Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women

Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women
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Updated 08 November 2024
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Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women

Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women

DUBAI: Saudi artist Fatimah Al-Nemer has devoted herself to depicting narratives of women through her multimedia art, which merges collage, photography and tapestry. From childhood, her life was shaped by the female presence, she says, whether that meant family members or characters in legends.  

Al-Nemer comes from Al-Qatif in the Eastern Province, one of the oldest cities in the Kingdom. “Imagine,” she says, “it’s an area that existed 600 years before Jesus.” She now lives on Tarout Island just off the coast of Al-Qatif. The island’s name is possibly derived from Ishtar, the Mesopotamian goddess of love and war — it was here that she was expelled, abandoned by her community.  




“Color of Life.” (Supplied)

Al-Nemer claims that every household in her hometown holds some form of artist within its walls. “Al-Qatif’s rich cultural history affected us all,” she says. “It was a magical city, attracting tradespeople from Persia and Anatolia. We grew up with these stories.”  

Her mother, who had an eye for design, was her earliest supporter. She provided her daughter with art materials and didn’t even scold her for painting on the walls of their family home. “She even paid for my art classes,” Al-Nemer says. “She always called me the artist of the family. If my mother wasn’t by my side, it would have been impossible for me to become an artist.”  

For the young Al-Nemer, drawing and painting was her only outlet for self-expression. “As a child, I was fearful and endured social anxiety, so I would only express myself through art,” she says. “It boosted my confidence. I used to draw on walls and on paper. If I was sad or happy, I would draw about what was making me feel that way. I was impacted by art and it became a language for me.”  




Al-Nemer with “Malak,” one of her works. (Supplied)

By the time she was 18, Al-Nemer had shifted from taking art classes to teaching them, and had already participated in some exhibitions. She also worked as a jewelry designer in a gold factory. And in 2009 she took the decision to travel abroad to further her studies. 

She went to Jordan, where she enrolled as an interior design student at the Philadelphia University in Amman, exposing herself to a cultural openness offered by the capital city.  

“In Jordan, people were highly cultured. Its environment was rich with artists and poets. You’re not just studying art there, you’re also going to the theater. I even performed there,” she says. 

In the early days of her art career, Al-Nemer experimented with oil paintings and charcoal, depicting classical, surrealistic and symbolist scenes. At one point, she was solely making self-portraits, which she says caused some issues with family members and others, particularly when they were published in magazines and newspapers.  




“Gold.” (Supplied)

“I think I was saying: ‘I am Fatimah. Accept me for who I am. I am an artist and I represent this identity and my culture and I am proud of it,’” she explains.  

Eventually, though, she expanded her focus to include women other than herself. She has been inspired by personal stories from fellow Saudi women. “I used to listen and live their stories as if I was the heroine of their tales,” she says. 

In her large, detailed, carpet-like artworks, which are full of ornamentation and native cultural symbols, she pays tribute to Saudi and Arab women, adorned in traditional attire while holding objects related to her homeland, such as a musical instrument or an incense burner. They reflect her attachment to her roots.




“Princess of the North 1.” (Supplied)

“I try to embody the Arab woman with certain admirable qualities. She is the butterfly, the mother, the sister, the doctor. She is the giver,” says Al-Nemer. “She is not just a figure; there is a universe within her. It is like a letter of appreciation for all that she stands for and has given to society.”   

She also treats these images, which she started making nearly a decade ago, as research-like documentation of traditional Saudi dress and cultural symbolism, focusing on specific areas of the Kingdom (beginning, of course, with her own hometown).  

Often, she depicts women with their mouths or eyes covered. In part, this is to encourage viewers to focus on the details surrounding the women in her portraits, but it also reflects some of the creative limitations she experienced when younger, when it was frowned upon to make figurative art in the Kingdom. Now, however, as Saudi Arabia opens up, she feels more free in her practice.  

“As artists, our lives have changed 180 degrees,” she says of the current Saudi cultural scene. “Art has become more than a profession.”  


Dutch artist Vincent Ruijter’s exploration of heritage and ethnicity on show at Noor Riyadh

Dutch artist Vincent Ruijter’s exploration of heritage and ethnicity on show at Noor Riyadh
Updated 01 December 2024
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Dutch artist Vincent Ruijter’s exploration of heritage and ethnicity on show at Noor Riyadh

Dutch artist Vincent Ruijter’s exploration of heritage and ethnicity on show at Noor Riyadh

RIYADH: Dutch artist Vincent Ruijters explores themes of identity and self at the ongoing Noor Riyadh, the annual Saudi festival of light and art. The festival runs until Dec. 14.

At this year’s edition, Ruijters digs deeper into hybrid cultures through the interplay of light, shadow and fabric. “This is telling my own story from a very personal way. But by doing that, hopefully connecting to all kinds of people,” Ruijters told Arab News. 

Set in a studio in the Jax District, one of the three main festival hubs, “Selintas Selalu” is a kinetic installation. (Supplied)

Set in a studio in the Jax District, one of the three main festival hubs, “Selintas Selalu” is a kinetic installation: a steel-based structure stands at the center of the space where strips of red fabric hang off vein-like rods. A light is suspended in the center while steel light structures with sharp metal spikes frame the surrounding walls. 

The work came about after three months’ research in Indonesia, where the work was created. While he was born and is based in the Netherlands, Ruijters’ mother is a seventh-generation Indonesian, with family roots going back to China.

These multi-ethnic groups, referred to as Peranakan, demonstrate a fusion between Chinese and Indonesian culture. “They have their own arts, colors, patterns, music, and their own culture,” he said.

The Betawi people, native to Jakarta and its outskirts, blend cultures including native Indonesian, Arab, Chinese and Portuguese. 

“Actually, a lot of Chinese and Asians immigrated after the independence of Indonesia after the Second World War because the colony was over. So, they went to the Netherlands and America, and then they had children like me, but those children do not know about their ancestors,” Ruijters said. 

Taking ownership of his own difficult history, he decided to research the topic not just for himself but also “for my other generations of Chinese Indonesians living in the Netherlands, younger people, to show them: this is your heritage,” he said. 

Dutch artist Vincent Ruijters explores themes of identity and self at the ongoing Noor Riyadh. (Supplied)

The mix of cultures is realized in the motifs: the sun-shaped lamps on the periphery which are reminiscent of kembang kelapa decorations, the petal shapes at the structure’s base that are popular in Javanese batik dyeing techniques, and the red fabric, which is made in collaboration by Chinese and Indonesian craftsman with a special red color, associated with the Peranakan culture. This fabric was specially made in a batik house for this project.

“To make big installations, it’s never one person,” Ruijters said. “So, I was always trying to emphasize this as part of a team. I worked with an Indonesian electronic engineer, with a Dutch electronic engineer, with the batik workshop house for the fabric … I’m more like a guide to the creative process,” he said. 

The artwork branches out from the light in the center, a symbol of Ruijters’ ancestors. As time progresses, the lamp moves forward, symbolically straying from those strong roots of the past, toward the twiggier branches at the forefront, leading us to the present. 

Shadowplay is an important element, because it preserves Indonesian culture through shadows as a means of accessing an inner world. “You can feel your ancestry; you can feel the past shivering and whispering to you. And this is similar, I think, to the guiding light that is the constellation of the theme … I think shadow is a beautiful way of expressing that, because you cannot touch it. It's there, but it’s also not,” he said. 


Elyanna lights up New York Times Square billboard

Elyanna lights up New York Times Square billboard
Updated 01 December 2024
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Elyanna lights up New York Times Square billboard

Elyanna lights up New York Times Square billboard

DUBAI: Palestinian Chilean singer Elyanna recently lit up New York’s Times Square when she was featured on a Spotify Arabia billboard, highlighting the streaming platform’s “Equal” playlist.

Under the name “Equal Arabia,” the local version of Spotify’s Global Music Program aims to amplify the work of women creators by using the platform’s resources and generating more opportunities for these creators through delivering a global, cohesive and branded experience.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Spotify (@spotifyarabia)

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Elyanna (@elyanna)

Each month, Equal Arabia spotlights an ambassador of the month, focusing on their new music release and encouraging fans to discover them, and Elyanna was picked as the latest feature, promoting her new track “Janni.”

Elyanna has enjoyed a record year, sharing the stage with British band Coldplay on NBC’s “Today” show in New York in October, performing their song “We Pray.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Elyanna (@elyanna)

The track is part of Coldplay’s new album, “Moon Music,” which was released that month. Joining Elyanna and the British band on stage was Argentine singer and actress Tini, who is also featured on the song. 

Elyanna also released her own Arabic-language version of the track on Sept. 20.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Elyanna (@elyanna)

Elyanna made her “Saturday Night Live” debut the same month, teaming up with frequent collaborators Coldplay on stage to perform the song. The singer took to Instagram to celebrate the milestone after the show by reposting footage of backstage rehearsals recorded minutes before she hit the stage. 

The “SNL” performance came just days after the 22-year-old appeared at iHeartRadio Music Festival in Las Vegas to perform the same song.

Elyanna is expected to perform live with Coldplay again when the band heads to Abu Dhabi for four shows in the UAE capital in January 2025. The band will perform as part of the “Music of the Spheres World Tour” on Jan. 9, 11, 12 and 14 at Zayed Sports City Stadium.

In August, she was on stage in Dublin to perform “We Pray” in Arabic. She performed alongside rapper Little Simz, Nigerian singer Burna Boy and Tini.

“I’m still in awe of last night! Sharing this moment with all these amazing artists on @coldplay’s stage felt so wholesome,” she told her 1.7 million followers on Instagram. “I sang ‘We Pray’ in Arabic, I sang for hope and, most importantly, for my hometown Palestine.”

The Los Angeles-based singer’s music is a mix of Arab and Western influences, which she attributes to her multicultural upbringing.


‘Moana 2’ dials up its Pacific Island influences in grown-up sequel, say filmmakers

‘Moana 2’ dials up its Pacific Island influences in grown-up sequel, say filmmakers
Updated 30 November 2024
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‘Moana 2’ dials up its Pacific Island influences in grown-up sequel, say filmmakers

‘Moana 2’ dials up its Pacific Island influences in grown-up sequel, say filmmakers

DUBAI: Out now in cinemas across the Middle East, Walt Disney Animation Studio’s highly anticipated “Moana 2” reunites audiences with its seafaring heroine (Auli’i Cravalho) and her best buddy Maui (voiced by Dwayne Johnson).

Directed by David Derrick Jr., Jason Hand and Dana Ledoux Miller, the sequel sees Moana journey to the far seas of Oceania for a new adventure after receiving an unexpected call from her wayfinding ancestors.

The filmmakers said that they were especially committed to representing the Pacific Island communities and peoples respectfully and with integrity, and that meant turning to the Oceanic Cultural Trust once again for guidance.

As with the first film, the “Moana 2” filmmakers assembled a team of cultural experts in anthropology, history, dance and movement, canoes and navigation, linguistics and various cultural practices from the Pacific Islands.

“I think we’re just really fortunate to work with our Oceanic Cultural Trust, led by Kalikolehua Hurley. We all care really deeply about the world of ‘Moana,’ and want to get it right. We definitely wanted to be intentional about the cultural nuances and home in on it, whether it was with clothing or designs in any way, but we also just wanted to create a movie that felt true to what it means to be from the Pacific,” said co-director Hand in an interview with Arab News.

“I would say that we really let Moana sort of dictate where the story goes,” added co-director Ledoux Miller. “We were really intentional about building off that foundation of the first film and thinking really carefully about what that first journey was. It was a story of identity and of her really coming into her own. So, it felt like a really natural extension that we would continue that idea of self-growth and evolution. We love the idea that as you grow as a leader, you learn new things about yourself, and you have to realize that you never stop discovering new depths to yourself and new things that you’re capable of.”

Being of Samoan descent, Ledoux Miller said that she felt the weight of representing her community through filming and beyond.

“I would say it’s front of mind even right now, it’s every day. To be a part of making the key creative decisions for creating this film was truly an honor, but absolutely a responsibility as well. I feel very protective of my community, but I feel protective of Moana too. I’m also like a Moana fan, and I want to do right by her, but I couldn’t be prouder of what we put together, and I’m so excited for my family to see this. I think I’ll breathe a little easier once they do,” she said.

One of the main new characters we meet in “Moana 2” is Simea, Moana’s younger sibling (voiced by Khaleesi Lambert-Tsuda).

“The first film was really about Moana connecting to her past, and as this story is really all about the future and where she is going to bring her people, it made so much sense to put in an emotional relationship that she has with her little sister, and that embodiment of the future is right there for her. I think you really fall in love with the relationship from the first moment that you see them together, and that lasts all the way until the very end of the film,” Hand said.


Dubai-based Lindsay Lohan thanks fans for hit Netflix film

Dubai-based Lindsay Lohan thanks fans for hit Netflix film
Updated 30 November 2024
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Dubai-based Lindsay Lohan thanks fans for hit Netflix film

Dubai-based Lindsay Lohan thanks fans for hit Netflix film

DUBAI: Dubai-based Hollywood star Lindsay Lohan took to Instagram to thank fans after her latest festive film “Our Little Secret” became Netflix’s No. 1 streamed movie this week.

“Thank you for everyone who tuned in,” she wrote on Instagram Stories.

The actress — who is married to Kuwaiti financier Bader Shammas — also showed her appreciation for the MENA region when she appeared on “The Tonight Show Starring Jimmy Fallon” recently in an outfit from Lebanese designer Zuhair Murad’s Resort 2025 ready-to-wear collection, which included a black, long-sleeved top with structured shoulders and silver jeweled detailing down one side. The ensemble was completed with a matching black skirt, paired with black heels.

Lohan also attended the premiere of the romantic comedy in a Murad outfit, choosing a black gown from the label’s spring/summer 2025 ready-to-wear collection. The sleeveless dress featured a plunging neckline with two statement crystal-embellished motifs at the midriff.

The flowing skirt incorporated sheer panels, and she topped off the look with open-toe black heels and subtle jewelry, and her hair in soft waves.

“Our Little Secret” tells the story of Avery (Lohan) who is planning to spend Christmas with her boyfriend’s family. Things take an unexpected turn when she discovers that ex-boyfriend Logan (played by Ian Harding) is also joining the festivities, as it transpires their current partners are siblings. Avery and Logan must navigate the holiday while ensuring their former relationship remains a secret.

Lohan will next be returning to her Disney roots by reuniting with Jamie Lee Curtis for next year’s “Freaky Friday” sequel, titled “Freakier Friday.”

The film was shot over the summer and had Lohan feeling like a child again, she told ABC’s “Nightline.”

“I think really for me was when I went onto the Disney lot,” Lohan said. “And being back on the Disney lot because that’s not just ‘Freaky Friday’ for me. That’s ‘The Parent Trap,’ that’s ‘Confessions of a Teenage Drama Queen,’ that’s ‘Herbie.’ It’s so many moments for me. So when I got there, I kind of felt like this essence of a little kid again.”

“I’m so grateful for every moment of it, every second,” she said of being back on the lot. “I’m going to, like, get emotional. It’s a great experience.”


‘Incredible experience’: Pakistani artisans urge stronger cultural ties at Saudi exhibition

‘Incredible experience’: Pakistani artisans urge stronger cultural ties at Saudi exhibition
Updated 30 November 2024
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‘Incredible experience’: Pakistani artisans urge stronger cultural ties at Saudi exhibition

‘Incredible experience’: Pakistani artisans urge stronger cultural ties at Saudi exhibition
  • The handicrafts week in Riyadh featured over 500 artisans who displayed a blend of traditions and skills
  • Pakistani participants say they were delighted to see Saudi women entrepreneurs in huge numbers

KARACHI: Pakistani artisans participating in Saudi Arabia’s International Handicrafts Week, Banan, on Friday called for deepening cultural ties between the two nations, emphasizing the role of art and crafts in fostering mutual understanding.
The exhibition, held in Riyadh from Nov. 23 to Nov. 29, featured over 500 artisans from 25 countries, showcasing a vibrant blend of traditions and skills.
The event, organized by the Heritage Commission of the Saudi Ministry of Culture, highlighted the role of crafts in promoting cross-cultural dialogue.
Several Pakistani artisans were facilitated by their embassy to participate in Banan and represent their country’s rich culture.
“It is important to explore the ties between Pakistan and Saudi Arabia through a cultural lens, which has started to happen,” Danish Jabbar Khan, CEO of Kaarvan Crafts Foundation and a participant at the event, told Arab News over the phone.
“The cultural exchange is the way forward for two countries to understand each other," he continued. "It’s simpler and long-lasting. People-to-people exchange is very important that such platforms allow.”
Khan’s foundation works with rural communities, particularly women, to preserve traditional crafts such as truck art, blue pottery and woodwork.

This handout photograph, shared by Pakistani artist Ejaz ul Allah Mughal on November 29, 2024, shows a general view of his stall featuring tuck art at the Pakistan pavilion during the Saudi International Handicrafts Week, Banan, in Riyadh. (Supplied/Ejaz ul Allah Mughal)

“The experience [of participating in the exhibition] was phenomenal,” he said. “The culture here is so open in terms of its scale, work, and inclusion. I am delighted to see Saudi women entrepreneurs in huge numbers.”
A highlight of the exhibition was truck artist Ejaz ul Allah Mughal, who created custom pieces for attendees.

This handout photograph, shared by Pakistani artist Ejaz ul Allah Mughal on November 29, 2024, shows his work, featuring portraits of King Salman of Saudi Arabia and Crown Prince Mohammed bin Salman, at his stall featuring tuck art at the Pakistan pavilion during the Saudi International Handicrafts Week, Banan, in Riyadh. (Supplied/Ejaz ul Allah Mughal)

“I am happy that I represented Pakistan,” Mughal said, adding: “Though language was a barrier, art knows no boundaries. People here really appreciated my craft. Truck art is famous worldwide, so people know about it.”
Mariya Suhail, who uses a diverse range of Pakistan’s gemstones in jewelry, also took her craft to Banan. She set up Pakistan’s first gemstone cutting and processing facility in Lahore over a decade ago, though she later launched her own label, Orah Jewels.
Suhail's work blends Pakistan’s diverse gemstones into jewelry and home décor.

This handout photograph, shared by Pakistani artist Mariya Sohail on November 29, 2024, shows her stall at the Pakistan pavilion during the Saudi International Handicrafts Week, Banan, in Riyadh. (Supplied/Mariya Sohail)

“People here picked up gemstones from Pakistan and loved it," she told Arab News. "There is a lot of demand for Pakistani products here. People of Riyadh also have a very positive outlook towards Pakistan.”
She maintained that despite the language barrier, there was a lot of learning, networking and exposure.
“Cultural exchange is very important," she added. "I wish we can have more such events and opportunities to present this very beautiful image of Pakistan. It's been an incredible experience here.”

This handout photograph, shared by Pakistani artist Mariya Sohail on November 29, 2024, shows visiting children at her stall at the Pakistan pavilion during the Saudi International Handicrafts Week, Banan, in Riyadh. (Supplied/Mariya Sohail)

The Embassy of Pakistan in Riyadh also commended the artisans’ participation, calling the Pakistani pavilion a testament to the country's rich cultural heritage and the unparalleled quality of its craftsmanship.
"From intricate handmade designs to traditional artistry passed down through generations, the showcased crafts highlighted the deep-rooted legacy of Pakistan's artisan community,” it said in a statement.