BRIDGING THE

KHALEEJ
sayema wasi

BRIDGING THE

KHALEEJ
sayema wasi

CONTENTS
preface

7
chapter one: fashion

fashion and the emirates

18

chapter three: preservation

30

acknowledgements

37

16
chapter two: art

art and the emirates

life in the uae

29

35

khaleej

gulf

khaleeji

of/belonging to the gulf

culture of Eastern Arabia, associated with the Gulf Arab states.

cultures in the region include those of Bahrain, Kuwait, UAE, Eastern Saudi Arabia, Qatar,
Southern Iraq and Northern Oman.

PREFACE
I am one of the many millions of others who have made the United Arab Emirates their home.
With a population that is over 80% expatriate, it is easy to gauge how good things are for us
here. Life is safe, affordable, and easy. Life can be as quiet as youd like it, or as loud as youd
like it. Were offered a seductive combination of the best any city in the world can offer.
But perhaps because of all this acceptance, because of having such few things expected of
us, we have cocooned ourselves in our own communities. Few of us befriend our Emirati
counterparts, despite their characteristic warmth and hospitality.
I speak to artists, fashion designers and preservationists, to understand the Khaleeji way of
life; in particular, to better appreciate this beautiful country and its brilliant people.
It is my attempt to bridge the khaleej.

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CHAPTER ONE: FASHION

fashion (n): a popular style or practice, especially in clothing,
footwear, accessories, makeup, body or furniture.

I have long been transfixed by the regality of the national dress of

Khaleeji cultures the kandura and bisht for men, and the abaya,
jalabiya and sheila for women. While each of these cultures share
a similar style of clothing, Emiratis are widely considered to be
some of the most well-dressed people in the region.
I believe that studying the importance of fashion in a community
is a definite way to better understand that community. And thats
why, in this chapter, I speak with Katya Kovtunovich and Faissal ElMalak, both young and upcoming Dubai-based fashion designers
who gave me insight into the culture of the UAE.
RECONCEPTUALISING SADOU
Sadou is a traditional Bedouin form of weaving. The women,
working on ground looms, produce long narrow strips of patterned
textile using yarn spun from camel and goat hair or sheep wool.
These textile strips are then sewn together to make upholstery
fabric commonly used in traditional majlis seatings.
However, with the rapid economic development of the United Arab
Emirates and increasing mechanization in processes, indigenous
crafts such as sadou weaving face the threat of extinction.

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Sadou comes in a variety of colours, and the best quality and most expensive sadou is weaved by Khaleeji artisans. Cheaper sadou is
produced in China, Turkey and Syria.

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Bringing new life to the craft, Russian fashion designer Katya Kovtunovich reimagined
sadou in her collection Dejavu, in which she turned the traditional upholstery fabric
into high-end designer wear. Kovtunovichs collection captures her love affair with
the bold print and texture of sadou. In a conversation that turned out to be a highly
visual experience, she described the inspiration behind her idea.
I was walking in the souq when I first arrived in Dubai five years ago, and I saw sadou
for the first time, and I just fell in love with the colours, with the bold print I couldnt
stop looking at it. I thought, Oh my God, I want to make a big coat out of this fabric.
And when I go back to Russia, where we have snow, me walking in this red coat
everybody would be looking at me! It would be like a massive explosion [of colour] in
the snow, she said.
Starting off by wearing her own red sadou coat in Russia with no intention of
commercialization, Kovtunovich soon found that her design started conversations
and attracted attention wherever she wore it. Having realized the commercial viability
of the work as she returned, Kovtunovich found it hard to get people to see sadou
as more than just sofa fabric in the UAE. In time, her unconventional work began to
be appreciated more fully for its distinct treatment and approach, and for its ability
to connect people.
Its a way to start conversations. If you wear what everyone else is wearing, nobody
would come to you and have a conversation, she said, matter-of-factly. You would
never have the chance to meet a new friend.

Kovtunovich sourced her sadou from an Emirati artisan, who infused the fabric with a prayer as she spun it. Image source: Katya
Kovtunovich

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Kovtunovichs collection earned praise far and wide, and

she was invited to exhibit her work at Expo 2020 the
successor of Expo Milano 2015 to showcase her work
as part of the celebrations dedicated to the UAE in Milan
last year.
My work has a heritage element to it, and the element
of something modern. It combines the heritage, the
history of this country and the ancient art of making this
fabric (sadou) with the life of a modern woman. So its
like heritage reinvented.
MARIA(M) THERESA
Also In 2015, Palestinian designer Faissal El-Malak was
commissioned as one of the artists for the De.Fash.
Struction exhibition, which aimed to deconstruct
concepts of Emirati fashion and heritage. El-Malak
eventually ended up researching about the traditional
colours and patterns in Emirati womens clothing, and
the Maria Theresa coin.
The Austrian empress Maria Theresa was the only female
ruler of the Habsberg dominions during her reign in the
18th century, and her coin was extremely popular in
the GCC region until very recently. El-Malak discovered
during his research that the coin had a significant use
in the local Emirati community, where it was regarded a
valuable resource.

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The only reason why they kept producing it [the coin]

after the reign of the empress Maria Theresa 200 years
ago was to supply the demand of this region. People
used to use it either for trade, or they used it to make
jewellery either the coin as it is, by punching a hole in
it and attaching it to their garments or their headdress,
or they used to melt it, because they were sure that the
silver content was pure.
If you go to the souq today and if you look at traditional
garments, you see a lot of polka dot jalabiyas, and its
usually very specific colours, like red on white or white
on red, or emerald green on purple or the other way
round. So I took the reference of putting the coin on
clothes as they used to do on this polka dot fabric, and I

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merged the two together in the way that I replaced the polka dot with
the coin, and I used the traditional colours of that polka dot textile.
El-Malak makes use of fabrics sourced from regional artisans who use
traditional weaving methods for his collections, and believes sourcing
such fabrics help preserve cultural traditions which are dying slowly
worldwide. So far, El-Malaks fabrics have been sourced from Yemen,
Tunisia and Egypt, and in each collection he has sought to encourage
local artistry by engaging indigenous craftsmen.
Usually these fabrics and techniques are used in a very traditional
context. So Im taking them out of this context and giving them a new
life through my work, and in that respect it provides new opportunities
for the product, beyond the traditional usage.

El-Malak reinterpreted the Maria Theresa Thaler coin (left) for his work for De.Fash.Struction. He merged the concept of the coin with
the colours traditionally used in jalabiyas. Image source: Wikimedia Commons; Faissal El-Malak (above)

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FASHION AND THE EMIRATES

The national dress preferred by the natives of the UAE is of a truly versatile,
contemporary make thats nearly impossible to get wrong. Men tend to stick to
the standard style mostly in white, and for variety, opt for other dark colours or
neutrals.
For women, the options are much wider, both in terms of colour (black, which
used to be the only option until recently, is now supported by more desertfriendly colours such as soothing beiges, light blues and pale pinks, and darker
colours such as navy blues and dark browns) and cut (empire waists, bat wings
and kimono-styles among many others, in all sorts of design gradient colours
and/or mixed textures with embroidery, prints and embellishments).
While speaking with El-Malak, he said, Maybe this is one of the only regions in
the world where people still wear their national dress on a day-to-day basis, and
its not only limited to special occasions or national celebrations. Its interesting
especially for men. I find it very fascinating that it [the kandura] is as much
something casual as well as something that can be worn like a tuxedo.
I think this says heaps about the dynamics of identity in the UAE. In such a
multi-cultural country that promotes individuality and creativity, it wouldve been
easy to lose touch with ones own roots. Yet Emiratis proudly preserve their rich
heritage, and choose instead to adapt those traditions. They are neither stolidly
stuck in a past that would not work in these times, nor have they given up what
sets them apart.

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Before a new chapter is begun, the old

one has to be finished.
- anonymous

CHAPTER TWO: ART

(n) a diverse range of human activities in creating visual,
auditory or performing artifacts intended to be appreciated for
their beauty or emotional power.

While the concept of fashion is one thats definable, art is much

more abstract, and art in the Emirates even more so. With a cultural
landscape that is unique in its juxtaposition of tradition and
innovation, art in the UAE encompasses a range of expressions.
In this chapter, I speak to Aziza Iqbal and Shurooq Amin, both
wonderfully skilled artists with completely opposing forms of
artistic expression.
THE ART OF ORDER
Why does all Arabic art look the same? independent Dohabased artist Aziza Iqbal asked me. You look at it and instantly
you associate it with Arabs, but you see it in India, Spain, Turkey,
Greece so how can it all look the same?
I shrugged, nonplussed.
Because it is not Arabic art. It is Islamic art. And unlike any other
form of art that is open to interpretation, or fluid in its application,
Islamic art is rigid in what can be personalized, what is subject to
change.
A close up of a 17th century shield from the Abbasid Islamic dynasty, incorporating Thuluth calligraphy and arabesque vegetal pattern art.

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A former graphic designer-turned Islamic artist whose work

has been exhibited to Prince Charles Iqbal lived in the UAE
for a few years before relocating to Qatar. She now teaches a
course on geometric patterns at the Doha Museum of Islamic
Art.
Unlike Christian, Jewish, or Buddhist art, which refers only to
the religious art of these faiths, Islamic art is not used merely to
describe religious art or architecture, but applies to all art forms
produced in the Islamic world.
You cant just say something is an Islamic art piece and
something else is not. It covers a very extensive geographical
area, and, by extension, a wide number of people and cultures.
There are three forms of non-representational Islamic art:
vegetal patterns, or arabesque, which involves intertwined
flowers/petals in a harmonious array; geometric pattern Islamic
art, which is an orderly, complex arrangement of shapes; and
calligraphy, which has different styles, such as Kufic and Thuluth.
Iqbals work includes extensive knowledge of and practice in all
three forms.

Examples of the three different non-representational Islamic art forms (clockwise from left to right): embroidered panel with geometric
design; arabesque design on a vase; section from the Quran in Kufic calligraphic script

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Whats distinctive about Islamic art is that all public art is

traditionally non-representational, with no images of humans
and animals. This is because Islamic teachings oppose the
creation of figural representation of sentient beings, as well as
using those images for any purpose, decorative or otherwise.

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A contemporary interpretation of geometric Islamic art design principles for interior design. The laser-cut design is conceptualised for
the windows of a building, on display at the Sharjah Museum of Islamic Civilisation.

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A mix-media art piece, involving arabeque Shamsa art style, Thuluth calligraphy and lighting. The wall installation art piece has been
hand-painted by the artist, and is on display at the Sharjah Museum of Islamic Civilisation.

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Figural representations were rare, and were also

extravagantly expensive to commission, thus only
owned by the elite classes for their private collections.
Non-representational Islamic art is the prevalent art
form in most governmental and public spaces in the
UAE, and is the form of art most preferred by religiously
conservative families. The complex symmetry of
geometric patterns and arabesque, as well as the liberal
use of calligraphic script, are characteristics of public
spaces in the region.
CHALLENGING SENSIBILITIES
On the other hand, the UAE is fast blossoming into a hub
of contemporary artistic creativity. Fairs and exhibitions
are held in multiple emirates throughout the year, and
are proof that the country is accepting and encouraging
of new ideas.
Shurooq Amin, Kuwaiti artist and poet, agrees.
Art in the UAE promotes global fluidity, enhances intercultural relations, enriches the economy and attracts
tourists, collectors and artists alike. It acts as a cultural
link to the rest of the world, and allows artists to express
themselves freely, thus creating a more progressive
society. Art is crucial to our future existence as a race.
Titled I lay like Jesus, Amins work explores many neglected or unaddressed issues that plague our society. Image source: Shurooq Amin

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As an audience of her work, the immediate impression is that

Amins art is angry and unimpressed. It has a style of expression
that makes the reader wonder, question, and reevaluate, and in
doing so realize the hypocrisies of our times.
In a world crushed under the weight of its own worries, and one
thats only too ready to point fingers, Amins work is a reminder to
address the issues we neglect.
Thematically, her work, in her own words, is purely socio-political
with sarcastic undertones, and is inspired by the reality around
her. The accompanying image is titled Woman at Point Hero, and
in my opinion, indicates a culture of excess.
Amins art explores complex relevant themes such as injustice,
gender inequality, corruption and political/economic greed,

Shurooq Amin is a poet alongside being a contemporary artist, and says of her work, my own art is most definitely global, despite the
fact that the majority of it focuses on regional taboo topics. Right: titled Woman at Point Hero. Image source: Shurooq Amin

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power, religion and its hypocritical ramifications, war and

the destruction of the humanistic fiber of society, along
with issues such as alcoholism and other addictions in
society, love and marriage.
Basically, Amin says of her art, [it is] our reality within
our own region.
ART AND THE EMIRATES
The UAE understands the importance of curating and
developing a diverse cultural landscape. With cultural
fairs and art exhibitions held in some part of the country
or the other all year round Sharjah focuses on the
Emirati and Islamic side of things, while Dubai and Abu
Dhabi invite modern artists there is ample ground
for learning and discovery, thus creating a seamless
integration of old and new.
Perhaps this sentiment is best surmised by Amin.
Without art, we would not have an accurate picture of
the mood of an era, of its politics from a non-political
perspective, of its religious journey from a religiously
tolerant perspective, of its sexuality and its economics.
Without art, there is no proper historical account of a
cultural landscape. Even in the days of the caveman,
there were cave pictures that reflected their society.
Titled Till Mad do us Part, Amins work is purely socio-political with sarcastic undertones, inspired by the reality around her. Image
source: Shurooq Amin

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CHAPTER THREE: PRESERVATION

(n) to keep from injury, peril, or harm; protect; to keep in perfect
or unaltered condition; maintain unchanged

With the rise of globalization and the consequent pervasiveness of

an assimilative society, many indigenous cultures across the world
are trying to shed their individual identities in a bid to fit in with the
global aesthetic.
Many societies that deviated from the so-called norm have already
given up their cultural artifacts for more assimilative ones. Examples
include Africans relaxing and straightening their natural hair, Indians
giving up their national dress, or forgoing traditional names from
the indigenous language or culture for more Westernized versions
(case in point: American actor Kal Penn got more callbacks for roles
when he Westernized his name from the native Indian Kalpen).
In such a climate it becomes essential not to lose track of what truly
distinguishes us from each other. While assimilation can be seen as
the coming together of people, it can also be seen as the eliminator
of individuality.

The project takes artisans who have potential to turn

their skill into lucrative opportunities under its wing, and
subsequently funds, markets and sells their product
without seeking any form of payment or commission,
returning the payment in full to the artist.
Emirati arts and crafts, such as the weaving of sadou,
have found new lease of life through the Abu Dhabibased project.
Over the past three years, the project has slowly set
up opportunities for isolated communities in Dibba,
Khor Fakkan, Fujairah, Ras Al Khaimah, and Ajman, and

REGROWING THE ROOTS

Enter the Sougha Project. An initiative launched by the Khalifa
Fund, the project aims to preserve indigenous culture and heritage
by supporting traditional artisans, who are taught how to adapt
their products for mainstream markets and trained to create
opportunities for themselves.

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has been able to provide a source of income to and encourage

entrepreneurial spirit in over a 100 Emirati artisans spread
across five towns. Additionally, the project also encourages the
manufacturing of hand-made products by Emirati artisans.
Artisans under the project have been able to generate a lively
income. Some of the female artisans have been able to afford the
Islamic ritualistic pilgrimage of Hajj in Saudi Arabia purely from the
income earned through the sales of their products.
CONSTANT REMEMBRANCE
While the Sougha Project keeps indigenous craftmanship alive, the
efforts of the Sharjah Museums Department are aimed towards
keeping the incredible achievements of the UAE and Islam in public
consciousness.
Sharjah has long been regarded as the cultural capital of the GCC.
With a museums department that boasts diverse options including
art museums, historical and archeological museums, maritime
museums, heritage museums and others that hold exhibitions
throughout the year, it aims to ensure that the past glories of the
Islamic world and the heritage of the United Arab Emirates do not
become mere myths and legends lost in time.

The Sharjah Museum of Islamic Civilization is one of the many museums under the Sharjah Museums Department. The building used
to serve as a souq called Souq al-Majarrah, with establishments trading abayas and gold. It was repurposed to become a museum of
Islamic civilisation and was opened in 2008.

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LIFE IN THE UNITED ARAB EMIRATES

I am a full-fledged product of the UAE. As an Indian born and brought up here, I
have lived, and continue to live, a safe and comfortable life. In all my years I have
never felt wanting for anything except friendships among the native populace
of the Emirates.
I find it strange that in the 20-odd years I have lived in the UAE and made it my
home, I have had no Emirati friends. And I find it even stranger that I am not
alone in this experience.
This is obviously a fault of our own. The Emiratis I have met and interacted with
have always been friendly, accommodating and warm people, with open minds
and incredible ideas. It would be unfair of me to blame my isolation from them
on any presumptuous notion of Emirati airs.
The reason for the sort of approach I took of exploring the UAE through nonEmiratis is to be able to build the bridge between us and them. To me, to
be able to understand that the UAE is built on the foundation of unity, and that
the idea of community is one that everyone who has breathed in the Emirates
holds dear to their hearts, I need to explore our experiences as the others in
the pie chart.
I can now say with more surity that the UAE is indeed a beautiful land with a
wonderful people, and this was my attempt of bridging the khaleej.

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ACKNOWLEDGEMENTS
This book would have not been possible without the valuable help, insight, and support of:
Afshan Ahmed
Aziza Iqbal
Faissal El-Malak
Katya Kovtunovich
Maraya Arts Centre, Sharjah
Megna Kalvani
Rabia Wasi
Rashid Wasi
Sabir Haque
Sharjah Museum of Islamic Civilisation
Shurooq Amin

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