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.”


From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script

Updated 22 November 2024
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From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script

  • ‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi

DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.  

Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.  

“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”  

Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. (Supplied)

But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.  

“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”  

Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.  

3punt 2. (Supplied)

“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.” 

But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers. 

“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”  

3punt 4. (Supplied)

Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says. 

Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.  

“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.  

But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.  

His fascination with writing began in elementary school in the Eighties in his hometown of Madinah. (Supplied)

Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?  

“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”  

But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.  

3punt 6. (Supplied)

“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”  

Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)  

“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”  

Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.   

Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.  

“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.” 


US contemporary artist Brendan Murphy discusses his first show in Riyadh

Updated 22 November 2024
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US contemporary artist Brendan Murphy discusses his first show in Riyadh

RIYADH: The American contemporary artist Brendan Murphy brought his solo exhibition “Complete Control” to Ahlam Gallery in Riyadh on Nov. 7. The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo. 

The show features a number of Murphy’s iconic “Spaceman” sculptures, with a particular focus on his limited-edition collectible series titled “Magication.”  

In an interview with Arab News, Murphy said the main goal of his show is to bring people “into the moment.” He also stressed that he felt a “creative cultural resonance” with the Kingdom, where he believes people have shown “an appetite for creative works.”  

The Riyadh show is the conclusion of a global tour that Murphy began in June 2024 at Fineart Oslo. (Supplied)

He said: “I have a lot of stuff I’m working on, but I’m focused on building a foundation in Riyadh right now. This show is not a one-shot deal, I want to be a part of this renaissance (that’s happening in Saudi Arabia) for the next five to 10 years, at least. I want to be a part of it — I want to lead it if I can.”  

Murphy’s body of work includes colorful abstract paintings and sculptures of his signature Spacemen, which explore themes of beauty, power, and the human experience. 

As a kid, watching astronauts and space shuttle launches played a major role in Murphy’s life and eventually became one of his main artistic inspirations.  

Brendan Murphy's 'Frozen With Desire.' (Supplied)

“My spacemen have little to do with space travel,” he explained. “They epitomize embracing the unknown — taking that step — more than somebody that literally is flying into darkness.” 

Murphy’s Spacemen come in various sizes and forms, including small collectibles and large-scale installations. This versatility allows them to fit into diverse settings, from private collections to public art displays. The sculptures can be found across the world, including a 13-foot Spaceman in Houston’s Minute Maid Park baseball stadium and a 22-foot Spaceman in Oslo. 

Murphy hasn’t always been an artist. He was once a professional basketball player in Europe, and then became a Wall Street trader. “I did not make a full pivot into accepting that I was a creative person until I was maybe 29,” he said. Today, he is one of most financially successful contemporary artists in the world. 

In 2021, Brendan created his “Boonji Project” — a collection of his artwork as non-fungible tokens — and launched it on the Ethereum blockchain (which uses the cryptocurrency Ether). It became the largest primary NFT sale in history, producing $15.5 million dollars.   

Brendan Murphy's 2023 work '9 Intentions.' (Supplied)

His work has proven popular with both serious collectors and celebrities, including the tennis players Novak Djokovic and Serena Williams, as well as US business mogul Warren Buffett.  

Inspired by artists including Jean-Michel Basquiat and Jackson Pollock — famed for their use of color — Murphy’s art aims to encourage the viewer to tune into their emotions and discover the unknown. 

“I love color as a means of communicating a feeling,” Murphy said. “When I make something and I get it right, my work creates energy and that’s pretty cool. Color is the easiest way of creating energy; different colors connect with different feelings.” 

Murphy said his practice, by choice, demands that he step out of his comfort zone. He utilizes non-traditional methods and rare materials including chrome and diamonds to create conceptual pieces. He has become famous for his extravagant works of art, including “Frozen with Desire,” a sculpture of an astronaut encrusted with 6,200 diamonds, priced at $25 million.  

“As an artist, you have to be uncomfortable all the time,” he said. “Find comfort in what you can control, then break it and go where you have no idea what you’re doing.” 


Mark Strong plays ‘interesting version’ of all-powerful ruler in ‘Dune: Prophecy’ 

Updated 22 November 2024
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Mark Strong plays ‘interesting version’ of all-powerful ruler in ‘Dune: Prophecy’ 

JEDDAH: The latest big-budget sci-fi series takes fans back to the familiar universe of Frank Herbert’s “Dune,” but 10,000 years before the events of the recent movies starring Zendaya and Timothée Chalamet. 

The HBO Max show “Dune: Prophecy” — streaming in the Middle East on OSN+ — follows the rise of the shadowy Bene Gesserit sisterhood. British actor Mark Strong takes on the role of Emperor Javicco Corrino, a man who has become ruler of the galaxy at a tumultuous time. 

No stranger to playing characters in powerful positions — most recently, he portrayed the ruthless mob boss Carmine Falcone in another HBO series, “Penguin” — Strong claims that his Emperor Corrino is a little different to the usual screen versions of such men. 

“I’m playing a very interesting version of the guy in charge,” Strong tells Arab News. “So, he is the emperor of the universe, which is a great part to play as an actor, obviously, but what’s fascinating about him is his vulnerability — the fact that he is managing a fragile peace. 

“So, the guy isn’t what I normally am asked to play, which is people with power who know what they’re doing. He’s very unsure of himself. He doesn’t feel like he’s inherited the ability of his father, he feels a bit of an imposter. He’s trying to deal with a world that he’s not in control of. And I love that juxtaposition of a man that’s supposed to be in charge and supposed to know what he’s doing, and actually he’s very unsure of himself.” 

For Strong, the success of the current “Dune” movie and TV franchise is down to the source material.  

“The base of the whole thing is these amazing novels that people adore. They are incredibly complicated — really rich. A lot of what we know as modern science fiction, whether it’s ‘Star Trek’ or ‘Star Wars’ or whatever, they come from those books,” he said. 

“It’s a world that you want to try and have a go at, because nobody’s done it before. The series, obviously, is set before the movies and in a very different world. And it’s great to have a go at something that that is as fresh as this.” 


Princess Rajwa attends parliament session in Jordan 

Updated 19 November 2024
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Princess Rajwa attends parliament session in Jordan 

DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein attended a ceremony marking the inauguration of the first ordinary session of the 20th Parliament in Amman on Monday, marking her second public appearance since the birth of her first child this summer. 

The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji Mini Bag in Black by Jill Sander. 

Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra. 

Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October. 

On August 3, 2024, the royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah. 

At her birth, Jordan’s King Abdullah posted a tribute to his granddaughter on social media. Translated from Arabic, the post read: "I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.

“We ask God to raise her well and protect her for her parents. You have lit up our family.”

Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of late Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.


Flormar seeks to expand Saudi footprint to meet growing demand in beauty market

Updated 19 November 2024
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Flormar seeks to expand Saudi footprint to meet growing demand in beauty market

DUBAI: Skincare and makeup brand Flormar is planning to triple the number of its stores in Saudi Arabia over the next four to five years to meet the demand of a burgeoning and increasingly competitive market.

Established in Milan, Italy, in the late 1950s, the company is now headquartered in Turkiye. Arab News spoke to CEO Matthieu Gomart about why he is so keen to increase the brand’s presence — currently 25 outlets — in the Kingdom.

“The beauty market in the Middle East — and specifically in Saudi Arabia — is quite dynamic,” he explained. “They have double-digit growth, making it one of our most exciting markets.”

Flormar has undergone something of a transformation in recent years, refining its product lines and formulations to appeal to a broader, more discerning audience. 

(Supplied)

Gomart said the brand’s approach has evolved to focus “on high-quality makeup at affordable prices” that aligned with skincare and ethical beauty trends. 

The company’s clean and vegan products, designed to enhance skin health, have been particularly well-received among Saudi consumers, he added, noting an increasing appetite for natural ingredients and skin-friendly formulations. 

(Supplied)

It is a trend highlighted by panelists at Riyadh’s Hia Hub beauty conference in October. Industry insiders, such as Chalhoub Group president Patrick Chalhoub, told Arab News the under-30 demographic “use skincare products more frequently and are willing to experiment with innovative products, even with brands that are not necessarily very popular.”

With an entire conference dedicated to growing the Kingdom’s skincare market, it is no wonder Flormar has identified it as a target segment.

Gomart said Saudi consumers were also embracing innovations such as “skinification” — adding skincare benefits to makeup products.

To meet this demand, Flormar is adapting its offerings to include sun protection and hydration in its makeup line.

“Saudis have a strong appetite for those nutrients,” he said.

Flormar’s growth includes partnerships with local retailers, distribution through pharmacy chains, and plans to expand its e-commerce footprint.

“We are happy to be contributing to the rise of self-expression in Saudi Arabia,” Gomart added.