New book series ‘Arabian Explorers’ reintroduces seminal works on Arabian history

William Gifford Palgrave's travel itinerary. (Supplied)
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Updated 30 January 2025
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New book series ‘Arabian Explorers’ reintroduces seminal works on Arabian history

  • Travelogues from Burton, Doughty, Wellsted and Palgrave feature in Arabian Explorers Series  

DUBAI: Driven by romanticism, imperial ambition, and scholarly curiosity, a succession of European adventurers set sail for Arabia throughout the 19th century, laden with expectation and a desire to unravel its mysteries. For many, the goal was a deeper understanding of the region’s history, religion, geography, peoples, and wildlife, as well as the uncovering of Biblical truth. For some, natural history, ethnology, cartography, and archaeology were combined into a single expedition, resulting in the publication of multi-disciplinary personal narratives that fed the Victorian hunger for adventure, discovery, and escapism. 

Among them were Charles Montagu Doughty — the first European to enter Hegra, the Nabateans’ second city after Petra — and James Raymond Wellsted, a second lieutenant of the East India Company, who survived a hurricane off the coast of Magna and took part in a detailed study of the Gulf of Aqaba. Arguably the most famous, however, was the eccentric Englishman Richard Francis Burton, a complex figure remembered for his keen sense of adventure, overt Orientalism, and undertaking the Hajj in disguise. He also embarked on an outlandish mission in search of the legendary gold mines of Midian, an ancient region or tribal confederation mentioned in both the Qur’an and the Bible and thought to be located in north-west Arabia. 

The newly-published Arabian Explorers Series reintroduces travelogues by all three, as well as by William Gifford Palgrave, an intriguing figure who served variously as a soldier, interpreter, priest, missionary, spy, and diplomat. Published by Empty Quarter Press, the series seeks to bring the authors’ vivid depictions of Arabia to a new audience. 




William Gifford Palgrave. (Supplied)

“Throughout their journeys, each author recorded some of the most detailed analyses and observations of Arabia in the English language and precious details about society, cultural customs, political structures, ancient heritage sites, and the shifting power dynamics of the peninsula in this period,” says Jeff Eamon, editor-in-chief at Empty Quarter Press. “We aim to couch each text in its proper context so readers can appreciate their significant historical value (and) understand each author’s subjectivities and perspectives.” 

The reprints include newly commissioned maps, glossaries, and forewords by leading historians, placing these complex and often provocative legacies in context. Included are new editions of Palgrave’s “Personal Narrative of a Year’s Journey Through Central and Eastern Arabia (1862-63),” first published in 1865; volume one of Burton’s “The Land of Midian (Revisited),” originally published in 1879; Wellsted’s “Travels in Arabia Volume Two,” printed in 1838; and Doughty’s “Travels in Arabia Deserta Volume One,” a monumental text first published in 1888. 

“Much of the written information that we have about 19th-century Arabia comes from these travelogues,” explains Eamon. “They have long provided precious information for scholars, students of history, and general readers interested in Arabian culture, social customs, and heritage. With Saudi Arabia’s current investment in its wealth of cultural assets and heritage sites, these publications are amazing sources of information. Doughty, for instance, is the first to document Hegra in minute detail, with detailed sketches of the Nabataean tombs, which have become a major part of Saudi Arabia’s cultural offering.” 




Charles Montagu Doughty was the first known European to enter Hegra and he provided glimpses of the area through his sketches. (Supplied)

The four travelogues have inspired academic inquiry for over a century, but have also sparked debate, not least because of the biases inherent in their authors’ views. Burton in particular, has faced accusations of Orientalism and of perpetuating stereotypical views of Arabia. His observations were often tinged with a sense of superiority and colonial arrogance, although he had great admiration for both Islam and Arab culture. 

“Burton’s views on the Arab world were complicated,” admits Dane Kennedy, a historian of the British imperial world and author of the foreword to “The Land of Midian (Revisited).” “His comments on the Bedouin could be highly critical, though he also promoted a romanticized view of them as princes of the desert. Furthermore, he was a forceful defender of the Islamic faith and Arab culture, so much so that many of his countrymen ostracized him, believing him to be a convert to Islam. 

“He was a man of many talents and vast contradictions. He was both an agent of British imperialism and a critic of it. He was a bigot and a relativist. He was, above all, a man of immense curiosity about other cultures, and he sought to satisfy that curiosity by learning some 25 languages, travelling widely across India, Arabia, Africa, Latin America, and other lands, and often acquiring an intimate knowledge of the local communities he encountered.” 

Palgrave, who made a foolhardy attempt to cross the Nafud desert in July without local guides and barely made it to salvation in Jubbah, also viewed the world through a Eurocentric, colonial lens. The first Westerner to successfully cross the Arabian Peninsula from the Red Sea to the Arabian Gulf (west to east), he travelled in disguise — as a Syrian physician — and filled his narrative with vivid, compelling observations of the landscapes, tribal dynamics, and cultural practices of the Arabian Peninsula. He achieved immediate acclaim upon the publication of “Personal Narrative,” thanks in part to his love of storytelling. 

“We are now more than 150 years on from Palgrave’s Arabian travels and his narrative can be read on various levels — from travelogue to adventure story,” says James Parry, a cultural heritage writer and author of the foreword to the new edition of “Personal Narrative.” “It’s worth remembering that he had a great sense of theatre and wrote his account with his audience very much in mind — it’s a very entertaining read. His descriptions of the places and tribes he visited are fascinating, even if some of his comments about local people and customs are seen as problematic today. They need to be understood as the product of their time, and his account as an historical document.” 

All four travelogues filled in much of the outside world’s knowledge of the Arabian Peninsula. Burton’s account of his journey from Cairo to Makkah, for example, gave the British public a much richer understanding of the region and its peoples. 

“Despite their flaws, it is important to recognize that each author spent years travelling in Arabia, learning the language and customs of its people long before mass transit made the peninsula easily accessible to outsiders,” says Eamon. “While some of their observations can be dismissed now, they nonetheless help paint a picture of pre-industrial Arabia.  

“History-telling is fickle,” he adds. “It carries with it the same baggage that weighs down any human experience. The Arabian Explorers Series is just this: a collection of human experiences, however flawed, that contribute to the broader mosaic that is the history of Arabia.” 


Farshi Shalwar: Centuries-old staple of South Asian fashion makes Eid comeback in Pakistan

Updated 31 March 2025
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Farshi Shalwar: Centuries-old staple of South Asian fashion makes Eid comeback in Pakistan

  • Farshi shalwar is characterized by floor-length, flowing and wide, loose pants, creating a dramatic and graceful silhouette
  • Stylists say trend dates back to the 17th century and was popular among noblewomen and courtesans of the Mughal era

KARACHI: A centuries-old staple of South Asian closets, the farshi shalwar, is back in Pakistan and ruling fashion trends this Eid Al-Fitr. 

The word “farshi” comes from the Persian word “farsh,” meaning “floor,” and the farshi shalwar, particularly popular in Pakistan and northern India, is characterized by its floor-length, flowing and wide, loose pants, creating a dramatic and graceful silhouette. 

“Right now, it’s the hottest trend,” fashion stylist and director Tabesh Khoja, popularly known as Khoji, told Arab News, saying he first styled a farshi shalwar in 2023 for the fashion label of model and actress Sadaf Kanwal.

“I styled Sadaf Kanwal actually and after that I have seen every other designer doing a farshi shalwar version of their own,” Khoja said. 

The picture posted by Sadaf Kanwal Fashion on February 15, 2025, shows Pakistani model Sadaf Kanwal wearing farshi shalwar from her latest collection. (Sadaf Kanwal Fashion/Instagram)

No doubt, Kanwal seems to have played a key role in bringing the farshi shalwar back this Ramadan and Eid, with her label Sadaf Kanwal Fashion creating a number of outfits over the last two years featuring the baggy trousers. 

“Throughout the [last] year, I shot so many collections of so many designers and all of those designers at least used to have two farshi shalwars for sure in their collections,” Khoja said. “So it took us an entire year to make it a fashion trend.”

According to the stylist, the trend dated back to the 17th century and was popular among noble women in the Mughal era. Modeled after the flowing gowns worn by British noblewomen, the complete outfit consists of three basic parts: a kurta or a long shirt, dupatta or long stole, and the third and most important, the farshi shalwar or pajama, a flowing two-legged trouser held by drawstrings that falls straight to the ankles from where it starts flaring and flowing copiously onto the floor, trailing as one walks. 

In media, iconic movies such as Umrao Jaan (1981) and Shatranj Ke Khilari (1977) that depict Muslim culture of 19th-century Lucknow show noblewomen and royal courtesans wearing farshi shalwars. 

“They had a variety of silhouettes in terms of a kurta or a jacket on top, among other things. The outfit has been there, the silhouette has been there since the 17th century but how you make it relevant now is very important,” Khoja added.

The picture, posted on August 4, 2022, by the Instagram page " Purana Pakistan," shows Pakistani women wearing farshi shalwar in 1970s. (Hibah Najeeb via Purana Pakistan)

HOW TO STYLE A FARSHI SHALWAR?

According to Khoja, some of the popular ways to style the farshi shalwar include pairing it with a button down shirt and accessorizing it with different kinds of jewelry pieces and hairdos.

“You can dress it up or dress it down. Sadaf [Kanwal] uses big organza dupattas. You can do big shawls also like [actress] Mahira Khan wore [designer] Banto Kazmi’s when she got an award at the UK Parliament. So something of that sort also with a plain silhouette.”

The picture, posted on July 16, 2023, shows Pakistani models wearing farshi shalwar by designer Hussain Rehar. (Hussain Rehar)

Pakistani actress Tuba Anwar said celebrities had been wearing farshi shalwars since last year but the trend had “peaked” among the general public in recent months. For her, the fact that everyone would be wearing the baggy trousers this Eid reduced their appeal. 

“I was planning to wear farshi shalwar on this Eid and then when everybody started discussing it, I was like ‘No, this is not what I’m going to wear because I have to do something very different’.”

When she wore farshi shalwars at all, Anwar said she preferred them in solid colors.

“In terms of styling, I would like to wear it with solid colors, not a lot of embroidery going on, not a lot of things or abstract things going on in the clothes that I am going to wear,” she said.

Pakistani actor Tuba Anwar is seen wearing farshi shalwar. (Tuba Anwar)

The farshi shalwar craze is not limited to women alone. 

Actor and host Fahad Mustafa has donned the farshi shalwar look on his hit gaming show Jeeto Pakistan during Ramadan. Singer and songwriter Falak Shabbir has been seen in the outfit as well. 

“It’s certainly not limited to women. Fahad Mustafa was of course wearing it on Jeeto Pakistan. I am going to wear it on Eid,” Khoja said. “So, you will see a lot of people of different sorts, male and female, wearing it.”

Pakistani actor and host Fahad Mustafa r is seen wearing farshi shalwar. (Fahad Mustafa)

 


Review: Nicole Kidman’s ‘Holland’ is an underwhelming thriller

Updated 30 March 2025
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Review: Nicole Kidman’s ‘Holland’ is an underwhelming thriller

LONDON: If you think there’s something unnervingly familiar about “Holland,” then you’re in good company. In this new thriller from Prime Video, directed by Mimi Cave (2022’s excellent “Fresh”), Nicole Kidman plays a permanently frowning wife who just can’t quite shake the feeling that something about her picture-perfect life isn’t quite right – which, when you think about it, could also be the logline for the actor’s turns in “The Stepford Wives,” “Big Little Lies,” “Expats,” “The Perfect Couple” and probably a half dozen others.

This time, Kidman’s Nancy suspects that her optometrist husband Fred (Matthew Macfadyen) may be having an affair. We don’t really ever find out why she thinks this, beyond the fact that she has ‘a feeling’ and suffers from weird, surreal dreams in which the town they live in — the titular Holland, Michigan — merges with the model village Fred is building in their garage. So, despite having no obvious reason to do so, Nancy and her work colleague-turned-extramarital crush Dave (Gael García Bernal) decide to follow Fred to find out what he’s up to.

The setup for discovering Fred’s secret takes up the majority of the movie. Macfadyen, here simply playing a more homely version of his character in “Succession,” makes for an entertaining enough man of mystery while, for the most part, Kidman and García Bernal are fine as co-workers with an obvious attraction and a shared interest in what Fred is really up to. The main problem with “Holland” is eccentricity for eccentricity’s sake — Cave plays up the town’s Dutch colonial traditions seemingly because they just lend an air of unfamiliarity and weirdness, Nancy’s feelings of dread manifest in those surreal dreams, but none of it has any real-world relevance beyond making for some odd-looking visuals.

The twist, when it inevitably comes, feels disproportionate and overblown given the small-town buildup. Elements, such as Dave’s experience as the only immigrant in town, or Nancy’s issues with their babysitter, are mentioned once and never touched on again. The film suffers from too many vague ideas at the outset, before dumping most of them to make way for the most shocking story arc. Turns out, not only have we seen this film a bunch of times before, we’ve seen it done a lot better too.


Hollywood red carpets play host to Arab designs

Updated 30 March 2025
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Hollywood red carpets play host to Arab designs

DUBAI: Awards ceremonies in Hollywood played host to Arab designs over the weekend with celebrities Sophia Bush, Becky G and Jennie wearing looks from the Middle East.

US actress Bush showed off a scarlet gown by Lebanese designer Jean Pierre Khoury at the at the 36th Annual GLAAD Media Awards on Thursday, complete with a beaded bodice and separate form-fitting skirt. Bush’s ensemble was put together by Dani Charlton and Emma Rubenstein, the fashion styling duo known as Dani + Emma. 

US actress Sophia Bush showed off a scarlet gown by Lebanese designer Jean Pierre Khoury. (Getty Images)

Fast forward to Saturday night and singers Becky G and Jennie Kim, a member of K-Pop group Blackpink, both showed off looks by Lebanese designer Zuhair Murad.

Jennie, who goes by her first name, showed off a look from Zuhair Murad’s Fall/ Winter 2025 ready-to-wear collection. (Getty Images)

US singer-actress Becky G opted for an all-white dress from Murad’s pre-Fall 2025 collection at the 2025 Billboard Women In Music event, held at the YouTube Theater in Los Angeles.

The halter neck column gown boasted silver embellishments on the bodice.

Jennie, who goes by her first name, showed off a look from Murad’s Fall/ Winter 2025 ready-to-wear collection at the same event.

The form-fitting red dress featured a double slit with studs across the slits and sweetheart neckline. The look was completed with a pair of heels by Jordanian Romanian designer Amina Muaddi.

She took to the stage in the outfit to accept the Global Force Award, which is given to "singers, songwriters, instrumentalists and producers making groundbreaking contributions to the music industry" selected by Billboard publication around the world, according to Billboard.

“I’m inspired by all the women in this room — and around the globe who continue to break barriers and make their mark on the world stage,” Jennie said during her acceptance speech. “This award is dedicated to every woman who dares to dream and create and shape the world with her vision.” 

This year’s honorees also included Doechii as Woman of the Year; Erykah Badu, who received the Icon Award; Aespa as Group of the Year; and Ángela Aguilar, who won the Breakthrough Award, among others. Presenters included Becky G, Lauren Jauregui, Kali Uchis and Julia Michaels.

Performers included Ángela Aguilar, Aespa, Gracie Abrams, Megan Moroney, Muni Long, Tyla and Erykah Badu.

For her part, US Mexican singer Aguilar dedicated her moment on stage to immigrants. “I want to take this moment to raise my voice for the women whose voices are not always given a stage, for the women who leave behind everything they know crossing borders,” she said.

 


Amira Al-Zuhair, Gigi Hadid star in accessories campaign

Updated 29 March 2025
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Amira Al-Zuhair, Gigi Hadid star in accessories campaign

DUBAI: French Saudi model Amira Al-Zuhair starred in a campaign for US fashion label Tory Burch, while US Dutch Palestinian supermodel Gigi Hadid fronted the 2025 leather goods campaign for Italian high-fashion brand Miu Miu, blending fashion and fine art.

For Tory Burch, Al-Zuhair wore a silk set adorned with the brand’s logo, showcasing handbags, perfumes, accessories, shoes and watches from the brand’s latest release.

The Miu Miu campaign, captured by renowned photographer Steven Meisel, features photographs that are digitally hand-painted to achieve a tactile, velvety quality, evoking the essence of classic 20th-century portraiture.

The campaign highlights Miu Miu’s signature matelasse leather, showcased in two bags — the Wander and the Arcadie, available in rich chocolate and mustard hues, as well as vibrant pistachio and fuchsia versions.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Miu Miu (@miumiu)

On Instagram, Miu Miu shared images from the campaign featuring Hadid with soft, sculpted waves styled to evoke vintage aesthetics. In one of the images, she was dressed in a dark navy jacket layered over a light, checked shirt and a collared blouse. The look was completed with the Wander bag in a mustard hue.

Another photo shows Hadid seated on a vintage green and brown chair, wearing a blue and green gingham dress. She was holding the Arcadie bag in chocolate brown, which also features the matelasse texture.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Miu Miu (@miumiu)

A third image captured Hadid in a strapless lime green top paired with a soft brown skirt. She carried the brown Arcadie bag as a shoulder accessory.

Hadid has had a long-running relationship with Miu Miu.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Miu Miu (@miumiu)

Earlier this month, she walked the brand’s runway during Paris Fashion Week wearing a mix of classic tailoring and modern styling with a vintage edge.

She donned a charcoal, double-breasted coat-dress with a structured, oversized silhouette. The look was completed with a 1920s-inspired hat that ties under the chin.

The outfit was further styled with dangling gold earrings, knee-high scrunched socks in a muted olive tone and brown leather loafers.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Miu Miu (@miumiu)

Last year, Hadid also starred in the brand’s campaign featuring the Wander and Arcadie bags, reflecting a similar 1930s-inspired style. The campaign showcased the handbags in shades of brown, orange, and yellow, with Hadid modeling alongside them.

Also captured by Meisel, the photographs draw inspiration from the innovative style of late British photographer Yevonde Middleton, renowned for employing soft colors and incorporating drapery and foliage in her portraits.


Maja-Ajmia Zellama tackles cultural identity and grief in ‘Têtes Brûlées’ 

Updated 28 March 2025
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Maja-Ajmia Zellama tackles cultural identity and grief in ‘Têtes Brûlées’ 

  • The Belgian-Tunisian director discusses her Saudi-backed debut feature 

RIYADH: Belgian-Tunisian-Danish filmmaker Maja-Ajmia Zellama’s debut feature “Têtes Brûlées” (‘Hotheads’) received two special mentions at last month’s Berlin International Film Festival.  

The film, which was backed by Saudi Arabia’s Red Sea Fund, has been praised for its depiction of a universal story through a singular lens. Zellama wrote and directed the movie, which follows the story of Eya (played by Safa Gharbaoui), a 12-year-old girl growing up in a Tunisian-Muslim family in Brussels, whose life revolves around her beloved 25-year-old brother Younès and his friends. Following Younès’ sudden and unexpected death, Zellama takes viewers through the culture, customs, resilience, and solidarity of this tight-knit community through the family’s mourning period.  

Safa Gharbaoui, Mehdi Bouziane and Mounir Amamra. (Supplied)

“I didn’t expect so many compliments about the film from people who are not Muslims or not from immigrant backgrounds,” Zellama told Arab News. “I spoke a lot with a teenager from Germany, and I understood at that moment how grief is so universal. There are other people who say, ‘Oh yes, I’m learning a new thing about a new culture and new religions.’” 

Zellama also expressed her appreciation for the Red Sea Fund’s support of a “multicultural” story. “For me, it was a major recognition to have this help and support from a Muslim country. It helped me to make this kind of film, and I’m also very curious about working more with Middle Eastern countries,” she said.  

The film tackles aspects of identity, the Arab diaspora, collective grieving, religion, cultural customs, and commentary on street crimes. Largely set in the family house, constantly filled with people after Younès’ tragic death, one of the director’s goals was to show the contrasting comfort and simplicity of immigrants’ family lives compared to their lives outside of their homes.  

Safa Gharbaoui. (Supplied)

“For me, the most complicated part of identity and immigration is systemic racism,” Zellama said. “It’s oppression in the society. But in the home, it’s not always so complicated. There are nuances; it’s complex, but in a positive way.”  

Zellama’s own life was a major inspiration for the film. Her father is Tunisian and her mother Danish. She was born and raised in Belgium around a large Tunisian community. Her household was home to two religions and three languages. “The question of identity has been present all my life, of course, as a mixed kid, but also as a person of the diaspora,” she explained.  

And Zellama’s experience of losing a much-loved family member was central to the narrative. “When I was grieving with my family, it was the most difficult time in my life. But it was also one of the moments in my life when I felt the most love and solidarity, because we were surrounded by so many people who were (making us) dinner, going to the grocery, giving money,” she said. “So, for me, yes, there is the grief that we had in our family, but also — and most of all — the love.”  

Safa Gharbaoui and Mehdi Bouziane. (Supplied)

The film explores spirituality in a nuanced and open way, particularly in its funeral and burial scenes, inspired by Zellama’s own journey with faith. She was keen to have Eya find a kind of forbearance through religion while also providing representation and an alternate, more complex, portrayal of Islam in countries outside the Middle East.  

“Muslims are very different, and each person practices religion in a different way,” Zellama said. “She finds this way, and she’s good with it.” 

And the film has proven to cross cultural and religious boundaries, with viewers from other faiths and backgrounds connecting to its central themes. 

“Just to hear the Qur’an, (even if) you don’t understand it, you can feel something,” she said. “You don’t know what it is, but you can feel something. When you see her praying, you can imagine. And, for me, that’s enough.” 

The character of Eya is key to the film’s success: she’s mature, but also playful; she’s creative, clever, defiant, and works to break stereotypes throughout the film. One of the most affecting, and effective, scenes is when she breaks away from the group of mourning women to help bury her brother alongside the men.  

“I wanted to have a character who grows up in a lovely family who give space for this young girl to be what she wants,” Zellama said. “She doesn’t (think to) herself, ‘Oh, this is a boy thing or a girl thing.’ No, she’s doing what she wants to do at this moment.  

“She’s very impulsive, and the impulsivity was also an important thing in the character of Eya,” she continued. “She looks like so many Muslim women and children I see around me. So, this was not me making a ‘statement.’ It was more me thinking that there are so many strong little girls around me, and I wanted to have a character like that.”