Today we present the last in our series of excerpts from Arabs Unseen, a series of profile of the region's entrepreneurs by Mohammed Mahfoodh Al Ardhi, the executive chairman of Manama-based Investcorp and the chairman of National Bank of Oman. Mr Alardhi tells the story of Mohammed Saeed Harib of Dubai who, inspired by his grandmother, went on to produce the cartoon Freej, featuring four elder Emirati women: Um Saloom, Um Allawi, Um Saeed and Um Khammas.
The excerpt
Though he had never studied business, Mohammed has managed to build a very big one. As the chairman of Lammtara Art Production, the company he founded in 2005, one year before Freej first hit the air, he oversees a cast of more than 500 employees. Yet even as he captains that ship, an operation of many moving parts, Mohammed remains the creative force driving it forward. "From the start, I knew I did not want to specialise in just one thing," he says. "I wanted to be a jack of all trades, and, in time, an ace in a few of them."
That he is. Hands-on at each stage of the production process, Mohammed has honed his skills in everything, from photography to acting. "I've picked up bits of knowledge from here and there," he says. "And when you combine that with creative energy, the sky is the limit." On top of all that, Mohammed also works with the screenwriters to finalise the script for every episode. "It's a feeling," he says. "It could come from a line of poetry, or a phrase, or just an idea – and we build the show around it." Freej fans, it seems, can't get enough.
The Lammtara studio, a renovated warehouse in central Dubai, resembles the sleek art galleries that line the same street: high ceilings, stone floors, modernist decor. In the main foyer, above a long glass table Mohammed designed himself, is a framed print of Um Allawi in the style of the Mona Lisa. When I visited the studio, the team was hard at work on season 5, fine-tuning every last detail – the colour of trees, the sound of a fountain – while Mohammed floated from room to room, crouching over shoulders, fielding questions, conducting the orchestra.
“I love going to my office,” he told me. “Because it’s my office, I give more. I am a much more productive person.” But in the UAE, he said, few nationals choose that path. “The state has provided them with a safety net; it’s very easy to get a government job, which pays very well.” Working in the private sector can be, by comparison, quite hard. “And creating your own company,” he added, grinning. “Well, that’s even harder.”
For Mohammed, success didn't come easily. Conceiving Freej was one thing. Convincing Dubai's media executives to embrace his vision of a 3D animated show starring septuagenarians sipping coffee, slinging insults and solving society's problems, was quite another. None had ever aired an animated show. It didn't help matters that Mohammed was an industry novice no more familiar with a financial model than he was with the Periodic Table. "I was an artist, so the numbers were very foreign to me," he says. "But I was blessed to be working in Dubai Media City, which had a lot of experience developing business plans for media projects."
Mohammed first shared the idea with the chief executive of Dubai Media City, who took it on as a kind of experiment in new media. After a brief assessment, the budget came back at US$2 million. “That’s enough to scare anyone,” he says, particularly in an industry with no experience in animation and a dearth of original programming. “They were simply importing shows from America and dubbing them, and we knew that people weren’t satisfied with this – that many Emiratis wanted to see quality, locally produced content about their own culture.”
Though the chief executive of Dubai Media City loved the idea, he couldn't come up with $2m, and urged Mohammed to explore ways he could bring that number down, perhaps by working with other companies. "So I did," he says. "I read everything I could find, I talked to experts, and I travelled around the region to figure out how we could make Freej for as cheaply as possible." After three full years of exhaustive research, Mohammed had managed to trim the budget by about half, and, at last, he says, persistence paid off. "I had been knocking on their door for three years. Finally they said, OK, enough. Our job is to support you if your business makes sense, and, well, it's a wild one, all right – but we think it does."
Still, he says, it was only a loan. "They gave me all the money, and in five years, I had to give it all back, plus 5 per cent interest." Right away, Mohammed set about work, rushing to make his long-held vision a reality; and then, as luck would have it, another media group emerged on the scene. "It happened to be right before my show was to go on air," he says. "So I found myself nicely positioned between two telecom companies in a bidding war for this new idea, for the Arab world's first-ever cartoon." Up till then, Mohammed had only ever hoped he could cover his costs. By the time the first episode was broadcast, he had not only paid back the loan but had made Dh1m.
If there were any lingering doubts about how well the show would do, or that Arab audiences might not take so easily to a cartoon, the first season of Freej put those doubts to rest. In 2006, the year the UAE was first introduced to Um Saeed and her merry band of masked grannies, Freej was far and away the most watched show in the land. In fact, so strong were the season one ratings, that the station, Sama Dubai, promptly commissioned two more. To all but Mohammed, Freej was an improbable success; its first run was a wildly impressive feat few believed he could really pull off, and as such, its creators had lived up to their name.
The magic of the first
After three successful seasons, Mohammed needed a break. He had been so fast out of the gate, had such an impact from the very start, that the expectations he’d created the demand for more and more and more, had begun to test his limits. Having laboured so long and hard to get the show off the ground, to launch a pioneering enterprise unlike anything the Arab world had ever seen, he was suddenly confronted with a challenge he hadn’t anticipated.
"You have to continuously innovate," he says. Although in its second and third seasons, Freej was still the number one show in Arabia, "nothing could ever match the magic of that first one," he says. "It just can't be as good." Worried that he would spend the rest of his career chasing a ghost, and going only downhill, Mohammed took a radical step. Risking the wrath of Freej fans everywhere, and putting in some peril the brand he had built from scratch, the artist-turned-executive decided to take a year off. He would rest and recharge, and then he would return.
No one, not even Mohammed, could have predicted the turn things would take over the next few months. With time to himself, he was able to tap more deeply into the well of creativity that had spawned Freej in the first place. If there was one way to top that feat, he knew, it was with an equally ambitious undertaking, something as big and bold as his much-loved masterpiece. "So I jumped mediums," he says. "We tried to do for theatre what we did for TV." The result was, in its own way, no less impressive.
Indeed, just when everyone thought his best work was behind him, Mohammed followed up the region's first-ever cartoon TV show with the largest-ever Arabic theatrical production – a dazzling, over-the-top event, held to celebrate the UAE's 41st National Day in December 2012. Performed at Dubai's Ductac Mall of the Emirates, Freej Folklore combined dance, drama, film and animation with a live score by the London Philharmonic for "a magical journey of discovery through the myths and legends of Arabia".
If Arab audiences are unaccustomed to theatre, they didn't show it; 20,000 spectators turned out to see Freej Folklore over the course of the show's 10-day run, and critics were full of praise: "Cirque du Soleil meets DreamWorks," declared The National. For Mohammed, though, the greatest endorsement of all was the deal that came about as a direct result of that directorial debut: an agreement with the Government of Dubai to create a Freej Theme Park, in exchange for a 30 per cent stake in his company.
“That was basically nirvana,” he says. “Five years before, I was struggling to get a loan, and now I had my own theme park.”
Unfortunately, the financial crisis forced the government to scale back or cancel a number of projects, and plans for the park were eventually scrapped. But Mohammed knew Freej had a bright future nonetheless, and decided to take another year off to pursue different projects. One of them was directing the UAE's National Day Celebration. Mohammed's selection marked the first time in the country's history that a UAE national had been tapped to take the reins of the big event. "It had always been a foreign company," he says. "That was really the highlight of my career as an event director."
He also used the time off to make his first foray into film – and at the international level no less. Mohammed was one of the nine directors from around the world selected to contribute to a movie adaptation of Khalil Gibran’s The Prophet by executive producer Salma Hayek. Written and directed by Roger Allers, the director of The Lion King, the film features individual “chapters” directed by acclaimed animators, all of them Oscar nominees and winners of distinguished awards. “I’m the only guy who didn’t win anything,” Mohammed laughs. “It was such a treat to work with a group of legends like that, and to meet Salma Hayek, who told me she really liked my chapter.”
Months later, Mohammed came back with the fourth season of Freej. "Whenever you're out of the game that long, people tend to forget about you," he says. "But people never forgot about us, and that's the mark, I think, of a very strong brand."
* From the book Arabs Unseen by Mohammed Mahfoodh Al Ardhi, copyright © 2015. Published by arrangement with Bloomsbury Publishing India.
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%3Cp%3E%3Cstrong%3EWest%20Asia%20Premiership%3C%2Fstrong%3E%0D%3Cbr%3EChampions%3A%20Dubai%20Tigers%0D%3Cbr%3ERunners%20up%3A%20Bahrain%0D%3C%2Fp%3E%0A%3Cp%3E%3Cstrong%3EUAE%20Premiership%3C%2Fstrong%3E%0D%3Cbr%3EChampions%3A%20Jebel%20Ali%20Dragons%0D%3Cbr%3ERunners%20up%3A%20Dubai%20Hurricanes%0D%3C%2Fp%3E%0A%3Cp%3E%3Cstrong%3EUAE%20Division%201%3C%2Fstrong%3E%0D%3Cbr%3EChampions%3A%20Dubai%20Sharks%0D%3Cbr%3ERunners%20up%3A%20Abu%20Dhabi%20Harlequins%20II%0D%3C%2Fp%3E%0A%3Cp%3E%3Cstrong%3EUAE%20Division%202%3C%2Fstrong%3E%0D%3Cbr%3EChampions%3A%20Dubai%20Tigers%20III%0D%3Cbr%3ERunners%20up%3A%20Dubai%20Sharks%20II%0D%3C%2Fp%3E%0A%3Cp%3E%3Cstrong%3EDubai%20Sevens%3C%2Fstrong%3E%0D%3Cbr%3EChampions%3A%20Dubai%20Tigers%0D%3Cbr%3ERunners%20up%3A%20Dubai%20Hurricanes%3C%2Fp%3E%0A
Company%20profile%20
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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
In numbers: PKK’s money network in Europe
Germany: PKK collectors typically bring in $18 million in cash a year – amount has trebled since 2010
Revolutionary tax: Investigators say about $2 million a year raised from ‘tax collection’ around Marseille
Extortion: Gunman convicted in 2023 of demanding $10,000 from Kurdish businessman in Stockholm
Drug trade: PKK income claimed by Turkish anti-drugs force in 2024 to be as high as $500 million a year
Denmark: PKK one of two terrorist groups along with Iranian separatists ASMLA to raise “two-digit million amounts”
Contributions: Hundreds of euros expected from typical Kurdish families and thousands from business owners
TV channel: Kurdish Roj TV accounts frozen and went bankrupt after Denmark fined it more than $1 million over PKK links in 2013
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A list of the animal rescue organisations in the UAE
INDIA'S%20TOP%20INFLUENCERS
%3Cp%3E%3Cstrong%3EBhuvan%20Bam%3C%2Fstrong%3E%3Cbr%3E%3Ca%20href%3D%22https%3A%2F%2Fwww.instagram.com%2Fbhuvan.bam22%2F%3Fhl%3Den%22%20target%3D%22_self%22%3EInstagram%3C%2Fa%3E%20followers%3A%2016.1%20million%3Cbr%3EBhuvan%20Bam%20is%20a%2029-year-old%20comedian%20and%20actor%20from%20Delhi%2C%20who%20started%20out%20with%20YouTube%20channel%2C%20%E2%80%9CBB%20Ki%20Vines%E2%80%9D%20in%202015%2C%20which%20propelled%20the%20social%20media%20star%20into%20the%20limelight%20and%20made%20him%20sought-after%20among%20brands.%3Cbr%3E%3Cstrong%3EKusha%20Kapila%3C%2Fstrong%3E%3Cbr%3E%3Ca%20href%3D%22https%3A%2F%2Fwww.instagram.com%2Fkushakapila%2F%3Fhl%3Den%22%20target%3D%22_self%22%3EInstagram%3C%2Fa%3E%20followers%3A%203.1%20million%3Cbr%3EKusha%20Kapila%20is%20a%20fashion%20editor%20and%20actress%2C%20who%20has%20collaborated%20with%20brands%20including%20Google.%20She%20focuses%20on%20sharing%20light-hearted%20content%20and%20insights%20into%20her%20life%20as%20a%20rising%20celebrity.%3Cbr%3E%3Cstrong%3EDiipa%20Khosla%3C%2Fstrong%3E%3Cbr%3E%3Ca%20href%3D%22https%3A%2F%2Fwww.instagram.com%2Fdiipakhosla%2F%3Fhl%3Den%22%20target%3D%22_self%22%3EInstagram%3C%2Fa%3E%20followers%3A%201.8%20million%3Cbr%3EDiipa%20Khosla%20started%20out%20as%20a%20social%20media%20manager%20before%20branching%20out%20to%20become%20one%20of%20India's%20biggest%20fashion%20influencers%2C%20with%20collaborations%20including%20MAC%20Cosmetics.%3Cbr%3E%3Cstrong%3EKomal%20Pandey%3Cbr%3E%3C%2Fstrong%3E%3Ca%20href%3D%22https%3A%2F%2Fwww.instagram.com%2Fkomalpandeyofficial%2F%3Fhl%3Den%22%20target%3D%22_self%22%3EInstagram%3C%2Fa%3E%20followers%3A%201.8%20million%3Cbr%3EKomal%20Pandey%20is%20a%20fashion%20influencer%20who%20has%20partnered%20with%20more%20than%20100%20brands%2C%20including%20Olay%20and%20smartphone%20brand%20Vivo%20India.%3Cbr%3E%3Cstrong%3ENikhil%20Sharma%3C%2Fstrong%3E%3Cbr%3E%3Ca%20href%3D%22https%3A%2F%2Fwww.instagram.com%2Fnikkkhil%2F%3Fhl%3Den%22%20target%3D%22_self%22%3EInstagram%3C%2Fa%3E%20followers%3A%201.4%20million%3Cbr%3ENikhil%20Sharma%20from%20Mumbai%20began%20his%20online%20career%20through%20vlogs%20about%20his%20motorcycle%20trips.%20He%20has%20become%20a%20lifestyle%20influencer%20and%20has%20created%20his%20own%20clothing%20line.%3Cbr%3E%3Cem%3ESource%3A%20Hireinfluence%2C%20various%3C%2Fem%3E%3Cbr%3E%3C%2Fp%3E%0A
Test
Director: S Sashikanth
Cast: Nayanthara, Siddharth, Meera Jasmine, R Madhavan
Star rating: 2/5
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 White Lotus: Season three
Creator: Mike White
Starring: Walton Goggins, Jason Isaacs, Natasha Rothwell
Rating: 4.5/5
Results
Stage 7:
1. Caleb Ewan (AUS) Lotto Soudal - 3:18:29
2. Sam Bennett (IRL) Deceuninck-QuickStep - same time
3. Phil Bauhaus (GER) Bahrain Victorious
4. Michael Morkov (DEN) Deceuninck-QuickStep
5. Cees Bol (NED) Team DSM
General Classification:
1. Tadej Pogacar (SLO) UAE Team Emirates - 24:00:28
2. Adam Yates (GBR) Ineos Grenadiers - 0:00:35
3. Joao Almeida (POR) Deceuninck-QuickStep - 0:01:02
4. Chris Harper (AUS) Jumbo-Visma - 0:01:42
5. Neilson Powless (USA) EF Education-Nippo - 0:01:45
Company%C2%A0profile
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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
The National Archives, Abu Dhabi
Founded over 50 years ago, the National Archives collects valuable historical material relating to the UAE, and is the oldest and richest archive relating to the Arabian Gulf.
Much of the material can be viewed on line at the Arabian Gulf Digital Archive - https://www.agda.ae/en
Apple product price list
iPad Pro
11" - $799 (64GB)
12.9" - $999 (64GB)
MacBook Air
$1,199
Mac Mini
$799
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
The specs
Engine: 3.8-litre, twin-turbo V8
Transmission: eight-speed automatic
Power: 582bhp
Torque: 730Nm
Price: Dh649,000
On sale: now
Nancy 9 (Hassa Beek)
Nancy Ajram
(In2Musica)
The National's picks
4.35pm: Tilal Al Khalediah
5.10pm: Continous
5.45pm: Raging Torrent
6.20pm: West Acre
7pm: Flood Zone
7.40pm: Straight No Chaser
8.15pm: Romantic Warrior
8.50pm: Calandogan
9.30pm: Forever Young
Turning%20waste%20into%20fuel
%3Cp%3EAverage%20amount%20of%20biofuel%20produced%20at%20DIC%20factory%20every%20month%3A%20%3Cstrong%3EApproximately%20106%2C000%20litres%3C%2Fstrong%3E%3C%2Fp%3E%0A%3Cp%3EAmount%20of%20biofuel%20produced%20from%201%20litre%20of%20used%20cooking%20oil%3A%20%3Cstrong%3E920ml%20(92%25)%3C%2Fstrong%3E%3C%2Fp%3E%0A%3Cp%3ETime%20required%20for%20one%20full%20cycle%20of%20production%20from%20used%20cooking%20oil%20to%20biofuel%3A%20%3Cstrong%3EOne%20day%3C%2Fstrong%3E%3C%2Fp%3E%0A%3Cp%3EEnergy%20requirements%20for%20one%20cycle%20of%20production%20from%201%2C000%20litres%20of%20used%20cooking%20oil%3A%3Cbr%3E%3Cstrong%3E%E2%96%AA%20Electricity%20-%201.1904%20units%3Cbr%3E%E2%96%AA%20Water-%2031%20litres%3Cbr%3E%E2%96%AA%20Diesel%20%E2%80%93%2026.275%20litres%3C%2Fstrong%3E%3C%2Fp%3E%0A
2025 Fifa Club World Cup groups
Group A: Palmeiras, Porto, Al Ahly, Inter Miami.
Group B: Paris Saint-Germain, Atletico Madrid, Botafogo, Seattle.
Group C: Bayern Munich, Auckland City, Boca Juniors, Benfica.
Group D: Flamengo, ES Tunis, Chelsea, (Leon banned).
Group E: River Plate, Urawa, Monterrey, Inter Milan.
Group F: Fluminense, Borussia Dortmund, Ulsan, Mamelodi Sundowns.
Group G: Manchester City, Wydad, Al Ain, Juventus.
Group H: Real Madrid, Al Hilal, Pachuca, Salzburg.
Cryopreservation: A timeline
- Keyhole surgery under general anaesthetic
- Ovarian tissue surgically removed
- Tissue processed in a high-tech facility
- Tissue re-implanted at a time of the patient’s choosing
- Full hormone production regained within 4-6 months
COMPANY%20PROFILE
%3Cp%3E%3Cstrong%3EName%3A%20%3C%2Fstrong%3ESmartCrowd%0D%3Cbr%3E%3Cstrong%3EStarted%3A%20%3C%2Fstrong%3E2018%0D%3Cbr%3E%3Cstrong%3EFounder%3A%20%3C%2Fstrong%3ESiddiq%20Farid%20and%20Musfique%20Ahmed%0D%3Cbr%3E%3Cstrong%3EBased%3A%20%3C%2Fstrong%3EDubai%0D%3Cbr%3E%3Cstrong%3ESector%3A%20%3C%2Fstrong%3EFinTech%20%2F%20PropTech%0D%3Cbr%3E%3Cstrong%3EInitial%20investment%3A%20%3C%2Fstrong%3E%24650%2C000%0D%3Cbr%3E%3Cstrong%3ECurrent%20number%20of%20staff%3A%3C%2Fstrong%3E%2035%0D%3Cbr%3E%3Cstrong%3EInvestment%20stage%3A%20%3C%2Fstrong%3ESeries%20A%0D%3Cbr%3E%3Cstrong%3EInvestors%3A%20%3C%2Fstrong%3EVarious%20institutional%20investors%20and%20notable%20angel%20investors%20(500%20MENA%2C%20Shurooq%2C%20Mada%2C%20Seedstar%2C%20Tricap)%3C%2Fp%3E%0A
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.”
Teaching your child to save
Pre-school (three - five years)
You can’t yet talk about investing or borrowing, but introduce a “classic” money bank and start putting gifts and allowances away. When the child wants a specific toy, have them save for it and help them track their progress.
Early childhood (six - eight years)
Replace the money bank with three jars labelled ‘saving’, ‘spending’ and ‘sharing’. Have the child divide their allowance into the three jars each week and explain their choices in splitting their pocket money. A guide could be 25 per cent saving, 50 per cent spending, 25 per cent for charity and gift-giving.
Middle childhood (nine - 11 years)
Open a bank savings account and help your child establish a budget and set a savings goal. Introduce the notion of ‘paying yourself first’ by putting away savings as soon as your allowance is paid.
Young teens (12 - 14 years)
Change your child’s allowance from weekly to monthly and help them pinpoint long-range goals such as a trip, so they can start longer-term saving and find new ways to increase their saving.
Teenage (15 - 18 years)
Discuss mutual expectations about university costs and identify what they can help fund and set goals. Don’t pay for everything, so they can experience the pride of contributing.
Young adulthood (19 - 22 years)
Discuss post-graduation plans and future life goals, quantify expenses such as first apartment, work wardrobe, holidays and help them continue to save towards these goals.
* JP Morgan Private Bank
