Meet the woman of many talents: Tara Emad Al-Dughaiter, an independent curator, writer and singer based in Saudi Arabia.
After achieving a degree in Mass Communication with a special focus on Arts and Humanities, Al-Dughaither pursued a master’s degree in Culture, Criticism and Curation at London University of Art’s Central Saint Martins. Her interest toward contemporary Arab art and culture led her to explore poetic images and oral traditions which became the catalyst to her current project.
Today, Tara is heavily invested in her project, “Sawt Asura”, an open source digital library drawing from her own practice as a vocalist researching the experiences of Saudi women’s singing practices, rituals and the exploration of transient documents in contemporary art. The goal of the platform is to empower local voices and experiences, shining a light on the role women have traditionally played in society through their voices and natural musical talents.
As an independent curator, writer, and singer, how does your heritage influence your work?
In my work, heritage fills in an emotional, educational and cultural gap experienced by many of generation X, Y, hoping to retrieve memory, historical value and deep rooted knowledge.
What got you interested in Saudi women’s folklore singers and their traditions?
Growing up in Saudi Arabia in the 90’s and early 2000’s, and in culturally isolated industrial cities such as Khobar, Dhahran; I was under the sincere impression that musical practices didn’t exist outside of wedding celebrations and some popular male artists in the region. As the country started to open up, I was living in the Sultanate of Oman where the preservation of musical traditions has been a top priority for decades, I became more invested in learning about musical culture upon my return to KSA in 2018 and began researching for a sonic artwork meant to focus on percussion and learned that there are in fact subcultures that still exist outside of large cities where elderly women still practice traditional rhythms with sung poetry and was told that they are at the bring of disappearing.
Do you think that music, poetry and folklore reflect the culture of a society?
I believe music, poetry and folklore are at the heart of any culture and reflect the deeper social and spiritual values of a culture.
Where did the concept to launch the library Sawt Asura and the idea to archive Arabic women’s history and stories come from?
It came after I curated an archival video artwork show, speaking with many visual artists and realizing that they, like me, struggle for years to source authentic resources in order to inspire their artwork. Having had my art and culture education mostly informed by Western culture due to their investment in recording, archiving and critical knowledge production, the idea came about to document what I felt was most valuable at this time of radical transformation and a turn towards empowering women in a new economy.
On your platform, you collected audiovisual materials from folk songs to traditional performances which have never been published. What was the collection process like?
The collection process is and will be ongoing for many years, it requires on the ground connection with communities and collaboration and at the top; building trust and communicating the intention of research clearly.
What emotions did you go through when reviewing some of these intimate memories and moments of Arab women?
It’s overwhelming to hear about how women have been treated and sidelined due to social ignorance, but also very inspiring to meet women in their elderly ages that have not yet given up on their passions.
What are some of the challenges of working in your country?
The biggest challenge in Saudi Arabia for any qualified young professional at the moment is the overwhelming number of opportunities. It is difficult to remain focused, delegate other qualified folk and manage a consistent and structured workload. Additionally, the lack of managerial and academic experience in running archival projects is a hindrance. Most cultural entities in the country are moving at a pace that is too fast for such a delicate process to transpire with integrity.
On a social level, not all, but many women from the core demographic for documentation are ill and unmoved by these youthful changes hence making it challenging to gain their trust.
How has the response been by the public and media?
The public and media has been incredibly positive and supportive of this project, this includes prominent cultural institutions and government bodies working towards similar goals.
What is your goal concerning your future endeavors?
My goal is the goal of ‘Sawt Asura’ which is to increase musical appreciation in general, normalize women in music and performance by showcasing traditional examples and lifting the musical practice to a contemporary form that is able to be a bridge between the landscapes of sonically driven people.
Lastly, how far have things changed in the past years and what do you aspire to achieve as an outcome of your work in the long term?
In the last couple of years Saudi has generally undergone a massive transformation and with that a higher thirst for authentic content. My longer term vision is for sawtasura to be an educational platform that partners with forward looking institutions and independent artists, musicians and performers.
Text by Suna Ahmed
