Watan's Destination: By God, It's Unrepeatable!

Through social media platforms, I am watching a considerable number of video clips from Kuwaiti TV series and plays, most of which date back to before the Iraqi invasion in 1990. This leads me to wonder: if these clips were re-enacted today, would they pass without incident, even assuming they managed to overcome the specific or arbitrary hurdles of censorship?

I doubt that a light-hearted comedic work like “Maharat Al-Fereej” (The Neighborhood Court) could be broadcast without some exaggerating its portrayal as an insult to the country’s judicial body. Nor would a scene from the play “Bani Samt,” in which Abdulhussain Abdulredha humorously read out “the names of the subscribers to the companies,” escape a series of family statements of condemnation that, in journalistic terms, are no less than “half-page announcements.” Furthermore, would any author dare to depict the abuse of influence as it was portrayed in the play “Harb Sa’adat Al-Wazir” (The Minister’s Harem)?

In my view, canned charges could be leveled against many pre-invasion Kuwaiti series and plays. For instance, in the series “Al-Aqdar” (Destinies), one would find someone arguing that it is dedicated to class division in society. The series “Dars Khass” (Private Lesson) or the play “Bayt Boushah” would not escape accusations of undermining the family unit. Meanwhile, the play “Bye Bye Arab” undoubtedly represents unforgivable insults to sisterly nations.

Even a play like “Al-Kura Madawara” (The Ball is Round) could, given the sick state of sports reality, lead to clashes between the public and the “hushes” (whispers/threats) of club officials, preventing the completion of its performance. Perhaps it is fantasy to even discuss reviving political plays such as “Mumathil Al-Sha’ab” (The People’s Actor), “Daqqat Al-Sa’a” (The Clock Has Struck), or “Hami Al-Diyar” (Protector of the Homeland), although a significant portion of their scripts was biased toward the official viewpoint.

We might not even be surprised if the filming of the series “Khalti Qamasha” (My Aunt Qamasha) were halted due to the failure to obtain prior approval from the Communications Authority and the cybersecurity and information technology agencies to install cameras and surveillance systems.

Were the legal restrictions fewer in the past, allowing for greater creativity? Or has society become less tolerant and flexible toward the unfamiliar? More importantly, can someone who adheres to repetitive and constrained models produce a creative work?

I am not calling for the reproduction of old works, but rather for giving new ideas a better space and environment. A good script can assert itself and gain value and impact, as well as popular success, provided that restrictions are reduced and the scope for innovation, rather than repetition, is increased. Otherwise, we will continue to circle around great old artistic works, producing series of “clumsy attempts” and plays of “feeble jokes.”