research paper Sufism

ADDRESSING THE GAP IN THE ARTS AND CULTURE INDUSTRY IN DUBAI: PROBLEMS AND SOLUTIONS

BY

SALEM MOHAMMAD HUMAID ALRIYAMI

2 VO 1

A DISSERTATION PRESENTED TO THE UNIVERSITY OF WALES, LAMPETER

IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

2008

6800608987

Salem Humaid 192

Chapter 6: Presentation of Cultural Issues in the UAE and Dubai

1. Introduction

The culture of Middle East is vibrant. It is mixed with classic Arab Islamic flavour and western

modern thoughts. Many experts believe that the culture of the Arabs and UAE in. particular, is pretty

dynamic. Every decade shows a new social trend, like 1970s UAE showed a reckless social activity, and

the 1980s showed different characteristics. Nowadays, Islamic fundamentalism is knocking the door.

Different phases of the UAE's culture have not changed the intellectual sphere of the society. One can

really say that the UAE is facing an intellectual bankruptcy. Apart from poetic advancement, UAE's

cultural activities are null. There are, of course, cultural activities like seminars, lectures, and fairs, but

there are no audiences for them. People do not seem to be interested in cultural activities or preserving

ancient traditions. There are, of course, a lot of stories, political analyses, and historical books written,

but any new philosophy is not promoted in the society. To evolve, any society needs not only economic

progress, but intellectual growth and free society, too. Every civilization has evolved remarkably, not

only because of economic and military power, but also by contributions to art, music, literature, and

architecture, for example. The culture of the UAE is not getting a motivation or support for a cultural

revolution. Education and exposure to different activities is one way to move ahead. Cultural

foundations in Dubai are working in this direction very appreciably. There are a lot of foundations

whose main work is to reward and promote new thinkers and writers. Cultural foundations in different

cities of the UAE are also enthusiastic about their work, but budgetary concerns are a big drawback.

Government in the UAE needs to plan their cultural policy proactively. A cultural revolution in the UAE

must go hand-in-hand with business development in the country; otherwise, the energizer of a human

society, i. e., culture, may go missing from the UAE's fast-changing society.

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Salem Humaid 193

2. The Cultural Issues

The UAE modern society is one of the fastest changing societies in the world, and the same can

be said about the UAE culture. However, there are different misleading and contradicting analyses about

the cultural issue in the UAE. There exist three interrelated theories that provide a realistic reading of the

cultural issue in the UAE. The first theory stresses that the modern UAE culture, though a young one,

has observed two historic phases. The second theory claims that the cultural issue in the UAE overcame

a state of idleness since the 1980s, and is currently observing a state of revival. The third theory says

that the current cultural process in the UAE is a newly born and fragile one that is prone to recession, if

not properly supported by domestic and official institutions. '

The first theory regarding the cultural issue in the UAE emanates from the mere fact that there

are two distinguished phases in the modern UAE cultural movement. The first started with the inception

of the UAE Federation at the end of the 1970s, observing a huge oil wealth, which led to deep social

changes and new intellectual trends amid an atmosphere of individualism and carelessness. Such

changes left a negative impact on cultural, artistic, literary, and social activities. They also obstructed the

road toward a cultural, literary, and intellectual movement. The main trait of that phase was idleness,

paralysis, comprehensive cultural frustration, a popular and official lack of interest in cultural activities,

and a common anti-culture attitude, fighting and cornering the intellectuals. That phase has passed, and a

new phase started since 1980s. Contrary to the oil wealth phase, the new phase observed several

developments that revived the cultural movement in the UAE. The most prominent feature was the

increase in the number of university students, educated people, and graduates. Knowledge among the

public grew in general, and exceeded the phase of indulgence in commercial enterprises and self-

1 ̀ abd Al-Khaleq `abdullah, Al-haraka Althagafiya fi Al Emarat (The Cultural Movement in the UAE),

1St ed, The Cultural Foundation, Abu Dhabi, UAE, 2000, p. 13.

Salem Humaid 194

richness, and new immaterial interests started to appear. ' Furthermore, the 1980s phase observed the

longest economic recession in the UAE, related to the downtrend in oil demand and the decrease in oil

production, prices, and revenues. That led to a similar decrease in government expenditure and

individual consumption. Such factors helped the cultural movement to mature, and there was a relative

cultural revival that was accompanied by an official interest in building cultural institutions, supporting

cultural activities, and enhancing literary and artistic works, leading to regular cultural festivals and

activities. Thus, the cultural recession is now overcome in the UAE, and there is currently cultural

revival. Now, one can say that there is a cultural movement in the UAE that is still in process. This

movement is currently reflected in more cultural activities and more literary and cultural personalities

and mature dialogue.

The cultural movement has several features, namely the pioneering position occupied by poetry

and poets. Thus, poetry is the most rich and prominent cultural product in the UAE society. The UAE

poetic movement has realized a distinguished presence in the Arab and Gulf region. There are different

types of poetry, including rhythmic and prosaic types. However, there is a big gap between poetry and

other cultural activities, as the latter cannot compete with poetic works. Literary, artistic, and intellectual

activities are still unable to compete with poetry in the UAE. Even those interested in such activities do

not yet have the position occupied by the poets. The UAE audience is poetry-oriented, and lacks interest

in story, arts, and intellectual works. So if poetry occupies the top rank, then intellect and academic

research comes at the bottom of the list of the UAE cultural movement. Until now, there are no

1 Ibid., p. 14.

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distinguished intellectuals on the local cultural platform, at a time when intellectual, theoretical, and

academic works are still meagre. '

The cultural movement in the UAE is a real fact, having its own institutions and developing itself

in a way that allows talking for the first time about the culture's role in the UAE social development

process. It is difficult to say now that the UAE culture is a disintegrated one, however, UAE nationals

have to admit that they lack a realistic and an integrated strategy. The UAE culture needs a free

environment, as the UAE intellectuals suffer frustration and personal conflicts. Therefore, the new

cultural movement is still threatened, and to revive it, the following conditions must be fulfilled:

- There should be a clear vision towards a cultural strategy, i. e., there should be a national

cultural policy made up by domestic and official institutions.

- Intellectual freedom and tolerance should dominate, while extremism should be avoided.

- The intellectuals should give up frustration and work for a mature cultural environment.

3. The Cultural Reality in the UAE

There is urgency for further writings and discussions about the relationship of culture and

educated people in the UAE. There is also a similar need for a new study focusing on the intellectual,

literary, and artistic life in the UAE society, which is described as a fast-changing society, giving up all

conventional and outdated attitudes and adopting modern life. It is to be noted that the cultural issues

and concerns remain neglected and not documented, unlike those issues related to economy and social

life. The impact of the latter issues on the cultural life is not addressed, either. The cultural life needs

further anthropological, sociological, and analytical studies. Other issues, like cultural changes, cultural

environment, and cultural institutions, have also to be addressed. Cultural changes include those issues

1 Ibid., p. 15.

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that affect the society's conventions, traditions, and concepts. Thus, the most important topic is to make

a comparison between the current cultural life and the past one. The main question is whether the

domestic culture remained intact despite the changes observed by the UAE society. ' Cultural activities

are the facade of the society's cultural life, and include publishing and translation within the literary,

artistic, and intellectual fields. They also include seminars, lectures, and fairs. The common impression

about UAE cultural activities is that they are seasonal and unpublicized, and perhaps ineffective in social

life. Such an impression should be addressed in order to know what is wrong and what is right. The

questions now are about the reasons behind staggering cultural activities, such as why are they termed

seasonal?; why do they not attract audiences,?; does the mistake lie in the nature of these activities or in

the audience and arrangements?; how can such activities be made more effective and more public in the

UAE society?; and, how can they play a leading role in positive social changes? 2

The issue of cultural institutions should be reconsidered, as they constitute a new social

phenomenon in the UAE, starting to build the human character and cultural activities. The Emirates

Association of Writers and Men of Letters is considered the leading cultural institution in the UAE.

There are other important cultural institutions and non-profit commissions. There is the Dubai Cultural

Council and the Cultural and Science Seminar in Dubai, the Cultural Department in Sharjah, the

Authority of Culture and Heritage in Abu Dhabi, and other institutions belonging to the Ministry of

Culture and the UAE University. There are many questions about the performance of such institutions

and coordination among them. What are the difficulties before them? did they succeed in establishing a

joint cultural vision?; and lastly, if such cultural vision is not available, how can a new one be developed

that covers all cultural aspects in the UAE?

t Ibid., p. 21. 2 Ibid., p. 23.

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Another issue is related to the UAE intelligentsia, taking into consideration the following points:

- There are an increasing number of educated people who are concerned with thought,

literature, and arts.

- There are new trends of specialization.

- The new intelligentsias have new visions and modem thinking, so they have to overcome all

differences and make national issues the core of their cultural works.

We have to admit that the current cultural movement is still under formation. We have to admit

also that the cultural life in the UAE is diversified, and not conventional. Undoubtedly, there is a conflict

between conventional and modern cultures, and though the battle is still continuing, the modem culture

seems to be the winning party. Modernity needs first modem culture, modem concepts and conducts as

well as modem writers and artists. We have to reiterate that modem culture cannot flourish unless there

is freedom in all aspects. We have also to admit that Arab culture will not be creative if it continues to

be a satellite to the Western culture.

Every age has a culture, and every society has a peculiar culture. Nowadays, the prevailing

culture is the Western and capitalist culture. The culture of the UAE society is the Arab Islamic culture.

Some believe that there is a contradiction between the culture of this age and that of the UAE society. If

this contradiction is an existing fact, the question is whether we have to be content with our culture and

refuse the modern age culture, or whether we have to choose the latter at the expense of our particular

culture, in other words, have we to preserve this peculiarity and shun away, or we have to choose

modern culture whether good or bad and build on it to obtain a more creative civilization, we have two

options, globalization or peculiarity, modern culture or old culture and present culture or old culture.

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In the end, it is to opt between mind and emotion and between backwardness and development. '

We have the right in the UAE and in the Arab world to discuss such intellectual and cultural matters,

and we have to take a definite attitude towards the proposed options. The UAE Society has chosen

modernization in everything, and if it continues in this direction, it will turn shortly into a modem

society in par with advanced countries like Japan, the European countries, and the United States. The

UAE society has defined its target, and it is difficult or perhaps impossible to recede or give up this

target. However, despite the ongoing changes and modernization process, and though the prevailing

cultural project is modernity, some intellectuals, researchers, and writers are still far away from

discussing such developments in their works.

There are three different ideological trends that can be found in the current society. The first

believes that we have to retain old traditions, even if they contradict science and modernism. This trend

sometimes has influence on the society and can impose its concepts in several fields including

education. The second trend is the belief that there should be a moderate attitude, combining

globalization with peculiarity. This category represents the majority and represents the official ideology

that tries to meld traditions with modern concepts, provided there will be no contradiction between

them. The third category believes that there is no need to wait, and one has to adopt global culture even

at the expense of local culture.

The majority of the society believes that there should be a mediatory ideology which does not

ignore neither globalization nor peculiarity. However, this ideology lacks freedom and therefore

hampers real development, and can only achieve incomplete development. This ideology tries to be

global and peculiar at the same time, and therefore it finds itself obliged to flatter the category favouring

1 Ibid., p. 31. 2 Ibid., p. 32.

Salem Humaid 199

the past and sometimes to seek the help of those supporting global culture, without adopting a

symmetrical identity. These intellectual contradictions are the natural by-product of openness and the

outcome of the changes observed by the UAE society. Such trends and ideologies affect individual

conducts and concepts, and the question is how the men of letters should deal with such conflicting

concepts and how such concepts are to be displayed in their works.

Some men of letters lack knowledge about such trends, others are not able to express them, and

they choose to stop discussing such subjects in light of their sensitivity or in fear of consequences.

Writers, researchers, and artists should define their attitudes towards the modern age and history, as

these topics require certain commitment to enlighten the society and chalk out a futuristic vision for life.

If the audience has to remain silent, the educated people should speak out; otherwise there is no point in

their life.

4. The Cultural Elements

The elements of culture in any society include literature, art, and intellect; each of these has

subordinate branches that form the essence of cultural life in any society. Literature is closely linked to

sentiment, and usually includes poetry, story, novel, theatre, and translation. Arts are related to passion

and conscience, including acting, singing, drawing, and photographing. Intellect emanates from the

human mind and is embodied in social, political, religious, and philosophic thinking. These three

elements can work individually. For example, literature can turn into a literary movement; art can bring

about a theatrics movement; and scientific research can turn into a scientific movement. However, we

cannot achieve that without the availability of certain objective conditions. If poetry initiates certain

Salem Humaid 200

activities, including competing poetry schools, periodicals, and institutions, then we can say that there is

a poetry movement. I

Sometimes, cultural life is influenced by a certain cultural category, while other categories

remain subordinate and marginal. Societies have different cultural categories and history has the same.

The question now where does literature stand in the UAE, what is the position of intellect in the modern

UAE cultural life, which element of the social life is in the lead, is there any distinguished literary,

artistic or intellectual movement in the UAE, literature and no art are the most prominent cultural

elements in the UAE cultural life. Poetry is in the lead, while literature goes forth and back. The same

can be said about intellect, as there is a lack of books as well as intellectual and scientific institutions

and activities.

There are two points related to art and intellect: First, art is related to theatre and plastic arts, and

both are still looking for audiences in the UAE. Though the theatre has achieved some progress at its

outset in the country, it suffered severe setbacks due to hard-line mentalities that governed education,

and damned to hell everything beautiful in life like music, singing, and acting. Second, even though

there is no active intellectual movement in the UAE, we have to mention several published books by

UAE authors dealing with historic, social, economic, and intellectual topics. In fine, poetry is the leader

in modern UAE cultural life. The question is why literature does precede art and intellect and why the

UAE culture is a poetic culture not a literary one, how can we rehabilitate acting, singing, music and

other arts and how can we cultivate cultural taste and feeling, how can art take the lead in our cultural

life, how are we going to develop intellect in our cultural life, how long the UAE cultural movement will

Ibid., p. 49.

Salem Humaid 201

remain cross-legged lacking art and intellect. These factors should be addressed and answered by those

concerned with the UAE culture and those watching its development. '

5. The Cultural Life

The successive changes witnessed during recent years have led to several cultural, behavioural,

and intellectual changes in the UAE society. The process of change from a primitive society to a modern

one has brought several modem concepts and convictions that were strange to the traditional society.

This society has started to approach modem lifestyles and conducts, and one's commitment to Islamic

values stopped to be the criteria to draw appreciation, while wealth and academic degrees and

competency have started to become the new criteria giving respect to those distinguished of a special

social status. The importance of business has risen among the various new categories in the society;

especially among the scientific-oriented strata, which were impressed by the new technology even it was

contradicting to some conventional concepts.

Life concerns and daily living have become the top issue in the modern UAE society, which

started to gradually ignore certain social traditions, namely the attitude towards women, their work, their

role in society and family, and life in general. These changes have become facts known to each

individual in the UAE and became part of the social life in the UAE. Modernization has left an evident

impact on cultural, social, and religious values, and has brought new values and trends that could be

considered as meeting the requirements of modernization and falling in line with logic. However, they

were in fact a group of tools that helped to secure materialistic gains that became the values of modem

1 Ibid., p. 57.

Salem Humaid 202

times. Modernization has led to some changes in cultural, social, and religious values that have prevailed

in the UAE Society.

Within this atmosphere, the religious tide has become apparent in the UAE society during recent

years, and has impacted the whole educational and cultural life. Religious tide was not confined to the

UAE society, but swept most of the Arab countries. That tide included several schools mastered by

Fundamentalists, Sufis, ' and members of the Muslim Brotherhood. Such trends made their presence in

the UAE society, which only knew moderate Islam. In spite of the various religious trends, they were all

reactions to the cultural and social changes witnessed by the UAE society over the past thirty-four years

that came at the expense of old concepts. Therefore, the religious trends were all dedicated in principle

to protect the society from what some people call un-Islamic concepts, and to spread Islam in a society

whose basic nature is Islamic. Furthermore, the Islamic tide in the UAE and other Arab countries has

maintained a conviction that considered that all the setbacks and defeats suffered by the Arab nation

were the outcome of negligence of religious commitments, and that the Arabs would not achieve victory

unless they resort to religious teachings that are capable of bringing about development and power. It

was easy to spread such religious concepts in society in light of the speedy and consecutive changes, and

therefore the Islamic tide was present in various fields and institutions. The question now is, what was

the impact of the Islamic tide on cultural life, artistic taste, cultural audience, and the cultural innovation

movement?; did that tide produce new literary, scientific, and intellectual works and did it produce

Islamic artists, men of letters, poets, and intellectuals?; did the religious tide contribute in developing

1 Sufism (Arabic Tasawwuf) is a name which probably has its origin in the wearing of undyed wool (su, f)

as a mark of personal penitence. The Sufis are also known as fakirs and dervishes, both words originally denoting that these were people who believed in being poor (in spirit). 2 ̀ abd Al-Khaleq `abdullah, A l-haraka Althagafiya f Al Emarat (The Cultural Movement in the UAE), p. 61.

Salem Humaid 203

cultural activity and enhancing the role of creative and free culture in the society, or did it neglect

creative works in a way that reached in some cases to combating art, theatre, singing, music, and all

artistic and literary works?; did that tide succeed in stopping the cultural, social, and intellectual

movement in the UAE?; and did it succeed in stemming the spread of modern concepts and values that

sometimes contradict the taken for granted conventional and traditional concepts. '

Of course, there are no direct and easy answers to the above questions; however, we cannot

consider the positive and negative results now and in the future as the outcome of religious impacts on

cultural life. We, therefore, will try to raise the concerns of those interested in cultural issues in the UAE

and go deeper into the discussions about the impact of religious tide on modern culture. The first remark

is related to the impact of this tide on the prevalent concepts in the UAE. This tide has first tried to

confront the cultural changes that swept the UAE, but it did not succeed in stopping the society's march

towards modernity, and it did not succeed in preventing the people from adopting modern concepts. The

society continued despite the religious tide to emphasize the importance of intellectual and scientific

culture, which contradicted some traditions. That trend also did not succeed in directing the interest of

the individuals from material purposes to religious thinking. The only proven fact was that the Islamic

tide deepened ideological confrontations and deepened the gap between traditional and modern

attitudes? The second remark is the impact of the religious trend on the literary, artistic, and intellectual

works. That trend left a negative impact on creative and free culture in view of its educational

fundamentals, so it was not strange that such a trend opposed creative culture, negatively affecting the

artistic activities in the society, particularly the theatre, singing, and folklore activities, which suffered a

1 Ibid., p. 62. 2 Ibid., p. 63.

Salem Humaid 204

plunge in recent years. ' The third remark is related to the success of the religious tide in enhancing

religious culture when the number of mosques rose dramatically and the religious impact was clear on

TV and radio programmes, and in newspapers and publishing. Al-Eslah Society was founded in 1974

and established many branches in other Emirates. One of the most important successes achieved by the

religious trend was its functional role in education, especially among university students. The fourth

remark is that despite all the successes attained by that trend in the society, it failed in producing any

literature, poetry, story, theatre, or religious novels, and did not bring about a local writer, poet,

intellectual, or thinker. Therefore, the religious tide imported a culture that did not suit the local cultural

and social environment. 3

6. Intellectual Activity and its Place in Cultural Life

Literature is presently the most flourishing cultural element in the UAE society, which produced

its own literature and men of letters, produced poetry and poets, and produced stories and story-makers.

This society has also produced art and artists. The men of letters and artists have proven their presence

and have founded certain associations and festivals. Therefore, they have an audience and occupy a

position in the society. However, the modern UAE society has not yet produced thought and thinkers,

philosophy and philosophers, science and scientists, or theories and theorists. Thought, which is the

backbone of any culture, is the most absent part of the UAE cultural life. The absence of intellectual

works is almost total. Therefore, culture in the UAE is a culture without thought. As thought, literature,

1 Ibid., p. 64. 2 Ibid., p. 65. 3 Ibid., p. 66.

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and art are the heart of culture, then such culture in the UAE is an imperfect one, so how can a culture

exist without thought and thinkers? '

Cultural life in the UAE is badly in need of thoughtful products. It needs intellectual products,

institutions, seminars, and lectures. Even academic curricula are void of any intellectual and

philosophical subjects. The UAE University was not able until now to inculcate free thinking or to

communicate with international human thinking. We have a poor intellectual life in the UAE. This poor

situation is not confined to the absence of intellectual, philosophic, and scientific activities, but it is even

related to poor literature and thought. What has been written as story or poetry lacks thought. Poetry can

contain philosophy, story can have philosophic and intellectual implications, and literature in general

can communicate with thought. Regrettably, the current literary produce lacks intellectual content and

the same can be said about all the activities of official and local cultural institutions. Their products are

far from thought. Furthermore, the whole activities of local and official institutions are literary ones and

far away from intellectual fields. These institutions have totally ignored thought, as if the latter is

confined only to literature, poetry, and theatre. For example, the UAE Association of Writers and Men

of Letters did not until now hold any intellectual seminars and did not give it priority as it did to

literature and poetry. This is an indication of the misconception of comprehensive culture and the

Association's cultural role. The same can be said about other cultural institutions that ignored thought.

In other words, the absence of thought from cultural life is not confined to cultural institutions

and activities; this absence mainly appears in neglecting the society's individuals and educated people.

Few educated people and writers pursue the latest in the fields of thought and philosophy, and a fewer

1 Ibid., p. 77.

Salem Humaid 206

number is acquainted with the crisis of Arab intellect. The fewest are those concerned with

contemporary intellectual trends. This disruption from modern trends is brought by fear of imported

thoughts, and such fear reflects a state of backwardness and seclusion, which does cope with modernity.

The question now is why there is a complete absence of cultural life, is the social environment

responsible for this, is it because of the process of development, does such absence is related to ignoring

the importance of thinking and does the secret lie in the absence of freedom and the fear to write about

thought and philosophy. What are the hardships and barriers that obstruct the road of intellectual

prosperity, how can we overcome them, and how can we develop an intellectual life and establish an

active and effective intellectual movement. I

The absence of thought and intellectual creativity is an Arab phenomenon not related only to the

UAE or the Gulf region. Except some distinguished intellectual works in the Arab Maghreb, intellectual

creativity did not occupy in the Arab cultural life the position it deserves, unlike literary works. Arab

thinkers in common are importers of thought and it seems that no one of them did bring any

distinguished theory or philosophy in any field of thought. The reason behind this could be the absence

of a comprehensive social and political vision, something that the Arab society should undertake, and

the absence of a common Arab action to revive thought and philosophy. Thought, unlike literature,

requires courage to confront challenges and criticize shortcomings. It is related to daily life, vital issues,

and decision-making. Intellectual creativity usually confronts intellectual terrorism, and in the UAE and

other Arab societies, it confronts the same. Intellectual terrorism suffocates thought and uses some ideas

1 Ibid., p. 80.

Salem Humaid 207

to fight others, thus thought could be used as weapons against others. And if such terrorism is being

practiced openly, it could turn into a malignant disease killing all intellectual activities. '

In brief, intellectual activity and philosophic creativity are confronted by a number of social,

cultural, religious, and institutional barriers that are responsible for the absence of thought. If we want to

revive thought in the society we have to commit ourselves to civilized conciliation and discard

extremism. Freedom is the best environment for any intellectual revival and thus official and local

institutions should continuously support freethinking. Such support is represented in establishing public

libraries, and organizing scientific seminars and conferences. If we want to catch up with modernity, we

have to give priority to scientific thinking and philosophic thought. Now, we need a new thought coping

with modernity and capable of confronting future challenges.

7. Audience Turning Away from Cultural Activities

Cultural life in the United Arab Emirates is facing many challenges, basically related to social

circumstances and the situation of the UAE cultural movement. The current challenges, undoubtedly,

reflect the contradictions that accompany the rapid and successive social, moral, and lifestyle changes

like those observed by the UAE society since the foundation of the UAE Federation and the flow of oil

wealth. The difficulties that face cultural activities and events reflect the foundational and new-born

phase, which distinguishes the UAE cultural life. This structural phase is perhaps the most difficult one,

as it is a slow and turbulent phase observing the change of culture from its traditional and local form to

modernity and internationalism. This movement involves an abrupt cultural and social conflict among

Ibid., p. 81.

Salem Humaid 208

those people who look for modernism and cultural revival and others refusing such trend. This conflict

really affects cultural activities and events in general. '

Therefore, any argument about the difficulties and problems that face cultural life and obstruct

literary, artistic, and intellectual activities should take into consideration all these social and historical

indications. Moreover, any argument about the difficulties and challenges should consider the relativity

and periodicity of such problems. Difficulties differ in their intensity, presence, and influence from one

cultural time to another. Beyond any doubt, some of these difficulties will remain unchanged and will

accompany most activities at a time when other problems will turn into chronic problems whose

intensity will increase along the development of the UAE cultural movement. The phenomenon of the

audience turning away from cultural activities from one time to another comes to be one of the

unchanged problems that hamper cultural life, which is related to social and historic circumstances that

form cultural reality in the UAE. This phenomenon raises concerns among domestic and official cultural

institutions, and therefore it needs a discerning attitude from those concerned with cultural affairs to

understand the dimensions of this problem. 2

Why is the discussion of this issue so important? The answer is that the positive interaction of

the audience and its regular attendance of literary, intellectual, and artistic seminars and lectures is an

important indication of cultural revival in the society. At the same time, the audience's good welcome or

turning away is an important gauge of the success or the failure of cultural activities and events, though

it is not the only gauge and should not be the principal standard. The phenomenon of the audience

1 Ibid., p. 173. 2 Ibid., p. 174.

Salem Humaid 209

turning away from cultural activities includes three intertwined elements, which should be defined. The

first is the public turning away from cultural activities. The question is, what does "turning away" mean:

is it relative or infinite? Is it related to the cultural state in the UAE? Is the turning away something new

or will remain sticking to the cultural activity? The second element is the audience, and the question is,

who is the audience? Is it the public audience or the educated one? Who is the public and who are the

educated? Is there an unchanged and definite audience of cultural activities? What is the volume of such

an audience and what does move it to participate or abstain? What are the characteristics of a cultural

audience? The third element is the cultural activity. The question is what is the definition of cultural

activity? Do all cultural activities face a rebuff from the audience and the educated people? What are the

cultural activities and events that receive an interactive attitude from the public and private audience? '

From these questions, it becomes clear that the discussion of the phenomenon of the audience

turning away from cultural activities shall be made through three intertwined levels. The first level is the

volume of such a phenomenon, its nature, and its indications. The second level is the reasons and the

factors behind this. The third level involves the methods for dealing with this problem, suggesting

practical steps to increase the interest of the public and private audience in cultural activities and in the

culture in general. However, following this an illustrative introduction, we have to mention these

remarks to clarify the dimensions of this phenomenon. The first remark is that the phenomenon of the

audience turning away from cultural activities is a common one and it occurs in the majority of all

societies, consequently, it is not confined to one society and it is not a problem only related to the

cultural activities in the UAE. We do not exaggerate when we say that the audience's interest in cultural

1 Ibid., p. 175.

Salem Humaid 210

activities is weak, even in the most advanced countries. All parties at every place are searching for ways

to increase audiences in the hope that the scope of cultural activities will expand to reach all people. '

The second remark is that the phenomenon of the audience turning away from cultural activities

is a kind of a proportional absence and this has many indications, among which are:

- Some cultural activities receive a wide audience from other cultural activities. The absence,

if any, is stick to certain activities and therefore we should not generalize this on all cultural

activities and functions.

- The absence of audience is a proportional in terms of the anticipated attendance and the non-

availability of an agreement on a definite number which forms the minimum or maximum

level of attendance as to judge the success or the failure of cultural activities. The difference

in estimation from one person to another emphasises the need to stop saying there is a total

absence. 3

The third remark is that we have to differentiate between the absence of the public audience and

that of the educated audience. The absence of the public audience is not new; as such an audience has

never been interested in cultural activities. It seems difficult that the cultural arena will witness a wide

presence in the present or in the near future. However, the absence of the educated audience is a

noticeable phenomenon that concerns now the cultural institutions. Besides these remarks, we can say

that the interest of the audience in cultural activities is increasing and not receding, as per the below

figures:

1 Ibid., p. 176. 2 Ibid. 3 Ibid., p. 177.

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- In the Dar Al Nadwa at Al Bastakiyah District, ' the total number of seminars held in the past

year was one thousand, as per the authorities in Dar Al Nadwa. It becomes clear that

scientific and academic seminars have also started witnessing an encouraging and regular

attendance. Such presence is also clear in other cultural events like book fairs, cultural

festivals, and other functions at the time of national occasions. There is an increasing interest

in cultural events, however such interest is still behind the aspired target and can be better.

There are many factors that stand behind the audience's failure to attend cultural activities,

and they range from organizational factors to social factors. 2 The organizational factors

include the selection of the venue, time, the lecturer, the right subject, the proper advertising,

as well as coordination among cultural institutions. The social factors include the following:

- The cultural seminars, lectures, and activities are something new to the UAE society and

therefore, the inculcation of such new social practices needs enough time and further

education to overcome all detriments and have a positive participation in such cultural

functions.

- The attendance of cultural functions is closely related to the margin of freedom in the society.

So if this margin is a narrow one, then there will be a negative response and vice versa. 4

- Television and other entertainments, including shopping, form a real challenge to cultural

activities!

1 Al Bastakiyah Area in Bur Dubai dates back to the early 1900s, and occupies the eastern section of the

old town along the Creek. The area has always fascinated visitors to Dubai and artists, who are enamoured by its elegant wind-towers, gypsum decorations and woodwork, and the lanes that meander through the district. 2 Dr. Ihsan Al-Roubaei, Head of Dar Al-Nadwa Cultural Centre. 3 ̀ abd Al-Khaleq `abdullah, Al-haraka Althagafiya f Al Emarat (The Cultural Movement in the UAE), p. 178. 4 Ibid., p. 179.

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- The present educational system is partly responsible for the audience's lack of interest in

cultural activities. This system does not create a generation fond of culture, intellect, and

creative works, and does not enhance the individual's interest in attending literary, artistic,

and scientific seminars and lectures. This educational system, particularly in the recent years,

was a factor that affected the interest of some wide social sectors in modern and creative

cultural activities, including artistic and theatrical activities.

These factors have boosted certain egoistic traits and encouraged seclusion among the educated

people. If we want to find a solution to the audience's absence, we have to deal openly with these factors

that harm the cultural movement and the audience's positive interaction.

8. Cultural Foundations and its Lack of Official Support

Cultural Foundations in Dubai, in their present state, function on a single mandate in the sense

that they have a single objective. A quick review of these establishments will support this statement.

Since its inception the Culture and Sciences Symposium has been focusing on sciences more than on art

and literature. One good reason was to avoid repetition of creating organizations with the same goals

and targets, such as the Emirates' Writers Union and the Cultural Academy in Abu Dhabi, in addition to

the Department of Culture and Information in Sharjah. The Sultan Bin Ali Al owais Cultural Foundation

came into existence with the single aim to award and honor writers and thinkers, and had no agenda for

cultural activities. The Juma Al Majed Heritage and Arts Centre were established to collect and maintain

manuscripts and make them accessible to the audience of researchers, but also had no cultural program

1 Ibid. 2 Ibid., p. 180.

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under its wings. Previous attempts by Sports Clubs to host and organize cultural programs did not last

long either and their initiative ran out of steam. (see Appendix 2)

The capital owners and philanthropists in Dubai should carve a niche in the cultural life and play

a greater role in its formation. To fill this gap, the Dubai Cultural Council was established as a

government body under the initiative of His Highness General Sheikh Mohammad Bin Rashid Al

Maktoum, Ruler of Dubai and UAE's Prime Minister. Its mandate was develop the cultural agenda of

the Emirate of Dubai and help advance national identity and also create awareness among all citizens to

cultural values. In general, the cultural foundations in Dubai perform in low profile and do not utilize the

media as platform to showcase their activities and reach out to the masses through television and other

media. Unfortunately, most of what they do remains within the walls of these foundations. Local media

have also failed to provide momentum to cultural activities in the Dubai.

The cultural scene is livelier in Sharjah, where culture is the spirit of the Emirate. The Sharjah

Television Channel, a government owned and managed TV station, reflects the government's point of

views on cultural and social issues. Having the government's total support and blessing, it gives

extensive coverage to all activities of the Department of Culture and Information, or other organizations,

and produces programs with cultural topics in focus. In a nutshell, when you secure a decent budget and

have the official backing, you can produce brilliant programs that can debut on prime time of TV

channels, and send the message across to the masses. In Dubai, the cultural agenda has two major

problems; one is the lack of coordination between media and cultural foundations and the need for more

liaisons between them.

The other problem is the budgetary constraints that curb enthusiasm and affect performance of

cultural foundations. The budget of The Association for Culture and Sciences is just to one-and-a-half

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million dirhams. The Association does not have its own permanent headquarters and facilities to

perform better. In an honest attempt to put a positive gloss on its activities, the Association has

developed an ambitious plan that focuses on the education and well being of women and children. It is

also bent on developing publications, and has exerted faithful efforts towards scientific studies. Over the

years, Dubai has built its image as a regional and international business centre. It embarked on massive

construction plans and laid down great infrastructure projects. And with vision of its leaders it managed

to attract huge investments that put Dubai on the international map as a destination for business and

investment. Regrettably, culture, at this point, did not get the adequate attention.

In business capitals, art and culture have their "share in the pie. " In most vibrant cities and

business capitals of the world, art and culture have their fair share of attention and are part of public face

of these cities and capitals. They became industries with huge assets through cinema, theatre, TV and

music productions. The cultural and art movements go parallel with other aspects of development. In the

Arab world, the picture is different. Art and culture do not take centre stage both on the government and

private levels. Business people refrain from investing in cultural projects, leaving the floor to

government institutions as an area of interest. In the civilized world, art and culture became lucrative

business for the private sector.

What you present depends on what your perspective is. The cultural movement in Dubai should

form an inseparable part of economic agenda of both the public and private sectors. Lessons should be

learned from experiences of multinational organizations that made heavy investments in art and culture

projects. With long term planning, they succeeded in transforming culture into an industry and bring

returns on their investments. Strategies should be drawn by both the government and business people to

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support and encourage cultural and artistic output, and policies should be implemented to activate the

role of culture in the society.

The cultural and intellectual construction of a society is highly associated with nobleness, but

unfortunately in our society, the rich and the wealthy are not all that noble. The contribution of the

business community to culture in Dubai was just to foster an impression that they support cultural

activities and to refute accusations that they are tight fisted towards the cause. Some of them were only

concerned to see their names decorating trophies and awards. The rich and the wealthy should be

involved in turning culture into an industry. In the absence of real involvement of the private sector in

the cultural life, it was all left to the government to assume this responsibility, to communicate to other

cultures that we belong to a homeland and raise a flag that we exit on the world's cultural map,

especially when most of the writers, poets and playwrights originate from Dubai. There is an urgent

need for grand cultural projects that go hand in hand and with the same rhythm of other huge projects

currently underway in business, economy, and tourism. The cultural foundations, on their part, have to

set long-term policies and provide an environment for coming generations to create and innovate.

Achievements of past generations should be a source of inspiration for young and new talents. The

ground should be ready for merited and talented people to rise. There is a natural tendency to adore and

respect the past, but we find ourselves more tied and oriented to the present.

Culture is a major energizer in the human life. It is about time that culture is regarded as a major

energizer in the human life of the Emirate. Its existence should not be limited to festivals, awards, and

seasonal events and should break this circle of monotony. The dynamism of change on the international

arena, in culture, education, business, and social life should be an eye opener for our cultural

foundations to interact with and identify benefits suitable for our society. The urgency is not to host

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debates and symposiums with the same people reading from the old script and who are not major players

in cultural development in Dubai and other emirates. The urgency is to activate the cultural role by

nurturing local human resources, which will positively affect their output and enrich the cultural fabric.

It also lies in supporting theatrical movement, social clubs, and libraries and in bringing up new

generations with cultural vision, and not just employees listed on the payroll. High hopes are pinned on

the new building of the Association of Culture and Sciences. With its new theatre and highly equipped

auditoriums, it should be able to present a new concept in cultural activity different from the traditional

way. This will add colour to Dubai, which spent countless efforts to build an image as a regional and

international vibrant city for business and finance. The cultural dimension should be highly visible in

picture of Dubai with the collaboration of all institutions to add value to life in Dubai.

9. Art and Art Galleries

While it may be true that no Emirati artist has yet attained worldwide fame, it is probably only a

matter of time. Significantly, new and young Emirati artists are quickly making their mark on the

international scene. The federation of the Emirates was established on the 2nd of December 1971. This

date became the start line for an endless race to develop the country and its people on economic, social

and educational levels. In 1975, Ministry of education delegated students to Egypt, Iraq, UK, and the US

to study fine arts. They became the pioneers of fine arts movement in the country. '

The Dubai Art Society was established in 1976, but only became widely known when it

reinvented itself in 1980 by moving to newer premises and, later, in the mid-1980s, renaming itself as

the Dubai Art Centre. Today, it is prominent in the thriving local art scene. At the same time, Ras Al-

Khaima's Fine Art Association Centre is active in promoting the artistic skill of young artists in the

I Cultural Horizons Magazine , An Overview of fine arts in the UAE, Issue No. 13, Dubai Cultural

Council, Dubai, UAE, May 2006, p. 34. (see Appendix 1)

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northern emirate. Individual emirates are actively promoting art and the fostering of artistic talent. In

particular, Sharjah, as part of its concerted efforts to advance culture in all its guises, has opened the first

dedicated national art gallery in the UAE in 1980. The Emirates Fine Arts Society was established in

that emirate also. Arguably the most important date on the UAE, s artistic calendar is the Sharjah Art

Biennial where artists from other Gulf states, the Middle East and the rest of the world are invited to

Sharjah to display their art. Awards are presented for various categories and the event is doing much

towards formalizing art in the UAE and its perception abroad. Encouraged by the work of local artists,

the Government of Sharjah established the Sharjah College of Fine Arts in 2001.1

Abu Dhabi, too, is active in art with the Abu Dhabi Cultural Foundation providing an excellent

focus for artistic activities. The Foundation provides a home for art and artists, for creation and display.

From its quiet beginning in the early 1980s, it has now become a major source for promoting and

encouraging art and knowledge in all its forms. Various arts ateliers and institutes were established in

the UAE, in the last two decades:

1981 - Artists Atelier, Ras Al Khaima.

1982 - Artists Atelier, Al Ain University.

1986 - Artists Atelier, Cultural Foundation, Abu Dhabi.

1987 - Cultural Centre, Sharjah.

1987 - Artists Atelier, The Youth Theatre and Arts, Dubai.

1993 - Artists Atelier, Khorfakkan.

1995 - Sharjah Art Museum.

1996 - Sharjah Art Institute.

Ibid. (see Appendix 1)

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1997 - Artists Atelier, Sharjah.

1997 - Khorfakkan Art Centre.

2000 - Sharjah Art Centre for Arabic Calligraphy and Ornament.

The UAE is an ideal environment for artists. With a rich cultural heritage, today's artists are part

of an ongoing tradition that has gained inspiration from a harsh, but stunningly beautiful environment.

Creativity is nurtured from a young age and many works of art reflect the innate spirituality of the

Emiratis.

10. Drama and Theatre

The journey of theatres in the UAE and Dubai has complete more than thirty years, but it is still

suffering from many deterrents that interrupt the progress and the interconnection to the public. We

probably do have some good actors, actresses, authors, and directors in the UAE, but we do not have the

body that may support the theatre activities. An example of that: a drama called "A boil of Sand"

produced by Al Ahli Theatre in Dubai in 1991. This drama has achieved lots of success and renowned

the Arab World. This drama received many invitations from Europe to perform it, but Al Ahli Theatre

could not perform it in Europe because they did not find someone in the UAE who may sponsor them, or

someone to pay for their travel tickets and hotel reservations. They did not find someone in the UAE

who may support them to perform this Emirati drama in an international festival of dramas for the first

time in the history of the UAE.

The people in the dramatic sector are wondering about the accomplishments of Dubai and why

Dubai does not add the theatre to those accomplishments. Surely, we have to create a dramatic and

cinema activity in the UAE to convey the growth building, evolution, and technology nowadays in the

Salem Humaid 219

UAE. But this activity of art needs a motivation and sponsorship from a body who would undertake

setting up theatres, establishing a corporation of arts production, financing and subvention the

production of movies and presenting incentive awards to the talents. It is time now to start by setting up

an institute which offers different programs of arts studies like drama, TV, and movies direction, the art

of writing continuity, and the art acting. This start will participate in upbringing a new academic

generation to face our huge gap in this field. (see Appendix 1)

The activity of arts needs a fundamental components and it cannot be depended on the singleness

precessions forever. One of these components for example: the necessary of watching over from the

beginning at the schools theatre which is consider as a kitchen to discover the talents, and then rehearse

them. Also, the necessary of providing the subvention regarding TV and cinema especially on drama by

providing the stages and studios. But the beginning still has to start by setting up the basic structure

which is an institute of arts. One of our worries also, the lack of trust to the national in this sector and the

condensation on other people from outside. This matter is a mischief to the local arts except the dramatic

production which has been done outside the UAE by local dramatic corporation like the miniseries of

the famous Syrian director Najdat Anzor. Also, we have some superiors who are not open-minded to the

TV production or do not have the enough knowledge about the mechanism of this field, and if you

notice the texts in our miniseries, you will find that most of them are weak or do look like the same.

The UAE nationals do need the support and the motivation and the incentive awards. They also

need experts from outside to make use of their experience. So, why don't they get the chance to approve

themselves, why don't the local arts production corporations support the local arts production specially

the local arts directors, why do the local media departments depends on the "packager" miniseries from

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the Arab countries and do not give the chance to the local series. We need to make a colloquiums and

lectures and create competitions inside the educational institutions to increase the knowledge about the

arts, so there may be in the future someone who can taste the arts.

11. Final Conclusion

The cultural scenario of the UAE is ever-evolving. It is a fast changing country with very

dynamic changes. There are various theories stating different interpretations for the cultural

developments of UAE. Some theories state the different economic scenario of UAE since 1970s

influence the cultural preferences of people here. However one point is clear that UAE needs more

intellectual freedom if it wants its culture to grow. The studies and inferences on culture show that the

UAE's cultural activities are ineffective in social life, they simply don't attract audience. There are a lot

of cultural councils in UAE who are delivering mediocre performances. The rise of new intelligentsia is

under formation with a growing conflict between conventional and modern cultures. That can also be

called a conflict between western capitalist culture and the Islamic culture of Middle East. The modern

intellectuals of UAE are in a dilemma.

The three element of culture are literature, art and intellect. In UAE only poetic literature has a

stronghold with modern intellects writing about history, politics too. But Theatre and plastic art has no

buyers in UAE. That is a deep cause for concern since the music, acting, singing has not gained ground

in modern UAE society. There are however a lot of behavioural and intellectual changes in UAE

society. The approaches to modern thoughts instead of one's commitment to Islamic values are gaining

appreciations in society. Wealth, academic degrees and competence is now a barometer for respect in

day to day life. But in recent years there is a huge impact of religious fundamentalism has taken over our

Salem Humaid 221

society. This issue of extended Muslim Brotherhood is new to once moderate UAE. But the society

continues to emphasize on the intellectual growth. That is certain that religious thought are not

succeeding in diverting attention from material purposes of a man. The religious tide has also failed to

create any kind of Cultural Revolution in society.

Literature of modern intellect is gaining ground in our country slowly, which is mostly poets.

However it lacks any philosophy or philosophers which are considered as a backbone of any culture.

These is an absence of intellect in the society concludes that the culture of UAE is a culture without

thoughts. The universities have also failed to induce any free thinking. There is a crisis of new thinker in

the Arab world. Very few intellectual people are pursuing in the field of latest thoughts and philosophy.

This also reflects a state of backwardness to cope with modernity. The whole of Arab thinkers have a

track record of importing thoughts and theories instead of producing any distinguished theory. The

phenomenon of intellectual terrorism is however gaining ground.

There is also a class of audiences turning away from cultural activities; however this can be case

for all the modern societies in the world. Also this turn-off can be relative, considering the number of

educated people involved. Also the point that cultural activities in UEA are new phenomenon and

modern education make people more alienated to their culture.

There is however various cultural councils flourishing in UAE which are making substantial

efforts to remove the cultural dark age of state. They are novice and low profile mostly because of the

budgetary concerns. For the proper 360 degree development of any society one financial development is

not important. The role of cultural activity is equally important. History has shown all the great societies

Salem Humaid 222

of the world have a strong intellectual base to support it. Our country must make substantial effort to

create another Renaissance.

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Chapter 7: Culture Sub-sector Situation Analysis

1. Introduction

1.1 Summary

A rich culture and heritage exists in Dubai; however, it is at risk of being lost if it is not actively

promoted and passed on to the next generation. The existing public education system provides minimal

cultural content and does not develop young talents. Music, art and library classes are limited to around

two classes per week out of on average thirty-five, for grades four to nine, and are not taught at all in

grades ten and above and insufficient focus is given to reading and Arabic literature. Programmes at

Universities for studying literature and arts are very limited and there are no scholarships for UAE

students to study the arts abroad.

In Dubai, there is no single local entity with the mandate to regulate, enforce, and coordinate the

currently fragmented cultural activities. The Dubai Cultural Council' actively supports the various

cultural and art activities; however, it does not have the authority to enforce, regulate, and monitor the

performance of the sector. Services are therefore scattered, and do not cover a comprehensive set of art

and cultural activities. The regulations governing this sector are unclear and outdated. Lengthy licensing

procedures are hindering the development of the sector and they are discouraging service providers from

setting up non-commercial art, and cultural institutes.

The local culture and heritage are not well promoted and not passed on to the new generation.

Local content is low priority in media and there are few local productions and very few local cultural

1 On 20th March 2003, His Highness Sheikh Mohammad Bin Rashid Al Maktoum, in his capacity as a Crown Prince of Dubai issued a law for establishing Dubai Cultural Council, which will take on the role of developing the cultural movement in Dubai.

Salem Humaid 224

programmes on national television and radio. Local plays are often of low quality and do not attract

Nationals nor non-Nationals. Language is a barrier in creating more coordination between the various

community cultural groups. There is a need for providers of Folkloric performances, because the

majority of the workforce (folk dancers) is imported from neighbouring countries. There are not enough

training centres for local folklore dancing and local handcrafts. Folklore is poorly transferred to the

younger generation, because there are not enough schools that teach children about folklore and

heritage. Heritage venues such as the heritage village are not heavily promoted for tourist attractions. In

summary, there is a general consensus among people dealing with cultural issues in Dubai that local

culture and heritage are in danger of disappearing.

1.2 Approach

For the purposes of this situation analysis, the Culture and Heritage sub-sector has been divided

into the following sub-areas:

Performing arts: Relates to those art forms where individual performers are involved using

their bodies as instruments and includes theatre, dance and musicals. (see Appendix 1)

Fine arts: Includes a range of art mediums including drawing, painting, sculpture, glass work,

calligraphy, ceramics, pottery, handcrafts, photography, and architecture where there is a combination of

technique, original design and creativity. These cultural forms are generated and preserved through art

school programs, art galleries, public displays and collections, private collectors, and private galleries.

(see Appendix 1)

Music: Covers a wide range of genres where there is melody from songs, singing, individual

instruments, bands, symphony orchestras, opera with music types such as alternative, contemporary

jazz, contemporary cultural, and classical. (see Appendix 1)

Salem Humaid 225

Movies: Covers specifically film productions that are initially showed to paying movie

audiences, and, if successful in that area or seen to have commercial potential, are recorded onto DVDs/

videos for distribution to wider audiences and over a longer time period. (see Appendix 1)

Literature: Involves the use of written language and covers poetry, prose, published articles,

short stories, play and script writing, and books. (see Appendix 1,2)

Folklore and festivals: Covers all of the above - performing arts (particularly theatre and

dance), arts and crafts, music and literature but the difference is that it usually contains a deliberate

element of repetition as one of their aims is to communicate and perpetuate cultural traditions by

engaging audiences through the arts activity. (see Appendix 1,3)

Archaeology and Heritage: Covers those aspects of a population's expression, represented by

architecture, artefacts, historic buildings and other antiquities that have gained prominence. This may be

because of features that represent the basis of that culture's progress or have continuing classical or

iconic value. It is represented in museums, archaeological sites, heritage sites, and archives. (see

Appendix 4)

Media: Covers programs broadcasted on radios, televisions, films or other communication

media, either over the broadcasting spectrum, over the Internet, or over other digital media. (see

Appendix 5)

Religion: Covers religious activities playing an important role in reinforcing the values of a

culture, through the dissemination of knowledge about culture, its promotion and protection. (see

Appendix 6)

The boundaries between these areas are not entirely distinct, as they could be regarded as, and

should be, a continuum of services. The Ministry of Social Affairs, the Department of Tourism, the

Salem Humaid 226

Dubai Culture Council, as well as other government and private sector entities, are involved in different

services provision and where possible each has been separately considered in this analysis.

This situation analysis examines the following factors for all the aforementioned areas:

- Services - including Availability, Quality and Accessibility (location, cost).

- Infrastructure & Institutions- Capacity, Capacity Distribution, Facilities, Accreditation.

- Workforce/Talents - Quantity, Capabilities (education, experience, training), Compensation

and incentives.

- Service Users - Habits and Preferences, Patterns of service usage.

In addition, the following factors have been considered across the culture and heritage sector:

- Technology - Availability, Usage.

- Education and Research - Quantity, Quality.

- Shared Services - Physical assets sharing, Knowledge sharing, Institutes of collaboration.

- Role of Government - Regulation (institutions, individuals), Planning and integration,

Enforcement of regulation, Transparency and continuous improvement, Investment, and

Incentives.

2. Performing Arts, Fine Arts, Music & Movies

2.1 Performing Arts

Historically, theatre activity in the UAE started after the Independence in 1971 and benefited

from famous Arab directors of that time. Theatres continued to develop in the 1990's with great new

talents appearing in acting, production, and play writing. Since there is an apparent interest in drama,

Salem Humaid 227

drama schools and academies have limited spaces available. Drama classes and studios have begun to be

introduced in some schools. There is only one school of theatre in Dubai, the Indian Theatre academy

(RangManch)', which provides theatrical teaching and training in an academic way. Performing arts are

driven by ethnicity and are mainly provided by each community. The quality of the theatrical services

that are available in Dubai tends to be low; however, it has benefited from the support of the UAE

government in finding new material (space, walls, lights, and sound systems), and the audiences.

Limited providers in the area of theatrical activities exist, and therefore, the ability to be involved

in theatres is low. Theatrical activities in Dubai are mainly set up in four theatre groups: The National

Youth Arts Theatre, Dubai Popular Art Theatre, Dubai Al Ahli Theatre and Dubai Drama Group. More

stages are under construction (e. g. the Dubai Community Theatre Stage), which will provide additional

services in the area of theatrical activities. To be accessible for all communities and cultures, it has been

conceived for large capacity in that it comprises 550-seat, two-level theatre, a 150-flexible-seat studio

theatre, rehearsal space for ballet, and other services. In addition, it is important to mention the new

Opera project that is being executed in Dubai. This project will alleviate the capacity issues for theatrical

activities in Dubai. (see Appendix 1)

The UAE theatre movement has been influenced by the theatre movements of other Arab

countries, like Egypt and Kuwait, and the UAE directors, actors and play writes have been regularly

winning awards in various GCC and Arab festivals. Still, National workforce remains limited in this

area and is mostly comprised of amateurs. As such, no proper training is provided and courses at

1 Rangmanch Theatre Academy, an initiative of Indian cinema and theatre actor Kader Khan, has signed an agreement with Knowledge Village in Dubai to establish its operations in Dubai in 2003.

Salem Humaid 228

universities are very limited and not designed to develop professionals in this field. Moreover, there are

no scholarships for art studies and a very limited capacity for local production.

In recent times, the content of plays has undergone further changes to reflect contemporary

issues that are of more interest to the constituents, such as political issues, environmental problems, and

loss of cohesiveness in the family structure. Despite this fact, Nationals' interest in theatre and in

performing arts at large is perceived to be limited. The support of tourists and expatriates is not enough

to sustain local production; language being the major barrier, and the low quality of the plays.

2.1.1. The Theatre Situation

To discuss the reasons of weakness of Theatre in Dubai, we should review the performance of

the major three theatre groups, The Dubai Al Ahli Theatre, The Dubai Popular Arts and Theatre, and

Dubai National Youth Theatre. As mentioned previously, these groups live in a closed circle of

problems, impediments and disappointments that led to a state of despair.

- Dubai Al Ahli Theatre:

The Dubai Al Ahli Theatre was established on the 15th of July 1981 as part of the Al Ahli Club.

It is considered the most active and productive of the theatre groups in Dubai and has won many awards

in theatre festivals. Its famous play "Bab Al Barahn" (The Baraha Door) was granted three major awards

in the Seventh Theatre Festival of the GCC countries in 2001. It won the award for best work, the award

for best script, and the award for best acting. Unfortunately, this theatre group is thrown in a "wooden

box" at the Ahli club.

Dubai Al Ahli Theatre Group suffers from shortages of financial resources. Al Ahli club

provided the location or "the wooden box" with water and electricity and the group were left to face

Salem Humaid 229

other financial expenses for computers, a secretary, office boy, etc. There is no budget for salaries for

employees or members of the group and their work is considered to be on a volunteer basis. The

financial support they receive comes from the former Ministry of Information, which allocates an annual

amount of Dhs. 85000 to the group's activities and an annual reward of Dhs. 60000 from His Highness

Sheikh Sultan Bin Mohammad Al Qassimi, Ruler of Sharjah for its participation the Sharjah Theatre

Days Festival. These two financial channels are the life cord that prevents this group from total

collapse. ' Mr. Yousif Gharib, Chairman of Al Ahli theatre, once said, "We don't get even one dirham

from the Government of Dubai which gives an amount of seven million dirhams to each of Dubai's

sports clubs. We want only one percent of this amount so that we can survive. Sometimes we pay from

our own pockets when and as necessary. We need to renovate the stage, furniture and accessories. We

would have been pushed out from the club, without the support of Qassim Sultan" (Former Director

General of Dubai Municipality). Gharib added "We do not have a minibus for members of the group to

take the show to other emirates. We use our own cars. But we need a minibus for children who

participate in the show and for students who join us during the summer training activities". 2

"The total cost for our famous show 'Bab Al Baraha' reached Dhs. 170000 which left us in a

deficit of Dhs. 85000. We had to wait for the next year's budget from the Ministry of Information to

cover this deficit. During activities of Dubai Shopping Festival, we participated in a play titled 'Antar

and Abla' we spent an amount of Dhs. 70000 to prepare this show, and we were ignored any

compensation or a reward from the organizing committee of the festival. But the festival pays an amount

of Dhs. 300,000 or 400,000 when it brings any outside group, from Kuwait for example. So our group

1 Interview with Mr. Yousif Gharib, Chairman of AL Ahli theatre. 2 Ibid.

Salem Humaid 230

cannot produce more than one play in a year and over the last 20 years we produced 24 plays only

because of the limited financial support". 1

Mr. Omar Ghubash, Director of Dubai Arts Centre and the Theatre society said he suggested to

the organizing committee of Dubai Shopping Festival the idea of holding a special Theatre Festival for

Arab Children with the participation of Arab countries. But members of the committee turned a deaf ear

to his suggestion, and did not reply to his letters in this regard. Dubai Shopping Festival invites foreign

institutions to participate in its activities in spite of the fact that similar national and local institutions

exist. This happens in the absence of legislation that regulates and governs cultural activities.

Furthermore, Dubai Al Ahli Theatre created a marketing committee to collect donations from

government and private institutions to support its financial standing, but its attempt was doomed to

failure. The absence of a theatre arts academy made Dubai Al Ahli Theatre act as a training centre for

future generations who have the talent and the passion to learn theatre arts. It offers free training to

students during the summer holidays under the supervision of a local group of nationals. Dubai Al Ahli

Theatre Group has always requested from the government a piece of land with a decent theatre building

on it, or at least give them a location at Dubai Media City. Their current location is made of wood and

not appropriate facilities for training and rehearsals. The female members of the group are embarrassed

to come to it through the sports club. There are many female artists who are paid more than Dhs. 100,000

from Kuwaiti Theatre, while in Dubai she is only paid around Dhs. 15,000.3

1 Ibid. 2 Interview with Mr. Omar Ghubash, Director of Dubai Arts Centre and the Theatre society. 3 Mr. Yousif Gharib, Chairman of AL Ahli theatre.

Salem Humaid 231

- Dubai Popular Arts and Theatre Group:

The Dubai Popular Arts and Theatre group was established in 1976, and by 1977, it presented its

first play (Poor Boy Suddenly in Richness). The show was presented on a poor wooden stage and in the

open air. The late Sheikh Rashid Bin Saeed Al Maktoum ordered the construction of theatre and a

location for the group's activities. Dubai Theatre Group was established by a number of theatre art

lovers and amateurs. In 1978, the famous Kuwaiti actor and director Saqer Al Rushoud visited the Dubai

Theatre and after his death in a tragic accident the group was renamed (Saqer Al Rushoud Popular

Theatre) to commemorate the memory of the late artist who provided many services to the theatre

movement in Dubai. In 1981, the group was again renamed as (The Dubai Popular Arts Community

Theatre). It is the most active theatre group in Dubai and presented around 40 plays since 1977.1

Again, the limited financial resources negatively affect the productions of this theatre.

Additionally, in spite of the fact that an annual amount of Dhs. 150,000 is given by the government,

much of this amount goes to the popular art activities and there is no fixed amount for theatre activities.

The theatre could not even participate in the activities of the Sharjah Theatre Days festival for five

consecutive years due to a financial shortage for preparation and production of a play. Many members

are also deserting for good, as the theatre cannot even pay the amount of Dhs. 3000 to one actor for all

the performances. For comparison, a Kuwait actor is paid the amount of Dh. 6000 for one show only.

Consequently, the financial shortages and the absence of media support are factors that push members to

leave the theatre. Officials at the theatre say that they need an annual amount of at least Dhs. 300,000 as

an annual budget to survive and produce plays. The location of the theatre was built some 34 years ago

' Habib Ghulüm, AUxryah Althagafiya fi Al Emarat (The Cultural Life in the UAE), special edition for Frankfurt Book Fair 2004, Ministry of Information and Culture, Abu Dhabi, UAE, 2004, pp. 31-42. 2 Interview with Mr. Abdullah Saleh, famous UAE actor and board member of Dubai Theatre Group.

Salem Humaid 232

and is not safe anymore, especially since a piece of cement fell from the roof two years ago. The

building does not meet the minimum of today's standards for theatre performances in respect of the

construction itself and all other technical details. '

- Dubai National Theatre for Youth

The Dubai National Theatre for Youth was established in 1972 in Al Qusais area and came under

the supervision of Ministry of Education and Youth in 1980. It is the first theatre group in the United

Arab Emirates and includes a number of distinct talents. It has presented around 40 plays since its birth.

This theatre was dedicated to training and preparing youth skills through summer training on acting and

popular arts. The Ministry of Education and Youth supports this group with a monthly amount of

Dhs. 30000. It was also given vehicles from Dubai Ruler's office. But the group faced a location problem

as its former location was demolished and the new building was given to the Disabled Club. The

Ministry rented a traditional house in Al Hamria area as a new location for the theatre group for an

annual rent of Dhs. 70000, but the new location is not fit for the group's training and other activities. The

Ministry of Education has prepared designs for building a new national theatre and the government has

allocated a piece of land, but the budget for the new project has not yet been decided.

2.1.2. Solutions to help develop the theatrical activities in Dubai

Theatre in UAE, and in particular, in Dubai, has achieved a high standing on both the GCC and

Arab levels. Many of the UAE plays and performances were highly recognized in terms of writing,

acting and directing, and received numerous awards during the Gulf theatre festivals. In addition, there

are many playwrights in the UAE, more than in any of the neighbouring Gulf countries, and this reflects

1 Ibid. 2 Interview with Mr. Naji Al Hai, Chairman of Dubai National Theatre for Youth.

Salem Humaid 233

positively on the theatre movement in the country. The following solutions could push the theatre

movement forward:

- Set mechanisms to develop the relationship between theatre and audience; when a play

touches on the core issues and concerns of the people with good advertisements through the

media, definitely we will have a good audience turnout. When we have a large audience and

media attention, theatre artists will be enthusiastic to persevere and develop new ideas for

plays that tackle people's problems and issues.

- Provide Media support and coverage to the activities of local artists so that they become

known on a large scale and their work can easily be sponsored by the private sector.

Sponsorship can also start from a Sheikh or a high-ranking government official. This will

encourage private institutions and business people to do likewise and forge sort of a trend

that sponsoring local artists is a good social work.

- Most of the theatre artists are not devoted full-time to theatre work; artists here should have

full time jobs at the theatre. We have three local theatre groups in Dubai with different levels

of performance and output, and most of the members have their own professions and jobs.

The Ministry of Culture and Dubai Cultural Council should form a committee comprised of

cultural and media organizations in the UAE to study a proposal for creating full time jobs

for theatre artists.

- Kuwait ranks first among GCC states in its support of Theatre and over the years has

accumulated a remarkable experience and has an honourable record of achievements in terms

of producing plays and developing the theatre movement in the country. The Kuwaiti theatre

presents between sixty and one hundred plays every year and has created a loyal audience

that is increasing in numbers especially when all these plays deal with social and economic

Salem Humaid 234

problems of the Kuwaiti society. Other GCC states should benefit from the Kuwaiti

experience and expertise in this respect, by organizing a cultural Gulf week that can

showcase all talents in the gulf in terms of actors, scriptwriters and directors.

- Dubai should organize and host an Arab Theatre Festival for the participation of all Arab

countries. The Emirate of Dubai has a worldwide reputation in organizing major international

and regional events (such as Dubai Shopping Festival). Such an Arab Theatre Festival can

even expand and develop into an international one in the future. The Sharjah Theatre Days is

still classified as a local and regional event. '

- Promoting a culture that supports the theatre among all local communities through carefully

set plans and developing a concept that theatre is the reflection of society and can be a

national unifying element through presenting works derived from the history and heritage of

the country.

- Boosting the role of the private sector and encouraging it to organize and host public theatre

shows, which reflect issues such as unemployment, new imported concepts, and promote

love and loyalty to work. The private sector previously succeeded in contracting with famous

world singers. Emaar Real Estate Co. launched a competition for fine arts to promote their

new projects "Burj Dubai"'.

- Establishing a national theatre with state-of-the-art equipment and according to international

standards. This theatre can also include a Theatre Arts Institute or Academy.

- Enlisting theatre and arts academic degrees on government scholarships granted to students

who wish to specialize in these studies at foreign universities.

1 The initiation of Sharjah Theatre Days was set by Sheikh Sultan bin Mohammed Al Qassimi, Ruler of Sharjah, to enhance the local theatrical movement.

Salem Humaid 235

- Activating the role of theatre in schools and universities and show their plays on television

instead of showing imported plays that do not express local preferences.

- Organizing training courses for local talents and launching a theatre competition within the

educational institutions.

2.2 Fine Arts

Fine arts exhibitions in Dubai have flourished during the recent two decades, and have attracted a

large group of UAE and Arab artists. Such domestic exhibitions presented to the audience of fine arts a

group of uniquely talented artists, and shared the artistic experience. Currently, there are almost forty-

eight art galleries in Dubai providing services in a variety of areas. The quality of these services varies

and is governed by commercial aspects. Some galleries present art of high standards, and select good

pieces, others lack funds or experience. In addition art exhibitions are being held in cultural centres and

hotels.

Dubai has no non-profit art galleries, a National Art Gallery, nor a museum of fine arts. Several

bodies are sponsoring fine arts activities. Exhibitions and galleries hold annual functions in support of

fine arts, while artistic and cultural institutions hold a number of solos and open shows for Nationals,

expatriates, and visiting artists. The Dubai International Art Centre and the Dubai Art Society play a role

in encouraging and promoting local arts activities. In addition, Dubai has no established body to give

recognition to artists or art galleries. The public schools curricula do not emphasize the arts. Materials

for fine arts are not widely available in stores in Dubai, and most of the available materials are only

related to painting, while missing other forms of the fine arts, such as sculpting and calligraphy and

others. (see Appendix 1)

Salem Humaid 236

UAE has about fifteen pioneer artists who have earned international awards and accolades. There

are no surveys conducted to assess the preferences and patterns of usage of fine arts services by Dubai

Nationals. However, the general perception is that the majority of the UAE nationals do not usually

attend the galleries nor do they update themselves in the arts field, while expatriates are more active in

this area. The major reason for the lack of interest is believed to be related to the lack of educational

background of the UAE nationals in the area of the arts. Nevertheless, the success of some of the private

commercial galleries has given a boost to local artistic community and has helped to develop the taste of

the local audience. As in other countries, the UAE benefits from a group of wealthy collectors who are

interested in building an artistic tradition.

2.3 Music

In Dubai, there are music services provided through various venues such as the Dubai

International Jazz Festival, featuring diverse music genres such as blues, funk, swing, acid, rock,

contemporary, modern, and fusion. Other venues, such as the Emirates Symphony Orchestra for

Children are performing in international music festivals (see Appendix 1). However, Dubai lacks a

national musical band or orchestra. Additionally, Dubai lacks a music academy and undergraduate and

postgraduate musical courses at universities. There are many commercially run institutes that teach

music in Dubai; however, these institutes are not monitored for quality of services. These commercially

run institutes provide services for fees that are not affordable by all communities in Dubai.

Many of the concerts are being organized by the expatriate communities in Dubai, and by the

private sector. The capacity of the providers is lower than the demand, as is witnessed by the fact that

the tickets are always sold out for international concerts. Many UAE nationals have demonstrable talent

Salem Humaid 237

in music and the UAE singers are among the best in the Gulf. ' The Nationals enjoy a strong tradition of

music and dance, both of which play a vital role in people's lives. Singing and dancing were, and still

are, an integral part of all national celebrations. Many of the songs and dances, handed down from

generation to generation by teaching the young from the primary level upwards the traditional songs and

music that form part of the national culture, have survived to the present time.

The audiences in Dubai are mostly ethnically driven and there is no observed pattern of the

frequency of attendance by the local audience to music performances of other communities. Attendance

at international festivals such as the international jazz festival is rated very high. However, there are no

statistics or surveys that reveal the percentage of Nationals attending music events.

2.4 Movies

In Dubai, the major event for movies is the International Film Festival, which was successfully

inaugurated in December 2004, and included strong public participation with more than 13,000

attendees. Currently, movie-making movements in Dubai are still fresh and do not have sufficient

experience, and technology to reach the world's standards. However, the project of Dubai Studio City is

viewed as having a positive effect on film, television, and music production industries in Dubai and in

the region, especially since it will provide a free zone type of accessibility. 2 Dubai enjoys state-of-the-art

auditoriums, screening rooms, seminar rooms, and arenas that match the latest technology and are run by

private providers.

t The cassettes sale of UAE singers was the highest in year 2004 according to ROTANA musical production company in the Middle East.

Smalley Ben, Middle East Media Guide 2006,1st Ed, Media Source, Dubai, UAE, 2006, p. 143.

Salem Humaid 238

Limited availability of infrastructure or providers to develop films exists in Dubai, either local or

international. Dubai Studio City (DSC) project is a Dubai Holding Group project, which aims to

promote the growth of the broadcast and film production industry in the region. DSC plans to offer

technical infrastructure for the film, television and music production industries. Its aims are to build a

large cluster of companies from across the industry, including production companies, support service

providers offering production and post-production facilities, animation studios and services like

dubbing, make-up, costume designing, stage designing, and building, casting, telnet agencies, as well as

lab facilities. ' There is a huge attendance to the cinema houses in Dubai both by Nationals and non-

Nationals. This audience is generally interested in the commercial films. However, the audience for

short and documentary movies is not highly developed. (see Appendix 1)

2.5 Analysis: Performing Arts, Fine Arts, Music and Movies

Dubai Cultural Council (DCC) has taken the initiative to support art activities including

filmmaking, theatre, music and other activities. Fortunately, the current cultural process was cultivated

by the Dubai International Film Festival and the studio city project. Dubai hosts high quality movie

theatres and the government has already approved the Opera Theatre Project. Meanwhile, the Emirates

Symphony Orchestra for Children plays an active part in Dubai's cultural life. Additionally, art and

music teaching is offered by the private sector which has a talented staff, while the private universities

play a role in providing art courses and programs.

UAE artists are among the best in the GCC countries and an increasing number of young UAE

artists are emerging in various cultural fields, which receive excellent appeal similar to that received by

1 Ibid., p. 144.

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international performances. However, the attendance at international events and performances is high

among expatriates. Fine arts attract a high number of Dubai Nationals, compared to other art activities,

and an increasing number of nationals now show a significant interest in participating in other art

activities. There is also a variety of art galleries and exhibitions throughout Dubai as well as a range of

fine art selections.

Dubai Cultural Council boasts a bundle of strengths; however, it has to overcome some

weaknesses. The Council does not have the authority to regulate and monitor the performances of the

cultural sector, which suffers from a lack of funds. No University program or specialized art academy

exists in Dubai and the facilities available for art activities are few and of low quality. At the same time,

school curricula are short of specialized arts. The services provided by the private sector are very

limited, while galleries and art performances are mostly commercial.

The quality of art facilities is not in line with international standards; therefore, high quality

performances shun Dubai. Meanwhile, movies shown are commercial and choices are limited to US and

Indian productions. There is also a lack of professionalism in the field of arts, and there are no art

societies or associations in Dubai, while local providers and the workforce are limited. Moreover, in

Dubai, specialized stores that sell art materials and equipment are few, and the interest of nationals is not

sufficient to support the development of national arts. Attendance and participation in art activities and

events is still limited among nationals and the studying of arts is not widely welcomed among nationals.

In addition, language is considered to be a barrier for attracting tourists to local performances.

Salem Humaid 240

Dubai's continued rapid economic expansion and diversification has made the Emirate a

destination for international business meetings, conventions, and trade fairs. The arts have been served

well in general through the increased use of Internet and electronic media, and the global trend forecasts

that arts and music will have a bigger part in school curricula Copyright laws are making it more

difficult to copy and circulate music digitally and the popularity of international performing arts is

leading to large audience' demand for them. Regional competition in the film industry is growing and

there is an increase in the DVDs' distribution and opportunities for specialized films.

As a result of booming business activities, there is an opportunity to build an international

audience for local performances, and to host international events in the region. Experts say that

increasing the academic hours allocated for arts and cultural activities can increase awareness and

promote talents among students, so that more Arab films can be produced and promoted through Dubai

Studio City. Finally, Dubai fine arts and music could be promoted internationally through the Internet

and the electronic media.

Foreign art activities dominate the Internet and pose a threat to local culture, and there is a

growing fear of its disappearance. We cannot ignore that illegal copying of original music and DVDs

makes it harder to sell music or movie productions at a profit in countries like Dubai and could

negatively impact Dubai's movies and television production industry. Industry experts say that Gulf and

international performances in Dubai have the potential to overshadow the interest in local cultural arts.

Salem Humaid 241

3. Literature

The main focus in the UAE literature movement is on poetry. Services are limited and include:

poetry, folk songs, common proverbs and folktales. In the modern UAE society, few literature

productions exist, and very few new intellectuals and thinkers are arriving on the literary scene. There

are no venues such as independent research institutions that support intellectual movements. The support

for poets and publishers is limited, although the government has created some cultural awards to

motivate quality standards in poetry. There are six public libraries in Dubai that have a wide range of

books and research papers (see Appendix 2). However, the statistics about the frequency and use of

these libraries do not reveal any relevant analyses on the support they bring to the literature movement

and on their use by Nationals.

A decrease has been noticed in the number of younger authors, which is believed to be due to the

limited career structure for literature graduates. The UAE audience is poetry-oriented and has limited

interest in story, arts, and intellectual works. Anecdotal evidence reveals that reading is not a widespread

habit among Nationals, and this is primarily believed to be related to the poor support for reading, and

literature in particular, in public schools curricula.

3.1 Analysis: Literature

Universities offer courses in literature, liberal arts and humanities as part of their curricula, and

local governments offer many literature awards, which includes poetry awards. Consequently, the local

dialect is preserved by the traditional poetry. Dubai Municipality plays a leading role in providing public

libraries, while other private cultural centres and businessmen publish literary books.

While no institute or association supports publishing of books and literature, bookshops and

libraries are not sufficient, and do not provide a wide range of literary books. Unfortunately, literary

Salem Humaid 242

careers are limited to literature graduates and the number of young authors is decreasing as Arabic

teaching in public schools is weak, and English is the dominant language in private schools. Reading,

meanwhile, is not a common habit among nationals, and there is little audience of nationals and

expatriates at the libraries. Data is insufficient on this issue. The Internet is increasingly being leveraged

to convey literature to specialized audiences. Audiences for literature have too many choices on the

Internet and local associations can use the Internet to promote and disseminate Dubai's literature to

audiences locally and abroad.

4. Folklore & Festivals

Festivals in the UAE in general, and in Dubai in particular, are rich and varied, extending to suit

various tastes in the diversified community. Additionally, such festivals are used as venues for

promoting National culture and opening doors for all the world's cultures to be present in Dubai. Dubai

festivals, mainly the Dubai shopping festivals, the Dubai summer surprises, as well as the global village

have gained a regional reputation because they attract tourists from all Arab countries (see Appendix 3).

These festivals are sponsored by the private sector and have large support from the government of

Dubai. Part of the effort to preserve and promote local folklore and festivals was the launch of the Dubai

city guide portal, which provides information on major events in Dubai. The folklore societies in Dubai

are considered to be the oldest and most recognizable in the Gulf. Their main activities are meant to

revive the folk heritage through teaching the younger generation folk dance and folk history, as well as

performing public shows in various exhibitions and National celebrations. ' However, because

communication between the various communities in Dubai remains limited, the services provided by

these societies are not widespread.

1 Huriz Sayad Hamad, Zayed Wal turath (Zayed and Heritage), 1st ed, Center for Documentation &

Research, Abu Dhabi, UAE, 2002, p. 21.

Salem Humaid 243

These folklore societies are limited in what they can do to persevere the folk heritage of Dubai,

especially because folklore is not included in school curricula, which is leading to a decrease in the

interest of Dubai youths in folklore. Moreover, there is no government body in charge of restoring and

preserving the folklore and there is a lack of research in this area, where most of the information is

undocumented. Dubai has now a professional and trained workforce in organizing and hosting

international festivals. However, there is a lack of providers and workforce for folkloric performances in

this area. The local workforce is not professional and not properly trained. Most of it (folk dancers) is

imported from neighbouring countries especially Oman. ' The members of the local folklore societies

including administrators, performers, dancers and trainers are mainly volunteering UAE Nationals, who

have been committed to contributing to preserving more than seventeen kinds of UAE national arts.

There are no surveys conducted to reflect the opinion of Nationals and analyze their preferences and

patterns of attending folkloric activities and events. However, the general perception is that the interest

of Nationals in folkloric activities is decreasing.

4.1 Analysis: Folklore & Festivals

Dubai has established a good infrastructure for its two successful festivals: Dubai Shopping

Festival and Dubai Summer Surprises. The two festivals, which have a variety of activities and attract a

big audience from the region, draw wide support from both the public and private sectors. One of the

attractions of Dubai Shopping Festival is the Global Village, which is a venue for international folklore

performances. Folklore performances are part of the social scene during the festivals (e. g. national

events, and weddings), and there is a high participation on the part of nationals. In addition, there is a

1 Interview with Mr. Masoad Al Sawaidi, Head of Aial Naser Folklore Association, April 2006.

Salem Humaid 244

big response and interest among expatriates and tourists, who are anxious to explore and watch local

folklore performances. Meanwhile, Dubai has the largest number of companies working in organizing

regional exhibitions, events and festivals. Event management providers are also available in Dubai.

One of the persistent problems is the limited funding dedicated to national folklore activities.

Another problem is the lack of teaching folklore activities by any academy or school. Such activities are

mainly served by the local societies and there is no government body in charge of preserving folklore.

Folkloric activities are not well-organized and there are no proper records of myths and legends.

Surprisingly, the Department of Tourism does not support local folklore sufficiently, for example,

dancers representing Dubai's folklore are imported from Oman. In the meantime, there is no folklore

transferred to the younger generation because there is no encouragement for the youth to learn and to be

involved in folkloric activities. Needless to say, folklore training is poor and weak, and this explains

why the new national generation is not interested in attending folklore performances.

Event management business is growing and Dubai has become the destination of international

business meetings, conventions, and trade fairs. In addition, Dubai can attract more events, which would

provide opportunities for the folklore to be performed and watched by foreign audiences in light of the

booming business activities. Unfortunately, the Department of Tourism uses performers from

neighbouring countries to show local folklore, and this, of course, brings the traditional folklore into

oblivion.

Salem Humaid 245

5. Archaeology & Heritage

The research of early settlements in the UAE, begun in the early 1950s, is still dominated by

foreign archaeologists, because of the dearth of local specialists in the field; expatriate archaeologists

working here send the discovered artefacts to their home countries for study. ' Dubai Municipality is

currently planning to restore all remaining historic building like the Al Bastakiyah area and Al

Shindagah to their former glory. The Historic Buildings Section of Dubai Municipality with the help of

historic documents and pictures has reconstructed many historic buildings using the latest technology

and techniques. The experience of the Historic Buildings Section is considered to be the best in the Gulf.

There are four main excavation sites in Dubai at Al Qusais, Al Sufooh, Jumeirah and Hatta. The first

two are graveyards dating back more than 2,000 years. The Jumeirah site reveals artefacts from the 7th

to 15th centuries AD. These sites are not yet fully open to the public. However, tourists or tour operators

may obtain a special permit from Dubai Museum to visit the digs. (see Appendix 4)

Schools and universities are teaching little or nothing about the heritage of the UAE. As noted

above, the workforce in this area is mainly non-Nationals who are working in renovations and

excavations. Academic training in archaeology is unavailable in UAE. Generally, there is a sense of a

limited interest and lack of awareness by Nationals of local heritage and archaeology services. The lack

of courses in schools and universities is not helping to create demand for archaeology and heritage.

5.1 Analysis: Archaeology & Heritage

Dubai Municipality has a specialized department and workforce for preserving historic sites. The

Heritage Village and Bastakia district are created as venues for exploring Dubai heritage. It goes without

saying that the quality of the restoration of old buildings is good and publications and maps on historic

1 Interview with Mr. Faod Bu Kush, Head of Archeology department at Dubai Municipality, April 2006.

Salem Humaid 246

sites and archaeological digs are available in many languages for tourists. National students make visits

to the museums as part of their school programs; however, the majority of museum visitors are

foreigners.

The process of upgrading and maintaining museums lacks sufficient funding and there is no law

regarding the protection of historical sites and buildings. Meanwhile, archaeological digs are not

registered with the UNESCO world heritage list, ' and the academic curriculum offers little education

about heritage and archaeology, and there is no academic training on archaeology in the UAE.

Unfortunately, archaeological digs are not open to the public and some sites are not well-protected and

subject to vandalism. Moreover, there are no comprehensive records about all the historical buildings

and sites. Almost all the workforce in Dubai Municipality is non-national and proper training is limited

and therefore it is not strange to see UAE nationals shunning archaeology. In addition, there is an

increase in the international focus to preserve local history, which is sought by international tourists.

Given Dubai's focus on maintaining historical sites, there is an opportunity to promote these sites

internationally, as well as a fear that international resources to maintain the historical sites could be

attracted by other places that have more archaeological digs and historical sites than Dubai.

6. Media

The media sector is highly developed in Dubai. A wide variety of media services is available;

however, there is not enough local content in the coverage provided. Dubai Media City is a successful

regional hub for all media service providers hosting over 1,124 companies since its official opening in

January 2001. The emergence of this media free zone has acted as a catalyst for the development and

1 Interview with Mr. Faod Bu Kush, Head of Archeology Department at Dubai Municipality, April 2006.

Salem Humaid 247

deregulation of the media industry in Dubai and to attract investments from start-ups and established

companies. ' The UAE newspaper market has become even more competitive in 2005 with the

introduction of additional newspapers and with the presence of international newspapers, such as the

International Herald Tribune, providing daily papers in Dubai. Many magazines in Dubai are distributed

for free to customers. Subscriptions and mailing lists are available to all .2 Limited industry specialised

and special interest magazines are available in Dubai, such as ones covering environmental issues,

sustainable development or archaeology. 3. The UAE radio market is one of the most developed in the

region, using the latest digital technology, with twenty four stations broadcasting in Arabic, English,

Malayalam, Tagalog, Hindi, and Urdu, reflecting the cosmopolitan make-up of the country's resident

population! The Dubai Media Incorporated runs television and radio channels. The "Dubai TV" was re-

launched in 2004 as a pan-Arab family channel, and "One TV" emerged from Dubai's former English-

language channel 33 to compete with the Western entertainment programming offered by other regional

and local channels. Sama Dubai is a local channel launched in 2005 broadcasting programs with local

content and which is presented by Nationals. Additionally, Sama is believed to be predominantly

watched by Nationals and is insufficiency integrated or promoted. 5 The media sector benefits from a

highly professional and well-trained foreign workforce. The contribution of Nationals to the workforce

is, however, extremely limited. Dubai is the regional hub for many media providers and publishers.

Many international and regional groups launch their operations from Dubai.

1 Interview with Mr. Mohammed Al Mulla, Executive Manager of Dubai Media City, April 2006. 2 Smalley Ben, Middle East Media Guide 2006,1st ed, Media Source, Dubai, UAE, 2006, p. 34. 3 Ibid., p. 41. 4 Ibid., p. 180. 5 Ibid., p. 143.

Salem Humaid 248

Various media courses are offered at universities and colleges (from mass communications

degrees focusing on a particular branch of the media, to public relations, print journalism or

broadcasting). However, no universities or colleges in Dubai and in the UAE provide media

postgraduate courses. Available statistics and researches to demonstrate the pattern of use of media

services and the preference of the National users are insufficient. Experts in the field commonly agree

that media services are highly used by both Nationals and non-nationals. According to a national

readership survey published by an independent research company (Ipsos-Stat) in June 2004, daily

newspapers are read by 59.5% of the resident population of the UAE compared to 52.9% for weekly

magazines and 9.1% for monthly magazines'. Internet usage continues to grow rapidly in the UAE.

Statistics show that more than 1,384,800 people have used the Internet up until November 2005 in the

UAE (according to Internet World Stats - www. internetworldstats. com). (see Appendix 5)

6.1 Analysis: Media

Dubai has a wide range of media services in and UAE law guarantees the "freedom of

expression". Within this field, Dubai Media City is attracting international and regional media

companies, while Dubai Press Club is a good venue for networking and press conferences. Dubai

government also provides media services, which are run and supervised by Dubai Media Incorporated.

Highly qualified expatriates work in the sector, promoting Dubai as the media hub for the region and

providing many commercial opportunities for the private sector.

Dubai is in need of good quality academic courses on media; including related specialties such as

film production (some graduate degrees are available). What is called the practice of self-censorship by

1 Ibid., p. 34.

Salem Humaid 249

the media means that some information available internationally is not published locally. The Cultural

aspects in the media are limited and the culture-related services and programmes are copied with the aim

of commercial profit rather than making a cultural impact. Within this framework, there is a little local

cultural content in the media and few Nationals are employed by media companies in Dubai. Another

weakness is the limited number of local media companies in Dubai, and the absence of transparent goals

and visions in the private media. We can also add to this the absence of detailed data about users,

patterns and preferences, as well as the limited surveys and researches.

Dubai is rapidly expanding economically and diversification is leading to mega projects and

changing demographics with an increasing reliance on an expatriate workforce. In Dubai, there is a wide

public appeal and use of the Internet and new technology and the government is anxious to adopt

international protocols in this regard. There is an opportunity to reach wider audiences by leveraging

technology to spread cultural content digitally, despite the enforcement of copyright laws. The media is

focused too much on branding Dubai with mega projects at the expense of culture and heritage.

Additionally, the continued increase in the number of expatriates could result in foreign domination in

the media.

7. Religion

Islam is the only religion of UAE Nationals. Religion plays an important role in reinforcing the

values of a culture in a given society. "Tolerance and moderation" are the key values that underpin the

strategy of the Islamic Affairs department, which is the government regulatory body responsible for all

Islamic religiously related activities in Dubai. This department overlooks all religious activities in order

to make sure that they are in line with the values of the department's strategy. However, no official

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government body is in charge of the non-Muslim services which are available in Dubai through

churches and temples. ' Mosques and prayer services are widely available in Dubai and are spread

throughout all the areas of the city. The total numbers of mosques in Dubai have reached 864.2

Classes on Islamic subjects are taught in many languages (Russian, Philippine and Chinese

languages) and are provided by the Islamic Affairs department of Dubai, in addition to classes for new

Muslims. Islamic centres for non-Arabic speaking expatriates are also available, such as the Indian

Islamic Centre, Pakistani Islamic Centre, and Iranian club. Some religious programmes are provided

using modern and contemporary methods making sure to use electronic media to provide knowledge

through Internet sites. The Dubai government has taken a dedicated interest in preserving the mosques

and has created a special section for preserving the Islamic culture in Dubai. The Islamic research centre

in Dubai is where scholars provide people with religious knowledge. Many organizations in Dubai are

engaged with Islamic Affairs and charitable activities, such as the "Holy Qur'an Centres", the

"Mohammed bin Rashid Centre for Cultural Understanding, " and some awards such as "Dubai

International Holly Qur'an" award. The employees in the field of religious education are qualified

scholars in the Islamic religion. Dubai selects great scholars from other countries having higher

educational qualifications in their Islamic knowledge, and brings them to lead their religious related

affairs. In this respect, the workforce is mostly non-National. All of these facilities are used regularly by

Nationals, resident expatriates, and non-resident expatriates, conducting religious ceremonies, lectures,

and conferences. (see Appendix 6)

1 Interview with Ms. Aisha Al Kash, Head of public relation at the Department of Islamic Affaires in Dubai, Feb 2006. 2 Department of Islamic Affaires in Dubai (2006) Statistics report of Department of Islamic Affaires in Dubai: 2006 edition report. Dubai: The Stationery Office.

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7.1 Analysis: Religion

The Dubai Government has a Department of Islamic Affairs, which is centred on tolerance and

moderation and offers high quality religious services. The Department provides services for new

Muslims and there is material serving this purpose in different languages. Meanwhile, there are many

specialized Islamic centres providing religious classes for non-Arabic speaking expatriates. Religious

scholars, selected to practice in Dubai, are highly educated in the field of religious studies and are

moderate and tolerant. Religious studies are available as part of University graduate and post-graduate

degree programs. Services for other non-Muslim religions are also provided for the expatriate

community.

Non-Islamic religion providers operate in isolation and there is little information about the

services they provide. Terrorism has resulted in biased international attitudes and perceptions about the

Middle East and Islam. However, there is an opportunity for Dubai to promote the tenets of tolerant

Muslim values to attract tourism and investors creating a potential that regional fundamentalist terrorist

groups might take advantage of Dubai's tolerance.

8. Technology

In the age of electronic reproduction, culture is spread via the screen, video, radio, etc., and

therefore, exploration is not required to be in the context of ritualized spaces. In Dubai and the UAE,

there are huge numbers of cultural websites where culture can be seen to span time and place. For some

critics this involves mixing, matching and cultural exchange; for others it is a form of cultural

domination. Every cultural foundation and institution in Dubai and the UAE has a website. However,

technology is limited in most of the theatres in Dubai, which do not allow for world standard

performances and shows. Media services use high technology, which supports the development of this

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field and even the movie theatres are provided with the latest technology. Additionally, technology use

is limited in most services other than media and there is a kind of low technology in theatres.

9. Shared Services

Limited shared services are available in the area of cultural activities. This lack of sharing is

mainly due to the lack of coordination of activities between the various providers that are organized

around different ethnic groups. Some logistic shared services are in Dubai Media City and the art

galleries provide a platform for shared services for national and international artists. However, the

Cultural Council does not coordinate all cultural activities, and there is a lack of coordination among the

various arts providers. Limited shared services are in the private and public sector.

10. Role of the Government

The role of the government in the area of Culture and Heritage is important from a regulation

perspective and for the promotion and development of the sector. Developing cultural life in Dubai is

important to convey with the other accomplishments in economy, construction, and technology. In this

respect, the Dubai Cultural Council (DCC) is working on assuming a coordination role between the

various cultural activities happening in Dubai. The Dubai Cultural Council also contributes to

sponsoring cultural events, as well as organizing courses and sessions in arts and culture. However, the

Dubai Cultural Council has neither the mandate nor the authority to enforce overall coordination and to

regulate the entire sector. Importantly, there are no government initiatives to create cultural awareness

and artistic interest among Nationals through public schools, university programmes, awareness

campaigns or other promotional tools. Government funding to support cultural activities through the

DCC is relatively limited and is linear, therefore it is not based on programs and activities, which help

assess and measure the impact of public spending in this area. For example, more than fifty percent of

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the DCC budget in 2004 and around thirty percent in 2005 was spent on administrative expenditures.

The remaining of DCC budget is partially transferred to support cultural activitiesl.

The rules and laws regulating this sector are outdated and not comprehensive, creating heavy

procedures in some cases and discouraging the development of the sector. Reference is made here to the

law dealing with the creation of non-profit organizations dated 1974. This law is outdated and caters

generally to all type of non-profit organizations. There is no one specialized law for regulating

organizations that perform cultural and art activities. On another front, the government plays a

censorship role in an attempt to preserve cultural ethics. The UAE government has control over the type

of websites accessed by users through proxy servers in order to block the ones deemed unsuitable. This

is only applied to a number and type of websites typically including pornography, online gambling, and

any other materials deemed offensive to Islamic culture and sensibilities.

The Dubai Cultural Council provides support for cultural activities, while the Department of

Islamic Affairs monitors Islamic religion related activities in Dubai. Meanwhile, the Ministry of Youth,

Culture and Community Development extend several services to cultural issues. The Cultural Council

has no mandate to enforce the coordination of culture and heritage activities and there is limited funding

for cultural activities. Another weakness is the lack of new laws to regulate cultural activity because the

existing ones are outdated. Additionally, we can say that licensing procedures for arts and culture

service providers are complicated in some areas (e. g. ticket stamping). Finally, we venture to say that the

government is not encouraging art and culture awareness and education.

1 Dubai Cultural Council (2006) Statistics records of Dubai Cultural Council: 2006 edition report. Dubai: The Stationery Office.

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11. Final Conclusion

Sufficient mention has been made of a profound dearth of interest in preserving Dubai's heritage

and culture for future generations. The severity of Dubai's cultural problems (both current and

impending) is an overwhelming testament to the shortfalls of various cultural players. Dubai's cultural

scene is beset by issues ranging from funding to the non-existence of a governing agency on cultural arts

and activities. The lack of funding allocation for culture, heritage and the arts hampers government

organizations from awarding prizes for artistic/literary achievements and awarding subsidies for the

pursuit of the arts. This phenomenon holds true for the Fine Arts and Literature although the UAE

government has accorded ample financial support for festivals like the Dubai Shopping Festival and

Dubai Summer Surprises, and theatrical infrastructure improvements. Support for folklores promotion,

archaeology and heritage campaign, however, has not been reasonable; folklore presenters being

imported from Oman and archaeology and heritage funds are mostly channelled to administrative

expenses.

Education, being an essential tool for information dissemination, interest stimulation, and

revolutionary change has not been aptly utilized to impact artistic/cultural perspectives among Dubai's

youth. This has crucial implications for both the quality and availability of indigenous workforce in that

line. There are limited schools for drama and theatre, music, and folklore. Academic trainings for

archaeology and postgraduate courses for media are unavailable in the United Arab Emirates.

Insufficient emphasis is given to fine arts, literature, folklore, and heritage in school curricula.

Commercial Music Institutes, in addition to being of questionable quality, are beyond the means of some

Dubai residents. Although initiatives focused on the dilemma could have sparked a renewed public

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interest in culture and the arts, a lack of public interest is often the offered rationale for these academic

limitations.

This dearth of public interest has crucial implications for the composition of Dubai's cultural

workforce and the artistic/cultural participation among the populace. The Nationals' interest in theatre

and performing arts is in congruence with the number of theatrical activity providers in that both are

limited. Dubai's fine arts exhibits showcase some unique talents and artistic experience. However, the

arena is beset by commercialism and a lack of appreciation among UAE nationals. Expatriates are more

interested in Emirate arts, which benefit from an artistic enthusiasm peculiar to a wealthier segment of

society. Dubai's musical arena is characterized by a musically inclined, musically upbeat society, and a

commercialized musical education system. Songs and dances are an important part of celebrations, and

there is an inordinate demand for international concert seats. Inadequate project experience and strong

public participation, however, mark Dubai's film scene. The launching of the International Film Festival

in 2004 and the Dubai Studio City Project are predicted to generate a strong reception on Dubai's film,

television, and music industries. Dubai's literary domain, mainly focused on poetry, is not supportive of

the development of intellectuals and thinkers. Government-sponsored poetry awards are an insufficient

compensation for the limited career prospects for literature graduates. Festivals in Dubai, such as the

Dubai Shopping Festival and the Dubai Summer Surprises have acquired an international reputation,

drawing tourists from the Middle East and beyond. However, a highly trained festival hosting workforce

stands in stark contrast to the unprofessional and poorly-trained folklore performers, who are mostly

from Oman. While Dubai's rapid economic growth has made it a preferred destination for business

meetings and international events, its vantage for exhibiting local folkloric performances to an

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international audience has not been fully utilized. It is ironic that part of the reason of the businesses'

choice of Dubai is the pursuit of some Middle Eastern charm.

Restoration attempts on Dubai's historic buildings and the circulation of accompanying

brochures and maps in multiple international languages are commendable efforts at giving tourists a

glimpse of its ancient glory. The aforementioned measures are necessary to take advantage of Dubai's

vantage in the highly competitive heritage tourism industry. However, the unavailability of archaeology

programs in the UAE academe, and hence, the dearth of local archaeology specialists resulting in

expatriate archaeologists having to send artefacts to their respective countries for research/examination.

Dubai's media sector, with its state-of-the-art infrastructure and openness to competition, is in a

struggle between foreign ownership and foreign workforce domination, and calculated guardianship

measures against Western infiltration. The media hub, albeit accommodating of the city's cosmopolitan

composition, suffers the dearth of commercialized local cultural content.

Islam is highly connected to culture and educationally integrated in Dubai amidst its policy of

accommodation and support of non-Muslim, expatriate religions. A sobering fact is that the beauty of

Islam has been overshadowed by negative perceptions attendant to Terrorism. By and large, Dubai's

Islamic atmosphere, liberal due to its multicultural make-up, is aptly guided by the Islamic values of

tolerance and moderation.

Technology can accord Dubai's arts and culture a distinct vantage point, but it can also affect it

in less acceptable ways. Electronic proliferation is a global trend, and cultural domination vis-ä-vis high

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technology is unpredictable. Inadequate coordination exists among various cultural and arts providers,

and between Dubai's public and private sectors. Dubai's cultural scene is oblivious to common incidents

because of the dearth of literature on the subject; the absence of data on usage, patterns and preferences,

and the paucity of surveys and researches are common themes that beset Dubai's cultural components.

That cultural/heritage problems prevail in Dubai, while the United Arab Emirates as a whole

advocates culture and heritage is ironic. In the UAE, the preservation of many of its unique

archaeological and architectural sites, and its manuscripts has been given special preference. Literature

and customs are widely studied in schools, while museum displays, historical villages and the restored

of vanished monuments (based on photographs, local memory and documentary evidence) have helped

to create a context and feel for this cultural legacy. ' It appears that most of the cultural development is

occurring in Abu Dhabi; in 2005 a law was passed in this city establishing Abu Dhabi Culture and

Heritage Authority. This new Authority's goal is to sponsor intellectual and artistic activities and

preserve the cultural heritage of the Emirates. This entails directly promoting Abu Dhabi's cultural

heritage, drawing up and implementing cultural policies, plans and programs, reviving cultural heritage

projects, and organizing exhibitions and conferences on cultural heritage2.

Abu Dhabi signed a Memorandum of Understanding (MOU) with the New York-based

Guggenheim Foundation to establish a world-class museum devoted to modern and contemporary art,

called the Guggenheim Abu Dhabi (GAD), the museum designed by the eminent architect Frank Gehry

will place the Emirates as a leading international cultural destination . 22 The researchers have asserted

20 Al-Abed, Ibrahim, United Arab Emirates Yearbook 2007, (London, Trident, 2007), p. 270. 1 Ibid., p. 271.

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that situated in the centre of Abu Dhabi, there is a Cultural Foundation which is now part of the Abu

Dhabi Authority for Culture and Heritage (ADCH); this, at the heart of the capital's cultural life benefits

children, adults of all ages, UAE citizens and expatriates. One of the most significant features of the

Cultural Foundation is the National Library, which has well over a million books, primarily in Arabic,

although there are also collections in a myriad of foreign languages. A majority of these volumes are

available for reference for the public, requiring a simple registration process. There is also an area for

children where special programs are planned, especially during the school holidays. ' Obviously, the

culture of Dubai should be promoted in the same manner; perhaps these cities could share wealth in

culture preservation through the fine and performing arts and the media.

1 Ibid., p. 274.

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Chapter 8: The Necessity of Cultural Development

1. Introduction

Because more than thirty-six years have passed since Dubai joined the UAE federation in 1971,

taking an objective overview of the real changes that Dubai and the UAE have undergone during the

nation-building process on economic, social and cultural levels would be worthwhile. The time has

come to get a clearer picture of these changes, and their positive and negative impacts on the cultural

scene in the country. Because the cultural scene is our primary focus, we will diagnose the present state

of the culture, and its encouraging attributes. Additionally, we will define defects and shortcomings, so

we can eliminate them. Moreover, we will discuss how to build on the strengths and the successes

achieved to push forward the cultural development of the country, and maintain its steady progress in

the face of the rapid changes and possible developments on the global scale that present a challenge to

the cultural identity of the United Arab Emirates.

Over the last thirty-six years, numerous cultural foundations and institutions were set up, and

were mandated to guide cultural performance and lead the artistic development of the country. These

organizations held book exhibitions and organized symposiums, lectures, cultural, and artistic festivals

to put the cultural movement in step with the rapid economic development that has been seen. The

economic boom has left many concerns and questions. For example, what impact did the cultural

ingredients have on the character building of people, to what extent did culture contribute to maintaining

the national identity, and what role did the country's heritage play in the cultural aspects of our lives?

These are legitimate questions, especially since the government and private organizations concerned

with culture have huge resources and capabilities to function in ways resulting in the most impact.

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If we closely examine the cultural scene, we will immediately notice that these organizations

have not performed at a level that might achieve the goals of development and fortification of the

cultural identity of Emirati people. Additionally, the cultural performance of these organizations did not

restrain the negative effects of the consequences of the swift economic growth that shocked the

foundations of many concepts and convictions along with imported educational systems, lifestyles and

consumer oriented media policies. All these factors have eroded the cultural identity and led to a gradual

cultural decline and deterioration in cultural awareness.

1.1. Summary of the Problem

Despite being attached to the UAE federation for over thirty years, Dubai has not undergone the

kind of cultural advancements one would have expected. In the past three decades a number of cultural

foundations and institutions were established specifically for the cultural advancement of the country.

These entities were organized with the hope of guiding cultural performance and artistic progress in a

certain direction. In addition, these organizations made reasonable attempts to accelerate cultural

development within the country. Given the rapid improvement in the economic indicators of the country,

the cultural scene needed constant attention in order for it to keep pace with the overall growth of the

country. The attempts, however, were not in keeping with the requirements. Most citizens would say not

enough has been done to conserve the rich tradition of the people of the Emirates. Additionally, none of

these organizations came up with any plan to save the Emirati from the various confusing changes

brought into the regular Dubai household with the western educational system, which came hand-in-

hand with the economic boom. New education, greater contact with the rest of the world, new lifestyles,

and other important transformations that occurred in the past thirty years have eroded some of the

traditional notions and principles which had formerly governed the Emirati people's life. The confusing

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gap this erosion left behind needed to be addressed sensibly, something that most citizens of Dubai feel

did not happen. Given the lack of efficient handling of this vulnerable situation brought about by sudden

progress, Dubai is now facing a tremendous cultural slump, and cultural awareness is slowly waning.

2. Evidences of deterioration of cultural awareness in the Emirati society

New global conditions will force differing realities on the ground in Arab societies in general,

and in the smaller Arab societies most noticeably. The tidal waves of globalization have reached Arab

and Gulf societies, which confront the challenge of facing its effects and repercussions with open-

mindedness and awareness. The deterioration of cultural awareness and the spirit of patriotism in any

society will lead to cultural, social and economic failures, and the small society of the United Arab

Emirates must be prepared to cope with these internal and external challenges. Many of these issues are

highlighted both in this section and in the work of Mr. Alshamsi Najib and, although, he presents a more

Nationalistic agenda, his ideas relating to the importance of cultural continuity are important and will be

used frequently throughout this chapter. Some forms of cultural corrosion can be summarized as

follows:

Primarily, the prevalence of a consumer culture, which has easily penetrated this society due to

weak and traditional standards of education, in addition to the role of media, which has promoted this

new culture, is both notable and problematic. This can be seen especially among the younger

generations, who were drawn to this emerging culture, such as western music, night clubs, dress, bikes

and hair styles. This can be considered a revolt against traditions, heritage and historical background.

Another flaw or failing in the cultural awareness of the UAE society is the weakening of human

relationships and a significant change in behaviours once considered the norms, which continue to be

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deeply affected by these emergent lifestyles. The introduction of social problems, such as drugs, divorce,

weak social communications, and overwhelming individual interests are examples of these effects. '

Additionally, the morbidity of psychological diseases, such as depression, insomnia, seclusion,

isolation, and fear are emergent areas of concern. Finally, the notability of individual moral lapses, such

as lying, hypocrisy, selfishness and disregard of punctuality should be included, as Najib suggests.

2.1. Reasons for the deterioration of cultural awareness and its effects on national cultural identity

Mr. Najib acknowledges that in spite of the fact that both private and governmental

establishments have adequate financial resources to increase cultural awareness and maintain national

identity, the performance of these institutions is not equal to the task for the following reasons:

The absence of a cultural strategy and action plan in the UAE that define the goals and set forth

the correct mechanisms is a huge problem. Governmental bodies that are concerned with cultural, social,

and educational portfolios bear the responsibility of strategic planning to preserve cultural and national

identity. The absence of coordination between cultural, educational, and artistic establishments in the

UAE has led to duplicative activities, with low quality production, and performances weak in substance.

Although the cultural legacy and country traditions originate from rural and remote areas, the

concentration of cultural activities is in major cities, such as Abu Dhabi and Dubai while outlying areas

are somewhat sheltered. Cultural institutions plan their programmes and agendas with more

concentration on foreign culture rather than on local culture. These groups host lectures, festivals and

cultural events of other cultures on UAE land. Educational curriculum, whether at schools, colleges or

universities, place culture or heritage of the society of the UAE in a less important category. As a result,

coming generations will not be fully attached to their national identity. The role of media (TV, radio) is

1 Al-Khawajh Hitham, Alshamsi Naj ib, Al Thagafha fi Fikr Abna' Al Emarat (Culture in the Thoughts of WE people), ls` ed, Al Haramin Publications, Sharjah, UAE, 2005, pp. 73-74.

Salem Humaid 263

almost absent in strengthening values of national culture and in highlighting cultural icons. Cultural

programmes are shallow and do not deal with real cultural issues of society, which would weaken the

national identity of future generations. TV stations show programmes that deal with cultural and social

issues of nations, which sometimes do not respect traditions and moral values of our society and

negatively affect behaviours of younger generations. The contents of cultural journalism are weak. The

cultural issues that highlight the national identity are not deeply covered nor dealt with on the cultural

pages of local daily newspapers, monthly magazines, and other publications, which create general

ignorance of history and national cultural identity among the current generation. The root causes for the

weakness in cultural awareness are connected to the general deterioration of patriotic feelings in the

Arab world and the chaotic situation on the political and social fronts that have pushed the Arab nation's

culture and heritage to the background. Committed and creative writings that deal with national issues

and concerns are major components in developing the cultural and moral dimensions of the character of

individuals. A significant number of writers and authors, who were committed to national and cultural

issues from a patriotic standpoint, emerged on the stage with the formation of the state in the early

1970s. But some of those writers have gradually retreated, causing an imbalance on the scene and

additionally, paving the way for a new generation of writers, who seem less concerned with showing the

deep roots and civilized image of the country and more concerned with attracting media attention and

enjoying fame accompanying public life. Cultural institutions are to blame for the lack of support and

care for the writers and artists who were totally committed to upholding the nation's identity and

patriotism. The official local and federal cultural institutions with allocated budgets and full mandate did

not pay the required attention to works of creative writers, especially in the publishing arena. Some of

these writers were consistently denied when asking for their works to be published. Such writers with a

high sense of patriotism and sincere commitment to national issues should have been supported, as they

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represent the core of an everlasting task to maintain national pride and keep alive the legacy of the

forefathers, which reflect the cultural identity of people of the Emirates. ' Mr. Najib is very correct in his

concern for the continuation of culture, but seems to present his material in a way that demoralizes other

cultures in the UAE and may alienate the youth that he seeks to reach by his ultra-traditional sentiments.

2.2. The concept of cultural development in the UAE

Najib defines culture as the renewable, variable, sensational and mental expression of the

country and the embodiment of its civic peculiarity that comes with the born characteristics and the

human soul. Culture is the product of human disposition that comes in a natural display. However, it is

not a case of values, which is sometimes called culture, but a group of expressions that are in harmony

with human nature. Culture is a selected integrated behavioural knowledge system that includes beliefs

and all manmade social environments. Additionally, it is the awareness of the human being of his or her

life, existence and aspirations that are demonstrated in human action. The culture of a nation is the lively

image of its character that comes from its beliefs, principles, history and heritage. It is intertwined with

other cultures and absorbs ideas, arts and sciences that harmonize with its identity. The culture of a

nation is doomed to give and take, to activate and be activated. Culture can also be described as the

search and exploration for justice, welfare, and the benefaction and values that benefit the human

existence. It is a never ending and regenerating process. All these values are embodied in the history,

heritage and civilization of the UAE. They are also visible in its culture and arts. But the cultural and

artistic movement in UAE in general and Dubai in particular seems to be poorly represented. 2

Ibid., pp. 74-77. 2 Alshamsi Najib `abdullah, Al Mashhad Al Thagafi fi Dawalt Al emärat Al `arbiya Al mutahda Alrüya Wal Eshkaliyat (The Cultural Scene in the UAE.. The Vision and the Problems), 1st ed, Department of Culture and information in Sharjah, Sharjah, UAE, 2003, pp. 19-21.

Salem Humaid 265

Mr. Najib is absolutely correct when he states that the most important concept for cultural

development in the UAE is the cultivation of the best available financial and human resources in the

society to achieve social, economic and political development both on the individual and general level.

In order to achieve the goals of cultural development, one must define the qualities and the quantities of

the resources that can be invested to reach the targets. If the United Arab Emirates assesses cultural

progress and rates the achievement in this regard on the indicators of how much has been spent on

education and the number of students, schools, universities, and cultural institutions, this could lead to a

measure of the level of attention and the efforts exerted. This is especially important when huge budgets

are allocated to education, but would not measure cultural development and progress. The difficulty in

measuring the depth of change and the progress made is due to the fact that this society is comprised of

different nationalities with different languages and different cultural backgrounds and targets. In

addition, the huge economic changes that the UAE society had been through has altered the foundations

of traditional culture and has shifted it towards a more materialistic dimension, ignoring the moral

dimension. '

2.3. The importance and necessity of cultural development

Mr. Najib further highlights in the following, this cultural necessity, although his heavily worded

claims of the threat of other cultures seem to be surrounded in scare tactics that could create a cultural

backlash that should be avoided. He believes that in light of our understanding of cultural development

in the UAE, and taking into consideration the current and future demands imposed by the nature of

change and progress, achieving cultural development that focuses on the human being as the ultimate

goal of any development process becomes increasingly important for the following reasons:

1 Ibid.

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The development that the individuals and the society of the UAE are anticipating requires

forging the right structure for a total and nation-wide development plan. In any given society, man is the

target and the ultimate goal of any development plan, so the educational and cultural components are

vital in creating generations who firmly believe in the future of their homeland and nations. In particular,

the UAE society, and the GCC1 societies, in general, are facing huge internal and external challenges on

the economic, social and cultural levels. These challenges threaten the moral and cultural composition of

people. The internal challenges are embodied in the emigrated cultures with different values while the

external challenges come through the concept of cultural globalisation, which threaten the individuality

of people and societies to achieve the goals of those who advance the concept of globalization. The

national identity and the cultural face of the UAE have been deeply affected by the rapid changes that

have taken place. Through well-planned cultural programmes, cultural institutions must double the

efforts to reform cultural awareness, maintain national identity, and continue connections in heritage and

Arab status. Governments and societies should be fully aware of the global changes that are

overwhelming many parts of the world. Societies should serve as a buffer to the negative effects of these

changes and should reject what is not in harmony with social and moral values. The United Arab

Emirates has a substantial foundation by laying down the infrastructure for cultural developments

(buildings, cultural foundations, theatres, museums, universities, institutes, and auditoriums). However,

these structures should be additionally utilized and scheduled with cultural events aimed at developing a

national culture and a unique cultural heritage for the country. There is an international misconception

that regards our GCC societies as lacking deeply rooted civilization, culture and heritage, which came to

be known on the international stage only after oil was discovered in the area. The cultural institutions

1 GCC: Gulf Corporation Council which consist of The United Arab Emirates, Bahrain, Saudi Arabia, Oman, Qatar and Kuwait.

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and creative artists have the responsibility of displaying the heritage and the culture of the region to all

those who debate the history of the area. The cultural development should limit the negative effects of

non-Arab cultures especially on the younger generations and strengthen the feeling of connection to the

country's past among these generations, who should take pride of their ancestors' legacy. ' Though Najib

is correct is wanting these programmes, the preceding sentence that denotes negativity in others is a bit

harsh, as is other parts of his vision in this particular paragraph. It cannot be stated enough, the

importance of getting through to the younger generations on this issue and this approach may prove

alienating.

2.4. Conclusion: Evidences of deterioration of cultural awareness in the Emirati society

Economic progress has been known to bring with it some complications. This becomes

especially relevant in light of the recent ̀ Globalization' campaign in which the world is engulfed today.

Globalization has successfully injected a number of diseases in Arab society. These include the love for

material wealth, the slow growing disrespect for fellow human beings, and various other social evils,

such as drug addiction, divorces, and feeble social communications.

One might wonder, of course, about the exact reasons behind these troubling changes, but one

need not look too far to find them. The primary reason why UAE (unlike many other countries in the

world) has not been able to keep its cultural scene in pace with its economic growth has much to do with

the utter lack of planning on the part of the governmental bodies, which look after the socio-cultural

aspects of the country. Not only have these departments been poor planners, they have also been quite

incapable of coordinating with each other to ensure better results. They have restricted themselves to

I Alshamsi Najib `abdullah, Al Mashhad Al Thaqafi fi Dawalt Al emärat Al `arbiya Al mutahda Alrüya

Wal Eshkaliyat (The Cultural Scene in the UAE.. The Vision and the Problems), pp. 21-23.

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urban campaigning and made few attempts to safeguard the culture in other remote rural areas, which

need more culture conservation resources than the cities. The school curriculum does little to educate the

children about their history. The media is no better. Given the utter callousness of these authoritative

bodies the general feeling of nationalism has been reduced considerably in the last two to three decades.

Finally, now the Arab heritage has come to the point of being completely destroyed.

Prompt attempts to reinstate the cultural identity of UAE need to be made. How can this

restoration are brought about? Specialists feel that putting the resources prescribed for the field of

education to good use would be a decent place to start. But, some would ask, why such restoration is

required. The answer is simple: to ensure that our future generations feel as reverential towards their

motherland as we do. Despite the warm manner in which we have embraced foreign cultures, we cannot

let our roots be relegated to waste. Hence we have to prove, not just to the West, but also to our own

children that our country too has a rich and cultural past, one which was worth our pride even before we

managed to strike oil and, in the process, accumulate wealth. It is only when we share our pride with our

children that they will take pride in what will soon be rightfully theirs.

3. Importance of popular heritage in maintaining the national cultural identity

Anthropologists and social researchers defined heritage as generally, "Everything that

predecessors left to successors" and includes several elements such as habits, traditions, games, trades,

chanting, proverbs, poetry, literature and all human innovation that was left behind by the forefathers.

These cultural forms represent the different stages of historical development of any nation or people. '

1 Al-Nakhil Society, Lamalaat `an Turath Wafulkulür Mujatm ̀ Al-Emarat (Glimpses of UAE Heritage),

In ed, Cultural Foundation Publications, Abu Dhabi, UAE, 1996, P. 7.

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This definition is compatible with the Mexico Declaration of Culture in August 1982, which broadly

defined it as, all spiritual, materialistic, intellectual and emotional characteristics of a given society or a

community, which includes arts, literature and lifestyles. It also includes basic human rights and systems

of values, traditions and faiths. When institutions and individuals in any society search deep into their

heritage, they mean to establish communications between generations and unite their common interest

around the historical and cultural dimensions of their society. The people's heritage is as important as it

removes time barriers, shortens distances, and forms a national cultural entity connected to the economic

and social factors in the society. The concept of culture covers all aspects of human expressions

including literature, art, mythology, morals and all forms of social life and human expressions and

emotions". 1 It is useful that Najib uses a different country's cultural definition here to give perspective

from the standpoint of an older nation to compare it to this younger country.

United Arab Emirates, a young country in political terms, has a strong heritage base that gives

distinction and uniqueness to UAE, yet simultaneously connects it strongly with other countries. With its

distinctive economic, environmental, and social characteristics, UAE has managed to establish strong

communications with other cultures of the world, especially with Arab people in all Arab countries, as

UAE popular heritage is a tributary to the larger Arabian and Islamic culture. Therefore, it is of the

utmost importance, as Najib connects, to view the cultural policies of older countries to help the young

UAE.

1 Ibid., PP. 8-13. 2 A1-Khawajh Hitham, Alshamsi Najib, Al Thagafha fi FikrAbna'Al Emarat (Culture in the Thoughts of UAE people), P. 82.

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3.1. The Relationship between Popular Heritage and National Identity

Mr. Najib has many questions about the youthful UAE and its future. In spite of the importance

of the popular heritage in preserving the identity and character of the individual and in protecting him or

her from diffusing into other cultures, the official attention from the Ministry of Information and Culture

and other cultural institutions, including private ones, to protect heritage has not proven satisfactory.

Individual efforts in this respect were limited and lacked streamlining and strategy with a dedicated

national culture with heritage as the focal point within it, which allowed incoming cultures to alter the

society. In addition, the situation created poor loyalty to the original culture and raised a question from

the younger generations on the advantage in digging deep into the heritage of the past at a time UAE

embraced the third millennium. New technologies, such as the internet, satellite channels, and all other

communication mediums has played a huge role in this internal change. How can this country adhere to

the culture of the ancestors at a time when UAE is in a race for acknowledgement on the new world

map? How can one plant the principle of heritage in the minds of the younger generations? The answer

to all these questions lies in defining the basics in studying heritage, which determines the importance of

preserving it:

Najib again looks to the wisdom of others, this time believing that the late Sheikh Zayed Bin

Sultan Al Nahyan had a clear vision regarding heritage as an absolute necessity in the lives of people.

He said that "anyone who has no past has no present and no future". He stressed the importance and the

vitality of the past as being both the spring and the parameter of morals and values of the present, which

constitutes a viable base for a promising and prosperous future. On another occasion, and in the same

context, the late Sheikh Zayed said "our constant thinking of the past and its lessons, and of the present

and its hopes, and of the future and its aspirations, will all lead us to build a prosperous nation" and that

"heritage represents the spirit, the wisdom and the various creativities of the people. Nations are

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measured by their heritage. A nation without heritage is a nation without a land to live on, or a shore to

reach before getting lost in the ocean. "1 The late Sheikh Zayed stressed the importance of heritage as a

gathering force and a fortress for the identity of the people against invading elements of change2 and

should be considered one of the most important moral agents in the area of cultural continuity.

United Arab Emirates has embraced huge economic and social openness in the last three

decades, yet this openness has produced a new and strange mix of residents where citizens have become

a minority in their own country. The coming of more than three million people to seek work and

employment opportunities in the country imposed a new status where it cannot be said that there is a

national culture or a national economy. The new status is closer to a cosmopolitan emphasis than to a

local one. The assimilation of the local culture of the society in a larger entity of incoming residents

raises a significant question of how long the special characteristics of the local society can stand in the

way of overwhelming change. 3 Despite all of Najib's questions, though, he does offer answers.

Najib discloses that the last thirty-five years in the history of the UAE has produced a new

cultural situation so fragile and weak that it has been left to the cultural institution which lack proper

planning and strategy for a genuine culture derived from the history and the roots of the society. Our

medial organizations have also contributed to the marketing of fragile and weak cultures that do not

correspond with the local heritage. Local institutions and intellectuals now bear greater responsibility to

1 Hamdi Tamäm, Mausu ̀ at Zayed. " Al Emarat Al ensan Wal wa fan (Zayed Encyclopaedia: Emirates and the Nation), vol. II, 1St ed, Ministry of Information and Culture, Abu Dhabi, UAE, 1992, p. 43. 2 Al-Khawajh Hitham, Alshamsi Najib, Al Thagafha fi Fikr Abna' Al Emarat (Culture in the Thoughts of UAE people), P. 83. 3 Ibid., p. 84.

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defend and protect their identity through fortifying and supporting culture with all the ingredients of the

local heritage, thus creating more awareness of the cultural values of the UAE. '

Mr. Najib presents his best angle at achieving UAE cultural goals in the following. He believes

that studying and analysing all the components of local heritage, such as poetry, story, art, games or

riddles, means the study of the social development of the UAE society throughout its long history and

deeply rooted civilization and will measure the cultural maturity of local citizens. Heritage, which

represents the accumulation of all creativities of the society, is a true reflection of a viable group with all

its intellectual and creative elements. Therefore, any scientific analysis of its components means an

attempt at preserving the past, which embodies the true cultural nature and environment in which

citizens where raised. Analysing local heritage is the studying of the moral and social dimension of the

community and how local people faced the hardships of their past life and succeeded in spite of all the

challenges. The long and deep experience of past generations stands as an example to the new and future

generations who know little about the hardships of their ancestors and provides faith in the present and

hope for the future. Presenting heritage in the best context is the best solution to all those who question

the authenticity of our values and our Arabian origin. Thus, popular heritage helps significantly in

developing the national identity of the present generation and adapts it to understand human creativity in

general.

Underlining UAE's deep and rich culture by focusing on heritage and introducing it to younger

generations of students in schools and universities and in educational curricula, media programmes,

Ibid. 2 Ibid., p. 85.

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libraries, and forums are the best approach to educate students of the richness of the past and the history

of the nation. Additionally, mapping out a culture for children based on well planned intellectual and

social guidelines derived from the heritage of the society is the best approach to educate children and

create a generation aware of its past heritage and strongly connected to the spirit of the Arab nation. This

will also open a window for them to feel the myriad of experiences of their ancestors and formulate their

own experiences to face the challenges of the present. In addition, it will strengthen the ties of each

individual with his or her homeland; enrich the spirit of unity, and appreciation for the culture of their

ancestors. Knowledge of the past and its real world communication with all its richness will create a new

culture and experience by this generation to the coming generations, and thus the process of continuation

is secured and will definitely build bridges to the larger Arabian culture, the Islamic culture, and human

culture. ' In this way, Najib shows how the past and present can be weaved into the fabric of UAE

society.

The prevailing state of consumerism is one of the marks of the Emirati society for the last thirty-

five years. This consumer trend has greatly affected the social, cultural and economic structure of this

society. Here, necessity urges individuals to look back at individual heritage and its values in order to

minimize the impact of the wave of consumerism that has bombarded our society and challenged its

cultural unity. The mounting tendency of individuals to change and improve their living conditions has

compelled them to give up many social, moral and behavioural codes of their ancestors, and the most

recent generation, who preceded the oil era. These new standards of behaviour were influenced by

communities who sought work in the UAE and by the new financial standing of these individuals, which

helped consumerism to increase its stake in the lives of people at the expense of culture and creativity.

1 Ibid., p. 86.

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Even some writers, authors, and intellectuals were affected by the new facets of life and adopted ideas to

participate with the rest of the community, distancing themselves, unintentionally, from popular

heritage, which is the source of all cultural structure and creativity of the society and can never restrain

progress and prosperity. The cultural heritage is, and should always be, the strong foundations of the

present that, in turn, is the launching pad to a promising future for all individuals, especially creative

talents. ' Therefore, Najib is correct in correlating culture with all things in a society, including

consumerism and its effects.

Studying the heritage of the UAE is a tribute to the first generation of Emiratis who laid down

the building blocks of the society and enriched it with their creative works. It is a moral commitment for

the current generation and all cultural institutions to preserve and respect the legacy of the predecessors

who represent the past. To reiterate the words of Sheikh Zayed Bin Sultan Al Nahyan, "a nation with no

past has no presence and no future". Obviously, Najib appreciates the wisdom of Al Nahyan, as he

quotes this wise man more than once in his analysis. In this case, there is a common responsibility for

everyone to preserve heritage and revive all its components.

The results of archaeological discoveries made by foreign missions serves as a reminder of the

rich history of the area and the treasures of the inventive people of the UAE. Discoveries also proved

that the region was the cradle of civilizations dating back to more than seven thousand years, such as at

"Umm Al Narr" in Abu Dhabi, "Meleiha" in Sharjah, and "Gulfar" in Rash Al Khaimah. " In addition,

the discoveries indicated that UAE was an extension of the great civilizations of Mesopotamia in Iraq,

1 Ibid., p. 87. 2 Ibid., p. 88.

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Sabaa in Yemen and Majan in Oman. These facts should be recognized and publicized through

publishing works on the subject and at exhibitions and conferences so that all citizens and residents

become aware of the history of the area and the role that the inhabitants played many years ago. ' Again,

Najib rightly reiterates the importance of writers and their role in preserving UAE history and heritage.

The study of the heritage and its historical roots of the UAE should be a national priority for the

government, given its importance in preserving the character of this society and its role in providing

education needed to prevent any cultural dissolution. There must be some form of cement for the region

to stand firm in the face of globalization and the inhomogeneous mixture of population. Though Najib,

again uses a form of scare tactics here in relation to globalization and its effects on culture, a more

"watered down" version of his sentiments would be useful in helping achieve cultural goals.

The UAE's heritage presents a comprehensive living system built by the past creative and

innovative generations that enabled them to pass through all life's difficulties and challenges. The pearl

diving odyssey is an example of the struggle against all living circumstances that positively assisted in

creating the timeless legacy of poetry, stories, songs and other arts, which formed the basis and the

source of our present culture. This is but one example that Najib uses to highlight the desired role of

artists in the region in this study.

The study of the UAE's heritage represents the embodiment of the history of the society and all

the changes that occurred over the past centuries. Emirati poets such as Al Majdi Bin Dhaher, and the

Ibid. 2 Ibid. 3 Ibid., p. 89.

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famous Arab sailor, Shihab Al Din Ahmed Bin Majed, wrote many poems that narrate the history of the

area and document all the political and social changes that happened in UAE and in the Gulf region. The

Emirati poets were very close to the lives of their fellowmen, such as Salem Bin Ali Al Owais, and

Rashid Al Kheder, who were also close to Arab causes, such as the unity of Syria and Egypt, and

occupied Palestine! Najib realizes, as is vitally necessary, that not only Emiratis, but other Arab artists

can help contribute to this cultural cause in the coming years.

Over the past years, UAE has witnessed many changes that were affected by the trade routes

established with other civilizations such as India, Africa and Aden. These contacts enriched the cultural,

economic, and social life in the UAE. In addition, the colonization of the area by the Portuguese, and

later by the British provided a subject matter for poets who expressed their refusal and protest to the

occupiers, and wrote many poems in this respect 2 This recollection that Najib evokes, creates a

connection with other cultures of the past and these sentiments must include the differing cultures in the

UAE at present to be amenable to the younger generations in continuing these complex cultural goals.

Analyzing the popular heritage of the UAE and comparing it with the heritage of other Arab

countries is one form of glorifying the spirit of Arab unity in culture and the common area that UAE's

heritage shares with other Arab countries. All Arab countries should conduct thorough studies, and

analysis of their cultural legacies and heritage to identify the common ground that unifies us in culture

1 Ibid., p. 90. 2 Ibid., pp. 90-91.

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and in spirit. ' This is extremely important and should be part of the "cement" that Najib wishes to be a

part of this undertaking.

3.2. Registering of lyrical folk art in the UAE

Every country has its own tradition of lyrical folk art. The lyrical folk art constitutes an integral

part of the different cultures, which differ in their diversity, opulence according to many factors, such as:

environmental diversity, ethnic diversity, cultural diversity, civilization ancestry, and degree of isolation

or openness. The full understanding of the necessity of maintaining the folk arts originates as a part of

the awareness of the national personality's magnitude, collecting both the traditional and contemporary.

No doubt that the modern photocopying and recording devices have made it possible and then easier to

register such arts to enable them to be enjoyed by the public. Also, many associations, and centres have

been established all over the world to maintain, register, and study those arts by anthropology, social and

folklore scientists, as well as the musicians and writers.

Since the appearance of humankind in UAE, different types of lyrical folk art has been found.

Some are no longer being performed, and others still continue and remain practiced today. These arts

have been exposed to some modern effects, which some people consider to be renovation; while others

consider these changes as just a matter of metamorphosis. UAE basked in an environment of diversity

that manifested itself in the following four clear environments:

- Marine Environment: presents itself in the coastal cities, which were capitals for their

emirates, location for their economical activities which depended upon diving, pearls,

fishing, shipbuilding, and business.

1 Ibid., p. 91.

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- Desert Environment: find visual expression in the steppe extending from Ras AI-Khaima at

the north till the borders of Al Ruba Al Khali at the south, Oman at the east, which was the

field for steppe's activities depending on camels' and goats' breeding.

- Agricultural Environment: shown in the oases scattered along the desert in addition to the

mountainous agricultural villages, the people there depend upon cultivating of palm trees,

viticulture, tobacco, etc., as well as livestock breeding.

- Mountainous Environment: in addition to the north side of Ras Al Khaima Emirate, this area

is also visible in Emirate of Fujairah, and the coastal and internal cities of the east coast of

Sharjah and Fujairah Emirates, they depend in both on marine and agricultural activities.

In addition to the linguistic affluence, which came as a consequence of the variety of economical

activities, and different types of environments, the same, resulted in a huge diversity in lyrical folk art,

each of these environments has its own deep rooted tradition, which expresses its nature, its people's

mode, values, tendencies, dialects, and art. Regrettably, some of this lyrical folk art has been lost due to

the perishing of the professional who was attending its performances. For example, when the diving

professional died out in the 1940s, the Naham profession also perished. Also, the marine Shalat and

Hadawat were blotted out, which were formerly performed collectively at every diving stage, such as

getting the ships down into the sea, or getting them out of the sea for maintenance, and the collective

singing accompanying the maintenance process, also Khateefa, rowing and musana. l

Even fishing was attended with many examples of lyrical folk arts, which are no longer

performed, as most of the seamen today are from Asian countries. In addition, many types of steppe's

Naham, Shalat, Hadawat, Khateefa, and musana: all these are kinds of marine songs in the UAE and almost vanished.

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lyrical folk art have disappeared, such as Radha, which used to be done during the digging of wells;

Tarej was formerly performed during "Night Walk", Tagroda while riding on a riding animal, etc. This

occurred due to the changes in the new generation's lives, which are now following the modern life

style. As a result, only a few lyrical folk songs are still alive, which have resisted the big change in the

steppe's people lives.

3.3. The Lyrical Folkloric Texts

Even more agonizing is the fact that, until now no comprehensive registering has been done to

record the lyrical folkloric art in UAE except in limited circumstances where the researchers became

satisfied with only giving illustrative examples. Due to the lack of understanding of the text by the

writers, some of these works have been exposed to distortion. Since we first depend upon the elders to

register and record the lyrical folkloric art that performed and memorized them, it is therefore, difficult

to write them now. For example, as for some songs and marine Shalat songs, which have not been

performed for six decades, it is very rare that divers now have them memorized, as most of them died. If

there are survivors, his memory will usually be very weak. The steppe's lyrics may be luckier because

the old life styles related to them have survived for one or more decades.

3.4. Negligence in Registering of UAE Lyrical Tradition

Since the time Gramophones entered UAE in 1950s, some folkloric lyrical traditions had started

to spread out, which was known at that time as Al Bastakiyah, which is a Persian word in line with the

pearls box. These subsequently appeared in the Saiaa art, and some poems were recorded on discs by

some local singers like Ali Balroga, Harib Hassan, and Ahmed Sultan Al Aajamani, The registered local

items began to increase pursuant to increased demand from one side, and the spreading of recorders

from the other side. Since 1971, the Ministry of Information and Culture assumed sponsorship of the

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folkloric arts associations in UAE. In addition, Abu Dhabi and Dubai's television channels persisted in

producing a variety of folkloric programs including the lyrical folkloric arts and displayed them for

public, which contributed to informing the UAE people about every area's arts. However, we cannot

allege that all the folkloric arts are registered because most of them were still under practice when they

registered, and although some of them are about to be perished, some records have been destroyed

because they had been produced for temporary use only. In addition, there is no space for the pop arts,

which have been produced in black and white. Our local television channels are appreciated for putting

forth efforts to register the folkloric arts during the seventies of last century. However, we still need to

avoid the extinction, and assume a pioneer role towards registering and studying of our folk lyrical art

that has been left for us, and to maintain and prevent it from dying out or gradually dissolving.

3.5. Setting up a special Institute for registering the lyrical Traditional Folk

Assuming that such a difficult and long-term mission requires establishing of a special centre to

register the lyrical folk tradition, which shall be concerned with the following:

- To enumerate the lyrical folk's traditional types in different emirates and in the preceding

four environments.

- To register, investigate and publish the poetry texts of the lyrical folk tradition.

- To register the folk ensembles by both voice and picture, and to archive them.

- To collect the UAE folk artist's biographies and to register them in voice and picture as much

as possible.

- To collect samples of traditional music instruments, which were used in the past and

exhibiting them in a special museum in the centre.

- To provide the local media with the lyrical folk traditional records.

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- To study that collection from folk, literary, musical and anthropological angles to enrich the

traditional library with these studies for researchers use.

- To conduct seminars and lectures about lyrical folk tradition. .

- To train a cadre of researchers on field collection in this field, so that the researcher can

acquaint with musical arts and folk poetry, as well as tradition interest.

- To extend the cooperative bridges and exchange of experiences with similar centres in GCC

countries and the rest of the Arab Countries.

The ministry of Culture, Youth & Society Development is the authority concerned with

establishing such a centre, sponsoring it and providing its requirements. As its main specialty, and this is

tantamount to an invitation from a person in charge of the folk tradition, and who is aware of the danger

surrounding and threat to our national tradition as a result of the rapid social and cultural changes, and

our massive need to protect and maintain our handed down folk arts, which we consider to be the

symbol of our originality, and one of the most important things that define our national personality.

3.6. Conclusion: Importance of the popular heritage in maintaining the national cultural identity

It is only when we climb on to the shoulders of our predecessors that we can see far, and how

true. It is only on the firm foundation of our yesterdays that our today can be built, thus the stronger our

past the sounder our present. UAE has a rich and diverse cultural heritage and, for the benefit of the

younger population, elements of this culture need to be made available to everyone so that all her

citizens can enjoy her glorious past.

Our cultural heritage plays a significant role in determining the level of cohesion of our

community. It is important to realize that our national identity is deeply related to our knowledge of our

cultural heritage. A magnificent past is often the reason for a feeling of pride in one's country, a

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necessary ingredient in every nationalist endeavour. Unfortunately, despite making a "reasonable"

amount of effort, the cultural authorities in UAE have been incapable of safeguarding the cultural

institutions and traditions of the country. Their failure has much to do with the utter lack of planning on

their part. Many think a more systematic approach would have salvaged the situation quite easily.

Thanks to the rich natural endowments of the country, such as its bejewelled seacoasts, vacant

deserts, high mountains, and agricultural fields, a number of folk art forms have emerged in its lap. As is

obvious, these tremendously powerful and inspiring art forms are slowly dwindling under the pressures

of modern urban life. The lack of awareness about these art forms has kept a number of national art

aficionados from investing large amounts of money on them. All because they are clueless about the

splendour of their own cultural heritage, these individuals busily spend money on western art and

western music.

Since most folk arts, such as lyrical folkloric texts, follow the oral tradition, most of them have

never been recorded, and now with changing times, and less and less practice in the field, researchers

fear that some of these texts might have been lost forever. To ensure that the texts that are still available

do not suffer the same fate, academicians in the field suggest the establishment of a special institution,

which will be devoted completely to registering and recording various kinds of traditional folk lyrics.

4. The Future of the National Cultural Identity

Najib realizes that the world has undergone enormous and swift changes and developments in the

economic and social arenas that have directly affected the socio-cultural environments of nations. With

the introduction of emerging technologies, such as satellite channels, the world has become a small

global village. Any human being, even living in the most remote part of this planet can easily watch

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what is unfolding in the world. The internet and new information technologies have removed all barriers

between people around the globe and have created opportunities to communicate and exchange

information on cultures to develop relations and set up networks surrounding business and economic

interests. Additionally, new technologies have assisted in opening new markets that became accessible

by agreements of the World Trade Organization (WTO) and under the umbrella of the globalization in

all its forms and stages whether socio-cultural or economic. The world has become a global village with

new realities, threats, and fears that cultures and languages of nations would dissipate and a new global

society with new culture, theories, and concepts would come into being. '

The nations, who are not prepared to embrace the new realities of the global society, will face

great challenges and pressures aimed at disintegrating their history and culture and even threatening

their very existence, especially those nations that were closeted for a long time and never embraced or

opened doors to the changes and developments. The realities of the new global society began to occupy

the Arab world in general and the Gulf region in particular. However, the Gulf region was the most

prepared for the new and unavoidable changes that would effect all aspects of this society. UAE is the

most open among its Gulf and Arab neighbours and will not easily face the difficulties of dealing with

and absorbing the requirements of the new global society. In this respect, the call to preserve the

nation's heritage must not be interpreted as a call to literally adhere to it. We have to embrace the new

changes on one hand and preserve the national cultural identity on the other. The realities of a new

global society cannot dismiss the qualities of our society and its cultural heritage, especially when

elements of this heritage are shared with other nations. These nations can all create mediation against

attempts at cultural dilution. In addition, there are many elements in our heritage that are shared with the

Al-Khawajh Hitham, Alshamsi Naj ib, Al Thagafha fi Fikr Abna' Al Emarat (Culture in the Thoughts of UAEpeople), pp. 91-92.

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cultural heritage of other advanced nations, which pave the way for our nation to join the global

society. ' Though, some of the scare tactics that Najib uses to precipitate panic of other cultures here is

not the best approach to dealing with the assimilation of Emiratis into other ways of life. Though

benevolent in thought, this approach may possibly create an uprising of indigenous Emirati dissent and

should be dealt with in such a way that embraces and emphasizes the importance of individual culture

for all.

Over the last fifty years, UAE society has witnessed monumental changes and became fully

prepared to understand the requirements of gradual change. Many UAE nationals pursued academic

studies in Western countries and many UAE nationals traveled the world for either business or pleasure

that gave them the opportunity to be more receptive to these inevitable changes. Change is natural and is

one of the qualities of modern times on both individual and government levels. The ability of the current

generation to absorb, to the letter, the cultural legacy of the bygone age is unlikely. However, it is vitally

important that the new generation be fully aware of UAE heritage and have loyalty and pride in it. It is

also important to present the people's heritage in the best form for the new generations, so they will

have an affinity towards it. Though Najib does not acknowledge the separation of thought verses

culture, it should be noted, as Emiratis may learn innovative ideas while separating them from individual

moral ideals.

Najib believes that encouraging UAE's creative individuals and researchers to delve into

inherited stories is paramount. They should be given to full-time dedication to this mission that could

extend for a few years during which they can prepare studies and research on UAE heritage. Selected

and suitable elements of local heritage should be included in school and university curricula, such as

1 Ibid., p. 93.

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popular literature, folklore, poetry, etc... History studies should be taught to university students, while

traditional games, riddles, songs, etc. should be taught to students of kindergarten, elementary,

preparatory, and secondary schools. Heritage should be given more media attention in radio and

television cultural programmes and introduce the legacy of the ancestors to the new generations in an

honest and rational way. An annual nation-wide Heritage Festival should be organized, similar to the Al

Janadrya Festival of Saudi Arabia to display traditional sports, dances, songs, and handicrafts in which

all-cultural organizations and societies participate. It should also be part of the tourism master plan of

the country. Sport Clubs bear the responsibility of spreading traditional sports by organizing local

tournaments to encourage the new generations to learn such activities. GCC countries should also work

on organizing ancestral sports competitions and contests on the Gulf level, similar to camel, horseracing,

and marine sports that gained publicity all over the Gulf countries. Local popular societies should play a

bigger role in presenting the heritage of history to the younger generations through organizing artistic

shows and exhibitions, and winners should be awarded with prize money. The Ministries of Culture and

Labour and Dubai Cultural Council should financially support these societies, advertise their activities,

and bring media attention to their programmes. There is a great need to embody components of cultural

heritage in national identity to function as an extension and continuation of the development process.

Cultural heritage should not be confined to books and libraries, and should be an integral part of

people's lives. Cultural and media organizations should publish children books deriving their

information and themes from our heritage. It will be a very important step towards acquainting new

generations with the heritage of the country and the legacy of the past peoples. This process will enrich

children in the UAE and the Gulf with the wisdom and the experiences of past generations to enhance

their connection to the society. Preparing studies and research on UAE's cultural heritage and defining

the components which this country shares with the heritage of other countries is vitally important, as

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well. These studies and research documents should be translated into other languages and distributed to

foreign organizations and institutions both inside and outside the country. This pioneering work is a

national mission and is aimed at creating awareness that UAE stores a rich cultural heritage that is part

of human civilization. '

4.1. Conclusion: The Future of the National Cultural Identity

The worlds as we know it today is a result of a number of significant changes that have appeared

in human society in approximately the past five decades. Given the interconnectivity of the social,

economic and cultural atmospheres in any given country, it is obvious that changes in any one of these

fields will have a lasting effect on the other two. Thus, changes such as those brought about due to

globalisation are not just restricted to the various technological advancements they bring; they also have

a deep impact on the socio-cultural and economic scene of a country.

Today the world is "one large global village" where keeping in touch with someone miles away

is almost as easy as knocking on your neighbour's door. Communication has been reduced to the click

of a button and new principles, new ideologies and new values are being instilled in our system every

day. Under the circumstances, countries that are not firmly secure about their own identity will tend to

bend under the pressure of these new realities of the modern "global" community. Countries that have

until now stayed behind closed doors and confined themselves to their own culture alone will not

survive under the sudden invasion of a "world" culture.

Unlike many other countries, UAE is thoroughly ready to take up this challenge. It has been far

more open-minded than most of its neighbours, and will thus deal with these "trying" times in a far more

1 Ibid., pp. 94-96.

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efficient manner. Her priority therefore should not be dealing with the new changes that are likely to

modify the country, but holding on to the past, which has moulded its present. As most of us know from

experience, even the pleasant winds of change can badly uproot the anchors of heritage. We must ensure

that the modern times do not keep our children from knowing, and being proud of their glorious past.

How can this be ensured? To begin with, it would be helpful to encourage creative youngsters

and researchers to study about their country's heritage. The process can begin in school. A better attempt

at including national material in the school curriculum should prove handy in this process. The media

should be given the added responsibility of raising public awareness by promoting more cultural

heritage related matter. An annual cultural festival along the lines of the Al Janadrya festival of Saudi

Arabia might also help improve awareness. A country's cultural heritage is not meant to stay locked up

in pedantic books and ancient libraries, but should instead be brought out and made an essential part of

the citizen's lives. Every attempt at raising cultural awareness should be focussed on this ultimate goal.

5. The Role of Writing in Developing Cultural Awareness

It is true, as Najib discloses that all forms of writing whether journalistic, cultural, or creative,

reveal the commitment of the writers. Committed writing expresses human actions and aspirations and

expresses the authenticity and the values of the society. To reach this stage of committed writing, we

should have writers who approach this task as a high level human behaviour governed by moral

standards and social principles. When writing does not meet the aforementioned criteria of moral values,

it turns into a negative human action with no value and no substance. It then takes the shape of

entertainment with no goals. If we measure writing in the UAE by that ruler, we will notice that it has

passed through different stages and challenges over the last thirty years. There were creative,

distinguished, and promising writers on the cultural stage, who groomed themselves with an array of

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experiences and knowledge. This group of local and Arab writers contributed vigorously in leading the

UAE society towards enlightenment for a specific period. However, over the years there was a cessation

of creative writing and a retreat of this group of pioneer writers, which caused some shortcomings and

drawbacks in the creativity movement in UAE society. One could attribute this to personal reasons of

the writers, but we believe that the main reason is the media, especially print journalism, which did not

give this group of writers adequate and required attention. Unfortunately, print journalism focused on

other groups of writers and gave them much attention and publicity. Personal relations and connections

played their roles in this situation. I

The importance of qualified writers as an agreed addition to cultural policy should be regarded as

highly essential, Najib restates. This new situation has pushed serious and respected writers to the back

stage while a new group of writers, with less or even no commitment to serious writing, took centre

stage. Some of these writers regarded writing as just a source of living, making money, and getting some

publicity, as long as they can sustain their situation. There is nothing wrong with making a living out of

writing, but writing should help in the advancement of the individual and society. Writing is a high-level

human action, especially when it goes to the core ideas and realities. Serious, creative, and committed

writers represent the living conscience of the nation. United Arab Emirates, as a young country making

major inroads towards progress and prosperity has provided much space for intellectual life and creative

writing and has placed rules and regulations, which ensure and guarantee the rights of local and resident

intellectuals. Additionally, policies were implemented to improve the performance of writers and quality

of writing. Cultural organizations and institutions should take a clear stance towards committed writing

and encourage it while it should reject lean and mediocre writing. Doors should not be wide open to

Ibid., pp. 96-97.

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those writers who have no moral commitment to their traditions, heritage, culture, and society and

newspapers should be vigilant and selective in what they publish. '

Najib has drawn up strategies for cultural and media organizations that support and nurture

committed writers and advance social goals for writing that is of vital importance. Setting up adequate

policies to achieve these goals for a society capable of facing the challenges and understanding the

different dimensions of international economic, political, and intellectual changes is paramount.

Sponsoring committed writers and helping them to contribute to their society's progress should be the

responsibility and one of the goals of these institutions, which should also bring back that group of

writers who have refrained from writing saying that, "do not want to be part of the scene when the floor

was given to "shallow writers. " In addition, that commitment to serious writing should be the

responsibility of writers, but also of journalistic and cultural institutions that should gaze at the bigger

picture of society and its requirements and means of developing it.

5.1. Setting up a National Publishing House

Whenever the issue of publishing is brought under debate in the UAE, many authors call for

establishing a National Publishing House that shoulders the responsibility of publishing creative works

of Emirati writers and ensuring the distribution and circulation of these works to each and every place

inside the country and throughout the world. Many people argue that the nonexistence of national

publishing house, mandated to encourage and develop creativity in the UAE, is one of the main reasons

for the decline in creative writings and a major factor for the decrease in local creativities. In the absence

of a local institution prepared to snap up the idea and start the project, Dubai Cultural Council, or any

Ibid. 2 Ibid., p. 98.

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other government organization stands with an excellent opportunity to take the initiative of establishing

a national publishing house, or at least start a publishing section inside the organization that supports the

local books, taking the form of a share holding company with the aim to serve the culture of the

community. Major problems in the publishing industry in the UAE are:

- The absence of publishers who are committed to fostering and encouraging creative writers,

which has a negative impact on the productivity of Emirati writers.

- Due to the absence of a national publishing house, some writers print their books outside the

country and at their own expense, or seek the assistance of limited official institutions, such

as the Culture and Sciences Association in Dubai, the Cultural Foundation in Abu Dhabi, and

the Emirates Writers Union in Sharjah.

- Local businesspersons have not yet ventured into investing in the publishing industry, which

might, once fully exploited, yield reasonable returns on the investment.

_ The difficulty of convincing investors and capital providers of the importance of investing in

large publishing houses, as they tend to invest in projects that yield quick profit returns.

- In spite of the existence of private printing establishments in the UAE, some authors prefer to

print their books outside the country through famous presses, seeking greater distribution and

hoping for more publicity. Authors, as such, have their own preferences regarding printing

with famous and renowned publishing establishments.

- Local printing establishments in the UAE do not regard productions of local writers with the

respect due and the writers' financial rights are frequently disputed and eaten up.

Furthermore, the low-quality publishing and poor distribution, which sometimes does not go

beyond the borders of the emirate, add to the frustration of writers and increase their

tendency to seek channels outside the UAE.

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- Individual initiatives to set up publishing houses in the country have virtually failed; as such

the houses were not prepared to bear financial losses. In addition to the lack of support from

cultural institutions and organizations to buy considerable copies of printed materials, they

followed a tradition of most Arab and western countries to encourage and support authors

and publishing houses.

- The lack of support from media organizations, which ignore local publishing on the pretext

that local writers do not cover a variety of subjects, has been devastating. In addition, local

newspapers give minimal attention to local publishing. One valid reason might be that those

who are in charge of the cultural sections of these newspapers are not nationals.

- Some local authors have the financial resources to publish their works at their own expense,

but lack the expertise of distributing their materials and ensure the widest and largest

circulation through the right channels. Local creative writers are in need of the right

distribution agencies to present their works to the public in a professional and honourable

manner. For this reason many writers choose to print their books at the well-established Arab

publishing houses with less, or even no, financial returns, only to be able to reach the Arab

readers everywhere.

-A real problem exists in the distribution process of literary printed materials, and the

decreasing public interest in literature in particular and reading in general. These facts have

been produced by the telecommunications revolution that deeply affected public choices,

interests and lifestyles, such as the wealth of satellite channels, internet, and computers,

which compel writers to develop their tools to a more challenging level and try to make their

literary production "daily bread and butter to the people. " This is a painstaking mission and a

limited number of literary men and poets have managed to make a niche in this fast moving

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stage. The highly popular and widely circulated books that deal with subjects that attract the

interest of people such as cooking, beauty, and different tips and advice regarding social,

personal and family affairs usually include numbers in their titles such as, "100 Stories on the

Virtuous Men, " "50 Ways to Keep and Maintain Beauty, " and "1000 Jokes, " and publishers

managed to find a way to print these books at a very low cost and so can be sold for a few

dirhams. Many people would buy literary books if they were made available at local

bookstores, supermarkets and gas stations at low and affordable prices, in the same manner

followed in Western countries.

There are at least two international book fairs held annually in the United Arab Emirates in

which local publishing houses can take part. During the Sharjah Book Exhibition 2005 there was

minimal presence of Emirati literary books, which also did not find their way to other international

exhibitions due the costs incurred for such participations, for example, fees, travel, hotels and other

expenses, with the exception of books published by the Ministry of Culture, The Cultural Foundation in

Abu Dhabi, the Documentation and Research Centre and the Emirates Centre for Strategic Studies.

However, with the existence of a National Publishing House, the Emirati book will be able to participate

in all book events and will have a decent presence on the shelves of Arab Public Libraries, which

usually source out their needs and update their inventories from international book exhibitions. It is

vitally important to set a national marketing plan for local books with the assistance of television, radio,

printed journalism, and public facilities so they can gain significant publicity and create public

awareness and demand for local Emirati books.

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5.2. Conclusion: The Role of Writing in Developing Cultural Awareness

While writing, every writer's level of commitment unknowingly seeps into the text itself. Those

who write to serve a greater good and not just to make a few bucks value his/her work as a possible

means of influencing and strengthening a community's beliefs and principles. There is, of course,

nothing wrong with writing for money alone, but in a country such as UAE where much needs to be

done on the literary field cheap entertainment can wait.

In the last three decades a number of writers have emerged in the literary world, many more have

disappeared. Many of those who chose to stick to their chosen field wrote with a certain purpose in

mind. They knew that they needed to lead the local audience in a specific direction in order to help equip

them for the change that was to come. Under the watch of these insightful writers, the social and literary

scene in UAE flourished. With time however such "creative" writers have been wiped out. What have

taken their place are journalistic writers, who believe in delivering sensationalist news. Thanks to the

success of this latter group the truly talented writers now refuse to return to the field and publish their

"off-beat" material.

To ensure that such gifted writers do not get disgruntled from facing constant rejection, cultural

organizations and institutions must take appropriate steps to encourage such committed writing. In

addition, newspapers should be more aware of and careful about what they are printing. To help them in

the task all media and cultural establishments should preferably draw up strategies and policies to

encourage and support (even financially, if required) these talented writers. Recognizing certain

common social goals of all kinds of writing is also of vital importance. In this vein, setting up a National

publishing house would be a good place to start. Such a publishing house would help local writers to

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write socially relevant text without bothering with the publishing and distributing process. Such ease of

mind will undoubtedly encourage more and more new and committed writers to publish new books.

6. The Role of Cultural Institutions in Cultural Development

We have categorized the cultural institutions (official and private), categorized the cultural

groups of people, and finally specified the impediments that prevented institutions from performing their

duties in the best manner thanks to the work already done by Mr. Najib.

6.1. Ministry of Culture

It is common knowledge that the Ministry of Culture is the official body mandated to spread

cultural awareness and is fully commissioned to sketch the civilized image of our society. Najib expands

on its role here by revealing that over the last thirty-five years, the ministry was the umbrella under

which cultural and media organizations sought shelter, and was the last haven for writers and

intellectuals to finalize cultural issues and activate cultural awareness in the country. Since the creation

of the UAE union and the formation of the first UAE government in the early 1970s, the Ministry of

Culture and Information has been provided with all financial and human resources and had to strike a

balance between its responsibilities towards culture and its responsibilities towards information. Using

its information arm, the Ministry utilized all its capabilities in spreading cultural awareness and the

results were encouraging. For example, the first years witnessed a boom in cultural activities such as the

cultural season which attracted many lecturers, intellectuals, and poets from around the Arab world, and

was generous in rewarding their participation and output. The cultural season was an excellent medium

for enriching cultural awareness in the United Arab Emirates. '

Ibid., p. 99.

Salem Humaid 295

On the other hand, the Ministry widely opened its doors to writers, authors, researchers, and

poets who wished to publish their literary productions. Over many years, the Cultural Directorate

published the works of many national and resident writers and paid them well enough and encouraged

them to continue writing. It also bought reasonable quantities of these publications in an effort to

support them. None of the other cultural activities organized by the Ministry were designed according to

a programme or cultural strategy. Among these activities are book fairs, opening new libraries,

supporting theatre groups and cultural societies, and sending cultural caravans to remote and rural areas

to screen cultural and educational films to establish a balanced level of cultural development all over the

country. In the absence of a well-planned strategy, the Ministry was working exactly as any other social

service ministry. Due to overspending, the ministry went into a relapse and could not resume activities,

especially after tighter budgets were introduced by the government in the early 1980s, which largely

affected cultural activities while more concentration was given to the Ministry's other arm, information.

Najib has observed the cultural activities made by the Ministry in the 1970s and in the first half of the

1980s. It can be gathered that the activity concentrated on quantity rather than quality. The aim was to

generate as much cultural output as possible and cover all areas of the country. This policy was

reconsidered due to the financial constraints introduced at that time. The new situation reflected on

cultural associations that depended on the financial support of the Ministry. Performance and production

of theatre groups were also affected because of the limited financial support they received. With the

weak and limited financial resources of the Ministry, cultural life almost halted. Yet a resurgence was

seen with the emergence of the Cultural Foundation in Abu Dhabi and Department of Culture and

Information in Sharjah which were financed by provincial governments of both the Emirate of Abu

Dhabi and the Emirate of Sharjah. '

Ibid., p. 101.

Salem Humaid 296

In light of the aforementioned realities, and the performance of the Ministry of Culture and

Information, which concentrated on the media side of its mission, it is worth considering setting up a

Ministry for Culture and National Heritage tasked with charting a master plan for cultural development

and working as an umbrella for all cultural work in the UAE. Najib is both correct and concise in

afirming this vision. The idea of setting up a higher council for culture, arts, and literature was launched

in year 2002 by his highness Minister of Culture and Information Sheikh Abdullah bin Zayed who saw

the necessity of introducing a new formula for cultural work, instead of wasting efforts among different

and scattered establishments which contributed to cultural activity in spite of all their shortcomings. '

The call to establish a higher council for culture stressed the imbalanced situation, in which cultural life

was suffering, and the necessity for a cultural ministry and other organizations to achieve the supreme

goal of building the citizen, who is aware of his or her duties and capable of facing challenge. The

current situation stresses the fact that the cultural output in the UAE does not actively contribute to

achieving awareness and human and social development in a way that meets the ambitions and

aspirations of the society. This can be attributed to many reasons, but a conclusion can be made that the

role of the cultural community bears some responsibility. Cultured figures and intellectuals in the UAE

are in a state of dilemma and hesitation. Some other cultural people are in a state of negativity and

refrain from action, although their society desperately needs them:

6.2. The First Group (The group of alienation or hesitation)

The first group of cultured figures and intellectuals rebelled against traditions and codes. They

pursued the new and strange traditions that our society was unable to absorb. They saw the necessity of

' "The Tourism Magazine" from Dubai Interviewed the Minister of Information and Culture in the UAE, His Highness Sheikh Abdullah Bin Zayed Al Nahyan. Date of issue 14"' of January 2002.

Salem Humaid 297

a cultural revolution and demanded that the new cultural formulas be similar to those adopted in

Western countries, especially European ones. The chronology of progress in other nations refutes this

argument, as the cultural body of UAE cannot accept just any Western or Eastern ideas. It is similar to

bringing a plant from Alaska and putting it in the soil of the UAE desert--it will not survive. There is a

big difference between societies that have made big leaps in culture and a society that is only thirty-five

years of age. Some Asian countries achieved huge economic and scientific progress, not only because of

their financial resources, but also because they heavily invested in developing human resources and

maintaining their national identities. Therefore, we cannot say that adopting the formulas and ideas of

Western countries serves the purpose of achieving the cultural development that we seek. Developing

culture comes only by improving the mechanisms of cultural work and not just by rejecting Western

ideas and prepared cultural recipes. Culture also develops by benefiting from the experiences of other

Arab countries with which we share values and principles. Our society is governed by a set of traditions

and moral codes that would not accept foreign formulas. Accordingly, when cultural development takes

into consideration traditions of the UAE society and other Arab societies, there will be real progress in

this respect. When we take off the trousers and the shirt and when we put aside the cigar and the pipe,

and when we put on the local national dress "Kandoura"1 with the head cover and headband, we can

understand what our society wants from us. This is what we can say to the first section of estranged or

alienated people. This is a sincere call to this group of people to understand the realities of the local

society, which we should work together to cement with traditional culture and to develop awareness

I "Kandoura": the local dress of the men in the UAE.

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gradually and by stages instead of by being rebellious. ' The metaphors used here by Najib are especially

important in revealing the gravity of the alienation here.

63. The Second Group

The second group of the cultured people, those who live in negativity and refrain from being

actively involved in culture, have made themselves strangers in their own society. This may be a case of

excessive selfishness. It is possible that they are satisfied with only educating themselves and keeping

themselves aloof from other sections of cultured people. It is essential that this group begins to stop

theorizing and refrain from being negative. They are asked to help in being the buffer to our society

against many social problems that are invading its structure and be part of the solution and not part of

the problem. Development of society requires the effort and contribution of each individual and any

lingering or slackening in playing this role will expose society to many dangers. Since cultural

development is the cornerstone of the social development, the pioneers of culture in the UAE, whether

nationals or expatriates, are required to bear responsibility in and participate in drawing up the strategy

of awareness and culture based on true and absolute commitment to UAE values. Cultural institutions

will give their support once the required strategy is set with clear goals and meets all the aspirations. It

is paramount, as Najib articulates that all writers literally get on the "same page" so to speak, as well as

the rest of Emirati cultural leaders.

6.4. External group - The Youth Group

Recent official statistics have shown that the youth segment comprises more than half of the

UAE population. These youths have many aspirations and responsibilities, challenged by thousands of

Al-Khawajh Hitham, Alshamsi Najib, Al Thagaflha fi Fikr Abna' Al Emarat (Culture in the Thoughts of UAE people), pp. 102-103. 2 Ibid., p. 105.

Salem Humaid 299

different and contradictory ideas. We have to identify what is wrong and what is right in these ideas.

Who bears the responsibility for this identification process-- the family, the society, or the media? The

answer to these questions lies in the fact that we should create methods through which we can introduce

the right concepts of a virtuous life for the youths. The emirates society is currently a haven and a

melting pot for many cultures. It has become multicultural through intermarriages with other expatriate

communities that created intellectually perplexed new generations with different religious beliefs,

languages, traditions and values with incompatible unifying elements. The new generations are

diligently trying to integrate with the Emirati society. It is the right moment to give direction and

introduce the best cultural and religious values to the new generations; otherwise they will be facing

challenges of identity crisis and refrain from wholeheartedly contributing to their society. '

Government officials should bear the responsibility of introducing strategies to frame the cultural

values and social conceptions to youths, especially those closely connected with religion, and loyalty to

local and Arab culture as this is the moral and patriotic cornerstone to defend the country and its

interests. Education, media and parents play the major part in strengthening these concepts among the

new generations. The new generations are currently experiencing a huge exposure to foreign media that

knows no boundaries through satellite channels and Internet that sometimes glorify behaviours and

actions of others. The challenge is how to disseminate well values and explain which are right and which

are wrong, who are the good people and who are the villains. Youths are still missing a role model who

embodies all local cultural and religious values and can win their minds and hearts. The role of media is

vital in removing blurring lines on all political, religious and economic issues. The huge development in

all fields requires young human forces capable of ensuring its progress.

I Almhyas `a'sha, Alsyasa Almrna Li Dawalt Al emärat Al 'arbiya Al muta, da Wa maqalat Akhrä (The

Flexible Political System of the UAE and another articles), 1St ed, Dubai, UAE, 2004, p. 66.

Salem Humaid 300

The older generation is deeply concerned that the strengths of character and identity that were

nurtured by the lifestyle, customs and traditions of the past could be lost as a result of a new affluence

and the effects of globalization. There is a good cause for this concern, especially with the pervading

influence of satellite television and the Internet, but there is also considerable cause for optimism since,

although the context may have been altered, core values have been preserved. Cultural ethnicity is alive

and will remain so. Educational curriculum at schools and universities are viewed as backward and not

providing intellectual stimulation to youths who spend considerable time glued to computer and TV

screens. The opportunity presented itself to get to the minds of these youths in producing attractive and

constructive programs that tackle the economic, cultural, social and even political future for these youths

and present them with questions about their relationship with their society. These include questions

about the youth's expectations, willingness to contribute to society, willingness to work and their desire

to be creative and productive. We all have the responsibility to protect youths from misconceptions and

pave the way for them to contribute to their society. Helping out youths is a national responsibility and

commitment. It is also a religious obligation to nurture national interests in their minds and spirits.

Officials, teachers and parents are all under the obligation to extend helping hands to guide sons and

daughters to safety and prepare them to face the challenges of the modern age with open-mindedness

and wisdom.

6.5. The Importance of Voluntary Work

Public Welfare Associations, owned and managed by individuals or groups, are usually formed

with the mandate to provide social and other services to local communities. In the United Arab Emirates

there are more than 113 private associations extending a spectrum of services to the public through

social welfare programs. Although these associations are not the subject matter that we are trying to

Salem Humaid 301

discuss, the type of voluntary work that can be done through these associations is our focus. Voluntary

work can be described as efforts and services provided by individuals to the benefit of society on a free

of charge basis. Private associations, as such, are obliged to encourage and create awareness among

people on the importance of voluntary work and provide the opportunities for them to contribute in this

respect. Unfortunately, there is no exact data about the number of local people enrolled in voluntary

work. Many locals are not aware of these private associations and the scope of services they provide to

the society in cultural and educational fields. The UAE government allocates an annual budget to

support these associations and help them to remain existent. Yet their performances have not reached

satisfactory levels in contributing to the society's development, which is primarily attributed to the lack

of awareness on the importance of voluntary work among citizens. '

The issues that prevent local citizens from taking up voluntary work can be summarized as

follow:

_ There is an almost complete lack of awareness of the importance of voluntary work.

_ There is a minimal amount of information about public welfare associations and their

activities.

- There is a weak relationship and liaison between public welfare associations and the media

that should highlight the achievements of these associations and their benefits to society.

- Public welfare associations are not promoting voluntary work and encouraging local citizens

to participate in their programs and support their activities.

- Materialistic conceptions prevail among certain social groups which believe that any physical

or mental work should be paid for, irrespective of the objectives.

Ibid., p. 62.

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- There is a scarcity of services and activities that are visible to the public eye and can be

regarded as deserving respect and admiration by members of the society.

- There are certainly some charitable work associations that perform their duties with

impressive efficiency and success, yet a greater involvement in voluntary and charitable

work on a national level is required. In many parts of the Western world, private associations

extended their services to include even political, social and business life. They became highly

influential in local politics and part of the decision making process in many areas, even more

influential than some government owned and managed associations. Judicial system in some

Western countries order convicted criminals to join voluntary work associations in an effort

to redeem themselves from sins and crimes they committed against their societies.

The public welfare associations can play a more functional role in their society as follows:

These associations should promote and advertise their goals and activities on a regular basis

and during festivals, holidays and national occasions.

- Society should encourage local citizens to participate in voluntary work activities irrespective

of their ages and occupations by joining these associations and emphasizing that voluntary

work is a patriotic behaviour.

- All people should be eligible to apply for memberships in these associations, without

restrictions on some and preferences for others.

- Society should encourage local women to join the associations that provide social services.

The participation of women in social life should not be limited to associations that deal only

with women's affairs.

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- Public welfare associations should advertise and publish materials, periodicals and

magazines about their activities and achievements on a monthly and annual basis.

- These associations should organize cultural and educational competitions and lectures for all

members of society to explain the goals and the benefits of voluntary work.

- Cultural and educational government institutions should play a greater role in encouraging

students and employees to participate in voluntary work activities.

- Local associations should learn from experiences and successes of voluntary work in

civilized and advanced countries and the role that those play in the development of their

societies.

- Voluntary work should be regarded as a national requirement and a valuable addition to

government policies to improve conditions of people. Many individuals in our society have

the spirit for voluntary work, but need encouragement and the proper channel to contribute to

their society's welfare.

6.6. Mediums for Formulating Awareness

Formulating awareness for citizens, especially the young generation, is a national responsibility

for the present and the future. We have to remedy the root causes of cultural deterioration in our society.

Through formulating awareness, we can realize the following: '

- Maintaining and improving national achievements that the UAE has successfully made since

the early days of the federation over thirty-five years ago.

Al-Khawajh Hitham, Alshamsi Najib, Al Thagafha fi FikrAbna'Al Emarat (Culture in the Thoughts of UAE people), p. 105.

Salem Humaid 304

- Preventing social diseases and imported consumer culture from invading our society and

protecting our youths from running after evil cultures that aim at taking them away from their

patriotic responsibilities and feelings.

- Achieving social and economic development for our society and raising the productivity of

individuals in order to create prosperity and erase poverty.

- By education and wisdom, the UAE society can create a real presence in the Arab arena and

will have an appropriate standing on the international stage to win the respect and admiration

of the international community, not only by its economic power and resources, but also by its

wisdom, faith and values.

- By increasing awareness and education, the society can race time to achieve progress and

prosperity and face the challenges ahead. It can protect its national achievements and look

after its rights. Otherwise, it will be an easy prey for those countries, which watch it with an

envious eye, and want to fulfil their interests at the expense of others.

Prophet Mohammed says in a Hadeeth, "A strong believer is better and closer to God than a

weak believer. " Based on this Hadeeth, we aspire to be strong, yet with wisdom and justice to achieve

our legitimate goals, to live in peace and security and to lead a life of prosperity and development, to

protect ourselves and defend our own existence.

Education and awareness are the fortresses, which protect us from the modem diseases.

Everyone should know his responsibility, otherwise devastation will reach each corner and each home

and at that time no one will hear your cry for help.

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6.7. Conclusion: The Role of Cultural Institutions in Cultural Development

A number of things prevent the cultural authorities from performing their responsibilities in the

manner in which they ought. For an example, one may examine the Ministry of Culture. Since the

emergence of the very first UAE Government, the Ministry has had to play a dual role and manage not

just the cultural aspects, but also the equally significant "information" department. The Ministry did of

course take full advantage of this dual role by trying to increase the cultural awareness of the citizens

using various techniques falling under the auspices of the "information" department and create what it

called a "cultural boom" of a certain sort. However, all too soon the funds dried up (thanks to

indiscriminate and completely unplanned expenditures) and all its efforts went to waste. On close

analysis, it was found that the "culture boom" the Ministry had been so proud of was more reliant on

quantity of events rather than quality and as a result they left hardly any mark on the citizens. With the

tighter budgets of the 80's, the already impoverished department closed its ambitious operations once

and for all. In the 90's of course with the emergence of the Internet and related information technology

the "information" section of the department easily stole the ̀ culture' department's thunder.

Given the nature and the obvious gravity of the problem of setting up a Ministry for Culture and

National Heritage, which will oversee the various nationwide efforts at cultural development, is

extremely important. His highness Minister of Culture and Information Sheikh Abdullah bin Zayed had

put forth such a suggestion as early as 2002. Though five years back the necessity for such a council did

not appear obvious to all concerned parties by now most authorities must have woken up to the pressing

need.

UAE, like most other Asian countries have a culturally bifurcated society. A large part of her

citizens consists of cultured figures that have rejected the original traditions of the country in favour of

Salem Humaid 306

the conventions of the west. Yet another group consists of equally cultured and educated individuals

who refuse to in anyway contribute to the cultural re-emergence of the country. They remain pleased

with their personal position and education and do nothing to alter the social situation. The third group,

consisting of the youth who make up more than half of the country's population remain largely confused

by the plethora of knowledge and information available to them and find no place for themselves in

either the first or the second group, or anywhere else for that matter. Given the potential of this last

group, initiatives must be taken to educate these youths about the values and ethics of their own country.

Such edification and such edification alone will help them distinguish between the good and the bad,

and work for the benefit of their own society.

It is perhaps of some value to try to introduce these youngsters (and others) to voluntary work,

which is often managed by Pubic Welfare Associations. Such social work will not only help them

understand and recognize their own country at a hands-on level, but also encourage them to alter the

present scenario and improve current situations.

7. The Cultural Scene in Dubai (in particular) after Establishing Dubai Cultural Council

More than thirty-six years have passed since culture and art were given official organizational

structures to streamline their activities and progress, yet they could not establish strong and profound

communications with the larger audience as many impediments and hurdles still lie in the way. Dubai

enjoys a wealth of writers, actors, directors and artists, yet it lacks organized financial resources to

support and sponsor cultural and artistic production. Over the last three decades, writers, cultural figures

and artists have argued that Dubai managed to build its image as a regional and international business

centre with the miraculous achievements that stand as testimonies to Dubai success as a destination for

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business and investment. However, they claim that culture was not high on the government's list of

priorities, and did not get the adequate attention.

It was a frustrating situation, but did not last for long. Soon, on Tuesday, the 20th of May 2003

His Highness Sheikh Mohammad Bin Rashid Al Maktoum, in his capacity as Ruler of Dubai, issued a

law for establishing Dubai Cultural Council, defining the new body's functions and responsibilities,

which changed the climate into a promising future for the whole cultural movement when Chaired by

prominent UAE writer Mohammad Al Murr, Dubai Cultural Council is mandated to:

- Building a national cultural identity for UAE citizens through activating and coordinating

cultural activities in Dubai with related organizations and institutions. '

- Drawing up strategies and launching initiatives that would help create a cultural climate

within our society. 2

- Optimizing skills and encouraging ideas on cultural development among all people.

Now a supervisory cultural body is in place, and can fully exercise its mandate to give the

cultural movement the adequate environment, attention and support so it can flourish and bear fruit.

7.1. The Cultural and Artistic Movement in Dubai: Causes of Weak Performance, and Solutions

7.1.1. The Drama and Cinema Movement

There is an increasing necessity to create a drama and cinema movement in Dubai that can grow

in step with the huge progress that Dubai succeeded in achieving in the areas of business, economy,

infrastructure projects, and information technology. Yet the artistic movement cannot thrive without the

The Emir Decree of Dubai about Dubai Cultural Council issued on 20th May 2003. 2 Ibid. 3 Ibid.

Salem Humaid 308

support, encouragement and sponsorship of official or private organizations which take the

responsibility of establishing theatres, production companies, financing movies and launching awards

for those who excel in their contribution to this movement. "The Ibdaa Award" presented by Dubai

Media City for students of Information and Media Colleges is a prime example of encouraging creativity

among students. However, most of the winners of the award have been, so far, from outside the UAE.

UAE television and movie drama is still in the infancy age and suffers from poor performance,

%i ich could be attributed to rarity of local skilled and trained staff, from script writing to final technical

requirements for a convincing drama work. The reasons for unconvincing and weak scripts could be

summarized as follows:

- The Gulf region was not a theatre for big and historical events that changed the destination of

history as in the case of Iraq, Syria and Egypt, so drama in the Gulf lacks the conflict

element.

- Until recently, the Gulf region was thinly populated and was largely homogeneous. Tribes

and interrelated families were shaping up the identity of society. The situation is quite

different in some other Arab countries where societies are diversified, multi-ethnic and multi-

cultural.

- The Gulf region enjoys a relative luxury and welfare preventing big gaps between social

classes from happening. In some other countries, there is widening gulf between the rich and

the poor.

Ibdaa is an Advertising and journalism awards held by Dubai Media city. Winners from all over the

universities come and participate in the Ceremony.

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- Thinkers and scriptwriters refrain from penetrating new social problems with courage and

transparency.

In addition to the aforementioned reasons for weakness, young local cadres are hesitant to cope

%ith the challenges of drama production, attributing their hesitation to limited resources. Young

directors should try to build up experiences through available capabilities, so every new drama will gain

more respect and will be given larger resources and attention, and so on.

Another problem that hinders the progress of drama is that young cadres are not given much

attention by production companies, whether government or private, and so there is a high tendency to

deal with foreign skills, which has negatively affected local drama. Furthermore, some officials are

strangers to the technical work that is involved in the production of drama, which again leads and adds

to weaknesses in scripts. Local cadres and skills need support, encouragement, and competitions to

measure their performance, and awards for their excellence. They also need to learn and share

experiences with outside expertise. Local cadres should be given the chance to prove himself.

Production companies should support new local directors. Media corporations import produced and

packaged programmes and Arabic drama serials! While they shun locally produced drama. There is an

absolute necessity for holding forums, think tanks, debates and competitions within the educational

institutions to create a cultural and mental awareness of drama and develop a taste for local drama

among the larger audience.

Art, in the UAE, cannot be separated from its regional environment and surroundings. Analyzing

the success of the theatre movement in Kuwait and first major Kuwait film "Bas Ya Bahar"t might be

beneficial. The governmental support of artistic groups initially started in Kuwait in cooperation with

I "Bas Ya Bahar": the first Kuwaiti film produced in 1971.

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other expertise from the gulf region, namely from Bahrain, then spread over the rest of the region. The

Emirati society consists of locals and expatriates. Art here should reflect this reality and should not

concentrate on the native citizens only. The role of the government of Dubai, which recorded

unprecedented success in the region in terms of business and economy, should support production of

drama in theatre, cinema and television in a way that mirrors the present state of society. The

government should financially support production companies and initiatives made by individuals or

groups, and motivate the youth experiences with freedom of expression. The United Arab Emirates

should carry out a serious study to identify all available potential and expertise and enhance artistic

performance by opening institutes to train actors, producers, and all technical cadre needed. It should

also give incentives to locally produced programmes (special prices for local programmes) that

comprehensively express society and not only concentrate on localities and heritage.

Another hurdle that comes in the way of drama in our society is that a proportion of this society

still looks negatively at art in general and drama work in particular, ignoring the importance of

television drama, and its positive impact in shedding light on social problems and complexities. On the

other hand the weak competition among local drama works led to further recession. Here comes the role

of Dubai Cultural Council as a haven or as a union for writers, artists and cultural figures to organize

their activities and meet their requirements. Also promising talents should have access to professional

and academic training, which will reflect on their social status so that society will look more positively

towards art and artists.

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7.1.2. The Cultural and Artistic Movement in General

- Culture should be looked at as a commodity

Many could disagree that culture should be treated as a commodity, because many see culture as

the core constituent of a society and cannot be "for sale. " However, the way we should look at it is that

culture can be promoted as a tourist attraction. In the Western hemisphere, culture survived and

succeeded only after it was dealt with as a commodity and was given an economic value. Writers should

make a decent income from their work. In some western countries, novel writers get a down payment

from the publishing house even before their novels are written and might take more than six months to

one year to finish. In the United Arab Emirates, introducing the protection of intellectual property law

was a major success and a boost to artists, thinkers and innovators, and especially to singers as it

protects the rights for cassette ownership and distribution, the rights of the lyric writers and the rights of

the composers. Songs have more audience and fans than books and so theoretically, culture can be

treated as a commodity with the support of government issuing the regulating laws. The cultural

foundation in Abu Dhabi launched, "The book on tape" project that was welcomed by many people, and

proved again that culture can be marketed. If we want to turn culture into a commodity, we have to

evaluate the cultural product itself. The cultural product in Sharjah and Abu Dhabi is "stronger" than

that of Dubai. However, in the seventies, Dubai's cultural production was much bigger than now. The

situation deteriorated because many people invested their money, time and talents in business and trades,

which came at the expense of cultural production.

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- The necessity of introducing cultural rules and regulations

There are some scattered cultural landmarks in Dubai. Museums, libraries, cultural centres and

private cultural foundations are present and the Dubai Cultural Council came to regulate cultural

activities and establish coordination between government and private institutions involved in culture. It

was a wise decision by Dubai Executive Council headed by His Highness Sheikh Mohammad Bin

Rashid Al Maktoum to create a cultural council rather than a governmental department, because culture

is a popular and collective work that progresses through the democratic environment and dialogue and

should not be managed by bureaucratic rules.

One of the top priorities of Dubai Cultural Council is the introduction of cultural rules and

regulations, starting with the general budget of the council. In Sharjah, each cultural foundation receives

a monthly financial assistance of Dhs. 10,000 from the government. This is not the case in Dubai and

many artists and cultural figures prefer to establish their foundation in Sharjah rather than in Dubai. In

Kuwait, the government cuts five percent of banks' profits (as tax) and channels the amounts to support

the culture and art movement. In Dubai, we do not ask the government to impose a tax on local banks,

which even failed to execute the policy of increasing the percentage of citizens working in the banking

sector by four percent annually.

Members of Dubai's Chamber of Commerce and Industry exceed 100,000 and if the government

imposes an annual fee of Dhs. 100 on each member, it will make an annual total amount of Dhs. 10

million. This money can go into a fund for cultural development under the supervision of Dubai Cultural

Council. Among other steps to regulate cultural activities, Dubai Cultural Council should be responsible

for issuing licenses for the arts exhibitions rather than Dubai Municipality. The council logically has

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more knowledge and experience to accept, refuse, or evaluate artworks to be exhibited. In addition,

financial rewards should be made available from the "Cultural Development Fund" for plays, songs,

cinema works, writings, etc. and should satisfactorily compensate the time and effort of the artist.

- Establishing a National Theatre Group

Dubai can host the best theatre groups in the world and organize world events but regrettably,

there is no big theatre, like that of Abu Dhabi and of Sharjah, to accommodate a big theatre group. The

problem is not in building a theatre, but building a national group to present national arts, music and

dance. Cultural tourists always look for native cultural activities that give them an idea about the cultural

production of the country. We should not be against bringing other foreign cultural shows into the

country, but our priority must be to show visitors and tourists the culture of our country demonstrated in

the best artistic way. In order to establish a national theatre, members of the group should be given full

time jobs at this establishment with decent salaries and rewards program. Dubai Cultural Council could

be assigned to control and regulate this process, just like the Football Union and sports clubs. Dubai

Cultural Council should also be responsible for training and preparing new and educated leaders to be

responsible for the artistic and cultural movement and replace the old generation of leaders who have

made their contributions. New blood should always be injected in any organization to secure

sustainability and progress.

The Sultanate of Oman succeeded in establishing The Royal Omani Orchestra, which proved

itself as one of the best orchestras in the Arab world. The performances of the Orchestra represent a

cultural achievement and a success story for Oman. The shows were described as a high level of musical

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performance at a time when cheap and imitated musical performances were dominating the market.

Dubai should have a national Orchestra of which to be proud.

The State of Qatar launched its first cultural festival in its modem history. It is in fact the first

cultural festival of its kind in the Gulf region. The first edition of the festival started in March 20,2002

with the participation of more than 2000 artists, men of letters, and cultural figures. The National

Council organized the festival for Culture and Arts in Qatar. The annual event includes international

shows and folklore dances from Arab, Asian, European, and American countries. It also includes

exhibitions for Islamic art, Children's art, photography and drawings on Ostrich eggs. The International

Oliver Exhibition also participates in this event with its world famous paintings. The festival hosts a

wide range of activities, such as poetry evenings, debates for Arab and foreign intellectuals, and musical

performances, etc. The State of Qatar aimed at attracting world attention to the country and at making

Doha as the cultural capital in the region and even for the Arab world. To ensure success for this

festival, Qatar established close relations and cooperation with all cultural foundations and centres in

Baghdad, Damascus, Cairo and Beirut

Comparing the Dubai Shopping Festival with other shopping festivals in the region, it is obvious

that Dubai Shopping Festival is still the leading event of its kind in the region in spite of the fierce

competition from some neighbouring countries. Dubai has proved itself as a market leader in organizing

events with high level of administration and expertise, in addition to its geographic location and high

standard of security and safety measures. All these positive indicators prove that if Dubai Cultural

Council organized a "Dubai Cultural Festival" it would be another success story in the history of modern

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Dubai. Its success could also surpass all expectations and might be better than The Doha Cultural

Festival and the Janadiria Festival' in Saudi Arabia.

- Dubai's Public Libraries should promote Knowledge and Culture among Citizens and Residents

Throughout the history of mankind and civilizations, libraries have been the channel and the

source of the cultural and human heritage. Cultures are like underground rivers that run through our

lives and relationships, giving us messages that shape our perceptions, attributions, judgments, and ideas

of self and others. The interaction between civilizations that settled in the Arabian Peninsula, Middle

East and North Africa have vehemently enriched and contributed to the intellectual and cultural output

of these areas, and led to the establishing of the oldest libraries in the world to preserve the intellectual

treasures. Islam played a prominent role in the history of libraries when thousands of books were

translated into Arabic to explore, learn and contribute to new sciences and interact with other cultures,

and in addition, when thousands of books were written by Muslim scientists, artists, scholars and

philosophers in almost every science and art contributing to the world heritage and empowering

mankind to excel and progress in all fields. Libraries were a key factor in preserving the intellectual

treasures in all stages and ages. Libraries also assisted in creating the cultural fluency, which means

awareness of several dimensions of culture, including concepts, philosophies and theories, all have been

shared through books. Having the benefit of reading about other cultures we accumulate brilliant

reference points and shared experiences.

The late Sheikh Rashid Bin Saeed Al Maktoum, Ruler of Dubai (1958-1990) inaugurated Dubai

Public Library in Al-Ras area, which overlooked Dubai Creek in 1963, ushering in a new era for

1 Janadriya Heritage and Culture Festival, an annual festival Showcasing Saudi Arabia's Culture and Traditions.

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education and knowledge in Dubai and in the region. The library has developed rapidly in its collection

and premises extensions. The public library in Al-Ras now includes halls for Arabic and English books,

references and periodicals, audio-visual materials and the Internet. In addition to the library

administration, there are other administrative units such as supply, indexing, categorization, meeting

hall, Mosque, car parking. The notion of establishing a public library in Dubai came into being after The

Emirate of Qatar established its own public library, which was called The Qatari Book House. The first

books that filled the shelves of the Dubai library came as a present from His Highness Sheikh Ali Bin

Abdulla Al Thani, the then Ruler of Qatar. Under the supervision of Dubai Municipality, the library

project developed quickly and by 1970 the number of books exceeded 12000. Dubai library soon

became a cultural landmark, providing visitors with all facilities and drawing up its agenda of activities

and attracting visitors and lecturers. Among the first who gave religious lectures at Dubai Library was

the prominent Islamic scholar Sheikh YousifAl Qaradhawi. 1 (see Appendix 2)

In many countries, it seems that almost everyone has his or her nose in a book while commuting.

So, in order to meet the lifestyles and traditions of our region and in order to encourage reading and

provide easy and convenient access to sources of knowledge and education, and to reach out to all

communities all over Dubai, four public libraries in residential areas were inaugurated in 1989 in Hor Al

Anz, Al Rashidya, Al Safa'um Saquim, and the fifth one in the Hatta area in 1998. Other public library

branches in Al Tawar and Al Mankhol areas were inaugurated in 2004-2005. When establishing these

libraries the nature and the variety of local society interests have been taken into consideration. The

building has been designed in order to include: halls for Arabic and English books, references,

periodicals, a library for the children and a multi-function hall supplied with most advanced display and

Cultural Horizons magazine, Land Mark, Issue No. 17, Dubai Cultural Council, Dubai, UAE, Sept.

2006, pp. 24-25.

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presentation devices. All these libraries are connected with an advance computer network, new libraries

system, Internet services, in addition to a good and balanced collection of information resources and

knowledge in different subjects in Arabic and English. Dubai Municipality is currently finalizing

designs for new premises for the Dubai Central Library that will come as a boon to book lovers in the

city and give a major boost to the cultural scene of the emirate. The new book-shaped building, to be

constructed on the banks of the picturesque Al Mamzar Lagoons, will include extended facilities. The

central library is currently located in Al Ras area. The central library would consist of over 1.72 million

books and other library materials including CDs and audio-video cassettes. '

7.2. Analyses & Conclusion: The Cultural Scene in Dubai after Establishing Dubai Cultural Council

The last three decades have been tough for the cultural field in Dubai. Despite having been

allotted a special organization to look after its needs, not too much cultural advancement has really taken

place in the past thirty-six+ years. That is not to say that Dubai lacks in any sort of talent or enthusiasm.

She still has a large number of extremely gifted and thoroughly creative individuals raring to burst into

the creative scene. However, as is quite obvious, they are not likely to be given as much time and

encouragement as they deserve simply because the government is busy with other things at the moment.

The authorities have spoken and clearly cultural activities are not high up on the list of priorities.

This changed drastically with the emergence of His Highness Sheikh Mohammed Bin Rashed Al

bjaktoum. By establishing the Dubai Cultural Council, he turned the tables and brought back the city's

cultural heritage to where it really belonged. The new supervisory cultural body has adequate authority

to allow the various cultural movements the sort of push they need.

Ibid.

Salem Humaid 318

Dubai now needs a decent Drama and Cinema movement, which will allow some momentum for

both these art forms in the country. Most artists in these fields feel that it will take a good jolt of some

kind for such art forms to progress at the rate business and economy has advanced in the country. For

this jolt to come, professionals in this field are hoping to receive full support and sponsorship from

private organizations. The launch of the 'Ibdaa Award' for the students of Information and Media by

Dubai City is an example of such support. Dubai still thoroughly lacks local skill in the field and thereby

falls crucially short of the technical support any such field requires. Lack of encouraging production

companies both in the field of cinema and drama is yet another problem. There are a number of reasons

behind these individual issues and proper scrutiny of each of the problem will reveal possible solutions

to them as well. UAE should turn to Kuwait (where the Government is known to provide tremendous

support to artists) for inspiration. Also, a well-run campaign should be worked out to rid the citizens of

the various negative attitudes they have towards the arts. Such modification of ideologies is intrinsic to

ensuring that more youngsters enter these fields.

Dubai has three major theatre groups namely, The Dubai AL Ahli Theatre, The Dubai Popular

Arts and Theatre and Dubai National Youth Theatre. Of these the Dubai National theatre is the oldest.

All three of them face desperate financial crises. Often some of them do not have the requisite amount of

money to prepare stages or transport their actors from one place to another. Thanks to the financial

crunch almost all theatre actors are quickly leaving the stage and their groups and settling for more

lucrative jobs. Artists think the situation can easily be salvaged if the government provides enough

monetary support to the theatre groups on an annual basis. In addition, an increased effort on the part of

the media to publicise the theatre will help increase the audience to a large extent. Sponsorship for

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shows from private organizations will also go a long way in ensuring that the groups are not in any want

of fundamental resources. (see Appendix 1)

Unlike in the western countries, artists think, in Dubai culture is not thought of as a ̀ commodity'

and thus not dealt with in terms of money. Hence publishers do not adequately pay writers and theatre

artists do not even have enough money to pay for a rehearsal space. Here people invest in business and

not in the arts; therefore, despite being a prosperous country, we have little provision for the artists. For

the position of the arts to change this attitude must be altered considerably.

Apart from providing for local artists the government must also look into the establishment of a

large national theatre, which will be able to accommodate not just local groups but also sizeable

international troupes. Although it is not just a national theatre that Dubai needs; she also requires a

decent national group, which will present the national arts and music of Dubai. Apart from helping

national integration such a group will also draw in large amounts of tourists.

The first public library in Dubai was established in the late 1960's. By 1970 the library had

more than 12000 books. Apart from holding books, the public library in Dubai is also an educational

centre that hosts regular lectures on religion and other matters. Following the first library a number of

other libraries have come up in various corners of the city. Almost all of these are equipped with the

various new technologies required in an organization as itself.

8. Results of Previous Studies

- How to create a road map to enable Dubai to play a major and active role in culture and arts,

in making culture a tourist attraction and investment and enriching culture with a distinctive

identity.

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- The possibility of marketing culture and arts in Dubai through a profit-making perspective so

cultural events can survive and progress to regional and international levels.

- The availability of cultural initiatives, but on the other hand the need for sustainable

government support financially and administratively, which is the reason behind establishing

Dubai Cultural Council.

- Previous analysis showed that Dubai needed a cultural council to administer and supervise

cultural activities, such as festivals, competitions, and cooperation with regional and

international cultural foundations.

- Present generations are not interested in culture and contributions of the older generation will

cease one day, which creates an urgency to create the right climate for culture to thrive

before it is too late.

- Cultural activities in Dubai are limited and unorganised and need considerable strategic

planning. The private sector participates in supporting and producing cultural output.

9. Final conclusion

More than three decades after Dubai attached itself to the UAE federation, the time has come to

scrutinize whether UAE and Dubai have undergone any significant cultural change following their

association. At a superficial level, at least a number of changes have taken place in both Dubai and the

UAE. Several cultural organizations have been established and effort has been put in to organizing

cultural events. However, the apparent advancement is not necessarily an indicator of any real progress.

The past three decades have seen crucial changes in the people's lifestyle, naturally these alterations

have had significant amount of effect on the holistic cultural make up of the country. With the advent of

various telecommunication facilities such as the Internet etc. for instance we have become far more open

Salem Humaid 321

to external influences. Despite this sudden openness, however very little of our personal traditions and

values have really undergone any transformation. Due to the discrepancy, a widening gap has emerged

between those who (thanks to their newly established connection with the rest of the world) have

decided to give up their own traditions in favour of the traditions of the west, and others who are

determined to stay deeply rooted in their past. Of course, the changes brought about by the new

developments are bound to lend us new perspective, but surely abandoning our own culture for what we

have only now learned cannot be a wise decision.

Much thought is thus being put into how this discrepancy may be dealt with. Preserving one's

own culture is significant for a number of reasons. To begin with, it helps render our future generations

with the kind of pride and respect they ought to feel for their own country. The same kind of pride and

reverence is also known to increase national cohesion.

In this time of crisis, when almost the whole world is in a sort of cultural flux, it is thoroughly

important to safeguard our own culture in order to ensure that our country does not get swallowed by

other, foreign cultures. With the rise of globalization the world will soon become one big `global

village'. To mark out our specific presence even in this community, it is important that we remember

where we come from and what our past was like.

To save our culture from extinction, we must act now, before our kids refuse to learn who their

ancestors were and what the glorious past of their country was like. Action needs to be taken in various

fields. While it is definitely difficult to define what our culture is, it is obvious that certain elements

represent, these therefore have to be handled with special care. Our national music, sport, drama, films,

literature and the like need to be revamped and for that we need to plan and strategize. When attempting

to rescue our culture we have to make sure that our approach is thoroughly methodical and not

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unnecessarily emotional. The past has proved that an emotional approach only causes avoidable

expenditure and helps in no overall advancement. It is therefore important that we plan how we are

going to go about our attempts in the field in an extremely regimented manner. Reasonable amounts of

finances, sponsorships and organizational support is also of extreme significance.

In order to guarantee a glorious tomorrow we must re-awaken our past. Our past and only our

past can truly define our present and future identity.

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Chapter 9: Cultural Thinking and Cultural Tourism Development in Dubai

1. Introduction

In order to keep with the changing times, Dubai had two choices. Either she could conform to the

economic ideologies of the west or she could formulate new ones for herself. The former would be easy

and the latter tough. However, without settling for comfort Dubai settled on hardship and decided to

undertake the gruelling latter path.

In Dubai, an odd symbiotic relationship exists between the governing class and the business elite.

Thanks to their close association formulating economic methodologies proved much simpler than usual.

Even in the face of harsh criticism these individuals quickly achieved what they had set out to learn.

Dubai is a charming city steeped both in history and the present. It has equal amounts of respect

for yesterday and today, and is thus as reverential towards her cultural heritage as she is towards her

modern beginning. Due to her dual preferences, Dubai is the perfect site for cultural tourism. Dubai of

course has a lot to offer to the cultural tourism sector. Yet the sector itself has much to offer Dubai as

well. Proper planning in the field can help Dubai increase its profits from the tourism industry

substantially.

To ensure the increase profitability, however, Dubai will have to prepare herself with greater

amenities, and make available various ingredients that will augment the cultural tourism market. For this

purpose, the government should take special care and establish a specific department to look after this

aspect of tourism. Additionally, augmenting the various cultural facilities would be an important step.

Dubai is a land of wonders. Small adjustments will ensure that this wonderment reaches tourists from

various countries and lures them into a visit to the city.

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2. Dubai as a Generator of Ideas

Dubai's unique past and history laid down the groundwork for its present. Vast and ambitious

projects being announced daily in Dubai communicate an underlying fact; the iron will pushes the

emirate forward and places it among the advanced cities of distinct recorded civilization. Since Dubai

broke the traditional barriers and the illusionary restrictions towards internationality, observers insist

that Dubai undergo an extraordinary change. For them, there are two possibilities: either Dubai will be a

school of the modern economic thought in the future that will be instructed in universities and high

institutes, or to be later affected by this rapid progress and will experience a setback that reverses all

development sectors. This stance is not new for Dubai and its history. All previous projects of Dubai

were incredible in their time and most of them met with difficult financing conditions and seemed

impossible to come to fruition. However, the iron will of Dubai's merchants and governing class laid

down a new methodology of economics; a methodology that emerges from the local conditions, market

demands at that time, and the future needs. By the end of 1950s, the British authorities regarded projects

initiated by Sheikh Rashid too ambitious and would have a poor return on the emirate. They always

believed neither economic resources nor the actual needs of Dubai would absorb these projects.

Nevertheless, after a few years of starting some of these projects, they were not only found necessary,

but also required expansion to contain the increasing demand on services supplied. This belief was

maintained when Dubai thought to build Port Rashid and its expansion, Jebel Ali Port with its multi

quays, and the dry dock, which were all ambitious projects that surpassed Dubai's ability and absorptive

capacity. I

1 Falma Al-ýaygh, Dubai, 41 bedayat Waltahawlat (The Beginnings ofDuabi and the Transformations), I' ed, Albayan Publication, Dubai, UAE, 2006, pp. 193-194.

Salem Humaid 325

Innovation, the most important pillar of creativity, never stops in Dubai. Creation of new unusual

projects was its means to international attention and growth amidst an international economic and

commercial atmosphere based on competition and the best service at the best price. The ongoing

developments in Dubai and their potential effects on the region and the world economy were first

subject to study by the West. A Western comprehensive study targeted the emirate's dependence on the

Western expertise and technology, its readiness to provide an investment-attractive environment, and all

facilities, to see the possible influence on the West and its economies. For example, Western newspapers

described "The Palm" project to be imaginary and too demanding. Western media said it was

economically and practically illogical. As the project's delineations started to appear and as the project

was sold in full, the same media praised it saying it is one of the most important tourist attraction

projects in Dubai. The large projects gave Dubai a major international reputation that attracts attention.

On the other hand, other observers regarded the situation as a "small bubble" that would not be able to

stand adverse currents or strong wind. The ongoing development makes Dubai a lone bird singing away

from the flock. Dubai could not achieve success by jumping over the social and political limits of the

region. Separately from the Gulf region and other neighbouring regions, Dubai would not be able to

fulfil international expectations. Moreover, other emirates should cope with the progressive

development of Dubai, a matter that needs long-term planning. ' Despite this poor argument, Dubai did

not ignore warnings, especially that its history and past development proved the claim incorrect. Sheik

Mohammed Bin Rashid Al Maktourn, Vice President, Prime Minister, and Ruler of Dubai, announced

that Dubai's development and projects are studied to adversely affect neither other development aspects,

nor the future progress of the entire region. In addition, the projects are designed to positively influence

other emirates. Among Dubai's projects that have had positive effect on all the Emirates are Dubai

1 Ibid., p. 194.

Salem Humaid 326

Media City, Dubai Internet City, Dubai Healthcare City, Dubai Humanitarian City, Dubai Knowledge

Village, and all are vital projects that will benefit not only Dubai but also the whole Emirates and

neighbouring societies.

Dubai's policy efficiently set an excellent example of the unique commercial mentality that

features Dubai and its governing elite. Dubai is characterized not by market thought, but by this distinct

commercial mentality and the close connections between the governing elite and businessmen class,

which are among other factors that repute Dubai as an economic front. This communication cleared both

parties' understanding of the other, and factors in the fulfilment of many huge projects. Without the

government's facilities and the courage of the businessmen and their high confidence in the potential of

the national economy, projects could not have been accomplished placing Dubai among the more

advanced cities. Today, Dubai deserves to be proud of developing a modem economic thought that

presents its gained experience to many countries. Unless the assiduous work and intensive effort of its

locals, and the true belief of the government administration in the capacities of those people, Dubai

could not have held onto this super rank. '

Behind this great leap stands an unparalleled mentality that neither tires nor bores; non-stop

working intellect that turns dreams into reality: the governors of Al-Maktoum and Sheik Mohammed

Bin Rashid, the Vice President. Sheikh Rashid. All had a broad mind that predicts the future and benefits

from lessons of the past for the good of the present and towards promising future. Over its history, this

broad mindedness of the rulers has been a feature of Dubai where the realized needs of their people and

targeted awareness that difficult objectives are attainable by persistent work and cooperative efforts. At

Ibid., p. 195.

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the present, Dubai is a great addition to both Arab and Muslim worlds, which are proud to include an

Arab Islamic city, which approaching modernism without prejudice to the Islamic values. While going

deep into the heart of the 20thcentury, modem Dubai did not abandon the humanitarian efforts that give

the city its spirit. For example, Dubai International Holy Quran Award and the generous donation to the

needy and the afflicted people are final evidence that Dubai will remain a "Donating City". '

2.1 Conclusion: Dubai as a Generator of Ideas

Dubai has always believed in shaping its present and future according to the rules and dictums

handed down in its extremely inspiring past. In the past few decades, Dubai has struggled to attain the

kind of position and stature enjoyed today in the world market. Under the circumstances Dubai really

has two choices: it can both shape up its future generation in modem economic thought and thus secure

its tomorrow or it can reap the benefits of its present success and sink in failure in the near future.

Previously, Dubai did not even have the luxury of making such a decision. Most projects announced

formerly, no matter what their size, were thought to be over ambitious. This has much to do with the

British rule during that time. The British like most colonizers led the Arabs to believe that their dreams

were impossible, that their country had neither the need nor the capacity to sustain such projects. Soon

however the British were proved wrong and the Arab projects emerged as highly profitable.

The people of Dubai believe in innovation and creativity, but most of all, they believe in having

faith in their own dreams and aspirations. Thus they go ahead with their projects undeterred by the

criticism of the foreign press and media, and manage to persuade them to accept their success in the long

run. Many scorned their ambitions and blamed them for trying to override the rest of the countries in the

Ibid., p. 196.

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Emirates, but Dubai was careful to keep its relations with all the other countries in perfect health.

Therefore, today it can safely confess to having been highly successful. Dubai believes in keeping the

governing elite and the business class in close contact so that they might help each other in taking the

country ahead. The result of this policy is for everyone to see.

A number of people have contributed to this tremendous climb. Thousands of people have

worked around the clock to help Dubai reach where it is today. These include (but are not confined to)

the governors of A1-Maktoum, and the Vice-president, Sheik Mohammed Bin Rashid. Thanks to their

efforts Dubai is a modern Islamic city, which has successfully incorporated its traditional past into its

progressive attitude towards life.

3. Cultural Tourism

With its modem skyline and quality infrastructure, it is difficult to believe that Dubai was once a

small town of Bedouin traders. Exotic animals used to inhabit the grounds occupied by the present-day

Nadal Sheba racetrack. ' Contemporary Dubai has been built beyond reasonable expectations, more so

from the stigma, which befell a post-Gulf War Arabia. High technology and high-fashion shops are now

as commonplace as the gold souks. Modem Dubai is an eclectic mix of old and new, ancient and

modem.

Tourism, cultural tourism in particular, is considered one of the fastest-growing industries

globally; with fierce competition being its natural corollary. Dubai is viewed as one of the prime tourist

destinations, giving the country a distinct vantage in this arena. Dubai's relative advantages pertinent to

1 Nad Al Sheba host of the famous Dubai World Cup is a racetrack with two courses, a sand/dirt mixture and a turf track.

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tourism are manifold. First, tourism is a rapidly growing, huge industry, which is, therefore, a crucial

sector that of which Dubai can take advantage. Dubai is aptly capable in meeting global standards, being

in itself, a set of visions. Dubai's global position, as predicted, will be that of an "internationally

recognized hub and destination of choice for cultural tourism. " Dubai's vision reiterates this notion,

stating a threefold agenda for its long-term goal of becoming an international tourist hub: creating a

quality environment conducive to immigration and investment inflows, necessary for enticing a

technologically knowledgeable/skilled human capital base, launching a policy of arts and culture

developments, with the creation of an arts centre in Dubai, initiating an annual programme of cultural

activities (e. g. expositions, concerts, visiting artist performances) to mark its reputation as a modem

society. Second, tourism is a highly unpredictable industry, with trends and factors influential to tourist

influx. Factors that positively affect tourism are disposable income increases, transportation cost

decreases, tourism package cost decreases, and the presence of political stability. Travel distance has

become an irrelevant tourism factor. Third, competition has spurred creative marketing strategies on the

part of tourism providers. They have started providing leisure and business packages in greater variety,

higher quality, and more competitive pricing schemes, thereby boosting the market demand for tourism.

With the current trends in tourism at work, the demand being on the favourable side, it is projected that

the $3.3 trillion global tourism industry will grow at a 6.8% annual rate for the next ten years. '

Fourth, the tourism industry is challenged by a body of better informed and discriminating

clientele. Tourism providers, therefore, need to package destinations in a detail-specific and compelling

manner, categorized on the basis of market segmentation, in order to lure prospective tourists. The

1 World Travel & Tourism Council: wttc. org, http: //Www. wttc. org.

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package destinations can also aim at a wider range of tourists for particular destinations in order to

satisfy the market demand.

In view of these trends, Dubai must adhere to the aforementioned steps to be able to take

advantage of the tourism sector to the fullest extent. Dubai must maintain research based equilibrium

values according to the tourist segment, from where tourism providers can base tourist package offers.

The move is expected to optimize Dubai's gain from possible tourism generated revenues. It must also

continue upgrading its support services in order to be able to service the increasing number of tourists,

broaden the basis of their motivation for tourism, and eventually, draw more tourists into visiting. A

study of tourism's framework is a prerequisite for understanding it. According to the Singaporean Board

of Tourism website, the tourism landscape is composed of two sections: motivating attraction, and

supporting services. Motivating attractions include business tourism, cruise events, honeymoons, and

especially, cultural tourism. Supporting services, however, include IT & communication systems, travel

agencies, hotels, entertainment management companies, and computer reservation systems. Cultural

activities, in addition, are part of a broader tourism framework; by building on both Motivating

Attractions and Supporting Services, Dubai will be able to attract tourists, and encourage repeat visits. '

Cultural tourism is the type of tourism intent on an exploration of and education on the culture of

a particular place. The motivating attraction components of cultural tourism are cultural/historical

heritage, performing arts (theatre), visual arts, and music. The Cultural Historical Heritage component

includes parks, sightseeing, tours, cultural events, festivals and fairs. Performing Arts (Theatre) includes

musicals, operas, ballet and dance exhibitions, and dramatic and classical performances. The Visual Arts

1 See Singapore Board of Tourism website: www. stb. com. sg.

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component includes museums, painting galleries, craft exhibits, and film and photography showcases.

Music includes symphonies, orchestras and concerts. Supporting Services for cultural tourism are

comprised of marketing organizations to promote the arts and Dubai's position as a "centre for the arts"

in the region, operational organizations to collaborate with performing arts talents and IT specialists for

marketing, state-of-the-art venues like auditoriums, screening rooms, seminar rooms and staging arenas,

and the technology that allows for world-class performances and shows. (see Appendix 1,2,3,4)

Cultural tourism is a substantial contribution to Dubai's Gross Domestic Product (GDP). With

the exception of Bahrain, Dubai's tourism sector is the largest percentage contributor to GDP at eighteen

percent of Dubai's direct gross domestic product and twenty-nine percent of its indirect GDP. The Dubai

Department of Tourism and Commerce Marketing official pointed out that Dubai recorded 82% hotel

occupancy in 2006, which ranked third in the world behind London and New York. 1 Bahrain's

advantage is principally due to its proximity to Saudi Arabia. Dubai has become a major destination and

stands to profit from cultural tourism. Dubai has to invest in quality cultural tourism infrastructure for a

full availing itself of this privilege.

I UAE Interact website: http: //uaeinteract. com/docs/Tourism_contributes_l 8_to_Dubais-GDP_perý_year/23960. htm

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Year: 2002 Cultural Tourist Regular Tourist

Average Spending

$631 $457

verage Age 48 46

etired 18% 15%

Graduate Degree 21% 18%

Spend $1,000+ 18% 12%

Travel Duration 22% 18%

Table 1: characteristics of the tourism demography (1) -Source: National Assembly of State Arts Agencies, www. nasaa-arts. o

This United States based data on cultural tourism illustrates some key characteristics of the

tourism demography (regular/cultural tourists), with important implications on the possible benefits

from cultural tourism. Research suggests that promoting cultural tourism in Dubai will attract an

extremely valuable clientele that will be willing to spend more ($174 average difference) and lengthen

the duration of their visit (four percent difference). Cultural tourism promotion, research also suggests,

increases the likelihood of drawing tourists with more advanced ages (forty-eight vs. forty-six average,

three percent difference in retired tourists demography) and educational backgrounds (three percent

difference holding a graduate degree). Hosting such demography is a boost for promoting Dubai as the

`image leader' in the region, an immense contribution to the knowledge economy.

The National Assembly of State Arts agencies website asserts that some economic and cultural

trends have had a huge impact on cultural tourism statistics. First, there has been a general rise in

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affluence and education level trends. Second, the United Arab Emirates has bom witness to cultural

diversity; with expatriates now accounting for more than eighty percent of the UAE population. Third,

an increase in the economic role and education of women had women typically setting up the vacation

plans. Fourth, a decrease in time for leisure, which is a mark of modem society increased the demand for

and placed emphasis on shorter and value-added trips. Lastly, there has been an intensified influence of

technology in every domain; an increased awareness of cultural issues, therefore, effected tourists by

creating a demand for a greater variety of cultural activities. These trends imply favourable growth

prospects for cultural tourism in Dubai.

From analysing Dubai's situation, it is evident that the current cultural tourism landscape is

insufficient. Cultural tourism activities in Dubai are on a small-scale, fragmented, and uncoordinated,

and bereft of independent quality checks and strategic guidance. The Dubai Explorer 2006 reports that

the only activities/establishments, which garnered a medium rating on the concentration graph, were

Dubai's six parks (Creek side Park, Mushrif Park, Rashidiya Park, Safa Park, Al Marnzar Beach and

Jumeira Beach Park). The Performing Arts Division (comprised of nine groups and clubs), the Visual

Arts Sector (composed of forty galleries) and Falconry Division's three centres were noted as having the

lowest concentrations. Dubai, however, is not deficient in Venues for Musical and Theatrical

Performances which include: seven venues for Classical Concerts (e. g. Crown Plaza Hotel), six venues

for Theatrical Performances (e. g. a 500-seat Community Theatre built in 2006 in Emirates Shopping

Mall) and fifteen venues for Dance/Pop Concert Events. These numbers are suggestive of the budding

need for appropriate staging facilities and equipment; the demand for performance venues having been

predicted. Comparing the aforementioned figures to a cultural tourism investing country's infrastructure

statistics will reveal some startling differences. (see Appendix 1,2,3,4)

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002 Dubai Hong Kong Dubai: HK

Population 1.4 mm 6.8 mm 13% Land (sq. km) 3,885 1,070 3.6x

DP 41 bb 162.6 bb 10% DP/Capita $19,000 $23,912 80%

Museums 2 13 15% Theatres 2 6 3%

renas 1 2 0.5%

Table 2: characteristics of the tourism demography (2) - Source: World Bank website, Dubai statistics and HK Leisure and Cultural Services Department website www. nasaa-arts. org

The data supports a finding of Dubai having eighty percent of the GDP per capita of Hong Kong,

but pales in comparison to the cultural infrastructure, with only fifteen percent of the number of

muscurns and threc pcrccnt of the numbcr of thcatrcs and arcnas. Bascd on this data, Dubai should havc

at least ten museums and five theatres in order to parallel Hong Kong's status as a tourist spot. The

Cultural Tourism Industry Group and the National Assembly of State Arts Agencies websites specify the

apparent quality and tourism potential of museums, art galleries, concert halls, historic sites, and

national and state parks as main considerations influencing cultural tourists. The organization of cultural

events, festivals, and fairs is a consideration, as well. With an understandably hectic itinerary, the

logistics scheme and accompanying amenities are also important to potential tourists. Some of these

features have already been instituted and/or organized in Dubai, such as national and state parks, cultural

events, festivals and fairs. These institutions or affairs are considered highly competitive and very

manageable. On the other hand, theatres, concert halls and archaeological sites are basically nonexistent.

The construction of theatres and concert halls is a reasonable and achievable objective, as exemplified

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by the construction of Dubai Community Theatre. The opposite holds true for establishing

archaeological sites, which is a challenging feat.

The creation of an investment in organizational networks in Dubai that promote cultural

activities will beget ample dedication, which will enable cultural organizations to fund, foster and

implement innovative ideas crucial to the development of cultural activities. In addition, the

implementation of high impact activities will command the highest visibility and draw a significant

number of tourists. Those projects are built upon cultural tourism, which is currently unavailable in

Dubai. Cultural tourism necessitates the creation of a dedicated oversight committee within the Dubai

Department of Tourism and Commerce Marketing structured to: coordinate with the private sector

regarding the development of projects, fund and foster the development of different project concepts,

and assist in projects implementation to foster the development of cultural activities.

3.1. Possible High Impact Projects

Cultural tourism necessitates an identification of viable high impact activities for

implementation. Possible projects include the construction of a culture complex (based on Barbican or

Lincoln Centre), the construction of an additional opera house (modelled after London's Royal Albert

Hall), the erection of a major performing arts venue (in joint effort with the private sector's Community

Theatre project), the erection of a concert hall (in partnership with Moscow for purposes of production

and guidance), the initiation of a desert arena, hosting cultural events and activities, and erection of art

cinema houses for Indian Films (NYC's Angelica Theatre-based).

Moreover, there is an apparent need for an amendment in Dubai's existing laws on private

ownership to further the development of cultural tourism in this region. In a 1999, the Dubai Department

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of Tourism and Commerce Marketing survey, as posted on the HK Leisure and Cultural Services

Department website, a majority of the respondents specified the scarcity of peculiar activities and sights

in Dubai. The respondents criticized the offered cultural activities as being on a small scale, fragmented,

and uncoordinated. These survey results support the need for improvements in cultural tourism

infrastructure, developments in ongoing cultural activities, and initiation of high impact projects. The

Dubai Department of Tourism and Commerce Marketing, with its current organizational setup, are ill

equipped for a full development of cultural services. A labour force comparison between the Dubai

Department of Tourism and Commerce Marketing and the Hong Kong L&C Services Department

yielded startling results; the HK L&C Services Department has twenty six times more employees.

There is an immense need to foster a dedicated organization in charge of coordinating the

development of cultural activities in the region. The organizational setup will be based on the Hong

Kong model where its primary role would be to act as the central node of cultural activities in the region.

other organizational responsibilities include promotion of cultural performances, provision of support to

festival organizers and private companies, and offer of audience aimed educational programs, and

overall logistical operations (e. g. venues and ticketing).

3.2. Conclusion: cultural tourism

it is evident that the dearth of cultural facilities and cultural activities has brought Dubai to a

tourism disadvantage. Cultural facilities and activities have been described, aptly or otherwise, as being

small scale, bereft of quality control, and seemingly uncoordinated with other cultural tourism

authorities. Established institutions, however, such as the Dubai Museum, Sheikh Mohammed Centre for

Cultural Understanding, and the Dubai Natural History Group have potentially important roles in

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boosting Dubai's cultural tourism prospects. Currently, the Dubai Cultural Council is the government

emphasis in Cultural Tourism. An expedient cultural tourism infrastructure will facilitate Dubai's

agenda of drawing a desirable demographic, generating ample revenues from increased expenses and

lengthened travel duration on tourists' part, and according Dubai the status of an 'image leader' in the

world. Furthermore, it is expected to heighten students' awareness and enthusiasm for acting, sufficient

encouragements for the scholarly and professional pursuit of the Arts. An overall improvement in the

quality of life is expected with the creation of a cultured tourism experience; creative arts specialists and

cultural promotion companies will then be drawn to Dubai.

4. Implications

The magnitude of Dubai's long-term agenda has various implications for the government and

support systems, and marketing and production logistics. First, a high degree of government support is

involved, so much so that the need to institute a governmental agency for cultural promotion purposes

presents itself. Second, creating partnerships with relevant local and overseas organizations is required

for the promotion and improvement of Dubai's Art and Culture. Third, the creation of specialized

umbrella organizations, like a National Heritage Board or Arts Council, would be a significant

assistance to the government for a more focused management. Fourthly, the government has to support,

subsidize and grant incentives to private sector initiatives in support of Dubai's cultural tourism agenda

(e. g. museum foundation, arts organizations). Lastly, there is a need for the government to set guidelines

and policies directed on an effective management of cultural facilities, heritage conservation and tourist

education.

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Support services have their own share of responsibilities. First, the management of major

facilities, such as stadiums and performance venues, will ensure organizers constant facility access and

facility maintenance. Second, there is a need for the implementation of an accessible and automated

ticketing system, possibly with the use of the Internet, to ensure a widespread distribution and

expediency. Third, the endowment of financial support to festivals, event's organizers, museums'

administration and arts organizations can be a cultural tourism marketing tool. Lastly, the Internet is an

effective marketing instrument with a global domain; therefore, creating websites and publishing

electronic newsletters on cultural tourism is an information dissemination option.

Dubai's cultural tourism agenda has peculiar implications for marketing and production logistics.

First, ticket pricing has to be reasonable and demand-based; with discount offerings for senior citizens,

students and children, and price markdowns on special occasions and for promotional reasons. Second,

an effective marketing strategy is key to succeeding in this arena; to participate and organize sales

missions, trade and tourism fairs, consumer fairs and other promotional events is therefore necessary.

Third, cultural organizers have to be responsible for audience briefing on cultural themes in order to

help the audience appreciate different cultural performances. Finally, an educated domain is a boost to

cultural tourism; therefore, the provision for educational programs addressed to students (lectures,

workshops, seminars and symposia) and the encouragement of learning institutions to participate in

cultural activities will significantly bolster Dubai's tourism agenda.

Dubai's vision has crucial implications for production logistics, as well. First, affairs organizers

have a wide array of production options ranging from traditional repertoires to avant-garde creative

performances. Organizers have a corollary responsibility of heeding consumer demand and gamering

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independent ideas; providing a means for the submission of independent project proposals is therefore

required. Second, it is the organizers' privilege and responsibility to provide performance opportunities

to both established and up and coming local artists and groups. Third, there is an organizer responsibility

for a performance venue planning and management, with a corollary need for the constant enhancement

and upgrading of performance facilities. Lastly, production organizers have to establish and be of

support to local professional artists groups like philharmonic societies, dance companies and orchestras.

With a competent strategy and ample guidance, Dubai's vision of cultural tourism need not be

impossibility.

5. Final Conclusion

Dubai is an amazing destination for tourists from all over the world. It has something for

everybody. it is an odd concoction of the past and the present and is peppered with hints of the future. It

is a dream destination for a large number of people from all over the world to come and work here. Each

of them, of course, has different reasons to come here. But then Dubai has the capacity to accommodate

different reasons and different people; it has room enough for everyone. This has perhaps much to do

with the fact that the people of Dubai zealously guard their own culture and traditions. Despite the

emergence of a new era, Dubai has not given up her past and is thus firmly rooted in her identity.

Thanks to their confidence in who and what they are, the people of Dubai have always been hospitable

toward everyone who chooses to come under the umbrella Dubai provided. It is due to their fortitude

that Dubai is today a great city. Surely, in the years to come, it will become more prosperous and far

stronger and provide a home for many more.

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To keep up with the demands of the day, Dubai, like most other countries in the Gulf, had two

choices either she could surrender herself totally to Western ideologies and let them decide her fate or

she could devise her own system and work according to it. Fortunately, Dubai chose the latter.

While choosing their own methodology, the merchants and governing class in Dubai were

careful to take into consideration all the local features, the movements in the market, the requirements

that are likely to emerge in the future, etc. Their endeavour was often criticized and mocked, but

fortunately such condemnation did not hinder them from going forward. Today Dubai is bearing the fruit

of this resilience.

Unlike many other countries, in Dubai, there exists a spirit of co-existence and cooperation

between the governing class and the businessmen. The splendid understanding between the two is the

secret behind Dubai's success. Thanks to the communication between these two groups, the projects

taken up in Dubai are directed towards one single goal, pushing the national economy to unforeseen

heights.

Yet another marvellous thing about Dubai is its openness. Despite being steeped deep in religion,

people in Dubai have the deepest respect for modem times, and therefore, make every effort to keep

pace with the changing world. At the same time, regardless of the modem era that it has so

enthusiastically welcomed, Dubai has been particularly careful to hold on to its cultural heritage,

especially its religious base, which, even today, provides the greatest support to the people of Dubai.

Today's Dubai is a far cry from the original town inhabited by the Bedouins and their exotic

animals. It is now a thriving, modem city, complete with all possible urban facilities. It is a heady mix of

the old and the new, and can therefore hope to attract a variety of tourists.

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Dubai has a glorious past and an engaging present, all the right ingredients for cultural tourism.

Cultural tourism itself has much to offer to Dubai. Apart from being a highly profitable, quickly growing

industry, it is highly volatile, and can thus allow you to make incredible amount of money if only you

keep to the basics. Creative competition in the field means all parties in the industry will try various

techniques to lure the tourists. Thus, increasing the number of hotels and resorts will only mean a greater

number of tourists and amount of profits.

To keep up with this expected surge of tourists, Dubai must equip herself with essential

supporting services, such as hotels, telecommunication facilities, etc. in order to ensure a smoother visit

for the foreigners. She should also exploit the rich cultural scene brewing in her belly and engage in

what is called 'cultural tourism'.

A brief look at the present scene, however, reveals that currently Dubai is not adequately

prepared to deal with the demands of cultural tourism. In order to prepare herself, Dubai needs to

increase the number of theatres and parks in the city, etc. For such developments to actually take place,

the authorities in Dubai ought to also start looking for sponsors since the expenditure is likely to be

heavy. The government should also establish a specialized department especially to deal with the

specific requirements of the cultural tourism sector. To keep up with the alterations, this department will

bring about the individual establishments (such as auditoriums, theatres, and opera houses) will also

have to follow a set of prescribed rules.

Dubai has a lot to offer her visitors. Apart from the splendid shopping malls, she also provides

numerous opportunities for luxury living, a fabulous nightlife, great ambience, world championships,

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sporting facilities, museums, theatres, and auditoriums. New attractions are being planned to keep the

visitors pouring in.

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CONCLUSIONS

Having investigated and analysed the problems and opportunities confronting Dubai with regard

to its cultural aspects in detail throughout this thesis, I would now like to draw together my conclusions

and make a number of recommendations. Some of my conclusions have already been anticipated in the

final concluding sections of each chapter.

1. UAE enjoys one of the most strategic locations on the planet

This location also made it viable for trading and cultural exchange especially with South Asia by

mean of land and sea commercial. The settlements occupying this region were quite advanced and had a

sophisticated way of life. Proof of the social, cultural and religious habits of the people can be seen

through various excavations and the articles recovered from these excavations testify this. One of the

most interesting sites that were excavated in Dubai was called the 'Hill of Snakes' that existed since

2000 BC. They had advanced and complicated ritual Practices and a way of life but the arrival of Islam

which replaced the old snake worshipping ritual practiced by people in UAE. It was facilitated by one of

the major features that have characterized UAE for a very long time.

Due to the strategic location of Dubai it has become a main trading in the Gulf owing partly to

the success of its pearl-making business. However, UAE was the cross road of many cultures due to its

strategic location beside bodies of water used for trade and transportation, and so have its parts. The

result is the commingling of the arts and culture of its parts, including the Dubai Emirates thus losing

their distinction among each other.

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2. Various different facets contribute to a country's personal feeling of Culture

No matter what your personal opinion regarding what constitutes your culture is, however, every

individual or community will make an attempt to preserve and secure everything that represents culture

for them. Thus, historical sites will be conserved, and music will be safely secured into the hearts of the

people who have heard it, and the poetry will be cherished and recited when the time is right. Every

community has their own way of conserving what is theirs. When the community is as big as the

population of UAE (which though not particularly large, has come to swell under the constant migration

from other countries), the methods of conserving the culture will be varied.

With every turn of the wheel of time, the unique tapestry of UAE's culture will grow stronger

and brighter, as thousands of more people make her their home UAE's history is bound to grow richer

and more varied. Hopefully, with time, the rest of the world will take her lead and provide a harmonious

site for culture to prosper, uninhibited.

3. Different aspects of the demographic composition and its growth in UAE in general and in

Dubai in particular

The demographic composition of UAE in general and in Dubai in particular is highly skewed in

favour of foreign nationals and this ratio is rapidly changing in favour of foreign nationals. Such a large

number of foreign nationals have been caused by rapidly growing economic growth rate of Dubai and

the consequent demand of skilled and unskilled professionals, which cannot be supplied locally.

Though, this unfavourable ratio of foreign nationals to nationals has not led to any serious trouble so far,

but the same cannot be told about the fature. There are many intangible problems that may crop up in

future.

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4. The UAE tribes have been shaped by their unique experiences in the harsh environment of the

deserts

Perhaps the success and development of the UAE can be attributed to the strong sense of culture,

and the strong sense of culture can be attributed to the shared experiences of their ancestors up to the

present day generations. The harsh deserts and the high waves are still there, and it is a unique place in

the world. Their shared experience of cultivating a rather unfriendly environment pulled the people and

tribes closer, making them rely on each other and not act solely as individuals. The Bedouins would

have had a more difficult time if they travelled and tried to survive as individuals in the harsh conditions

of their setting, and that is primarily the reason why they still continue to value the tribe as a social unit,

not only as a means of survival, but also as an important link to the past and a way of honouring all

those who came before them.

5. The various traditional habits and heritage of the UAE people are important in determining

their sense of history and identity

The traditional habits and folklore of the UAE are in large part shaped by the environments in

which the people live. A redeeming quality is that the people of the UAE put a great importance on their

traditions, and this is evident in their desire to follow and uphold the tradition over their own. An

interesting part is how, even with the dawn of modernism and globalization and the presence of foreign

influences, the people still choose their own norms, like their dress codes of robes of black and white for

women and men, respectively, over the current fashions.

The government has taken the initiative in preserving various heritage sites and promoting the

culture and traditions of the UAE in various international activities, like the Dubai Shopping Festival,

through exhibitions. Although more can be done to preserve the culture and tradition, heritage, and

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folklore of the UAE and its people and its rich history, at least the people and the government are

starting exhibit efforts in that area.

6. There are various theories stating different interpretations for the cultural developments of UAE

Some theories state the different economic scenario of UAE since 1970s influence the cultural

preferences of people here. However one point is clear that UAE needs more intellectual freedom if it

wants its culture to grow. The studies and inferences on culture show that the UAE's cultural activities

are ineffective in social life, they simply don't attract audience. There are a lot of cultural councils in

UAE who are delivering mediocre performances. The rise of new intelligentsia is under formation with a

growing conflict between conventional and modem cultures. That can also be called a conflict between

western capitalist culture and the Islamic culture of Middle East. The modem intellectuals of UAE are in

a dilemma.

7. Local culture and heritage are not well promoted and not passed on to the new generation

Local content is low priority in media and there are few local productions and very few local

cultural programmes on national television and radio. Local plays are often of low quality and do not

attract Nationals nor non-Nationals. Language is a barrier in creating more coordination between the

various community cultural groups. There is a need for providers of Folkloric performances, because the

majority of the workforce (folk dancers) is imported from neighbouring countries. There are not enough

training centres for local folklore dancing and local handcrafts. Folklore is poorly transferred to the

younger generation, because there are not enough schools that teach children about folklore and

heritage. Heritage venues such as the heritage village are not heavily promoted for tourist attractions. In

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summary, there is a general consensus among people dealing with cultural issues in Dubai that local

culture and heritage are in danger of disappearing.

8. Action needs to be taken in various cultural fields

Dubai now needs a decent Drama and Cinema movement, which will allow some momentum

for both these art forms in the country. Apart from providing for local artists the government must also

look into the establishment of a large national theatre, which will be able to accommodate not just local

groups but also sizeable international troupes. Although it is not just a national theatre that Dubai needs;

she also requires a decent national group, which will present the national arts and music of Dubai. Apart

from helping national integration such a group will also draw in large amounts of tourists.

Cultural organizations and institutions must take appropriate steps to encourage such committed

writing. In addition, newspapers should be more aware of and careful about what they are printing. To

help them in the task all media and cultural establishments should preferably draw up strategies and

policies to encourage and support (even financially, if required) these talented writers. Recognizing

certain common social goals of all kinds of writing is also of vital importance. In this vein, setting up a

National publishing house would be a good place to start. Such a publishing house would help local

writers to write socially relevant text without bothering with the publishing and distributing process.

Such ease of mind will undoubtedly encourage more and more new and committed writers to publish

new books.

9. Dubai is a Generator of Ideas

The people of Dubai believe in innovation and creativity, but most of all, they believe in having

faith in their own dreams and aspirations. Thus they go ahead with their projects undeterred by the

Salem Humaid 348

criticism of the foreign press and media, and manage to persuade them to accept their success in the long

run. Many scorned their ambitions and blamed them for trying to override the rest of the countries in the

Emirates, but Dubai was careful to keep its relations with all the other countries in perfect health.

Therefore, today it can safely confess to having been highly successful. Dubai believes in keeping the

governing elite and the business class in close contact so that they might help each other in taking the

country ahead. The result of this policy is for everyone to see.

To keep up with the demands of the day, Dubai, like most other countries in the Gulf, had two

choices either she could surrender herself totally to Western ideologies and let them decide her fate or

she could devise her own system and work according to it. Fortunately, Dubai chose the latter.

Additional recommendations could be useful to develop the cultural scene in the UAE in general

and Dubai in particular as per the following points:

1. Climate of uncertainty due to the sheer scope of change

The challenges faced by Dubai in view of its unstable regional environment and the attendant

atmosphere of uncertainty cannot be underestimated. In the whole Gulf Region, the function of

government is undergoing overwhelming changes as it struggles to become more inclusive in terms of

law, equality, transparency, creativity, knowledge, human rights and basic human freedoms and respect

diversity in all its many manifestations in the area.

Our cities are embracing new lifestyles and globalized cultural values which may negatively

affect the future of our national identity and its future. Such a prospect makes it difficult for citizens to

cope with the invasion of ideas, cultures and values. Contemporary life now involves so many different

Salem Humaid 349

features of global modernity. Such a situation requires us to introduce and develop new policies to deal

with our current situation. Privatization, for example, must ensure the existence of social responsibility,

sound social services, in addition to the values of accountability, work, achievement, creativity and

competition.

Developing governmental structures, institutions and work mechanisms requires developing the

general awareness of citizens and introducing a national cultural project, because culture is a vital

component in any modem government since it constitutes the general vision of the world around us,

which provide the human values, standards of behaviour and interaction with others.

The quality of its culture sets the directions and goals of any society, and so cultural

development should be an indispensable goal of modem governance. Cultural development has a direct

impact on the development of human beings and on creating a national cultural asset which serves as the

cornerstone in building a society and on forming a cultural movement that will set the mind free and

enhance the knowledge and skills of the society. It should be a basic right for any citizen to participate

and contribute to the cultural life of his or her society and should add value, richness and happiness to

his or her well being. Culture is not a luxury that one can live without, or a concession restricted only to

the elite.

In addition, citizens should not only enjoy their "Cultural Rights" but they should actively

contribute to creating a rich and varied cultural environment. This cannot be achieved only by building

new and modem theatres and opera houses but by creating the environment for talented people to excel

Salem Humaid 350

and innovate and to reach new intellectual horizons that underpin the people's patriotic feelings, national

identity and freedom and enable then to build their future in a modem and fast changing world.

2. National Cultural Values

Cultural development should be placed high on the national agenda in terms of planning, financing and

implementation; setting the framework and goals for this agenda should definitely focus on enriching

national character, raising awareness of national identity, nurturing creative potentialities, supporting

self-confidence and positive interaction with political and social realities.

The success of any cultural action plan depends on its comprehensive approach, balance in

objectives, and satisfaction of human needs. It also should have an answer to the question: What kind of

citizen do we need in the future? In the United Arab Emirates, all policies pursue creating the

environment for citizens to thrive and be creative, open, sharing, and believe in values ofjustice, liberty,

social responsibility and eager to learn and explore. The very nature of culture depends on sharing

values with citizens to develop their lifestyle, intellectual activity, and enhance their taste for beauty,

knowledge, spiritual heritage that all constitute the cultural identity of people.

Our reaction to the development of the arts and culture in general is personal and individual. We

tend to respond to works of art according to our level of expectation. Thus, we like some works of art

and we don't like others, simply because they don't reveal to us what we feel they should. We cannot

escape from our personal preferences. And when we look at art, we do so with a prejudiced eye. Our

reaction is coloured, too, by the ideas of our time about particular aspects of art. Each generation tends

to prefer one style of art to another. Regardless of this nature, any opportunity to influence the cultural

Salem Humaid 351

environment actually can put a dent of impacts that environment, its mood and direction. Culture

somehow has its way of imbibing as well imparting or affecting any nation's constituents.

3. Culture is not only a mirror to reflect life, but also an instrument that shapes it

Cross cultural influences on a society does not happen overnight but only gradually over time.

-Mroughout history, the society of the United Arab Emirates was never isolated from influence of

passing cultures on its land and coast, and witnessed dramatic changes in recent years as many people

from different backgrounds chose to make this country their second home, though many have kept their

cultural values as "isolated islands" yet the cultural interaction can be invested within a cultural plan to

enrich culture and human values.

Future cultural developments in our society require enhancing cultural awareness, enlarging the

circle of cultural life, stimulating cultural activities, supporting talented individuals among new

generations to contribute to shaping up the future and grant the students in schools and universities the

opportunity to develop their talents and skills through training and excellent education. This elite will

form the cultural strength of any given society and the power to generate creativity in art, music, theatre,

science and literature.

Every society has to explore its cultural riches and develop them, and every society has to

preserve heritage and create a national pot of talented individuals such as musicians, writers, poets,

playwrights, actors, directors, translators and historians. Every society has also to strengthen relationship

with its cultural organizations, as it does with financial, business and tourist organisations.

Salem Humaid 352

Cultural development can be achieved by opening doors to knowledge, art and beauty to all

individuals in remote areas and among youth communities. The experiment of establishing child centres

in the Emirate of Sharjah and spreading this project to all cities and villages of the country proved to be

a success story in this respect.

The creation of a "National Fund for Cultural Development" to support talents and encourage

research, translation and writing is also another pillar in the structure of a cultural industry that should

adequately cover all geographic areas and sectors to maximize anticipated results.

Generally speaking, though, while each work of art is evidently the expression of an artist's

personal viewpoint, it is at the same time an expression of a general vision of the age in which it was

created. For the artist, like any other individual, belongs to a milieu, and he/she cannot escape the

influence of his/her social, economic, political, religious, scientific, and technological environment.

These factors affect his/her artistic expression. His/her vision is also necessarily influenced by his

cultural traditions and by his own training. Yet a sensitive artist is often not a conscious social agent, and

a great work of art need not be a statement of what has transpired in a particular age. But usually the

artist becomes a kind of historian, recording in his/her work the attitudes and way of life of his/her

period. Or he/she becomes a critic or moralist, analyzing and commenting on the virtues and vices of his

particular society, as well as pointing out a course of action for its renovation. Creating a cultural

atniosphere that encourages the diverse artistry of a nation such as UAE or Dubai in particular enhances

the "recording" as well as the "critiquing" of artists on its milieu. At any rate, art at any given period

Sirnultaneously reflects two things - the genius of its creator as well as the sensibility or the

Salem Humaid 353

characteristic values and attitudes toward important aspects of life held by the society in which the work

of art was born. Even the most subjective and personal expressions show these two aspects.

4. History, Heritage and Culture

Heritage is the result of human experience and is always subject to change and upgrading. It is

the accumulation of traditions influenced by time and place and by economic standards and lifestyles.

Cultural heritage also comes from sources of traditions and social codes, and is also based on aesthetic

values which develop overtime. Other sources are the moral values which the society embraces through

education and not through laws. These moral values never develop and remain as printed codes in the

conscience of the nation, such as humility, honour, delivering on promises and telling the truth.

There is another kind of experience associated with art and culture. This refers to what an

onlooker or listener undergoes when he/she perceives the work of art. The perception may kindle an

experience which is similar or related to what the artist tried to express. In this juncture, an interplay or

interaction occurs between the artist, his/her art, and the people who are "recipients" of this kind of

human activity. It goes without saying that art and culture must be directly seen or heard in order to be

enjoyed or appreciated. No amount of reading about a painting or sculpture can take the place of actually

seeing it. A varying combination of sensory, emotional, and intellectual responses is involved in

experiencing art and culture. This is the rationale that planned establishment and development of

cultural heritage at an advanced rate must be pursued; that is, more people experience art and culture and

the heritage that is in the making.

Salem Humaid 354

5. Art and culture to stimulate the mind and entertain the audience

Art is a planned activity. Unlike the spider when it weaves its web, the artist does not put his/her

materials into shape instinctively. Rather, he/she thinks outs a design, selects his/her materials, and

arranges them according to his/her design. To be sure, he/she may not be wholly original; no artist really

is. But he/she would be producing something that never existed before. Sometimes, the finished product

may not turn out as he/she had originally envisioned it to be. Creation involves constant correction and

redirection, depending on the demands of the material and the challenges it poses. Sometimes, the art

object may be the result of a cooperative activity, by a team of artists motivated by a common goal, as in

the production of a play or a movie. Each finished product is an expression of order - the artist's idea of

order. The artist has made the form the vehicle of his idea. Its parts have been so integrated as to

produce a unique entity which communicates to all men as long as it lasts. It is taken as a self-contained

object, reacted to, and evaluated by people who come in contact with it.

Precisely due this of art nature that a national effort or a grander scale of concerted enterprise

helps to establish and develop a mindset that further stimulates and enhances present culture and

advances it towards a progressive one. Can we bring culture back to its true place in the daily life of

citizens? Can we succeed in attracting people to culture and its mixed identity? Can we succeed in

stimulating the sense of sharing and innovating new methods for cultural activity in villages and cities?

Are we going to stick to old and traditional ways or try to introduce new techniques and create mutual

interests between public and private sectors to contribute and benefit from culture? Do we need the

culture for the elite or a culture for all with greater and higher national goals? Confusing questions

hanging on and awaiting to see what the future holds.

Salem Humaid 355

6. Educating the social behaviour of people is a by-product of culture and art

One cannot conceive of a society without art, for art is closely related to every aspect of life. Art

performs a social function by influencing social behaviour. Many works of art influence the way we

think, feel or act. They cause us to laugh at a certain phenomena, raise our voices in protest over certain

matters, or see a social reality which had never been apparent to us before. They can bring about in us

decisions to collectively change, correct or improve upon the human condition.

in spreading a doctrine or teaching ideas, attitudes, and ways of behaving, paintings, prints,

sculptures have been used either in place of or as complements to the written word. Religion ahs

especially capitalized on the arts to spread belief and reinforce and sustain faith. Art forms such as

frescoes, statues, and paintings for instance, not only interpret theological or spiritual matters but also

provide models for the faithful. These art forms, along with religious music and rites, contrive an

atmosphere for further contemplation.

Commercial or advertising art today is as much a greater influence than any form of art. By

rnaking a deep impression on people through striking designs, lively colours, and catchy tunes, they

persuade people to buy a product, a service, or an idea or participating in government and non-

government programs for example.

Display and celebration is a function of cultural art that is held importantly by any nationalistic

character. It is the commemoration of important personages in society. The statues of national heroes

that grace parks and plazas are commemorative works as are the commissioned paintings of leaders or

Salem Humaid 356

rulers. Often they serve to record important historical events, or reveal the ideas of heroism and

leadership that the community would want the young to emulate.

7. A collective work for collective living in enhancing landscape and cultural panorama

Considering the growth of population and the physical and aesthetic inadequacy of most

communities, their improvement and the design of new and insurmountable traffic problems have made

city living a nerve-wracking experience for any city dweller. And overcrowded and blighted areas have

spawned a host of social problems, ranging from health to criminality. Planning new communities in

areas which are not thickly populated and replacing city congestion with good housing is not accidental

but rather a fruit of planning. Community planning involves efficient organization of buildings, roads

and spaces so that they meet the physical and aesthetic needs of the community. A community may

grow in strategic areas such as natural ports, road terminals, industrial complexes or mines. A

preponderance of some particular interest has been noted in certain cities; some of them are seats of

government, university towns, or industrial centres. A community may thus assume a specific character

and its growth and physical development must take this into account.

Today, with fast urban development, other focal points have sprung up in the form of shopping

centres and recreation centres. Intentional planning of the complementary relationships between nature

and industrial breakthroughs must be given larger accommodation. Harmony with environment and

neighbourhood, blending the cultural charms and conveniences are not impossibilities. A community

governs itself, and it therefore provides structures where the functions of government can be efficiently

carried out, and which would in appearance, be symbolic of community dignity and pride.

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Salem I Iumaid 357

APPENDICES

Appendix 1: Service Providers & Workforce in Performing Arts, Fine Arts, Music & Movies

a. Performing Arts and Fine Arts

Film Society Courses in Drama Undergraduate Short Courses & Courses in Fine arts Wor", hops in Fine

a rts Dubai Film Society Dubai Drama Group: American lJniversitN in Lotus LdLlCatlOnal (Dubai Men's College): Non-profit, amateur Dubai: Bachelor offine histitutc: Provides Members watch and theatrical group with arts (13FA) in Visual experimental study of' criticize classic films over 100 members communications visual arts

Rang Manch Theatre Emirates I lobbies Academy: Hindi actor Association - Arts and Kader Khan's academy, Crafts: Offers art and the first theatre school crafts classes and in the Gulf workshops for kids Speech and Drama Dubai Ladies Club - Classes (LAMDA): Art and talent center: Develop student's Offers various art communication options for worrien,

including drop-in arts and crafts classes. Also exhibits work by local artists Dubai International Art Center: Holds classes in all artistic media. from mosaics to calli. (,,, raphy __4 Creative Modern Art: Art classes train women and children in arts Crafter's Home: Offers classes in sand-art, ceramics and bead weaving

Art Galleries

Green Art Gallery Falaw Gallery

The Mailis Gallery Gallery XVA

Total , I%rts Art Space

Hunar Gallery Five-Green

eaux Arts Creative Art Center Intex Universa Creations Arts

Salem Ilumaid ýýh

Original & Unique Art Four Seasons Ramesh Al Ahbar Art Gallery Prol-11c Gallery Gallery Courtyard Caf6 & Middle East Arts Gallery One I, '01, tix Gallery More Caf6 Mattar Art Centre Lotus Educational Crean,

Institute Dubai International art Dubai Ladies Club Abrash Gallerv Aquar center Derby Art Gallery Design People Emirates 1-10hNes Art I

Association - Arts and Crafts

Art Space The B21 Art Gallery Basta Art Cat'ý Five Green The Jam Jar Mailis Gallery Mcrcaý Ostra Soho The Third Line XVA ( Zyara Caf6 Intex, Colours on Mirage Glass _ Pago&

Canvas

b. Music

Courses in Music & Dance

trading

Original Paintin z nine

ýe Modern Art

ius

use I)uhai

nts Art Cate 11

II louse

Crystal Music Institute: Vocal, dance and instrument tralimig in Carnatic. Hindustani and estern music

-b-u-bai Music School: Founded in 1980, and accepts all students Ovidio Music institute: Piano school popular Music Institute: Otters a digitai recording studio and music computer room, also courses in music theory Shruthi Music & Dance Institute: Offers classes in everything, frorn voice and instruments to orientai- and western dance T-he Music Institute: Classes in vocals, instruments and music theory

Ballet Center: Teaches children ballet, tap, modern dance, Irish dancing". Spanish dancing Cý-ea-tive-ýi-o-dcrn Centre: Ballet classes for children of all ages Te Dance C entre Offers bal let, modern dance, Jazz, ta funk , and Irish dancin

J. CC il 'SC hoir. jIiM usic Centre: Offers iano, woodwi nd ,

brass, strin or drums h dren

Local Folkloric Musical Associations

vval Nasser Association for Art and I lenta(-, e I

The Association of Folklore and Rowing

c. Movies

Salem Ilumaid 3)59

Salem 1 Iuti aid 300

Appendix 2: Service Providers & Workforce in Literature

Al-Ras Library U-rnSaqeem Library

Hatta Library (Hatta

Nor Al-An. I. ihr, Jumairah Library

AI-Rashdlýa Library Al-'I'o\, Nai- Library (under- construction)

Research & Think-Tanks centers in Dubai international Center for Biosaline Agiculture: Scientific center develops and promotes the use of' sustainable aýricultural systems that use saline water to , ro%% crops Institute for Near East & Gulf Military Analysis (INEGMA): Political center, self-financed establishment that offers media, research and consultation services in the fields ot'deflense. security and

The Public Libraries fh-e Dar of Islamic Studies and Heritaýe Revival Department of Tourism and Commerce Marketing in Dubai Child City b-ubai Shopping Festival and Summer Surprises Office

The Association of Culture and Science Sultan Bin Ali Al-Awais Cultural Foundation j-uma-XI-Majed Centre for Culture and Heritage C)ýubaiLadies Club -T-he-Women's Revival Association &a-s-ha Bint Hussain Cultural Centre iýýoha mýýmed Bin Rashed Centre for Cultural Understand Knowledge Village Th--eModern Creative Centre iýheýCo,: nm: iýitýýeje: o]ýý-'ýassicaI Music in Dubai The Association ot Heritage Architecture Preserving

Salem Humaid 361

Hamdan Bin Rashed AI-Maktoum Award in Education Excellence Sheikh Hamdan Bin Rashed Award of Medicine Science Al-Awais Award of Scientific Research (The Association of Culture and Science) Sultan Bin Ali Al-Awais Award for Cultural and Scientific Accomplishment Rashed Award for Scientific Excellence (The Association of Culture and Science) The Dubai Award of Excellence (The Economic Development Department) The Dubai International Award for the Best Practices of improving the way of Living (Dubai Municipality)

- Dubai Press Award The Arab Media Forum (Dubai Press Club) Ghanim Gabbash Award for Short Stories lbbdIa Award (Dubai Media City) Shaikha Latifa Bint Mohammed Al-Maktourn for Childhood Creativity (The Women's Revival Association)

Salem I lumaid 362

Appendix 3: Service Providers & Workforce in Folklore & Festivals

Airport Expo Dubai Dubai International Convention Center Dubai World Trade Center

Al-Bader Exhibition Al-Fajer Information &, Bayt Al-Khaleej Brightway Exhibition &, Organizers Services Exhibition Conference Organizing

Co. Channels Exhibitions Datamatix DMG World Media Dorne Exhibitions -

Dubai Ltd Dubai Dubai Experience Dubai Sail LLC Dubai Shows Ltd Epoc Messe Frankfurt Expolink Exhibitions Fair Exhibition Fairs & Exhibitions Future Commercial

Organizers Marketing General Exhibitions Global Links Dubai IBC Gulf Conferences I _ IIR Fxhibitions Corporation In Time Events Index Conferences & International International Expo-

Exhibitions Conferences & Consults Exhibitions

--In-t-ernational -Exposifion Itlala Exhibitions & Mediac Commu-nication Motivate Events Conferences & Exhibitions

ý, ', ýewý F ýie I dksýxLý ibitions Orange Fairs & Events Planetfair Dubai Promotair Promotearn LtC1 Seatrade Streamline Marketing The Domus Group

Communications Ltd Group The Main Event Universal Ventures

Exhibition Stands

60 Degrees A. H. Events & AI-Callk General Apollo Advertising Exhibitions Trading Est.

l3ig Dot C21) Advertising Circle Exhibition Concepts LLC Services

Costra. Advertising CPL International Decent Dimensions Design People Dome Exhibitions - Eagle Star Engineering Easy Stands Eclipse Dubai

__ Electro, Industries - Global Displays Kingsmen Middle East Laspinas Interiors Dubai Lazer Advertisiný Masonlite MediaPro FZ LLC Multiline D&or

-FI-co-I riternational Salony Creations Sign & Display Simple Media Solutions (Dubai) LLC

SAcm I lumaid 16 3

Spaceexhibit Architecture Unique Business Solutions

The Image Works

Wafi Communications

Total Media Solutions

World Ima-e (Middle East)

Trucolour EXIIIIII t 1011 Services

4 Seasons Alpha Omega Services Artaaj L'vents Biz-events Entertainment Chillout Productions Concept Events Con-ress Rental Contempo F, vents

Emirates Desli"n LLC Cue Media DEvents Delphine Productions Done [-. vents Dubai Artistic Eclipse Euro Media Factory Productions Innovation Futuristic Gearhouse LLC Gulf Arena I IQ Creative Communications ITP Events M&M Entertainment Madar Sound & Light Mirage Promotions

Systems

, MM I Events Multilink Events & Pico International Prisnie International

Management (Dubai) LI-C promoseven Sports & Protec - Production Repertoire Seven Star Events & Events Technology LLC Entertainment Productions Signature Group Technopro LLC _ The Talent Brokers Think Factory Total Concepts Twilight Events Dubai Whisper Events World Image (Middle international East) LLC World of Events

Salem Ilumaid 364

Appendix 4: Service Providers & Workforce in Archeology & Heritage

Al Ahmadiya School -P-eritage House

Hatta Heritage Villaýe jjouse of Sheikh Obaid Bin Thani

Ouse of Sheikh jorna'a Al Maktourn

Bait Al Wakeel Heritage Village & Diving Village Sheikh Saeed's House Watch Towers & Morabaats

Bin MLIZIil_la I IOLISe Majlis Ghorfat Uni-Al Sheif The Bastakiya Dar Al Nadwa

Burj Nahar Dubai Museum

Dubai Wall Municipality Museum

Salem I Iumaid 365

Appendix 5: Service Providers & Workforce in Media

Al-Bayan (Arabic) I -, in ]rates Today (Ln(,, Iish) Tmarat Al-Yourn (Arabic) Gulf News (Enýlisl )

7 Days (English) Khaleejj Times (English)

,. Iish) Emirates Evening Post (Enp Asliarq Al-Awsat (Arabic) - International

newspaper

News & Political magazines: 1. Ertebat (Persian) - targeting the Iranian community in tile LJAE 2. UAE Digest (English)

Lifestyle & General Interest: I. Al-Sada (Arabic) 2. Almara'a Alyaum (Arabic) 3. Ahwal Magazine (Arabic) 4. Mamlaka (Arabic) - distributed only in Saudi Arabia 5. Al-Shindagah (Arabic & English) 6. Insight (Arabic & English) 7. The Buzz (English) 8. Aquarius (English) 9. Attitude (English) 10. Connector (English) 11. Global Indian (English) - aimed at non-resident Indians 12. Living in the Gulf (English) - distributed only in the UAE and Oman 13. ME Magazine (English) 14. Options (English) 15. Stars (English) 16. The Magazine (English) 17. What's New (English) 18. Young & Trendy (English) 19. Aircrew Dubai Magazine (English) 20. Citylife (English) 2 1. Gulf Connoisseur (English) 22. Jumeira Beach Magazine (English) 23). REMIX Magazine (English) 24. The International Indian (English) - aimed at non-resident Indians in the Middle East 25. Jumana Magazine (English) 26. Jumeirah Magazine (English) - official magazine of the Jurneirah Hospitality GroU

Entertainment & Listings: 1. Citylnfo Dubai (Arabic) 2. Showtime TV Guide (Arabic & English) 3. Time Out Dubai (English)

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4. Infusion (English) 5. Bollywood International (English) 6. Concierge (English) 7. Discover Dubai (English) 8. Grand Cinemas Movie Entertainment Guide (English) 9. Hospitality (English) 10. Movieguide - Gulf edition (English) 11. Out & About (English) 12. Play (English) 13. Time Out Abu Dhabi (English) 14. Visitor (English) 15. What's On (English)

Celebrity & Society: 1. Ahlan (Arabic) 2. OK! Middle East (Arabic) 3. Layalina - UAE edition (Arabic) 4. Ahlan (English) 5. Ahlan Masala (English) 6. Hello! Middle East (English) 7. Mondanite - UAE edition (English) 8. Society Dubai (English)

-Women's Magazines: 1. Sayidaty (Arabic) 2. Al-Jeel (The Generation) (Arabic) 3. Oyoun Magazine (Arabic) 4. Sabaya Magazine (Arabic) 5. Nisaa Alfaen (Arabic) 6. Arabian Woman (English) 7. Beauty & Style (English) 8. Emirates Woman (English) 9. Good Living (English) 10. Oxygen - Middle East edition (English) 11. Viva (English) 12. All Woman in the Gulf (English)

Fashion & Shopping: I. Class Magazine (Arabic) 2. L'Officiel Hommes (Arabic) 3. L'Officiel Middle East (Arabic) 4. Paris Gallery (Arabic) 5. Alarn Assaat Wal Moujawharat (Arabic) 6. Arabian Watches & Jewelry (Arabic) 7. Pen ME (Arabic) 8. Sayidaty Fashion (Arabic) 9. Fashion (Arabic) 10. Damas Magazine (Arabic & English)

Salem Humaid 367

11. Day & Night (Arabic & English) 12. Grazia, (English) 13. Impulse Magazine (English) 14. Latest (English) 15. Paris Gallery (English) 16. Souk (English)

Food & Cooking: 1. Milh wa Soukkar Magazine (Arabic)

Bridal Magazine: 1. Aroos Al-Arabia (Bridal Arabia) (Arabic) 2. Emirates Bride (English)

Parenting & Childcare: 1. Ahali (Arabic) 2. Bumps and Babes (English) 3. Emirates Parent Plus (English) 4. Yummy Mummy (English)

Men's Magazines: 1. Arabian Man (English) 2. Charged Middle East (English)

Teenage & Children's: 1. Atfal (Arabic) 2. Young Times (English)

--§t-udent Magazine: 1. Sala (Arabic) 2. Studio Al-Talabah (Arabic) 3. Studentalk Dubai (Arabic & English) 4. Campus Journal UAE (English) 5. Mash Up (English)

--§P-ortS Magazines: 1. Al-Riadah Al-Yaurn (Arabic) 2. Knotika (Arabic) 3. Arabian Yachts (Arabic & English) 4. Banat Al-Reeh (Arabic & English) 5. FI Racing Middle East (Arabic & English) 6. Sport Extra (English) 7. Boat Owner Middle East (English) 8. CLEANBowled (English) 9. Game On (English) 10. Middle East Golfer (English) 11. Race Week (English) 12. Total Sport Magazine (English) 13. On Course (English) 14. FIi- Middle East edition (English)

MotoriTg Magazines: s s IL Aswak Al-Sayara Al-Arabia (Arabic)

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2. BBC Top Gear (Arabic) 3. Gulf Auto (Arabic) 4. BMW Magazine (Arabic) 5. Mini Magazine (Arabic) 6. Automart (Arabic & English) 7. Autocar Middle East (Arabic & English) 8. Assayar - The Motorist (Arabic & English) 9. Auto Trader (UAE) (English) 10. Wheels (English) 11. Car (English) 12. Car Express (English) 13. Middle East Car (English) 14. Top Performance Magazine (English) 15. Wheels & Gears (English) 16.4x4 Off-road & Accessories Magazine (English) 17. GTQ (English) 18. Auto Emirates (English)

-ftomes & Properties magazines: I. Property World Middle East (Arabic) 2. Property Weekly (English) I Decoration (English) 4. Emirates Home (English) 5. Identity (English) 6. Inside Out (English) 7. Propert-ae Magazine (English) 8. Property World Middle East (English) 9. Emmar Properties (English) 10. PROPERTYworks (English)

Travel & Tourism magazines: 1. Travel Arabia (English) 2. Travel & Tourism News Middle East (TTN) (English) I Business Traveler Middle East (English) 4. MICE International (English) 5. Middle East Travel (English) 6. Aviamost Magazine (Russian)

Airport & In-flight Magazines: 1. Dubai Voyager (English) 2. Etihad In Flight (Arabic & English) 3. open Skies (Arabic & English) 4. Oryx (Arabic & English)

Literature, Art & Culture magazines: 1. Aafaq Thaqafia (Cultural Horizons) (Arabic & English) - issued from Dubai Cultural Council 2. Dubai Al-Thaqafia (Arabic) I Canvas (English) 4. juma Al-Majed Culture & Heritage Magazine (Arabic)

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_ 5. Huroof Arabiya (Arabic Calligraphy) (Arabic)

Business Magazines: 1. Arabian Business - Arabic (Arabic) 2. Entrepreneur Middle East (Arabic) 3. Forbes Arabia (Arabic) 4. Saneou Al-Hadath (Arabic) 5. Business & Finance Club (Arabic & English) 6. Invest Dubai (Arabic & English) 7. Arabian Business (English) 8. MEED - Middle East Economic Digest (English) 9. Brand UAE Magazine (English) 10. Gulf Business (English) 11. B213 Buyers Digest (English) 12. Human Assets Middle East (English) 13. Mir Sobstvennika (Russian)

Zh- amber of Commerce & Business Group Magazines: 1. Economic Bulletin (Arabic & English) 2. Economic Horizons (Arabic & English) 3. Finance & Business (Arabic & English) 4. Britain in Business (English)

-Ranking & Finance magazines: 1. Banker Middle East (English) 2. Islamic Business & Finance (English) 3. OMAN MONEYworks (English) 4. Private Equity & Venture Capital Middle East (English) 5. SAUDI MONEYworks (English) 6. UAE Banking Review (English) 7. UAE MONEYworks (English)

Insurance magazines: 1. Insure (Arabic & English) 2. Policy Magazine (English)

Retailing magazines: 1. Retail News Middle East (English) 2. RetailME (English)

112, dustrial magazines: 1. Technical Review Middle East (Arabic & English)

(T11 & Gas magazines: 1. Shell in the Middle East (Arabic & English) 2. offshore Arabia (English) 3. oil & Gas Middle East (English) 4. Oil Review Middle East (English) 5. Pipeline Magazine (English)

vertising & Marketing magazines: 1. Al-Tasweeq Al-Arabi (Arabic) 2. Advocate (English)

Salem Humaid 370

3. Campaign Middle East (English) 4. Communicate (English) 5. Gulf Marketing Review (English) 6. theBite (English)

Printing Magazines: 1. Middle East Print Communication Magazine (Arabic & English)

-Nfedia & Broadcasting magazines: 1. AV Specialist (Arabic & English) 2. Digital Studio (English)

Computers & IT magazines: 1. Channel (Arabic edition) (Arabic) 2. PC Magazine Arabia (Arabic) 3. PC World Middle East (Arabic) 4. TAG (Technology & Games) (Arabic) 5. Technomania (Arabic edition) (Arabic) 6. Windows Middle East (Arabic edition) (Arabic) 7. e4all (Arabic & English) 8. Arabian Computer news (ACN) (English) 9. Arabian Reseller News (English) 10. Channel Middle East (English) 11. Computer News Middle East (English) 12. IT Weekly (English) 13. LinuxWorld Middle East & Africa (English) 14. Network Middle East (English) 15. Network World Middle East (English) 16. PC Magazine Middle & Near East (English) 17. Reseller World Middle East (English) 18. Security Advisor Middle East (English) 19. SMB Advisor Middle East (English) 20. Storage Advisor Middle East (English) 21. TAG (Technology & Games) (English) 22. Technomania (English) 23. Window Middle East (English edition) (English)

Coln munications Magazines: 1. CommsMEA (English) 2. HiTEK (English) 3. Telephony Middle East (English)

Architecture & Interior Design magazines: 1. Cerarnica (Arabic & English) 2. Architecture Plus (English) 3. Commercial Interior Design Magazine (English) 4. Gulf Interiors (English) 5. Kitchen + Bathroom DesignerMiddle East (English)

ilding & Construction magazines: 1. Acari (Arabic & English)

SýIlelll I ILImaid 371

2. Middle East Plant & Equipment (Arabic & English) 3. Construction Week (English)

Aviation magazines: 1. Aviation Business (English)

Transport & Logistics magazines: I. Cargo & Trade (English) 2. Logistics Middle East (English) I Logistix Review (English) 4. Ports & Shipping News (English) 5. The Shipping Gazette (English)

Catering & Hospitality magazines: 1. Caterer Middle East (English) 2. Hotelier Middle East (English)

litary Security & Defence magazines: Al-Jundi Journal (Arabic)

, i4edical & Health magazines:

I. Arab Health (English) 2. Challenge (English) 3. Healthcare Middle East (English) 4. Medl-ab Magazines (English) 5. Middle East Health (English) 6. Quintessence International Dental Journal (Middle East edition) (English) 7. Update Medical Journal (Middle East edition) (Englis

Al-/ Chal

Chai

Chai j5-u -b

saill

IN413

Mus

The

krabiya (Arabic News Asianet News (Arabic News CNBC Arabiva (Business nnel) Channel) Channel) 7--World (Arabic News ARY One World (Arabic News Arabian Travel TV (Business nnel) Channel)

I Channel) kqariyah (Real Estate Al-Shasha (Entertainment Deera TV (Entertainment

nnel) Channel) Channel)

ai TV (General) MBC I (Entertainment Channel) Nojoom TV (Entertainment I Channel)

a Dubai (General) Infinity TV (Entertainment MBC2 (Movies Channel) Channel)

ý44 -(Entertainment Channel) One TV (Movies Channel) PrimeTime (Hindi Channel)

riet (Malayalam Channel) Middle East Television Geo TV (Urdu Channel) (Malayalam Channel)

ý-Digital -Middle East (Urdu The Filipino Channel (Filipino I MusicPlus (Music) indi Channel) channel) ic Nation TV (Music) Zee Arabiya (Music) PMC - Persian Music Channel

(Music) pýusik T(Musicý) TXT TV (interactive Games (Children's Al-Majd Kids

Channel)

'

t

channel)

Salem I lumald 372

MBC3 (Children's channel) Qanaty Channel (('Iiildren'sTe-. ILitiior(Ciiildt-eii'scliaiii-i-e-1) channel)

-§-p--aceToonkids TV Whildren's Dubai Sports channel TIA Sports (Sports channel) channel) Al-Majd TV (Religious channel) Citruss TV (Shopping channel) Arab Dioltal Dist--ibution-- rn 1 1*1 1 (ADD)

(Pay-TV Networks) Showtime (Pay-TV Networks) E-Vision (Pay-TV Nem-orks)

Radios I AI-Khalcýjiah (Arabic) Sout Al-Asala (Arabic)

Dubai 92 (Enýhsh) Dubai Eye (English) Emirates Radio I (F, nglish) -E-m-irates Radio 2 (English) City FM (Hindi) Awaaz 104.4 0 ýrclu & English) ; ýs-ianet Radio (Malayalam) Hit 96.7 FM (Malayalam) - Radio Asia AM & FM

(Malayalam) N4 0 Radio Sawa (Arabic)

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News and Photo Agencies ýjýýýýce Press) - Indclictident nc\\ s agci-tcy in French. Arabic, English ibai Bureau (Associated Pres) - Independent news agency lbai Bureau (Reuters) - Independent news agency

, bai Bureau (Bloomberg) - Independent news agency 6ai Bureau (Dow Jones) - Independent news agency bai Press Agency (Regional) - Independent news agency - covers the gulf for newspapers and ,_ azines

aro nd the world, particularly UK national papers egrated Regional Information Networks (IRIN) (Regional) - Independent news agency - L, -nanitarian news agency operated by the UN office of hurnanitarian affaires

, Ss Trust Of India (PTI) Middle East Bureau (Regional) - Independent news agency in Hindi and

V- Gul B eau (R uter I 'ele n ne" s a"enc N ýe

_ 'toc k Photo Library _ provides cultural docum entary p hotography and stock from the

f ur es TV) visio

ddle East

11o lmaýes - Stock Photo Library

joheast - Stock Photo Library

I^f7--pýjcs - Stock Photo Library - Motivate Publishing stock photograph library with over 10,000 images rri the GCC ia5-. ýOýutions - Stock Photo Library

Agebuyout - Stock Photo Library

"alcill I lulliald 173

Aether Media Group FZ LLC Alkarma Edutainnient (T-V -------- AI legrato (promotional films)

______ _production) Animation Art (TV Atlas Television (broadcast Bareface Production (I'Lill

commercials) services) production services) l3luemoon Productions (pre and Broadcast Media Zone FZ LLC Condor International (filin and

st production) TV r )duction) _r_zý Creative Management Definitive Laser Company Digital Onerna Fritertaininent

(special effects) (post-production)

Dolce Vita Films Don Productions Ltd Eleventh Moon Productions

Filmworks (I v commercials) Focus Advertising Productions 6TV-Broadcast Production

(Audio visual production) (indeUend

ulfart Production FZ LLC (TV [lot Spot Films FZ LLC Independent Productions (TV

: )roductions) (produces documentaries) commercials)

intelivision & M. A. L. FZ LLC Movie Media (production house) Network Productions

(TV commercials)

N-omaclS Lana Films Oryx Production & Publicity Phil Blizzard Radio Productions (TV programs) (audio services)

Phoenix Film (rents equipments) Profilms (production and post- Rahbani Productions

production) (Advertisement filrns)

Raitaru Videosonic FZ LLC Real Image TV Production (film Saher Contemporary Art

(s! )ecial effects) ion) Establishment (TV progams)

Seven Star Events & Productions Specter Productions Studio 52 (advertising) (documentaries)

The Fantastic Film Factory The Talkies - Dubai (TV Valkieser Middle East (TV

(production) commercials) commercials)

VFX Productions (business VIP films Dubai (production) Zeal Television (UK-based

videos) I company)

AN/

strý

New media IE Info (news) Arabic IT News Portal (news &

portal) CNN Arabia. com (nexvs)

Itegy (news) Zawya. com (news) elSohof. com (media website) Jdle East Meddle (juide

-dia website) Strategiy (media website)

I eCompany (Etisalat) (internet service provider)

Studios

Al-fludhud Advertising N4arketing

ACE Worldwide

Al-Khaleejiah International

& Media

Acumen

AMC - Dubai

Adventure Advertising & Marketing Arabia Felix Advertising &

services

Salem Humaid 374

B. E. International Bates PanGulf Dubai Blaze Advertising Bluechip Marketing Communication

Brand Moxie Bullseye Advertising Client Advertising Concept Today Continent Advertising Contrast Advertising Corban Advertising FZ- Cosmo Advertising

LLC C5pDr-) FZ LLC Creative 24-7 Creative Flare Creative Line

Advertising -Errentive Box Drive Communication E-media Elite Network

Dubai Advertising Expression ExtraCake P. R. A. Face to Face Fineline Advertising

- Advertising

Promoseven -foýiune Fusion Prime FutureBrand Genesis Next Dubai Advertising HyperMedia Advertising G SCO Graft International - Grey Worldwide Dubai Horizon-FCB Dubai

Dubai Ikon Advertising & Impact/BBDO Dubai Intermarkets -Dubai JWT Dubai Marketing services Leo Burnett Light House Lowe Dubai Market Buzz

Advertising International Martin & Saldanha Memac Ogilvy Mercier Gray Dobbie Middle East Media

Group Momentum Partnership Advertising Patson Middle East F- Percept Gulf

LLC -Tý, -X-eltec Advertising & Praxis Advertising Publicis Graphics Dubai RSVP Marketing & printing Communications saatchi & Saatchi Salony Creations Shuttle Advertising Signature Advertising If: ) ua1 Simm Group Spear Advertising T-1 Creative Talent Advertising 'D 3 WV, D Team/Young & The Banyan The Chase -

Rubicam Duabi Advertising Design Consultants

, forlic Communications Total Marketing Vogue FZ LLC Wafi Communications LLC Solutions Watermelon XO Media Zaman Marketing 3rd Eye Marketing Communications Solutions

-ýI-Nadwah Advertising Al-Shaer Advertising Artaaj Events & Asterix Advertising Promotions

BTL - Below The Line Colours Advertising Connect Advertising Creative Intelligence Agency

Event Horizon Illusions Advertising North 55 Reactive Networks

The Advertiser Assertiv eMedia Cactimedia Enterprise IG Dubai

Gregg Sedgwick Propeller The Image Works - The Media House

req2LUve strate New Media solutions (TMH) [C Jr flic ; Fo ronic Click2advertising Flip Media

Salem I luniald 375

Concept Direct

True Integrated

-6a-rat Dubai \4ediaedýe: cia oN4D Dubai (Regional

Universal Media Seven

ViSU

3. psd

titi Eas' ý:

c Fac,

Rel Hea

Cyber Gear Data Direct JacobsonsDirect Marketing

Midle East Post Box OgH-v-)I)ne Middle Eam SmanDames Wundennan IAA LJAE Chapter ----+-G('-CAdNcrtiscrs

ý Associatkul

Initiative Dubai MediaINSIGHT Optimedia Middle East

Ma(, nia Glohal Mindsharc [JAE Starcom MediaVest Grour) Dubai

MediaCom Dubw Neo Digital FZ-1.1, C - l'onic Media

Degrees vertising

33D Media ACE Worldwide Action View

Tilo Advertising Arabian Outdoor Backlite Media LLC Channe12001

icept Outdoor Digital Dynamics DOM international Future Media I GO Outdoor Media Golden Neon Group Plus - Dubai s Aclvertisiný Kassab Media Live Ad Media Exposure

j"iahub Parapub International Partnership Advertising Road FZ LLC of

I Site Global Specialized Software Trinet Outdoor

services Advertising tas Advertiýýi=

Eye PR Active AMC - Dubai j Arabia PR

a'a PR -Duabi Bates PanGulf PR Bell Pottinger BIZ COM Communications

gate Incepta Middle CommuniGate Middle Concept PR D'Events PR East

)hine Productions Ekadaa Public Relations Euro Media Euro RSCG Furness

to face PR Fifth Ring Integrated Four Middle East Gambate Corporate Communications

Asco - Image Public GolinHarris Gulf Waves PR and Headline PR

Ition Promotions Ithworld PanGulf Hill & Knowlton Holmes Saleh PR IAS-Hanrner & Partners

Communications

Salem I luniald 176

Irnpact Porter Novelli Manning Selvage & Lee (MS&L) Milestones Marketing Communications

Orient Planet

Prornosseven Weber Shandwick - Dubai TBWA/RAAD Wallis Marketing

Insight Pharmacom lnsi,,,,, Iit'l'echnocoin Landmark PRI )LIbal Matrix Consultancy MCS/Action MFMAC Ogilvay IIR

I Dubai Momentum -- -- NettResults Media 1 octopus

Relations and hieý,, rated Marketin,,

', Percept Profile Gulf Polaris Public Relati on-s-I Promn-ax M id-dlc---I--'-a-s-t--

DUbai Rawaj International Spot On Public Ta n -ir a- C-2

R elat ions Tonic PR __ _ Total Cornmun Tl ZAC C-S -D u-b a-i Watermelon PR

Journalist Associations

Dubai Press Club. - Established in November 1999. Provides business and social facilities for its

, nernbers. rjournalists in the UAE.

Media Free Zones

Dubai Media City: Free trade zone for media companies and freelancers, specifically in broadcasting,

Publishing, advertising, public relations, research, music, new media, production and post-production - -,,, t of the

Dubai Technology and Media Free Zone JECOM)

b-jýaýi rsI311A Worldwide in the development of media

SýIICIII I ILImaid 377

rvices in the GCC.

Newspaper & magazine distributors Al-Nisr Distribution LLC Dar Al-Hikma Linirates Printing, ILlhil'Shing &

Distribution Company --j-abe Distributors-for Jashani-nal National Company - Malik News Agency

Newspapers & Magazines Newspapers & Periodicals I- Division

Ar, DL

-in DL Lze

Undergraduate Courses nerican University in Dubai: Bachelor in Visual communications ibai Men's College: General Media studies certificate, diploma in advertising & promotion, diploma

edia studies ibai Women's College: Higher diploma in applied media studies

ed University - Dubai Campus: BSc in communication and media sciences

Professional Courses ýAE Institute: Offers internationally accredited courses In audio engineering, digital filrn making and

tal animation Zayed University Media Center: Offers training courses and workshops for media and communication professionals in the UAE, as well as researching practical issues facing the media in the country and the

Salem Humaid 378

Appendix 6: 'Service Providers & Workforce in Religion

Islamic Affairs and charitable activities Department Holy Qur'an Centres Dubai International Holly Qur'an Award Mohammed bin Rashid Centre for Cultural Understanding Dubai Tourist Department Dubai Municipality Women's Association Jafariyya Awqaf Department of Awqaf & Islamic affairs College of Islamic Studies Juma al Majid Centre for Research and Studies Imam Malik College Dar Al Bir Society Ruwaq Ousha bint Hussain Centre Dubai Indian Islamic Centre Pakistan Association Iranian Club Churches Temples

378

Salem Humaid 379

Appendix 7: Workshops & Interviews

Workshop 1 Name Title & Organisation & Date: summer 2006

1 Ali Obaid Board member of Dubai Cultural Council 2 Ibrahim Juma Board member of Dubai Cultural Council 3 Abdul Hameed Ahmed Editor in chief - Gulf News paper 4 Dr. Naj at Makki Board member of Dubai Cultural Council 5 Khaled Bader Board member of Dubai Cultural Council 6

- Abdil Ilah Abdul Qader Manag r- Al Owias Cultural Foundation

7 TIbrahim Al Hashimi Manager - Emmar Property _I Workshop 2 Name Title & Organisation & Date: summer

2006 1 Aisha Juma Manner - Arack Landscape 2 Laila Al Alami Member - Dubai Media City 3 Bain Wilky Head of Dubai Community Theatre 4 Brain Scudder Reporter - Time Out Magazine 5 Linda Parker Manager - Creative Art Center 6 Bill Brately Member - Dubai Drama Group 7 Christopher Southcombe Manager - Dubai Intl. Art Center 8 Suresh Kumar Manager - Emirates Financial Center 9 Tala Badri Musician - Music Industry 10 Aziz Merchant Manager - Rangmanch Theater Acade

Interviews Name Title & Organisation & Date 1 Dr. Falih Hanzal Member - Emirates Heritage club, Abu Dhabi,

UAE, on May 8,2005 2 Dr. Ihsan Al-Rabbae Head of Edification Heritage Unit, Dubai

Municipality, on July 2006 3 Masoad Al Swaidi Head of Aial Naser Folklore Association,

April 2006. 4 Faod Bu Kush Head of the Archaeology Department at Dubai

Municipality, April 2006 5 Mohammed Al Mulla Executive Manager of Dubai Media City,

April 2006 6 Ms. Aisha Al Kash Head of public relation at the Department of

Islamic Affaires in Dubai, Feb 2006 7 Yousif Gharib Chairman of AL Ahli theatre. August 2005 8 Omar Ghubash Director of Dubai Arts Centre and the Theatre

society. August 2005 9 Abdullah Saleh Famous UAE actor and board member of

Dubai Theatre Group. September 2005 10 Naji Al Hai Chairman of Dubai National Theatre for

Youth. September 2005

379

Salem Humaid 380

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