Muslims gain ‘Fringe’ benefits in Edinburgh

The Edinburgh Central Mosque will once again host an exhibition offering respite from the Fringe’s famous raucousness.
Updated 01 August 2017
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Muslims gain ‘Fringe’ benefits in Edinburgh

The Edinburgh Festival Fringe celebrates its 70th anniversary this month, having grown into the largest arts extravaganza in the world. Organized over 25 days in the Scottish capital, it annually attracts in excess of two million visitors attending 300-plus venues to witness some of the more than 50,000 performances, ranging from magic to music, cabaret to comedy.

Yet away from the circus and the spoken word, the Edinburgh Central Mosque will once again host an exhibition offering respite from the Fringe’s famous raucousness. This year, the Islamic Festival will be an official part of the Fringe — yet organizers have had to overcome more problems than ever to ensure the exhibition is ready to open its doors.

Event planners usually extend an invite to three or four prominent Muslim guest speakers six months in advance, allowing time to arrange travel to and accommodation in a city where it is said the population triples during the Fringe. It is an approach that has worked well, with the likes of Jamal Badawi, professor Emeritus at St. Mary’s University in Canada, and the late Idris Tawfik, a former Roman Catholic priest who later converted to Islam, having spoken at previous events.

Recent festivals have included Islamic calligraphy classes, arts and crafts for children, mosque tours and access to relevant, thought-provoking lectures with titles such as “Islam and ISIS: How did the religion of peace come to be a tool for terror?” and “Muslim women: Oppressed or empowered?”

The 70th anniversary #edfringe programme is here! Check the link in our bio to find out how to get your copy!

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The festival’s accessible approach has been a success with Scottish visitors, some who have returned the following year with other family and friends. As Tawfiq wrote in his book “Talking to Muslims in the West:” “If … you want to know how to tell people about Islam, come and spend a couple of days in Edinburgh and see how it is done.”

However, this year’s event, which starts on August 4, had to be organized in the space of only a few weeks after a messy change of management earlier in 2017 left event manager Janice Oliver and other volunteers playing catch-up. Oliver will work six hours every day between now and the end of the exhibition on August 24, she said.

“The Islamic Festival started out in 2000 as just a few posters slapped on the wall of a room for a week, with the goal of giving non-Muslims an idea of what Islam is about,” Oliver, a hijab-wearing Londoner who moved to Edinburgh 21 years ago, told Arab News this week from inside the bowels of the central mosque. “It has obviously grown a lot since then and requires a lot of planning, but unfortunately this year has proved very difficult.”

That is not to say the event will be any less impressive or impactful than previous editions. The primary focus this time is on the exhibition itself, which as well as featuring Islamic art, artefacts and interactive computers, also includes a “Qur’an Table” with 10-12 translated editions of the Holy Book and several detailed explanatory posters ranging from “How did Prophet Muhammad relate to Christians?” to “Islam and the Environment” and “Kindness to Animals.”

ONE WEEK TO GO until you can get your hands on the 2017 #edfringe Programme! Photo: David Monteith-Hodge

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Subhi Hashwa, a Palestinian with a long beard and Scottish accent, is the event’s education manager. He says the event has already fulfilled its aims for this year, adding that at a time when events in the world have completely distorted people’s perceptions of Islam, sharing knowledge is the goal.

“The mosque is located in the heart of the city and every nook and cranny becomes a Fringe venue, so it’s great for us because you tend to get people watching fire-eaters, jugglers and ballet dancers, then flicking through the program for something different and coming in here,” Hashwa said. “Visitors are non-Muslims, so our objective is to break down these misconceptions whereby people think mosques are places extremists are born or where women are not allowed to go. Education is key because it’s very difficult to be fooled if you know the truth.”

Oliver agrees, saying she has heard “an incredible amount” of misbeliefs surrounding her religion while working over the years. She relayed one tale of a university-educated Muslim woman who asked if it was true she could not wear pink because it is the same color as pigs. “Her mother had told her it says that in the Qur’an, but her mother could not read or write,” Oliver said. “So I explained to her that knowledge is power and that she must read the Qur’an herself — and in a language she understands.”

Those who do visit this month should not expect to feel any pressure either. While Hashwa says he prefers to leave guests to read the posters as if they were viewing exhibits in a museum, Oliver adds she actively advises volunteers against what she calls conversion-mentality: “We are not here to sell anything,” she says. “Our job is just to deliver the message — Allah is the one who guides.”


Role of culture in governance highlighted at Culture Summit Abu Dhabi

Updated 27 April 2025
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Role of culture in governance highlighted at Culture Summit Abu Dhabi

ABU DHABI: World leaders discussed how culture can transform global challenges at the seventh edition of the Culture Summit Abu Dhabi.

The summit — which opened on Sunday in the heart of Abu Dhabi’s culture district at the Manarat Al-Saadiyat — is hosting a range of panels and discussions exploring the theme “Culture for Humanity and Beyond.”

One of the panels featured former world leaders discussing the role of culture within global governance.

Former Slovak Prime Minister Iveta Radicova set the tone at the “Bridging the Cultural Gap: The Role of Culture in Shaping Global Governance” panel, saying that “400 years ago, there were 800 million people on the planet. Today, it’s 8 billion, divided into 195 states and 6,000 different community groups with their own languages and cultures.”

The panel featured former world leaders discussing the role of culture within global governance. AN Photo

New Zealand’s former Prime Minister Jenny Shipley emphasized the importance of inclusive leadership, sharing her country’s successful model of integrating Maori cultural heritage into national governance.

She noted that leadership must be “intentional” about diversity. “I always start with the ‘I’,” she explained, “because if you’re not a committed, inclusive leader, you will not get to the destination of equity.”

Former President of Mauritius Cassam Uteem illustrated how cultural diplomacy works in practice, sharing how his small island nation has played a major role in international cultural politics. He highlighted Mauritius’ participation in UNESCO, bringing perspectives of small, developing island states into global discussions.

The panelists unanimously agreed that traditional international institutions are ill-equipped to handle today’s complex cultural landscape. They called for more innovative approaches that place culture at the center of global governance, rather than treating it as a peripheral concern.

“Culture is the mirror of human existence and the producer of new dreams, and without dreams, we lose our human dignity,” said Radicova.

A recurring theme was the need to combat misinformation and protect cultural authenticity in an era of tech moguls ruling the roost and advancements in artificial intelligence.

“If you would like to build social cohesion and solidarity around the world, you have to fight for the truth, and openly, without dancing around, with courage and really verified arguments,” said Radicova.


Hazem Harb explores displacement and memory in new Dubai exhibition

Updated 26 April 2025
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Hazem Harb explores displacement and memory in new Dubai exhibition

DUBAI: In his new exhibition, “Not There, Yet Felt,” at Tabari Artspace in Dubai, the Palestinian artist Hazem Harb is making things personal, both literally and figuratively, exploring the theme of displacement.

“It’s an out-of-body experience. I’m here and I’m not here,” he told Arab News. Harb is feeling torn; while his life and studio are physically based in Dubai, his heart and mind are emotionally attached to his birthplace of Gaza. 

The show, on view until May 27, is lined with a series of aluminium self-portraits, based on silhouettes of the artist’s head and upper chest. Instead of seeing detailed facial features, the silhouettes are black, filled with images of colorful walls of Harb’s family home, which was destroyed as a result of the continuing Israeli assault. Such details of the walls, which were photographed by Harb’s nephew and a photojournalist in Gaza, took him by surprise. “I had no idea we had shades of blue, pink and yellow in the house,” he said. “There are so many layers and memories in that house.” 

Above this series of self-portraits, a central neon artwork reads “Hope Is Power,” yet ‘power’ is flickering, indicating uncertainty and a loss of normalcy in daily life. Another instance of disturbance can be sensed in a large self-portrait, printed on paper and hanging on the wall, where the end parts of the paper are intensely crumpled. Exploring the multi-layered idea of peeling, there is also a group of calming, hand-made collage works, where wall peelings resemble figurative shapes. 

Unlike his solo exhibition last year, in which there was a heady showcase of violently passionate work, entering Harb’s new show has a lighter, romantic feel, thanks to the gentle and romantic hues and language used. “Your Skin Is My Homeland,” a wall text reads. In the back room of the gallery, Harb is also presenting figurative paintings he made 20 years ago, resembling the flowing forms he experimented with for his new exhibition. 

Despite the uncertainty felt by the artist, there is a glimmer of hope. One piece that shows this is a large work, where a body (made of medical gauze) stands still, carrying emotional wounds yet rising from the ashes. “The show is a statement. I felt a responsibility,” he said. “The whole world, not just Palestine, is in a very critical time, and I was thinking about the role of art in a sensitive, genocidal time. Art is a way to say something and is a part of history, an archive for the future.” 


UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

Updated 25 April 2025
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UAE lands starring role in Hollywood film ‘Now You See Me: Now You Don’t’

  • Third installment of popular franchise will be released in November

DUBAI: The UAE has landed a starring role in the upcoming Hollywood film “Now You See Me: Now You Don’t,” with scenes filmed in the capital city Abu Dhabi.

The production, which will be released in November, wrapped up a 13-day shoot at several of the capital’s landmark locations, according to the Creative Media Authority on Thursday. 

The film, which is packed with high-stakes heist scenes, was shot at destinations including the Louvre Abu Dhabi, Sheikh Zayed Bridge, the Liwa Desert, Ferrari World Abu Dhabi, CLYMB, Yas Marina Circuit, W Abu Dhabi — Yas Island, and various city streets.

The third installment of the popular franchise, directed by US filmmaker Ruben Fleischer, brings back Jesse Eisenberg, Woody Harrelson, Dave Franco, and Morgan Freeman in their previous roles, joined by an ensemble cast that includes Justice Smith, Dominic Sessa, Ariana Greenblatt, and Rosamund Pike.


Saudi historical highlights on display at Abu Dhabi Book Fair 

Updated 25 April 2025
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Saudi historical highlights on display at Abu Dhabi Book Fair 

  • Selections from London-based rare-book dealer Peter Harrington’s offering at the UAE fair, April 26 to May 5 

‘The Holy Mosque at Makkah’ 

With a foreword by former Saudi Minister of Finance Sheikh Mohammed Abalkhail and images by the award-winning African photojournalist Mohamed Amin, this “sumptuous production” tracks the quarter century of restoration of the Sacred Mosque and Holy Kaaba in Makkah in the mid-20th century. “The text contains a historical description of the Holy Kaaba, Masjid al-Haram, a summary of recent construction in the Saudi era, and architectural notes, with the rest of the volume dedicated to Amin’s photographs, presenting detailed views of the diverse and extensive developments,” the book dealer’s notes state. Amin was “the first photographer to be given access to document the Hajj and among the first to photograph sections of the Holy Mosques of Makkah and Madinah. Over three years during the 1970s, he travelled by camel, helicopter, car and on foot to Madinah, Arafat, and Makkah.” 

Confidential reports from the First and Third Arab Petroleum congresses 

The historical global significance of the first Arab Petroleum Congress in 1959 cannot be understated. It was here that the idea of an oil-producing organization (an idea that eventually turned into OPEC) was introduced. “During proceedings, the influential oil journalist Wanda Jablonski introduced Saudi Arabia’s Abdullah Tariki to Venezuela’s Juan Pablo Perez Alfonzo, both of whom were upset by recent price cuts. They rallied delegates to sign the secret Maadi Pact, suggesting a Petroleum Consultation Commission to coordinate producer responses. This laid the groundwork for the 1960 Baghdad Conference, at which OPEC was officially formed,” the book dealer’s notes state. This grouping of documents contains in-house reports from Aramco on that congress, and the Third Arab Petroleum Congress in Dec. 1961, as well as other Aramco-produced materials from 1956-1961. 

Photographic archive and reports from the recommissioning of the Hejaz Railway 

The book dealer describes this collection as “a unique archive relating to the earliest post-war attempt to reconstruct the Hejaz railway and link Damascus with Madinah.” The last train to travel the full length of the railway was reportedly in 1925, after which “the line south of Mudawwara was washed away, and the conflicts that led to the creation of Saudi Arabia in 1932 dampened collective efforts at reconstruction.” The archive includes previously unpublished photos and original reports issued by the International Resources Engineering and Exploration Group, which was awarded to contract to design the project in 1956. “Coverage is particularly detailed for central and northern Saudi Arabia, especially the area around Mada’in Salih and Khur Himar,” the dealer states, and includes images of the party meeting with local officials including the rulers of AlUla and Tabuk. 

A collection of magic lantern slides by Harry St John Bridger Philby & Alec Horace Edward Litton Holt 

The British intelligence officer Philby — who served as an advisor to Saudi Arabia’s founder, King Abdulaziz Ibn Saud — and the engineer and explorer Holt travelled 600 miles together in 1922 through the desert via Al-Jawf province in Saudi Arabia “at the height of increasing tensions between Ibn Saud and the Hashemites.” These 23 slides were, the book dealer believes, likely used to illustrate the presentation the pair gave about their journey before the Royal Geographic Society in the UK on Feb. 12, 1923. “The collection shows Holt and Philby in Arab dress; Ford cars and aeroplanes at Jidd, desert scenes, a Ford condenser, and ploughing for landing fields, among others.” 

Aramco educational PR pack 

In an attempt to attract US students and graduates in the Sixties and Seventies, Aramco produced several collections of promotional material that included posters much like this one, which it distributed to schools and universities in the States. “The lively posters explore the history of Saudi Arabia and the company’s operations, each illustrated with photographs of historical figures (including T. E. Lawrence), company personnel and oil wells, and Saudi architecture,” the book dealer states.  


‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

Updated 25 April 2025
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‘Adaptability’ at SAMoCA shows ‘the similarity between clay and humans’ 

  • Exhibition showcases ceramic works by 11 Arab artists  

RIYADH: The Saudi Arabian Museum of Contemporary Art in Riyadh is currently hosting “Adaptability,” an exhibition of work in clay by 11 artists from five different Arab countries, each offering their unique perspective on our relationship with the material. The show runs until May 20. 

“This exhibition beautifully illustrates the adaptability of clay, showcasing human creativity and our capacity for enduring change across cultures and civilizations,” curator Samer Yamani told Arab News. “It shows the similarity between clay and humans: We both are so strong, but fragile, and the higher the fire gets, the stronger we get — we adapt to new circumstances and new things happening in life; we are able to innovate and to be present.”  

The show is laid out in three circles. The inner one includes work that expresses inner thoughts and emotions; the middle explores topics related to communities, culture, and life; the outer circle addresses heritage, urbanism, and sustainability.  

Hana El-Sagini's 'The Doctor's Desk.' (Supplied)

“Clay is such a malleable material that you can shape through many different forms — hand-made, technological, mechanical… so it’s interesting to see all the different ways that the various artists have used or thought about clay; some more technical, some to express more emotional stories. The dialogue between the different ways of thinking with the same material is very interesting,” participating Jordanian artist Sama Alsaket told Arab News.  

Alsaket’s piece, found in the middle circle, is titled “Shades of Terracotta” and was constructed from five different types of clay sourced from her home country. Combining her background in architecture with visual art, her work is intended to spark discourse around handmade, digital, and industrial processes.  

“My work focuses on researching the different kinds of clay in Jordan and documenting traditional techniques there,” she said. “Through exploring these kinds of clay, which are iron-rich and usually used for terracotta, I was thinking about how to translate a vessel which is usually made out of terracotta and used to store water into something that is vertical. I was also thinking about how to leverage the different qualities and characteristics of terracotta in architecture.”  

She added: “Riyadh seems like such an amazing platform for artists and they’re trying to shape and think about what contemporary art in the Middle East is.”  

Sama Alsaket's ‘Shades of Terracotta.’ (Supplied)

Egyptian artist Hana El-Sagini’s “The Doctor’s Desk” also features in the exhibition.  

“It’s a reflection on illness as a female,” El-Sagini told Arab News. “I was a cancer patient and as a Middle Eastern Muslim woman you kind of protect your body and it’s very sacred, but once you become a patient, things totally change. You become this object they need to fix, which is very noble of them, but it’s a very overwhelming experience for us. Anyone who’s going through adversity goes through surreal ideas of reality versus illusion and ‘Is this really happening to me?’ Like with heartbreak, or the death of a loved one, or illness — all of these — you find yourself in a surreal state. This is why there are a lot of fingers in the work.” 

The work is playful as well, she added. “I’m Egyptian, so I need to have that dark humor.”  

El-Sagini is better known as a painter. In fact, “The Doctor’s Desk” is her first ceramic work.  

“It was the right medium for this work: it’s fragile, it’s real, it’s malleable, raw, and very expressive,” she said. “It’s not perfect. It’s kind of a reflection on the human form.”