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All rights reserved. The UK company Twofour Productions will shoot and produce the film, which will air next year. Mr Hayes said he expected the toughest part of the journey to occur in the middle. He and his companions will wear what Thesiger wore: kanduras, khanjars and sandals. They will live on dates and rice. But as it is customary for Bedouin to slaughter a lamb in honour of visitors, the trio will gladly accept any such invitation. The Emiratis Mr Hayes is travelling with speak some English, but he wants to practise the Arabic he learnt in Oman 20 years ago.
Mr Al Jabry said he was looking forward to the event. He added that "with a strong background in camel handling and desert survival, we will work closely with Adrian to ensure the trek closely follows that of Thesiger's in the s". Abdulla Butti Al Qubaisi, the director of communications at Abu Dhabi Authority for Culture and Heritage, which is backing the expedition, said a key part was engaging the UAE's children in their country's past.
Thesiger, who was born in and who died in August , had good ties with the great builder of the edifice who is a source of pride to Arabs, Sheikh Zayed bin Sultan Al Nahyan. Zayed, the founder of the UAE, was keen on the rise of his people and on gaining the reasons of economic, scientific, military and political power and he worked hard towards that.
There is a story that expresses this contradiction between the personal and sentimental aim of a western explorer and the general and objective aim of an Arab leader. In brief, Thesiger met with Sheikh Zayed after the emirate of Abu Dhabi kicked off its journey of modern renaissance and Sheikh Zayed asked him: How do you see our situation today?
They admire you when you are in the position to be observed and to feed their romantic and sentimental hunger, nothing more! This article is also available in Arabic. Althaydi has published several papers on political Islam and social history of Saudi Arabia.
However, the trip can be easily and cheaply done by mini-bus from the central bus station in Dubai , and for many visitors the Jahili Fort that still dominates the modern city of Al-Ain will have the added interest of housing a small museum dedicated to the British explorer Wilfred Thesiger, author of the classic travel books Arabian Sands and The Marsh Arabs, who was once hosted there by Sheikh Zayed bin Sultan Al Nahyan, ruler of Abu Dhabi and president of the United Arab Emirates from to Sheikh Zayed was born in the Jahili Fort, and the building, now carefully restored, also contains an exhibition about his life and the history of Al-Ain.
The Thesiger exhibition, containing many mementos of the explorer's life and travels and a collection of original photographs, has been installed in memory of "Sheikh Mubarak bin London ," the name apparently given to Thesiger by local residents when he first visited the area in the s. Housed in an adapted market building built in neo-Islamic style on the city's waterfront, the Museum is a stone's throw from the Sharjah heritage area, the city's historic centre, which is now being restored.
The latter contains a collection of traditional buildings set around a central square, including the restored Bait al-Naboodah, an important example of 19th- century Gulf domestic architecture consisting of a fort-like structure built of stone and coral around a central courtyard that once housed one of the city's leading families.
The Museum of Islamic Civilisation contains permanent exhibition spaces divided across two levels, the ground floor having displays of religious materials in the Islamic Faith Gallery, notable not only for its fine collection of religious manuscripts, but also for its focus on the architecture of religious buildings, and of scientific and technological materials in the Gallery of Islamic Science and Innovation.
Islamic engineering, architecture, military technology, navigation, time measurement, medicine, map-making, mathematics, astronomy and chemical equipment are all touched upon in the latter Gallery, there also being a collection of ingenious working models produced from descriptions in the works of mediaeval authors.
On the first floor, the Museum's permanent collection is displayed across four large galleries, with the presentation being broadly chronological in character while focusing on various thematic areas.
There did not seem to be a catalogue of the collection available on a recent visit, meaning that for the casual visitor it was difficult to know how important the Sharjah collection might be taken to be. However, it was striking that the material accompanying the exhibition, discussing the question of "what is Islamic art" and giving answers in terms of the range of materials -- calligraphy, textiles, glasswork, metalwork, ceramics and so on -- on show, was somewhat less adventurous than the exhibition itself.
Designed as an introduction to Islamic civilisation, and not just to Islamic art, the exhibition introduces all sorts of intriguing sub-themes, raised or illustrated by the materials on display.
Taken from memory, these included themes such as the use of colour in Islamic architecture, particularly in the use of decorative tiles, and the ideas of symmetry expressed in Islamic designs, as well as the design of Islamic gardens, the representation of leisure time illustrated through surviving games and toys and of domestic space household tools and implements , and of the "adaptability," across different media and for different purposes, of common elements of Islamic design.
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