A timeless tribute: Celebrating Mohammed Abdul Wahab at Ithra
Event promises a masterful blend of classical and contemporary arrangements, breathing new life into Abdul Wahab’s most iconic compositions
Concert includes Amal Hayati, a song immortalized by the legendary Umm Kalthoum in 1965 with lyrics by Ahmed Shafeek Kamel
Updated 06 February 2025
Jasmine Bager
DHAHRAN: The King Abdulaziz Center for World Culture, or Ithra, is honoring the legendary composer and singer Mohammed Abdul Wahab with a multi-day grand musical event, “Abdul Wahab: A Tribute to a Legend.”
The first show was held on Wednesday evening and will be performed live nightly until Feb. 8 at the Ithra Theater.
With a career spanning more than six decades, the Egyptian icon famously bridged the authenticity and rich heritage of Arabic music for generations — decades after his death.
Under the direction of Maestro Hisham Gabr, the event promises a masterful blend of classical and contemporary arrangements, breathing new life into Abdul Wahab’s most iconic compositions.
Archival footage played on a screen as the musicians performed live.
The performance featured a selection of Abdul Wahab’s timeless works, including “Khayef Aool Elly Fe Alby,” a 1929 classic with lyrics by Ahmed Abdel Mageed, originally performed by the composer himself. Another beloved piece, “Ya Mesafer Wahdak,” first performed in 1942 with lyrics by Hussein Elsayed, was also brought to the stage.
The concert includes “Amal Hayati,” a song immortalized by the legendary Umm Kalthoum in 1965 with lyrics by Ahmed Shafeek Kamel. The poetic masterpiece “Aghadan Alqak,” written by Alhady Adam and performed by Umm Kalthoum in 1971, further highlights Abdul Wahab’s remarkable ability to compose for the greatest voices of his time. A lighter, yet equally memorable piece, originally performed by Fouad Al-Mohandes in 1966 with lyrics by Hussein El-Sayed, adds a touch of charm to the evening’s repertoire.
The audience was treated to three Egyptian soloists; Mohamed Shatta, Ahmed Nasser and Hanan Essam, who came together for the grand finale song which got the entire crowd on their feet.
They ended with the romantic ballad “Ahwak,” made famous by Abdelhalim Hafez in the late 1950s, and which showcases the deep emotional resonance of Abdul Wahab’s compositions.
“I was singing along — we love Abdul Wahab. I always enjoyed his music,” attendee Amira Kashgary told Arab News after the show.
“I really enjoyed tonight’s concert because it was an opportunity to see Abdul Wahab, who represents an icon in Arabic culture, Arabic music. I grew up with his music. He is a musician for all generations.
“The performance was great, excellent in so many ways. The orchestra was fantastic,” she said.
“Ithra is really a cultural establishment that nourishes our souls and minds, and bodies as well,” she added.
Ahaad Alamoudi presents ‘The Social Health Club’ in Basel
The Saudi artist discusses her new work for the Swiss city’s Social Club art fair
Updated 19 June 2025
Jasmine Bager
RIYADH: This month, Saudi artist Ahaad Alamoudi is turning up the heat at Basel Social Club — which runs until June 21 in the Swiss city — with her latest installation, “The Social Health Club.”
Freshly conceived, but rooted in the artist’s past works, the yellow-drenched installation offers a layered, sensory experience — and sharp cultural commentary — as well as a first for the artist: a live-performance element.
Jeddah-based Alamoudi is known for creating immersive multimedia installations drawing from and exploring the complex dynamics of her evolving homeland. “The Social Health Club” is built around pieces found in Jeddah’s Haraj market in 2018 — a range of exercise equipment including a rowing machine.
“These are pieces I collected from thrifting. I like the fact that no instructions came with the machines — I don’t have their name or the source of where they came from or who made them. But they’ve become part of the urban landscape that I’ve been in. And I was trying to create fun within the space,” Alamoudi told Arab News.
“The Social Health Club” is built around pieces found in Jeddah’s Haraj market in 2018 — a range of exercise equipment including a rowing machine. (Supplied)
In “The Social Health Club,” the equipment, painted predominantly in vibrantly-saturated monochrome yellow, stands untouched, serving as symbols of a culture obsessed with self-optimization. At the core of the installation is a cameo from a yellow-painted iron previously featured in her 2020 video work “Makwah Man.” (Makwah means iron in Arabic.)
“A lot of my pieces stem from a narrative I create within a video. In ‘Makwah Man,’ this man wearing a yellow thobe is ironing a long piece of yellow fabric in the middle of the desert. And as he’s ironing, he tells us how to live our lives. But in the process of him telling us how to live our lives, he also starts questioning his own in the process — understanding the role of power, understanding the pressure of change, adaptation,” Alamoudi explained.
“The yellow exists within the video piece, but he’s also wearing yellow thobe in the video piece. And (in this iteration at Art Basel) there’s also a rack of yellow thobes twirling in the exhibition. For me, the yellow thobe is like a unifying symbol. I’m trying to say that we’re all experiencing this in different ways. So in the performance (for “The Social Health Club”) a man (a local body builder) in a yellow thobe will be performing on these machines. He has no rule book. He doesn’t know anything; he doesn’t know how to ‘properly’ use the equipment. He’s going to go into the space and do things with the machines.
“The performance will be recorded. But I think it’s more like an activation,” she continued. “It’s not the piece itself. The piece itself exists as the machines.”
A still from Alamoudi's 2020 video work 'Makwah Man,' which is also part of 'The Social Health Club.' (Supplied)
“The Social Health Club” was shaped through close collaboration with curator Amal Khalaf, who combed Jeddah’s market with Alamoudi in search of “machines that were a little bit abnormal, like not your typical machines that people would directly know what it is in the gym,” Alamoudi said.
“She’s quite incredible,” she continued. “And we really built the space together. Essentially, the main thing that I created was the video; everything else was built off of that. She really helped. She really looked at social change and how we navigate that. Our collaboration was perfect.”
Yellow dominates every inch of the piece—deliberately and intensely.
“I obsess over symbols within certain works I create. And with that also comes a color,” Alamoudi said. “I wanted to showcase something that was luxurious, colorful, almost like gold, but it’s not gold. It’s quite stark in its appearance.”
Yellow is both invitation and warning. “I think that yellow is also quite deceptive. I like it as a color to get people excited to come closer and see what’s happening, but at the same time question what it is — it’s so aggressive that it becomes a bit uncomfortable.”
The viewer’s interaction is critical to the piece’s meaning.
“I think the machines represent something and they carry something, but they really are activated by the people — what people are doing with them,” Alamoudi said. “And that’s why I’m encouraging a lot of viewers to engage with and use the pieces, or try to use them without any instruction. A lot of people entering into the space (might) fear even touching or engaging with them. Having the performer there activating the structures is going to add another layer to the piece itself.”
She hopes visitors feel free to explore, unburdened by expectations.
“People are meant to use it any way that they want to use it. They can sit on it, stand on it, touch it — they can leave it alone,” she concluded with a laugh.
For fans of film and TV, England offers countless nostalgia-stirring sites
Updated 19 June 2025
Nada Hameed
JEDDAH: England is a place where cinematic fiction and reality often blur — its charming neighborhoods and historic landmarks have served as the backdrop to some of the world’s most beloved films.
In May, Arab News joined a press trip organized by VisitBritain in partnership with Virgin Atlantic, celebrating the launch of the airline’s new Riyadh to London route.
Having arrived well-rested, following a luxurious experience in Virgin’s Upper Class cabin, we checked into London’s The May Fair Hotel, just off Piccadilly — a surprisingly tranquil central base for the adventure ahead.
Our trip was a deep dive into the UK’s cinematic soul, featuring a bespoke tour of London in classic Mini Coopers, driven by enthusiastic local guides. Our first stop was the famous blue door at 280 Westbourne Park Road — from the 1999 rom-com “Notting Hill,” starring Hugh Grant and Julia Roberts — where a replica, painted to match the film’s version, has been installed — perfect for a nostalgic photo op.
Just around the corner is Alice’s, the whimsical antique shop featured in 2014’s “Paddington.” With its vintage charm, Alice’s felt straight out of a storybook. Portobello Road, where the shop is located, is a cinematic destination all on its own, brimming with colorful buildings, lively market stalls, and timeless London charm.
Colin Farrell outside Huntsman tailors on Savile Row, as featured in ‘Kingsman - The Secret Service.’ (Supplied)
Next was the distinguished Huntsman at 11 Savile Row, a prestigious bespoke tailor that inspired the secret service headquarters in “Kingsman: The Secret Service” (2014), and which draws in fashion lovers and film fans alike.
At Borough Market, one of London’s oldest food markets, we visited the flat above The Globe Tavern, famous as the heroine’s home in 2001’s “Bridget Jones’s Diary,” outside of which the street fight between Mark Darcy and Daniel Cleaver was filmed.
No culture-themed visit to London is complete without a West End musical, and we attended “The Devil Wears Prada” at the Dominion Theatre. With soaring vocals, sharp choreography, and impeccable fashion details, the performance successfully captured the wit and flair of the beloved 2006 film on which it is based.
On our third day, we journeyed to the serene city of Oxford, passing through the storybook English countryside — rolling hills, stone cottages, and emerald fields. Before exploring the city, we checked into Le Manoir aux Quat’Saisons, founded by celebrated chef Raymond Blanc. This luxurious manor blends rustic elegance with culinary excellence and is surrounded by lavender-scented gardens, orchards, and organic vegetable patches — a whimsical escape into an English fairytale. Afternoon tea was served in the charming cottages scattered across the estate, which offer each guest their own intimate space overlooking the gardens. Every detail was immaculate: from the handpicked fruit platter to delicate chocolate and mandarin cakes, and airy macarons made with sustainable, organic ingredients harvested on-site. It was a moment of calm indulgence — a countryside retreat that felt both restorative and magical.
In Oxford, the charismatic Jim Palmer led us on a walking tour of its most famous corners. The city — particularly its prestigious university — has appeared in dozens of productions, but none as magical as the “Harry Potter” series. At Christ Church College, we stood in the Great Hall that inspired Hogwarts’ dining room, and climbed the grand staircase featured in “Harry Potter and the Philosopher’s Stone.” The Divinity School nearby doubled as Hogwarts’ infirmary and classrooms in several of the films.
London’s ‘Portobello Road,’ where you can find Alice's, the antique store from ‘Paddington.’ (Supplied)
We also visited New College, where fans of “Harry Potter and the Goblet of Fire” will recognize the ancient tree beneath which Draco Malfoy is turned into a ferret by Professor Moody.
Oxford’s cinematic résumé stretches far beyond wizards, though. Its colleges, libraries, and cobblestone streets have appeared in “The Theory of Everything,” “The Golden Compass,” “Shadowlands,” “Brideshead Revisited,” and even the “X-Men” franchise. Fans of TV detective dramas will also recognize it from “Inspector Morse,” “Lewis,” and “Endeavour.”
After our tour, we were whisked off to the luxury shopping destination Bicester Village. At The Apartment, an exclusive lounge space, we were pampered with gourmet treats and a concierge service that made high-end shopping feel both effortless and elegant.
Our trip concluded in style back at Heathrow Airport, where we enjoyed the Virgin Atlantic Clubhouse — an oasis of calm featuring sleeping zones, yoga areas, private showers, and premium dining.
From Oxford’s collegiate quietude to the sparkle of London’s West End, and from iconic film locations to moments of personal luxury, this trip offered more than sightseeing; it was a cinematic immersion that brought some of our favorite stories to life.
Kneecap rapper Mo Chara bailed over terror charge in the UK
Updated 18 June 2025
AP
LONDON: Fans of the Irish-language hip-hop group Kneecap mobbed sidewalks outside a London court Wednesday as a member of the trio faced a terror-related charge in what he says is a politically motivated effort to silence the band’s support for Palestinians before its appearance at the Glastonbury Festival.
Rapper Mo Chara, whose real name is Liam Og O hAnnaidh, was released on unconditional bail after the hearing at Westminster Magistrates’ Court. His next court appearance is scheduled for Aug. 20.
Irish rap group Kneecap band member, Liam O'Hanna, who performs under the stage name Mo Chara, arrives at Westminster Magistrates' Court in London on June 18, 2025. (AFP)
The single charge against Chara stems from a Nov. 21 concert in north London where he waved a Hezbollah flag in a manner that aroused “reasonable suspicion” he supported the Lebanese militant group, which is banned in Britain as a terrorist organization, the Metropolitan Police Service said in a statement last month.
Prosecutor Michael Bisgrove told the court on Wednesday Chara wasn’t being prosecuted because of his support for the Palestinians or criticism of Israel.
“He’s well within his rights to voice his opinions and solidarity, as is anybody else,’’ Bisgrove said. “The allegation in this case is a wholly different thing and deals with a video recording showing that, in November of last year, Mr. O hAnnaidh wore and displayed the flag of Hezbollah, a proscribed terrorist organization, while saying ‘up Hamas, up Hezbollah.’’’
Kneecap has supported the Palestinian cause throughout the war in Gaza. The band has been the center of controversy in Britain since last year, when the previous government sought to block an arts grant for the band, citing its anti-British politics. That decision was overturned after the Labour Party won last year’s parliamentary election and Prime Minister Keir Starmer took office.
The trio is scheduled to perform at Glastonbury on Saturday, alongside performers including Neil Young and Olivia Rodrigo. The internationally watched music festival is a five-day event that attracts about 200,000 people to a farm outside the small town in western England every summer.
As they entered the courthouse, the three Kneecap members, who hail from Northern Ireland, gave the thumbs up sign to hundreds of supporters who had gathered outside, waving signs reading: “Free Mo Chara” and “Defend Kneecap.”
The group has repeatedly said it doesn’t support Hezbollah or Hamas, nor condone violence.
Before the hearing, the band posted billboards around London bearing the slogan “More Blacks, More Dogs, More Irish, Mo Chara.” The message echoes the signs landlords placed in the windows of some London boarding houses in the 1950s, stating “No Blacks, No Dogs, No Irish.”
“British courts have long charged people from the North of Ireland with ‘terrorism’ for crimes never committed,” Kneecap said in a statement posted on social media. “We will fight them. We will win.”
DUBAI: Birthday tributes poured in for part-Saudi model Amira Al-Zuhair, who celebrated her 24th birthday this week.
From producer Kawther Alrimawi to lifestyle publication Hia Magazine, fashion and entertainment industry insiders took to social media to wish the runway star a happy birthday.
The model wrapped up shooting a campaign for an unnamed brand in Milan when the clock struck midnight. She marked the beginning of her birthday with a candle-topped dessert at a restaurant in the Italian city.
Instagram/ @amiraalzuhair
Al-Zuhair, born in Paris to a French mother and Saudi father, has made her mark on the fashion world and appeared on the runway for an array of renowned fashion houses such as Missoni, Maison Alaia, Brunello Cucinelli, Balmain, Dolce & Gabbana, Giambattista Valli, Giorgio Armani, Elie Saab and many more.
In addition to her runway appearances, Al-Zuhair has featured in campaigns for high-profile brands such as Prada, Chanel and Carolina Herrera.
Al-Zuhair returned to the runway in May when she walked in Louis Vuitton’s high jewelry collection show, held at Bellver Castle on the island of Majorca, Spain.
The show marked her return to the runway after she hit the catwalk at the amfAR gala in Cannes in May, before which she walked for Australian label Zimmermann at Paris Fashion Week in March.
For Louis Vuitton, the model wore a strapless white gown featuring a fitted bodice and a soft, flowing skirt. The dress was detailed with cascading ruffles outlined in dark trim, which ran down the front and sides.
She also made a statement at the Zimmermann show wearing a burnt-orange ensemble. The sleeveless, fitted dress featured draped, ruched detailing that added movement to the design. The look was finished off with strappy brown leather sandals and gold accessories, including chandelier earrings and bracelets.
In late May, Al-Zuhair also reflected on her recent campaign with Balmain, sharing photos from the Resort 2025 collection shoot. “Had so much fun shooting inside the Eiffel Tower herself!” she wrote in the caption.
It was not Al-Zuhair’s first collaboration with Balmain. She previously walked for the brand during Paris Fashion Week in September.
Toronto Arab Film Festival showcases diverse selection this June
Updated 18 June 2025
Celine Hijazi
DUBAI: The Toronto Arab Film Festival returns for its sixth annual edition with a diverse lineup from June 20 to 29.
“This year, we are screening over 50 films — both features and shorts — which is our largest number to date … it’s fulfilling to watch the development of the Canadian-Arab film industry in real time,” Rolla Tahir, a Sudanese filmmaker and co-founder of TAF, said.
This year’s program reflects the growing diversity and creative evolution of Arab cinema, with some well-known filmmakers participating.
“We’re seeing a notable rise in genre films, especially horror and sci-fi. For example, there’s a horror film from Tunisia and a short program dedicated entirely to sci-fi and horror,” Tahir said.
Participants this year include Lebanese filmmaker Mira Shabib with her film “Arze’” and “Back to Alexandria” by Tamer Ruggli starring Lebanese actress Nadine Labaki.
TAF has also become a valuable platform for professional development, offering networking opportunities for both emerging and established talent.
“This year, we’re introducing an informal industry meet-and-greet — a casual networking event with no structured pitches,” Tahir explained.
The event is designed to create a relaxed environment where Arab filmmakers can connect with industry professionals, ask candid questions, and introduce their projects without the pressure of formal presentations.
The festival’s mission may seem simple — to raise awareness of Arab cinema among Canadian audiences — but achieving that impact requires a deliberate strategy.
It is one that Tahir and her co-founders have refined over the years.
“Each year, we collaborate with other festivals to co-present films and expand outreach beyond Arab audiences,” she said.
For Tahir, the appeal of Arab cinema to non-Arab audiences comes naturally, thanks to the enduring quality and resilience of the work itself.
“What stands out is perseverance. Regardless of what’s happening in our countries or personal lives, Arab filmmakers continue telling their stories.”
It is that very perseverance — expressed through everything from harrowing documentaries to satirical comedies — that gives Arab filmmakers their distinct voice.
“I want people to know we’re still making films — and that we’re making different, bold, and innovative ones,” Tahir said.
