ShareMunirah AlShami is a pioneering multimedia artist and design consultant who masterfully bridges the gap between Kuwait’s rich cultural heritage and modern technology. Specializing in time-based media such as animation, projections and graphics, AlShami’s work explores the intersection of tradition and innovation. Her artistic journey has been shaped by pivotal experiences, including her time as a resident artist at Sadu House, where she delved deeply into cultural research and creative practices.
In addition to her work in visual media, AlShami is passionate about Kuwait’s performing arts, particularly the traditional Samri dance. Her experience performing on stage with the renowned Miami Band marked a transformative moment in her artistic expression, inspiring her to incorporate dance into her future projects. In an interview with Kuwait Times, AlShami reflects on how her background, inspirations, and experiences have influenced her journey.
Kuwait Times: Can you share the pivotal moments or experiences that have significantly influenced your development as an artist?
Munirah AlShami: In 2019, I was selected as one of six artists to participate in SADI, a group residency program offered by Sadu House. Although I was always diligent with my client work and design, my personal artistic practice had always been an ongoing side project. I never actually completed any pieces until that program. It forced me to explore a space where only I was the critic, opening my interests to cultural arts and research.
KT: How do your personal experiences and background inform your exploration of identity and heritage in your work?
AlShami: I’m fortunate to have grown up between two very different socioeconomic and tribal backgrounds. My parents provided a culturally rich upbringing, and I was very close to both of my grandmothers, who shared stories and information about our roots and history as a young yet culturally vibrant nation.
KT: Could you tell us about your experience performing the Samri dance on stage with the Miami Band and how such collaborations influence your artistic expression?
AlShami: I’ve always used expressive movement as a form of psychological release and a way to stay active and healthy. My family is very festive, and my best friend is a choreographer and professional dance instructor. Although I loved the performing arts, I never thought I’d showcase it. But as I researched Kuwaiti performing arts, particularly in both a performing and musical sense, I decided to dedicate time to perfecting the Samri dance.
It was a coincidence that while working on the creative production for the Miami Band concert, we decided to include the Samri dance in its second edition. I removed my marketing hat and embraced the artist in me, asking to be cast for the performance. I got the part, and it completely transformed me. I now understand it as an art form and can incorporate it into future projects, especially knowing that the audience is eager to learn more.
KT: Has your education in contemporary art and technology shaped your approach to blending traditional and modern elements in your creations?
AlShami: My education and research in art and technology have influenced my practice immensely. Seeing the potential of these resources has made me view traditional crafts in a new light. It’s one thing to master an art form that’s slowly fading away and try to bring awareness to it, but it’s another to take that traditional art form and elevate it beyond mainstream media, which is only beginning to catch up with technology. Blending the two opens doors for new-age art that mainstream media cannot replicate — it’s always an experiment.
KT: Who or what are your primary sources of inspiration in the art world, and how do they impact your work?
AlShami: My sources of inspiration are ever-changing. In terms of artwork, it ranges from a painting like Turner’s Rain, Steam and Speed (one of my favorites) to Neil Buchanan’s creations on Art Attack. I’m inspired by all forms of artistic expression, except modern and abstract art, which I believe has produced questionable outcomes recently. In terms of subjects, I draw inspiration from science, especially ancient scientific practices intertwined with the arts. It’s only recently that we’ve created a divide between the two. Every time I discover an old mastery or craft that has evolved into a respected art form, I see its scientific core.
KT: How has your time as the Studio SADI artist-in-residence at Sadu House contributed to your artistic growth and understanding of Kuwaiti heritage? Tell us more about your exhibition.
AlShami: My exhibition was comprised of three pieces, each exploring a different form of old Kuwaiti mastery. The main piece, Bent Ebjad, combines three woven pieces representing a daughter and her two parents. The pieces are hung and include light-animated projections and music. It symbolizes the transitional phase a woman goes through when moving from being a daughter to an independent individual. The animated musical piece incorporates tempos specific to the parents’ tribal backgrounds, which merge into a beautiful harmony, symbolizing the daughter’s combined personality.
The second piece is a door with pieces of old Samri “Thoubs” (veil) woven into it, representing two forms of privacy: A woman’s home and her veil. The third piece is a combination of custom digital Sadu motifs printed on large canvases. In the ‘Shajara’ part of the Sadu piece, where the artist has the most freedom, I scaled up the design and treated it in an experimental way.
KT: What are some challenges you’ve encountered as a multimedia artist in Kuwait, and how have you navigated them?
AlShami: One of the main challenges is not the practice itself, but communication. We’re behind when it comes to resources and artistic tech developments, making it hard to explain projects or creative executions to clients or sponsors and convince them. We often have to take a step back and work at a slower pace to get the job done. The learning curve is steep! Access to resources is also a challenge, and staying up to date with global art and design trends requires extra effort, as we only have digital access.
Another challenge is the local industry. Not enough effort is being put into showcasing our talent abroad or bringing international artistic programming to Kuwait. Despite having multi-billion-dollar cultural centers, minimal efforts are being made to create a thriving creative economy through cross-cultural collaborations.
KT: What guidance would you offer to aspiring artists who aim to blend traditional and contemporary art forms?
AlShami: Try everything! There is no right or wrong when testing out new things. You’ll receive mixed feedback because people often lack a reference point. However, I advise doing diligent research and not underestimating the complexity of anything traditional. Make sure you know your facts!
