 It was the age of disco and rock. The way people looked and the way people moved had new interpretations very different than before and the invasion of new sights and sounds reverberated throughout the world. Times were changing. Western influence was rampant and for developing countries that saw a period of accelerated prosperity and flourishment during these times were typically guilty of abandoning their cultural heritage, traditions and customs. One way to protect these important elements of identity was to document them in new and modern ways that would secure the memories of those whose world was now rapidly changing as well as establish a new appeal to the evolving expectations of the upcoming generations. And in 1978, during this energetic time in Kuwait when the country was in the midst of its golden age and when society had just begun shifting its lifestyle by frowning upon the old and replacing it with the new a young and visionary man, Mohammed the Sennosi working selflessly as part of his role in the Ministry of Information to promote the fledgling nation had the foresight to establish what would become Farghat al-Telvizion del Finoun or the Kuwait television band for the performing arts. The intention for this band was to create a group that would cultivate, nurture and sustain an accurate and timeless reflection of Kuwait's identity from a performing arts perspective and use television, the modern technological media platform to share and spread the cultural riches of the country targeting as wide an audience as possible. There were many local bands at the time that were performing their musical and dance specialties. Some were experts at seafaring music and others focused on Bedouin expression or traditional popular urban music but these groups were very limited in their exposure and were more or less performing within their small cross-section of society. There was not a unified entity that combined the various elements that made up the complex Kuwaiti musical arts spectrum and presented it in a way that would appeal to all generations. The Sennosi, Kuwait's musical professors and expert leaders of the existing various local bands cooperated in assembling the best possible group of talent. The band must be large in size and at 40 members strong this would be its smallest size but absolutely necessary in establishing impactful vocal and dramatic stage presence. Recording performances started immediately thereafter and included a wide array of historical Kuwaiti musical forms. These songs were of both the Kuwaiti traditional songbook and newly created songs that reflected the changing times of hope and openness towards a much larger world. Sayidi Zamanidar is a song that was contextually accurate in depicting how at the time changes were happening to every aspect of Kuwaiti life. Jitini Yahel's lyrics examined the eagerness of succeeding in life but also hit with the various failures that come along the way. It's a song of hope but also of a tough reality that was also familiar. Shirvay is a song following an art form called Khammari meaning veiled and it emanates an emotion of the longings for a loved one resulting in pain and suffering along the way. Sabuha is a fun light-hearted take on a famous Yemeni song that speaks of a bride Sabuha and her struggle with her father in granting license to what her loved one, Nasib. A powerful love is the theme of Galo Alamek a love even though one sided is still precious, desired and unrelenting. Yalel Adana is one of the group's most famous salt songs Kuwait's urban music and describes the mysteries of a dreamy, beautiful yet dark starry night. Markabal Hind is another salt song that speaks of the shipbuilding prowess of India where the singer dreams of owning and captaining such a marvel of travel and engineering. Yamin Yaselli Khatari is another song of missing a loved one A common theme of historic Kuwait is the longing for those that are away from our eyes and minds. Ya Marhaba is a song taking the Qadiri musical scale that is known for its strong structure and intentional rhythm and is typically used in processional formal events. Meftoun speaks of an immense passion and love that one feels and the various incapacitations that are associated with such an emotion. Ya Ain is a song in Samari form which is a free-flowing melody that echoes the fluidity of the sea also representing the heartache when men depart for their long seafaring voyages. And finally, the immortalized song Anul Kheriji that transcended the era and individual nationalities and became the symbolic anthem for Arabian Gulf unity. The group's variety in musical content captured the whole musical range including children's songs, nationalism, street culture, seafaring tradition and dynamic emotional expression. And with this reinvention, the identity of Kuwait's performing arts took on a tangible interpretation that was modern, prideful yet exuding memory and relevance. This feeling was powerful for the people of Kuwait and multi-generations identified with the group's resonating sights and sounds. This band transcended being a local phenomenon by also becoming greatly appreciated by the Arabian Gulf nations and achieved regional stardom. The band even broke through towards international recognition by performing at the United Nations and other international musical festivals. In 1988, a mere ten years later after establishment a downturn came about. Lack of acknowledgement by the government for the group's importance for the country and its people led to a sudden drop in support. With an absence of funding and resources the group became a shadow of its former self. New blood was needed but there was no interest or future in the making by joining and performing in a group that was abandoned by its nation. The story must not end here. The value of the musical heritage of a nation is at stake not only for its people but also for the collective cultural wealth of the world. Major action is necessary in the form of substantial reinvigoration and reinvestment into Farghat et el Vizyon. Such groups bring pride, joy and happiness to the people and it would be an absolute shame if this source of elation and belonging disappears into the intangible dark infinity of lost memories.