In her forthcoming book, The Development of an Art History in the UAE: An Art Not Made to Be Understood, Lebanese-British art historian Sophie Kazan Makhlouf delves into the rich artistic heritage of the UAE, tracing the evolution of Emirati identity from 1971 to the present. The book, set to release in hardback next week, explores the intersection of tradition and modernity in the UAE’s visual and oral arts.
Kazan Makhlouf’s research draws on her time spent in Abu Dhabi as part of the Emirates Foundation’s cultural program from 2007 to 2011 and her PhD work in the UK, which examined the contrast between traditional Emirati practices and modern cultural forms.
“There’s been a lot written about how the critical eye in the UAE differs from that in the West,” Kazan Makhlouf says. “But more than that, there needs to be a different language. In the UAE, often when people talk about art history, they assume there’s only one art history, and it’s contemporary.”
Exploring the UAE’s Artistic Roots
Kazan Makhlouf’s study sets itself apart by placing Emirati crafts, poetry, and cultural practices at the forefront of what would later evolve into contemporary art. The book covers everything from henna art and talli embroidery to Nabati poetry, including a poem written by UAE Founding Father, Sheikh Zayed bin Sultan Al Nahyan.
Through personal anecdotes and carefully researched case studies, she highlights the everyday cultural elements that have influenced visual art in the UAE. For instance, a diagram in the book contrasts how Emiratis from Dubai and Fujairah fold their ghutra, offering a sartorial glimpse into the country’s diverse traditions.
Calligraphy is another prominent subject in the book. Kazan Makhlouf emphasizes how cultural forms such as calligraphy play a significant role in daily life, often more than visual art. She cites Mohammed Mandi, whose calligraphy graces the UAE’s currency, as an example of how tradition permeates the country’s art scene.
“There is a general misconception that art in the UAE started with Hassan Sharif,” Kazan Makhlouf points out. “But it was way before that. Personally, I started at Islamic art, and that was the context I began from.”
The Evolution of Contemporary Art
While the book emphasizes tradition, it also chronicles the rise of contemporary art in the UAE, particularly through the work of Ebtisam Abdulaziz, Mohammed Kazem, and Hassan Sharif, who introduced a conceptual shift to the country’s artistic landscape. The narrative follows the development of the UAE’s contemporary art ecosystem and highlights the increasing global recognition of Emirati artists.
In examining these modern artists, Kazan Makhlouf doesn’t shy away from discussing the tension between tradition and globalization. She explores the work of Abdul Qader Al Rais, the first UAE artist to incorporate European techniques, and how his art reflects the disappearing landscapes and traditions of a pre-industrial UAE. Other artists, such as Afra Al Dhaheri and Lamya Gargash, continue this dialogue with installations and projects that reflect both local heritage and the challenges of modern life.
Balancing Tradition and Modernity
Kazan Makhlouf’s final chapter tackles the question of what it means to maintain an Emirati identity in a rapidly globalizing world. Drawing on the work of anthropologists and art historians, she highlights the UAE’s unique position, where wealth and tradition coexist with openness to global influences.
“This book has affected the way that I consider art as a historian. I’m much more aware of the importance of tradition, the importance of religion, and the importance of national and spiritual context,” she reflects. “But at the same time – and this is where the example of the UAE is so important – it’s really interesting to look at how open people are to change.”
In this exploration of Emirati identity, Kazan Makhlouf’s book offers readers a comprehensive view of the UAE’s artistic heritage, making it an essential read for anyone interested in the intersection of culture, tradition, and modernity.
