‘Kaala,’ first Indian film in Saudi cinemas, gimmicky at best
‘Kaala,’ first Indian film in Saudi cinemas, gimmicky at best/node/1322906/art-culture
‘Kaala,’ first Indian film in Saudi cinemas, gimmicky at best
Indian fans take pictures as they celebrate next to a poster of Bollywood star Rajinikanth outside a cinema on the first day of release of his new Tamil-language film ‘Kaala,’ in Chennai on June 7, 2018. (AFP)
‘Kaala,’ first Indian film in Saudi cinemas, gimmicky at best
Rajinikanth remains a man who has to fall back on gimmicks
At 167 minutes, the film could have been liberally trimmed as the story has little novelty on offer
Updated 17 June 2018
CHENNAI: A film with Tamil actor Rajinikanth is a like a carnival, but unlike a conventional one, there is more reverence here than just fun. The superstar, who is respectfully addressed as “thalaivar,” or chief, is not just an icon, but a phenomenon. Last week, Pa Ranjith-helmed, Rajinikanth-starrer “Kaala” became the first Indian film to open in newly re-launched Saudi cinemas — it sees Rajinikanth appear as an underworld don called Karikaalan.
Invariably dressed in a black dhoti and a black shirt, Kaala is not evil personified — as the color is often meant to denote – but goodness glorified. Playing godfather to his tribe of Tamils in Dharavi, the second largest slum in the world after one in Brazil’s Rio de Janeiro, he is provoked into a battle when a huge corporate, headed by a gangster-turned-minister Hari Dada (played by Nana Patekar), tries to demolish Dharavi and evict hundreds of its inhabitants.
In the war that ensues between Karikaalan and Hari, the star’s wife, Selvi (played by Eswari Rao) and eldest son, are killed, leaving a heartbroken husband and father, who does not choose a path of revenge, but merely carries on as a good Samaritan.
At 167 minutes, the film could have been liberally trimmed as the story has little novelty on offer. The movie follows a beaten track that is strewn with dead bodies and covered with blood and gore. A confrontation between the protagonist and Hari takes on various hues, but ends up presenting little that can be revelatory or surprising.
Rajinikanth remains a man who has to fall back on gimmicks (earlier it was flicking a cigarette in the air and catching it between his lips, and this time it is playing with his dark glasses) to keep his fans interested.
But, yes, if the film falls rather flat because its lead actor looks tired — he is 67-years-old — and is unable to think of different characters (unlike Bollywood’s Amitabh Bachchan and Rishi Kapoor, who have given themselves a complete image makeover). Fine pieces of acting by Patekar infuse sparks of excellence into the narrative, however.
Unless Rajinikanth steps away from the gimmicks to take on more substantial roles, his movies may continue to be less than impressive.
Qatar reopens Museum of Islamic Art ahead of World Cup
Updated 1 min 37 sec ago
DOHA: Qatar unveiled Tuesday its landmark Museum of Islamic Art after an 18-month renovation ahead of the World Cup in a bid to be a “showcase” for the Arab world. “We are the biggest Museum of Islamic Art in this region... and we are in the middle of the Arab world,” said museum director Julia Gonnella. “Where better can you learn about Islamic culture and art and history than here?“ The museum showcases 14 centuries of Islamic art and artefacts from around the world. Constructed on a purpose-built island on Doha’s waterfront promenade, the building is the work of the late US architect I.M. Pei, one of the best-known architects of the 20th century. The five-story building has redesigned its collections, with some two-thirds of the thousand exhibits new to the museum. “Before it was only about the art, now it’s about culture,” Gonnella said. “We really want to tell the stories behind the masterpieces.” Qatar has spent billions of dollars on new stadiums for the first football World Cup in an Arab country, which kicks off on November 20. As the sporting festival approaches, Doha is leading an cultural push, including erecting dozens of works of public art, and opened the Qatar Olympic and Sports Museum earlier this year.
How heritage sites will make Saudi Arabia a magnet for cultural tourists
Each of the six World Heritage sites shows that Saudi roots run far deeper than many might have imagined
Carefully preserved and protected, Diriyah is the jewel in the crown of one of Saudi Arabia’s largest giga-projects
Updated 23 September 2022
LONDON: Even as Saudi Arabia writes the next chapter in its story, defined by the ambition of its Vision 2030 blueprint for the future, it is rediscovering and embracing a past destined to play a central role as it opens up to the outside world.
Since 2008, Saudi Arabia has had no fewer major six sites of “outstanding universal value” inscribed on UNESCO’s World Heritage list.
There are 10 more on its Tentative List — properties being considered for nomination — including the Hejaz railway, three historic pilgrimage routes and the Al-Faw archaeological area at the northwestern edge of the Empty Quarter, a site of human occupation from prehistoric nomadic times to the growth of a thriving ancient caravan city in the second half of the first millennium B.C.
Certainly, there is no shortage of locations from which to choose for future nominations; there are more than 10,000 historical sites on Saudi Arabia’s National Antiquities Register.
Each of the six World Heritage sites is one piece of a fascinating mosaic that shows not only that Saudi roots run far deeper than many might have imagined, but also that Saudi heritage is a vital component in the broad sweep of human history.
And this is living history. Each site will play — and in some cases is already playing — a crucial role in the opening up of the Kingdom as a destination for cultural tourists from around the world.
One of the most breathtaking of the UNESCO properties is the Hegra archaeological site, centerpiece of plans by the Royal Commission for AlUla to develop sensitively as a major destination more than 22,000 square kilometers of the spectacular landscape of the AlUla region, with its lush oasis valley and towering mountains.
The jewel in AlUla’s crown is the ancient city of Hegra, the southern capital of the Nabataeans, who also built Petra in modern-day Jordan.
Yet the astonishing collection of over 100 hand-carved tombs, many with elaborate facades and inscriptions, cut into sandstone outcrops, is merely the tip of an archaeological iceberg.
There are currently a dozen international archaeology teams exploring the past cultures of AlUla and the nearby Harrat Khaybar volcanic field, from prehistory to the early 20th century. The astonishing volume of the finds they have already documented is prompting a radical rethinking of the prehistory of the Arabian Peninsula.
One team, from the University of Western Australia, has spent the past four years identifying and cataloging all the visible archaeology of AlUla county and the nearby Harrat Khaybar volcanic field. The tens of thousands of structures found, most between 4,000 and 7,000 years old, tell a story of a landscape and a climate that was once lush and temperate.
In all, the Aerial Archaeology in the Kingdom of Saudi Arabia project has identified 13,000 sites in AlUla and an extraordinary 130,000 in Khaybar county, dating from the Stone Age to the 20th century, with the vast majority from prehistory.
A “core” 3,300 square meter area of AlUla was surveyed separately by UK-based Oxford Archaeology which, working with staff and students of King Saud University in Riyadh, identified in excess of another 16,000 archaeological sites.
Dr. Hugh Thomas, a senior research fellow at the University of Western Australia, said that in the past archaeologists had concentrated on the Fertile Crescent. “But as we do more and more research, we’re realizing that there was so much more here than small, independent communities living on nothing much and not doing much in an arid area,” he told Arab News.
“The reality in that in the Neolithic period, these areas were significantly greener, and there would have been really sizeable populations of people and herds of animals moving across these landscapes.”
Among the most intriguing finds cataloged by the AAKSA team are the mysterious mustatils — often huge, rectangular structures, built by an unknown prehistoric people over 8,000 years ago. Possibly unique to the Arabian Peninsula, they are thought to have had some kind of ritualistic purpose.
More than 1,600 are now known to exist across 300,000 square kilometers of northwestern Saudi Arabia, concentrated mainly in the vicinity of AlUla and Khaybar.
More evidence of Saudi Arabia’s prehistoric past can be found in the world’s largest and most impressive collections of Neolithic rock carvings, or petroglyphs, located at two sites 300 kilometers apart in the Hail province, together adopted by UNESCO as a World Heritage site in 2015.
The first is at Jabal Umm Sinman, a rocky outcrop to the west of the modern town of Jubbah, the origin of which dates back to the dawn of Arab civilization, when the surrounding hills once overlooked a lake, lost beneath the sands of the Nefud desert some 6,000 years ago.
It was on the hills of Umm Sinman, in the words of the UNESCO nomination document, that the ancestors of today’s Saudis “left the marks of their presence, their religions, social, cultural, intellectual and philosophical perspectives of their beliefs about life and death, metaphysical and cosmological ideologies.”
The second site is at Jabal Al-Manjor and Jabal Raat, 220 kilometers southwest of Jubbah, near the village of Shuwaymis.
Together, the twin sites tell the story of over 9,000 years of human history, from the earliest pictorial records of hunting to the development of writing, religion and the domestication of animals including cattle, horses and camels.
The rock art in the Hail region is regarded as one of the world’s most significant collections, “visually stunning expressions of the human creative genius by world standards, comparable to the messages left by doomed civilizations in Mesoamerica or on Easter Island…of highest outstanding universal value.”
Saudi Arabia’s other UNESCO sites include the most recently inscribed, the Hima Cultural Area, listed in 2021. It also consists of a substantial collection of rock art images made over 7,000 years ago by armies and travelers who passed this way along an ancient desert caravan route in the southwest of the country.
Historic Jeddah, inscribed by UNESCO in 2014, was established in the seventh century as the major port on the Red Sea and grew rapidly as the gateway for pilgrims to Makkah who arrived by sea. Jeddah, which developed into “a thriving multicultural centre” was “characterized by a distinctive architectural tradition, including tower houses built in the late 19th century by the city’s mercantile elites,” many of which can still be seen today.
Al-Ahsa, a “serial cultural landscape” in the Eastern Province, is home to the world’s largest, and almost certainly oldest, oasis, a sprawling collection of 12 separate elements and 2.5 million palm trees scattered over a total area of 85 square kilometers.
Listed by UNESCO in 2018 as “an evolving cultural landscape,” Al-Ahsa “preserves material traces representative of all the stages of the oasis history, since its origins in the Neolithic to the present.”
Al-Ahsa, which lies between the rock desert of Al-Ghawar to the west and the sand dunes of the Al-Jafurah desert to the east, is associated with the Dilmun civilization that flourished in the third millennium B.C. in what is now eastern Saudi Arabia. Pottery finds from the Ubaid period, dating back roughly 7,000 years, also suggest the Al-Ahsa region may have been among the first in eastern Arabia to have been settled by humans.
Pride of place, in the hearts of Saudis at least, must go to the Turaif district of Diriyah, which is considered the birthplace of the Kingdom and was listed by UNESCO in 2010.
Nestling in a bend of the Wadi Hanifah, a few kilometers northwest of the modern metropolis of Riyadh, are the preserved remains of a breathtaking collection of mud-brick palaces, houses and mosques, “the pre-eminent example of Najdi architectural style, a significant constructive tradition that developed in central Arabia…and [contributed] to the world’s cultural diversity.”
First settled by the ancestors of the House of Saud in the 15th century, the oasis of Diriyah became the capital of the First Saudi State, established in 1744.
Diriyah was destroyed in 1818 after a six-year campaign by a vengeful Ottoman Empire, alarmed by the challenge posed by the First Saudi State to its grip on Arabia and the Holy cities of Makkah and Madinah.
Ultimately, it was Al-Saud that would prevail, as history relates. In 1902, Abdulaziz bin Abdul Rahman Al-Saud, better known to the wider world as Ibn Saud, famously recaptured Riyadh, going on to unite the kingdoms of Nejd and Hejaz in 1932 as the Kingdom of Saudi Arabia.
The Turaif district of nearby Diriyah, left in ruins by the Ottomans, would never be occupied again. Carefully preserved and protected, however, it is now the jewel in the crown of one of Saudi Arabia’s largest giga-projects — the development of the wider area by the Diriyah Gate Development Authority as “one of the most amazing cultural gathering places in the world.”
The $50 billion plan to transform Diriyah into a global historical, cultural and lifestyle destination will create 55,000 job opportunities and attract 27 million visitors every year. They will be able to immerse themselves in the history and culture of a kingdom that, in less than 300 years, has grown from an idea born in a small desert community to become one of the world’s most influential nations.
Awaiting visitors on the site of 7 square kilometers will be museums, galleries, world-class hotels, restaurants, shops, homes and educational and cultural facilities, all created in the traditional Najdi architectural style.
But at its heart will be Turaif, which, like so many of Saudi Arabia’s historic sites, is a priceless piece of the past now helping to shape the Kingdom’s future.
Thousands throng to Iran museum with Western art masterpieces
Exhibition features 132 works by 34 world-famous contemporary artists
The museum was inaugurated in 1977 during the reign of deposed ruler Shah Mohammad Reza Pahlavi
Updated 25 August 2022
TEHRAN: More than 20,000 people have flocked to an Iranian museum showcasing renowned Western artists’ works, some for the first time — part of a treasure trove amassed before the Islamic Revolution.
The museum’s collection is reputed to be the greatest line-up of modern masterpieces outside Europe and the United States, and includes multi-million-dollar pieces, much of which has been kept under wraps since the 1979 revolution.
The Tehran Museum of Contemporary Art “surprises me every time,” said visitor Shahin Rajabi, 35. “The current show is no exception.”
The current “Minimalism and Conceptual Art” exhibition features 132 works by 34 world-famous contemporary artists, museum director Ebadreza Eslami said, including Marcel Duchamp, Sol LeWitt, Donald Judd and the duo Christo and Jeanne-Claude.
“The reception has been marvellous,” Eslami said, particularly after long closures in recent years due to the Covid-19 pandemic.
He said one of the main factors for the footfall of this exhibit was that “38 masterpieces” were being displayed “for the first time.”
AFP saw visitors at the museum this week, some stopping to study details while others were busy taking photos as they made their way intently through the museum.
“I loved the last room of the exhibit in particular, where the artist had worked with the fluorescent light,” said visitor Rajabi, referring to American artist Dan Flavin’s “Untitled” work.
The museum was inaugurated in 1977 during the reign of Shah Mohammad Reza Pahlavi, who was deposed by Islamic revolutionaries two years later.
Its design was inspired by Iran’s desert wind towers — an architectural element used to catch and circulate cool air in hot environments.
Most of the collection was built up by the shah’s wife, former queen Farah Pahlavi, who deployed a team of experts to tour Western auctions and snap up prestigious paintings and sculptures to boost the country’s cultural profile.
The museum also holds an important collection of Iranian modern and contemporary art.
But the international works went underground after the Islamic republic’s founder Ruhollah Khomeini railed against “Westoxification,” deploring Western moral and sexual depravity which he said had infected the Islamic world.
The themes of many of the Western works have been considered too risque to be publicly shown, and have spent much of the past decades languishing in storage.
The museum counts some 3,500 works, hundreds of which are “very valuable,” head of public relations Hassan Noferesti said.
They include masterpieces by Western artists from Paul Gauguin to Pablo Picasso, Rene Magritte, Jackson Pollock, Andy Warhol and Alberto Giacometti, according to Iran’s culture ministry.
The current show, which runs until mid-September, includes a collage by Italian artist Michelangelo Pistoletto titled “Green Curtains,” and an untitled work made from hemp by Canadian-American sculptor Jacqueline Winsor.
Curator Behrang Samadzadegan said “some 20,000 people” have visited since the show opened in late June — about twice the normal turnout.
Describing the theme of the show, he added “when we are talking about minimalism, we are primarily talking about the environment not the work.”
Standing in front of the “Rock Salt & Mirror” by American artist Robert Smithson, 28-year-old painter Solmaz Daneshvar said she “greatly enjoyed” the display.
The exhibition, however, was at the center of controversy this month when an amateur video surfaced showing two silverfish insects underneath the frame of a rare image by the late German photographic duo of Bernd and Hilla Becher.
The video, whose authenticity could not be independently verified by AFP, went viral.
The museum later made a formal apology, assuring concerned art lovers that the work by the Bechers, who are known for their photos of industrial structures, was not damaged.
It also closed its doors for two days for fumigation.
In 2015, the museum held an exhibition of 42 works by Western artists including Pollock’s masterpiece “Mural on Indian Red Ground,” valued by Christie’s auction house experts in 2010 at $250 million.
Saudi Arabia has embarked on a real cultural revolution, says Arab World Institute president Jack Lang
There has been a radical change brought about by the impetus of the crown prince in all areas of culture, Lang tells Arab News
Crown prince’s Paris visit will open up new possibilities in bilateral relations and consolidate ties, says former minister of culture
Updated 29 July 2022
PARIS: Jack Lang is one of the prominent cultural public personalities in France. He was minister of culture from 1981 until 1986, and again from 1988 until 1993. He was also minister of national education from 1992 to 1993, and from 2000 to 2002.
Lang has been deeply connected with Arab culture by virtue of his presidency of the Institut du Monde Arabe (IMA), or the Arab World Institute, in Paris since 2013. Under his leadership, the Arab World Institute, founded in Paris in 1980, has organized cultural workshops, concerts, conferences, exhibitions, festivals and activities both in France and around the Arab world.
The IMA has a museum, library and auditorium, and seeks to provide a secular location for the promotion of Arab civilization, art, knowledge and aesthetics as well as the teaching of Arabic. It was founded in 1980 by 18 Arab countries and France to research information about the Arab world, including its cultural and spiritual values.
Q. What is your perception of Franco-Saudi cooperation?
A. First of all, I welcome the visit of Saudi Arabia’s crown prince to Paris. This is an important event, which will certainly open up new possibilities in bilateral relations and will consolidate the political, economic, strategic and cultural ties between France and Saudi Arabia.
I am not directly linked to political life, so I do not have to comment on related issues. I know that there are differences that may arise; these are discussions that will undoubtedly take place between the leaders of the two countries, President Emmanuel Macron and Crown Prince Mohammed bin Salman.
For my part, I cannot forget that historically, the two founding countries of the IMA were Saudi Arabia, at the time of King Khalid, and France, with President Valery Giscard d’Estaing.
Q. What about Franco-Saudi cooperation in the context of cultural projects?
A. Saudi Arabia is a fabulous country that is developing many ambitious projects like the AlUla project, initiated by Crown Prince Mohammed bin Salman and Prince Badr bin Abdullah bin Farhan Al-Saud, the Saudi minister of culture, and supported by France via the French agency in charge of the development plan for this site.
Personally, I belong to the advisory committee, operating under the authority of Prince Badr. The committee does exceptional work for the preservation of the site, its history and the beauty of these incredible places. Every time I go to AlUla, I am struck by the progress of archaeological, touristic, economic and social projects.
I am also impressed by the respect that AlUla officials have for the history of the sites and the local populations, who are fully associated with the project, which is indicative of the ambition the Kingdom sets for its cultural revolution.
In France, in Europe, and more generally in the West, we do not know enough about the extent to which Saudi Arabia is starting a real cultural revolution. If we compare the situation five years ago with that of today, we see a radical change brought about by the impetus of the crown prince in all areas of culture: Cinema, theater, museums, architecture and music.
There is a rather unique cultural breath and momentum in this country. I can cite the first Red Sea International Film Festival, organized in Jeddah last year, or the many exceptional projects scheduled in Riyadh, a city destined to become one of the greatest cultural capitals of the world.
It is the same for the other cities and regions of the country, which are experiencing this dynamic in all artistic and creative disciplines. What is being accomplished today in Saudi Arabia is astonishing and remarkable.
If the visit of the crown prince is an opportunity to make this happy and positive metamorphosis better known, it is wonderful. I can only rejoice in this extraordinary cultural effervescence which makes Saudi Arabia a major country in world culture.
Q. What is the place of youth in this “cultural revolution?”
A. This cultural, educational and scientific strategy mobilizes the youth, who represent the Saudi Arabia of tomorrow. Many young people recognize themselves through this new impetus. If we go today to Jeddah, Riyadh or elsewhere in the country, we see that a new cultural event takes place every week. It is kind of a permanent cultural revolution.
Personally, I am one of those people who thinks that each country must prioritize culture, youth, science and education. This is the choice made by the Saudi authorities to build the future of the country.
France, as a country committed for a long time to these issues, will find itself in full harmony with Saudi achievements.
Q. What about cooperation between Saudi Arabia and the IMA?
A. Since I have chaired the IMA, I have forged close relationships with the cultural leaders of the Kingdom. The crown prince has decided to provide financial support for the renovation of the mashrabiyas on the walls of the IMA building, designed by (French architect) Jean Nouvel.
We are discussing many projects, including the possible creation of an IMA in Riyadh and, above all, the possible support of Saudi Arabia for the renovation of the IMA museum, which is destined to become one of the most important museums of contemporary Arab art in the West.
Controversial Saudi painter aims to make her mark in modern art
Jana Mousa has been the subject of criticism for portraying womanly shapes
She's been backed by her family and buoyed by Saudi government support for the arts
Updated 23 July 2022
RIYADH: A controversial Saudi painter is aiming to overturn traditional public perceptions of art with her modern abstract style.
Jana Mousa has been the subject of criticism for portraying nudity and womanly shapes in her vibrant artwork.
But backed by her family and buoyed by Saudi government support for the arts, she remains determined to open her own modern art museum to showcase her work and that of other up-and-coming artists.
She told Arab News: “My art isn’t traditional, but what makes me creative is that I don’t relate myself to an idea or a concept of one agenda, because I don’t want to be in a box.
“I feel as though many people still hang on to traditional art, the art of horses, Arabic calligraphy, and such, but when they see modern art, it’s new to them, and the reaction varies. This is why I want to introduce modern art to the public and let it have its space.”
It was during the coronavirus pandemic lockdown when Mousa rediscovered her love of painting and with the help of her family, she set up a social media account and started posting her work online.
She said: “I was criticized for portraying nudity and, in general, for my modern style, and when I displayed my work in Al-Balad (historic area of Jeddah), I got comments that my paintings were just doodles that ruined the place. Because they did not show a horse or swords, then, to society, it was not considered art.”
Undaunted, she has since gone on to exhibit her pieces at Jeddah corniche, the port city’s Durrat Al-Arus, Culiart gallery — as part of a collaboration with chef Joud Badr — and in March, the Silence art gallery.
“Chaotic and full of life is how I would describe my artwork. I don’t have one direction, and I like to mix styles, but eventually, a pop of color needs to be included in my paintings.
“I like to feel the painting and touch it. Art doesn’t have rules or right or wrong; anything you do is art, and the possibilities are endless,” Mousa added.
She plans to open her own modern art museum to showcase her artistic style, support local artists, and provide a space for them to exhibit their work.
“I am noticing a lot of support from the government to empower art. The Jameel district in Jeddah is a good example of art encouragement, and many local artists are invited to display their artwork in Al-Balad,” she said.