Find out how this Emirati entrepreneur makes a difference with music

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Touching thousands of young lives over the past decade, Badri has proved to be a pioneer of music education in the Gulf. (Supplied)
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Touching thousands of young lives over the past decade, Badri has proved to be a pioneer of music education in the Gulf. (Supplied)
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Touching thousands of young lives over the past decade, Badri has proved to be a pioneer of music education in the Gulf. (Supplied)
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Touching thousands of young lives over the past decade, Badri has proved to be a pioneer of music education in the Gulf. (Supplied)
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Updated 08 March 2018
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Find out how this Emirati entrepreneur makes a difference with music

Whether viewed as an entrepreneur, a musician or a philanthropist, Tala Badri is an inspirational figure.
As the founder of Dubai’s game-changing Centre for Musical Arts (CMA), she invented the ideal vehicle to channel all these callings into the cause she holds most dear.
Touching thousands of young lives over the past decade, Badri has proved to be a pioneer of music education in the Gulf.
Her efforts have earned a shelf of business awards, which is remarkable given that the CMA is run as a non-profit organization.
The Emirati altruist has directed resources toward leading outreach programs for disadvantaged street children in Cambodia and young Palestinian refugees.
“Someone recently offered to buy (my business) out, but they would’ve totally destroyed it,” laughed the 45-year-old.
“Their concept of music education was to run it like a pure business. I was absolutely mortified.
“I was like, ‘that’s not happening. I don’t care how much money I’m not going to make, I’m not going to hand over something I’ve built for more than 11 years and let you ruin it’.”
Badri first began breaking down doors while still a teenager, when she became the first Emirati to pursue a university education in music, some quarter-century ago, after her parents battled for government funding to study abroad.
“It was tough. My mum and dad had to go in and fight for me to study music, really fight for it. If they hadn’t, I’d be somewhere very different today,” she said.
The campaign was rewarded when Badri later graduated from Royal Holloway, University of London, in 1995.
To this day, she remains the only Emirati woman to earn a degree in music. “It’s very sad, because it shows in 25 years nothing has changed,” she said.
“When people see music as something important that develops a person, not a frivolous hobby, that’s when it’s truly changed.
“We need recognition of what music gives you in terms of softer skills. More and more employers are looking for the ability to think artistically.
“From a business perspective, they’re looking for a sense of cursivity, rather than just a business degree, in getting people to think outside the box.”
Badri has certainly done her bit toward the battle. After earning a second degree in management and languages, then spending 10 years working for international brands in the financial and consumer sector, she had assembled the skills to pursue her calling.
On the back of a small business loan, the CMA was founded in September 2006 with just six teachers.
Within a month all classes were full, and by the end of the year the school’s waiting list had swelled to almost 150, proof of the undernourished arts education at the time.
Within two years 1,200 pupils had enrolled, and the CMA today employs 40 staff and works alongside 16 schools.
Along the way, Badri’s achievements have been repeatedly hailed by the male-dominated, bottom line-driven business community — ironically, as she invests all profits into the center, merely paying herself a teacher’s salary.
In 2010, she won both Best Emirati Entrepreneur and Best Female Entrepreneur at the Gulf Capital SME Awards, the same year she was asked to speak at TEDxDubai 2010.
A year later, she was invited to an audience with Crown Princess Victoria of Sweden while in town to pick up a Certificate of Appreciation Award.
Badri has also been named a Patron of the Arts and a Friends of the Arts by her hometown authorities, and in 2013 the CMA was named Emirati Business of the Year at Gulf Capital.
“I get a lot of recognition from a business perspective. I’ve built a business and seen it through two financial downturns. I know how hard it is to be an entrepreneur,” she said.
“I could go into consulting and make shedloads of money. I could make anyone else’s business work, but I don’t want to. I want to make my own business work.
“I still feel I haven’t achieved what I really want to do until I feel that the concept of music education in the region has really changed.
“Performing arts in general aren’t looked on favorably. It’s seen as flaunting yourself, putting yourself out there. I want it to become the norm.”
One might call Badri a social entrepreneur. In August, she will lead the CMA’s sixth annual expedition to Siem Reap, Cambodia, to work with street children at an orphanage run by the Green Gecko Project.
A team from the school has also travelled to Lebanon to work with children in a refugee camp administered by the Palestine Children’s Relief Fund (PCRF). The CMA has hosted visiting children from both projects in Dubai.
“You have to do it to understand what it does to you as a person. All those who’ve come with us to Cambodia have come back changed and completely reenergized in how they think about things,” said Badri.
“Teaching is a very self-sacrificing job. You become a teacher because you’ve got a talent and a skill, but we normally teach very privileged children, and it’s so different to work with children so underprivileged but so hungry to learn.
“It’s one of the most satisfying things you can do as a person, to see that you can make another person smile or sing. It’s incredibly rewarding.”


Cirque du Soleil in Saudi Arabia: The perfect tribute to a rich culture

Updated 25 September 2018
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Cirque du Soleil in Saudi Arabia: The perfect tribute to a rich culture

  • Cirque du Soleil created a spectacular show in Riyadh
  • They paid tribute to Saudi culture and heritage

RIYADH: The circus — a place that is almost synonymous with joy and delight. Since time immemorial, circuses have been places of celebration and glee, and few as much as the premier name in the industry: Cirque du Soleil.

The show has had a devoted fan in me since 2006, when I attended a performance of their production “Quidam” and my definition of the word “circus” was turned upside-down. Their unique approach to art, performance, costumes and music has secured their status as a household name and a benchmark for all other circus shows to be measured against.

On Sunday night, Saudi Arabia’s National Day, the circus brought their incredible acrobatics to Riyadh’s King Fahad Stadium and it turned out to be a night to remember.



Prior to the event, Cirque’s Vice President of Creation Daniel Fortin offered little in the way of spoilers but hinted that we would see something the likes of which we never had before. With the promises of exclusive new acts, music, costumes and stage tricks piquing my excitement, I joined a throng of green-and white-clad spectators flooding the stadium. Performing to a sold-out crowd, the show kicked off at exactly 8.30 p.m. and the magic truly began.

Barely five minutes into the show, something stole over me as I settled into the rhythm of the music, something I saw flickering over the faces of those in the crowd around me: Recognition. We were seeing ourselves, our identity, echoed back at us, but with a twist. We saw ourselves through someone else’s eyes — someone respectful and admiring.



As a Saudi youth today, it has become an unfortunately common occurrence to face negativity from various outsiders, born of ignorance or fear. It has become dreary and repetitive to have to continually defend my people and my culture from those who have no wish to understand us.

But at this show? I saw my country once more through the eyes of an outsider, but this time, it was different. I saw my culture and my heritage lauded, celebrated, delicately fused with that tangible Cirque du Soleil flair. The attention to detail was careful, almost loving, but also daring and outlandish. It was a glorious fusion of classic Saudi aesthetics with the ethereal, bizarre beauty of Cirque du Soleil.


The symbolism was not always obvious, sometimes it was subtle, constrained to the beat of a drum or hidden in a snatch of song. Other times, it was blatant and bold, in the sloping hump of an elegantly clumsy camel costume, or the billowing of the Bedouin Big Top in the gentle breeze. And yet, unmistakeably, I felt the Saudi influences in every note of the performance. It felt like an homage, and yet it did nothing to diminish its own identity. It remained unquestionably a Cirque du Soleil performance, only below the usual circus frippery, there was a ribbon of something else that lay coiled beneath the surface. Something bright, vibrant green. Saudi green.

The spectacle rounded off with an astonishing display of fireworks, so plentiful that for a moment, the sky glowed bright as day. To me, each one felt like a promise fulfilled. A dream achieved. A miracle witnessed. Here, on my own home soil, it was the perfect tribute to a rich and vivid culture.