When Maryam Jillani was growing up in Islamabad, the last day of Ramadan was about more than breaking a month-long fast with extended family.
A joyous occasion, the Eid Al-Fitr holiday also was marked with visits to the market to get new bangles, wearing her best new clothes and getting hennaed. Not to mention the little envelopes with cash gifts from the adults.
“But, of course, food,” said Jillani, a food writer and author of the new cookbook “Pakistan.” “Food is a big part of Eid.”
At the center of her grandmother Kulsoom’s table was always mutton pulao, a delicately spiced rice dish in which the broth that results from cooking bone-in meat is then used to cook the rice. Her uncle would make mutton karahi, diced meat simmered in tomato sauce spiked with ginger and chilies.
Cutlets, kebabs, lentil fritters and more rounded out the meal, while dollops of pungent garlic chutney and a cooling chutney with cilantro and mint cut through all the meat. For dessert were bowls of chopped fruit and seviyan, or semolina vermicelli noodles that are fried then simmered in cardamom-spiced milk.
The vegetable sides were the one thing that changed. Since Ramadan follows the lunar Islamic calendar, it can fall any time of year.
These dishes, and many of the associated memories, make it into Jillani’s book, but she would be the first to acknowledge they represent just a sliver of the nation’s varied cuisine.
Her father, who worked in international development, used to take the family to different parts of the country. Later, she did her own development fieldwork in education across rural Pakistan.
Along the way, she found striking differences between the tangier, punchier flavors in the east, toward India and China, and the milder but still flavorful cuisine in the west, toward Afghanistan.
“I knew our cuisine was a lot more than what we were finding on the Internet,” she said.
After moving to Washington, D.C. as a graduate student, she started the blog Pakistan Eats in 2008 to highlight dishes that were lesser known to Western cooks. Research on the book began 15 years later, and she visited 40 kitchens in homes across Pakistan.
“Even though I hadn’t lived in Pakistan for over 10 years, each kitchen felt like home,” she writes in the book’s introduction.
She includes what she calls “superstars” of the cuisine, such as chicken karahi, one of the first dishes Pakistanis learn to make when overseas to get a taste of home. The meat is seared in a karahi (skillet) and then braised in a tomato sauce spiced with cumin, coriander, ginger, garlic and chilies before a dollop of yogurt is stirred into the pot.
Other recipes reflect the diverse nature of Pakistan’s migrant communities, such as kabuli pulao, an Afghan rice dish made with beef, garam masala, chilies, sweetened carrots and raisins.
“The idea behind the cookbook is to try to play my small part in carving out a space for Pakistani food on the global culinary table,” she said.
And of course, honoring her grandmother’s mutton pulao.
Jillani is hosting Eid this year at her home, now in Manila, Philippines, and she plans to make it, as well as an Afghan-style eggplant, shami kebabs, and the cilantro and mint chutney.
“If I’m feeling especially ambitious that day, I might make a second mutton dish,” she said. “I’ve been a bit homesick.”
As Ramadan ends, a new cookbook sheds light on Pakistan’s varied cuisine
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As Ramadan ends, a new cookbook sheds light on Pakistan’s varied cuisine
- Cutlets, kebabs, mutton karahi, diced meat simmered in tomato sauce spiked with ginger and chilies, and more round out the meal on the Eid Al-Fitr holiday that marks the end of Ramadan
- These dishes, and many of the associated ones, make it into Maryam Jillani’s book, but she would be the first to acknowledge they represent just a sliver of the nation’s varied cuisine
Saudi comedy film ‘Ambulance’ to get sequel
DUBAI: A sequel is already in the works for “Esaaf” (“Ambulance”), the new comedy starring Saudi actor and stand-up comedian Ibrahim Al-Hajjaj and directed by British filmmaker Colin Teague.
The film premiered on Tuesday, making history as the first Arabic-language movie to be released by Imax.
The plot revolves around two Saudi paramedics who discover a briefcase containing holding SR2 million (around $533,300) and find themselves caught up in a dangerous kidnapping scheme.
The movie is written by Alberto Lopez and produced by Al-Hajjaj’s House of Comedy, Saudi producer Talal Anazi’s Black Light Operations and former MBC Studios chief Peter Smith in tandem with Saudi Media Company.
The film marks Al-Hajjaj’s first major release since “Sattar,” the 2023 wrestling film which grossed over $30 million, primarily from Saudi audiences.
Princess Rajwa, Prince Hussein visit historic site in Jordan
DUBAI: Princess Rajwa Al-Hussein of Jordan opted for a relaxed look this week when she visited the archaeological site of Umm Qais with her husband, Crown Prince Hussein bin Abdullah.
Rajwa, who is of Saudi origin, wore beige Atelier canvas straight-leg cargo pants by Jacquemus, paired with a black fitted top and matching Prada re-edition 2005 nylon bag. She completed her look with Gentle Monster’s Musee 01 sunglasses.
The crown prince also kept it casual in a plain white T-shirt, olive green cargo shorts and sunglasses.
Bin Abdullah took to Instagram to share a heartwarming photo with his wife taken during their visit.
“There is nothing like spring in the north of Jordan,” read the caption.
The couple also made headlines this week as their eight-month-old daughter, Princess Iman bint Al-Hussein, marked a significant milestone when she accompanied them to the Kingdom of Bahrain on her first official overseas visit.
The young princess was received by Bahrain’s King Hamad bin Isa Al-Khalifa at Al-Sakhir Palace.
Princess Rajwa opted for a white-and-blue ensemble from London-based fashion label Erdem for the occasion. This included a floral midi pencil skirt and a draped short-sleeved top. She completed the look with white lace slingback pumps from Manolo Blahnik and a Jacquemus shoulder bag.
Last month, Crown Prince Hussein took to Instagram to mark Mother’s Day with a heartfelt tribute to his mother, Queen Rania, and Princess Rajwa.
In the first of two images, Queen Rania is holding her granddaughter, Princess Iman, as the crown prince watches on.
In the second image, Princess Rajwa, dressed in a plain white t-shirt, is seen holding her daughter.
“To my beloved mother and my loving wife, your presence fills our lives with joy, and your love is the true meaning of giving. Happy Mother’s Day,” he wrote.
The royal couple welcomed Iman in August last year.
They are also active in their humanitarian efforts. During Ramadan, they visited the Children’s Museum Jordan to attend an iftar event with orphans.
They spent time with the children, playing games, sharing a meal and engaging in conversation. The couple also posed for photos with the young attendees.
At Art Dubai, Pakistani artists find the space missing at home
- The Middle East’s leading art fair draws galleries and collectors from around the world
- Pakistani artists say global interest is rising in their work, bringing international recognition
KARACHI: Pakistani artists have been receiving increasing international recognition, but many still grapple with limited opportunities and visibility at home, a participant at a major Gulf art fair said this week.
Her comments coincided with Art Dubai 2025, the Middle East’s leading contemporary art fair, where 10 Pakistani artists are exhibiting their work this year.
The event, running since 2007, draws galleries and collectors from across the globe and has become a vital platform for people with creative abilities in places like Pakistan.
“It’s wonderful that we as artists who have been invisible because of the greater struggles of [our] country are visible through this platform in the Gulf,” said Faiza Butt, a London-based Pakistani artist currently attending the fair, told Arab News over the phone.
“It’s really a matter of pride that despite all the odds, Pakistani artists continue to appear, and work and make themselves visible, especially female artists.”
Butt maintained Pakistani artists are shaped by the country’s complex realities, adding that is what gives their work its depth.
“Our social and political struggles really feed the artists’ imagination,” she said. “Art doesn’t come from a happy place. So one of the reasons our artists are so strong is because our country has gone through a great deal of strife.”
She also credited the country’s mature art education institutions, such as the National College of Arts in Lahore and the Indus Valley School of Arts in Karachi, for nurturing generations of artists despite systemic challenges.
Karachi-based visual artist Sana Arjumand, who is also exhibiting at the fair, echoed similar views.
“There is now more and more interest coming into Pakistani art because we are really making very good art,” she said.
“Because of so many different experiences here [in Pakistan], we have that informed kind of making of art. It’s more vibrant and alive. It stands out as well — that is why more and more interest is coming here.”
Arjumand, who studied painting at NCA, said her early work focused on self-reflection but has since evolved to include themes of Sufism, mysticism and human interconnectedness with nature.
Her new work, presented at the fair, explores the idea that human behavior mirrors elements in the natural world.
“It’s for everyone,” she said. “It has a storyline that anybody can relate to.”
A total of ten Pakistani artists, including one posthumously, are featured in the fair’s Contemporary Art section. Among them is the late Sadequain, whose pioneering calligraphy and figurative works helped define Pakistan’s post-Partition art movement and continue to influence generations of artists.
Also exhibiting are Rasheed Araeen, a Karachi-born conceptualist known internationally for his contributions to British minimalist and postcolonial art, and Imran Qureshi, whose fusion of classical Mughal miniature techniques with contemporary themes has earned him acclaim worldwide.
Other featured names include Anwar Saeed, celebrated for his explorations of identity and sexuality, and Shezad Dawood, a London-based multidisciplinary artist with Pakistani and Indian heritage.
Butt is being represented by Grosvenor Gallery in London, which is exhibiting her work alongside that of Anwar Saeed under a shared curatorial concept focused on representations of the male form.
“The female figure is represented enough in the arts,” said Butt. “Anwar and I both discuss the male form but with our own unique politics based on our unique ethnography. But we are both Pakistanis, and there are overlaps in our concerns.”
She will also deliver a talk on behalf of Saeed, reflecting on his practice and political engagement through art.
Despite global attention, Butt stressed that Pakistan lacks the institutional and financial infrastructure to support a thriving art scene.
“Art is a very priced project, and Pakistan cannot afford having art fairs or a very established art market,” she said. “Pakistani artists get absorbed by galleries from other countries.”
She described Art Dubai as a great opportunity for artists in her country.
“Dubai is a very stable financial hub of the Gulf region,” she continued. “It has welcomed a great deal of migration from India and Pakistan. You get a diverse audience. It’s a beautiful coming together, in a positive way, of ideas, culture and exchange of thought.”
Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art
- Latest edition of the region’s leading contemporary art fair presented high-quality works from around the world, cementing the Gulf metropolis as a key market player
DUBAI: The Madinat Jumeirah is alive once again with the invigorating buzz of collectors, artists, gallerists and art lovers all gathered for the 18th edition of Art Dubai, which runs until April 20. There is the familiar sound of a multitude of languages and accents, reflecting Dubai’s ever-growing international population as gallerists from around the world, including North America, China, South and Central Asia, Africa and from across the Middle East, showcase works that reflect the artistic breadth and culture of their respective countries.
Of note are the 30 new exhibitors at Art Dubai, hailing from around the world, forming part of the 120 galleries taking part this year. The quality of works on display, underlined artistic director Pablo del Val, are particularly noteworthy this year and, he says, evoke a sense of escapism and surrealism as if to provide refuge from the uncertainty of today’s times.
The quality of works and international range of galleries also reflect the changing nature of Dubai.
Rather than take up residence in Dubai for a short-term period of a few years, new residents are coming to the city with plans, it seems, to stay for longer. At the same time, there has been notable investment in cultural infrastructure within the UAE that is now paying off, resulting in a plethora of new museums, galleries, institutions and initiatives offering visitors to Art Dubai a wealth of cultural activities outside the fair.
“Today there is a change in the architecture (of Dubai), with residents desiring more state-of-the-art homes with more space,” del Val told Arab News. “When these people move to Dubai they are doing so with a long-term version. This gives a sense of stability to the city and necessitates a different kind of art collecting.”
Among the newcomers to the fair was Richard Saltoun Gallery, which has branches in Rome, London and New York.
“This will be our first participation at Art Dubai and we are thrilled to be participating. Dubai, and the UAE in general, is one of the most interesting and growing markets that we work with,” Niamh Coglan, sales director at Richard Saltoun Gallery, told Arab News. “The institutional collections, foundations and private collections are curious, active and engaging to work with. Having worked with several major museums and foundations over the past few years in the region, we knew we had to take a more active role and be more present.”
Among the artists the gallery will show at the fair is Mozambican modernist Bertina Lopes, whose work is on display in the exhibition Kings and Queens of Africa at the Louvre Abu Dhabi.
Among the notable works at the fair was a large 196 x 363 cm painting by the late Iranian artist Bahman Mohassess and New York-based Leila Heller Gallery’s booth portraying two abstract figures locked in a passionate embrace, one colored red and the other off-white next to a group of stones and an abstract black bird flying overhead. The work, which has garnered great interest among collectors, is being sold for $2,650,000.
In the Bawwaba section of specially commissioned works for the fair, Saudi artist Abdullah Al-Othman is showcasing a solo project in the form of a large installation work of signs, symbols and photography from around Riyadh as part of his series Manifesto: the Language & the City (2011). The work is being displayed through Iris Art Projects, the only GCC gallery exhibiting in the section.
Showcasing works from the African continent and diaspora is Efie Gallery, a Dubai-based gallery that recently moved to Alserkal Avenue. The gallery’s booth presented a mixed media presentation that is thoughtfully and serenely curated featuring works by Abdoulaye Konate, Maria Magdalena Campos-Pons, Hugh Findletar and J.K. Bruce Vanderpuije.
“We love being in the Middle East and Dubai because it has offered us a clean slate as opposed to the West, where we need to deconstruct narratives,” said co-founder of the gallery Kwame Mintah. “Here we are offered the space to construct the narratives.”
11th Saudi Film Festival opens with a night of cinema, culture, stars
DHAHRAN: The red carpet was rolled out for the 11th edition of the Saudi Film Festival on Thursday, as the event confirmed its role as a cornerstone of the Kingdom’s burgeoning movie culture.
Hosted by the dynamic duo — Saudi actors Aixa Kay and Khaled Saqer — the celebration at the King Abdulaziz Center for World Culture (Ithra) in Dhahran was brimming with glamor and drama.
Saudi opera singer Mohammed Khayran Al-Zahrani and renowned French soprano Fabienne Conrad serenaded the crowd, while a live orchestra performed a medley of classical renditions of popular film scores under the direction of maestro Gevorg Sargsyan.
The event was organized by the Cinema Association in strategic partnership with Ithra — an Aramco initiative — and was supported by the Saudi Film Commission of the Ministry of Culture.
This year’s festival, with the theme “Cinema of Identity,” delves into the power of storytelling to reflect and shape cultural, personal and collective narratives.
At the opening, Cinema Association chairwoman Hana Al-Omair emphasized the theme’s significance.
“We present this year’s edition at a time when Saudi film production is undergoing noticeable growth. Saudi films are no longer rare appearances; they are now competing for prime slots in Arab cinemas. This reflects an artistic momentum worth pausing and reflecting upon,” she said.
She also highlighted the festival’s special focus.
“In addition to the usual festival activities, we are shining a spotlight on the Japanese cinema experience, which has had a profound impact on world cinema, thanks to its artistic schools, rich experience and global history,” she said.
Opening night saw visitors treated to the premiere of “Siwar” by Osama Al-Khuraiji.
The program, which runs until April 23, is packed with events including a steady stream of stars, film screenings, seminars, workshops, masterclasses and the coveted Golden Palm awards.
Since its founding in 2008, the Saudi Film Festival has become the Kingdom’s longest-running cinematic event.
This year, 36 out of 68 screenings are Saudi and Gulf films, comprising eight narrative features, 21 shorts and seven documentaries. Parts of the proceedings, and some other festival events, are being live-streamed.
For more information about buying tickets, visit the Ithra website.
