DUBAI: The Modist founder Ghizlan Guenez has teamed up with Emirati fine jewelry designer Salama Khalfan to launch Sawa, a pre-Ramadan exhibition taking place from April 7 to 10 at Dubai’s Alserkal Avenue. The exhibition aims to support local designers who have been adversely impacted by the pandemic and will feature over 30 local ready-to-wear, accessories, jewelry and lifestyle brands.
Read on for some of the brands you don’t want to miss.
The Dubai-based Algerian designer’s designs are distinguished by a sharp attention to tailoring details. With each stitch rigidly accounted for, the elegant pieces speak volumes even without embroidery or ornaments.
Ramadan recipes: This freekeh-stuffed chicken is comfort food for the soul
Updated 36 min 35 sec ago
DUBAI: Jordanian Chef Hassan Al-Naami shares his delectable recipe for fragrant freekeh-stuffed chicken, a dish that is wildly popular at The Ritz-Carlton, Dubai, where he brings his culinary vision to life at the hotel’s Middle Eastern restaurant, Amaseena.
As Ramadan draws to a close, give this dish a go for a special iftar this week.
Whole baby chicken
2 tbsp extra virgin olive oil
1 tsp salt
½ tsp black pepper
1 tsp paprika
1/3 tbsp 7 spice
½ tbsp coriander powder
2 ½ tbsp lemon juice
1 handful of almonds
1 handful of pine nuts
5 cups freekeh
3 tbsp olive oil
¼ cup onion (chopped)
1 tsp cinnamon powder
½ tsp cardamom powder
1 tbsp 7-spice
1 ½ tbsp cumin powder
6 cups chicken stock
Salt and black pepper to taste
1. Wash and drain freekeh until clean. In a hot pan combine olive oil and spices, toss for a few minutes till fragrant. Add the freekeh then sauté for another 5 minutes. Add chicken stock and bring to boil. Cover and cook for 30-40 minutes on a low heat. The freekeh should be cooked but still have a chewy texture.
2. Preheat the oven to 180 degrees Celsius. In a small bowl, mix all the spices and rub chicken with spices all over and inside, including under the skin. Take the cooked freekeh and stuff the chicken with it, cross the legs and tie with twine. Place the chicken in a roasting tray, cover with foil and roast for 60-80 minutes. Allow the chicken rest before serving (keeping it covered).
3. Serve stuffed chicken on over leftover cooked freekeh. Decorate with roasted nuts and serve with minted yogurt on the side.
Model Imaan Hammam prepares meals for the less fortunate this Ramadan
Updated 08 May 2021
DUBAI: This week, Moroccan-Egyptian-Dutch model Imaan Hammam teamed up with Amsterdam-based restaurant The Wild Room to give back to those who need it most by helping to prepare meals for the most vulnerable in the community this Ramadan.
“Last 10 days of Ramadan! What a beautiful healing month! So sad it’s coming to an end,” the 24-year-old shared with her one million Instagram followers, alongside a carousel of photos depicting her pouring tomatoes into a pot, surrounded by bags of prepared meals and getting ready to pray.
“Today these women and I worked so hard to prepare meals for those in need. Helping others is not only important but also a GOOD thing to do. It makes us happier and healthier too. Giving also connects us to others, creating stronger communities and helping to build a happier society for everyone. And it's not all about money — we can also give our time, ideas and energy. I want to thank all the strong women today who were involved from the bottom of my heart. I am so grateful to be part of this initiative. May Allah bless you all,” she added.
Last Ramadan, the catwalk star, who was born to an Egyptian father and a Moroccan mother, revealed that she donated to two mosques and She’s the First, a non-profit organization that fights gender inequality through education that Hammam is an ambassador for.
The model also donated funds to a mosque in Fisher, Indiana, to help them develop a prayer space for women and to the Islamic Cultural Center of New York.
Saudi actress Sumaya Rida personifies the zeitgeist of an era of change in the Kingdom
Sumaya Rida is a rising star of Saudi Arabia’s fledgling domestic film industry, empowered by the Vision 2030 agenda
Rida wants more investment in Saudi writers, producers and directors who can share the Kingdom’s stories with the world
Updated 07 May 2021
DUBAI: Cinema returned to Saudi Arabia just three years ago, when a 35-year ban was finally lifted. Since then, movie theaters have been springing up across the Kingdom, invigorating the domestic film industry and inspiring a growing cast of homegrown actors.
One rising star of modern Saudi cinema is Sumaya Rida, known for her breakout television roles in “Another Planet” and “Boxing Girls” and big-screen appearances in “Junoon” and “Roll’em” — among the first films to premiere in the Kingdom after legalization.
From early childhood, when she began performing in school plays, Rida knew what was her true calling. “I also used to make short films with my little sisters and brothers using my father’s Sony camera,” the 32-year-old told Arab News.
“I actually acted and directed short films when I was 12 years old. I loved how the whole family would gather to watch what I made, and to me it meant the whole world at that time, and filled me with passion.”
The Saudi-born actress moved to the UK as a teenager to attend the King Fahad Academy, an elite independent school in the London borough of Ealing. Even while completing an MSc in international marketing management at the University of Surrey, Rida kept up acting on the side, appearing in several commercials.
Following her studies, she spent five years in the world of business, but all the while felt a profound longing for the stage and screen. It took a chance encounter to set her on the right track.
“After working so much in the ruthless business world, I stumbled one day on Ali Al-Sumayin, a well-known, award-winning Saudi film and commercial director, who led me to the world of performing again,” Rida said.
While visiting Al-Sumayin at his office in Jeddah in 2017, Rida took part in an acting class. The familiar adrenaline rush of performing before an audience quickly came flooding back.
“I can’t describe the feeling,” she said. “I had a lot of butterflies in my stomach that day and I had this nostalgic feeling, so I told him I wanted a part in a show.”
Soon enough, Rida had recorded an audition and landed her first role. To prepare, she signed up for an intensive four-month acting course and one-to-one coaching with respected Turkish instructors, as advanced acting courses were not yet available in Saudi Arabia.
“In the Kingdom, we didn’t have any institutions for acting or performance training, so I had to do it the fast way,” Rida said.
“Every actor should have mentors, because they always direct you and show you different perspectives.”
Today, Rida performs in both English and Arabic. For one show she had to master the bedouin accent. “It was a bit challenging in the beginning, but it was fun,” she said.
Her latest project is a movie called “Rupture,” a Saudi-made psychological thriller directed by Hamzah Kamal Jamjoom, produced by Ayman Kamal Khoja and funded by MBC Studios.
Playing the lead, Rida portrays the journey of a Saudi woman struggling to save her marriage, and ultimately her life, from a villain with a twisted mind.
“I played against Billy Zane from ‘Titanic’ who is both a wonderful human being and a tremendously talented actor,” she said.
“The movie intelligently incorporated a few powerful themes in its thrilling narrative. One of these was about standing up for your own cultural values, even when relocating to another country.
“Another was about the importance of privacy and the dangers of oversharing on social media, and the third was about the concept of striking a balance between co-dependency and individual freedom in a marriage.”
Renowned Egyptian director Khairy Beshara says Saudi cinema has made a leap through the new generation of directors who are creating exceptional and brave films on a high artistic level. Click here for more.
For Rida, the most important part of the project was having the opportunity to play a strong, independent Muslim woman, standing up for herself, her family and her beliefs.
“It is honestly an honor and a rare opportunity to work with such gifted Saudi filmmakers and producers on this project,” she said.
“I’ve enjoyed Hamzah’s direction. His positive energy and passion were infectious. We will hopefully finish filming after Ramadan. I can’t wait to share this film. I’m excited because it’s one of the very few Saudi feature films that recognizes the struggles of Saudi women.”
The strict social codes and gender segregation of a much more conservative era meant that Saudi actresses were rare when Rida was growing up. Support from her family has been crucial, but so has been the opening up of Saudi society.
“The timing was very good because I started when Vision 2030 was taking place and I was going with it,” Rida said.
Under the Vision 2030 plan to diversify Saudi Arabia’s economy away from oil, the Kingdom has placed greater emphasis on the arts, opportunities for young people and the social and economic empowerment of women.
As a result, Saudi women are finding their voices and discovering their strengths — a journey Rida says she found key to becoming a professional actress.
“This helped me to understand myself. I wanted to tell stories. We have a lot of stories here in Saudi Arabia, and I wanted to feel, to be able to emote, to risk and share, and to be courageous and vulnerable as an artist. This is very fulfilling.
“The real fulfilment also lies in overcoming all the limitations that have been placed on humanity.
“I discovered that performing is a very fun thing. It’s very nurturing, fulfilling and it feeds the soul and your inner self.”
As an artist, Rida is still on a journey of self-discovery and building her confidence on camera. She hopes to try new characters, to help her develop “naturally and sincerely, because acting is a continuous process — we keep learning and evolving constantly.”
As for her country, Rida says she is thrilled to see so many changes taking place and to be part of a new wave of young actors and filmmakers shaking up the Saudi film industry. “This makes me very happy and optimistic,” she said, but acknowledges there is still a long way to go.
“I see very passionate actors every now and then, but I really believe that we need to work on ourselves more than we think. It’s not just getting a degree in performing or acting and that’s it — it’s a continuous process.”
Rida also hopes to see more young Saudis coming forward to share their stories with the world. “We need to not only invest in actors but invest more in writers, producers and directors, because it’s not the job of one person alone,” she said.
“Acting is not only the actor you see on the screen. Behind that there is a huge production.”
Without investment, training and opportunities, this potential cannot be mastered. The raw ingredient, nevertheless, is talent — of which the new Saudi Arabia has in abundance.
“It’s unlimited,” said Rida. “It’s infinite and it keeps evolving.”
Screenwriter Mariam Naoum works with acclaimed Irish filmmaker on Egyptian serial killer show
The acclaimed Egyptian screenwriter on her controversial career and her latest project about a pair of serial-killer sisters in early 20th-century Alexandria
Updated 08 May 2021
DUBAI: Egyptian screenwriter Mariam Naoum has been sued three times for the films she has made. For her, that’s not a sore spot — it’s a badge of honor.
“It makes me stronger, actually,” she tells Arab News. “I don’t think, ‘Oh, I got sued. I have to be more careful.’ I think, ‘OK. I got sued. I must have tackled something that is bothering people. I must have embarrassed someone who needed to get embarrassed.’”
Now, Naoum is working with acclaimed Irish filmmaker Terry George on a new true-crime series about twin serial killers in Egypt. George, an award-winning writer and director, has worked on such iconic films as “In the Name of the Father” (1993), “The Boxer” (1997), and “Hotel Rwanda” (2004).
The endeavor will see Naoum tackle one of Egypt’s most famous real-life stories — that of Raya and Sakina, the serial-killer sisters who wreaked havoc on Alexandria in the early 1900s.
It’s a story that has been told many times in many different ways in Egypt, but two things will distinguish Naoum’s upcoming adaptation. First and foremost, it will be made not just for an Egyptian audience, but a global one, with a planned rollout on international streaming platforms.
The screenwriter is no stranger to the scene, in fact It’s been more than 10 years since Naoum first turned industry heads with “One-Zero,” and she remains one of Egypt’s preeminent firebrand writers, one whose work enjoys critical acclaim and enduring popularity by focusing on issues facing everyday people, especially women.
Naoum, however, doesn’t push hot-button issues in her work in order to draw controversy. She does so to embolden those without a voice, and hopefully lay the groundwork for change. When “One-Zero” came out in 2009, Naoum was initially taken back by the lawsuit she was hit with for the film, but quickly realized that it was not a sign that she had failed at her mission.
“When I got sued, I was really shaking at first, but then I discovered that very few were actually against it. I actually reached people as I wanted, and they understood what I was talking about. A lot of people were supporting me. Then, at the box office, ‘One-Zero’ did very, very well. People really loved it because it was talking about them. So I said, ‘OK, I will follow my instinct. I will always have people that are against me, but I will put it behind my back,’” says Naoum.
While Naoum hasn’t been sued in six years, she doesn’t see this as a sign that her work has mellowed. If anything, she says, Egypt has begun to get used to her way of storytelling, and trust her voice and compassion for everyday people.
In one particular controversy in 2015 for her TV series “Under Control,” Naoum tackled substance abuse, something that was initially misunderstood by some viewers as an endorsement rather than a condemnation. As the series went on, however, the feedback began to change.
“And at the end, they were, like, thanking me because I made them think about this issue that people don't want to think about. Because of social standards in Egypt, people are really in total denial about what's happening to their kids. Something may be in the street, but it's in your house, but you don't know about it because you're putting your head in the sand. I had to fight these preconceptions and, in the end, I succeeded.”
Since Naoum is primarily focused on the issues that plague her society rather than pointing blame at anyone in particular, she often garners criticism from multiple sides, because everyone — from conservative to liberal — has truths they don’t want to face about themselves.
“Our society is very rich with characters and stories,” Naoum says. “And it is very controversial to dive into the fact that we have a lot of double standards in our society. So you have very traditional people that are doing things that we cannot imagine they would do, and you have people who you think are very liberal, but there are still very harmful or backward ideas inside their heads. We have all these differences and contradictions, but that gives us richness as characters. Even though it might be negative, it is richness nonetheless.”
First and foremost though, Naoum writes with everyday people in mind, not only as her subjects but as her audience. Her work, including “Under Control” and 2019’s “Between Two Seas,” is written as accessibly as possible, in part to bridge the divide in prosperity and eductation between Egypt’s social classes.
“I want to help less-educated people feel that they, too, are part of society — that they are heard, that they are seen, and that we feel what they feel,” says Naoum.
If Naoum has evolved as a writer, it is in showing more compassion to her characters, especially the men.
“I think, with experience and maturity, I learned how not to pass judgment on characters,” she says. “Instead of hitting my head against a topic, I learned how to maneuver, without losing what I want to say or the stories I want to tell.”
To create something that can be watched by audiences across the world, Naoum is collaborating with George who has spent his entire career unafraid to talk about hot-button topics.
“I started writing a Raya and Sakina story maybe three years ago, but then dropped it. Then this year I was contacted to co-write with Terry on the project. The universe seemed to make everything fall into place. When I spoke to Terry, I saw he had this new vision about how the story could be told, and I have been working with him to tackle it from different angles to add more layers to the subject than has been done before,” says Naoum.
Understanding the layers to Raya and Sakina’s story has been another development of her own maturity, as she understands that even those painted as evil by society actually have a more nuanced story that demands to be told.
“Once you have the experience, then you can you can dig in depth into all the components of these characters, and you can find a way to even look at these characters through a feminist lens. When I was young, it was a story about serial killers. Then when you have a deeper look, you start to see how they developed into what they became. No one is born as a killer. There was a journey that led to these murders. We are working on understanding what happened, and how Raya and Sakina became killers,” she explains.
For once, however, Naoum will be making something not just to hold a mirror back up to her own society. With “The Alexandria Killings,” as the show will be called, in what is planned to be a true-crime anthology series produced by Dubai-based company Yalla Yalla, she will have the opportunity to speak to the world about her home country.
“I will be working with Terry to help figure out what those misconceptions even are. And if foreigners are seeing us a certain way, maybe we can change this a bit. This is such a new experience for me. I'm looking forward for it,” she says. “It’s a huge challenge, but I think it's finally time to do it.”
THE BREAKDOWN: Saudi painter Nasser Almulhim discusses artwork inspired by loss
The Saudi painter, who made his debut at Art Dubai this year, discusses his artwork ‘Bright Pink Chasing The Blue Line’
Updated 07 May 2021
DUBAI: This piece is so personal. It means a lot to me. I painted it recently, after my brother-in-law passed away. I usually treat art as therapy. The reason why I paint is to release this hidden energy within the soul — the chaos within me. It’s a way of letting go of certain memories.
The first thing I did was to stretch a large canvas. I wanted to represent the beautiful memories between me and my brother-in-law and reflect what I’ve learned from his wisdom, brightness, and the love that he showed to his family. I even asked my young nephew Aziz to help me with this painting and to add his touches to the canvas to honor his father. There are flowers on the right side with funny childish colors. It was my nephew who painted them.
A lot of my paintings are pure abstract. I got influenced studying abroad in the United States, specifically by the New York school from back in the Sixties and Seventies — artists like Franz Kline and Robert Motherwell. Recently, I’ve been trying to add a sense of life to my painting through items that I see at my house, my mother’s and my grandmother’s house. It’s nostalgic, bringing certain memories into the present moment. I wanted to make it as happy as I could by using bright colors that represent my inner soul.
My brother-in-law, who lived in London, was into nature, health, antiques and vintage stuff. So that’s why I added a watermelon and vases. It adds part of his soul to this painting. I study the painting before I paint, but for this work, it felt more real; organic and raw. When I finished it, I felt alive.
The reason why I give random titles to my paintings is because I want the audience to question and react. When I finished the painting, I saw that most of the colors were pink, and I saw this blue line in the corner. I wanted to relate my soul and my brother-in-law’s soul. It’s like I’m chasing his brightness, his soul, to catch it if I can.