By Zaid K. Maaytah

Art has long transcended being a mere form of entertainment, remaining instead a mirror through which societies recognize themselves and, at the same time, a force that drives their evolution. Stories, songs, theater, and television drama do not simply reflect life; they reshape it, influencing how people perceive their reality and how they are seen by others. Behavioral science helps explain why this influence is so profound: Narrative Transportation Theory, developed in the late 20th century, shows that immersion in stories and narratives makes people more likely to adopt the values and ideas they convey, while Collective Memory Theory, first articulated in the mid-20th century and expanded in the 1990s, highlights how artistic works preserve shared experiences and pass them across generations, building a collective memory that shapes identity and strengthens belonging.

In Jordan, drama has long embodied this role with striking clarity. Earlier productions portrayed village life, city neighborhoods, and everyday challenges with a sincerity that deeply resonated with audiences, and generations grew up watching these series with their families. At one point, Jordanian drama even stood as a regional pioneer, producing works that set creative and moral standards admired across the Arab world. The nostalgia Jordanians feel for these series today is not mere sentimentality but a genuine connection between people, their history, and their homeland. These productions became shared cultural reference points that kept alive not only the stories but also the emotions and values of their time. To recall these dramas is, in essence, to recall the self, identity, and the ties that hold a nation together.

Yet nostalgia alone cannot sustain the role of art. For drama to continue shaping society, it must remain close to people’s realities. When Jordanians from all regions and backgrounds see themselves represented on screen, they feel included in a shared story; when audiences become immersed in narratives that reflect their daily lives, they internalize their messages more deeply than if they were delivered as direct instruction. This is why drama has never been merely entertainment, for a large part of our culture and daily life is defined by how drama portrays what is natural, desirable, and possible.

Regional and international experiences demonstrate that this influence extends far beyond local societies. In many countries, drama has anchored social change, projected national identity abroad, and shaped how nations are perceived by others. Over time, these stories evolve into a form of soft power and become a lasting part of a nation’s cultural memory. Jordan possesses the creative talent and cultural depth to do the same, but realizing this potential requires stronger and more organized support for its drama sector.

The challenge, however, is clear. Jordanian productions face limited funding, narrow distribution, and fierce competition from imported works. As a result, Jordanians are often more exposed to stories crafted elsewhere than to their own national narratives — and this is not merely a cultural issue but one that touches belonging itself. When people rarely see their experiences portrayed in their national art, their connection to the collective story weakens, and when the world does not encounter Jordanian culture through its own artistic voice, the country’s image is left for others to define.

Overcoming this challenge begins with recognizing drama as a national asset worthy of investment. Supporting it is not a matter of nostalgia or leisure, but an investment in identity, cohesion, and international presence. This could begin with a dedicated cultural fund to secure sustainable production financing, alongside integrating drama into cultural diplomacy strategies to strengthen Jordan’s visibility on regional and global platforms. Partnerships with television networks and digital streaming services can expand the reach of Jordanian productions, while training programs for writers, directors, and actors can build a new generation of creative talent rooted in national identity. Support, however, should not focus solely on funding and distribution; it must also ensure that the stories themselves remain close to people’s lives, reflecting Jordan’s diversity so that every citizen sees themselves within the national narrative.

Relatability is not only about representing different dialects or regions, but about addressing the social realities that shape people’s lives. Jordanians are more likely to connect with drama that mirrors their concerns — from youth aspirations to the struggles of work, migration, and family life. When people recognize their own experiences on screen, drama transforms from an imported script into a national mirror that reinforces belonging, evokes pride, and keeps art a living force that strengthens the bond between citizens and their country.

Art leaves its mark on societies through the emotions it stirs and the memories it creates, becoming part of their collective story. Jordanian drama has long preserved memory, reinforced belonging, and defined culture — and with genuine support and a clear vision, it can continue to tell Jordan’s story, both to its people and to the world.