Manar Adel to Al-Rai: Kuwait's Samiri is the most advanced in the Gulf
Artist and performing arts instructor Manar Adel confirmed that the Emirati audience’s reaction to her segment featuring the Samri tableau in the latest musical show, “Miami Show 3.0,” was “amazing.” She explained that the audience had been anticipating the show since last year, which made them eager to see the tableau performed live.
Adel told Al-Rai, “Because the show is interactive, when the time came for the audience to guess the next tableau, they immediately identified it as the Samri and Badawi tableau. They sang the entire medley in unison and stayed in sync with the rhythm until the final beat.”
Regarding the differences between Kuwaiti Samri and its Emirati counterpart, she clarified that “the rhythm of Samri remains largely the same across Gulf countries, but Kuwait is the country that has most developed its own style in translating the Samri rhythm into a performing art.”
She continued, “We have a history of transforming this heritage and cultural tradition into artistic performances, particularly through Kuwaiti operettas. Therefore, I relied on this history as a reference, adding my own vision along with some theatrical and choreographic elements.”
On the training workshops she will conduct in the Saudi cities of Riyadh and Al-Khobar, she noted that the program includes two types of workshops: one on “Fundamentals of Gulf Movement” and the other on “Fundamentals of Samri.”
She added, “In the Fundamentals of Gulf Movement workshop, the focus will be on understanding fast rhythms and quick movements, their basics, and how to translate rhythm into a performing art through steps, ‘lefah’ (a specific rhythmic movement), and group choreography.”
She further explained, “As for the Samri workshop, it will include a brief overview of the art’s history, the types of thobes (traditional dresses) and their etiquette, and how they have evolved, alongside movement fundamentals. These include forward and backward steps, turning, and slow ‘lefah,’ which serves as a means of expression, helps adjust body posture, and contributes to building confidence and stage presence.”
She pointed out the strong interest in these arts among women and young girls, stating, “Through my initial training experiences, I discovered that most women have a great passion for these arts, but classes were limited.” She recalled that “when I launched my first workshop in Kuwait, it gained massive popularity, and we closed registration within two days. Centers in Saudi Arabia also contacted me directly.”
She hinted that “there is a misconception that this art form is reserved for older women. While it is indeed performed at weddings and gatherings by older women, as it translates stories and emotions of longing, loss, and companionship, it is an art that girls should learn from their mothers, grandmothers, aunts, and uncles from a young age. They can practice it with their friends until they reach the appropriate age and become proficient.”
Regarding young girls, she emphasized that interest has grown to the point of introducing folk movement arts into physical education classes in schools, not just within operetta training programs. She concluded, “Girls are now able to distinguish between rhythms and their corresponding movements, such as the differences between the steps of the Tambura, Naqazi, and Badawi rhythms. Based on these distinctions, group choreographies are designed, resulting in a complete and creative performance.”
