Emirati author, poet and artist Shamma Albastaki discusses her creative journey, how she aims to positively shape the arts and cultural landscape through her practices, plus her her milestone debut at the Emirates Literature Festival 2025.
Tell us about your career journey. What inspired you to be a poet?
There wasn’t a single point of inspiration. It just happened naturally. I started writing when I was very young. I wrote my first poem when I was about seven years old. At a very young age, I just felt drawn to words and stories and the possibilities that they held. I always loved making, listening and imagining stories, and then between the ages of 13 until 17, I’d say that’s when I wrote the most. In my younger years, poetry became both a safe haven and a place for me to channel my thoughts and emotions. As someone who is quite introverted growing up, poetry was a place that would welcome my imagination, there was something so liberating, freeing, and fun about working within structures and rhyme. So, my earliest poems were structured, metrical, and ting for hours on a puzzle, trying to uncover what meanings it could arrive at through working with this language on a page. Over time, my practice shifted. In undergrad, I studied Literature and Creative Writing at NYU, where I also studied social research and public policy. I was fascinated by the ethnographic component of my sociology degree, which I interwove with my Literature and Creative Writing degree. I wrote ‘House to House’, which is my very first collection of poetry that will be published by the Emirates Literature Foundation early next year. It was inspired by stories of the Dubai creek communities from the 1940s until the 1980s. The original idea for this collection was born from a poetry workshop that I did in New York called Writers in New York in NYU the summer before my senior year of university. I spent a year-and-a-half doing ethnographic research, and started writing this collection, which was edited, reviewed, and expanded this year and will be debuted at the Emirates Literature Festival next year.
What’s your creative approach when developing the style and language around new literary works – what are the key themes that lead you?
I don’t have one creative approach. I sort of let the language guide me and decide how it wants to show up on a page and make itself a poem. Every poem is different, and sometimes it will just come to me. It’s a super psychosomatic and physical process where the page is like a playground, and I just play around with words. And then other times, if it’s project-based, it’ll be more kind of intentional. I always come up with a set of what I call generative constraints, and then work within them to produce something. My latest collection, which I wrote as part of my master’s at Harvard, is called ‘Al Majaz: A Crossing’. And for this, I based it off of my walks around the pedestrian underpasses of Dubai and Abu Dhabi, thinking about the way language travels through a city, and the word al majaz in Arabic literally means crossing. So, it was all about crossing from one point to another across underpasses; from one language to another; from the mind to the page; from various kinds of crossings. A lot of my work is research based. I don’t really think about definitive genres. I like to go beyond definitional concerns and explore the blur between academia and poetry.
How would you describe your style of work in one word? What is your relationship to it and how do you bring that into your work?
It would be infraordinary, which is the word I borrowed from French poet George Perec, and essentially it sort of describes what happens when nothing is happening, details of the everyday that often go unnoticed.
Is there a specific emotion that you hope to evoke in those who experience your work?
I don’t intentionally seek to evoke any emotion, but if my work inspires any emotion, then that means that the language is doing something. But even if it doesn’t inspire emotion, I don’t take that to be a marker of non-success in a writing context, because to me, narrative depth means less and less. By the day, I’m less interested in narrative depth and more interested in play and in the infraordinary.
Emirates Literature Festival has become a popular destination for established and aspiring writers and creatives to showcase their work and further expand their cultural calendar. What role does literature play in the wider cultural ecosystem?
The Emirates Literature Festival has been an incredible force of literature in the UAE for more than a decade and has really been foundational to the shaping of our Contemporary Literary landscape. Particularly in situating our literature on global horizons and vice versa, bringing new, unfamiliar voices and talents to the region for us to kind of interact with and explore and inspire points of connection. I remember going to the Emirates Lit Fest when I was really young. I think, 13, when I first went and started exploring the programmes. I was really excited to have found a place where I felt like I belonged, a place where my interests, as someone who loved reading and writing, were not only accessible, but where I could really find a sense of community and belonging, where I felt like my interests matter, and I could expand them. It’s more than 10 years now that I look back and I remember just walking around the halls and thinking to myself, “I hope I can share my poetry here someday”. And I’m very blessed and grateful to have had the opportunity to do that on multiple fronts across the years, and now, being published by the Emirates Literature Foundation this year is an extremely special full circle moment. It’s really crucial groundwork that they have been laying and continue to let flourish.
How things are changing for Emirati women in UAE across cultural spaces and what are the key things that are shaping it?
For Emiratis in general, the landscape has always been rife with opportunities and support, and that has, very much, expanded and flourished. There’s been a lot of support for some pioneering Emirati women artists and the early modernist writers that have been foundational to shaping our literary legacies, and upon whose shoulders we are able to kind of build and create and it’s really exciting to see the many possibilities that lie ahead for making and creating in our context.
What has been the most pivotal moment of your career so far?
In my writing practice, there’s been so many and have been incredibly blessed and lucky to have had great experiences. I would say one of them was discovering that my poetry was being taught to a university in Japan. Some excerpts from ‘House to House’, were published in the Asymptote Journal of Global Contemporary Literature, which is a very well-known journal for poetry worldwide. My poetry was held in company with the likes of Douglas Kearney, who is a renowned American poet, and various others. A year later, I found out that excerpt was taught in a university in Japan. It was almost surreal for me to think that my poetry about the Dubai Creek from the 1940s until the 1980s is being taught in a completely different context, having been found out through the publication was really rewarding and exciting. Excerpts of this collection also won the ADMAF Creativity Award, which was a super special moment. Reading my poetry at COP28, such a pivotal platform, was a big highlight. To know that poetry could be brought on as a means to get people to listen was a big moment in my poetic practice. Through the Emirates Literature Foundation, I read my works at the Natural History Museum in London in celebration of Emirati Women’s Day, under the great big whale skeleton. And I’d say also, having won the Best Thesis Award at Harvard University Graduate School of Arts and Sciences for my poetry collection. Somehow, I managed to convince the program directors to let me do a creative project as a thesis, I just felt this compulsion, and they told me, “Shamma, we trust your experiment”, and so I did. I never expected that I would actually win this award in my cohort.
Who have been the female role models in your life that left an impression on you and why do you admire them?
My biggest inspiration growing up is my mother. She’s incredibly strong and a magnetic force of life and energy in the people she meets. She has been one of the pioneers in the UAE banking and finance sector for a long time and has contributed so much during her time. She currently sits on various boards and continues to be an advisor and mentor the younger generations to advance in their careers.
This is The Optimism Issue – how do you aim to have a positive influence for the future generations?
I’m generally quite optimistic as a person. I believe hope and leading with love are the biggest forces. I think about every action and decision coming from a place of love. I hope to be able to contribute positively to the flourishing and expansion of literature and arts in general, and to be part of the conversation with the younger generation and see the ways in which they innovate, experiment and expand the capacity of what language can do and be.
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