I found myself standing beneath the magnificent 67-metre Al Wasl Plaza, watching layers of light glide across its intricate steel lattice as the call to prayer softly echoed around me. Designed by Adrian Smith and Gordon Gill Architecture for Expo 2020 Dubai, the structure felt like the natural heart of Dhai Dubai, the city’s intimate light and arts festival.
Expo City Dubai, despite its futuristic foundations, has been relatively quiet since the Expo concluded. Its sprawling pavilions and wide boulevards, once alive with global conversations about Opportunity, Mobility, and Sustainability, now carry a certain stillness. Yet as I wandered through the festival, I sensed unmistakably that this is where Dubai’s next cultural chapter is unfolding.
Co-curator Anthony Bastic, best known for shaping the light program of Vivid Sydney for a decade, told me that Expo City is destined to become Dubai’s next major hub. “It’ll evolve into the new CBD,” he said. And suddenly, it made perfect sense for Dhai Dubai to be positioned here, away from the usual tourist trails.
Unlike many global festivals designed for spectacle, Dhai Dubai is deeply rooted in local stories. It places Emirati artists at the forefront, giving them a platform to share personal narratives shaped by heritage, memory, and identity, using the language of contemporary light art. Bastic’s approach here is deliberate and refreshingly patient. “I learned not to rush growth,” he said. “Art festivals need time to breathe.” For now, Dhai Dubai spans only ten days and features seven major installations, but each one is intentional, refined, and meaningful.
When night fell, the Al Wasl Plaza transformed into a vast canvas for Sisters of the Desert, an emotionally layered projection inspired by the late Emirati artist Dubai Juma Lamlah. Collaborations with Australian artist Rene Kulitja and South Africa’s Dr. Esther Mahlangu gave the work a powerful cross-cultural spirit. Themes of resilience, unity, and shared womanhood glowed across the colossal dome, far surpassing the impact of even Dubai’s most iconic skyline.
It reminded me of Vivid Sydney’s Lighting of the Sails, but with a distinctly Emirati soul. Throughout the plaza, installations felt intimate yet innovative. Unlike the grand narratives I’ve encountered at institutions like Louvre Abu Dhabi or the Al Fahidi Historical Neighborhood, Dhai Dubai invited me into quieter, more personal storytelling.
Reem Al Ghaith’s site-specific piece, built around ornate Arabic doors, evoked nostalgia with a futuristic twist, illuminating motifs that echo community and memory. Mohamed Yousef offered a moving tribute to the women in his life through a visually poetic composition. And Dr. Najat Makki’s striking installation, depicting powerful women on a monumental scale, captured the world as seen through a child’s eyes.
Reem’s work, in particular, stayed with me long after I left. The way she blended the character of traditional doors with soundscapes felt like stepping into a living memory, rooted deeply in Emirati identity, yet expressed with the tools of tomorrow. Every artwork engaged the senses, mixing cutting-edge media with cultural storytelling. I’ve visited Dubai numerous times, but this experience seemed to unlock the city’s inner voice, a voice often overshadowed by its architectural shine.
As Dr. Najat shared with me, “Dhai Dubai is about encapsulating Dubai’s environmental and local characteristics through light art.” And she’s right. This festival offers a pathway into the untold stories of a city that has risen from a fishing village to a global icon. With sustainability built into its core and culture lighting its path, Dhai Dubai is poised to become one of the region’s most meaningful annual celebrations of contemporary art. For anyone planning a visit to Dubai, I’d strongly recommend timing it with this free-entry festival. Dhai Dubai reveals the intimate, human stories behind the city, stories you won’t always find in its grand museums.
The 2024 edition ran from January 26 to February 4. The festival will return in 2025, with dates yet to be announced.