Historic Jewish quarter of Marrakesh sees revival

Moroccan Jews and Israeli Jewish tourists participate in a religious ceremony to observe the holiday of Sukkot (the Feast of the Tabernacles) at a synagogue in the “Mellah” Jewish quarter of the Medina in Marrakesh on October 13, 2017. (AFP)
Updated 31 October 2017
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Historic Jewish quarter of Marrakesh sees revival

MARRAKESH: The once teeming Jewish area of Moroccan tourist gem Marrakesh is seeing its fortunes revived as visitors including many from Israel flock to experience its unique culture and history.
“You’re now entering the last synagogue in the mellah,” the walled Jewish quarter in the heart of the ochre city, Isaac Ohayon says as he enthusiastically guides tourists in the courtyard of the Lazama synagogue.
“Many visitors come from Israel — you wouldn’t believe the demand!” adds the jovial 63-year-old hardware shop owner.
This place of worship and study was built originally in 1492 during the Inquisition when the Jews were driven out of Spain.
Known as the “synagogue of the exiles,” it hosted generations of young Berbers who converted to Judaism and were sent from villages in the region to learn the Torah, before finally being deserted in the 1960s.
In classrooms now transformed into a museum, fading color photographs tell the story of a now-dispersed community, with many having left for France, North America and especially Israel.
The caption on one sepia shot of an old man sitting by a pile of trunks says it all: “They are traveling toward a dream they have prayed for for more than 2,000 years.”
Rebecca is now in her fifties and grew up in Paris, but she has “great nostalgia” for Morocco and returns as often as she can.
“The Jewish Agency began recruiting the poorest in the 1950s and then everyone left after independence (from France), at the time of King Hassan II’s policy of Arabization,” she says.
The Jewish Agency of Israel is a semi-official organization that oversees immigration to the country.

Before the wave of departures, Morocco hosted North Africa’s largest Jewish community, estimated at between 250,000 and 300,000 people.
There are fewer than 3,000 left, according to unofficial figures.
Marrakesh at the foot of the Atlas mountain range was home to more than 50,000 Jews, according to a 1947 census.
Now, 70 years later, around 100 are thought to remain, many of them extremely elderly.
Jewish-owned homes inside the mellah were sold to Muslim families of modest means, and the walls of the district were eroded by time.
“Sometimes we can’t get even 10 men together for prayers,” says one woman worshipper at the old synagogue, preferring to remain anonymous.
But at celebrations marking the end of the festival of Sukkot, which commemorates the Jewish journey through the Sinai after their exodus from Egypt, and the Simchat Torah holiday, the place is buzzing with song, dance and traditional dishes.
The worshipper says she has “never seen so many people” there.
Jacob Assayag, 26, proudly calls himself “the last young Jew in Marrakesh.”
“Since the quarter was restored, there have been more and more tourists,” says the restaurateur and singer.
A restoration project begun just over two years ago has already seen 17.5 million euros ($20.5 million) spent.
Ferblantiers Square, a large pedestrian area near the spice souk lined with benches and palm trees where tourist buses gather, also benefited from the revamp.
Twenty years ago, the quarter was renamed “Salaam (’peace’ in Arabic),” but this year saw its original “El Mellah” name restored on the orders of King Mohamed VI “to preserve its historic memory” and develop tourism.

The streets with their ochre facades once more bear their names on plaques in Hebrew: the synagogue, for example, is on Talmud Torah Street.
There is much to see inside the mellah.
Camera-toting tourists snap vigorously at shopfronts and the carved wooden doorways of houses in the quarter.
“Many people come every year from Israel for the (Jewish) holidays, and this year has seen even more, maybe 50,000,” says Israeli tourist guide David, leading a group from Tel Aviv via Malaga in Spain on an eight-day trip.
“I feel at home in Morocco because I was born here,” adds the 56-year-old from the port of Ashdod just north of the Palestinian-controlled Gaza Strip.
His parents left Marrakesh in the 1960s, when David was just four years old, “because they were Zionists.”
Ohayon says visitors from the Jewish state are often bowled over by Marrakesh.
“Moroccan Jews can’t forget their homeland and Israelis who come here for the first time find the spirit of tolerance here almost unbelievable when they themselves live under constant tension,” he says.
Officially, Morocco has neither diplomatic nor economic ties with Israel, as this is a sensitive topic. Just two Arab states, Egypt and Jordan, have signed peace treaties with the Jewish state.
But in reality, there are few obstacles to both business and tourism.
Moroccan media reports say commercial exchanges between the two countries this year have amounted to more than four million dollars a month.
The kingdom, seen as a safe destination, recorded a more than 10 percent rise in tourist arrivals between January and August this year over 2016, with eight million visitors.


Global sculptures at open-air museum in historic Jeddah

The new sculpture installations at Al-Arbaeen Lake reimagine public spaces as platforms for cultural engagement. (SPA)
Updated 29 June 2025
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Global sculptures at open-air museum in historic Jeddah

  • The sculptures form a dynamic dialogue between the past and present, blending the site’s heritage with the language of contemporary art

JEDDAH: As part of a broader effort to revive the region’s visual identity through art, Al-Arbaeen Lake in historic Jeddah has been transformed into an open-air gallery featuring a curated collection of sculptures by international artists.

Led by the Ministry of Culture in cooperation with Jeddah Municipality, the initiative features 14 world-class artworks integrated into the city’s visual landscape, Saudi Press Agency reported.

Historic Jeddah's Visual Identity Reimagined Through Art Installations at Lake Al-Arbaeen. (SPA)

The sculptures form a dynamic dialogue between the past and present, blending the site’s heritage with the language of contemporary art.

Notable works on display include “The Illusion of the Second Cube” by Hungarian-French artist Victor Vasarely; “Rouge” and “Flexibility of Balance” by Alexander Calder; “Circular Mass” by Arnaldo Pomodoro; “The Bird” by Spanish sculptor Joan Miro; and “Giving and Receiving Love” by Lorenzo Quinn — a powerful piece that reflects human values through striking aluminium forms.

FASTFACTS

• Led by the Ministry of Culture in cooperation with Jeddah Municipality, the urban art initiative features 14 world-class artworks integrated into the city’s visual landscape.

• Notable works on display include ‘The Illusion of the Second Cube’ by Hungarian-French artist Victor Vasarely and ‘Giving and Receiving Love’ by Lorenzo Quinn.

The installations are part of a wider artistic movement that reimagines public spaces as platforms for cultural engagement.

By transforming urban environments into art experiences, the project invites both residents and visitors to explore the intersection of architectural heritage and modern creativity.

It underscores the growing role of art in shaping urban identity and fostering public appreciation for visual beauty in shared spaces of the Kingdom.

 


Em Sherif Art Foundation reimagines global restaurants as cultural hubs

Updated 29 June 2025
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Em Sherif Art Foundation reimagines global restaurants as cultural hubs

DUBAI: With 24 outposts around the world, the minds behind Lebanese restaurant Em Sherif are keenly aware of their responsibility when it comes to sharing the country’s culinary culture with international audiences.

Now, they are taking things one step further with the launch of the Em Sherif Art Foundation that aims to provide increased visibility for artists through restaurants — in Doha, Monaco, London, Paris and Dubai, among other cities — which are being reimagined as cultural hubs.

Earlier this year, the Em Sherif Cafe in Paris showcased the work of Lebanese photographer Ziad Antar, and part of the initiative sees diners at all Em Sherif locations presented with three menus — a food menu, a drinks menu and an art menu — inviting guests to engage with the evolving story of contemporary Lebanese art.

'Kiev' (2024) by Ziad Antar at Em Sherif Cafe in Paris. (Supplied)

Em Sherif CEO and co-founder of the art foundation, Dani Chakour, spoke to Arab News about the cultural initiative.

“The art menu is not intended for commercial or financial purposes. Rather, it serves as a curated catalogue that showcases the artworks currently on display,” he said.

The decision to focus exclusively on Lebanese artists was intentional, Chakour added.

'Potato Portraits' (2025) by Ziad Antar at Em Sherif Cafe in  Paris. (Supplied)

“In Lebanon, it is often the private sector that drives meaningful cultural and artistic initiatives, as government support for the arts remains limited. Through this foundation, we aim to be an added value for our artists, helping them gain the visibility and recognition they deserve on a global scale.

“We need active public-sector involvement: We need more art fairs, modern infrastructure, supportive tariffs and dedicated museums. Without this foundational support, our artists will continue to be overlooked, despite their remarkable talent,” he said.

Chakour, who has a personal collection of more than 600 artworks, spotlighted celebrated names in the international art industry who he says benefited from working abroad.

“Huguette Caland, Gibran Khalil Gibran, Etel Adnan, Mona Hatoum, Walid Raad, Yvette Ashkar, Amin Maalouf, they are some of Lebanon’s most celebrated names. But what do they all have in common? They each spent the majority of their careers abroad, in environments that offered the right ecosystems … this is not a reflection of a lack of talent in Lebanon. On the contrary, it’s a reflection of what’s missing structurally; the institutional support, the infrastructure, the public funding, the museums, the cultural policies and the global exposure.

“At Em Sherif Art Foundation, we’re driven by a mission to help bridge that gap — to create opportunities within and beyond Lebanon so that our artists don’t need to leave home in order to rise,” Chakour said, noting that showcases by artists Christine Safa, Willy Aractengi, Ayman Baalbaki, Hussein Madi and Bibi Zogbe will be hosted in the coming months.


Jeddah exhibition gives internet cafes an artistic reboot

Seventeen artists and collectives have had their work on display at ‘Internet Cafe,’ an exhibition inspired by the digital age.
Updated 29 June 2025
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Jeddah exhibition gives internet cafes an artistic reboot

  • Local artists revive communal, quirky, deeply human qualities of early web era

JEDDAH: Internet cafes in Jeddah were once popular spots with pay-by-the-hour internet access; they have now provided the inspiration for the city’s latest exhibition.

In a collaboration between Kham Space and Estiraha, 17 artists and collectives have had their work on display at “Internet Cafe,” an eight-day exhibition which explored the concept of connection and intimacy in the digital age.

Asaad Badawi’s installation paid tribute to early programmer culture. (Supplied)

Abeer Sultan, who curated the exhibition alongside Mbarak Madhi and Fai Ahmed, spoke to Arab News about the early process in contemplating the theme.

The idea for the exhibition, which concluded on Saturday, stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

HIGHLIGHTS

• The idea for the Jeddah exhibition stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

• Some of the works were meant to act as ‘hyperlinks’ to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.

She said: “We wanted to do something that is about us now, and maybe the future as well; not only going back to things for nostalgia or the good old days, as they say.

‘Closed eyes under a sunny sky I’ by Zahiyah Alraddadi. (Supplied)

“Maybe it has something that we can use today, especially now that there’s a movement of people trying to slow down, using dumbified devices throughout the internet.”

Instead of creating a literal internet cafe, the curators focused more on the nuances a cybercafe used to have.

"F.A.R." by Dalal Madhi's work. (Supplied)

Their approach to the space was categorized into three themes: “Disconnected Understanding, Linked Source,” “In the Shadow of a Doubt, Light My Screen,” and “Whirling Algorithms of a Distant Dream.”

Artist Zahiyah Alraddadi, who usually paints works focusing on the significance of the mundane, took oil to canvas to paint “Closed Eyes Under a Sunny Sky I” and “Familiar Features.”

The a piece by Ahaad Alamoudi, “Land of Dreams” takes a humorous approach. (Supplied)

Her work feels meditative and was intended to slow visitors down as they walked through the space — much like the feel of a buffering screen page.

Some of the works were meant to act as “hyperlinks” to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.   

Studio bin Hattan, which is led by artist Elham Dawsari, displays “Cultural Override” derived from her father’s archives from the 80s, who was interested in computer graphics. (Supplied)

Anhar Salem’s work “After Now” was a curtain imprinted with thumbnails of YouTube videos. The artist conducted a survey asking people between the ages of 18 and 40 to share their YouTube video recommendations, making up a curtain of information overload.

Next to that, Tara O‛Conal’s video installation was a film sequence — but the catch is, nothing really happened. The film continued to load, glitch, and reload, perhaps suggesting commentary on our constant yearning for contact.

Hayfa Al-Gwaiz’s “Long Distance” is a painted form of FaceTime video calls. The work explores digital intimacy by centering not the callers’ faces, but the ceilings above them. (Supplied)

“Compared to Anhar’s work, (Tara’s) feels like a pond, in a way, to look at,” Sultan said.

Some works were inspired by computer graphics. Asaad Badawi paid tribute to early programmer culture via telephone-book-inspired art, and his father, who is a programmer.

Madhawi Al-Gwaiz's works are painted in a graphic style that is reminiscent of early 00s and '10s graphics styles. (Supplied)

Studio bin Hattan, which is led by artist Elham Dawsari, displayed “Cultural Override,” derived from her father’s archives from the 1980s. Madhawi Al-Gwaiz paints in a style that echoes digital graphics from the early 2000s.

Others took a more distanced approach. ThirdSpace’s “Untitled Table” was a physical object, but the research behind it was about keyboards that then shifted to Hijazi architecture, drawing on the iconography and architectural languages across the history of the region.  

Tara O‛conal’s video installation is a film sequence in nature—but the catch is, nothing really happens. The film continues to glitch and reload, perhaps suggesting commentary on our constant yearning for contact. (Supplied)

Hayfa Al-Gwaiz’s “Long Distance” was a painted form of facetime video calls. The work explored digital intimacy by showcasing not the callers’ faces, but the ceilings above them — a scene that’s familiar to anyone who has taken up a long-winded video call with a loved one and set down the phone to cater to life’s more immediate demands.

While the exhibition tackled the digital boom personified through cybercafes, it notably avoided artificial intelligence.

Sultan explained: “It is the idea of being fast and efficient, which is what we are resisting with AI …  It’s dominating the internet in a weird way, and we wanted a space where people customized things manually, going back to montadayat (domains) where people had to do things by themselves. There’s no template.”

The last piece was by Ahaad Alamoudi, and “Land of Dreams” took a humorous approach to directing audiences to their dreams. As you walked toward the work, in an outdoor area outside the confines of the exhibition space, visitors were met with vinyl boards of the iconic Emirati singer Ahlam.

Sultan said: “The work accentuates the fact that the dream land is a subjective experience or idea, and everyone would have their own imagination of what that is, whether it's Ahlam or something else.”

The “Internet Cafe” was a love letter to a new digital age — one that is sustainable, communal, and deliberately slow.  

“This is our way of keeping in touch with other people. An exhibition space is also a space where people meet, even if it’s for a moment, to have these conversations together, which is really important,” Sultan said.

 


REVIEW: ‘The Bear’ season four is a triumphant return to form

Updated 28 June 2025
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REVIEW: ‘The Bear’ season four is a triumphant return to form

DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.

Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.

So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.

In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.

At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.

This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.


Ronnie O’Sullivan, Laila Rouass tie the knot

Updated 27 June 2025
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Ronnie O’Sullivan, Laila Rouass tie the knot

DUBAI: British snooker champion Ronnie O’Sullivan and British actress Laila Rouass announced on Friday that they have tied the knot, 10 months after ending their on-off relationship.

The couple, who have been together for 13 years and have separated several times, were married in an intimate ceremony in London.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Laila Rouass (@lailarouass)

Rouass, who is of Moroccan and Indian heritage, shared the news on Instagram, writing: “The Palestinians have taught me so much, most importantly to honor human connection, make love your motivator and to keep refreshing it. So after almost a year break … this was one way of pressing the refresh button.” 

She also revealed that the ceremony took place on Cable Street in Shadwell, the London neighborhood where she was born and which she described as holding deep personal and historical significance.

According to The Sun, the pair are now planning to relocate to Dubai for a fresh start.