They demanded financial support away from the logic of profit and loss
Emirati drama makers: We need a recovery plan and bold decisions
Artists confirmed that the Emirati drama does not suffer from a lack of actors or the absence of qualified cadres.
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A number of Emirati drama makers emphasized the priority of providing a suitable climate to “revive” the local dramatic movement and rearrange its priorities, while calling for a qualitative shift and a new artistic vision that keeps pace with the human and civilized renaissance that the UAE is experiencing, pointing to the importance of developing specific strategies and time plans, led by various parties. An official who is able to take appropriate decisions, raise the rates of dramatic productions, and choose the most appropriate policies to market them in the Gulf and Arab countries.
real decision
Despite the aspects of development achieved by the UAE in several fields, and its exemplary experiences in more than one field, its dramas unfortunately remained faltering and unable to compete in the Gulf and Arab countries, which the artist Saeed Salem saw as a “real decision” capable of tipping the scales. Stressing, “It is true that we witnessed before, and this year we will witness an artistic revival that may be considered (healthy), with what we will see of new dramatic productions, whether in (Abu Dhabi Media) or (Dubai Media), but we are compared to Kuwait TV, for example, which operates about 20 series each. In general, we are considered late and not keeping pace.From here, Salem adds, “I do not think that the step of advancing local drama is currently able to be achieved, in light of production rates that are still seasonal and do not exceed one or two series.” Professional technical cadres and experienced directors that we need, so is it reasonable to bring every time we intend to produce a new work, a director or a group of trained technicians?
Regarding the solutions that he deems appropriate to address the dilemmas of drama, Salem said, “Today we need a realistic and effective decision and strategy, implemented based on a well-defined work program and a specific time plan that may extend between three and five years, during which the specialized institutions employ various technical expertise and recruit an integrated technical cadre.” To produce a group of works of no less than 10 to 12 works annually. At that time, the Emirati producer, and then the actor and all those involved in the creative process, will have the opportunity to work continuously on new works, and thus dedicate a kind of recovery at all levels, and gradually improve the level of works offered. And diversify it and create new stars.
About personal experience
Based on his long experience, whether on the stage or on radio and television, and his distinguished presence on the Emirati drama scene and then the local and international cinema, the artist, Mansour Al-Faili, spoke about the problems of Emirati drama, saying, “Unfortunately, drama does not suffer from obstacles related to the lack of actors, the absence of qualified cadres, or even The scarcity of beautiful texts, inasmuch as this industry is still faltering on the ground and facing wholesale field challenges.In contemporary local works dealing with current topics that reflect the civilized face of the state, the Emirati artist is met with rejection and disregard by some state institutions. (high-ranking) in an official institution, but the place’s management did not allow us to film, which forced us to resort to some hostel halls and build a decor that mimics the institution’s environment.”
In the same context, Al-Faili continued, “The renaissance that we are experiencing today in the Emirates did not come from a vacuum, but rather from efforts, continuous work, keenness, planning, and huge sacrifices. We as artists, and if we wish today to deal with realistic social issues, from the window of drama, we do not find any kind of cooperation.” , which reduces the value of the works presented and their treatments, which have been ranging between heritage issues or inheritance conflicts, marriage and divorce.
Lack of writers
For his part, the artist, Abdullah Saleh, saw that the biggest dilemmas of Emirati drama is the lack of good writers and the low index of local drama productions, which he found compatible with the requirements and desires of the drama departments in some of the local channels sponsoring the drama movement, stressing, “Although some local pens are employed properly, we We still lack the quality of the texts due to the tendency of some writers sometimes to a number of consumed topics and tragic dramas that triumph over the struggles of good and evil, away from the purposeful topics that raise urgent social issues.
As for the traditional and comedic works, the level of which varies on the screen, according to Saleh, they are “a retrieval of the past’s brilliance and an entertainment line in which many see a preferred sexual outlet,” stressing that “the aesthetics of this type of drama are linked to the quality of the writers who formulate it. Today, some of the most important icons of local drama.
On the other hand, Abdullah Saleh bemoans the status of the Emirati actor, who “has become the subject of material bargaining by producers,” stressing what these transactions reflect in terms of “a lack of appreciation for the experience and professionalism of the UAE stars, and the artistic status of many of them, which has become, according to him, between the hammer of television and the anvil of producers.” ».
The absence of marketing
Despite the value and strength of the works that were made in our local channels, Emirati actress Fatima Al Hosani, who successfully opened the Gulf participation window, adhered to her opinion that the absence of business marketing is the biggest misfortune of local drama, saying, “Why not present our local channels that produced many successful and joint local works With representatives from Bahrain and Kuwait, to market the work and sell it on other satellite channels such as (MBC), Kuwait Channel, and (OSN) channels, and to bypass the idea of exclusive offers pursued by our local channels, which has become a wrong choice that shackles our productions and prevents them from spreading outside the Emirates ».
As for what was substandard and difficult to market, Al-Hosani considered it a secondary matter, given "what we see today of foreign works, some of which are substandard, but they compete for the forefront of the scene on our screens."
On the other hand, the artist drew attention to the value of the famous Arab digital platforms in marketing Emirati works, stressing the need to include them on the list of competing Gulf productions, calling on local channels to take serious steps towards developing integrated policies that guarantee correct marketing channels for local drama creations and ensure their spread and thus achieve A quantum leap in the reality of this arena.
Official support interface
Ghuloom continued, "It is shameful to ask the Emirati producer to search for a sponsor for his work, at a time when this drama can present a realistic picture of the present and future of the renaissance that Emirati society is experiencing." The well-known Emirati artist believes that the solution lies in "the presence of an official government interface that supports activity." Dramatic at the state level, away from the logic of profit and loss.
We must also understand that this matter is complementary and its financial return cannot be seen without spending on its implementation in the correct manner, especially since highlighting this matter requires special budgets and long-term strategic plans to advance the state of drama, which is not compatible today, with the experiences of a country that has succeeded in pioneering Space Horizons».
The artist added, in a tone that denotes sadness, "This is not a personal wedding for me or others to take care of on his own. The drama is the product of collective creativity, under whose umbrella all its makers gather to present their best, but on the condition that the logic of limited budgets is avoided for the benefit of delving realistically into the difficulties it suffers."
Ghuloom continues, "I do not want here to talk about my own experience in the field, because I simply do not intend to participate in any dramatic work this year, in light of the distribution of budgets to Emirati producers as if they come from (a zakat house), because they are supposed to be distributed equally among all."
Civilized promotion
Through his important experience in the field of directing many successful local works that won high audiences, the Syrian director Battal Suleiman confirmed that the Emirati drama needs more financial support at the present time, citing the dramatic movement that took place between 2000 and 2010 by presenting About 10 local businesses annually, which has now shrunk to two local businesses last year, "which led to a kind of decline and stagnation, and the wheel of creativity stopped."
The Syrian director, who has been living in the UAE for years, called for the need to develop a strategy, define the desired goals, provide financial support and pump budgets to advance this “profession that is full of many cadres and capabilities,” adding, “In light of the constant talk about the scarcity of valuable dramatic texts and the capable director or actor, I believe that the solution today is to raise the rates of dramatic production over the coming years. When 10 series are produced annually, the doors of creativity are opened and the various talents in this field are honed.
Specifically from this standpoint, we will notice, with the passage of time, that the works presented will rise to higher levels and achieve mass successes that go beyond the local borders to a broader Gulf and Arab scope, and then their reputation will rise and overcome the pitfalls of the past.
• Highlighting the drama needs special budgets and long-term strategic plans to advance its situation, which today is not compatible with the experiences of a country that has succeeded in exploring the horizons of space.
writer or tailor
Emirati artist Abdullah Saleh pointed out his recent trend towards dramatic writing after years of experiences writing for the stage, noting that this field, despite its beautiful Emirati pens, is still in dire need of new breaths, stressing on the other hand that the writer is finally looking for requirements Local televisions and not what his creative imagination requires of topics, as is the case with production companies that are constantly looking to meet the options of local televisions whose committees direct the course and compass of the works before them, to choose what will be presented to the screen.
This is in addition to the many prohibitions imposed on the dramatic writer, which prevent him from freely choosing his subjects, thus turning him from a “writer” into a “tailor”.
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