Elyanna warms up for rest of world tour as she takes Lollapalooza stage
Updated 04 August 2024
Arab News
DUBAI: Chilean-Palestinian music sensation Elyanna has no time to rest as she counts down to the second half of her world tour, which will take her to Europe — but not before she performs a set at the Lollapalooza music festival in Chicago, US.
The singer, who wore a badge representing Palestine on her stage outfit, sang multiple songs from her latest album, including “Ganeni” and “Mama Eh.”
To the crowd’s delight, she also sang a Spanish song, “El muchacho de los ojos tristes,” originally sung by famed Spanish singer Jeanette in 1981.
Last month, Elyanna announced that she is expanding her world tour “Woledto,” with new dates and locations in Europe.
The 22-year-old artist announced on Instagram last month that the tour, from Oct. 5 to Dec. 16, will have 30 stops.
“THE WOLEDTO TOUR from North America to Europe! See you soon,” she wrote to her 1.5 million followers on Instagram.
Her fans quickly took to the comments section, requesting gigs in Lebanon, Dubai, Los Angeles, Australia, Barcelona, Lisbon, Milan and more.
Elyanna, who was the first artist to perform a full set in Arabic at California’s Coachella music festival in 2023, has been normalizing Arabic lyrics in the Western world.
She draws inspiration from artists including Lana Del Ray and Beyonce, as well as Middle East legend Fayrouz.
The Los Angeles-based singer’s music is a mix of Arabic and Western beats, which she attributes to her multicultural upbringing. She is known for her songs “Ghareed Alay,” “Ala Bali,” “Ana Lahale,” and “Mama Eh,” among others.
Elyanna dropped her debut album in April featuring nine songs: “Woledto,” “Ganeni,” “Calling U,” “Al Sham,” “Mama Eh,” “Kon Nafsak,” “Lel Ya Lel,” “Yabn El Eh” and “Sad in Pali.”
Before releasing the album, she wrote to her Instagram followers: “This album is the embodiment of pride to be an Arab woman, to be from Nazareth, to be from the Middle East.
“This is the closest I’ve been to where I come from,” she added. “The only feature on my album is my grandfather.”
In May this year, she made her television debut on “The Late Show with Stephen Colbert.”
The music sensation delivered a medley of hits from her debut album including “Callin’ U (Tamally Maak)” and “Mama Eh,” the first song performed entirely in Arabic on the show.
Artists push the boundaries of technology in new media arts residency in Riyadh
Residency displays futuristic artwork inspired by the natural landscape and culture of the Kingdom
Diriyah Art Futures brings together artists from around the world, combining art, science and technology
Updated 03 July 2025
Rahaf Jambi & Nada Alturki
RIYADH: Diriyah Art Futures opened a new residency displaying cutting-edge artwork in Riyadh on Wednesday evening.
The Mazra’ah Media Art Residency spring/summer 2025 open studio displays work that combines art, science and technology.
It is a three-month program designed for artists and scholars working across new media and digital art.
The theme, “High-Resolution Dreams of Sand,” explored the evolving relationships between humans, nature and technology in rapidly changing environments, informed by the distinctive contexts of Diriyah and Riyadh.
The evening’s open studio offered a behind-the-scenes look at work in progress from the spring/summer 2025 residents, alongside talks and studio discussions.
In the studios, Arab News met with various artists including Saudi Arwa Al-Neami whose creations explore themes of acceptance, identity and societal transformation.
During the residency, she undertook an artistic investigation of Saudi Arabia’s landscapes, collecting sand samples from various regions across the Kingdom.
Through nano microscopy and advanced imaging techniques, she created an immersive sensory experience that transforms microscopic grains of sand into pieces of art in the form of films, virtual reality and 3D-printed sculptures.
She told Arab News: “I am currently researching seven different areas in the Kingdom, where I’m exploring the sound of the sun using specialized sensors during sunrise and sunset. The resulting sound waves are translated into frequencies that create audible sounds.
“By analyzing the sound of the sun and the atomic structure of sands, I produce artwork that highlights the differences across various regions of Saudi Arabia.”
For 90 days, artist Dr. Stanza has been creating a whole body of work based on Saudi Arabia using real-time data including weather forecasts, pollution stats and news feeds.
Using an AI prompt, he created the series “Sons of Time” — an interactive Internet installation inspired by cybernetics and the future.
His other work, “Machine Cities,” connects 90 cities and towns across the Kingdom and tracks them in real time, presenting a visualization that the public can engage with.
The London-based artist has exhibited worldwide and earned numerous awards for his use of the Internet as an art medium.
“While I’ve been here, what I’ve really learned about Saudi Arabia is it’s a very warm and inclusive country that’s moving forward toward 2030.
“There’s a whole series of ideas about AI and agency that (are) also incorporated within my artworks. I look forward to presenting some of these works here in the future,” he told Arab News.
Indian artist Harshit Agrawal has taken his time at the residency to contemplate the juxtaposition of Diriyah’s rich heritage with its exponential development in the past few years.
Set against Diriyah’s historic farms and Riyadh’s evolving environment, the participants were encouraged to consider the impact of technology on natural and constructed landscapes.
“While I was here, I was quite fascinated, in my early days by the cultural richness, the different practices of culture, but also Diriyah as a city in transition in this beautiful time where it’s developing into something else with all these constructions and all these new things that are happening,” Agrawal told Arab News.
In “Machinic Meditations,” the artist was particularly fascinated with subhas, or prayer beads, that are commonly used in Saudi Arabia.
This prompted his research, where he also found electronic subhas. “It’s quite fascinating to move from this kind of manual device to an electronic version of it,” he said.
“I started thinking — because I work a lot with machine learning, AI data— what is the extreme scenario of that? So, I created these devices, which are motorized systems that rotate these beads autonomously, and they keep doing that continuously.
“And with each rotation, they pick up new human data to meditate on. It’s kind of the machine’s version of meditating, but on human data and climate data.”
In “Data Excavations: The New Soil,” the artist takes inspiration from construction and excavation machinery, using its mobility as a way to write out words in a choreographed manner using light strips.
“It’s been a really exciting time to be here, because it’s a great intersection between deep cultural practices that are here that I can kind of see in the city, but also really cutting-edge studios and facilities that I’ve had and (been) exposed through the material residency,” he said.
The open studio event welcomed a number of artists and prominent figures in the art scene, aiming to introduce them to the findings and research of this year’s cohort around new media arts in the region.
“Having Saudi Arabia attracting so many different cultures right now is a great thing, for artists to meet and research in the new media and technology is a great thing because they can implement their culture’s ideas in so many different ways and that’s what we see here — it’s a great cultural bridge,” visual artist Lulwah AI-Hamoud, who was attending the event, told Arab News.
DAF Director Haytham Nawar and DAF Director of Education Dr. Tegan Bristow delivered opening remarks, followed by talks from Dr. Anett Holzheid, an ZKM science and art researcher and curator, and Mizuho Yamazaki, an independent writer and scholar.
Attendees then enjoyed an open studio preview with Dr. Stanza, before a break for networking and a tour of the fabrication lab, sound lab and prototypes.
The evening concluded with studio discussions featuring Arwa Alneami, Harshit Agrawal and Reem Alnasser, all media artists.
How the Michelin Guide will boost the culinary scene in Saudi Arabia
Updated 03 July 2025
Nada Alturki
RIYADH: The Michelin Guide — the restaurant industry’s most-respected guidebook — has finally come to Saudi Arabia. In a significant milestone for the Kingdom’s culinary scene, the guide — organized in partnership with the Saudi Culinary Arts Commission — will be released in three stages: on the 15th of each month from October to December this year, it was announced at the launch event last month.
The guide “will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” Michelin said in a statement, adding that its inspectors — who visit venues anonymously — are “already in the field.”
As it does throughout the world, Michelin will award one star to restaurants providing “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the much-coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
The well-known Jeddah-based chef and restauranteur Nihal Felemban says the arrival of the Michelin Guide will raise the bar for chefs and restaurants in Saudi Arabia.
“It's a dream for most chefs to obtain that star. That will create a very healthy sense of competition,” she tells Arab News.
And Felemban believes the Kingdom’s local and homegrown concepts are more than capable of holding their own against the big-name brands that have been imported in recent years.
“These concepts deserve to be known. They deserve to be recognized outside the Saudi market,” she says.
“This will give a chance to these homegrown concepts to be on the international culinary map, similarly to what happened in Dubai,” she adds, referring to the 2022 launch of the guide in the UAE. “There were a lot of restaurants we didn't know about (then). The Michelin Guide gave them a voice, gave them a name abroad; it’s a beautiful thing.”
UAE-based Samantha Wood, founder of the impartial restaurant review website FooDiva.net, says the Michelin Guide has had a hugely positive impact on Dubai’s culinary scene.
“Since the launch, the number of independent homegrown concepts has grown every year, with the most recent 2025 guide featuring 29 independent homegrown concepts taking the lion’s share in the top cut of Michelin stars and Bib Gourmand.”
For the Saudi guide, Wood says, “I hope Michelin will prioritise dishing out stars and bibs for the homegrown concepts — like it has done in Dubai. This gives restaurateurs the incentive to develop their own (ideas), rather than rely on importing concepts and franchise agreements.”
Felemban is the founder of one of those homegrown concepts that will be hoping for recognition later this year. Her Jeddah restaurant, The Lucky Lllama, offers Nikkei cuisine, blending Peruvian and Japanese culinary traditions. “I would love to see The Lucky Llama (in the guide), because I believe it can compete on international levels,” she says.
Felemban predicts that the French Riviera-inspired Le Petite Maison — more commonly known as LPM — and top burger spot Marble will earn some recognition, as well as Jeddah’s Korean BBQ joint HWA-RO.
The guide isn’t just a boon to the restaurant industry either. Michelin-starred restaurants can offer a significant boost to tourism.
“Foodie travellers use these guides to plan holidays, often booking high ranking restaurants first before planning holidays around these reservations,” says Wood.
Lifestyle and food blogger Sarah Taha, who showcases the luxury food industry in Saudi on her page Swirl The Fork, also believes the guide could be a game-changer for tourism in the Saudi capital.
“The arrival of the Michelin Guide has the potential to spotlight both ends of Riyadh’s culinary spectrum — from its most luxurious dining rooms to its beloved casual gems — making it one of the most exciting food cities in the region,” she tells Arab News.
“Michelin’s presence won’t just put a global spotlight on our chefs and restaurants; it will also raise the bar for quality, creativity, and service across the board. It’s a powerful statement that Saudi is ready to be recognized as a serious player in the world of fine dining,” she continues.
Riyadh is home to several standout restaurants that Taha believes are strong contenders for Michelin stars. Her predictions include Japanese restaurants Zuma, Myazu, and Nozomi (the latter “remains a benchmark for upscale dining,” she says), and Italian restaurant Mamo Michelangelo.
When it comes to the Bib Gourmand category, which celebrates more affordable yet high-quality dining, Taha highlights Saudi staples like Mama Noura — concepts that “fuse authenticity with consistency and have built loyal followings. They may not be fine dining, but they’re rooted in culinary excellence and local relevance,” she says.
Like Felemban, Taha is confident the arrival of the Michelin Guide can only be a good thing for the Saudi food scene.
“From what I’ve seen running Swirl the Fork, there’s so much passion and creativity here. This kind of spotlight will not only validate that, but also inspire a new generation to invest — and believe — in local culinary ventures. It’s about putting Saudi flavors and stories on the world stage.”
REVIEW: ‘Ironheart’ — compelling hero let down by shoddy storytelling
New Marvel series doesn’t play to its greatest strengths
Updated 03 July 2025
Matt Ross
LONDON: For a studio so adept at world-changing bombast, Marvel has enjoyed a surprising amount of success with shows working on a smaller scale, with lower stakes, about characters and the places they actually live: “Ms Marvel” and “Daredevil: Born Again,” for example, have fared better than, say, the globe-trotting mess that was “Secret Invasion.”
So while genius inventor Riri Williams (Dominique Thorne) was introduced during the ocean-spanning events of “Black Panther: Wakanda Forever,” we really get to know her and her Iron Man-esque suit in “Ironheart,” which sees her return home to Chicago. Without the backing of the Wakandans, or the money of someone like Tony Stark, Riri falls in with a slightly more nefarious crowd in order to make money and keep her suit running. Soon enough she’s pulling off jobs for the shady Hood (Anthony Ramos) and his gang, all while dealing with her overprotective mother, trying to find a way to use her inventions for good, and processing the grief of losing her best friend Natalie in a drive-by shooting.
It's quite a bleak story arc for a Marvel hero — Riri makes some questionable choices and some surprisingly selfish ones too. This could have been mined a little more, perhaps, were “Ironheart” not more concerned with racing through the story at breakneck speed. The six-episode run means there’s not much time for character development — a crying shame when there are hints of some fascinating backstories. It also means, sadly, that not much time or money was given to effects. Some of the CGI is shonky in the extreme, while the armor suit Riri has so lovingly crafted is often relegated to little more than a means by which to arrive. Thorne makes for a charismatic lead, and the supporting cast is great (Alden Ehrenreich’s black market tech dealer Joe especially). The plot, however, feels heavy and cumbersome: shoehorned exposition and one-note villains.
The great stuff here is the little stuff. Riri and Natalie’s relationship, a few snatched glimpses of their life in Chicago, Joe’s backstory — all of these deserve more airtime. Without that attention to detail, “Ironheart” feels flimsy. Fun, but ultimately unsatisfying.
Recipes for Success: Alexandre Thabard offers advice and a tasty ‘honey lemon pollen’ recipe
Updated 03 July 2025
Hams Saleh
DUBAI: At just 26 years old, Alexandre Thabard is responsible for the pastry program at one of the most high-profile kitchens in the UAE.
As executive pastry chef at Emirates Palace Mandarin Oriental in Abu Dhabi, Thabard manages everything from banquets and afternoon tea to the hotel’s cake shop, and has created custom desserts for members of the Abu Dhabi royal family.
As executive pastry chef at Emirates Palace Mandarin Oriental in Abu Dhabi, Thabard manages everything from banquets to afternoon tea. (Supplied)
Originally from Paris, Thabard trained at Maison Lenôtre, where he also taught pastry courses and honed his technical skills across pastry, chocolate and ice cream. In 2018, he received the “Best Young Pastry Hope” award from Relais Desserts.
Thabard told Arab News his goal is “to reduce sugar as much as possible and celebrate the natural flavors of each ingredient” when it comes to pastries.
“To maintain consistency and lower glycemic impact, I often use Nascita date sugar and allulose as alternatives,” he said.
Here, Thabard talks about learning to slow down in the kitchen, why balance matters more than sweetness, and offers a honey lemon pollen recipe.
When you started out, what was the most common mistake you made?
In the early days, I often found myself rushing — eager to be efficient and to see the final result. That sometimes meant I overlooked crucial steps. I’ve learned that great desserts demand patience and precision. Quality takes time. Cooking should be a joyful, sensory experience, not a race.
What’s your top tip for amateur chefs?
Keep it simple and let the quality of your ingredients shine. Follow the recipe and, most importantly, taste along the way.
What one ingredient can instantly improve any dish?
Lime, or any good source of acidity. A touch of lime zest can instantly lift a dessert, bringing balance, freshness and vibrancy. It can transform something pleasant into something memorable.
When you go out to eat, do you find yourself critiquing the food?
I try to enjoy the experience as any guest would, but, naturally, I tend to view things through a professional lens.
What’s the most common issue that you find in other restaurants?
Often, I see desserts that are visually stunning but not well-balanced in flavor. They’re either too sweet, lacking contrast, or missing freshness. For me, the priority should be flavor and emotional connection, not just presentation.
What’s your favorite dish to order?
I have a deep appreciation for plated desserts, especially those paired with sorbets or ice cream. The interplay of temperatures and textures — warm and cold, smooth and crisp — creates a dynamic and refined end to a meal.
What’s your go-to pastry when you want to make something quick at home?
A quick pavlova. I usually have baked meringues on hand, made from leftover egg whites. So, I top them with vanilla cream, fresh seasonal fruits, and a touch of lime zest. It’s a simple yet elegant dessert that delivers texture, flavor and freshness in under 20 minutes.
What customer request most annoys you?
When a guest asks to change a dessert entirely before tasting it, or dismisses it based on appearance. While we aim to accommodate, I believe in trusting the chef’s vision. Occasionally, I receive feedback that my desserts aren’t sweet enough, which I actually take as a compliment — it means I’ve succeeded in creating something balanced.
What’s your favorite pastry to make?
I particularly enjoy working with chocolate-based desserts. There’s a refined technicality and sensory depth to chocolate that allows for endless creativity — whether you’re exploring bitterness, sweetness, or contrasting temperatures and textures. I’ve had the opportunity to collaborate with (chocolate brand) Valrhona on a bespoke couverture, crafted specifically to reflect the luxury and distinct identity of Emirates Palace. The result is a unique chocolate with complex notes that elevates our plated desserts. I also work extensively with camel milk chocolate, which has become really popular in the region. Its naturally tangy flavor, combined with the use of date sugar as a sweetener, creates a beautifully balanced profile is perfect for guests seeking lighter, more mindful indulgence.
What’s the most difficult dessert for you to get right?
The soufflé. It’s technically demanding, time-sensitive and allows no margin for error. When executed well, it’s a true testament to skill and discipline.
As an executive chef, what are you like?
I’d say I’m demanding but nurturing. I believe in building strong, collaborative teams and mentoring young talent. A good dessert is often the result of a unified, motivated kitchen. My style is modern and refined, with a strong focus on health-conscious and sustainable practices — no additives, no artificial colors, and a respectful use of sugar. I aim to create pastries that are elegant, balanced, and meaningful — desserts that not only please the palate but tell a story.
Chef Alexandre’s honey lemon pollen recipe
Honey sponge
Ingredients:
Butter: 150 g
Egg yolks: 220 g
Whole eggs: 90 g
Honey: 270 g
Sugar: 170 g
Almond powder: 30 g
Sour cream: 170 g
Cream: 30 g
Flour: 350 g
Salt: 2 g
Baking powder: 10 g
Method:
Whip the egg yolks, whole eggs, sugar, and honey until light and airy.
Add the sour cream and cream.
Incorporate the melted butter (at 45°C).
Fold in the dry ingredients.
Pour into a frame or mould and bake at 170°C for 18 minutes. Cool and cut to fit your insert mould.
Honey mousse
Ingredients:
Milk: 72 g
Honey: 14 g
Egg yolk: 10 g
Gelatin: 2 g
Water: 9 g
Whipped cream: 143 g
Method:
Soak the gelatin in cold water.
Heat the milk.
Mix the honey and egg yolk, then combine with the milk and cook to 83°C.
Remove from heat and add the gelatin.
Cool to 25°C, then fold in the whipped cream.
Use immediately for assembly.
Lemon confit:
Lemon juice: 308 g
Sugar: 115 g
Lemon zest: as needed
Additional lemon juice: 77 g
Method:
Blanch the lemon zest three times to remove bitterness.
Cook the zest with sugar and lemon juice until translucent and candied.
Blend into a smooth confit.
Pollen shortbread:
Icing sugar: 40 g
Butter: 35 g
Egg: 20 g
Almond powder: 12 g
Flour: 92 g
Salt: 1 g
Pollen: 15 g
Method:
Mix all ingredients until combined.
Roll out to 2 mm thickness.
Bake at 160°C for 12 minutes. Cool completely.
Assembly:
Spread a thin layer of lemon confit on the honey sponge.
Pipe or pour the honey mousse into a mould.
Insert the sponge with confit into the mousse.
Freeze until solid, then unmould.
Place the entremets on the pollen shortbread.
Decorate with bee pollen, chocolate garnishes, and edible flower petals.
Exhibition on animal rights in Athens spotlights Arab artists
Updated 02 July 2025
Rebecca Anne Proctor
ATHENS: An art exhibition at EMST, the National Museum of Contemporary Art in Athens, ponders a challenging yet crucial question: What are the rights of animals?
The exhibition, “Why Look at Animals? A Case for the Rights of Non-Human Lives,” curated by EMST’s artistic director Katerina Gregos, is among the most ambitious staged by a public institution on animal ethics at a time when wars rage around the world and basic human rights are in crisis.
The show presents more than 200 works by 60 contemporary artists from four continents and runs until Jan. 7, 2026.
Evocatively curated, with works unfolding in the various rooms of the museum in dialogue with the visitor and each other, the various depictions of animals prompt both philosophical and political questions.
The show evokes questions on the nature of humanity, the emotional intelligence of animals and how to confront systems of political domination, such as colonialism and rampant industrialization, that have restricted humans and animals.
From the Arab world, Egyptian artist Nabil Boutros has created “Celebrities,” a moving series of studio portraits of lambs, ewes and rams. Each image depicts not only their aesthetic beauty but seemingly also their emotional state.
Part of Nabil Boutros's 'Celebrities' series. (Supplied)
“I wanted to talk about the human condition through these works,” Boutros told Arab News. “These first portraits of (these animals) show they are different. They have different races, different attitudes and different characters, but we never look at them.”
“What is our relationship with animals? Is it just about food, about slaughtering?” he asked. “We are all part of this world and there is a whole organic structure that connects us that has been forgotten.”
Boutros’ touching portraits, exalting the personality and individuality of each animal, similar to traditional human portraiture, show us a rarely encountered world of animals and their emotional depth.
The show presents more than 200 works by 60 contemporary artists from four continents and runs until Jan. 7, 2026. (Supplied)
“They’re very expressive,” said Boutros, when discussing the moments he photographed them. “We imagine that they don’t have feelings, but that is not true.”
Algerian artist Oussama Tabti’s “Homo-Carduelis” is an installation that covers an entire wall of empty birdcages, each encompassing a speaker playing a birdsong created by human voices to imitate that of birds.
The work strives to show the connection between animals and humans. “The idea for the work came from the goldfinch, an appreciated bird in Algeria,” Tabti told Arab News.
“Born and raised in Algeria, the goldfinch was always in our daily soundscape.
“My work talks about the relation between the bird and the human because people appreciate (the goldfinch) and have it as a pet. They keep the bird in a cage and sometimes even go for a walk with it.”
Tabti finds the relationship at times “awkward and strange.” He thinks that Algerians at times “identify themselves in the birds.”
He added: “The work goes beyond the state of Algeria to reflect on the state of the human condition. Each one of us is in our own cage; it could be work, the environment or even one’s identity.
“I thought the bird in a cage would be a good metaphor for what we are today as human beings. We human beings are able to accomplish a lot but we live in a society that does not let us be completely autonomous.”
“For this installation,” said Tabti, “it was important for me that we can hear the birds, imitated by human beings, so it is like a human in a cage.”