Hijabi heavy metal trio to make Indonesia’s debut at Glastonbury

Special Hijabi heavy metal trio to make Indonesia’s debut at Glastonbury
All-female Indonesian heavy metal band Voice of Baceprot performs in New York as part of its US tour in August 2023. (Voice of Baceprot)
Short Url
Updated 21 June 2024
Follow

Hijabi heavy metal trio to make Indonesia’s debut at Glastonbury

Hijabi heavy metal trio to make Indonesia’s debut at Glastonbury
  • Voice of Baceprot will play Glastonbury’s Woodsies stage on June 28
  • Hijabi trio has toured Europe, US, and was named to Forbes Asia’s 30-Under-30 list

JAKARTA: Hijabi heavy metal band Voice of Baceprot is set to become the first Indonesian act to perform at the UK’s iconic Glastonbury Festival next week, marking another milestone in the all-female trio’s trailblazing career.

More than a decade after first emerging, Voice of Baceprot was named in Forbes Asia’s 30-Under-30 list just last month. The group has toured Europe and the US, and released its debut album last year.

With lyrics that address issues from gender inequality to climate change, members of the group from Garut, West Java said on Friday that they hope to help improve the world for future generations through their music.

“We care about what’s happening around us, that’s why we make a lot of songs about what we ourselves experience, see, and hear. We only want the world that we live in to become a better place for the generations after us,” Firda “Marsya” Kurnia, who is the lead singer and guitarist, told reporters.

“We certainly feel excited and proud, especially after finding out that we are going to be the first Indonesian musicians to perform in Glastonbury. It will also be our first performance in the UK.”

Voice of Baceprot will play the Woodsies stage at Glastonbury on June 28, sharing the glory of performing at the legendary music festival alongside artists such as Coldplay, Dua Lipa and Cyndi Lauper.

“We will try to use this opportunity to also uplift Indonesian culture through music, including using tonal elements from Sundanese music,” Marsya said, referring to their ethnic origins.

Voice of Baceprot sings a mix of English, Indonesian and Sundanese — their native tongue. The word “baceprot” is Sundanese for “annoyingly noisy.”

Marsya met the other band members — drummer Euis Siti Aisyah and bassist Widi Rahmawati — at an Islamic boarding school and established the group in 2014.

Now in their early 20s, they have been overcoming prejudice and shattering stereotypes about Muslims and Islam.

“We try to introduce the other side that is closer to the truth,” Marsya said.
The band has already gained praise from Flea of the Red Hot Chili Peppers and Tom Morello of Rage Against the Machine, and was met with great interest during its 2021 and 2022 Europe tours.

“It was beyond expectation. Every time we have an international tour, I am afraid that no one will show up ... because we’re not that big yet,” Siti said.

“But after a few times performing there, we’ve seen how enthusiastic the audience was. Some would even wait for our performance.”

The trio’s accomplishments have also been noticed by the Indonesian government, which is supporting the group’s upcoming UK trip.

“This is a form of soft diplomacy,” Desra Percaya, Indonesia’s ambassador to the UK, told reports.

“Voice of Baceprot is truly taking up the role of Indonesia’s ambassadors and, of course, they are on a mission to make Indonesia proud.”

 


Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’
Updated 27 sec ago
Follow

Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

LOS ANGELES: Lebanese actress Cynthia Khalifeh is teaming up with Lucien Laviscount from “Emily in Paris” and Laura Marano of “The Royal Treatment” for the horror-thriller “Borderline.”

The former TV presenter is also eyeing future projects as she aims to achieve her Hollywood dream.

“I’m one step forward on the path to achieving my big dream since I was young, which is to act in international films. So, baby steps and I really feel like I am a bit closer,” Khalifeh told Arab News in an interview.

“It was a lot of risks that I had to take, a lot of just jumping on adventures where I didn’t have anything that was guaranteed.”

“Borderline”, a film shot in a specially constructed studio in Malta, highlights the darkest fears associated with dating apps.

“It talks about online dating and how sometimes you might go to meet someone you don’t know, and there’s a certain danger,” Khalifeh said.

The actress said the show is called “Borderline’ because, “they meet in a place located at the border between two countries, so there is no law applied from this country or the other, so anything can happen in this place.”

“The girl or I find myself stuck over there in one night, contained, in one place, trying to run away from this person but I face him at the end. I learnt a lot of fights,” she added.

About her co-star Laviscount, she said: “Lucien plays a completely different role than that of the handsome sweet guy that all girls fell for in ‘Emily in Paris.’ Here, you will not like him at all.”

Khalifeh’s contributions to the screenplay led to her role as co-writer of the film. Choosing horror to launch her global career, she hopes to dominate this year’s Halloween season.

“I started throwing ideas and then they told me, ‘You know what? Do you want to join in?’ It happened and I joined the writing team,” she said.


Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown
Updated 20 July 2024
Follow

Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

LONDON: Thanks in no small part to the COVID-19 pandemic, we never really got to find out what audiences made of 2020’s “My Spy,” in which CIA operative JJ (Dave Bautista) is forced to team up with precocious 9-year-old Sophie (Chloe Coleman) to take down an international arms cartel.

The movie’s cinematic release, and subsequent box office receipts, were curtailed by global lockdowns as the film went straight to streaming, and found an audience suddenly a lot more tolerant of decidedly average content.

Anna Faris as Nancy and Dave Bautista as JJ in ‘My Spy: The Eternal City.’ (Supplied)

You wonder if, had audiences been able to vote with their feet first time around, “My Spy: The Eternal City” might never have seen the light of day. For while this is ostensibly a comedy-action romp co-starring a teenager, it is also a weirdly violent, oddly graphic spy caper that does not seem too sure of what it is trying to be.

JJ and Chloe now live in suburban almost-harmony. He has taken a desk job so he can be at home more, while she rebels against his overbearing presence and constant demands she keeps up her spy training. When JJ offers to chaperone a school trip to Italy, he must balance being a cool stepdad with a rapidly unfolding plot to blow up the Vatican in which the pair become embroiled.

Returning for the sequel are Ken Jeong as JJ’s boss, and Kristen Schaal as his nerdy analyst Bobbi. But if you are hoping that continuity of casting means a coherent follow up to the 2020 original, you are in for a disappointment.

Chloe Coleman as Sophie and Dave Bautista as JJ on the set ‘My Spy: The Eternal City.’ (Supplied)

Director Pete Segal (also returning) starts off with the same familiar, comedic beats (and leans heavily on this franchise’s spiritual predecessors “Kindergarten Cop” and “The Pacifier”) but makes the baffling choice to turn up the violence.

The sequence with some attack budgerigars is a particular lowlight, and the bottom-drawer comedy with jokes about bodily functions and a fight involving a naked statue.

It is all a bit of a mess, which is a shame, because Bautista (so good with deadpan comedy in the Marvel movies) and Coleman manage to recreate some of the same chemistry that was one of the few good things about the original.

That film was not great, sure, but compared to this, it seems like a fondly remembered masterpiece.


Adidas faces backlash for dropping Bella Hadid from sneaker campaign

Adidas faces backlash for dropping Bella Hadid from sneaker campaign
Updated 19 July 2024
Follow

Adidas faces backlash for dropping Bella Hadid from sneaker campaign

Adidas faces backlash for dropping Bella Hadid from sneaker campaign
  • Shoes linked to 1972 Munich Games killing of Israeli athletes.

LONDON: Adidas on Friday dropped American model Bella Hadid from an advertising campaign for sneakers that are associated with the 1972 Munich Olympics, following criticism from pro-Israeli groups.

The German sportswear company apologized for the “upset and distress” caused by choosing Hadid, whose father is Palestinian, as the face of its relaunched SL72 sports shoes. The original version of the footwear was created for the 1972 Games, during which 11 Israeli athletes and a German policeman were killed by a Palestinian militant group.

The relaunch of the shoe last week drew criticism from the Israeli government, in a message posted on social media platform X, and several Jewish groups. They questioned the decision by Adidas to select Hadid to advertise a shoe originally associated with an event during which several Israelis were killed.

Adidas said it would “revise” its campaign and added: “We are conscious that connections have been made to tragic historical events, though these are completely unintentional, and we apologize for any upset or distress caused.”

Hadid has repeatedly made public comments critical of the Israeli government and in support of Palestinians over the years. In an Instagram post dated Oct. 23 last year she described the military campaign launched by Israeli authorities following the Oct. 7 attacks as “the most intense bombardment in the history of Gaza,” and lamented the loss of innocent Palestinian lives.

“US White House National Security Council dangerously says Israel ‘owes no one any justification’ and that it will have ‘no red lines.’ Innocent lives should always be justified in the name of humanity,” she added.

“Israel has completely shut off telecommunications and electricity across Gaza. Injured civilians currently can’t call ambulances. Medics are begging reporters to let them know where bombardments are happening, but reporters don’t know either because of the internet outage. The people of Gaza have nowhere to go. Children are dying. Please.”

The decision to drop Hadid from the campaign prompted a wave of support for the model on social media, with figures such as journalists Mehdi Hasan and Candace Owens criticizing Adidas. Some people called for a boycott of the company.
 


Mohammed Khoja pays homage to the Kingdom in latest collection 

Mohammed Khoja pays homage to the Kingdom in latest collection 
Updated 20 July 2024
Follow

Mohammed Khoja pays homage to the Kingdom in latest collection 

Mohammed Khoja pays homage to the Kingdom in latest collection 
  • The Saudi fashion designer discusses his new shirts, inspired by different regions of his homeland 

RIYADH: “I was very motivated by (the idea of) integrating my experiences as a Saudi and contributing to the creation of a more contemporary Saudi design identity through my point of view,” Saudi fashion designer Mohammed Khoja, founder of luxury label Hindamme, tells Arab News. “My ultimate goal is to open more doors and to spread Saudi culture to global audiences. 

“Hindamme has grown considerably since its inception, and I am very optimistic about what’s to come. I believe brands such as mine are proving to be more lucrative and I’ve observed an uptick in demand, and opportunities for growth, in recent months,” he continues. 

Hindamme is an old Arabic adjective that roughly “a harmonious aesthetic form.” That is what Khoja hopes to capture in each of his creations — combining a bold but minimalist approach to ready-to-wear fashion.  

Mohammed Khoja is the founder of luxury label Hindamme. (Supplied)

Hindamme’s “Season V” collection, for example, drew on color theory, and included “mood-enhancing” gradients as well as futuristic, nature-inspired themes in fabrics including velvet, nylon, and satin. Khoja debuted those designs in Paris in June last year, along with 15 other Saudi designers at a pop-up event called Emerge, organized by the Saudi Fashion Commission and MoCX, the Saudi Ministry of Culture's General Department of Innovation, in partnership with the Saudi Visual Arts Commission, the Saudi Culinary Arts Commission, and the Saudi Music Commission.  

“Season V” was designed during COVID-19 lockdowns, and was partly inspired by Khoja’s desire to “reconnect” with the Earth. It included a heat temperature-gradient blazer, which Khoja intended as a stark reminder of the threat of climate change. 

For his latest collection, his sixth, the designer was inspired by different regions of his homeland.  

“It is inspired by my love of travel and pays homage to the Kingdom’s drive to promote tourism. I designed pieces that were sort of like elevated post cards for every region — it truly is like a love letter to our cultural diversity. The new designs are also a lesson in visual storytelling; they invite you on a journey to discover each of these glorious regions.” Khoja says.  

Khoja says he spent months conducting extensive research. “I integrated the landmarks of each region that I felt were the most iconic and synonymous. Each design incorporates the iconography of that area, such as Jeddah, Riyadh, Aseer, Eastern Province and AlUla.” 

Here, Khoja discusses some of the pieces from his latest collection. 

AlUla 

“The ancient languages and rock art are important elements for AlUla because of its rich ancient history of Lihyanite and Nabatean civilizations, so I utilized it for the shirt. Along with the ancient inscriptions and carvings, the AlUla shirt is decorated with famous ancient sites and landmarks such as Hegra and Elephant Rock, along with the integration of the majestic Arabian leopard,” the designer says. 

Aseer  

Khoja’s Aseer silk shirt includes a hand-painted backdrop of Rijal AlMaa village, decorated with Al-Qatt Al-Aseeri patterns, which the designer credits as a major source of inspiration throughout his career. “Aseeri culture has always been a great influence. I grew up reading books about the beautiful crafts and how women of the region specialized in this art,” the designer says, adding that Al-Qatt Al-Assiri was also the inspiration for his debut collection. 

Jeddah  

“Jeddah is a colorful array of iconography representing the bright colors of the coastal city,” Khoja says. “Jeddah is very famous for its breathtaking sunsets and I wanted to present its sunsets as the centerpiece. The shirt also includes the famous fountain as well as architecture from Jeddah’s historical district, Al-Balad.” 

Eastern province 

“With the Eastern Province design, I featured iconic landmarks of the region, with refences to Jabal Qarra in AlAhsa, Ithra and Dammam Well No. 7 — the first oil well discovered in the Kingdom,” says Khoja. 

Riyadh 

“The Riyadh silk shirt is another piece of visual storytelling and features iconic modern-day landmarks of our beloved capital such as KAFD, Kingdom Tower, and Al-Faisaliyah Tower. It infuses the rich traditions of its past with a neon homage to Diriyah and motif patterns taken from old Najdi doors,” Khoja said.  


Institut du Monde Arabe’s ‘Arabofuturs’ examines singularities of the Arab world 

Institut du Monde Arabe’s ‘Arabofuturs’ examines singularities of the Arab world 
Updated 20 July 2024
Follow

Institut du Monde Arabe’s ‘Arabofuturs’ examines singularities of the Arab world 

Institut du Monde Arabe’s ‘Arabofuturs’ examines singularities of the Arab world 
  • We need to ‘stop seeing the Arab world as a block,’ says IMA curator 

PARIS: The latest contemporary art exhibition at the Institut du Monde Arabe in Paris — “Arabofuturs,” which runs until Oct. 27 — is, according to curator Élodie Bouffard, “built around the dynamic of the singularities expressed in the Arab world, and the singularity of each of the artists.” Those artists come from the Arab world and its diasporas, and include Saudi artists Ayman Zedani and Zahrah Alghamdi, Lebanese sculptor Souraya Haddad Credoz, Tunisian artist Aïcha Snoussi, and Moroccan artist Hicham Berrada. 

The show is divided into two parts: “Programmed Futures” and “Hybrid Futures.” In the first, Bouffard explains, the featured artists explore contemporary society, “capitalism, ultra-consumerism, the question of exile, the diaspora, and identities — often through a post-colonial approach.” 

The second part tackles imagined societies — the artists deploy aesthetic fictions that take visitors into organic worlds “that make us travel in time, and reflect on transhumanism, the future of the human, and the resilience of nature,” Bouffard says. 

Saudi artist Ayman Zedani's video installation at 'Arabofuturs.' (Supplied)

Both sections underline that the notion, and perception, of the future is personal, with each artist drawing on his or her personal experiences. 

The exhibition begins with a space dedicated to artwork from Gulf, and an introduction to the concept of Gulf futurism formulated by Qatari-American artist Sophia Al-Maria and Kuwaiti musician and conceptual artist Fatima Al-Qadiri in 2012 as part of a photo series and interview in Dazed magazine. It was, according to the IMA website, “a worried questioning of the accelerated hyper-modernization at work in the region.” 

“This article was a pivotal moment in Gulf futurism, having led the artists to become interested in the question of futures and science fiction,” explains Bouffard. 

Sophia Al-Maria et Fatima Al Qadiri's 'The Desert of the Unreal.' (Supplied)

Al-Maria’s “Black Friday” — a series of photographs and a video installation — questions the standardization of spaces and the loneliness that can stem from it. It is followed by Al-Ghamdi’s “Birth of a Place,” which was previously displayed at the Diriyah Contemporary Art Bienniale, and explores new architectures. 

“She's trying to create a new cosmogony — a new (example) of the skyline, the enhancement of heritage, and the future of metal and glass constructions, in environments where there’s a real material and architectural cultural,” notes Bouffard. 

The aim of this section is to present the different approaches to architecture, heritage, identity, and exile in the Gulf and North Africa.  

A still from Larissa Sansour's 'In the Future They Ate From the Finest Porcelain.' (Supplied)

“Themes pertaining to the future of societies can be rooted in their past,” Bouffard says. “It is our job at the IMA to stop seeing the Arab world as a block. We wanted to show that there is not just one future. When we talk about the future, everyone thinks of video games and artificial intelligence, but futures unfold in all forms. We thought it would be interesting to reflect on artefacts, paintings, ceramics, and organic material.” 

Al-Ghamdi, for example, used leather, an organic material in “Worlds to Come,” while Berrada used metal to create hybrid masks combining insects, plants, and humans in “Les Hygres.” Elsewhere, Credoz worked with ceramics “to shape coloured magma and build post-apocalyptic organic worlds,” Bouffard says. 

A piece from Hicham Berrada's 'Les Hygres.' (Supplied)

Snoussi, meanwhile, “recreates manifestos that bear witness to past societies that have disappeared, leading to Arabic writing, but also to Amazigh, with a theme of symbolism that recreates bridges between the present and the future.” 

Palestinian artist Larissa Sansour contributes “In the Future They Ate From the Finest Porcelain,” a video from 2015 featuring archaeological activists burying porcelain bearing a keffiyeh motif, an attempt to make future claims on this territory. 

“She highlights the politicization of archaeology in Israel and Palestine in this video, which has a particular resonance today,” Bouffard says.