Palestinian group tackles gentrification, occupation on new album

The London-based four piece, all of whom are of Palestinian origin, have generated huge buzz. (Photos supplied)
Updated 11 February 2018
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Palestinian group tackles gentrification, occupation on new album

DUBAI: Almost three years on from introducing the world to a new sound with their debut release, “Shamstep,” 47Soul are back with what they are calling their debut studio album, “Balfron Promise,” released earlier this month.
The London-based four piece, all of whom are of Palestinian origin, have generated huge buzz in that time, receiving critical acclaim for their songs, but also for their high-energy, wildly-celebratory live shows, which have connected with audiences in the West just as strongly as with youth in the Middle East.
“Shamstep” is the name the band give their anthemic blend of electronic hip-hop, hints of reggae, and the traditional dabke music of Bilad Al-Sham, topped off with raucous unison vocals in both English and Arabic. The party vibe balances the group’s socially conscious lyrics, which — while still often optimistic — focus on the struggle for freedom and equality of all kinds, and the feeling of rootlessness shared by so many in the Palestinian diaspora, the Middle East and beyond.

The idea of 47Soul becoming a full-time venture for its members took some time to arise. When the four musicians — MC/vocalist and darouka player Tareq Abu Kwaik (aka El Far3i), percussionist and MC/vocalist Walaa Sbeit, guitarist and vocalist Hamza Arnaout (aka El Jehaz), and keyboardist and vocalist Ramzy Suleiman (aka Z the People) — first got together, it was for a short-term project at London’s biennial Shubbak Festival. All four were already established artists in their own right, whether solo or with bands (Arnaout in Jordanian indie outfit Autostrad, Sbeit in Ministry of Dub-Key).
“The idea of 47Soul wasn’t that this could actually become a band,” El Far3i told Arab News. “It was more like a ‘seasonal collective.’ It wasn’t serious. But after we played those shows in the UK and we felt the impact of what we’d done, the idea of this becoming a full-time band started to come out.”
El Far3i said the hugely positive reception of the band’s work was a surprise but “not completely unanticipated.”

BALFRON PROMISE | وعد بلفرون

A post shared by 47SOUL السبعة و أربعين (@47soul) on

“We had that feeling when you’re writing songs with friends and you go, ‘man! If we did this… I bet it’ll go hard and people will feel it.’ That feeling of what you think the collective musical mindset can receive at that point in time,” he said. “It feels very good to see it was received well. The tracks also resonated a lot in Palestine, specifically, and in Syria. People felt like this is something connected to how they feel. Especially the youth. They’re proud that we’ve found a way to play their music outside their region.
“This isn’t the traditional form, clearly,” he added. “This has English in it. And guitars. It’s different, but it’s still understood that it’s an attempt to work with ‘our’ music.”
The chemistry between the four, onstage and off, has much to do with the band’s success.
“I’d say the four of us had a high interest in creating something new and claiming a genre that has to do with where we’re from. The relationship of each of us with that — as in Syrian and Palestinian music — is different in terms of the music we listen to, but we all share that interest,” El Far3i explained. “I think that’s the main reason (we work well together); that feeling of pride in doing music that does represent — or at least hint at — our culture’s music, given that our culture, identity-wise and existential-wise, is facing a lot of obstacles and oppression.
“But the other area is very sonic,” he continued. “We all find the sounds of the wind instruments that we play on keyboards in this genre of Arabic music very interesting and we thought it could go different places. We want to be the band experimenting with this kind of sound, regardless of how experimental we go on some tracks and how shaabi, or traditional, we try to keep it. In both directions, we feel it’s worth exploring for a good part of our musical journey.”
The fact that their journey has taken them to London is partly because of that appearance at Shubbak Festival in 2013. But it has also, ironically, proved easier for the four band members to actually be in the same location in the UK than it was in the Middle East.
“The four of us cannot exist in a lot of Arab countries at the same time — at least not for any length of time — because of our passports,” El Far3i said. “That’s a reality. And it’s a reality for many musicians in the region. And people in the region. There’s a problem here with communication. That’s our story at the end of the day, and our people’s story.
“But,” he adds. “It’s not the only part of our story.”
That is an important distinction that gets to the heart of what 47Soul are about. Despite the obvious frustration and anger at the heart of their lyrics, they also try to find light in the darkness.
El Far3i pointed out that the power of social media and the many online channels for music distribution has given alternative Arab artists, who traditionally struggled to be heard, new opportunities.
“To be frank, alternative music — or non-commercial music, let’s say — in the Arab world is consumed on the Internet,” El Far3i explained. “So your geographical location, or where you make it, stops being important.”
It is an opportunity the band have fully exploited, and one which has allowed their music to reach a truly global audience.
The new album takes that into account. The title “Balfron Promise” is a clear reference to the Balfour Promise, which first established the state of Israel and drove their families from their homes in Palestine. But it also refers to Balfron Towers in London, where the band resided for some time and which has now been sold to a luxury developer. The band immediately saw parallels between gentrification and occupation — the implication that one group of people is somehow more important or supposedly valuable than another — as well as an obvious joke about the similarity between the names “Balfron” and “Balfour.”

“But the idea that started as a joke actually became the reality,” El Far3i explained. “Palestine was lost because people were told to leave on the promise that they would be getting something different. The idea of gentrified neighborhoods is all over the world, of course, but especially in a city like London, you’ll see the gentrified neighborhood issue where people have to leave because some other people want to expand and capitalize, so some people lose their houses. It’s not very different from the idea of colonization and occupation and the story of Palestine. This is the line of connection. It’s comparing gentrification and saying that the pain people feel is kind of the same. At the end of the day, the issue of war is the issue of home. And the issue of gentrification is the issue of home. And it’s based on capital, you know?
“It was enough to elaborate on some ideas that we’d written in that tower, and a little before and after that. So we made it the theme of the album, and it’s kind of a shout out to London,” he continued.
Although their lyrics tackle thorny social issues, 47Soul are, at their heart, a party band — “this is dance music,” El Far3i stressed. Ultimately, their music is a celebration of their culture, their history, and “the idea of return.” That celebration is clear in their live shows.
“The wildness comes from the actual sound, and the beats,” El Far3i said. “That’s why Arab parties get wild — because they use these rhythms, and the consistency in the rhythm keeps you in it, you do deeper inside the beat, kind of a trance.
“Maybe the first five or ten minutes you’re warming up, but after that, it’s over, you know? People will be jumping and moving. I think that’s the reason for the wildness,” he continued. “I would thank these ancient beats that have been around for thousands of years for that.”


Meet Reman Assere, Saudi Arabia’s youngest Arabic calligraphy instructor

Updated 1 min 42 sec ago
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Meet Reman Assere, Saudi Arabia’s youngest Arabic calligraphy instructor

  • She became the youngest certified instructor at the age of just 11
  • Assere now tutors students of all ages

MAKKAH: After qualifying at just 11 years old, Reman Assere officially became Saudi Arabia’s youngest calligraphy instructor.

Her journey started in fifth grade, sparked by a school activity. She began with basic exercises but, with continuous practice and self-learning through platforms such as YouTube, she steadily refined her skills.

Arabic calligraphy is celebrated for its variety of styles, including Kufic, Naskh, Thuluth, Diwani, and Ruq’ah, each with a unique character and distinct lettering technique. (Supplied)

Her ambitions and her love of the art drove her to undertake professional training in Kufic calligraphy, believed to be the earliest example of a universal style of Arabic calligraphy. Once qualified, she was registered on the Ministry of Culture’s official platform, Al-Khattat.

What truly set her apart and caught people’s attention was her relentless dedication to learning. Even during vacations, she practiced tirelessly, seeking out special events and connecting with other calligraphers.

FASTFACT

Reman Assere’s ambitions and her love of the art drove her to undertake professional training in Kufic calligraphy.

Now aged 15, Assere told Arab News that her professional training was carried out under the guidance Shurooq Al-Harbi. She also highlighted the pivotal role played in her development by Prof. Siraj Al-Omari, whose ongoing support and encouragement were instrumental.

Today, Assere has become proficient in both in writing and teaching Kufic calligraphy and is expanding her expertise to include the Diwani style.

Reman Assere

However, her journey has been far from easy. A lack of calligraphy institutes in her native region of Abha posed considerable challenges and meant she had to rely on online courses or travel to other cities.

It was worth it, however. Her numerous awards include first place in the 2023 Cultural Skills Competition and the Ministry of Education’s National Olympiad for Arabic Calligraphy. She has also demonstrated her talents at prominent events, such as the Layalina Festival in Wadi Al-Dawasir and the Abha Shopping and Entertainment Festival.

Arabic calligraphy is celebrated for its variety of styles, including Kufic, Naskh, Thuluth, Diwani, and Ruq’ah, each with a unique character and distinct lettering technique. (Supplied)

Assere has also led courses at the Holy Mosque Library in Makkah and organized calligraphy workshops in schools.

Today, she is recognized as one of the most influential trainers in Arabic calligraphy, teaching across all age groups. She takes pride in seeing her students compete in calligraphy competitions, a testament to the success of her approach and teaching methods.

Reman Assere has become proficient in both in writing and teaching Kufic calligraphy and is expanding her expertise to include the Diwani style. (Supplied)

Even in an age of rapid technological advancements, Assere is confident that calligraphy’s unique beauty will endure. She believes the future is bright for students and trainees, as the art of calligraphy continues to inspire and cultivate creativity.

She explained how the beauty of Arabic calligraphy is in the balance and harmony of its letters, with fluid lines that interlace. For Assere, Arabic calligraphy not only captures the essence and grace of the Arabic language, but it also allows the writer to convey thoughts and emotions.

Arabic calligraphy is celebrated for its variety of styles, including Kufic, Naskh, Thuluth, Diwani, and Ruq’ah, each with a unique character and distinct lettering technique. Rooted in precise geometric principles, Arabic calligraphy achieves a harmonious visual balance, allowing for flexibility in letter formation, overlapping designs, and intricate decorative motifs.

Assere said: “The beauty of Arabic calligraphy extends beyond writing; it is a visual art that enhances both artworks and decorations. Over time, it has become a cultural symbol that embodies Arab and Islamic identity.”

 

 


Ancient Italian masterpieces arrive in AlUla for first regional exhibit at Maraya

Updated 08 November 2024
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Ancient Italian masterpieces arrive in AlUla for first regional exhibit at Maraya

DUBAI: The Royal Commission for AlUla has partnered with the National Archaeological Museum of Naples to bring ancient masterpieces from its renowned collection to Saudi Arabia and the region for the first time.

The agreement between RCU and MANN will facilitate the transport of a curated collection of artifacts from Naples to AlUla for the “Masterpieces of the National Archaeological Museum of Naples” exhibit.

Statuette of Alexander on horseback Herculaneum, 1st century BCE Bronze. (Supplied)

This exhibit, a highlight of AlUla’s 2024 Ancient Kingdoms Festival, is on display at Maraya, the world’s largest mirrored building, until Dec. 14.

Fifteen masterpieces from ancient sites such as Pompeii, Herculaneum and Rome are being presented to a regional audience for the first time, marking a historic debut outside Italy. 

The Nilotic Mosaic, displayed abroad only once before in Japan, will also be featured. 

Statue of Trajan Minturno, late 1st century CE Marble. (Supplied)

Abdulrahman Al-Suhaibani, vice president of culture at the RCU, said: “The National Archaeological Museum of Naples is a repository of masterpieces that reveal the wonders and richly interconnected stories that helped shaped the ancient world — key among them are Nabataean artifacts including alters and inscriptions dedicated to the Nabataean chief deity Dushares that show the extent of that civilization, from AlUla in northwest Arabia to the shores of southern Europe.”

“It’s a privilege for RCU to host the masterpieces of the National Archaeological Museum of Naples exhibit and to display its wonderful collection of ancient artifacts for the first time in the region as we build toward an exciting calendar of cultural events, including the AlUla World Archaeological Symposium and the Ancient Kingdom’s Festival,” he said. 


Michael Buble to perform in Abu Dhabi

Updated 08 November 2024
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Michael Buble to perform in Abu Dhabi

DUBAI: Globally acclaimed artist Michael Buble will perform in Abu Dhabi on Jan. 16, 2025, during the second edition of Saadiyat Nights.

The Canadian singer-songwriter joins an impressive lineup for the three-month outdoor concert series.

The performers include pop icon Robbie Williams on Dec. 28, Iranian music legend Ebi on Jan. 4, American vocal harmony group Boyz II Men on Jan. 25, Egypt’s renowned composer Omar Khairat on Feb. 1, and US pop sensation Christina Aguilera on Feb. 15.

Buble, celebrated for his signature blend of swing and jazz, has delighted fans around the world with hits including “Home,” “Sway,” and his rendition of “Feeling Good.”

The Grammy Award-winning artist has sold over 75 million albums globally, making his upcoming performance a highly anticipated event.

 

 


Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women

Updated 08 November 2024
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Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women

DUBAI: Saudi artist Fatimah Al-Nemer has devoted herself to depicting narratives of women through her multimedia art, which merges collage, photography and tapestry. From childhood, her life was shaped by the female presence, she says, whether that meant family members or characters in legends.  

Al-Nemer comes from Al-Qatif in the Eastern Province, one of the oldest cities in the Kingdom. “Imagine,” she says, “it’s an area that existed 600 years before Jesus.” She now lives on Tarout Island just off the coast of Al-Qatif. The island’s name is possibly derived from Ishtar, the Mesopotamian goddess of love and war — it was here that she was expelled, abandoned by her community.  

“Color of Life.” (Supplied)

Al-Nemer claims that every household in her hometown holds some form of artist within its walls. “Al-Qatif’s rich cultural history affected us all,” she says. “It was a magical city, attracting tradespeople from Persia and Anatolia. We grew up with these stories.”  

Her mother, who had an eye for design, was her earliest supporter. She provided her daughter with art materials and didn’t even scold her for painting on the walls of their family home. “She even paid for my art classes,” Al-Nemer says. “She always called me the artist of the family. If my mother wasn’t by my side, it would have been impossible for me to become an artist.”  

For the young Al-Nemer, drawing and painting was her only outlet for self-expression. “As a child, I was fearful and endured social anxiety, so I would only express myself through art,” she says. “It boosted my confidence. I used to draw on walls and on paper. If I was sad or happy, I would draw about what was making me feel that way. I was impacted by art and it became a language for me.”  

Al-Nemer with “Malak,” one of her works. (Supplied)

By the time she was 18, Al-Nemer had shifted from taking art classes to teaching them, and had already participated in some exhibitions. She also worked as a jewelry designer in a gold factory. And in 2009 she took the decision to travel abroad to further her studies. 

She went to Jordan, where she enrolled as an interior design student at the Philadelphia University in Amman, exposing herself to a cultural openness offered by the capital city.  

“In Jordan, people were highly cultured. Its environment was rich with artists and poets. You’re not just studying art there, you’re also going to the theater. I even performed there,” she says. 

In the early days of her art career, Al-Nemer experimented with oil paintings and charcoal, depicting classical, surrealistic and symbolist scenes. At one point, she was solely making self-portraits, which she says caused some issues with family members and others, particularly when they were published in magazines and newspapers.  

“Gold.” (Supplied)

“I think I was saying: ‘I am Fatimah. Accept me for who I am. I am an artist and I represent this identity and my culture and I am proud of it,’” she explains.  

Eventually, though, she expanded her focus to include women other than herself. She has been inspired by personal stories from fellow Saudi women. “I used to listen and live their stories as if I was the heroine of their tales,” she says. 

In her large, detailed, carpet-like artworks, which are full of ornamentation and native cultural symbols, she pays tribute to Saudi and Arab women, adorned in traditional attire while holding objects related to her homeland, such as a musical instrument or an incense burner. They reflect her attachment to her roots.

“Princess of the North 1.” (Supplied)

“I try to embody the Arab woman with certain admirable qualities. She is the butterfly, the mother, the sister, the doctor. She is the giver,” says Al-Nemer. “She is not just a figure; there is a universe within her. It is like a letter of appreciation for all that she stands for and has given to society.”   

She also treats these images, which she started making nearly a decade ago, as research-like documentation of traditional Saudi dress and cultural symbolism, focusing on specific areas of the Kingdom (beginning, of course, with her own hometown).  

Often, she depicts women with their mouths or eyes covered. In part, this is to encourage viewers to focus on the details surrounding the women in her portraits, but it also reflects some of the creative limitations she experienced when younger, when it was frowned upon to make figurative art in the Kingdom. Now, however, as Saudi Arabia opens up, she feels more free in her practice.  

“As artists, our lives have changed 180 degrees,” she says of the current Saudi cultural scene. “Art has become more than a profession.”  


Off the beaten track in Sri Lanka 

Updated 08 November 2024
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Off the beaten track in Sri Lanka 

  • New visa rules have made it easier than ever for Gulf tourists to visit the island nation 

TORONTO: Sri Lanka has long been a favored destination for visitors from the Gulf. Easy access, budget-friendly offerings, and diverse experiences – from cultural and historic landmarks to idyllic beach resorts and scenic treks – make it an ideal getaway destination. And now, there’s one more reason for Saudis to take a trip to the island nation. Last month, the Sri Lankan government announced that residents of Saudi Arabia, the UAE, Qatar, Oman, and 31 other countries can now visit without a visa.  

The capital, Colombo, is probably the most popular destination in Sri Lanka, along with Kandy and Ella, but the less-frequented areas in the central and southern regions of the country are well worth considering.  

The Summerville Bungalow in Hatton. (Supplied)

My Sri Lanka trip started in Hatton, in the Nuwara Eliya region. Often called “Little England,” the region is a reminder of the country’s former colonial rule, with Tudor-style architecture and sprawling tea estates named after their former British proprietors.  

The central province is home to Sri Lanka’s renowned tea highlands. Tea is an integral part of the island’s history and culture — as its former name, Ceylon, suggests. 

My encounter with Ceylon tea starts at the Dunkeld Tea Factory, owned by The Dilmah Group, a family-run business that has become a global name. The tea is single-origin — meaning it is picked, cultivated, and packed from the lush, rolling terraces of the region. The tour takes guests through the history of Ceylon tea, which actually began with coffee plantations in the 18th century. But leaf disease devastated those plantations, leading to the demise of the short-lived coffee industry in Sri Lanka. In 1867, James Taylor, a Scottish man, planted the first tea clearing in Kandy. By the late 19th century, the country had become one of the largest tea producers in the world. Guests are also invited to a tea-tasting experience, including the Orange Pekoe, the robust tea blend that is a specialty of the region. 

The terraces of a tea plantation around the Ceylon Tea Trail. (Supplied)

I stayed at Summerville, one of the five palatial bungalows once home to English plantation owners which have now been refurbished into boutique properties by the Ceylon Tea Trails Hotel under the Resplendent Ceylon Group. Perched at nearly 4,000 feet and set across 2,000 hectares, the bungalows are perfect for those seeking a slow, luxurious vacation. Guests can enjoy breathtaking panoramic views of the emerald hilltops from various vantage points or unwind in the several tranquil lounge spaces scattered throughout the bungalows. Or — with a private chef and butler on hand — choose to indulge in a five-course dinner that features the likes of a Yatawatte tea-infused roasted chicken or the Earl Gray fondant. 

The tea trails, ranging from four to 15 kilometers long, connect the various bungalows, offering scenic hikes through the valleys. For those seeking adventure, the newly-inaugurated Pekoe Trail (a 300-km route with 22 phases) allows tourists to explore the rich biodiversity of the area. This trail can be experienced on foot or by rail. 

The Wild Coast Tented Lodge in Sri Lanka. (Supplied)

The next leg of my trip was drastically different. As we were making our way down from the central region to Sri Lanka’s southern tip, the hilltops, winding roads, and cool weather gave way to palm trees, speedy tuk-tuks, and tropical weather. 

In the Hambantota district, the biggest draw is undoubtedly Yala National Park, the second largest national park of the country, and the one with the highest density of leopards. An early morning or afternoon game drive provides ample opportunities to spot wildlife, including the elusive leopard, sloth bears, and elephants.  

After the adrenaline rush of a wildlife safari, I head to our ‘glamping’ lodge — the Wild Coast Tented Lodge, another one of Resplendent Ceylon’s properties. The luxury camp is unfenced and wildlife will often wander into the premises from the park, giving guests a sometimes-gleeful, sometimes-terrifying experience.  

The lodge itself is an architectural delight, focusing on sustainable design and the use of organic materials, including bamboo. It includes 28 “cocoons” or pods scattered throughout the jungle wilderness. The interiors feature rustic touches like cooper hardware, a leopard-claw bathtub, and vintage leather furniture. 

It’s also here that the jungle meets the Indian Ocean. As I wandered along the rugged coastline or enjoyed a sundowner, I was once again reminded of the serenity that Sri Lanka has to offer.