UAE: Is viral 'aura farming' boat kid coming to Dubai? Here's what we know
As per information on the page, 11-year-old Rayyan Arkan Dikha is supposed to commence his 'Dubai tour' in July and August.
"Dubai, I am coming. Dubai, get ready for me," read the last two posts.
Khaleej Times has reached out to verify the information.
Although no specific dates have been released yet, the young boy who shot to fame in no time, is said to soon visit some of the most iconic locations across the bustling city, most of which have some sort of water element.
Here are the spots where we might see him:
Dubai Marina
Lamborghini Yacht
Bel Haza Zoo and Dubai Aquarium
Desert Safari
Palm Jumeirah and Atlantis
Burj Khalifa and Dubai Fountain
Museum of the Future
Jumeirah Beach and Kite Beach
Who is the 'Aura Farming' boy?
Rayyan Arkan Dikha originally went viral after a short clip of him wearing traditional Indonesian attire and dancing on a racing boat during a festival amused the internet.
It was the young boy's calm, steady and cool demeanour that won the hearts of millions online, with his clip becoming a trend — Aura Farming — and even celebrities following it.
Meanwhile, what became a trend for the internet, was actually just a morale boosting dance for Rayyan, who performed to motivate rowers who were competing in a centuries-old tradition.
What is 'Aura Farming'?
The term 'farming' is used in video games to describe collecting resources or tools.
Meanwhile, in Gen-Z and social media terms, the word 'aura' is used to describe a person's demeanour and a likeable 'vibe' and personality. The better your aura is, the more 'aura points' you gain. This applies vice versa too, where if one does something embarrassing or disliked by people, then they loose their 'aura points'.
A culmination of the two words has led to the term 'Aura Farming', which the little traditional boy seems to be a master of according to the internet.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The National
2 hours ago
- The National
How two million palm fronds create UAE Pavilion's unique scent at Expo 2025 Osaka
Step into the UAE Pavilion at Expo 2025 Osaka and the first thing you notice is the scent. It's warm, earthy and oddly nostalgic. This is not a man-made fragrance, but something organic and real. For Emiratis, it evokes the memory of drying dates in the summer. For Japanese visitors, it is something comforting and familiar even if they cannot quite place it, notes Shaikha Al Ketbi, the UAE Pavilion's creative director. 'In our previous participation at Expo 2020 Dubai, we had a bespoke fragrance created. But here in Osaka, the scent came naturally,' she says. 'It was not part of the plan, but a complete surprise.' The pavilion is built from about two million date palm fronds, arranged into 90 towering columns. The fronds were sourced from the UAE, Egypt and Tunisia, then cleaned, straightened and treated before being shipped to Japan. 'We gathered all the material in a warehouse. When we entered, it smelt just like home,' says Al Ketbi. 'There was warmth, a little sweetness. We said to each other: 'Wouldn't it be amazing if this scent stayed once the pavilion was built?'' Luckily for the team, and the visitors, the unique scent lingered on when the pavilion was built, even after months of foot traffic. Of the response from Japanese visitors, Al Ketbi adds: 'It has been such a strong point of connection. Some ask if we plan to bottle it, an idea we are now exploring with perfumers.' The pavilion itself was designed to engage all senses. 'We wanted a multisensory experience,' says Al Ketbi. 'Scent, yes, but sound as well. There is a soundscape at the entrance that mimics the sounds of an oasis. The materials are textured, and we use lighting and space to create calm. And there is the food, of course.' The restaurant inside the pavilion serves Emirati cuisine but in bento boxes, a gesture of cultural exchange. 'We knew the Japanese public would appreciate that format,' says Mariam Al Memari, head of the UAE Expo Office. 'It is something familiar to them. But when they open it, it is a surprise. They discover Emirati flavours and traditional dishes. The response has been incredibly positive.' Some ingredients are flown in from the UAE, others sourced locally to maintain freshness and sustainability. Meanwhile, the architecture is striking in its simplicity. The glass facade invites people in, offering a view of the columns and woven structures within. The layout is circular, centred on a courtyard-like space. 'From the beginning, we wanted to build a pavilion that felt welcoming,' says Al Ketbi. 'Some pavilions are designed to impress from a distance. Ours is designed to invite. Visitors see the columns and the materials, and they come closer.' The columns vary in height from nine to sixteen metres, and are constructed from treated palm fronds and bound with rope. 'The material is unfamiliar here,' says Al Ketbi. 'We worked with a Japanese carpentry studio to make it happen. It required a whole new supply chain.' The effect is both immersive and intimate. Japanese visitors often touch the materials, notes Ketbi. 'They are drawn to the texture. It creates a relationship. They do not just see the pavilion, they feel it.' At the centre of the experience are Emirati youth ambassadors and volunteers, many of whom speak Japanese, guide visitors and answer questions. 'They are the human face of the UAE here,' says Al Memari. 'Visitors are often struck by their warmth and confidence. For many, it is their first time meeting someone from the UAE.' The pavilion also includes a shop that offers products made by Emirati artists and start-ups. Many items are made from date palm fibre. 'We want people to take home something that feels authentic,' says Al Memari. 'Some pieces even reference Expo 1970, when Abu Dhabi participated before the formation of the UAE.' That reference to 1970 is part of a wider narrative. The pavilion's theme, Earth to Ether, connects past and present. 'In 1970, Abu Dhabi came to Expo as a single emirate,' says Al Ketbi. 'In 2025, the whole federation is here. That is not just history. It is a story of transformation.' The story is narrated through media installations as well as the pavilion's design itself. The layout is circular, evoking traditional gathering spaces. The woven materials bring on a sense of one's own home rather than a busy commercial setting. 'We wanted to explore the idea of legacy,' says Al Ketbi. 'What gets passed on? What do we share with the world? How do we carry our environment with us, even when we are far from home?' The pavilion was developed by a multidisciplinary collective that brought together architects, designers, artists, writers and engineers. 'It was a collaborative process,' says Al Ketbi. 'Everyone contributed. The person who wrote the story, the person who sourced the material, the person who shaped the columns – all of them were part of the creative team.' Since opening its doors, the pavilion has attracted more than two million visitors. 'We see 30,000 people a day,' says Al Memari. 'But more important than the numbers is the feedback. Visitors, Japanese or otherwise, tell us they feel something here – calm, welcome connection.'
Zawya
14 hours ago
- Zawya
ODEUM repositions as the modern content studio of Augustus Media's network
Dubai, UAE - Augustus Media, the modern media company behind Lovin Dubai and Smashi, has officially rebranded its content production house ODEUM – The Modern Content Studio, reinforcing its mission to lead in creative storytelling for the digital age. ODEUM is where bold ideas meet the way people consume content today. Built for brands that want to stand out, ODEUM blends creativity, strategy and execution to deliver cinematic video, dynamic animation, immersive audio, and original IP - all under one roof. As audiences shift to short-form, vertical, and platform-native content, the studio helps brands stay ahead of the curve with tailored content services and regional distribution at scale. Operating from eight fully equipped production studios across Dubai, Riyadh, and Cairo, ODEUM offers end-to-end services: from quick-turn social content to full-scale campaigns, live event coverage, podcasts, and CGI production. As part of the Augustus Media network, it benefits from a built-in ecosystem reaching over 3.3 billion impressions annually across the MENA region. Key Capabilities of ODEUM: Video: High-impact production including verticals, CGI, branded stories, and live events. Animation: Scroll-stopping motion graphics, 2D/3D visuals, and explainers designed for clarity and impact. Audio: Podcast creation, voiceovers, and audio branding that elevate storytelling across platforms. Originals: Bold in-house IP including short films, episodic shows, documentaries, and AI-powered formats. Studios: Plug-and-play production facilities for creators, agencies, and brands ready for shoots, streams, and more. As Augustus Media continues expanding across the region, ODEUM stands as the creative studio driving brand storytelling, original productions, and next-gen content experiences. 'We built this to be more than a production house. It's where modern storytelling happens, where brands become media, and where creators have the tools to move faster, think bigger, and reach farther. The rebrand represents our commitment to what's next.' Richard Fitzgerald, CEO & Founder Augustus Media 'In a world where attention is the most valuable currency, Odeum exists to create content that doesn't just fill space, it builds meaning, drives emotion, and delivers impact. We're here to help brands move from being seen to being remembered.' Abdallah Adaweh, Head of Odeum | Commercial Director Augustus Media About ODEUM ODEUM is the content production powerhouse of Augustus Media, specializing in high-quality video production, branded content, animation, audio production, and studio services. About Augustus Media Augustus Media is an award-winning Middle Eastern digital media company based in the UAE, Saudi Arabia, Egypt and Qatar. The modern media company has been designed to adapt and evolve to this perpetually changing media environment. Augustus Media network includes; Lovin', Smashi & ODEUM as its media brands. Lovin, a local news and entertainment platform present in 22+ cities, known for bitesize news, viral content and community stories. Smashi, a regional content platform with 13 verticals including Business, Gaming, Sports, and Entertainment, and home to live-streamed UAE League matches. Odeum, the company's content production powerhouse specializing in high-quality video, branded content, animation, and audio.
Khaleej Times
14 hours ago
- Khaleej Times
What are UAE audiences watching? Top streaming platforms reveal surprising viewing habits
What do Korean survival thrillers, Spanish heist dramas, and Indian celebrity interviews have in common? In the UAE, they're all competing for screen time in living rooms, bedrooms, and smartphones. The modern streaming experience has transformed passive viewing into a global discovery tour and UAE audiences are among the most adventurous travelers. Global platforms like Netflix and Disney+ are seeing a massive shift in what people watch, how they watch, and more interestingly, in what language. With a multicultural population, high internet penetration, and a young, digitally savvy demographic, the UAE offers a snapshot of how global content is consumed and celebrated across the MENA region. The Netflix Effect Once considered a disruptor, Netflix is now one of the world's leading entertainment platforms, available in over 190 countries and 50 languages. In MENA, its influence goes far beyond delivering Hollywood hits. The platform has played a key role in breaking down cultural silos by exposing viewers to diverse languages, genres, and storytelling styles. A Netflix report, which captures 99 percent of all viewing in the first half of 2025, shows that people watched a lot of Netflix — over 95 billion hours — spanning a wide range of genres and languages. Of those, more than one-third of all Netflix viewing globally came from non-English language titles, and and 10 of the 25 most-watched series in the first half of the year were non-English. For instance, Squid Game, the South Korean hit series, drew 231 million views across all three seasons in the first half of the year. Its final season became our third most-watched program of the half, reaching 72 million views in just four days. Other titles like Money Heist (Spain), Dark (Germany), and Lupin (France) not only topped global charts but also became part of MENA's mainstream pop culture, despite releasing in previous years. But the region is also a contributor; Arabic originals like Al Rawabi School for Girls, The Exchange, and Finding Ola didn't just find success in the Middle East, they reached the global Top 10, trending even in non-Arabic speaking countries. Meanwhile, Netflix's recent Arabic reality hit Love Is Blind, Habibi made waves both regionally and internationally, landing in the global Top 10 across 12 countries outside MENA. It even caught the attention of Kim Kardashian, who praised the show in a video she shared on social media, saying, "We're obsessed." On average, Netflix users in the region watch content from six different genres per month, ranging from horror and drama to family-friendly animation, comedy, and even live sports entertainment like WWE. The Disney+ perspective It's not just Netflix riding this wave. Disney+ has also noted changing viewing patterns across the Middle East, pointing out how preferences shift from one country to another. 'In the Middle East, we're seeing a significant rise in demand for internationally produced content,' says Tamim Fares, Director of Disney+ Middle East. 'And, interestingly, the type of content varies by country.' Take Saudi Arabia, for instance. According to Fares, Korean and Turkish content has seen a sharp rise in popularity over the past two years — and not just among younger viewers. 'It's across genders and age groups,' he adds. A recent Turkish original on the platform, Reminder, became an overnight hit, dominating the charts and igniting conversations across social media. But in the UAE, the story is different. 'Indian Originals on Disney+, such as Koffee with Karan and Aarya, have similar watch times as content from Hollywood,' Fares explains. While the large South Asian population in the UAE plays a role, what's noteworthy is the growing interest from non-Indian audiences. 'We see steady engagement from Arab viewers who watch with Arabic subtitles.' This multilingual engagement also speaks to a deep-rooted cultural familiarity with dubbed content. 'Families across the Gulf grew up watching beloved classics like The Lion King dubbed in Egyptian Arabic,' Fares says. 'So today, a Hollywood animation in that dub still draws huge regional audiences.' In our previous report in June, in which we asked UAE residences what they're watching this summer, shows like The Summer I Turned Pretty, Buccaneers, and Ginny & Georgia remained top favourites. For platforms that get the balance right — quality content, local language, and effective marketing — origin no longer matters. 'When content, language, marketing, and promotion align with local expectations,' Fares says, 'origins fade and stories travel.' The global success of shows like Love Is Blind, Habibi, or the regional virality of Reminder and Koffee With Karan, is proof of just that.
