So far, I have focused on the cultural policies by the UAE’s ruling families, and how they hope to foster an art-loving society. This society, however, is not something of the future. Already today, Emiratis are playing leading roles in the development of the artistic scene.
One of the problems faced by studies on the region in general, and also by this author, is that almost all available sources are written by foreigners. The rare source written by an Emirati always sheds an unexpected light on the main (foreign) narrative. The memoirs of the current ruler of Sharjah –translated as ‘My Early Life’ – demonstrate, for example, that some Emiratis were well connected to cultural and political developments in the rest of the Arab world before independence of the UAE. And that the British, far from sharing their access to international culture with the ‘natives’, were in fact shielding them from it, if need be with repression. Certainly more Emirati texts will be translated into English in the near future, enriching our perspectives on Emirati culture.
Emiratis were actively involved in the art world long before the international art world took note. Artists such as Hassan Sharif, who founded the Emirates Fine Arts Society in 1980, and Abdul Qader Al Raes who graduated from Al Ain University with a diploma in Sharia Law in 1982, have had a huge impact on the local art scene, as have some of the organizations they established. They have made art acceptable to the Emirati masses through their example. As the art world ‘hurricane’ descended upon the UAE in the late 2000s, they managed to find their place and further develop their work.
These Emirati artists of the previous generation were living proof throughout the last heady decade that contemporary art was not an ‘imported’ phenomenon, but actually did have local roots. It justified, in social terms, the choice of young men and women to make art and even pursue an artistic career.
An amazing number of young Emiratis are now receiving arts education. Some of them, like Lamya Gargash and Reem Al Ghaith have already made quite an impact on the international scene, admittedly with more backing than artists of their accomplishment would receive in other countries. Others, such as Ebtisam Abdul Aziz and Abdulrahman Al Ma’aini, are slowly but surely making headway. Their work reveals some very original elements, which is not surprising given the amount of exposure many Emiratis have. Also, interesting subject matter is not lacking: one need only think of the rapid and fundamental changes they observe around themselves at a daily level. Reem Al Ghaith’s installation ‘My Land’ in the Sharjah Biennial (later shown in the Haus der Kunst in Munich) thus referenced the way Dubai had turned into one great construction site, leaving almost no stone unturned. What is interesting, is that so many Emiratis turn to visual art to express themselves, instead of, for example, politics. Music and poetry are also well alive.
Emirati TV is gaining an audience throughout the Arab world; its most successful program, ‘Poet of the Millions’, draws a crowd similar to that of ‘American Idol’ (with prizes going over 1 million dollars), partially because it champions Nabati/vernacular Arabic, instead of classical Arabic, in which most poetry is still written. This allows young talents to broach contemporary subjects. Thus, in 2010, Hissa Hillal, a young Saudi woman who recited a poem passionately condemning religious bigotry, made it to the finals (although the original performance was good, the rapturous attention it received from the West was a bit embarrassing). The UAE also host many other Arab media; these are attracted by Dubai Media City, a free zone for media with minimal red tape and taxes, and shared infrastructural facilities.
The art infrastructure of the UAE is developing quickly, with interesting differences in policies between Abu Dhabi, Dubai and Sharjah providing for a wide range of opportunities. Thus, the young artists that are now being nurtured through art education, workshops, competitions, etc., are also provided with a podium to show their work and interact with their peers and the public at large. What may be most lacking at this stage, is critical self-reflection. Maybe the current times, with their emphasis on action and growth, will be followed by a more contemplative period, in which the artistic achievements can be evaluated and further built upon.