At the ASBU BroadcastPro ME Summit last month, a panel of experts and innovators deliberated over how Arabic content is scaling in volume, vision, reach and creative impact.
Arabic storytelling is entering a new golden age, bringing with it a rush of opportunities. Content stakeholders are seeing its viability as demand for culturally relevant Arabic content continues to resonate around the globe. Bolder storylines, bigger ambitions and regional platforms are spearheading this progression. The opening panel at the ASBU summit sought answers to questions like: As Arabic content soars, who’s driving the momentum? Are we producing more, or are we producing smarter?
Moderated by Souha El Assal, Lead – Dubai Studios, Dubai Media Incorporated, the panel consisted of Belal El Trawy, co-founder and CEO, DS+; Heba AlSamt, Director – Content Support Department, Dubai Media Incorporated; Joe Al Khawand, Head of MENA Content Production, Yango Play; Mazen Laham, CEO, Different Productions; and Nader Mohammed Shehata, Senior VP – Content, Creative & Production, Zee Entertainment Middle East.
Edging into a global space, several projects travel outside the MENA region. This phenomenon set the tone for the discussion, with El Assal asking how operators are scaling Arabic drama for regional and global markets.
“Our biggest challenge is we have many territories, but this is good because we then know how to create authentic content that can travel; we can experiment,” said Joe Al Khawand, Head of MENA Content Production, Yango Play. “It is all in the details of dialogue, costume, locations. Start with the local audiences; you can’t create global content unless it’s very popular within the territory. We start here and then look outside. It’s trial and error.”
“The rise and surge in demand reflects a combination of factors: local audiences are demanding better content, and global platforms are recognising the potential of regional storytelling,” said Belal El Trawy, co-founder and CEO of DS+. “Creatives have always been ahead; what’s happening now is that the business is finally catching up. Arab creators love making content, and they create brilliant work. The difference today is that they have better tools, richer data and deeper insight to scale their impact.”
Creativity and business propositions can only move ahead if platforms or investors are willing to spend on the market and on collaborations. “The region’s creative output was always strong, and businesses and creatives must move together in sync. This will help us enter the bigger arena,” said Nader Mohammed Shehata, Senior VP – Content, Creative & Production, Zee Entertainment Middle East.
The rise in demand is also seeing a shift in mindset among local audiences. One of the indicators is how archived content is moving with the younger generation. “We are restructuring and reproducing our old content, and seeing how the younger generation is resonating to that is interesting. The content journey today moves from linear to digital to social media, and we must ensure our content continues to live across all these channels,” said Heba AlSamt, Director – Content Support Department, Dubai Media Incorporated.
Digital content takes audiences from one moment to a completely different one in an instant. This shift is being led by Gen Z. Operators vie for fleeting attention spans as this audience plays a piece of content on double speed on their mobiles. “The easy content availability is not even taking them from one episode to another,” said Khawand, “but rather from a certain moment in the beginning, and then hooking them throughout all the moments to create the whole. They are used to moving from a hilarious video to a thrilling one in a swipe, it’s a rollercoaster of emotions.”
While the audience remains the engine that drives content, content remains king. The risk lies in choosing what can attract all kinds of viewers. “We try to interact with the viewer and ask him what the finale should be or how a character should pan out. It is a tough one to produce, but we are attempting that mode,” said Shehata.
When Zee entered the market as a foreign investor, it was challenging, but it has produced 17 dramas in seven years amidst tough competition. “We believe leadership is not only about the quantity of content but also about vision, and this is what we are trying to do.”
Talking of scale involves budget as well as audience reach. In general, the market is not mature and still has a long way to go when compared to other regions and territories, said Mazen Laham, CEO, Different Productions. “I don’t believe there is real business in the region just yet. For us in the scripted segment, we suffer more. There are about five main platforms that we work for, and the scale of production is low. We are flooded with creativity but there are no platforms to put this content on.”
El Assal highlighted that with sub-regions such as the Levant, Egypt, GCC and North Africa, it is difficult for content to travel within the region. For instance, Egyptian content travels to most regions, while North African content struggles to find its way into the same Arab region. However, Arab creators have also been successful in creating dramas that appeal to global audiences through Netflix and other platforms. It is reaching more people in more places.
“The game is now to create strong storytelling that can open the doors to more production. The Indian model has been tested in the Middle East. A merger of this successful version with local creativity can hope to cross borders to have global reach,” said Shehata.
Arabic viewers are young, and the micro-drama phenomenon permeates this landscape. Three of the top 10 most downloaded apps in the MENA region are those with short dramas. “The young Arab viewer has access to international content. So, now, we need to incorporate bolder storytelling when attempting verticals or micro dramas to attract this young audience,” said Khawand. “Micro drama is a format in itself, and it should be planned and executed for vertical, not something that we edit or shorten – it must be full of hooks and be bold.”
Vertical formats resonate more and can cross borders. “If we want our stories and series to travel beyond our region, this is the way forward,” said AlSamt. “We connect with such content more because we watch it on our phones and the consumption on our phones is high.”
Short-form content has become a starting point for monetising vertical and micro dramas, as more producers and creators embrace the trend. It offers freedom that long-form formats, restricted by traditional windows, simply can’t. With the right focus and investment, short-form can evolve into an incubator for bigger IPs and story worlds, and a fast gateway for new talent to reach wider audiences.
“The pace is accelerating because anyone with a mobile can create vertical drama. It doesn’t need a crew or premium equipment. Creators everywhere are using only their phones and achieving global reach. It has become the quickest passport for local talent to travel,” said El Trawy.
In the reality segment, short drama productions may be a bit trickier to achieve. “Scripted will require more skill when doing micro dramas,” said Laham. “Micro dramas require strong cliffhangers. Every minute must be a turning point so that it leads you to pay and watch more. So micro dramas are tricky but would be an interesting challenge. Given a choice, I would prefer long-form content because it is a proven standard. With short-form, we are still in the exploratory phase.”
Co-productions can also help content scale, and within this segment there are multiple financial models. “There is no standard working business model that can match everyone’s demands,” noted Shehata. “Each company looks for the model that best suits them. We started seven years ago, and we created more than 17 dramas working with over 13 producers from Egypt, Levant and the GCC. We work with all kinds of producers, startups, mid-range companies and the big production companies. I believe the strength of our model is about trust and belief, and if we have the vision and adaptability, the content will sustain.”
A certain amount of risk-taking is necessary when choosing unique stories within the regional concepts. “We started with the Indian formats but delved into dramas that were offbeat, such as second chances after divorce or autism, so we are trying to be open with subjects. We are looking at profitability for both partners in all projects,” added Shehata.
Earlier producers sold their content to platforms when there was the chance for a buyout. However, with platforms entering productions, everyone is looking to IP for valuation and assets. “It has different extensions in terms of monetisation for building up on a story and taking it over a number of years,” said Shehata.
Just as every renaissance gives way to a new wave of thought, young Arab storytellers have the access, the tools and the confidence. “They are faster than us and they can ask anyone across the world about any new information. They’re very creative and contemporary. We are seeing their output and ingenuity every day, and platforms are further enabling them with the latest tools and insight,” said El Trawy.
Now, with vertical drama, up-and-coming storytellers are looking at exciting times. “We are not just witnessing a moment; what we are doing is shaping a new movement for Arabic content where stories are not just rising but they are connecting, travelling and staying true to where they come from,” concluded El Assal.
By balancing culture and authenticity with crossover appeal, Arabic content has become the biggest attraction today and is increasingly part of the wider conversation.
