In the first half of the 20th century, male actors dominated the Yemeni stage, often performing female roles in the absence of women. This practice was typical of the era, as seen in the play Wonders of Time, staged by the Al-Sabbagheen Troupe. Yet this tradition began to erode with the emergence of Nabiha Azeem, the first professional Yemeni actress, who broke new ground in 1956 when she portrayed “The Daughter of King Al-Nu’man” in the play Al-Nu’man ibn Al-Mundhir.
Still, the presence of women in theater remained unstable, rising and falling with the political and religious inclinations of those in power.
Amid this shifting landscape, Zahraa Talib emerged as a pioneering figure—one of the first Yemeni women to devote herself fully to the arts and media. Over the course of decades, she became both a recognizable voice and a familiar presence in Yemen’s cultural sphere.
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Born in Aden in 1945, Zahraa experienced upheaval early in life. Her father left for Kuwait during her childhood and never returned, prompting Zahraa and her mother to relocate to Sana’a. There, she pursued nursing studies, later traveling to Egypt for professional training before returning to Yemen. She began her career at the “Souq Al-Baqar” clinic in Old Sana’a but soon discovered her true calling in broadcasting. She joined Sana’a Radio, launching a career that would span presenting, writing, and acting.
Following the September 26 Revolution of 1962 in North Yemen, radio quickly emerged as the country's most influential medium. Nearly every home had access to it, and its popularity was further bolstered by the conservative values held by much of the population. During the month of Ramadan, many Yemeni families preferred listening to the radio over watching television, which was perceived by some as a violation of the month’s spiritual integrity, despite the increasing availability and affordability of satellite channels.
It was within this environment that Zahraa Talib found her stride. With a resonant voice and refined delivery, she captivated listeners across a wide spectrum of programming. She hosted and performed in a diverse array of shows—historical, religious, and dramatic. Her most notable programs included Listener’s Mail, The Family, A Flower from Every Garden, Mirror of Society, Khawater, The World of Fun, and A Revolution for All Generations.
Through these broadcasts, Zahraa Talib not only informed and entertained, but also challenged and reshaped long-standing perceptions, particularly around religion and women’s roles in Yemeni society.
Despite the end of the Imamite rule, notorious for its religious conservatism, the newly established republican state in Yemen was neither able—nor perhaps willing—to dismantle the deeply rooted patriarchal structures that had governed society for decades. The changes initiated by the revolution were monumental, but culturally, they remained limited and often contradictory, especially regarding the status of women. The new government continued to impose strict limitations on women’s movement and activities, citing the ongoing civil war between 1962 and 1970, internal divisions and conflicts, and traditional or political justifications.
By the 1970s, Zahraa Talib had become a leading figure among a distinguished group of cultural and media personalities in Yemen, alongside names such as Raufa Hasan, Faten Al-Yousifi, Huda Al-Dhubba, Amani Raweh, Faeeda Al-Yousifi, Kawkab Issa, Abdullah Mohamed Shamsan, Ahmed Al-Dhahabani, Salah Ahmed, Abdul-Malik Al-Ayzari, Mohamed Al-Mahbashi, Abdullah Al-Houri, Mohamed Al-Sharafi, Abdulaziz Shaif, and Ezzeddine Taqi. All were recognized for their influential radio programs during this period.
After the tourism department separated from the Ministry of Information, a new theatrical movement began to take shape, led by a group of theater and literature enthusiasts. Zahraa was a founding member of the “Theater for Acting” troupe in 1971, which brought together artists such as Abdullah Al-Hifi, Raufa Hasan, Kawkab Hamoud, Aisha Al-Khawlani, Ismail Al-Kebsi, Ahmed Al-Kebsi, and Mohamed Hassan Al-Shahari. The group shared close professional and personal ties with Mohamed Abdul-Malik Al-Mutawakkil, who, as noted by historian Hussein Al-Asmar in his book Theater in Yemen: Experience and Ambition, held the position of Director of Public Relations at the Ministry of Information and Culture in 1969.
Building on her success in radio, Zahraa Talib transitioned to theater and later to television, where she continued to shine. Her presence on television became synonymous with Ramadan dramas, and her shows became a beloved part of the season’s cultural rituals.
At the time, it was nearly unimaginable to see a Yemeni woman appear on screen—particularly in North Yemen, which remained deeply influenced by conservative political, religious, and social forces. While these authorities may have differed politically, they shared the belief that the public appearance of women was a threat to the prevailing moral order. As a result, women’s participation in visual media, whether television or cinema, was often met with repression or exclusion. For Yemeni women, acting in front of a camera became a form of feminist resistance—challenging restrictive notions of “chastity” and “modesty” and pushing against the barriers imposed on their public visibility.
By the mid-1970s, Yemeni society began to experience noticeable transformations. A relative cultural openness emerged, driven by political, economic, and social changes ushered in by the modern state, and by Yemen’s growing integration into broader regional dynamics—though these changes lacked institutional protections.
Within this shifting climate, a genuine desire arose among a group of cultural figures to establish a theater troupe. The Tourism Department Hall was designated as a temporary venue, and Zahraa Talib was appointed secretary-general of the troupe’s founding body.
Zahraa’s participation in numerous theatrical works played a pivotal role in shaping modern Yemeni theater. According to historian Hussein Al-Asmar, the troupe’s first production was Al-Jaza’a, written by Abdullah Al-Hayfi and directed by Abdul-Karim Murtada. The play told the story of a mother who sacrifices everything for her children, only to be met with neglect and indifference—a symbolic reflection of the political reality, with the mother representing a forsaken nation.
In 1972, Zahraa took part in Bread and Knowledge, a poetic play by Al-Hayfi, followed by Al-Gendarme and Everyone Has His Own World by Mohamed Al-Zurqa. The latter offered a sharp critique of social inequality, portraying a struggling family torn between personal burdens and collective hardship.
Over time, Zahraa appeared in many more plays alongside cultural icons such as Mohamed Al-Sharafi, Abdul-Kafi Said, and Abdullah Al-Hayfi. These works were performed at national celebrations and in various regions across Yemen. As Al-Asmar notes, their performances at the Tourism Department Hall attracted high-level audiences, including Prime Minister Mohsen Al-Aini, ministers, businessmen, and cultural figures—further solidifying the troupe's place in Yemen’s cultural scene.
Zahraa’s career was uniquely multidimensional—spanning medicine, radio, theater, and television. Her impact was particularly pronounced in television, where she starred in influential series such as Al-Fajr (1983), which chronicled Yemen’s journey from the Imamate to the revolution, capturing the suffering of Yemenis under the rule of Imams Yahya and Ahmed, and culminating in the September 26 Revolution of 1962.
Yemeni actress Amal Ismail reflected on working with Zahraa, saying:
"I remember that my first dramatic role was alongside her in The Bride. I met her during table readings and filming—she was a truly wonderful, humble, and talented artist. May God rest her soul."
In addition to Al-Fajr and The Bride, Zahraa starred in other series including Wariqat Al-Hanna (produced in collaboration with Egyptian TV in the early 1980s, based on a folk tale from Yemeni Tales and Legends by Ali Mohamed Abduh Al-Aghbari) and The Story of Saadia (1994), which addressed women’s inheritance rights.
Known for her wide-ranging interests and deep sense of humanity, Zahraa also left a personal impact on those around her. Photographer Abdulrahman Al-Ghabri recalled:
"Zahraa was also a doctor. She cared for me when I contracted typhoid as a student at the Orphans’ School. She worked at the Souq Al-Baqar clinic in Old Sana’a. She balanced medicine and the arts with true devotion."
Her dual roles as doctor and artist often intertwined. In 1972, she represented Yemen at the First Arab Youth Festival in Algeria, performing Iblis and His Partners by Abdullah Al-Hayfi—a bold critique of the pre-revolution Imamite regime. She later joined the Arab Youth Festival in Morocco in 1986 and traveled to London for a radio training course, where she wrote and performed a radio drama titled A Bedouin Woman in London.
Despite scarce resources and limited external support, Zahraa Talib stood out as a trailblazer in Yemeni arts. Some critics may have viewed Yemen’s theatrical ventures abroad as hesitant or underdeveloped, but Zahraa’s voice was unmistakably powerful, leaving a lasting impression on her audiences and on Yemen’s cultural memory.
Sadly, like many pioneering artists, Zahraa Talib passed away during one of the country's darkest political periods—following the 1994 civil war and the invasion of the south by Ali Abdullah Saleh’s regime and its ally, the Islah party. She left this world without receiving the recognition her legacy deserved. Despite her immense contributions to radio, theater, and television, her scripts and recordings remain locked away under the control of the Houthi regime, which has marginalized Yemen’s cultural institutions and erased many of the figures who helped shape its modern artistic identity.