Hero for hire: Meet Saud Al-Hazzani, Saudi Arabia’s first professional cosplayer

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Saud Al-Hazzani as Prince of Persia. (Image supplied)
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Saud Al-Hazzani as Gambit, from ‘X-Men.’ (Image supplied)
Updated 13 April 2019
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Hero for hire: Meet Saud Al-Hazzani, Saudi Arabia’s first professional cosplayer

  • The basic gist, Al-Hazzani explains, is that you pick a character you like and ‘become’ them
  • Just as important as the creative side of cosplay for Al-Hazzani, though, is the sense of community among its participants

DUBAI: “Being creative in general, I think, kind of fades out as you grow up. It’s there, still, but it’s untouched.”

Saud Al-Hazzani is discussing his, let’s say ‘niche,’ hobby —  cosplay —  and the reason why, in his early thirties, he quit his job to focus on making a living doing something that, to all intents and purposes, is what —  if he were a child —  would be called ‘playing dress-up.’

Al-Hazzani, born and raised in Riyadh and now based in the UAE, is a professional cosplayer (under the moniker VEGA Cosplay) —  to the best of his knowledge, he’s the only full-time pro in the GCC.

Cosplay is a hybrid of ‘costume’ and ‘play.’ The basic gist, Al-Hazzani explains, is that you pick a character you like and ‘become’ them. Could be someone from a movie, a cartoon, a videogame, a TV show, a comic book (Japanese anime is particularly popular), or any other fantasy world.

“It’s similar to Halloween, I guess,” Al-Hazzani says. “But you can do it every day.”

Al-Hazzani was a fan of Japanese anime growing up (and as an adult), so he “had some idea” what cosplay was. But, he says, “I never thought it would happen in the GCC.” Sitting in his office one day in 2011, however, aged 25, he saw an ad for an event in Bahrain.

“I got excited,” he says. “Bahrain’s, like, a three-hour drive. I invited my friend who I thought would enjoy trying this new thing that we knew about but never thought would actually happen here. We picked a couple of characters, made our costumes and went to the event. We went there not expecting, or knowing, anything. But we got hooked straight away.”

For that first event, he went as Ace, a character from the wildly popular anime “One Piece.” Ace is always shirtless, wearing a pirate hat and with a pirate tattoo on his back and a beaded necklace.

“So I got some shorts and a hat and painted them, I got some small toy balls and painted them. I tried to get as much detail as possible —  with the knowledge I had then,” he says. “It was more assembled than made. But it was done properly, I can tell you.”

He went to that event “anonymously,” he explains. “I didn’t tell anyone about it at first. Even people taking my picture, I didn’t tell them my name. I was hoping it was secret, but then somebody tagged me somewhere on Facebook. Then everybody knew.”

Cosplay, for those who aren’t into it, can seem like kind of a weird hobby for adults. A bit like taking part in historical re-enactments of the American Civil War, perhaps. Or taking role-playing games like “Dungeons and Dragons” seriously. It seems like a lot of time and effort to invest in something for anyone who’s not into that thing themselves.

“I couldn’t really explain it to family and friends, or (colleagues),” Al-Hazzani admits. “It was the first time they’d even seen me shirtless, obviously, let alone in costume. So it was double-weird. They really didn’t understand it —  it wasn’t bad or anything, it was just confusing for them. I mean, I wasn’t under any pressure, it was just hard to explain. But in time they understood it.”

After that first event in Bahrain, Al-Hazzani discovered more and more opportunities to indulge in his newfound passion. Like most dedicated cosplayers, he makes his own costumes and accessories. And that is where he has rediscovered the creativity that was such a large part of his childhood, but which “was shut down in my teenage years.”

“I used to love experimenting (as a kid). I did a lot of random stuff. I’d open up anything electronic and try to fix it, or come up with new inventions,” he says.

He cites a sixth-grade inter-school science competition as an example. He created, he says, a “thing that could cut glass with electricity” by repurposing a machine that killed bugs. “I opened it up, rewired it and built a base. It was similar to a taser gun, I guess, but it cut glass.”

That sounds kind of dangerous for a sixth-grader, I say. He laughs.

“It was. I don’t even know how I was allowed to make it. I suppose no one actually knew what I was making (until the competition).”

His love of working with his hands and found material now finds an outlet in cosplay. “That creativity has somehow resurfaced,” he says. “Cosplay allows you to do everything, if you want —  you can sew, you can paint, you can use wood, you can use electronics. There are no limits. Just your choices of character.”

It was this that convinced Al-Hazzani to quit his job two years ago and dedicate himself to making a living from cosplay.

“When the time was right, I just decided ‘This is it. I have to invest all my time.’ It’s very exciting, because there are so many options,” he says. “There’s no particular way of doing things. You have to create your own market — especially in this region. So I’m trying different stuff like production or making a costume for a commercial, or organizing cosplay competitions. The last two years, I’ve been investing in all these fields.

“Money isn’t great,” he continues. “I’ve been struggling. But I know that I’m at the start. If it’s going to work out, I knew I’d have to suffer for a few years. And, you know, no risk no reward, right? Nobody’s going to give it to you. Nobody’s going to say, ‘Yeah, go do what you want.’ You have to do it yourself.”

Just as important as the creative side of cosplay for Al-Hazzani, though, is the sense of community among its participants. Particularly at Middle East Film & Comic Con, which is taking place this weekend in Dubai.

“It’s the most important event. And I’ve attended every cosplay event in the GCC since I started. So I know how much MEFCC has impacted the region,” he says. “It grew pop culture tenfold. It somehow initiated pop culture in the region. It’s almost like a cult —  something I have to attend. I met most of my friends in the GCC at MEFCC. I’m talking about cosplayers, artists, gamers, booth owners, photographers… a huge amount of friends that I’ve made at this event over the past seven years.”

He even met his fiancée, Sumi Aya, through cosplay. She’s also a judge at Comic Con this year.

“She saw a small event that had a picture of cosplayers. She didn’t know events like that existed. She saw my name tagged on the picture, so she messaged me. ‘What’s the deal? How come this is happening in the UAE and I didn’t know about it?’ Stuff like that,” Al-Hazzani explains. “I helped her, told her about some of the events, gave her a basic guide about how to start with costumes. And then we met at the next event, for the first time. I introduced her to people. And it became a thing, you know? We’d go to the events together. And feelings developed. And we shared those feelings and committed.”

So cosplay has helped Al-Hazzani find a career he loves, numerous long-lasting friendships, and his future wife. Not bad for a game of dress-up.

Decoder


Saudi Film ‘Hajjan’ wins 6 nominations at Critics Awards for Arab Films

Updated 26 April 2024
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Saudi Film ‘Hajjan’ wins 6 nominations at Critics Awards for Arab Films

DUBAI: Saudi Arabia-based film “Hajjan,” directed by Egyptian filmmaker Abu Bakr Shawky, is nominated for six categories at the eighth Critics Awards for Arab Films.

The movie is competing in the best feature film, best screenplay, best actor, best music, best cinematography and best editing categories. 

“Hajjan” tells the story of Matar, a boy who embarks on a journey across the desert with his camel, Hofira.

The movie is a co-production between the Kingdom’s King Abdulaziz Center for World Culture, or Ithra, and Egyptian producer Mohamed Hefzy’s Film Clinic. 

The movie, which is written by Omar Shama from Egypt and the Kingdom’s Mufarrij Almajfel, stars Saudi actors Abdulmohsen Al-Nemer, Ibrahim Al-Hsawi, among others. 

The awards ceremony, scheduled for May 18 on the sidelines of the Cannes Film Festival, is organized by the Arab Cinema Center in Cairo and assessed by a panel of 209 critics representing 72 countries. 

Sudanese director Mohamed Kordofani’s inaugural feature film, “Goodbye Julia,” and Tunisian filmmaker Kaouther Ben Hania’s Oscar-nominated documentary, “Four Daughters,” scored nominations in seven categories. 

Jordanian filmmaker Amjad Al-Rasheed’s “Inshallah A Boy” and Palestinian-British director Farah Nabulsi’s “The Teacher” have six nominations.


REVIEW: Sofia Boutella’s heroic efforts can’t save ‘Rebel Moon — Part Two’

Updated 26 April 2024
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REVIEW: Sofia Boutella’s heroic efforts can’t save ‘Rebel Moon — Part Two’

DUBAI: “Rebel Moon — Part One: A Child of Fire” drew scathing reviews (our writer described it as perhaps “the most discombobulating collection of mismatched sci-fi tropes ever committed to film”). “Part Two: The Scargiver” simply adds to that legacy.

The story: Former Imperium soldier Kora and the surviving band of ragtag warriors she’s recruited return to the moon of Veldt — home to simple farming folk in danger of being blown to bits by the mighty Imperium for failing to supply the unreasonable grain quota demanded of them. With just a few days before the deadline, Kora and her band must train the villagers to fight (and harvest the grain in just three days to provide a bargaining chip). What Kora doesn’t know is that Admiral Noble, the bad guy she ‘killed,’ is still alive. And bent on vengeance.

Before the enemy arrives, the warriors tell their life stories in a trust-building exercise — one of the clunkiest pieces of exposition ever written. There are slow-mo shots of the harvest gathering and a brief interlude to show that Kora and farmer Gunnar are very much in love.

Then, thankfully, we’re into the battle(s). Here, at least, director Zack Snyder doesn’t disappoint, even giving an original twist to the ‘spaceship plummeting from the sky’ trope by staging a showdown between Kora, Gunnar and Admiral Noble on a floor that becomes increasingly vertical. Below them, the villagers fight heroically against odds very much stacked against them, even with the help of Nemesis and her two flaming definitely-not-lightsabers.  

The well-constructed battle scenes, though, aren’t enough. Not even with a cast fighting as heroically as the villagers to salvage something. Sofia Boutella, as Kora, emerges with most credit, proving herself a convincing action hero who deserves better than this material to work with (spoiler alert: perhaps even material that allows the heroine to kill the bad guy herself, without the intervention of her boyfriend).

Yes, no one’s sitting down to watch an “epic space opera” in the expectation of thought-provoking dialogue, but “Rebel Moon” is like the result of forcing a seven-year-old to watch all things “Star Wars” and “Star Trek” in random order, then asking them to write down what happened. The best thing to say about “The Scargiver” is that it finishes — but even that comfort is tainted by Snyder’s cynical setting up of a potential part three. Possibly because that seven-year-old fell asleep before writing an actual ending.


Saudi Arabian history on display at Abu Dhabi Book Fair 

Updated 26 April 2024
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Saudi Arabian history on display at Abu Dhabi Book Fair 

  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair 

‘Ibn Saud press photograph’ 

According to notes from rare books specialists from Peter Harrington’s team, this image from archives of The Times newspaper was taken in what was then called Hejaz, following a “critical and secretive meeting between (founder of Saudi Arabia) Ibn Saud (center) and the British representative Sir Gilbert Clayton (left) — one of a pivotal series of negotiations which led to the Treaty of Jeddah in May 1927.” The two discussed “various outstanding questions affecting the relations of the Kingdom of the Hejaz and Nejd with the neighboring states of Iraq and Transjordan” to help determine the northern borders of Saudi Arabia. “Discussions over the borders were protracted and complex, with the towns of Maʿan and Kaf the object of particularly intense debate,” the notes state. 

‘Pilgrimage to El-Medinah and Mecca’ by Richard F. Burton 

In this three-volume first edition, complete with illustrations, of “one of the most extraordinary travel narratives of the 19th century,” the British explorer, writer and polyglot Richard Francis Burton recounts his Hajj journey, made “in complete disguise as a Muslim native of the Middle East” at a time when fewer than half-a-dozen Europeans had made the pilgrimage — forbidden to non-Muslims. “It surpassed all preceding Western accounts of the holy cities of Islam, made Burton famous, and became a classic of travel literature, described by T. E. Lawrence as ‘a most remarkable work of the highest value,’” the team from Peter Harrington note. In Makkah, Burton performed all the rites of the pilgrimage and his subterfuge remained undiscovered. 

‘Map and Overview Presenting the Hejaz Railway Route’ 

This map from 1903 depicts the route of the ambitious Hejaz Railway project. It “depicts a very broad area, extending from just north of Hama, Syria, all the way south a little way past Makkah, in the Hejaz; it covers most of Syria, all of Palestine, the Sinai Peninsula, the Suez Canal, and all the north-western Arabian Peninsula,” Peter Harrington’s rare book experts write. “It clearly delineates those parts of the railway that are in place and those under construction … with each station labelled. Additionally, it depicts the two alternative routes proposed for extending the line to Makkah, employing broken lines, while another line traces the proposed (but unrealized) route of a rail line from Makkah to Jeddah. The map also labels important roads and caravan routes.” 

Four years after this map was published, the book seller’s notes state, the railway reached AlUla, which is not marked on this map, although Mada’in Salah (now Hegra) is, which today is the site of one of two museums dedicated to the Hejaz Railway.  

By 1908, the railway had reached Madinah, where, the notes state, “for various political reasons, it had to be terminated.” Nevertheless, they continue, “until the outbreak of the First World War, it allowed hundreds of thousands of pilgrims to make the Hajj in safety and with relative ease.” 

‘Material from the library of Peter O’Toole by T.E. Lawrence’ 

Billed by Peter Harrington as an “insightful archive, spanning Lawrence’s transformation from man of the moment to unwilling celebrity, from the library of Peter O’Toole, whose breakthrough portrayal in David Lean’s 1962 biopic still shapes perceptions of the famous Arabist. Autograph material from Lawrence is always highly prized, but rarely is its provenance so apposite.” 

The centerpiece of the material is a photograph and an unpublished letter written by Lawrence (who became known as Lawrence of Arabia following his journeys across the Middle East, including modern-day Saudi Arabia), framed as a piece and gifted to the English actor who played Lawrence in the aforementioned biopic by his wife, Sian, and a friend not long before the premiere of the movie. The letter makes clear Lawrence’s difficult relationship with his celebrity, and is cutting about his own book, “The Seven Pillars of Wisdom,” saying that he did not own a copy himself (“No man yet has ever wanted to read his own book”) but that his mother and “little brother” did, “and that is plenty for the family. Nobody reads it: it is worth too much money. ... It is a rotten book, you know.” 

‘Oil Region in the Desert of Saudi Arabia’ 

This 1950 image, “after a painting by the German artist Michael Mathias Kiefer,” is one of a series of geographical pictures intended for use in the curriculum of German schools. “The painting juxtaposes Arab figures in traditional garb with images of drilling rigs, a lorry, and oil storage tanks, creating a strikingly orientalist image,” Peter Harrington’s notes state. “In the middle of the composition, a pipeline bisects the image, a forceful reminder of the centrality of oil to the modern Saudi Arabian economy. In the foreground, members of a group of travelers, possibly intended to be Bedouins, rest on a carpet and let their camels drink from a water tank. Away in the background, before a distant oasis, more travelers arrive at a campsite, their camels heavily laden. Their destination is the oil infrastructure that crowds the right of the image.” 


An enduring bond: A Jordanian photographer has turned his focus on two of the Arab world’s most beloved creatures

Updated 25 April 2024
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An enduring bond: A Jordanian photographer has turned his focus on two of the Arab world’s most beloved creatures

  • Tariq Dajani’s first photographic exhibition of the horse and falcon series is on display at Ahlam Gallery in Al-Olaya, Riyadh
  • Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages

RIYADH: The Arabian horse and hunting falcon are important historical and cultural symbols for the Arab world, both ancient and modern.

Now a Riyadh gallery is highlighting this enduring bond with a series of portrait studies of both creatures by Tariq Dajani, a Jordanian photographer and printmaker.

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages.

However, Dajani, an owner of Arabians, chose to reflect his love of these creatures through photography and artworks.

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages. (Supplied)

Over the years he spent many sessions photographing horses in his native Jordan, as well as the UAE and Saudi Arabia. Later, toward the end of the project, he added the hunting falcon, another symbol of cultural heritage and pride among Arabs.

Dajani’s first photographic exhibition of the horse and falcon series is on display at Ahlam Gallery in Al-Olaya, Riyadh. 

Entitled “Drinkers of the Wind,” the exhibition is the result of 16 years’ work creating portraits of these magnificent creatures.

Tariq Dajani's exhibition at Ahlam Gallery, entitled “Drinkers of the Wind,” is the result of 16 years’ work. (Supplied)

Dajani told Arab News that he is delighted to be able to display his work in Saudi Arabia, “a country that is deeply connected to the horse and the falcon.”

Ahlam Gallery is the perfect place to showcase these artworks, he added.

Dajani’s treatment of his subjects is not in the usual natural or romantic manner. Instead, and this is partly what sets his art apart, he uses a studio portrait approach, where he takes his studio to the stables or falcon sheds, and spends time carefully working on portrait studies of the creatures.

“My aim is to find a connection of sorts with the horse or the birds,” he said. “I am not interested in documenting the creature; I try to go deeper, to express something emotionally if I can.

“I was living in Sweden when I decided to photograph the Arabian horse. So I had to return to the Middle East, and I started with Jordan, my home country.

“The way I approach the work is to present the horse on a backdrop where all my focus — and thus the viewers of the final picture — will be on the animal itself and not on the environment that it is in.”

Tariq Dajani's exhibition at Ahlam Gallery, entitled “Drinkers of the Wind,” is the result of 16 years’ work. (Supplied)

While photographing in Jordan, Dajani met Princess Alia Al-Hussein, eldest daughter of the late King Hussein of Jordan. He presented some of his work to her, and received her enthusiastic approval. 

Princess Alia gave him permission to photograph the horses of the Royal Jordanian Stud, and has continued to support his work over the years, opening his first two exhibitions in Jordan.

“I had access to some of the most beautiful horses in Jordan when I first started my project. My first exhibition solely of Jordanian Arabians was a great success,” Dajani said.

“Encouraged by the reception, and by now totally absorbed in this project, I went to Dubai, then Abu Dhabi, then Saudi Arabia, where I was presented with some of the most magnificent Arabian horses to photograph. Along the way, I introduced portrait studies of the hunting falcon. They, too, are strikingly beautiful and have a special place in Arab culture and heritage.

“I will always remain very grateful to Princess Alia for her initial support, and to many others for encouraging the work and opening doors for me along the way.”

Arabian horses have been the subject of songs and poetry praising their individual and physical qualities down through the ages. (Supplied)

One of his most striking photographs shows two mares bringing their heads together in a gentle greeting.

“This incredible and totally unanticipated greeting happened while I was photographing at the King Abdulaziz Arabian Horse Center in Dirab, south of Riyadh. The two mares were led out onto my backdrop studio space from opposite sides, and when they approached each other, they gently and courteously touched their heads as if to say hello,” he said.

“It was so special. No one had ever witnessed this before. We all held our breath as we watched in amazement. I frequently think that it would be nice if these sensitive, clever creatures could teach us humans a little bit of gentleness and respect.”

Dajani’s exhibition features high-quality photographic color prints, and a smaller collection of photogravure prints, produced by manually pulling an inked metal plate, engraved with the photographic image, through a traditional printing press — a slow and difficult process that produces prints with a special feel and texture.
 


Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

Updated 25 April 2024
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Moroccan director Asmae El-Moudir joins Cannes’ Un Certain Regard jury

DUBAI: The Cannes Film Festival announced on Thursday that Moroccan director, screenwriter and producer Asmae El-Moudir will be part of the Un Certain Regard jury at the 77th edition of the event, set to take place from May 14-25. 

She will be joined by French Senegalese screenwriter and director Maïmouna Doucouré, German Luxembourg actress Vicky Krieps and American film critic, director, and writer Todd McCarthy. 

Xavier Dolan will be the president of the Un Certain Regard jury. 

The team will oversee the awarding of prizes for the Un Certain Regard section, which highlights art and discovery films by emerging auteurs, from a selection of 18 works, including eight debut films.

El-Moudir is the director of the critically acclaimed film “The Mother of All Lies.”

The movie took the honors in the Un Certain Regard section, as well as winning the prestigious L’oeil d’Or prize for best documentary at the festival in 2023. The film explores El-Moudir’s personal journey, unraveling the mysteries of her family’s history against the backdrop of the 1981 bread riots in Casablanca.

El-Moudir is not the only Arab joining the Cannes team. 

Moroccan Belgian actress Lubna Azabal this week was appointed the president of the Short Film and La Cinef Jury of the festival. The La Cinef prizes are the festival’s selection dedicated to film schools.