Imagine an American TV
network deciding to take the American Idol format and apply it to
poetry; lining up poets to read their poems in front of temperamental
judges while the nation gets out its mobile phones to vote for its
favorite poet. One can be sure the show would not survive the first
commercial break before the chastened executives pull the plug on it and
replace it with yet another series on the Life and Times of Nicole
Ritchie. Yet, that was exactly the formula for the latest TV sensation
to take Arab countries by storm.
Perhaps the only thing that is as hard as translating Arab poetry to
other languages is trying to explain to non-Arabs the extent of poetry’s
popularity, importance and Arabs’ strong attachment to it. Whereas
poetry in America has been largely reduced to a ceremonial eccentricity
that survives thanks to grants and subsidies from fanatics who care
about it too much, in the Arab world it remains amongst the most popular
forms of both literature and entertainment. Whereas America’s top poets
may struggle to fill a small Barnes & Noble store for a reading,
Palestine’s Mahmoud Darwish has filled football stadiums with thousands
of fans eager to hear his unique recital of his powerful poems. And
while in America a good poetry collection can expect to sell some 2,000
copies, in the Arab world the poems of pre-Islamic era poets are still
widely read today in their original words, as are those from the
different Islamic eras leading to the present. The late Syrian poet
Nizar Qabbani had a cult following across the Arab world, and his
romantic poems have for decades constituted standard covert currency
between lovers.
The Arab World has had its own enormously successful pop music answer to
American Idol in Superstar which has concluded its fourth season with
resounding success, unearthing some real stars of today’s thriving
Arabic cheesy pop scene. But a few months ago, the governors of the
Emirate of Abu Dhabi took a bold move by organizing a similar contest
for poets. This comes as another step in Abu Dhabi’s ambitious attempts
to use its petro-dollars to transform itself into the capital of Arab
culture, and one of the world’s leading cultural centers; a Florence to
Dubai’s London.
The show, named Prince of Poets, was an enormous success. Some 4,000
poets from across the Arab world sent in submissions to be considered.
35 were chosen for the show, and millions of viewers from across the
Arab world tuned in to watch them recite their poetry, get criticized by
Arab poetry’s answer to Simon Cowell, Paula Abdul and Randy Jackson (5
older poets and professors), improvise verses on the spot, and address
wide-ranging issues from women’s rights, Iraq, love, democratization,
Palestine and the old staple of Arab poetry: self-aggrandization. The
winner would not only gain fame, but also a grand prize of 1,000,000 UAE
Dirhams ($270,000).
The success of the show was wilder than anyone could’ve expected. The
Arab press has had reports about how it has achieved the highest ratings
in its spot, overtaking football matches and reality-TV; and millions
have paid for text messages to vote for their favorite poet.
The turning point in the show’s popularity, many have speculated, came
when young Palestinian poet, Tamim Al-Barghouti, read his poem “In
Jerusalem“. Tamim, who is a distant cousin and close friend of mine, is
the son of famous Palestinian poet and writer Mourid Al-Barghouti
(author of the excellent I Saw Ramallah) and Egyptian novelist Radwa
Ashour. Tamim’s charisma, poetry, personality and politics captured the
imagination of the Arab world. A veteran of years of student political
activism in Palestine and Egypt, Tamim was once deported from Egypt by
the authorities after engaging in one too many anti-Iraq War protests
for the liking of Egypt’s regime. He then moved to America where he
completed a Ph.D. in Political Science at Boston University in only
three years, before working for the United Nations in Sudan. Through all
of this, he has managed to publish four collections of poetry that have
received critical acclaim and is expanding his Ph.D. thesis into a book
on political identity in the Middle East to be published in 2008. He is
now headed to Germany to become a fellow at the Berlin Institute for
Advanced Study.
While many contestants opted away from talking about politics in their
poems, hoping to not cause any grievance to the generous leaders of the
United Arab Emirates who are hosting this show, or to any of the other
Arab leaders, Tamim’s poetry was almost entirely political. Whether it
was about Palestine, Iraq, or Arab dictatorships, Tamim was as
courageous as he was eloquent, raising a few eyebrows in the quiet
Emirate where discussing regional politics is not considered the wisest
choice of discussion topic.
“In Jerusalem” is a poetic diary of Tamim’s last visit to his land’s
occupied capital; a sad traverse through its occupied streets defiled by
the occupation soldiers and the illegal settlers living on stolen
Palestinian land, and around the apartheid walls choking the city with
their racist denial of Palestinians’ basic freedoms and rights.
Nonetheless, the poem ends on a cheery and optimistic tone, leading to
the jubilant excitement with which the Arab world enjoyed the poem.
Palestinian newspapers have dubbed Tamim The Poet of Al-Aqsa; his
posters hang on the streets of Jerusalem and other Palestinian cities,
where key-chains are being sold with his picture on them. Sections of
the poem have even become ring-tones blaring out from mobile phones
across the Arab World, and 10-year-old kids compete in memorizing and
reciting it. Hundreds of thousands of people have seen Tamim’s poems on
Youtube and other video websites.
But perhaps Tamim’s most amazing feat was how he has galvanized all
Palestinians into following him and supporting him. After all of the
troubles that Palestine has been through recently, and all the divisions
that have been spawned within the Palestinian people, it was very
refreshing to finally find something that unequivocally unites all
Palestinians, and rouses millions of Arabs behind the cause that was
tarred recently by the actions of some Palestinians.
This unifying effect was most glaringly captured when the TV stations of
both Hamas and Fatah threw their support behind the unsuspecting Tamim,
broadcasting his poems repeatedly, and urging people to vote for him,
catapulting him from a little known young poet into a symbol of national
resistance and unity. Finally, after months of divisions amongst
Palestinians, there was something uniting them: a reminder of the true
essence of the cause of the Palestinians, of the real problem, the real
enemies and the real need for unity to face these challenges for the
sake of Palestinian people and their just cause.
All of which made the final result of the contest most surprising. After
having consistently received the highest ranking from the viewers’ votes
and the unanimous flattery of the judges, and after a barn-storming
flawless last poem that had the judges gushing, Tamim ended up in fifth
place out of the five finalists. The poetess that was expected to most
strongly challenge Tamim, the Sudanese Rawda Al-Hajj, who had focused
her poems on women’s empowerment, finished fourth. The winner, perhaps
unsurprisingly, was Abdulkareem Maatouk, a poet from the host country,
the United Arab Emirates, whose poems had steered clear of anything
political or controversial.
Though Tamim refused to comment, speculation was rife that the results
were rigged. That Tamim and Rawda, widely viewed as the two best poets,
would finish bottom of the finalists was certainly implausible, and one
could not help but imagine that politics came into play. Abu Dhabi may
want to fashion itself as the capital of culture, but it probably values
its political stability more than any cultural pretenses. Arab regimes
may have behaved like warring tribes with narrow self-interest over the
past century, but there is one thing in which their cooperation was
always exemplary: the effective suppression of all voices of dissent. As
the contest became more popular, and the crown of the Prince of Poets
more prestigious, it may have become too hard for the organizers to
accept giving the trophy to a Palestinian rabble-rouser who in one of
his poems bemoaned the times that have “degraded the free amongst us,
and made scoundrels into our rulers.”
Nonetheless, there is no doubt who the real winner was; it was not just
Tamim and his poetry which will now rival Mahmoud Darwish’s as the voice
of the Palestinians, but also the Palestinian people who were reminded
of the meaning of their unity, and their cause, which has found its best
advertisement that has strengthened the mutual affection, dedication and
support of millions of Arabs in the midst of one of its darkest hours.
*Saifedean Ammous, who hails from Ramallah, Palestine, is pursuing
a PhD in Sustainable Development at Columbia University, New York. He
blogs at TheSaifHouse.wordpress.com.
