The connection between humanity and its heritage is timeless, transcending the boundaries of time and place. It is not merely a material relationship with the remnants of the past, but a deep-seated emotion that forms an integral part of the human psyche. This emotion is clearly manifested in moments of nostalgia or when recalling history, as heritage represents the bridge connecting the present to the roots of ancestors, granting individuals and society a sense of belonging and identity.

Ruins: The Historical Gateway to Antiquities in Poetry

Before delving into the direct implications, it is essential to point to the historical context of Arabic literature, where the phenomenon of "standing at the ruins" in the pre-Islamic odes and poems constituted one of the earliest attempts at poetic documentation of ruins. The Arab poet would not pass by the ruined dwellings of loved ones without pausing to address the stones and sand, thus making Arabic poetry, from its inception, a repository that preserves the geography of places and the features of bygone civilizations.

In keeping with tradition, artistic creativity in its various forms, whether through painting or photography, serves to document the memory of place. However, literature, and poetry in particular, has remained the primary vessel that has preserved heritage both directly and indirectly, transcending superficial description to reach profound symbolic and philosophical meanings.

Al-Mutanabbi and the Philosophy of Intangible Heritage

Among the most prominent literary examples that addressed this concept are those found in the poems of Abu al-Tayyib al-Mutanabbi, the greatest Arab poet of the Abbasid era. Al-Mutanabbi referred to heritage in the context of comparing material and spiritual value, saying:

Even if all heritage were to perish except for glory… he would target the enemies with his long spears

Here, Abu al-Tayyib uses the phrase "the annihilation of heritage" to symbolize the depletion of money and material possessions, which are consumed by generosity and giving, emphasizing that what remains and endures is "exaltation" and glory. Elsewhere, he affirms his indifference to the source of glory, whether inherited or acquired, as long as the ultimate goal is achieved

And I no longer care, after attaining the highest level… whether what I have consumed was an inheritance or an acquisition

He also praises Sayf al-Dawla al-Hamdani in his famous verse in which he distinguishes between imitation (following traditions) and creativity and innovation:

The noble follow in the footsteps of others… but you create and invent what you come up with

Religious and social symbolism of monuments

The discourse on heritage shifts from personal pride to sacred religious symbolism with Al-Sharif Al-Radi, who employed the term "heritage" to claim the relics of prophecy, saying:

Return Muhammad's legacy, return it... The staff and the cloak are not yours

Here he refers to the possessions of the Prophet, may God bless him and grant him peace, such as the staff and the cloak, which may refer to the cloak of Ka’b ibn Zuhair, thus giving these relics a spiritual and legal value that transcends their material value.

From a social perspective reflecting self-respect, we find the story of Sa'd ibn Nashib al-Tamimi during the Umayyad era, when the judge of Basra ordered the demolition of his house. The poet did not see the destruction of the building as the end of his legacy, but rather responded with a poem of pride beginning, "I will wash away the shame with the sword," culminating in his words:

If they treacherously destroy my home, it is a noble legacy that will not be deterred by the consequences

This is an affirmation that the legacy of the generous man lies in his reputation and his positions, which are untouched by the tools of destruction.

The importance of literary documentation of heritage

The significance of these artifacts lies in their being historical documents that confirm that Arabs did not view antiquities as silent stones, but rather as living entities that speak of history and values. This close connection between literature and antiquities strengthens cultural identity and preserves the collective memory of the nation from oblivion.

In conclusion, the verse inscribed in gold on the cover of Ibn Jubayr's travelogue remains the best expression of this timeless relationship:

These are our traces that bear witness to us… so look after us at the traces

Dr. Ashraf Zaki, head of the Actors' Syndicate, revealed the latest developments in the "Rouh OFF" series crisis, clarifying the syndicate's final stance regarding the possibility of resuming filming. Zaki emphasized that the syndicate does not obstruct any artistic project nor is it hostile to production companies, but it insists on full compliance with the regulations and laws governing artistic work in Egypt. He stressed that the exclusion of the blogger known as "Umm Jasser" is a fundamental and non-negotiable condition for allowing the cast and crew to resume filming and for cameras to start rolling again immediately.

Details of the crisis and the suspension decision

These statements came in response to the decisive decision issued by the Actors' Syndicate to halt filming of the series and prevent its airing during the upcoming Ramadan season. The main reason behind this escalation was the circulation of a video on social media showing the producer of the series officially signing a contract with "Umm Jasser" to participate in the show. The syndicate considered this a blatant challenge to its previous decisions and repeated warnings prohibiting the employment of non-members without obtaining the necessary legal permits.

The context of protecting the profession and the regulatory laws

This incident comes amidst the ongoing and tireless efforts of the Actors' Syndicate to regulate the artistic scene in Egypt and protect it from chaos. Historically, the syndicate has played a pivotal role in safeguarding the rights of academically trained artists registered with it. Its internal regulations and bylaws stipulate that anyone practicing acting who is not a member of the syndicate must obtain prior work permits and pay the required fees.

These strict laws aim to maintain the quality of dramatic content presented to the public, and to ensure that the profession does not turn into an open arena for amateurs without technical controls, which harms the principle of equal opportunities for graduates of the Higher Institute of Dramatic Arts and specialized colleges who suffer from a lack of opportunities.

The phenomenon of bloggers and its impact on drama

The controversy surrounding the series "Rouh OFF" has reignited the debate about a growing phenomenon: the practice of some producers employing social media influencers (bloggers and TikTokers) in television dramas and films in pursuit of viral trends and high viewership. Critics and industry professionals believe that the Syndicate's intervention in this matter is crucial for protecting Egyptian artistic identity, as the haphazard reliance on non-professionals leads to a decline in the artistic quality of productions.

Dr. Ashraf Zaki’s recent stance confirms that the syndicate will not compromise on enforcing the law to ensure that Egyptian drama remains a professional industry that respects its audience and its long history, and that digital fame alone is not a justification for practicing the acting profession without real talent or legal cover.

The fate of the artwork

The union concluded its statement by emphasizing that the ball is now in the production company's court. If the company immediately complies with the decision to exclude "Umm Jasser" and follows the legal procedures to obtain permits for the rest of the crew, filming can resume immediately. However, if the company persists in violating the regulations, the suspension will remain in effect and final, in order to preserve the union's prestige and the rights of its members, and to uphold the rule of law within the artistic community.

Tunisian star Hend Sabri to the widespread controversy that has recently spread across social media platforms and artistic circles, regarding the similarity between the story of her new series “Immunity”, scheduled to compete in the Ramadan marathon of 2026, and the iconic film “Al-Batiniya” by the star of the masses, Nadia El Gendy.

The truth about the similarity with "esotericism"

In recent television interviews, Hend Sabry categorically denied that her series is a remake or adaptation of the 1980 film "El Batneya," a landmark in Egyptian cinema. Sabry emphasized that "Manaa" presents a completely different dramatic story in terms of its approach and treatment, noting that the only common element between the two works might be the time period or the general atmosphere of the crime world, but there is no basis for a direct comparison with a work of the scale and historical significance of Nadia El Gendy's film.

This clarification comes in an important context, as the film “Al-Batiniya” is considered a fundamental cinematic reference when talking about the drama of drug trafficking in popular Egyptian neighborhoods, which makes any work that approaches this area subject to immediate comparison by the public and critics.

Role details and dramatic challenges

Regarding the nature of her role, which has sparked much curiosity, Hend Sabry revealed that she portrays a drug dealer, describing the role as full of psychological and physical challenges. She explained that the series, through its escalating events, explores the dire consequences awaiting those involved in this dark world. The Tunisian star pointed out that while the work is inspired by real stories reflecting aspects of society, it does not document any specific real case. Rather, its primary aim is to offer a rich dramatic experience that combines entertainment, excitement, and suspense for the Arab audience.

The production team and the 15-episode phenomenon

The series "Immunity" belongs to the genre of 15-episode dramas, a format that has become favored by both drama producers and audiences in recent Ramadan seasons due to its ability to condense events and avoid drawn-out storylines. The series is based on a story and screenplay by Abbas Abu Al-Hassan , known for his realistic and bold writing in the world of crime, and directed by the talented Hussein Al-Manbawi .

The work includes a selection of stars, as the cast, alongside Hend Sabry, includes: Riad El-Khouly, Maha Nassar, Khaled Selim, Ahmed Khaled Saleh, Mohamed Anwar, Karim Kassem, Ahmed El-Shami, Huda El-Etreby, and Ahmed Habashi, in addition to a number of guest stars who will enrich the events.

A strong return to Ramadan competition

This project holds particular significance as it marks Hend Sabry's return to Ramadan dramas after a four-year hiatus. Her last Ramadan appearance was in the 2021 series "Counterattack" alongside Ahmed Ezz, a drama that tackled Egyptian intelligence files and achieved considerable popular success. In "Immunity," Sabry is banking on delivering a new dramatic style to add to her diverse artistic repertoire, raising expectations for the 2026 Ramadan season.