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.”

 


REVIEW: Arab Australian debut cultivates hope, solidarity in rural New South Wales

REVIEW: Arab Australian debut cultivates hope, solidarity in rural New South Wales
Updated 06 March 2025
Follow

REVIEW: Arab Australian debut cultivates hope, solidarity in rural New South Wales

REVIEW: Arab Australian debut cultivates hope, solidarity in rural New South Wales

JEDDAH: Escaping personal strife, a Muslim single mother carves a space for herself in the heart of rural Australia in “Translations,” an engrossing debut novel by Australia-born Palestinian-Egyptian writer Jumaana Abdu.

Set in New South Wales in the period just after the COVID-19 era with the threat of bushfires looming, the novel explores one woman’s efforts to cultivate not only the land but also a sense of belonging and identity on foreign soil.

In this story of self-discovery and resilience, Abdu intricately weaves in the broader theme of solidarity between First Nations of Australia and Palestinians — two nations grappling with colonization, dispossession and cultural erasure.

The novel’s title could be a reference to not just the transformation of the land through re-vegetation and restoration, but also the translations that characters undertake to bridge linguistic, cultural and emotional gaps between them — translation in this sense is portrayed as the language of solidarity and resistance.

Hidden within the trope of new beginnings in a small town, Abdu paints a powerful picture of mutual recognition and respect, of shared struggles, and the healing potential of intercultural bonds.

This is unveiled through Aliyah’s interactions with the community into which she slowly, and sometimes reluctantly, begins to integrate, including her conversations with Shep, the reserved Palestinian man from Gaza who she hires as a farmhand, and Billie, the wise and nurturing Kamilaroi midwife.

Love and faith are also focal elements in the story. Love in its many forms — romantic, familial, and communal — acts as a balm to past wounds for the Arab and Aboriginal characters, while faith, both in the divine and in human resilience, guides Aliyah, and her childhood friend Hana, through despair toward hope.

“Translations” is a profound exploration of not just the complex interplay between identity and trauma, but also a look at how love can bridge divides, and how shared histories of resistance can unite different peoples in their quest for peace and understanding.

In one pivotal moment in the story that carries a deep message, Shep discusses displacement and the “chain of loss and expulsion” with Billie’s husband Jack, an Aboriginal character, who poignantly says: “You want to wish for something, wish for the return of the land’s dignity.”


What to wear this Ramadan: A selection of seasonal collections from regional brands 

What to wear this Ramadan: A selection of seasonal collections from regional brands 
Selma Benomar
Updated 06 March 2025
Follow

What to wear this Ramadan: A selection of seasonal collections from regional brands 

What to wear this Ramadan: A selection of seasonal collections from regional brands 

DUBAI: With Ramadan underway, fashion brands across the region have unveiled their latest collections. From embroidered kaftans to flowing abayas and statement accessories, these collections offer a variety of options for both daytime gatherings and evening celebrations. Whether rooted in Saudi, Moroccan or Lebanese craftsmanship, each label brings a unique perspective to modest fashion this season.  

Amarah 

The Saudi brand’s Ramadan edit has not only abayas and kaftans but also jewelry to accessorize your modest looks this month. Their gold crescent-shaped hoop earrings, adorned with blue and green beads, will add a decorative touch to your outfits. Another standout piece is this deep green velvet ensemble with intricate embroidery, featuring a dramatic cape and tiered skirt. 

Amarah's Ramadan edit has not only abayas and kaftans but also jewelry to accessorize your modest looks this month. (Supplied)

Dal  

The Saudi label’s Ramadan capsule collection showcases a variety of fabrics and colors, featuring organza with raffia collar embroidery and sand satin. Earth-toned pieces incorporate crochet details and hand-stitched craftsmanship. The collection highlights ethereal drapes and artisanal techniques, showcasing a blend of traditional methods and contemporary construction. 

Dal's Ramadan capsule collection showcases a variety of fabrics and colors. (Supplied)

LN Family  

Dubai-based LN Family has launched its first Ramadan collection, featuring four abayas in a classic neutral color palette. The designs incorporate flowing silhouettes in satin, crepe and sheer fabrics. From muted earth tones to black with feathered accents, the collection balances cultural heritage with modern wearability for Ramadan gatherings. 

Dubai-based LN Family has launched its first Ramadan collection. (Supplied)

ASHAALIA 

ASHAALIA’s Ramadan collection, designed by creative director Asheema Razak, merges Eastern craftsmanship with European influences. The collection features hand-beaded abayas in silk and satin, adorned with intricate embellishments. Earth tones, blacks, and jewel-toned greens all feature, and the collection as a whole showcases Razak’s multicultural heritage and a focus on sustainable techniques and materials.

ASHAALIA’s Ramadan collection, designed by creative director Asheema Razak, merges Eastern craftsmanship with European influences. (Supplied)

DUHA  

Duha, founded by Tunisian designer Duha Bukadi, is offering a Ramadan footwear collection, in which one of the standout designs is the EVA line, which includes crystals arranged in the shape of a foot on the front part of the shoes, making them statement pieces as well as practical choices for Ramadan celebrations. The collection also includes BB Strass heels in silver, gold and black. The sandals are adorned with small metallic studs along the straps and heel counter.  

The collection  includes BB Strass heels in silver, gold and black. (Supplied)

Orient 499  

Orient 499’s collection is apparently inspired by the classic book “Alf Leila Wa Leila” (1001 Arabian Nights). It features kaftans, abayas and jellabas with intricate hand embroidery, silk brocades and gold accents. The men’s collection includes embroidered tunics, tailored jackets with metallic detailing, and relaxed linen shirts, incorporating traditional motifs and artisanal stitching. 

Orient 499’s collection is apparently inspired by the classic book “Alf Leila Wa Leila” (1001 Arabian Nights). (Supplied)

Selma Benomar 

Selma Benomar’s Ramadan collection is influenced by her Moroccan heritage and features contemporary kaftans and flowing gowns crafted from silk, chiffon, velvet and organza, adorned with hand embroidery, beading and metallic threadwork. The color palette ranges from earthy tones to vibrant jewel hues, reflecting the season’s spirit and there are options for both daytime and evening gatherings. 

Selma Benomar’s Ramadan collection is influenced by her Moroccan heritage. (Supplied)

Dima Ayad  

The Lebanese designer’s collection highlights her signature silhouettes in earthy tones and metallic finishes. The collection includes kaftans, kimonos and dresses designed for versatility, and featuring feather-trimmed sleeves, geometric metallic prints and voluminous draping. A key part of the collection is The Flower Edit, which incorporates embroidered florals and shimmering sequins.  

Dima Ayad's  collection highlights her signature silhouettes in earthy tones and metallic finishes. (Supplied)

 


Exploring Uzbekistan: a crossroads of cultures 

Exploring Uzbekistan: a crossroads of cultures 
Updated 06 March 2025
Follow

Exploring Uzbekistan: a crossroads of cultures 

Exploring Uzbekistan: a crossroads of cultures 
  • The Central Asian country is home to some of the finest examples of Islamic design in the world 

BUKHARA: As a young Saudi girl, I didn’t often hear stories from my late Uzbek grandmother about her homeland. Instead, she shared her heritage through food. During family gatherings, she would pile our plates high with Bukhari rice, a fragrant dish as rich in history as Uzbekistan itself. But neither my father nor my siblings had ever been to her homeland, so when I was offered the chance to go — close to my birthday too — it felt like a gift from destiny.  

Saudi citizens can now visit Uzbekistan without a visa, and though it remains a niche tourist destination, the country has been a crossroads of Islamic, scientific and cultural development, for centuries, influencing Central Asia and the wider Islamic world.  

It has been home to some of the Islamic world’s most significant scholars, including Imam Al-Bukhari, Al-Tirmidhi, Al-Biruni and Al-Khorezmi. Their contributions to science, mathematics and astronomy are still globally influential.  

The walls of the ancient city of Khiva in Uzbekistan. (Getty Images)

While glitzy Tashkent, the capital, offers a beguiling blend of modernity and history — and the country’s best shopping options — you’d be doing yourself a disservice if that was your only destination. 

Try, for example, the storied ancient city of Samarkand in the northeastern Zerafshan River valley. Once a hub on the Silk Road, Samarkand is a tapestry of Persian, Greek, Arabic, Mongol and Soviet influences, and earned UNESCO World Heritage status in 2001. Founded in the 7th century BCE and flourishing during the Timurid era of the 14th and 15th centuries, Samarkand became a beacon of Islamic culture. Its famed Bibi-Khanym Mosque and the Registan Square are exemplars of Islamic creativity; the square’s trio of majestic madrasas — Ulugh Beg, Sher-Dor, and Tilya-Kori — feature intricate tilework, calligraphy and design that influenced Islamic architecture far and wide. I had the best ice cream there, too. 

The Bibi-Khanym Mosque, Samarkand, Uzbekistan. (Getty Images)

Bukhara, another millennia-old Silk Road city that has long been a center of Islamic scholarship and spirituality, is another must-see. During the Golden Age of Islam, the city became a hub of Sufi thought and Muslim theology, and today it houses more than 350 mosques and 100 religious institutions. It was here that Imam Al-Bukhari compiled “Sahih al-Bukhari,” a major work of Sunni Islam. 

Designated a UNESCO World Heritage site in 1993, Bukhara offers a rare view into a perfectly maintained ancient Islamic city. Highlights include the Ark of Bukhara fortress, dating back to the 5th century, and the Ismail Samani mausoleum, a pristine example of 10th-century Muslim architecture. The city’s Poi Kalan complex  — consisting of the Kalan Mosque, Kalan Minaret, and Mir-i-Arab Madrasa — is a fine showcase for Islamic decorative arts, with tilework and mosaics that have survived through the centuries.  

Both cities are also celebrated for their artistic traditions, which are central to Uzbekistan’s identity. Their high-quality silk, handwoven carpets, and embroidery, notably using the traditional textile adorned with intricate floral and geometric patterns are fan favorites. Along with the hand-painted pottery and other handmade goods, the quality on offer will make you wish you had more suitcases with you. 

 Traditional rugs for sale in Bukhara, Uzbekistan. (Getty Images)

As for the food, Uzbek cuisine is influenced by flavors and techniques from across Central Asia. While it’s heavy on the meat — horse is very popular — there are some great vegetarian dishes and plenty of pomegranates to go around. The plov, a famous rice dish with fragrant meat, carrots and spices, is a must-try; indeed, the plov I shoveled down in Bukhara was better than anything I ever tasted at my family home. Sorry grandma.  

My next favorite thing was to rip into the fresh bread and dried fruit — perfect.  

Plov — a traditional Uzbek dish of rice and meat. (AN Photo)

While Samarkand and Bukhara are major draws, Uzbekistan’s other regions offer further gems. In Khiva, the well-preserved walled city of Ichan-Kala takes visitors back to the Silk Road days with palaces, mosques and minarets aplenty. The Fergana Valley, known for its agriculture and craftsmanship, boasts pottery in Rishtan and silk weaving in Margilan — crafts that have been handed down for generations. 

Traveling within Uzbekistan is both affordable and convenient, with well-connected train routes between the major cities. While Uzbek and Russian are commonly spoken, you can usually find menus with oddly worded English translations at most places. And if not, then smiles and hand gestures go a long way in bridging any language gaps with the friendly locals.  

For Gulf tourists seeking a road-less-travelled destination, but with familiar historical and cultural links, Uzbekistan is an ideal choice.  


Review: Charlie Cox’s Daredevil makes brutal and gripping return to form in Disney+ reboot

Review: Charlie Cox’s Daredevil makes brutal and gripping return to form in Disney+ reboot
Updated 05 March 2025
Follow

Review: Charlie Cox’s Daredevil makes brutal and gripping return to form in Disney+ reboot

Review: Charlie Cox’s Daredevil makes brutal and gripping return to form in Disney+ reboot
  • First 2 episodes of series make a strong first impression
  • Retains signature moody, atmospheric, violent aesthetic

DUBAI: After years of anticipation, reshoots and creative switcheroos, “Daredevil: Born Again” has finally arrived, and its first two episodes waste no time reintroducing audiences to the brutal, morally complex world of Hell’s Kitchen.

Anchored by Charlie Cox’s measured performance as Matt Murdock (aka Daredevil) and Vincent D’Onofrio’s chilling return as Wilson Fisk, the series makes a strong first impression.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Matt Murdock (@daredevil)

Marvel’s grittiest hero is back in top form, thanks largely to “Punisher’s” Dario Scardapane, who took over as showrunner mid-production.

The opening episodes set a relentless and heart-wrenching tone, beginning with a violent confrontation between Daredevil and Bullseye (Wilson Bethel) at Josie’s Bar that quickly escalates into a rooftop clash.

The fight sequences, a hallmark of the original “Daredevil” series from Netflix, remain meticulously crafted — visceral, bloody and free of unnecessary embellishment.

Charlie Cox as Matt Murdock and Nikki M. James as Kirsten McDuffie. (Supplied)

A year later, Murdock, still struggling with the burdens of his dual identity, now operates a new law firm alongside Kirsten McDuffie (Nikki M. James).

He appears to be forging a new romantic connection with psychiatrist Heather Glenn (Margarita Levieva). Yet, despite his efforts to build a more stable life, shadows from his past loom large.

Wilson Fisk, long absent from the scene, reemerges from the shadows with a new and menacing agenda, turning his ambitions toward the political arena.

His aspirations to become mayor of New York City suggest a fresh and dangerous evolution of his character — one that D’Onofrio plays with a practiced and quiet menace that is as captivating as ever.

Cox remains a commanding presence, portraying Murdock with an understated intensity that exudes rage, resilience and exhaustion, all at once.

Charlie Cox and Vincent D’Onfrio in ‘Daredevil: Born Again.’ (Supplied)

His reunion with Fisk — in a masterfully-crafted, tense diner scene — serves as a stark reminder that their ideological battle is far from over.

Visually, the series retains its signature aesthetic — moody, atmospheric, and unflinching in its depiction of violence. The action is raw, the dialogue sharp, and the stakes higher than ever.

All in all “Daredevil: Born Again” does not try to reinvent itself but instead refines what made its predecessor so compelling.


Amina Muaddi attends Alaia show in Paris

Amina Muaddi attends Alaia show in Paris
Updated 05 March 2025
Follow

Amina Muaddi attends Alaia show in Paris

Amina Muaddi attends Alaia show in Paris

DUBAI: Romanian Jordanian designer Amina Muaddi attended the Maison Alaia Summer/Fall 2025 fashion show during Paris Fashion Week.

The footwear designer was spotted wearing an all-black ensemble featuring a sleek leather set with a structured, oversized silhouette. The standout element of her look was a fringe-detailed top that cascaded from her shoulders.

Her hair was slicked back into a bun, complementing her sharp, defined makeup, which featured a bronzed complexion, sculpted brows and a nude glossy lip.

Loli Bahia showed off an all-black look. (Supplied)

Muaddi watched from the front row as models walked the runway in the brand’s latest designs, including regional catwalk stars like French Algerian model Loli Bahia and Mona Tougaard, who has Danish, Turkish, Somali and Ethiopian ancestry.

Bahia wore a black, high-gloss, oversized leather coat with a padded structure, a wide belt cinching the waist, and long, voluminous sleeves. The coat also featured a cushioned collar wrapping around the neck.

Meanwhile, Tougaard was dressed in a fitted, long-sleeved burgundy bodysuit with an attached padded circular hood framing her face. The bodysuit was tucked into a high-waisted, off-white pleated maxi skirt that fell to the ankles.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ALAÏA (@maisonalaia)

“The Summer Fall 2025 collection began with thoughts of history, of geography, of sculpture, and always of women. They are all part of the clothes, within them,” the brand, which was founded by late Tunisian couturier Azzedine Alaia, said in show notes. 

The runway featured garments with kinetic movement, brought to life through pleats and drapes. Designs included hoods that framed the face, structured silhouettes and layered fabrics. The pieces were shaped to highlight the body's curves, incorporating padding. 

The venue featured sculptures by Dutch artist Mark Manders, highlighting the connection between fashion and art. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by ALAÏA (@maisonalaia)

The show’s soundtrack, “Liefde,” composed by Gustave Rudman, featured Egyptian soprano Fatma Said’s rendition of “Aatini al-Nay wa-Ghanni,” with lyrics by Lebanese poet Khalil Gibran. 

Muaddi had a busy evening in Paris. After the Alaia show, we went to the Musée du Louvre to attend the Le Grand Dîner du Louvre, the fundraising event that celebrates the new Louvre Couture exhibition that opened on Jan. 24. 

Celebrities including Victoria and David Beckham, Michelle Yeoh, Danai Gurira and Jisoo arrived in style, while supermodels Carla Bruni, Naomi Campbell and Gigi Hadid were also in attendance.