During the recent Ramadan seasons, Jordanian drama has experienced significant controversy between the audience and critics, raising real questions about the level of scripts, the performance of most young actors, and the ability of the produced works to compete on the Arab arena.
This controversy cannot be reduced to fleeting impressions; it reflects an urgent need for a comprehensive review of the dramatic production structure and mechanisms in Jordan.
In the 1970s and 1980s, Jordanian drama went through a significant phase of Arab presence and was associated with social and historical works that formed part of the local cultural memory. Despite limited technical capabilities at the time, the strength of the script, depth of the idea, and commitment to social issues gave these works sustainable artistic and humanitarian value. Success was not linked to the budget as much as it was linked to the writer's awareness, the director's experience, and the actor's commitment to their artistic message.
On the other hand, it is observed today that some Ramadan works suffer from weak dramatic build-up and repetition of ideas, relying excessively on superficial comedy or contrived situations, weakening their impact and limiting their ability to address real societal issues. Additionally, the acting performance of many new faces reveals a clear gap in academic training and professional craftsmanship, which directly reflects on the quality of the final product.
Discussing the reality of Jordanian drama cannot be done without comparing it to what is produced by established drama industries such as Syria, Egypt, and Lebanon, which have benefited from having specialized artistic institutes, a buildup of production experiences, and continuous investments in developing human resources.
The difference is not only in the spending size but in the presence of an integrated system that begins with education and training, goes through text evaluation mechanisms, and ends with professional marketing and distribution policies. Therefore, addressing the decline is not accomplished by merely calling for "supporting young artists" in the abstract sense, but through building a clear institutional environment, reestablishing the importance of academic qualification in acting, writing, and directing, establishing or activating specialized art institutes, and developing partnerships between the public and private sectors to support serious production. The concerned authorities, be they official or media, must adopt stricter criteria in choosing works to be presented during a season with high public sensitivity like Ramadan.
The criticism here does not aim to diminish the efforts of young people or close the door on new experiments but strives to establish a concept of professionalism. Talent alone is not enough; creativity requires continuous training, professional discipline, and awareness of cultural responsibility. Art is not just a means of entertainment but a tool for building awareness, shaping identity, and enhancing values.
The uplift of Jordanian drama requires a long-term strategic vision that treats culture as a national investment and not merely a seasonal luxury. Without this, works will continue to revolve in a cycle of modest production, lacking depth and innovation, while regional competition accelerates and visual storytelling tools significantly evolve... Today, a serious cultural decision is required to restore the stature of Jordanian drama, giving the audience a work that respects their taste and reflects the pulse of their society.
