This article examines the understudied political dynamics of the televised nabaṭī poetry competition Shāʿir al-Milyūn (“Million’s Poet”) to offer a new understanding of the program. Media coverage has focused on the participation of a single female participant, while scholars have assessed Shāʿir al-Milyūn as primarily an experiment in the wedding of local tradition to modern technology, overlooking the central and complex negotiations of ruler-ruled relationships taking place on the show’s stage. Shāʿir al-Milyūn’s political aspect becomes particularly apparent in the regular performances of waṭaniyyah verse, i.e. poetry for the waṭan or homeland. Reading a waṭaniyyah poem performed during the fifth season of Shāʿir al-Milyūn by Emirati poet Aḥmad bin Hayyāy al-Manṣūrī, I argue that Shāʿir al-Milyūn, rather than merely celebrating local poetic tradition, operates as a political technology that provides both poetry contestants and the show’s princely patron with opportunities to articulate and enact expectations of proper citizenship.

本文考察了电视转播的纳巴希诗歌比赛“沙尔·阿尔·米柳恩”（“百万诗人”）的政治动因，以期对该计划有新的认识。媒体报道的重点是一位女性参与者的参与，而学者们评估Shāʿiral-Milyūn主要是将当地传统与现代技术相结合的实验，而忽略了统治者关系的中央和复杂的谈判。演出的舞台。在Waʿaniyyah诗歌的定期演出中，即为Waṭan或祖国的诗歌，Shāʿiral-Milyūn的政治方面尤为明显。读waṭaniyyah阿联酋诗人AḥmadbinHayyāyal -Manṣūrī在Shāʿiral-Milyūn的第五季表演的诗歌，我认为Shāʿiral-Milyūn不仅是在庆祝当地的诗歌传统，而且是一种政治技术，为诗人和表演者提供了技术支持王子赞助人，有机会表达和制定对适当公民身份的期望。