DUBAI: The Miss Universe Bahrain Organization announced this week that its beauty pageantwill take place in July as it released the official trailer on social media.
“Miss Universe Bahrain 2022 is back and we are here to find a beautifully confident woman to best represent the modern Bahraini women - knows how to speak her mind, knows what she believes in and knows that she is beautifully confident,” said Josh Yugen, president and national director of the organization.
Yugen said that the main aim of the competition is to “redefine the standards of beauty and the stereotypes around it.”
He said that for the new edition, he and his team prepared “exciting and interesting activities” that will help them know more about their candidates through a mentorship program.
The first edition of Miss Universe Bahrain, which took place last year, crowned model Manar Jess Deyani, who made history for being the shortest-ever candidate of the Miss Universe pageant standing at 154.9 cm.
She also made waves when she chose not to wear a traditional swimsuit at the show’s preliminary round, receiving a lot of support and recognition from women and the community she represents.
Deyani said in a released statement that Miss Universe Bahrain changed her life. “Competing at the Miss Universe last December made me realize that the world is so big, and we need to open our hearts and souls to accept and respect our cultural differences because at the end of the day, we are all the same, and we live in the same world,” she said.
“I am so excited to meet the next lucky girl who will wear the prestigious title of Miss Universe Bahrain 2022,” added Deyani.
NYU Abu Dhabi Gallery to host first-of-its-kind show on Gulf modern art
Updated 24 sec ago
DUBAI: The NYU Abu Dhabi Art Gallery is set to stage an exhibition documenting modern art movements in the Arabian Peninsula in September.
Widely regarded as a first-of-its-kind show, the exhibition is titled “Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula, 1941-2008” and will run from Sept. 6-Dec. 11.
Curated by Aisha Stoby, who helmed the inaugural Oman Pavilion at this year’s Venice Biennale, the show is a historical survey of twentieth century modern art movements across the Arabian Peninsula, collectively known in Arabic as the “Khaleej.”
The show will introduce modern audiences to the collectives that sprang up in the 20th and 21st centuries, including Kuwait’s Al-Mubarakiya School, which has been active since 1941, and Saudi artists Mohammed Racim (1911-1974), Mounirah Mosly, Safeya Binzagr, Abdulhalim Al-Radwi and Abdullah Al-Shaikh. The show also features work by Mohammed Al-Saleem and Abdulrahman Alsoliman from The Saudi House of Fine Arts in Riyadh.
By the 1950s, Bahrainʼs Manama Group had formed, with the following two decades seeing the emergence of Qatar’s The Three Friends collective and the UAE’s Group of Five, in addition to pioneering solo artists — all of which will be represented during the upcoming showcase.
“An exhibition like this is quite rare, a kind of opening salvo and call to action, offering new vistas on art history and art practice in this region Executive Director of The NYUAD Art Gallery Maya Allison said in a released statement. “Rather than a definitive survey, this project sets us on a journey to explore the under-studied — and, for some people, unknown — emergence of modern art in the Arabian Peninsula over the last century. It is a profound honor that Dr. Stoby will present her original research with us, in this exhibition that was many years in the making. I thank her for partnering with us for this crucial, pathbreaking project.”
For her part, curator Stoby noted that “many of the works in this exhibition will be on view for the first time in decades… enhanced by the presence of rare and archival material, ‘Khaleej Modern’ creates a space and offers resources for learning and re-understanding our own histories. More broadly, we hope the exhibition will contribute to wider regional and global understandings of modern visual art.”
What We Are Reading Today: Anna Karenina by Leo Tolstoy
Updated 01 July 2022
“Anna Karenina” by Leo Tolstoy is widely regarded as one of history’s greatest works of literature.
The novel, first published as a complete work in 1878, is centered around a love affair between Anna and Vronsky, a Russian military officer, with the book’s characters highlighting the conflict between socially accepted norms and human desire.
Despite being married to Alexie Karenin, Anna has a scandalous affair with Vronsky and moves to Moscow with him. There they live together as a married couple.
When he finds out about the affair, Anna’s husband gives her an ultimatum: Leave Vronsky and keep the family’s reputation intact — or never see her son again.
Tolstoy is still revered as one of history’s greatest authors.
Born to an aristocratic Russian family in 1828, he was a master of realist fiction, and produced plays, essays and short stories.
His most famous works include “War and Peace,” “Resurrection,” “The Death of Ivan Ilyich” and “The Kingdom of God is Within You.”
Tolstoy received nominations for the Nobel Prize in Literature every year from 1902 to 1906, and for the Nobel Peace Prize in 1901, 1902, and 1909.
Award-winning filmmaker Ali El-Arabi finds his voice through film
The award-winning Egyptian filmmaker on his moving refugee doc ‘Captains of Zaatari’ and future plans
Updated 01 July 2022
DUBAI: Nearly 10 years ago, Egyptian filmmaker Ali El-Arabi, the award-winning documentarian behind “Captains of Zaatari,” which hits Netflix this month, made a promise. He was in the Zaatari refugee camp in Jordan, the largest temporary settlement of displaced Syrians in the world, and a teenaged boy he had just met named Fawzi Qatleesh asked if he could speak his truth to the camera.
“On the first day I arrived, he asked me, ‘Ali, can you film me? I want to say something to the people outside of this camp.’ The second he started to talk, I said to myself, ‘This boy is my hero,’” El-Arabi tells Arab News.
Qatleesh had dreams. He wanted to become a professional footballer. More importantly, he wanted the people outside those fences to know the truth of the refugee experience. He didn’t want pity, he told El-Arabi, he only wanted opportunity.
As the film hits Netflix this month in the Middle East, El-Arabi is overjoyed. Finally, after seven years of filming and a years-long global festival tour, his promise is fulfilled.
“I lost a lot of money, to be honest, because I refused to sell the film to a smaller platform that might limit its reach. That was for Fawzi — because of that promise I made him on the first day. I told him to say what was in his heart, and I would tell everyone in the world his story. That has been my mission ever since,” says El-Arabi.
El-Arabi knew what it felt like to have a message that people needed to hear. He was himself once an athlete, a dedicated and successful martial artist, even winning Egypt’s national kickboxing championship. During the Egyptian revolution, however, El-Arabi abandoned any future he might have in sport, instead turning towards filmmaking.
“I started to feel I had something to say, but I couldn’t say it with my voice,” he says. “I realized filmmaking was the way I could say it. I started making small documentaries about what was happening and screening them in the street. One day, the police came and I took my film and I ran. That made me realize the power of what I could say with a camera.”
El-Arabi left Egypt, partnering with the ZDF TV channel to film documentaries in war zones including Iraq, Syria, Kurdistan and Afghanistan. War reporting, however, was unfulfilling, as it so often stripped away the humanity of those caught in its horrors.
“Refugees and the victims in the war were all just numbers. It was the news, and the news just wanted statistics,” El-Arabi says. “I couldn’t process it that way. These were people, and I knew there was more going on than the news could report.”
After meeting Qatleesh and his friend Mahmoud Dagher — the two boys he would ultimately follow from the refugee camp in Jordan all the way to an elite soccer program in the Gulf — El-Arabi filmed them for seven years before whittling their story down to a scant 75 minutes, resulting in a story that showed their incredible journey while also refusing to gloss over the realities of refugee life.
Nonetheless, the film is bursting with hope, and El-Arabi’s proudest moments have come showing the film not to the outside world, as he originally intended, but to those in similar circumstances to Dagher and Qatleesh when he first found them.
“We screened it at a refugee camp in Lebanon, and person after person came up to me to tell me that, for the first time, they could think about the future. They said the film showed them that they could not only have dreams, they could achieve them. I will never forget that,” El-Arabi says.
Since its limited release in 2021, the film has already transformed the lives of both young men whose story it follows.
“They’re stars now. They feel it. Even some football clubs have watched the film and want to give them opportunities,” El-Arabi says. “The government of Jordan and the leaders in the camps respect them. Children in the camps are looking to them as role models. I speak to them all the time, and it’s wonderful to watch, even though they also feel the pressure from their families that they need to start delivering on their promise as soon as possible, and transforming their situation too.”
While he may be done telling their story, El-Arabi has been hard at work over the last few years on another — “Ashish’s Journey” — about the upcoming FIFA World Cup. It is inspired by a man who approached him in Qatar as he filmed “Captains of Zaatari.”
“An Indian man came to me one day and asked if he could take a picture with me. He thought I was a soccer player, and he told me he wanted to send the picture back to his family,” El-Arabi explains. “He told me, ‘I came here to watch the World Cup. But I didn’t have money to come, so I came here to work now, so that I could meet the famous players one day. I thought you were one of them.’”
The more time El-Arabi spent with the man, the more his innocent aspirations intrigued him, leading him to not only film Ashish in Qatar, but to follow him and his family back to India, even adding fictional elements (with Ashish playing himself) inspired by the classic French satirical novella “Candide” to the docu-film.
While El-Arabi knows that he will finish filming later this year at the World Cup, chronicling Ashish’s adventures during the games, he does not plan to rush the film out in the immediate aftermath of the event.
“I want to savor the material. I don’t want to rush it for a big festival. I love working on this film. I don’t want to kill the process — kill everything I’ve put into this — just to have something done fast,” he says.
El-Arabi has other projects in the works as well. He’s currently producing a film about Algeria and discussing producing an upcoming project with his best friend Mohamed Diab, the director of Marvel’s “Moon Knight.” Closest to his heart, though, is the fiction film he has in the works between Los Angeles and Egypt, inspired by both his own history in boxing and his relationship with his father.
“We’re talking to major international stars (about) it,” he says. “It’s a story that takes a lot from my own experiences with my family, and nearly every time I pitch it to people they cry. One person I work closely with, as soon as I finished, said they had to leave room to call their father.”
While telling Arab stories will remain a key part of El-Arabi’s career moving forward, ultimately what drives him is not capturing his identity — it’s capturing his soul.
“I will tell Arab stories, but I don’t think a lot about telling stories about the Arab world,” he says. “I think about humans. That’s all I’m interested in.”
The French connection: Louvre opens exhibition of artefacts from Byblos
Updated 01 July 2022
PARIS: A new exhibition at Paris’ Louvre Museum illustrates the longstanding cultural relationship between France and Lebanon.
“Byblos et le Louvre,” which runs until Sept. 11, is a unique display of archaeological artifacts from the Lebanese seaport town of Byblos (also known as Jbeil), one of the world’s oldest continuously inhabited cities.
Visitors will find ceramic jars, small figurines, cuneiform tablets, and ancient weapons on display, some of which are thousands of years old. Despite their age, many of the items are in remarkably good condition.
“What is amazing is the pottery, which looks like it’s been made yesterday,” Tania Zaven, an archaeologist of Lebanon’s Directorate General of Antiquities, told Arab News.
For Louvre archaeologist Julien Chanteau, who was on site during recent excavations, Byblos is a hugely significant site with a lot of stories to tell.
“It’s a very small site, maybe six hectares. But you can read all the history of mankind there, from the Neolithic period until today,” Chanteau said. “Byblos is like a book.
“You have all cultures and civilizations: The Egyptians, the Canaanites, the Phoenicians, the Romans, the Greeks, and the Arabs have all left traces on this site,” he continued. “It’s very impressive for an archeologist to have such an amount of information. It’s like a chronicle of humanity.”
Under Napoleon III, the first French-led excavations in Byblos began in 1860, led by scholar Ernest Renan. He brought many objects back to France, and released detailed publications of the excavation.
Excavations have continued to the present day — although they were interrupted in the Seventies because of the Lebanese Civil War. In 2018, a scientific excavation program was relaunched, pairing archaeologists and experts from the Louvre Museum and the DGA. They have explored the area’s royal underground chambers, tombs, and temples.
Zaven noted some of the challenges of undertaking archeological missions in Lebanon, including security and looting. “Every day we are working against illicit trafficking,” she said. “We wanted to have this exhibition to show that Lebanon is still here. We believe in our culture and we want our culture to stay alive.”
In October, the exhibition will travel to a museum in the Dutch city of Leiden. It will also be exhibited, next spring, in an old house in Byblos, coming full circle.
The founder of the brand presented various designs in a spectrum of colors, inspired by the bold and bright hues of India.
A complete turnaround from his previous men’s collection, which featured all-white ensembles, this season, the designer went back to the brand’s roots with colorful fabrics and experimental silhouettes.
His aim was to intensify the senses and make the audience look at the details of each garment — the silhouette, the neckline and the surface decoration — rather than focusing on “looks.”
“I was also inspired by India’s diversity — from culture, religion, languages, geography and everything in between,” he added. “Their unique differences while building one nation really inspires me — I want to dig deeper and find out how this uniqueness made them create dimensional colors that we only see within our naked eyes.”
The event, which kicked off on June 28, presented the Spring/Summer 2023 collections of more than 10 regional and international designers, including Lebanese brand Maison du Mec, London-based label Permu, Beirut fashion house Tagueule and Dubai-based couturier Michael Cinco.
The first day of the fashion week kicked off with a collaboration between Swiss tech accessories brand Ferronato and Maison du Mec that was a mash up between fashion and technology.
The collaboration featured soft leather backpacks, micro smartphone cases, multi-functional clutches and slouchy drawstring bags in shades of blue and burgundy. A life size robotic dog, representing Ferronato’s innovative accessories, closed the show.
For Permu, designers Heyun Pan and Jing Qian presented daily ensembles and occasion wear that featured skin-tight tops, bucket hats, backwards-facing blazers and jackets with cut slits, puffed sleeves and exaggerated shoulder pads.
Tagueule’s silky trousers and shirts in monochrome shades were featured on the same runway as vests and cargo pants outfitted with utilitarian pockets and straps.
Cinco’s designs were marked by a sunset color gradient ranging from orange and yellow to black. Capes and kandoras were a salute to Emirati culture, while an array of smart, sporty sets spoke to a wider clientele.