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About half a century or a little less is the age of the Emirati TV drama, through which it was able to stand on its feet, victorious in its contents for the issues of the country, as it was able, over the years of life, to refine its experience and strengthen its promises and various tools, putting on its tables the issues of society, by touching its reality, as it succeeded. In keeping pace with the development of the state, and its entry into the fray of modernity, despite that, the local drama did not turn a blind eye to the heritage, which separated from its tales a dress to be worn and presented to the recipient in an interesting and elaborate manner. The main question in this regard remains: Was this drama able to present issues of heritage, its feelings and vocabulary, and present it in interesting formats that illuminate its value and aesthetics.” “Al-Bayan” discusses this issue in the following investigation, through the opinions of a group of artists and stakeholders.
“The Paths of Al-Mataya” and before it “Al-Ghous”, “Ashfan Al-Qatto”, “Jamrat Ghadi”, “Al-Qiyadah” and others, are television dramas that were able to dwell in the memory of the recipient and draw from the source of the local heritage, despite the space occupied by these works in the library. The local drama and the experiences it presented, however, the Emirati TV drama did not come close to the sea of heritage, and was not accustomed to diving in it much, which is what excelled in the TV programs that went to deeper levels in the local heritage, which was agreed upon by a number of drama workers in Their conversation with “Al-Bayan”, to point out the importance of “heritage drama” and its impact on society, stressing at the same time that heritage tales did not form the backbone of local drama, calling for the need to pay attention to it, as it is an illustrated document, that future generations can rely on and benefit from in documentation. For the “time of the good people”, who leaned on the sea as their source of livelihood, and through it they could smell the smell of the past and return to live between the narrow rails.
“Emirati TV drama has not yet been able to delve deeply into the heritage, whether it is local, Arab or Islamic, so that heritage is the main source or backbone of the work.” His intervention, saying: “The efforts made previously in this field cannot be denied, but it can be said that all the attempts that were made were works that depend on the author’s imagination only, and do not depend on digging, research and real investigation in the heritage,” saying: “Never before. During the past years, a local drama based on research aspects of heritage has been presented, in the way that the art critic, the specialist or even the audience interested in this aspect aspires to. and actors,” adding that “television programs were more interested in this aspect and were able to take over the process of introducing the heritage and presenting it to the audience in its various forms.”
Emphasizing at the same time that there is no real treatment of heritage by the drama, saying: “What was discussed was a repetition of some scenes, and unfortunately this contributed to giving the recipient an unhealthy idea of heritage.” Ghobash believes that the local heritage is overflowing with stories and ideas that can be presented, as he put it, in a correct, real and thoughtful manner, with a lot of know-how and research. He cited “diving and the pearling journey” as an example, and said: “On this aspect there are many stories and tales that can be written and addressed based on the inherited memory of ancestors, and many of them have already been documented, which means providing absolutely correct information about heritage, and do not misunderstand it.”
Many experiences presented by the artist Ahmed Al Jasmi in Emirati drama, which gave him a high position in it, and in the context of talking about television drama and heritage, Al Jasmi confirms that “heritage is the backbone of any story,” saying: “I have faith that heritage is full of tales that can be inspired, and projected on The present, whose issues are linked to modernity and modernity, and undoubtedly, the past has its own stories that carry within it all human conditions, but the difference between the past and the present, perhaps lies in simplicity, as well as intimacy, morals, religion, customs and traditions, which previously governed us and governed the relations of the family and the freej, and then the society”.
What do we want from the past and heritage? A question asked by Al Jasmi during his speech, to answer it, by saying: “What we evoke from the past, is what we lack in our current lives, especially in the elements of morality, interdependence, customs and traditions, because most of these assets are related to the past, while the present has overlapped cases of urbanization, and we lost A lot of important things and elements, and I think that the Emirati drama was able to show the moral and social beauty, through its overriding of the heritage.” On the other hand, Al Jasmi believes that any dramatic work, regardless of its quality, must be presented professionally. He said, “The drama must be presented professionally, especially at this time when the world has become like a small village, where we, as artists, producers, directors and writers, have to respect the mentality of the recipient, and I have high confidence that if there is a beautiful dramatic story and a treatment that bears suspense, the The recipient will follow it with passion, and in my estimation that the main problem we have lies in the nature of the dramatic treatment of our stories, regardless of whether they are inspired by the past or revolve in the present.”
Al Jasmi points out that the issues related to heritage do not lie only in its aesthetic aspects, but the drama must intelligently exploit the tools of heritage and present it within the framework of a beautiful tale. He says: “Over half a century, the age of the union, I think that Emirati drama has been able to offer a lot, and be inspired by beautiful tales from the heritage, which will continue to bear witness to the ‘beautiful time’ and deep human relations.”
In the Emirati drama, many have striven to present remarkable stories and plots, including the artist, Dr. Habib Ghuloom, who said in his talk about the relationship of local drama with heritage: “There is no doubt that Emirati drama paid great attention to heritage, and it was based on many of its works. To the elements of the local heritage, and we have several models of actors on the dramatic scene who were interested in this aspect, such as the producer and artist Sultan Al Neyadi, and the writer Jamal Salem, who were all honored as Emirati artists to work and participate in the works they presented.” He continued: “The heritage drama has a special character, as it deals with Aspects related to our history, heritage and constants, and over the past years we have presented many of them, but unfortunately these works are no longer required on TV channels in general.”
Ghuloom, based on his long experience, indicated that “the local heritage was able to acquire an important place in the Emirati drama.” He says: “Although we benefited from heritage in inspiring different tales, in my estimation, it did not turn into a “backbone” for dramatic tales, especially in light of the transformation of government channels into semi-governmental ones, and thus they have more interest in terms of material profit, and no one can blame them. In that, but on the other hand, I think that these institutions should raise their interest in the aspect of heritage drama.”
He continues: “Over the past years, we have presented important works, through which we succeeded in introducing our heritage, and presented a clear image to the recipient, which includes many of our heritage elements, such as clothing, accessories, and even food and its types. We also focused on many of the words that were used in the old days. Most of them have disappeared, and in my estimation that maintaining such vocabulary is important, as it constitutes an extension of our values and ethics,” stressing the importance of providing the necessary budgets for such works, saying: “Heritage dramas need high budgets, and they should not be treated as other genres, which They need lower budgets, and they are accomplished faster, and these businesses need good marketing commensurate with their nature, size and importance.”
The artist and director, Yasser Al Neyadi, did not, in his opinion, deviate from the path that his colleagues followed, noting that “Emirati drama did not delve much into the heritage, and did not completely enter its basements.” He said: “We in the Emirates have a rich heritage and a great cultural and knowledge store, and we also have many experiences, tales, narrations and poems, as well as characters that can be used and used in the dramatic framework, and thus get out of them with stories and dramatic plots of high level and quality,” describing what was presented on the screen. It is “works that wear the dress of heritage from the outside, whether in terms of decorations or formalities only, and they did not go to the depth.”
He said: “I am fully aware that heritage dramas are expensive and require high budgets, but that does not prevent them from entering the corridors of heritage, exploring and presenting it on screen in a highly professional manner, able to address all segments of society, and respecting the mentality of the recipient,” stressing that “the UAE possesses talents.” Able to present traditional dramas inspired by the local, Arab and Islamic heritage, and to present them in a globally competitive manner, comparable in quality to international series that seek inspiration for their stories from the past and history.
According to Al Neyadi, who cited “The Paths of Al-Mataya” and “A Place in the Heart” as works that deeply delve into this local community and its details, it is not possible to deal with heritage drama work, in the same way as social drama is dealt with, saying: “This The quality of drama has its own peculiarity, and it needs correct, deep and documented treatment as well, and it also needs careful production, photography and writing, and it also needs a research team and not to rely on the writer’s imagination,” noting the need to “create the atmosphere for this drama to ensure obtaining works.” of a high standard.”
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