmmakersmanage
to find their way to the big screen by
financing their own projects. Those who are
witnessing the development of the Emirati
cinema will notice a new trend, which is the
rise of an Independent Emirati Cinema.
I believe and they believe it’s a good start
and a hope for those aspired filmmakers.
Like most people I love going to the cinema
and watching movies, and sometimes wonder:
will I be able to watch an Emirati movie, like
those from Hollywood or Bollywood?
I don’t think it’s impossible, but it needs great
supporters and most importantly filmmakers
who believe in themselves and the talents they
posses. The art of storytelling and being able
to make it visual, with live characters is not
an easy process, but the idea of having Emirati
commercial films is just so exciting!
Recently I attended the Middle East Film
Festival and was lucky to be present at the
Film Financing Circle. It was a panel discussion
on how to finance films and what are the
important factors that make a film eligible
to get full funding from top-level financers
and studio executives. Their initiative towards
narrowing the co- production gap between the
West and East is one of a noble cause as well as
their readiness to adopt new ideas and finance
filmmakers from around the globe. I see this
as an excellent investment for both parties
because as a filmmaker I get to show people my
work and get my name out there supported by
important and influential people from world
wide known production companies. Taking it
from a producer’s point of view, I think it’s a
good investment because I want to be the first
to spot a new talent and showcase it to the
world. In addition it would increase competition
between competitors as well as profits, so in
both cases I guess it’s a win-win case.
I found this program very fruitful and
beneficial for Emirati filmmakers, now that
these producers and executives are willing to
give them the chance to feature their films
commercially and thus I believe that once it
starts, soon enough we will have Emirati films
in local cinemas. The journey is long ahead and
a lot of obstacles to overcome, but I strongly
believe there is nothing impossible.

06 > OPINION
ABOUT ARABIC
Typography
TEXT > Afra Atiq
What came first, the chicken or the egg? This
quirky question is probably one of the most
asked and debated questions of all time. The
question also reminds me of another long
debated issue that seems to have not reached
a set conclusion yet. What is more important:
the written word or the spoken word? For me,
it is the written word!
From astronomy to medicine and from
mathematics to philosophy, ancient Arabs
excelled in almost every field imaginable.
Although Arabs no longer excel in these fields,
there remains one that is unchanged: literature
and poetry. Their love and passion for the
written arts marked the beginning of what
would become a new art form – modern
arabic typography.
Arabic typography is now a popular art form
among the new generation of typographers.
It is an art form that stems from the Arabs’
passion for literature and poetry. With the
emergence of the internet and other wireless
media, Arab typographers now have greater
access to resources and educational and
technological tools that were not available
twenty years ago. Arabic designers traded in
their brushes, inks and canvases and began
using digital design methods. This means that
Westernization and globalization are now
evident in Arabic typographical designs. Some
fonts that have taken on a Western type look
are Kufi and AXT Siham. Although this may
seem like a positive step in the development
of typography, this has several consequences.
I believe that the Westernization of Arabic
typography has made Arabic designs, especially
fonts, like Western models. This means that as
they start to look less and less Arab, they lose
their identity as Arab designs and become just
“designs”. Arabic typography is deeply rooted
in Islamic art and Islamic calligraphy, but sadly
it is becoming a dying art form.
People don’t realize that what makes Arabic
fonts unique are the strict geometric patterns
and smooth curves of the letters. Another thing
that isn’t realized is that Arabic letterforms are
much like a puzzle, they fit in to one another,
this characteristic makes it distinctly “Arab”.
Is it not impossible to keep the “Arabic”
identity of Arabic typography while keeping
up with the pace of globalization and
Westernization? Iranian typographers have
achieved this and have managed to keep the
authentic beauty of the Farsi letters while
using the latest technology and color trends.
I wonder how something that is so close to
all Arab typographers can be laid to rest just
for the sake of keeping up with the latest
trends? I believe they should be incorporated
into them instead of being left out to dry.

09 > FEATURE
work with theatres and other performers in the
country to help ensure the future of theatre.
He also hopes one day to see more Emiratis
actively participating in the country’s theatre
community. “It is really a shame that there
aren’t many Emiratis interested in theatre.
Most prefer to sit in the audience rather than
be a part of the cast,” he states. Rashid feels
that the best thing about theatre is that it
brings people of all different nationalities
and religions together and gives them a sense
of belonging. He says,“ I’ve worked with lots
of nationalities: people from Tanzania to
Puerto Rico.”
Cultural Barriers
Dubai is a very cosmopolitan city that is home
to over 200 different nationalities and cultures.
It has everything, shopping malls, a ski slope,
restaurants, golf courses and hotels. Because
of its diverse population, when it comes to
theatrical performances, there are two different
kinds of barriers. Kemsley states,“ Obviously
language barriers pose a problem because not
all people understand the same language.”
He says that cultural barriers, also, make it
difficult for people to relate to the plays and
performances. It is not uncommon to find
lots of different kinds of theatre in other
places in the world like Chinese theatre,
Iranian theatre and even Italian theatre all
in one city. Dubai, however, has about three
drama groups representing its multi-national
population.
Funding
Last, but definitely not the least of the
obstacles affecting the theatre in Dubai is its
funding. Although there is a theatre in Dubai,
Dubai Community Theatre and Arts Center,
the lack of adequate funding brings about
another problem. The drama groups of Dubai
are mostly non-profit and are done purely out
of the love for drama.
A Growing community
Drama is not taught as a single entity subject
in schools or universities in Dubai. There
are, however, some schools and educational
institutes that have drama as popular
extra-curricular activity. Some British National
Curriculum following schools offer drama
classes for children. The American University
in Dubai has The Troupe, a campus group for
theatre enthusiasts. Hamza Badi, The Troupe
president, says, “The Troupe at the American
University in Dubai is a 300member strong
group of theatre enthusiasts. Over the past
four years, the Troupe has staged several drama
productions within the university campus and
participated in drama competitions in and
around Dubai.” The Troupe, also, hosts an
annual spring production and a theatre-festival.
Despite the fact that the theatre community in
the UAE is predominantly expatriate, there is
a growing Emirati interest in theatrics. Though
it is small, it is growing and gaining more
and more popularity. Evidence of this can be
seen from the work done by the Theatrical
Association, a Sharjah-based group of UAE
nationals dedicated to promoting theatre as
an art form. The Association has launched a
strategic plan to strengthen the Emirati theatre,
including opening branches of the association
in Fujairah and Abu Dhabi. It also receives
continuous support from His Highness Dr
Sheikh Sultan Bin Mohammad Al Qasimi,
Supreme Council Member and Ruler of
Sharjah. Commenting on the association’s
work, Esmail Abdullah, the head of the
association, told uaeinteract.com,“It is a home
for all of us who work in the theatre. It is an
umbrella for our dreams and an organization
to help them achieve these dreams.”
Photo Provided By: Kemsely Dickinson
Kemsely
Dickinson,
chairman of
the Dubai
Drama Group
(DDG) says,
“ In other big
cities like Cairo
and Tokyo,
you can easily
find over fifty
well-established
groups for
amateur
theatre, but
sadly there
aren’t many in
Dubai.

WHEN THEATRE
Flaunts
Text > Afra Atiq & Moza Al Flasi
“I believe that in a great city, or even in a small city or a village,
a great theater is the outward and visible sign of an inward and
probable culture,” said Sir Laurence Olivier, an English actor,
producer and film director who lived between 1907 and 1989.
From the globally known play ‘Romeo and
Juliet’ to the locally made play ‘The Bread You
Baked’, looking at the local and international
theatrical presence in a city like Dubai,
spectators recall Sir Olivier’s quotation about
theater and its role in enlightening societies
and communicating cultural particularity.
Lately, Dubai has been seeing international
and local plays put on by homegrown acts.
This new phenomenon is not just a hobby
anymore; it is a passion that is shared by
a small community of drama-loving people.
Although this might seem like theatre in
Dubai is a fairy-tale, the reality is very
different. The reality is that the theatre
movement has its fair share of obstacles
and problems.
Public interest:
One of the problems affecting theatrics in
Dubai is the lack of public interest. The Dubai
Drama Group is one of the few groups in
Dubai dedicated to educating people about
drama and providing a platform for people
who wish to perform. Kemsely Dickinson,
chairman of the Dubai Drama Group (DDG)
says,“ In other big cities like Cairo and Tokyo,
you can easily find over fifty well-established
groups for amateur theatre, but sadly there
aren’t many in Dubai. So if there are little
or no drama groups in Dubai, and drama
is not taught in schools as a subject, people
will not be interested in it.” Kemsley says
that there have been times when the cast of
the production has had more people than the
audience it performs for. Some people feel that
drama is treated like a business rather than an
art form. This means that those who wish to
become drama professionals have little or no
chance of doing so. Rashid Salem, a 25-yearold
Emirati drama enthusiast, says that his
love for performing arts came unexpectedly,
but has opened up many doors for him.
He says, “While I was studying accounting
abroad, my close friends convinced me to
join the campus drama club, that’s how it all
began,”Rashid realized that there was a whole
world waiting to be discovered and despite
his educational background, he hopes he can

and a communication section. Besides all
of these classes and courses, the center gives
children the space to be creative and freely
express themselves. When a visitor walks into
the center, he/she would be amazed by the
talent that these kids have. Almost, all of the
classes and the corridor walls have been painted
and covered by cartoon characters. Also, there
are many posters, hand crafts, and collages
which have been done by the children, and
that indicates and is witnesses to the creativity
of the kids, and the ability to use art to express
their emotions in a safe and comfortable
environment. This is the main reason for using
art to heal, express, communicate and to help
the children feel more self-confident.
Experts’ Opinions:
Janette Graham, the head teacher at Rashid
Pediatric Therapy Center, says, “We have
children and young adults between 3 and
25 years old. We teach them art, and we
give them classes on drawing, painting, junk
modeling, block painting and many other skills
to prepare them for jobs and life after school.”
According to an article published in
www.partnershipforlearning.org, “Art classes
have become lost in our push to improve
student scores in reading, math and science.
However, the buzz about the benefits of
teaching art has reached some pretty powerful
ears: parents’ and educators’, who are insisting
that art be included in school.” Wesal Al Ali,
an art teacher with Al Sajaa primary school in
Sharjah, says, “Art therapy is important;
I use it all the time with my students. From
a piece of painting or a collage, I can see what
my students think and how they feel because
children can’t easily express their feelings. They
should be encouraged to show them using
different methods, and art is one of them.”
Painting and drawing classes make children
happy, and at the same time, children’s
paintings can say a lot. A painting can tell
almost everything about the child who draws
it. It can tell if the child is experiencing some
kind of trouble. For example, it can tell
if he is suffering from violence at home,
or if his or her parents are going through
a divorce, or any other problem that might
be unseen. An art therapist can analyze the
drawings using different methods that can
help him with his examination.
“Art therapy also helps us discover artistic
children that don’t have the confidence
and the courage to show their talents
and skills. We usually use drawing as art
therapy for the children but now we also
use collage and clay,” she adds.
Though people in the UAE have become
more enthusiastic about art, there are many
schools in the UAE that still need to give
children the space to express themselves
through art.
Dr. Mohamed Abdulla, a Professor
of Psychology with Al Ain University,
says, “Children need a secure way to express
their feelings and thoughts, and often the
best way to do that is by using art therapy
such as paint, paper or clay. Children usually
don’t have the verbal ability to communicate
what they are going through.” Drawing
is considered a safe way to show feelings
and thoughts. People who need to get their
feelings out face difficulties communicating
their ideas, yet they can still draw and paint
and get their voices heard using the language
of art and colors.
Art and Hope:
Art therapy can improve the child’s view
of the world and enhance his/her self-esteem
in a way that gives him/her confidence, because
children feel much better by expressing their
anxiety and stress by drawing and painting
or any aspect of art. Art makes children and
young adults happier and healthier, and
prepares them to be productive citizens who
are ready to do their job and serve their country.
Dr. Mohamed
Abdulla, a
Professor of
Psychology
with Al Ain
University,
says, “Children
need a secure
way to express
their feelings
and thoughts,
and often
the best way
to do that is
by using art
therapy such
as paint,
paper or clay.”

10 > FEATURE
ART HEALS
SOULS
TEXT : Aisha Binhammed & Eman Ghazal
A scene of children drawing and coloring might not stop you
or make you wonder what messages they want to send. But, if
you give it a second thought, you might end up with something
very special about those young artists. Indeed, their drawings
and paintings are a true mirror of their emotions, be it expressing
joy or sadness or even sometimes their hidden troubles. Art therapy
is a concept used to analyze children’s work and discover their
unseen emotions and troubles.
Most people think that art therapy is created
for people who have communication problems,
but the truth is, art therapy could be used
for people across all age groups, and from
different backgrounds because people don’t
have to use a certain language or tool. Human
beings, in their different moods, need
to express themselves, and let out their feelings
and stress. Art is considered one of the best
ways to do this, and many people prefer
to hold a pencil and start scratching on a white
piece of paper and draw anything that they feel
like drawing. According to the online journal
of the British Association of Art Therapists,
“Art therapy is a form of psychotherapy that
uses art media as its primary mode
of communication.” The main aim behind
using art as a therapy is to enable the patient
to affect change and grow on a personal level
through the use of art materials in a safe
and facilitated environment. Though it
is a relatively new field of psychological
therapy, several centers for children with
special needs have adopted art as a therapy
and strongly believe in its effectiveness in
healing the wounds of young souls and
helping them overcome theirproblems
and fears.
Art and Children:
Rashid Pediatric Therapy Center, a Dubaibased
center specialized in teaching children
with special needs, and providing them the
help they need to adjust and cope with society,
is one of several centers that embraces art
as a therapy. The center offers classes that focus
on helping children with learning difficulties,
pre-vocational unit, hearing impairment,
integrated learning groups, physiotherapy,
occupational therapy, early intervention

Room For Social Criticism:
The episodes present real issues that are
of concern to the Emirati community and
society. However, they send indirect massages,
in funny ways, about the UAE society. Their
limitations, as far as content is concerned, are
religion, policy, sex and racism. Mohammed
says, “We worked on every singal episode with
the same production values. People watching
FREEJ are from 3 to 70 years old. We made
some episodes for kids and some for young
people and others for old people.”
“We did a very important transition from
season one to season two; season one was
very widely welcomed for one big reason: it
was new and no body expected it. The quality
values and the production values were very
high.” Hedar says, “My stories are all about
social life in our society portrayed in a funny
way. There is a red line in any work, but I
believe there is no absolute freedom in any
country. The limitations include touching
on religious issues, politics and racism.
However, our audience accepts these kinds
of social criticism stories because they reflect
our real life.”
Um Saloom, one of FREEJ characters
The fifteen episodes
of Freej, each of fifteen
minutes, aired first on
September 2006 on
Sama Dubai, a national
television channel FREEJ
narrates tales of four old
local women living in a
quiet old neighborhood
in Dubai.The series’
main characters,Um
Saeed, Um Saloom,
Um Allawi and Um
Khammas, try to live
a peaceful life in the
middle of the fast
growing and developing
city around them.
The director of Freej,
Mohammed Saeed
Harib studied General
Arts and Animation at
Northeastern University,
Boston, US. He joined
Dubai Media City
in August 2003 and
since then he has been
successfully working on
a number of projects.
He worked in Ibda’a,
an international student
media award, for two
years and worked with
Dubai International
Film Festival for two
years. Mohammed
competed with
international graphic
designers and won the
chance to design the logo
for the festival.
Mohd Harib, director of FREEJ

animated series, FREEJ, Mohammed Harib
says, “The technicalities of the animation were
done in India, because there is no industry
here and the operating cost in Dubai is high
compared to India. Also, I usually work with
a group of up to 200 Indian animators, each
of them takes AED 500 monthly in India,
but if we bring them here, each will take up
to 1500 AED monthly.” Hedar Mohammed,
the animator of Shabyat Al Cartoon, agrees
with Mohammed, saying, that most Emirati
animators prefer to work abroad cooperating
with animators from other countries –
technically and artistically, Emirati animation
is still in its infancy.
Not an Easy Job:
Animation is both time-consuming and
costly to produce. For this reason, most of the
animation made for television and film needs
time and special technical support. It is not
a short-term process; it takes several months
to produce. Mohammed says, “The research
process for FREEJ, took one and a half years
and coast AED 6 million, including script
writing, drawing, music, sound design, research
and travel to India. When the script and the
recording are ready we send them to India and
we start doing the storyboard, which is the
backbone of the episodes.”
“As a director I have to decide the camera
locations, directions and do lots of research.
Then we add the sound to the images to enter
them to the Animatic (watching the episodes
by sketches). It is not an easy job because each
image represents one scene and my episodes
consist of 135 scenes,” he explains.
Very Rewarding:
People enjoyed the first two Emirati programs,
the FREEJ and Shabeyat Al Cartoon, because
they appealed to both UAE nationals and
residents. The FREEJ and Shabeyat Al Cartoon
are 2D and 3D animated series locally made
by a crew of Emirati producers and directors.
People from all over the Middle East tuned
into these two series in the month of Ramadan.
This great popularity is evidence of their success
Mohammed says, “As artists, you don’t go for
this major (animation) unless you absolutely
love creating cartoons. Cartoon is not about
creating characters and making them move; it
is a way of delivering a message and it requires
a lot of hard work. You will have no social life
but the reward is really high. It is a new market
and people who join now will be the leaders
of tomorrow.” Hedar agreed with Mohammed
saying, “We get calls from many Arab countries
that encourage and thank us for our great
work. Also, I get many offers from TV stations
but I don’t accept them. Our reward is to make
the audience happy with our work and that is
the best reward an animator could get.”
Um Saeed , one of
FREEJ characters

12 > FEATURE
“Our reward
is to make
audience
happy with
our work and
that is the
best reward
an animator
could get,”
says Hedar
Mohammed,
an Emirati
animator.
Hedar Mohd, director, Shabeyat Al Cartoon
MADE IN UAE:
TEXT > Shaikha Bukhashim and Amira Saeed
Animation is not an accidental art; it takes a lot of hard work and
commitment. Behind the popularity of two locally-made animated
programs, Al Freej and Shaabeyat Al Cartoon, are Emirati animators,
whose talents and authentic presentation of the local culture helped
them win the hearts and minds of their audience.
Ambaro - one of Shabeyat Al Cartoon characters
Shabeyat Al Cartoon,
created by Hedar
Mohammed, is a daily
cartoon series of 8
minute episodes. The
cartoon characters
of Shambeh Hanafi,
Osman, Kotty, Um
Saied, Sabtooh, her
husband, bu Amer,
and Ambro. Similar
to Freej, Shabeyat
Al Cartoon portrays
Emirati families in
funny situations and
how they react to them.
Animation encourages people to recognize
Emirati talents and support them. Despite
the success of their first works, Mohammed
Harib and Hedar Mohammed, two young
Emirati animators, find themselves facing
obstacles and taking risks to produce something
that the audience will appreciate and respect.
Desert Dawn interviews Mohammed and
Hedar, whose works authentically portray the
UAE social environment and highlight issues
of concern to the local community.
Mohammed and Hedar talk about their
backgrounds, experiences, present work
and future plans.
Lack of Technical Support:
Emiratis interested in studying animation
prefer to go abroad because animation is a very
new field and very few courses are offered by
colleges and universities in the UAE. Although
some universities offer animation courses, these
are either very general or introductory courses.
Many Emirati animators think that their best
option is to follow their passion for animation
seeking technical support abroad. Mohamed
and Hedar frequently travel to India, Jordan,
Japan and the US for workshops and technical
support as a part of the production process.
About his experience directing the first 3D

Year Two Applied Communications Students and Year Three Bachelor of Education Students:
‘Children’s Story’ project - Collaboratively, the Education students wrote stories and the
Applied Communications students designed and illustrated them. Eight pictorial story books
were completed in total and presented to Jerboa Books to be published over the next two years.
These books will help to fill the gap in the market of books by Emiratis. Below are four of the
cover designs.
In The Fridge
One day, when all
the family went
to sleep and the
house was quiet,
the food in the
fridge started to
make noises.
Author: Sara Aqil
Illustrated by: Wafa Al Marzouqi and Amna Altayer

Applied Communications students Year One, Two & Three:
Photographic and illustration techniques are taught in all three years of the Applied
Communications program. The pictures below explore various means of capturing images.

Applied Communications Year One students:
Keeping in touch with national history is an important part of student education. The project, ‘Stories of the Past’ is an
opportunity to learn about the UAE past and combine it with creative interpretations of those stories. All images here are
created using Illustrator software.

15 > GALLERY PAGES
SPECTRUM OF TALENTS
Applied Communications Year One students:
The artist, Otto Freundlich, believes art and society share a common ethical basis. It is a language
that bonds all people through expression. In his style, Year One Applied Communication students
explore emotion and depth through the use of warm and cool colours.

Abdulhaleem Qayed:
Abdulhaleem Qayed, an Emirati filmmaker,
had a passion for filmmaking since he was a
child. He says, “When I was young, my big
brother and I liked filmmaking. We used to
watch a lot of movies and order movies from
abroad, that were not released here in the UAE.”
“At that time, most of the movies in the UAE
were Indian and Egyptian. We tried to learn
more by watching movies and reading books
that teach how to criticize movies,” he adds
Abdulhaleem had an early start into
filmmaking. He says, “ My big brother was
the one who was more into filming and I was
supporting him. We tried to make a movie
but it didn’t work.” After four years, in 1988,
Abdulhaleem made a horror film with his
neighborhood friends. Before the Internet was
introduced, he circulated his movies among
friends and relatives but the only feedback he
got was “good job and nice work”. According
to Abdulhaleem, some weren’t even interested
in film making, while others made a mockery
out of it. “But now it is totally different,
filmmaking is really appreciated in the UAE,
we have many festivals and competitions,”
he says.
Abdulhaleem’s second step in filming was in
1998 when He produced a good quality hour
and a half action movie. After this step, he
decided to carry on and look more into directing.
He believes he has been lucky to receive
support from the Dubai Cultural Council,
Emirates Film Competition and Emirates
Foundation. In addition, Sama Dubai TV
bought his movies and recently H.HSheikh
Sultan Alqasimi sponsored the production
of four Emirati movies.“We are on the right
track and we have enough support to become
famous directors in the future,” he says.
Having Emirati commercial films is something,
Abdulhaleem thinks, a bit difficult to make
here in the UAE. “I’ve done a 100%
commercial movie called “Alkhouf” which
has not reached the cinema yet. Unfortunately,
most Emirati directors work on stories that
can only be shown on TV not in the cinemas.
“Commercial films in the UAE can be found
in film festivals, on TV and DVD shops. I can’t
imagine having commercial films in the cinema
not because it will not be successful but the
percentage of its success will not be satisfactory.
As Emirati filmmakers, we are successful in
film competitions and festivalbut we should
try our best to reach worldwide,” he explains.
Hani Al Shaibani:
Another Emirati filmmaker, Hani Al Shaibani’s
story with filmmaking started when he was
just a teenager. He says, “I was a 15 years old
teenager and I used to love writing stories.
It was a hobby, but I took it seriously and I
enjoyed working no matter how hard the
work was, because this is the way I express
myself through my movies.”
Hani formed a partenership with Yousef
Ibrahim, even though they did not have a
background; they just started with basic very
small work. They went through many stages
to learn and get to where they are now. When
the Emirates Film Competition started in 1992
by the Cultural Foundation, Hani and Yousef
participated with their amateur movies and
they were thrilled to receive some certificates
and awards. Hani studied TV production in
Egypt and graduated in 2000. Then he entered
the world of cinema and took drama, editing
and filming courses. He says, “I really liked this
field and I made sure that I always practise a lot
and learn more. The support started to come
now and it is much better than before.”
“Now there is encouragement, and a lot of
people are willing to support young Emirati
filmamkers. Emiratis who are in the field of
filmmaking now are really very lucky because
they are getting the support they need,”
he states.
Hani believes that independent movies are
always the start, but through that, it could
reach the cinema and become commercial.
“We will go through many stages till we
get what we wish and produce movies with
international levels. We can have commercial
movies but the problem is in finding sponsorship,
because it is risky and the movie may not
make a lot of money,” he says. “Working with
low budgets has always been an obstacle. “We
are trying to overcome this and hopefully by
time, sponsors will share the same vision we
have,” Hani explains. “We are becoming more
passionate about filming, directing and so on,
which is seen clearly throughout our work. In
the last period, media grew, and a lot of people
are getting into this field, which is embracing
more opportunities,” he concludes.
Emiratis who
are in the field
of filmmaking
now are really
very lucky
because they
are getting
the support
they need,”
says Hani
Al Shaibani.

A couple of years ago, cinema as an art in the UAE
was barely talked about and not many Emiratis were
getting into this field because they thought it had no
future. But nowadays the study of filmmaking and
cinema is one of the most appealing fields of study
to young men and women. Desert Dawn tries to shed
some light on the career path of some budding
Emirati filmmakers and reads into the future of the
Emirati cinema.
Two Emirati filmmakers, Abdilhaleem Qayed and
Hani Alshaibani talk about their careers and their
dreams. The young directors are passionate about
their work and eagerly waiting for the say to come
where their movies are going to be shown in local
and international cinemas.

19 > FEATURE
LIGHTS!
CAMERA!
ACTION!
TEXT > Sahar Al Khatib and Shamma Almuhairy

23 > OPINION
APPRECIATE
CARTOONS
TEXT > Nourah Abdullah
In the first panel, Road Runner runs in a speed
of light. In the second panel, Wile E. Coyote
chases after him on a motorcycle. In the third
panel, Road Runner sticks his tongue out and
increases his speed to run under a bridge. In
the last panel, a train which is driven by Road
Runner comes out from the bridge and hits
Wile E. Coyote.
Comic strips are a sequence of drawings that
tells a story. They are published in newspapers,
magazines and on the Internet on a daily or
weekly basis. Comic strips, or storytelling
with images, began at least since Ancient
Egypt.The American comic strip developed
this format (storytelling with images) and
introduced many interesting features such
as the word balloon for speech and the
jumping hat when the character is surprised.
People in the UAE do not understand comic
strips very well. They’re more familiar with
caricature, which is commonly found in
newspapers and magazines. There are very
few comic strips that are found in children’s
magazines and, in my opinion, that leads
people to believe that comic strips are only
for kids and not meant for adults because of
the style of the cartoonist (the artist who draws
comic strips).
Many think that comic strips are nothing but
a waste of time and space in the paper. They
also think that a cartoonist’s salary is not much
and the profession itself is a failure. Because of
our traditions and beliefs,people immediately
think that if you are a cartoonist drawing
comic strips for kids, then you are a child and
immature. What they don’t understand is that
comic strips are done in different genres and
as far as I know, there are no comic strips done
in Arabic newspapers and magazines.
Many other countries appreciate the cartoonist
no matter what the style is, because they don’t
see comic strips only as entertainment, but
they also consider it as an art. They organize
exhibitions and conventions for the cartoonists
to gather and expose their comic strips to the
public. It will take some time for people in the
UAE to appreciate comic strips and include it
in the circle of art. But I believe they should
give it a chance.
As previously said, editors should hire cartoonist
in the UAE. Most importantly, they should
try to contact foreign cartoonists and try to
bring them here to the UAE (in schools and
colleges/universities), so they can explain to the
young why comic strips are part of art and the
role they play among the readers. Comic strips
may look small, but the efforts made to create
them are great.
Illustrated by: Nourah Abdullah

22 > OPINION
‘READING’
CULTURE
TEXT > Moaza Al Flasi
Samuel Ichlye Hayakawa (July 18, 1906 /
February 27, 1992) was a psychologist, a
semanticist teacher and a writer, who once
wrote “It is not true that we have only one
life to live; if we can read, we can live as
many more lives and as many kinds of lives
as we wish.” People pay millions of dollars for
paintings and even more for sculptures, but
what people don’t realize is that there is a
form of art that will cost much less even
though it’s just as valuable.
Paintings usually express one idea or a view
of the artist, but literary materials contain
a lot more than one idea; they are full of
thoughts. Reading a novel can make you
emotional, rational and sometimes irrational.
It can educate you and open your eyes to a
new world you have never experienced before.
Literature is such a powerful tool of change
and at the same time, it is a pleasurable art.
While novels, short stories and poetry are
rich sources of life experiences, reading is
declining among the younger generation of
Emiratis. Unlike their parents and grandparents,
they are not interested in reading. They prefer
to get information and entertainment from
modern sources provided by technology.
Nowadays with the information and technology
revolution, there is an abundance of information
available online. Most websites want their
visitors to get the basic information briefly and
quickly. The kind of information we get from
online sources reminds me of a fast food meal
because it is readily available and convenient
for most people to consume. However, the
knowledge we gain from books is like “hrees”,
a traditional nutritious Emirati food that fills
you up with information.
Some countries like Egypt have taken a step
towards encouraging people to read with
campaigns like ‘Let’s All Read’. The campaign
which started a few years ago is successful. I
suggest we launch similar campaigns in Dubai,
taking into consideration that Dubai is a small
and busy city with many festivals and events
going on. I suggest we have a similar campaign
that could go for a week; a week to read books,
and we could call it the ‘Let’s Read’ campaign.
Students in schools, colleges, universities, and
both private and public sectors should take
part in this campaign. Malls could have
booths, to distribute free books and provide
spaces for reading.
Coffee shops could also provide books
stands to encourage people to grab a book to
read while enjoying a cup of coffee. I am very
positive that the ‘Let’s Read Week’ campaign
will be a successful one and will create a
culture of reading among the country’s
nationals and expatriates.

The Old Face:
“Architecture is a mirror of history and losing
architectural uniqueness means losing a great
source of reference to a country’s history and
identity,” says engineer Rashad Bukhash,
the head of General Projects Department
at Dubai Municipality. In the past, Dubai
was a small fishing spot on the Arabian Gulf
coast, where people lived in old houses locally
called “Areesh”. They were made of palm tree
trunks and fronds. The houses accommodated
extended families, where members of the
family, their spouses, children and grandchildren
lived together. The traditional architecture of
the place was basically the result of three major
factors: the hot and humid climate, strong
family relationships, and locally available
construction materials. Prior to the oil boom,
people who visited UAE were able to easily
identify Dubai as the features of the place
reflected its unique Arab identity. Following
the discovery of oil, there was an urgent need
for Dubai to grow as a modern city and the
architectural face of the place changed to
contain a modernization wave that spread all
over oil producing Gulf countries.
According to a study done by Dr. Yasser
Mahgoub, Associate Professor of Architecture
at Kuwait Univeristy, it has been revealed
that, “During the last two decades, enormous
economic and socio-cultural changes took
place in the United Arab Emirates (UAE) with
extremely rapid paste. These changes were
generated by the discovery of oil in the region
and economic wealth associated with it.”
Many aspects of the UAE social and cultural
life have changed rapidly with a great impact
on architecture and the built-environment.
Modern buildings, for example, replaced
vernacular architecture, and the traditional
lifestyle of the inhabitants was transformed
into a modern one.” While the seventies and
eighties witnessed the use of imported, mostly
Western, architecture styles, construction
systems and building materials, a new trend
emerged in the nineties upon a call from His
Highness the Late President of the UAE,
Sheikh Zayed bin Sultan Al Nahayan. He
said, “He who does have a past does not
have a future.” “Its goal was to revitalize the
architecture heritage of the past
and use its features to
stress identity and architecture styles of the
area. Many of the buildings were built during
the seventies were replaced by new buildings
using architecture features assumed to be more
related to the region. The use of reinforced
concrete, modern materials and air-conditioning
are not sacrificed. Some of these attempts were
successful while others were overdone,”
explains Dr. Yasser in his study.
The architecture style in The UAE in the past
few years has witnessed many changes. More
than 3000 historical buildings, which made
up to 90% of the country’s historical buildings,
were demolished. According to Dr. Yasser’s
study, “Current changes in architecture are not
only affecting the appearance of buildings but
also the social and cultural life of the inhabitants.
The traditional neighborhood, composed of
relatives and clans, is now based on social class
and income groups. Relationship between
social groups is threatened by fast pace of life.”
This might lead to the loss of identity and the
sense of belonging, which is endangering the
existence of Dubai and other Arabian Gulf
cities as distinctive entities belonging to their
environments and inhabitants. “There is a need
to revitalize the traditional heritage of the past
as meaningful practice; to achieve a distinctive
architecture and reflect a cultural identity,” says
Dr. Yasser. Engineer Rashad Bukhash of Dubai
Municipality’s General Projects Department,
agrees with Dr. Yasser’s study that such a rapid
development is a threat. He says, “Because we,
as citizens of UAE, have become a minority,
it is our responsibility to maintain our identity
through architecture.”
The Future Face:
Dr. Yasser believes there is a growing public
interest in vernacular architecture and the
quality of the built environment as a whole.
“It is not only a nostalgia to the past but
also a concern for the future. Many critics
are concerned about the cultural continuity
and the loss of cultural identity. Conferences
and seminars are held to discuss issues related
to the preservation of architectural heritage,”
he comments. The challenge of conserving
this heritage has been great and harmonious
with the rapid urban development and
modernization process that have taken place
in the Emirate of Dubai. Dubai will continue
developing creating a new architectural face
for the city.

24 >FEATURE
“Architecture
is a mirror
of history
and losing
architectural
uniqueness
means losing
a great source
of reference to a
country’s history
and identity,”
reminds Rashad
Bukhash, Head
of General
Projects
Department
at Dubai
Municipality.
ARCHITECTURAL
Identity
Text: Asma Ahmed & Aisha Al Muhairi
When you see Big Ben, you know you are in London, when you
see the Leaning Tower of Pisa, you know you are in Italy and when
you see the Pyramids, you know you are in Egypt. But when your
plane approaches the UAE, what are the architectural features
or landmarks that make you think you are in Dubai?
Three decades age, Dubai had its own archi-
tectural identity: small Arabic houses with their
traditional wind towers, Al Barajeel, scattered
on a vast desert surrounding the Creek.
Al Fahidi fort, Sheikh Saeed House,
Al Bastakiya, and the old gold and
spices souk were some of the city’s
landmarks that made it easy for
Dubai’s visitors to recognize the city.
At the present time, everyday, there
is a new building built in Dubai, a
new shopping mall, a new tunnel or
a new bridge. Everyday, there is a new
project in the city. The city is growing
at a rapid pace that both visitors and
residents could not catch up with.
Some of them are happy to see their
city growing, creating its modern face
and competing with the world’s major
cities. For others, what is happening to their
city raises some important questions: is Dubai
losing it architectural identity and turning itself
into an international city when all cultures of
the world meet? Is it essential for a city, like
Dubai, to have its unique architecture? Does
its beauty and uniqueness lie in its diversity?

eliefs through art to everyone, not only in
UAE but everyone around the world as well.”
Amna wishes that the government would
encourage the young painters to improve their
talents and expose them to the world.
Walid Bin Yari, who studies Computer
Engineering at Dubai Men’s College, is another
example of a local talent that needs support
to excel. Despite the fact that he has a unique
talent as a calligraphic artist, Walid had no
choice, but to study Computer Engineering, a
major that will help him find a job immediately
after graduation. “I chose this major because
people in the UAE has a very slim interest in
art, Walid says. Just like Amna, Walid’s Arabic
teacher back in elementary school discovered
his talent. “Also, my mother, sisters, and
teachers encourage me to develop my talent,”
he says. Though Walid finds himself always
encouraged to participate in exhibitions, he
thinks no one is interested in buying his work.
They just stare at it and walk away without
asking anything about it.”
Walid believes that the public in the UAE is
not much interested in art and calligraphy. It is
overlooked and not appreciated by the public
and the private sectors. Also, it is ignored by
the media. My ambition is to make the UAE
proud of my work and contribute to building
up the country’s modern artistic history and
creative movement,” Walid says. “I wish the
country would embrace the young talented
artists and help them improve their skills,
encourage and support them financially and
emotionally.”
The Supporters:
The Cultural and Scientific Association is one
of very few organizations that support artists.
The association is a Dubai-based governmental
body that looks after young artists. Its mission
is to help the budding Emirati talents improve
their skills and knowledge of the field.
The association organizes workshops on
calligraphy and painting, and hosts exhibitions.
Osama Ibrahim Mohammad, the Executive
Secretary of association, says, “Our main
support is to provide halls for the artists to
exhibit their works.” He notices that these
exhibitions could attract visitors from different
countries, residing or visiting the UAE. Also,
such exhibitions give artists the opportunity to
meet and support each other. People who come
to visit these exhibitions and art galleries buy
the paintings. That is an evidence that art is
acknowledged in the UAE,” he says. No matter
what the obstacles are”, says Osama,“ young
artists must not give up on their talent and
they should work hard to improve and develop
it.”Bilal Al Buddor, the Vice President of the
association, says “We support artists through
competitions such as the Al Owais Prize, which
was established 20 years ago. It is divided into
six categories: Art, Photography, Calligraphy,
Sculpture, Decorating (Al Zakhrafa) and
Creating Posters. The prize goes up to Dhs
20,000, which is really a good financial
support for the artist.”
The Cultural and Scientific Association also
provides free summer courses and holds
Calligraphy workshops at the Sharjah Arts
Museum, decorations workshops in the Art
Center in Abu Dhabi and workshops in other
artist departments. The association also sends
local artists to visit international galleries.
Recently, ten local artists received scholarships
to study abroad in different artistic departments:
music, art, acting, theatre and cinema.Whoever
has talent, must come and ask us for support.
For example, a local artist came to me one day
and said that he needed support. We made an
exhibition hall at the Dubai Scientific Club
available for him to display his works,” Bilal
says. In the past, art was never considered of
a major importance, but the country is
now developing and moving toward
embracing arts.
“We must be proud of our
young artists and their
artistic production,”
Bilal stresses.
Photo provided by Amnah Jassem
“My ambition
is to make the
UAE proud of
my work and
contribute in
building up
the country’s
modern
artistic history
and creative
movement,”
says Walid Bin
Yari, a young
Emirati artist.

26 > FEATURE
Photos provided by Waleed
Bin Yari & Amnah Jassem
EMBRACING
Young Artists
Text: Nourah Abdulla & Hafsa Habib
She is a young Emirati woman who was born with a very
special talent that enables her to express her deep emotions
and open her heart and mind to the world using her own
artistic language.
Though the young woman, who studies
education at Fujarah’s Women College, is
enjoying her hobby of drawing and painting,
she finds herself in a continual struggle to
balance between her studies and her hobby.
Apart from family and close friends, she has
no public or private organizations to look
after her budding talent!
The Seekers:
Amna Jasem is one of many young Emirati
artists who need support and guidance that
would enable them to develop their talents and
make their voices heard across their country.
For some Emirati artists, they are to be
blamed for the lack of support and guidance
because they don’t search enough to familiarize
themselves with the channels of support. For
others, it is the lack of educational institutions,
colleges and faculties of fine arts that
academically and practically contain and
prepare the young talents to be professional
artists. Amna, like many Emirati artists, had
not choice but to study another field that could
satisfy her. “I chose Bachelor of Education
because I like teaching young learners,” she
says. She believes that a real artist can find art
anywhere. Amna began to draw when she was
in grade one. Her teacher encouraged her to
draw and improve her artistic talent. “I think
everyone around me helped me and
encouraged me a lot, especially my family,
my art teachers and friends.”
Despite the fact that she is a real talent, Amna
did not look for any governmental support
because she finds herself busy with college
work. Amna believes that both the public and
the private sectors should support the young
painters. “In the United Arab Emirates (UAE),
we have some art clubs and galleries that
encourage local talents. People believe that art
is not only a way to show the beauty of things,
but it is the door to spread our culture, beliefs
and identity.”
According to Amna, art is not totally ignored
in the UAE, but it needs more attention. “I
don’t want to become Leonardo Da Vinci or
even Van Gogh; I simply want to be Amna
Jasem: an Emirati artist. This is my ambition;
to be able to convey my ideas, emotions and

some even held gatherings where everyone
would recite the latest of their work.”
Since the United Arab Emirates is part of
the Arab nation, some characteristics of its
literature movement are similar to those of
other Arab countries. Yet in poetry, the most
common style that was passed on was called
“Nabati”. It is because people spoke using
that dialect and was the commonly used daily
dialect even within the household.The subject
matter of the Nabati poetry was also derived
from classical Arabic poetry. The style was very
well structured and most poets used “rhythm”
to make it easier for others to memorize.
In addition, these poems were used to mark
important events and incidents that took
place at that time.
One of the main limitations of this period was
the fact that most circulated poems weren’t
documented because of illiteracy. Education
was introduced in later years and so they relied
on memorizing poems by heart. Dr. Bilal Al
Budoor, Secretary General of the Cultural
Foundation says, “The early beginnings in
poetry were limited because there weren’t
enough resources. We only have received a few
poems which we believe are significant to that
period because they portray important
incidents that occurred during that time.”
Post 1950:
During this period, many poets were
influenced by the Classical Arabic poems.
However, Nabati poems were still common
at that time as well. Classical Arabic poetry
usually addresses one of the following subjects
– chivalry, eulogy, satire, wisdom, descriptive
poetry (usually describing nature), proverbs
etc. According to an e- article on uaeinteract.
com,“Salem Bin Ali Al Owais was one of
the earliest poets who wrote using that style.
He was greatly influenced by poets from
neighboring Arab countries and so that was
how Classical Arabic Poetry found its way to
the Arabian Peninsula.”After the United Arab
Emirates gained its independence in 1971,
education was one of the main things taken
into consideration.
It was then that most literary scholars began
documenting their poems and publishing
them. Many followed in the steps of Salem
Al Owais and began to discover new directions
and styles in poems. “When education was
introduced, the style of poets and the patterns
they used to follow when writing changed
significantly because people changed and
became more aware about the language,”
says Dr. Bilal. Various types and styles were
introduced where they were all characterized
by the time and period they were founded.
For example, poems that address nationalism,
romance and modern prose have become
popular.The highlight of this period was
marked when more newspapers and magazines
were launched giving spaces for talented poets
to publish their works.In addition, some other
poets began writing to magazines outside the
country. Hareb Al Dahery says, “The beginning
of independence announced the birth of a new
dawn for the literary movement in the country.
Foreign newspapers and magazines began
pouring and so the Writers’ Union and the Abu
Dhabi Cultural Foundation were founded, in
order to embrace the new talents and provide
support in all aspects.”
Modern Era:
The introduction of regular education in the
country was a turning point that encouraged
more Emiratis to develop an interest in poetry.
Classic and modern poems were introduced as
a school subject taught at different levels, a thing
that created a new generation of educated poets
who were able to document their work.Many
new voices became known through their
published work: Habib Al Sayegh, Abdul
Hamid Ahmed, Mohammed Al Mur and
Sheikha Al Nakhi. “Some poets went abroad
to study and some majored in Literature,thus
they came back handful with new styles and
approaches in writing poems,” Dr. Bilal explains.
This period also witnessed the sudden interest
in writing novels. But many took a different
direction and headed towards writing short
stories, a new art that wasn’t known to the
people of the country. “The art of story writing
was new to the area, however many wrote
different tales where the history of the country
was clearly present,” Hareb Al Dahery says.
A line from a poem written by Mubark Al Oqaili. Ilustrated
by: Athija Thani
Hareb Al
Dahery, CEO
of Emirates
Writers
Union says,
“Poems that
were recited
before the
independence
had a huge
impact on
the lives of
nationals. It
was part of
their lives and
some even held
gatherings
where everyone
would recite the
latest of their
work.”

28 > FEATURE
REDISCOVER
Literature
TEXT > Athija Al Mujairdi
In a culturally rich region, rests a small country that overlooks the
waters of the gulf. A long coast, covered with golden sands, meets
the blue waters endlessly. Through the land lived people who
conversed with each other in ways that no one understood, only
those with open minds, who appreciated the language of Arabic
literature and valued the treasures hidden between.
Desert Dawn surveys the progression of Arabic
literature in the United Arab Emirates in an
attempt to rediscover its hidden treasures, look
at the characteristics of its present and predict
its future.
Early start, late documentation:
Though the beginning of Arabic literature
is traced back to the pre- Islamic period, the
actual documentation of this movement in
the country in particular began in the 20th
Century. Early historians marked the 1950’s
as the first era where literature materials and
subjects were circulated among groups of
people; coinciding with the introduction of
regular education and the study of writing.
Yet literature existed before the 1950s, which
was verbally documented, narrated and moved
from a generation to another. Some of the
names that shined at that time were Mubarak
Al Oqaili (1880–1954), who immigrated from
the Kingdom of Saudi Arabia and Salem bin
Ali Al Owais (1887–1959), who acquired
a basic education and his poetry was often
nationalistic and wrote several poems about
the Palestinian cause. Early records count that
there were more than 50 others who established
the literary movement, specifically in poetry.
The main reason was because most of these
pioneers were influenced by fellow poets from
other Arab countries such as Egypt, Iraq and
Lebanon.
Pre 1950:
The poetry movement in the United Arab
Emirates is divided into two periods. The first
was before the emirates became one entity and
the second was after the independence, when
education was given high priority. During
the first period, and because many nationals
were illiterate, there were not sufficient literary
materials that could have indicated a sign of
public interest in literature. People of the area
mainly conversed verbally and so many poems
were memorized and orally communicated.
Hareb Al Dahery, CEO of Emirates Writers
Union says, “Poems that were recited before
the independence had a huge impact on the
lives of nationals. It was part of their lives and

31 > DESIGNING DESERT DAWN
Designed by Shamma Abunawas Designed by Afra Atiq
Designed by Sahar Al Khatib
Designed by Eman Ghazal
Designed by Amira & Shaikha Designed by Athija Thani

30 > OPINION
EMPTY CHAIRS
TEXT > Hafsa Ibrahim
Mohamod Abu Al Abas, the director of the
‘Entedharat’, a local play staged at the mall
of the Emirates in Dubai in November 2007,
considered closing the play when every night
he saw that the number of his audience were
less than the number of his cast members. This
sad scene reflects something that is going on
in the country: people are losing interest in
theater. In my opinion, there are several factors
that make theater unpopular among Emiratis.
I think Emiratis don’t have a strong understanding
about theater. Firstly, most schools
in UAE neither offer drama classes nor trips
to theaters. In addition, the media coverage
given to local plays is not encouraging. Some
conservative families look down at theater,
thinking it is very commercial and limited to
singing and dancing. They are not aware of
the differences between commercial theater,
and the social and educational shows that are
locally produced by Emirati theater groups
like Dubai Theater for Traditional Art and
the Dubai Social Theater. Another factor that
drives people away from theater is cinema.
It seems the glamour of cinema has taken over.
What might create a positive change in attitude
toward theater? In other words, what could
drive the public to consider theater a popular
art? Public awareness is the key to the solution.
We need to make people believe in theater
as an enjoyable and useful art form.
Media coverage given to plays should stress
the fact that theater sends social and political
messages in an easy and interesting way.
It is a powerful educational tool and highly
interactive. Schools and education institutions
could also play a role in bringing theater to
the popular arts scene.
I believe drama classes should be part of the
school curriculum, and drama clubs should
be encouraged as an extra-curricular activity
supporting the classes. Sometimes, I wonder
why there is no single drama school in the
country. Emiratis who are passionate about
theater have no option but to study abroad in
Syria or Egypt where there are well-established
drama schools.
Comparing the UAE with Kuwait, I see
a difference in the numbers of theatrical
productions and audience response. Kuwaitis
support local theater and book tickets well
in advance of the day of the show, which is
contrary to the situation here. More than that,
the Kuwaiti media gives coverage to theater,
and the government actively celebrates theater
by sponsoring annual awards. I hope that one
day Emiratis will develop the Kuwaiti’s passion
for theater.

ينوعرزلا دجام : ريوصتلا
ينوعرزلا دجام : ريوصتلا
تاملك و تاطقل
Images and words by DWC students
ينيع يف ايندلا تدوسا نأ دعب ..ًاملظم قفنلا حبصأ
نم عرسأ تناك يبلق تاقد و ةينونج ةعرسب تدق
هل ةياهن لا ليوط قفنلا نأ تسسحأ ةعرسلا رشؤم
ام لك نكلو تارايسلاب ًامحدزم قفنلا ناك نإ ركذأ لاو
اهيلإ لصأ نأ لبق هايلحا تقراف اهنأ وه هركذأ تنك
عوطلما ةصفح : ملقب
خذاب ةباؤذلا حامط نعرأ و
براغب ءامسلا نانعأ لواطي
ةهجو لك نع حيرلا بهم دسي
بكانلماب هبه ُش ًلايل محزي و
ينوعرزلا دجام : ريوصتلا
نذؤلما ةريمأ : ريوصتلا
رحبلا وه يل ةبسنلاب رحبلا ناك .. مايلأا يدم ىلع
رخص .. جاومأ .. لمر
رحبلا سب يل ةبسنلاب رحبلا ناك
رعاشلما ينيف سلم دقام مايلأا ىدم ىلعو
عادولا ناك اهموي .. يعم كنإ موي .. مويلا كاذ لاإ
دعاسم نب نمحرلا دبع ريملأا : ملقب
ةدعتبم هل تحول اهدنعو يسفن هب ينثدتح ام مهفي هنأكو ًلايلق جاه
ةلمحم انأو تبهذ، ديعبب سيل تقو يف ىرخأ ةرم ةدوعلاو باهذلاب هتدهاعو
يذلا ناكلما وه لظيسو هنيبو ينيب ًارس اهاركذ لظتس ةليمج ةظحلب ًاضيأ
يبدب رزملما ةقيدح يف دوجولما رزملما رحب وهو لاأ يتلوفط ذنم هتلضف
ةجافخ نبا:رعاشلا ملقب رطم ءارفع : ملقب

ينوعرزلا دجام : ريوصتلا
عوطلما ةصفح: ميمصتلا و ريوصتلا
32 > ARABIC
كنم بلطي امدنع ضرلأا ىلع لظت نأ نكل و .ضرلأا ىلع عقت نأ سيل يقيقلحا لشفلا و
ىرخأ ةرم فقت نأ ديرت لاأ وه ربكلأا لشفلا و ،فوقولا
نـطولل هبح نع هبولسأب ربعي انم ٌلك
رــطاولخاو راـعشلأا بتكي ضعبلاف
يف، ملعلا ناولأب نـــيزتي رخلآا ضعبلاو
بحف، ًاماتم ريبعتلا فلتخي يتليخم
ديب ًادي يدايلأا كباشت و داتحا وه نطولا
قفصت نأ ليحتسي ةدحاولا ديلاف
عوطلما ةصفح : ملقب
دلاخ دهش : ريوصتلا
موتكم لآ دشار نب دمحم خيشلا ومس
لازغ نايمإ: ريوصتلا
يرصعلاو يثارتلا زارطلا ينب اهتينبأ عمتج ةنيدم يبد
ىرخأ ةرم اهترايزل ًاقاوت هبلق حبصأ اهراز نم لك
لازغ نايمإ : ملقب
توصلا يلاعب يتارامإ يتارامإ تولما ينل يتارامإ يتارامإ
توحنم اهبح يبلقب يتارامإ يلاغلا نم ىلغأ يعم يتارامإ
توخبم انأ و يتارامإ يتارامإ سارلا للاظ يتارامإ يتارامإ
توعنلما خماشلا سارب يتارامإ هماه يتزع نم يل كلافلأا عم
توفلا توفي ام ينع مادقلإا يل يرحب و يرب و يوجب يتارامإ
تولما باهأ لا و عاجش يتارامإ توص يتوص و يتارامإ يتارامإ
يلاعلا مجنلا : ملقب

Insight
DUBAI
Conference for young
women around the world
March 23 - 28, 2008, Dubai, United Arab
Insight Dubai is an interactive leadership conference in which female students from around
the world actively participate with young women from the Middle East to discuss issues of
government and culture relevant in today’s global world.
The participants are introduced to Arabic culture, debate controversial leadership and
gender issues with expert guest speakers, and play active roles in simulations such as
Majlis and a Shariah Law Court.
Registration fee includes:
6 nights accomodation (twin sharing room)
All meals
Conference fees
Special events
Develop your global awareness and leadership skills by participating in this
innovative international conference.
For more information:
please email Ms Haya Al Mutlaq,
Insight Dubai Manager,
at haya.almutlaq@hct.ac.ae
Organised and Hosted by Dubai Women’s College
Conference details and applications:
www.dwc.hct.ac.ae/insight-dubai.shtml