Perhaps the Ramadan series “Al-Asouf” in its third part this year is what raises this question; Some even say he’s tired of this series’ focus on the existential struggle at the time between awakening, modernity, and the social changes natural to each generation; Indeed, some of them see the reminder of this stage in its details and the frequent discourse on the critique of revival, and we are what we have become today in terms of change, openness and understanding of the former hostile and encouraging intentions of the government to extract and confront them; Despite all this, we waste time and effort and take on the task of showing such a course of events in the Al-Asouf series.
Let us first agree that dealing with a particular artistic and dramatic work should not go beyond the framework of artistic criticism in its various aspects, the most important of which is that the work should not be judged as a historical reference, nor as a work of documents.
This confusion between the presentation of a dramatic series that takes place in a precise temporal and spatial period and the need for truth in documentary works, it is important to make it understood to the public by adopting precise documentary work for this stage in which the facts of the witnesses and contemporaries of the scene are presented so that the spectator himself can measure the extent of the psychological, social and economic damage inflicted on the fatherland with the revival in relation to the dramatic work, and decide whether Al-Asouf exaggerated the criticism of revival or not?
Certainly, after nearly forty years of awakening of Saudi society, it is not easy to get rid of it easily in a few years. And if a declared elimination of this pollution appeared in phase with the currents of change imposed by the scene, the reality is different in its depth from the apparent.
If we split up in this case, we would find a lot of evidence, starting with the different places of work, even the arms of the same family. Therefore, the announcement of the end of the revival in Saudi society may be true to some extent on the surface, but its shadows are under the ashes. It becomes a fire here and there from time to time, and it can remain as a ray. to burn those who approach it in other places.
The battles in which ideas and beliefs are based will not be victorious unless we use the same weapon to face them; Ideas, beliefs and facts.
It is also important in our war against Awakening and those who embrace it, and in the context of understanding the nature of works of art, that we recognize that Saudi society, like any other human and human society, is not purely angelic, nor a complete demon, but rather human beings whose life is afflicted by the experiences, mistakes, slip-ups and pauses that straighten out its life. And like any human being, he has religious values, moral standards and human principles, which means he has to walk right in his life, which does not have to be straight to please and please others, but to itself, its entity and its own values. Therefore, when a work of art is exhibited to this community or to others, it is not necessarily that of being angelic and not demonic; Rather, its success should be a reflection of the normal life experienced by any society, and of the life of every human being, for man is nothing but a mixture of all the contradictions of life, and his mind is just a whiff of freedom. of choice and decision that is formed after a struggle from all these human contradictions.
Enlightenment’s dominance over society for forty years has stripped him of that unique human choice to be natural, to own his supreme self, to cherish his individuality, and to appear in his differences that set him apart. Awakening has wielded the power of dominance over others, and dominance has intensified in him especially with all the tools he has over woman, for she is the weaker side that has been harnessed for the weaken and silence it by numerous texts, legislations and social customs. This is why their war against it, then their war against its emancipation, is the most striking characteristic of the struggles for awakening and liberation, while The goal of an ordinary woman is to be an ordinary human being; She has her choices, her individuality, and her distinction in a society that doesn’t demonize her or mock her struggles as sedition, shame, morality, and ability.
Continuing the question in the title of this article: Are we really exaggerating when we criticize Awakening?
The answer, for me, is definitely not going to be yes; Because I believe that intellectual conflict is a protracted struggle that is not measured by time, but by the counter-intellectual effect we want to create. Therefore, we need more methods to present, dissect, critique, and recall this stage from time. On the other hand, revival is a historical step that has been between us; Denying or transcending history without critique, analysis and recognition will of course not erase it.
No matter how hard those days were and how heavy their memory was; Anyone interested in change and freedom of thought should not stop invoking and invoking it in the various contexts of our lives, our sense of the pleasure of happiness that we experience today under regulation, laws and freedoms , and empowerment was as much as the opposite feeling we felt in the waking years, and no righteous person will deny history and accept any attempt to improve their image, minimize their destruction, or allow his return in any way.
Finally, as I would like the objective of the storm to move a little in these same times towards other regions, cities and simple villages, depriving them by their wickedness of the dignity of these villages, and distorting the beauty of the cities in disfiguring their souls, and makes fields, farms and balconies its phantoms in which hover the birds of darkness, doubt and fear.