Princess Reema bint Bandar: Walking in her father’s footsteps
Princess Reema bint Bandar: Walking in her father’s footsteps/node/1524796/saudi-arabia
Princess Reema bint Bandar: Walking in her father’s footsteps
This combination picture shows Prince Bandar bin Sultan (left) at his office in the Saudi Arabian Embassy in Washington D.C. 35 years ago, and his daughter, Princess Reema bint Bandar, on her assumption of the post on July 4, 2019. (Supplied photo)
Princess Reema bint Bandar: Walking in her father’s footsteps
Sworn in as Saudi Arabia's top diplomat to the US on April 16, Princess Reema is the Kingdom's first female ambassador
Some 35 years earlier, her father performed the same oath, holding the prestigious post from 1984-2005
Updated 18 July 2019
Rawan Radwan
RIYADH: Saudi Arabia’s Ambassador to the US, Princess Reema bint Bandar, caused a stir on social media after an image of her standing in her new office in Washington DC became public, taken in the same office as was occupied by her father, Prince Bandar bin Sultan, 35 years ago.
The prince had a similar portrait taken of himself when he was appointed ambassador, and many Twitter and Instagram users reposted the two images side by side. Some commented on how the newly appointed ambassador was “walking in her father’s footsteps” with one adding “like father, like daughter.” Young Saudis continued to repost the images with messages of good luck, as the ambassador started her new role.
Prominent Saudi writer Hussein Shobokshi wrote: “Her father’s daughter … Ambassador Rima bint Bandar bin Sultan.”
The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history
Updated 34 sec ago
Rebecca Anne Proctor
VENICE: No event in the international art scene is more anticipated, or debated, than the Venice Biennale. This year’s edition, “Foreigners Everywhere,” curated by Adriano Pedroso from Brazil, features 331 artists and 86 nations, including four Gulf countries as well as Lebanon and Egypt.
Saudi Arabia
Women’s voices chanting in unison fill the air of the Saudi Pavilion at Venice this year. “Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan, and hundreds of women from across the Kingdom participated in its creation. The exhibition, which includes large-scale installations in the form of desert roses filled with writing and drawings by the Saudi female participants whom AlDowayan worked with, aims to showcase the evolving role of women in the Kingdom while also striving to dispel media narratives that have long defined them. The chanting is derived from traditional battle songs once performed by Saudi men before they went into battle. Here they are chanted by women in a powerful chorus of strength and resilience, backed by recordings of the wind passing through sand dunes. The work, AlDowayan tells Arab News, “is about change, subtle changes — like those of a sand dune — the surface changes, but the core stays the same.”
“Shifting Sands: A Battle Song” was created by Saudi artist Manal AlDowayan. (Supplied)
UAE
Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia” at the National Pavilion of the United Arab Emirates. It’s an introspective show consisting of drawings, sculptures, paintings and installations charting Al-Saadi’s travels around his homeland. “Traveling and understanding the natural world around me has always been an important part of my work,” Al-Saadi, who has even used rocks from the Emirates as his ‘canvas’ for some of the works, told Arab News. “Through this presentation in Venice, I hope visitors will enjoy tracing the travels I have taken over the past few years and also think about the world around us, and our place within it.”
Visitors will also be presented with gifts: maps and scrolls in colorful traditional chests from the region, which will be removed and presented to guests by actors from the UAE.
Emirati artist Abdullah Al-Saadi is presenting “Sites of Memory, Sites of Amnesia.” (Supplied)
Qatar
While Qatar doesn’t have a national pavilion at the biennale, it is presenting “Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices” — a group show of films by artists from across the Arab world, Africa and South Asia, as well as video installations from the collections of Mathaf: Arab Museum of Modern Art and the Art Mill Museum (scheduled to open in 2030). All the films were backed by the Doha Film Institute.
“For me, it was important to show movies reflective of the theme of the biennale — so, revolving around immigration, foreigners, personal diaries and self-portraits and stories from women — all coming from independent (artists) in the Global South, whose voices are not always shared,” the Paris-based curator Matthieu Orlean told Arab News.
Installation view of 'Your Ghosts Are Mine.' (Supplied)
Egypt
Alexandrian-born artist Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion, which — in the first week of the biennale at least — has proved to be one of the most popular pavilions at this year’s event.
The film is based around Egypt’s nationalist Urabi revolution against imperial influence in the late 19th century and Shawky uses historical and literary references as starting points from which to weave together a story that fuses fact, fiction and fable, while also exploring national, religious and artistic identity.
“I worked with performers who enacted a play in a theater for the film,” Shawky told Arab News. “The film strives in part to connect the idea of history to drama — drama regarding the connection to catastrophe and drama regarding cynicism. I like to analyze the authenticity of history, especially Egyptian history. When one makes films about history there is this gap between truth and myth.”
Wael Shawky has created “Drama 1882,” a 45-minute film for which he also composed the music, for Egypt’s national pavilion. (Supplied)
Lebanon
Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio, and guides viewers through ancient Phoenicia. The piece, Al-Solh explains to Arab News, is inspired by the tale of Europa, the daughter of a Phoenician king who was abducted from the city of Tyre in Lebanon by the Greek god Zeus, who had transformed himself into a white bull to trick her into riding him, then took her off into the sea.
“The (work) pays tribute to the ancient multicultural heritage of Lebanon,” Al-Solh says.
In the center of the pavilion is an unfinished boat, that Al-Solh says references “the tension that women still face today, despite their emancipation.”
Lebanese artist Mounira Al-Solh’s multimedia installation “A Dance with Her Myth” combines drawing, painting, sculpture, embroidery, video, and audio. (Supplied)
Oman
Oman’s second participation in the biennale, is an exhibition titled “Malath — Haven.” It includes work from five Omani contemporary artists: Ali Al-Jabri, Essa Al-Mufarji, Sarah Al-Aulaqi, Adham Al-Farsi and Alia Al-Farsi (who also curated the show). “We used the word ‘haven’ in the title because, since antiquity, foreigners — including the Romans, Portuguese and Indians — have visited Oman,” Alia Al-Farsi told Arab News. The works on display — from Al-Farsi’s own colorful and expressive mixed-media murals (such as “Alia’s Alleys,” pictured here) to Al-Aulaqi’s “Breaking Bread,” which includes a large sculpture of a niqab made from silver spoons — reflect both traditional and contemporary life in Oman.
“As an Omani creative with an international background, my aim was for the exhibition to serve as a sanctuary for visitors and travelers, allowing stories to unfold and intertwine, mirroring how our country finds its richness in intercultural dialogue,” the curator said in a statement.
Heat barrage stuns Celtics, Thunder thrash Pelicans
It was another trademark display of defiance from Miami, who are aiming to emulate their playoff run of last season
The No.1 ranked Thunder took a commanding 2-0 lead in their first-round series against New Orleans Pelicans
Updated 26 min ago
AFP
LOS ANGELES: The Miami Heat unleashed a barrage of three-pointers to score a series-leveling 111-101 upset over the top-seeded Boston Celtics in their NBA Eastern Conference playoff duel on Wednesday.
Eighth seeds Miami, playing without the injured Jimmy Butler, produced a battling performance to knot the best-of-seven-series at 1-1 as the teams head back to Florida for Game 3 on Saturday.
Tyler Herro led the Miami scoring with 24 points, part of a balanced offensive effort that saw all five Heat starters post double-digit points.
But the key to the Miami victory was their accuracy from long-range, with the Heat draining 23 three-pointers from 43 attempts compared to Boston’s 12 of 32.
Herro knocked down six threes while Caleb Martin added five in his tally of 21 points.
Bam Adebayo also finished with 21 points while Jaime Jaquez Jr. added 14 and Nikola Jovic 11.
Boston, meanwhile, was led by 33 points from Jaylen Brown, with Jayson Tatum finishing with 28 in a losing effort.
The win was all the more unexpected given Miami’s 20-point drubbing by Boston in Game 1 on Sunday — something Herro said had motivated the Heat for Game 2.
“We lost badly in Game 1 and everybody responded tonight, and that’s all you can ask for from a group of guys,” Herro said afterwards.
Herro revealed that he had been encouraged by Butler to take on a leadership role in the absence of the injured Miami talisman.
“Just before this series, JB texted me to take the team and you know lead these guys, just make every right play,” Herro said.
“It’s not all about scoring, (in) the playoffs you gotta make the right play. Our guys showed up tonight — Caleb Martin, Nikola, Jaime.”
It was another trademark display of defiance from Miami, who are aiming to emulate their playoff run of last season when they reached the NBA Finals after entering the postseason via the play-in tournament.
“We don’t even want to mention last year, this year is a whole new year,” Herro said.
“We feel like we have a great group of guys. We’re not fully healthy, but we have guys who want to play and want to be out here making a difference.”
Boston star Tatum meanwhile said the Celtics had expected a backlash after their comfortable Game 1 victory.
“We knew it wasn’t going to be easy,” Tatum said. “There’s a lot of history between these two franchises, especially recently.
“Regardless of seeding or who’s in or who’s out — it’s the playoffs... we’ve got a chance to play another one on Saturday — should be a fun one.”
While the Eastern Conference top seeds were left licking their wounds, there were no such problems for Boston’s Western Conference counterparts Oklahoma City.
The No.1 ranked Thunder took a commanding 2-0 lead in their first-round series against the eighth-seeded New Orleans Pelicans with an emphatic 124-92 thrashing.
The Thunder took the lead early in the first quarter and were in complete control throughout, holding a double-digit advantage from the second quarter onwards which reached 34 points at one stage late in the fourth quarter.
Shai Gilgeous-Alexander led the scoring for Oklahoma City, finishing with 33 points from 13-of-19 shooting from the field.
Chet Holmgren added 26 points while Jalen Williams chipped in with 21. Luguentz Dort added 15 points including four three-pointers.
The result was in stark contrast to Game 1, which went down to the wire before Oklahoma City prevailed 94-92 on Sunday.
“Within a seven-game series, we’ve just got to take it day by day and try to get better every day,” Gilgeous-Alexander said afterwards.
“And I think that’s what we did tonight. We definitely had a better performance than we did in game one and that’s our goal. So we’ll take it.”
The series now heads to Game 3 in New Orleans on Saturday.
Behind the scenes at Mazen Laham’s Middle East media powerhouse
Mazen Laham’s Different Productions, the company behind “Dubai Bling” and the regional version of “Shark Tank,” just celebrated its 10th anniversary
Discussing Arabic-language adaptations of global shows, he said they preserve the original concept while respecting cultural sensitivities
Updated 20 min 16 sec ago
Hams Saleh
DUBAI: Lebanese producer Mazen Laham’s Different Productions celebrated its 10th anniversary this month. The company is one of the driving forces of the television industry in the region, responsible for the creation of acclaimed shows including Netflix’s “Dubai Bling,” and “It’s OK” — a docuseries about the Lebanese pop superstar Elissa — as well as Arabic adaptations of popular franchises “Shark Tank,” “Say Yes to the Dress,” and “Chopped.”
Laham told Arab News that shooting for the third season of “Dubai Bling” has already concluded, adding that it is “even bigger than the two previous seasons.” He confirmed that Emirati-Egyptian TV host Mahira Abdeaziz and Iraqi influencer Jwana Karim will be joining the cast, which already includes Zeina Khoury, Safa and Fahad Siddiqui, DJ Bliss, Danya Mohammed, Kris and Brianna Fade, Mona Kattan Al-Amin, Hassan Al-Amin, Loujain Adada, Ebraheem Al-Samadi, and Farhana Bodi.
The previous two seasons both ranked in the global top 10 for non-English series on Netflix. “I believe in numbers,” Laham said. “It was (popular) globally. What I will say is that season three is a very big season.”
While they suspected the show would be popular, Laham admitted that he and his team were not expecting it to get quite so big. “What we were aiming for is to have a good show but we never thought that it will be this successful,” he said.
The show may be popular, but it has also attracted plenty of criticism online for its depiction of life in Dubai. Laham, though, seems unperturbed.
“We never said that this is Dubai. From day one, we said it is about a group of friends living in Dubai,” he said. “It is not a documentary about the city. We are not saying ‘This is Dubai and this is life in Dubai,’ we only focused on a group of friends living in Dubai.”
Discussing his company’s various Arabic-language adaptations of international shows, Laham said that they try to preserve the original concept of the show while ensuring they cater to the cultural sensitivities and preferences of the region.
“Before getting the shows, we make sure that they fit our culture — anything that, culturally, does not pass, we do not even get it in the first place,” he said. “But, whenever we see something that could be adapted, yes, we (try to) get the rights for it. The most important thing is to keep the structure and the main spirit of the format the same.”
Laham believes there are now two distinct audiences for shows: those for traditional television networks and those for streaming services such as Netflix, Shahid, Starzplay.
“What is on TV does not work on a platform and vice versa, because the new generation want something fast — they want something will keep them hooked. So, it’s very challenging to make content for them,” he said.
What Laham believes works best are docuseries such as “Dubai Bling” and “It’s OK.”
“These are non-scripted, but they are serialized; they’re sticky,” he explained. “You want to keep on watching to follow the stories and this is when you binge watch. On TV channels, you still get to see classical standalone episodes.”
Laham said Different Productions is currently working on an original docuseries for Starzplay called “Unstoppable.”
“It’s a football-based reality show where children between the ages of 13 and 15 compete. There will be one winner, and the winner will hopefully play for one of the big Italian teams,” he said.
Laham described the Saudi Arabia market as “promising,” not only due to the growing number of original productions but also because “the infrastructure, whether it’s Neom or AlUla,” is drawing in creatives from around the world. “I think it’s going to the biggest media hub out there very soon,” he added.
“We care a lot about the viewership in Saudi Arabia because it’s the biggest market,” Laham said. “So we always look into the ratings — even if it’s not a pure Saudi show, we want our shows to be watched in Saudi Arabia.”
Greek military ship intercepts two Houthi drones in the Red Sea
Greece has supplied a frigate to the EU’s mission, dubbed Aspides, to help protect the key maritime trade route
Updated 7 min 59 sec ago
Reuters
ATHENS: A Greek military vessel serving in the European Union’s naval mission in the Red Sea intercepted two drones launched by Yemen’s Houthi militants toward a commercial ship, officials at the Greek Defense Ministry said on Thursday.
“On Thursday morning Greek frigate Hydra, while it was escorting a merchant ship in the Gulf of Aden, fired at two drones,” an official told Reuters.
“It destroyed one while the second moved away,” he added. Another defense official confirmed the details of the incident.
Greece has supplied a frigate to the EU’s mission, dubbed Aspides, that launched in February to help protect the key maritime trade route from drone and missile attacks by the Iran-backed Houthi militia, who say they are targeting commercial ships in retaliation for Israel’s war on Gaza.
Arab-American Heritage Month: Sama Alshaibi — ‘I’m trying to change this idea of what an Arab woman is’
Updated 25 April 2024
Rawaa Talass
DUBAI: The fourth in this year’s series focusing on contemporary Arab-American artists in honor of Arab-American Heritage Month.
Born in Basrah to an Iraqi father and a Palestinian mother, Sama Alshaibi is an Arizona-based professor and artist who has mostly devoted her 20-year career to video, photography and performance art.
During the Iran-Iraq war of the Eighties, Alshaibi and her family moved around the region, living in Saudi Arabia, the UAE, and Jordan, before eventually settling in the American Midwest when she was 13 years old.
Sama Alshaibi_Water Bearer II. (Supplied)
“Growing up in the United States was strange. We were a ‘different’ family in Iowa and there wasn’t a lot of diversity. But I grew up in a place with nice people,” Alshaibi tells Arab News from Bellagio, Italy, where she is doing a residency at the Rockefeller Foundation.
But she also says there were obstacles, mainly formed by major political events that impacted her. “It was challenging, because of where I’m from,” she says.
Alshaibi’s work is largely inspired by her Arab roots. “Arts were so revered in my family,” she says. “I don’t even know if I would be making art if it wasn’t for my heritage.” It was her father, an avid photographer, who taught her to use a manual camera. She aspired to become a photojournalist herself — inspired by 20th-century African-American photographers, notably Carrie Mae Weems and Lorna Simpson, who documented Black culture in their imagery.
Sama Alshaibi's 'Gamer Albumen' print. (Supplied)
Many of her images are portraits of herself wearing, for example, traditional Middle Eastern garments, referencing romanticized Orientalist portrayals of women, and in the end, challenging them.
“I’m trying to change this idea of what you think an Arab woman is,” she explains. “I started seeing the power of communication, of taking political or social issues and using your body, your performance, your environment, to address them.”
One of Alshaibi’s best-known series is called “Carry Over,” in which she photographed herself carrying large objects (or Orientalist props), such as a tower of container tins or a water vessel, above her head. The images poetically show a woman’s endurance and comment on a collective history, affected by colonialism and cultural loss.
“I’ve always been interested in the notion of ‘aftermath’ — what happens after the destruction of your environment,” explains Alshaibi. “It gets you to the question of what we can’t hold onto anymore.”
