How Bollywood expertise can cement cultural ties that bind Saudi Arabia and India

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Bollywood stars participated in the recent Red Sea Film Festival in Jeddah. (Supplied)
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A deal between Saudi sporting authorities and India’s Ministry of Ayush aims to promote yoga education in the Kingdom. (Supplied)
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Bollywood stars participated in the recent Red Sea Film Festival in Jeddah. (Supplied)
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Bollywood stars participated in the recent Red Sea Film Festival in Jeddah. (Supplied)
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A deal between Saudi sporting authorities and India’s Ministry of Ayush aims to promote yoga education in the Kingdom. (Supplied)
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Updated 12 May 2022
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How Bollywood expertise can cement cultural ties that bind Saudi Arabia and India

  • Movers and shakers of Hindi film industry see vast opportunities opening up in fast-changing Kingdom
  • Saudi authorities aim to build mutually beneficial relations with India’s highly successful film industry

RIYADH: Collaborations in cinema and entertainment are expected to play a crucial role in the promising new era of cross-sector cooperation between Saudi Arabia and India as part of their strategic partnership.

Barely four years after the resumption of movie screening in the Kingdom, the movers and shakers of India’s multibillion-dollar Hindi film industry, better known as Bollywood, are being invited to seize the opportunities opening up in a fast-changing country that now aspires to be a world-class center for film.

The twin facts of India being a market with immense potential and the presence of a large Indian diaspora in the Kingdom make the nation of 1.38 billion people a natural partner for Saudi Arabia as it seeks to diversify its economy away from oil and into the creative industries, among other fields.




A deal between Saudi sporting authorities and India’s Ministry of Ayush aims to promote yoga education in the Kingdom. (Supplied)

“I see a huge potential for future collaboration on film production and other cultural sectors between India and Saudi Arabia,” Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan wrote in an opinion piece for The Times of India newspaper on May 1, following a three-day visit.

“We have seen many synergies across the value chain of filmmaking, such as the co-production of family-oriented content, infrastructure development and nurturing local talent.”

Under Saudi Arabia’s Vision 2030 social and economic reform agenda, the government aims to increase household spending on cultural and entertainment activities inside the Kingdom from 2.9 percent to 6 percent.

To achieve this, the Kingdom has been allocating resources generously to the domestic film industry, as well as opening scores of new cinemas, concert venues, sports arenas and leisure facilities across the country.

Having long enjoyed cordial diplomatic and commercial relations with New Delhi, Saudi authorities now aim to build mutually beneficial ties with India’s highly successful Hindi film industry.




Last month, Saudi Minister of Culture Prince Badr bin Abdullah bin Farhan met with Bollywood leaders in Mumbai during a three-day visit to India. (Supplied)

Saudi Arabia’s Ministry of Culture established its dedicated Film Commission in February 2020 to help transform the Kingdom’s film industry into a major economic driver.

Existing collaborations with Bollywood have already resulted in an increase in the distribution and exhibition of Indian films in Saudi Arabia.

“Kaala,” a film by the iconic Indian actor, producer and screenwriter Rajinikanth, became the first Indian film released in the Kingdom in 2018, while the acclaimed Bollywood film “83” premiered at the Red Sea International Film Festival in 2021.




Prince Badr also met with Bollywood star Shah Rukh Khan in Mumbai. (Supplied)

The potential returns from an expanded partnership are huge. The global film and video market reached a value of nearly $234.9 billion in 2020, having increased at a compound annual growth rate of 2.4 percent since 2015.

The market is expected to reach $318.2 billion by 2025, and $410.6 billion by 2030.

“With the Indian film industry being one of the largest and most celebrated in the world, and as Saudi Arabia aims to become a world-class center for film with an anticipated contribution of $6.9 billion to the Kingdom’s GDP by 2030, there are numerous opportunities for the film industries of both nations,” Prince Badr said. 




Prince Badr also met with Bollywood star Akshay Kumar in Mumbai. (Supplied)

“From talent, through to production, distribution, and technical know-how across the value chain, there are plenty of areas for both countries to collaborate and create content that is suitable not just in their respective countries, but also for a global audience.”

As chairman of the Film Commission, Prince Badr led a Saudi delegation to India in April to discuss ways to expand cultural partnerships, particularly in the film industry.

The delegation included representatives from Film AlUla, a company established in early 2020 by the Royal Commission for AlUla with a mandate to promote filming in Saudi Arabia’s historic AlUla region and develop a film-friendly ecosystem to support productions.




Saudi Arabia’s historic region of AlUla is attracting international film productions. (Supplied)

During the Saudi delegation’s visit, Film AlUla’s representatives met prominent Indian filmmakers, including Shah Rukh Khan, Salman Khan and Akshay Kumar.

“The Indian film sector is among the best known and most successful in the world and, during our recent visit, we were delighted to meet with many of the industry’s most celebrated individuals and entities,” Abdullah Al-Eyyaf Al-Qahtani, the Film Commission’s CEO, told Arab News.

“With our own film industry among the fastest growing in the Middle East and North Africa, we can learn much from Bollywood and introduce opportunities to key Indian productions and businesses in Saudi Arabia. We hope to continue to bolster ties with India as the Saudi film sector reaches new heights both at home and abroad.”

India and Saudi Arabia have enjoyed decades of strong economic and socio-cultural ties since formally establishing relations in 1947.




Existing collaborations with Bollywood have already resulted in an increase in the distribution and exhibition of Indian films in Saudi Arabia. (Supplied)

These ties were cemented during the 1950s when King Saud and Prime Minister Jawaharlal Nehru exchanged visits — a cordiality that has continued to this day with similar visits by Saudi Crown Prince Mohammed bin Salman and Indian Prime Minister Narendra Modi.

Commercial partnerships between the two nations have meanwhile grown apace. In the financial year of 2017-18 alone, Indo-Saudi bilateral trade was worth $27.48 billion — up from $25.1 billion in the preceding year, according to India’s Economic Times newspaper.

Plans to bring Bollywood to Saudi Arabia have been underway for several years. In February 2019, the Kingdom’s General Entertainment Authority signed two agreements with Indian firms committing to host a series of concerts featuring top Hindi cinema artists.

The agreements were reached at the Saudi-Indian Forum in New Delhi during Crown Prince Mohammed bin Salman’s 2019 visit to India, when he envisioned investment opportunities of more than $100 billion in India.

FASTFACTS

Film industry is expected to contribute $6.9 billion to Saudi GDP by 2030.

Indo-Saudi bilateral trade reached $27.48 billion in the 2017-18 financial year.

Saudi Arabia signed trade agreements with India worth $100 million in 2019.

Significantly, the highlight of the final day of the Red Sea International Film Festival in Jeddah last December was the presence of a number of Bollywood celebrities, including Ranveer Singh and Deepika Padukone, who brought their full glamor to the world premiere of the film “83.”

In comments to Arab News, Singh said: “I’m really happy to be here. It’s my first time in Saudi Arabia. I’ve always been fascinated by Saudi Arabian culture, and I hope to get a taste of it tonight.”

“83” was released across the Gulf region on VOX cinemas on Dec. 23, a day before its worldwide release.




Bollywood celebrity Ranveer Singh at the Red Sea International Film Festival in Jeddah last December. (Supplied)

“I think the opening we Bollywood performers have got in Saudi Arabia is a great opportunity to showcase the talents of both these beautiful countries,” Abu Malik, a Mumbai-based Indian singer and music director, told Arab News. 

“Many shows have happened in Saudi Arabia now with immense success. I hope I get an opportunity soon to perform a musical show in Saudi Arabia.”

The film industry is not the only area where the two nations have been keen to foster collaborations. Running in parallel to strategic investments has been a focus on bolstering cultural ties.

For instance, on June 21 last year, coinciding with International Day of Yoga, the Saudi Ministry of Sports’ Leaders Development Institute signed a memorandum of understanding with the Morarji Desai National Institute of Yoga, affiliated with India’s Ministry of Ayush, to promote yoga education in the Kingdom.




Acceptance of the physical and mental health benefits of yoga has been aided by the Kingdom’s burgeoning investments in sports and public health initiatives. (Supplied)

The agreement has paved the way for the establishment of formal yoga standards and courses in Saudi Arabia and collaborations in research, education and training.

Yoga, which originated in India, is a popular pursuit across the world. In Saudi Arabia, acceptance of the physical and mental health benefits of yoga has been aided by the Kingdom’s burgeoning investments in sports and public health initiatives.

“Saudi Arabia’s Vision 2030 holds a great deal of potential and promise for creating a mutual cultural legacy between two nations that have rich histories and strong ties,” Shobhaa De, an influential Indian columnist and socialite, told Arab News.




Shobhaa De

De, who has written 22 books including “Bollywood Nights,” added: “Beyond Indian cinema, there is enormous potential for enriching the cultural landscape in deeply meaningful ways.”

For both Riyadh and New Delhi, the commemoration of 75 years of India’s independence is a valuable opportunity to reflect on past decades of strong economic and socio-cultural relations while also looking toward the future.

“India continues to be a market of high strategic relevance to Saudi Arabia, and we are seeing a sustained increase in opportunities for cooperation and knowledge-sharing among the two nations, as well as synergistic investments for mutual growth,” Prince Badr said in his Times of India op-ed.

“Through consistent and meaningful engagement with government entities, strategic partners, and wider participants in India, we look forward to bolstering this very promising sector as we together shape a shared future for our nations.”


Simi and Haze Khadra discuss the functional vision of their beauty brand and its Middle East launch

Updated 04 May 2024
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Simi and Haze Khadra discuss the functional vision of their beauty brand and its Middle East launch

DUBAI: US-Palestinian beauty entrepreneurs Simi and Haze Khadra this week went on tour in the Middle East to launch their brand, SimiHaze Beauty, in the region. Their travels included stops in Saudi Arabia and the UAE.

While in the region, the sister duo — raised by Palestinian parents between Riyadh, London and Dubai —  shared insights about their brand with Arab News.

The 31-year-old identical twins, who are also DJs, said that they initially launched the brand out of “pure functionality,” creating products they wanted and needed in their own makeup routines. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Simi & Haze (@simihaze)

Every product they develop undergoes the same rigorous process of ensuring functionality, they said. 

“We are constantly thinking of new ideas and ways to make makeup easy and fun to apply,” Simi told Arab News. 

The pair launched their US-born cosmetics brand in 2021 with a range of stick-on makeup designs that can be placed on the face for a bold beauty look achievable within seconds. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Simi & Haze (@simihaze)

The sticker book features an array of edgy designs inspired by their favorite DJ looks from the past, such as chrome wings, neon negative space eyeliner and holographic cat-eyes. 

SimiHaze Beauty then expanded to include a range of products, such as lipsticks, bronzing powders, and a lifting mascara. 

Simi and Haze believe they were “actually late bloomers to the beauty world.” 

“We only started becoming interested in it when we were around 18,” Haze said. “We started SHB from just a single product we wanted but couldn’t find in the market, which is our Velvet Blur lipstick.

“We loved a matte lip for every day at the time but couldn’t find one that wasn’t drying, so we created it.” 

The twins developed an interest in eye makeup when they began DJ-ing.

“We weren’t the best at applying eyeliner, so again we just created our perfect solution which became the eye stickers,” Haze said.

To the sisters, launching the brand in the Middle East “felt so surreal.”

“The market has been such a huge goal of ours since we started because we grew up here,” Simi said. “We’re so happy that our products are finally accessible to our amazing followers here, because they have been such huge supporters since the beginning.

“Now people are finally able to really see and touch and feel the products, which is so important to us because you will never get the experience and vision of SHB unless you actually hold the product and feel the texture, curves, and ergonomics of it. The online experience doesn’t do it any justice.” 

The sisters said that they personally oversee the development of every product. They visit their lab in Italy for a few days at least twice a year to test and create new formulas.

“It takes a while and a lot of back and forth because after we create something it gets tested on our whole family from my grandma to my mom to my little sister and also all my friends with different skin tones,” Simi said.

“My friends are used to me calling them and saying: ‘Hi can I come over and try on some blush colors on you?’ So by the end of it we know what formulas and shades work best on the widest range of people.”

While visiting the Middle East, the sisters observed a prevailing trend in the region: skincare.

“I’ve seen so much good skin here and I can tell people really care about skincare here,” Haze said.

“We’ve also been increasingly obsessed with it. Our products are all infused with skin-loving ingredients, because we’re personally super-paranoid about anything that’s clogging or could cause irritation.”


Loli Bahia, Arab models walk Chanel cruise show in France

Updated 04 May 2024
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Loli Bahia, Arab models walk Chanel cruise show in France

DUBAI: French Algerian model Loli Bahia, British Moroccan Nora Attal, and part-Saudi Amira Al-Zuhair took to the runway at the Chanel Cruise 2024/2025 show in Marseille, France.

Bahia donned a green ensemble, composed of a knee-length pencil skirt paired with a matching top, layered over a white shirt boasting a hoodie collar.

Attal graced the runway in a white summery dress adorned with delicate sheer geometric prints, complemented by white slippers.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by CHANEL (@chanelofficial)

Her look also featured beach-inspired layered necklaces, a thin chain belt and chunky bracelets adorned with hat, ship anchors and Chanel logo pendants.

Meanwhile, Al-Zuhair sported a vibrant yellow ensemble featuring hot shorts paired with a button-down top and a coordinating cardigan.

She also wore a beige hat, a gold choker embellished with blue detailing, chunky earrings and a chain belt adorned with pendants.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by CHANEL (@chanelofficial)

From intricate embroideries to dazzling sequined jackets and swimwear, Creative Director Virginie Viard’s latest collection showcased ensembles inspired by an underwater reverie.

The outfits included knee-length Bermuda shorts, high-waisted shorts, loose trapeze dresses, and large outerwear. Viard also demonstrated the power of layering, using shirt collars, French cuffs and jackets in unexpected ways throughout the collection.

Earlier this week, Chanel shared a series of images, captured by British photographer Jamie Hawkesworth, on Instagram featuring Bahia. The pictures, drawing inspiration from the seaside and scuba diving, provided an initial preview of Viard’s collection.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by CHANEL (@chanelofficial)

Bahia showcased multiple ensembles from the collection in the photographs. In the first shot, she dazzled in a glitzy black sequined mini pencil skirt and blazer. Another image captured her wearing the green ensemble seen on the runway, with the hoodie of the white shirt covering her head.

Additionally, she was photographed donning a white one-piece swimsuit adorned with a black bow around the chest.

The photo series also featured Bahia in a variety of other outfits, including a vibrant white dress with colorful square-like designs, tailored shorts paired with a blazer, as well as a striped set featuring a full-length skirt and matching top.


Moroccan photographer Hassan Hajjaj captures the culture of AlUla 

Updated 03 May 2024
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Moroccan photographer Hassan Hajjaj captures the culture of AlUla 

  • The acclaimed Moroccan photographer discusses his recent show in Saudi Arabia 

DUBAI: Early in February this year, Moroccan contemporary artist and photographer Hassan Hajjaj was given a reminder of just how high his star has risen. Within a few days of each other, Hajjaj had shows opening in the US, Morocco, and — as part of AlUla Arts Festival — Saudi Arabia. 

Hajjaj’s playful portraiture, which incorporates vivid color, funky clothing (almost all of which he designs himself), geometric patterns, and — often — vintage brands from the MENA region, has made him internationally popular, and his instantly recognizable style has established him as one of the world’s leading photographers. 

His show in AlUla consisted of images that he shot in the ancient oasis town in February 2023. That visit was initially supposed to involve shoots with around 20 local people. It’s the kind of thing he’s done a few times before, including in Oman and Abu Dhabi. “It’s always a good opportunity to get to know the culture and the people,” Hajjaj tells Arab News.  

But, as he says himself, he arrived in AlUla as “an outsider,” so needed a team on the ground to persuade locals to come and sit (or stand, in most cases) for him.  

“It was a bit tough, in the beginning, for them to find people,” Hajjaj explains. “But because it was during a period when lots of art things were happening in AlUla, there were lots of people coming from outside AlUla as well. So we opened it up. I basically said, ‘Just come.’ 

“In the end lots of people turned up, not just locals — people from Riyadh, Jeddah, and people (from overseas) too. I think I shot around 100 people over a few days. So it was a great opportunity,” he continues. “To get to shoot that many people over three days — organizing something like that for myself might take a year. So, as long as I have the energy, when I get these opportunities — you know, I’m in AlUla with this eclectic bunch of people — I’d rather go and grind it, really work hard, and have that moment.” 

A Hassan Hajjaj shoot isn’t your regular portrait shoot, of course. “It’s almost like a performance,” he says. “There’s music, people dress up, it’s like a day out for them, taking them out of themselves for a few hours.”  

He followed the same modus operandi in AlUla. “We got an ambience going. It was fun, there was music… I shot in this beautiful old school that was one of the first girls’ schools in Saudi Arabia, from the Sixties. Upstairs was like a museum — everything was like a standstill from the Seventies and Eighties; even the blackboards had the chalk and the writing from that time,” he says.  

Alicia and Swizz. (Supplied)

A crucial part of Hajjaj’s practice is to ensure that his subjects are at ease and feel some connection with him (“comfortable” is a word he uses several times when talking about his shoots). While all his portraits bear his clearly defined style, it’s important to him that they should also show something unique to the people in them. 

“It’s that old thing about capturing the spirit of the person in that split second, you know? I’m trying to get their personality and body language in the image,” he says. “Quite often I’m shooting in the street, outdoors, so (the subjects) can start looking at other people, thinking, ‘Are they looking at me?’ So I usually say, ‘Listen. This is a stage I’m building for you. I’m dressing you up, and we’re going to have fun.’ Then I just try and find that personality that can come out and make the image stronger. With some people, though, saying almost nothing can be better — just getting on with it. I try to kind of go invisible so it’s the camera, not the person, that’s doing the work. The best pictures come out when there’s some kind of comfortable moment between me and the person and the camera.” 

It’s the way he’s worked since the beginning — a process that developed organically, as most of his early portraits were of “friends or friends of friends.” 

Installation view. (AlUla Arts)

“There’s a comfort in that because you have a relationship with them. It made it easy,” he says. “And that taught me about how important it is to build trust with people to get into that comfortable zone. But as time went on, obviously, people could see the stuff in the press or on social media, so then people started, like, asking to be shot in that manner; maybe they’ve studied the poses of certain people and stuff like that, so they come ready to do some pose they’ve seen in my pictures. That’s quite funny.” 

The work that was on display over the past two months in Hajjaj’s “AlUla 1445” is a perfect example of what he tries to achieve with his shoots. The images are vibrant, playful, and soulful, and the subjects run from a local goatherder through the AlUla football team to bona fide superstars: the US singer-songwriter Alicia Keys and her husband Swizz Beatz.  

Hajjaj says he has a number of favorites “for different reasons,” including the goatherder.  

AlUla F.C. (Supplied)

“He brought in two goats and it became quite abstract when you put all of them together. I was playing with that notion of the person; you could see that’s his life and even the goats look happy,” he explains. “I wanted to make sure they had that shine in the image as well. I got some great shots of him.” 

The Alicia Keys and Swizz Beatz shoot has been a long time in the making. Hajjaj first met Swizz Beatz a decade ago, and they have been in touch intermittently ever since. The idea of a shoot with Keys first came up about five years ago, but logistics had always got in the way. But since they were playing a concert in AlUla at the same time as Hajjaj was there, it finally happened, on Hajjaj’s last day, with perhaps an hour left before the light faded.  

I ask Hajjaj if his approach to shooting celebrities differs from his shots of “ordinary” people.  

Hand On Heart. (Supplied)

“There’s probably not that much difference,” he says. “They’re coming into my world, so, again, it’s just making sure they’re comfortable with you and you’re comfortable with them; not looking at them (as celebrities). The only thing is you have to imagine they’ve been shot thousands of times — by top photographers, too — so they’re going to have their ways. So I just have to lock in with them and find that comfortable space between the sitter and me.”  

And then there’s Ghadi Al-Sharif.  

“It’s a beautiful picture. She’s got this smile, with her hand over her face. For me, that one really presents the light and the energy of AlUla,” Hajjaj says. “It captures the new generation.” 


Ithra showcases Arab creatives at Milan Design Week 

Updated 04 May 2024
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Ithra showcases Arab creatives at Milan Design Week 

  • The Dhahran-based cultural center took part in the prestigious Italian fair last month 

DUBAI: The King Abdulaziz Center for World Culture (Ithra) participated in Milan Design Week between Apr. 16 and 21. It was the second time Ithra has taken part in the annual event — a significant entry in Italy’s cultural calendar. 

Ithra was founded with the goal of developing Saudi creative talent. Noura Alzamil, the center’s head of programs, has seen its influence mushroom since the beginning and continues to be in awe of her country’s rapidly developing art scene.  

“Practicing it and seeing it every day around you and reading about it in articles and seeing that interaction and conversation on a national level, is really heartwarming,” she says. 

Lameice Abu Aker's work on show at Milan Design Week. (Supplied)

“We’ve been active for the past 13 years, in collaboration with the Ministry of Culture, doing a lot of enriching programs, activations, bringing in new content and experimenting with our community and exposing them to arts, museums theatre, films,” Alzamil adds. “To me, investing in Saudi minds helps them excel in the future. I believe heavily in taking care of young talents, supporting professionals and having a global conversation.” 

Ithra also houses what it bills as the region’s first ‘Material Library,’ displaying a variety of raw design materials. “Artists are all about experimentation,” Alzamil says. “The Material Library hosts hundreds of different materials that designers can come and play with.”  

A cornerstone of Ithra’s programming is Tanween, a four-day conference that showcases creative designs from university students and emerging creatives from the region. The products from the conference are then exhibited in public events, such as Milan Design Week.  

Joe Bou Abboud's work on display in Milan. (Supplied)

“To me, and to Ithra, it’s really important to showcase our efforts and Saudi and Arab designers in such festivals. Being presented among our peers there is something that we really care about,” says Alzamil. This year, Ithra presented an exhibition of items created by MENA artists in a wide range of mediums in Milan — the first time the center has presented a full show there.  

Entitled “From Routes to Roots” and presented in collaboration with Isola (a Milan-based digital platform), the show included glasswork, clay, rugs and lighting. One of the key ideas of the exhibition was to demonstrate how creatives are preserving heritage and the Earth through circular design, which helps to eliminate waste from production.  

“They used a lot of integrating bio materials, natural resources, household and industrial waste to come up with these innovative designs and objects that showcase and support sustainability,” Alzamil says. 

 Part of the 'Routes to Roots' exhibition at Milan Design Week. (Supplied)

Participating creatives hailing from the Levant, North Africa and the Gulf included Marwa Samy Studio, Ornamental by Lameice, Joe Bou Abboud, T Sakhi Studio, Bachir Mohamad, Studio Bazazo, and Mina Abouzahra.  

“The exhibition draws inspiration and expertise from ancestral culture pairing it with cutting-edge craftsmanship, in a demonstration of how emerging talents can breathe fresh life into the design landscape, bridging the gap between tradition and innovation,” according to a press release. 

Lebanese designer Bou Abboud presented a triad of round lighting fixtures that he says pay tribute to old Qatari jewelry, particularly long necklaces.  

One of the more delicate pieces on view came courtesy of Jerusalem-based Palestinian designer Lameice Abu Aker. Her light-toned vases, jugs and drinking glasses are fluid and bubbly. She showcased a molecular-looking, violet vase called “Chemistry!” On Instagram, Abu Aker’s brand posted that the piece is “the perfect fusion of art and science, crafted with precision and care by our skilled artisans. Mouth-blown, every curve and line reflects the magic of the chemical reactions that inspired its name.”  

Hanging textiles were also noticeably dominant in Ithra’s display. For instance, Doha-based artists Bachir Mohamad and Ahmad Al-Emadi collaborated on geometrical, symbol-heavy, blue-and-white rugs that are an homage to traditional Gulf Sadu weaving, historically practiced by Bedouins.  

“It was really exciting,” Alzamil says of the show. “The team received a lot of visitors and different players in the field. . . It’s bridging the gaps between Saudi and international communities.” 


London’s Arab Film Club launches podcast focusing on Palestine 

Updated 03 May 2024
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London’s Arab Film Club launches podcast focusing on Palestine 

DUBAI: The Arab Film Club, a monthly gathering in London celebrating Arab cinema, launched a podcast on May 1.  

Spearheaded by the club’s founder, Sarah Agha, an Irish Palestinian actress and writer, the inaugural five-episode season of the interview-based podcast will focus on Palestinian filmmakers and cinema’s role in cultural resistance. 

The debut episode features Darin J. Sallam, director of “Farha,” Jordan’s Oscars entry in 2022. In other episodes, Agha interviews Lina Soualem, (“Bye Bye Tiberias”), Ameen Nayfeh (“200 Metres”) Annemarie Jacir (“Wajib”) and Farah Nabulsi (“The Teacher”). 

Sarah Agha is an Irish Palestinian actress and writer. (Supplied)

Agha told Arab News, “It is so urgent right now to do anything and everything we can to keep talking about Palestine. So I thought, ‘Why not do some interviews with some of my favorite Palestinian directors and put them online so everyone can listen to them?” 

Reflecting on Sallam’s episode, Agha highlighted the transformative potential of cinema. “She is linking educational talks with her film, and I do believe her film is like a tool of change,” the presenter said. 

Agha said she found Soualem’s documentary particularly intriguing, due to its departure from the scripted films typically showcased at the Arab Film Club.  

“The Teacher” by Farah Nabulsi. (Supplied)

“I wanted to make an exception for Soualem’s film because it’s another portrayal of the Nakba, but in very different terrains — like, totally different,” she explained. “My father is from Tiberias, so I was also attracted to it for that reason.” 

Agha believes her podcast is launching at a time when Palestinians are being censored in the arts. 

“200 Metres” by Ameen Nayfeh. (Supplied)

“There’s been a lot of cancellations of events to do with Palestine and Palestinian narratives,” she said. “So I think the best thing that we can do is not succumb to hopelessness. The fact that they’re trying to silence voices means those voices are significant. You don’t silence something that’s irrelevant. For example, the fact that the Israeli government tried to pressure Netflix into removing Darin’s film shows that it’s important.”  

Agha hopes the podcast will appeal to a diverse audience, including non-Arabs.  

“That, for me, is a really big thing. If we just talk to ourselves all the time, we won’t really get any further with reaching a wider audience,” she said.