Making art out of words | Yemen Times
Calligraphers ask government to add craft to school curricula
Amani Mohammed Al-Kabodi, 18, stands beside a table placed inside a room at the Arab Painting Forum in Sana’a, carefully drawing the Arabic alphabet in black ink with studied brush strokes.
Special pens, ink, paper, brushes and other tools are scattered on the table next to her. Every time Al-Kabodi starts drawing a new letter, she cleans the pen off with a tissue and dips it into a special ink.
Calligraphy, both for secular artwork and for religious depictions is practiced in Yemen by a number of talented Yemenis and immigrants.
Calligraphers say the art is an important part of Islamic and Arab identity and many complain about the absence of calligraphy in school curricula. Students are often taught calligraphy as part of the Arabic language, instead of as a separate subject. Many are encouraging the education sector to take it a step farther and offer calligraphy courses.
Al-Kabodi, a recent high-school graduate who will begin medical school next year, has been practicing calligraphy since age 10.
“I decided to enroll in Arabic calligraphy courses after my relatives encouraged me to improve my handwriting,” said Al-Kabodi.
“Because of the lack of Arabic calligraphy departments at Yemeni universities, I will go to medical school and look for institutes that teach the art so I can improve my skills,” she said.
Al-Kabodi studied Riqaa', Al-Dewani and Al-Thlth Arabic calligraphy font courses at the forum. Many want to expand access and availability.
“Calligraphers don’t have an identity here in Yemen due to the lack of Arabic calligraphy curricula, departments and local competitions,” said Khalid Al-Ward, an Arabic calligraphy trainer involved with school curriculum at the Education Ministry.
Al-Ward has been working in the Education Ministry for 18 years. He started teaching Arabic calligraphy courses at private institutes five years ago and has improved his skills by learning from talented Syrian, Egyptian and Iraqi teachers in the ’80s.
“Other countries have a special Arab calligraphy curriculum for students. So, we were very happy when teachers from these countries come to Yemen because they teach us many things about Arabic calligraphy. I also read old books about calligraphy. Yemen is at the end of the list when it comes to the art,” Al-Ward said.
To improve that ranking, calligraphy will need public support.
“We want to enrich generations and history with multi-faceted calligraphy, but we cannot as long as we receive no government attention,” he added.
Al-Ward says that those interested in Arabic calligraphy are a small, cultured group. This, he said, is the reason why the number of talented calligraphers is so few.
“Yemenis are busy earning a living and chewing qat. For them, the art is unnecessary entertainment,” said Al-Ward.
At another table at the forum sat Hisham Al-Ulafi, practicing his craft. Like Al-Kabodi, Al-Ulafi was also interested in improving his handwriting, but mostly, he wanted to improve his paintings with calligraphy.
A young painter, Al-Ulafi has been taking classes for a month.
“Once training finishes, I’ll be able to use Arabic calligraphy in my paintings,” he said.
Though Yemeni calligraphers are few, they are a presence at Arab exhibits.
Yemeni calligrapher Hamoud Al-Bana is an award-winning artist who has participated in several Arab calligraphy competitions. The last competition he participated in was in 2011 in Jordan. Al-Bana blames the government for the lack of talented calligraphers.
“I am awarded by foreign countries, but I cannot find funds for an Arabic calligraphy exhibition in my [own] country,” Al-Bana said.
Al-Bana put together a beginner’s guide to teaching Arabic calligraphy. The guide has not been approved by the Education Ministry to be used as part of public curricula, but some private schools are making use of it for extra school activities.
Over the past five years, Al-Bana, in cooperation with calligrapher Nasser Al-Nasari, has been preparing a methodology for teaching Arabic calligraphy. The methodology will be used in training courses over the next two years.
He indicated that this methodology, if used, will help establish the first Arabic Calligraphy Institute, which will enable talented and aspiring calligraphers to hone their skills.
“We will be strong competitors in international calligraphy exhibitions,” Al-Bana predicted.
The work of Al-Kabodi and many other trainees were thoughtfully displayed on the forum’s walls. Al-Ward called Al-Kabodi’s work creative and encouraged her to stick with the art.
She is looking forward to taking part in calligraphy-related exhibits organized by independent Yemeni calligraphers.
“Our [appreciation for the craft] needs to evolve. Arabic calligraphy is representative of our Islamic identity,” said Al-Kabodi.
MAKING ART OUT OF WORDS
It’s all in the wrist: Calligraphy is a hobby for many Yemeni artists. While there are several independent schools and institutions that teach calligraphy classes all over Sana’a, enthusiasts would like to see the art form become a part of Yemen’s school
Amani Mohammed Al-Kabodi, 18, stands beside a table placed inside a room at the Arab Painting Forum in Sana’a, carefully drawing the Arabic alphabet in black ink with studied brush strokes.
Special pens, ink, paper, brushes and other tools are scattered on the table next to her. Every time Al-Kabodi starts drawing a new letter, she cleans the pen off with a tissue and dips it into a special ink.
Calligraphy, both for secular artwork and for religious depictions is practiced in Yemen by a number of talented Yemenis and immigrants.
Calligraphers say the art is an important part of Islamic and Arab identity and many complain about the absence of calligraphy in school curricula. Students are often taught calligraphy as part of the Arabic language, instead of as a separate subject. Many are encouraging the education sector to take it a step farther and offer calligraphy courses.
Al-Kabodi, a recent high-school graduate who will begin medical school next year, has been practicing calligraphy since age 10.
“I decided to enroll in Arabic calligraphy courses after my relatives encouraged me to improve my handwriting,” said Al-Kabodi.
“Because of the lack of Arabic calligraphy departments at Yemeni universities, I will go to medical school and look for institutes that teach the art so I can improve my skills,” she said.
Al-Kabodi studied Riqaa', Al-Dewani and Al-Thlth Arabic calligraphy font courses at the forum. Many want to expand access and availability.
“Calligraphers don’t have an identity here in Yemen due to the lack of Arabic calligraphy curricula, departments and local competitions,” said Khalid Al-Ward, an Arabic calligraphy trainer involved with school curriculum at the Education Ministry.
Al-Ward has been working in the Education Ministry for 18 years. He started teaching Arabic calligraphy courses at private institutes five years ago and has improved his skills by learning from talented Syrian, Egyptian and Iraqi teachers in the ’80s.
“Other countries have a special Arab calligraphy curriculum for students. So, we were very happy when teachers from these countries come to Yemen because they teach us many things about Arabic calligraphy. I also read old books about calligraphy. Yemen is at the end of the list when it comes to the art,” Al-Ward said.
To improve that ranking, calligraphy will need public support.
“We want to enrich generations and history with multi-faceted calligraphy, but we cannot as long as we receive no government attention,” he added.
Al-Ward says that those interested in Arabic calligraphy are a small, cultured group. This, he said, is the reason why the number of talented calligraphers is so few.
“Yemenis are busy earning a living and chewing qat. For them, the art is unnecessary entertainment,” said Al-Ward.
At another table at the forum sat Hisham Al-Ulafi, practicing his craft. Like Al-Kabodi, Al-Ulafi was also interested in improving his handwriting, but mostly, he wanted to improve his paintings with calligraphy.
A young painter, Al-Ulafi has been taking classes for a month.
“Once training finishes, I’ll be able to use Arabic calligraphy in my paintings,” he said.
Though Yemeni calligraphers are few, they are a presence at Arab exhibits.
Yemeni calligrapher Hamoud Al-Bana is an award-winning artist who has participated in several Arab calligraphy competitions. The last competition he participated in was in 2011 in Jordan. Al-Bana blames the government for the lack of talented calligraphers.
“I am awarded by foreign countries, but I cannot find funds for an Arabic calligraphy exhibition in my [own] country,” Al-Bana said.
Al-Bana put together a beginner’s guide to teaching Arabic calligraphy. The guide has not been approved by the Education Ministry to be used as part of public curricula, but some private schools are making use of it for extra school activities.
Over the past five years, Al-Bana, in cooperation with calligrapher Nasser Al-Nasari, has been preparing a methodology for teaching Arabic calligraphy. The methodology will be used in training courses over the next two years.
He indicated that this methodology, if used, will help establish the first Arabic Calligraphy Institute, which will enable talented and aspiring calligraphers to hone their skills.
“We will be strong competitors in international calligraphy exhibitions,” Al-Bana predicted.
The work of Al-Kabodi and many other trainees were thoughtfully displayed on the forum’s walls. Al-Ward called Al-Kabodi’s work creative and encouraged her to stick with the art.
She is looking forward to taking part in calligraphy-related exhibits organized by independent Yemeni calligraphers.
“Our [appreciation for the craft] needs to evolve. Arabic calligraphy is representative of our Islamic identity,” said Al-Kabodi.