Five men and a woman move back and forth across the stage in perpetual motion. Dressed in their own clothes, with laptop, microphone or lamp in hand, the performers speak or sing in a multitude of different voices.
The narrative shifts too: from bald historical fact to memories delivered in song; the action from a wrestling match; a mother’s grief and anger accompanied by opera; a hitman describing his torture methods; Walter Benjamin’s angel of history defines progress; chattering children say what they would like to be when they grow up; images of brutality flash up on screen; and a family’s home movies from the 1960s flicker into life.
The small audience sits in silence, unable to look away, sometimes in tears, often laughing but mostly compelled by these stories, opinions and ideas that make up life in a Mexican border town.
The city of Juárez has been called many things. Originally, it was known as Paso del Norte – “the passage to the North”; Ciudad Juárez followed, as a close-knit community surrounded by cotton fields became one of the fastest-growing cities in the world. In 2011, the Mexican government renamed it Heroica Ciudad Juárez, in recognition of its residents’ long struggle with the cycle of drug-running, corruption and extreme violence that gave the home of 2.7 million people its best-known title: the Murder Capital of the World.
The UK’s Telegraph newspaper first coined the phrase in October 2009 when the murder rate in Juárez, which shares its border with El Paso, “America’s Safest City”, reached 133 per 100,000 inhabitants, a rate 22 times higher than New York’s. In October 2009 alone there were 195 deaths and a local newspaper declared: “With this, our city has reached a new historic mark in violent acts that verifies this is the most violent zone in the world outside of declared war zones.”
No one was safe. That year the victims included 85 children and 107 women and the term femicide entered the lexicon. But while photographs of mutilated corpses, mass graves and police cordons illustrated the newspapers’ grim narrative, extreme violence is only part of the story.
Rubén Polendo’s family used to live in Ciudad Juárez. The artistic director of Theater Mitu and associate professor of theatre at New York University Abu Dhabi (NYUAD) was born and grew up against this backdrop of fast-tracked social change. His family finally moved across the border to El Paso, Texas, only after Polendo and his sisters had left home and his parents were robbed and assaulted in their home.
Polendo’s latest work, Juárez: A Documentary Mythology, tells the story of the transformation of his birthplace through interviews with the residents of Juárez, as well as the family’s home movies and the words of his 85-year-old father. The result is a powerful piece of theatre which sold out during its short run at NYUAD last week. “I created this show along with the company members of Theater Mitu as a way to rediscover my hometown and El Paso, its sister city across the border,” Polendo writes in the programme.
“For years I had been hearing stories in the news about the violence, cartels, kidnappings, murders, drug smuggling and other woes that plagued this border community. Most of my family still lives in the area, and though I returned occasionally, I began to feel it was quickly becoming a foreign place to me.”
Being an outsider with inside knowledge proved a unique vantage point in the year-long research process that used news reports and the work of local authors and journalists including Charles Bowden and Molly Molloy as a starting point, before field trips with members of Theater Mitu to Juárez itself.
“I asked them to enter with me as foreigners to help me remap the city and in a way to understand it from the inside and the outside,” Polendo tells me. “We decided that the best way to do that was not to imagine a play or adapt a story but to engage with the community there to tell their stories.”
With its mix of photography, faded home-movie footage and documentary-style interviews for a “script”, Juárez: A Documentary Mythology follows an increasingly popular modern theatre tradition – “the theatre of the real” – in which the source material is not a playwright’s imagination but documented fact. The research team of performers, with Polendo and a young stage manager who also grew up in Juárez, gathered 300 hours of interviews to represent an enormous range of voices and opinion: from the mayor of Juárez and local journalists to street kids, anthropologists, activists, lawyers, social workers, waiters and professors, mothers, fathers, sons and daughters. The performers on stage speak extracts from the interviews fed by an earpiece rather than acting out a memorised script.
For the company, the interview process was both emotional and revelatory. As Aysan Çelik, a founding member of Theater Mitu and an assistant professor of theatre at NYUAD, tells me: “I came in very much as an outsider. I knew I did not understand what was going on. I knew that I was frightened of the situation and for these people. And then walking in and having your mind blown by these incredible stories of resilience and of hope … it becomes personal as soon as you sit down and talk to someone and know them.”
Dramatising an interview transcript is easier said than done, Polendo says, particularly when the setting is Mexican but the cast is from New York. “If we were to make a performance of a person who we interviewed, they would have to perform ‘Mexican-ness’ and I cringe at the thought of that.
“So we decided to engage this text in a different kind of theatricalisation, which is almost as if dreaming of a visual art installation. Instead of taking that text and showing what that person looked like or sounded like, we are going to take that text and somehow bring it to life so we can share what it felt like to be in the room with that person.
“If the story was so moving and dark and difficult that we felt like we could not breathe in the room, then that becomes the challenge: how do we manifest that on stage? And then we start getting into a really interesting theatrical vocabulary and you begin to have an emotional experience of those stories, not simply an informational one. And then, in stringing them together, you get an emotional map of that landscape.”
That emotional map is necessarily bleak but the final section, entitled Change, is an attempt to introduce redemptive themes of survival and the hope for a better future. One of the last voices we hear is a pastor who says: “…we have survived a perfect storm of violence, crime and corruption. And that’s good”, before the words “Que viva Juárez” ring out.
These notes of optimism chime with the actors’ experience of their time in Juárez, as Polendo explains: “We would always walk away with this incredible sense of hope. You would think that you’d walk away with a sense of depression but, again and again, it became almost this triumph of the human spirit.”
Juárez: A Documentary Mythology was first staged before its most critical audience – in Juárez itself – in January. The performance proved cathartic and people stood up, applauded and cried, Çeylik says. The actor Ryan Conarro adds: “We all felt that people were so eager to be heard. People in Juárez especially are all experiencing this pressure. You realise that many people don’t have the opportunity to tell their story … the opportunity to just tell what’s going on was, I think, valuable to people.”
Their reaction was necessarily unique to Juárez but the show’s message also resonated with audiences in New York, who referenced the experience of Detroit and San Francisco. “We heard about cities in the Midwest where unemployment is leading to corruption and crime and [people are] feeling like ‘we have to stay hopeful’ ,” Polendo says.
From Abu Dhabi, the production will move to Cairo for a short run, where Polendo hopes that the work will assume a new relevance. “I want to make sure that this piece has some resonance and, in conversations with Cairo, one of our producers said: ‘Your story is about a community in the middle of so much change and violence and still trying to reach for hope. I think we have something in common.’”
And for the rest of us, fortunate not to live in the crossfire of warring drug gangs or bloody political upheaval, the play carries a different message – not of hope but, rather, a stark warning about progress. Polendo quotes a phrase from an interview with his father: “He said: ‘You know, Juárez is the story of every city that has been abused by progress.’”
Seen through that lens, the director argues, the play becomes a vision of the future that acts as a cautionary tale about development. “I think of cities like Abu Dhabi, like Shanghai,” he says. “Places that are in a really exciting moment which is the idea of things progressing forward … but with that comes a kind of responsibility. And the responsibility is that progress not abuse the landscape.”
For me the show’s message hits home a few days later when a newscaster announces the death of Nazario Moreno González, “the Crazy One”, a particularly vicious cartel boss. My immediate thought is for the people of Juárez whose lives have been shaped by the drugs trade; the mothers, fathers, sons and daughters who will be affected by the turf war that will inevitably follow.
Clare Dight is editor of The Review.
Real estate tokenisation project
Dubai launched the pilot phase of its real estate tokenisation project last month.
The initiative focuses on converting real estate assets into digital tokens recorded on blockchain technology and helps in streamlining the process of buying, selling and investing, the Dubai Land Department said.
Dubai’s real estate tokenisation market is projected to reach Dh60 billion ($16.33 billion) by 2033, representing 7 per cent of the emirate’s total property transactions, according to the DLD.
Why it pays to compare
A comparison of sending Dh20,000 from the UAE using two different routes at the same time - the first direct from a UAE bank to a bank in Germany, and the second from the same UAE bank via an online platform to Germany - found key differences in cost and speed. The transfers were both initiated on January 30.
Route 1: bank transfer
The UAE bank charged Dh152.25 for the Dh20,000 transfer. On top of that, their exchange rate margin added a difference of around Dh415, compared with the mid-market rate.
Total cost: Dh567.25 - around 2.9 per cent of the total amount
Total received: €4,670.30
Route 2: online platform
The UAE bank’s charge for sending Dh20,000 to a UK dirham-denominated account was Dh2.10. The exchange rate margin cost was Dh60, plus a Dh12 fee.
Total cost: Dh74.10, around 0.4 per cent of the transaction
Total received: €4,756
The UAE bank transfer was far quicker – around two to three working days, while the online platform took around four to five days, but was considerably cheaper. In the online platform transfer, the funds were also exposed to currency risk during the period it took for them to arrive.
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UAE currency: the story behind the money in your pockets
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UPI facts
More than 2.2 million Indian tourists arrived in UAE in 2023
More than 3.5 million Indians reside in UAE
Indian tourists can make purchases in UAE using rupee accounts in India through QR-code-based UPI real-time payment systems
Indian residents in UAE can use their non-resident NRO and NRE accounts held in Indian banks linked to a UAE mobile number for UPI transactions
Drishyam 2
Directed by: Jeethu Joseph
Starring: Mohanlal, Meena, Ansiba, Murali Gopy
Rating: 4 stars
A MINECRAFT MOVIE
Director: Jared Hess
Starring: Jack Black, Jennifer Coolidge, Jason Momoa
Rating: 3/5
Formula Middle East Calendar (Formula Regional and Formula 4)
Round 1: January 17-19, Yas Marina Circuit – Abu Dhabi
Round 2: January 22-23, Yas Marina Circuit – Abu Dhabi
Round 3: February 7-9, Dubai Autodrome – Dubai
Round 4: February 14-16, Yas Marina Circuit – Abu Dhabi
Round 5: February 25-27, Jeddah Corniche Circuit – Saudi Arabia
Women%E2%80%99s%20T20%20World%20Cup%20Qualifier
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Dubai Bling season three
Cast: Loujain Adada, Zeina Khoury, Farhana Bodi, Ebraheem Al Samadi, Mona Kattan, and couples Safa & Fahad Siddiqui and DJ Bliss & Danya Mohammed
Rating: 1/5
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Key facilities
- Olympic-size swimming pool with a split bulkhead for multi-use configurations, including water polo and 50m/25m training lanes
- Premier League-standard football pitch
- 400m Olympic running track
- NBA-spec basketball court with auditorium
- 600-seat auditorium
- Spaces for historical and cultural exploration
- An elevated football field that doubles as a helipad
- Specialist robotics and science laboratories
- AR and VR-enabled learning centres
- Disruption Lab and Research Centre for developing entrepreneurial skills
Specs
Engine: Dual-motor all-wheel-drive electric
Range: Up to 610km
Power: 905hp
Torque: 985Nm
Price: From Dh439,000
Available: Now
The specs: 2018 Ducati SuperSport S
Price, base / as tested: Dh74,900 / Dh85,900
Engine: 937cc
Transmission: Six-speed gearbox
Power: 110hp @ 9,000rpm
Torque: 93Nm @ 6,500rpm
Fuel economy, combined: 5.9L / 100km
West Indies v England ODI series:
West Indies squad: Jason Holder (c), Fabian Allen, Devendra Bishoo, Darren Bravo, Chris Gayle, Shimron Hetmyer, Shai Hope, Evin Lewis, Ashley Nurse, Keemo Paul, Nicholas Pooran, Rovman Powell, Kemar Roach, Oshane Thomas.
Fixtures:
1st ODI - February 20, Bridgetown
2nd ODI - February 22, Bridgetown
3rd ODI - February 25, St George's
4th ODI - February 27, St George's
5th ODI - March 2, Gros Islet
The rules on fostering in the UAE
A foster couple or family must:
- be Muslim, Emirati and be residing in the UAE
- not be younger than 25 years old
- not have been convicted of offences or crimes involving moral turpitude
- be free of infectious diseases or psychological and mental disorders
- have the ability to support its members and the foster child financially
- undertake to treat and raise the child in a proper manner and take care of his or her health and well-being
- A single, divorced or widowed Muslim Emirati female, residing in the UAE may apply to foster a child if she is at least 30 years old and able to support the child financially
Sam Smith
Where: du Arena, Abu Dhabi
When: Saturday November 24
Rating: 4/5
The Great Derangement: Climate Change and the Unthinkable
Amitav Ghosh, University of Chicago Press
Summer special
Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.
Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.
“Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.
Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.
“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.
Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.
From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.
Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.
BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.
Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.
Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.
“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.
Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.
“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.
“In this environment, we have seen a de facto increase in the risk that clients are taking in things like illiquid investments, private equity investments, infrastructure and private debt, those kind of investments were higher illiquidity results in incrementally higher returns.”
The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”
The smuggler
Eldarir had arrived at JFK in January 2020 with three suitcases, containing goods he valued at $300, when he was directed to a search area.
Officers found 41 gold artefacts among the bags, including amulets from a funerary set which prepared the deceased for the afterlife.
Also found was a cartouche of a Ptolemaic king on a relief that was originally part of a royal building or temple.
The largest single group of items found in Eldarir’s cases were 400 shabtis, or figurines.
Khouli conviction
Khouli smuggled items into the US by making false declarations to customs about the country of origin and value of the items.
According to Immigration and Customs Enforcement, he provided “false provenances which stated that [two] Egyptian antiquities were part of a collection assembled by Khouli's father in Israel in the 1960s” when in fact “Khouli acquired the Egyptian antiquities from other dealers”.
He was sentenced to one year of probation, six months of home confinement and 200 hours of community service in 2012 after admitting buying and smuggling Egyptian antiquities, including coffins, funerary boats and limestone figures.
For sale
A number of other items said to come from the collection of Ezeldeen Taha Eldarir are currently or recently for sale.
Their provenance is described in near identical terms as the British Museum shabti: bought from Salahaddin Sirmali, "authenticated and appraised" by Hossen Rashed, then imported to the US in 1948.
- An Egyptian Mummy mask dating from 700BC-30BC, is on offer for £11,807 ($15,275) online by a seller in Mexico
- A coffin lid dating back to 664BC-332BC was offered for sale by a Colorado-based art dealer, with a starting price of $65,000
- A shabti that was on sale through a Chicago-based coin dealer, dating from 1567BC-1085BC, is up for $1,950
How to apply for a drone permit
- Individuals must register on UAE Drone app or website using their UAE Pass
- Add all their personal details, including name, nationality, passport number, Emiratis ID, email and phone number
- Upload the training certificate from a centre accredited by the GCAA
- Submit their request
What are the regulations?
- Fly it within visual line of sight
- Never over populated areas
- Ensure maximum flying height of 400 feet (122 metres) above ground level is not crossed
- Users must avoid flying over restricted areas listed on the UAE Drone app
- Only fly the drone during the day, and never at night
- Should have a live feed of the drone flight
- Drones must weigh 5 kg or less
The specs
Engine: 4.0-litre flat-six
Torque: 450Nm at 6,100rpm
Transmission: 7-speed PDK auto or 6-speed manual
Fuel economy, combined: 13.8L/100km
On sale: Available to order now
if you go
The flights
Fly direct to Kutaisi with Flydubai from Dh925 return, including taxes. The flight takes 3.5 hours. From there, Svaneti is a four-hour drive. The driving time from Tbilisi is eight hours.
The trip
The cost of the Svaneti trip is US$2,000 (Dh7,345) for 10 days, including food, guiding, accommodation and transfers from and to Tbilisi or Kutaisi. This summer the TCT is also offering a 5-day hike in Armenia for $1,200 (Dh4,407) per person. For further information, visit www.transcaucasiantrail.org/en/hike/
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