The monologue (a Latin word meaning solo performance) is an art form that has long been popular in the Arab world, captivating audiences with its short, sung monologues accompanied by fast-paced music, as well as its humorous, satirical, and critical nature, offering insightful commentary on social and political conditions. Among its early pioneers in Egypt was the artist Sayed Darwish, who composed and wrote numerous monologues (or "taqtuqat") in the 1920s. This inspired other Egyptian artists to follow in his footsteps, leading to the emergence of artists associated with this satirical genre, such as Mahmoud Shokoko, Thuraya Helmy, Ismail Yassin, Sayed Suleiman, Mohamed Kamel, Ahmed Ghanem, Sayed El-Mallakh, Mosaad El-Qass, and others. Initially performed on stage, monologues were later recorded on records before transitioning to cinema, radio, and television.

Among the pioneers of this art form in Saudi Arabia were artists Abdulaziz Al-Hazza, Saad Al-Tamami, and Hassan Dardir (Mashqas). The undisputed pioneer of monologue in Kuwait is artist Mohammed Hamoud Al-Dhafeeri, known as "Mohammed Al-Wais," whose biography and works we will document in this article, based on what has been written about him in the Kuwaiti and Gulf press, particularly in the Al-Jarida newspaper on August 23, 2011, and what is recorded in Kuwaiti artistic literature.

It was no surprise that Kuwait witnessed the emergence of this exceptional talent in the 1960s, a person who combined diverse abilities encompassing football, monologue singing, songwriting and composing, television directing, program production and presentation, and many other arts and creative pursuits. This is because, upon gaining independence in 1961, Kuwait devoted considerable attention and care to what is now called "soft power," investing generously in theater, television, musical groups, and folk heritage. It sent its talented sons and daughters abroad to study and hone their skills in the best Arab and international institutes and colleges. It also enlisted the help of artistic luminaries from Egypt to create an unprecedented cultural and artistic movement in the region, to the point that by the 1970s, Kuwait had become a beacon of culture, creativity, and enlightenment, a destination for all talented Gulf nationals seeking fame, success, and stardom, much like Egypt was for other Arabs. The credit for the decisions taken by Kuwait at that time goes to a group of its educated and loyal men, such as Abdulaziz Hussein, Ahmed Meshari Al-Adwani and Hamad Issa Al-Rajeeb, who worked with unlimited support from the former Minister of Information, the late Sheikh Jaber Al-Ali Al-Sabah.

Mohammed Hamoud Al-Dhafeeri, nicknamed "Abu Abdullah," was born in Kuwait in 1950. He completed his formal education there, completing all three levels. During his school years, he was a whirlwind of activity, performing in acting, singing, and playing musical instruments on the school stage, in scout camps, and during desert and sea excursions. His talent for monologues also shone through at the Al-Razi Club, which he joined during summer vacations with a musical group composed of his young friends, including now-retired artists Abdulrahman Al-Sari' and Hamdan Al-Sari'. Al-Awais was also passionate about football. He was a prominent and talented player in this captivating sport during his school years, and later played for Al-Salmiya Sports Club as a goalkeeper. At this club, one day a coach noticed his absence and, not knowing his name, asked for him to be brought in. This led the coach to nickname him "Al-Awais" after a foreign biologist who resembled him in features and stature. And from then on, this name stuck with him, and his friends and colleagues began calling him “Mohammed Al-Wais”.

At the closing ceremony of a scout camp held in 1967, in the presence of the pioneer of education, the spiritual father of Kuwaiti education, and its first minister, Sheikh Abdullah Al-Jaber Al-Sabah (may God have mercy on him), Alois performed two monologues accompanied by a musical ensemble of his colleagues. The first monologue was titled "Stretch Your Legs as far as Your Blanket allows," and its opening lines were:

Stretch your legs only as far as your blanket allows; don't look at others

You get tired, and neither of them will benefit you

Spend your money, eat, drink, and stretch your legs

The second monologue was titled "The girls of your country are better," and it began:

By the one who proposes to someone from outside

Girls from your own country are better for you

Our friend left this experience with a gift: a medal and 100 dinars. Furthermore, in appreciation of his excellent performance, the event's sponsor, Sheikh Abdullah Al-Jaber, instructed Kuwaiti radio officials to take him under their wing and give him the opportunity to record his songs in the radio studio with their musical ensemble. Thus, in 1968, at the age of 18, Al-Awais recorded monologues in the radio studios, which were then filmed for television. Among these were the aforementioned monologue "Mad Riwalik" (Stretch Your Legs), the monologue "Ajaib Al-Dahr" (Wonders of Time), and the monologue "Sheeli Qashk" (Pack Your Bags) (composed and written by Thamer Al-Sayyar), which he performed with the late artist Abdulaziz Al-Namash. It was Al-Namash's participation that led to the work's widespread popularity and Al-Awais's name becoming a household name in artistic circles. Kuwaiti artistic literature considers the monologue “Sheeli Qashk” to be one of the most famous monologues presented in the history of the modern Kuwaiti singing movement. It was bought by an artistic company and printed on records and is still being broadcast to this day.

Until that time, the art of monologue was just one of Al-Wais’s many hobbies, but he found himself immersed in this genre of singing, and required to offer more to satisfy an audience whose numbers were gradually increasing, and also in response to his friend, the poet Youssef Al-Jarrah, who prepared many monologue lyrics for him, knowing that the first person to write a monologue text for him to perform was Abdul-Jabbar Mazaal.

Initially, Al-Wais focused on performing his work through radio and television, but he later began performing in public concerts, despite his initial shyness and embarrassment. His first public concert was a charity event organized by Mrs. Luluah Al-Qatami in the early 1970s at the Andalus Theater. He was joined by Abdulmohsen Al-Muhanna and Laila Abdul Aziz from Kuwait, and Najat Al-Saghira from Egypt. Al-Wais was so moved by the applause and warm welcome of the large audience that he wept. His second public performance was at a concert at the Yarmouk Sports Club celebrating their victory in the Emir's Cup. There, Al-Wais performed a special song, composed by him with lyrics by the poet Yousef Nasser, which begins:

I went to ask the guys what the news was, what was this beautiful thing that was mentioned in the sea?

They told me the Prince's Cup flew away on a silk carpet, paralyzed by the dark-skinned players

His first trip abroad was to the Sultanate of Oman to participate in the celebrations of Sultan Qaboos's accession to the throne, may God have mercy on him, along with Mustafa Ahmed and Aisha Al-Murta from Kuwait, Mohammed Zwaid from Bahrain, Adel Mamoun from Egypt, and Abu Bakr Salem from Saudi Arabia. This was followed by a trip to Cairo, where he collaborated with his Egyptian friend, the composer Mustafa Al-Awadi, in performing several monologues, some of which were composed by Al-Awadi, such as the patriotic song "Ya Kuwait" and the sports anthem "Ahli Wal Nabi Ahli.".

The early seventies of the twentieth century marked a significant turning point in Alois's monologic career, as he collaborated with the great Kuwaiti composer and the late Abdul Rahman Al-Baijan, who left an indelible mark on the development of Kuwaiti song, in launching the monologue "Ya Tuweir Hindi" with lyrics by the poet Muhammad Al-Mahrous, the opening lines of which say:

Oh Indian bird, you have what I have

You have a car, and it's a loss

Following Al-Buaijan and the remarkable success of his composition "Ya Tuwair Hindi," Al-Wais collaborated with many other composers and poets. In 1974, he presented the monologue "Ashkal wa Alwan" (Shapes and Colors), which he wrote himself, with music by the late Hamdi Al-Hariri. In 1975, he presented the monologues "Tarat Al-Tayara" (The Plane Flew Away) and "Rahat Al-Bal" (Peace of Mind), with lyrics by Suleiman Al-Merdas and music by Abdullah Bughaith, and "Al-Bambara" (The Bomb), with lyrics by Yousef Nasser. In 1968, he presented the traffic monologue "Darb Al-Salama" (The Road to Safety), with lyrics by Yousef Nasser, and in 1978, he recorded the monologue "Ya Al-Mushtaqee" (O You Who Are Yearning), with lyrics by Abdul-Amir Issa and music by Rashid Al-Sultan. He also collaborated with the esteemed artist Ghanem Al-Dikan on several artistic works, with the poet Abdul-Rahman Al-Najjar on the monologue "Sama'u Hal-Qissa" (They Heard This Story), and with the composer Khaled Al-Zayed on the monologue "Shay Al-Dhuha" (Morning Tea). Among his other famous works are the monologues: “The Rooster is Lost,” “Oh God, the Speed,” “The Madman,” “Bachelorhood,” “The Cigarette,” “The World is All Appearances,” “Don’t Be Deceived by His Sail,” and other monologues that dealt with the social changes and problems that occurred in Kuwaiti society in particular.

Although Al-Awais relied heavily on the melodies of others for the majority of his songs, he also ventured into composing, further demonstrating the breadth of his talents. He composed monologues for himself and for other artists such as the Bahraini Basit Al-Busta and the Kuwaiti Abdul Majeed Abdul Qader. It's worth noting that his foray into composing for others came in the later years of his monologue career, when he felt the genre had lost its appeal, influence, and audience, especially with the emergence of performers who, in his words, had abused this satirical musical form with ridiculous movements, gaudy costumes, and clownish antics on stage.

There is no doubt that Al-Awais brought about a unique movement in Kuwaiti radio and television, and the Ministry of Information rewarded him by sending him to Egypt at the state's expense to complete his university studies. He traveled there and graduated from the Faculty of Business Administration at Cairo University in the 1981/1982 academic year. He also studied at the Higher Institute of Musical Arts in Egypt, which awarded him a higher diploma. He then continued his studies in Britain, obtaining a diploma in production and directing from London Television.

Upon returning to his homeland with his academic qualifications, he was initially appointed assistant director before being promoted to director. He then became the director of operations, implementation, and follow-up at the Third Sports Channel. Following this, he was appointed advisor to the Ministry of Information, a position he held until his retirement from government service. During his time as a television director, he directed numerous variety programs, including "The World of Cinema," "Variety Evening," "Television Magazine," "Thursday Meeting," "You and Variety," and "Asfart." He also directed coverage of official celebrations and documentaries about various regions of Kuwait, such as Failaka Island, as well as a series about Kuwait's early pioneers titled "Companions of the Path.".

Al-Awais retired from government work, but he didn't retire from art and creativity. While he did move away from singing monologues and directing for television, he also turned to producing and presenting television and radio programs, thus establishing himself as a broadcaster and program presenter, and joining the ranks of media professionals. He successfully produced and presented the game show "Ghatawi" starting in 2000, alongside presenters Ward and Halima Boland and Bahraini actress Zainab Al-Askari. He also produced and presented the program "This is Kuwait" and various variety shows. Furthermore, he extended his activities to Kuwait Radio and FM stations, presenting programs such as "Stars on the Road," "Al-Bashtakhta," "Al-Darwaza," "Nights of the Homeland," "Ateej Al-Souf," "Guests of Mercy," and others.

During the brutal Iraqi occupation of Kuwait, Al-Awais moved to the United Arab Emirates with his wife and children. From there, he presented the daily radio program "My Message." However, his most remarkable work came after the liberation, when he traveled to stations and channels in Abu Dhabi, Dubai, Doha, Muscat, and elsewhere to collect and bring back the musical, theatrical, and program tapes that the Kuwait Television library had lost due to the Iraqi invasion. He managed to bring back approximately five thousand tapes. The government rewarded him for this effort at the time by appointing him director of the Third Sports Channel.

Alois was quoted as saying regarding the art of monologue: “You are not required to dress as a clown and appear before people, or to disfigure yourself and dress as a woman in order to perform a monologue.” As for the director of variety shows, he said that “he must study music, and if he hasn’t studied it, he must have a musical background, and if he doesn’t have that, he must have an appreciation for music.”.

Finally, it must be noted that Al-Awais has been honored several times by various local, Gulf and Arab entities, including his honoring in 2009 at the Cairo International Television and Radio Festival.

The monologue (a Latin word meaning solo performance) is one of the arts that invaded the Arab world long ago and attracted audiences, as it relied on short singing accompanied by fast music, not to mention its comedic, satirical nature that critiques social and political conditions in a humorous way. Among its early pioneers in Egypt was the artist Sayed Darwish, who composed and arranged many monologues (taqtuqat) in the 1920s, which encouraged other Egyptian artists to follow in his footsteps later on. Names associated with this satirical musical genre emerged, such as Mahmoud Shokoko, Thuraya Helmy, Ismail Yassin, Sayed Suleiman, and Mohamed Kamel, leading up to Ahmed Ghanem, Sayed Al-Mallah, Masoud Al-Qass, and others. Monologues were initially performed on stage, then recorded on discs, before moving to cinema, radio, and television.

Among the early pioneers of this art in Saudi Arabia were the artists Abdulaziz Al-Hazaa, Saad Al-Tamami, and Hassan Dardir (Mishqas). As for the undisputed pioneer of the monologue in Kuwait, it is the artist Mohamed Hamoud Al-Dhafiri, known as “Mohamed Al-Wais,” whose biography and works we will document in this material, based on what has been written about him in the Kuwaiti and Gulf press, especially the newspaper “Al-Jarida” in its issue dated 8/23/2011, and what is recorded in Kuwaiti artistic literature.

It was not surprising that Kuwait witnessed the emergence of this exceptional talent since the 1960s, which combined diverse abilities in football, monologue singing, songwriting, composing, television directing, program preparation, and presentation, along with many other things related to the arts and creativity. This is because Kuwait, upon its independence in 1961, paid great attention and care to what is now called “soft power,” generously spending on theater, television, musical bands, and folk heritage, sending talented boys and girls abroad to study and refine their talents at the best Arab and foreign institutes and colleges, and enlisting artistic geniuses from Egypt to create an unprecedented cultural and artistic movement in the region, to the extent that Kuwait became, in the 1970s, a beacon of culture, creativity, and Enlightenment, a destination for all talented Gulf youth seeking fame and stardom, just as Egypt was for Arabs. The credit for the decisions taken by Kuwait at that time goes to a group of its educated and dedicated men, such as Abdulaziz Hussein, Ahmed Mashari Al-Adwani, and Hamad Isa Al-Rujib, who worked with unlimited support from the late Minister of Information Sheikh Jaber Al-Ali Al-Sabah.

Mohamed Hamoud Al-Dhafiri, nicknamed “Abu Abdullah,” was born in Kuwait in 1950, where he completed his formal education through its three stages. During those school years, he was a bundle of energy, engaging in acting, singing, and playing on stage at school events, scouting camps, and during trips and outdoor and marine excursions. His talents in the art of monologue also emerged through the “Al-Razi Club,” which he joined during summer vacations with a musical band made up of his young peers, including currently retired artists Abdulrahman Al-Sari and Hamdan Al-Sari. Additionally, Al-Wais was involved in playing football, being one of the prominent and talented players during his school years, later playing as a goalkeeper for Al-Salmiyah Sports Club. One day, a coach at this club missed him and requested that he be brought in without knowing his name, which led him to call him “Al-Wais,” after a foreign biologist who resembled him in features and stature. Since then, this name stuck with him, and his friends and colleagues began to call him “Mohamed Al-Wais.”

At the closing ceremony of one of the scouting camps held in 1967, attended by the pioneer of education and the spiritual father of Kuwaiti knowledge and its first minister Sheikh Abdullah Al-Jaber Al-Sabah, may he rest in peace, Al-Wais presented two monologues accompanied by a musical band of his peers. The first monologue was titled “Mad Riyolak Qad Lihafak,” with the opening lines:

Mad Riyolak Qad Lihafak, the whole 'a ghayrak

Ta'tab, hadha wa dhak ma yufidunak

Qad flusak kul washreb wa mad Riyolak

The second monologue was titled “Banat Biladik Ahsan,” with the opening lines:

Bil-li takhtab min barra

Banat Biladik Ahsan lak

Our friend emerged from this experience with a gift that was a medal and 100 dinars. Moreover, in appreciation from the event's sponsor for his good performance, Sheikh Abdullah Al-Jaber ordered the officials of the Kuwaiti radio to adopt him artistically and provide him with the opportunity to record his musical works in the radio studio with their musical band. Thus, Al-Wais recorded in 1968, at the age of 18, monologues in the radio studios, then filmed them for television, including the aforementioned monologue “Mad Riyolak” and the monologue “Ajayib Al-Dahr,” in addition to the monologue “Shili Qashk” (music and lyrics by Thamer Al-Sayar), which he performed with the late artist Abdulaziz Al-Namash. Due to Al-Namash's participation, the work spread, and Al-Wais's name became well-known in artistic circles, becoming more famous than fire on a mountain. Kuwaiti artistic literature considers the monologue “Shili Qashk” one of the most famous monologues presented in the history of modern Kuwaiti musical movement, and it was purchased by a production company and printed on discs, still being broadcast to this day.

Until that period, the art of the monologue was merely one of Al-Wais's many hobbies, but he found himself immersed in this musical genre, being demanded to present more to satisfy an audience that was gradually increasing in number, and also responding to his friend, poet Youssef Al-Jarah, who prepared many monologue lyrics for him, knowing that the first person to write a monologue text for him to perform was Abdul Jabbar Maz'al.

Initially, Al-Wais used to present his works through radio and television, but he later began to present them through public concerts, despite feeling shy and nervous. The first public concert he participated in was a charity event held by Mrs. Lulwa Al-Qatami in the early 1970s on the stage of Al-Andalus Theater, where he was joined by Abdul Mohsen Al-Muhanna, Leila Abdulaziz from Kuwait, and Najat Al-Saghira from Egypt. Al-Wais cried during this event, moved by the applause and warm welcome from the large audience. The second concert he participated in was a musical event at Al-Yarmouk Sports Club to celebrate the latter's victory in the Amir's Cup, where Al-Wais presented a special song, composed and written by poet Youssef Nasser, with the opening lines:

Rahit as'al ya al-rub' shenho al-khabar, shenhi hal-zina illi tatri bil-bahr

Qalu li Kas al-Amir tar bibisat al-harir shalla fi al-lawa'ib al-sumr

As for his first trip abroad, it was for the Sultanate of Oman to participate in the Sultan Qaboos’ accession anniversary, along with Mustafa Ahmed, Aisha Al-Murtah from Kuwait, Mohamed Zoweid from Bahrain, Adel Mamoun from Egypt, and Abu Bakr Salem from Saudi Arabia. This was followed by a trip to Cairo, where he collaborated with his Egyptian friend, composer Mustafa Al-Awadi, to present some monologues in Cairo, some of which were composed by Al-Awadi, such as the patriotic song “Ya Kuwait,” and the sports song “Ahli wa Al-Nabi Ahli.”

The early 1970s marked an important turning point in Al-Wais's monologue career, during which he collaborated with the great Kuwaiti composer and a key figure in the development of musical art in Kuwait, the late Abdul Rahman Al-Baijan, to launch the monologue “Ya Tweer Hindi,” with lyrics by the lyricist Mohamed Al-Mahrous, which opens with:

Hey Tweet Hindi, 'indak ma'andi

'indak sayara, fiha al-khasara

After Al-Baijan and the remarkable success of his composition “Ya Tweer Hindi,” Al-Wais collaborated with many other composers and poets. In 1974, he presented the monologue “Ashkal wa Alwan,” written by himself and composed by the late Hamdi Al-Hariri. In 1975, he presented monologues “Tarat Al-Tayara” and “Rahat Al-Bal,” with lyrics by Abdul Latif Al-Bunay and music by Youssef Al-Muhanna, as well as “Al-Bambara,” with lyrics by Youssef Nasser. In 1968, he presented the traffic monologue “Darb Al-Salama,” with lyrics by Youssef Nasser, and recorded the monologue “Ya Al-Mushtaqi” in 1978, with lyrics by Abdul Amir Isa and music by Rashid Al-Sultan. He also collaborated with the esteemed artist Ghanam Al-Dikan in more than one artistic work, with poet Abdul Rahman Al-Najjar in the monologue “Sami’u Hal-Qissa,” and with composer Khalid Al-Zayed in the monologue “Shay Al-Duha.” Among his other famous works are the monologues: “Da'a Al-Dik,” “Ya Sater Min Al-Sur’a,” “Al-Mainoon,” “Al-Azobiya,” “Al-Sigara,” “Al-Dunya Mazahir,” and “La Yghurak Shar’ah,” among others that addressed the changes and social issues that arose in Kuwaiti society in particular.

Although Al-Wais relied mostly on the melodies of others for his songs, he also ventured into composing, further demonstrating the breadth of his talents. He composed monologues for himself and for other artists such as the Bahraini Basit Al-Bosta and the Kuwaiti Abdul Majid Abdul Qader. It is noteworthy that this towards composing for others came in the later years of his monologue career, when he found that the monologue had lost its role, impact, and audience, especially with the emergence of models that negatively affected this satirical musical genre, with silly turn movements, flashy clothing, and clown-like antics on stage, as he put it.

There is no doubt that Al-Wais created a special movement in Kuwaiti radio and television, which rewarded him by sending him on a state-sponsored scholarship to Egypt to complete his university studies. He indeed traveled there and graduated from the College of Business Administration at Cairo University in the academic year 1981/1982, and also studied at the Higher Institute of Musical Arts in Egypt, which granted him a higher diploma, then continued his studies in Britain, obtaining a diploma in production and directing from London Television.

Upon his return to his homeland, adorned with certificates, he was initially appointed as an assistant director, before being promoted to director, and then became the director of the operation, execution, and follow-up department at “Channel Three” sports, after which he was appointed as a consultant in the Ministry of Information, remaining so until his retirement from government work. During his tenure as a director in television, he directed many variety programs, including: “Alam Al-Sinema,” “Sahra Munawwa’a,” “Television Magazine,” “Thursday Meeting,” “Antum wa Al-Munawwat,” and “Asfarat.” He also directed coverage of official celebrations and documentary programs about some areas of Kuwait, such as Failaka Island, and others about the early pioneers in Kuwait under the title “Rufaqa’ Al-Darb.”

Al-Wais retired from government work, but he did not retire from art and creativity. While it is true that he distanced himself from singing monologues and directing for television, it is also true that he turned to preparing and presenting television and radio programs, thus taking on the role of a broadcaster and program presenter, joining the ranks of media professionals. He succeeded in preparing and presenting the competition programs “Ghatawi” starting in 2000, in collaboration with the female presenters Roud and Halima Boland and Bahraini actress Zainab Al-Askari, and he also prepared and presented the program “This is Kuwait” and various evening shows. Additionally, he extended his activities to Kuwaiti radio and FM stations, presenting programs such as: “Nojoom Ala Al-Tariq,” “Al-Bashtakhta,” “Al-Darwaza,” “Layali Al-Dira,” “Atij Al-Suf,” “Duyuf Al-Rahma,” and others.

During the period of the brutal Iraqi occupation of Kuwait, Al-Wais moved to the United Arab Emirates with his family, consisting of his wife and children, and from there he presented the daily radio program “Risalati.” However, the monumental work he accomplished came after liberation, when he traveled to Abu Dhabi, Dubai, Doha, Muscat, and other stations and channels to collect and bring back the musical, theatrical, and program tapes that the Kuwait Television library lost due to the Iraqi invasion, managing to bring back about five thousand tapes. The government rewarded him for this effort at the time by appointing him as the director of Channel Three sports.

Al-Wais was quoted regarding the art of the monologue: “You are not asked to wear a clown's outfit and appear before people, or to distort yourself and wear women's clothing to perform a monologue.” As for the variety program director, he stated that he must “study music, and if he hasn’t studied, he should have a musical background, and if he doesn’t, he should be an artistic connoisseur of music.”

Finally, it is worth noting that Al-Wais has been honored several times by various local, Gulf, and Arab entities, including his recognition in 2009 at the Cairo International Television and Radio Festival.