Muslims gain ‘Fringe’ benefits in Edinburgh

The Edinburgh Central Mosque will once again host an exhibition offering respite from the Fringe’s famous raucousness.
Updated 01 August 2017
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Muslims gain ‘Fringe’ benefits in Edinburgh

The Edinburgh Festival Fringe celebrates its 70th anniversary this month, having grown into the largest arts extravaganza in the world. Organized over 25 days in the Scottish capital, it annually attracts in excess of two million visitors attending 300-plus venues to witness some of the more than 50,000 performances, ranging from magic to music, cabaret to comedy.

Yet away from the circus and the spoken word, the Edinburgh Central Mosque will once again host an exhibition offering respite from the Fringe’s famous raucousness. This year, the Islamic Festival will be an official part of the Fringe — yet organizers have had to overcome more problems than ever to ensure the exhibition is ready to open its doors.

Event planners usually extend an invite to three or four prominent Muslim guest speakers six months in advance, allowing time to arrange travel to and accommodation in a city where it is said the population triples during the Fringe. It is an approach that has worked well, with the likes of Jamal Badawi, professor Emeritus at St. Mary’s University in Canada, and the late Idris Tawfik, a former Roman Catholic priest who later converted to Islam, having spoken at previous events.

Recent festivals have included Islamic calligraphy classes, arts and crafts for children, mosque tours and access to relevant, thought-provoking lectures with titles such as “Islam and ISIS: How did the religion of peace come to be a tool for terror?” and “Muslim women: Oppressed or empowered?”

The 70th anniversary #edfringe programme is here! Check the link in our bio to find out how to get your copy!

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The festival’s accessible approach has been a success with Scottish visitors, some who have returned the following year with other family and friends. As Tawfiq wrote in his book “Talking to Muslims in the West:” “If … you want to know how to tell people about Islam, come and spend a couple of days in Edinburgh and see how it is done.”

However, this year’s event, which starts on August 4, had to be organized in the space of only a few weeks after a messy change of management earlier in 2017 left event manager Janice Oliver and other volunteers playing catch-up. Oliver will work six hours every day between now and the end of the exhibition on August 24, she said.

“The Islamic Festival started out in 2000 as just a few posters slapped on the wall of a room for a week, with the goal of giving non-Muslims an idea of what Islam is about,” Oliver, a hijab-wearing Londoner who moved to Edinburgh 21 years ago, told Arab News this week from inside the bowels of the central mosque. “It has obviously grown a lot since then and requires a lot of planning, but unfortunately this year has proved very difficult.”

That is not to say the event will be any less impressive or impactful than previous editions. The primary focus this time is on the exhibition itself, which as well as featuring Islamic art, artefacts and interactive computers, also includes a “Qur’an Table” with 10-12 translated editions of the Holy Book and several detailed explanatory posters ranging from “How did Prophet Muhammad relate to Christians?” to “Islam and the Environment” and “Kindness to Animals.”

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Subhi Hashwa, a Palestinian with a long beard and Scottish accent, is the event’s education manager. He says the event has already fulfilled its aims for this year, adding that at a time when events in the world have completely distorted people’s perceptions of Islam, sharing knowledge is the goal.

“The mosque is located in the heart of the city and every nook and cranny becomes a Fringe venue, so it’s great for us because you tend to get people watching fire-eaters, jugglers and ballet dancers, then flicking through the program for something different and coming in here,” Hashwa said. “Visitors are non-Muslims, so our objective is to break down these misconceptions whereby people think mosques are places extremists are born or where women are not allowed to go. Education is key because it’s very difficult to be fooled if you know the truth.”

Oliver agrees, saying she has heard “an incredible amount” of misbeliefs surrounding her religion while working over the years. She relayed one tale of a university-educated Muslim woman who asked if it was true she could not wear pink because it is the same color as pigs. “Her mother had told her it says that in the Qur’an, but her mother could not read or write,” Oliver said. “So I explained to her that knowledge is power and that she must read the Qur’an herself — and in a language she understands.”

Those who do visit this month should not expect to feel any pressure either. While Hashwa says he prefers to leave guests to read the posters as if they were viewing exhibits in a museum, Oliver adds she actively advises volunteers against what she calls conversion-mentality: “We are not here to sell anything,” she says. “Our job is just to deliver the message — Allah is the one who guides.”


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.


Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

Updated 25 April 2024
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Second Ritz-Carlton Reserve in Saudi Arabia planned for Neom 

DUBAI: Marriott International, Inc. announced on Thursday that it has signed an agreement with Neom to open its second Ritz-Carlton Reserve in Saudi Arabia. 

The hotel is anticipated to open in Trojena, a year-round mountain destination located in the northwest region of the country. 

The resort is expected to feature 60 expansive one-to-four-bedroom villas. Plans also include a range of amenities including a spa, swimming pools and multiple culinary venues.

Chadi Hauch, the regional vice president of Lodging Development Middle East, Marriott International said in a statement: “Together with Neom, we look forward to bringing this ultra-luxury experience to Trojena. This signing also marks an important addition to our portfolio in Saudi Arabia where we continue to see a strong demand for our luxury brands.” 

“Trojena is a rare destination, and we are delighted that Ritz-Carlton Reserve has hand-picked the mountains of Neom for their next property.  Together we will create an experience that can’t be recreated anywhere else. Our visitors and residents will experience a sanctuary that will capture the magic of Saudi Arabia, embracing ultimate luxury in an unforgettable location,” executive director and Trojena region head Philip Gullett said in a statement. 

Trojena, one of the flagship developments within Neom, is being developed and positioned as a year-round adventure sports destination that will include activities such as skiing, water sports, hiking and mountain biking. It will also include apartments, chalets, retail, dining, entertainment, leisure, sports and recreational facilities, and other hospitality offerings, including a W Hotel and a JW Marriott Hotel.

Ritz-Carlton Reserve currently boasts a  collection of only six properties in destinations including Thailand, Indonesia, Puerto Rico and Mexico.


The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

Updated 25 April 2024
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The Arab world at the Venice Biennale: Artists explore themes of identity, immigration, history

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.

'Alia’s Alleys' is on show in Venice. (Supplied)

 


Arab-American Heritage Month: Sama Alshaibi — ‘I’m trying to change this idea of what an Arab woman is’ 

Updated 25 April 2024
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Arab-American Heritage Month: Sama Alshaibi — ‘I’m trying to change this idea of what an Arab woman is’ 

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.”