The Poetics, Life, & Legacy of Fatat Al Arab

Introduction 

“I come from a long line of poets, and upholding this tradition is a responsibility that I do not take lightly,” I stated this with, what I hoped, was a convincing conviction during a poetry workshop that I was giving to my students. After which, I proceeded to tell them, with great pride, about Ousha Bint Khalifa Al Suwaidi. As I began to recount the life and works of this remarkable poet, I was keenly aware of the doors she opened for women in the Gulf, and the impact of her work on the world of poetry in the region. 

Ousha Bint Khalifa was exceptional, there is no other way to state or overstate this. She was “considered by some to be amongst the greatest Nabati poets of the 20^th century”¹ and is “regarded as among the finest Arabic Nabati poets.”² She was born in the oasis city of Al Ain in 1920, during the height of the pearling industry.³ Her family had a great appreciation for poetry and literature, and often hosted poets in their home. Influenced by this literary culture, Ousha Bint Khalifa grew up in the company of words, metaphors, and poetic meters. Although the pearling industry was booming at the time, it was still an era of limited access to education and high rates of illiteracy.⁴ It would be another few decades before illiteracy rates declined, and education across the region would be improved. In order to learn how to read and write, she used charcoal to trace words. Remarkably, by the time she turned 15, around 1935, Ousha Bint Khalifa had already began composing poetry. In fact, her “poetry and fame was spread by those who memorized her poems and recited them to others. Her renown was all the more remarkable for an era when women seldom recited their poetry in public.”⁵ During this time when the literary scene was still male-dominated, “what distinguished her was that she did not shy away from making available the recordings of her poetry in her own voice.”⁶ This was an extraordinary act of courage, bravery, and incredible belief in her words for the societal context she operated in at the time.

Her Poetic Contributions

In his book on Ousha Bint Khalifa’s poetry, Mu’ayyad Al Shaybani maintains that her poems were still accessible to readers who are unfamiliar with the local Emirati dialect.⁷ He asserts that her poems have become a central part of the fabric of the Emirati cultural landscape,⁸ and although Ousha Bint Khalifa’s poems are classified as Nabati, they contain within them traces of classical or modern standard Arabic.⁹ On a technical level, she was able to break through many of the barriers that often held back poets. Her usage of rhyme schemes and attention to detail regarding meter paint a clear picture of her technical abilities within the form of Nabati poetry. Nabati poetry is particular to the Arab world, and is sometimes known by other names such as sha‘abi poetry. In fact, the reason Nabati poetry is well known in the United Arab Emirates as the “people’s poetry,” is due to its colloquial nature.¹⁰ All of these names point to a specific characteristic of Nabati poetry, which is “popular vernacular poetry.”¹¹

Ousha Bint Khalifa wrote on a vast array of topics, and she did not limit herself to writing on one particular area of interest. Indeed, if one were to look at the poet’s collected works, one would find that her poetry not only spans various topics but would also read like a mirror to the cultural and social of times in which she lived. It is possible to trace this progression. As a poet, I am aware of how easy it is to get stuck within the rigidity of forms and conventions. However, Ousha Bint Khalifa knew how to use different styles, as reflected in her word choices in some of her poems.¹² She was a master of metaphors and embedding deep philosophical thought into her work. In fact, in the middle of one of her poems sits such a verse.¹³ Through reference to pearl diving, she beautifully crafted a metaphor for perseverance: 

Not every (pearl) diver 

surfaces with hands filled, 

with rare pearls 

Roughly translated, this verse points out that not every diver returns from the seabed with hands full of treasure and valuable pearls, some return to the surface with empty hands, implying an analogy on fate, fortune, and determination. It is this kind of cultural context mixed with her impeccable word choice that provides the reader with a glimpse into the poetic abilities of Ousha Bint Khalifa. Although this verse sits within an entire poem, this part in and of itself can be interpreted in many different philosophical ways. It also speaks to Al Shaybani’s “poem within a poem,” and further illustrates how Ousha Bint Khalifa’s verses contain multitudes of layered meanings.¹⁴ 

Ousha Bint Khalifa’s work also demonstrates both a comprehensive and broad knowledge of the desert and the sea, and both landscapes make frequent appearances in her work. The detail with which the poet created poems containing vivid landscapes is unique. Al Shaybani points out that Ousha Bint Khalifa’s command of language and knowledge assisted in creating these layered bodies of work.¹⁵ Place is of particular importance to her. In her poem Tahiyya wa Tarhib, or Greetings and Salutations, the poet draws comparison to as many greetings as the sands from Al-Awir to Lahbab.¹⁶ Both Al-Awir and Lahbab are areas in Dubai, which are known for their pleasant weather and natural landscapes. In the poem, Ousha Bint Khalifa uses these places as a basis to evoke a sense of welcoming, while offering vivid description of the natural landscapes. Considering that she spent a significant part of her life in Dubai, the verse is very well thought out as Al-Awir and Lahbab are situated geographically adjacent to each other. One could argue that choosing to conclude the poem in this way shows a kind of unending welcome, which is the central theme of the verse. In fact, the poet writes, which has been translated from the original Arabic:

Limitless welcomes 

From the sands and palms of Al-Awir 

To the tall sandy hills of Lahbab 

Ousha Bint Khalifa skillfully employed various types of rhyme and meter in her poems. In fact, there are many examples of this throughout her pieces. One of these structurally specific forms of poetry and meter is Al-Wannah. This form is known for its shorter number of verses and smaller number of words per verse. This briefness in structure and wording allows for the poem to be read with a specific kind of rhythm. Even in translation, her work speaks volumes in terms of content. Her poems are technically complex, well thought out, and very well structured. Her works often describe details in vivid and rich language, which few poets, if ever, could duplicate. There’s a level of understanding of her world that is present in her work, beyond the surface. It is a deep and philosophical understanding of her community and the society in which she lived. She wrote in various themes such as social, religious, and cultural ones. Her poetry also spans topics such as wisdom and praise, many of which have gained her popularity in a traditionally male-dominated sphere of expression. 

A unique feature of Ousha Bint Khalifa’s poems is that, when viewed as a whole, they are not confined to a particular type of imagery. Many of Ousha Bint Khalifa’s poems draw on elements from the local environment and, often, use natural elements and references, like gazelles and falcons. She knew when and how to employ these elements within her poems. Additionally, cultural and social values also feature in Ousha Bint Khalifa’s poetry. In particular, this is present when she writes about greetings and salutations with an overall tone of welcoming. The tradition of welcoming guests and strangers within Emirati culture is quite deeply embedded. This thread, which is a core pillar of her culture, is present in her literary legacy. There is so much of Emirati culture that is deeply and complexly woven in Ousha Bint Khalifa’s poems. In fact, her poems, in many ways, can act as a window into the history of Emirati culture itself. 

The impact of Ousha Bint Khalifa’s poetry reached far and wide, which led to her being referred to as Fatat Al Khaleej, or Girl of the Gulf, which is akin to Gulf poetess laureate. In 1989, His Highness Sheikh Mohammed Bin Rashid Al Maktoum, Vice President and Ruler of Dubai, bestowed upon Ousha Bint Khalifa the sobriquet of Fatat Al Arab, or Girl of the Arabs.

Honoring Her Legacy

In 2018, when news reached the community about the passing of this great poet, tributes abounded. It became clear that the region had lost a brilliant poet who was a symbol of culture. It was also apparent the effect this poet had on an entire generation and society, not just within poetry circles. Individuals and cultural organizations alike expressed their sincere condolences over the passing of Ousha Bint Khalifa. Her contributions to poetry were acknowledged with heartfelt tributes. She was honored with a permanent hall in the Women’s Museum in Dubai, where her words live on through a stunning installation. Some of her personal belongings are also housed in the museum. The hall both celebrates and honors her life and works. 

Furthermore, Ousha Bint Khalifa was named the Personality of the Year by the Abu Dhabi International Book Fair in 2019. She was also awarded the Abu Dhabi Festival Award by the Abu Dhabi Music & Arts Foundation (ADMAF).¹⁷ Additionally, she has a poetry award named in her honor. On a more recent note, the poet’s life was celebrated with an impressive and immersive theater display at Expo 2020 in Dubai, named Ousha and the Moon.¹⁸ 

It is an honor to be writing about this poet and to be researching her life and her work. To read her work is to attempt to understand the history, culture, and society of the United Arab Emirates, and the wider region, through the lens of poetry. It is to learn about the structure of Nabati poerty, and the significance of choosing the right words with the right placement. As a poet, I read her work and know that I am part of a legacy and poetry movement that she built — whether it was known or unbeknownst to her exactly how far her reach would be. 

I write in a completely different genre and sometimes in a different language. However, the fact remains that there are paths that are now available because of Ousha Bint Khalifa, who had the gift of poetry and a voice unlike any other. She opened up doors for so many poets, particularly Emirati women poets that would come after her, myself included. 

This is her true legacy. It is her poems that have stood the test of time, and her work that continues to be read and re-read by generations for years to come. 

To access the works cited & endnotes, download the full report.

The statements made and views expressed are solely the responsibility of the author, and do not represent Fiker Institute.