Ramadan 2027: Will the era of art that shapes consciousness return?
Yasser Al-Aila
Production companies have begun early preparations for the 2027 Ramadan drama season, with filming for several projects already underway since the beginning of last month. This move aims to avoid time constraints and provide production teams with greater space for execution. With the return of several major stars to the screen, a more significant question emerges: Will the value and culture of drama also return with them?
In recent years, Ramadan drama has undergone a clear transformation. Once, culture and awareness were integral to the formation of the artist, writer, and director. Today, however, “trends” and quick-view metrics often serve as the primary benchmarks for success. The result is a proliferation of works that simplify ideas, recycle characters and narratives, and rely more on excitement and noise than on depth and genuine treatment of societal issues.
Conversely, the audience’s memory still holds works created by names that possessed both talent and culture. These include the Gulf productions “Darb Al-Zalaq,” “Khalty Qamasha,” “Raqia wa Subayka,” and “Ala Al-Dunya Salam,” as well as the Arab productions “Al-Shahad wa Al-Damoo’,” “Layali Al-Halmeiya,” “Raft Al-Hijan,” and “Arabesque.” These were not merely entertainment series, but social and humanistic readings that have remained relevant despite the passage of years.
The problem does not stop at the script and performance; it extends to the music and opening credits as well. Older works presented melodies and lyrics that became part of the public’s collective consciousness, whereas some recent productions bet on songs designed for virality on social media platforms, even if they are not genuinely connected to the spirit of the work.
What is needed today is not a return to the past, but a revival of the spirit of culture and awareness in the drama industry. Talent alone may achieve quick visibility, and “trends” may grant temporary fame, but it is culture that endows the artist, the character, and the script with the power to endure.
Notably, the upcoming season is already seeing early movement, with the filming of several Kuwaiti and Gulf projects, including “Bait Hadam,” adapted from Buthaina Al-Eisa’s novel, “Al-Hadana,” “Tahat Al-Ard,” “Shari’ Al-Arab,” and “Al-Bint Umm Rasin,” the latter of which is scheduled to begin filming in Saudi Arabia next October. This is alongside Saudi productions such as “Al-Aqilat” starring Nasser Al-Qabisi and “Khatifa Al-Dammam” by Ilham Ali, as well as Arab productions like “Al-Ibara,” “Al-Raisa,” “Eshmaawi,” and “Sultan Al-Dhib.” Will this early preparation bring a season that restores value to drama, or will the race remain governed by the logic of numbers and “trends”?
