Jordan’s Crown Prince Hussein posts newborn photo on social media
Jordan’s Crown Prince Hussein posts newborn photo on social media/node/2567970/lifestyle
Jordan’s Crown Prince Hussein posts newborn photo on social media
Jordan’s Crown Prince Hussein bin Abdullah took to social media on Monday to post a picture with his newborn daughter, Princess Iman bint Al Hussein bin Abdullah II. (Instagram)
Jordan’s Crown Prince Hussein posts newborn photo on social media
Updated 19 August 2024
Arab News
DUBAI: Jordan’s Crown Prince Hussein bin Abdullah took to social media on Monday to post a picture with his newborn daughter, Princess Iman bint Al Hussein bin Abdullah II.
“With my precious one,” he captioned the post, where he’s seen wearing his military uniform as he holds the royal baby.
At her birth, King Abdullah posted a tribute to his granddaughter on social media. Translated from Arabic, the post reads: "I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.
“We ask God to raise her well and protect her for her parents. You have lit up our family.”
Queen Rania also took to social media to write, “Praise be to God for His greatest gifts … You have brightened our lives with our beloved granddaughter Iman. May God keep her with us. Congratulations to Hussein and Rajwa, and may God fill your lives with blessings and contentment.”
Sheikha Hala bint Mohammed Al-Khalifa: ‘Our beautiful and diverse Bahraini heritage shaped my identity’
Updated 16 December 2024
Lama Al-Shethry Sayidaty magazine
MANAMA: “Colors awaken something in the soul, and art is part of public culture and the driver for creativity and beauty.”
With these words, artist and CEO of the Nuwah Foundation Sheikha Hala bint Mohammed Al-Khalifa began an interview with Sayidaty magazine.
Daughter of Bahrain, she is a rare personality who needs no introduction — she embraces Arab cultural and artistic depth and leaves a special creative imprint that pushes forward her country’s identity in its Arabic language.
Sheikha Hala bint Mohammed Al-Khalifa
Sheikha Hala bint Mohammed Al-Khalifa is a Bahraini artist who is passionate about museum education. Colors awaken parts of her soul, and fine art captures her mind and sparks inspiration.
She believes in the role of cultural institutions in boosting knowledge, familiarizing societies with history, and stimulating creative minds that help with society’s advancement.
She has worked on developing a wide range of programs, including “Food is Culture,” as well as documentaries as part of the Oral History Project.
She has also contributed to preserving intangible heritage and took part in the Artist in a School initiative.
Sheikha Hala believes that things start with a small idea, which subsequently matures and eventually develops.
This rare passion was inherited from her mother, leader of the Arab cultural and art scene Sheikha Mai bint Mohammed Al-Khalifa, who taught her that ancient history fuels the perceptions of the present. She also taught her that historians’ writings, grounded in reflecting on history, can feed museums’ contemporary insights and the way societies are presented and studied through their artistic creations.
First of all, tell us about the world of art, heritage and culture. What does it mean to you and what attracted you to it?
I belonged to the world of art from a young age; it has always been my inspiration. To me, colors are significantly important as they stimulate me to awaken something in my soul. Fine art and colors have the greatest impact in my heart. I draw from them vast spaces of thought, reflection and inspiration. As for culture, it is part of the vibrant fabric of any society. Our heritage, with its beauty and diversity, constitutes all parts of my identity.
How do you see the contributions of Gulf women to drawing attention to museums, and raising awareness about their importance, through the initiatives led by women like you, along with Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, Latifa bint Mohammed Al-Maktoum, Princess Haifa bint Mansour Al-Saud, and Layla Al-Dabbagh?
Gulf women have (left) a clear mark on our society. In the artistic and cultural arena, for example, there are women who, through their education and passion, have started a clear renaissance and we are proud of their creativity. Through their work and dedication they contribute to the creation of the most beautiful spaces for texts in this sector.
Sheikha Hala is passionate about museum education. (Courtesy: Sayidaty magazine/Ali Rifai)
Gulf and Arab women are currently in their golden era. How do you see their empowerment process?
Women in our countries have always gone through important stages, and I see in them the continuity of their grandmothers’ and families’ pasts. I think modern Gulf women took the most beautiful legacy and worked on communicating their countries’ identity to the world.
There is a constant debate about the importance of learning art compared to innate talent. What is your point of view on this subject?
Talent without refinement, education and training cannot reach its full potential. Talent is a blessing from God, but every creative artist, every master craftsman, and every talented writer must continue to learn, as education opens up broader prospects for development. Talented people must also keep pace with the local and international scenes. It’s important to see, read, and listen to the experiences in our field of work to increase our knowledge.
How do you describe the reflection of the Gulf and Arab identity in artistic work amid globalization and, shall we say, the crisis facing the Arabic language in the lives of new generations?
Regarding the artistic movement in our region, it receives significant support. This can be seen during the cultural and artistic seasons, conferences, forums, exhibitions, periodical art biennales, and updated museums that break local identity and speak to recipients through various artworks.
I believe that the Arab identity is present in the mind of creators, as well as this generation’s artists. However, I regret to say that we tend to resort to foreign languages when we speak and write as (it is) an easier path to expression, and we forget the depth and importance of maintaining our identity through our Arabic language!
I really hope that the new generation of artists will go back to this rich language and take pride in it so it can withstand the globalization challenges surrounding us. In this regard, I recall the words of poet Ahmed Shawqi, who said: “He who filled languages with charms, instilled beauty and its secret into the Arabic language.”
As an artist, what are the challenges facing Gulf and Arab artists?
The challenges faced by any artist, whether in our homelands or in the world, is to be true to their art, meaning to present an art piece that stirs emotions and creates a unique imprint in the world of art. This is the biggest challenge.
Every artist has their own language of expression, but when presenting an art piece their message must be profound and carry something unique to them.
What has art added to you, and how has it influenced your personality from childhood until today?
Art is an integral part of who I am, and it naturally drives my work across all its fields. It enriches the soul and becomes the main centerpiece of a place. Art is part of the general culture, and the driver for creativity and beauty.
Sheikha Hala advises young artists to always open the door to knowledge, listen to every new idea, and draw inspiration from culture, local identity, and personal experiences. (Courtesy: Sayidaty magazine/Ali Rifai)
Is there a particular global experience, whether cultural or artistic, that touches on a specific issue and that you think is a remarkable model?
There are many important experiences that left a distinct mark. I am part of this region, and I am immensely proud of the position that arts have reached in our countries, especially the Gulf Cooperation Council countries which have focused on building museums of the highest standard, creating a comprehensive cultural climate and providing new spaces for work.
There are also various specializations needed in these institutions and museums, and this plays a vital and pioneering role in supporting the cultural economy sector and the growth of the creative industries.
Let’s talk about family. You grew up with parents who were interested in poetry and art. How did that contribute to supporting your career path and personal growth?
I am truly grateful for the support I received from my parents since childhood. Family support is one of the most important foundations for building self-confidence and motivating people to pursue their dreams. My parents are my first supporters, and because of that I was able to study art at university. For the record, none of them objected to me entering this field, which opened wide opportunities for me to work under the umbrella of arts and culture.
I believe that family discovers any talent their children have, provides them with a beautiful education that is open to diversity, and believes that talent has the vast potential for growth, helping them progress and develop their skills as it shapes a future of contribution and work from an early age.
Based on your experience as a mother, how would you describe your relationship with your children, and does history repeat itself with your support of their talents now that you have shifted from being a daughter to a mother?
Children are a blessing from God, and motherhood is a beautiful feeling. Of course, it is an experience from which I have learned a lot. My relationship with my children is based on love, transparency in communication and friendship, and this is important to break any barriers of fear or embarrassment. I deal with them with love, and I always receive even more love in return.
You have had important milestones, starting from your studies to your Gulf and international contributions, the responsibilities you have assumed, and now your position as the director general of culture and arts at the Bahrain Authority for Culture and Antiquities. What is the most important lesson you have learned from this journey?
The most important lesson I have learned in my work in cultural institutions and others is the importance of loving the work itself. I believe that successful work is based on believing in and loving the goal. Without that, we will not progress, and our output will have no value. The main driver is having faith in the work itself and doing it with a loving and believing heart. In order to succeed any work must be surrounded by sincere hearts and a team that supports the vision and the goal.
In your opinion, what is the role of arts and culture in building human bridges between civilizations?
Arts and culture constitute the vital bridge between nations and peoples, and the driving forces for movement and knowledge transfer between diverse societies.
Sheikha Hala has worked on developing a wide range of programs, including “Food is Culture,” as well as documentaries as part of the Oral History Project. (Courtesy: Sayidaty magazine/Ali Rifai)
Bahrain is a pioneer in the world of arts, and is rich with both seasoned and young talents. How do you view the development of the art scene over the decades?
What distinguishes Bahrain and its cultural and artistic movement is that it possesses an abundance of creative young energies. Its land nurtures talents and supports their growth. This extensive and profound cultural fabric has provided young creators with a significant space for contribution. I believe that civilization, history, and local identity play a major role in shaping the current cultural scene.
What is your advice to young artists?
My advice to young innovators is to always open the door to knowledge, listen to every new idea, and draw inspiration from their culture, local identity, and personal experiences. This ensures that their work is genuine and carries a part of who they are.
How do you express your emotions through art?
Art, for me, translates the psychological state surrounding me. Anxiety, in many instances, generates an important painting, and sometimes the driving force behind a piece is simply a specific message. This message gets translated into the artwork.
In many of my works, there were distinct messages, such as the subject of the “gargoor,” a traditional fishing tool, which repeatedly appeared in many pieces I worked on, as well as the “burqaa” of the bird which inspired many of my creations.
There’s also the theme of war, displacement, and the use of boats that painfully transport people from one place to another in search of a better and safer life.
These subjects inspire me to explore an artistic language that manifests (itself) in a painted canvas or an installation piece carrying within its details a certain message.
You radiate wonderful positive energy. How do you maintain your passion despite life’s pressures?
Positivity and a smile are essential. Life is full of challenges, but I always try to hold on to hope. Optimism is the faith that leads to achievement, as the poet Aboul-Qacem Echebbi said: “Take life as it comes to you, smiling, whether it holds laurels or ruin in its palms.”
Outside of art, what activities do you enjoy during your free time?
Reading, cooking, and enjoying nature. The sea is especially important to me, and being near it always brings me a sense of tranquility. I also love spending time with family and friends.
What does travel mean to you? Is there a destination you prefer?
Travel is important for renewal, learning, and enjoying different atmospheres. Visiting museums and discovering new things are, of course, what attract me the most. I love seeing different societies and getting to know other cultures.
You mentioned that you grew up reading Sayidaty, and we are delighted to feature you on the magazine’s cover on the occasion of Bahrain’s National Day. Do you have a message for this occasion?
Sayidaty magazine, throughout its years of publication, has been distinguished by its immense contributions. Currently, we see a qualitative development in its content and pages, as it always focuses on showcasing the best of what our Arab world possesses.
I am happy to be part of this special issue celebrating my homeland, the Kingdom of Bahrain, on its National Day. I wish my country and all Arab nations growth, prosperity, and peace.
DUBAI: British pop superstar Dua Lipa showed off heels by Jordanian Romanian footwear designer Amina Muaddi in New York in a look put together by celebrity stylist Jahleel Weaver.
A long-time stylist for Rihanna, who collaborated with Muaddi on a Fenty shoe collection in 2020, Weaver opted for the designer’s Ursina Pump for songstress Lipa.
Lipa showed off the heels during an appearance on “The Late Show With Stephen Colbert” that will air on Sunday night in the US.
British pop superstar Dua Lipa showed off heels by Jordanian Romanian footwear designer Amina Muaddi. (Getty Images)
The pop star is currently in the middle of the “Radical Optimism Tour,” which kicked off in Singapore in November before she wrapped the Asian leg of the world tour with a show in Seoul, Korea, on Dec. 5.
There are 68 shows already on the schedule and Lipa will next head to Australia in March.
For her part, Muaddi is busy promoting her winter season collection. The designer’s latest collection, titled Drop 24/25, launched in October. In early December, she used Instagram to promote winter-friendly shoes including the Veneda stretch boot, the Anok bootie and the Lila slipper.
Since launching her eponymous footwear line in August 2018, Muaddi has attracted a loyal following of celebrities including Gigi Hadid, Kylie Jenner and Hailey Bieber. Her brand, known for its distinctive footwear, bags and jewelry, has quickly become a favorite among the fashion elite.
Since the launch, Muaddi has enjoyed a series of successful events, notably her collaboration with Rihanna’s Fenty collection. Their partnership earned the Collaborator of the Year award at the 34th FN Achievement Awards in 2020.
A year later, Muaddi’s influence and success were further recognized when she was named one of Women’s Wear Daily and Footwear News’ 50 Most Powerful Women.
Dev Patel at the RSIFF: ‘Monkey Man’ is love letter to India
Updated 14 December 2024
Shyama Krishna Kumar
JEDDAH: British actor Dev Patel has come a long way from his first appearance in hit teen TV drama “Skins,” all the way back in 2007. This year, the BAFTA-winning and Oscar-nominated actor — with an eclectic resume to show for it — graduated to filmmaker status with his directorial debut “Monkey Man,” in which he also stars.
On the sidelines of the Red Sea International Film Festival, Patel revealed that “Monkey Man” was his love letter to India, “the country that’s formed me most personally and professionally.”
An action revenge film that drew comparisons to the Keanu Reeves-starring “John Wick,” “Monkey Man” follows an anonymous young man (Patel) as he unleashes a campaign of vengeance against the corrupt leaders who murdered his mother — all while wearing a Hanuman (Hindu monkey deity) mask. The film, featuring heavy socio-political commentary about wider systemic issues in India, is still waiting to get a release in the country.
“With all relationships, there’s a push and pull, there’s a love and a hate, and you need to work through things. And part of the process of ‘Monkey Man’ was working through some of the anger and rage I felt, which was also mirrored by my some of my best friends and family members that live there,” Patel told Arab News.
“And one of the topics is, obviously, how religion can be weaponized and how you can mobilize a huge mass of people into a place of anger and conflict. And how it can not only be a deadly weapon, but it can also be a beautiful teacher and a source of empathy and, particularly for an uneducated child, that this iconography can be a huge inspiration,” he said.
Patel also wanted to use the movie to talk about violence against women in India. According to the latest data from the National Crime Records Bureau, the rate of crimes against women in India (calculated as crimes per 100,000 women) increased by 12.9 percent between 2018 and 2022.
“I knew someone that was actually killed in a horrible act of sexual violence. And I dated Frida (Pinto) when we did ‘Slumdog Millionaire,’ and I spent a lot of time in India. And during the time of the Nirbhaya incident, I’ve never, to this day, felt such rage. And so that was during the kind of birth of what I was writing, there was a lot of rage in there, too,” said Patel, referring to the 2012 Delhi gang rape and murder, commonly known as the Nirbhaya case.
“And then a lot of love came from my best friend Raghu who lives in Mumbai. He taught me about Indian classical music. And I was like, ‘Wow, this, this art form!’ I grew up listening to grime music, like rap and Arctic Monkeys and whatever. And so, to understand about Indian classical music… I was like, ‘OK, I want to write a training montage of this.’ And so there’s a lot of that in there. There’s Indian heavy metal music. There’s like, you know, my love of the auto rickshaw and ‘Batman’ put together in what I call the poor man’s ‘Batman Batmobile.’ It’s in there.”
Patel described the film also as a Trojan horse to introduce American viewers to “culture and flair,” along with some socio-political messaging.
“I’m a huge lover of action cinema. My first exposure to cinema in general is Bruce Lee, and I think that the seed of watching him in ‘Enter the Dragon’ has been percolating in my mind ever since I was a small boy. And I guess that in the inception of the idea, it was like, ‘How can we get a large audience in America … How can we feed them vegetables without them knowing it?’” he told Arab News.
“So, the film in itself is a sort of Trojan horse of, like, we can access these guys that watch the ‘John Wick’ movies and the action movies and actually give them a heavy dose of culture and flair, and actually some socio-political kind of subjects as well. Make it accessible. And there were a few things that I wanted to get off my chest, which I managed to put in there too,” he added, laughing.
Patel said that he was a “man possessed” during the making of the film, which he shot in the thick of the COVID-19 pandemic.
“It required so much of me, birthing this little weird Gremlin baby movie thing. At times, I was like, ‘Oh, probably, I’m gonna die making this thing.’ It was so tough, and not only emotionally during the time of the pandemic, but physically, what I put myself through? And you’ve got over 500 people in a bubble on an island, and you’re dealing with a lot of humans going through a really rough time in history where we had no certainty of anything, and you’re trying to make a movie. And everything got thrown at me on it. And so, it was kind of life imitating art, in the sense of the movie being an underdog story, and the actual film itself being this unquenchable little flame that kept kind of existing. So, yeah, I’m really proud of it now, in hindsight, now that the dust has settled.”
Now that he has realized his childhood dream of making an action film, what’s next? “There’s quite a few stories that I’m excited to tell, all weird ones. I’ve been working on a creature feature about the immigrant journey via the lens of a beast. I’m working on a rally driving movie in Kenya that we’re developing. We’re doing a film in the Highlands of Scotland. There’s so much on the slate,” he said.
RSIFF 2024: Johnny Depp ‘resonates’ with Modigliani, subject of his latest directorial
Hollywood superstar directing again after 27 years
Praises Red Sea festival for giving artistic ‘freedom’
Updated 14 December 2024
SALEH FAREED
JEDDAH: After making “The Brave” in 1997, Hollywood star Johnny Depp is stepping behind the camera once again as a director for “Modi, Three Days on the Wing of Madness.”
The movie is about Italian bohemian artist Amedeo Modigliani on 72-hour whirlwind through the streets of Paris during the First World War.
In an engaging roundtable conversation held recently at Sharbatly Cultural House, ahead of the gala screening of his movie at the Red Sea International Film Festival, Depp said: “‘The Brave’ was an unhappy experience.
Depp’s leading actor, Scamarcio, was full of praise for his direction, which he described as free-flowing and respectful. (Supplied)
“But for this film, I have more freedom and I was able to feel free like a giant toddler. Actually, I feel fortunate to be given the opportunity, along with such a great cast and crew.”
Appearing in his signature style, a mix of vintage clothing, layered outfits and accessories, Depp told the journalists in the room that he was first approached about the project by actor Al Pacino.
He recalled Pacino saying: “‘Hey Johnny, do you remember that Modigliani project I was going to do? Why don’t you direct it?’ I never thought that I would ever direct again after 27 years. So, how could I refuse Pacino? For some reason, I said, ‘Why not?’”
When you are in AlUla or around the historical area here in Jeddah, that’s the stuff I want to film. I am really fascinated with Saudi Arabia’s culture and history.
Johnny Depp, ‘Modi’ director
“Definitely, it is a positive experience (making ‘Modi’),” he added.
The movie, which is supported through the Red Sea International Film Financing program, is based on a play by Dennis McIntyre and tells the story of the famous painter and sculptor Modigliani during his time in Paris in 1916.
The cast is led by actors Pacino, Riccardo Scamarcio, Stephen Graham, Antonia Desplat, Bruno Gouery, Ryan McParland and Luisa Ranieri.
Depp’s leading actor, Scamarcio, was full of praise for his direction, which he described as free-flowing and respectful. “It was so great working with Depp and (he) made us act in comfort with no limitations or restrictions,” said Scamarcio.
Asked by Arab News about what attracted him to Modigliani’s story, Depp said: “Modigliani was, of course, one of the great contemporary artists of all time. But he also represented an era and point of view where new possibilities still existed. His vision fascinates me.”
“I admit that everything Modigliani ever stood for, and continues to stand for, resonates deeply within me,” said Depp.
Speaking about his partnership with the Red Sea International Festival, Depp explained: “They have been very supportive and they have the ability to do films and allow the process to be as organic as you can imagine. They really gave me the freedom to do whatever I want,” he said.
He revealed that he has plans to paint with Saudi Arabia’s visual artist Ahmed Mater. “I really admire his work and last time we met in London, and also at his studio in Jeddah, we agreed to do some paintings together.”
He continued: “Listen, I am not a stranger to Saudi Arabia and I really enjoy a great relationship with Saudis. For future plans, I am hoping to capture in my upcoming films the beautiful landscape it has.
“When you are in AlUla or around the historical area here in Jeddah, that’s the stuff I want to film. I am really fascinated with Saudi Arabia’s culture and history.
“In addition, I really admire the warmth of Saudis who I consider a very kind and respectable people.”
Behind the scenes of ‘Christian Dior: Designer of Dreams’
The French fashion house’s milliner Stephen Jones discusses the Riyadh exhibition
Updated 13 December 2024
Jean Grogan
PARIS: The exhibition “Christian Dior: Designer of Dreams” — currently showing at Riyadh’s Saudi National Museum until April — is a tribute to the famed French fashion house’s long-running excellence. British milliner Stephen Jones, one of Dior’s master creators, was heavily involved in the creation of the exhibition.
Jones’ big break came in 1982, three years after graduating from Saint Martin's School of Art in London. He appeared in the video of UK pop group Culture Club’s hit single, “Do You Really Want To Hurt Me?” wearing a red velvet fez of his own design. This caught the eye of acclaimed French designer Jean Paul Gaultier, who invited Jones to Paris to design the hats for his womenswear collection.
“I took advantage of his long lunch break to draw like crazy,” Jones told Arab News. “When he came back, he selected 25 of my sketches.”
Jones’ hats proved a huge success and provided the then-28-year-old designer an entry into the Paris fashion stratosphere. He quickly found himself working with the likes of Thierry Mugler, Claude Montana, Azzedine Alaïa, Rei Kawakubo, and John Galliano.
It was the latter who intoduced Jones to the Christian Dior team in 1996. Dior is the only fashion house in the world to have an integrated haute mode (hat design) atelier, which Jones has directed for the past 28 years. . During that period, he has worked alongside Galliano (1996 to 2011), Raf Simons (2012 to 2015), Maria Grazia Chiuri (since 2016) and Kim Jones (since 2018).
“If there's a hat in Dior, I've had a hand in it!” he said with a smile.
With which of the designers at Dior have you had the most creative affinity?
I think each designer at Dior has had a completely different process, and a completely different view on hats, so I can’t compare them. For John Galliano, it was part of the storytelling; for Raf Simons it was a mid-century gesture; and for Maria Grazia Chiuri, my brief was to make a hat that every fashionable young girl in the world would want to wear. So, they’re all completely different briefs that cannot be compared.
Was your visit to Riyadh your first time in the Middle East? What were your impressions of Saudi Arabia?
I worked on the “Christian Dior: Designer of Dreams” exhibition in Doha in 2021. However, the selection of dresses is very different this time. I had been to Saudi Arabia once before, and I think it’s an extraordinary place. The people there are extremely hospitable and kind, and it is, of course, very hot compared to England. Some of the landscapes are extraordinary, especially the desert. I went to the Edge of the World, which is one of the most spectacular places I have ever visited in my life.
Were there any surprises during the installation of the exhibition, unearthing looks from past collections?
When we were installing the hats, some of the looks I remembered, some I didn't. But many have never been shown before, so it sometimes feels like I’m seeing them for the first time. I think the ultimate surprise for me was the Desert Beauty room, because there were many looks I had never seen before. Each and every one of them is so full of memories. It’s like asking me, “Tell me about your children.” Each one needs a specific set of skills, which was a story illuminated by the clothes. Each one reflected the designers’ approach to Christian Dior.
Do you remember every single hat you have designed?
More or less, yes. And when I remember it, I can really feel it, I can see the thought process behind it, I know the weight of it, the texture of it.
How many hats have you designed in the course of your career?
I would say about 100,000, at a conservative estimate.
Is there a hat in the exhibition that is particularly significant to you?
Obviously, the Bar suit hat (from Christian Dior’s first collection), because it was one of Dior’s favorite creations, and I continue to be astounded by its modernity.
Dior wrote in his 1954 “Little Dictionary of Fashion”: “Without hats, there is no civilization.” Would you agree?
Yes. A hat is transformational. A hat makes all the difference.
