First and foremost, what is cultural diplomacy, and how does it apply on the ground?
Cultural Diplomacy is a form of soft power that utilizes aspects of culture such as language, arts, music and food to create opportunities for intercultural dialogue; the exchange of ideas among nations and peoples to foster mutual understanding, acceptance and tolerance. I personally believe in the power of this soft form of diplomacy which can manifest in several forms including cultural exchanges, expos, musical and dance performances, educational programs, biennales, and translation of literary works.
You have recently joined RISE, can you tell us more about your role there and the scope of your activities?
I joined RISE back in September 2023 to lead the commercialisation of Riyadh Art. However, after a year and a half, RISE’s leadership recognized the potential in leveraging my expertise and passion by launching an entire Arts and Culture practice which I have been entrusted with leading and developing. As Director Arts and Culture and head of the practice, I lead an international team of consultants offering services which include commercialisation of cultural assets and heritage sites, which RISE is the industry leader in, as well as institutional management where we help cultural entities establish their functions, in addition to training and knowledge transfer across a range of topics, curatorial development, and sponsorship sales.
Intercultural dialogue, creative industries, skills enhancement, curriculum advancement and education reform, the development and promotion of artists and educators in the GCC, are all lofty goals, but arts seem to be focused on just oil on canvas for the Arab audience as opposed to interactive installations or more complex applications. What is your take on that?
As a Bahraini Arab privileged enough to be able to work in the creative sector for 2 decades and witness firsthand the transformative power arts can have on societies, I’ve always felt an obligation to be able to share that understanding and foster it through education, exposure and upskilling, especially as a former teacher and educator in the arts. That said, I believe our region has drastically improved its understanding of what a thriving cultural economy should function like. We now have great initiatives that are born and conceptualized in the region, including summits, biennales, and festivals that attract global audiences and industry experts, and provide thousands of job opportunities in the creative industries which has now become a viable career path in our region. This was not the case when I started my career in the arts! We have come a long way, and that progress is something we should be proud of and ensure we sustain and grow.
Monetizing arts seems to be a very difficult task, how does one secure proper sponsorships for the arts that align with the values promoted by cultural organisations? Already fossil fuel and museums seem to be at odds for example.
It’s definitely challenging to do with integrity, however when you come from the sector and have a deep understanding of how to preserve the values and ambitions of cultural entities, heritage sites, and artists you embed that understanding into the commercialisation approach and strategy, and that approach reflects our ethos at RISE and it is also the reason we’re entrusted by prominent cultural clients to lead on the commercialisation of their assets. We cultivate relationships with brands that align with the values of our cultural clients and facilitate mutually beneficial partnerships.
One important message I want to clarify and emphasize, is that the commercialisation of cultural assets is about ensuring their longevity. It’s about creating streams of unconventional funding through robust partnerships that can ensure the sustainability and growth of creative projects and programs which have a positive impact on economic growth and quality of life.
Disability arts and drama therapy are both touted as healing elements, specifically after traumas which seem to abound in certain countries in the Middle East, how does this apply in your experience?
My experience with disability arts which has been a huge part of my career and is based on values that are intrinsically important to me, inclusion and accessibility. Art can heal and should be accessible to all, and inclusive of people with all abilities and socio-economic backgrounds. Art is NOT elitist!
I am not a trained therapist; however, I’ve personally experienced the long-term impact art therapy can have through the projects I’ve conceptualized including “Artabled” for the British Council which ran for 7 years and contributed to shifting policies and mindsets about disability and leveraging the power of arts for reconciliation and healing. One of the most pivotal and unforgettable moments of my career, was when I was entrusted with developing an art therapy session for schizophrenic patients in a public hospital in Bahrain. It was a privilege to gain access and deliver the groundbreaking session, and the response we received from the doctors about the impact the session had on their patients was a testament to the healing power of arts! Art has the power to reconcile communities in conflict, heal traumas, and create opportunities for engagement and inclusion of disenfranchised people, it is therefore imperative that we ensure these types of projects are sustainable in our region in the long-term and have the needed funding through partnerships to do so.
