Play explores the real lives of Saudi women

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Updated 25 March 2015
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Play explores the real lives of Saudi women

Dr. Maisah Sobaihi’s “Head Over Heels in Saudi Arabia” was a fun, light-hearted play through which she explores the lives of Saudi women and addressed many of the questions raised about the Kingdom to enable people to appreciate and value the contributions women make to its society and social development. The entertaining play was held at Effat University in Jeddah recently.
Sobaihi is an academic, writer, performer and director, who has received international acclaim for her theater work that tackles social and cultural issues.
Being the first Saudi woman to perform at the leading International Arts Festival in Edinburgh, Scotland in 2013, she was honored for her work in theater with an award for Excellence in Pioneering at the Global Thinkers Forum (GTF) in Athens.
In her solo play, she helped uncover a true image of Saudi women while harmonizing the sensitive issues and showing the common womanly bond intensifying past boundaries. During the show, she played two different characters of Saudi women and portrayed their consequences in married life, divorce situations and the ‘misyar’ marriages. With her skills and sense of parodying serious issues into lighter fun subjects, Sobaihi considers her play to be a balanced piece of art.
The idea to bring her thoughts in the form of a one-woman play was inspired by her own life journey and that of other Saudi women she met. “I believe Saudi women can be represented by a Saudi woman only and since I am one of them, I could to an extent portray the reality and the hidden issues in a more convincing and acceptable way. I feel it’s always more realistic when someone talks about what they know after being there and living there and that’s what the play is really about,” she said.
Her fictional comic characters are from different backgrounds — Maryam is from the upper class of society while Layla is Maryam’s husband’s second wife. The show depicts how Saudi women tackle different consequences and situations. Sobaihi said: “I didn’t want the show to be negative or to be about criticizing men or anybody at all. I wrote the script in a light way and made sure that the sentiments and emotions are not hurt during any of my performances.”
Talking about challenges, she said “I performed a couple of times in Jeddah in private gatherings and the reactions from Saudi men were positive, which encouraged me to take it to an international platform.”
Sobaihi added that the play purely depicts to the audience, both nationally and internationally, the pressures and challenges of being a modern and educated woman discussing love, marriage, and careers in a traditional male-controlled society, where gender segregation is the norm and women are forbidden to drive. Moreover, through her play, she revealed that women in Saudi Arabia have turned into an active and positive force in Saudi society. They are not what the international media shows them to be.”
At the Global Thinkers Forum, a non-profit initiative and a platform to create dialogue that aims to bring current and future leaders together to discuss governance, society, progress and the future, Sobaihi was honored alongside other international leaders, including David Frost (Excellence in Media), Nassir Abdulaziz Al-Nasser, High Representative for the UN Alliance of Civilizations (Excellence in Leadership), Shahira Amin (Excellence in Gender Equality), Tu Weiming (Excellence in Cultural Understanding) and Dirk Brosse and Ludwig Wicki (Excellence in Cultural Creativity).
“This award is a wonderful endorsement of the potential of performing arts, which I hope will bring about a very positive social change. Moreover, I hope more people attend and enjoy the show. The aim is mainly to introduce the culture of theater in Saudi Arabia and to have people enjoy it,” said Sobaihi on receiving the award.

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90-year anniversary: How the Arab world came to know Tintin and Popeye

Updated 18 January 2019
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90-year anniversary: How the Arab world came to know Tintin and Popeye

  • Middle Eastern fans fondly look back at two comic icons who share a birthday this year, although they’re not without controversy
  • An Egyptian publisher printed Tintin in Arabic, while Popeye was broadcast on Saudi Channel 2 and Spacetoon

Popeye, the scruffy sailor who remains one of the most loveable characters of all time, has been a popular fixture in Middle Eastern pop culture since the early 1980s. In addition to mountains of merchandise, particularly stuffed toys, being available in local shops, the cartoons were broadcast on Saudi Channel 2 (in their original English) and on Spacetoon (with Arabic dubbing). 
“I remember the first time I watched Popeye,” Zainab Basrawi, a 36-year-old insurance lawyer and self-professed Popeye enthusiast, told Arab News. “I learned to love spinach just from watching him save Olive every time. I believed him. I think he was a great influence on children to subtly ease them into eating their greens.”
Just one week after Tintin first appeared in “Le Petit Vingtieme,” Popeye made his debut on Jan. 17, 1929 as a side character in the daily King Features comic strip “Thimble Theatre.”
Created by the American cartoonist Elzie Crisler Segar, the one-eyed sailor with bulging forearms quickly grew in popularity, becoming the star of his own strip, an animated TV cartoon and a 1980 movie starring
Robin Williams. The theme song from the cartoon, “I’m Popeye the Sailorman,” is one of the most recognized pieces of music in pop culture history.
Compared to boyish, clean-cut, good- natured Tintin, Popeye is his polar opposite.
The sailor is rough, gruff and extremely tough, famous for the super-strength he gets from eating canned spinach, and his never-ending love triangle with his girlfriend Olive Oyl and rival Bluto.
Like Tintin, as a relic from another era, Popeye has also been criticized for racial stereotypes. In “Popeye the Sailor Meets Ali Baba and His Forty Thieves,” he is shown beating up poorly made caricatures of Arab men. In “You’re a Sap, Mr. Jap,” the Japanese characters in the cartoon get the same treatment.
However, literary critic Sophie Cline said the comic strip is reflective of the time it was created in, almost a century ago. “I think it’s important not to ignore these pieces of our history, or hide them away, but rather to own up to our mistakes and learn from them,” she told Arab News.
She alluded to the new disclaimer that now precedes old Looney Tunes cartoons, informing viewers that their outdated “racial prejudices” no longer reflect Warner Bros. values but are “products of their time.”
“Popeye cartoons reflect the common view of the era,” she said. “A disclaimer should be enough.”

Tintin, one of the world’s most famous fictional journalists, traveled the world seeking stories and adventure, so he naturally spent a good amount of time in the Middle East.
Created by Belgian cartoonist Georges Remi, better known by his pseudonym Herge (say his initials in reverse out loud in a French accent), Tintin travels the region in four of his books: “Cigars of the Pharaoh,” “The Crab with the Golden Claws,” “Land of Black Gold” and “The Red Sea Sharks.”
Tintin gained more of a foothold in the region when Egyptian publisher Dar Al-Maarif began printing the comics in Arabic in 1971. Renaming him “Tantan,” Dar Al-Maarif continued to publish the comics weekly
until 1980.
“Tintin has been one of my idols for as long as I can remember,” said Haytham Faisal, a journalist from Cairo. “I literally became a journalist because I wanted to be him. My dad used to take me to buy the comics from the local bookstore. I remember them being so expensive, so they were a rare treat. I’d always think twice before buying them, but I couldn’t always wait for the next comic to see what new story they have next. I still have some of them, they were that precious to me.”
Before appearing in book format, Tintin and his constant companion, the dog Snowy, were first introduced to audiences in “Le Petit Vingtieme,” or “The Little Twentieth,” a supplement to the Belgian newspaper “Le Vingtieme Siecle” (The Twentieth Century) on Jan. 4, 1929. Herge, however, maintained that Tintin was actually “born” on Jan. 10, when “Tintin in the Land of the Soviets” began its serialization in the paper.
Despite the fact that he never seems to hand in any stories, the loveable and quirky Tintin is portrayed as talented at his profession, so much so that he is shown to be in high demand, with many press agencies offering him bribes for his dispatches.
Over the years, Tintin’s face has been used to advertise quintessentially French items such as Citroen cars and La Vache Qui Rit cheese. Enthusiasts of Tintin lore, known as Tintinolo- gists, have written entire books devoted to him.
Since 1929, more than 250 million copies of the Tintin comic books have been sold. His adventures have been translated in more than 110 languages, and the books are sold in almost every country in the world.
Tintin continues to grow in popularity, even 90 years on. He was the star of a full-length feature film, directed by Steven Spielberg, in 2011 and of an animated television series. The latter was broadcast on Saudi Channel 2 between 1991 and 1992 and a dubbed version has been on MBC 3 since 2003.
However, the history of Tintin has not been without its hiccups. Over the years, critics have argued that, like many of the comics of the era, it should undergo censorship or even outright banning from bookstores and libraries. One of the more troublesome ones is his second adventure, “Tintin in the Congo.”
The natives Tintin visits are crude stereo- types of African people, who are portrayed as ignorant and uneducated, and the references to slavery, such as when the natives refer to Tintin as “master,” make the comics hard to stomach.
Similarly, “Land of Black Gold,” which takes place in a fictional Red Sea state named Khemed, is also banned in several Middle Eastern countries today for its stereotypical portrayal of Arabs.
While some argue the comics are simply byproducts of their era, they are nonetheless somewhat difficult to revisit in the modern era. Attempts have been made to soften some of the references, with edits being made to “Tintin in the Congo” in 1975, but is that enough?
Not according to the London-based human rights lawyer David Enright, who wrote in the Guardian newspaper that “Tintin in the Congo” shouldn’t be sold to children. “Books are precious, but so are the minds of young children. It is vital that our children learn and explore the grotesque history of slavery, racism and anti-Semitism, but in the proper context of the school curriculum.”